Sprache:
Englisch
Seiten:
1 Online-Ressource (20 Seiten)
Publ. der Quelle:
Basel : MDPI
Angaben zur Quelle:
14,2
DDC:
301
Schlagwort(e):
Islam
;
radicalization
;
deradicalization
;
narrative
;
narrative persuasion
;
narrative genre
;
discourse historical approach
;
in/exclusion
;
Soziologie und Anthropologie
Kurzfassung:
Radical/extremist Islamist actors use social media to disseminate uncompromising stories of monist religious political orders and identities. As a reaction, counter-movements to online Islamist radicalism/extremism emerged in Western societies (and beyond), while uncertainty about effective outcomes remains widespread. In a bid to understand how inclusionary and exclusionary discursive spaces are created, we ask: How do some Muslim actors create discursive spaces open to self-reflection, pluralism and liberal-democratic principles, while others construct illiberal, particularistic and non/anti-democratic spaces? To respond to this question, we compare two contrasting storytellers, one who agitates for exclusionary Islamist radicalism/extremism (Generation Islam) and one who offers inclusionary prevention and deradicalization work against that (Jamal al-Khatib). We draw on novel narrative approaches to the Discourse Historical Approach (DHA) in Critical Discourse Studies (CDS), via which we compare text-level and context-level narratives disseminated about three Muslim-related crises: the racist terrorist attacks/genocide to represent the national, European and global level. Our two-layered, DHA-inspired narrative analysis illustrates that, at the level of text, narrative persuasion varies between both contrasting actors. While Jamal al-Khatib disseminates persuasive stories, Generation Islam is much less invested in narrative persuasion; it seems to address an already convinced audience. These two text-level strategies reveal their meaning in two antagonistic narrative genres: Jamal al-Khatib’s “self-reflexive savior” creates an inclusionary discursive space represented in a self-ironic narrative genre, while Generation Islam’s ”crusading savior” manufactures an exclusionary discursive space represented in a romance featuring a nostalgic return to the particularistic Islamic umma.
Kurzfassung:
Peer Reviewed
URN:
urn:nbn:de:kobv:11-110-18452/26728-1
URL:
Volltext
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Volltext
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