Journal of Tikrit University for Humanities

This essay offers a critical analysis of Tony Kushner's play Homebody/Kabul. Overall, it is argued that politics and culture represent salient dimensions along which the author has structured characters' identities and organized the narrative of the play. Drawing upon the work of Edward Said, particular attention is paid to Orientalist representations of Kabul by the Homebody as symptoms of and reactions against legacies of imperialism and colonialism. The function of language as a marker of culture, political affiliation, and identity is discussed. Further scholarly attention is strongly indicated.

The novel as a literary form becomes the subject of critical scrutiny as the principal genres of twenty-first century fiction rise in popularity. The author is Fadia Faqir, who is always experimenting with storytelling approaches. As a result of transcending multiple borders, the current research examines and analyses how narrative and cultural identities are depicted in Faqir's novel Willow Trees Don't Weep ( 2014) Fadia's narrative depicts the current problem of fragmentation, rootlessness, un belonging, and bewilderment in a society where a man/woman finds himself/herself suspended in a vacuum of meanings. As a consequence of identification and self-construction, Faqir's response to these notions comes from those protagonists who turn into new individuals in their own world by inventing new locations, voices, and representations. The aim of this study is to examine the novel through the prism of Homi Bhabha's hybridity. The novel's critical analysis indicates that Faqir's protagonist, Najwa, supports the practice of hybridity in Willow Trees Don't Weep. Other characters in Faqir's novel force Najwa to adopt their chosen kind of identity, putting Najwa in a state of hybridity and unease. She is irritated by the weight of dichotomy between the Western and Islamic worlds. It may be said that Najwa's father's Jihad, as well as her mother's secular views and aspirations, had a key role in her state of life being broken. Najwa has been searching for her father, who has been missing since she was three years old, all over the globe. Because of Jordanian culture's harshness, which traditionally regarded a household without a man to be a home without honor, it becomes critical for her to find someone after she is twenty seven and shortly after her mother's death. Najwa is encouraged to go on the trip by Jordanian patriarchal society, and along the way, she experiences cultural hybridity and an unsettling sense, a sense of cultural hybridity and apprehension.

Flannery O’Connor is one of the greatest American writers during the twentieth century whose writings have been analyzed as criticism for the emptiness in the American society. She dissents the new attitudes towards rejecting religion and resorts to her literature to bridge the chasm that was highly expanded with the prevalence of Darwinian nihilism between religion and the individuals. However, critics assume that the complexity in O’Connor’s works transcend the theological limits; thus, they have started to analyze her literary production from new perspectives. This paper provides a close feminist and psychoanalytical reading for “Good Country People” to highlight the acts of repressing women in patriarchal society , applying a psychoanalytical approach to examine Hulga’s psychological defenses to maintain the balance between herself and the society, in addition to dissect the spiritual transformation of Hulga by resorting to a clear analysis for the psychological and archetypal symbols in the text.