This is a comparative study of the national significance of the classical revival which marked English and French art during the second half of the nineteenth century. It argues that the main focus of artists' interest in classical Greece, was the body of the Greek athlete. It explains this interest, first, by artists' contact with the art of Pheidias and Polycletus which portrayed it; and second, by the claim, made by physical anthropologists, the classical body typified the race of the European nations.

This is a comparative study of the national significance of the classical revival which marked English and French art during the second half of the nineteenth century. It argues that the main focus of artists' interest in classical Greece, was the body of the Greek athlete. It explains this interest, first, by artists' contact with the art of Pheidias and Polycletus which portrayed it; and second, by the claim, made by physical anthropologists, that the classical body typified the race of the European nations.

Classical Black Nationalism traces the evolution of black nationalist thought through several phases, from its "proto-nationalistic" phase in the late 1700s through a hiatus in the 1830s, through its flourishing in the 1850s, its eventual eclipse in the 1870s, and its resurgence in the Garvey movement of the 1920s. Moses incorporates a wide range of black nationalist perspectives, including African American capitalists Paul Cuffe and James Forten, Robert Alexander Young from his "Ethiopian Manifesto", and more well-known voices such as those of Marcus Garvey, W. E. B. Du Bois, and others.

How and why do listeners come over time to 'feel the nation' through particular musical works? This book develops a comparative analysis of the relationship between western art music, nations and nationalism. It explores the influence of emergent nations and nationalism on the development of classical music in Europe and North America and examines the distinctive themes, sounds and resonances to be found in the repertory of each of the nations. Its scope is broad, extending well beyond the period 1848-1914 when national music flourished most conspicuously. The interplay of music and nation encompasses the oratorios of Handel, the open-air music of the French Revolution and the orchestral works of Beethoven and Mendelssohn and extends into the mid-twentieth century in the music of Prokofiev, Shostakovich and Copland. The book addresses the representation of the national community, the incorporation of ethnic vernacular idioms into art music, the national homeland in music, musical adaptations of national myths and legends, the music of national commemoration and the canonisation of national music. Bringing together insights from nationalism studies, musicology and cultural history, it will be essential reading not only for musicologists but for cultural historians and historians of nationalism as well. MATTHEW RILEY is Reader in Music at the University of Birmingham. The late ANTHONY D. SMITH was Professor Emeritus of Nationalism andEthnicity at the London School of Economics.

Classical Sociology Beyond Methodological Nationalism defends classical sociology from the accusation of ‘methodological nationalism’. To reject such accusation, the volume presents three arguments. The first contends that classical sociology has not failed to deal with the global world (Part I). The second, that classical sociology has more frequently dealt with the transnational category of the ‘social’, rather than with the ‘national’ (Part II). The third, that where classical sociology has analysed national society, the latter has never been envisaged as a rigidly confined entity within its political boundaries (Part III). The outcome is a re-evaluation of classical sociological thought as a more functional tool for analysing the political forms of modernity in the era of globalisation. Contributors include: Vittorio Cotesta, David Inglis, Austin Harrington, Massimo Pendenza, Michael Schillmeier, Emanuela Susca, Dario Verderame, and Federico Trocini.

This interdisciplinary volume explains the phenomenon of nationalism in nineteenth-century Europe through the prism of Graeco-Roman antiquity. Through a series of case studies covering a broad range of source material, it demonstrates the different purposes the heritage of the classical world was put to during a turbulent period in European history. Contributors include classicists, historians, archaeologists, art historians and others.

Received a special citation from The de la Torre Bueno© First Book Award Committee of the Dance Studies Association (2020). The book has been hailed as "an invaluable addition to the scholarship on Bharatanatyam." Celluloid Classicism provides a rich and detailed history of two important modern South Indian cultural forms: Tamil Cinema and Bharatanatyam dance. It addresses representations of dance in the cinema from an interdisciplinary, critical-historical perspective. The intertwined and symbiotic histories of these forms have never received serious scholarly attention. For the most part, historians of South Indian cinema have noted the presence of song and dance sequences in films, but have not historicized them with reference to the simultaneous revival of dance culture among the middle-class in this region. In a parallel manner, historians of dance have excluded deliberations on the influence of cinema in the making of the "classical" forms of modern India. Although the book primarily focuses on the period between the late 1920s and 1950s, it also addresses the persistence of these mid-twentieth century cultural developments into the present. The book rethinks the history of Bharatanatyam in the twentieth century from an interdisciplinary, transmedia standpoint and features 130 archival images.

A provocative account of the development of modern national culture in India using classical music as a case study. Janaki Bakhle demonstrates how the emergence of an "Indian" cultural tradition reflected colonial and exclusionary practices, particularly the exclusion of Muslims by the Brahmanic elite, which occurred despite the fact that Muslims were the major practiti oners of the Indian music that was installed as a "Hindu" national tradition. This book lays bare how a nation's imaginings--from politics to culture--reflect rather than transform societal divisions.

This book provides a concise, critical analysis of the key themes, theories, and controversies in nationalism studies. It offers an historically informed and sophisticated overview of classical and contemporary approaches to nationalism, as well as setting out an agenda for future research on nationalism and the emotions. In so doing, the book illuminates nationalism’s contemporary power and resilience, as manifested in the growth of far-right nationalist populism in Europe, the white ethno-nationalism of Trump in the United States, the resurgence of great power nationalism and rivalry in Asia, and the resilience of national secessionist movements in diverse parts of the planet. The widespread nationalistic responses to the coronavirus pandemic provide further confirmation of the continuing power of nationalism. All of these developments are discussed in the book, which will be an invaluable resource for nationalism scholars and students in Sociology, Politics and History.

Ethnosymbolism offers a distinct and innovative approach to the study of nations and nationalism. It focuses on the role of ethnic myths, historical memories, symbols and traditions in the creation and maintenance of the collective identity of modern nations. This book explores the different aspects of the ethnosymbolic approach to the study of ethnicity, nationality and nationalism.Nationalism and Ethnosymbolism first introduces the main theoretical considerations that have arisen in nationalism studies in the past two decades. It then presents a collection of case studies covering music and poetry, ethnosymbolism in antiquity, and a wide variety of nations and regions. Areas discussed include Eastern Europe and Russia, the Middle East, the Far East and India, Africa, and the Americas.Overall the book offers a defence of the methodology of ethnosymbolism and a demonstration of its explanatory power.