The short story is a comparatively modern phenomenon in Kuwait; the first appeared in 1929. There have been two distinct periods in the history of the short story in Kuwait. The first was from 1947 to 1959, the second was from 1962 to 1985. During the first period, it was more of a vehicle for didactic and predicative than for literary purposes. Characterisation was elementary, plot was negatory and structure was primitive. The second period witnessed a considerable development in the genre; the short story became, in all respects, more recognisable as such. Today, the art of short story writing is practised in Kuwait in a manner indistinguishable from that of any other Arab country.

So far, textual hetero-representations of the Romani people (usually called `Gypsies' by the non-Roma) have focused on their foreignness and alleged `non-conformity' to the dominant order. Such depictions, conflating history and myth, art and reality, promote the perception of an unbridgeable divide between the `primitive', `illiterate' Roma and the `civilized' society. In this respect, the forging of a fictional `Gypsy' identity can be seen as an ethnic strategy aimed at endorsing harsh policies of oppression and social marginalization of the Roma. The recent rise of *a Romani written literature has shown that, contrary to common belief, the Roma cannot simply be defined as people `without writing'. This thesis aims to highlight the complex features of their literature, characterized by an irreducible plurality of voices and styles which is in striking contrast with the rigid, monolithic structure of the conventional images of the 'Gypsy'. The intertextual, hybrid features of Romani literature seem to suggest alternative ways of looking at Romani identity which substantially undermine the rigid binarism of ethnocentric definitions of the 'Gypsy'. More specifically, the study of Romani literature enables us to view Romani textual hetero- and auto-representations not as irreconcilable, mutually exclusive terms, but in the light of their interconnections and mutual influences. The adoption of a dynamic, intercultural approach is a crucial factor in our understanding of the complex features of Romani identity, and may ultimately contribute to a profound (and long due) reassessment of the troubled Roma/Gağe relationship.

This book examines the questions of how Gypsy ethnicity, identity and history are interlinked in the context of examining various contested narratives or origins and migration. The text is itself a series of narratives and counter-narratives that engage in a self-critical, deconstructive analysis of the underlying assumptions hitherto presented in many, if not most of the previous scholarship regarding the origins and identity of the Gypsies, with particular focus on the contextual and radically contingent nature of all such texts. As such, the primary examination is an historiographical and theoretical consideration of the questions surrounding Gypsy ethnicity and identity. The dissertation also considers to what extent the production of historical knowledge is affected by those who produce it from within and without the Gypsy community or communities themselves. Most especially, this survey examines the production of literatures in Turkish scholarship, as related to the underlying conception of the book arguing for a re-examination of Romanī historiography from east to west, rather than the ‘traditional’ Orientalist and Europe-centric perspectives deployed by much of the previous scholarship. Moreover, the dissertation focuses upon the Turkish lands to argue that the historical experiences of Gypsies in this region are of critical importance in understanding the development of both European Romanī histories and in acknowledging the flawed basis for the universalist conceptions of European Roma identity and political mobilisation, as they are now articulated. The importance of Islam in the origins and history of the Gypsies is stressed. This theoretical framework underlies the interweaving narratives that make up the latter sections of the text, a reconsideration of the sources for early Gypsy history that posits an alternative narrative.

In the last three decades, Speech Act Theory has been displaced from the spotlight of pragmatic research and relegated to the back seat of this field. This has been the case despite the potential this theory still has to serve pragmatic research. This study is an attempt to revive and develop speech act theory by means of applying it to interactive naturally-occurring discourse proposing a number of different types of speech act and incorporating into analysis a wider range of pragmatic IFIDs. The main purpose of the study is to: (1) investigate speech acts in interaction and find out which 'illocutionary force indicating devices (IFIDs) are used to identify speech acts in an interactive context, and (2) compare the investigated speech acts and IFIDs cross-culturally between English and Arabic. Regarding data, the study investigated 12 English and Arabic short news interviews (six each). Some of these were video-recorded live from BBC and Sky news channels (English dataset) and Al-Arabiya, Sky news Arabia and Al-Wataniya channels (Arabic dataset). Other interviews were downloaded from YouTube. Two topics were the focus of these interviews: (1) the immigration crisis in 2015 (six English and Arabic interviews), and (2) the Iranian nuclear deal in 2015 (six English and Arabic interviews). The study investigated the two datasets to find which speech acts are used in short news interviews and what interactional IFIDs are used to identify them. Results show that many different speech acts are used in news interviews — the study counted 48 individual speech acts in the analysed interviews. However, it was found that a mere itemizing and classification of speech acts in the classical sense (Austin‘s and Searle‘s classifications) was not enough. In addition, the study identifies various new types of speech acts according to the role they play in the ongoing discourse. The first type is termed turn speech acts‘. These are speech acts which have special status in the turn they occur in and are of two subtypes: 'main act' and 'overall speech act'. The second type is 'interactional acts'. These are speech acts which are named in relation to other speech acts in the same exchange. The third type is ̳superior speech acts‘. These are superordinate speech acts with the performance of which other subordinate (inferior) speech acts are performed as well. The study also found three different types of utterances vis-à-vis the speech acts they perform. These are 'single utterance' (which performs a single speech act only), 'double-edged utterance' (which performs two speech acts concurrently) and 'Fala utterance' (which performs three speech acts together). As for IFIDs, the study found that several already-established pragmatic concepts can help identify speech acts in interaction. These are Adjacency Pair, Activity Type, Cooperative Principle, Politeness Principle, Facework, Context (Co-utterance and Pragmalinguistic cues). These devices are new additions to Searle‘s original list of IFIDs. Furthermore, they are expanding this concept as they include a type of IFID different from the original ones. Finally, the study has found no significant differences between English and Arabic news interviews as regards speech acts (types), utterance types and the analysed IFIDs. The study attracts attention to Speech Act Theory and encourages further involvement of this theory in other genres of interactive discourse (e.g., long interviews, chat shows, written internet chat, etc.). It also encourages further exploration of the different types of speech acts and utterances discussed in this study as well as probing the currently-investigated and other IFIDs. It is hoped that by returning to the core insight of SAT (i.e., that language-in-use does things) and at the same time freeing it from its pragmalinguistic shackles, its value can be seen more clearly.

This thesis presents a study of Pakistani documentary, with a focus on the ways in which it represents Pakistan’s national identity and history. The study examines three sources of documentary production – state media, commercial television channels, and independent filmmakers – as three distinct voices of Pakistani documentary. The study argues that the discourses of these institutions are governed by their respective ideological, political, and economic priorities. These factors result in two competing approaches to Pakistan’s national history and identity: right-wing and left-wing. The Islamic ideology of the state governs the discourse of state-sponsored documentaries. The commercial television documentaries take an anti-establishment position, however, they remain faithful to Islamic ideology of the state to a large extend. The independent filmmakers, on the other hand, offer a liberal perspective of history and a secular identity of Pakistan. Hence, they offer a critical view of the state’s Islamic ideology as a governing principle of historiography and identity formation. The notion of representation entails the issues of authenticity, credibility, and truth-value, associated with the various methods adopted by the filmmakers. Hence, attention is paid to the styles and modes of documentary, with a reflection on the documentarian’s individual approaches to realism. The documentaries have been placed within historical and political contexts considering Pakistan as a postcolonial state, which also functions as a critical framework of this study.

This thesis examines the twenty-first-century intercultural performance of Shakespeare in Kerala, India. The thesis highlights Shakespeare’s function in invigorating local performing arts traditions that navigate tensions between paradigms of former feudalism, post-Independence democracy and capitalist globalisation. Throughout, individual artistic perspectives in interview illustrate local productions of \(Macbeth\) for indigenous Keralan performing art forms, ranging from the two-thousand-year old kutiyattam to contemporary postmodern Malayalam-language drama. My introduction contextualises these hybrid productions in their global, national, and local historiography, exploring intersections of the sacred, supernatural, and secular; postmodernism and rasa theory; intercultural Shakespeares and Keralan performing arts; and Shakespearean works with Indian literary and theatrical traditions from the colonial to the postmillennial era. Chapter One highlights cultural translation, focusing on kutiyattam artist Margi Madhu’s 2011 \(Macbeth\); Chapter Two discusses cultural collaboration, studying kathakali artist Ettumanoor P. Kannan’s \(Macbeth\) \(Cholliyattam\), 2013; Chapter Three considers cultural fusion, profiling Abhinaya Theatre’s experimental local-language production of \(Macbeth\), 2011. In closing, the thesis underscores the importance of giving a voice to Keralan theatre artists on Shakespeare, recognising the hitherto critically unexamined potential for the meeting point of two great dramatic cultural traditions as a forum, underpinned by residual colonial and Communist legacies, for intercultural discourse.

This study analyses the ways in which gender relations are expressed and articulated through the use of folk proverbs amongst Pashto-speaking people of Pakistan. Previous work on Pashto proverbs have romanticised proverbs as a cultural asset and a source of Pashtun pride and ethnic identity, and most studies have aimed to promote or preserve folk proverbs. However, there is little recognition in previous literature of the sexist and gendered role of proverbs in Pashtun society. This study argues that Pashto proverbs encode and promote a patriarchal view and sexist ideology, demonstrating this with the help of proverbs as text as well as proverbs performance in context by Pashto speakers. The analysis is based on more than 500 proverbs relating to gender, collected from both published sources and through ethnographic fieldwork in the Khyber Pakhtunkhwa province of Pakistan. Qualitative data was collected through 40 interviews conducted with Pashto-speaking men and women of various ages and class/educational backgrounds, along with informal discussions with local people and the personal observations of the researcher. The study is informed by a combination of theoretical approaches including folkloristics, feminist sociology and sociolinguistics. While establishing that patriarchal structures and values are transmitted through proverbs, the study also reveals that proverbs’ meanings and messages are context-bound and women may, therefore, use proverbs in order to discuss, contest and (sometimes) undermine gender ideologies. More specifically, it is argued that: (1) Proverbs as ‘wisdom texts’ represent the viewpoint of those having the authority to define proper and improper behaviour, and as such, rather than objective reality represent a partial and partisan reality which, in the context of the present research, is sexist and misogynist. (2) While proverbs as ‘texts’ seem to present a more fixed view of reality, proverbs as ‘performance in context’ suggest that different speakers may use proverbs for different strategic purposes, such as to establish and negotiate ethnic and gendered identities and power which varies on the basis of gender, age, ethnicity, and class of the interlocutors. The thesis concludes that, rather than considering folk proverbs as ‘factual’ and ‘valuable’ sources of cultural expression, scholars should pay more attention to their ‘performatory’, ‘derogatory’ and ‘declaratory’ aspects as these often relegate women (and ‘other’, weaker groups) to a lesser position in society.