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dc.contributor.authorBerg, Carin
dc.date.accessioned2017-05-16T11:13:23Z
dc.date.available2017-05-16T11:13:23Z
dc.date.issued2017-05-16
dc.identifier.isbn978-91-629-0170-7
dc.identifier.urihttp://hdl.handle.net/2077/52195
dc.description.abstractMusic is commonly used as a tool in political organizations in general. Due to religious norms and interpretations, Islamist organizations use anashid as the main musical genre for political aims. By exploring how anashid is used in Hamas and Hizbullah, two major political players in the Middle East, this thesis adds to the sparse academic analysis about the role of anashid and its relation to Islamist organizations. By merging the academic fields of politics, music, and Islam, the study makes sense of anashid theoretically in organizations. Of central importance is how music is used intentionally and collectively with the aim of influencing peoples´ behavior and mindset, as well as how the interpretation of music goes beyond primary intentions. The thesis is based on long term field work inside Hamas and Hizbullah. Trough observations and interviews with supporters and leaders, the thesis inquiries the political function of anashid in different settings of the two organizations and how informants give meaning to anashid. On the basis of these data, the thesis shows that anashid is the main soundtrack of politics in Hamas and Hizbullah. It implies that anashid serves the function of delivering the political messages of the organizations while simultaneously aiming for maintaining religious values. Hence, anashid embraces the unique function of serving as a core messenger of the organizations´ ideology and goals. Moreover, the thesis reveals that integrating the political and religious through anashid creates an overlap of its usage in the organizational and the private domains of Hamas and Hizbullah. Hence, through anashid, the distinction between the private and the public becomes blurred. The thesis concludes that anashid functions in a politically powerful way in Hamas and Hizbullah, mainly collectively. Anashid possess influence on peoples´ emotions in order to frame identities in a collective manner through the political activities it initiates.sv
dc.language.isoengsv
dc.relation.haspartI. Berg, C. (2012). Tunes of religious Resistance? Understanding Hamas Music in a Conflict Context. Contemporary Islam, 6(3), 297-314. ::doi::10.1007/s11562-012-0219-6sv
dc.subjectHamassv
dc.subjectHizbullahsv
dc.subjectanashidsv
dc.subjectmusicsv
dc.subjectpoliticssv
dc.subjectIslamsv
dc.subjectorganizationssv
dc.subjectpoliticalsv
dc.titleThe Soundtrack of Politics. A Case Study of Anashid in Hamas and Hezbollahsv
dc.typeText
dc.type.svepDoctoral thesiseng
dc.gup.mailcarin.berg@globalstudies.gu.sesv
dc.type.degreeDoctor of Philosophysv
dc.gup.originGöteborgs universitet. Samhällsvetenskapliga fakultetenswe
dc.gup.originUniversity of Gothenburg. Faculty of Social Scienceseng
dc.gup.departmentSchool of Global Studies, Peace and Development Research ; Institutionen för globala studier, freds- och utvecklingsforskningsv
dc.gup.defenceplaceFredagen den 9 juni 2017, kl. 13.15, Annedalsseminariet, Sal 326, Seminariegatan 1A.sv
dc.gup.defencedate2017-06-09
dc.gup.dissdb-fakultetSF


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