Yalcin, Elif Guvendi

This article explores Teju Cole's Open City (2011) as a profound critique of neo-Orientalist discourses in the post-9/11 era, focusing on Farouq, an Arab-Muslim intellectual in Brussels. Grounded in Edward Said's Orientalism and Hamid Dabashi's neo-Orientalism, the analysis reveals how Farouq resists Western pressures to assimilate or enact commodified versions of his identity, challenging the persistent demand for "oriental fantasy" narratives. The novel situates Farouq's personal struggles within geopolitical tensions, notably the Israel-Palestine conflict, which characters frame as a defining contemporary issue. This perspective counters neo-Orientalist assertions that attribute Middle Eastern instability to inherent cultural flaws, instead critiquing Western imperialism and media distortions. The study contrasts Farouq's revolutionary consciousness with Dr. Maillotte's liberal dismissal of his grievances, exposing subtle neo-Orientalist mechanisms that mask structural inequities under a veneer of openness. Through its dialogic structure and reflective narrator, Julius, Open City fosters authentic intercultural exchange, disrupting monolithic portrayals of Muslim identities. The article argues that Cole's narrative not only contests reductive stereotypes but also positions literature as a vital medium for advocating equitable identity representations in a globalized world. By centering Farouq's intellectual agency and experiences, the study contributes significantly to understanding identity politics and representation in postcolonial literature, underscoring the enduring relevance of Said's critique in contemporary global discourses.

Koç, İbrahim; Çapoğlu, Kemal

Stephen Crane'in Kanlı Madalya (1895) adlı romanı, Amerika'nın en büyük göç ve kentleşme dönemlerinden biri olan İç Savaş sonrası dönemde yayımlanmıştır. Bu dönemi karakterize eden iki önemli faktör vardır: Birincisi, bilimsel gelişmelerin desteğiyle endüstriyel üretimin yükselişi ve bunu izleyen ekonomik genişleme; ikincisi ise Güney'deki ekonomik yıkım ve Kuzey'in sanayi kentlerinin vaat ettiği daha yüksek yaşam standartları nedeniyle artan göç. Bu dönemde üretim tekniklerinde yaşanan değişimler ücret rekabetinde işverenler lehine bir avantaj yaratmıştır. Dolayısıyla fabrika sahipleri vasıflı işçiler yerine vasıfsız göçmen işçileri tercih etmeye başlamış ve bu da kentleşmenin yoğunluğunu artırmıştır. Hızlı nüfus artışı şehirleri güçlünün zayıfı ezdiği endüstriyel cangıllara dönüştürürken, destekleyici sosyal ağlardan yoksun kırsal göçmen işçiler için hayat, sorunlarla dolu bir savaş alanından farksızdı. İşte roman böyle bir dönemde yazıldı. Bu durumu göz önünde bulunduran ve F. Jameson’ın edebi metinlerin yalnızca yaratıcılığın bireysel ifadeleri değil, kültürel, ekonomik ve politik anlamlarla örülü belirli sosyo-tarihsel anların ürünleri olduğu perspektifinden hareket eden bu makale, hikayedeki genç ve deneyimsiz askerlerden oluşan 304. piyade alayının birçok yönden İç Savaş sonrası dönemdeki genç Amerikan sanayi işçilerini anımsattığını savunmaktadır. Bu bağlamda, Kanlı Madalya anlattığı tarihsel olay kadar yazıldığı dönemin sosyo-tarihsel koşullarını da yansıtmaktadır.

Yalcin, Elif Guvendi

Fashion plays a critical role in human cultures, acting as a canvas for expressing cultural identity, social status, and individual creativity. Its multifaceted nature allows for varied interpretations, much like a complex language. Theorists are increasingly acknowledging this, recognizing how clothing communicates non-verbally, subtly conveying social messages and influencing interactions. This aspect is particularly evident in literature, where characters' clothing choices are deeply connected with their development and contribute significantly to the narrative's emotional richness. Fashion, therefore, extends beyond its aesthetic function, emerging as a dynamic tool for expressing post-colonial identities and challenging the lingering influence of colonialism. In cultures marked by colonial and imperial histories, fashion becomes an emblem of identity, offering a means to reclaim and redefine cultural narratives. It is through fashion choices that individuals express their cultural identity, challenge norms imposed by others, and resist the erasure of their heritage. It becomes a tool for empowerment and self-representation, allowing marginal communities to reclaim agency over their own narratives. While colonialism may have ended, the legacy of colonialism has left lasting impacts on economies, social structures, and cultural perceptions. The Western nations continue actively participating in imperial activities to protect their wealth and power by exploiting other countries economically. The internalization of colonial values has deeply influenced the perception of fashion among people from once colonized countries. The cultural values of these countries are often deemed "uncivilized" in contrast to the "superior," "civilized," and "rational" standards of the colonizers. As a result, Western fashion trends, representative of the colonizers' ideals, permeate the local markets and overshadow indigenous styles. Fashion is used as a means of signifying power, class, and status, and European modes of dress are seen as a symbol of sophistication and modernity. Drawing upon the broader theoretical framework of postcolonialism, this paper critically analyses V.S. Naipaul's work A Bend in the River (1979) to demonstrate how fashion choices create identities to continue colonial legacies.