Thesis--Hamburg. / Vita. Includes index. Bibliography: p. 96-98.

Thèse de doctorat--İstanbul--İÜT. / Bibliogr. p. 770.

Originally presented as the author's Thesis (Ph. D.)--McGill University, 2002. / Includes bibliographical references (p. [169]-197).

Studiens syfte är att utforska hur Aftonbladet och Expressen gestaltade bostadsministern Mehmet Kaplan från den 14 april 2016 fram till 18 april 2016 då han avgick som minister. Syftet är också att se hur förändring av gestaltningen under dessa dagar ter sig. Slutligen kommer studien att jämföra de två tidningarna för att se om och hur de skiljer sig åt i sin gestaltning. De frågeställningar som studien utifrån detta syfte ämnar behandla är följande. -       Hur gestaltas Mehmet Kaplan mellan den 14- 18 april? -       Hur förändras gestaltningen under dessa dagar? -       Hur skiljer sig de olika tidningarnas gestaltning åt?   Metoden som tillämpas är en kvalitativ textanalys, som i praktiken innebär att ställa frågor till texten. Frågorna har byggts upp utifrån Strömbäcks och Entmans teori och definition av gestaltningens fyra grundläggande egenskaper. Vidare har resonemanget om den journalistiska dramaturgins grundläggande element och språkliga redskap inom sensationsjournalistik, använts som stöd i utformandet av analysfrågorna.   Analysmaterialet är hämtat från Retriever, begränsat på redaktionellt digitalt publicerade artiklar mellan datumen 14 - 18 april. Urvalet resulterade i 23 aktiva analysenheter för studien varav är 11 från Aftonbladet och 12 från Expressen.   Studiens resultat är att Mehmet Kaplan gestaltades från Aftonbladet och Expressens håll som otillgänglig, antisemitisk och islamistisk. Samtidigt vidhöll hans politiska kollegor utåt att Kaplan var humanist, demokrat och antirasist. Rapporteringen under de fyra aktuella dagarna var i olika skeenden. En upptrappning, följas av tystnad och sedan explodera i en enorm rapportering, fram tills att Kaplan avgått. Rapporteringen mellan de tidningarna skiljde sig åt, det förklaras i studien på grund av dess olika politiska ideologier. / The study aims to explore how Aftonbladet and Expressen portrayed Housing Minister Mehmet Kaplan from April 142016 until April 18, 2016 when he resigned as minister. The aim is also to see how the change in depiction during these days seems. Finally, the study will compare the two newspapers to see if and how they differ in their interpretation. The issues that the study on the basis that purpose intend to treat is the following. -How portrayed Mehmet Kaplan from 14-18 April? -How to change the design on these days? -How do the various newspaper design at? The method used is a qualitative text analysis, whichin practice means to put questions to the text. The questions have been built up on the basis Strömbäcks and Entmans theory and definition of Gestalt Association four basic characteristics. Furthermore, the reasoning of the journalistic dramaturgy basic elements and linguistic tools in sensational journalism, used to support the design of analytical questions. The analysis material is taken from the Retriever, bounded on digital editorial articles published between the dates of April 14 to 18. The selection resulted in 23 active units of analysis for the study of which 11 are from Aftonbladet and 12 from Expressen. The study's resultis that Mehmet Kaplan figure was from Aftonbladet and Expressen hold as unavailable, anti-Semitic and Islamist. At the sametime maintained his political colleagues out that Kaplan was a humanist, democrat and anti-racist. Reporting during the four days in question were in various stages. An escalation,followed by silence and then explode in a huge reporting, until the Kaplanresigned. The reporting of the newspapers differed, it is explained in the study because of its different political ideologies.

This dissertation is a study of the political career and thought of Said Halim Pasha (1865--1921), a prominent Islamist thinker and eminent Ottoman statesman, set against the historical and ideological background of his time. / The period covered in this study extends from the twilight of the Hamidian era to the end of the Ottoman Empire (1900--1922). During these two crucial decades, the Ottoman Empire, prior to its demise, went through an immense transformation. The establishment of the Constitutional regime in July 1908 allowed several ideological currents to circulate freely on the political scene and to compete in filling the vacuum created by the fall of the ancien regime. Among these ideologies, three rose to prominency: Westernism, Turkism, and Islamism. Said Halim Pasha, one of the best representatives of the Islamist school, made important contributions to the ideological debates which were raging. In his writings that appeared between 1910 and 1921, Said Halim Pasha advocated a thorough and radical Islamization of the Muslim world in order to halt its decline and to ensure its progress. With regard to his political career as Grand Vizir of the Ottoman Empire, Said Halim Pasha proved himself to be a mastermind of diplomacy. Until his political isolation and deprivation of power by the Turkist wing of the CUP Government, he kept at bay the aggressive imperialist Powers and frustrated their plans to partition the Ottoman Empire.

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Modern scholarship associates the period in which the Safavid dynasty ruled in Iran (1501-1722) with two major developments in the Persianate. One is sectarian rupture between Iran under the Shi‘i Safavids, and other Persianate regions - including Turan (Central Asia) - under Sunni dynasties. The other is a roughly contemporaneous (late sixteenth-eighteenth century) movement in Persian poetry, which has long been designated in modern scholarship as sabk-i Hindī (the Indian style); I refer to this movement as the poesis of freshness. Through the assumption that India is outside the proper or natural home of Persian poetry, modern scholarship has tended to characterize the Indian style in terms of decline. The accounts of both sectarian rupture and the Indian style rely on assumptions about difference on the basis of anachronistic categories including sect, nation, and ethnicity. This dissertation shifts focus from modern assumptions about difference, to ways in which participants in the poesis of freshness made sense of kas̱rat (multiplicity), understood to indicate creation as that in which difference and determinacy inhere. What were ways of gleaning the presence of vaḥdat (unity) – including, but beyond, divine unity – in multiplicity, and of engaging with multiplicity so as to bring about unity? Given the association of verbal expression (lafẓ) with multiplicity, I understand poesis as one means of effecting the imaginative transformation of multiplicity and the cultivation of unity. A major emphasis in modern critiques of the so-called Indian style is that it was unnecessarily difficult to the point of meaninglessness. However, I argue that emphases in the poesis of freshness that may be related to difficulty – subtlety, intricacy, ambiguous polysemy, and the generation of new metaphorical equations – are meaningful, including as ways of honing verbal form to write multiplicity against itself and bring about unity. This dissertation has two parts: the first is centered on Persian poetry, and the second, on taẕkiras (biographical dictionaries of poets). While setting their works in conversation with others, I focus on Shawkat Bukhari (d. 1695 or 1696)’s poetic collection, and Maliha Samarqandi (d. after 1692)’s taẕkira, which includes a laudatory entry on Shawkat. Shawkat and Maliha both came from Turan (Bukhara and Samarqand respectively) and spent a significant amount of time in Iran, where they met; their transregional lives lend support to recent critiques of the narrative of sectarian rupture between Turan and Iran. Moreover, they do both describe and enact ways of encompassing and bringing together religiously-marked forms of differences (including the polarity between Sunnism and Shi‘ism). However, I demonstrate the need to interpret discussions of religiously marked differences through the matrix of the relationship between multiplicity and unity. Attention to unity and multiplicity in Shawkat and Maliha’s works makes it possible to intervene in modern assumptions about sectarian rupture and Indian poetic decadence without reifying their principal analytical terms. In doing so, it points to a more pressing concern: how to engage with creation – including language itself – without taking its forms of difference or determinacy as fixed or final, instead bringing out unity’s subtle and destabilizing presence in multiplicity.

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