Romantic nationalism in the context of "Manifest destiny"

A national poet or national bard is a poet held by tradition and popular acclaim to represent the identity, beliefs and principles of a particular national culture. The national poet as culture hero is a long-standing symbol, to be distinguished from successive holders of a bureaucratically-appointed poet-laureate office. The idea and honoring of national poets emerged primarily during Romanticism, as a figure that helped consolidation of the nation states, as it provided validation of their ethno-linguistic groups.

Most national poets are historic figures, though a few contemporary writers working in relatively new or revived national literatures are also considered "national poets". Though not formally elected, national poets play a role in shaping a country's understanding of itself. Some nations may have more than one national poet; the idea of a single one is always a simplification. It has been argued that a national poet "must write poetry that closely identifies with the nation's cause – or is thought to do so", with an additional assumption being that "a national poet must write in a national language".

The Northern Crusades or Baltic Crusades were military campaigns undertaken by Catholic Christian military orders and kingdoms in an effort to Christianize the pagan Baltic, Finnic, and West Slavic peoples around the southern and eastern shores of the Baltic Sea. In some cases, such as with the Wendish Crusade, the campaign was partly motivated to control the rich resources found in the lands.

The most notable of these campaigns were the Livonian and Prussian Crusades. Some of these wars were explicitly regarded, during the Middle Ages, as crusades; for example, the military venture against the Estonians—and the "other pagans in those parts"—authorized by Pope Alexander III's 1171 crusade bull, Non parum animus noster. However, others—such as the (possibly mythical) 12th-century First Swedish Crusade and several subsequent incursions, undertaken by Scandinavian Christians against the then-pagan Finns—were dubbed "crusades" only in the 19th century, by romantic nationalist historians.

Zonal auxiliary languages, or 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 are intended to serve a limited linguistic or geographic area, rather than the whole world like Esperanto and Volapük. Although most zonal auxiliary languages are based on European language families, they should not be confused with "Euroclones", a pejorative term for languages intended for global use but based primarily on European material. Since universal acceptance is not the goal for zonal auxiliary languages, the traditional claims of neutrality and universalism, typical for IALs, do not apply. Although they may share the same internationalist commitments of the latter, zonal auxiliary languages have also been proposed as a defense against the effects of the growing hegemony of English on other cultures or as a means to promote a sense of ethnicity or community in a manner similar to revitalized languages, such as Modern Hebrew and Cornish. Related concepts are koiné language, a dialect that naturally emerges as a means of communication among speakers of divergent dialects of a language, and Dachsprache, a dialect that serves as a standard language for other, sometimes mutually unintelligible, dialects. The difference is that a zonal language is typically a mixture of several natural languages and is aimed to serve as an auxiliary for the speakers of different but related languages of the same family.

Most zonal constructed languages were developed during the period of romantic nationalism at the end of the 19th century, but some were created later. Most older zonal constructed languages are now known only to specialists. A modern example is Interslavic, which has become the most successful example of all zonal constructed languages.

The Golden Age of Finnish Art coincided with the national awakening of Finland, during the era of the Grand Duchy of Finland under the Russian Empire. It is believed to span an era from the late 19th Century to the early 20th Century, approximately 1880 to 1910. The epic poetry form known as Kalevala, developed during the 19th Century, provided the artistic inspiration for numerous themes at the time, including in visual arts, literature, music and architecture; however, the "Golden Age of Finnish Art" is generally regarded as referring to the realist and romantic nationalist painters of the time. Notable figures of the time include Akseli Gallen-Kallela, Pekka Halonen, Albert Edelfelt, Jean Sibelius, Eino Leino, Helene Schjerfbeck, Emil Wikström, Eero Järnefelt and Eliel Saarinen.

Finnish art became more widely known in Europe at the Paris Exposition of 1900, where the Finnish pavilion was one of the most popular among the attendees.

The culture of Croatia has historically been influenced by Central European, Mediterranean, and Balkan cultures. Croatia's unique culture and identity can be traced back to the historical llyricum. The early Croatian cultural and political identity developed through the integration of the ancient Roman heritage of Dalmatia, the traditions of early Slavic groups who settled in the region during the Migration period, and the emergence of a distinct Croatian polity by the 9th century. The Croatian language is believed to have been formed in the 6th or 7th century, with the written language present in Glagolitic texts from the 11th century.

In terms of Croatian national emancipation, the 19th-century Illyrian movement led by Ljudevit Gaj was a key driver for emergence of Croatian romantic nationalism. In 1842, the Matica ilirska organization (renamed Matica hrvatska in 1872) was established as part of the Zagreb Reading Room. The organization's mission was to promote Croatian national and cultural identity in fields of arts, science spiritual creation, economy, and public life. In 1847-1848 Croatian language replaced Latin as official language in Croatia.

The Moldavian Revolution of 1848 is the name used for the unsuccessful Romanian liberal and Romantic nationalist movement inspired by the Revolutions of 1848 in the principality of Moldavia. Initially seeking accommodation within the political framework defined by the Regulamentul Organic, it eventually rejected it as imposed by foreign powers (the Russian Empire) and called for more thorough political reforms. Led by a group of young intellectuals, the movement was mostly limited to petitioning and constitutional projects, unlike the successful uprising taking place later that year in neighbouring Wallachia, and it was quickly suppressed. This was despite the fact that the Moldavian revolutionaries were more moderate and willing to compromise in their demands for reforms than their Wallachian counterparts, as Moldavian political and social life continued to be dominated by a landed, conservative aristocracy, with the middle class still embryonic.

The Renaixença (Catalan pronunciation: [rənəˈʃɛnsə]; also written Renaixensa before spelling standardisation), or Catalan Renaissance, was a romantic revivalist movement in Catalan language and culture through the mid 19th century, akin to the Galician Rexurdimento or the Occitan Félibrige movements. The movement began in the 1830s and lasted until the 1880s, when it branched out into other cultural movements. Even though it primarily followed a romantic impulse, it incorporated stylistic and philosophical elements of other 19th century movements such as Naturalism or Symbolism. The name does not indicate a particular style, but rather the cultural circumstances in which it bloomed.