Recent historical studies tend to confirm the antimodernist interpretation, emphasizing the strong premodern roots of nations and nationalism. However, a broad comparative analysis of the rise of... Show moreRecent historical studies tend to confirm the antimodernist interpretation, emphasizing the strong premodern roots of nations and nationalism. However, a broad comparative analysis of the rise of the nation-state during the Age of Revolution shows that earlier notions of nationhood did not have a significant role in the creation of nation-states in Europe and the Americas. They were not the consequence of a glorious national revolt, but of a clash between the Old Regime and new ideals of political legitimacy. Many of these conflicts led to civil wars and the survival of the nation-state was mostly determined by the geopolitical constellation. The boundaries of the nation were defined in terms of civilization, whereas language and culture were largely irrelevant. Within these new nation-states, a universalist nationalization process began. In many instances, citizenship was awarded easier to foreigners than to “uncivilized” inhabitants, while Classical Antiquity was preferred over the national past. Show less
Twelve historians and social scientists reflect on Miroslav Hroch's contributions to the field of nationalism studies. There are essays on his pioneering comparative historical studies of ‘small... Show moreTwelve historians and social scientists reflect on Miroslav Hroch's contributions to the field of nationalism studies. There are essays on his pioneering comparative historical studies of ‘small nation’ national movements and his distinction between nationalism and national movements. Other essays focus on concepts such as those of protagonist, the three phases of national movements, the small nation and nationally relevant conflict of interest. A further set of essays explores how Hroch's approach can be extended beyond small nations, beyond Europe and into the contemporary period. Show less
This chapter proposes a typology of the architecture of national pavilions. The current architectural classification is not very suitable because it highlights the supposedly unique, national... Show moreThis chapter proposes a typology of the architecture of national pavilions. The current architectural classification is not very suitable because it highlights the supposedly unique, national character of most pavilions. For a comparative analysis of the way in which the nation was represented two factors are crucial. Was the pavilion inspired by buildings pertaining to high culture – such as temples and palaces – or does it refer to “low” culture – such as vernacular buildings or commercial structures? Another axis is the opposition between a universalist language (timeless classicism or a future-oriented functionalist style) and national particularism (which could be expressed by focusing on characteristic features). By thus defining four different options for national pavilions a number of global trends can be mapped. Around 1900, the emphasis on high culture – expressed in a dominant role for classicist and historicist pavilions – was replaced by a growing influence of popular culture – both in the form of festive, commercial structures and neo-vernacular buildings. Another clear shift is the rapid advance of architectural modernism in the late 1920s. Moreover, the typology shows that transnational influences are crucial to understand the decision-making process concerning the construction of national pavilions. First, global architectural trends heavily influenced how each participating country aimed to position itself. Second, the definition of each country’s national heritage was largely determined by a transnational public. World fairs induced a quest for the extraordinary; quaint and striking buildings became a central aspect of the nation’s heritage everywhere. Show less
La belleza no conoce fronteras y lo mismo ocurre con el arte. Sin embargo, el arte ha sido categorizado sobre todo por nacionalidad. El impacto del nacionalismo sobre el arte se puede estudiar... Show moreLa belleza no conoce fronteras y lo mismo ocurre con el arte. Sin embargo, el arte ha sido categorizado sobre todo por nacionalidad. El impacto del nacionalismo sobre el arte se puede estudiar perfectamente a través del caso de El Greco. Era un pintor del siglo XVI, había nacido en Creta, tuvo su educación en Venecia y solamente cuando tenía unos 35 años llegó a España para producir casi todas sus obras maestras en la ciudad de Toledo. Artistas, escritores y historiadores de arte en Francia y Alemania empezaban a redescubrir este singular pintor durante la segunda mitad del siglo XIX, definiéndole sobre todo como un artista esencialmente español. Esta reinterpretación nacionalista de su obra culminó en la biografía que Manuel Bartolomé Cossío publicó de El Greco en 1908. En este capítulo hacemos un análisis detallado de la interpretación nacionalista de Cossío, que en el fondo era el paso definitivo para hacer entrar el pintor manierista en el canon del arte español Show less
La belleza no conoce fronteras y lo mismo ocurre con el arte. Sin embargo, el arte ha sido categorizado sobre todo por nacionalidad. El impacto del nacionalismo sobre el arte se puede estudiar... Show moreLa belleza no conoce fronteras y lo mismo ocurre con el arte. Sin embargo, el arte ha sido categorizado sobre todo por nacionalidad. El impacto del nacionalismo sobre el arte se puede estudiar perfectamente a través del caso de El Greco. Era un pintor del siglo XVI, había nacido en Creta, tuvo su educación en Venecia y solamente cuando tenía unos 35 años llegó a España para producir casi todas sus obras maestras en la ciudad de Toledo. Artistas, escritores y historiadores de arte en Francia y Alemania empezaban a redescubrir este singular pintor durante la segunda mitad del siglo XIX, definiéndole sobre todo como un artista esencialmente español. Esta reinterpretación nacionalista de su obra culminó en la biografía que Manuel Bartolomé Cossío publicó de El Greco en 1908. En este capítulo hacemos un análisis detallado de la interpretación nacionalista de Cossío, que en el fondo era el paso definitivo para hacer entrar el pintor manierista en el canon del arte español Show less
