The Necessary Nation

Consumer ethnicity three decades after: a TCR agenda

“…The foundations of transnationalism date back to the late nineteenth century, when the massive migration of non-Anglo-Saxon migrants from Eastern and Southern Europe to the U.S.A., whilst giving rise to a new American nation (Bourne, 1916), caused apprehension (Nagel & Staeheli, 2004). More recently, in order to challenge the principles that define a nation, scholars (Glick Schiller, Basch, & Szanton Blanc,1992;Jusdanis, 2001) have used transnationalism in Western societies as opposed to nationalism. Within research into consumer ethnicity, transnationalism has been restrictively referred to as transnational consumer culture (Askegaard & Özaglar-Toulouse, 2011;Cayla, & Eckhardt, 2007;Matthews, 2000;Smith, 1990) and thus associated with-either as a synonym for or a side effect of-globalization.…”

Cultural Nationalism

“…Several historical sociologists, whose work on cultural nationalism I will discuss in greater depth in the succeeding section, have also taken issue with the view of cultural nationalism as anti-modern (e.g. Chatterjee, 1993;Hutchinson, 2013;Jusdanis, 2001;Smith, 1995). The suggestion here is that when cultural nationalists turn to the past in their search for nationality, it is above all to find ways of accommodating their purported national communities with modernity.…”

“…The nation was one such life-force, a primordial, cultural, and territorial people through which individuals developed their authenticity as moral and rational beings. (2013: 76) As part of this heady new world-view, Gregory Jusdanis (2001) argues that the rise of a historicist belief in the possibility of progress was a crucial ingredient in the emergence of cultural nationalism. According to Jusdanis, intellectuals in central and northern Europe became aware of their 'backwardness' in the face of French dominance and simultaneously sought prestige in their own cultures, while also embarking upon a programme of progress.…”

Geç Kapi̇tali̇zmde Sanatin Özerkli̇ği̇ Ve Sanatçinin İtaatsi̇zli̇ği̇ Mümkün Mü? Sanat Nesnesi̇, Sanatçi Ve Sermaye İli̇şki̇si̇ni̇ Anlama Denemesi̇

“…Başlangıçta sanayi ve ticari amaçla başlatılan bu sergiler, daha sonraları Avrupa ile Avrupa dışında bulunan devletlerin kültür ve yerel sanatları arasında da etkileşime de sebep olmuştur 35*36 . Bu uluslararası fuarların ticari etkisi bir yana, sanat anlamında önemli bir etkisi de zenginleşen imalatçı sınıfın çok sayıda resim almaya başlamalarına ön ayak olmalarıdır 37 .…”