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    A MODERN EXILE: HOME AND BELONGING IN FOR LOVE ALONE
    (2019) Shah, Zeynep Harputlu
    This study examines the transforming notions of home, belongingand exile in For Love Alone by Christina Stead and suggests that the heroineTeresa represents a modern exile who searches for love, knowledge and freedom in the imperial context of the early twentieth century. Teresa's experiences are both shaped and constrained by her family relations, gender, colonial and imperial status, and her cultural and geographical bonds with GreatBritain. Her voyage from Sydney to London, in this sense, symbolises a continuous struggle against all kinds of social, cultural and historical pressures atthe intersection of modernity and imperialism in the 1920s and 1930s. Teresa, as an Australian white woman, cannot develop a sense of belonging byoscillating between exploited and colonial lands. In time, she gets rid of herties to objects, people and places, and for her the real home becomes a worldof love, knowledge and independence.
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    Authorship, literary production and censorship in the late-nineteenth century: Gissing-Hamsun-Halit Ziya
    (Peter Lang AG, 2021) Shah, Zeynep Harputlu
    Has censorship always been a threat to authorship and artistic production? How did the mass market, the reading public, political or economic concerns influence authors' creativity and literary production in the late nineteenth century? Was self-censorship an individual choice based on voluntary action or fear in the period? How and to what extent did censorship have an impact on the content, form and structure of the novel genre? This book addresses these pivotal questions and examines the transforming notion of authorship, literary production and censorship with a particular focus on England, Norway and the Ottoman Empire. In the novel genre, George Gissing's New Grub Street (1891), Knut Hamsun's Sult (1890) and Halit Ziya Uşakligil's Mai ve Siyah (1898) portray the changing conditions of art and the artist and draws attention to the pressing need for artistic autonomy, self-expression and creativity in the period. © Peter Lang GmbH. All rights reserved.
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    (MIS)REPRESENTATIONS OF OTHERNESS IN DETECTIVE FICTION: THE TRAVELLING GYPSY AS THE CRIMINAL OTHER IN THE CASE OF THE MISSING HAND
    (2021) Shah, Zeynep Harputlu
    This study seeks to examine (mis) representations of otherness in British detective fiction and focuses on the travelling gypsies as the criminal other in “The Case of the Missing Hand”, a story published in 1895 in Chronicles of Martin Hewitt by Arthur Morrison. In line with its objectives, the study firstly introduces characteristics of Victorian detective fiction and then provides a literary analysis of the crime story with a presumed murder victim, an exoticized crime setting, the detective figure and a foreign gypsy as the criminal other. In the article, it is argued that Morrison’s short story is a reflection of the strong stereotyping of the gypsies in Victorian society and depicts misrepresentation of the figure of the outsider gypsy as the criminal/villain in British community for endangering their sense of security and safety in the period. The use of primaeval superstitions as a motive for committing a crime further demonstrates estrangement of the gypsy community by distancing them both culturally and temporally through implications of primitiveness and savageness
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    Passive Resistance in George Gissing's New Grub Street and Knut Hamsun's Sult
    (Goteborg University, 2019) Shah, Zeynep Harputlu
    Gissing's New Grub Street (1891) and Hamsun's Sult (1890) depict distinctive voices of outcast young artists suffering from urban poverty, displacement and isolation, and reveal a deeper insight into wider questions on urban modernity, passive resistance and a fragmented identity. The plots and semi-autobiographical accounts of these texts locate them specifically in late-nineteenth century Kristiania (Oslo) and London by focusing on changing standards of literary culture in the 1880s and 1890s. Hamsun's emphasis on the subjective individual and Gissing's emphasis on representing realist social groupings offer us complementary accounts of the experience of rootlessness, the self-division of outcast emigrant writers and the difficulty of survival by sticking to their own terms in creating and presenting their works of art in the capital. A comparative reading of these texts helps us to see not only their city-specific contexts, but also a transnational understanding of the commercialisation of art and the passive resistance of the artists that spanned the national borders of England and Norway. These urban novels, I suggest, perform a critical resistance to the assimilating forces of late-nineteenth-century modernity and changing economic conditions with the aim of preserving artistic integrity and freedom. © 2019 Goteborgs Universitet. All rights reserved.
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    Reading the Body in Dickens's Bleak House and Our Mutual Friend
    (Univ Complutense Madrid, Servicio Publicaciones, 2019) Shah, Zeynep Harputlu
    This article examines the ways in which the Victorian body and identity were being transformed in the mid-nineteenth century and identifies three distinctive ways the biological and nonnative boundaries of the body were violated as represented in Dickens's fiction: the grotesque body, the vulnerable body and the dead body. In this sense, Dickens's Bleak House (1851-53) and Our Mutual Friend (1864-65) present creative and challenging literary responses to the Victorian body abjected through deprivation, physical vulnerability and death. In the novels, the grotesque body challenges the abject via a tragicomic and hybrid representation of the body and of character. Regarding the vulnerable body, the study elaborates on a body out-of-control, threatening the boundaries between the object and the subject, inside and outside, by holding a liminal state through ill-health, excessive labour, starvation and physical degradation. Finally, it is argued that there was an intimate and abject relationship between the living and the dead bodies in the capital, beside prevalent infant deaths, high mortality rates, diseased bodies and overflowing graveyards in the city.
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    Women and the Nation’s Narrative in Tahmima Anam’s A Golden Age and Roma Tearne’s Bone China
    (2018) Shah, Zeynep Harputlu
    This article aims to discuss gendered parameters of national identity and collective memory incontemporary South Asian women’s writing. Tahmima Anam’s A Golden Age (2007) and RomaTearne’s Bone China (2010), in this context, represent the positive transformation of women’s rolesin the public and private spheres, as well as the understanding of femininity and masculinity in SriLanka and Bangladesh during the independence war. In the reproduction of national identity, thereis an emphasis on the significance of privatised domestic space, women’s involvement in the nationalstruggle, and a feminised collective memory in historically male-constructed nations. In A GoldenAge, despite her traditional gender roles and controversial national identity, Rehana becomes adefender of Bangladesh due to her altering political views, while her daughter, Maya, symbolises theprogressive role of a new generation of women in the movement. In Bone China, besides civil war andresistance, immigration enforces a loss of collective identity, whilst women’s domestic and publiclives are subject to profound change. The two novels promise hope for the transformation of women’sroles and status, and emphasise the significance of women’s narratives and collective memory in thepreservation of national identity.