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For years there has been an ongoing conflict, geographically concerning the southern parts of Thailand. The Malay-Muslim inhabitants of the area state that they do not fully belong to Buddhist Thailand and therefore require independence in various forms. Along with the Muslims, the Buddhist inhabitants of the area also suffer from daily violence and killings. The counteractions over the years seems to have resulted in chaotic conditions where civilians die regularly. After many years of violence, this complex situation has not successfully been ended and is still current. This case study will examine the requisites for peace in southern Thailand. The conflict has been studied through a conflict management perspective, thereof the choice of theory; Svante Karlsson’s conflict management theory. The conflict has been described, discussed and applied to the chosen theory. Results presented in this study shows that it is possible to achieve peace in the southern provinces of Thailand, however cooperation between the parts is necessary. A combination of several conflict management methods by Svante Karlsson can possibly result in peace in southern Thailand.

Magister Artium - MA / Bo-Kaap (BK) is a neighbourhood in Cape Town which has long been home to a predominantly Muslim community with deep ties to the area’s colonial and slave history. In recent years, BK has become a hotbed for developers investing in property in Cape Town. Due to its sought-after location (close to Cape Town’s CBD), a flurry of interest in property development has ushered in an important turn in BK’s history and has begun changing the landscape of the neighbourhood. Important for this study is how BK residents grapple with the influx of rapid gentrification whilst trying to maintain their ‘Malay’ heritage. Historically, BK was known as a ‘Malay Quarter’ and had a distinctive ‘Malay’ identity1 constructed under apartheid legislation. It is this identity and concomitant Malay heritage which is of particular interest in this study. Under the continued threat of wholesale gentrification and arguably a loss of the rich history of early Muslims of the Cape this study hopes to investigate how community members who self-identify as ‘Malay’ signal their legitimacy to the area when discussing the fast pace of gentrification in the area. Notably, variations of BK’s Malay heritage have been documented over time. These works nonetheless point to the complex relationship between the documented/historicized construction of Malay heritage and the lived experience of having a Malay identity. Casting aside the notion of any homogenous Malay identity, this study opts to explore the manner in which a Malay identity is claimed and constructed discursively as legitimate discourse strategies against gentrification. This study adopts an ethnographic approach to studying narratives of Malay heritage in BK obtained through purposive sampling. A Discourse Analysis of narratives of heritage in BK is undertaken to draw attention to the discursive strategies employed by self-identified ‘Malay’ community members in the area. / 2023-12-01

Foreword to Aria Da Capo The libretto of the opera is a verbatim setting of Edna St. Vincent Millay's one act play "Aria da Capo." World events, especially World War II and the current Korean War influenced the choice of this timely, yet timeless play. Miss Millay's death occurred during the composition of the opera. She never knew, therefore, of the composition or performance of her play as an opera. The form of the opera is that of the "da capo" aria. he form, of course, was determined by the play which ends exactly as it started. Thematic material consists mainly of two themes: the opening theme or Scene I (Pierrot and Columbine's scene) and the opening theme of Scene II (the Shepherd's scene). All of the significant motivic material used in Scene I is derived from the opening theme of that scene. In the shepherd's scene, material derived from both of the above mentioned themes is used. The musical style of the two scenes is intentionally contrasting. In Pierrot and Columbine's scene an attempt was made to express their characters by means of a pseudo-popular music style which is rhythmic and lively but has no real depth of emotional feeling. In the shepherd's scene an attempt was made to express their changing characters by means of a very simple style eventually evolving into a more complex style. In order to make the score more easily understood all the orchestrated parts are written in concert. For the same reason all directions to the musicians are given in English instead of the usual Italian. The opera was produced under the direction of Dr. Lucas Underwood. Thomas Haynes, musical assistant to Dr. Underwood, deserves special recognition, not only for his excellent job of conducting the opera, but also for designing the set and staging the opera and for his untiring efforts in rehearsing the cast and the orchestra.

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This dissertation examines the impact of modernity, in the form of modernization, rapid industrialization and the introduction of Western ideas about nationalism and female emancipation, on gender and gender relations in contemporary Malaysian film and literature. Drawing upon theories ranging from Lacanian psychoanalysis, feminism, postcolonialism, nationalism, existentialism to theories about fascism, I examine and critique the representations of gender from the predominantly middle-class writers and the works of the new wave Malay filmmakers. I make the case that these films and literary works reflect the outcome of the National Economic Policy (1971-1990) and, in my analyses, show that these modernizing imperatives, though received positively, are sometimes greeted with a cautionary ambivalence, depending on one's class, gender, ethnicity, and political and religious beliefs. Such ambivalence towards feminism, for example, appears in K.S. Maniam's portrayal of independent female characters, whom I call "fascist 'feminists'," or in the representations of hypermasculinity or male violence in current Malay cinema. Films and literature by some Malays reflect a desire to recover Malay custom, adat, while forging a unique, modern, postcolonial identity that distinguishes itself from the West, other former British colonies and other Muslim nations. However, this subversive postcolonial move must be treated with caution to ensure that it does not replicate prevalent negative stereotypes of women as sexualised beings. A key distinction in this dissertation is that the representations of the modern Malay woman vary according to the gender of the cultural producer: male writers and filmmakers portray the negative impact of modernity on women, whereas their female counterparts portray women at ease with modernity.

This dissertation examines the impact of modernity, in the form of modernization, rapid industrialization and the introduction of Western ideas about nationalism and female emancipation, on gender and gender relations in contemporary Malaysian film and literature. Drawing upon theories ranging from Lacanian psychoanalysis, feminism, postcolonialism, nationalism, existentialism to theories about fascism, I examine and critique the representations of gender from the predominantly middle-class writers and the works of the new wave Malay filmmakers. I make the case that these films and literary works reflect the outcome of the National Economic Policy (1971-1990) and, in my analyses, show that these modernizing imperatives, though received positively, are sometimes greeted with a cautionary ambivalence, depending on one's class, gender, ethnicity, and political and religious beliefs. Such ambivalence towards feminism, for example, appears in K.S. Maniam's portrayal of independent female characters, whom I call "fascist 'feminists'," or in the representations of hypermasculinity or male violence in current Malay cinema. Films and literature by some Malays reflect a desire to recover Malay custom, adat, while forging a unique, modern, postcolonial identity that distinguishes itself from the West, other former British colonies and other Muslim nations. However, this subversive postcolonial move must be treated with caution to ensure that it does not replicate prevalent negative stereotypes of women as sexualised beings. A key distinction in this dissertation is that the representations of the modern Malay woman vary according to the gender of the cultural producer: male writers and filmmakers portray the negative impact of modernity on women, whereas their female counterparts portray women at ease with modernity. / Graduate and Postdoctoral Studies / Graduate

En parcourant l’histoire des deux langues malaise et sanscrite, nous avons non seulement mis encore plusen lumière que le malais puise dans la langue sanscrite mais également remarqué que les mots sanscritsempruntés ont subi des modifications au niveau phonologique. Par ailleurs, le préfixe sanscrit est toujoursutilisé pour créer de nouveaux mots. Nous avons proposé que le malais soit alors rattaché à la branche« Indo-malaisienne ». Nous mettons en évidence dans ce travail des structures phrastiques canoniquesd’une part du malais et d’autre part nous comparons les systèmes verbaux du français et du malais. Le malais présente un degré d’agglutination élevé alors que pour le français le phénomène est très rare. Nous voyons par exemple aussi qu’en français le complément indirect est introduit par une préposition alors que le malais omet la préposition, que le verbe « ada » en malais exprime certains sens des verbes « être et avoir », que les structures de transitivité du verbe et les structures aspectuelles ne sont pas identiques dans les deux langues, etc. Nous avons mis en place un formalisme qui permet de comparer les deux systèmes en nous inspirant des microsystèmes établis par S. Cardey et pour créer d’autres microsystèmes verbaux. Nous voyons ainsi mieux les convergences et divergences au niveau des structures et des systèmes verbaux du français et du malais. / Having closely examined the history of Malay and Sanskrit, we have not only shed new light on Malay’sdrawing on Sanskrit but we have also observed that words borrowed from Sanskrit have beenphonologically modified. Furthermore Malay still uses Sanskrit prefixes to generate new words. Wepropose that Malay be attached to the ‘Indo-Malaysian’ language branch. We have analyzed canonicalsentence structures and have also compared the verbal system of French and Malay. Malay is a highlyagglutinative language whilst for French verbs this phenomenon is very rare. We have observed forexample that the indirect object is introduced by a preposition in French whilst prepositions are absent inMalay; that the Malay verb “ada” can represent certain meanings of ‘be and have’ in French (être andavoir); that transitive and aspectual structures are not the same in the two languages, etc. We havedeveloped a formal representation which enables comparing the French and Malay languages systems, thisbeing inspired by S. Cardey’s micro-systemic approach which has also enabled creating other verbal microsystems.In doing so, we have clarified the similarities and differences concerning French and Malaystructures and verbal systems.

The Malay and Penya Basins, offshore Peninsular Malaysia, were formed during the early Oligocene as a result of regional dextral shear deformation caused by the indentation of India into Eurasia in the early Tertiary. Pre-existing basement inhomogeneities exerted a strong control on basin development. The Penyu Basin developed, initially, as isolated grabens and half-grabens at basement fault intersections, in response to roughly N-S extension. The major structures which include low-angle listric normal faults, pull-apart rhomb grabens and flower structures, suggest that "thin-skinned" crustal extension and strike-slip tectonics have played an important role in basin evolution. Basement faults in the Malay Basin are oblique (E-W trending) to the basin trend (NW-trending). The Basin developed by transtension of NW-trending sinistral shear zone, in which fault-bounded blocks rotate in response to the shear deformation, producing a series of E-trending half-graben depocentres. The Basins were subjected to transpressive inversion during the middle-late Miocene, as a result of rotation of the regional stress field, caused by progressive indentation of India into Eurasia. Subsidence analysis suggests that lithospheric stretching was the dominant process of basin formation. The high heat flows (85-100 mW m⁻²) are consistent with stretching factors, β, of 1.2 to 4.3. In the Malay Basin, uplift of the basin flanks preceeded subsidence during the rifting phase as a result of non-uniform stretching and lateral heat flow from the centre of the Basin. Both basins are undercompensated isostatically and characterised by low negative free-air gravity anomaly in the order of -20 mGal. Undercompensation suggests that the basins were formed, partly, by "thin-skinned" crustal extension which did not involve stretching of the subcrustal lithosphere.