@article {453, title = { The Challenges of Multicultural London in Zadie Smith{\textquoteright}s {\textquotedblright}The Embassy of Cambodia"}, journal = {Interactions, Ege Journal of British and American Studies}, volume = {27}, year = {2018}, month = {03/2018}, pages = {101-112}, type = {Research}, chapter = {101}, abstract = {In most of her works, Zadie Smith presents the challenges of a multicultural society. In {\textquotedblleft}The Embassy of Cambodia,{\textquotedblright} she portrays some of the problems of multicultural contemporary London. These problems are mainly shown through a female immigrant{\textquoteright}s unequal, or second-class, citizenship in a multicultural land, her otherness or split identity, her indeterminate social status, as well as the natives{\textquoteright} ambivalent perspective toward her, microaggressions against her, and inability to recognize her as an equal member of society. As revealed by both the omniscient narrator and the collective first-person plural narrator, the immigrant Other and the natives are disconnected in a multicultural space. The central immigrant character, as my paper demonstrates, is pushed toward her own ethnicity and nationality as a result of the natives{\textquoteright} inherent race consciousness (Englishness) and the highly stratified social structure. Having been ignored, excluded, and repudiated, the immigrant is inevitably driven toward a radical form of religious and racial nationalism. }, keywords = {Ambivalence, Equal Citizenship, Microaggressions, Multicultural London Society, Recognition, The Embassy of Cambodia, Zadie Smith}, url = {https://www.academia.edu/36401397/_The_Challenges_of_Multicultural_London_in_Zadie_Smith_s_The_Embassy_of_Cambodia_}, author = {Nayebpour, Karam} } @book {447, title = {Fictional Minds and Interpersonal Relationships in George Eliot{\textquoteright}s The Mill on the Floss }, year = {2018}, pages = {180}, publisher = {Cambridge Scholars Publishing}, organization = {Cambridge Scholars Publishing}, address = {Newcastle}, abstract = {George Eliot (1819-1880) is known for her psychoanalysis of the majority of her characters in her literary works. In her second novel, The Mill on the Floss (1860), she focuses on the fictional minds{\textquoteright} subjective first thoughts and intentions. She shows how their unsympathetic workings cause private and collective tragedy by the end of narrative. The novel has frequently been acclaimed by critics and readers alike. However, this book presents a re-evaluation of the text with the help of terminologies borrowed from cognitive narratology in order to shed new light on the significance of one-track minds in this narrative. The book explores the mental functioning of the individual fictional minds, and examines how different modes of mental activities influence the interpersonal relationships between and among the characters. Accordingly, the study argues that the main cause of tragedy in The Mill on the Floss stems from at least two factors. First, the central fictional minds primarily function on the basis of their self-centered thoughts and emotions, over which they usually do not have control. Second, the tragedy is an effect of the social minds{\textquoteright} or public opinion{\textquoteright}s unforgetting, unforgiving, and unsympathetic perspectives of any unconventional behavior.}, keywords = {Cognitive Narratology, Fictional Minds, George Eliot, Interpersonal Relationships, The Mill on the Floss}, isbn = {1-5275-1423-4}, issn = {978-1-5275-1423-2}, url = {https://www.cambridgescholars.com/fictional-minds-and-interpersonal-relationships-in-george-eliots-the-mill-on-the-floss}, author = {Nayebpour, Karam} } @book {nayebpour_fictional_2018, title = {Fictional Minds and Interpersonal Relationships in George Eliots The Mill on the Floss}, year = {2018}, publisher = {Cambridge Scholars Publishing}, organization = {Cambridge Scholars Publishing}, edition = {1 edition}, address = {Newcastle upon Tyne}, abstract = {George Eliot (1819-1880) is known for her psychoanalysis of the majority of the characters in her literary works. In her second novel, The Mill on the Floss (1860), she focuses on the fictional characters subjective first thoughts and intentions. She shows how their unsympathetic workings cause private and collective tragedy by the end of narrative. The novel has frequently been acclaimed by critics and readers alike. However, this book presents a re-evaluation of the text with the help of terminologies borrowed from cognitive narratology in order to shed new light on the significance of one-track minds in this narrative. The book explores the mental functioning of the individual fictional minds, and examines how different modes of mental activities influence the interpersonal relationships between and among the characters. Accordingly, the study argues that the main cause of tragedy in The Mill on the Floss stems from at least two factors. First, the central fictional minds primarily function on the basis of their self-centered thoughts and emotions, over which they usually do not have control. Second, the tragedy is an effect of the social minds or public opinions unforgetting, unforgiving, and unsympathetic perspectives of any unconventional behavior.}, isbn = {978-1-5275-1423-2}, author = {Nayebpour, Karam} } @article {454, title = {The Uses of Storytelling in Khaled Hosseini{\textquoteright}s The Kite Runner}, journal = {Hacettepe University Journal of Faculty of Letters}, volume = {35}, year = {2018}, month = {06/2018}, pages = {1-11}, type = {Research}, chapter = {1}, abstract = {In his The Kite Runner (2003), Khaled Hosseini uses storytelling for at least two purposes: to show how the first-person narrator yearns to alleviate or at least control the profoundly destructive impact of a single past experience on his adult mind and to show how, through such a recollection and reconstruction process, the narrator feels satisfied with his atonement by the end of his narration. Storytelling helps Hosseini{\textquoteright}s narrator to reconfigure his unfavourable experiences, which act both as the central concern of the narrative plot and as a shared quality weaving the central characters together. Cognitive narratologists, such as Monika Fludernik and David Herman, consider representation of experience an important basic element of narrativity or the qualities that make a narrative accepted as narrative. By focusing on his personal and human-like experiences, the protagonist Amir{\textquoteright}s storytelling not only functions as a significant tool to alleviate his intense suffering, but also facilitates the readers{\textquoteright} emotional engagement in Hosseini{\textquoteright}s storyworld. }, keywords = {Atonement, Khaled Hosseini, Psychological Trauma, Storytelling, The Kite Runner}, url = {http://dergipark.gov.tr/huefd/issue/37547/434221}, author = {Nayebpour, Karam} } @article {449, title = {The Ambivalent Nature of Colonial Mimicry in Hanif Kureishi{\textquoteright}s {\textquotedblleft}My son the fanatic{\textquotedblright}}, journal = { ANQ-A QUARTERLY JOURNAL OF SHORT ARTICLES NOTES AND REVIEWS}, volume = {31}, year = {2017}, month = {11/2017}, pages = {55-60}, type = {Reseacrh}, chapter = {55}, abstract = {

The negative aspects of the underlying narrative dichotomy in Hanif Kureishi{\textquoteright}s {\textquotedblleft}My son the fanatic{\textquotedblright} have not yet been explored through the lens of Homi Bhabha{\textquoteright}s theory of colonial mimicry. Taking its cue from Bhabha{\textquoteright}s theory, the main question of this essay is to examine how colonial mimicry in Kureishi{\textquoteright}s storyworld functions as a menace to the colonizer{\textquoteright}s Western structure and values. Colonial mimicry, in Bhabha{\textquoteright}s words, is {\textquotedblleft}structured around ambivalence [{\textellipsis}] an indeterminacy.{\textquotedblright} Therefore, it is {\textquotedblleft}at once resemblance and menace{\textquotedblright} (122, 123). In Kureishi{\textquoteright}s story, the father{\textquoteright}s nearly fulfilled desire to mime the hegemonic culture is challenged by his son{\textquoteright}s revolt against it by attempting to remove everything that represents Western culture. The son fundamentally questions his father{\textquoteright}s ability to enact cultural reform by mimicking the colonial culture, accepting his inferiority to it, and deviating from his Islamic obligations. Kureishi{\textquoteright}s story, therefore, represents the two aspects of colonial mimicry. On the one hand, the father has been enacting a full imitation, resemblance, or cultural integration into the colonizer{\textquoteright}s land in order to fulfil his dreams. On the other hand, his son revolts against what represents the Western culture and way of life. The conflict between the two poles brings about the central conflict of the story as well.

}, keywords = {Colonial Mimicry, Hanif Kureishi, Homi Bhabha, Resemblance and Menace, {\textquotedblleft}My son the fanatic{\textquotedblright}}, doi = {https://doi.org/10.1080/0895769X.2017.1361313}, url = {https://www.tandfonline.com/doi/abs/10.1080/0895769X.2017.1361313?scroll=top\&needAccess=true\&journalCode=vanq20}, author = {Nayebpour, Karam} } @book {nayebpour_mind_2017, title = {Mind Presentation in Ian McEwan{\textquoteright}s Fiction: Consciousness and the Presentation of Character in Amsterdam, Atonement, and On Chesil Beach}, year = {2017}, publisher = {ibidem Press}, organization = {ibidem Press}, address = {Stuttgart}, abstract = {This book explores the central fictional minds in three of Ian McEwan{\textquoteright}s most popular narratives. Mind presentation constitutes the main part of characterization in the second phase of McEwan{\textquoteright}s writing, where his plot structure depends to a large degree on the presentation of the characters{\textquoteright} mental workings. In Amsterdam (1998), Atonement (2003), and On Chesil Beach (2007), the construction process of the fictional minds, the degree their functioning is impacted by their experiences, and the way their mental aspect controls their behavior and relationships are critical to the stories. Relying on insights and methods from cognitive narratology, this study follows two purposes: It firstly analyzes the function of fictional minds and their operational modes in these narratives. Secondly, it explores the impact of the characters{\textquoteright} experiences on both their mental functioning and their behavior, especially with view of their relationships. Nayebpour reveals that the plot structure of these narratives highly depends on the lack of a sound balance between the two aspects of the represented minds (intermental/joint thought and intramental/individual thought) as well as on the dominance of the intramental one. The tragic atmosphere in these narratives, Nayebpour argues, is the result of this imbalance.}, isbn = {978-3-8382-6979-5}, author = {Nayebpour, Karam} } @book {448, title = {Mind Presentation in Ian McEwan{\textquoteright}s Fiction: Consciousness and the Presentation of Character in Amsterdam, Atonement, and On Chesil Beach}, year = {2017}, publisher = {ibidem Press (via Colombia University Press)}, organization = {ibidem Press (via Colombia University Press)}, address = {Stuttgart}, abstract = {This book explores the central fictional minds in three of Ian McEwan{\textquoteright}s most popular narratives. Mind presentation constitutes the main part of characterization in the second phase of McEwan{\textquoteright}s writing, where his plot structure depends to a large degree on the presentation of the characters{\textquoteright} mental workings. In Amsterdam (1998), Atonement (2003), and On Chesil Beach (2007), the construction process of the fictional minds, the degree their functioning is impacted by their experiences, and the way their mental aspect controls their behavior and relationships are critical to the stories. Relying on insights and methods from cognitive narratology, this study follows two purposes: It firstly analyzes the function of fictional minds and their operational modes in these narratives. Secondly, it explores the impact of the characters{\textquoteright} experiences on both their mental functioning and their behavior, especially with view of their relationships. Nayebpour reveals that the plot structure of these narratives highly depends on the lack of a sound balance between the two aspects of the represented minds (intermental/joint thought and intramental/individual thought) as well as on the dominance of the intramental one. The tragic atmosphere in these narratives, Nayebpour argues, is the result of this imbalance.}, keywords = {Cognitive Narratology, Ian McEwan, Intermental vs Intramental Minds, Presentation,}, issn = {3838209796}, url = {https://cup.columbia.edu/book/mind-presentation-in-ian-mcewans-fiction/9783838210292}, author = {Nayebpour, Karam} } @article {456, title = {Narrativity in The Thousand and One Nights}, journal = {Advances in Language and Literary Studies}, volume = {8}, year = {2017}, month = {08/2017}, pages = {85-90}, type = {Research}, chapter = {85}, abstract = {

Scheherazade{\textquoteright}s art of storytelling is the main vehicle for the fictional worldmaking in The Thousand and One Nights. The overall structure of the folktale narrative depends on the tales she recounts to King Shahriyar, and it is through these tales that she finally is able to change his mind. The richness of the narrative qualities, properties, and techniques in The Thousand and One Nights has attracted narrative scholars and narratologists for a long time. Besides applying the frame narrative as a basic narrative technique for storytelling practices, Scheherazade{\textquoteright}s tales include many other narrative aspects, including narrativity-affecting features. Narrativity generally refers to the qualities and features that cause a narrative to be accepted or evaluated as a (prototype) narrative. This paper argues that Scheherazade{\textquoteright}s first tale for the king Shahryar, {\textquotedblleft}The Tale of the Merchant and the Ifrit,{\textquotedblright} includes some narrativity-affecting features which have the potential to inspire its narratee{\textquoteright}s, Shahryar{\textquoteright}s, emotional and cognitive responses, and hence facilitate his transportation into the storyworld. By capturing his interest with her art of storytelling, Scheherazade is able to avert the king{\textquoteright}s heinous crime against herself.

}, keywords = {Narratee (Recipient), Narrativity and Narrativity-Affecting Features, Scheherazade, Storytelling, The Thousand and One Nights}, issn = {2203-4714}, doi = {http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.85}, url = {http://www.journals.aiac.org.au/index.php/alls/article/view/3707}, author = {Nayebpour, Karam} } @article {451, title = {Representation of Trauma as a Political Apparatus in Julian Barnes{\textquoteright}s the Noise of Time}, journal = {The IUP Journal of English Studies}, volume = {12}, year = {2017}, month = {12/2017}, pages = {7-24}, type = {Research}, chapter = {7}, abstract = {

This essay explores the function of trauma as a political apparatus in Julian Barnes{\textquoteright}s latest novel The Noise of Time (2016). Focusing on the artistic life of worldly, well-known Russian composer Dmitri Shostakovich, Barnes{\textquoteright}s narrative shows how trauma, as a dominant political apparatus, is systematically implemented by Stalin{\textquoteright}s State of Terror or Power and how it dramatically impacts the psychological state of an artist. By presenting three stages of the central character{\textquoteright}s traumatic experiences, the omniscient narrator represents trauma{\textquoteright}s continuous impact on Shostakovich{\textquoteright}s mind through his own retrospective perspective. The narrative focuses on Shostakovich{\textquoteright}s constant sense of fear and intense panic at three decisive points of life when he finds himself in humiliating conversations with Power. The narrative presents the manner in which Shostakovich{\textquoteright}s mind is possessed by the horrors, fears, and anxieties of both his traumatic experiences and post-traumatic recollections.

}, keywords = {Julian Barnes, Power, Psychological Trauma, The Noise of Time, Trauma as a Political Apparatus, Traumatic Experiences and Memory}, url = {https://www.iupindia.in/1712/English\%20Studies/Representation_of_Trauma.html}, author = {Nayebpour, Karam} } @article {450, title = {The training impact of experience in Jane Austen{\textquoteright}s Emma}, journal = {Brno studies in English}, volume = {43}, year = {2017}, month = {2017}, pages = {127-149}, type = {Research}, chapter = {127}, abstract = {

Jane Austen{\textquoteright}s Emma foregrounds the impact of experience on the central character{\textquoteright}s cognitive and emotional development. Experience also plays a key role in how the narrative is constructed. Having presented the impact of Emma{\textquoteright}s miscalculations about the other characters{\textquoteright} intentions, the narrative shows how she grows mentally through her experiences and how they mould her character along time. As a result of her experiences, Emma{\textquoteright}s character gradually evolves into a more sympathetic one. Such a transformation brings about some meaningful re-evaluations in Emma{\textquoteright}s thoughts, judgments and behaviour. Likewise, in narrative studies, experience is taken as an inherent quality of narrative and is evoked in its reader. In this essay I argue that the representation of the impact Emma{\textquoteright}s personal experiences have on her should be taken as the most important aspect of Austen{\textquoteright}s narrative plot and as the basic condition for its understanding.

}, keywords = {Emma, human (or anthropomorphic) experience, Jane Austen, narrative and experience, postclassical narratology}, doi = {10.5817/BSE2017-2-7}, url = {https://digilib.phil.muni.cz/handle/11222.digilib/137611}, author = {Nayebpour, Karam} } @article {458, title = {Representation of a Disrupted Mind and Anguished Self in Samuel Beckett{\textquoteright}s The Unnamable}, journal = {Mediterranean Journal of Social Sciences}, volume = {6}, year = {2015}, month = {12/2015}, pages = {462-468}, type = {Research}, chapter = {462}, abstract = {

This paper explores the main causes of character-narrator{\textquoteright}s linguistic as well as {\textquotedblleft}existential anguish{\textquotedblright} (Esslin, 1968, p. 29) in Samuel Beckett{\textquoteright}s The Unnamable. The paper argues that the Unnamable{\textquoteright}s on-going and exhaustive quest for a real self leads in failure mainly because of his dissemination in the stories of the others as well as his only available medium or language. Although throughout the narrative the voice pretends to be able to deliver itself with either the thoughts of the others or their stories in order to obtain an independent self, the narrative is mainly a representation of the narrating voice{\textquoteright}s failure in coming to terms with the arbitrary nature of language and the other voices. It follows that, the Unnamable, being a purely linguistic self and subjugating to the non-referential power of language, relentlessly searches for a true self throughout the narrative. The present paper thus examines The Unnamable as a poststructural narrative, investigating the function of self, language and their troubled relationship in the novel as well as exploring, as Lance Olsen puts, Beckett{\textquoteright}s and Derrida{\textquoteright}s joint questions concerning {\textquotedblleft}the deconstructive turn{\textquotedblright} and {\textquotedblleft}the dissolution of self, world, and language{\textquotedblright} (1956, p. 4). Accordingly, applying a poststructuralist approach, the present paper examines the Unnamable{\textquoteright}s intramental (or private) perceptions regarding his existential and linguistic anguish within the narrative.

}, keywords = {Language, Other, Samuel Beckett, The Unnamable}, issn = {2039-2117 }, doi = {10.5901/mjss.2015.v6n4s2p462}, url = {http://www.mcser.org/journal/index.php/mjss/article/view/7100}, author = {Nayebpour, Karam} } @article {457, title = {Intramental Fictional Minds in Ian McEwan{\textquoteright}s Amsterdam and On Chesil Beach}, journal = {Forum for World Literature Studies}, volume = {6}, year = {2014}, month = {12/2014}, pages = {618-635}, type = {Research}, chapter = {618}, keywords = {Amsterdam, Fictional Minds, Ian McEwan, intramental/intermental thought, On Chesil Beach}, issn = {1949-8519}, url = {https://www.academia.edu/12450565/Intramental_Fictional_Minds_in_Ian_McEwan_s_Amsterdam_and_On_Chesil_Beach}, author = {Nayebpour, Karam} }