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Harney, Stephen Matthias Rosati. "Imagined Trinidads : nationalism and literature in a Caribbean diaspora." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358280.
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Kane, Michael. "Modern men: literature, nationalism, war and sexuality 1880-1930 /." Berlin : [s.n.], 1996. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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Aviv, Aviva. "Ahad Ha-Am's concept of Jewish nationalism." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359620.
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Reynolds, Matthew Osmund Royle. "English poetry and European nationalism, 1830-1870." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364175.
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Hollingsworth, Mark. "Nineteenth-century Shakespeares : nationalism and moralism." Thesis, University of Nottingham, 2007. http://eprints.nottingham.ac.uk/10551/.
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This thesis shows that 'Shakespeare' (both the works and the man) was at the forefront of literary activity in the nineteenth century. By focusing on concerns about the identity of the British nation and its people it shows that Shakespeare was a constant presence in the debates of the day and that a number of agendas were pursued through what were ostensibly writings about Shakespeare's plays and the biography of their author. The Introduction first notes Shakespeare's transition from Elizabethan playwright to Victorian cultural icon and proceeds to outline nineteenth-century critical practice and changes in the social organisation of knowledge. From here the shift in how Shakespeare was considered is noted as well as the fact that, despite increasing interest in the history of the phenomenon, the nineteenth century has been largely neglected. What exploration there has been of this period has tended, by its nature as part of larger surveys or issue-specific studies, to oversimplify the complexities of nineteenth-century criticism. Further to this, the nineteenth century itself is often treated as a time of unsophisticated development and as a precursor to modern thought rather than a period of interest in its own right. A variety of what this thesis terms 'literary pursuits' during this period are then contextualised, as well as the changing role of the critic in nineteenth-century society. This is accompanied by an exploration of the community of readers and writers who would have engaged with these works. Finally, the methodological decisions which have directed this thesis are explained, including the privileging of page over stage, and the choice of those nineteenth-century writers who have been examined. The main body of the thesis is divided into two sections: Part One (Chapters One and Two) gives a broad taxonomy of ways in which nineteenth-century writers used Shakespeare as a means for addressing other issues, and Part Two (Chapter Three) uses a specific case study through which to examine these particular issues. It shows that attitudes to Shakespeare were shaped by an ongoing dialogue concerning the identity of the nation and its population. However, while there was much commonality regarding the agendas for which Shakespeare was used, the ways in which various different writers approached this was surprisingly diverse. Chapter One, 'Nationalism,' looks at how Shakespeare could be used in order to serve a nationalistic agenda: this involved either allying Shakespeare with the nation itself (by utilising Shakespeare's nationality, writing in a rhetorically charged manner, or interpreting Shakespeare's works in a certain fashion), or equating the nineteenth century with the early modern period (and highlighting various commonalities or differences with those times). The concept of nationalism is contextualised by looking at various attitudes to the nation which were driven by the challenges of the expanding Empire. Chapter Two, 'Moralism,' looks at the ways in which Shakespeare was used as a tool by those who sought to promote certain behavioural traits amongst their readers. The different ways in which writers made use of Shakespeare are situated within a discussion of nineteenth-century philosophical and moral positions. This chapter looks successively at what is termed 'Private Moralism' (a concern with abstract ideas, such as self-control and adherence to familial or religious ties), and 'Public Moralism' (that is, efforts to improve the outward or physical attributes of individuals, such as financial accumulation or class status). Part Two of the thesis focuses on how Victorian writers used Shakespeare specifically in relation to Shakespeare's Sonnets. To this end, Chapter Three, 'The Sonnets,' looks at how writings on the Sonnets pursued moral or nationalistic agendas. This chapter also seeks to draw together the strands of nationalism and moralism by showing that anxieties about the state of Britain fed into writing about the Sonnets at this time and that this involved a complex debate about the Sonnets, ancient Greece, and the nature of what would today be termed homosexuality. A significant contention of this chapter is that nineteenth-century attitudes towards the Sonnets need to be appreciated on their own terms rather than anachronistically via a modern understanding of homosexuality. The Conclusion suggests that Shakespeare was used by nineteenth-century critics and biographers as a location within which to debate certain overarching concerns of the day. How these issues were approached, however, took different forms and Shakespeare was employed for different ends, which points to a general unease regarding the identity of the nation. As the formal institutionalising of the English Literary canon was taking place during the period covered by this thesis it seems reasonable to suggest that the use of Shakespeare was related to Shakespeare's position of dominance within the canon. Finally, suggestions are made as to how the ease with which Shakespeare could be used - as well as the unavoidable difficulties which are attendant with Shakespeare - might have affected this process of canonisation.
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Do, Mimi H. "The Search for Modernity: Literature and Vietnamese Nationalism, 1900-1939." Thesis, University of Hawaii at Manoa, 2002. http://hdl.handle.net/10125/7068.
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Mondal, Anshuman Ahmed. "Nationalism, literature, and ideology in colonial India and occupied Egypt." Thesis, SOAS, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322963.
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Ntalindwa, Raymond. "Nuruddin Farah and the issues of Somali nationalism." Thesis, SOAS, University of London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321738.
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Parks, Tabitha Lynn. "In another place, not here a reappropriation of Caribbean nationalism /." [Gainesville, Fla.] : University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0000764.
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Lu, Tsung Che. "Constructing Taiwan: Taiwanese Literature and National Identity." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248416/.
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In this work, I trace and reconstruct Taiwan's nation-formation as it is reflected in literary texts produced primarily during the country's two periods of colonial rule, Japanese (1895-1945) and Kuomintang or Chinese Nationalist Party (KMT) (1945-1987). One of my central arguments is that the idea of a Taiwanese nation has historically emerged from the interstices of several official and formal nationalisms: Japanese, Chinese, and later Taiwanese. In the following chapters, I argue that the concepts of Taiwan and Taiwanese have been formed and enriched over time in response to the pressures exerted by the state's, colonial or otherwise, pedagogical nation-building discourses. It is through an engagement with these various discourses that the idea of a Taiwanese nation has come to be gradually defined, negotiated, and reinvented by Taiwanese intellectuals of various ethnic backgrounds. I, therefore, focus on authors whose works actively respond to and engage with the state's official nationalism. Following Homi Bhabha's explication in his famous essay "DissemiNation," the basic premise of this dissertation is that the nation, as a narrated space, is not simply shaped by the homogenizing and historicist discourse of nationalism but is realized through people's diverse lived experience. Thus, in reading Taiwanese literature, it is my intention to locate the scraps, patches, and rags of daily life represented in a select number of texts that signal the repeating and reproductive energy of a national life and culture.
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Leontis, Artemis Sophia. "Territiories of Hellenism : Neohellenic modernism, nationalism, and the classical tradition /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487688507505346.
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Alzoubi, Mamoun. "Richard Wright's Trans-Nationalism: New Dimensions to to Modern American Expatriate Literature." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1466409579.
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Du, Plessis Irma. "Crafting popular imaginaries : Stella Blakemore and Afrikaner nationalism." Diss., University of Pretoria, 2002. http://hdl.handle.net/2263/25581.
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O'Brien, Lucy Corinne. "Edward Elgar and English nationalism : imperial, chivalrous and pastoral visions." Thesis, Lancaster University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301089.
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This thesis is a study of Edward Elgar as a national figure. and as an icon of English nationalism in the late-Victorian and Edwardian eras. Within music history studies, particularly those of the twentieth century, the close relationship between Elgar and Britain's imperial past has led to the subjugation of his ceremonial music in order for a more acceptable national significance, based around images of rural England, to be reclaimed for him. This study suggests that the anxiety over Elgar's nationalism, which led to a canon of 'acceptable' works, has resulted in the neglect of significant influences on the composer that found frequent expression in his music, and which were related to the spread of national character in his contemporary society. Therefore the three main areas of consideration aim to redress the balance by exploring his national and imperial music, the significance of chivalry as a social code for Englishmen. and the spread of a rural nationalism particularly through a popular middle class preoccupation with an idealised vision of the English countryside. In each of these areas the social, artistic and political climate of England are of central importance as they provide a background against which many of Elgar's works. previously considered to be 'unimportant'. can assume a new significance. Thus the ways in which the social contexts can be seen to have influenced Elgar's life and music are discussed in some detail: conversely the influence Elgar hadin shaping notions of national character through his music are also considered. This thesis contends that the national context was of central importance to the professional and personal life of Elgar. and it is clear that he was engaged in a process of cultural exchange: a reciprocal relationship between artist and public that fostered and perpetuated the myths of nation.
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Hsiau, A.-chin. "Crafting a nation : contemporary Taiwanese cultural nationalism /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9824653.
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Nolam, Emer. "Nationalism and modernism : James Joyce and the representation of Irish culture." Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315996.
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Rambukwella, Sassanka Harshana. "The search for nation exploring Sinhala nationalism and its others in Sri Lankan anglophone and Sinhala-language writing /." Thesis, Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41508853.
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Mcavoy, Meghan. "Critical nationalism : Scottish literary culture since 1989." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/23242.
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This thesis is a critical study of Scottish literary culture since 1989. It examines and interrogates critical work in Scottish literary studies through a ‘critical nationalist’ approach. This approach aims to provide a refinement of cultural nationalist literary criticism by prioritising the oppositional politics of recent Scottish writing, its criticism of institutional and state processes, and its refusal to exempt Scotland from this critique. In the introduction I identify two fundamental tropes in recent Scottish literary criticism: opposition to a cultural nationalist critical narrative which is overly concerned with ‘Scottishness’ and critical centralising of marginalised identity in the establishment of a national canon. Chapter one interrogates a tendency in Scottish literary studies which reads Scottish literature in terms of parliamentary devolution, and demonstrates how a critical nationalist approach avoids the pitfalls of this reading. Chapter two is a study of two novels by the critically neglected and politically Unionist author Andrew O’Hagan, arguing that these novels criticise an insular and regressive Scotland in order to reveal an ambivalent, ‘Janus-faced’ nationalism. Chapter three examines representations of Scottish traditional and folk music in texts by A. L. Kennedy and Alan Bissett, engaging with the Scottish folk tradition since the 1950s revival in order to demonstrate literature and music’s ambivalent responses to aspects of literary and cultural nationalism. Chapter four examines texts by Janice Galloway, Alasdair Gray and James Kelman, analysing the relationships they construct between gender, nation and class. Chapter five examines three contemporary Scottish texts and elucidates an ethical turn in Scottish literary studies, which reads contemporary writing in terms of appropriation and exploitation.
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Sethness, Maria Ángeles. "El costumbrismo pictórico y literario español : de la ilustración al romanticismo /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/8292.
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Lipscomb, Trey L. "Pre-Colonial African Paradigms and Applications to Black Nationalism." Master's thesis, Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/437079.
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African American Studies<br>M.A.<br>From all cultures of people arises a worldview that is utilized in preserving societal order and cultural cohesiveness. When such worldview is distorted by a calamity such as enslavement, the victims of that calamity are left marginal within the worldview of the oppressive power. From the European Enslavement of Africans, or to use Marimba Ani’s term, the Maafa, arose the notion of European or White Supremacy. Such a notion, though emphatically false, has left many Africans in the Americas in a psychological state colloquially termed as “mental slavery”. The culprit that produced this oppressive condition is Eurocentricity and its utilization of the social theory white supremacy, which has maturated from theory into a paradigm for systemic racism. Often among African Americans there exists a profound sense of dislocation with fragmentary ideas of the correct path towards liberation and relocation. This has engendered the need for a paradigm to be utilized in relocating Africans back to their cultural center. To be sure, many Africans on the continent have not themselves sought value in returning to African ways of knowing. This is however also a product of white supremacy as European colonialism established such atmosphere on the African continent. Colonization and enslavement have impacted major aspects of African cultural and social relations. Much of the motif and ethos of Africa remained within the landscape and language. However, the fact that the challenge of decolonization even for the continental African is still quite daunting only further highlights the struggles of the descendants of the enslaved living in the Americas. The removal from geographic location and the near-destruction of indigenous language levied a heavy breach in defense against total acculturation. Despite this, among the African Americans, African culture exists though languishes under the pressures of white supremacy. A primary reason for such deterioration is the fact that, because of the effects of self-knowledge distortion brought on by the era of enslavement, many African Americans do not realize the African paradigms from which phenomena in African American cultures derive. Furthermore, the lack of a nationalistic culture impedes the collective ability to hold such phenomena sacred and preserve it for the sake of posterity. Today, despite the extant African culture, African Americans largely operate from European paradigms, as America itself is a European or “Western” project. The need for a paradigm shift in African-American cultural dynamics has been the call of many, however is perhaps best illuminated by Dr. Maulana Karenga when he states that we have a “popular culture” and not a nationalistic one. Black nationalism has been presented to Black People for over a century however it has varied greatly between different ideological camps. The variation and many conflictions of these different ideologies perhaps helped the stagnation of the Black Nationalist movement itself. An Afrocentric investigation into African paradigms and the Black Nationalist movements should yield results beneficial to African people living in the Americas.<br>Temple University--Theses
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Acharya, Shiva. "Nation, nationalism and social structure in ancient India : a survey through Vedic literature /." New Delhi : Decent Books, 2005. http://catalogue.bnf.fr/ark:/12148/cb40141171h.
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Fee, Margery. "Romantic Nationalism and the Image of Native People in Contemporary English-Canadian Literature." ECW, 1987. http://hdl.handle.net/2429/11260.
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Gorelova, Olena. "Postmodernism, Native American literature and issues of sovereignty." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/gorelova/GorelovaO0509.pdf.
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Criticism of Native American literature is barely two centuries old, while criticism of Western literature boasts a history that is quite a bit longer. The questions on how to read and interpret tribal narrative and modern American Indian fiction are still urgent topics that trigger numerous debates among literary scholars. What theories to employ and what approaches to use to dispel misinterpretations of the literature are still matters open to suggestion. Postmodernism, the new world trend, has influenced all spheres of life, not excluding literature. Although it does seem to better account for American Indian voices as it shifts attention to local narratives and re-evaluation of history, the issue of whether it is applicable and favorable to Native American literature and its cause is a debatable one. Postmodern theory claims to liberate the suppressed voices including those of Native Americans, but at the same time presents the danger of limiting Native American literature to another set of frames while denying it its purpose, i.e. achievement of the establishment of Native American national literature. Many American Indian scholars insist that American Indian literature should not be interpreted using mainstream approaches, such as postmodernism, since they have already done enough damage, but implementing American Indian philosophies instead, such as nationalism. It also seems premature to apply postmodern theory since it deconstructs history and identity, which are still to be constructed in Native American literature. Tribal literature and tribal realities are closely connected and, therefore, the fight for Native American literature and how to interpret it appears to be a part of a bigger fight, the one for sovereignty, both national and intellectual. The "post" of postmodernism, as well as the "post" of post-colonialism, might simply not be present for Native American literature yet and, therefore, theories offered by nationalism can at the given moment be more promising to American Indian literature and its purposes.
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White, Ian. "Going with Fergus : James Joyce and the politics of Irish nationalism 1891-1916." Thesis, University of York, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284131.
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Bosch, Stephanie. "Forms of Affiliation: Nationalism, Pan-Africanism, and Globalism in Southern African Literary Media." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17465321.
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Forms of Affiliation maps new literary geographies that cut across national, postcolonial, local, and global frameworks. Focusing on fiction from the 1950s to the present-day from South Africa, Malawi, Zambia, and Zimbabwe, it demonstrates how writers from these nations have developed new genres of fiction in popular media to imagine changing modes of interconnection across space. Popular media—including newspapers, magazines, and their digital iterations—are vital literary outlets in southern Africa and often the only means for underrepresented populations to find a voice in public discourse. Crucially, many of the genres in these publications do not fit neatly into European literary categories. They also envision Africanness and blackness within a variety of overlapping spatial scales, from the township to the diaspora, thus challenging the common conception of southern African literatures as tied primarily to nationalist projects. Through the analysis and translation of hundreds of stories from publications such as African Parade, Africa!, the Malawi News, and the Chimurenga Chronic, I identify four generic categories of southern African fiction: “migrant forms,” “township tales,” “newspaper short stories,” and “literary time-machines.” Across its chapters, Forms of Affiliation shows how these genres make visible combinations of form, meaning, and geography that are obscured by traditional literary categories.<br>African and African American Studies
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Ramnarayan, Akhila. "Kalki's avatars writing nation, history, region, and culture in the Tamil public sphere /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150484295.
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Lake, Anthony. "Patriotic and domestic love : nationhood and national identity in British literature 1789-1848." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360531.
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This study argues that nationalism is concerned not only with relations and differences between rival nations, but is also related to questions of class, power, and representation within nations. It explores the development of a conservative form of nationalism in England which, following Edmund Burke's Reflections on the Late Revolution in France (1790), elaborates a defence of the hegemony of the aristocracy, in response to the increasing economic and cultural power of the middle class, born of the rapid growth of commercial and industrial economy. Literature is central in the development of this nationalism, and writings by Coleridge, Wordsworth, Scott, Disraeli, and more briefly, Dickens are considered. There are two distinct images of nationhood in England in the period. These are on the one hand a vision of nationhood which links the nation to the existence of a public, a residual aristocratic ideal of the nation which is defined within the terms of the discourse of civic humanism, and on the other hand a vision of England which identifies English nationhood with rural society, village community, and the private and domestic space of the home; an ideal of the nation which emerges in relation to commercial and industrial culture, and which becomes identified with the middle class. These two ideals of nationhood become the focus of a struggle of representations between aristocracy and middle class. The tensions which this struggle between these conflicting images of the English nation creates are explored, considering their implications for the politics and representation of national, class, and gender identities. This study demonstrates that debates about the movement from a landbased pre-industrial to an industrial society are framed within a broader debate about the nature and meanings of Englishness and English nationhood. The relationship of this nationalism to developing discourses of imperialism is also explored.
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Guevara, Gema Rosa. "Founding discourses of Cuban nationalism : la patria, blanqueamiento and la raza de color /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9963651.
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Chester, Dennis M. "Performance, spectatorship, and the evolution of nationalism in Harlem Renaissance fiction /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/9314.
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Rock, Brian. "Irish nationalism and postcolonial modernity : the 'minor' literature and authorial selves of Brian O'Nolan." Thesis, University of Stirling, 2010. http://hdl.handle.net/1893/2495.
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In the immediate post-independence period, forms of state-sponsored Irish nationalism were pre-occupied with exclusive cultural markers based on the Irish language, mythology and folk traditions. Because of this, a postcolonial examination of how such nationalist forms of identity were fetishised is necessary in order to critique the continuing process of decolonization in Ireland. This dissertation investigates Brian O’Nolan’s engagement with dominant colonial and nationalist literary discourses in his fiction and journalism. Deleuze and Guattari define a ‘minor’ writer’s role as one which deterritorializes major languages in order to negotiate textual spaces which question the assumptions of dominant groups. Considering this concept has been applied to postcolonial studies due to the theorists’ linguistic and political concerns, this dissertation explores the ‘minor’ literary practice of Brian O’Nolan’s authorial personae and writing techniques. Through the employment of Deleuze and Guattari’s concept of the deterritorialization of language alongside Walter Benjamin’s models of the flâneur and translation, and Claude Lévi-Strauss’s concept of bricolage, this thesis examines the complex forms of postcolonial narrative agency and discursive political resistance in O’Nolan’s work. While O’Nolan is often read in biographical terms or within the frameworks of literary modernism and postmodernism, this thesis aims to demonstrate the politically ambivalent nature of his writing through his creation of liminal authorial selves and heterogeneous narrative forms. As a bi-lingual author, O’Nolan is linguistically ‘in-between’ languages and, because of this, he deterritorializes both historical and literary associations of the Irish and English languages to produce parodic and comic versions of national and linguistic identity. His satiric novel An Béal Bocht exposes, through his use of an array of materials, how Irish folk and peasant culture have been fetishized within colonial and nationalist frameworks. In order to avoid such restricting forms of identity, O’Nolan positions his own authorial self within a multitude of pseudonyms which refuse a clear, assimilable subjectivity and political position. Because of this, O’Nolan’s authorial voice in his journalism is read as an allusive flâneur figure. Equally, O’Nolan deterritorializes Irish mythology in At Swim-Two-Birds as a form of palimpsestic translation and rhizomatic re-mapping of a number of literary traditions which reflect the Irish nation while in The Third Policeman O’Nolan deconstructs notions of empirical subjectivity and academic and scientific epistemological knowledge. This results in an infinite form of fantastical writing which exposes the limited codes of Irish national culture and identity without reterritorializing such identities. Because O’Nolan’s ‘minor’ literary challenge is reflective of the on-going crisis of Ireland’s incomplete decolonization, this thesis employs the concept of ‘minor’ literature to read Ireland’s historical past and contemporary modernity through O’Nolan’s multi-voiced and layered narratives.
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Ellis, Oliver Benjamin Crawford. "“The Much Wished-For Shore”: Nationalism and Utopianism in New Zealand Literature: 1817-1973." Thesis, University of Canterbury. English, 2013. http://hdl.handle.net/10092/9255.
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This thesis examines the relationship between utopianism and nationalism in New Zealand literature between 1817 and 1973. My research utilises the definition of both the utopia and the nation as “imagined” or “imaginary” communities (to use Benedict Anderson and Phillip Wegner’s terms), in demonstrating how they function as interdependent concepts in colonial New Zealand literature. Specifically, my research focuses on how a dominant discourse of Pākehā nationalism is influenced by the desires of colonial settlement. There is an identifiable tradition in which New Zealand is imagined as a utopian space with an ambivalence towards modernity. The settler nation is defined subjectively by different authors, retaining, however, a tradition of excluding groups which are not compatible with the authors’ utopian projections. This exclusion may be based on race, gender, class, political views or other categorisations. I view this tradition as a dialectic of changing desires and utopian visions, based on changing historical contexts, but always engaged with the central attempt to speculate the possibilities that New Zealand holds as a utopia for Anglocentric settlement. The thesis is divided into four chapters, each based on the comparison of two texts from a certain period. The first chapter compares two texts of early nineteenth century British settlement, J.L. Nicholas’ Narrative of Voyage to New Zealand (1817) and E.J. Wakefield’s Adventure in New Zealand (1845). The second chapter examines Samuel Butler’s Erewhon (1872) and Julius Vogel’s Anno Domini 2000 (1889). The third chapter focuses on Robin Hyde’s Wednesday’s Children (1936) and John Mulgan’s Man Alone (1939). My final chapter argues that the end of this mode of writing is signalled by Smith’s Dream (1971 rev. 1973) by C.K. Stead and Intensive Care (1970) by Janet Frame, which demonstrate a changing approach to the tradition. After this point, other postcolonial voices emerge and the attempted homogeneity of settler utopianism is disrupted.
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Sethi, Rumina. "Literary representation of national identity and the rhetoric of nationalism in Raja Rao's Kanthapura." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385324.
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Baveystock, Freddie. "The romance of nationalism : the authority of history in American literary culture 1809-1851." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307423.
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Taneja, Pria. "Epic legacies : Hindu cultural nationalism and female sexual identities in India 1920-1960." Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/638.
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The thesis investigates the cultural interventions of Hindu nationalist, C. Rajagopalachari (CR), by offering a close reading of his re-tellings of the Hindu epics, The Mahabharata (1951) and The Ramayana (1956). It positions them alongside the writings of M. K. Gandhi and the key responses to Katherine Mayo’s controversial text Mother India (1927). The thesis explores the central female protagonists of the epics – Sita and Draupadi – asking how these poetic representations illuminate the ways in which femininity was imagined by an influential Hindu ideologue during the early years of Indian Independence. Using close textual analysis as my principal method I suggest that these popular-literary representations of sexual identities in Hindu culture functioned as one means by which Hindu nationalists ultimately sought to regulate gender roles and modes of being. I focus on texts emerging in the years immediately before and after Independence and Partition. In this period, I suggest, the heroines of these versions of the epic texts are divested of their bodies and of their mythic powers in order to create pliant, de-sexualised female icons for women in the new nation to emulate. Through an examination of the responses to Katherine Mayo’s Mother India (1927), and of Gandhi’s writings, I argue that there one can discern an attempt in the Hindu Indian script to define female sexual identity as maternal, predominantly in service to the nation. These themes, I argue, were later articulated in CR’s recasting of the Hindu epics. CR’s epics represent the vision of gender within Hindu nationalism that highlights female chastity in the epics, elevating female chastity into an authentic and perennial virtue. I argue, however, that these ‘new’ representations in fact mark a re-working of much older traditions that carries forward ideas from the colonial period into the period of Independence. I explore this longer colonial tradition in the Prologue, through a textual analysis of the work of William Jones and James Mill. Thus my focus concerns the symbolic forms of the nation – its mythologies and icons – as brought to life by an emergent Hindu nationalism, suggesting that these symbolic forms offer an insight into the gendering of the independent nation. The epics represented an idealised model of Hindu femininity. I recognise, of course, that these identities are always contested, always unfinished. However I suggest that, through the recasting of the epic heroines, an idea of female sexuality entered into what senior Hindu nationalist and Congressman, K.M. Munshi, called ‘the unconscious of India’.
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Amado, Mayavel. "Nationalism in Charles de Gaulle's Speeches During World War II." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3521.pdf.
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Pavulans, Anna-Minna. "Identities in motion : citizenship, mobility and the politics of belonging in the post-Cold War era /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3147832.
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Thesis (Ph. D.)--University of Oregon, 2004.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 221-243). Also available for download via the World Wide Web; free to University of Oregon users.
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Sackett, James R. "The influence of nationalist ideology in the works of five Irish poets from a Protestant background." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=232373.
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This thesis examines the ways in which the ideology of Irish nationalism has influenced and shaped the works of five Irish poets from a Protestant background: Louis MacNeice, John Hewitt, Richard Murphy, Michael Longley and Derek Mahon. These poets began their careers during a time period in which the cultural framework for comprehending authentic Irish identity, place and history was largely yielded to the authority of the principles of nationalism. This made a considerable impact on the poets and the ways that they would be made to engage such themes in their poetry. Their works are often noted for expressing ambiguity, ambivalence and complexity with regard to the poets' relationship with their Protestant background. This thesis maintains that much of the conflict found within the poetry can be attributed to an internalisation of a number of precepts from the politicised cultural construct established by nationalism. The nationalist authority over the Irish identity-discourse has not been sufficiently explored or explicated in critical studies of these poets' works. This thesis is dedicated to examining the nuanced ways in which nationalism influenced the poets' understanding of the concepts of Irish identity, place and history. With respect to their individual biographies, contexts and backgrounds, detailed analyses will reveal the significant affect that the tenets of nationalism had on each writer's poetic output and career. The research will make clear the extent to which these five poets exemplify a particular paradigm of the Irish Protestant poetic psyche of the eras under review. The analyses will contribute a fresh perspective to critical understanding of the intricate, oftentimes complicated, relationship that these poets maintained with their community, culture and country of origin.
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Stewart, Rebecca. "Untimely liberalism| Nationalism, duty, and patriotism in the liberation works of Heinrich Joseph von Collin." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10118888.
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<p> Austrian author and public official Heinrich Joseph von Collin (1771/1772–1811) composed anti-Napoleonic poetry in the early nineteenth-century in an effort to motivate his German-speaking contemporaries to support liberal efforts to resist the foreign aggression and local tyranny posed by Napoleon Bonaparte (1769–1821). Though Collin enjoyed international fame during his lifetime, today he is neglected by the general reading public in Germany and Austria, as well as by scholars who specialize in the literature of his age. </p><p> The following chapters explore the historical discourses in the nationalist and patriotic elements of Collin’s literary work, as well as his concept of duty, and contrast these discourses with the understanding of these terms in the German-speaking world after World War II.</p>
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Johnston, Amanda J. "J. R. R. Tolkien, War, and Nationalism." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_diss/54.
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Tolkien may not have intentionally created his fictive nations to mirror real nations, but his world certainly bears the scars of his experiences of war. The World Wars heightened his fear of losing everything that he loved about his local culture through literal obliteration or assimilation into another culture in the event of England’s losing. Tolkien saw the nation as a social construct that potentially could minimize losses, if not wholly protect local culture from the forces that threatened to destroy it. Yet he also perceived the nation’s limitations in its ability to protect culture. A nation could grow too large for itself, becoming obsessed with consuming other nations. For Tolkien, national property-amassing leads to a loss of the cultural identity that nationhood aims to preserve. When the forces threatening individual nations become overwhelming, those nations often need to join forces to prevent being taken over by other, more powerful countries. An examination of Tolkien’s fiction and numerous other sources, including essays and personal letters, suggests that he felt that separate nations should co-exist without imposing on one another, and that the nation taking over others would lose its own identity, whether gradually or suddenly. Despite Tolkien’s efforts to distance himself from what he felt modernity represented, his fiction (whether consciously or not) grapples with the mid-twentieth century ideological conflicts surrounding the nation. The resulting sense of loss and powerlessness underlies much of Tolkien’s fiction and leads him to a concept of the nation as an imperfect protector of culture, tempered by its need to rely on other nations.
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Crawford, Meredith Meagan. "Envisioning Black Childhood: Black Nationalism, Community, and Identity Construction in Black Arts Movement Children's Literature." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539626475.
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AHMAD, RAZI. "NATIONAL SELF AND NARRATIVE OF IDENTITY: CONSTRUCTION OF NATIONALISM IN MODERN PERSIAN LITERATURE AND FILM." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/201496.
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This dissertation looks at the dialectical relationship between Persian literary works representing or alluding to the pre-Islamic legacy and the political conditions of Iran. Through discursive analyses, it shows that these works in new political conditions change the orientation and main thrust of their message, and use or allude to the same pre-Islamic legacy for promoting modernization, criticizing official policies or showing resistance to the ruling establishment. The main thrust of their arguments also subtly indicates the country's future intellectual and political orientation.A transition from the traditional to modern use of antiquity took place during the second half of the nineteenth century, mainly as a result of increased interaction with Europe. Until the fall of the Qajarids, the Persian intellectuals and writers such as Akhundzadah, Dihkhuda used pre-Islamic legacy to support their arguments for modernization. Later, the despotic Pahlavi rulers (1925-79) sought to modernize the country but stifled the democratic evolution of polity and employed the pre-Islamic Persian heritage to strengthen monarchy. Hence, the Persian fiction writers such as Hidayat, Shahani, Danishwar dissociated themselves from official nationalism and used pre-Islamic heritage in non-glorifying ways to criticize the official policies.After the Islamic Revolution in 1979, the new rulers reversed the Pahlavi official policy of glorifying the pre-Islamic Iran, and projected Shi'i Islam as the central element of Iranian identity. In their efforts to create Islamic subjects, they deprived people many of their civil and political rights. In the new political environment, the fiction writers such as Danishwar, Sadiqi and Arian showed remarkable interest in using pre-Islamic mythological and historical references, themes and events in their writings. Such literary production functioned as a literary resistance to the policies of the Islamist rulers.To substantiate the findings about the use of pre-Islamic legacy in modern Persian literature, the dissertation also examined the representation of Iranian antiquity in Persian films. The dissertation showed that the political representation of pre-Islamic heritage in Persian literature finds a parallel, though less pronounced, in Persian films too.
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Korovianska, Veronika. "Establishing National Identity in the Twentieth-Century China: Traces of Russian and Ukrainian Literature in the New Chinese Literature." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23797.
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Russian literature is traditionally regarded as one that served a model and guide for
Chinese intellectuals in developing their national literature. It is also recognized that Eastern
European literatures drew much attention of Chinese intellectuals in their quest for national
identity and modernization. This thesis is aimed at providing a more detailed look at the Chinese-
Slavic literary discourse of the 1920’s, focusing on Russian literature as a recognized literary
“authority” of the time, and Ukrainian literature as an example of a literature of an oppressed
nation, which went under both Russian and Eastern European “labels” at the time. I argue that
challenged by a deep social and political crisis, Chinese intellectuals were compelled to develop
a unique form of national identity, basing it on two usually mutually exclusive forms of
nationalism, which manifested itself in the literary works of the period.
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Hicks, Patrick James. "This land has engendered me : history, nationalism and gender in Brian Moore." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297952.
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Kovalchuk, Anna. "Narrating the National Future: The Cossacks in Ukrainian and Russian Literature." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22705.
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This dissertation investigates nineteenth-century narrative representations of the Cossacks—multi-ethnic warrior communities from the historical borderlands of empire, known for military strength, pillage, and revelry—as contested historical figures in modern identity politics. Rather than projecting today’s political borders into the past and proceeding from the claim that the Cossacks are either Russian or Ukrainian, this comparative project analyzes the nineteenth-century narratives that transform pre-national Cossack history into national patrimony. Following the Romantic era debates about national identity in the Russian empire, during which the Cossacks become part of both Ukrainian and Russian national self-definition, this dissertation focuses on the role of historical narrative in these burgeoning political projects. Drawing on Alexander Pushkin’s Poltava (1828), Nikolai Gogol’s Taras Bulba (1835, 1842), and Taras Shevchenko’s Haidamaky (1842), this dissertation traces the relationship between Cossack history, the poet-historian, and possible national futures in Ukrainian and Russian Romantic literature. In the age of empire, these literary representations shaped the emerging Ukrainian and Russian nations, conceptualized national belonging in terms of the domestic family unit, and reimagined the genealogical relationship between Ukrainian and Russian history. Uniting the national “we” in its readership, these Romantic texts prioritize the poet-historian’s creative, generative power and their ability to discover, legitimate, and project the nation into the future. This framework shifts the focus away from the political nation-state to emphasize the unifying power of shared narrative history and the figurative, future-oriented, and narrative genesis of national imaginaries.
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Winet, Ryan, and Ryan Winet. "Vulgar Grandeur: Literature and the American Monument during the Long Nineteenth Century." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626162.
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My dissertation focuses on nineteenth-century American literature texts that engage with ruins and monuments. Traditionally, this interaction has been treated as a formal curiosity for literary critics, but this project argues interarts literature carries important implications for public sphere theory, especially in cases when an author writes about nationalist architecture and iconography.
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Freitas, Eduardo da Silva de. "A historiografia literária brasileira: uma análise comparativa das obras de Ferdinand Wolf, Silvio Romero e José Veríssimo." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4954.
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Este trabalho faz uma análise comparativa de algumas das principais obras de história literária do Brasil, publicadas no século XIX e início do século XX, escritas, respectivamente, por Ferdinand Wolf, Sílvio Romero e José Veríssimo. São analisadas as concepções de nacionalismo, de história e de literatura que veiculam, relacionando-as com as ideias que circulavam à época em que foram escritos Le Brésil Littéraire, de Ferdinand Wolf, a História da Literatura Brasileira, de Sílvio Romero, e a obra homônima de José Veríssimo. Sendo assim, além de analisar as obras comparativamente, o presente trabalho recupera o significado histórico que comportam, uma vez que as insere no quadro de referências vigentes no momento em que apareceram. Partindo do pressuposto de que a característica principal desses textos é a ideia de nacionalismo, estudam-se os significados atribuídos a este termo desde meados do século XIX até inícios do século XX, momento em que foram escritas aquelas histórias literárias. Ademais, relacionam-se as narrativas às variadas formas de se pensar a história, enquanto disciplina, nesse período, procurando identificá-las pelo modo como constroem a explicação histórica. Por fim, as ideias que apresentam a respeito da literatura são articuladas não só às concepções de nacionalismo e de história que aqueles textos veiculam, como também à reflexão que então se fazia<br>This study makes a comparative analysis of some of the major works of literary history of Brazil, published in the nineteenth and early twentieth century, written by Ferdinand Wolf, Silvio Romero and Jose Verissimo. It analyzes the concepts of nationalism, history and literature, relating them to ideas that circulated at the time they were written Le Brésil Littéraire, by Ferdinand Wolf, the History of Brazilian Literature, by Romero, and work namesake, by José Verissimo. Thus, besides analyzing the works together, it recovers the historical significance of these works, since the inserts in the frame of reference current at the time of appearance of the books that comprise the corpus. Assuming that the main characteristic of these texts is the idea of nationalism, it studies the meaning ascribed to this term since the mid-nineteenth through the early twentieth century, when these books were writte. Moreover, the narratives are related to different ways of thinking history, as a discipline, in that period, trying to identify them by how they build the historical explanation. Finally, the ideas we have about the literature are not only articulated the concepts of nationalism and history of those texts convey, but also the thought that it was undertaken
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Hassan, Saman Salah. "Women and literature : a feminist reading of Kurdish women's poetry." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/13903.
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This research work is a detailed feminist reading of the poetry of a selected group of Kurdish women poets which has been written in Sorani Kurdish. The poets come from two different locations, but are originally from Iraqi Kurdistan. A group of them live in the diaspora and the rest are home-based. Thus, it is the study of the Sorani-written poetry produced by Kurdish women poets locally and externally. The study chooses the time extending from 1990 to 2009 as its scope. There are clear reasons for the selection of this time as it stands for the most hectic period when Kurdish women’s poetry flourishes at a fast pace in southern Kurdistan. The study argues that the liberation of southern Kurdistan in 1991 from the overthrown Iraqi Ba’th regime plays a vital role in the productive reemergence of Kurdish women’s poetry after decades of silence and suppression being inflicted by the male-dominated Kurdish literature. Reliance on Anglo-American feminist criticism, Showalter’s gynocritics and some limited theories about the relation between gender and nationalism for the thematic analysis of the poetry of Kurdish women poets is another influential aspect of this study. The study justifies the importance of these theories for giving Kurdish women’s poetry the literary and social value it deserves and placing it within the larger repertoire of Kurdish literature. It is these theories that reveal the misjudgment and misapprehension of Kurdish women’s poetry by Kurdish male critics. Meanwhile, an extensive thematic analysis of the poetry of diasporic and home Kurdish women poets forms the core content of this work. The work studies the poetic texts of seventeen Kurdish women poets, seven from the diaspora, and ten from home. The themes to be focused on significantly represent the life realities of Kurdish women and the attitudes of Kurdish society towards their rights and existence. Through the exposition of the themes, this study aims to present a realistic picture of Kurdish women and urge for actions required to guarantee gender justice in southern Kurdistan. The themes symbolise a long-term war waged jointly by Kurdish women poets at home and in exile against the classic Kurdish patriarchy and its misogynistic laws. They reflect the injustice committed against women in a century when the respect of women’s rights have taken big steps forward elsewhere and should theoretically be ensured. The conclusion the study reaches is an emphasis on the overall condition of Kurdish women’s poetry and the challenges lying ahead of it. It indicates the level of progress Kurdish women’s poetry has made in southern Kurdistan and the role feminist criticism in unison with certain gender theories that criticise the link between women and nation can play in further developing this type of poetry. Moreover, a rather detailed comparison between the thematic structure and form of the poetry of diasporic and home Kurdish women poets is what enriches the conclusion. The influence of exile on diasporic Kurdish women poets and its relation to freedom of expression is also underlined and measured against opposite conditions back at home. Finally, the point where the poets of the two different localities converge is not omitted.
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Sutherland, Liam Templeton. "One nation, many faiths : representations of religious pluralism and national identity in the Scottish interfaith literature." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31245.
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This thesis presents a specific case study of the developing relationship between religious pluralism and national identity in Scotland by focusing on a particular high-profile group - Interfaith Scotland (IFS) - the country's national interfaith body, which has received little scholarly attention. This thesis argues that IFS represents religious pluralism as interrelated with contemporary Scottish national identity through its organisation and its literature: representing Scotland as one nation of many faiths. This discourse of unity in diversity presents a structured and limited religious pluralism based on the world religions paradigm (WRP), and is compatible with a civic-cultural form of nationalism. The WRP involves a model of religion which focuses on broad global traditions such as Christianity, Hinduism and Islam, over specific local communities and distinct denominations. These global traditions are defined by coherent, intellectual and ethical dimensions represented as closely equivalent. This paradigm is evident from the governing structures within IFS itself which represents individual religious bodies according to the world tradition into which they can be classified and affords a secondary, non-governing status to those who are not recognised as part of one of these traditions. Their world religions approach is also evident from representations of 'religions' in their literature, which emphasise broader intellectual and ethical traditions even in relation to communities outside the major traditions they recognise and the 'Non-religious' Humanist movement. This demonstrates their reliance on these categories in depicting Scotland and its population. The chapters of this thesis will explore how IFS depicts the Scottish nation and its population through the category of 'religion': the Christian majority, religious minority groups and the Non-religious. It also examines how IFS draws on civic and cultural resources to construct a common Scottish national identity compatible with their structured and limited pluralism. This civic-cultural nationalism is often banal or implicit, reinforcing the conception of interfaith relations taking place within a Scottish national framework through innocuous references to Scotland as a bounded society and the use of common cultural symbols of Scottishness to represent the 'unity' encasing that religious diversity. This can be classified as a form of nationalism because it represents the overarching secular national political framework of Scotland as supremely authoritative, as the legitimate basis for the political representation of the population rather than any specific religious identities. IFS' nationalism was especially evident during the lead up to the 2014 referendum on Scottish independence during which they consistently affirmed the right of the Scottish population to national self-determination without endorsing either position. The key themes of IFS' expressions of nationalism and the world religions paradigm are related. The conception of religions as of global importance as intellectual and ethical traditions rather than specific political movements at the local level means that religious identifications do not conflict with the territorially limited authority of the nation. Through these discourses 'religious' and 'national' identities are represented as compatible and non-competitive. This thesis relates to the wider comparative study of the changing relationship between religion, secularism and nationalism in the contemporary world. It makes a contribution to the critical social scientific study of interfaith groups and the role they play in governance, processes of national integration, the reinforcement of national identity in civil society, and the construction of religious identities. It provides evidence that the relationship between nationalism and religion is not always either wholly separated or related to religious exclusivism as with certain forms of religious-nationalism, but that religious pluralism can also be related to forms of nationalism despite assumptions of their incompatibility.
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Wylie, William B. "Notions of distinctiveness - nationalism and nationhood : the engagement of twentieth century Irish theatre with cultural self-discovery." Thesis, University of Ulster, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242060.
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Galvão, Júnior Heraldo Márcio. "Nacionalismo, cosmopolitismo e afrancesamento em Mon coeur balance e Leur âme, de Oswald de Andrade e Guilherme de Almeida /." Assis, 2013. http://hdl.handle.net/11449/93355.
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Orientador: Antonio Celso Ferreira<br>Banca: Daniela Mantarro Callipo<br>Banca: Célia Regina da Silveira<br>Resumo: Esta dissertação tem por objetivo principal analisar historicamente Mon coeur balance e Leur âme, duas peças de teatro escritas em francês por Oswald de Andrade e Guilherme de Almeida, em 1916, à luz das relações políticas, sociais e culturais em São Paulo da época. Tais obras, quando observadas pela ótica do simbolismo, abrem uma gama de possibilidades analíticas que são ampliadas quando contrastadas com as fontes jornalísticas - principalmente O Pirralho, semanário irreverente de Oswald de Andrade e que contava com publicações de Guilherme de Almeida. Esta pesquisa buscou comprovar a hipótese de que, ao contrário do que acreditam diversos críticos contemporâneos de renome, tais obras não se resumem a uma arte mundana e de entretenimento burguês, mas apresentam críticas sociais muito bem definidas, embora não explícitas, por trás de citações de autores europeus, músicas, óperas, quadros, etc. Com esta intenção, foi possível reconstruir um panorama das transformações pelas quais passavam São Paulo da virada do século XIX ao século XX, tanto nos aspectos físicos da cidade quanto nos psicológicos da população. Seguindo por essa linha, são analisados os sentidos que o nacionalismo assume em diversos setores sociais e literários, assim como quais deles os autores carregam ao longo de suas carreiras, em geral, e nas duas peças, especificamente, como é o caso da paulistanidade. Este sentimento de pertencimento nacional paulista está incutido em uma sociedade já afrancesada desde os tempos coloniais e cuja valorização do cosmopolitismo ajuda a completar o quadro que se compõem as teias intelectuais paulistanas do início do século XIX. Nesse sentido, esta pesquisa remonta, desde os tempos coloniais, a presença francesa no Brasil, identifica quais obras e quais autores foram importantes para a construção... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: This dissertation aims to analyze historically Mon coeur balance and Leur âme, two plays written in French by Oswald de Andrade and Guilherme de Almeida in 1916 looking political, social and cultural relations in São Paulo at the time. These plays, when viewed from the perspective of symbolism, open a range of analytical possibilities that are magnified when contrasted with journalistic sources - mainly O Pirralho, irreverent periodical by Oswald de Andrade that had Guilherme de Almeida's publications. This research sought to prove the hypothesis that unlike of what many renowned contemporary critics believe such plays are not limited to a worldly art and bourgeois entertainment but they show very well defined social criticism behind European authors' mentions, songs, operas, paintings, etc., though they are not explicit. With this intention, it was possible to reconstruct a picture of the transformations São Paulo was passing in the turn of the nineteenth to the twentieth century, both in the physical aspects of the city as the psychological aspects of the population. Following this line, the ways that nationalism takes in various literary and social sectors are analyzed, as well as what the authors carry from them throughout their careers, in general, and in the two plays, specifically, as in the case of paulistanidade. This feeling of São Paulo's national belonging is instilled in a society already Frenchified since colonial times and whose appreciation of cosmopolitanism helps to complete the picture that make up the São Paulo's intellectual webs in the early nineteenth century. In this sense, this research dates from colonial times the French presence in Brazil, identifies what works and authors were important for the construction of the plays, how Guilherme and Oswald and used them to recreate and criticize... (Complete abstract click electronic access below)<br>Mestre