Department of English Language and Literature
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Item Open Access 'Close up from a distance': London and englishness in ford, Bram Stoker and Conan Doyle(Brill Academic Publishers., 2005) Schutt, Sita A.; Haslam, S.Item Open Access Creating ethnic memory: takuhi tovmasyan’s “merry meals(Syracuse University, 2013) Pultar, G.Item Open Access Dickens and englishness: a fundamental ambivalence(Cambridge Scholars Publishing, 2009) Kennedy, Valerie; Reviron-Piégay, F.Item Open Access Emma Goldman (1869–1940)(SAGE, 2009) Özyurt-Kılıç, Mine; O'Brien, J.Item Open Access Ethnic fatigue Başçıllar’s poetry as a metaphor for the other “Other Literature”(NYU Press, 1998) Pultar, Gönül; Sollors, W.Item Open Access Fatima Mernissi(St. James Press, 1996) Pultar, Gönül; Kester-Shelton, P.Item Open Access French crime fiction(Cambridge University Press, 2003) Schütt, Sita A.‘The detection of crime is evidently not an art that has been cultivated in England.’ ‘Our Detective Police’, Chambers Journal, 1884. It is not for nothing that Moriarty was otherwise known as the Napoleon of crime, that Poe's Chevalier Dupin invented ratiocination from a comfortable armchair in a darkened room in Paris, or, for that matter, that Sherlock Holmes takes such pains to scoff at the French police, notably a certain detective named Lecoq, who, he claims, 'was a miserable bungler'. French contributions to the development of crime fiction, in particular the detective story, are significant in the sense that one cannot conceive of the developments in nineteenth-century English detective fiction without them. Holmes's arrogance towards the continental police, notably the French, nevertheless bespeaks a certain amount of insecurity with regard to the fearsome reputation of the French police established during Fouchè's reign of terror under Napoleon, a reputation further consolidated throughout the nineteenth century. © Cambridge University Press 2003 and Cambridge University Press, 2006.Item Open Access Globalization and economics(Oxford University Press, 2016) Çelikkol, Ayşe; John, J.Facing rapid capitalist expansion in the nineteenth century, Britons reflected on the webs of commercial exchange in which they were embedded. Focusing on John Stuart Mill’s notion of the perpetual reproduction of capital alongside literary forms and tropes (Gothicism, mythological imagery, the theme of speculation, and treasure-hunt plots), this essay explores Victorian global consciousness. The past employment of slave labour in the colonies haunted the Victorians, who were also increasingly alarmed by finance capitalism’s reliance on abstractions. Cosmopolitan sympathy for the nation’s trading partners flourished in literature alongside the effort to obscure the foreign sources of the nation’s wealth.Item Open Access In search of the "imaginative golden age in time or space"(Cambridge Scholars Publishing, 2009) Kennedy, Valerie; Sönmez, M. J. -M.; Özyurt, Mine KılıçItem Open Access Ireland in 1812 : colony or part of the imperial main? : the 'imagined community' in Maria Edgeworth's 'the absentee'(OR : Irish Academic Press, 2005) Kennedy, Valerie; McDonough, T.Item Open Access Istanbul(Palgrave Macmillan, 2016) Kennedy, Valerie; Tambling, J.Asked what he liked most about Ankara, the poet Yahya Kemal replied, ‘Returning to Istanbul.’ However unfair to Ankara, the reply conjures up Istanbul’s special place in the minds of Turks and non-Turks alike. Located in both Europe and Asia, with a current population estimated at 17 million (‘Istanbul, the Queen of Cities’ 2016), divided by the Bosphorus and the Golden Horn, Istanbul’s geographical situation suggests the brassage de peuples which has characterized the city for much of its existence. For Western travellers from at least the sixteenth century onwards, the city has symbolized, variously, aesthetics, exoticism and/or sensuality, Oriental despotism, and the seclusion of women, functioning as Europe’s ‘Other’ (Said 1995) in terms of culture, government, and religion. The European Capital of Culture in 2010, today, with Turkey’s candidature for membership of the European Union seemingly eternally deferred, and Istanbul struggling to cope with the influx of refugees from Syria, Iraq, Afghanistan, and elsewhere, the city once again symbolizes the complex relationship between East and West. Moreover, the heavy-handed government reaction to the summer 2014 Gezi Park protest against the destruction of an Istanbul city park spiralled into countrywide demonstrations against the AKP (the ruling Justice and Development Party of Turkey [conservative]) government of Recep Tayyib Erdoğan, revealing Istanbul’s position on Turkey’s political fault line, just as the 1999 Izmit earthquake reminded us of Istanbul’s geological vulnerability. (Such heavy-handedness was more than repeated in the summer of 2016.) Nowhere is the complex relationship between Istanbul and literature or Istanbul as the meeting place of East and West more clearly dramatized than in the works of Orhan Pamuk, a writer who is controversial at home while being seen as the Turkish author abroad, although there are many other significant Turkish writers.Item Open Access Leda and the Swan(Syracuse University Press, 2001) Pultar, Gönül; Warner, J. L.Item Open Access Ondaatje goes to Hollywood: the costs of mainstream arrival for the representation of cultural difference(Guernica, 2004) Randall, Donald; Beneventi, D.; Canton, L.; Moyes, L.Item Open Access Orientalism in the Victorian Era(Oxford University Press, 2017) Kennedy, Valerie; Rabinowitz, P.Orientalism in the Victorian era has origins in three aspects of 18th-century European and British culture: first, the fascination with The Arabian Nights (translated into French by Antoine Galland in 1704), which was one of the first works to have purveyed to Western Europe the image of the Orient as a place of wonders, wealth, mystery, intrigue, romance, and danger; second, the Romantic visions of the Orient as represented in the works of Samuel Taylor Coleridge, Percy Bysshe Shelley, George Gordon, Lord Byron, and other Romantics as well as in Thomas Moore’s Lalla Rookh; and third, the domestication of opium addiction in Thomas de Quincey’s Confessions of an English Opium Eater. Victorian Orientalism was all pervasive: it is prominent in fiction by William Thackeray, the Brontë sisters, Charles Dickens, Wilkie Collins, Joseph Conrad, and Rudyard Kipling, but is also to be found in works by Benjamin Disraeli, George Eliot, Oscar Wilde, and Robert Louis Stevenson, among others. In poetry Edward Fitzgerald’s Rubaiyat is a key text, but many works by Alfred Tennyson and Robert Browning also show the influence of Orientalist tropes and ideas. In theater it is one of the constant strands of much popular drama and other forms of popular entertainment like panoramas and pageants, while travel writing from Charles Kingsley to Richard Burton, James Anthony Froude, and Mary Kingsley shows a wide variety of types of Orientalist figures and concepts, as do many works of both popular and children’s literature. Underlying and uniting all these diverse manifestations of Victorian Orientalism is the imperialist philosophy articulated by writers as different as Thomas Carlyle, John Stuart Mill, and Karl Marx, supported by writings of anthropologists and race theorists such as James Cowles Pritchard and Robert Knox. Toward the end of the Victorian era, the image of the opium addict and the Chinese opium den in the East End of London or in the Orient itself becomes a prominent trope in fiction by Dickens, Wilde, and Kipling, and can be seen to lead to the proliferation of Oriental villains in popular fiction of the early 20th century by such writers as M. P. Shiel, Guy Boothby, and Sax Rohmer, whose Dr. Fu Manchu becomes the archetypal version of such figures.Item Open Access Our plastic brain: Remembering and forgetting art(Palgrave Macmillan, 2016) Yeung, H. H.In What Should We Do With Our Brain? Catherine Malabou exposes a necessary dialectic at the foundation of neuroplasticity, where ‘the foundation of each identity is a kind of resilience […] a kind of contradictory construction, a synthesis of memory and forgetting, of the constitution and effacement of forms.’1 We meet again the inextricable figures of Memory, Mnemosyne, and Forgetting, Lesmosyne, and an acknowledgement of the importance to human identity formation of both memory and forgetting. It is my intention in this piece to investigate the importance of memory and of forgetting to the manner in which artistic forms have developed, particularly in relation to poetry and music and to what Malabou calls the ‘constitution and effacement of forms’. Our relation to artistic forms, we will discover, often runs in parallel to our memory-biases; many classical art forms foster memorialisation, and are prized, whereas innovative forms (or anti-forms), which encourage or investigate forgetting are more contentiously received, and often meet with critical resistance. © The Editor(s) 2016.Item Open Access Picturesque in its motley processions: the infrastructure of empire in Emily Eden's Up the Country(Taylor and Francis Inc., 2015) Dubino, J.Item Open Access Reluctant fundamentalist, eager host? cross-cultural hospitality and security anxieties in Mohsin Hamid’s novel of uncertainty(Routledge, 2015) Perfect, Michael; Clapp, J.; Ridge, E.Mohsin Hamid’s second novel has been lauded as an exceptional work in the emergent canon of “(post-)9/11 literature” and has been particularly celebrated for interrogating rather than propagating the kind of reductive, binary thinking on which much political, cultural, and indeed literary discourse on 9/11 and its aftermath has often been premised. The Reluctant Fundamentalist (2007) has been described as a novel that “forces readers to think about what lies behind the totalizing categories of East and West, ‘Them and Us’ and so on-those categories continuously insisted upon in ‘war on terror’ [sic] discourse”;1 as a novel that “manages … to escape the Manichean tone that has sometimes defined post-9/11 Western political discourse”;2 as “a corrective to constructions of terror that are centralized around 9/11 and sees [sic] citizens of the west only as victims on the receiving end of terror.”3 In the place of such binaries, the novel purportedly offers “a unique and alternative discourse to the more commonly found expositions on contemporary terrorism and Islam.”4 The novel was an international bestseller, was shortlisted for the Man Booker Prize for Fiction, has been adapted for the big screen, is becoming a commonplace title on academic syllabi, and-perhaps most notably-has also been selected by major universities in both the United States and Britain for distribution to all of their incoming undergraduates. As well as taking as its subject matter cross-cultural encounters and cross-cultural (mis)understanding in a world that is (apparently) increasingly globalized yet increasingly polarized, The Reluctant Fundamentalist has been deemed a novel that can facilitate crosscultural understanding.Item Open Access Remembering responsibly(Palgrave Macmillan, 2016) Coker, T. F.; Yeung, H. H.‘There were our own, there were the others […] why should I not sing them?’1 questions the first elegy in the Scottish poet-solider Hamish Henderson’s Elegies for the Dead in Cyrenacia. The imperative to commit acts of remembrance during and after the events of a war is an ancient one, and intrinsically linked to what Paul Connerton calls the ‘ethics of memory’,2 a moral obligation to remember past people and events. Indeed, the majority of the action of Homer’s Iliad could be read as stemming from the moral obligation to remember, which we see work in different ways: from Achilles’s raging vengeance, Andromache’s keening anticipation of the death of her husband, and Priam’s negotiations in mourning for Hector, to Nestor’s meditated advice born out of experience of previous wars, and the funeral games of Patroclus. The action of the Iliad and its relation to memory and remembrance, as in many people’s memories of the wars of the last century and beyond, stem from a concern for one’s own, predicated on the allies versus enemies model of conventional, or ‘symmetric’, warfare. However, in Henderson’s lines we see concern for all people, nations and perspectives who have been affected by conflict (in Henderson’s case, African, British and German), and, as the elegies go on, this extends to a concern for all those who have been affected by any conflict. © The Editor(s) 2016.Item Open Access Rivalry and influence: French and English nineteenth century detective narratives(Stauffenberg, 1998) Schutt, Sita; Klaus, G.; Knight, S.Item Open Access Shadows of cultural identity: issues of biculturalism raised by the Turkish American poetry of Talat Sait Halman(University of Hawaii Press, 2000) Pultar, Gönül; Hsu, R.; Franklin, C.; Kosanke, S.