The Form and Function of Poverty: Examining National Identity through Public Housing Architecture

Abstract

Lawrence J. Vale tells us that “grand symbolic state buildings need to be understood in terms of the political and cultural contexts that helped to bring them into being,” ¹ 1. Lawrence J. Vale, Architecture, Power, and National Identity (London: Routledge, 1992), 3. and that these buildings can help us understand our national identity. But all buildings are part of a broader political and cultural context. Even unimpressive state-funded buildings express meaning about the politics, power, and priorities of a nation. Because these buildings are not purposefully symbolic, their symbolism has the potential to provide a less contrived—though perhaps less appealing—portrayal of the nation in which they are built. Public housing provides an example of this idea. Public housing in the United States is latent with negative meanings that are reinforced and perpetuated by its architecture, siting, and design. This article examines three historical and iconic public housing communities and analyzes the meanings of these spaces through Goodman's four frames of reference—denotation, exemplification, metaphorical expression, and mediated reference—to determine what these spaces, as architecture, say about the American national identity and our relationship with public housing.     

The rediscovery of ‘the national’ in the 1990s – contexts,new cultural forms and practices in reunified Germany

This article examines how and in which societal and political contexts nationhood is expressed and symbolised in reunified Germany. This ‘rediscovery’ of nationhood since the 1990s mixes new and old motifs of the cultural repertoire of ‘the national’ for different purposes. Three main contexts triggered a rediscovery of ‘the national’ after 1989: reunification, immigration and the retrenchment of the social state. I argue, by analysing ethnographic material and political discourses, that these contexts, on the one hand, rearticulate old forms of ethnic and cultural nationalism and, on the other hand, create new images and symbols of an open civic society and immigration country. There are ‘playful’ forms, such as campaigns of nation branding, that symbolically include the ‘productive’ and ‘useful’ immigrant into the national project. Moreover, such campaigns serve to legitimatise the downsizing of the national state that – according to a neoliberal attitude – relies on a new community spirit of entrepreneurial, ‘activated’ citizens who ‘help themselves’. Thus, focusing on these pluralised renationalisation processes makes evident how polyvalent ‘the national’ still is. It can be employed by those who attempt to ‘reunite’ the East and West Germans, by businesses to sell their goods and ideas and by almost any political orientation, be it right‐wing or left‐wing.     

Articulating national identity in Turkmenistan: inventing tradition through myth,cult and language

A study of myth, cult, and language as tools of state power, this paper analyzes ways national identity was constructed and articulated in one state. When Türkmenistan became independent in 1991 its first president, Saparmyrat Nyýazow, promoted himself as the ‘savior’ of the nation by reconceptualising what it meant to be Türkmen. Myth, public texts and language policy were used to construct this identity. While they were the targets of the state's cultural products, Türkmen citizens contributed to the processes of cultural production. Nyýazow legitimised his authoritarian leadership, first by co‐opting Türkmen citizens to support his regime, and then by coercing them as participants in his personality cult. The paper concludes that Nyýazow used the production of culture, ‘invented tradition’ in Hobsbawm's sense, to bolster his agenda and further his own power. It also argues that the exaggerated cult of personality Nyýazow cultivated limited his achievements, rather than solidifying them.     

National stereotypes and music

Music became a marker of national identity in nineteenth‐century Europe. Western art music consists of tonal systems that are universally intelligible, but certain rhythms and musical idioms have been associated with national styles. How, when, and why does a musical phrase or piece become national? What political and cultural circumstances contributed to the development of national styles and facilitated the emergence of resonant topographies? What was the relationship between music as cultural practice and nineteenth‐century national thought as discursive space? These questions are addressed with a particular focus on verbunkos, which came to be characteristic of Hungarian national style, and on the Rákóczy March which became famous thanks to Berlioz's Faust. This essay traces the complex process of cultural transfer through which these martial tunes of mixed ethnic origins have become emblematic of Hungarian music.     

Nationalism,Britishness and the ‘Souring’ of Australian National Art

This article investigates the nationalist historiography of the Heidelberg School, an Australian art movement from the Federation period, known for its iconic representations of national life and landscape. Drawing on recent scholarship of Australian nationalism, it questions conventional accounts of the Heidelberg School in Australian art history, especially those based on Bernard Smith’s radical interpretation of this movement. For Bernard Smith, and the generations of Australian art historians he influenced, the nationalism of the 1890s was a progressive force for national culture. Yet, in the post-Federation decades, national art declined (or ‘soured’) into a reactionary form of insular nationalism. By focusing on the ‘souring’ narrative of Australian national art, this article critiques the nationalist interpretation of the Heidelberg School. It explores an apparent contradiction: the role of Britishness in the construction of a distinctly Australian national art.     

Two bullocks,a ladder and a lamp: electoral symbols in Nehruvian India

There is a substantial body of literature on nation‐building that, from a variety of theoretical approaches, examines the role of symbolic constructs in the process of construction and consolidation of new nation‐states. Among these works, the dramatic and symbolic aspects of election and their function in the nation‐building project have been investigated by political scientists and anthropologists alike. However, analysis of electoral emblems as constitutive elements in the nation‐building process has been largely missing from most studies of nation‐building and official nationalism. A case study of postindependence India suggests how national belonging was also made to hinge upon on competent democratic participation of the masses in the political life of the country. Central to this process of identity work was the establishment of an independent Election Commission and of strict rules for the design, selection and allotment of election emblems. Conventional accounts have argued that these procedures were introduced primarily for the benefit of the uneducated masses who were suddenly invited to participate in India's democratic process. I argue against this simplistic interpretation. Far from being only tools for the simplification of electoral processes, India's election symbols were one of India's institutional mechanisms designed to nurture the development of a correct democratic conduct and therefore ultimately contributing to the Nehruvian national project.     

现代中华民族观念的形成——以清末民国时期中学中国历史教科书为中心

现代意义的中华民族观念开始形成于1930年代."中华民族"一词在清末出现时,主要有三种表述:一是指中国境内独立的各民族,二是指以汉族为主体的集合,三是指汉族.清末对中华民族的认识,经历了一个由"汉、蒙、满并列"到"汉族"的变化,各族间的关系主要表述为斗争和冲突.民国成立后,中华民族为"各民族总体"的含义被重视,民族关系表述上,有"民族一元说"和"民族同化说"等方式,强调中国各民族起源上的一致性和外族与汉族的同化.1930年代后,"民族融合"成为主要表述方式,注重中国各民族历史上的融合以及现实中的平等关系,他们互相影响,共同创造了中国的历史和文化,"中华民族"成为全民族的认同.现代中华民族观念的形成过程同时也是中国民族认识的变化过程.     

Aesthetic cosmopolitan,national and local popular music heritage in Melbourne’s music laneways

There are currently few examples of popular music being officially celebrated as heritage in Australia. Interest in this area is growing, however, and this paper examines how Melbourne, the capital of the state of Victoria, has recently named three laneways after rock artists, namely, AC/DC Lane, Amphlett Lane and Rowland S. Howard Lane. Using interview and observational data collected at the laneways, we demonstrate that these spaces respectively reflect aesthetic cosmopolitan heritage (AC/DC Lane), national heritage (Amphlett Lane), and sub-national heritage (Rowland S. Howard Lane). The number of visitors to these laneways varies greatly across the sites, and reflects the national and international success of the artist commemorated. The laneways’ success as commemorative sites is also related to intersections of globally circulating ideas about what constitutes ‘rock’, what urban spaces should look or feel like, and how heritage is expected to be enacted (especially for tourists). Within this field, there are specifics relating to the Australian music industry that appear to find clear reflection in the sites chosen and their level of success as memorial spaces.     

近代中国的民族认同和民族精神的弘扬

中华民族认同经历了颇为复杂的历史进程,在近代中国才最终得以实现,成为凝聚全民族力量的核心价值所在.这一认同对于中华民族精神的塑造、丰富与弘扬,对于中华民族精神各项功能的发挥,都起了巨大作用,影响至为深远.     

论和谐民族观

构建社会主义和谐社会必须高度重视民族问题。中国共产党关于构建和谐民族关系的一系列重要观点,构成了我们党和谐民族观的核心内容。构建社会主义和谐社会,必须大力倡导并树立社会主义的和谐民族观。     

Ambivalence,pride and shame: conceptualisations of German nationhood

ABSTRACT. This article examines complex everyday expressions and understandings of nationhood in Germany, focusing on citizens' articulations of national pride and their relationship with the nation. Through an analysis of ninety semi‐structured interviews with ‘ordinary’ Germans conducted between 2000 and 2002, we argue that the prevailing, elite‐centred approach to studying nationhood has not adequately captured the complex relationships that individuals have to the nation. We examine how individuals actively process and interpret nationhood in ways that reveal ambivalence, confusion and contradictory emotions towards the nation. Such individual variation is not neatly captured by official, elite, public or institutional presentations of the nation. We argue for further research on everyday understandings of nationhood and on ordinary people's views on national pride and national identity.     

Agency in a Postmold? Physicality and the Archaeology of Culture-Making

Architecture embodies human agency in all of its dimensions and effective scales. Specifically, the wooden posts of Mississippian peoples in the American mid-continent were simultaneously spatial, material, and corporeal dimensions of the process of cultural construction and contestation. Our reconsideration of the lowly postmold is based on the principle of physicality that, in turn, alters the ways in which we pose research questions and interpret archaeological data. A historical-processual methodology involves three procedural fundamentals: identifying practical variability, comparing genealogies of practices, and tacking between lines of evidence at multiple scales of analysis.