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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 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.

This paper originally and substantially studies Nathaniel Hawthorne's 'The Birth-Mark' from an ecofemninsit perspective, while exploring the interconnections and interdependency between the systematic and institutional ways in which the woman and nature were dominated by male-centred society in 19th century society. It explores the ways in which this interconnection mirrors the hegemonic and repressive structure of 19th century patriarchal Victorian culture, paying particular attention to the oppressive mechanisms operating on feminine human and non-human beings. More importantly, this article accounts for the story's critique of the multifaceted domination of nature and female terrain. This article builds on significant contributions to ecofeminist theory while arguing that the oppression of women and exploitation of nature by patriarchal culture and male-run institutions are represented in 'The Birth-Mark' as a product of masculinist, colonialist and capitalist assumptions and practices. This article demonstrates that patriarchal culture's unjust hierarchies and systems of domination are connected conceptually, and the promise of Aylmer to relieve Georgina from the corporeal crisis is an instance of difference-and-hierarchy-based domination; it aims at perpetuating the accepted authority and power of man who can contest God's female terrain, and claim his ability to recreate and reintegrate it in ways that show absolute control over nature and God. Keywords: Corporeal crisis, Domination, Ecofeminism, Exploitation, Female terrain, Nature, Introduction This paper argues that Nathaniel Hawthorne's 'The Birth-Mark' demonstrates ecofesminist consciousness of its author, provided that 19th century American literature is not only critical of gender hierarchy, but also [...]

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]

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.)

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]

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]

Placing it in the area of postcolonial performance, this essay seeks to measure the capacities of (theatrical) performance and the role it plays in colonial contexts as represented in the documentary Arna's Children. By examining this documentary, this essay analyses the role of theatre in the formation of alternative realities and projecting what Mishra and Hodge identify as "a configuration of experiences and insights, hopes and dreams arising from a hitherto silenced part of the world," foregrounding challenges to dominant and exclusionary colonial narratives and practices. Questioning the subversive potential of theatre, this essay intensifies the need for expanding parameters of postcolonial theatre to include the Palestinian crisis as a central node of critical interpretation in discussions about the role of theatre in times of war and violence. The essay further argues that studying the role of theatre in the Palestinian context proposes new and intriguing ways of thinking about the ways in which theatre functions in colonial contexts, and it questions whether participants reverse or rehearse the impact of colonialism. [ABSTRACT FROM AUTHOR]

This paper examines the politics of travel and imperialist nostalgia in Ernest Hemingway's memoir Green Hills of Africa. Informed by recent theoretical contributions to travel and postcolonial studies, this paper investigates ways in which the representation of travel and nostalgia in this memoir speaks to the colonial and imperialist rhetoric. Unlike previous studies, this paper suggests that the travels and nostalgia of Hemingway for Green Hills of Africa reflect certain ideological and historical determinants of the interwar politics that dominated modern American literature. While Hemingway seems to distance himself from the rhetoric of the empire, his reflections on travelling in Africa and his nostalgia for it are arguably entangled by it. This paper demonstrates that Hemingway's narrative extends a dichotomy between the East and West constructed by 19th century (American) orientalist travel writers and critiqued by Edward Said. [ABSTRACT FROM AUTHOR]

Inspired by postcolonial theory, this essay reads Raja Shehadeh's Palestinian Walks as a critique of nineteenth-century US and European travel writers who recorded their encounters with Arabs living in Palestine, deconstructing the modern–primitive opposition that such writers assumed. Writing an indigenous travel narrative, Shehadeh seeks to write back against colonialist (mis)representations of Palestine and its people and to criticize the orientalist attitudes that preceded it. He disrupts, inverts and challenges those patterns of European and US travel writing. Thus, Shehadeh's narrative sketches ways of challenging and questioning the assumptions of orientalist narratives that facilitated Israeli settler colonialism and aspires to decolonize Palestinian history and depoliticize the Palestinian landscape. This essay responds to the relative neglect of reading Palestinian literature as one of the postcolonial literatures that function as a counter-narrative to European and US orientalist hegemonic narratives, and not just Zionist colonial narratives. [ABSTRACT FROM AUTHOR]