In 2000, Iraqi-born film director, poet and author Hassan Blasim fled Iraq to escape persecution for his films on the forced migration of Kurds by Saddam Hussein's regime. After travelling through Europe for four years, he was granted asylum in Finland. It was in Europe that many of his short stories were published, including Majnūn Sāḥat Al-ḥurrīya (2015) which offers a haunting critique of the war and post-war experiences of migrants fleeing Iraq and settling in Europe. This thesis is an investigation of how the migrant figure is dehumanised during the migration trajectory from displacement to integration through three of the short stories in Hassan Blasim’s Majnūn Sāḥat Al-ḥurrīya: Šāḥinat Barlīn (The Truck to Berlin), Al-ʾaršīf Wa-al-wāqiʿ (The Reality and the Record) and Kawābīs Kārlūs Fuwantis (The Nightmares of Carlos Fuentes). This thesis uses close reading in order to highlight how the migrants in these short stories are depicted as ingenuine asylum claimants who cheat and perform to gain entry to the West and as terrorists or animals who are a threat to the cultural norms of the receiving nations. In this thesis, it is argued that it is these depictions and assumptions which lead to their negative treatment and societal rejection.

This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul ¹- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara. I collaborated with her as a composer and performer on her last album, El Aaiun egdat (Aaiun in fire), in 2012² and gained first hand insight into the relationship between Mariem and Nubenegra. This thesis reflects on this relationship and my role in facilitating this encounter.

L’organisation territoriale de l’Égypte « unifiée » a dans un premier consisté en un découpage des deux grandes entités géographiques qui la constituent, la Haute et la Basse-Égypte, en un nombre variable de régions nommées sp3.t (sépat). Chacune de ces divisions, que nous nommons « province », possède une histoire, une culture et des cultes qui lui sont propres mais qui s’inscrit malgré tout dans celle du pays.L’étude de la XVIe province de Haute-Égypte, ou province de l'Oryx, se fait sur trois niveaux. Tout d’abord la géographie humaine, qui traite de l’administration du territoire comme des ressources ainsi que de leur évolution, mais également des individus vécurent à ces époques et prirent part à l’histoire de la province. Ensuite, la topographie cultuelle qui s’intéresse à la répartition des nécropoles et des lieux de cultes dont l’intérêt concerne autant l’économie que l’influence cultuelle. Enfin la géographie religieuse s’appuie sur les conceptions mythologiques, comme les processions géographiques, qui reprennent des éléments de tradition cultuelle dans le but de développer une véritable somme cultuelle de chaque province alors que, durant le IIe millénaire AEC, le système provincial s’effondre. Dès lors, le découpage des provinces se maintient dans les temples, bien que certains éléments de ces sommes soient de pures inventions destinées à compléter des données inconnues ou inexistantes, mais créant alors de toutes nouvelles traditions.De cette manière, la province de l’Oryx se démarque par une importance relative durant l’Ancien Empire mais surtout durant le Moyen Empire. Au Nouvel Empire, le fractionnement de la province a conduit certaines des localités les plus importantes à nouer des relations avec une métropole voisine, Hermopolis. Ainsi, peu à peu, la province perd en puissance et finit par perdre son identité au profit du nouveau nome hermopolitain. En revanche, durant ce déclin, l’ancienne capitale, Hébénou, voit un regain de popularité à travers l’emblème de la province, l’oryx qui devient une bête séthienne et maléfique. Sa divinité poliade, Horus, acquiert alors un statut de chasseur d’oryx et de restaurateur de l’ordre cosmique, des traits qui deviennent le nouveau visage de cette province autrement oubliée. / The territorial organisation of the « united » Egypt consisted first in a division of the two great geographical entities composing it, Upper and Lower Egypt, in a varying number of regions called sp3.t (sepat). Each one of these divisions we call “province” has its own history, culture and cults which are included in the ones of the country.The study of the 16th Upper Egyptian province, or Oryx province, stands on three levels. First, human geography deals with territory administration and resources and their evolution, but also on the individuals who lived in those times and took action in the history of the province. Then, cultic topography focuses on the distribution of necropolises and sanctuaries, which interest is economy as well as cultic influence. At last, the religious geography is based on mythological constructions, such as geographical processions, which take elements from the cultic traditions in order to develop real cultic summas while, during the 2nd millennium BCE, the provincial system collapses. Therefore, the provincial division remains in the temples, even if some elements of these summas are pure inventions intended to complement unknown or inexistent data, creating so whole new traditions.In this way, the Oryx province stands out with a relative importance during the Old Kingdom, but especially during the Middle Kingdom. In the New Kingdom, the splitting of the province led some of the most important localities to bond with a neighbour metropolis, Hermopolis. Thus, progressively, the province loses power and ends up with losing its own identity in favour of the new Hermopolitan Nome. However, during this demise, the old capital, Hebenu, gets a popular revival through the province emblem, the oryx, which becomes a sethian and maleficent beast. Its poliad divinity, Horus, acquires a new status of oryx hunter and cosmic order restorer, features forming the new face of this otherwise forgotten province.

No description available.

Modernitet har ofta skildrats i litteraturhistorien med hjälp av en sammanbindning mellan panoramavy och bildningsresa. Ettsärskilt narrativ återkommer i sådana berättelser: protagonisten kämpar för att hitta genom storstadens myllrande gator, blir så småningom bekant med democh fullföljer därmed sin bildningsresa. Detta symboliseras genom en panoramavy över staden. Uppsatsen undersöker Hassan Loo Sattarvandis Still (2008), vilken använder panoramavyn i sin skildring av Stockholmsförorten Hagalund men tematiserar monotoni i stället för den förändring som tematiseras i skönlitteratur om moderniteten. Syftet med uppsatsen är att diskutera i vilken utsträckning denna kontrast beror på stadsplaneringen i Hagalund och vad ett sådant samspel mellan monotoni och miljö innebär för skildringen av modernitet. Genom geokritisk metod, vilken analyserar hur miljön påverkar berättelsen genom karaktärers rörelsemönster, framträder stadsplaneringen som gemensam komponent mellan de återkommande panoramavyerna, moderniteten, bildningsresan, flanerande och slutligen monotonin som tematik. Stadsplaneringen i romanen är nämligen utformad för att stävja moderniteten, och förlagan till utformningen härrör ur panoramavyn som uttryck för kontroll. Detta resulterar i att protagonisten i Still flanerar i cirklar och aldrig kan fullfölja sin bildningsresa, vilket symboliseras med en konstant panoramavy. Monotonin som tematik integreras och binds således till romanens miljö för att uttrycka segregation, avsaknad av utvecklingspotential och en avstannad modernitet. Uppsatsens bidrag består i en ny läsning av romanen, i vilken tematiken är bunden till sin miljö, som bör skänka nytt ljus till svensk arbetarlitteratur och läsningar av förortsskildringar i stort.

Security and race have historically been entangled in the politics of nation-building, whereby national security discourses have constructed the ‘public’ whom it should protect as ‘white’ while demonizing persons of colour as a threat to that public. In the current war against terrorism, these racialized discourses, underwritten by a colonial logic, have materialized through the symbolic and literal displacement of Muslim persons. Under this imperative of national security, both existing and novel legislations have either been suspended, contorted, or implemented to be used against Muslims, or anyone who visibly appears Muslim. Security certificates are one of such judicial tools. This thesis seeks to explore the experiences of securitization, analyzing how this legislation strips the subjects of the security certificate program of their legal rights and social connectedness. To explore this, I interviewed three of the five men from the ‘Secret Trial Five’ cases and some of their family members. I investigate how securitization manifests in the lives of those who have been securitized, exploring the practices that are used to maintain and reinforce the othering and the displacement of Muslim populations.

[EN] In the first half of the 20th century, Mexico, India and Egypt, embarked in a process of cultural self-affirmation that will live its mark in their national architecture. These three countries are placed in regions with an architectural heritage for thousands of years that, unfortunately, they have been disrespected during the Western occupation. Far from a change taking place, the blind faith in Western culture made them embrace the international style that hardly could be accepted by the lack of technical adequacy and scarcity of economic resources. Against this background, three figures emerged that are the purpose for this study: Hassan Fathy, Juan O'Gorman y Balkrishna V. Doshi. These architects present parallel lives; located obstinately against the century of the specialization and committed to acting as a guard of the local traditions. These architects will try to achieve answers to the questions of architectural identity suitable to their new nations. An identity which modernity is based on the local tradition and the technology adapted to the level of development of their countries and appropriable for their beneficiaries. The study tries to demonstrate the degree of affinity of their discourses, despite the apparent distance of their homelands. We will focus on the strategies to confront those common problems that they found in the course of their works. These strategies will form a common catalogue of architecturally applicable solutions in developing countries who try to reach the benefits of globalization without giving up their cultural roots. / [ES] En la primera mitad del siglo XX, México, India y Egipto, se embarcaron en un proceso de autoafirmación cultural que tendrá su eco en la arquitectura nacional. Se trata de tres estados asentados en regiones con una herencia arquitectónica de miles de años que, lamentablemente, había sido denostada en una lucha de poder durante la ocupación occidental. Lejos de producirse un cambio, la fe ciega en occidente les hizo abrazar un estilo internacional que a duras penas podía ser aceptado por la falta de adecuación técnica y carestía de recursos económicos. Ante este panorama, surgieron las tres figuras que son objeto de estudio: Hassan Fathy, Juan O'Gorman y Balkrishna V. Doshi. Estos arquitectos presentan vidas paralelas; ubicadas tercamente a contracorriente en el siglo de la especialización y empeñadas en actuar como centinelas de las tradiciones locales. Los tres arquitectos tratarán de lograr respuestas a las cuestiones de identidad arquitectónica dentro de sus naciones embrionarias. Una identidad cuya modernidad se base en la tradición local y la tecnología apropiada al nivel de desarrollo de sus países natales y apropiable por sus beneficiarios. El estudio pretende demostrar el grado de afinidad de sus discursos, pese a la lejanía aparente de sus países de origen. Se incidirá sobre sus estrategias para afrontar aquellos problemas comunes que se encontraron en el ejercicio de su profesión. Estas estrategias configurarán un catálogo común de soluciones arquitectónicas aplicables en países en vías de desarrollo que pretendan alcanzar los beneficios de la globalización sin renunciar a sus orígenes. / [CA] En la primera meitat del segle XX, Mèxic, Índia i Egipte, es van embarcar en un procés d'autoafirmació cultural que tindrà el seu ressò en l'arquitectura nacional. Es tracta de tres estats assentats en regions amb una herència arquitectònica de milers d'anys que, lamentablement, havia estat injuriada en una lluita de poder durant l'ocupació occidental. Lluny de produir-se un canvi, la fe cega en occident els va fer abraçar un estil internacional que amb prou feines podia ser acceptat per la falta d'adequació tècnica i carestia de recursos econòmics. Davant aquest panorama, van sorgir les tres figures que són objecte d'estudi: Hassan Fathy, Juan O'Gorman i Balkrishna V. Doshi. Aquests arquitectes presenten vides paral·leles; situades tossudament a contracorrent al segle de l'especialització i obstinades a actuar com a sentinelles de les tradicions locals. Els tres arquitectes tractaran d'aconseguir respostes a les qüestions d'identitat arquitectònica dins de les seves nacions embrionàries. Una identitat moderna basada en la tradició local i la tecnologia apropiada al nivell de desenvolupament dels seus països natals i apropiable pels seus beneficiaris. L'estudi pretén demostrar el grau d'afinitat dels seus discursos, malgrat la llunyania aparent dels seus països d'origen. S'incidirà sobre les seves estratègies per afrontar aquells problemes comuns que es van trobar en l'exercici de la seva professió. Aquestes estratègies configuraran un catàleg comú de solucions arquitectòniques aplicables en països en vies de desenvolupament que pretenguin aconseguir els beneficis de la globalització sense renunciar als seus orígens. / Artola Dols, S. (2015). VIDAS PARALELAS: HASSAN FATHY, JUAN O'GORMAN Y BALKRISHNA DOSHI. Paralelismos y divergencias a través de sus obras y teorías sobre arquitectura en el contexto postcolonial [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/59435