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Julian Barnes is predominantly known for his radical experiment with the notion of history. He uses and abuses official accounts of history in order to register a history of the unvoiced in his novels. In his attempt to foreground what is unregistered in history, he often ends up embracing a very strong dystopian mode, depicting a world full of terrors, disasters and crises. As this article argues, he presents a "hystopia," that is, a history of dystopia or history as a dystopia. In Barnes, history is a hystopia not only in the sense that it is full of catastrophes, but also in the sense that it is subjective, unreliable and even fascistic in imposing only a single version of the past. Barnes creates alternative histories which downplay the absoluteness of the official accounts and create ruptures in the causal lines of hystopia. In this sense, these alternative accounts can be seen as "minor" history in Deleuzian terms, which is nonlinear, rhizomatic and eventful. Against this background this article aims to elaborate on these new notions of "hystopia" and "minor history" in Barnes's novels, addressing the relation of his understanding of history to minoritarian politics in the light of Deleuze and Guattari's philosophy.

Angela Carter is an unorthodox figure of 20th-century literature that declares war on all kinds of orthodox beliefs and practices. One of those practices against which she boldly fights is myths. Myths draw social and cultural boundaries that tempt such writers as Carter to trespass by playing upon and with their breaks and leaks. Specifically alert to the distribution of power regarding sexual politics, Carter rereads traditional myths with closer attention and rewrites them to spoil their ideological fabric and debunk their malignant latent aims. As such, she sets out to explore fairytale tradition to see how women are misrepresented by and within fairytales and how these misrepresentations are encoded as universal facts. In her avant-garde work The Bloody Chamber and Other Stories (1979), Carter rewrites these fairytales with the purpose of denouncing the misrepresentations manifest in them and deconstructing gender stereotypes. This paper is an attempt to scrutinize one of these rewritings in this collection, "The Company of Wolves" from a feminist post-narratological stance, first discussing the inapplicability of classical narratological theories such as Proppian analysis of fairytales to deconstructive rewritings and then elaborating on the subversive potential of Carter's rewriting in comparison with the original version "Little Red Cap" by the Grimm Brothers..

21. Yüzyılda yükselen kültürel üretim, şu ana kadar birçok farklı disiplinden araştırmacıların tartışma konusu olmuştur. Bu yeni kültürel üretimin kendine has doğasını anlamak için kimi araştırmacılar duygulanım kavramına yeni yaklaşımlar geliştirirken, kimileri ise yeni samimiyet dalgasına dikkat çekmişlerdir. Bu çalışma, ileri sürdüğü "mikrofaşizme dönüş" kavramıyla mevcut tartışmaya katkıda bulunmayı amaçlamakta ve kapitalizmin son evresinin,"yeni modern an" olarak adlandırdığı çağdaş anı nasıl şekillendirmekte olduğunu anlayabilmek için mikrofaşizme dönüşün anlaşılması gerektiğini savunmaktadır. Bu çalışmaya göre, mikrofaşizme dönüşle olumsuz duygulanımların yoğunlaştırılmasından çok sempati gibi olumlu duygulanımların yoksunlaştırılması günümüzde direniş ve devrimci hareketleri için en büyük tehdidi oluşturmaktadır. Bu düşünce doğrultusunda, bu çalışma mikrofaşizme dönüşü sempati sorunsalıyla olan ilişkisi bağlamında ele almayı ve Ian McEwan'ın Cumartesi romanını inceleyerek bu yeni duygu yapılarının çağdaş romandaki yansımalarını göstermeyi amaçlamaktadır.The emergent cultural production in the 21st century has increasingly become a subject of debate among scholars from different disciplines. To grasp its nuances, some scholars have called for a renewed attention to affect while others have pointed to a new current of sincerity. This paper attempts to contribute to the existing debate by proposing an alternative term, "the microfascistic turn", and argues that the turn to microfascism begs for closer scrutiny to understand how the latest stage of capitalism shapes and reshapes the contemporary moment, or what it calls "the new modernist moment". It further suggests that with the microfascistic turn, it is not the intensication of negative affects but the attening of sympathy that has begun to pose the biggest threat to the possibilities of resistance and revolutionary action today. This article seeks to explore the microfascistic turn in its relation to the question of sympathy, and show its projection in contemporary ction by delving into Ian McEwan's Saturday (2005).

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