Romantic nationalism

Romantic nationalism (also national romanticism, organic nationalism, identity nationalism) is the form of nationalism in which the state derives its political legitimacy as an organic consequence of the unity of those it governs. This includes, depending on the particular manner of practice, the language, race, ethnicity, culture, religion, and customs of the nation in its primal sense of those who were born within its culture. This form of nationalism arose in reaction to dynastic or imperial hegemony, which assessed the legitimacy of the state from the top down, emanating from a monarch or other authority, which justified its existence. Such downward-radiating power might ultimately derive from a god or gods (see the divine right of kings and the Mandate of Heaven).

Among the key themes of Romanticism, and its most enduring legacy, the cultural assertions of romantic nationalism have also been central in post-Enlightenment art and political philosophy. From its earliest stirrings, with their focus on the development of national languages and folklore, and the spiritual value of local customs and traditions, to the movements that would redraw the map of Europe and lead to calls for self-determination of nationalities, nationalism was one of the key issues in Romanticism, determining its roles, expressions and meanings.

Historically in Europe, the watershed year for romantic nationalism was 1848, when a revolutionary wave spread across the continent; numerous nationalistic revolutions occurred in various fragmented regions (such as Italy) or multinational states (such as the Austrian Empire). While initially the revolutions fell to reactionary forces and the old order was quickly re-established, the many revolutions would mark the first step towards liberalization and the formation of modern nation states across much of Europe.

Eugène Delacroix - La liberté guidant le peuple
Liberty Leading the People, embodying the Romantic view of the French Revolution of 1830, also known as the July Revolution; its painter Eugène Delacroix also served as an elected deputy
Adolph Tidemand & Hans Gude - Bridal Procession on the Hardangerfjord - Google Art Project
Brudeferden i Hardanger (Bridal procession in Hardanger), a monumental piece within Norwegian romantic nationalism. Painted by Hans Gude and Adolph Tidemand.

Brief history

Carga de O'Higgins
Romanticized painting of the Battle of Rancagua during the Chilean War of Independence by Pedro Subercaseaux

The ideas of Rousseau (1712–1778) and of Johann Gottfried von Herder (1744–1803) inspired much early Romantic nationalism in Europe. Herder argued nationality was the product of climate, geography 'but more particularly, languages, inclinations and characters,' rather than genetics.[1]

From its beginnings in the late 18th century, romantic nationalism has relied upon the existence of a historical ethnic culture which meets the romantic ideal; folklore developed as a romantic nationalist concept. The Brothers Grimm, inspired by Herder's writings, put together an idealized collection of tales, which they labeled as authentically German. The concept of an inherited cultural patrimony from a common origin rapidly became central to a divisive question within romantic nationalism: specifically, is a nation unified because it comes from the same genetic source, that is because of race, or is the participation in the organic nature of the "folk" culture self-fulfilling?

Romantic nationalism formed a key strand in the philosophy of Hegel (1770–1831), who argued that there was a "spirit of the age" or zeitgeist that inhabited a particular people at a particular time, and that, when that people became the active determiner of history, it was simply because their cultural and political moment had come. Because of the Germans' role in the Protestant Reformation, Hegel (a Lutheran) argued that his historical moment had seen the Zeitgeist settle on the German-speaking peoples.

In continental Europe, Romantics had embraced the French Revolution in its beginnings, then found themselves fighting the counter-Revolution in the trans-national Imperial system of Napoleon. The sense of self-determination and national consciousness that had enabled revolutionary forces to defeat aristocratic regimes in battle became rallying points for resistance against the French Empire (1804–14). In Prussia, the development of spiritual renewal as a means to engage in the struggle against Napoleon was argued by, among others, Johann Gottlieb Fichte (1762–1814), a disciple of Kant. The word Volkstum, or "folkhood", was coined in Germany as part of this resistance to French hegemony.

Fichte expressed the unity of language and nation in his thirteenth address "To the German Nation" in 1806:

The first, original, and truly natural boundaries of states are beyond doubt their internal boundaries. Those who speak the same language are joined to each other by a multitude of invisible bonds by nature herself, long before any human art begins; they understand each other and have the power of continuing to make themselves understood more and more clearly; they belong together and are by nature one and an inseparable whole. (Kelly, 1968, pp. 190–91)
Only when each people, left to itself, develops and forms itself in accordance with its own peculiar quality, and only when in every people each individual develops himself in accordance with that common quality, as well as in accordance with his own peculiar quality-then, and then only, does the manifestation of divinity appear in its true mirror as it ought to be; and only a man who either entirely lacks the notion of the rule of law and divine order, or else is an obdurate enemy thereto, could take upon himself to want to interfere with that law, which is the highest law in the spiritual world! (Kelly, 1968, pp. 197–98)

Nationalism and revolution

In the Balkans, Romantic views of a connection with classical Greece, which inspired Philhellenism infused the Greek War of Independence (1821–32), in which the Romantic poet Lord Byron died of high fever. Rossini's opera William Tell (1829) marked the onset of the Romantic Opera, using the central national myth unifying Switzerland; and in Brussels, a riot (August 1830) after an opera that set a doomed romance against a background of foreign oppression (Auber's La Muette de Portici) sparked the Belgian Revolution of 1830–31, the first successful revolution in the model of Romantic nationalism. Verdi's opera choruses of an oppressed people inspired two generations of patriots in Italy, especially with "Va pensiero" (Nabucco, 1842). Under the influence of romantic nationalism, among economic and political forces, both Germany and Italy found political unity, and movements to create nations similarly based upon ethnic groups. It would flower in the Balkans (see for example, the Carinthian Plebiscite, 1920), along the Baltic Sea, and in the interior of Central Europe, where in the eventual outcome, the Habsburgs succumbed to the surge of Romantic nationalism.[2] In Norway, romanticism was embodied, not in literature, but in the movement toward a national style, both in architecture and in ethos.[3] Earlier, there was a strong romantic nationalist element mixed with Enlightenment rationalism in the rhetoric used in British North America, in the colonists' Declaration of Independence and the United States Constitution of 1787, as well as the rhetoric in the wave of revolts, inspired by new senses of localized identities, which swept the American colonies of Spain, one after the other, from the May Revolution of Argentina in 1810.

Conservativism and revolution in the 19th century

Following the ultimate collapse of the First French Empire with the fall of Napoleon, conservative elements took control in Europe, led by the Austrian noble Klemens von Metternich, ideals of the balance of power between the great powers of Europe dominated continental politics of the first half of the 19th century. Following the Congress of Vienna, and subsequent Concert of Europe system, several major empires took control of European politics. Among these were the Russian Empire, the restored French monarchy, the German Confederation, under the dominance of Prussia, the Austrian Empire, and the Ottoman Empire.

The conservative forces held sway until the Revolutions of 1848 swept across Europe and threatened the old order. Numerous movements developed around various cultural groups, who began to develop a sense of national identity. While initially, all of these revolutions failed, and reactionary forces would re-establish political control, the revolutions marked the start of the steady progress towards the end of the Concert of Europe under the dominance of a few multi-national empires and led to the establishment of the modern nation state in Europe; a process that would not be complete for over a century and a half. Central and Eastern Europe's political situation was partly shaped by the two World Wars, while many national identities in these two regions formed modern nation states when the collapse of the Soviet Union and the multinational states Yugoslavia and Czechoslovakia led to numerous new states forming during the last two decades of the 20th century.

American Progress (John Gast painting)
John Gast, American Progress, (circa 1872) celebrates U.S. romantic nationalism in the form of westward expansion – an idea known as "Manifest Destiny".

Folk culture

God kväll, farbror! Hälsade pojken
"'Good evening, uncle!' said the boy". A drawing by John Bauer on Swedish folklore

Romantic nationalism inspired the collection of folklore by such people as the Brothers Grimm. The view that fairy tales, unless contaminated from outside literary sources, were preserved in the same form over thousands of years, was not exclusive to Romantic Nationalists, but it fit in well with their views that such tales expressed the primordial nature of a people.

The Brothers Grimm were criticized because their first edition was insufficiently German, and they followed the advice. They rejected many tales they collected because of their similarity to tales by Charles Perrault, which they thought proved they were not truly German tales; Sleeping Beauty survived in their collection because the tale of Brynhildr convinced them that the figure of the sleeping princess was authentically German. They also altered the language used, changing each "Fee" (fairy) to an enchantress or wise woman, every "prince" to a "king's son", every "princess" to a "king's daughter".[4] Discussing these views in their third editions, they particularly singled out Giambattista Basile's Pentamerone as the first national collection of fairy tales, and as capturing Neapolitan voice.[5]

The work of the Brothers Grimm influenced other collectors, both inspiring them to collect tales and leading them to similarly believe that the fairy tales of a country were particularly representative of it, to the neglect of cross-cultural influence. Among those influenced were the Russian Alexander Afanasyev, the Norwegians Peter Christen Asbjørnsen and Jørgen Moe, and the Australian Joseph Jacobs.[6]

National epics

The Bard
"The Bard" by John Martin: a romantic vision of a single Welsh bard escaping a massacre ordered by Edward I of England, intended to destroy Welsh culture

The concept of a "national epic", an extensively mythologized legendary work of poetry of defining importance to a certain nation, is another product of Romantic nationalism. The "discovery" of Beowulf in a single manuscript, first transcribed in 1818, came under the impetus of Romantic nationalism, after the manuscript had lain as an ignored curiosity in scholars' collections for two centuries. Beowulf was felt to provide people self-identified as "Anglo-Saxon" with their missing "national epic",[7] just when the need for it was first being felt: the fact that Beowulf himself was a Geat was easily overlooked. The pseudo-Gaelic literary forgeries of "Ossian" had failed, finally, to fill the need for the first Romantic generation.

The first publication of The Tale of Igor's Campaign coincided with the rise in Russian national spirit in the wake of the Napoleonic wars and Suvorov's campaigns in Central Europe. The unseen and unheard Song of Roland had become a dim memory, until the antiquary Francisque Michel transcribed a worn copy in the Bodleian Library and put it into print in 1837; it was timely: French interest in the national epic revived among the Romantic generation. In Greece, the Iliad and Odyssey took on new urgency during the Greek War of Independence. Amongst the world's Jewish community, the early Zionists considered the Bible a more suitable national epic than the Talmud.[8]

Many other "national epics," epic poetry considered to reflect the national spirit, were produced or revived under the influence of Romantic nationalism: particularly in the Russian Empire, national minorities seeking to assert their own identities in the face of Russification produced new national poetry – either out of whole cloth, or from cobbling together folk poetry, or by resurrecting older narrative poetry. Examples include the Estonian Kalevipoeg, Finnish Kalevala, Polish Pan Tadeusz, Latvian Lāčplēsis, Armenian Sasuntzi Davit by Hovhannes Tumanyan, Georgian The Knight in the Panther's Skin and Greater Iran , Shahnameh.


Main articles: Musical nationalism and National Romantic style (architecture).

After the 1870s "national romanticism", as it is more usually called, became a familiar movement in the arts. Romantic musical nationalism is exemplified by the work of Bedřich Smetana, especially the symphonic poem "Vltava". In Scandinavia and the Slavic parts of Europe especially, "national romanticism" provided a series of answers to the 19th-century search for styles that would be culturally meaningful and evocative, yet not merely historicist. When a church was built over the spot in St Petersburg where Tsar Alexander II of Russia had been assassinated, the "Church of the Savior on Blood", the natural style to use was one that best evoked traditional Russian features (illustration, left). In Finland, the reassembly of the national epic, the Kalevala, inspired paintings and murals in the National Romantic style that substituted there for the international Art Nouveau styles. The foremost proponent in Finland was Akseli Gallen-Kallela (illustration, below right).

By the turn of the century, ethnic self-determination had become an assumption held as being progressive and liberal. There were romantic nationalist movements for separation in Finland, Estonia, Latvia and Lithuania, the Kingdom of Bavaria held apart from a united Germany, and Czech and Serb nationalism continued to trouble Imperial politics. The flowering of arts which drew inspiration from national epics and song continued unabated. The Zionist movement revived Hebrew, and began immigration to Eretz Yisrael, and Welsh and Irish tongues also experienced a poetic revival.

Claims of primacy or superiority

At the same time, linguistic and cultural nationality, colored with pre-genetic concepts of race, bolstered two rhetorical claims consistently associated with romantic nationalism to this day: claims of primacy and claims of superiority. Primacy is the claimed inalienable right of a culturally and racially defined people to a geographical terrain, a "heartland" (a vivid expression) or homeland. The polemics of racial superiority became inexorably intertwined with romantic nationalism. Richard Wagner notoriously argued that those who were ethnically different could not comprehend the artistic and cultural meaning inherent in national culture. Identifying "Jewishness" even in musical style,[9] he specifically attacked the Jews as being unwilling to assimilate into German culture, and thus unable to truly comprehend the mysteries of its music and language. Sometimes "national epics" such as the Nibelunglied have had a galvanizing effect on social politics.

Twentieth-century political developments

Vasnetsov Frog Princess
Frog Tsarevna, by Viktor Vasnetsov, 1918.

In the first two decades of the 20th century, Romantic Nationalism as an idea was to have crucial influence on political events. Following the Panic of 1873 that gave rise to a new wave of anti-Semitism and racism in the German Empire politically ruled by an authoritarian, militaristic conservatism under Otto von Bismarck and in parallel with a wide revival of irrational emotionalism known as Fin de siècle (also reflected to a degree in the contemporary art movements of symbolism, the Decadent movement, and Art Nouveau), the racist, so-called völkisch movement grew out of Romantic nationalism during the last third of the 19th century, to some extent modelling itself on British Imperialism and "the White Man's Burden". The idea was that Germans should "naturally" rule over lesser peoples. Romantic nationalism, which had begun as a revolt against "foreign" kings and overlords, had come full circle, and was being used to make the case for a "Greater Germanic Empire" which would rule over Europe.

The nationalistic and imperialistic tensions rising high between the European nations throughout the irrational, neo-Romantic Fin de siècle period eventually erupted in the First World War. After Germany had lost the war and undergone the tumultuous German Revolution, the völkisch movement drastically radicalized itself in Weimar Germany under the harsh terms of the Treaty of Versailles, and Adolf Hitler would go on to say that "the basic ideas of National-Socialism are völkisch, just as the völkisch ideas are National-Socialist".

Outside of Germany, the belief among European powers was that nation-states forming around unities of language, culture and ethnicity were "natural" in some sense. For this reason President Woodrow Wilson would argue for the creation of self-determining states in the wake of the Great War. However, the belief in romantic nationalism would be honored in the breach. In redrawing the map of Europe, Yugoslavia was created as an intentional coalition state among competing, and often mutually hostile, southern Slavic peoples, and the League of Nations' mandates were often drawn, not to unify ethnic groups, but to divide them. To take one example, the nation now known as Iraq intentionally joined together three Ottoman vilayets, uniting Kurds in the north, Sunni Arabs in the center, and Shia Arabs in the south, in an effort to present a strong national buffer state between Turkey and Persia: over these was placed a foreign king from the Hashemite dynasty native to the Hijaz.

See also


  1. ^ King, Brian (2016). "Herder & Human Identity". Philosophy Now (112). Retrieved 2 September 2018.
  2. ^ Miroslav Hroch, "Introduction: National romanticism", in Balázs Trencsényi and Michal Kopeček, eds. Discourses of collective identity in Central and Southeast Europe, vol. II National Romanticism: The Formation of National Movements, 2007:4ff.
  3. ^ Oscar Julius Falnes, National romanticism in Norway, 1968.
  4. ^ Maria Tatar, The Hard Facts of the Grimms' Fairy Tales, p31, ISBN 0-691-06722-8
  5. ^ Benedetto Croce, "The Fantastic Accomplishment of Giambattista Basile and His Tale of Tales", Jack Zipes, ed., The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, p 888-9, ISBN 0-393-97636-X
  6. ^ Jack Zipes, The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, p 846, ISBN 0-393-97636-X
  7. ^ The section "III.Early National Poetry" of The Cambridge History of English and American Literature (1907–21) begins "By far the most important product of the national epos is Beowulf...
  8. ^ Moshe Halbertal (1997), People of the Book: Canon, Meaning, and Authority, p.132: "With the rise of Jewish nationalism, the relation of many Jews to the Bible and the Talmud took another turn. The Zionists preferred the Bible to the Talmud as the national literature, for the Bible tells a heroic story of the national drama whose focus is the Land of Israel. While they objected to the Haskalah politics of emancipation, Zionist thinkers also stressed the role of the Bible, but they thought of it as an element in building a particular national consciousness rather than as the basis of a shared Judeo-Christian heritage enabling the integration of Jews in Europe. Unlike the Talmud, they held, the Bible had the potential to become a national epic. Its drama unfolded in the hills of Judea, and it connected the national claim to the land with a historical past. Nothing in the Talmud, in contrast, appealed to the romanticism vital to national movements. It does not tell the glorious story of a nation, it has no warriors and heroes, no geography which arouses longing in the reader or a sense of connection to an ancient home."
  9. ^ Wagner, Das Judenthum in der Musik 1850.
  • Adam Zamoyski; Holy Madness: Romantics, Patriots and Revolutionaries 1776-1871; (Weidenfeld & Nicolson, 1999);
  • Johann Gottlieb Fichte, Thirteenth Address, Addresses to the Gerrnan Nation, ed. George A. Kelly (New York: Harper Torch Books, 1968).
  • Encyclopedia of Romantic Nationalism in Europe, ed. Joep Leerssen (2 vols.; Amsterdam University Press, 2018) ISBN 9789462981188

External links

Adolph Tidemand

Adolph Tidemand (14 August 1814 – 8 August 1876) was a noted Norwegian romantic nationalism painter. Among his best known paintings are Haugianerne (The Haugeans; 1852) and Brudeferd i Hardanger (The Bridal Procession in Hardanger; 1848), painted in collaboration with Hans Gude.

Art in Finland

Visual arts in Finland started to form its individual characteristics in the 19th century, when Romantic nationalism was rising in autonomic Finland.


Bunad (Norwegian: [²bʉːnɑd], plural: bunader/bunadar) is a Norwegian umbrella term encompassing, in its broadest sense, a range of both traditional rural clothes (mostly dating to the 19th and 18th centuries) as well as modern 20th-century folk costumes. In its narrow sense the word bunad refers only to clothes designed in the early 20th century that are loosely based on traditional costumes. The word bunad in itself is a 20th-century invention.

The bunad movement has its root in 19th-century national romanticism, which included an interest for traditional folk costumes not only in Norway, but also in neighbouring countries such as Denmark and notably Germany. However, in Norway national romanticist ideas had a more lasting impact, as seen in the use of folk inspired costumes.

Domenico Bellizzi

Domenico Bellizzi (1918–1989), also known under the pseudonym of Vorea Ujko, is among the most popular and respected of the Arbëresh poets. Domenico Bellizzi was a modest priest from Frascineto in Calabria who taught modern literature in Firmo. Bellizzi died in a car accident in January 1989.

Bellizzi's verse, a refined lyric expression of Arbëresh being, has appeared in many periodicals and anthologies as well as in seven collections, four of which were published in Italy, two in Albania and one in Kosovo. Bellizzi is a poet of rich tradition. He is the worthy heir of the great nineteenth-century Arbëresh poets Girolamo De Rada (1814-1903) and Giuseppe Serembe (1844-1901), both of whom he admired very much. His verse is intimately linked with the Arbëresh experience, imbued with the gjaku i shprishur (the scattered blood). Though devoid of the lingering sentiments of romantic nationalism so common in Albanian verse, and the standard motifs of exile lyrics, Bellizzi's poetry does not fail to evince the strength of his attachment to the culture of his Balkan ancestors despite five hundred years in the dheu i huaj (foreign land).

His verse collections include:

Zgjimet e gjakut, Castrovillari s.a. (The awakening of the blood);

Kosovë, Cosenza 1973 (Kossovo);

Mote moderne, Schiavonea 1976 (Modern times);

Ankth, Priština 1979 (Anguish);

Stinët e mia, Corigliano Calabro Stazione 1980 (My seasons);

Këngë arbëreshe, Tirana 1982 (Arbëresh songs);

Burimi, Tirana 1985 (The source);

Hapma derën, zonja mëmë, Tirana 1990 (Open the door, mother).


Dragestil ("Dragon Style") is a style of design and architecture that originated in Norway and was widely used principally between 1880 and 1910. It is a variant of the more embracing National Romantic style and an expression of Romantic nationalism.

Finnish National Theatre

The Finnish National Theatre (Finnish: Suomen Kansallisteatteri), established in 1872, is a theatre located in central Helsinki on the northern side of the Helsinki Central Railway Station Square. The Finnish National Theatre is the oldest Finnish speaking professional theatre in Finland. It was known as the Finnish Theatre until 1902, when it was renamed the Finnish National Theatre.

For the first thirty years of its existence, the theatre functioned primarily as a touring company. The theatre did not acquire a permanent home until 1902, when a purpose-built structure was erected in the heart of Helsinki, adjacent to the city's main railway station. The building hosting the Finnish National Theatre today was completed in 1902 and designed by architect Onni Tarjanne in the National Romantic style, inspired by romantic nationalism. The theatre still operates in these premises today, and over the years the building has expanded from its original size to encompass another three permanent stages. In addition to the Main Stage (Suuri näyttämö), the theatre comprises the Small Stage (Pieni näyttämö) built in 1954 (by architects Heikki Siren and Kaija Siren), the Willensauna Stage built in 1976, and the Omapohja studio built in 1987. The theatre is often associated with the Finnish national romantic writer Aleksis Kivi, as the Aleksis Kivi Memorial is located in front of it.

France profonde

La France profonde ("Deep France") is a phrase that denotes the existence of "deep", and profoundly "French" aspects of the culture of French provincial towns, of French village life and rural agricultural culture, which escape the "dominant ideologies" (Michel Dion's expression) and the hegemony of Paris. It was made familiar to English readers in Michel Dion's radical critique, La France profonde, predicting a union of de-Communised socialism with a reformed Catholic Church. France profonde was popularized in Celia Brayfield's Deep France: A Writer's Year in La France profonde (2004) retitled in paperback Deep France: A Writer's Year in the Béarn.

"Deep France" is seen to be profoundly localist in outlook and to be receding in the face of international mass culture.

Albert Kahn's photographic and cinematographic studies at the beginning of the 20th century possibly for the first time helped depict French provincial life and in doing so gave some vision into France profonde.


Gothicism or Gothism (Swedish: Göticism; Latin: Gothicismus) was a cultural movement in Sweden, centered on the belief in the glory of the Swedish Geats, who were identified with the Goths. The founders of the movement were Nicolaus Ragvaldi and the brothers Johannes and Olaus Magnus. The belief continued to hold power in the 17th century, when Sweden was a great power following the Thirty Years' War, but lost most of its sway in the 18th. It was renewed by the Viking revival and Romantic nationalism in the early 19th century, this time with the Vikings as heroic figures.

Lithuanian National Revival

The Lithuanian National Revival, alternatively the Lithuanian National Awakening (Lithuanian: Lietuvių tautinis atgimimas), was a period of the history of Lithuania in the 19th century at the time when a major part of Lithuanian-inhabited areas belonged to the Russian Empire (the Russian partition of the Polish-Lithuanian Commonwealth). It was expressed by the rise of self-determination of the Lithuanians that led to formation of the modern Lithuanian nation and culminated in the re-establishment of an independent Lithuanian state. The most active participants of the national revival included Vincas Kudirka and Jonas Basanavičius. The period largely corresponded to the rise of romantic nationalism and other national revivals of 19th-century Europe.

The revival was predated by a short period of the early 19th century known as the "Samogitian revival" led by students of Vilnius University, including Simonas Daukantas and Simonas Stanevičius. The most recent Lithuanian national revival may be linked to the late 20th century developments also known as the Singing Revolution.

National mysticism

National mysticism (German Nationalmystik) is a form of nationalism which raises the nation to the status of numen or divinity. Its best known instance is Germanic mysticism, which gave rise to occultism under the Third Reich. The idea of the nation as a divine entity was presented by Johann Gottlieb Fichte. National mysticism is closely related to Romantic nationalism, but goes beyond the expounding of romantic sentiment, to a mystical veneration of the nation as a transcendent truth. It often intersects with ethnic nationalism by pseudohistorical assertions about the origins of a given ethnicity.

National mysticism is encountered in many nationalisms other than Germanic or Nazi mysticism, and expresses itself in the use of occult, pseudoscientific, or pseudohistorical beliefs to back up nationalistic claims, often involving unrealistic notions of the antiquity of a nation (antiquity frenzy) or any national myth defended as "true" by pseudo-scholarly means. Notable instances of national mysticism include:

The Sun Language Theory in Pan-Turkism

Kurdish nationalists often make the claim that they are the descendants of the Medes

Polish Sarmatism

Greek Epsilonism and Proto-Greeks theory (see also and List of Ancient Greek tribes)

Some branches of revisionist history theories of Bulgarians and Bulgaria (i.e. 'Thracomania') and Macedonian nationalist history theories

Narratives on the origin of the Albanians in Albanian nationalism

The Croat Illyrian movement

Romanian Protochronism

Philippine Destiny

The Battle of Kosovo as the national myth in Serbian nationalism

American Manifest Destiny

The Indigenous Aryans theory in Hindu nationalism

Currents of Tamil nationalism (as in Devaneya Pavanar)

Claims of interplanetary travel, possible existence of in-vitro fertilization and genetic engineering by Ancient Indians (102nd Indian Science Congress)

Some currents of Armenian nationalism (see Armenia, Subartu and Sumer)

Currents of Russian nationalism

Kabbalistic currents in religious Zionism

Swedish Gothicism

Hungarian Holy Crown Doctrine

National revival

National revival may be:

any current of Romantic nationalism, specifically:

the National awakening in the Balkans during the 19th century

Bulgarian National Revival

Czech National Revival

Lithuanian National Revival

The First Latvian National Awakening

National treasure

The idea of national treasure, like national epics and national anthems, is part of the language of romantic nationalism, which arose in the late 18th century and 19th centuries. Nationalism is an ideology which supports the nation as the fundamental unit of human social life, which includes shared language, values and culture. Thus national treasure, part of the ideology of nationalism, is shared culture.

A national treasure can be a shared cultural asset, which may or may not have monetary value; for example, a skilled banjo player would be a Living National Treasure. Or it may refer to a rare cultural object, such as the medieval manuscript Plan of St. Gall in Switzerland. The government of Japan designates the most famous of the nation's cultural properties as National Treasures of Japan. The National Treasures of Korea are a set of artifacts, sites, and buildings which are recognised by South Korea as having exceptional cultural value.

Norwegian romantic nationalism

Norwegian romantic nationalism (Norwegian: Nasjonalromantikken) was a movement in Norway between 1840 and 1867 in art, literature, and popular culture that emphasized the aesthetics of Norwegian nature and the uniqueness of the Norwegian national identity. A subject of much study and debate in Norway, it was characterized by nostalgia.

Serbian nationalism

Serbian nationalism asserts that Serbs are a nation and promotes the cultural unity of Serbs. It is an ethnic nationalism, originally arising in the context of the general rise of nationalism in the Balkans under Ottoman rule, under the influence of Serbian linguist Vuk Stefanović Karadžić and Serbian statesman Ilija Garašanin.

Serbian nationalism was an important factor during the Balkan Wars which contributed to the decline of the Ottoman Empire, during and after World War I when it contributed to the dissolution of the Austro-Hungarian Empire, and again during the breakup of Yugoslavia and the Yugoslav Wars of the 1990s.After 1878, Serbian nationalists merged their goals with those of Yugoslavists, and emulated the Piedmont's leading role in the Risorgimento of Italy, by claiming that Serbia sought not only to unite all Serbs in one state, but that Serbia intended to be a South Slavic Piedmont that would unite all South Slavs in one state known as Yugoslavia. Serbian nationalists supported a centralized Yugoslav state that guaranteed the unity of the Serbs while resisting efforts to decentralize the state. The Vidovdan Constitution adopted by Yugoslavia in 1921, consolidated the country as a centralized state under the Serbian Karađorđević monarchy. Croatian nationalists opposed the centralized state and demanded decentralization and demanded an autonomous Croatia within Yugoslavia, which was accepted by the Yugoslav government in the Cvetković–Maček Agreement of 1939. Serbian nationalists opposed the agreement on the grounds that it weakened the unity of Serbdom, asserting its importance to Yugoslavia with the slogan "Strong Serbdom, Strong Yugoslavia". The invasion and partition of Yugoslavia in World War II, resulted in violent ethnic conflict between nationalist Serbs, Croats, Bosniaks, and others, resulting in a highly violent sectarian variant of Serbian nationalism rising in the Chetnik movement.The decentralization of the Socialist Federal Republic of Yugoslavia in the 1960s and the suppression of all ethnic nationalist sentiments led to a Serbian nationalist backlash and resurgence in the 1980s, that condemned post-World War II Yugoslavism and the decentralization of Yugoslavia. Upon Yugoslavia collapsing in the 1990s with multiple republics seeking secession, Serbian nationalists demanded that all Serbs in all the Yugoslav republics had the right to be united in a common state, ethnic conflict occurred between Serbs seeking unity with Serbia and other Yugoslav ethnicities seeking independence.

The Lion of Flanders (novel)

The Lion of Flanders, or the Battle of the Golden Spurs (Dutch: De Leeuw van Vlaenderen, of de Slag der Gulden Sporen) is a major novel first published in 1838 by the Belgian writer Hendrik Conscience (1812–83). An early example of the historical fiction genre, the Lion of Flanders focuses on the medieval Franco-Flemish War and the Battle of the Golden Spurs of 1302 in particular. It is written in Conscience's typical stylistic romanticism and has been described as the "Flemish national epic".Unusually for its time, the work was written in Dutch and it is considered one of the founding texts of Flemish literature. This gave it an enduring political influence within the Flemish Movement and its contemporary success also confirmed Conscience's reputation as a novelist.

Ukrainian school

In Polish poetry, the Ukrainian school were a group of Romantic poets of the early 19th century who hailed from Ukraine, on the southeastern fringes of the Polish-inhabited lands of the time (this period followed the partition of the Polish–Lithuanian Commonwealth). The poets—Antoni Malczewski, Józef Bohdan Zaleski, Tomasz Padura and Seweryn Goszczyński—produced a distinct style of Polish Romanticism through the incorporation of Ukrainian life, landscapes, history, political events, and folklore into their works. They in turn influenced both Lithuanian and Ukrainian Romantic poetry, and, along with other Polish poets, constituted a link between the various literatures of the post-partition Commonwealth.

Viking revival

The Viking revival was a movement of interest and appreciation for Viking history and culture in the 18th and 19th centuries, often with romanticized heroic overtones. It began with historical discoveries and early modern publications dealing with Old Norse culture. These appeared in the 16th century, e.g. Historia de gentibus septentrionalibus ("History of the northern peoples", Olaus Magnus, 1555) and the first edition of the 13th century Gesta Danorum ("Legend of the Danes", Saxo Grammaticus), in 1514. The pace of publication increased during the 17th century with Latin translations of the Edda (notably Peder Resen's Edda Islandorum of 1665).

The word Viking was introduced into Modern English during the 18th century, at which point it frequently acquired romanticized heroic overtones. Etymologists frequently trace the word to writers referring to one who set about to raid and pillage. The word Viking in the sense in which it is commonly used is derived from the Old Norse víkingr signifying a sea-rover or pirate.


The German noun Volk translates to people,

both uncountable in the sense of people as in a crowd, and countable (plural Völker) in the sense of a people as in an ethnic group or nation (compare the English term folk).

Within an English-language context, the German word is of interest primarily for its use in German philosophy, as in Volksseele "national soul" and in German nationalism (notably the derived adjective völkisch "national, ethnic").

Zonal constructed language

Zonal constructed languages are constructed languages made to facilitate communication between speakers of a certain group of closely related languages. They form a subgroup of the international auxiliary languages, but unlike languages like Esperanto and Volapük they are not intended to serve as languages for the whole world, but merely for a limited linguistic or geographic area. While there is some overlap with the term "Euroclone", the latter usually refers to languages intended for global use but based (almost) exclusively on European material. Another related concept is known as a koiné language, a dialect which naturally emerges as a means of communication among speakers of divergent dialects of a language.

Most zonal constructed languages were created during the period of romantic nationalism at the end of the 19th century, but some were created later. Nowadays, most older zonal constructed languages are known only to specialists. Modern examples are Interslavic and Folkspraak.

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