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Contesting Pluralism(s) challenges a widespread tendency to limit studies of Turkish – and Muslim – politics to 'Islamist vs. secularist' or 'Islam vs. democracy' debates. Instead, Nora Fisher-Onar's innovative argument centers on coalitions for and against pluralism. Retelling Turkey's story from the late Ottoman Empire to the present as a tale of pluralizing vs. anti-pluralist coalitions, this book offers an alternative explanation for major outcomes from elections and coup d'etats to revolutions. Here, cross-camp alliances pit those who are willing to coexist with 'Other(s)' against those who champion a unitary, national project in which everyone speaks, believes, looks, and loves as they do. Drawing on a rich array of primary and secondary data, Fisher-Onar introduces an analytical framework for capturing causal complexity in political contestation. This study rejects Orientalist exceptionalism, rereading the relationship between political religion, pluralism, and populism via a framework that travels across and beyond the Muslim-majority world.
This chapter revisits and transforms the idea, associated with Georg Lukács but an oft-unstated convention of literary studies, that the novel is the exemplary literary form of the capitalist era, arising from and expressing its basic logic and social relations. Its argument depends on a double specification: that what distinguishes the capitalist era is accumulation at a global scale; and that the realist novel’s paradigmatic trope, which Lukács calls “reconciliation,” refers not to a general social phenomenon but to the problematic individual’s reconciliation with social production, their internalization into the circuits that enable accumulation. Accumulation somewhere, that is to say, is the social basis of the novel. The chapter reads the contemporary political economy of the world-system, with the Eurozone – the realist novel’s home countries – as its leading case, and Greece as its irremediably problematic economy, arriving at the conclusion that as accumulation wanes, so must the novel itself.
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