“This is England”: Kano’s Made in the Manor and the Re-Writing of English Pop History

Modern social and political changes emphasize the particular relevance of the problem of forming national identity in the context of often contradictory sociocultural processes. Leveling out negative social phenomena that exploit the category of national identity and developing its potential for the formation of civic values and harmonization of interethnic relations in Russian society necessitates a deep understanding of this phenomenon, which is considered primarily as a result of its construction by social institutions. However, this process also takes the form of assimilation of elements of nation-building, passed through the filters of personal attitudes, representation of individual national identity in various social situations, which constitutes the problem of this research. Based on the study of theoretical data, the author proposed a category of performative national identity based on the application of the approaches of social constructivism and symbolic interactionism. The methods of theoretical research were theoretical analysis and synthesis, induction and modeling. As a result, the category of performative national identity has been developed, which includes technologies, features, resources for construction and conscious and unconscious representation of national identity in everyday practices. The results of the research develop the theory and methodology of constructing national identity, expand the understanding of the process of formation of national identity as a result of the assimilation of collective memory through the prism of personal attitudes, and also allow us to study the features of the representation of national identity in various situations from the point of view of the dramaturgical approach.

At many late nineteenth- and twentieth-century World Fairs architecture was an important tool in the representation of national identities. Pavilions at these Fairs offered telling ‘scenery’, against which to display old and new objects, machines, art collections, interior designs and social customs. They formed architectural settings that contributed to the staging of the nation’s vision of its own past, present or future. Furthermore, as the architectural historian Edward N. Kaufman has pointed out, the late nineteenth-century World Fairs were important forerunners of the first open-air museums. In these more permanent exhibition settings, architecture also often played a crucial role in the representation of national or regional identities. In many open-air museums buildings were conceived as important exhibits providing visitors, sometimes implicitly, with information about the nation or region’s past: information considered fundamental to its present or future identity.

Introduction. The purpose of the article is to study and construct the typology of situations of the national identity actualization of young people in the digital space. The scientific novelty of the work lies in the study of the constructing national identity process as a result of the assimilation of institutional nation-building, passed through the filters of personal attitudes, that can be observed in the variability of representing national identity ways in various social situations. The relevance is conditioned by modern socio-political conditions and the need for in-depth study of the category of national identity.Methodology and sources. The research methodology is based on the approaches of social constructivism (the nation as an “imaginary community” by B. Anderson), symbolic interactionism (the dramatic approach of I. Goffmann), ethno-symbolism (everyday nationalism of J. Hutchinson) and memory studies (cultural memory of J. Assman). The research method is a discourse analysis of blogs in TikTok and Instagram, the unit of analysis is a blog as a case, sample size made up 127 cases. The collection of empirical data took place from 01.26.2022 to 03.10.2022.Results and discussion. The digital space provides the conditions for the maximum degree of intensity of the national identity representation, which can be represented in social networks by a wide variety of forms (costume, text, music, image, scenery, etc.). The following types of representation of national identity in the network have been identified: national identity as a “profession”, as “fandom”, national identity in the context of constant updating (migrants, intercultural marriage), in the context of everyday life, situational national identity, lack of a specific national identity.Conclusion. The conducted empirical research allows to construct the typology of situations of national identity of young people representations in the network. The typology is based on the degree of intensity of national identity representation. The typology can be represented as a continuum, on one pole of which there is a vivid representation of national identity, on the other - an active blurring and confusion of national markers.

This article proposes to make analysis of the problem of constructing a performative national identity of young Russians in the process of political participation. The research is based on the results of an empirical study. The purpose of this paper is to identify the typology of performative national identity based on the perception of the political image of the state. The methodological basis of the study is social constructivism; the representation of national identity is analyzed as a social performance. A focused group interview was chosen as the research method. Between July and September 2021 and January-March 2022, 9 focus groups were held with representatives of different categories of young Russians: teenagers (from 14 to 17 years old), adult youth, working youth, "Orthodox youth" in the St. Petersburg State Budgetary Institution "City Center for Social Programs and Prevention of Antisocial behavior among youth "CONTACT". The results of the study would help to reveal the difference in the representation of the national identity of Russian youth, depending on their political views and forms of political participation. Typology can be represented as a continuum, on one pole of which is the national identity as complex of political practices in the traditionalist model, on the other - in the globalist model. Also, the study showed a close relationship between the categories of "patriotism" and "national identity" in the context of the perception of various symbols used to construct historical continuity. The results help to identify and describe the existing types of performative national identity of modern Russian youth, which could contribute a lot to increase the effectiveness of educational work with youth.

This article studies the linguistic representation of identity in the Mexican linguocultural space. The aim of the paper is to deduce the manifestations of national identity of Mexicans in their language and linguoculture. The relevance of this research stems from the need to study the national identity of Mexicans as representatives of the largest Spanish-speaking country. Of no less importance in the era of globalization is the analysis of the representation of identity, whose process of formation is used to control the consciousness of modern society and as a key element in state policy, contributing to a country’s stable growth and development. The article points out that Mexican Spanish has pan-Hispanic, pan-American, zonal, and nation-specific features. It has a tendency towards originality, represented by phonetic, grammatical, and lexicosemantic features. Mexican identity is most vividly manifested in vocabulary and phraseology. One of the main features of Mexican Spanish vocabulary is archaisms. Numerous borrowings from the languages of the indigenous peoples of the Americas, or indigenisms, testify to the importance of this component in the Mexican linguistic worldview and serve as markers of national identity. This identity is manifested in precedent names, which refer us to the images of indigenous cultures of ancient civilizations, as well as in the names of characters popular in the Mexican cultural space. One of the components of the representation of Mexican identity in the language is paroemia. The author concludes that archaisms, indigenisms, anthroponyms, precedent names, and proverbs of Mexican Spanish have “absorbed” the history of the Mexican people and reflect the specific linguistic worldview of Mexicans.

Two studies investigated whether the content of in-group identity affects the relation between in-group identification and ethnic prejudice. The first study among university students, tested whether national identity representations (i.e., ethnic vs. civic) moderate or mediate the relation between Flemish in-group identification and ethnic prejudice. A moderation hypothesis is supported when those higher in identification who subscribe to a more ethnic representation display higher ethnic prejudice levels than those higher in identification who subscribe to a more civic representation. A mediation hypothesis is supported when those higher in identification tend towards one specific representation, which in turn, should predict ethnic prejudice. Results supported a mediation hypothesis and showed that the more respondents identified with the Flemish in-group, the more ethnic their identity representation, and the more they were inclined to display ethnic prejudice. The second study tested this mediation from a longitudinal perspective in a two-wave study among high school students. In-group identification at Time 1 predicted over-time changes in identity representation, which in turn, predicted changes in ethnic prejudice. In addition to this, changes in identity representation were predicted by initial ethnic prejudice levels. The implications of these findings are discussed.

The Islamic Revolution of Iran in 1979 brought about extensive transformations in various political, social, and cultural arenas of Iran. One of the most significant of these transformations was the change in the dominant discourse and the representation of national and Islamic identity. In this regard, the discourse of neo-modernist political Islam played a pivotal role in shaping collective identity. The present article, with the aim of explaining the representation of identity in the discourse of neo-modernist political Islam and using a descriptive-analytical research method, has reached these results: The Islamic Revolution, by emphasizing the revival of Islamic values and the reinterpretation of religious teachings, attempted to direct Iranian society towards an authentic Islamic identity. This led to changes in laws, education, and people's lifestyles. Identity in the discourse of neo-modernist political Islam is represented as a religious-national identity that is based on the semantic reconstruction of the concepts of Islam and nationalism. This identity seeks to adapt to the needs of the modern world and democratic values, but at the same time faces the challenges of traditionalism. In the discourse of neo-modernist political Islam, political identity acts as a tool for legitimizing political power and explaining Iran's position in the Islamic world and the international community.

This article examines the extent to which overseas Chinese educators at Confucius Institutes (CIs) in Thailand act as representatives and practitioners of Chinese national identity. Though working for the state, CI teachers promote Chinese language and culture according to their own perceptions. In this paper, participatory observation and in-depth interviews were employed to assess how CI teachers in Thailand articulate their Chineseness and national identity. The findings show that (1) banal national sentiment was an important expression of the CI teachers' national identity, in terms of psychological attachment and ingrained behaviors; (2) pragmatic identity politics are used to distinguish various contributors to the CI; (3) the materialization of Chinese national identity recontextualizes the country via national symbols and cultural activities. The intricacy of the everyday activities of CI teachers illuminates the trans-nationalization and localization of Chinese national identity, which constitute the “doing” of the nation that the imaginary Chinese community in Thailand represents not just a government-endorsed national identity but also the CI teachers' creation of tradition.

The European Union’s increasing attention to social and cultural matters has been expressed through the notions of European citizenship and identity which are to be developed among children, adolescents and adults. Whether, and if so, how, children perceive a European identity to coexist with national identities is a challenging and relatively under‐studied question. This paper presents part of the findings of a study conducted in December 2000 which explored the ways in which 140 10‐year‐old Greek‐Cypriot pupils constructed their national and European identities. Results indicated that, despite positive attitudes towards Europe, pupils attributed little significance to the European identity, whereas national identities were extremely important. The discourse developed revealed essentialist and a‐historical representations of national identity, and an instrumentalist approach to Europe. Social psychological insights from self‐categorization theory are employed to explore whether the two identities were construed as in the same or different typical levels of abstraction. These findings are discussed within the broader socio‐political context of Cyprus and European integration.

Dji Sam Soe “Mahakarya” is one of the Indonesian cigarette advertisements that raises the theme of nationalism. Dji Sam Soe “Mahakarya” gave a message of nationalism to continue to love his own country, namely Indonesia. The advertisement invites the Indonesian people to continue to love this country amid the rapid pace of modernization. This udy aims to determine the representation of national identity in the cigarette advertisement of Dji Sam Soe “Ma erpiece”. The research method used is descriptive qualitative. Data analysis in the form of identifying signs, under anding, and analysis. The results showed that there were two forms of representational meanings in the Dji Sam Soe “Mahakarya” ad, namely the representation of national identity in Mooie Indie and representation of Balinese cultural inclusion. National identity representation in Mooie Indie is shown in the aspect of love for the land of birth. Love of birthplace visualized by the ate of Indonesia. Its form is in the form of loving one’s own country.

This article explores the relationship between national identity and media sport, focusing specifically on the construction and representations of national identities in the television coverage of the (men’s) 1996 European Football Championships (Euro ’96). While Anderson’s and Hobsbawm’s respective concepts of ‘imagined communities’ and ‘invented traditions’ are useful in this regard, the process-sociological perspective is also particularly helpful. National habitus codes, embodied feelings and the practical consciousness of the individuals who comprise a nation have been shown to play a powerful role in the foundation of cultural relations, identity politics and the construction and representation of national identities. The results of this textual analysis of Euro ’96 television coverage — supported by insights into the production codes that helped to construct the texts — suggest that it served to reinforce the stronger emotive I/we identification of the English with their own nation, rather than with the we-image of being also Europeans. The findings suggest that dominant I/we national identities are arguably strengthened in international sporting tournaments like Euro ’96, which can be seen as mediated patriot games where nation is pitted against nation, with matches framed as contests between ‘us’ and ‘them’.

How to Read Chico Bento:Brazilian Comics and National Identity Jennifer Manthei Quintessentially Brazilian Mauricio de Sousa's beloved comic books are a staple of many Brazilian childhoods. Starting in the 1960s, his six-year-old characters began providing not only entertainment, but also a distinctly Brazilian representative in a market dominated by imports. Currently, these publications—several different comic books and strips—represent 70 percent of the children's market in Brazil, with over one billion issues sold, not to mention a large Internet presence. The characters' expansive commercial empire includes an enormous indoor theme park, videos, live theater, and over 3,500 consumer products (Mauricio de Sousa Produções [MSP], "Mauricio de Sousa: Cartoonist"). Thus it is not surprising that Mauricio is sometimes referred to as the Walt Disney of Latin America. He was awarded the Yellow Kid (a major industry award), and recognized by the Order of Rio Branco for his service to the country in 1971. The thirtieth year anniversary publication, Mauricio: 30 Anos, includes a number of interviews in which various well-known Brazilians stress the national nature of the themes found in the comics, their identification with the characters, and their pride regarding the success of the series (Editora Globo 16–18). In 2009, in commemorating the fiftieth year of Mauricio's career, the Ministry of Culture declared his first character—Mônica—a cultural ambassador ("Personagem Mônica"). In the thirtieth anniversary publication, contributors tout the comics as distinctly Brazilian on the levels of setting, themes, characters, and language (Editora Globo). Many characters live in a small town near a big city in the state of São Paulo, but others are small-scale farmers in the countryside, and one is an indigenous boy in the Amazon. We see kites and love letters, TV star Xuxa (Cebolinha 39), bolo de fubá (cornmeal cake) (Chico Bento 3), and references to playing the bicho (a parallel to the state lottery). Of course, soccer runs in the background and foreground of many stories. We hear Brazilian lullabies, such as "Nana nenê" and "Boi da cara preta," as well as children's songs (Cebolinha 32, 34). Fabulous entities such as the saci, headless horse, and black-faced ox, as well as the legendary little black shepherd (negrinho do pastoreio), make their appearances (Chico Bento 10, 92, 256, 274, 301; [End Page 142] Mônica 23). There are ample references to rich Brazilian expressions (dor-de-cotovelo, estou de mal, etc.), traditional sayings,1 and—especially in the side strip featuring the Louco (Crazy Guy), a trickster character—plays on language that clearly indicate the comics' original language and culture as Brazilian.2 Saint Paul even cries, causing it to rain, now and then (Chico Bento 43; Mônica 60). It is one thing to ask what makes Mauricio's comics distinctively Brazilian; it is another to question why his comics, in particular, were celebrated as quintessentially Brazilian—a representation of national identity—and produced under the censorship of the military dictatorship (1964–1985). In fact, Mauricio's comics were the only Brazilian comics allowed during this regime (Moya). In what way were the images and messages of these comics attractive to and compatible with state goals and policies during the dictatorship? What vision of the nation—its history, populations, and future—are proposed through this cultural text? In what ways do the comics resonate with the worldview and experiences of the author and readership? This article contributes to a growing literature demonstrating the importance of comics as a powerful medium of communication, and certainly not just for kids. Although people may begin reading a comic as a child, product loyalty can extend through adulthood (Wright 253), and many comic books attract a crossover audience (Andrae 8–9). Indeed, Mauricio himself asserted in an interview that his comics are read on different levels by children, youth, and adults—that only adults perceive their "philosophical force" (Martins). Comics may provide a vehicle for social critique, as in the Argentine Mafalda (Foster). They may reflect conversations regarding national identity, as in Canada's Captain Canuck (Dittmer and Larsen). Writers also assess the portrayals of particular social identities in relation to...

National Identity as a characteristic which is possessed by the nation cannot be separated from the media to be used as information which is reported to the society. Through creativity, national identity has never finished in one place. Its presence criticize nationalist version while showing complexity and problematic of that national identity. In other words, national identity is not meant as artifact immutable, but it always get contestation politically and change continuously. This research is conducted to see how the construction of national identity of media, especially Jawa Post through Wayang Durangpo. Meanwhile, Wayang Durangpo is narrative which publishes weekly since 2009-2012. This research sees that media is not neutral. It means that media has the potential to be construction agent. This research used narrative analysis approach. Furthermore, the representation of national identity will be operated by using narrative codes, such as plot, intertextual, character, sintagmatig, paradigmatic, and binary opposition. Keywords: National Identity, Representation, Construction, Media.

The article analyses the representations of national identity in the fictional programming of TV Globo, Brazil’s dominant media conglomerate. A textual analysis of telenovelas (soap operas) broadcast in the last four decades of Brazil’s political history shows that they build compelling visions of the nation through ‘microcosms’, the imagined locations in which the stories take place. Based on the concepts of hegemony and mediation, the article identifies a dialectic in which broader processes of political, economic and social change have been reflected in television fiction’s localized representations of the nation even as telenovelas shape these same processes and endow them with new meanings. The article then traces the evolution of these complex mediations through four main phases of Brazil’s recent political history, highlighting the linkages between television fiction and the dilemmas of the new democracy.

This paper investigates issues of national identity and multi-level governance within Confederation Boulevard, the heart of Canada's National Capital Region. We develop a framework that combines the literature on cultural districts and multi-level governance and analyse the plans written by the National Capital Commission (NCC) from the 1980s to the 2010s. Through the lens of cultural districts, we focus on urban form as a whole, instead of considering just specific artifacts or buildings, and uncover how over time the NCC is designing a representation of national identity moving towards multiculturalism. Moreover, the lens of cultural districts delineates a space for multi-level governance revealing the emergence of dynamics of negotiation among different levels of government towards territorial cooperation. This analysis of Confederation Boulevard contributes to the literature on planning capital cities beyond the specific case, adding to our understanding of (1) urban representation of national identity and (2) dynamics of a layered governance.