Cette thèse se propose d'analyser les événements internes à l'Empire ottoman envers les Arméniens de 1894 jusqu'en 1914 aux yeux de l'opinion publique française à travers les sources journalistiques françaises. De 1894, début des massacres des Arméniens jusqu'à la prise de pouvoir des Jeunes-Turcs (1908), comment les années d'Abdul-Hamid II envers la population arménienne furent-ils perçus et quelle fut la vision du gouvernement unioniste (1908-1914) face aux Arméniens ? Voilà un aperçu des principales problématiques qui sera abordé à travers notre étude. / This thesis aims to analyze the internal events in the Ottoman Empire against Armenians from 1894 until 1914 in the eyes of the French public through the French journalists' sources. 1894 start of the massacres of Armenians to the takeover of the Young Turks (1908), how the years of Abdul Hamid II to the Armenian population were they received and what was the vision of the Union government (1908 -1914) against the Armenians? This is an overview of the main issues that will be addressed through the study.

Syftet med följande studie är att med utgångspunkt i en maktanalys av Mohsin HamidsExit väst undersöka romanens didaktiska potential i svenskämnet och i skolans värdegrundsarbete. Studien refererar till Martha C. Nussbaums teori kring den narrativa fantasin och interkulturell pedagogik som didaktiska verktyg vid arbete med romanen.Exit väst skildrar de utmaningar och svårigheter som flyktingar och immigranter kan uppleva i västvärlden. Genom en maktanalys blir de orättvisa och negativa maktdynamiker som skildras i romanen tydliga. Studien vill visa att eleverna kan utveckla ett empatiskt och emotionellt förhållningssätt till karaktärerna och deras erfarenheter genom narrativa fantasi. Detta i sin tur kan vidga elevernas förståelse för olika människor och deras skilda livsvillkor. Exit väst öppnar även upp för interkulturell undervisning i svenskämnet och i värdegrundsarbetet. Studien visar att det finns didaktisk potential i användningen av romanen i litteraturundervisning för att uppfylla kursmål och värdegrundsarbete.

Writers of fiction have long since relied on love, romance, and desire to drive the plots of their work, yet some postcolonial authors use romance and interpersonal relationships to illustrate the larger political and social forces that affect their relatively marginalized experiences in a global context. To illustrate this literary strategy, I have chosen to discuss four novels written in the twenty-first century by Pakistani authors: Tbe Reluctant Fundamentalist by Mohsin Hamid, Trespassing by Uzma Aslam Khan, The Wasted Vigil by Nadeem Aslam, and Burnt Shadows by Kamila Shamsie. With the geographical origin of these writers as a common starting place from which to compare and contrast their perspectives on global politics, their understandings of gender, and their perceptions of how the public and the private constitute and intersect each other, I will use postcolonial theory to dissect the treatment of romance in their respective novels. / v, 85 leaves ; 29 cm

Thesis (MA (English))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This thesis explores the themes of representation and identity in four post-9/11 novels: Khaled Hosseini’s The Kite Runner, Mohsin Hamid’s The Reluctant Fundamentalist, Frédéric Beigbeder’s Windows on the World and Don DeLillo’s Falling Man. The novels of Hosseini and Hamid represent the experience of two Muslim protagonists from Afghanistan and Pakistan who immigrate to the US. The protagonists offer two contrasting understandings of fundamentalism, using this lens to understand the terrorist figure and American society respectively. The construction of power for both the American society and the terrorist is argued to be located in images which are linked to masculinity: money, sport, militancy, sex and religious devotion. The personal experiences of these protagonists reflect the political circumstances which they encounter, and both characters identify with national identities in ways which relate to their readings of representations of identity and news media. Beigbeder and DeLillo’s novels are discussed using the theme of trauma. The novels portray the experiences of American characters who are confronted with 9/11 and suffer from disorientation and loss. The negotiation of this loss takes place in relation to entanglements with the terrorist figure, who penetrates the physical and psychological spaces of these characters. Images of masculinity are evoked in order to signify this loss of power, where the destabilising of the paternal role is linked to the pervasive sense of vulnerability which the characters experience after the attacks. Memorials and rituals become ways of dealing with disorientation. The two novels unsettle the distinction between terrorist and terrorised in order to negotiate a new American identity after 9/11. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek temas van representasie en identiteit in vier post-9/11 romans, naamlik Khaled Hosseini se The Kite Runner, Mohsin Hamid se The Reluctant Fundamentalist, Frédéric Beigbeder se Windows on the World en Don DeLillo se Falling Man. Hosseini en Hamid se romans verbeeld die ervarings van twee Muslim-protagoniste, onderskeidelik afkomstig van Afghanistan en Pakistan wat na die VSA immigreer. Hierdie protagoniste verbeeld twee uiteenlopende beskouïngs van fundamentalisme wat gevolglik aangewend word om die terroris-figuur en die Amerikaanse gemeenskap te verstaan. Die konstruksie van mag vir die Amerikaanse gemeenskap en die terroris-figuur word getoon, is geleë in beelde wat verband hou met manlikheid, naamlik geld, sport, militarisme, seks en toegewydheid. Die persoonlike ervarings van hierdie protagoniste weerspieël die politieke omstandighede waarmee hulle kennis maak. Beide hierdie karakters vereenselwig hulself met nasionale identiteite op grond van hul begrip van representasie van identiteit en die media. Beigbeder en DeLillo se romans word volgens die tema van trauma vergelyk. Hierdie romans beeld die ervarings van Amerikaanse karakters wat met 9/11 gekonfronteer word en met disoriëntasie en verlies worstel, uit. Die oorweging van hierdie verlies vind plaas in verhouding tot ontmoetings met die terroris-figuur wat die fisiese en psigiese ruimtes van hierdie karakters binnedring. Voorstellings van manlikheid word opgeroep om die verlies van mag ten toon te stel. Hierdie verlies van mag word gekenmerk deur die destabilisering van die vaderlike rol tesame met die diepgaande sin van weerloosheid wat die karakters na die aanval ervaar. Gedenktekens en rituele word vervolgens instellings om met die disoriëntasie om te gaan. Uiteindelik problematiseer die twee romans die onderskeid tussen terroris en geterroriseerde om sodoende ’n nuwe Amerikaanse identiteit ná 9/11 tot stand te bring.

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This thesis seeks to interpret the cinematic representations of Hong Kongers’ identity quest during a transitional state/stage related to the sovereignty transfer. The Handover transition considered is an ideological one, rather than the overnight polity change on the Handover day. This research approaches contemporary Hong Kong cinema on two fronts and the thesis is structured accordingly: Upon an initial review of the existing Hong Kong film scholarship in the Introduction, and its 1997-related allegorical readings, Part I sees new angles (previously undeveloped or underdeveloped) for researching Hong Kong films made during 1982-2002. Arguments are built along the ideas of Hong Kongers’ situational, diasporic consciousness, and transformed ‘Chineseness’ because Hong Kong has lacked a cultural/national centrality. This part of research is informed by the ideas of Jacques Derrida, Homi Bhabha and Stuart Hall, and the diasporic experiences of Ien Ang, Rey Chow and Ackbar Abbas. With these new research angles and references to the circumstances, Part II reads critically the text of eight Hong Kong films made during the Handover transition. In chronological order, they are Boat People (Hui, 1982), Song of the Exile (Hui, 1990), Days of Being Wild (Wong, 1990), Happy Together (Wong, 1997), Made in Hong Kong (Chan, 1997), Ordinary Heroes (Hui, 1999), Durian Durian (Chan, 2000), and Hollywood Hong Kong (Chan, 2002). They meet several criteria related to the undeveloped / underdeveloped areas in the existing Hong Kong film scholarship. Hamid Naficy’s ‘accented cinema’ paradigm gives the guidelines to the film analysis in Part II. This part shows that Hong Kongers’ self-transformation during transition is alterable, indeterminate, and interminable, due to the people’s situational, diasporic consciousness, and transformed ‘Chineseness’. This thesis thus contributes to Hong Kong cinema scholarship in interpreting films with new research angles, and generating new insights into this cinematic tradition and its wider context.

From roughly 1865 to 1926, the forces of European imperialism brought the Islamic pilgrimage to Mecca under the scrutiny of non-Muslim interests. The driving force behind this dramatic change was the expansion of the British Empire’s maritime supremacy in the Indian Ocean basin. With the development of steamship travel and the opening of the Suez Canal, colonial authorities became increasingly involved in the surveillance of seaborne pilgrims. During this period, the hajj came to be recognized as both the primary conduit for the spread of epidemic diseases, such as cholera and plague, and a critical outlet for the growth of Pan-Islamic networks being forged between Indian dissidents, pilgrims, and the Ottoman Empire. As a result, the British and Ottoman empires engaged in a struggle for control of the hajj, which would ultimately reshape both the hajj and the political landscapes of the Middle East and South Asia.