The psychodynamics of nationalism

To be attached to the subdivision, to love the little platoon we belong to in society, is the first principle (the germ as it were) of public affections. It is the first link in the series by which we proceed toward a love to our country and to mankind. Edmund Burke, Reflections on the Revolution in France (1790) Nothing said or done can reach My fanatic heart. Out of Ireland have we come. Great hatred, little room, Maimed us at the start. I carry from my mother's womb A fanatic heart. W.B. Yeats, ‘Remorse for Intemperate Speech’ (1932)     

Ethnic and Islamist populism in Turkey and its impact on Kurdish nationalism

Rather than addressing the Kurdish conflict in Turkey directly, this study focuses on how the rising nationalist populism bears on Kurdish voters supporting the pro-Kurdish party HDP. There are very few studies on how Kurds are affected by the nationalist populism often expressed in Turkey by the governing People's Alliance (Cumhur İttifakı) with its slogan “domestic and national,” even though the literature offers a broad variety of studies on the Kurdish conflict. To fill this gap, this study is supported by focus group discussions with the Kurds in Turkey who support the HDP, based on a sample of the Kurds living in Istanbul, which is sometimes referred to as the “largest Kurdish city.” This study claims that the populist slogan of the “domestic and national” not only marginalises the Kurdish interviewees but also weakens their sense of belonging to Turkey, thus encouraging them to establish their own national identities. An important result of the focus group meetings is that AKP's polarising policy not only causes polarisation among Turks but also among the Kurds.     

The poetry of nationalism*

The poetry of nationalism has roots in ancient literature, particularly the Hebrew Bible, but is mostly a product of nationalism since the French Revolution. Many national poets are politically active and serve in government. Asserting artistic individuality, they express national individuality, though nationalism can also suppress creativity. Calling for moral regeneration, poets inspire their people with memories of heroism, real or imagined, and with myths unique to the nation. Their poetry often springs from defeat but anticipates national liberation and independence. Yet there is also a dark side to some national poets, particularly in their glorification of violence and lust for revenge against oppressors. National poetry changed after the failed revolutions of 1848–9. National poets were less inclined to believe in liberal ideals and progress toward universal goals and there was greater disillusionment and ambiguity toward the national role. World War I severely limited the militarist tendency in national poetry.     

Francis Weston,F.S.A.

Abstract

The subject of tile-tombs is one not often discussed in archaeological journals. From time to time amongst the quantities of tiles which are excavated, enigmatic fragments are found which can be interpreted as grave markers, in the manner of a memorial brass. Sometimes referred to as ‘tile-tombs’, the available evidence indicates that such memorials were a part of the floor, not raised above it. This factor, and also the inherent fragility of the tile-tombs themselves, has meant that only a very few such monuments have survived in any reasonable state of preservation. Owing to their scarcity they have often been denied a place within a general monumental history of the medieval period, let alone that of later times. A major exception to this is a study published in this Journal of the collection of tile-tombs once at the abbey of jumièges (Seine-Maritime), France, which have been convincingly attributed by Christopher Norton to the abbacy of Guillaume III de Rauçon (1213–39). Dr Norton places this cohesive series of tombs within the context of technical and stylistic developments of the floor-tile industry of Normandy, drawing parallels in Britain. The concentration of such tile-tombs is overwhelmingly medieval. In this paper the chronology of tile-tombs is enlarged by studying two recently noted early modern examples, also in the département of Seine-Maritime. In addition, the paper supports Dr Norton's study, in that he assesses the jumièges tile-tombs to ‘stand at the start of a tradition which was to continue in Normandy for a period of some five centuries.’     

Obituary: Harry R. G. Inglis,F.R.S.G., F.S.A.Scot.

During the late 1970s a new aggressive strain of Dutch elm disease became established in parts of southern and central Scotland and it is continuing to spread in many areas. This paper outlines the geography of the disease within Scotland and explores the way in which the Regional Councils have responded to the threat to the elm population.     

第一个工业化民族的民族主义

英国民族主义经由诺曼入侵后的孕育时期、清教运动的发展时期和帝国扩张的成型时期等三个阶段的发展,最终形成了第一个工业化民族的民族主义。在这一漫长的历史过程中,盎格鲁—撒克逊的部族传统与诺曼入侵者的较量,近代以来英国社会经济力量的变化,新兴阶级争取自身权益的努力,以及对外扩张获取经济利益的冲动,都对英国民族主义的形成产生了巨大的影响。     

The growth of artistic nationalism in Senegal

ABSTRACT. In the 1960s, Senegal's first national leaders narrowly defined how artists should practise nationalism through their work, particularly in the weaving craft, and enforced this definition through selective state patronage. This ideological and stylistic control echoed state control over economic markets. As subsequent administrations have restructured the economy, leading to a powerful informal business sector, so have independent contemporary weavers redefined artistic nationalism. Using ethnographic and archival interviews, this article examines nationalism in Senegalese weaving, placing the perspectives of contemporary weavers alongside those of two arts administrators who helped to develop state‐sponsored programmes in the 1960s and 1970s. I argue that contemporary weavers find inspiration from Senegalese nationalism of the mid‐twentieth century, yet have modified it to encompass individual expression. Because definitions of artistic nationalism in Senegal have shifted, it remains a significant ideology within the national arts scene.