The oft despised and ignored genre of travel writing was recognized as worthy of scholarly investigation in 1970s thanks to Edward Said’s Orientalism, the wave of deconstructionism, and postcolonialism (Calzati, 2015). For these scholars, travel writers do not present a transparent window to an alien space and its residents even though they normally claim it. For them the representation of the traveled terrain and travelees is an ideological construction which is tainted with the travel writer’s ‘habitus’ and ‘field’ and crafted through fictional devices. In this regard, by drawing on postcolonial methodology, the current study seeks to evince how Frembgen in his travelogue, The Closed Valley: With Fierce Friends in Pakistani Himalayas which narrates his voyage to Harban, a far-flung mountainous region in Pakistan Himalaya, reproduces the pitfalls of previous Western travel writers when he depicts his destination and travelees in negative terms. From his perspective, his timeless traveled locus is rife with violence, yet a space to escape from dehumanizing ambience of the West. Additionally, for him the women in this tribal region are tyrannized by husbands and victimized by Muslim extremists. Last but not least, he portrays this remote oriental space as an object of curiosity which needs to be salvaged textually. Keywords: Travel Writing, Timeless, Escape, Women, Violence, Curiosity

Abstract-Edward Said in his groundbreaking work Orientalism, which later becomes a bible for Postcolonialists, elucidates how the Western scholars, writers, scientists, philologists, administrators among others take it for granted the binary distinction between the West and its Other. He underscores the special place of the Orient in the Western canon. The arbitrary and fabricated line between the Self (Occident) and the Other(Orient) in which the former is privileged and grasps the upper hand to define, reconstruct andre-present the latter, comes at the center of Postcolonialism. Orwell as a Western writer with firsthand experience -he was born in India and served as a cog in British imperial machine for five years-never managed to disconnect wholeheartedly with his deep imperial roots. One of Orwell's major concerns during his life was the issue of imperialism and colonialism which is reflected in many works such as Burmese Days, Shooting an Elephant, Marrakech, and Hanging. One characteristic which is shared among these works is the author's conflicting feelings within them about the Orient and Orientals from European's lens. In this study, the relationship between the representer or Westerners and the represented or Easterners is expounded in Shooting an Elephant according to Said's Orientalism.

Symbols for Williams not only are the pure language of drama but also a poetic device to add aesthetic dimension and say more without utilizing many words. It goes without saying that they maintain important position in the architecture of his plays particularly in his monumental work, Streetcar Named Desire. So far, various critics have analyzed the play from numerous approaches. However, they neglected to explore the relationship between the symbols and the themes in the play. Therefore, the current article attempts to show how central symbols in A Streetcar Named Desire move ahead the theme of conflict between illusion and reality.

Rumi frequently utilizes allegories in the grand architecture of his six-book Masnavi-ye Manavi to explain the complex philosophical and religious issues refreshingly, give aesthetic dimension to otherwise cold subjects artistically, and teach morals delightfully. Like his predecessors, he also picks up the ancient old motif of spiritual journey in some of his allegories to depict the problems of the seeker on his path towards God. The present study is undertaken to shed light on the wayfarers' barriers and the ways of surmounting them in two selected allegories from Masnavi.

Dating back to the second half of Stone Age, Symbol is the mother of art and culture. Being omnipresent, symbols are interwoven to the humans' life, thereby becoming their inseparable aspect of living. In the realm of literature, they are categorized into two types: public and private. The symbolic import of public symbols is determined by a particular culture while that of private ones is determined by the writer himself/herself. Symbols play different roles in a literary work; one of them is delivering its theme(s). In American literature, Tennessee Williams is well-known for utilizing symbols widely in his plays. In fact, he expressed his world views through the language of symbols. Therefore, this article makes an endeavor to show how guitar as a private symbol pushes forward the theme of life-giving force of sex in Williams's Orpheus Descending.