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941.
  •  
942.
  • Manifeste/s
  • 2013
  • Proceedings (redaktörskap) (refereegranskat)
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943.
  • Marei, Fouad Gehad (författare)
  • “O, Zaria! You Have Become Just Like Karbala” : Race, Redemptive Suffering, and Affect in Shi‘i Devotional Liturgy
  • 2022
  • Ingår i: ; , s. 1-8
  • Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
    • This article examines a Farsi-/Arabic-language devotional poem, which commemorates victims of violent clashes between the Nigerian army and members of the Islamic Movement in Nigeria in Zaria in December 2015. In addition to comparing the persecution of Nigerian Shi‘is with the plight of Muslim hagiographic figures, the poem is significant in its emphasis on race. The article probes the role of Blackness in the constitution of affective bonds around narratives of redemptive suffering. I arguet hat purveyors of the devotional poem invoke Blackness to construct a narrative that is both particularly African and universally Shi‘i. This does not only kindle emotions of sympathy, but also triumphantly celebrates the spread of Shi‘ism beyond Islam’s historical heartlands. By contextualizing the narrative in relation to the globalized hyper-politicization of intra-Islamic sectarian identities, I argue that the emphasis on race is not part of a pro-Black shift, but a literary exemplification of Shi‘i triumphalism and an attempt to make sense of and cope with the “fear of small numbers” (Appadurai 2006) and the globalization of anti-Shi‘a sectarian violence.
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944.
  • Marei, Fouad Gehad (författare)
  • “O, Zaria! You Have Become Just Like Karbala” : Race, Redemptive Suffering, and Affect in Shi‘i Devotional Liturgy
  • 2022
  • Ingår i: ; , s. 1-8
  • Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
    • This article examines a Farsi-/Arabic-language Shi‘i ritual lamentation poem commemorating the Zaria Massacre of 2015, which saw hundreds of members of the Islamic Movement in Nigeria (IMN) led by Shaykh Ibrahim Zakzaky killed in clashes with the Nigerian army in the northern Nigerian city of Zaria, Kaduna Province. In addition to comparing the suffering of early-Muslim hagiographic figures with the persecution of modern-day Shi’is, the poem is significant in its focus on Blackness as an essential and defining characteristic of Nigerian Shi'is. I probe the role of Blackness and 12racial identity as tropes in the construction of a collective memory and an affective bond around narratives of redemptive suffering. I posit that purveyors of this lamentation poem invoke Blackness to construct a narrative that is both global and local, universal and particular. In so doing, they expand membership in the imagined ‘Ummah of Karbala’ beyond its traditional Middle Eastern and South Asian heartlands and invite converts from Sunni to Shi‘i Islam to become constitutive members of this Ummah. Finally by contextualizing the poem in relation to the socio-political history of the IMN and Shi‘ism in Nigeria, I argue that this racialized narrative is not a radical pro-Black shift in Shi‘i thinking but a manifestation of Sunni-Shi‘i geopolitics and the hyper-politicization of sectarian identities.
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945.
  •  
946.
  •  
947.
  •  
948.
  • Mehrstam, Christian, 1973 (författare)
  • Under pälsen: Främmandegöringspedagogik och antropomorfa serier
  • 2010
  • Ingår i: Att bygga broar: Sjunde nationella konferensen i svenska med didaktisk inriktning: Malmö den 18-20 november 2009. - Malmö : Nationella nätverket för svenska med didaktisk inriktning. - 1651-9132. - 9197472204 ; , s. 122-131
  • Bokkapitel (refereegranskat)
  •  
949.
  • Mehrstam, Christian, 1973 (författare)
  • WarGames and the Refamiliarization of the Hacker
  • 2022
  • Ingår i: Genre: Forms of Discourse and Culture. - : Duke University Press. - 0016-6928 .- 2160-0228. ; 55:3, s. 235-258
  • Tidskriftsartikel (refereegranskat)abstract
    • John Badham's cult film WarGames (1983) is widely recognized as one of the most influential narratives shaping the popular image of the hacker. Research and critiques are, however, conflicted regarding what that influence is. Some see it as troubling and countercultural, others as light-hearted and conservative. Little attention has been given to the fact that WarGames is a convergent narrative working across multiple media. In a study of David Bischoff's eponymous tie-in novel, this article reveals a composite genre vehicle focused on the new kind of kid rather than the new technology. The protagonist is presented as an outsider by means of literary science fiction devices, only to be made more “normal” and recognizable as part of the school story, love story, and thriller. This refamiliarization gives WarGames a conservative potential, less evident but still present in the film. While it cannot completely neutralize the countercultural character of the hacker gestalt, it seeks to affect the audience's interpretation of WarGames as a media ensemble. The article's result brings nuance to the conflicted assessments of WarGames and contributes to the understanding of the narrative's influence on digital youth discourse at the peak of the personal computer revolution.
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950.
  • Menke, André, 1983 (författare)
  • Pop, Literatur und Autorschaft. Literarische Strategien und Inszenierungen bei Wolfgang Welt, Rocko Schamoni und Rafael Horzon
  • 2014
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • This thesis explores the resonance of German so-called ‘pop literature’ after the turn of the millennium, both theoretically and in three literary analyses. Despite the proclaimed ‘end of pop literature’ that was discussed a few years back, it is here argued that after a period of intense debate, key topics associated with ‘pop’ have become largely accepted features in the cultural sphere. In this fashion, they have also found their way into recent literary texts, where they are historicized and problematized, but also rearranged and reinterpreted. In the first part of the thesis, the use of the terms ‘pop’ and ‘pop literature’ are traced in recent intellectual discourse. While ‘pop literature’ in this perspective appears to be a rather narrow yet highly disputed label, mainly coined in German literary criticism by the end of the 1990’s, the idea of ‘pop’ is all but limited to this context, stretching back to the 1960’s and a recognizable and well-established cultural concept even today. Fluctuating between notions of ‘mass production’ and ‘individualized appropriation’, pop, in this context, is seen as a strategy of artists, journalists and writers to position themselves to cultural discourse and to develop ambivalent forms of distinction e.g. by referring to pop cultures’ artefacts in a highly specialized manner. The main focus of the second part of the study is to examine how some of the features associated with pop are applied and discussed in the works of authors such as Wolfgang Welt, Rocko Schamoni, and Rafael Horzon. Three exemplary topics, each associated with one of the examined authorships, will be emphasized, firstly, the notion of everyday life and ultra-realism, secondly, the notion of subcultural discourse and commodification of lifestyles, and thirdly the notion of creativity and originality, all referring to different registers of pop discussions. The aspect of self-fashioning of authorship is stressed in the analyses. Not only do all works discussed show a preoccupation with questions of authorship and writing but they also show a tendency of employing autofictional characters in their narratives. In doing so, the authors – all coming from popcultural backgrounds as journalists, club owners or musicians – intentionally blur the lines between the public person, the fictional character and the private person, evoking an uncertainty between ‘fact’ and ‘fiction’ and presenting both the public personas and the authorships as self-invented. The creative play with the public role of the author may then be seen as an additional feature that places the narrations within a framework of pop.
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