This research considers displacement in Naipaul's The Mimic Men as a traumatic experience. Taking an interdisciplinary approach to the subject of my study, it explores the historical and psychological dimensions of the displacement in the novel, as well as its literary representations. In the first step, I depicted the displacement as a traumatic experience for the protagonist by the illness which displacement causes Post Traumatic Stress Disorder. In the second step, I suggested two ways the protagonist goes through to remember their trauma. These ways are two different kinds of memory, namely, "acting out" and "working through". I take "acting out" and "working through" as different but not opposite processes. "Acting out" and "working through" may never be totally separated from each other, and the two may always mark or be implicated in each other. In the third step, I also looked at the impacts of trauma of displacement on the structural and formal components of The Mimic Men.

This paper attempts to present the journey of the Byronic Hero's consciousness toward self-consciousness in "The Prisoner of Chillon" and "Mazeppa". In this regard, Hegel's uppermost notion about lordship-bondage as stated in "The Phenomenology of Spirit" is applied to these narrative verses while concentrating on the interaction and relationship of the Byronic Hero and the environment. The lordship-bondage notion, emphasizing freedom, dependency and independency, maps the development of one's consciousness toward self-consciousness in which one acquires knowledge and independency. Lordship-bondage is a reciprocal relationship in which one confronts another being and sets a struggle in order to establish and maintain the superiority and dominance. Hegel's illustration of lordship-bondage is primarily known as master-slave , comprising three stages of confrontation: recognition and acceptance highlighted within the three phases of thesis, anti-thesis, and synthesis. As these terms merge together, one's consciousness is observed through them and through interacting with another consciousness to clarify contradictory manifestations of the two people. Hence, the Byronic Hero's self-consciousness is portrayed to present him as the Hegelian Slave. As an interdisciplinary study, his interaction with the environment is analyzed based on the mentioned framework.

This paper intends to discuss Byron's "Sardanapalus" by focusing on the Hegelian master-slave dialectics. Written in 1821, "Sardanapalus" presents some trends about Lord Byron's creation of the Byronic Hero. The Byronic hero is emotional, dreamy, and impulsive. Sardanapalus, the Byronic hero, is the Assyrian King who possesses the complicated nature of both master and slave which is the focus of this article. There are encounters of masters and slaves that consciously and unconsciously take place in this dramatic verse. Sardanapalus' relationships to his mistress, his brother-in-law and the citizens involve a complex thesis and antithesis. Hegelian dialectics reflect the processes of recognition of consciousness through such thesis and antithesis. Bondage and lordship and dependency and independency are concepts that are within these processes. Hegel explains that the identity and role of the master and slave can be recognized when they are interacting. It means that the absolute situation in which one is alone cannot be appropriate for distinguishing. It attempts to explain how the master-slave patterns are recognized and defined, how the slaves and masters struggle internally and externally, and how they reach the recognition of the reality of their position and of self and how Sardanapalus as the Byronic hero acts. The focus of this article is on three master-slave patterns which are Sardanapalus-Myrrha, Sardanapalus-Salemenes and Sardanapalus-the citizens.