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The classical Roman past has been a rich source for the playwrights who desire to make literary connections between the ancient political characters and real life figures. George Chapman, a neglected playwright of the seventeenth century, uses the Roman Empire allegory in Caesar and Pompey: A Roman Tragedy (1631) to respond to the political dissagreements which lead England into the Civil War. Through Caesar and Pompey, Chapman conveys possible scenarios that correspond to specific political events in the history of early modern England. Using new historicism as a theoretical framework, this paper analyzes Chapman's play as a political allegory of the dispute between Charles I and Parliamentarians, leading the three kingdoms into war in 1642. Drawing a parallel between the Roman republic depicted in the play and the specific moments of early modern world, this paper discusses how Cato acts as Chapman's mouthpiece and the ardent supporter of political negotiation rather than conflict. Thus, the paper contributes to the scholarship about Chapman who uses the history of Roman republic as a warning for the future of English politics during the Elizabethan period.

Jamaica Kincaid's Lucy: A Novel, an autobiographical narrative as opposed to what the title suggests, examines the colonial and immigrant experience of an Antiguan girl, who grows up in the British Caribbean and comes to the U.S. at the age of nineteen as an au pair. The colonial and maternal education along with the textual capture and erasure in her childhood controls Lucy's choices over her intellect, voice, body, mobility, and sexuality, while leading her to a stage where she seeks the new definitions of womanhood, female re-embodiment, and personhood in the New Land. This paper focuses on the autobiographical narrative as a catharsis for Lucy, who confronts the constructed reality through personal reflections on colonial education, and by doing so, who eases the predicament of colonisation and dualisms due to the coloniser inside. I argue that the systematic colonial and maternal pedagogy depicted in the narrative is employed to mythicise reality, obliterate the Caribbean self/culture, and disenfranchise colonial society. Referring to "cultural invasion, " a concept developed by Brazilian educational philosopher Paulo Freire to investigate disguised subjugation as education, this paper scrutinises Lucy's retrospection both on her maternal and colonial tutelage that later becomes a leading force of her own decolonisation.

Although love of nature as a source of inspiration is one of the primary themes in Romantic period, romantic love, which conveys the passion, pleasure, or the pain of love, often appears as a common theme in Romantic poetry. Romantic poetry becomes as a fertile space where some of the poets explore romantic love as a powerful, intense, and irresistible emotion that gives pain and melancholy rather than pleasure and happiness. I argue that the uneasy relationship between the lovers and beloveds in Romantic poetry, particularly in poems of John Keats and Felicia Hemans parallels with a long-lasting theme, the pain of love, depicted through the sultan-servant or master-slave analogy in Ottoman Divan poetry. Discussing the function of masterslave analogy in Ottoman Divan poetry and theorizing love within philosophical and scientific contexts with the ideas of Ficino and Hegel, this paper examines how Keats and Hemans employ this analogy in their poems and explore the pain of love to demonstrate the power dynamics between the lovers and beloveds.

9/11 has not only caused dramatic, social, and political changes in the US history but also created a literature in which many authors seek to understand the aftermath of the attacks on the World Trade Center. Literature about 9/11 focuses particularly on how white or immigrant male masculinity is shaken due to trauma as it fails to present the intricate relationship between traumatized woman and recovery. Furthermore, literary criticism on 9/11 narratives centered on the analysis of the traumatic experiences of individuals does not take the discussion further by examining the recovery process of trauma. Therefore, the purpose of this study is to examine Don DeLillo's Falling Man and the literary representation of the traumatized woman's recovery, a topic mostly neglected within the scholarship of 9/11 novels. Confronting trauma creates a psychological and emotional catharsis which is a vital process leading to healing and rejuvenation as well as coming into terms with the self, memory, past, and society. Through the lenses of contemporary literary trauma theory and contemporary trauma stress studies, this paper examines traumatized woman's recovery and healing to restructure, reorient, and rebuild self and life aftermath of 9/11 and its traumatic effects.