

294
E
UR
A
MERICA
Shamsie.
Transnational Literature
, 7, 1. Retrieved from
http://dspace.flinders.edu.au/jspui/bitstream/2328/35079/1/ Kaur_God.pdfKhan, G. K. (2011). The hideous beauty of bird-shaped burns:
Transnational allegory and feminist rhetoric in Kamila
Shamsie’s
Burnt shadows
.
Pakistaniaat: A Journal of Pakistan
Studies
, 3, 2: 53-68.
King, B. (2011). Kamila Shamsie’s novels of history, exile and
desire.
Journal of Postcolonial Writing
,
47, 2: 147-158.
Mignolo, W. D. (2000). The many faces of cosmo-polis: Border
thinking and critical cosmopolitanism.
Public Culture
, 12, 3:
721-748.
Mignolo, W. D. (2011). Border thinking, decolonial
cosmopolitanism and dialogues among civilizations. In M.
Rovisco & M. Nowicka
(Eds.),
The Ashgate research
companion to cosmopolitanism
(pp. 329-347). Burlington,
VT: Ashgate.
Nakachi, S. (2012). “Why a second bomb?”: Kamila Shamsie’s
challenge to American xenophobia in
Burnt shadows
.
Journal of Ethnic American Literature
, 2: 132-141.
Potter, C. L. (2009, April 11). Burnt shadows, by Kamila Shamsie.
The
Independent
. Retrieved from
http://www.independent.
co.uk/Powell, K. A. (2011). Framing Islam: An analysis of U.S. media
coverage of terrorism since 9/11.
Communication Studies
, 62,
1: 90-112.
Rajagopalan, S. (2009, July 10). A defense of and against offence.
Livemint
. Retrieved from
http://www.livemint.com/Leisure/ cDOFJ8piKY2FG2DeSTJaGK/A-defence-of-and-against-off ence.htmlRanasinha, R. (2012). Resistance and religion in the work of
Kamila Shamsie. In R. Ahmed, P. Morey, & A. Yaqin (Eds.),
Culture, diaspora, and modernity in Muslim writing
(pp.
200-214). New York: Routledge.