Nationalist School Research Articles

총설] 백화제방의 화원, 복류하는 이질성

This paper provides an outline of research papers on modern Korean history published in recent years (2018-2019). In the introductory section, we confirmed how much research papers and books were produced. During the two years, 2,059 research papers and 426 books have been published. The researchers who wrote these papers belong to one of the four schools. The new right school of history represented the interests of the ruling class. They are politically extremely conservative. The nationalist school of history is mainly composed of researchers majoring in the history of the independence movement. They are oriented towards gradual reform of the society. The people-oriented school of history is based on the theory of historical materialism, and has a politically radical tendency. The postmodernist school of history is regarded as the most attractive theory and methodology leading the study of modern and contemporary history. The majority of young researchers support this school.

The King James Bible as nationalist school curriculum amid immigration to the American West

ABSTRACTDuring the era of westward expansion, Americanism became tied to visions of conquering the West with American customs and values. Public schools especially served the interests of promoting nationalism and inducing assimilation. Implicitly Protestant Christian school curricula, however, repelled many Catholics and immigrants from the very institution designed to induce their assimilation. The mid-nineteenth-century school controversy directly motivated America’s first political nativist movement, which associated Protestant Christianity with American greatness and promoted the mandatory use of the King James Bible in schools as the primary way to convert Catholics, Germans, and Irish to American national values.

The federalizing force of the EU Charter of Fundamental Rights

In the EU, fundamental rights are inextricably intertwined with the federal structure of such a uniquely divided power composite. This article examines the structure of fundamental rights’ protection and the continuous bargaining over the allocation of judicial tasks between domestic and EU courts regarding the interpretation and enforcement of fundamental rights. First, I will analyze the latest Court of Justice case law to show how, since the Charter of Fundamental Rights entered into force, it has had a centralizing effect. Next, I will reflect upon how the “nationalist school of federalism” developed in the US literature might provide valuable insights for an argument grounding supranational authority while acknowledging the contribution of state constitutions and state courts to the supranational system of rights’ protection. In the end, it will be argued that the growing self-empowerment of the Court of Justice in the field of fundamental rights needs to be tempered by an understanding of how state courts and rights could actually promote supranational ends in this context.

Granados’s Piano Trio: Harbinger of Masterworks to Come

Given the extent of Granados’s activity as a chamber musician, it is curious that he contributed relatively few original works to the genre. Premiered in 1895, the Piano Trio is an important composition, all the more valuable for the overall paucity of chamber music produced by the Spanish nationalist school. The trio presents an amalgamation of many familiar threads of Granados’s compositional style: virtuosic piano writing, a grounding in mainstream European Romanticism, a generalized nationalistic flavor, a more explicitly Catalan regional color, and a cyclical handling of large-scale form.The trio did not enjoy a significant performance history, and was not published until 1976. Full of typographical errors and lacking source documentation, the first edition was superseded by authoritative critical urtexts, published by Edicions Tritó and Casa-Boileau in 2013. Still, numerous notational dilemmas persist, and the overall aesthetic cohesiveness of the work remains a challenge to potential interpreters.The present paper situates Granados’s sole essay for piano, violin and cello in the context of his overall output, as an antecedent to the more refined handling of many of the same compositional traits in the Goyescas and other more mature compositions. It also seeks to elucidate both practical and conceptual obstacles to the trio’s integration into the repertory, including a thorough comparison of inconsistencies among source materials.

The Southern Slope of Monsalvat: How Spanish Wagnerism Became Catalan

This article examines the development of Wagnerism in late-nineteenth-century Spain, focusing on how it became an integral part of Catalan nationalism. The reception of Wagner's music and ideas in Spain was determined by the country's uneven economic development and the weakness of its musical and political institutions—the same weaknesses that were responsible for the rise of Catalan nationalism. Lack of a symphonic culture in Spain meant that audiences were not prepared to comprehend Wagner's complexity, but that same complexity made Wagner's ideas acceptable to Spanish reformers who saw in the composer an exemplar of the European ideas needed to fix Spanish problems. Thus, when Wagner's operas were first staged in Spain, the Teatro Real de Madrid stressed Wagner's continuity with operas of the past; however, critics and audiences engaged with the works as difficult forms of modern music. The rejection of Wagner in the Spanish capital cleared the way for his ideas to be adopted in Catalonia. A similar dynamic occurred as Spanish composers tried to meld Wagner into their attempts to build a nationalist school of opera composition. The failure of Tomás Bréton's Los amantes de Teruel and Garín cleared the way for Felip Pedrell's more successful theoretical fusion of Wagnerism and nationalism. While Pedrell's opera Els Pirineus was a failure, his explanation of how Wagner's ideals and nationalism could be fused in the treatise Por nuestra música cemented the link between Catalan culture and Wagnerism.

Helmers, Rutger Not Russian Enough? Nationalism and Cosmopolitanism in Nineteenth-Century Russian Opera (review)

SEER, 94, 2, APRIL 2016 340 mission: ‘to borrow Nabokov back from the scholars’ (p. 7) and to demonstrate the ways in which Nabokov transformed himself into an American writer. Some may think that he achieves his aims, but the character he portrays is rarely appealing, inspiring bewilderment more than wonder, whilst the provocative, audacious America into which Nabokov so eagerly immersed himself is reduced, by the end of the book, to something drab and indistinct. Others, therefore, might feel better served by going back to Boyd and Schiff, and to the letters, interviews and reminiscences, and ultimately to the texts themselves, for it is through these that the real Nabokov and his world come truly and vividly to life. UCL SSEES Barbara Wyllie Helmers, Rutger. Not Russian Enough? Nationalism and Cosmopolitanism in Nineteenth-Century Russian Opera. Eastman Studies in Music. University of Rochester Press, Rochester, NY, 2014. xvi + 233 pp. Illustrations. Tables. Musical examples. Notes. Bibliography. Index. £55.00. Nationalism has been such a decisive and productive category in Russian music studies for some time now, so it is refreshing to see Rutger Helmers’ emphasis on the neglected, yet equally significant notion of cosmopolitanism. Amply justified by the quality of his interpretations of four nineteenth-century operas, Helmers’ approach illuminates an inherent tension in Russian culture that goes back to at least the Petrine reforms, when ‘Western art music and opera were among the many imports that came to Russia in the course of the eighteenth century’ (p. 4). Nonetheless, a tendency to assume that Russian operacanonlydealwithsubjectstakenfromnationallifeandhistoryhasmeant that a number of key works have been overlooked in criticism and scholarship; furthermore, even canonical works in the supposedly ‘nationalist’ tradition evince cosmopolitan elements that refute a single, stable interpretation in terms of their innate, or essential Russianness. Challenging such assumptions, Helmers takes four operas and examines the relationship between nationalism and cosmopolitanism in both their genesis and reception. Strikingly, he begins with Glinka’s A Life for the Tsar, widely seen as the foundational work of the Russian national opera tradition, yet equally a work that found itself at the centre of a polemic about national identity in music in the nineteenth century. Arguing that Glinka adapted much of the musical language of the work from contemporary Italian examples (most notably Donizetti’s Anna Bolena and Bellini’s La sonnambula, both of which the composer heard in Milan in 1830– 31), Helmers advances an interpretation of the work in terms of its musical and national hybridity. His next chapter — on Serov’s Judith — illuminates the REVIEWS 341 role played by Old Testament narratives in the history of Russian opera. Here, Helmers suggests that contemporary audiences might well have read the plot as an allegory of the recent Siege of Sevastopol (there are perhaps unintentional echoes here of the reception history of Handel’s oratorios in Hanoverian London), and uncovers a debate about the appropriateness of using either Russian national or oriental music to depict the opposing forces in the Biblical story. The next opera to be considered is Chaikovskii’s Maid of Orleans, whose German source text (a play by Schiller), French subject matter and Russian composer have long proved a stumbling block for critics and audiences alike. Finally, Helmers explores Rimskii-Korsakov’s Tsar’s Bride, which — despite its echt-nationalist subject matter — marks a departure from the values of the nationalist school, constituting a stylistic embrace of the melodic charm of Mozart and the Italian school instead. Not Russian Enough? Nationalism and Cosmopolitanism in NineteenthCentury Russian Opera is certainly a welcome contribution to the history of Russian music, and its analysis of the ‘various cosmopolitan practices and discourses’ (p. 159) that were inherent in nationalism is timely. If its handling of nationalism is well rooted in the existing secondary literature, one might still wish for a more nuanced and critical handling of the notion of cosmopolitanism, which here seems to figure primarily as the attempt ‘to transcend the petty bordersbetweennational cultures’ (p. 159). This is true as far as it goes, but what is the specific intellectual, cultural, political and ideological role of cosmopolitanism within nineteenth century Russia, which functioned as a multilingual and multi-ethnic empire, yet...

Symbiosis or integration: A study of the tonal elements in the choral works of Mzilikazi Khumalo and Phelelani Mnomiya

ABSTRACTThe bicultural nature and dimension of South African choral genre is rooted in the 1850s activities of composers, including Tiyo Soga, Reverend John Knox Bokwe and Enoch Sontonga, who amalgamated traditional African and Western musical elements in their creative output. From the 1950s, when black South African nationalism flourished, composers such as Polumo Joshua Mohapeloa and Tholakele Reuben Caluza consciously pursued a stronger agenda to Africanize their choral works. Mzilikazi Khumalo and Phelelani Mnomiya, products of the1950s black nationalist school of South African choral music, are exponents of the contemporary choral compositional industry in which the attendant bicultural elements exist to varying creative degrees. This study probes these composers, through critical analysis, to unravel the nature of how the employed bicultural tonal elements in their choral works co-exist. Is it a scenario of musical symbiosis or integration?

Of Orchestras, Mythos, and the Idealization of Symphonic Practice: The Orquesta Sinfónica de Venezuela in the (Collateral) History of El Sistema

Abstract El Sistema defines itself as a “social organism of the Venezuelan State” whose goal is the “collective” instruction of music “through the symphonic orchestra and choir as instruments of social organization and communitarian development.” Historical accounts describe a revolutionary phenomenon whose main achievements since 1975 are the “democratization of music” and the “transformation of society.” These suprahistories understate the pre-1975 musical panorama of the country and the role of the Orquesta Sinfonica de Venezuela as a forerunner of El Sistema. Closer scrutiny of these epic histories and the omitted ties to the legacy of the nationalist school indicates that El Sistema’s story relies on the idealization of symphonic practice as “universal” practice and on Abreu’s hyperidealization of the same as “transformative” tool.

Russia as a “Divided Nation,” from Compatriots to Crimea: A Contribution to the Discussion on Nationalism and Foreign Policy

The assumption that Russia’s foreign policy is “nationalist,” advanced as the main explanation to understand the Ukrainian crisis of 2014, needs to be questioned. First it is almost impossible to identify a “nationalist school” that would have shaped Russia’s foreign policy decisions. Only one nationalist storyline has gone from being marginal in the early 1990s to becoming part of state policy in the 2000s, namely that of compatriots, under the argument of “Russia as a divided nation.” This is the only case where we can trace the influence of a nationalist group with clearly identifiable figures and lobbying structures; however, the nationalist content has been neutralized in the process of cooptation by state organs. This article argues that even in the context of the Ukrainian crisis of 2014, which has partly changed previously established interactions between nationalism and Russia’s foreign policy, Russia may use a nationalist post hoc explanation but does not advance a nationalist agenda.

The Dilemma of the Three Wise Monkeys? Transnational Law as a Tool of Constitutional Interpretation and the US Supreme Court

A review of the case law of the US Supreme Court shows that the use of foreign and international law has a long pedigree. It also shows that comparative practice has been especially important in ‘social’ periods of American legal history. This paper provides a model of the three ideal types that foreign and international law may occupy in constitutional interpretation. It also categorises a series of arguments in favour of an ‘interlocutory relationship with transnational legal sources’ and reviews three interrelated issues that are often heralded by its opponents—originalism, juristocracy, and the legitimacy/democratic case against it—in the light of the emergence of an American nationalist school of international law. Lastly, it reflects on whether the blending of traditional conceptions of statehood and democratic ideals is bringing the US Supreme Court closer to developing a new jurisprudence to delimit the proper hermeneutic space for transnational sources.

A Ukrainian Tune in Medieval France: Perceptions of Nationalism and Local Color in Russian Opera

Abstract This article is based on the key-note lecture given at the conference “Non-Nationalist” Russian Operas, Leeds, U.K., on 17 November 2010. It engages with the conference9s distinction between the “nationalist” and “non-nationalist” and proposes six potential situations for when an opera might be described as “Russian”: by composer9s intention, by reception, by interpretation, by association, by blood or culture, and by emanating from the nationalist school. Given that these six categories of Russianness (some of them mystificatory) form a network of conflicting claims upon any opera, there is no straightforward method for assigning operas to Russian or non-Russian categories. Therefore an alternative approach is proposed: to revive the older concept of “local color,” which figured prominently in nineteenth-century Russian discourse on opera, and to use this as a lens through which almost any nineteenth-century Russian opera can instructively be viewed. After examining how the concept was understood by leading Russian critics, Serov and Cui, the author offers a selection of her own examples to elucidate the use of “Russian” local color. It is emphasized that there are certain limits beyond which this color cannot be applied: characters of noble birth, even when Russian, are rarely portrayed in Russian colors; scenes that take place outside Russia usually have their own, appropriate color, e.g., “Polish” or “Oriental”; most importantly, themes that are considered universal, such as love or death, are usually exempt from Russian coloring. Examples from the late operas of Rimsky-Korsakov demonstrate his conscious and sometimes obsessive efforts in creating appropriate colors, Russian and otherwise. This approach allows us to set aside preconceived notions of which composers were truly national, especially when we generalize that local color denotes any distinguishing device designed to evoke a specific time and place, as well as the social identity of a character. Thus Tchaikovsky9s operas, often criticized for their lack of “Russianness,” display a subtle understanding of appropriate coloring: Eugene Onegin , for example, uses an idiom based on the parlor song of the Russian gentry, while The Queen of Spades takes up eighteenth-century idioms—in both cases lending the drama an appropriate color. The article concludes that local color, a much-used device in nineteenth-century opera across Europe, was an almost obligatory requirement for Russian opera composers who adopted an aesthetic of the characteristic, along the lines proposed by Victor Hugo in his Preface to Cromwell . The concept proves to be a valuable critical tool that allows us to deal with nineteenth-century Russian opera without becoming ensnared in essentializing distinctions between “nationalist” and “non-nationalist.” At the same time, it allows us to put Russian color in perspective, as one color among many cultivated by opera composers.

On Anchoring a Generation of Scholars: P. Sterling Stuckey and the Nationalist Persuasion in African American History

Previous articleNext article No AccessOn Anchoring a Generation of Scholars: P. Sterling Stuckey and the Nationalist Persuasion in African American HistoryClement Alexander PriceClement Alexander Price Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Journal of African American History Volume 91, Number 4Fall 2006P. Sterling Stuckey: In Praise of an Intellectual Legacy A journal of the Association for the Study of African American Life and History Article DOIhttps://doi.org/10.1086/JAAHv91n4p385 Views: 6Total views on this site Copyright ASALHPDF download Crossref reports no articles citing this article.

Cultural Relativism the American Way: The Nationalist School of International Law in the United States

Cultural Relativism the American Way: The Nationalist School of International Law in the United States

The ideologies of African American literature: from the Harlem Renaissance to the black nationalist revolt: a sociology of literature perspective

Chapter 1 Introduction: Black American Literature in Sociological Perspective Chapter 2 The Era of the Primitivist School: The Beginning of Black American Literature's Public Role Chapter 3 The Era of the Naturalistic Protest School: The Politicization of Black American Literature Chapter 4 The Era of the Existentialist School: Political Disillusionment and Retreat into Individualism Chapter 5 The Era of the Moral Suasion School: Political Re-Engagement through Protest for Civil Rights Chapter 6 Amiri Baraka and the Rise of the Counterhegemonic Black Cultural Nationalist School Chapter 7 A Theoretical Overview Chapter 8 Epilogue: The New Postpolitical Black Literary Culture Chapter 9 Index

Comments: Contesting And Constructing National Identity in Central Europe

With his contingent of geographers, historians, and other academic “experts” collectively known as The Inquiry in tow, Woodrow Wilson arrived in Paris in January 1919 to redraw the map of Europe. Wilson wanted to fulfill his Fourteen Points and guarantee national self-determination to the peoples of Europe. A peaceful community of ethnically homogeneous nation-states was to replace the great multinational empires (defined by central European nationalists as prisons of the peoples) that had previously dominated central and eastern Europe. During the inter-war period, the governing elites of central Europe, their new “nation-states” legitimated by the post-war settlement, created new national holidays, national anthems, and nationalist school text books lauding the history and achievements of the state-bearing nation. These simple and seemingly coherent national narratives elided the messy, confusing, and jumbled past of multiple identities, mingled ethnic groups, and alienated social orders, and legitimized political, economic, and territorial claims made in the name of the “national community” lending its name to the new state.

‘Invisible’ and ‘Womanish’: Black girls negotiating their lives in an African‐centered school in the USA

The author examines a cluster of themes in the school lives of 10‐ and 11‐year‐old African‐American girls in an independent African‐centered school in Illinois, USA. Through conversation and student writings, the author illustrates that these girls position themselves in multiple and contradictory ways. In the co‐educational classroom, they seemed passive, even invisible. Yet in conversation outside of class, they were wilful, audacious, ‘womanish’ girls who attempted to bring about change in their social environment regarding continued male peer harassment. The author discusses four themes from her data: (1) school as a site of gendered/sexual politics; (2) the contradictory and multiple consciousness of the girls; (3) the necessity of a separate space for girls to work through issues of concern; and (4) the tenuousness of feminist research in a Black nationalist school. The author concludes with some questions for (Black) feminists to consider regarding the needs of Black girls in schools.

An Outline History of Korean Historiography

Korea has a long history of historiography.* There are many references to historical records kept during the Three Kingdoms period, but none of these records have survived, making it difficult for us to know the nature of historiography in ancient Korea. The oldest histories still extant are the Samguk sagi and the Samguk yusa , compiled during the Koryŏ dynasty. Although these two works are indispensable in understanding the history of the three ancient kingdoms, the former has been severely criticized by modern nationalist-minded historians for its alleged China-centered world view. During the Yi dynasty, officials and scholars were strongly conscious of their past and produced a number of official and private histories. Their historical sensibility, however, went beyond the realm of historiography—the fear that one's moral conduct might be found wanting by future generations often affected the behavior of kings and officials alike. This traditional Confucian historiography gave way to a modern form around the turn of the twentieth century. Japanese scholars were the first to use modern methods in studying Korean history. Although their studies provided many new insights, many of them were marred by the prejudice and bias often shown by the Japanese toward the Koreans. A group of Korean scholars of the "Nationalist School" gallantly attempted to challenge what they saw as distortions of Korean history by both Japanese and traditional Korean historians, but with little success. With the publication of Chindan hakpo in the 1930s, historiography in Korea entered a new era as there emerged a new breed of Korean scholars who were trained in modern historical craft. Although there are some significantly different trends in interpretation, historical studies in South and North Korea have evolved from the interpretations of these scholars.