Abstract. The present paper aims at proving that Parvin E'tesami has been, consciously or unconsciously, under the profound influence of both ancient Persian and Western literatures in composing her poems. The overseas effect is mainly due to her translations of Western works and her intimate familiarity with Western literature. So far research into Parvin's treatment of Aristotle, as founder of Western literary theories, has not yielded a promising result. The present researcher attempts to answer the question whether or not Aristotelian elements of anagnorisis and peripeteia play any roles in Parvin's poems, and if so, how she uses them in some of her poems. The findings of this research show that, in the three selected poems, namely "The Reliever," "Two Courts," and "Words and Deeds," Parvin has used the third type of anagnorisis and peripeteia, in which they happen concurrently, rather than the other two types, in which anagnorisis and peripeteia either precede or succeed each other. Parvin has not used these two Aristotelian concepts accidently. The use of the concurrent type becomes more significant if we know that it is the best type of Aristotelian usages of these two terms, an application which rightly and effectively paves the way for internal and external changes of the central character in the poems.
This study aims to show how Emily Brontë's opposing attitude to civilization in Wuthering Heights reveals to a certain degree her unconscious opposition to authority and accordingly her obsession with the notion of a world in which the father figure is finally slain. The research approach adopted in this study is what is referred to as psychobiography or the Freudian psychoanalytic criticism. Freud's ideas have been employed due to the increasing shift to him in the recent decades, particularly in the discipline of psychobiography. The findings of this research underline that in Wuthering Heights, through Catherine's symbolic fall, not into heaven, but into hell, and through her strong feelings of nostalgia for a lost freedom and happiness, Emily Brontë calls into question the values of patriarchal culture and its code of conduct. The main conclusion to be drawn from this article is that whatever the benefits of civilization-which is intrinsically and necessarily patriarchal in nature-may be, the limitations imposed on its citizens are not at all welcomed.
Until a few years ago, Turkey was usually seen as irrelevant to colonial studies owing to its non-colonial status. More recently, however, there has been a more flexible approach to considering the possibility of studying modern Turkey under the heading of postcolonial studies. By acknowledging the socio-political similarities between Turkey and colonized countries, the current study employs a postcolonial framework to analyze a short story by a Turkish author. In doing so, Aziz Nesin's "Don't you have any Donkeys in your Country?" is studied to show how Nesin contributes to the political and socio-economic status of Modern Turkey and the highlighted controversy over the applicability of postcolonial perspectives to the Turkish context. The present study draws upon Albert Memmi's notion of "anonymous collectivity" and Homi K. Bhabha's "sly civility" as postcolonial means of indirect defiance, to identify the ways in which the narrative contributes to its contemporary milieu. We argue that throughout the story Nesin satirizes the so-called expert colonizer for his fundamentally false assumption about the naïveté of the colonized nation. The story reflects that although the Turkish peasant has unconsciously internalized the colonialist ideology of "anonymous collectivity," the very same indirect means of defiance is consciously used by the peasant to overcome inequality and white supremacy in the sphere of selling Turkish carpets as one of the most prestigious products to the Western world. This study contributes to the literature on postcolonialism, first by raising the possibility of including modern Turkey in postcolonial studies, and then by examining Nesin's response towards the postcolonial-like ideology whereby it is concluded that oppression creates contradictions in the ostensible colonized/colonizer, impairing and reversing both groups' identity and humanity. We also conclude that the narrative reverses the dominant ideologies of clever and knowledgeable Americans by giving voice to a subaltern Turkish peasant whose goal is to resist the enduring effects of economic and cultural oppression.
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