English Language and Literature

The Iranian Revolution of 1979, as a noticeable movement of the last century, had a significant impact on globally social movements and Western philosophers. This study analyses the causes of uprising Iranian society against the regime, and Said's view about the revolution in his two articles: Islam, Orientalism and the West: An Attack on Learned Ignorance and Islam through Western Eyes. Besides, the article analyses Foucault's views about Islamic revolution in his collection of essays, published under the title of Foucault and the Iranian Revolution: Gender and the Seductions of Islam, after his death. Foucault, by highlighting the pivotal role of Shiite merits in the revolution, revealed how they could organize the fight against the traditional Iranian Kingdom Monarchy. Against, Edward Said highlighted the role of Iranian philosophers of time and their effects on Iranian Revolution but omitted Ayatollah Khomeini's effects on the salient revolution of the last century. Despite the different viewpoints on the propellant of this tremendous change, they both admit the importance of this event as a vigilante activity of humankind.

Colin Campbell is a neo-Weberian critic who defined self-easternization of the West based on Max Weber’s concepts of subculture, class and status. Social before Max Weber believed social matters are the result of internal movement, without the involvement of humanity but Weber in sociology of religion concentrated on social action and human life in society. Campbell describes how the gradual import of Eastern values Easternized the West based on the open, secular values of Westerners. It is also the influence of the East over the culture of the West and the West’s image of the East, without accepting any domination over Western culture. This cultural adaptation of what was originally an Eastern worldview by the West is defined as “Easternization.”

The search for identity comprises a major theme in modern literature, especially in the writing of memoirs. A memoir supports the idea that everybody has a story to tell and everybody's story counts. Firoozeh Dumas's memoirs deal with both external and internal factors that she confronts while living in a new country with new conditions. Unable to control the situations she faces, Dumas compares her native country Iran with her new country, the United States. In other words, she selects certain historical events and tries to translate Iranian culture to Americans with a humorous style. She gradually introduces her family members, cultural differences and inner conflicts of being both a Middle Easterner and an American. In her search for identity between two cultures, Dumas tries to show that Iranians and Americans truly have more in common than they have differences. This work intends to explore the effects of cultural differences in the life of a writer who grew up both in Iran and America. Furthermore, the book shows the importance of Dumas's narrative strategies for promoting cultural understanding and rethinking cultural and generational differences.

Memoirs support the idea that everyone has stories to state and each story costs to listen. Iran's history after the Revolution of 1979 is full of political events affected new generation of Iranian women memoirists who are usually bestseller writers, outside of their mother country. Memoirs replace their readers with authors, show readers what authors confronting after moving to a foreign country, awaken to another culture, and unclasp the differences. Memoirists do this by loving their background. Iranian memoirists have the habit of seeing their native country through Westernized eyes and the West through Middle-Eastern eyes. Maybe this feature helps them be unique and bestseller so. They show their readers the troubles and challenges they faced in their adopted countries with a new culture. Like other women memoirists, Iranian women memoirists started talking about historical events, customs, details of everyday life and life at home. Most of the Iranian women memoirists, started their writing careers by writing the oral stories of their family members and about how kept their cultural values in the United States during decades, and how respected to the traditional values while becoming a part of a new and modern western societies. Best-selling Iranian memoirists like Azar Nafisi, Firoozeh Dumas, Nahid Rachlin, Sattareh Farman Farmaian and Azadeh Moaveni who born in Iran and lived abroad, acclaim how the older generation of parents were unhappy about what Western customs were doing to their children, and Iranian behavior. What these memoirists want to show is how their migrant families became the victims of cross-cultural situations and the clash of cultures. For a typical Iranian parent, the biggest task is to raise their children and daughters worry more about their parents’ concern about the new society, more than their own distress. Against of much parental control and restrictions for daughters in Iranian migrated families, children feel obliged to obey the rules to keep their family solidarity, which is the common sense of whole Iranian female memoirists abroad.

A millennium after the Day of Ashura, Yashar Kemal " s folk hero, Memed, rises against another atrocious dynastic ruler. Husayn Ibn Ali, the grandson of Muhammad, the prophet of Islam, was killed and beheaded in the Battle of Karbala in 680 AD to end a caliphate, taking full account of claiming his life. Annually, Shiite and Alevi Muslims hold funeral ceremonies worldwide for his martyrdom on certain days to remember their liberty, as Memed " s compatriots, the villagers of Değirmenoluk in Yashar Kemal " s epic masterpiece, Memed, My Hawk do. Heroes do not accept injustice, but right all wrongs at all costs. Die or live as a hero, people compose ballads of protagonist " s heroism and consider their liberators as holy figures.

The New Life as a delightful novel of ideas serves as a parable for modern Turkey. This study explores how issues of Turkish identity and social reality set up allegorical events that guide the story. Orhan Pamuk evokes the contemporary problem of national identity in Turkey by managing the main characters to enter the world of the mysterious unnamed book. The New Life doubts about all ideological doctrines surrounded Turkey between the tragic absurdities of its past and present, and the hidden clash between Eastern historical values and Westernization by criticizing of globa lization and multinational corporate expansion which characterizes Turkey today. Thus, this study attempts to prove the facets that Orhan Pamuk used in his novel to define Turkish national identity.

Stylistics and discourse analysis have common features in theory and application which intersect in some points; but within the critical theory, analysis proceeds from the level of description of the past to the level of psychological interpretation and sociological explanation. " The Blind Owl " is one of the most critical superficial, surrealistic, and psychological Persian novels. The third-person omniscient narrator of the novel, the Blind Owl, is describing his story and inner pain for his shadow. The shadow plays the most crucial role and acts as the twin of the Blind Owl that interacts with the narrator from the beginning up to the end of the story. All characters play the same role in the story, and eventually, the Blind Owl feels he already becomes a mixture of them. The dual binary conception is wide-range throughout the story, and the whole novel is based on pair duality. The most basic duality is the contrast between life and death, and also goodness and evilness.

Local feelings in Turkey are different about Orhan Pamuk and his works. Some say that Pamuk is not even a good writer and what he says is overwhelmingly interesting in other languages when it is dark and boring in Turkish. Others say Pamuk's writing offended Turks and made harms for Turkey. But Pamuk is a historian and his novels are full of political, cultural, and religious struggles of Westernization and Islamization. He is a well-selected author to remove doubt in defining a new Turkish literary precedent.

Life into literature: Orhan Pamuk in his works as a biographical study explores how Western-style writer, Orhan Pamuk and his fictions such as The White Castle, The Black Book, My Name is Red, Snow, and A Strangeness in My Mind, and his non-fiction such as Istanbul and Other Colours, demonstrate Pamuk's life experiences. Besides, this critical work shows how these works have unwittingly been influenced by his family, relatives and friends.

The Book of Tragedies provided a collection of substantial revisions on tragic masterpieces. The book conceived out of a series of short essays written by a group of young scholars; İlayda Şişik, Ebru Elbasan, Oğuzhan Kuruosman, Gülsen Gürses, Buse Bilyay, Eren Z. Uçar, and Ferda Göçmen. Different viewpoints by young critics about prominent literary masterpieces, make valuable contributions to enrich the context. Antigone by Sophocles as a tragedy of love and power, Doctor Faustus by Marlowe as a tragedy of failure intellect, Othello by Shakespeare as the tragedy of an Aristotelian tragic hero, The Cherry Orchard by Chekhov as a tragedy of bourgeois, Pygmalion by Bernard Shaw as a tragedy of knowledge, and Wuthering Heights by Emily Brontë as a tragic love story symbolize distinct types of manners in acknowledged literary fictions.

Arthur Koestler in his historical book, The Thirteenth Tribe, narrates how a nation lost the name of Khazars and became known as Jews. He describes how at ninth and tenth centuries, the rise of Rus power had a direct impact on the Khazars and the map of Europe. With this, he describes how the Khazar Kingdom disintegrated and fell into pieces and the majority, merged with other close people. The Thirteenth Tribe is a well written and researched book that provided insightful anecdotes when documentary evidence was lacking. But the reader should be open to divergent views of the history of the peoples in question. Koestler made a good case for his hypothesis and presented this in a concise with stories within the past. This study, expounders how Koestler supports Israel while he doubts whether the Zionist Jews are the original Jews or not.

Everyone who studied Nineteen Eighty-Four by George Orwell and The Fat Man in History by Peter Carey strikes a balance between both. Orwell's novel and Carey's short story help the reader to get some definitions straight. They both demonstrate a terrifying vision of totalitarian expectations that make people slaves of a tyrannical regime. Both of the stories are relevant to today's dictator regimes which nip every movement in the bud. Their protagonists take work in hand to make changes. They up against social disorder by putting the reader's thinking cap on to see what ideas they can come up with, and always the result is rebellion. They use their loaf but buckle down to play problems down, bury the past and make a bright future. Despite being accessible and bestseller books, these works are proceeding moral issues of having a will of iron to stamp out the root and branch of injustice. Both the stories teach that life is not roses all the way, but society members must go through fire and water to be free of the yoke of totalitarianism.

Naipaul, Kureishi, and Gurnah reveal displacement and otherness through the Du Bois and Fanonian concept of double-consciousness. There is a connection between W.E.B. DuBois' conceptof double consciousness and Frantz Fanon's work. The idea of double-consciousness for Franz Fanon and W. E. B. Du Bois reflects the colonised population who find themselves in another form and describes how they perceive the unique themselves in two different cultural identities. Double-consciousness states how a colonised person is feeling homesick in the colonised society, how colonisers deal with him, how he resists but ingratiates himself with false pretence, and how finally he dismasks? Naipaul, Kureishi, and Gurnah shed light on the much-discussed topic of identity and the sense of belonging through the experiences of various immigrants who attempt to integrate into a new society. Identity has a stable core that hybrid characters challenge. It identifies how they experience living in-between's, and how double-consciousness in the process of constructing anew identity works.

If we accept that the path of reaching postmodernism is overwhelmingly dropping behind by modernism, not passing it, it is right to say that Iranian society reached postmodernism without passing modernism, adequately. Also, simultaneity of these developments in literary modernism with social and political changes after the Iran-Iraq war, made a pure historical opportunity for local postmodern literature which become the most popular genre of Persian literature. We accuse Iranian writers to copy because they did not investigate any western postmodern literary works. Iranian artists confronted with postmodern theory and not the text. Sociological study of a nation without considering the habits and interests of that society is impossible. We can say that whenever Iranians tried to imitate Europeans and Americans, the result was awful. An overview of postmodernism through a bestseller postmodern novel in Farsi that belongs to one of the most well-known translators of Persian postmodern literary works is the main aim of this article. Frankula or the Postmodern Prometheus by Payam Yazdanjoo belongs to the new generation of absurd works and the head of its genre and praised by different study associations called it “different!”. Different Persian perception of postmodernism in a different way of postmodern narration, makes a distinct look to this critical overlook.

The New Life as a pleasing novel of ideas serves as a parable for modern Turkey. This study explores how issues of Turkish identity and social reality set up allegorical events that guide the story. Orhan Pamuk evokes the contemporary problem of national identity in Turkey by managing the main characters to enter the world of the mysterious unnamed book. The New Lifedoubts about all ideological doctrines surrounded Turkey between the tragic absurdities of its own past and present, like the clash between Eastern historical values and Westernization by criticizing of globalization and multinational corporate expansion which characterizes Turkey today. Thus, this paper will attempt to prove the facets that Orhan Pamuk used in his novel to define Turkish national identity.

A millennium after the Day of Ashura, Yashar Kemal"s folk hero, Memed, rises against another atrocious dynastic ruler. Husayn Ibn Ali, the grandson of Muhammad, the prophet of Islam, was killed and beheaded in the Battle of Karbala in 680 AD to end a caliphate, taking full account of claiming his life. Annually, Shiite and Alevi Muslims hold funeral ceremonies worldwide for his martyrdom on certain days to remember their liberty, as Memed"s compatriots, the villagers of Değirmenoluk in Yashar Kemal"s epic masterpiece, Memed, My Hawk do. Heroes do not accept injustice, but right all wrongs at all costs. Die or live as a hero, people compose ballads of protagonist"s heroism and consider their liberators as holy figures.