Artykuły w czasopismach na temat „NOVELAS ARABES”

The study aims to identify how Arab-American authors Naomi Shihab Nye and Diana Abu-Jaber depict Arabs in their novels, Habibi and Crescent. Additionally, the study attempts to compare and contrast between the two writers’ depictions of Arabs in their novels. To achieve the objectives of the study, the theory of Post-colonialism is used; more specifically, Edward Said’s views from his book Orientalism are applied to both novels. The study concludes by showing how both Nye and Abu-Jaber depict Arab characters in an ambivalent way within their works, Habibi and Crescent, respectively, in that they sometimes present Arabs in a positive light and other times in a negative light. The study also concludes with a set of concepts that include lack of identity, hybridity, and multiculturalism that have affected Arab-Americans and influenced their cultural values. These representations are also considered ambivalent.

September 11, 2001 has been the most aggressive day in the history of modern America. The physical and psychological damages caused by the attacks left a unique experience of the day in the mind of American writers. Therefore, if literary and political orientations changed after the 9/11, novel's subject matter and themes changed too, because novel is a reflection of its social and political context. This study examines the assumption implicit in the dominant conceptions that novel serves the state's politics in its pursue of interests through representations and misrepresentations of other nations. This study examines how American novel expresses solidarity with the state and its politics, ignoring its imperial and hegemonic attitude towards other nations. Novel has become the most effective genres to represent the feelings of the nation and the concern of the country. Analysis will refer to two novels, Extremely Loud and Incredibly Close and Falling man, which directly deal with the moments of destroying the World Trade Centre and manifestly identify the terrorists, their culture, their religion and their intentions. Tendency to such themes allows American novel to follow the mainstream politics without grappling with the state's ideologies, interests and politics. Discussion will focus on the Foucauldian approach to literature and power and on the implications of using the Foucauldian approach to the study of imperial literature.

The current study deciphers how Ahdaf Soueif and Fadia Faqir, who are known as diasporic Arab writers, adopt the western stereotypical perspectives towards the Arabs. Instead of advocating Arabs and demystifying their identity against the western stereotypical misconceptions, Soueif (2000) and Faqir (2007) represent Arabs as backward, passive, and violent terrorists, as evident in their novels. Thus, the study explains how those Arab diasporic writers adopt the western stance against Arabs by enhancing and highlighting the image of Arabs as different from the rest of the globe at the cost of Arabs and in favor of the West. The study deploys Said's Orientalism to read the narratives under discussion, highlighting that such narratives misrepresent how Arabs think, behave, and feel to gain some plausibility and popularity in the West (Occident). Soueif and Faqir, we argue, sacrifice the ethics of loyalty and belonging to Arabs in favor of assimilating with the West and gaining its admiration, which resulted in creating a very inaccurate portrait of Arabs. The study reveals the potential reasons of such unethical behaviors, emphasizing that falsifying the reality of the Arab World by some Arab diasporic writers should never be the optimal way to assimilate with the West or cope with its expectations.

Several novels have appeared after the September 11 attacks which deal directly or indirectly with the effect of the event on individuals, both inside and outside the United States. Though, the novels often claim to deal with the posttraumatic aftermath of the incident, the writers regularly use Orientalist stereotyping, and it seems that after September 11 these attitudes toward Muslims and Arabs have hardened and even strengthened the old Orientalist discourse. This paper shall focus on Don Delillo’s Falling Man and John Updike’s Terrorist because both novels were New York Times bestsellers and both novelists are prominent figures in American literature. It attempts to examine the way in which the novelists have responded to the September 11, 2001 attacks and how Muslims and their ideologies are represented. The significant point is that though these novels have been written in the twenty-first century, where there has been an increase in contacts and information about Muslims, the writers often use the same cliches and stereotypes about Muslims that have existed since the Middle Ages.

Several novels have appeared after the September 11 attacks which deal directly or indirectly with the effect of the event on individuals, both inside and outside the United States. Though, the novels often claim to deal with the posttraumatic aftermath of the incident, the writers regularly use Orientalist stereotyping, and it seems that after September 11 these attitudes toward Muslims and Arabs have hardened and even strengthened the old Orientalist discourse. This paper shall focus on Don Delillo’s Falling Man and John Updike’s Terrorist because both novels were New York Times bestsellers and both novelists are prominent figures in American literature. It attempts to examine the way in which the novelists have responded to the September 11, 2001 attacks and how Muslims and their ideologies are represented. The significant point is that though these novels have been written in the twenty-first century, where there has been an increase in contacts and information about Muslims, the writers often use the same cliches and stereotypes about Muslims that have existed since the Middle Ages.

The study of intergenerational or multigenerational trauma is the locus of 21st-century fiction and non-fiction; however, few research studies dare to explore the contextual reality of this research scope. This present research analyzes the issue of intergenerational trauma in Jennifer Zeynab Joukhadar’s The Map of Salt and Stars and Hala Alyan's Salt Houses. With Michelle Balaev’s theorization of pluralistic trauma, this study focuses on the experiences of Arabs’ intergenerational trauma in selected novels and also on the contexts related to the trauma experiences. This article uses the textual analysis approach to support its conceptual framework that illustrates the context of war and displacement in different Arab states. The analysis of the two novels illustrates how trauma affects not only victims' lives but also their descendants' lives.

This third and final part of a summary of post-Zionist critique follows the manifestations of new ways of looking at Israeli history and the "other" in film, theater, novels, music, and poetry. Cinema has the greatest potential for influencing the public and has gone further than the other media in challenging traditional views. The author concludes that the cultural products that have seriously transcended the Zionist narrative and its negative portrayal of the Arabs remain outside the Israeli canon and have limited impact, though the groundwork has been laid for what is clearly a growing trend.

Tahar Ben Jelloun es un escritor marroquí de expresión francesa; sin embargo, su obra está marcada tanto en la forma como en el contenido por la cultura árabe. Desde el nombre de sus novelas el autor clama su origen musulmán. En sus obras el novelista reconstituye las callejuelas de sus medinas por medio de una estructura laberíntica en la que la cultura arabo-musulmana cobra vida gracias a un vocabulario denotativo y connotativo. El autor describe la sociedad tradicional y moderna con lujo de detalles denotándolas y connotándolas por medio de las acciones, los gestos y los intercambios discursivos de sus personajes. Las referencias al Islam como parte integrante de su identidad, a la literatura, a la caligrafía, a los grandes filósofos permiten al lector comprender mejor la religión y las creencias de la sociedad arabomusulmana.Tahar Ben Jelloun est un écrivain marocain d'expression française cependant son œuvre reste foncierement arabe autant dans la forme que dans le fondo. En effet la structure de ses romans emprunte les dédales de ses médinas et la présence de la culture arabo-musulmane y est indiscutable. Des les titres de ses romans l'auteur confirme son appartenance au monde musulman soit par les vocables choisis soit par leur sonorité. L'auteur dépeint la sociétén traditionnelle et la société modeme grace a un réseau de références tant dénotatives que connotatives grace aux actions, aux gestes, aux échanges discursif de ses personnages, aux situations décrites. Les allusions à l'Islam comme une partie indissociable de l'identité, à la littérature, à la calligraphie, aux grands philosophes permettent au lecteur de mieux comprendre la religion et les croyances de la société arabo-musulmane.

This article explores the theme of war in the main graphic novels of Lamia Ziadé and Zeina Abirached, two Franco-Lebanese artists. Following a tripartite plan, it scrutinizes the pictorial and scriptural aesthetics of the artists in Bye Bye Babylond (2010), Ô nuit, Ô mes yeux (2015) and Ma très grande mélancolie arabe (2017) by Ziadé and in Le Jeu des hirondelles: mourir partir revenir (2007), Je souviens: Beirut (2008) and Prendre refuge (2018) by Abirached. The article examines each author’s approach to the history of the Middle East, especially that of Lebanon, as well as the impact of the so-called ‘duty of memory’ on bandes dessinés that manifest a clear autobiographical temptation.

It is generally acknowledged that the modern Arabic prose genres were borrowed from European literature. A few Arab critics, however, maintain that earlier Arabic literature also contains novels, and that the real origins of modern Arabic fiction are to be found in the élite and popular literary heritage. This paper looks at the relationship between the indigenous literary heritage and Egyptian fiction. The paper is limited to Egypt without any intention to generalise from Egyptian literature to that of the Arab world at large, given that developments in different Arab countries do not follow an exactly parallel course.

The academic debate in Israel on Zionism and its implications for the way the society views itself and the "other" were discussed in part one of this article. This part examines the press, which with partial privatization and the cumulative impact of the Lebanon war and the intifada has undergone a transformation since the late 1980s. While a wider diversity of views and bold reporting on events are now current, the article concludes that the representation of the Palestinians and Arabs in the news columns is fundamentally unchanged. The last part will follow the manifestations of the academic debate in film, theater, novels, music, and poems and will assess the significance of these changes in the culture and worldview of Israeli society as a whole.

This article focuses on the representation of female physical illness and disability in the works of two Arab women writers: Iraqi Alia Mamdouh’s Habbat al Naftalin [Mothballs] (1986) and Egyptian Salwa Bakr’s al ‘Arabah al Dhahabiyah la Tas‘ad ila al Sama’ [The Golden Chariot] (1991). It argues that the representation of female illness in these works centres upon the figure of the sick mother. Despite the limitations of this trope of illness, both novels offer a more complex illness narrative than those of their Arab predecessors. By problematizing the representation of the sick woman/mother, both novels challenge the traditional role of the silent, sick female figure whose story remains outside the limits of representation. Finally, the article argues that this textual recuperation of the female suffering body is achieved through the employment of a mother— daughter plot which continues to represent the sick mother as socially and emotionally absent but which nevertheless renders her a central figure in the daughter’s narrative.

El presente estudio se acerca a las adaptaciones a la pequeña pantalla de ciertas novelas de Elizabeth Gaskell por parte de la BBC, analizando las similitudes y diferencias entre el original y su versión televisiva, resaltando aquellas cuestiones presentes en el original decimonónico que las versiones de la BBC ponen de manifiesto, lo que ha convertido estas miniseries en una excelente vía para acercar al público actual la narrativa de una novelista victoriana que gozó de notoria popularidad entre sus coetáneos y que, sin embargo, desde su muerte y hasta bien entrada la segunda mitad del siglo xx pasó desapercibida tanto para la crítica como para el público general. Se verá, pues, cómo estas adaptaciones han propiciado la inclusión de las obras de Gaskell en la cultura popular.

Mahmud Taymur was one of the founders of the Egyptian realistic short story, also known as Syaikh al-Qisasah alQashīrah. Remaining productive over a long life Taymur wrote extensive literary criticism and was the author of short stories, novellas, and plays totaling a score of volumes. Most notable for his skill in characterization, he achieved a literary eminence shared by few other Arabs of his generation in Cairo in 1947, and individual stories by him gave and appeared widely in English and European Anthologies. Taymur’s early works were influenced by Chekhov and Maupassant. His short stories of the 1920s and 1930s portrayed various social strata in Egypt. Taymur’s prose is marked by humanism and psychological subtlety. In the late 1930s and in the 1940s his prose was influenced by symbolism but after the revolutionary coup of 1952, Taymur’s works were predominantly realistic.

This study explored the reading interests, and preferences of educated Arabs such as students, faculty and professionals, the types and number of books they read before, during and after the Pandemic (between 2012 and 2022). Data were collected from Twitter threads, hashtags and surveys and responses to the question “What are you currently reading”. The Twitter data analysis showed that the preferred book titles with the highest percentages were novels/fiction (31.5% before the Pandemic and 41.5% during the Pandemic); Islamic books (22.5% before the Pandemic and 12% after the Pandemic); (iii) self-development books (12.5% before the Pandemic and 20% during the Pandemic). 80.7% preferred to read paper books and 19.3% electronic books. In most surveys, between 50%-60% of the respondents do not read at all. In 2 surveys, between 76%-80% do not read. The highest number of books read was during the Pandemic as 32.5% read 5 books and 38.5% read more than 20 books. The status of reading after the Pandemic was like that before the Pandemic (43.4% did not read). Even graduate and undergraduate students. 31% of graduate and undergraduate students read nothing outside their course textbooks. For enhancing students’ reading interests, preferences and the types and amounts of books read, the study recommended using book clubs, BookTok, encouraging students to visit libraries, using online courses, blogs, and mobile apps for discussing books read, integrating global topics in the school and college curriculum and others.

Tres producciones audiovisuales estrenadas en 2020 retomaron la clásica novela de Henry James: The Turning, The Hunting of Bly Mannor y The Turn of the Screw. El objetivo de este estudio es la caracterización de transposiciones que no tuvieron abordaje crítico aún como sí lo han tenido otras versiones. A partir del análisis comparativo encontramos en las tres películas una tendencia hacia la autoconciencia; por medio de diferentes procedimientos, las tres producciones muestran huellas del posmodernismo que las diferencian de transposiciones anteriores del mismo material.

Abstrak Penelitian ini ini membuktikan bahwa salah satu kritik politik Novelis al-Ghitani di dalam novel al-Zayni> Baraka>t ialah kritikan terhadap kinerja Presiden Nasser atas kekalahan Arab pada perang Arab-Israel tahun 1967. Menurutnya, pemerintah ini terlalu disibukkan dengan memperbaiki internal Mesir sehingga kurang memperhatikan eskternal. Dengan kata lain, sepanjang tahun 1960-an, Presiden terlalu disibukkan dengan penanaman pan-Arabisme sehingga kurang dalam persiapan dan perencanaan melawan Israel tahun 1967.---Abstract This research this proves that one of the criticisms of the political Novelist al-Ghitani in novel Zayni al-Baraka is the criticism of the performance of President Nasser over the defeat of the Arabs in the Arab-Israel war of 1967. According to him, the Government is too preoccupied with internal fix Egypt so little regard for external. In other words, throughout the 1960s, the President is too preoccupied with planting of pan-Arabism so lacking in preparation and planning against Israel in 1967.

La hipótesis que proponemos en este trabajo es que con la reescritura de esta novela de Charlotte Brontë (1847), la guionista Moira Buffini y el cineasta Cary Fukunaga hacen dos cosas: en primer lugar, recuperan la imbricación entre la violencia y la sexualidad que caracteriza a los relatos literarios y cinematográficos pertenecientes al género gótico femenino. Y, en segundo lugar, mediante su adaptación guionista y director actualizan dicho género, en la medida en que ahondan en la oposición estructural existente entre, por un lado, los ideales culturales –tales como la pureza femenina, o la independencia de la mujer– y, por otro lado, el apasionado deseo heterosexual de algunas mujeres.

Purpose: This article aims to analyze the retention of the Arabic language as a national identity by Lebanon nationalists who live as exiles outside European countries in two of her novels, Lailatul-Milyār and Sahrah Tanakkuriyyah Lil-Mautā. As a product of fiction from a colonized country, both stories represent postcolonial discourses, showing the effect of colonialism, while also voicing resistance to colonialism. Methodology: The research materials or material objects in this article are two of as-Sammān’s novels. Data sources were grouped in primary data, which is the two of Sammān’s novels, and secondary data, which is various references that support analysis, including books, journals, blogs, and other relevant sources in academic studies. Deconstruction is a textual strategy, which is utilized for analyzing the data in this study. No software tool is used. Main Findings: The Lebanese nationalists in Europe tried to maintain the use of the Arabic language as the first and foremost national identity for several reasons, including defending (1) the Arabness, (2) the membership in the national community, and (3) the nation and nationality. Implications/ Applications: This study highlights that resistance to colonialism can be done in various ways, both through violence and non-violence. In modern times, non-violent methods are frequently used. Among the non-violent ways is to fight for the retention of the Arabic language as a national identity so that to maintain it means to maintain Arabism, the membership of the nation’s community, and defend the nation and nationality of the Arabs. Novelty/Originality of this study: These findings highlight the struggle of the Lebanese nationalists in Europe; the younger generation who are trying to inherit Arabic must also struggle to learn it, both formal and informal, even against the mainstream. The results of persistence and perseverance in learning Arabic cannot be seen immediately, but a long time after that. The ability to speak Arabic, then, can foster a spirit of nationalism in the young Arab generation.

I sei romanzi della scrittrice di origine somala Igiaba Scego qui presi in considerazione sono contraddistinti, specialmente i primi, da un accentuato plurilinguismo, data la presenza di parole somale, arabe, spagnole, francesi e inglesi, mescolate a voci dialettali romane e napoletane. Utilizzando queste opere come corpus si propone un glossario dei 153 migratismi che si sono rintracciati. Per ognuno di essi si segnalano le eventuali varianti grafiche e si riportano le informazioni grammaticali, la lingua di provenienza e il campo semantico. I significati, quando possibile, sono ricavati da fonti interne al corpus (glossari proposti dalla stessa autrice) o esterne (studi critici o vocabolari, qualora la registrazione lessicografica sia già avvenuta), altrimenti sono desunte a partire dal contesto. Per ogni migratismo si dà poi l’elenco delle occorrenze nel corpus e un breve commento in cui si riportano i dati relativi alla diffusione della parola nei corpora di raffronto considerati, costituiti da archivi giornalistici o testi web. Migrant words. Igiaba Scego’s migrantisms The novels of the Somali-born writer Igiaba Scego are characterized by a marked multilingualism. Especially in the early novels, we find Somali, Arabic, Spanish, French and English words, mixed with Roman and Neapolitan dialect voices. Using these works as a corpus, a glossary of the 153 “migratismi” that have been traced is proposed. For each one, any graphic variants, the grammatical information, the language of origin and the semantic field are reported. A definition of meaning is given from internal sources (Igiaba’s glossaries) or external sources (e. g. vocabularies or neological repertoires). In the absence of sources, the definition is taken from the context. For each “migratismo”, the list of occurrences in the corpus is given and also a brief comment in which the data relating to the spread of the word in the comparison corpora are reported.

En la crítica de las adaptaciones cinematográficas, a menudo se ha tratado el cine como un medio subsidiario de la literatura. Como parte de una propuesta metodológica que considera que la subjetividad creativa del cineasta, al introducir cambios, enriquece el texto literario y produce un hipertexto que remite al hipotexto pero no lo refleja; este artículo estudia de qué manera trataron la estética y la filosofía de la contracultura punk ambos autores de Historias del Kronen y qué repercusiones tuvieron sus diferencias ideológicas a la hora de reflejar una generación con elementos propios como la obsesión por la violencia en los medios audiovisuales y la droga.

As we know, reminiscences are considered to be memoirs, a literary work where the author describes recollections of events in which he himself directly participated or witnessed in the past. Memoir works are close to documentary - historical essays, scientific biographies in terms of their presentation, lack of systematicity in the plot of events, observance of the order of time, the characteristics of the diary, the reliability of the material and the absence of fiction. Diary entries in the works of Jamal al-Ghitani have existed since the very beginning of his creative activity. Of course, in these diaries, historical events in the past were syncretized along with today's events, and as a result of the significant influence of the "new wave" current, the writer creates his new style by searching for a specific style, introducing new themes. Jamal al-Ghitani was one of the famous writers of Egyptian literature, a disciple and successor of Najib Mahfouz. His most famous works are the novels "Az-Zainil barakat", "Risalatun Phil vaidi" and "S-sababa". In the 80s of the 20th century, he created the novels "Ar-Rafiiy", "Risalatun Phil vaidi and-S-sababa". The last novel reflects the impressions received in Uzbekistan, reveals the mental crisis of the Egyptian intelligentsia and ways out of this crisis by the writer during the trip. The writer tries to modernize the folk heritage of Egypt, recreates the features of oral folk art in his works, using historical sources, diaries and documents, as well as the works of Islamic Sufis. But all this is just material for describing modernity, revealing the relationship between the individual and society, human feelings and fantasies.

From the first attempts to establish Israel until the present time, this entity has witnesseda history full of wars and uprisings with the Arabs, produced by its usurper presence itselfon Arab lands in general, and Palestinian lands in particular. This ongoing conflict cast adark shadow on all sectors of Israeli society, including the Jews of Russia, which has hada direct impact on Modern Hebrew literature in general, and the contemporary Hebrewnovel in particular. The importance of the study is due to the fact that it is the first study -as far as I know - to deal with the impact of the Israeli-Arab conflict on the community ofRussian Jews in Israel as this issue is discussed through two models of the contemporaryHebrew novel by two Israeli female literary figures from Russian origin. The two novelsare “Victor and Masha” (2012) by the writer “Alona Kimhi”, which addressed the problemof the political integration of Jews who emigrated from Russia to Israel during the waveof the seventies of the twentieth century, and the novel “The Lost Community” (2014), bythe writer “Ola Groisman”, which She dealt with the political situation of Jewishimmigrants – especially young immigrants – from Russia to Israel in the seventies andnineties of the same century .The study aims to reveal the position of Russian Jews on thepersonality of the Arab in light of the conflict between Israel and the Arabs, in addition torevealing the extent to which the Israeli-Arab conflict affects the Russian Jews' sense ofsecurity and stability within Israel. This study adopts on the critical analytical approach,which includes analysis and interpretation of the two novels to highlight and address theissue of the impact of the Israeli-Arab conflict on Russian Jews in Israel. The study yieldsseveral results, including that the problems surrounding the process of integration into theIsraeli society, in addition to the state of war, insecurity and instability in this society, havecaused severe psychological damages to many Russian Jews. This eventually led to areverse immigration of a large sector of them.

This essay explores the significant influence of literature on the spiritual and cultural development of Arab society. This study examines the significant impact of several literary genres, such as poetry, novels, and short tales, on the representation and influence of shared awareness within Arab communities. The article analyzes significant literary epochs and movements, emphasizing how writers and poets have tackled and impacted crucial social, political, and ethical concerns. The focus is on how literature has functioned as a means of conveying spiritual and philosophical concepts, therefore enhancing the overall intellectual and spiritual developmentof society. This study offers a thorough comprehension of the mutually beneficial connection between Arab literature and the spiritual enhancement of its population, emphasizing the lasting influence of literature as a means for societal introspection andchange.

A raíz de la inauguración del espacio de proyecciones inmersivas IDEAL, en Barcelona, el artículo explora teórica e históricamente las experiencias visuales envolventes con el objetivo de situar los nuevos espacios exhibidores en la tradición audiovisual, comprender su modelo de programación, y su importancia en el abanico de la exhibición contemporánea. Para ello, comienza por recoger diferentes definiciones sobre la experiencia audiovisual inmersiva. A continuación, acude a la historia de los medios para encontrar experiencias previas de innovaciones tecnológicas y fascinación de la audiencia, que permitan establecer puentes con las iniciativas envolventes contemporáneas. El artículo concluye que, pese a las retóricas de novedad, los espacios de exhibición inmersiva como IDEAL perpetúan modelos previos de la historia del cine y la exposición artística (cine de atracciones, panoramas, cubo blanco, etc.), a la vez que los readaptan a las tecnologías disponibles en nuestro presente.

The goal of this research is to look at John Updike's "Terrorist" as a Neo-Orientalist depiction of Muslims, particularly Arabs. Indeed, since the Crusades, there has been a centuries-long conflict between the West and Islam. The crusaders' philosophy was centered on the duality of "we" versus "them.". Western monarchs, clergy, missionaries, businessmen, and authors tended to see Islam and Muslims through myopic lenses, creating an exotic, weird, and distorted image of Islam and Muslims in their stories. These tales had a profound impact on how the Muslim and Islamic worlds were portrayed in the scholarly subject of Orientalism. The study demonstrates that orientalist depictions of Muslims as barbarians, lethargic, unprogressive, and a potential threat to world peace are still prevalent in today's world. Neo-Orientalism is the post-colonial label for this reincarnation of orientalist ideology. This Neo-Orientalist thought is echoed in many literary works written in the aftermath of 9/11. The famous novel "Terrorist" by John Updike, released in 2006, has been chosen as a model work for this purpose. The use of the Critical Discourse Analysis approach to the critical analysis of the story, particularly the depiction of Muslim characters. Furthermore, Updike's portrayal of Islam is based on its flaws, such as its indifference for self-improvement and modernity. The Muslim other is framed as the flawed equivalent of the perfect non-Muslim American in this novel's orientalism and imperfection designs.

סמי מיכאל ואילי עמיר - שני סופרים ישראליים ילידי עיראק ובני אותו דור (סמי מכאיל נולד בבגדד בשנת 1926 ואלי עמיר ב-1937). כתבו ברומניהם, בין השאר, על המזרחיות ועל האהבה ונשיות.ושניהם חיו חיים פרועים, מוחצנים. לא נרתעו מהתנסות בכל דבר חדש שנקרה בדרכם, מרדו במוסכמות ונהג באופן פרובוקטיבי, הם נהנו מהזעזוע והתדהמה, שהם מעוררים סביבם. מנסים למצוא את מקומם במסגרות משפחתיות שונות, לכן הם בחרו להציג שתי גבורות ערביות .ושתי הגיבורות הן בחורות נוצריות ערביות והן והדובר ברומן "יסמין" הוא דובר- בגוף ראשון , ב"חצוצרה בוואדי" הדוברת היא הודא הגיבורת , אך ביסמין הדובר הוא נורי – אלי עצמו. שניהם עצמאיים ולשניהם יש תחביב שהם משקיעים בו רבות; הקריאה. המשפחות של שתי הגיבורים עוברות שינויים חברתיים במהלך העלילה, ובשעת הצורך שניהן עובדות לממן צרכים שהמשפחה אינה יכולה לממן. ברומנם במחקר זה ואתעניין בספרם של סמי מיכאל: "חצוצרה בוואדי"" (2008) ובין ספרו של אלי עמיר: יסמין( 2005). מחקר זה מבקש לבדוק כיצד מצטיירת דמותה של האישה הערבית הנוצרית בשני רומנים מפורסמים של השניים . תחילה אתייחס למקומו של הערבי בספרות הישראלית , ואציג את תמצית שני הרמנים עם חיי הסופרים, ואדון בדמות האישה ודרכי איפיונה בהסתמך על ספרות תיאורטית. בפרק השיני אתעניין לדמותיוהן של הודא ויסמין כמייצגות את התקופה, ולבחון את הקווים הבולטים בדרכי עיצובה. ,ואשווה בין הדמות הערבית הנוצרית החוזרת בשני הרומנים, ואבדוק מהי עמדת המוצא שלהם, כיצד הם מתארים את שתי הדמויות ובמה הם בוחרים להתמקד.מפאת תחומו המצומצם של הדיון, העיסוק בנושא יתמקד במבחר דוגמאות נבחרים מן שני הרומנים. Abstract Sami Michael and Eli Amir - two Israeli writers born in Iraq and of the same generation (Sami Makhail was born in Baghdad in 1926 and Eli Amir in 1937). They wrote in their novels, among other things, about Orientalism , love and femininity. They both lived wild, extroverted lives. They did not shy away from experiencing anything new that came their way, rebelled against conventions and acted provocatively; they enjoyed the shock and amazement that evoked around them. While trying to find their place in different family settings, they chose to present two Arab Christian heroines. The narrator in Jasmine is the speaker Noori-Eli himself. While the narrator of “Trumpet in the Wadi” is Huda the heroine herself. Both are independent and both have a hobby in which they invest a lot; which is reading. The families of the two protagonists undergo social changes during the plot, and when necessary they both work to provide the family needs. First, the study sheds light on the importance of the Arabs in Israeli literature as reflected in Sami Michael's book: "Trumpet in the Wadi" "(2008) and Eli Amir's: Jasmine (2005). It, also, provides summaries of the two novels and discusses the character of the Arabic Christian woman as described in both novels. Chapter two debates the characters of Huda and Jasmine and similarities of the two in representing their time. The chapter also compares the recurring image of the Christian Arab character in the two novels, the concept of racism, characters description, as well as the subjects discussed throughout the books with an number of citation taken from the book.

Writing between Languages in the Light of Cultural Identity: Translation Examines the Dibian Collective Creation ABSTRACT: This paper investigates and examines the collective writing strategy of the Franco-Algerian writer, Mohammed Dib, in one of his distinctive novels that was written in French, Neiges de Marbre (2003). Dib’s novel is set on the edge of different languages and cultures, in other terms, at the heart of heterolinguism which paves the way to question the future pattern of the latter in Arabic literary translation. This research will therefore rely on literary theories that were introduced and refined by academics such as Rainier Grutman (1992, 2012), and Laté Lawson- Hellu (2003, 2004) so as to discuss how translation tendencies adopted by Mohammed Sari (2011) oscillate between avantgardist translation and homogenizing translation. RÉSUMÉ : Le présent article se propose d’examiner la création plurielle dans l’œuvre romanesque d’expression française de l’écrivain algérien, Mohammed Dib qui s’intitule : Neiges de Marbre (2003). Ce roman se situe à la lisière de différentes langues-cultures, autrement dit, au cœur de l’Hétérolinguisme, ce qui nous amène à nous interroger sur le devenir de ce dernier en traduction littéraire. Nous nous attachons à élucider cette problématique à la lumière des recherches de Rainier Grutman (1992, 2012) et de Laté Lawson-Hellu (2003, 2004) pour arriver à dire que les tendances de traduction adoptées par Mohammed Sari (2011) dans la version arabe de ce roman oscillent entre traduction avant-gardiste et traduction homogénéisante.

The study is devoted to the peculiarities of the development of the Arabic historical novel, the consistent transformation and “erosion” of its canons within the framework of the literary trends of the 20th and 21st centuries. The relevance of the topic, on the one hand, is due to the fact that the historical novel has not lost its significance in Arabic national literature. The share of works of this genre is still high, they occupy the first lines in the distribution of literary prizes. On the other hand, against the background of the general process of globalization, it is interesting to trace the trajectory of the development of the genre in the so-called “lagging” literature, to which many researchers rank Arabic literature. Some works of the genre fell into the focus of both Arabic, Western, as well as domestic orientalist-literary critics and were subjected to deep comprehensive consideration. Today, however, the novels of recent decades also require analysis. The purpose of the study was not just to identify the works of Arab authors that have received wide recognition in recent years, but to fit them into the paradigm of the development of the historical genre and thereby determine its direction in the near future. To do this, the authors tried to compare classical historical novels with modern ones, characterizing their heroes, describing the periods in the history of the Arab world that Arab authors addressed and continue to address within the genre, determining the degree of epic, historical authenticity, etc., in modern examples of the genre. It was found out, that classical heroes with a standard set of heroic qualities that influence the course of history are replaced by thinkers, scientists, dervishes, ordinary observers, and critical epochs and specific historical events are replaced by troubles periods - before or after a catastrophe, major transformations. Conclusions were drawn about the historicity of Arabic literature back in the pre-Islamic era, the long-term preservation of the canons of the Early Middle Ages in the genre, the sharp transformation of the genre and the refusal from the canons under the influence of postmodernism that penetration into Arabic soil in the mid 1960s coincided with the military and social upheavals of the history of Arabs. The direction of the genre, which is pronounced today towards ethnoliterature, is emphasized.

تدور فكرة رواية [2084 حكاية العربي الأخير] حول مآل العرب الذي كان سببه الانحدار إلى الانحلال في ظل الأزمات والصراعات الدولية، بخاصة تلك التي تجري بين القوى العظمى والأنظمة العربية الشمولية، أي بين إرادة السلطة ورغبة الاستسلام، والطاعة، وقد مثل الطرف الثاني الشخصية الرئيسة في الرواية [آدم] التي أريد لها أن تكون عالما فيزيائيا نوويا، ومشْرفا على مشروع صنع قنبلة نوويَّة مصغَّرة ، يسهل وضعها في الزمان والمكان المحددين، وهي فكرة مستوحاة من الخيال، تحاكي مجريات أحداث العالم العربي اليوم. وقد اختار الكاتب قلعة [آرابيا]، في إشارة إلى الدول العربية، في حين اختار مسمى [أميروبا] وهي كلمة مركبة من أميركا وأوروبا.لقد كان للحرروب العبثية بين العرب والغرب، أو فيما بين العرب أنفسهم، الأثر البالغ في تفتيت العرب وتشتيتهم إلى شظايا. ولم يعد لهم أي دور في بناء حضارة الألفية الثالثة، بفعل التمزقات الطائفية والعرقية، حتى بات أفضل العربي يوصم بـ : العربي الجيد هو العربي الميت .وتطرح الرواية أسئلة أنطولوجية في ظل الأزمات الوجودية، بعد صناعة الإرهاب، وتحديد العدو؛ لتحقيق الهدف على الطريقة الميكيافيلية Niccolò Machiavelli بوصفها نظرية تعكس الغاية تبرر الوسيلة ؛ أي استخدام العنف من أجل إثبات القوة للسيطرة على الشعوب، وهو ما تتبناه دول [أميروبا] بحسب تعبير الرواية في استراتيجياتها السياسية، التي لم تجد غير شخصية [آدم] المُدَرَّب على إنجاز فعل الموت بسباق محموم، ويقوم بالحرب في [أرابيا] بالوكالة في صورة خيالية لها من القرائن الدالة ما تعكس الواقع.

Multiculturalism is an outcome of developing global culture emanating from ceaseless flow of people between nations and intercultural interactions. Crossing the borders results in psychological transformation of the immigrants as their ethnic identity shaped by social, religious, historical and political forces over decades is in continual flux. Though different kinds of responses to the situation of cultural multiplicity may be diagnosed, the fact remains that there are no simplistic ways of dealing with or responding to multiculturalism. The immigrants face cultural clash and find difficulties in acculturating. When the immigrants come to install in another country, they are accosted with a new culture, a new statute and a reserved group of people who do not mix so very easily. Everyone does not have the capacity to adjust their feelings and mind. They form a community of diaspora who are always reminded of their roots in an alien land. The impact of diasporic experiences on immigrants’ psyche depends on their level of belonging in an alien land. Ameen Rihani’s odyssey from Lebanon to United States gives him a cutting edge over his contemporaries to be established as most revered author of Arabs diaspora abroad. Rihani, molded and transformed by the cultures of his countries of origin, movement and settlement, has been earnestly engaged in re-conceptualizing the idea of diaspora as a profitable affair as opposed to the popular beliefs that render immigration and displacement as a condition of loss. His novels are bulging with different protagonists of staunch spirit and calibrating credence who win the tussle with cultural conflict and in the process evolve and finally lost. The aim of this paper is to demonstrate how Rihani’s protagonist Khalid in his novel of the same name evolves with cultural changes, endeavors for pursuit of identity in both origin and adopted worlds and finally takes control of his destiny.

The issue of Africans in the Diaspora stretches historically to the time when Africa began having contact with the outside world, particularly the Arabs, Chinese, Turks, and others. Beginning with the 16th to the 18th C, the contacts heightened during the Trans- Atlantic Slave Trade. Thereafter, Africans have found themselves in the Diaspora for many reasons. This has elicited a myriad of reactions to their experiences in the Diaspora. Therefore, the study sought to investigate the fictional depiction of African immigrant experiences in the Diaspora. It was guided by two objectives namely: to establish the fictional depiction of the peculiarities of the African female experiences in the Diaspora, and to investigate the narrative styles adopted to convey these experiences. The focus was on four novels: Americanah (2013), Minaret (2005), We Need New Names (2013), and The Seasons of Thomas Tebo (1986). The study was library-based research. Its significance is in the fact that it gives a snapshot of the two sides of migration- positive and negative. The results revealed that the African female gender faces indescribable discrimination, undergoes the pain of assimilation into the foreign culture, has to work two jobs in order to sustain life in the Diaspora, is always haunted by the fear of aging and having nothing to show for it, plus several other challenges. The diasporic spaces also catalyse character changes in these migrants. As a result, they adopt confusing mannerisms, fail to wish away homesickness, become two-faced hypocrites, are subdued, submissive and in extreme cases – go through a mental breakdown. It was discovered that migrant fiction is narrated through humour, flashback, irony, detailed description, suspense and other stylistic techniques. The study concluded that migration is now a contemporary and central theme in much of African fiction, especially by a new generation of African writers

Qazi Nazrul Islam was a great revolutionary poet, a creative and a genius writer, a Bangladeshi national poet, and a man gifted by God. He touched on all literary branches of poems, songs, Islamic songs, stories, novels, plays, scholarly articles and music. He was also a journalist as he used to write in the daily newspapers on various literary topics, especially Islamic issues. So, he is said to be the poet of the Islamic Renaissance. When the business relations and Muslim relations of the people of India, especially the Bangladeshis, with the Arabs began to develop, the Arabic word began to enter the Bengali language. There was a new trend among Indian writers and poets to use Arabic words in their writings, whether poetry or non-poetry. The poet Qazi Nazrul Islam vowed to Islam to use more Arabic words in his writings. Therefore, I like to choose the topic "Using Arabic Words in the Poetry and Writings of the Qazi Nazrul Islam" to know the size of the Arabic words used in the poet's writings and to know the types of terms used in his writings from singular, dual, and plural.... etc. Researchers and writers point to the importance of this topic and encourage them to research in detail on this topic and to benefit readers and researchers about the poet's exceptional talent and his reaching the top of poetic fame; albeit poetically brilliant, he could not reach the secondary stage of education. The research shows that the entry of Islam into Bengal, in general, gave a brief overview of the poet's life and works and the critics' opinions about him. At the same time, this research also discusses the Arabic alphabet in sequential order with a straightforward and cites a list of sources and references.

In this issue of AJISS we present a diverse number of articles that dealwith a wide range of issues. The thorny and continuously debated relationbetween Islam and the West is the subject of four contributions: RalphCoury’s “A Neoimperial Discourse on the Middle East,” Charles Butterworth’s“On Others as Evil: Toward a Truly Comparative Politics,” Ali A.Mazrui’s “Islam in a More Conservative Western World,” and M. HazimShah ibn Abdul Murad’s review essay on “Islam and ContemporaryWestern Thought.”Commonly, it is the reports of missionaries, travel literature, colonialistmemoirs, or orientalist texts that have been the main field of research forstudying western attitudes toward Islam. In contrast, Ralph Coury’s contributiontakes an uncommon approach to exploring these attitudes by usingthe works of Paul Bowles, the American expatriate novelist, as a principleresearch tool. Bowles has spent most of his productive life in Morocco,where the Arab and Islamic constitutional elements of the people and theirlife make up the fabric and background of his novels and his other writings.In this penetrating analysis of Bowles’s views of Islam and of Arabs, Courylinks the inner psychodramatic self of the novelist to his political and culturalunconscious in order to provide an alternative insight to his works.Looking at the issue from a different perspective, Charles E. Butterworthbrings to the fore a variant reading of the western cultural heritage.Butterworth begins his study by emphasizing that, as far as the relationbetween Islam and the West is concerned, “for exchange to be fruitful, eachparty needs to look at the best in his or her own tradition, rather than at theworst, or even the ordinary, and ask that the interlocutor do the same for hisor her tradition.” By this, Butterworth endeavors to recover the other, thelost and forgotten dimension of the westem mind: the mind of Homer, ofSocrates, and of Albert Camus. It is the tentative mind that is seen as relevantto Islamic-western dialogue, the self-doubtful mind, where the humantraits of wisdom, courage, moderation, and justice lend themselves veryprominently to a particular part of the western discursive tradition.Instilled with the wisdom and insight of a keen observer of the humancondition, Ali A. Mazrui treats the subtle ideo-political transformation ofthe West as well as that of the Muslims living in the West, not as studentsor travelers, but as members of this society. His findings rest on three main ...

تستهدف هذه الدراسة الوقوف على ما تتمتع به الرواية العربية المعاصرة من مظهر حداثي تجريبي يتعلق ببنيتها السردية. وتحديدا ما يشكل مسارا تجديديا أكثر قربا من المخيلة العربية وموروثها الضارب عمقا في الحكي، ألا وهو مسار التخييل المخاتل وما ينطوي عليه من غرائبية بائنة؛ حيث بدا أن الاتكاء على الثيمة وحدها، أو الامتياح من المدينة العربية بوصفها فضاء مكانيا للحدث، لم يعد سمتا غالبا على التجريب الفني في مدونة السرد العربي المعاصر. وفي المقابل بدا جنوح بعض الأعمال الروائية العربية إلى أحداث التغريب عبر تخييل الأحداث، والأمكنة، والحوارات، ورفع مستوى التكثيف والتوتر في اللغة، وهو جعل مهمة الدراسة هي رصد هذه المظاهر التخييلية المخاتلة على أنها أداة من أدوات التجريب الروائي المعاصر، أو ممارسة تجريبية تستند في حضورها السردي إلى موروث غير شائع الحضور على مستوى الواقع المعيش، وعلى مستوى الواقعة الفنية أيضا؛ وذلك من خلال التطبيق التحليلي على روايتين هما: رواية (366) للروائي السوداني أمير تاج السر، ورواية ( الروح الثامنة) للروائية المصرية نيرمين يسر 2014، ومتتبعين في ذلك سبيلا يمزج بعض مفاهيم الدرس الثقافي والسيميائي لتبيان التخييل السردي.

Prose production in dialect is probably the big absentee in Arabic literature textbooks. While poetry in dialect has managed to carve its own small space in textbooks on the history of Arabic literature, the same does not go for novels or short stories written in ‘āmmiyya. Most critics, especially Arabs, do not acknowledge their literary dignity. However, scholars of contemporary Arabic literature can no longer avoid seriously analysing Egyptian literature in ‘āmmiyya. In fact, in the course of the last two decades, the number of novels and short stories in Egyptian dialect has significantly increased. Furthermore, writing in dialect is increasingly widespread thanks to personal blogs and websites. In light of this emerging panorama in Arabic literature, the question is whether something is changing in relation to the acceptance of dialect as a literary language and if the time has come for literature in dialect to find its own place in literary textbooks.

Abstract Background APOC3 is important in lipid transport and metabolism with limited studies reporting genetic sequence variations in specific ethnic groups. The present study aimed to analyze the full APOC3 sequence among Kuwaiti Arabs and test the association of selected variants with lipid levels and BMI. Methods Variants were identified by Sanger sequencing the entire APOC3 gene in 100 Kuwaiti Arabs. Variants and their genotypes were fully characterized and used to construct haplotype blocks. Four variants (rs5128, rs2854117, rs2070668, KUAPOC3N3 g.5196 A > G) were selected for testing association with serum lipid levels and BMI in a cohort (n = 733). Results APOC3 sequence (4.3 kb) of a Kuwaiti Arab was deposited in Genbank (accession number KJ437193). Forty-two variants including 3 novels were identified including an “A” insertion at genomic positions 116,700,599–116,700,600 (promoter region) and two substitutions in intron 1 at genomic positions 116,700,819 and 116,701,159. Only three variants, (rs5128, rs2854117, and rs2070668) were analyzed for association of which rs5128 showed a trend for association with increased BMI, TG and VLDL levels that was further investigated using multivariate analysis. A significant association of rs5128 with BMI (p < 0.05) was observed following a dominant genetic model with increased risk by an OR of 4.022 (CI: 1.13–14.30). Conclusion The present study is the first to report sequence analysis of APOC3 in an Arab ethnic group. This study supports the inclusion of rs5128 as a marker for assessing genetic risk to dyslipidemia and obesity and the inclusion of the novel variant g.5196 A > G for population stratification of Arabs.

“A land without people for a people without land” was the Zionist slogan used to justify the Jewish settlement in historical Palestine. To prove that historical Palestine was unoccupied, Zionists have attempted to erase its native population from their land and from historical records, through the propagation of the myth that the Jews made “the desert bloom,” obliterating the agricultural practices of Palestinian Arabs. This article studies the deliberate attempts to use ecology as a means of cultural amnesia and its resistance by Palestinian writers. By examining the novels of Susan Abulhawa for remembrances that combat the strategy of forced amnesia of Palestinian ecology, this article finds that literature becomes lieux de mémoire that helps to resist erasure.

The paper sheds light on one of the important concepts in contemporary literature which tackles the representation of the Other in selected Arabic and American literary products. The representation of the other holds many misrepresentations and stereotypes, both varying and fixed; as such, the study of the literary representations of the other which comes as a remedy many fixed and prevalent frameworks between the self and the other which deals with the construction of an individual on cultural, political and social levels. The study tackles a topic of great importance for contemporary literary studies and critiques, especially at the level of national literature. The research aims to discuss how Arab writers envision the concept of the Other, on one hand; and it argues how American writers projects the concept in their novels, on the other hand. It also gives an insight about Arabs and Americans viewing the term the self and other or utilize the term Imagology which is very significant because it differentiates between the Oriental and Western points of view. The paper is restricted to argue the representation of the other in these four novels. Finally, the research ends up with conclusion and recommendations for further researches.

This research includes a descriptive and analytical study of the intellectual and artistic contents in Naguib Mahfouz and Bajin trilogy, and aims to clarify the relationship between the novel of Egypt and China, and the art of the novel between the literature in their trilogy on culture, civilization, tradition, customs, etc. The study aimed to focus on bringing the two different cultures around description to embody the value of literature and the importance of the novel. The research problem is focused on knowledge of the novel and its position in the contemporary era and description at Naguib Mahfouz and Bajin in their trilogy and issues that reflect each of them and emerge in describing the traditional family life in their trilogy with similarities and differences between them in the description under the two different environments about culture, traditions, customs and family life. The researcher has followed the descriptive and comparative approach between the Naguib Mahfouz Bagin trilogy, and this research in the field of literature contributes to knowing the similarity points and the difference in their tripartite. The age through their narration. Where it depicted a reflection of the reality of living in Egypt and China in that era, as the novels revealed the creativity of the writers in terms of accuracy of photography dealing with important topics in society and expressing aspirations and hopes among the novelists. The researcher recommends science students to pay attention to studying what Commented customs and traditions shared between the Arabs and China from various aspects of scientific institutions .oausi researcher developed a series of scientific studies that mention or different relationships of Like between the Arabs and China in various fields.

Abstract The recent Syrian uprisings have impacted all sectors of life and played a major role in redrawing internal boundaries among different groups in Syria, not only between Kurds and Arabs but also within the fabric of Kurdish life. Among Syrian Kurds, calls for militarization and separation based on national chauvinism (Qasad) are countered by more moderate voices warning of the dangers of escalation and calling for Kurdish civilian rights within the Syrian homeland. Jan Dost is a Syrian–Kurdish writer whose literary oeuvre includes poetry books, numerous translations from and to Kurdish, and twelve novels, some of which have been translated into Turkish, Arabic, Sorani, Persian, and Italian. His criticism of what he calls “Kurdish fascism” prompted this interview, which is part of my current doctoral research on internal dissent in modern Middle Eastern narratives that negotiate the failure of “nationalism” in building modern states. Dost was born in Kobani in 1966 and has been living in Germany since 2000. His novel Mokhatat Petersburg (Petersburg Manuscript, 2020) was longlisted for the Sheikh Zayed Book Award. The interview is my translation from Arabic. It has been lightly edited for clarity and concision.

The present study examines manifestations of social alienation in the novel Sulṭāna (1987). A basic premise of the study is that contemporary mankind exists in a state of cultural alienation shock, due to successive waves of tremendous change in many aspects of life and many components of social and cultural existence. To this must be added the political changes experienced by the Arab world after World War II, causing it be become divided into several small countries, followed by these countries' struggles for independence and their defeats against Israel in 1948, the war of the Tripartite Aggression against Egypt in 1956 and the defeat of 1967 against Israel. All of these events caused Arabs to shrink into themselves and wallow in feelings of disappointment, defeat and failureGhālib Halsā's novel Sulṭāna was chosen because of all the novels by this writer, it is the one that is most strongly imbued with the local atmosphere of his homeland, Jordan. In fact, the entire work reflects almost no other environment. In this environment social alienation is ever present. The novel shows how relations based on family solidarity and agricultural and tribal traditions have been transformed into commercial relations, leading to a disintegration of the family. The novel describes Jordan's countryside, its problems, its dilemmas, its clans and its tribes. It also moves to the city, where it focuses on revealing social flaws and behaviors in times in which authentic values have broken down.

تسعى هذه الدراسةُ إلى تتبعِ أثرِ اللغةِ العربيةِ في تدوين ثلاثةِ علوم، وهي: (الجغرافيا، والطب، والفيزياء)، مُتبعةً في ذلك المنهج (الوصفي التحليلي) في عرض مادة الدراسة. وقد جَاءَ تفصيلُ القول في علم الجغرافيا على التوزيع الكمّي للظاهرة اللغويّة، وتبيان أثر المكان الجغرافيّ في التنوّع اللهجي الذي يبرزُ خيرَ ما يكونُ ويُطمَحُ إليه في الأطالس اللغويّة، وفي أدب الرحلات، ولا سيما أدب ابن بطوطة الذي كان تكَأة الباحث (تحفة النظّار). وفي الطبّ يتوقّفُ الباحثُ عند ما ألّفه العربُ في الطبّ، وأفادَ منه العلمُ الحديثُ، كما أفادَ منه الأوروبيّون، وتعريب تدريس الطبّ في الجامعات أسوة بالجامعات السورية، مع ذكر نماذج من كتب الطبّ التي أضحت عُمدة، نحو: (الطب النبوي لابن قيّم الجوزيّة، والحاوي لأبي بكر الرازي، والقانون في الطب لابن سينا). وأما علمُ الفيزياء فقد أفادَ الباحث من مصطلحات، نحو: (الفراغ، والزمن، والركود، والجريان، والمزامنة، والمسافة، وغيرها) في بنية اللغة النصيّة التي طغت في النسيج الروائي بعامّة، ولا سيّما عند الأدباء المغاربة، وفي النقد الروائي الذي اغتنى بهذه المصطلحات، مع التدليل بأمثلةٍ دالّةٍ من منجز الدكتور/ كمال أبو ديب في هذا الشأن. الكلمات المفتاحية: (تدوين، اللغة العربية، الجغرافيا، الطب، الفيزياء). Abstract: The current study aims at investigating the impact of Arabic language on documenting three sciences, namely geography, medicine and physics; in which the descriptive analytical approach was used to clarify this issue. Regarding geography, the researcher provided a detailed discussion of the quantitative distribution of the linguistic phenomenon and showed the effect of the geographical location on linguistic diversity that is highly proven and indicated in the linguistic atlases and travel literature, especially the literature of Ibn Battuta (Tuhfat al-nazar), which was the support and the pillar for the researcher. Regarding medicine, the researcher was satisfied with mentioning what the Arabs wrote about medicine, which has benefited the modern science and the Europeans as well. He also mentioned the Arabization of the medicine teaching in universities in a similar way to the Syrian universities, together with mentioning examples of the medicine books that became key pillars and references, such as (The Prophetic Medicine or Al-Tibb al-nabawī) by Ibn Qayyim al- -Jawziyyah, (Al-Hawi) by Abu Bakr al-Razi and (Al-Qanun fi al-Tibb) by Ibn Sina. Regarding physics, the researcher stated some terms in the structure of the text language, such as Space, Time, Stagnation, flow, synchronization, distance and others that dominated the novels in general, especially among the Moroccan writers and the narrative criticism that was enrich in these terms. The researcher demonstrated this through mentioning proves and relating examples to this issue from (Jdliah Alkhfa'a Waltjli) book authored by prof. Kamal Abu Deeb. Keywords: (Documenting, Arabic, Geography, Medicine, Physics).

Introduction: Serial Space“It feels …like the edge of the world; far more remote than it actually is, perhaps because it looks at such immensity” (Godden “Black,” 38). This is the priest’s warning to Sister Clodagh in Rumer Godden’s 1939 novel Black Narcissus. The young, inexperienced Clodagh leads a group of British nuns through the Indian Himalayas and onto a remote mountain top above Mopu. Michael Powell and Emeric Pressburger adapted Godden’s novel into the celebrated feature film, Black Narcissus (1947). Following the novel, the film narrates the nuns’ mission to establish a convent, school, and hospital for the local population. Yet, immensity moves in mysterious ways. Sister Clodagh (Deborah Kerr) loses her managerial grip. Sister Philippa (Flora Robson) cultivates wild flowers instead of vegetables. Sister Ruth (Kathleen Byron) sheds nun’s attire for red lipstick and a Parisian dress. The young Indian woman Kanchi (Jean Simmons) becomes a force of libidinous disturbance. At the twilight of the British Empire, white, western nuns experience the psychical effects of colonialism at the precipice. Taking such cues from Pressburger and Powell’s film, Michelle Williams Gamaker, an artist, filmmaker, and scholar, responds to Black Narcissus, both film and novel. She does so through a radical interpretation of her own. Gamaker William’s 24-minute film, The Fruit Is There to Be Eaten (forthcoming, London 2018) is a longer “short,” which breaks the mould of what scholar Linda Hutcheon would term an “adaptation” (2006). For Hutcheon, there is a double “mode of engagement” between an original work and its adapted form (22). On the one hand, there is a “transcoding” (22). This involves “transporting” characters from a precedent work to its adapted form (11). On the other, there is an act of “creative interpretation” (22). The Fruit Is There to Be Eaten transports yet recreates the Indian “beggar girl” Kanchi, played by a “blacked up” white Hollywood actor Jean Simmons (Black Narcissus), into Williams Gamaker’s contemporary Kanchi, played by Krishna Istha. In this 2018 instalment, Kanchi is an Asian and transgender protagonist of political articulacy. Hence, Williams Gamaker’s film engages a double tactic of both transporting yet transforming Kanchi, as well as Sisters Clodagh and Philippa, from the feature film into The Fruit Is There to Be Eaten. To analyse Williams Gamaker’s film, I will make a theoretical jump off the precipice, stepping from Hutcheon’s malleable concept of adaptation into a space of “trans-serial” narrative.In what follows, I shall read The Fruit Is There to Be Eaten as an “episode” in a serial. The prior episodes, Williams Gamaker’s House of Women (London 2017, Berlin 2018) is a short, fictional, and surreal documentary about casting the role of Kanchi. It can be read as the next episode in Kanchi’s many incarnations. The relationship between Sister Clodagh (Kelly Hunter as voiceover) and Kanchi in House of Women develops from one of confrontation to a transgender kiss in the climatic beat of The Fruit Is There to Be Eaten. Williams Gamaker’s film can be read as one of a series which is itself inflected with the elements of a “trans-serial.” Henry Jenkins argues that “transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels” (emphasis in original, “Transmedia”). I use the word “trans” to define the gap between novelistic texts and film. Throughout Williams Gamaker’s series, she uses many textual citations from Godden’s novel, and dialogue from Pressburger and Powell’s film. In other words, verbal elements as well as filmic images are adapted in Hutcheon’s sense and transmediated in Jenkins’s sense. To build the “serial” concept for my analysis requires re-working concepts from television studies. Jason Mittell introduces “narrative complexity” as the “redefinition of episodic forms under serial narration” (“Narrative,” 32). In serial TV, characters and narratives develop over a sequence of episodes and seasons. In serial TV, missing one episode can thwart the viewer’s reception of later ones. Mittell’s examples reveal the plasticity of the narrative complexity concept. He mentions TV series that play games with the audience’s expectations. As Mittell points out, Seinfeld has reflexive qualities (“Narrative,” 35) and Twin Peaks mixes genres (“Narrative,” 33). I would add that Lynch’s creative liberties offered characters who could appear and disappear while leaving their arcs hanging intriguingly unresolved. The creative possibilities of reflexivity via seriality, of characters who appear and disappear or return in different guises, are strategies that underpin William’s Gamaker’s short film serial. The third in her trilogy, The Eternal Return (in post-production 2018) fictionalises the life of Sabu, the actor who played the General’s son in Black Narcissus. Once again, the protagonist, this time male, is played by Krishna Istha, a non-binary transgender actor who, by taking all the lead roles in William’s Gamaker’s trilogy, grows over the serial as a malleable ethnic and transgender subject. Importantly, The Eternal Return carries residues of the characters from The Fruit Is There to Be Eaten by casting the same team of actors again (Charlotte Gallagher and myself Catherine Lord), and switching their genders. Istha played Kanchi in the previous two episodes. The General’s son, played by Sabu, courted Kanchi in Black Narcissus. In The Eternal Return, Istha crosses the character and gender boundary by playing Sabu. Such casting tactics subvert the gender and colonial hegemonies inherent in Pressburger and Powell’s film.The reflexive and experimental approach of Williams Gamaker’s filmmaking deploys serial narrative tactics for its political goals. Yet, the use of “serial” needs to be nuanced. Glen Creeber sets out three terms: “episodic,” “series” and “serial.” For Creeber, a series provides continuous storylines in which the connection between episodes is strong. In the serial format, the connection between the episodes is less foregrounded. While it is not possible to enjoy stand-alone episodes in a serial, at the same time, serials produce inviting gaps between episodes. Final resolutions are discouraged so that there are greater narrative possibilities for later seasons and the audience’s own game of speculative storytelling (11).The emerging “serial” gaps between Williams Gamaker’s episodes offer opportunities for political interpretation. From House of Women and The Fruit Is There to Be Eaten, Kanchi develops an even stronger political voice. Kanchi’s character arc moves from the wordless obedience of Pressburger and Powell’s feature to the transgender voice of post-colonial discourse in House of Women. In the next episode, The Fruit Is There to Be Eaten, Kanchi becomes Clodagh’s guide both politically, spiritually, and erotically.I will read The Fruit Is There to Be Eaten as both my primary case-study and as the third episode in what I shall theorise to be a four-part serial. The first is the feature film Black Narcissus. After this is Williams Gamaker’s House of Women, which is then followed by The Fruit Is There to Be Eaten, my central case study here. There may be immediate objections to my argument that Williams Gamaker’s series can be read by treating Pressburger and Powell’s feature as the first in the series. After all, Godden’s novel could be theorised as the camouflaged pilot. Yet, a series or serial is defined as such when it is in the same medium. Game of Thrones (2011-) is a TV series that adapts George R.R. Martin’s novel cycle, but the novels are not episodes. In this regard, I follow Hutcheon’s emphasis on theorising adapted works as forged between different media, most commonly novels to films. The adaptive “deliveries” scatter through The Fruit Is There to Be Eaten with an ecological precision.Eco SeriesEcological descriptions from Godden’s novel and Pressburger and Powell’s mise-en-scene are performed in The Fruit Is There to Be Eaten through Kelly Hunter’s velvety voiceover as it enjoys a painterly language: butterflies daub the ferns with “spots of ochre, scarlet, and lemon sherbet.” Hutcheon’s term transcoding usefully describes the channelling of particles from the novelist’s text into an intensified, ecological language and cinematic mise-en-scene. The intensification involves an ingestion of Godden’s descriptive prose, which both mimics and adds an adjectival and alliterative density. The opening descriptions of the nuns’ arrival in Mopu is a case in point. In the novel, the grooms joke about the nuns’ habits appearing as “snows, tall and white” (Godden “Black,” 1). One man remarks that they look like “a row of teeth” (Godden “Black,” 2). Williams Gamaker resists shots of nuns as Godden described them, namely on Bhotiya ponies. Rather, projected onto a white screen is an image of white and red flowers slowly coming into focus. Kelly Hunter’s voiceover describes the white habits as a set of “pearly whites” which are “hungry for knowledge” and “eat into the landscape.” White, western nuns in white habits are metaphorically implied to be like a consuming mouth, eating into Indian territories and Indian people.This metaphor of colonial consumption finds its corollary in Godden’s memoirs where she describes the Pressburger, Powell, and Simons representation of Kanchi as “a basket of fruit, piled high and luscious and ready to eat” (“A House,” 24-5; 52). The nun’s quest colonially consumes Mopu’s natural environment. Presumably, nuns who colonially eat consume the colonised Other like fruit. The Kanchi of the feature film Black Narcissus is a supporting character, performed by Simmons as mute, feral and objectified. If Kanchi is to release herself from the “fruity” projections of sexism and racism, it will be through the filmmaker’s aesthetic and feminist tactic of ensuring that planets, trees, fruits and flowers become members of the film cast. If in episode 1 (Black Narcissus), plants and Asian subalterns are colonised, in episode 2, House of Women, these fruits and flowers turn up as smart, young Asian women actors with degrees in law and photography, ready to hold their own in the face of a faceless interviewer. In episode 3, The Fruit Is There to Be Eaten, it is important that Krishna Istha’s Kanchi, turning up like a magical character from another time and space (transformed from episode 1), commands the film set amidst an excess of flowers, plants and fruits. The visual overflow correlates with Kanchi’s assertiveness. Flowers and Kanchi know how to “answer back.”Like Black Narcissus the feature, The Fruit Is There to Be Eaten relies heavily on a mise-en-scene of horticultural and mountain ecology. Just as Michael Powell filmed at Pinewood and Leonardslee Gardens in East Sussex, Williams Gamaker used Rotherhithe’s Brunel Museum roof Gardens and Sands Film Studios. The lusciousness of Leonardslee is film-intertextually echoed in the floral exuberance of the 2018 shots of Rotherhithe. After the crew have set up the classroom, interwoven with Kelly Hunter’s voiceover, there is a hard cut to a full, cinematic shot of the Leonardslee garden (fig. 1).Then cutting back to the classroom, we see Kanchi calmly surveying the set, of which she is the protagonist, with a projection of an encyclopaedic display of the flowers behind her. The soundtrack plays the voices of young women students intoning the names of flowers from delphinium to lupens.These meta-filmic moments are supported by the film’s sharp juxtaposition between classroom and outdoor scenes. In Pressburger and Powell’s school scenes, Sister Ruth attempts to teach the young General how to conjugate the French verb “recevoir.” But the lesson is not successfully received. The young General becomes aphasic, Kanchi is predictably mute and the children remain demure. Will colonialism let the Other speak? One way to answer back in episode 3 is through that transgressive discourse, the language of flowers.In The Fruit Is There to Be Eaten, the young women study under Sister Clodagh and Sister Philippa (myself, Catherine Lord). The nuns teach botanical lists and their ecological contexts through rote learning. The young women learn unenthusiastically. What is highlighted is the ludicrous activity of repetition and abstractions. When knowledge becomes so objectified, so do natural environments, territories and people. Clodagh aligns floral species to British locations. The young women are relatively more engaged in the garden with Sister Philippa. They study their environment through sketching and painting a diverse range of flowers that could grow in non-British territory. Philippa is the now the one who becomes feral and silent, stroking stalks and petals, eschewing for the time being, the game of naming (fig. 2).However, lessons with colonial lexicons will be back. The young women look at screen projections of flowers. Sister Philippa takes the class through an alphabet: “D is for Dogbright … L is for Ladies’ Fingers.” Clodagh whirls through a list of long, Latin names for wild flowers in British Woodlands. Kanchi halts Clodagh’s act of associating the flowers with the British location, which colonizes them. Kanchi asks: “How many of us will actually travel, and which immigration border will test our botanical knowledge?” Kanchi then presents a radically different alphabet, including “Anne is African … Ian is Intersex … Lucy loves Lucy.” These are British names attributed to Africans, Arabs, and Asians, many of their identities revealed to be LGBQT-POC, non-binary, transgender, and on the move. Clodagh’s riposte is “How do you know you are not travelling already?” The flowers cannot be pinned down to one location. They cannot be owned by one nation.Like characters who travel between episodes, the travelling flowers represent a collision of spaces that undermine the hegemonies of race, gender and sexuality. In episode 1, Black Narcissus the feature film, the western nuns face the immensities of mountain atmosphere, ecology and an unfamiliar ethnic group. In episode 2, House of Women, the subalterns have transformed their role, achieving educational and career status. Such political and dramatic stakes are raised in episode 3, The Fruit Is There to Be Eaten. There is a strong focus on the overlapping oppressions of racial, colonial and ecological exploitation. Just as Kanchi has a character arc and serial development, so do plants, fauna, fruits, flowers and trees. ‘Post’-Space and Its AtmosphereThe British Empire colonised India’s ecological space. “Remember you and your God aren't on British Territory anymore” declares the auditioning Krishna Istha in House of Women. Kanchi’s calm, civil disobedience continues its migration into The Fruit is There to be Eaten between two simultaneously existing spaces, Mopu and Rotherhithe, London. According to literature scholar Brian McHale, postmodern worlds raise ontological questions about the dramatic space into which we are drawn. “Which” worlds are we in? Postmodern worlds can overlap between separate spaces and different temporalities (McHale 34-35). As McHale notes, “If entities can migrate across the semipermeable membrane that divides a fictional world from the real, they can also migrate between two different fictional worlds” (35).In The Fruit Is There to Be Eaten, the semipermeable membrane between it and Black Narcissus folds together the temporalities of 1947 and 2018, and the terrains of India and London. Sister Philippa tells a Kanchi seeking Mopu, that “My dear, you are already here.” This would seem odd as Sister Philippa describes the death of a young man close to Saint Mary’s Church, London. The British capital and woodlands and the Himalayas co-exist as intensified, inter-crossing universes that disrupt the membranes between both colonial and ecological space-time, or what I term “post-space.”Williams Gamaker’s post-spaces further develop Pressburger and Powell’s latent critique of post-colonialism. As film scholar Sarah Street has observed, Black Narcissus the film performs a “post-colonial” exploration of the waning British Empire: “Out of the persistence of the colonial past the present is inflected with a haunting resonance, creating gaps and fissures” (31). This occurs in Powell’s film in the initial Calcutta scenes. The designer Alfred Junge made “God shots” of the nuns at dinner, creating from them the iconic shape of a cross. This image produces a sense of over-exactness. Once in the mountains, it is the spirit of exactitude that deteriorates. In contrast, Williams Gamaker prefers to reveal the relative chaos of setting up her world. We watch as the crew dress the school room. Un-ceremoniously, Kanchi arrives in shorts before she picks up a floral dress bearing the label “Kanchi.” There is then a shot in which Kanchi purveys the organised set, as though she is its organiser (fig. 3).Post-spaces are rich in atmosphere. The British agent Dean tells Clodagh in Black Narcissus the film that the mountain “is no place to put a nunnery” due its “atmosphere.” In the climactic scene of The Fruit Is There to Be Eaten, Kanchi and Clodagh face two screens revealing the atmospheric projection of the high mountains, the black cut between them visible, like some shadowy membrane. Such aesthetic strategies continue Powell’s use of technical artifice. Street details the extensive labour of technical and craft work involved in creating the artificial world of Black Narcissus, its mountains, artificial colours, and hence atmosphere, all constructed at Pinewood studios. There was a vast amount of matte painting and painting on glass for special effects (19).William Gamaker’s screens (projection work by Sophie Bramley and Nick Jaffe) reflexively emphasise atmosphere as artifices. The atmosphere intensifies with the soundscape of mountain air and Wayne Urquhart’s original and haunting music. In Powell and Pressburger’s feature, Brian Easdale’s music also invokes a sense of mystery and vastness. Just as TV series and serials maintain musical and mise-scene-scene signatures from one episode to another, so too does Williams Gamaker reframe her precursor’s cinematic aesthetics with that of her own episode. Thus, serial as stylistic consistency is maintained between episodes and their post-spaces.At the edge of such spaces, Kanchi will scare Clodagh by miming a tight-rope walk across the mountain: it is both real and pretend, dramatic, but reflexively so. Kanchi walks a membrane between colliding worlds, between colonialism and its transgression. In this episode of extreme spirituality and eroticism, Kanchi reaches greater heights than in previous episodes, discoursing on the poetics of atmosphere: “… in the midst of such peaks, one can draw near what is truly placeless … the really divine.” Here, the membrane between the political and cultural regions and the mountains that eschew even the human, is about to be breached. Kanchi relates the legend of those who go naked in the snow. These “Abominable Men” are creatures who become phantoms when they merge with the mountain. If the fractures between locations are too spacious, as Kanchi warns, one can go mad. In this episode 3, Kanchi and Clodagh may have completed their journeys. In Powell and Pressburger’s interpretation, Sister Ruth discards nun’s attire for a Parisian, seductive dress and red lipstick. Yet, she does so for a man, Dean. However, the Sister Clodagh of 2018 is filmed in a very long take as she puts on an elegant dress and does her make-up. In a scene of philosophical intimacy with Kanchi, the newly dressed Clodagh confesses her experience of “immensity.” As they break through the erotic membrane separating their identities, both immersed in their full, queer, transgender kiss, all racial hierarchies melt into atmosphere (fig. 4).Conclusion: For a Pitch By making a film as one episode in a series, Williams Gamaker’s accomplishment is to enhance the meeting of narrative and political aims. As an arthouse film serial, The Fruit Is There to Be Eaten has enabled definitions of “serial” to migrate from the field of television studies. Between Hutcheon’s “adaptation” and Mittell and Creeber’s articulations of “narrative complexity,” a malleable concept for arthouse seriality has emerged. It has stretched the theoretical limits of what can be meant by a serial in an arthouse context. By allowing the notion of works “adapted” to occur between different media, Henry Jenkins’ broader term of “transmedia storytelling” (Convergence) can describe how particles of Godden’s work transmigrate through episodes 1, 2, and 3, where the citational richness emerges most in episodes 3, The Fruit Is There to Be Eaten.Because one novel informs all the episodes while each has entirely different narratives and genres, The Fruit Is There to Be Eaten is not a serial adaptation, as is Game of Thrones. It is an experimental serial inflected with trans-serial properties. Kanchi evolves into a postcolonial, transgender, ecological protagonist who can traverse postmodern worlds. Perhaps the witty producer in a pitch meeting might say that in its serial context, The Fruit Is There to Be Eaten is like a cross between two fantasy TV serials, still to be written: Transgender Peaks meets Kanchi Is the New Black. The “new black” is multifaceted and occupies multi-worlds in a post-space environment. ReferencesCreeber, Glen. Serial Television: Big Drama on the Small Screen. London: BFI, 2004.Godden, Rumer. 1939. Black Narcissus: A Virago Modern Classic. London: Hatchette Digital, 2013.———. A House with Four Rooms. New York: William Morrow, 1989. Hutcheon, Linda. A Theory of Adaptation. 2nd ed. New York: New York University Press, 2012.Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: New York University Press, 2006.———. “Transmedia, 202: Further Reflections.” Confessions of an Aca-Fan 1 Aug. 2011. 1 May 2012 <http://henryjenkins.org/blog/2011/08/defining_transmedia_further_re.html>.McHale, Brian. Postmodernist Fiction. London: Routledge, 1987.Powell, Michael. A Life in Movies: An Autobiography. London: Heinemann, 1986.Mittell, Jason. “Narrative Complexity in Contemporary American Television.” The Velvet Light Trap 58 (Fall 2006): 29-40. Street, Sarah. Black Narcissus. London: I.B. Tauris, 2005.FilmographyBlack Narcissus. Dirs. Michael Powell and Emeric Pressburger. Pinewood Studios, 1947.House of Women. Dir. Michelle Williams Gamaker. Cinema Suitcase, 2017.The Fruit Is There to Be Eaten. Dir. Michelle Williams Gamaker. Cinema Suitcase, 2018.The Eternal Return. Dir. Michelle Williams Gamaker. Cinema Suitcase, 2018-2019.