Love Jihad in Contemporary Art in Norway
This article explores the concept of ‘love jihad’ and the love jihad discourse in a Scandinavian setting, with a particular emphasis on contemporary works of art and popular culture in Norway. Arguing that ‘love jihad’ may be understood as part of a larger cluster of meaning related to fear of love...
| Auteur principal: | |
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| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
MDPI
2021
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| Dans: |
Religions
Année: 2021, Volume: 12, Numéro: 12 |
| Sujets non-standardisés: | B
love jihad
B Norway B art works B Islamophobia |
| Accès en ligne: |
Volltext (kostenfrei) Volltext (kostenfrei) |
| Résumé: | This article explores the concept of ‘love jihad’ and the love jihad discourse in a Scandinavian setting, with a particular emphasis on contemporary works of art and popular culture in Norway. Arguing that ‘love jihad’ may be understood as part of a larger cluster of meaning related to fear of love across religious and cultural boundaries, and of losing ‘our women’ to ‘foreign men’, the article demonstrates that the love-jihad discourse and its related tropes exist in the Norwegian public sphere. It is directly articulated in far-right blogs and Facebook groups and indirectly present in the works of art and popular culture that this article explores. Indeed, read intertextually and in light of recent research in sociology and media studies about Islamophobia and anti-Muslim rhetoric on the Internet, works such as Disgraced, Heisann Montebello, SAS plus/SAS pussy, and Norskish demonstrate—through challenging, mocking or discussing the love-jihad discourse—that ‘love jihad’ has echoes in contemporary Norway. |
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| ISSN: | 2077-1444 |
| Contient: | Enthalten in: Religions
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| Persistent identifiers: | DOI: 10.3390/rel12121106 |