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George Antonius's 1938 book Arab Awakening serves as a foundational text, methodically defining, restricting, and shaping the history of the Arab national movement. Antonius' work established a sacred "origin" for Arab nationalism; he presented the activities of a literary-cultural circle (Nahda) and how they accelerated the political nationalist movement. The literature frequently criticizes the Arab Awakening, emphasizing its historical justifications or subjective perspective flaws. The goal of this research is to examine how the Arab Awakening has historically helped to develop Arab nationalism around two key concepts. The intellectual foundations of the concept of "national awakening" will be revealed in this regard, following a brief summary of Antonius' historical sketch and an evaluation of the critical canon compared to the Arab Awakening. The issue of Antonius' relationship to territorial nationalism, which he opposes to ethnic nationalism, will then be examined as a frequently overlooked aspect of his writing. It will be argued that the distinction between qawmiyya and wataniyya represents an important breaking point revealed by the Arab Awakening. [ABSTRACT FROM AUTHOR]

During the reign of Maria Theresia and her son Emperor Joseph II, Trieste was completely rebuilt and became an att ractive free tax port of the Habsburg Empire. From the beginning of the eighteenth century to the first decade of the twentieth century, the population of Trieste increased from 5,000 to 230,000 inhabitants with an incredible number of migrants coming from Central Europe and the Mediterranean coastal areas. The multiethnic middle class obtained a series of privileges never granted before to the nobility, and its status is recognisable through the passion for chamber music and symphonies of Wiener Klassik, played both in private and public concerts. With the help of Czech intellectuals and musicians, during the 1860s the native Slovenes established a group of societies in which Romantic music and national anthems or Lieder were played. This trend culminated in the foundation of the Narodni dom (National House) and the Glasbena matica ([Slovene] Music Society). At the same time, the Italian nationalists maintained partial control of the Opera house, and the German minority reacted with the Schillerverein, in which Julius Heller spent his energies in spreading the music of Romantic and late-Romantic authors. Despite the political clash, the three groups gave significant impulse to instrumental music, which has marked the culture of Trieste. [ABSTRACT FROM AUTHOR]

If linguistic nationalism presupposes a homogenous national language, then "dialect" taxonomies become interesting objects of study. This article examines three instances of linguistic nationalism published in Zagreb. The three texts, published in 1836, 1919, and 1995, come from (1) Ljudevit Gaj and Jan Kollár, (2) Dragutin Prohaska, and (3) Miro Kačić. The different texts propound three quite different taxonomies of "dialects" within the imagined national language. Changing strategies of dialect classification imply different understandings of the national language, reflecting in turn changing political circumstances. The Panslavism of 1836 gave way in 1919 to interwar Yugoslavism, or alternatively Serbo-Croatism, which in 1995 then gave way to Croatian particularist nationalism. The article ends with speculations about future linguistic taxonomies. [ABSTRACT FROM AUTHOR]

During the reign of Maria Theresia and her son Emperor Joseph II, Trieste was completely rebuilt and became an attractive freetax port of the Habsburg Empire. From the beginning of the eighteenth century to the first decade of the twentieth century, the population of Trieste increased from 5,000 to 230,000 inhabitants with an incredible number of migrants coming from Central Europe and the Mediterranean coastal areas. The multiethnic middle class obtained a series of privileges never granted before to the nobility, and its status is recognisable through the passion for chamber music and symphonies of Wiener Klassik, played both in private and public concerts. With the help of Czech intellectuals and musicians, during the 1860s the native Slovenes established a group of societies in which Romantic music and national anthems or Lieder were played. This trend culminated in the foundation of the Narodni dom (National House) and the Glasbena matica ([Slovene] Music Society). At the same time, the Italian nationalists maintained partial control of the Opera house, and the German minority reacted with the Schillerverein, in which Julius Heller spent his energies in spreading the music of Romantic and late-Romantic authors. Despite the political clash, the three groups gave significant impulse to instrumental music, which has marked the culture of Trieste.

The Herrnhut Brethren (Moravians) expanded to the Baltic region in the early eighteenth century and quickly became a substantial religious force, especially among the local Estonian and Latvian peasant population. Instead of following a top-down institutional approach to Christianity, the Moravians approached the peasants as equals. The resulting religious contact between the Moravians and the Baltic Lutheran Church entrenched Christianity in the Baltic countryside more than had previously been the case and empowered the local population, largely through the innovative use of media and access to education.

The Latvian nation is a singing nation. The Singing Revolution and similar song- and singing-related references are traditionally associated with the image of Latvians. The origins of written Latvian are also related to song: the oldest known Christian song in Latvian, dating from 1530, is also one of the oldest examples of Latvian-language text. In the second half of the 18th century, as a result of transferring from a German to a Latvian cultural space, a new genre of song was created by the German pastor Gotthard Friedrich Stender, the secular, didactic and sentimental ziņģe (a term coined from the German verb singen, 'to sing'). As the level of education among Latvians was low and most information spread by word of mouth, the German pastors and the first generation of Latvian poets made use of ziņges as an informative tool. Around the middle of the 19th century, the Latvian national revival began. Without denying the importance of Latvian folk songs in the creation of national culture, the main focus of this article is on the secular ziņģes that were adopted from the German literary tradition, which up until the second half of the 19th century were a favourite tool for entertainment (singing) and spreading information orally. As the level of literacy among Latvians rose, the ziņģes receded to the periphery of the literary landscape, paving the way for a new concept for denoting a rhythmic text that was for the first time not melody-bound: dzeja, or 'poetry'. The emergence of the new concept in 1869, which was related to the Latvian national revival and the formation of a national literary culture, at the same time also marked a turning point from orality to literacy in Latvian society. [ABSTRACT FROM AUTHOR]

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Kurds experienced a national awakening led by intellectuals at the beginning of the 20th century; in the so-called "scholarly interest" phase of this awakening they became curious about language, culture, history, literature and traditions, i.e., the intangible values, of their nation and aspired to conduct research on these. Kurdish intellectuals, bearing a mentality dependent on Ottomanism and the Ummah (Arabic for "community") expressed a kind of "Ottoman Kurdishness" until the World War I. Under the influence of the new historical circumstances which emerged after the war, the color of the cultural and literary activities guided by these intellectuals has become increasingly political. This is the phase in which the discourse of "patriotic agitation" was first witnessed. In this phase, cultural and literary activities began to serve the purposes of the formation of a national consciousness and identity, and they have directed the movement of the national awakening towards "Kurdism for its own sake". [ABSTRACT FROM AUTHOR]

With the real earthquake in Lisboa, 1755, as well as the revolutionary ones in France and the shocks of the Napoleonic wars, the model of a temporally linear development of modernity, with ‘Progress’ as its universal goal, was shaken; and beyond the impact on Enlightenment rationality and philosophy of reason, it affected all assumed meaning of history, knowledge, and apparent certainties. This ‘state of crisis’ induced Heinrich von Kleist first to his novella The Earthquake in Chile (Das Erdbeben in Chili, 1806/1807) and then to suicide, whereas F. D. E. Schleiermacher responded with his theory of modern hermeneutics as a synthesis of the individual and the general. Building on Hana Šmahelová’s V síti dějin literatury národního obrození (2011), the paper focuses on the model of temporalisation of historical processes and in particular the ‘event of national reawakening’ as part of the ‘project of modernization’.

In Latvian literature the development of the narrative genre to a great extent has been based on translations and literary traditions of other nations. The first original stories that played a crucial role in further processes along with educated and nationally patriotic authors' publications in the 1860s initiated the flourishing of prose, strengthened further development of Latvian literary activities, its encouraging stance in the questions related to the development of literary language, as well as wisdom of life and national space. These stories facilitated the processes of nation building n Latvia. Along with the 1863 published works of Juris Neikens, Krišjānis Barons and Jēkabs Zvaigznīte, as well as Atis Kronvalds, an in-depth portrayal of Latvian identity entered literature. It was manifested through the creativity of the author and the use of Latvian language enriched by the vocabulary from various districts, as well as the portrayal of rural life, which to most of the readers at the time depicted their everyday surroundings and activities. The plots of the authors were based on domestic observations, which were documented in a rather authentic and close-to-reality way, intuitively implementing the so-called principles of mimesis, which provided a new mode of narrative based on the national peculiarities in the prose of the time. Although in the early stages of the development, Latvian fiction did not reveal indepth reflections of the author's personal experiences, the lack of this creative expression was replaced by objective, even ethnographic observations of the everyday life. In the upcoming decades, such a fusion of characters and plots borrowed from people (folk) and the personal train of thought and talent of the author, which has been enriched with the world classics and modern literature, established a basis for the narrative genre to compose artistically individualised and subjective writings epitomizing Latvian identity. In the 19th century, when from the ethnic communities in the districts Latvian nation was developing and consolidating as a self-dependent subject with a national awareness, literature, myths and future hopes, Young Latvians and the following writers with their encouraging attitude towards the development of literary language, wisdom of life and national space facilitated the formation of national identity. [ABSTRACT FROM AUTHOR]

Copyright of Letonica is the property of University of Latvia, Institute of Literature, Folklore & Art and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Colloquia is the property of Institute of Lithuanian Literature & Folklore and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

With the real earthquake in Lisboa, 1755, as well as the revolutionary ones in France and the shocks of the Napoleonic wars, the model of a temporally linear development of modernity, with 'Progress' as its universal goal, was shaken; and beyond the impact on Enlightenment rationality and philosophy of reason, it affected all assumed meaning of history, knowledge, and apparent certainties. This 'state of crisis' induced Heinrich von Kleist first to his novella The Earthquake in Chile (Das Erdbeben in Chili, 1806/1807) and then to suicide, whereas F. D. E. Schleiermacher responded with his theory of modern hermeneutics as a synthesis of the individual and the general. Building on Hana Šmahelová's V síti dějin literatury národního obrození (2011), the paper focuses on the model of temporalisation of historical processes and in particular the 'event of national reawakening' as part of the 'project of modernization'. [ABSTRACT FROM AUTHOR]

Several representatives of the Slovak national movement recorded their memoirs in the form of autobiographies that became part of literary magazines. Some of them were even published as books. In our paper we focused on the aspect of national awakening that had been frequently recorded in these autobiographies. We paid attention to what means of expression were used to describe this process in the examined sources and to who or what caused national awakening in individual authors. We zeroed in on the role of parents, first teachers, schools and student societies in the process of national emancipation. The paper has an analytic character and its conclusions are based on a text analysis - autobiographies of the representatives of the Slovak national movement. The analysis is also based on the results of other scholars, especially on the works of literary historians, which emphasizes the interdisciplinarity of the researched issue. [ABSTRACT FROM AUTHOR]

Copyright of Via Latgalica is the property of Rezekne Institution of Higher Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

2011 marked an extraordinary year in which in cities all over the world, political protest and crowds in the street took over public space, in broad opposition to repressive state associated with neoliberalism. Since 2011, a "new global cycle of protests" has developed, characterized by public expressions of outrage, fury, and resentment. In Sofia, in early 2013, Bulgarians gathered on the streets, for the first time since 1996-1997. After the first protests in early 2013 diminished, a new and even stronger protest movement developed during the summer of 2013. The aim of this paper is to detect the peculiarities and distinctive traits that are unique to the Bulgarian Summer 2013 protests. It is argued that, although the Bulgarian Summer 2013 movement is part of the "new global cycle of protests," the Bulgarian protests are characterized by a distinctive struggle for cultural recognition that is partly inspired by Bulgaria's National Awakening movement that had struggled against the Ottoman Empire in the nineteenth century. [ABSTRACT FROM AUTHOR]

There exists a well-established tradition in the national and foreign historical Slavistics of approaching consideration of the problem of social structure of a number of peoples on the basis of the statement about existence of incomplete social structure of these peoples. Slovaks have also been included in the list of such peoples. But thoughtful reading of already existing scientific material, methodological pluralism, though, allow us to refine the thesis content about incomplete social structure of Slovak society, as well as to assume that the social structure of Slovak society has been rather typical and has not been fundamentally different from social structures of a number of districts of Central and East-Central Europe. [ABSTRACT FROM AUTHOR]

By the end of the nineteenth century, Lithuania's national awakening in the sphere of the emotive life had resulted in the strengthening of folk traditions, songs, and games (dances). In the initial stages of the awakening, there was no doubt as to the relevance of folk singing and music. The case for folk dancing was less certain. If dancing was not discarded altogether on moral grounds, was it possible to make it into an important cultural and political tool, like singing? In romantic novels, published in the earliest Lithuanian national newspapers, one can identify various challenges that young people experienced while they fell in love, engaged in the activities of the national awakening, and considered whether or not to dance. [ABSTRACT FROM AUTHOR]

Copyright of Darbai ir Dienos is the property of Vytautas Magnus University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kronika is the property of Kronika, Casopis za Slovensko Krajevno Zgodovino and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

At a time when our Arab nation is fighting its most ferocious and cruel battles for the sake of realizing itself and confirming its national identity, we see that the manifestations of national awakening represent a mature idea and a national act by which this nation shields everything that might target it in its reality and its future. The thought of the nation and the language, literature, heritage, history and culture that fall under it is the fortified shield with which any nation can overcome all the difficulties that stand in the way of its unity. Our national awakening in the modern era was able to reach our nation with what it had during its glorious days and forbade it. One of the reasons for the breakthrough of our crisis at the beginning of this century was that we were able to unite through our national awakening, and this century has barely gone beyond its first half until the features of this awakening became clear to confirm its support for the reality of the Arab nation, to rise in its condition and strengthen its strength. Perhaps the dimensions that the researcher was able to sense in this awakening are based on three issues: The first: the Arabic language as a factor on which the common sentiment of the nation meets, as it is a means of understanding and communication on the one hand, as it connects what has been cut off from the nation’s reality with its common past and its glorious history. And the second: the emergence of a national concept that unites the children of a single nation, unifies its hopes and draws the lines for its future. As for the third issue, it is the embodiment of modern Arabic poetry, the implications of this awakening and it is represented by three dimensions: The past: represented by singing glories and heroism and pride in history and civilization, as these contents have always been motivations and advancement. And the present: It is represented in the restoration of our holy land in Palestine, the fight against tyranny and the resistance to colonialism, as it is represented in the call for familiarity and praise of revolutions. These are topics that our poets are still very preoccupied with, and then they are still living them as a passing reality that stimulates the tyranny of national sentiments and derives its ideas and meanings from this reality. And finally: the future: is the safety of the nation’s children in liberation and unity. Within these three issues, the researcher can put his hand on the manifestations of national awakening represented by the past, the present and the future.