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- Creators: Poulenc, Francis, 1899-1963
As opposed to colloquial understanding, there is no standard scholarly definition of nationalism, but it is widely seen as zeal over an identity that strives to manifest into an organized state. Despite this minimal consensus, nationalism is usually equated with an ethnocentric conception of the nation-state, what I recognize to be ethnocentric nationalism, the commitment to a linguistically, racially, and culturally likeminded nation. I argue that this traditional, ethnocentric understanding of nationalism is only one interpretation of nationalism. Ethnocentric nationalism has and continues to be in tension with a more recently established interpretation of the nation, which I call multicultural nationalism: the commitment to a country’s principles rather than to its racial, cultural, and religious ties.
A common acceptance of difference is growing in the United States as shown by Kaepernick’s public support in the face of patriotic conformity. This perspective draws from the United States’ ideological roots that argue for one nation made up of many, e pluribus unum, so that foreign backgrounds should not just be accepted but also embraced to form a more diverse nation. The passion for a progressive, multicultural America can be translated into its own movement of multicultural nationalism. In this context, the support for Kaepernick’s actions no longer appears to represent increased dissent from the United States, but instead seems to be an attempt to challenge ethnocentric nationalism’s claim to the nation.
This paper will begin by contrasting the reactions to Kaepernick’s protest and to protests before him in order to contend that nationalism is no longer characterized by only ethnocentric tradition. I will analyze theoretical studies on nationalism to dispute this common understanding that nationalism is solely ethnocentric. I will argue that nationalism, rather, is the intense manifestation of a community’s identity within a political state; the identity of which can be either ethnocentric or multicultural. The Kaepernick ordeal will be used to signify the greater division in the American public over whether a multicultural or ethnocentric conception of the nation should be supported in the United States. Lastly, this paper will observe how the Kaepernick protest suggests multicultural nationalism’s viability in today’s politically progressive environment, and how multiculturalism should embrace nationalism to advance its platform.
In the current race for technological innovation, companies are striving to be the best and most prominent in the industry. A major way companies are setting themselves apart is through personalized experiences for their customers, so they have a huge incentive to collect consumer information. Consumers have limited knowledge of how much information companies collect and what goes on behind the scenes. Therefore, it is becoming extremely important to ensure companies are held accountable for upholding consumers’ right to privacy. One way this can be done is through the implementation of privacy legislation. The United States has not yet enacted federal preemptive privacy legislation, so this thesis examines the feasibility of enacting such legislation using the European Union’s GDPR as a model. California’s current state-level privacy law, the CCPA, is compared to the GDPR to determine the elements of a successful privacy law and find that the CCPA has many problems, most of which are solved by the GDPR. Because of this, it is concluded that it is necessary for the United States to adopt federal privacy legislation which would be most successful if the GDPR was used as a foundation.
This thesis is concerned with the political implications of two of Jacques-Louis David's paintings: Oath of the Horatii (1784) and The Lictors Bringing to Brutus the Bodies of His Sons (1789). In this thesis, I argue that David’s pre-Revolutionary work contained political anticipations of Revolutionary France articulated in his Neoclassical forms, the classical stories he chose to paint, his own narrative innovations using light, color, gender, unusual scenes and the thematic conflict of the state vs the individual and family.