An extract on #jualstickerline
In the novel Nineteen Eighty-Four (1949), by George Orwell, the government of Oceania continually revises historical records to concord with the contemporary political explanations of The Party. When Oceania is at war with Eurasia, the public records (newspapers, cinema, television) indicate that Oceania has been always at war with Eurasia; yet, when Eurasia and Oceania are no longer fighting each other, the historical records are subjected to negationism; thus, the populace are brainwashed to believe that Oceania and Eurasia always have been allies against Eastasia.
The protagonist of the story, Winston Smith, is an editor in the Ministry of Truth, responsible for effecting the continual historical revisionism that will negate the contradictions of the past upon the contemporary world of Oceania. To cope with the psychological stresses of life during wartime, Smith begins a diary, in which he observes that "He who controls the present, controls the past. He who controls the past, controls the future", and so illustrates the principal, ideological purpose of historical negationism.
Franz Kurowski was an extremely prolific right-wing German writer who dedicated his entire career to the production of Nazi military propaganda, followed by post-war military pulp fiction and revisionist histories of World War II, claiming the humane behaviour and innocence of war crimes of the Wehrmacht, glorifying war as a desirable state, while fabricating eye-witness reports of atrocities allegedly committed by the Allies, especially Bomber Command and the air raids on Cologne and Dresden as planned genocide of the civilian population.
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". 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.
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 Asbjrnsen and Jrgen Moe, and the Australian Joseph Jacobs.
Many artists and writers also drew on their native countries folklore and folktunes for their own work to express their nationalism.