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Title: Representations of tourism and terrorism in the post-9/11 American novel
Author: White, Mandala Camille
Awarding Body: University of Leeds
Current Institution: University of Leeds
Date of Award: 2013
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In this thesis, I examine representations of tourism and terrorism in three post-9/11 American novels: Khaled Hosseini's The Kite Runner, Diana Abu-Jaber's Crescent and Mohsin Hamid's The Reluctant Fundamentalist. I read the novels from a postcolonial American Studies theoretical perspective, and argue that tourism is an allegory for intercultural exchange between a transnational culture related to America and three terrains stereotypically a,ssociated with terrorism: Afghanistan, Iraq and Pakistan. The arguments I make about the texts' representations of tourism and terrorism are directed towards a discussion of the significance of literary aesthetics in the post-9f11 context including formal structure, narrative voices, framing devices, language, metaphor, and allegory. I argue, first, that the representations of tourism are informed by and reproduce American liberal anxieties about terrorism and the various cultural, military and geopolitical phenomena generated by 9f11; and, second, that these liberal anxieties are inextricably bound up with concerns about neoliberalism and America's role . within global capitalist culture. Chapter One introduces the key components of my project; situates my work within the growing body of postcolonial American Studies interdisciplinary work on post-9/11 literature; and discusses the texts as transnational, hybrid entities that are, nevertheless, centrally concerned with American issues. Chapter Two examines Hosseini's The Kite Runner as a melodrama that privileges neoliberalism as a form of morality. Chapter Three argues that Abu-Jaber's Crescent is a confused American text that attempts to destabilise stereotypes about Iraq and Arabic culture, but remains invested in those same stereotypes at the formal level. Chapter Four argues that Hamid's The Reluctant Fundamentalist self-consciously mobilises a series of conflicting allegories as a way of problematising its own representations; I argue that its formal manipulation is the repository of its most significant commentary on post-9/11 culture.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available