By David Tyrer

Despite its emblematic position inside modern racism and its more and more vital place in defining kinfolk among states and ethnicised minorities, Islamophobia continues to be a contested, usually unrecognised and mostly under-theorised type of racism.

The Politics of Islamophobia presents a definitive contribution to those debates, providing a theoretically subtle account which pulls upon a chain of important case experiences to place Islamophobia as an expression of racialised governmentality.

By considering connections throughout assorted nationwide contexts, and via relocating past the proscribing framing of the struggle on terror which has ruled contemporary debates, this ebook bargains a brand new point of view at the examine of Islamophobia.

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One reason for this is that while Foucault’s conception of racism opens it out analytically, this is actually to the extent that it also opens the possibility to read virtually any distinction between a threatening and a non-threatening population as racism. This elides the specificity of racism and its colonial roots. For this reason, it is helpful to supplement Foucault’s conception of racism with Hesse’s conception of race as notes the emergence of race as ‘a governing practice to distinguish between “whiteness/Europeanness” and “non-Europeanness/nonwhiteness” in terms of regulations, affinities, spaces, and discourses in modernity’s colonies’ (Hesse 2011: 164).

This has been a central feature of what we can term Islamophobia, and in this light it is worth noting that there is a movement within the European extreme right that is centrally concerned with meeting this fictive threat to the survival of the population. This is reflected in the language of war used by the terrorist Breivik but also, for instance, in the faux-paramilitary naming of the English Defence League and its organisation, like every self-respecting army, into divisions which march under flags.

In this context the Netherlands has proved an important site of struggle over free speech. In 2004 the Dutch film-maker Theo van Gogh released his controversial film Submission, based on a script by Ayaan Hirsi Ali that engaged with the problem of violence against women in Muslim societies. Van Gogh’s own advocacy for free speech was not unproblematic; some years previously he had been convicted of anti-Semitism. Following his murder at the hands of an Islamist extremist his renown grew, and the influence of the case on debates about Muslims and Islamophobia across Europe cannot be understated.

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