Eurabia Comes to Norway
Andres Behring Breivik, the perpetrator of the 22/7/11 terrorist attacks in Norway, was profoundly inspired by what has become known as the Eurabia genre. Behring Breivik's 1516-page cut-and-paste tract, 2083: A European Declaration of Independence, makes extensive reference to Eurabia authors,...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Taylor & Francis
[2013]
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| In: |
Islam and Christian-Muslim relations
Year: 2013, Volume: 24, Issue: 3, Pages: 369-391 |
| RelBib Classification: | BJ Islam KBA Western Europe TK Recent history ZC Politics in general |
| Further subjects: | B
Eurabia genre
B Muslims in Europe B Islamophobia B counterjihadism B extreme right-wing discourse |
| Online Access: |
Volltext (Verlag) |
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| 520 | |a Andres Behring Breivik, the perpetrator of the 22/7/11 terrorist attacks in Norway, was profoundly inspired by what has become known as the Eurabia genre. Behring Breivik's 1516-page cut-and-paste tract, 2083: A European Declaration of Independence, makes extensive reference to Eurabia authors, and most prominently to the blog essays of the Norwegian extreme right-wing blogger “Fjordman,” also known as Peder Are Nøstvold Jensen. A popular transnational genre found in both film and literature, the Eurabia genre is central to understanding the worldviews of extreme right-wing “counter-jihadists.” It is a conspiratorial genre in which a central rhetorical trope is that Europe is on the verge of being taken over by Muslims. It alleges that European Muslims want to establish continent-wide Islamic domination in the form of an Islamic state or a caliphate, using higher fertility rates and immigration as their main means of achieving this. The Eurabia genre has, however, hitherto received limited academic attention. In this article, I use the insights of critical discourse analysis in order to analyse some central contributions to this profoundly Islamophobic genre and its popularization and political mainstreaming in Norway in the past decade. | ||
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