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Jihadism: Online Discourses and Representations 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 1 Studying Jihadism 2 3 4 5 6 Volume 2 7 8 9 10 11 Edited by Rüdiger Lohlker 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 The volumes of this series are peer-reviewed. 37 38 Editorial Board: Farhad Khosrokhavar (Paris), Hans Kippenberg 39 (Erfurt), Alex P. Schmid (Vienna), Roberto Tottoli (Naples) 40 41 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 1 Rüdiger Lohlker (ed.) 2 3 4 5 6 7 Jihadism: Online Discourses and 8 9 Representations 10 11 12 13 14 15 16 17 With many figures 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 & 37 V R unipress 38 39 Vienna University Press 40 41 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; 24 detailed bibliographic data are available online: http://dnb.d-nb.de. 25 26 Publications of Vienna University Press are published by V&R unipress GmbH. 27 28 An electronic version of this book is freely available, thanks to the support of libraries working 29 with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books 30 Open Access for the public good. The Open Access ISBN of this book is 978-3-7370-0068-0. More information about the initiative and links to the Open Access version can be found at 31 www.knowledgeunlatched.org. 32 & 33 © 2013, V R unipress GmbH, Robert-Bosch-Breite 6, 37079 Göttingen, Germany This publication is licensed under a Creative Commons Attribution-Non Commercial- 34 No Derivatives 4.0 International license, at DOI 10.14220/9783737000680. For a copy of this 35 license go to https://creativecommons.org/licenses/by-nc-nd/4.0/. 36 Any use in cases other than those permitted by this license requires the prior written permission from the publisher. 37 38 Printed and bound by CPI books GmbH, Birkstraße 10, 25917 Leck, Germany 39 Printed in the EU. 40 ISSN 2198-1590 41 ISBN 978-3-8471-0068-3 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 Contents Rüdiger Lohlker Introduction . ................................ 7 Philipp Holtmann The Symbols of Online Jihad . ................... 9 Rüdiger Lohlker Religion, Weapons, and Jihadism Emblematic Discourses . ...... 65 Orhan Elmaz Traditions to die for Abu Yahya al-Libi’s collection of 40 ahadith . 89 Philipp Holtmann Casting Supernatural Spells and Fostering Communitas Abu Yahya Al-Libi’s Qasida Poetry . ...................103 Bouchra Oualla Strategies of Argumentation in the Propaganda of Jihad The Analysis of a Jihadi YouTube Video . ...................121 Nico Prucha Kangaroo Trials Justice in the Name of God . ......141 Thomas Riegler Jihad according to Hollywood The depiction of Islamist terrorism in American Movies and TV Series . ...................207 Contributors . ................................233 Literature . ................................235 Index . ................................249 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 Rüdiger Lohlker Introduction The second volume of “Studying Jihadism” is focusing on aspects of repre- sentations of jihadism. In his first contribution Philipp Holtmann discusses various aspects of the symbolism of jihadi online representations in a semiotic and aesthetic per- spective. Rüdiger Lohlker introduces the concept of subculture into the analysis of jihadism. This concept facilitates the understanding of jihadism and its framing and reframing of Islamic ideas. Bouchra Oualla is continuing her meticulous analysis of jihadi videos and the rhetorical argumentation used in these videos. Since videos are one of the most important tools of jihadi propaganda and the representation of jihadism this analysis will be continued. Representing the jihadi groups as the sole interpreters of – Shariatic – justice is one of the most important Islamic memes used by jihadis. Nico Prucha an- alyzes the trials staged by jihadis and distributed as videos. Two contributions analyze theoretical aspects of one of the most important representatives of the core group of al-Qaeda: Abu Yahya al-Libi. Orhan Elmaz looks at a small booklet on Hadith and the way al-Libi transforms Islamic traditions for jihadi aims. Philipp Holtmann writes about an often neglected aspect of jihadi text production: the poetry, in his case the poetry of al-Libi and another transformation of – literary – traditions. Thomas Riegler describes the representation of jihadi terrorist in the media production in the USA. Since jihadi media production is understood by the project “Jihadism Online” as part of global media production and often par- ticipates in the global popular culture this kind of analysis is indispensable. We have to thank the reviewer for helping us to improve the contributions to this volume. The research was funded by the Austrian Research Fund (FWF): P22706-G17. Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 Philipp Holtmann The Symbols of Online Jihad How Jihadis Foster Central Myths in E-Environments to Guide Online-Groups Introduction The following chapter deals with the virtual architecture of jihadi websites from a semiotic and anthropological perspective. Research foci are the semiotics and aesthetics of Muslim extremist sub-cultures on the Internet. The main research question is how jihadis use key signs, such as symbols, colors and icons in virtual propaganda to profoundly influence each other and win followers (communicative leadership).1 These signs mainly reflect funda- mentalist myths of community; conspiracy; and salvation, argues Monika Witsch.2 Such a categorization and approach offer apt tools for students of fundamentalisms on the Internet to further develop their own methods of re- search. To put this into an aesthetic framework has obvious reasons, since aesthetics itself relies on categories. As Theodor W. Adorno observes in his “Ästhetische Theorie:”3 1 Thee goal is to strenghten in-group cohesion, raise out-group aggression, raise conformity, radicalize members, and “inspire” to terrorist attacks. 2 Monika Witsch, Die Ästhetik fundamentalistischer Agitation im Internet (Stuttgart: Ibidem Verlag, 2003). 3 Theodor W. Adorno, “Ästhetische Theorie,” in Gesammelte Schriften, Volume7, ed. Gretel Adorno and Rolf Tiedemann (Frankfurt a.M.: Suhrkamp, 2006), 3851, alternatively online, accessed April 26, 2012, http://www.revalvaatio.org/wp/wp-content/uploads/adorno- %EF%BF%BDhetische-theorie.pdf, 125. The German original quote goes: “Hegel stellt die ästhetische Dialektik still durch die statische Definition des Schönen als des sinnlichen Scheinens der Idee. So wenig ist das Schöne zu definieren wie auf seinen Begriff zu verzichten, eine strikte Antinomie. Ohne Kategorie wäre Ästhetik molluskenhaft, historisch-relativis- tische Beschreibung dessen, was hier und dort, in verschiedenen Gesellschaften etwa oder verschiedenen Stilen, mit Schönheit gemeint gewesen sei; eine daraus destillierte Merkmal- einheit würde unweigerlich zur Parodie und ginge am nächsten besten konkret Heraus- gegriffenen zuschanden. Die fatale Allgemeinheit des Begriffs des Schönen ist jedoch nicht kontingent.“ Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 10 Philipp Holtmann “Hegel puts the aesthetic dialectics at a standstill, when he defines beauty in a static way as the sensual glowing of the idea. Just as beauty cannot be defined, one cannot give up on its definition, in the sense of a strict antinomy. Without categories, aesthetics would just be mollusc-like, and an attempted historic-relativistic description of the meaning of beauty in different societies and styles; a resulting measuring unit for aesthetics would inevitably become a parody, which would be smashed by the next best singled out aesthetic object. However, the fatal universality of the notion of beauty is not contingent.” Thus, we can agree that there is no universally valid definition of aestheticism and beauty, especially so in modern societies. Also terrorist culture can be perceived as highly aesthetic by its adherents. It draws on popular concepts and drains that which has forgotten in terms of deep meaning from the soil of its mother culture in order to prosper. Its beauty lies less in the eye of the outsider observing this culture, but in the perception of the insider, who experiences strong emotions, which Victor Turner calls communitas,4 when surrounded by its signs. Culture must be aesthetic to work for its participants. For example, Susan Sonntag argues that fascist art represents a utopian aes- theticism of physical perfection.5 For a similar reason, Walter Benjamin tried to develop a new terminology for the discussion of arts and aesthetics, such as the concept of “aura,” that could not be used by fascists. Benjamin observed that the oldest artworks were created for ritualistic purposes; first magical and then religious ones. The mass-reproduction of art in industrialist-capitalist societies fostered its politicization and its detachment from cult and ritual.6 If one applies Benjamin’s thesis to today’s neoliberal capitalist information society, one can see a reconciliation of the quasi-cultic, neo-pagan and ritualistic use of “art- works” with the profane, which takes place on social networking sites. According to Benjamin, the photographic portrait is the only mass produced artwork that 4 Victor Turner, The Ritual Process: Structure and Anti-Structure (London: Routledge and Kegan Paul, 1969).
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