This thesis explores ways in which some New Zealanders draw on and negotiate both belly dancing and local cultural norms to construct multiple local and global identities. Drawing upon discourse analysis, post-structuralist and post-colonial theory, it argues that belly dancing outside its cultures of origin has become globalised, with its own synthetic culture arising from complex networks of activities, objects and texts focused around the act of belly dancing. This is demonstrated through analysis of New Zealand newspaper accounts, interviews, focus group discussion, the Oasis Dance Camp belly dance event in Tongariro and the work of fusion belly dance troupe Kiwi Iwi in Christchurch. Bringing New Zealand into the field of belly dance study can offer deeper insights into the processes of globalisation and hybridity, and offers possibilities for examination of the variety of ways in which belly dance is practiced around the world. The thesis fills a gap in the literature about ‘Western’ understandings and uses of the dance, which has thus far heavily emphasised the United States and notions of performing as an ‘exotic Other’. It also shifts away from a sole focus on representation to analyse participants’ experiences of belly dance as dance, rather than only as performative play. The talk of the belly dancers involved in this research demonstrates the complex and contradictory ways in which they articulate ideas about New Zealand identities and cultural conventions. Some of their reflections on belly dancing appear to reflect consciousness of and dis-ease around issues of indigeneity and multiculturalism in wider New Zealand society. Participants in this study also talk about how they explore and perform ideas about femininity, which includes both acceptance and rejection of belly dancing as innately feminine. Looking at New Zealand identities through belly dance, and vice-versa, highlights developing, nuanced and multiple articulations of self and other in a globalised world.

Sebastian Beverloo: "Damn Pinkerton, and all such as he! – Om orientalism i Madame Butterfly." Exa- mensarbete på kandidatnivå i musikvetenskap, Institutionen för musik- och teatervetenskap, Stockholms universitet, ht 2014. Orientalism är teorin att Väst, genom representation i konsten, har förmedlat en ofördelaktig bild av Ori- entens folk, seder och bruk. Begreppet förklarar de estetiska strömningar som följde med den ostindiska handeln och den europeiska kolonialismen. Problemen som teorin om kulturell orientalism sätter fingret på innefattar olika aspekter av representation; hur orientalerna (redan det ett problematiskt begrepp i sig) har gestaltats i konsten. Ett av de centrala problemen är att etnicitet lyfts fram före individualitet: en orien- talisk man är i första hand orientalisk, och bara i andra hand man. Det här arbetet problematiserar repre- sentationen av rollpersonerna i den kvartett av verk, som jag kallar för Madame Geisha-berättelsen (Lotis Madame Chrysanthème (1887), Longs Madame Butterfly (1898), Belascos Madame Butterfly (1900), Puc- cinis Madama Butterfly (1904-7)). Mer specifikt undersöks hur den japanska kvinnan gestaltas genom alla de fyra verken – i synnerhet med hänsyn till relationen mellan japansk kvinnlighet och västerländsk man- lighet. Ett av huvudproblemen är att centralfiguren i berättelsen är en japansk kvinna, trots att ingen av de inblandade författarna var varken japansk eller en kvinna. Verken studeras sida vid sida och jämförs utifrån orientalistiska och genusrelaterade problem. En del av undersökningen ägnas även åt Butterflys påstaådda verkliga ursprung.

The purpose of this study is to examine how two Muslim feminists perceive themselves to betreated by the Swedish majority society and within the secular feminist movement. Thesurvey was conducted using qualitative method with a total of two interviews. For the study'stheoretical perspectives, I have used postcolonialism and postcolonial feminism. The result ofthe survey and the analysis show that the informants say that they face an image of Muslimwomen as considered being under oppression. The informants believe that this stereotypicalimage has its origin from the colonial period. The question that is most important for themwithin feminism is to be treated as a feminist and as a Muslim without being questioned. Theyfeel like it's hard to identify with the Swedish secular feminism, but they also feel that thegroup of Swedish secular feminists have a difficulty identifying themselves with Muslimwomen too. Consider this, one of the informants does not feel welcome among Swedishsecular feminism while the other one never had an interest in becoming a member of itbecause she did not consider them to strive for the same goal as herself. The informantsclaims that there are opportunities for them to speak in the public debate, but as Muslimfeminists they are facing a bigger struggle.

The purpose of this essay is to analyze the media coverage of the case with Martin Schibbye and Johan Persson in the four biggest newspapers in Sweden in order to see how social constructions is created through the use of language. It is also of interest to see how nationality is represented in the material.  The theory is based on Edward Said’s theory of post colonialism and the prejudices that has developed from the western way of viewing ”The orient”. It is also based on Richard Dyers theory on whiteness and binary oppositions, which shows how ”whiteness” is viewed as the norm and is also never questioned. The method is critical linguistics and based on Norman Fairclough and Michael Halliday. The results from the method in critical linguistics shows how power is used in the media coverage of Martin Schibbye and Johan Persson. It shows how Schibbye and Persson are presented as human beings and as individuals and the other parts as foreign and unknown parts in the conflict.

This thesis, The Arab as Spectacle, is about representation. It is about the limits and the contradictions of representation. It is about the burden and the violence of representation. It is about the persistence of Orientalism and how the hierarchies of race and gender intersect with discourses on sexuality to inform and inflect the representation of Arabs in contemporary literary and media spheres of Australian popular culture. This thesis comprises two sections. Part One is a research dissertation that explores the strategies, devices and parameters of the representation of Arabic culture and identities through close readings of specific texts. This theoretical project inaugurates the second part of my study which takes up the question of the contradictions of representation through a collection of ficto-critical writings. Through these satirical narratives, I seek to expose and disrupt the hegemony of Orientalist representations that proliferate in English language literature and news media by bringing into focus the inherent paradox of representation, working within and against Orientalist representational traditions. In so doing, it is not my aim to 'correct' the Orientalist logic and imagery that I theorise in the first part of this thesis, but rather to undermine the spurious truth-value of Orientalist representations by deploying the literary weapons of satire, parody and irony. In this way, my fiction works to engage creatively and critically with the very tropes that I theorise in my research dissertation.

This thesis, The Arab as Spectacle, is about representation. It is about the limits and the contradictions of representation. It is about the burden and the violence of representation. It is about the persistence of Orientalism and how the hierarchies of race and gender intersect with discourses on sexuality to inform and inflect the representation of Arabs in contemporary literary and media spheres of Australian popular culture. This thesis comprises two sections. Part One is a research dissertation that explores the strategies, devices and parameters of the representation of Arabic culture and identities through close readings of specific texts. This theoretical project inaugurates the second part of my study which takes up the question of the contradictions of representation through a collection of ficto-critical writings. Through these satirical narratives, I seek to expose and disrupt the hegemony of Orientalist representations that proliferate in English language literature and news media by bringing into focus the inherent paradox of representation, working within and against Orientalist representational traditions. In so doing, it is not my aim to 'correct' the Orientalist logic and imagery that I theorise in the first part of this thesis, but rather to undermine the spurious truth-value of Orientalist representations by deploying the literary weapons of satire, parody and irony. In this way, my fiction works to engage creatively and critically with the very tropes that I theorise in my research dissertation.

This thesis, The Arab as Spectacle, is about representation. It is about the limits and the contradictions of representation. It is about the burden and the violence of representation. It is about the persistence of Orientalism and how the hierarchies of race and gender intersect with discourses on sexuality to inform and inflect the representation of Arabs in contemporary literary and media spheres of Australian popular culture. This thesis comprises two sections. Part One is a research dissertation that explores the strategies, devices and parameters of the representation of Arabic culture and identities through close readings of specific texts. This theoretical project inaugurates the second part of my study which takes up the question of the contradictions of representation through a collection of ficto-critical writings. Through these satirical narratives, I seek to expose and disrupt the hegemony of Orientalist representations that proliferate in English language literature and news media by bringing into focus the inherent paradox of representation, working within and against Orientalist representational traditions. In so doing, it is not my aim to 'correct' the Orientalist logic and imagery that I theorise in the first part of this thesis, but rather to undermine the spurious truth-value of Orientalist representations by deploying the literary weapons of satire, parody and irony. In this way, my fiction works to engage creatively and critically with the very tropes that I theorise in my research dissertation.

Η μελέτη της νεοελληνικής λογοτεχνίας είναι οργανωμένη σε ικανοποιητικό βαθμό στο θέμα της σύστασης εμπεριστατωμένων βιβλιογραφικών έργων. Ωστόσο, δεν υπάρχει ειδική βιβλιογραφία που να καταγράφει έργα, πρωτότυπα ή μεταφρασμένα, τα οποία εντάσσονται στον «ελληνικό Ανατολισμό». Στόχος της παρούσας μελέτης, είναι να καταγραφούν, όσο το δυνατόν πιο συστηματικά, τα λογοτεχνικά έργα που συνδέονται με την Ανατολή και δημοσιεύονται στη διάρκεια του 19ου αιώνα. Στις σελίδες της παρούσας διπλωματικής μεταπτυχιακής εργασίας επιχειρείται μια πρώτη καταγραφή του ανατολικού στοιχείου στη νεοελληνική λογοτεχνία του 19ου αιώνα. Περιλαμβάνονται λογοτεχνικά κείμενα σε αυτοτελείς εκδόσεις, καθώς και σε περιοδικά της περιόδου. Συμπεριλαμβάνονται τα μεταφρασμένα κείμενα από την ευρωπαϊκή γραμματεία όπως και κείμενα που μεταφράστηκαν στα ελληνικά κατευθείαν από τις γραμματείες ανατολικών χωρών, όπως η Τουρκία, η Περσία, η Ινδία κ.ά. Σε εισαγωγικό κεφάλαιο παρουσιάζεται και σχολιάζεται η πορεία του ανατολικού στοιχείου στην ελληνική γραμματεία από τις απαρχές της επαφής του Ελληνισμού με πολιτισμούς της Ανατολής ως τα τέλη του 19ου αιώνα. Το κύριο μέρος της μελέτης ξεκινά με την καταγραφή ελληνικών λογοτεχνικών κειμένων με ανατολικά στοιχεία. Προτάσσονται οι αυτοτελείς εκδόσεις και ακολουθούν οι δημοσιεύσεις στα οικογενειακά φιλολογικά περιοδικά. Στη συνέχεια καταγράφονται οι μεταφράσεις λογοτεχνικών κειμένων από τις γραμματείες της Ανατολής, που αντλούν από τα πρωτότυπα έργα, ή από μεταφορές τους σε ευρωπαϊκές γραμματείες. Προτάσσονται και πάλι οι αυτοτελείς εκδόσεις και έπονται οι δημοσιεύσεις σε περιοδικά. Πρέπει να διευκρινιστεί πως σε ξεχωριστά υποκεφάλαια περιλαμβάνονται τα έργα που έχουν μεταφραστεί ήδη και τον 19ο αιώνα ανατυπώνονται, τα έργα που μεταφράζονται για πρώτη φορά τον συγκεκριμένο αιώνα, καθώς και τα έργα που έφτασαν στην ελληνική γραμματεία μέσω ευρωπαϊκών διάμεσων μεταφράσεων, αν και συχνά η γλώσσα διαμέσου η προτύπου δεν είναι γνωστή. Η καταγραφή λογοτεχνικών έργων ολοκληρώνεται με τα κείμενα ανατολικού περιεχομένου που προέρχονται από την ευρωπαϊκή γραμματεία και μεταφράζονται στα ελληνικά. Σε ξεχωριστό κεφάλαιο καταγράφονται οδοιπορικά κείμενα και ταξιδιωτικές εντυπώσεις, είτε αυτοτελείς, είτε δημοσιευμένες σε οικογενειακά φιλολογικά περιοδικά, από Έλληνες, Ευρωπαίους και άλλους περιηγητές, που επισκέφθηκαν διάφορες χώρες της Ανατολής ή έζησαν για χρόνια εκεί και θέλησαν να μοιραστούν τις εμπειρίες τους με το αναγνωστικό κοινό της εποχής. Ακολουθεί η ενότητα με τις «ευσύνοπτες μορφές» (παροιμίες, γνωμικά και τα αποφθέγματα) ανατολικής προέλευσης που εντοπίστηκαν στα περιοδικά. Η καταγραφή ολοκληρώνεται με ένα καταληκτικό κεφάλαιο, όπου παρουσιάζονται τα συμπεράσματα που προκύπτουν από την έρευνα. Σε όλες τις κατηγορίες το υλικό παρουσιάζεται χρονολογικά. Πρόσθετα στοιχεία που αφορούν κείμενα, συγγραφείς ή μεταφραστές, τα οποία συγκεντρώθηκαν από τη δευτερεύουσα βιβλιογραφία ή αντλήθηκαν από αυτοψία των κειμένων παρατίθενται σε σύντομο σχόλιο, κάτω από το βιβλιογραφικό λήμμα. / The study of modern Greek literature is organized satisfactorily in establishing detailed bibliographical works. However, there is no scientific bibliographical work to literature works, original or translated, which correspond to the "Greek Orientalism." The aim of this thesis is to record as consistently as possible, the literary works associated with the East and published during the 19th century. In the pages of this diplomatic thesis is attempted a first inventory of the eastern component in modern literature of the 19th century. It includes literary texts that are publicated separately or in literary magazines of the period. It also includes literary works from European literature as texts translated into Greek by the literature of eastern countries such as Turkey, Persia, India etc. In the introductory chapter is presented and commented the progress of the eastern elements in Greek literature from the beginnings of the contact between Greeks and civilizations of the East until the late 19th century. The main part of the thesis begins by recording Greek literary texts with oriental elements. Preceded in separate versions, followed by publications in literary magazines. Then follows the record of the translated literary texts from eastern literature, which derive from the original works, or transfer in European registries. Preceded again separate versions, followed by publications in journals. It should be noted that separate sections include projects that have already been translated and reprinted in the 19th century. The bibliography ends with literary texts with eastern content from European literature that are translated into Greek. In a separate chapter are recorded travel documents and travel impressions by Greeks, Europeans and other travelers who have visited various countries of East or had lived there for years and wanted to share their experiences with literature readers. In the same chapter is also a section with proverbs and aphorisms that have Eastern origin and were found in the literary magazines. The bibliography ends with a conclusive chapter, which presents the findings of this research. In all categories the material is presented chronologically. Additional information on texts, authors or translators is placed in the brief comment under the bibliographic entry.

I vår iver att hjälpa utvecklingsländer tror jag att vi eventuellt är med och på nytt skapar en maktposition gentemot utvecklingsländerna, en ny slags kolonisering. Kanske borde västvärlden ta ett steg tillbaka och först lära sig om andras kulturer och vara mer lyhörda inför vart och vilka behov som behövs, istället för att bara anta att de ska och vill bli en kopia av västerlandet. Syftet med uppsatsen är att utifrån en analys av tre självbiografiska verk få bredare kunskap om vilka former av påverkan som volontär- och biståndshjälp kan ha på mottagarländernas kultur samt att diskutera om volontär- och biståndshjälp indirekt upprätthåller västerlandets fortsatta globala maktposition    Min valda teori är postkolonialism med fokus på Saids Orientalism. Då postkolonialismen till viss del utgörs av språkliga maktstrukturer, har jag valt att utgå från metoden närläsning som går ut på att analysera språk och strukturer i litterära verk. Undersökningen visar att främst volontärhjälp påverkar mottagarländerna på ett negativt sätt och är med och bidrar till att bevara gamla koloniala strukturer. Biståndshjälpen är mer försiktig och påverkar inte i lika stor mån.

The aim of this study is to examine if the Muslim diversity is present and what type of views (open and closed) there are in three textbooks in religion for grades 4 - 6. This type of study is important because other studies show that there has been a negative picture of Islam in textbooks (Härenstam 1993; Otterbeck 2006). One of the problems that they found in their studies was that Islam and Muslims where portrayed as a homegeneous group. In order for me to come to a conclusion about this matter I had two questions: How is Islam portrayed in three textbooks in religion for grades 4 -6 with diversity as a focus? What type of views about Islam can you find in three textbooks in religion for grades 4 - 6? (open and closed views of islam). To answer these questions I used two methods, one method is inspired by Otterbeck (2006) and the other one is inspired by Runnymedes Trust (Larsson 2006, s14). The qualitive content analysis showed that the Muslim diversity was present in the textbooks. Some more than others. But all three textbooks showed that there are different types of Muslims. When it comes to the close and open views of Islam, the textbooks contained of both. When compared to previous studies the result showed that the close view of Islam has improved but it still occurs.