This dissertation provides an understanding of Sediqeh Dowlatabadi's notion of modernity and her contribution to the Iranian women's movement by an examination of her life and writings. In particular, the dissertation pays attention to her role as a newspaper publisher of Zaban-e Zanan (Women's Tongue) and director of the Kanun-e Banuvan (Women's Society.) Dowlatabadi's understanding of her social condition was based on the space she found herself within at different phases of her life; the concept of modernity she held in her youth, which was partially inhibited by societal expectations, was not the view of modernity she ascribed to in the later stages of her career and has become known for as a pioneer of Iranian women's rights.In Chapter Two, Dowlatabadi's formative environment and benefits from a politically and culturally fluid space because of her family's heterodox religious ties and participation in events leading up to and during the Iranian Constitutional Revolution (1905-1911 CE) are examined. In this environment Sediqeh received a strong education but continued to adhere to many common cultural practices. Thereafter, in Chapter Three, Dowlatabadi's actions and writings during the first run of her publication are examined. "A Pitiful Story," which is a piece of Dowlatabadi's fiction from the period, is analyzed utilizing neo-historicist criticism. During this time period the public space allowed her to imagine a somewhat more liberal notion of modernity than many of her contemporaries. In Chapter Four, Dowlatabadi's support to go abroad and reasons for moving to an international space are considered. Her interactions with the international women's movement and the new space she found herself in are analyzed in Chapter Five; regardless, she remained true to her own Iranian-ness above all else. Finally, in Chapter Six, Dowlatabadi's return to Iran is deconstructed as is her behavior of working within the Pahlavi system to oppose it.Dowlatabadi made many unique contributions to the Iranian women's movement and the international women's movement. Dowlatabadi, in her role as an advocate of Iranian modernity, created a façade for herself as an "every woman" which other Iranian women could identify with and aspire to be.

Albania is a young democratic country that is still learning how to move forward. Albania has lived under regimes not democratically chosen for centuries: the Ottoman Empire before and the Communist regime than. These impositions have not allowed it to create an identity as a nation, this is the reason why they believe into the only code not forced from the high and that dates back to the Middle Age. The Kanun of Lëke Dukagjini is a customary code of laws that has ruled Albanians lives before the Ottoman Empire conquered the country. The Kanun influences everyday life still today. Albania remains tied to old traditions but on the other hand looks at the European Union as a role model. Albania is a country in between, traditions on one hand and progress on the other. The desire to be included in the Union has dramatically increased over the last decade. In these years, the government has been trying to satisfy the applications of Brussels hoping to get the candidacy. In 2014 Albania obtained the candidacy. Through the realization of laws in all fields, the government seems inclined to reach the standards of the European countries. In spite of all these progresses and changes, for Albanian population nothing seems different and everything appear just a way to show improvement to EU and EU countries but in everyday life it seems as same as always. It seems not possible to eradicate the mentality of citizens. Gender inequality and blood feuds are still a reality. The questions that guide this research are: how is it possible that a customary law is still so strongly present in Albanians lives? Is this a possible obstacle towards the European process of inclusion?

This dissertation is a case study of Albania regarding the influence institutions have over the utilization of the EU financial aid, more specifically, the Instrument for Pre-accession Assistance II (IPA II) for the period of 2014-2020. Albania has been struggling with EU accession despite the allocation of numerous funds in the form of development programs for several years. The study attempts to identify the endogenous obstacles to development and the utilization of funds due to both formal and informal institutions. The reviewed literature shows a clear correlation between economic growth and good quality institutions. Besides, it indicates that informal institutions play a major role in the development process. Therefore the role of the Kanun in Albania is examined. As defined by mainly Douglas North, the New Institutional Economics theory is used to dive into Albania’s formal and informal institutions and discover how those determine the politico-economic and social structures. Semi-structured interviews were conducted with nine key participants who work in IPA II projects at the local level across the country. The country was divided into three regions in order to identify variations in the role of IPA II funds, institutions, and degree of development. Before the analysis is done and the results are presented, the historical background of the three key historical periods of the country, Ottoman, Communist and Democracy, is provided to set the base of the origin of present institutions. The results from the interviews and the macro-economic indicators of the three regions show a correlation between good defined formal institutions and economic growth and strong informal institutions and stagnation, as the theory suggested.

The Kanun of Lekë Dukagjini is the most famous and comprehensive compilation of Albanian customary law. For centuries it strictly governed social behavior and everyday life among Albanians in different historical periods. Even if the Kanun is not legal today, it is widely respected and still practiced in parts of Albania and Kosova. The aim with this thesis is to study how Kosova Albanians in Sweden relate to the customary laws concerning family and marriage in the Kanun. In order to reach the aim, a qualitative research method was used. We have conducted seven semi-structured interviews with Kosova Albanians living in Sweden, more precisely in Helsingborg, and compared their answers to the traditional laws in the Kanun. The theoretical framework for the thesis is based on the concepts ethnicity and culture, Berger’s and Luckmann’s theory on the social construction of reality and Baumann’s conception of the idea of ethnicity as cultural identity. In our study we found that the Kanun is a good example on how culture is institutionalized and socially constructed. Our results show that the laws stipulated in the sections family and marriage are still practiced with certain changes by Kosova Albanians in Sweden and that there are some gender differences in how the informants perceive their ‘reality’.

My thesis explores the roles in Albanian nation-building of the Kanun of Lekë Dukagjin, an early-twentieth century codification of northern-Albanian customary practices, and the Pajtimi i Gjaqeve, a late-twentieth century movement to conciliate blood feuds in Kosovo. To understand them, we need to know: what both were, in their own terms; their significance; and how they relate to other aspects of nation-building, and comparative examples. I draw on participant-observation fieldwork, archive work and extensive interviews. Nation-building is necessarily complicated and the Albanian case particularly so. The existence of an Albanian nation was contested by neighbouring peoples, and its characteristics, by Albanians themselves. In this complex context, the text of the Kanun, and the Pajtimi i Gjaqeve, give us good insights into Albanian understandings of the nation, and associated nation-building activities, at pivotal points in national history. While the nation-building projects of the region had many elements in common, prominent ideas of a ‘national’ legal tradition are a distinctive aspect of the Albanian case. Both the Kanun of Lekë Dukagjin and the Pajtimi i Gjaqeve need to be understood as aspects of nation-building. In the context of a crumbling Ottoman Empire, by presenting Albanian customary practices in the form of a legal code, the Albanian codifier made claims about the contents and the people from whom they came. The Kanun demonstrated the existence of a distinct people with a tradition of self-governance and mediation; and made significant contributions to the crucial process of language standardisation. In the context of the 1990s break-up of Yugoslavia, ideas of an Albanian legal tradition re-emerged in Kosovo, in the Pajtimi i Gjaqeve which presented intra-Albanian disputes as national concerns, and drew on traditional values and customary practices to effect conciliations. Subsequently, the Movement itself has become a national resource, through reference to which important ideas about the nation are expressed.

For centuries, Arabic music has been intrinsically linked to Arab culture and by extension bonded to the environmental landscape of the region, reflecting their emotions, moods, and behaviors. Numerous technological advancements in the latter half of the twentieth century, have greatly affected the rich legacy of Arabic music, significantly impacting the natural progression of traditional Arabic musical genres, scales, and instrumentation. This thesis serves as an introduction to generative methods of music production, specifically music generated through gestures. Through generative music, and its unique ability to map gestures to different musical parameters, music can be produced using computer algorithms. The outcome of this thesis aims to demystify the intricacies of recent technological advancements to enable the musician and the audience to incorporate responsive technology into their ensembles. This approach aims to further evolve Arabic music, using the concepts of Arabic music creativity while addressing international accessibility through integration. The intention of this thesis is to bridge between the contemporary and the traditional Arabic audiences and provides insight into a possible future of Arabic music based on its own fundamental principles.