Contemporary Swahili poetry is developing according to three main trends. The followers of the first trend - the so called "traditionalists" - stick to classic forms of old Swahili poetry. Following the Swahili canon of versification, traditionalists continue to be within the limits of two main genres of old Swahili literature - tendi (long poems) and mashairi (moderate lyrics and philosophical verses). In Swahili poetry foregoing sudden changes were marked by the appearance of a group of young authors on the poetic stage in the 1970s, who gave a dare to tradition. Their venture radically changed the character of Swahili literature, marking the appearance of the second trend of Swahili poetry, the \\\"new\\\" or \\\"modernistic\\\" poetry. But along with traditional and \\\"modernistic\\\" schools there exists a third trend of Swahili poetry - it is that sort of versification, which one may call \\\"transitional\\\". In general it looks lile pure \\\"modernism\\\", where at first sight one cannot see even the faintest resemblance with the traditional canon, but the more careful search makes it obvious that there is a true continuity between traditional and contemporary art. The best examples of such transformation are the poems of two prominent figures of contemporary Swahili poetry, the Tanzanians Theobald Mvungi and Said Ahmed Mohamed.

\"Are there any national literatures in black Africa yet? The simple answer is no. [...] If one examines the development of the African language literature that do exists, one is struck by certain recurring tendencies. Many of the books produced, particularly the early works, are of a predominantly moralistic nature. Sometimes they are retelling of folk stories or Bible stories, sometimes imitations of European religious literature, sometimes both.\\\" (Lindfors 1997: 121; 123) Certain anomalies are obvious in the above extract. Swahili written literature with its long-standing tradition, dating far back to the 17th century, has relativly gathered its own aesthetic criteria, values and sensibility, hence \\\'own\\\' integrity and world view. I dare say that Lindfors will be suprised to learn today, how fast the Swahili novel has developed since when he had left it when he read Andrzejewski et al (1985) and Gérard (1981), who (by the way), themselves did not then see the their works as presenting a complete picture of African literatures in African languages. This essay aims at showing the predicament of the Swahili novelist at the crossroads and how, in a contemporary situation, s/he works out his or her strategies towards resolving the impasses.

This article presents an interpretation of Said Ahmed Mohamed`s forth novel Kiza katika Nuru (1988). My aim is to show that this novel is an engaging model of modern Swahili fiction, in which the author provides a very acute perception of the contemporary social and political realities in Tanzania. The article focuses on the plot and characters, and will wouch some aspects of language usage and problems of translation. The latter aspect is derived from my work experience in translation Kiza katika Nuru into Italian: Il buio nella luce (Nocera 2004).

The depiction of family ties is one of the core elements of Swahili novels in Tanzania, especially in the post-Independence, socialist period, conveying all the contradictions of that social and cultural context. On one hand the representation of family relationships in terms of tense and aggressive behaviour (Mlacha 1987: 82) reflects the clashes of those years, between town and countryside, between genders and between different generations. On the other hand, the image of a new family - like for instance Chonya, Masika and her baby in Ndyanao Balisidya’s novel Shida (1975) - stands as a commitment to an alternative society, a dream of a better life inspired by Ujamaa which marked the Swahili prose of the 1970’s (Mbughuni 1980: 92). Said A. Mohamed, after his first novels which dealt with the colonial and pre-revolutionary past, turned his attention to contemporary society, but has continued to develop the idea of the family as a symbolic space where relationships between the characters articulate the inequalities and the conflicts within Zanzibari society. His literary discourse, as will become clear in the following pages, brilliantly investigates the deep roots and the countless facets of authoritarianism in contemporary Zanzibari society, depicting a gallery of fathers - in a biological and in a metaphorical sense – who are despotic, immoral, hypocritical, and increasingly cynical.

Lugha ni nyenzo muhimu katika mchakato wa mawasiliano, hali inayoifanya nyenzo hii kuweza kuchanganuliwa kwa njia mbalimbali. Katika jitihada za kuichunguza na kuichanganua lugha, imebainika kwamba kuna uhusiano wa ufaano kati ya miundo ya lugha na dhima yake. Huu ndio uhusiano ambao hutumiwa na wasanii kifasihi kuunganisha mifumo ya lugha inayotumika katika matini na kuafikia ruwaza zao. Hali hii inatokana na uwezo wa kufulikana kwa lugha kama chombo cha mawasiliano ambao pia unaipa lugha uwezo wa kusukwa tofauti kwa mujibu wa dhima tofauti na hivyo basi kuendeleza grafolojia. Grafolojia ni mojawapo ya viwango vya uchanganuzi wa kiisimu kimtindo. Hata hivyo, umuhimu na nafasi ya grafolojia kama kiwango cha uchanganuzi wa matini hudhihirika katika umitindo na mbinu mseto. Kwa hali hiyo, watalaam wengi wakiwemo Halliday, McIntosh na Strevens (1964) wamefanya utafiti kuhusu jinsi mchepuko wa kigrafolojia unavyoathiri ufasiri kimaana na kuzalisha athari zingine za kiujumi katika matini. Miongoni mwa vipengele vya kigrafolojia ambavyo wamevitaja kwamba vinaibua athari tofauti katika matini ni viakifishi. Ingawa uandishi wowote, uwe wa jadi au wa leo unahitaji kuzingatia matumizi mema ya viakifishi, hivi leo kumeshuhudiwa ukiukaji wa matumizi ya vipengele hivi katika shughuli za kijamii. Ni kwa ajili hii ndiposa makala haya yameandaliwa yakilenga kuchanganua aina mbalimbali za viakifishi, herufi kubwa na mchango wa alama hizi katika uimarishaji wa mawasiliano katika lugha ya Kiswahili. Aidha makala haya yametayarishwa kwa kuchanganua yaliyomo katika riwaya ya kisasa ya Mkamandume (2013) huku nadharia ya Sarufi Amilifu Mfumo (SAM) iliyoasisiwa na Halliday ikiongoza utafiti huu. / Language is an important tool in communication. In an effort to explore and analyze language, it has been observed that there is a correlation between language structures and stylistic choices. Also used by literary artists who integrate these principles of in their text, graphology is one of the standards of linguistic analysis in style. However, its importance and place as a standard for textual analysis is manifested in a variety of styles and techniques. In this context, many scholars including Halliday, McIntosh and Stevens (1964) have done research on how grammatical “abnormalities' affect interpretation and produce other metaphorical effects in texts. This article aims at analyzing the different types of signs and conventions, abbreviations, practices of capitalization and the contribution of these symbols in strengthening communication in Swahili. In addition, this article uses the content of the novel Mkamandume (2013) and refers back to the basics of 'Sarufi Amilifu Mfumo' (SAM) developed by Halliday.

Syfte med den här studien analyserar hur svenska historieböcker framställer Östasien, östasiater och deras historia. Studien inramas inom de postkolonialistiska studierna med särskilt referens till begreppet Orientalism som definierades av forskaren Edward W. Said. Studien använder innehållsanalys och Foucaults maktdiskursanalys som metoder för att framhäva eurocentriska dramaturgi och orientalistiska begrepp och framställningar som används i historieböckerna. Resultatet visar att orientalismen är fortfarande närvarande i historieböckerna, även om inte i samma utsträckning i alla serier och i mindre utsträckning i nyare publikationer. / The purpose of this study is to analyse how Swedish history books portray East Asia, East Asians and their history. The study is framed within post-colonial studies with particular reference to the concept of Orientalism as defined by the researcher Edward W. Said. The study uses content analysis and Foucault´s power of discourse as methods to highlight Eurocentric dramaturgy and Orientalist concepts and representations used in the history books. The result shows that Orientalism is still present in the history books, although not to the same extent in all series and to a lesser extent in more recent publications.

Uppsatsen undersöker och jämför den tematiska och språkliga gestaltningen av den instabila identiteten i Johannes Anyurus roman En storm kom från paradiset och Sami Saids roman Väldigt sällan fin. De frågeställningar som behandlas är: Hur gestaltas den postkoloniala identitetens problematik i de båda romanerna? Hur tematiseras den instabila identiteten? Hur kan språket synliggöra en instabil identitet? För att undersöka den tematiska gestaltningen av det instabila subjektet utgår analysen från postkoloniala teorier vars grund finns i den poststrukturalistiska synen på verkligheten som en konstruktion styrd av makt och språk. Flera postkoloniala teoretiker utgår också från psykoanalytikern Jacques Lacans spegelteori i analysen av hur identiteten skapas i ett postkolonialt sammanhang. I diskussionen av det instabila subjektets språkliga gestaltning utgår uppsatsen från psykoanalytikern och litteraturvetaren Julia Kristevas teori om utanförskap som det poetiska språkets grund samt dess uttryck i vår tids skönlitteratur.

The purpose of this bachelor thesis is to analyze some aspects of the historical surroundings in which Gayatri Chakravorty Spivak wrote her famous essay ”Can the Subaltern Speak?”. From a historical perspective, inspired by Quentin Skinner, I examine how Spivak in a context of French theory in U.S. academy criticized Michel Foucault and defended Jacques Derrida. In the first part of my analysis I relate Spivak’s essay to the ”Foucault and Derrida debate” of the sixties and seventies. I argue that many aspects of Derrida’s early critique of Foucault, and many of the themes of that debate in general, was rhetorically repeated by Spivak in ”Can the Subaltern Speak?”. In the second part of my analysis, I discuss how Foucault and Derrida in the context of U.S. academy were, rather than empirical persons, turned into common nouns well incorporated into the academic language. In this context, where Spivak appeared, I analyze how the ”notions” Foucault and Derrida was disputed. I argue that Spivak, during several years before she wrote ”Can the Subaltern Speak?”, had been trying to refute anglophone marxist and postcolonial intellectuals who criticized Derrida. These critics, including Terry Eagleton, Perry Anderson and Edward Said, had been blaming Derrida for being unhistorical, politically evasive and merely textualistic. My argument is that Spivak sought to defend Derrida towards these critics in ”Can the Subaltern Speak?”. In this context, her aim was to emphasize the efficiency of Derrida’s deconstruction as a political tool for marxist, feminist and Third world intellectuals.

Sammanfattning   Målet med min studie är att undersöka och analysera fyra olika läromedel avsedda för högstadieskolan utifrån termen orientalism. Hur gestaltas Muhammed och koranen i de utvalda läroböckerna utifrån Edward W Saids teori och terminologi orientalismen. Den avgränsade perioden för detta arbete börjar med en lärobok från året 1994 och avslutas med en lärobok publicerad år 2014. De två andra läroböckerna som används i denna studie är publicerade 1999 och 2003. Debatten om islam som religion är i den moderna kontexten vanligt förekommande både i massmedia och i en politisk debatt. Skolans läromedel är många gånger den första källan eleven möter i arbetet med andra religioner där av granskas och analyseras läromedel och deras framställning av Muhammed och koranen utifrån Saids teorier om Orienten. Den konklusion jag når fram till utifrån denna undersökning är att det finns en viss skillnad mellan de fyra olika utvalda läromedlen och att det sker en förändring över tid mellan böckerna. Samt att den först publicerade läroboken som undersökts har ett annat språk och andra tolkningar om Muhammed och koranen jämfört med de tre andra läroböckerna som försöker gestalta Muhammed och koranen på ett mer nyanserat sätt.

L’essor de mouvements islamistes - ou d’inspiration islamiste - et de leurs activités dans le monde contemporain exige l’étude de leur finalité et de leur rôle. Les discours et activités de ces mouvements, qu’ils fussent sociopolitiques ou religieux, et leur relation avec le monde laïque, sont variables. Le présent travail vise à analyser l’émergence et le développement de l’un de ces mouvements en France, le réseau islamique turc transnational de Fethullah Gülen (GM). La thèse présente d’abord le contexte idéologique et historique dans lequel le mouvement de Gülen s’est développé. L’expérience turque de la laïcité (laiklik) a influencé la forme et la stratégie d’expansion du mouvement à l’étranger, notamment en France où le modernisme turc a influencé une implantation relativement restrictive du modèle français. La thèse s’attache à montrer l’étroite interconnexion qui existe entre les activités éducatives, sociales, culturelles et économiques avec la hiérarchie du mouvement en Turquie et à travers son réseau international. Elle met en lumière les éléments fondamentaux sur lesquels repose le mouvement : ses ressources humaines, ses organisations, ainsi que son pouvoir financier mais explique aussi le rôle de l’idéologie de Gülen dans la mobilisation sociale ainsi que dans ses actions de légitimation. Elle montre que le succès de Gülen en France relève de la subtilité de sa stratégie de développement: le facteur islamique est cultivé dans la sphère privée et soigneusement écarté de la sphère publique. Enfin, le présent travail montre que le mouvement de Gülen est ambigu et il questionne son identité proclamée de mouvement apolitique, alors que le mouvement s’est illustré récemment dans l’arène politique contre le gouvernement turc. La thèse clarifie le développement du mouvement en France sur la base du concept d’Islam apolitique, et le pouvoir de mobilisation de ce dernier, grâce à la théorie de mobilisation des ressources via la structure organisationnelle, ses activités d’adaptation et de légitimation et son réseau et organisation hiérarchique. / The rise of Islamic or Islamic-based movements and their activities in the contemporary world has required studying their aim and role. However, their discourses and activities, either as socio-political or as religious movements and their relation with the secular contemporary world are diverse. The present work aims to analyze the emergence and development of one of these movements in France, the transnational Turkish-Islamic based “Gülen Movement” (GM). The thesis presents first its ideological background and the historical context in which the GM grew. The experience of Turkish secularism (laiklik) influenced the form and the strategy of the GM abroad, especially in France where Turkish modernism influenced a relatively restrictive implementation of the French model. Then, it shows the close interconnection of the GM’s social, cultural educational and business activities in France, and the hierarchy of the Movement and its network at the national and international level. This thesis highlights the fundamental elements on which the Movement lays, human resources, organizations and financial power, and explains the role of the Movement leader’s ideology in human and social mobilization and legitimization activities. It shows that the GM’s success in France is due to a familiar formula in the installation process of its earlier development in Turkey as well as in other countries, and its capacity to balance visibility and invisibility of Islam respectively in the private and the public spheres. Finally, it shows that the GM has an ambiguous identity, and questions the future of a declared non-political movement, which recently illustrated itself in a political battle – still ongoing – with the current Turkish government. The thesis clarifies that the Movement’s development in France has been made possible by explaining the concept of non-political Islam, and its successful mobilization made possible by outlining resource mobilization theory through its opportunity organizational structure, adaptation/legitimization activities, and hierarchical/network organization.