From Nubia to Khartoum

The settlements along the Trans-Israel Highway illustrate the privatisation of the national settlement enterprise. To understand this process, this dissertation focuses on the settlement production mechanism, which consists of the reciprocal interests of the government and various private groups to develop and domesticate the border area between the State of Israel and the occupied West-Bank - the Green-Line. Centring on the spatial privileges the state granted to diverse spatial agents, this dissertation examines the manner in which different favoured groups were given the power to colonise, plan, develop and market space as a means to enhance the state’s power over it. Investigating the gradual transformation of this production mechanism, this dissertation explores the increasing privatisation of the local economy and culture, as well as how this was manifested in the built environment. Examining the modifications in the architectural and urban products this mechanism produced, this dissertation analyses the materialisation of the privatised national settlement project and how it transformed together with the changing political and economic interests.

White cubes and red knots

The article presents the history of the collection created by the Dzieduszycki family in
\nLviv. The collection contains various ethnographic, numismatic and library exhibits, but fi rst
\nand foremost natural exhibits. In the 19th century Count Włodzimierz Dzieduszycki set up the
\nNatural and Ethnographic Museum in Lviv, based on his collection.
\nThe paper also contains a description of the museum building and the history of the collection
\nduring the 1st and the 2nd World Wars, and in the aftermath of the take over of the
\nmuseum by the USSR authorities after the shifting of borders in 1945.
\nThe activities of people professionally involved in the operation of the Natural Museum
\nin Lviv and their scientifi c relations are also briefl y covered.
\nAfter 1945 the collection was dispersed - some exhibits are to be found in other museums,
\nwhile other exhibits are still in their former building. Unfortunately, it is very diffi cult
\nto access them.

Desde su creación, a inicios del siglo XIX, se ha considerado su tarea principal la preservación del patrimonio nacional.En ese sentido, las diferentes instalaciones que ha tenido el museo durante más de cien años han albergado cosas que se consideran representativas de la identidad colombiana.Dentro de esos objetos, tal vez el principal sea el propio edificio del museo; ello debido a su valor histórico en tanto fue el primer panóptico construido en Bogotá en el siglo XIX.Las únicas personas que han cuestionado valorar una cárcel del siglo XIX como representación de la nacionalidad han sido los grupos indígenas, específicamente los indígenas de la Sierra Nevada de Santa Marta.En varias ocasiones, diversos líderes han objetado dos paradigmas del museo: primero, que tuviera que exhibir cosas de los indígenas; segundo, que las cosas estuvieran albergadas en una prisión.Con estas dos ideas deseo hacer una exploración crítica de las maneras en que se representan las ideas nacionales, las cuales están

Using the novel as the basis of an investigation into the nature of the Australian national political identity, this thesis calls into question the notion that a uniform and coherent set of characteristics exists that constitutes the Australian identity. I argue that there are two antagonistic yet contingent impulses within Australian literary practice. The first of these might be deemed nationalist in orientation, seeking to constitute the nation through a core of discernible characteristics, values and ways of thinking that are deemed 'authentically' Australian. Such a nationalist project, however, could be seen to have the political effect of marginalising those groups who do not 'conform' to the unitary construction of the nation. Fiction has also, however, played a counter-discursive role, highlighting and acknowledging the diverse, complex and constructed nature of the national context and character. This thesis is a study of one aspect of that counter-discursive resistance to nationalism. By virtue of their marginalisation, those groups within Australian society who are excluded by the dominant discourse of national identity might be assumed to be better placed to qualify and question its precepts than those advantaged by such a construction. A major assumption of my thesis, however, is that certain modes of writing may introduce a disruptive or counter-discursive element into the representation of national identity in literature that can be utilised by mainstream (white male) writers. This, I argue, is particularly true of the picaresque mode of writing, which is a traditional satirical device/reading practice. I argue that the picaresque is ideally suited to the task of exploring and subverting a number of the 'natural' convictions about Australian society because of the marked similarity between the literary figure of the picaro and the Australian larrikin. The picaresque texts of Australian authors need not necessarily target the national identity. The central argument of my thesis, however, is that the picaresque mode of writing has been both a popular and successful mode for challenging the Australian national (political) identity. While Australian authors may use the picaro as an extension of the indigenous larrikin tradition, because the picaro is a self-parodic figure, tying the picaro to the larrikin serves to subvert the reading of the larrikin as a symbol of the national identity. I approach the topic via textual analyses of four 'major' novels by three prominent white male Australian authors, to demonstrate that there are contemporary examples of the picaresque that target the Australian national identity. My thesis constitutes a 'reading' of these four novels and, as such, quite different readings are possible. I am, in other words, imposing a particular 'way of seeing' on these texts, one that focuses on issues of Australian national political identity. Each novel utilises different aspects of the picaresque mode and targets different parts of the national identity, but all challenge the stereotypes of Australian cultural and political identity. They call into question the notion that a uniform and coherent set of characteristics exists that constitutes the Australian identity.

The motivation for this article arose from the wish to share our outside perspectives on how national museums in the U.S. mediate ideas of national identity. We are four students out of a larger group of 15 German students in Cultural Studies at Leuphana University of Lueneburg. We conducted empirical research on various national museums within the Smithsonian Institution and also on the soon‐to‐be‐opened National September 11 Memorial Museum in New York City. The objective of our research was to explore the role that American national museums play in a globalized world by investigating how such museums address changing national identities over time.

People in Motion: Introduction to Transnational Movements and Transwar Connections in the Anthropological and Genetic Study of Human Populations

Doğa tarihi müzeleri doğanın gizli tanıklığını yapan, canlılarla birlikte jeolojik çeşitli oluşumlara da yer verilen ve halka doğayı tanıtmayı amaçlayan müzelerdir. Osmanlı’da da dünyanın diğer bölgelerinde olduğu gibi bir takım doğa tarihi müzeleri kurulmuştur. Bunlardan önemli bir tanesi ise Merzifon Anadolu Koleji bünyesinde faaliyete geçirilen doğa tarihi müzesidir. Önemli müzecilik faaliyetlerinin yürütüldüğü bu müzenin küratörü Ohannes Agop Manisacıyan (J. J. Manissadjian); British Museum gibi önemli müzelerle olduğu kadar uluslararası alanda çalışmaları ile öne çıkmış bilim insanları ile de yardımlaşarak bu müzenin hem kurulmasını hem de uzun yıllar idamesini sağlamıştır. Her gün yüzlerce kişinin ziyaret ettiği bu müze, Anadolu’da yerel bir aydınlanma sağlamış ve müze binasında halka yönelik gerçekleştirilen konferanslarla bilimin halka ulaştırılması sağlanmıştır. Merzifon Anadolu Koleji kapatıldığında ise büyük emekle bir araya getirilen müze içeriği, Anadolu’da farklı yerlere dağılmıştır. Koleksiyonun önemli bir kısmı Tarsus Amerikan Kolejine bağışlanmıştır. Merzifon’da bırakılan doldurulmuş hayvan örnekleri günümüze ulaşmazken, Tarsus Amerikan Kolejine gönderilen örneklerin bir kısmının varlıklarını sürdürdükleri görülmektedir. Bu araştırmada müzenin tarihsel gelişimi ele alınmış; Merzifon ilçesinden Merzifon Anadolu Koleji Doğa Tarihi Müzesinde hangi doğal numunelerin sergilendiği müze kataloğu incelenip Türkçeye çevrilerek gün yüzüne çıkarılmıştır. Merzifon’un müze kapanana kadarki doğal içeriklerden kuş örnekleri ve memeliler bakımından oldukça zengin olduğu, Tebeşir Dönemi’ne (Kretase) ait fosil örneklerinin ise Merzifon’da da bulunduğu gibi bilgiler gün ışığına kavuşturulmuştur. Müze ile ilgili Merzifon’da QR kodlar oluşturulmuş ve sunum çalışmaları ile ilgili bilgilendirme yapılmıştır. Bu çalışmanın benzer numuneler yeniden toparlanarak oluşturulabilecek bir doğa tarihi müzesinin önünü açması beklenmektedir.

Customary Law and the Nationalist Project in Spain and Peru

<p>In New Zealand and Singapore, national identity is inextricably linked to the processes of colonisation, decolonisation and the gaining of political independence. Unlike highlytheorized accounts of national identity, this study provides a deeper understanding of the ways in which it is actually developed, materialised and negotiated in 'real world' examples through history exhibitions at Te Papa and the National Museum of Singapore. The research provides a fresh perspective on recent displays of colonial history and how they shape and are shaped by the concerns of present-day nation-building particularly in former British colonies including Asia. It seeks to move beyond the existing literature which has been concerned with deconstructing national identity as a cultural construct to consider the ongoing process of updating, remaking and maintaining identity through museum display. Using a qualitative approach, this dissertation incorporates archival research, interviews, theoretical and historical literature, and visual analysis of exhibitions to contextualise and analyse the similarities and differences in the history exhibitions mounted at these two recently redeveloped museums. The Day 1 history exhibitions at Te Papa, opened in 1998, form the core of this study, while the chapter on Singapore provides an added layer of comparative depth, helping to broaden the picture of national museums and nationalism more generally. This research explores how national museums negotiate, on the one hand, the material and intellectual legacy of previous inherited definitions of 'the nation', while on the other responding to the contemporary expectations which arise from present-day conceptualizations of nations and national identity. My findings suggest that the construction of national identity is not independent from socio-political contexts, and that the political ideals of multiculturalism and biculturalism helped to foster inclusive and politically harmonious visions of national identity in the National Museum of Singapore and Te Papa. The conclusion argues that national museums' participation in the public articulation and definition of a collective idea of 'the nation' is unstable, contradictory and contested but nonetheless worthy of serious academic research.</p>

<p>In New Zealand and Singapore, national identity is inextricably linked to the processes of colonisation, decolonisation and the gaining of political independence. Unlike highlytheorized accounts of national identity, this study provides a deeper understanding of the ways in which it is actually developed, materialised and negotiated in 'real world' examples through history exhibitions at Te Papa and the National Museum of Singapore. The research provides a fresh perspective on recent displays of colonial history and how they shape and are shaped by the concerns of present-day nation-building particularly in former British colonies including Asia. It seeks to move beyond the existing literature which has been concerned with deconstructing national identity as a cultural construct to consider the ongoing process of updating, remaking and maintaining identity through museum display. Using a qualitative approach, this dissertation incorporates archival research, interviews, theoretical and historical literature, and visual analysis of exhibitions to contextualise and analyse the similarities and differences in the history exhibitions mounted at these two recently redeveloped museums. The Day 1 history exhibitions at Te Papa, opened in 1998, form the core of this study, while the chapter on Singapore provides an added layer of comparative depth, helping to broaden the picture of national museums and nationalism more generally. This research explores how national museums negotiate, on the one hand, the material and intellectual legacy of previous inherited definitions of 'the nation', while on the other responding to the contemporary expectations which arise from present-day conceptualizations of nations and national identity. My findings suggest that the construction of national identity is not independent from socio-political contexts, and that the political ideals of multiculturalism and biculturalism helped to foster inclusive and politically harmonious visions of national identity in the National Museum of Singapore and Te Papa. The conclusion argues that national museums' participation in the public articulation and definition of a collective idea of 'the nation' is unstable, contradictory and contested but nonetheless worthy of serious academic research.</p>

With 'the creation of a symbol of national pride and identity' as the main programmatic objective, no later-twentieth-century Canadian building project reveals a more explicit agenda of homogeneous nation-building than the Canadian Museum of Civilization at Ottawa. Since opening in 1989, the museum building has received a largely favourable reception from both press and profession. However, within the multi-ethnic context of late-twentieth-century Canada, the creation of a physical monument to symbolise a cohesive or unilateral national imagination was undeniably both challenging and contentious, and this article considers the uniting agency of the architectural fabric in this reflection and/or creation of national consciousness. A particular aspect of the design is argued to be the representation of ethnic and national identities in relation to the museum's immediate urban, civic contect, as well as the wider geographical and cultural context.

Teaching & Learning Guide for: Englishness and The Victorians

Focusing on 21st century developments in southeast Anatolia, this article examines the circumstances of minority communities within the contexts of the shifting dynamics of Turkey’s national project. Until the early 20th century southeast Anatolia was an ethnic patchwork. The early republican era saw efforts to “Turkify” through the promulgation of a national identity project asserting ethnic unity. From the 1980s, conflict with the PKK gave urgency to the notion that uniformity was paramount for national cohesion. In this milieu, ethnic diversity was suspect. Circumstances changed with the AKP government’s 2002 ascendance and the earlier emergence of Kurdish municipal politicians. This article documents how thereafter the re-imagining of the national project away from an exclusive ethnic categorisation allowed acknowledgement and accommodation of ethnic and religious diversity across southeast Anatolia. The chapter analyses these events in light of a backlash by nationalist politicians, the 2015 re-ignition of the PKK conflict and the subsequent resurgence of nationalist rhetoric in the political arena. It appears a narrow, exclusive national identity is re-asserting itself. The article thus examines the extent to which the experience of south-eastern Anatolia represents the re-imagining of Turkey’s national project and the embrace of a previously denied multi-ethnic socio-political fabric.

This thesis is primarily concerned with how London West End revue engaged in the construction and representation of national and racial identities. The central research question is: what do these representations of national and racial identities in West End revue tell us about wider British culture and society in this period? In answering this question, I explore and develop a number of understandings of how national and racial identity operated in mainstream popular culture. How important was the influence of national and racial politics to revue’s success? Why was identity so compelling a theme in these shows? How did other dimensions of difference, such as gender, sexuality and class, interact within these representations of race and nation? What does revue tell us about the changing state and status of Britain under the influence of new technologies, migration and early globalisation? How does this particular focus on national and racial identities change or challenge our wider understanding of revue and its significance in British culture across this period? My thesis proposes that London West End revue was a topical, satirical popular theatre that engaged in national identity discourse and reconstituted identity formations through music, dance and wordplay. Through contextual and textual analysis, I highlight the attitudes, assumptions and beliefs that informed revue performance and narratives and reflected provocative new lifestyles, values and politics. Often politically conservative, protective of the status quo and concerned with appealing to a mainstream audience, revue was highly sensitive to the status and position of both Britain and London and cultivated a sense of itself as the defender of a colonial empire and, at the same time, the centre of a cosmopolitan culture that competed with other metropolitan centres such as Paris, Berlin and New York.