This dissertation studies identity formation and race informed by the discipline Whiteness Studies. As such this dissertation conceptualizes Spanish Whiteness historically and analyzes its representation in Spanish narrative in prose and film. This research responds to two questions: 1) How has Spanish culture historically instrumentalized Blackness thus contributing to the creation of the Western’s conceptualization of Whiteness? 2) What does Spanish representation of Empire say about its Whiteness? In an effort to answer these questions, this study is divided into two parts that correspond to the conceptualization and representation of what are termed ‘Situational Whiteness’ and ‘Imperial Spanish Orientalism.’ I argue that both are the result of a Spanish differential exceptionalism based on Orientalist cultural practices of tactical assimilation, by means of which the Black experience is subsumed on the margins as a part of Spanish Whiteness. To prove this hypothesis, Spanish Whiteness is conceptualized for the purpose of exploring the strategies of tactical assimilation of the Spanish Orientalism (Hispanism, Arabism, Africanism, Hispanotropicalism) towards its former colonies in Latin America and Africa. In addition, the contrasting cases of instrumentalization of Blackness as resistance in José Martí and Fernando Ortiz’s notion of Cuban racial ‘counterpoint’ as well as and the racial ‘particularism’ of Joan Maragall and Blas Infante inform cultural notions of Spanish Whiteness as well as its fragmentation. In the second part of this dissertation, the analysis focuses on understudied cases of the Spanish Imperial Whiteness’s representation in relation to Equatorial Guinean and Afro-Cuban Blackness. The overall propose of this research is, on the one hand, to explain how the situational nature of Spanish Whiteness is present throughout foundational moments in diverse forms of Spanish Orientalism; and, on the other hand, to inform Whiteness Studies from a different cultural angle thus providing the discipline with a transnational bridge towards a better understanding of white processes of racial formation, historical strategies and cultural forms of structural domination.

後殖民主義一般是指在第二次世界大戰後所產生的殖民主義研究，在前被殖民國家紛紛獨立的背景下，後殖民主義作為一種獨特的文化批評理論，崛起於全球化時代的人文學科領域。在諸多後殖民文化類型之中，雷鬼音樂源自加勒比海地區，被定位為世界音樂的一支，其發展的歷史及地理因素，與前被殖民國及宗主國之間的文化現象交互影響。本研究以歐洲雷鬼樂發展最為盛行的英法兩國為例，用後殖民主義闡述前英屬與法屬國家中特有的雷鬼文化現象，試圖探究該文化背後的關注議題並據此歸納結論。

<p>Utgångspunkten för min studie har varit att se på ur vilket perspektiv Islam behandlas i tre västerländska nyhetskanaler eller nyhetsprogram. De tre undersökta nyhetskanalerna har varit Euronews, Aktuellt och TV4s nyheter. Undersökningen har gjorts under mars månad år 2000. Ett nyhetsprogram från var och en av de tre kanalerna spelades in varje dag.</p><p>För att en korrekt tolkning skall ha varit möjlig har jag vidare studerat en mängd litteratur. En del har behandlat vad Islam är, medan annan litteratur behandlat hur media använder olika stereotyper och schablonsbilder när de skall beskriva ett nyhetsfenomen. När det gäller mediabilden så förekommer det i arbetet en separat punkt som just behandlar media och dess bilder av verkligheten. En annan kompletterande litteratur har rört ämnet "orientalism" vilket kan beskrivas som ett specifikt sätt att beskriva Orienten på. Detta har föranlett att en separat punkt med ämnet "orientalism" finns i mitt arbete.</p><p>Vidare innehåller arbetet en enkätundersökning utförd på Högskolan i Gävle 000828. I enkäten frågas om olika ords värdeladdning. Nästan samtliga ord som förekom i enkäten har en anknytning till ett islamiskt sammanhang.</p>

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<p>This essay is a comparative analysis of ideas about how Islamic terrorism is understood in terms of narrative. The narrative being studied is Occidentalism, Orientalism and postcolonial theory; based on these perspectives are possible explanations analyzed of what Islamic terrorism is all about.</p>

In 1901 the Qing regime, in power 1644-1911, took wide-ranging measures to reform the Chinese Empire. Fundamental changes were carried out within the field of education, resulting in the completion of China’s first modern educational system in 1904. Modern schools mushroomed across China and modern textbooks introducing non-traditional knowledge became common reading in the classrooms. Modern geography textbooks informed schoolchildren about the circumstances within the Empire and, to some extent, about the conditions in foreign countries. Thus these textbooks gave them an idea of their own nation in relation to the rest of the world.   The thesis examines the images of the inhabitants of the multiethnic Qing Empire, as encountered in a wide range of textbooks and other teaching materials, on the school subject of geography, used at various institutions of modern learning during the closing years of the Qing era. The focus is on the Han Chinese majority of China Proper (i.e. the eighteen provinces), although the images of the other major ethnicities of the Qing Empire are also examined, as well as the peoples of neighbouring Korea and Japan. This study highlights the extent to which the late Qing era was influenced by Japanese approaches towards reforms and modernization, especially in the field of education. During the process of introducing modern school geography in China, Chinese textbook compilers largely relied on Japanese sources on geography, thereby facing a Japanese, nationalistic and colonial discourse, which implied that Japan, as the most civilized nation in the East, was also in her right to dominate the region. Although Chinese educationalists hardly accepted Japan’s self-proclaimed position as the rightful leader of Asia, they were nevertheless influenced by Japanese descriptions of the continent and its peoples.

This essay is a comparative analysis of ideas about how Islamic terrorism is understood in terms of narrative. The narrative being studied is Occidentalism, Orientalism and postcolonial theory; based on these perspectives are possible explanations analyzed of what Islamic terrorism is all about.

The present essay examines the linguisitc conceptualisation of otherness in the present party platforms of the Sozialdemokratische Partei Deutschlands (SPD, Social Democratic Party of Germany) and the Christliche Demokratische Union Deutschlands (CDU, Christian Democratic Union of Germany). The language and the textual structure of their party platforms is analysed, its function described and compared with each other by using representative text excerpts. The theoretical background of this study is grounded in cultural studies. The methodological framework consists of a combination of critical discourse analysis and textual analysis. Criterias of the linguistic analysis are: coherence (including implicit meanings, propositions and presuppositions), modality, thematic roles, deixis and pronouns and keywords.    The study shows that the Other is cleary conceptualized by using binary oppositions whereas those who are reperesented by we can not always be clearly identified. By using both objective and subjective modality authority and legitimacy are linguistically constructed by those who represent we. The analysis shows that stipulations and issues are mentioned which are supposed to be abided by the Others without being justified by those who represent we. Consequently the Other is excluded. Analysing both party platforms shows that the Other is  subcategorized, too. Myths about the Others are confirmed by representing a stereotypical image of the Other through language. However there are differences in the linguistic conceptualization of alterity. The representatives of CDU speak out more explicitly on specific issues concerning the Other than representatives of SPD do. Consequently SPD’s statements concerning the Other are more implicit.   The study shows that meaning is created by language and that myths of the Other are reproduced in political discourse.

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Women of color are still trapped in the colonialist trajectory of Delacroix’s sexualized Women of Algiers (1834) and alienated from the world of Sargent’s Daughters of Edward Darley Boit (1882) in contemporary media images that serve to exocitize, fetishize, and commodify non-white female bodies. These historical and contemporary images form a psychological weight both imposed on women of color by outside perceptions and by now-cemented internal perceptions. While women do not passively absorb media images, it cannot be ignored that the hypersexual Asian/American woman in representation “haunts the experiences and perceptions of Asian women” despite attempts to reject these images and efforts to identify empowering aspects of images of sexual power (Shimizu 2007). Ideas and expectations of sexual openness in women of color seep into our consciousness at many moments in our personal lives and cast doubt on Asian/American women’s engagements with sexuality. Resistance of and escape from objectification as an erotic racial signifier of difference are attempted through abstraction and self portraiture.