This thesis presents an argument for the use of dialogic halaqah to develop the personal autonomy of young Muslims in twenty-first century Britain. It begins by developing a theoretical grounding for Islamic conceptualisations of personal autonomy and dialogic pedagogy. In doing so, it aims to generate dialogue between Islamic and ‘western’ educational traditions, and to clarify the theoretical foundation of halaqah, a traditional Islamic oral pedagogy, that has been adapted to meet the educational needs of Muslim children in contemporary Britain. Dialogic halaqah is daily practice in two independent British Muslim faith-schools, providing a safe space for young Muslims to cumulatively explore challenging issues, in order to facilitate the development of selfhood, hybrid identity and personal autonomy, theorised as shakhsiyah Islamiyah. This thesis examines the relationship between thought, language, and the development of personal autonomy in neo-Ghazalian, Vygotskian and Bakhtinian traditions, and suggests the possibility of understanding shakhsiyah Islamiyah as a dialogical Muslim-self. This theoretical work underpins an empirical study of data generated through dialogic halaqah held with groups of schoolchildren and young people. Using established analytic schemes, data from these sessions are subjected to both thematic and dialogue analyses. Emergent themes relating to autonomy and choice, independent and critical thinking, navigating authority, peer pressure, and choosing to be Muslim are explored. Themes related to halaqah as dialogic pedagogy, whether and how it supports the development of agency, resilience and independent thinking, and teacher and learner roles in halaqah, are examined. Moreover, findings from dialogue analysis, which evaluates the quality of educational dialogue generated within halaqah, that is, participants’ capacity to engage in dialogue with each other, as well as with an imagined secular other, are presented. The quality of the dialogic interactions is evaluated, as is evidence of individual participant’s autonomy in their communicative actions.

Qu’elle soit le fait des artistes, des institutions muséales ou des acteurs économiques, désormais une nouvelle discursivité s’ajoute à la production critique traditionnelle des historiens, théoriciens et philosophes de l’art, et accompagne de manière quasi systématique les propositions plastiques des artistes contemporains. A cet accroissement discursif correspond aussi une démultiplication des fonctions du discours théorique qui se trouve parfois être utilisé comme le matériau plastique même des œuvres. Empreintes d’une plasticité toute singulière, les œuvres contemporaines étendent les possibles, au point de pouvoir se manifester sous n’importe quelle forme, voire de complètement disparaître. Cette extrême diversité résulte de l’adhésion à un nouveau principe artistique, le « second degré », ou l’auto-réflexivité de l’œuvre d’art, qui attribue à l'idée de l’œuvre une importance aussi grande qu'à la formulation matérielle de celle-ci. Ce qui est devenu indéterminé dans la forme plastique semble être compensé, en retour, par l'exigence d'une détermination conceptuelle accrue. Nous nous sommes attachés, dans notre recherche, à mettre en lumière l’origine du primat discursif dans la nouvelle situation paradigmatique des arts plastiques. Ne se limitant pas à la seule logique de médiation et de légitimation sociale des œuvres, la discursivité ouvre aussi un espace créatif et herméneutique nouveau impliquant le discours théorique comme geste créatif complémentaire à la forme plastique. / Whether by artists, museums or economic actors, now a new discursivity is added to the traditional critical production of historians, theoreticians and philosophers of art, and accompanies almost systematically the plastics works of contemporary artists. This discursive growth answers also to a proliferation of functions of the theoretical discourse, which is used, in some contemporary artistic practices, as the very plastic material of the work. Marked by a singular plasticity, contemporary art works extend the expressive possibilities to the point that the work can manifest itself in any form, and even completely disappear. This extreme diversity results from the adherence to a new artistic principle, the "second degree", or the self-reflexivity of the artwork, which attributes to the idea of the work, the same importance as its’ very material formulation. What became undetermined in the plastic form seems, in return, to be offset by the requirement for greater conceptual determination. We were committed, in our research, to highlight the origin of this discursive primacy in the new paradigmatic situation of visual arts. Not being limited only to the purpose of mediation and social legitimization of the art works, discursivity opens also a new creative and hermeneutic space, involving theoretical discourse as a creative act complementary to plastic form.

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