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Drawing on Kristeva's theory of abjection, Wallerstein's world system theory, and Petras' imperialist-centered model of capitalist accumulation, this article argues that the immigration of Changez from Pakistan to America in The Reluctant Fundamentalist demonstrates a structural shift from the periphery to the center as a highly educated and skilled human capital in the era of global capitalism. The article contends that Changez's decision to accept a funded scholarship at Princeton University is a result of the lack of economic opportunities in Pakistan and the corrupt economic and political systems that impoverished his family. Furthermore, the article critically examines America's paradoxical policies of inclusion and exclusion toward Changez. While he gains access to Princeton University and the Underwood Samson company, his economic inclusion is not accompanied by genuine acceptance. In the context of global capitalism, Changez is economically included but psychologically abjected due to his ethnic identity. Keywords: Acceptance, Inclusion, Exclusion, Abject Identity, Hamid's The Reluctant Fundamentalist, Introduction: Immigration and Global Capitalism in The Reluctant Fundamentalist This article offers a comprehensive analysis of Changez's struggle for acceptance in America by placing his experiences as an immigrant within [...]

This article examines the role of code-switching in recreating the place, Palestine, that contemporary Palestinian memoirist Ghada Karmi was expelled from by providing a close analysis of the code-switched expressions and the plurality of voices and perspectives that this linguistic and cultural phenomenon imply in her work "Return: A Palestinian Memoir." While code-switching is a feature of diasporic writings, Karmi uses many code-switched expressions related to food, clothes, honorific titles and the historical event of Nakba so as to linguistically return to Palestine. However, Karmi's engagement with Palestine from past to present, her exploration of the political transformation of Palestine and her inability to feel connected to today's Palestine raises the spectre of co-existence between Palestinians and Israelis if Palestinian refugees return physically to Palestine. This possibility of co-existence between the two warring nations is further highlighted by Karmi's use of Hebrew code-switched words, which exist alongside code-switched words related to precolonial Palestine.

This article engages with the critical lenses of new historicism and presentism, using Fadwa Tuqan's A Mountainous Journey and the discourse of Palestinian female martyrs as contemporary intertexts to scrutinize women's silence, speech, and authorial identity in Mary Sidney's early modern English work The Tragedy of Antony. I contend this text enabled Sidney to construct a narrative of mourning for her brother Philip Sidney, just as Tuqan uses her writing to mourn her brother Ibrahim Tuqan. It is argued here that Sidney's and Tuqan's creation of their authorial identities emanated from their close relationships with their brothers. I argue that Sidney's memorialization of Philip Sidney by persuading Queen Elizabeth to support Protestant military intervention in the Netherlands bears a striking similarity to Tuqan's memorialization of her brother. Tuqan continued Ibrahim's work of nationalist poetry in her critique of the Israeli occupation that reinforces traditions that stifle women. I propose that women's writing and Palestinian female martyrs' acts of suicide bombing both signal women's erasure of their bodies. Keywords: Silence, Gender, Sacrifice, Mourning, Martyrdom, Authorial Identity, Mary Sidney, Fadwa Tuqan, Early modern English literature, Palestinian literature, Introduction: Speech, Writing, and Sacrifice Historicist and materialist feminist criticisms have reiterated the conventional link between women's speech or writing and lasciviousness, an equation that was shored up in early [...]

This article employs Foucault's concepts of docile bodies, Panopticism, surveillance and the paradigm of resistance, subversion and containment to delineate the issues of power and control that shored up in online Higher education in Palestinian universities during the outbreak of the pandemic. We propose that the online mode of education perpetuates the traditional way of teaching literature, impeding both students' and teachers' innovation. Topics related to sexuality, politics, misogyny, and religion in literary works have been repressed in staff members' discussion due to multilayered surveillance from the students, parents and online learning centralized management offices who, based on the testimonies of the literature teachers, are often attentive to online class meetings. Surveillance shatters the illusion of liberation many literacy educators thought they have gained in online education; indeed, the instructors' testimonies highlight their internalization of panoptic surveillance that derails the liberating purpose of education.

This article examines the cultural and philosophical significance of code switching in the formulation of diasporic identity in Edward Said's "Out of Place" (1999) and Fawaz Turki's "Exile's Return: The Making of a Palestinian-American" (1994). It argues that exilic Palestinian writers' use of code-switching pursues various purposes related to the multiplicity and plurality of voices to which they are subject, but it mainly pertains to the 'exoticization' of their homeland and 'nationalizing' their experiences in exile. Ultimately, the use of code-switching in the memoirs chosen here act as one of the most effective strategies that diasporic writers employ to satisfy a number of important socio-pragmatic and rhetorical functions that are usually expected in exilic writing. These strategies also aim to guide the (mainstream) readers' affective responses to their work in the way(s) exiled authors believe best suit their rhetorical and national goals.

Bilingualism and biculturalism have a very immediate impact on the make-up of literary works of bilingual and bicultural authors with immediate linguistic traces of bilingual and bicultural mosaic of textual creation. Code-switching is a linguistic and cultural practice used by bilinguals in writing and speaking. This article examines the linguistic and cultural phenomenon of code-switching employed in Selma Dabbagh's novel "Out of It" (2011). We argue that Dabbagh uses code-switching from English into Arabic so as to address the concerns of Palestinians and maintain her Palestinian belonging. At the very beginning, we explain what is meant by code-switching and briefly elucidate the reasons why bilingual authors use this technique. Thereafter, we shed light on the author's background and expound the different types of code-switching she employs in "Out of It." The upshot of this article clears up cultural and textual hybridity as the product of the application of code-switching.

Despite the severe social, health, political and economic impacts of the outbreak of COVID-19 on Palestinians, we contend that one positive aspect of this pandemic is that it has revealed the perils and shortcomings of the teacher-centered, traditional education which colonizes students' minds, compromises their analytical abilities and, paradoxically, places them in a system of oppression which audits their ideas, limits their freedoms, and curtails their creativity. While Israeli occupation has proven to be an obstacle in the face of the Palestinian government's attempt to combat and contain the Corona crisis, on-line education, the sole arena that escapes this colonial system, has forced many instructors to give up their domination over the process of education and to create a more collaborative atmosphere of education that is based on dialogue, research and flexibility of the curriculum content. This study is designed to gauge English literature students' responses to this mode of digital learning. We interviewed a hundred students from six English literature programs between March and August, 2020. Thus, through critically examining students' answers, and by drawing on Freire's concepts of banking education, consciousness and dialogue, we propose that online education is an important step towards the decolonization of education and a call for a paradigm shift on the account that the existing paradigm of traditional education is stifling students' creativity and critical thinking.

AbstractThis article examines the factors contributing to the suppression of free speech in Palestine, with a focus on the West Bank. We argue that anti-democratic politics and restricted public discourse in both public and academic spheres are mutually reinforced by the Israeli occupation and the Palestinian Authority. Despite education’s potential as a tool of liberation, the ongoing cooperation between the Palestinian Authority and Israel, as well as internal factional conflict, impede free speech within Palestine. Traditional teaching methods based on rote learning continue to dominate, posing a significant challenge to critical thinking and expression. Although education may serve as a pathway to freedom, constraints transform it into a tool for subjugation. Drawing on Foucault’s adaptation of the ancient Greek concept of parrhesia, we argue that Palestinian universities require more robust protections for free speech. At the same time, we argue that the struggle for free speech in these universities can be instructive to liberal democracies. Through analysis of the atrocities perpetrated against journalists and other dissenting voices, we shed light on the obstacles to democracy in Palestinian intellectual life. [ABSTRACT FROM AUTHOR]

Drawing on clinical psychology, psychosexual development and gender studies, this article examines the mother-daughter dysfunctional co-dependent dyad and eating disorders in McCurdy's I'm Glad My Mom Died, a memoir that McCurdy published 10 years after the death of her mother. With a focus on Anorexia Nervosa and Bulimia Nervosa, this article scrutinizes the control-based mother-daughter relationship between Jennette and her mother Debra. This paper closely studies the internalized overbearing (m)other figure in McCurdy's memoir in relation to McCurdy's internalized anorexic voice in light of the dysfunctional co-dependent mother-daughter relationship. This ambivalent mother-daughter relationship is illuminated through inappropriate caretaking, manipulation, parentification, projection and intrusiveness, which are effects of co-dependency. Laced with shame and economic guilt, this enmeshed mother-daughter relationship shapes McCurdy's memoir-pathography. Paradoxically, we contend that the loss of this ambivalent mother-daughter relationship is what triggers McCurdy to start her journey of self dis(re)covery through the writing of her memoir, thus reclaiming her subjective identity and agency. [ABSTRACT FROM AUTHOR]

Abstract Inspired by Said's methodology of contrapuntal reading, this article examines Edward Said's reference to Shakespeare's Hamlet (1604) in his memoir, Out of Place (1999) to shed light on his [...]

Copyright of TYB Akademi Dil Edebiyat & Sosyal Bilimler Dergisi is the property of Turkiye Yazarlar Birligi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Inspired by Said's concept of exile, Camus' 1947 novel The Plague, and testimonies from our students, this paper explores the striking similarities between experiences of exile and the COVID-19 pandemic. Both exile and the pandemic are seen as intrusive forces causing rupture and discontinuity in one's life at the physical, psychological and socio-cultural levels. This paper demonstrates that for many Palestinians – including us and our students – the pandemic manifests what Freud termed 'repetition compulsion'. That is, many of our students interpret the detrimental and precarious impact of the pandemic as a complex form of exile, a nuanced understanding that blends a historical, communal memory of displacement with a present, universal crisis. This paper further explains that the themes of exile and displacement in Camus' The Plague provide us and our students with a focal point to examine the striking, albeit anachronistic, similarities between the pandemic caused by Israeli occupation and the COVID-19 virus. This uncanny relationship between the pandemic and exile is further substantiated by the fact that the pandemic has provided cover, or at least distraction, for the escalation of oppressive political actions, thus deepening the entrenchment of a physical and psychological 'exile' for Palestinians. [ABSTRACT FROM AUTHOR]

In addition to the methodology of new historicism, this article deploys feminism, performance studies and presentism to discuss the effects of the masculine practice of enforced marriage and turning a deaf ear to the female voice in Thomas Middleton's "Women Beware Women" and contemporary Palestine. I explain that Middleton's "Women Beware Women" criminalises the absolute right of the monarch to command through a critique of Renaissance practice of enforced marriage and of male figures' deafness to the female voice. I argue that Middleton's tragedy questions and interrogates the dominant patriarchal discourse by locating subversion within the dominant discourse. While Middleton shows that women are complicit with male figures' voices, male figures show no recognition of the inadequacy of their voices. The eclectic range of critics I am using in this article opens up gender-based readings in the teaching context of An-Najah University where I teach Renaissance Drama. This article seeks to modify the feminist view that tragedy merely suggests that female characters face verbal and physical circumscription. Rather, tragedy ensues because male figures are deaf to female figures' voices and such deafness breeds female figures' subversive plots.

In the Qurʾan, the sense of hearing and its agent the ear are both linked to the heart whereas sight and its organ the eye are associated with the head. The sense of hearing, which is a channel to spiritual knowledge, is privileged to the sense of sight, the gateway to the realm of carnal knowledge. The ear and the heart are channels to the sphere of absence while the eye and the head are associated with the realm of presence. Knowledge of the world of absence is twofold: The first incarnates in the type of knowledge obtained from God and his angels and the other is that which is acquired from Satan and Jinn. The primacy of the ear over the eye is further substantiated by the Qurʾanic repudiation of the charges that the origin of the Prophet Muhammad's words is fables breathed into his ears from the underworld of absence. [ABSTRACT FROM AUTHOR]

Copyright of Hebron University Research Journal (Humanities) is the property of Hebron University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of FORUM is the property of John Benjamins Publishing Co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Margaret Cavendish's The Unnatural Tragedy (1650) is both tribute to and critique of Ford's 'Tis Pity She's a Whore (1633). I argue that The Unnatural Tragedy undermines the masculine ideology on female speech and silence, linking male figures' voices with treachery and incest and female voice, conventionally sexualized, with truth and honesty. The main thrust of The Unnatural Tragedy is against the passive feminine virtues embodied by Madame Bonit and Soeur whose adherence to the feminine virtues of silence and obedience and the masculine ideology of honour lead to their loss of control over their lives. In contrast to silence, Cavendish shows that speech is a subjective space from which female figures criticize male figures' voices and systems of governance. Following the methodology of presentism, I argue that The Unnatural Tragedy resonates with contemporary Palestinian representation of gender difference through the binary opposites of speech and silence. Bonit's oppressive silence and her refusal to publicize her husband's mistreatment of her and Soeur's rape and subsequent murder by her brother offer my female students a point of focus to consider the destructive Palestinian ideology of honor which is based on silencing the female voice. Keywords: Contemporary Palestine, Gender Politics, Margaret Cavendish, Silence, Speech, The Unnatural Tragedy, The Unnatural Tragedy and Contemporary Palestine Of Cavendish's dramatic oeuvre which consists of thirteen plays, The Unnatural Tragedy is the only one that is categorized as tragedy. Cavendish transgresses the [...]

! The article delves into Sarah Kane's play "Blasted," highlighting its exploration of queer sexuality through themes of violence, domination, and identity fluidity. Topics include the subversion of heteronormativity, the portrayal of aggressive masculinity, and the transformative progression of characters' subject positions.

This article, by employing qualitative content analysis, examines domestic violence in Palestine during the outbreak of the pandemic. Based on 20 semi-structured online interviews conducted with Palestinian women who survived domestic violence via zoom in the early phase of the pandemic, I argue that the preventive measures of social distancing, quarantine and lockdown had a detrimental effect on women who are confined in the domestic spheres with abusive partners. While there have been calls from feminist organizations to combat domestic violence during the outbreak of COVID-19, there are legal and social barriers that impede women's resort to help from others. I also contend that responses to the COVID-19 pandemic exacerbate violence against women which can be explained through the psychological mechanism of projection. Palestinian men are liable to project their sense of vulnerability and their difficulties coping with the restrictive mechanisms of the lockdown onto women, resulting in a noticeable increase in cases of domestic violence. [ABSTRACT FROM AUTHOR]

This article examines Mourid Barghouti's appropriation of Shakespeare's Hamlet (1603) in his memoir I Saw Ramallah published originally in Arabic in 1997 and translated into English in 2000. The memoir documents his temporary return to Palestine after 30 years of exile and his criticism of the delusional life of Palestinians post Oslo accords which, as he argues, undermined the rights of Palestinians for autonomy, sovereignty and self-determination. Barghouti associates post-Oslo Palestinians with the fictional figure of Hamlet who is unpacking his heart with words rather than taking action against Claudius. According to Barghouti, Hamlet's merry jests and laughter have striking similarities with many post-Oslo Palestinians who romanticize their injuries, turning their defeat into victory and their tragedy into comedy. Furthermore, Barghouti associates his feeling of displacement and internal exile with that of Hamlet who is displaced in his homeland, Denmark. Both Hamlet and Barghouti retreat behind the wall of silence and turn their exile and displacement into a subjective space of creativity and critical consciousness. We argue that Barghouti writes the Palestinian present through the classic, and we illustrate that Barghouti's I Saw Ramallah has rendered the personal and national larger and global, permitting the specific and multifarious Palestinian oppression to be understood on grander scales. Thus, I Saw Ramallah suggests broad ethical messages, gerneralizing the Palestinian struggle to the level of significant moral questions of oppression, injustice and valor. [ABSTRACT FROM AUTHOR]

The article focuses on the ghostly nature of the proper name in Shakespeare's "Hamlet". Topics include the Derridean concept of names as spectral representations, the connection between Hamlet and the ghost of Old Hamlet, and the impact of Shakespeare's son Hamnet's death on the play. It argues that Hamlet's identity and the play's themes are deeply intertwined with the idea of names as carriers of ghostly presence and absence.

This article examines Shakespearean intertextuality in the Palestinian poet Mahmoud Darwish's selected literary pieces so as to reflect upon the relationship between him and the Israeli other who bears the symbolic name Rita. We contend that in the poems and prose passages that Darwish dedicated to his beloved Jewish woman, Tamar Ben Ami, Darwish refers to her using the pseudonym Rita to fictionalise his love to her in ways that mirror Shakespeare's Romeo and Juliet. Inspired by Derrida's concepts of the name and identity and Althusser's theory of interpellation, we argue that the impossible love between Mahmoud Darwish and Tamar Ben Ami, like that of Shakespeare's Romeo and Juliet, is linked to the otherness of the proper name, the site of one's personal and collective identity. We demonstrate that both the protagonists of Shakespeare's fictional world and Mahmoud Darwish and Tamar Ben Ami (Rita) are trapped by their names which allocate them to warring families and national identities, functioning as alienating cultural and political forces upon their bearers. [ABSTRACT FROM AUTHOR]

This article, which employs interviews as its central methodology, examines Palestinian mothers' reproduction of, opposition to, the Palestinian culture of martyrdom. Palestinian nationalist discourses encourage mothers to produce fighters and to re-produce the religious and national discourses on martyrdom by receiving their sons' acts of martyrdom with celebration which signifies their adherence to the hegemonic masculine model of bereavement based on emotional restraint and expressing the necessity of martyrdom. Based on this logic, religious and national discourses function as a defensive mechanism that helps mothers to cope with their loss. However, some mothers prefer the well-being of their families over the abstract ideals of heroism and sacrifice, opposing the religious and national discourses that shape the Palestinian collective identity. While the mothers who perpetuate the culture of sacrifice are promoted socially, politically and symbolically, those who express their grief and condemnation of this culture are deemed traitorous and un-Islamic. [ABSTRACT FROM AUTHOR]