I adopt an interpretive methodology through which I investigate the becoming of Muslim identities in three national integration discourses. I analyse the meanings of integration in abstract, in context and through texts across contexts, and working within a broadly critical constructivist approach, I seek to show how integration discourses have an underlying security complex which explains how they come to be framed with Muslims in mind. To analyse integration I outline a new generic concept of settlement which I refer to as habilitation and which means enabling or endowing with ability or fitness. I then argue for an analytical separation of habilitative strategies, models and approaches, and thus remove integration from its generic descriptive status to one of strategy, model or approach. This I argue is justified in the discursive distinctions made in every-day language and meaning. I then investigate three broad habilitative models: multiculturalism, integration and assimilation. My primary data has been gathered in interviews with individuals acting as representatives of Muslim communities - Imams, organisation leaders, political activists and factory workers – corporate and societal actors such as Trade Unionists, Church representatives and state elites – policy advisers and integration officers. Muslim interviewees emphasised widespread use of distortion and mis-identification. I have defined such distortions as synecdoche. This is a two way process in which the individual is held responsible for the whole and in reverse direction, the whole being held responsible for individual action. The power of synecdoche to compress or expand Muslim identities is distortive and serves to reinforce the alterity of Muslims. In addition I identify another layer of othering which I call ulteriorisation. This involves placing identities under suspicion and is accomplished through a range of aspersive renderings – ambiguous loyalties, secularity, enclaving, underclass formation, and anti-integrationism. Ulteriorisation is understood to feed into broader securitisation of communities, society and polity. In conclusion I look at possible research directions and finish by emphasising that the integrity of Integration will be judged by the willingness of parties to negotiate and the quality of voluntarism and solidarity these processes produce.

The aim of this study was to critically explore the constructions of Muslim identities in selected Black African American popular music composed before and after the 11th of September 2001. This study is interdisciplinary because it used popular culture theories developed by Hall, Strinati, Storey and Gilroy’s concept of the Black Atlantic. Postcolonial literary theories of Bhabha, Spivak and Fanon were also used. The study demonstrated that the content and style of the lyrics by Public Enemy, Talib Kweli, Paris, Lupe Fiasco, Kanye West, Scarface, Miss Eliot, Missundastood, Erykah Badu and KRS-One have been influenced by Islam’s religious versions of the Nation of Islam, Five Percenters or Nation of Gods and Earths and Sunny Islam. Individual singers also manipulated the spiritual symbols and cultural resources made available to them in the Islam religion. Black African American singers more or less share common historical experiences, but they constructed and depicted Muslim identities differently because of their class, generational and gender backgrounds. Chapter one introduced the area of study, justified it and adopted an eclectic theoretical approach in order to account for the diverse constructions of Muslim identities in the songs composed by black African American hip hop singers. Chapter two provided an extended review of literature for the study. Chapter three explored the influence of the Nation of Islam on the singers and its creative manipulation by the black singers. Chapter four explored religious hybridity because the lyrics draw from Islam and Christian eschatological values. Chapter five used lyrics by three black female singers and revealed how they reconfigured differently, Black Muslim identities in a musical industry predominantly patronised by male singers. Chapter six explored the use of language in signifying different meanings of Muslim-ness in order to arrive at different definitions of pan Black Islamic musical consciousness. Chapter seven concluded the study by summarising the central argument of the study which was that black African American singers have referenced cultural symbols from Islam and in the process manipulated Islam’s religious metaphors to suggest different and alternative models for the black communities in the United States of America. / English Studies / D. Litt. et Phil.

The aim of this study was to critically explore the constructions of Muslim identities in selected Black African American popular music composed before and after the 11th of September 2001. This study is interdisciplinary because it used popular culture theories developed by Hall, Strinati, Storey and Gilroy’s concept of the Black Atlantic. Postcolonial literary theories of Bhabha, Spivak and Fanon were also used. The study demonstrated that the content and style of the lyrics by Public Enemy, Talib Kweli, Paris, Lupe Fiasco, Kanye West, Scarface, Miss Eliot, Missundastood, Erykah Badu and KRS-One have been influenced by Islam’s religious versions of the Nation of Islam, Five Percenters or Nation of Gods and Earths and Sunny Islam. Individual singers also manipulated the spiritual symbols and cultural resources made available to them in the Islam religion. Black African American singers more or less share common historical experiences, but they constructed and depicted Muslim identities differently because of their class, generational and gender backgrounds. Chapter one introduced the area of study, justified it and adopted an eclectic theoretical approach in order to account for the diverse constructions of Muslim identities in the songs composed by black African American hip hop singers. Chapter two provided an extended review of literature for the study. Chapter three explored the influence of the Nation of Islam on the singers and its creative manipulation by the black singers. Chapter four explored religious hybridity because the lyrics draw from Islam and Christian eschatological values. Chapter five used lyrics by three black female singers and revealed how they reconfigured differently, Black Muslim identities in a musical industry predominantly patronised by male singers. Chapter six explored the use of language in signifying different meanings of Muslim-ness in order to arrive at different definitions of pan Black Islamic musical consciousness. Chapter seven concluded the study by summarising the central argument of the study which was that black African American singers have referenced cultural symbols from Islam and in the process manipulated Islam’s religious metaphors to suggest different and alternative models for the black communities in the United States of America. / English Studies / D. Litt. et Phil.

<p>Muslim women’s efforts to attain religious leadership roles have been central, critical, and controversial topics discussed in American mosques and in academia. Women’s lack of access and leadership in religious institutions is due to the patriarchal interpretations of <em>Qurʾānic</em>scripture, the <em>Hadīth</em>, and Islamic laws leading women to engage in collective action to attain their rights while still affirming their religion (Barlas, 2002). When controversial topics challenge religious traditions and norms, such as women’s roles as <em>khateebahs</em>and Friday prayer <em>imāms</em>(women sermon givers and leading Friday prayers), the discussions often are theological and political, but rarely from a communicative perspective in which the trajectory of change and co-oriented action is authored by participants through considerations of text and interaction. Muslim women in America are opening spaces for dialogue and initiating organizations that empower their Muslim sisters to take on religious roles and other positions that adhere to and broaden understandings of what it means to be Muslim.</p> <p>The communicative constitution of organizations (CCO) (Belliger & Krieger, 2016; Brummans, Cooren, Robichaud, & Taylor, 2014; Bruscella & Bisel, 2018) has not yet delved into organizing within Muslim institutions. This study contributes to both CCO and to Muslim women’s organizing by showing how the CCO framework is applicable to a unique context that has not previously been investigated. Specifically, this dissertation explains how women’s authoring of process and structure through communication operates as a productive force constituted through linguistic choices, discursive formations, and materialities, as well as how Muslim women constitute agency within a traditional religious space situated in the United States. Consistent with CCO perspectives and especially the Four Flows model (McPhee, 2015; McPhee & Zaug, 2000, 2008), agency is conceptualized as action through or enactment of rules, resources, and routines in the duality of structure, based on Giddens (1984) structuration theory. In examining The Women’s Mosque of America (WMOA), an in-depth case study approach helped to illuminate how women’s empowerment is constructed and legitimized through women’s interactions, engagement, and advocacy. Studying women’s agency and structuring of empowerment through the constitutive approach of communication in organization (CCO) using McPhee’s four flows (McPhee, 2015; McPhee & Zaug, 2000, 2008) links communication, feminist studies, and Muslim religious organizations.</p> <p>Data for this case study were gathered through site observations and interviews; analyses were conducted through constructivist grounded theory that incorporates personal knowledge about Muslim women to assist interpretation grounded in data (Charmaz, 2000, 2004, 2008, 2017). Throughout the study, attention was paid not only to what the women said but also to their reported and observed social and ritual interactions.</p> <p>In conclusion, this project not only sheds light on a segment of the Muslim American community that is marginalized but shows that McPhee’s four flows can be used to study how organizations are structured along particular Islamic values and interpretations of text, while also affording agency to individuals as actors within each and across all four flows. In the case of The WMOA, the four flows communicative processes help identify relationships between Islam and organizational members, staff, and other institutional stakeholders within the material conditions of religious observances. Studies such as this project provide insight into how diverse members organize paradoxically for both social change and continuation of sacred traditions.</p>