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Dissertations / Theses on the topic 'Arabic fiction'
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1
Sammāq, Fayṣal. "al-Riwāyah al-Sūrīyah nashʼatuhā wa-taṭawwuruhā, madhāhibuhā /." Dimashq : [s.n.], 1985. http://books.google.com/books?id=3rUsAAAAMAAJ.
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Williams, Simon J. "Reading between the lines : Arabic fiction in Israel after 1967." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:23a6d929-e16b-4f14-b240-c5cdd2d27933.
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Arabic literature in Israel has evaded critical attention, or has been treated as an uncomplicated part of Palestinian national culture, on a quest for unification and an identity that was devastated in 1948. This dissertation complicates that narrative through close readings of short stories by five Arab citizens of Israel—Imil Habibi, Muhammad ‘Ali Taha, Muhammad Naffa‘, Hanna Ibrahim, and Zaki Darwish—between 1967 and 1983. Focusing on the relationship between geography and fiction, I suggest that literary constructions of “place” and “space” by these authors reveal a range of cultural negotiations that break down entrenched dyads: Palestinian yet Israeli; Palestinian on the one hand, Israeli on the other; spared exile, but suffering occupation. Instead, these writers evoke the hybrid and ambivalent experiences produced in the paradoxical spaces of Israeli-Palestinian life. I develop an analytical framework that incorporates geographic and literary theory. I use the work of humanists such as Gaston Bachelard, Yi-Fu Tuan, and Edward Casey to suggest that literature mediates geography in a way that communicates belonging, alienation, or personal and collective meaning. The framework is bolstered with the work of postcolonial theorists such as Homi Bhabha, along with historical and political sources, to capture the contextual resonance of the texts. After laying out these theoretical guidelines, I offer a historical account of Arabic literature in Israel and embark on four analytical chapters. Chapter Two explores Imil Habibi’s portrayals of anxiety around post-1967 Palestinian reunions. Chapter Three focuses on the themes of Muhammad ‘Ali Taha’s Palestinian collective identity in Israel. Chapter Four takes up the theme of “the land” in the works of Muhammad Naffa‘ and Hanna Ibrahim, in the context of 1970s land expropriations. Chapter Five explores a long story by Zaki Darwish and its depiction of the body’s phenomenological relation to the homeland. Rather than portraying counter-narratives that suggest a binary of “Israeli” and “Palestinian” always at odds, these authors portray the spaces and characters in between. They disclose the anxieties of finding a sense of place in the context of a dispersed Palestinian nation, geopolitical uncertainty, social marginalization within the state, and the subtle geographies of a historic homeland that both is—and is not—one’s own.
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Tijani, Ishaq. "Male domination, female revolt : race, class, and gender in Kuwaiti women's fiction /." Leiden : Brill, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9789004167797.
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Dick, Barbara Kathleen. "Modern Arabic science fiction : science, society and religion in selected texts." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11907/.
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This thesis examines a selection of original SF or SF-inflected texts written in Arabic from the 1960s to the present day. It is a thematic study, considering their presentation of and attitudes to science and technology, utopias and ideal societies and religion. Although some critics attempt to figure SF as a continuation of the Thousand and One Nights fantastical tradition and the mirabile literature of the Middle Ages, Arabic science fiction, as an essentially modern genre, traces its earliest origins to the late 1950s in Egypt. It has experienced several sudden efflorescences during the following decades in the texts of a handful of authors, most of whom are Egyptian. In the past ten years, following a 2006 seminal essay by Iraqi-German engineer and SF critic Achmed Khammas on “The Almost Complete Lack of the Element of ‘Futureness’”, media and academic interest in Arabic science fiction has burgeoned, with both established (Ahmed Khalid Towfik) and new (Noura Noman) authors publishing in the genre in the past five years. In light of the relative lack of criticism of the Arabic corpus, this thesis seeks to begin the project of conducting a full critical study through a reading of selected texts from the 1960s to the present day, the majority of which have not previously been translated into English. The approach taken is broadly sociological, examining the texts in the light of three themes outlined above – science, ideal societies and the treatment of religion - that frequently frame SF criticism in English.
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Bakker, Barbara. "Arabic dystopias in the 21st century : A study on 21st century Arabic dystopian fiction through the analysis of four works of Arabic dystopian narrative." Thesis, Högskolan Dalarna, Arabiska, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27968.
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Dystopian fiction as intended in the Western literary tradition is a 20 th century phenomenon on the Arabic literary scene. This relatively new genre has been experiencing an uplift since the beginning of the 21st century and many works that have been defined dystopias have been published and translated into English in the last 10 – 15 years. In order to find out their main features, Claeys’s categorization of literary dystopias is applied and a thematic analysis is carried out on four Arabic dystopian works of narrative, written by authors from different parts of the Arabic world. The analysis shows that 21st century Arabic dystopias are political dystopias, with totalitarianism as their main variation. Rather than on society, their focus is on the individual, and more specifically on personal freedom. The totalitarian constraints are mainly caused by religious fundamentalism and bureaucratic procedures. Surveillance and control over population are implemented by means of religious precepts and bureaucratic constructions, together with, in some instances, control over language and technological devices. Political totalitarianism regardless of a specific political ideology is identified as main theme. The thesis suggests that a Western-based classification framework is only partially suitable for Arabic dystopian fiction of the 21st century and that further research, including but not limited to a specific classification theory for Arabic dystopian fiction, is necessary to properly investigate this new literary trend in Arabic literature.
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Stagh, Marina. "The limits of freedom of speech prose literature and prose writers in Egypt under Nasser and Sadat /." Doctoral thesis, Stockholm : Almqvist & Wiksell International, 1993. http://catalog.hathitrust.org/api/volumes/oclc/30130617.html.
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Thesis (Ph. D.)--Stockholm University, 1993."Bibliography of writers arrested, detained or imprisoned in the period 1952-1981"--P. 321-360. Includes bibliographical references (p. [363]-374) and indexes.
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Embaló, Birgit. "Palästinenser im arabischen Roman Syrien, Libanon, Jordanien, Palästina 1948-1988 /." Wiesbaden : Reichert, 2000. http://catalog.hathitrust.org/api/volumes/oclc/47694365.html.
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Keresztély, Kata. "Peinture de fiction : une tradition arabe médiévale." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH180/document.
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Dans les ouvrages contemporains traitant des arts visuels dans la tradition artistique 'chrétienne' ou 'occidentale' les analyses des œuvres d'art sont souvent effectuées à l'appui d'une approche interdisciplinaire intégrant les méthodes de recherche et les questionnements des sciences sociales ainsi que d'autres disciplines, comme la littérature. Sur se modèle, je tente d’élaborer une méthode de recherche complexe pour l’appliquer dans l’étude de l’iconographie arabe médiévale. Les sources principales de mon travail sont les manuscrits iconographiés de deux 'bestsellers' de la littérature arabe médiévale : les Maqâmât d'al-Harîrî et la traduction arabe de Kalîla wa Dimna de Bîdpây, copiés et peints, pour les premiers au XIIIe siècle, et, pour les seconds, au XIVe siècle, respectivement en Irak, en Syrie et en Egypte. Pour étudier les manuscrits, je propose une approche dont le leitmotiv est l'observation de la relation entre les textes et les images en les considérant comme un ensemble et comme éléments qui constituent des œuvres d'art complexes. Les manuscrits médiévaux contenant des images deviennent ainsi, en tant qu'objets matériels mais aussi comme des produits intellectuels et artistiques, des sources primaires de l’histoire intellectuelle arabe médiévaleIn contemporary studies dealing with visual art within the « Western » or « Christian » world, the artworks’ analysis are often proposed on the basis of an interdisciplinary approach integrating methods of different scientific fields such as social sciences, and literature. Following this model, I try to develop a complex method in order to study medieval Arabic iconography. My work’s principal sources are the illustrated manuscripts of the two « bestsellers » of medieval Arabic literature: al-Harîrî’s Maqâmât and the Arabic translation of Bîdpây’s tales, the Kalîla wa Dimna, copied and painted during the second half of the 13th and the first half of the 14th centuries in Irak, Syria and Egypt. In the analysis of the manuscripts, I concentrate on the relationship between text and images while I consider them as elements of a complex artwork, as a whole. While doing so, medieval manuscripts containing images become primary sources of Arabic intellectual history as material objects but also as intellectual products
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Bakker, Barbara. "Arabic dystopias in the 21st century : A study on 21st century Arabic dystopian fictionthrough the analysis of four works of Arabic dystopian narrative." Thesis, Högskolan Dalarna, Arabiska, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28495.
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Dystopian fiction as intended in the Western literary tradition is a 20 th century phenomenon on the Arabic literary scene. This relatively new genre has been experiencing an uplift since the beginning of the 21 st century and many works that have been defined dystopias have been published and translated into English in the last 10 – 15 years. In order to find out their main features, Claeys’s categorization of literary dystopias is applied and a thematic analysis is carried out on four Arabic dystopian works of narrative, written by authors from different parts of the Arabic world. The analysis shows that 21 st century Arabic dystopias are political dystopias, with totalitarianism as their main variation. Rather than on society, their focus is on the individual, and more specifically on personal freedom. The totalitarian constraints are mainly caused by religious fundamentalism and bureaucratic procedures. Surveillance and control over population are implemented by means of religious precepts and bureaucratic constructions, together with, in some instances, control over language and technological devices. Political totalitarianism regardless of a specific political ideology is identified as main theme. The thesis suggests that a Western-based classification framework is only partially suitable for Arabic dystopian fiction of the 21 st century and that further research, including but not limited to a specific classification theory for Arabic dystopian fiction, is necessary to properly investigate this new literary trend in Arabic literature.
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Abualhassan, Amani Ahmed D. "Magical Realism in Saudi Novels Between the Return to Origin and the Impact of Foreign trend." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17598.
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This study is mainly concerned with the renewal in Saudi novel in late 1980s. It also links this renewal with global literary trends via studying the most prominent foreign influences that influenced the writing of Saudi novelists in that period. The study focuses on magical realism trend, which has emerged in Latin America and then expanded to be a global trend influencing many novelists around the word including Saudi novelists. The study is divided into five chapters in addition to an introduction and a conclusion. Chapter one provides an overview of the main aspects of the study. It clarifies the title terminologies and contains an introduction along with two sections. The first section is devoted to explaining the most important stages of the evolution of Saudi Arabian novels. It aims to determine the period on which the study is focusing. The second section is devoted to exploring the meaning and development of the term magic realism. It highlights the innovative and unconventional ideas of the magical realism movement that opened new horizons of inquiry and creation away from the restriction of realism and encouraged artists and writers to challenge the classical definition of reality. Then, a comparison is conducted between fantasy elements in the classical Arabic literature and the new global magical realism trend. The comparative study aims to reveal the similarities and dissimilarities between classical and modern trends and to investigate the distinctive power of magic realism on contemporary Arabic writers in general and Saudi writers in particular. Chapters two to five contain an empirical analysis. Each chapter is devoted to analyse a number of novels that relevant to one of the selected Saudi novelists. The thesis studies three males and one female Saudi novelists whose works reflect aspects of magical realism.
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Alblooshi, Fatima Khalifa. "The Role of Paratextual Elements in the Reception of Translation of Arabic Novels into English." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1617719565200925.
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Nkealah, Naomi Epongse. "Islamic culture and the question of women's human rights in North Africa : a study of short stories by Assia Djebar and Alifa Rifaat." Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09102007-111635.
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Khalifa, Abdel-Wahab Mohamed. "The socio-cultural determinants of translating modern Arabic fiction into English : the (re)translations of Naguib Mahfouz's ‘Awlād Hāratinā." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/18329/.
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The idea behind this research is motivated primarily by pronouncements made by (co)producers of English translations of modern Arabic fiction concerning the untranslatability of ‘Arabic’ and its status as a ‘controversial’ language, which presents a ‘hurdle’ in the way of the cultural and literary transfer of modern Arabic works of fiction to English. Is it the Arabic language alone that conditions or circumscribes the translation activity of modern Arabic fiction into English, or are there other socio-cultural and historico-political factors that influence the volume of such activity? In an attempt to answer questions such as the above and to understand and evaluate the extent to which such polemic comments are true, this thesis traces the socio-historical trajectory of the field of modern Arabic fiction into English throughout its phases of development. It sets out to identify and investigate the determinants that condition or circumscribe the translation of modern Arabic fiction into English. Drawing on Pierre Bourdieu’s theory of social practice and its heuristic concepts, to include field, capital, homology and (dis)position, the English translation activity of modern Arabic fiction is examined as a socially constructed and constructing practice and the related individuals and institutions are investigated as socially regulated and regulating agents. The study’s aim is to analyse and interpret the diverse range of practices in this field of cultural production. To guide the analysis of this thesis, English translations of modern Arabic fiction, published between 1908 and 2014, are compiled and analysed both statistically and sociologically. They are combined with historical and archival materials, including several exchanges between various translatorial agents that have not been previously examined. Various factors informing, conforming and/or transforming the field of modern Arabic fiction in English translation are identified and analysed, with specific attention to their impact on the field’s structure and the positions available in it, the capital at stake, the agents involved, the dynamics of production and the volume of activity within the field. In the process of mapping out the field of modern Arabic fiction in English translation, the thesis redraws the boundaries of the field and suggests alternative dates to, as well as a different structure from, the phases identified by Altoma (2005). It also investigates several socio-cultural and historico-political factors that are not mentioned in Khalifa and Elgindy (2014) or other related studies. The retranslations of Naguib Mahfouz’s most controversial novel, ‘Awlād Ḥāratinā, are thoroughly examined as a case study in order to provide further insights into how socio-cultural and historico-political forces function in concert within the field of modern Arabic fiction in English translation. Particular focus is given to how these forces impact the field and its activities—fostering or subverting its outlook—and how they mediate the relationships between its agents and other intersecting fields. Through an in-depth analysis of paratextual elements, the thesis illuminates how (re)translations can be used as a tool to claim distinction in the field of translation and exposes the struggle between its agents. The findings have implications for the fields of translation studies in general, and modern Arabic literature/fiction translation and its publishing trends in particular. They demonstrate that a progression in the production and publishing of translations has taken place since 1908. This is in opposition to the prevailing belief that the flow of English translations of modern Arabic works of fiction has been primarily hindered by the Arabic language. However, there have been fluctuations in the velocity and volume of the translation flow. These fluctuations correspond to various internal and external socio-cultural and historico-political forces that affected the translation production and consumption and, consequently, the structure of the field and its agents’ practices. The evidence presented suggests that, instead of focusing on the literary value of a work, several modern Arabic works of fiction were translated because of their sociological/anthropological significance. This mediated and framed, to a great extent, the way the Arab world was perceived by and promoted in the Anglophone world. Given this finding, translations of modern Arabic fiction should always be perceived within, and not in isolation from, the larger context of their production, circulation and reception, especially in the case of English translations.
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Hanna, Kifah. "Realities reflected and refracted : feminism(s) and nationalism(s) in the fiction of Ghādah al‐Sammān and Sah|ar Khalīfah." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/7820.
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This thesis examines the literary representations of feminist and nationalist struggles in the Middle East particularly in Lebanon and Palestine. It aims to explore the simultaneous articulation of these two pivotal concerns in contemporary Arabic literature written by Arab women, from the 1960s to the present. One of the primary goals of this thesis is to explore how contemporary feminist literature reflects the effects of national crises in the Middle East on women’s status. To this end, this thesis reads closely a number of the novels of two contemporary Arab women writers: Ghādah al‐Sammān and Sah|ar Khalīfah whose work engages in this literary interrelationship of nationalist and feminist struggles in Lebanon and Palestine, respectively. Through the close analyses of these authors’ novels, this thesis explores how, in their response to the political turmoil in the Middle East, contemporary Arab women writers render reality in creative forms: al‐Sammān cries for freedom by exploiting literary existentialism to reflect the human struggle against the backdrop of the Lebanese civil war, while Khalīfah employs critical realism in her portrayal of the human pain during the Palestinian‐Israeli conflict. This thesis argues that both writers challenge long‐established literary traditions by advancing these themes in new artistic styles: literary existentialism and realism, and, therefore, considers this a manifestation of the avant‐gardism of both writers for they move the writings of Levantine women to a higher level by adding these literary forms to the repertoire of contemporary Arab women’s literature. The contribution of this thesis lies in its investigation of the innovative literary styles of these two authors and their place in the writings of contemporary Arab women. Thus, this thesis aims to remedy the neglect of the writings of these authors by presenting close analyses of some of the works of al‐Sammān and Khalīfah with a view to understanding their use of literary existentialism and critical realism.
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Leafgren, Luke Anthony. "Novelizing the Muslim Wars of Conquests: The Christian Pioneers of the Arabic Historical Novel." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10362.
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During the Arabic cultural renaissance of the nineteenth century known as the nahda, Christian Arabs made a substantial contribution to the development of fiction and journalism. Among these pioneers, Salim al-Bustani, Jurji Zaydan, and Farah Antun were inspired by translations of European fiction to write the first historical novels in Arabic. Their narrations of the Muslim wars of conquest are carefully constructed blends of history and fiction that emphasize the cultural and religious values that Christian and Muslim Arabs hold in common. In their novels, these authors celebrate the historical achievements of the Arabs and seek to inspire a new sense of Arab cultural identity, open to Christians and Muslims alike and based on shared language, history, territory, values, and aspirations for reform. In this way, these authors respond to the sectarian tensions of their time, European imperialism, and the challenges of modernism with ideas that would become central to Arab nationalist discourse in the twentieth century.
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Andary, Nezar Ajaj. "A consuming fever of history a study of five urgent flashbacks in Arabic film and literature /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1779835061&sid=1&Fmt=2&clientId=48051&RQT=309&VName=PQD.
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Al-Bataineh, Afaf Badr. "The modern Arabic novel : a literary and linguistic analysis of the genre of popular fiction, with special reference to translation from English." Thesis, Heriot-Watt University, 1998. http://hdl.handle.net/10399/1233.
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The aim of this thesis is to examine the notion of 'genre' in general as a basic unit in linguistic, cultural and literary analysis. Chapter One is an introduction to this study outlining my aims and objectives which are mainly related to popular fiction in English and Arabic. Chapter Two discusses the theory of genre both from a linguistic and a literary point of view, underlining crosscultural differences and similarities. These critical insights should enable us to form an overall picture of how the subject of my case study (Mills & Boon and its translation into Arabic) is viewed in the languages and cultures concerned: this particular genre has not been acceptable to the Western literary establishment until recently, and is not acceptable to the Arabic critical establishment even today. Chapter Three historically deals with the first attempts in writing novels in Arabic. This was influenced by translation, but an Arabic genre nevertheless emerged. Chapter Four critically focuses on this aspect of the canonization of the novel in Arabic. This has influenced the development of popular fiction in this language. Chapter Five presents a detailed analysis of one particular example of popular fiction in Arabic, one which was seen negatively by the critics. Chapter Six discusses the tension between the canon and the periphery as far as the novel is concerned. This is illustrated by an analysis of an Arabic novel which we take to be a good example of popular fiction. Chapter Seven deals with aspects of Eastern and Western translation theory relevant to my analysis of genre. Chapter Eight presents a detailed analysis of a Mills & Boon novel in English and its translation into Arabic. Finally, Chapter Nine briefly summarizes the issues discussed and points us towards some general direction and pedagogic implications.
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Pierce, Amira. "Far Away Is Here." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/261.
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What follows is a compilation of the best works of creative writing I have completed during my three-year tenure as an M.F.A. candidate in the Department of English at Virginia Commonwealth University. Although I have included the debatably disparate genres of poetry, non-fiction, and fiction (including both short stories and a novel excerpt), it is my aim that the variety of types of work under this cover come together to form a whole. Through themes such as religion, family, romantic relationships, travel, “the exotic,” and nationality, my project is to illuminate the complications that place and identity (or, in more writerly terms, setting and character) pose to the human psyche. The non-fiction piece lays a literary groundwork by reflecting on experiences of travel and language in relation to James Joyce's masterwork, and, while the poems offer brief meditations with a focus on language at the micro-level, the short stories give longer narrative hooks that draw out themes through a network of actions and images. The novel is still a work-in-progress, but this polished opening excerpt shows the promise of what I hope it to be: an amalgamation of the shifting identities of modern Arab and Arab-American people as seen through the lens of a psychic sort of epistolary love story.
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Kashou, Hanan Hussam. "War and Exile In Contemporary Iraqi Women’s Novels." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386038139.
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Viteri, Marquez Elisa Andrea. "Literary masculinities in contemporary Egyptian dystopian fiction : Local, regional and global masculinities as social criticism in Utopia and The Queue." Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184262.
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In the aftermath the 25th January Revolution of 2011, two Egyptian dystopian novels stand out as particularly relevant: Utopia (2008) by Ahmed Khaled Towfik, and The Queue (2013), by Basma Abdel Aziz. Due to the absence of studies that pay attention to how gender relations are portrayed in Arabic dystopian novels, this study focuses on the literary representation of men and masculinities in Utopia and The Queue. This thesis uses narratology and content analysis in order to show that, although patterns of local masculinities are different in both novels, regional and global models of masculinity clearly point out men as controlling, violent and hypersexual, which is supported by multiple institutions, such as the state, media, and the religious establishment. The inclusion of relevant ethnological studies of masculinities in Egypt confirms that the social criticism of the novels include gender relations, and refers to the time in which the novels were written. This study points out the need for recognizing Arabic dystopian fiction as a valuable instrument that carries meaningful and intricate social criticism, as well as the need for the inclusion of gender as a category of literary analysis.
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Althumali, Sami Jameel M. "The applicability of systemic functional linguistics to English-to-Arabic translation of fiction : assessment and training purposes, with particular reference to seven renditions of Hemingway's 'The Old Man and the Sea'." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/13979/.
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Systemic Functional Linguistics (SFL) has garnered increasing interest and research attention and become particularly significant in many studies of translation. The present study is located within the framework of descriptive and applied Translation Studies. The thesis reports a study investigating the applicability of SFL to translating English prose fiction into Arabic. What makes this study so important is that it addresses several interrelated issues serving two vital purposes in Translation Studies: assessing translations and training translators. The two purposes are kept in balance in a well-constructed, three-phase research model, establishing the joint effect of testing the viability of SFL in English-to-Arabic translation of fiction. In the area of assessment, two SFL-based models are applied and developed. Firstly, Kim's metafunction shift analysis is applied to a 48-clause sample from seven Arabic translations of Hemingway's The Old Man and the Sea. The results of this rigorous metafunctional match analysis show that Process and Circumstance top the 10-catgory list of optional shifts. The seven translations are ordered based on this matching analysis. Using the same sample, another in-depth study is carried out on three translations (those having the highest, the lowest and medial number of metafunction shifts) to examine the validity of a newly created multi-level schema of optional explicitation located beyond the scope of metafunction shift analysis model. The results demonstrate that the order of the three translations is maintained. This schema suffices to adequately describe the lexicogrammatical nature of the explicitatives (at the micro-level) and to show how this can facilitate identifying their effect on the texture of the target text (at the macro-level). Secondly, in implementing House's well-established model for translation quality assessment, three interdependent developmental processes are introduced to facilitate its application, develop its tools and gauge its efficiency. A source text Profile Template, a Match Tracer and a statistical comparative table (which can together be potentially exploited in other genres or adapted for other language pairs) are applied to the same three translations using a longer excerpt. The results show that the order of the three translations remains the same. In summary, the results of the three studies lend further support to the general premise that the SFL framework can be applied reliably in assessing Arabic translations of English fiction. The applicability of SFL is also tested empirically in the area of training. A three-month training experiment involving a sample of two groups (control and experimental) of final-year Arab university students majoring in English (40 participants each) is designed and carried out to compare the progress of performance between the two groups with and without the presence of an SFL-based translator training course. The data are gathered through initial and final exams involving assessing short Arabic translated extracts of English fiction and translating a longer extract into Arabic. The results indicate that the four sub-competences constituting the scoring rubric of the control group show an increase/decrease of 10%, -0.75%, 0.0% and 9.5% respectively, whereas in the experimental group they show a massive increase of 47.5%, 21.25%, 34.5% and 49.5% respectively. Likewise, the total rate of performance of the control group in the final exam increases slightly by 7.1%, while in the experimental group it increases greatly by 43.1%. Further, the overall percentage change between the total rate of performance of the initial and final exams for the control group is +76.3%, while for the experimental group it is + 218.8%. The pool of data is also used to explore the nature of the relationship between the two skills of assessing short Arabic translated extracts of English fiction and translating English fiction. The results demonstrate that the correlation coefficients of the two elements of relationships regarding the relevant sub-competences of the experimental group increase significantly between the initial and final exams (0.721 and 0.636), while they increase insignificantly in the control group (0.164 and 0.016). These results confirm a strong positive relationship between the two skills if the SFL-based translator training factor is strongly present. The results of this large-scale study yield the conclusion that SFL is highly effective in assessing professional English-to-Arabic translations of fiction and in training prospective translators in an academic institution.
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Leeke, Jane. "A novel reading : literature and pedagogy in modern Middle East history courses in Canada and the United States." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98549.
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The purpose of this study is to explore how the Arabic novel can and does challenge the conventional characterization of what constitutes constructive Middle East historiography. The thesis draws on a case study of undergraduate history course syllabi in order to highlight a number of crucial issues related to Arabic literature and the production of modern Middle East history. My analysis of the syllabi concludes that in general, Arabic novels in translation are part of a varied group of resources selected by a professor in order to complement the "official" histories provided by textbooks and government documents. The novel is deemed helpful because it often describes the "ordinary" or daily life of people. Also, the novel is presented as the contribution of an "indigenous voice" to the historical narrative.
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Alrayes, Samer. "Party on a Roof." Chapman University Digital Commons, 2020. https://digitalcommons.chapman.edu/creative_writing_theses/18.
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Al-Harby, Nesreen Abdullah. "Veiled pearls : women in Saudi Arabia in contemporary fiction." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/42480.
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In comparison to other Arab/Muslim women, Saudi women are underexamined and/or often misrepresented. This thesis resists Saudi women’s obscurity and sheds light on their struggle to overcome domination and achieve emancipation. It analyses Hilary Mantel’s Eight Months on Ghazzah Street (1988), Rajaa Alsanea’s Girls of Riyadh (2008), Zoe Ferraris’s trilogy, Finding Nouf (2009), City of Veils (2011), and Kingdom of Strangers (2012), and Alys Einion’s Inshallah (2014). The thesis examines the significance of pre- and post-9/11 political and social contexts of representations of women in Saudi Arabia, compares depictions of Western (English, Welsh, and American) and Saudi women, and scrutinizes the effect of genre (the Gothic, the thriller, detective fiction and Chick Lit) on representations of women in a Saudi context. It draws on Arab/Muslim feminism to assess the degree to which the novels reproduce or challenge prevailing discourses of gender and Orientalism. This thesis argues that, through their employment of genre, the writers examined highlight women’s injustices. It contends that, although the novels analysed indicate that white women are not less oppressed than Saudi women, they provide an Orientalist representation of Saudi Arabia as a fearful space. Finally, this thesis demonstrates that Alsanea is the only writer that provides Saudi self-representation. However, she falls into self-Orientalism by restricting her depiction of Saudi women to the social elite. This thesis sheds light on Western representations of women in Saudi Arabia, broadens the very limited number of feminist studies of Saudi women, paves the road for more studies of gender in Saudi Arabia and provides much-needed material for international scholars interested in investigating the lives of women in Saudi Arabia.
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Hall, Michael Fitz-Gerald. "Discourse analysis of fictional dialogue in Arabic to English translation." Thesis, SOAS, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497629.
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Sheltag, Hussein Abdul-Azim. "The influence of the Arabian Nights upon nineteenth-century English fiction." Thesis, University of Exeter, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329854.
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Hilali, Bacar Darouèche. "L’autofiction en question : une relecture du roman arabe à travers les œuvres de Mohamed Choukri, Sonallah Ibrahim et Rachid El-Daïf." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20130/document.
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Depuis son invention par Serge Doubrovsky en 1977, le concept d’autofiction n’a cessé d’évoluer et de stimuler la réflexion sur la production romanesque. Après sa consécration en France, l’autofiction gagne les littératures européennes et occidentales, d’abord en Allemagne et en Pologne, puis au Canada et aux États-Unis, ou encore en Espagne et en Amérique latine. Elle franchit ensuite les frontières pour s’adapter aux spécificités culturelles des littératures étrangères. Elle est adoptée au Japon, questionnée en Iran et pratiquée aux Antilles, dans l’Océan Indien, en Afrique du Sud, au Brésil ou encore en Chine. Depuis quelques années, le phénomène littéraire semble gagner le monde arabe. Certains écrivains s’en réclament, d’autres s’en accommodent et d’autres préfèrent employer divers concepts pour définir leur pratique romanesque, ce qui a poussé la critique arabe à forger un vocabulaire technique. Parmi les notions proposées, un terme se dégage : al-taḫyīl al-ḏātī. Mais cette nouvelle terminologie peut-elle attester l’émergence d’un « nouveau genre » dans la littérature arabe ? La présente thèse se propose donc d’étudier la question de la validité de l’autofiction dans la littérature arabe. La première partie de cette thèse donne un aperçu historique de la longue tradition d’écriture du moi depuis le XIXe siècle. La seconde partie questionne la production romanesque contemporaine, ensuite présente un certain nombre d’œuvres qui sont à mi-chemin entre l’autobiographie et la fiction, pose le débat critique et fixe notre cadre théorique. La troisième partie est consacrée à l’étude des œuvres choisies de Mohamed Choukri, de Sonallah Ibrahim et de Rachid pour observer au plus près la pratique autofictionnelle, d’en comprendre les mécanismes et d’en connaître les motivations. À partir de ces trois auteurs et des exemples qu’ils nous donnent de leur pratique d’écriture, on se propose dans la conclusion d’établir un modèle d’autofiction arabe et de définir des thèmes que l’on pourrait appliquer à un vaste ensemble de textes modernes et contemporainsSince its invention by Serge Doubrovsky in 1977, the concept of auto-fiction has continued evolve and stimulate thinking about the novel and its production. After its consecration in France, the auto-fiction has won over European and Western literature, starting first in Germany and Poland, Canada and the United States, as well as gathering acclaim in Spain and Latin America. It then crossed borders and adopted itself to the cultural specificities of foreign literature which is why it has also been adopted in Japan, questioned in Iran and practiced in the Caribbean, the Indian Ocean, South Africa, Brazil or China. In recent years, this literary phenomenon has also gained momentum in the Arab world. Some Arab writers have adopted it, others have accommodated it, and still others have chosen various concepts to help define their practice as novelists, inspiring the critics to create a new technical vocabulary such as: al-taḫyīl al-ḏātī. However, does the creation of new Arabic terminology within the realm of auto-fiction merit the claim that a ‘‘new genre’’ has emerged in the Arabic literature? This study raises the question of the validity of the auto-fiction as applied to Arabic literature. Therefore, the first part of this thesis gives a historical panorama of the long tradition of auto-fiction since the 19th century. The second part questions the contemporary novel’s production, then presents a number of works that are part autobiography and part fiction, exemplifying the critical debate that sets up the theoretical framework of this study. The third part is dedicated to studying selected works by Mohamed Choukri, Sonallah Ibrahim and Rashid El-Daïf and examining the practice of these authors use of auto-fiction in order to understand its mechanisms and their motivations. In conclusion, as a result of the examination of these three authors and the examples they give of their writing, an attempt is made to show a pattern for Arab auto-fiction in order to identify some of the themes that could be applied to a wide set of modern and contemporary texts
استمرّ مفهوم autofiction أو "ذات متخلية" في تطوّره و تطوير التفكير حول إنتاج الرواية، منذ اختراعه من قبل سيرج دوبروفسكي في عام 1977. بعد تكريسه في فرنسا، يتقدّم المفهوم في الأدب الأوروبي والغربي، أوّلاً في ألمانيا وبولندا وكندا والولايات المتّحدة، أو في إسبانيا وأمريكا اللاتينية. ثم يجتاز الحدود ليَتَأَقْلَمَ بخصوصيات ثقافة الأدب الأجنبي. فتَمّ اعتماده في اليابان، شُكِّكَ به في إيران وتمارس في منطقة البحر الكاريبي والمحيط الهندي وجنوب أفريقيا والبرازيل والصين. وفي السنوات الأخيرة، يبدو أن هذه الظاهرة الأدبية تكتسح العالم العربي. بدأ بعض الكتّاب يصرحون بانتماء نصوصهم إلى هذه الكتابة الأدبية، والبعض الآخر يعترفون بأن نصوصهم تنتمي سردياً إلى هذا النوع الأدبي غير أنها تحافظ على تجنيسها المألوف (الرواية، السيرة الذاتية، الخ) وآخرون يفضلون استخدام مفاهيم مختلفة لتعريف تجاربهم الروائية، مما دفع النقاد العرب بصياغة مفردات تقنية جديدة. و يظهر من بين المفاهيم المقترحة مصطلح "الــــتخييل الذاتي". ولكن هل هذا المصطلح الجديد يمكنه أن يشهد ظهور "نوع جديد" في الأدب العربي؟يطرح هذا البحث مسألة صحة التخييل الذاتي في الأدب العربي. يقترح الجزء الأول من هذه الأطروحة إعطاء لمحة تاريخية عن تقليد قديم في كتابة الذات منذ القرن التاسع عشر . والجزء الثاني يطرح إنتاج الرواية المعاصرة، ثم يعرض عدداً من الأعمال الروائية التي تقع بين السيرة الذاتية والخيال، ويثير النقاش حول هذه المسألة في النقد العربي والغربي، ثم يثبت الإطار النظري. ويخصّص الجزء الثالث في دراسة الأعمال المختارة لمحمد شكري، وصنع الله إبراهيم ورشيد الضعيف لمراقبة ممارسة كتابة "التخييل الذاتي"، لاستعاب آلياتها ومعرفة دوافعها. ومن هؤلاء المؤلفين لثلاثة ومن الأمثلة المتواجدة في كتاباتهم، نقترح في الخاتمة إقامة نموذج للتخييل الذاتي العربي وتحديد مواضيع من الممكن تطبيقها على نطاق مجموعة واسعة من النصوص الحديثة والمعاصرة
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Ayed, Kawthar. "La littérature d'anticipation dystopique et l'expression de la crise dans le monde occidental et arabe." Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10031.
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Cette thèse porte sur l'exploration de l'écosystème littéraire des textes d'anticipation ainsi que sur les différentes interactions entre les deux genres de l'utopie et de la dystopie, en relation avec le développement de la science-fiction. Ces fictions sont surtout connues et pratiquées en Occident mais nous avons pu montrer qu'il existe une généalogie de l'utopie et de la science-fiction de langue arabe. En adoptant une approche comparatiste, nous avons d'emblée cherché à cerner les spécificités et les richesses de chaque littérature. C'est le premier objectif que s'est fixée la thèse. Le second consiste à montrer à quel point ce genre littéraire, qui se situe dans le contexte précis du XXe et XXIe siècles, se préoccupe des inquiétudes de l'homme contemporain que ce soit en Occident ou dans le Monde Arabe. Ces textes récents donnent une vision critique de ces présents projetés dans des futurs. L'expression d'une crise, prenant diverses formes, marque profondément les textes d'anticipation dystopique.
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Martin, Fernandez Amaya. "National, linguistic, and religious identity of Lebanese Maronite Christians through their Arabic fictional texts during the period of the French Mandate in Lebanon." Connect to Electronic Thesis (ProQuest) Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/451013418/viewonline.
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Arami, Sara. "Cartographies : rewriting the body and the nation in Contemporary Middle Eastern American women’s diasporic fiction." Thesis, Strasbourg, 2020. http://www.theses.fr/2020STRAC004.
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Cette thèse analyse les œuvres de fiction des femmes moyen orientales américaines contemporaines du point de vu de la cartographie littéraire. Les œuvres étudiées sont The Girl in the Tangerine Scarf de Mohja Kahf, Once in a Promised Land et West of Jordan de Laila Halaby, The Inheritance of Exile de Susan Muaddi Darraj, The Night Counter d’Alia Yunis et Crescent de Diana Abu Jaber. Les œuvres de fiction sélectionnées et étudiées dans cette thèse contribuent toutes à la remise en question des discours dominants qui dépeignent la diaspora arabo-américaine et suscitent le scepticisme des lecteurs en leur présentant des contre-histoires ou des versions alternatives aux histoires et aux identités qu'ils pensent connaître déjà. Nous pourrons retracer l'évolution des tentatives de réappropriation du mythe américain pour y inclure l'identité arabe, un mélange des deux (mythes occidental et arabes), et la réécriture des histoires arabes en fonction du contexte américain à travers les romans étudiés dans les différentes partiesThis thesis analyzes the works of fiction written by contemporary Middle Eastern American women from the point of view of literary cartography. The works studied are Mohja Kahf’s The Girl in the Tangerine Scarf, Laila Halaby’s Once in a Promised Land and West of Jordan, Susan Muaddi Darraj’s The Inheritance of Exile, Alia Yunis’ The Night Counter and Diana Abu Jaber’s Crescent. The selected works of fiction all contribute to the questioning of the dominant discourses surrounding the Arab-American diaspora. The skepticism of the readers is aroused through presenting counter-histories or alternative versions to the stories and identities that they think they already know. Through a close reading of these works of fiction, the various chapters of the thesis trace an evolution of attempts to reappropriate the American myth to include Arab identity, to a mixture of the two (Western and Arab myths), and the rewriting of Arab stories in line with the American context
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Sadeghian, Saeed. "La « fiction biographique » : une étude comparée en contexte français et iranien." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100083.
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L’écriture biographique se présente comme l’une des pratiques majeures de la littérature française contemporaine. La pratique interprétée comme une résurgence ayant pour corrélat le regain de l’individualisme et la contamination du régime présent d’historicité par une hantise du passé. L’une des multiples formes que revêt l’écriture contemporaine de vie, est la « fiction biographique » qui relie les auteurs dans leur désir de restituer la vie de l’Autre antérieur au sein des textes signalés par leur réticence à l’égard des codes de la biographie standard. Loin de ce paysage riche en expressions, la biographie a du mal à s’exprimer en littérature persane contemporaine. De cette différence découle la question de savoir les raisons qui distinguent le destin du genre biographique dans les contextes français et iranien. Pour esquisser certains éléments de réponses, cette thèse se propose à la fois une étude historique contextuelle et une comparaison sociologique intercontextuelle : la première dresse un tableau de formes des expressions biographiques en littérature persane pour tracer une ligne d’évolution ; la deuxième fournit l’occasion de rapprocher deux contextes sociaux et deux systèmes littéraires, pour parler des éléments qui soutiennent ou entravent la production biographique au-delà de la volonté auctoriale. Une analyse textuelle se charge pourtant de mettre en lumière cette dernière à travers les moyens que se donne chaque auteur pour répondre aux enjeux génériques de l’écriture biographique en régime romanesqueBiographical writing is presented as one of the major practices of contemporary French literature. A practice interpreted as a reappearance aiming to correlate the revival of individualism and the contamination of the present regime of historicity with an obsession of the past. One of the multiple forms of contemporary life writing is « biographical fiction » which links the authors in their desire to restore the life of the Other past within texts indicated by their reluctance in respect with the codes of the standard biography. Far from this rich landscape in expressions, biography could not easily be expressed in contemporary Persian literature. This difference arises the question of knowing the reasons which distinguish the fate of the biographical genre in the French and Iranian contexts. To outline some elements of the answers, this thesis proposes both a contextual historical study and an intercontextual sociological comparison: the first draws up a table of biographical expressions forms in Persian literature to draw a line of evolution; the second provides the opportunity to bring together two social contexts and two literary systems, to talk about the elements that support or hinder the biographical production beyond the auctorial ambition. However, a textual analysis is in charge of highlighting this auctorial ambition through the vehicle that each author takes to respond to the generic challenges of biographical writing in the romantic regime
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Attia-Gherbi, Radia. "Les Vies de Mahomet (XVII-XIXe siècle) : entre Histoire et fiction." Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080110.
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Tout au long de l’histoire de la littérature française et anglaise, la figure de Mahomet a fait l’objet de plusieurs Vies. Dès le Moyen Âge, l’intérêt se concentre autour de la représentation légendaire de ce personnage. Au XVIIe siècle, Humphrey Prideaux publie en anglais une Vie de Mahomet dans un contexte où le thème des « trois imposteurs » était fort prégnant. Plus tard Boulainvilliers suivi de Lamartine rédigeront eux aussi une biographie du prophète de l’Islam. Ces trois principales Vies seront au cœur de notre corpus. S’il existe de nombreuses études sur la représentation légendaire de Mahomet durant la période médiévale, il n’existe encore aucune étude d’ensemble sur la tradition intertextuelle dans laquelle s’inscrivent l’ensemble des Vies de Mahomet publiées en Europe entre le XVIIe et le XIXe siècle. Cette thèse propose de combler cette lacune en mettant en lumière les principales mutations subies par la biographie de Mahomet dans certaines versions occidentales entre le Moyen Âge et le XIXe siècle.La première partie débute par une réflexion sur le genre des Vies et présente celle du prophète de l’Islam qui fait office de texte de référence dans le monde arabo-musulman : la Sîra. Elle souligne, par ailleurs, la singularité de la tradition intertextuelle dans laquelle s’inscrivent la plupart des Vies de Mahomet rédigées en Occident. Une attention particulière est accordée aux motivations de leurs auteurs liées le plus souvent aux contextes historiques et littéraires. La seconde partie décrit les procédés littéraires utilisés par nos auteurs ayant eu pour effet de discréditer la mission prophétique du prophète. Recours à des traductions erronées du Coran, inventions, déformations de certains récits, aucun moyen n’a été épargné en vue de souligner le caractère fallacieux de sa prophétie. La troisième partie confronte la figure de Mahomet à celle de Jésus et de Moïse. Pour faire valoir que le Coran n’a pu être rédigé par nul autre que le prophète de l’Islam. Nos auteurs ont pris soin de comparer certains pans de la vie de ces trois hommes en mettant en valeur ce qui les distingua. Au terme de notre étude nous avons tenté de montrer que l’ensemble des Vies de Mahomet rédigées en Europe s’inscrivent dans une tradition intertextuelle qui puise ses origines dans les écrits latins datant de la période médiévale. Cette thèse voudrait contribuer à une histoire des modes de pensée et de transmission des textesThroughout the history of French and English literature, the figure of Mahomet has been the object of several Lives. From the Middle Ages onwards, interest is centered on the representation of Mahomet as a legendary figure. In the 17th century, Humphrey Prideaux published a Live in a context where the theme of the “three impostors” was predominant. Later, Boulainvilliers and then Lamartine would draft a biography of the prophet of Islam. If there are numerous studies on the legendary representation of Mahomet during medieval period, there is still no general study on the intertextual tradition which joins all the Lives all the Lives of Mahomet published in Europe between the 17th and the 19th century. This thesis suggests this gap by bringing to light the main transformations undergone by the biography of Mahomet in certain western versions between the Middle Ages and the 19th century. The first part begins with a reflection on the genre of the Lives and presents the Live of prophet of Islam that acts as reference text in the Arab-Muslim world: Sîra. It underlines, besides, the particularity of the intertextual tradition which joins most of the Lives of Mahomet written in West. A particular attention is granted to the motivations of their authors bound mostly to the historic and literary contexts.The second part describes the literary processes used by our authors having had the effect of compromising the prophetic mission of the prophet. Resort to erroneous translations of the Koran, the inventions, the deformations of some accounts, no means was saved to underline the deceptive aspect of his prophecy.The third part confronts the figure of Mahomet to the one of Jesus and Moses. To point out that the Koran was not able to be written by none other that the prophet of the Islam. Our authors took care of comparing some episodes of the life of these three men by emphasizing what distinguished them. In the term of our study, we tried to show that all the Lives of Mahomet drafted in Europe join in an intertextual tradition which draws its origins from the Latin texts dating medieval period. This thesis would want to contribute to a history of the ways of thinking and transmission of texts
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Bérard, Catherine. "Le personnage de Sindbad le Marin études, analyses et critiques /." [S.l.] : [s.n.], 2002. http://www.enssib.fr/bibliotheque/documents/dessid/rrbberard.pdf.
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Attia-Gherbi, Radia. "Les Vies de Mahomet (XVII-XIXe siècle) : entre Histoire et fiction." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080110.
Full textAbstract:
Tout au long de l’histoire de la littérature française et anglaise, la figure de Mahomet a fait l’objet de plusieurs Vies. Dès le Moyen Âge, l’intérêt se concentre autour de la représentation légendaire de ce personnage. Au XVIIe siècle, Humphrey Prideaux publie en anglais une Vie de Mahomet dans un contexte où le thème des « trois imposteurs » était fort prégnant. Plus tard Boulainvilliers suivi de Lamartine rédigeront eux aussi une biographie du prophète de l’Islam. Ces trois principales Vies seront au cœur de notre corpus. S’il existe de nombreuses études sur la représentation légendaire de Mahomet durant la période médiévale, il n’existe encore aucune étude d’ensemble sur la tradition intertextuelle dans laquelle s’inscrivent l’ensemble des Vies de Mahomet publiées en Europe entre le XVIIe et le XIXe siècle. Cette thèse propose de combler cette lacune en mettant en lumière les principales mutations subies par la biographie de Mahomet dans certaines versions occidentales entre le Moyen Âge et le XIXe siècle.La première partie débute par une réflexion sur le genre des Vies et présente celle du prophète de l’Islam qui fait office de texte de référence dans le monde arabo-musulman : la Sîra. Elle souligne, par ailleurs, la singularité de la tradition intertextuelle dans laquelle s’inscrivent la plupart des Vies de Mahomet rédigées en Occident. Une attention particulière est accordée aux motivations de leurs auteurs liées le plus souvent aux contextes historiques et littéraires. La seconde partie décrit les procédés littéraires utilisés par nos auteurs ayant eu pour effet de discréditer la mission prophétique du prophète. Recours à des traductions erronées du Coran, inventions, déformations de certains récits, aucun moyen n’a été épargné en vue de souligner le caractère fallacieux de sa prophétie. La troisième partie confronte la figure de Mahomet à celle de Jésus et de Moïse. Pour faire valoir que le Coran n’a pu être rédigé par nul autre que le prophète de l’Islam. Nos auteurs ont pris soin de comparer certains pans de la vie de ces trois hommes en mettant en valeur ce qui les distingua. Au terme de notre étude nous avons tenté de montrer que l’ensemble des Vies de Mahomet rédigées en Europe s’inscrivent dans une tradition intertextuelle qui puise ses origines dans les écrits latins datant de la période médiévale. Cette thèse voudrait contribuer à une histoire des modes de pensée et de transmission des textesThroughout the history of French and English literature, the figure of Mahomet has been the object of several Lives. From the Middle Ages onwards, interest is centered on the representation of Mahomet as a legendary figure. In the 17th century, Humphrey Prideaux published a Live in a context where the theme of the “three impostors” was predominant. Later, Boulainvilliers and then Lamartine would draft a biography of the prophet of Islam. If there are numerous studies on the legendary representation of Mahomet during medieval period, there is still no general study on the intertextual tradition which joins all the Lives all the Lives of Mahomet published in Europe between the 17th and the 19th century. This thesis suggests this gap by bringing to light the main transformations undergone by the biography of Mahomet in certain western versions between the Middle Ages and the 19th century. The first part begins with a reflection on the genre of the Lives and presents the Live of prophet of Islam that acts as reference text in the Arab-Muslim world: Sîra. It underlines, besides, the particularity of the intertextual tradition which joins most of the Lives of Mahomet written in West. A particular attention is granted to the motivations of their authors bound mostly to the historic and literary contexts.The second part describes the literary processes used by our authors having had the effect of compromising the prophetic mission of the prophet. Resort to erroneous translations of the Koran, the inventions, the deformations of some accounts, no means was saved to underline the deceptive aspect of his prophecy.The third part confronts the figure of Mahomet to the one of Jesus and Moses. To point out that the Koran was not able to be written by none other that the prophet of the Islam. Our authors took care of comparing some episodes of the life of these three men by emphasizing what distinguished them. In the term of our study, we tried to show that all the Lives of Mahomet drafted in Europe join in an intertextual tradition which draws its origins from the Latin texts dating medieval period. This thesis would want to contribute to a history of the ways of thinking and transmission of texts
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Almanna, Ali. "Quality in the translation of narrative fictional texts from Arabic into English for the purposes of publication : towards a systematic approach to (self)-assessing the translation process." Thesis, Durham University, 2013. http://etheses.dur.ac.uk/7373/.
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The main focus of the current study is on translation quality assurance. In studying the translation process, the present study does not confine itself to the micro-level of translating, i.e. reading, analysing, comprehending, transferring, polishing the draft translation and the like. Rather, the translation process is studied from a perspective of translation as industry; it is divided into three main phases, namely: 1. pre-translation, 2. translation and 3. post-translation. Each of these three phases of the translation process requires those involved in the whole project to take certain steps that correspond to each level’s requirements with a view to ensuring the quality of the translation process that leads to the quality of the product. The translation process at its macro level is envisaged in this research as a set of constraint-motivated strategies. Dealing with the text at hand, translators encounter a set of constraints. In studying these constraints and their effects on the final shape of the translated text, constraints are divided into two types, viz. verbal constraints driven by the text itself (e.g. language-related constraints, textual constraints, cultural constraints with a micro nature, communicative constraints, pragmatic constraints, semiotic constraints and stylistic constraints) and non-verbal constraints originating from outside the text (e.g. cultural constraints with a macro level, purpose of translation, generic conventions, intended readership, power of patronage, master discourse of translation, text typological constraints, discoursal constraints, norm-imposed constraints and translator-related constraints). It has been shown that the relationship between the constraints imposed on the translator and the strategies available is not a one-to-one relationship, but rather the strategy is sometimes a result of more than one constraint. As people are different in perceiving world reality, in their tolerance to the pressure exerted on them, in their beliefs, feelings, cultural background, ideologies, attitudes,such a selection among available strategies is subjective rather than objective, being attributable to translators’ ideology, idiolect, competence, experience, skills and social and religious background.
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Ellerbach, Benoît. "« L’Arabie » contée aux Allemands : fictions interculturelles chez Rafik Schami." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040169.
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La plupart du temps, la littérature dite de l’immigration en Allemagne a fait l’objet d’études générales regroupant plusieurs auteurs. Ce travail, entièrement consacrée à l’œuvre de l’auteur germanophone d’origine syrienne Rafik Schami (né en 1946) entend réindividualiser l’œuvre de cet auteur et l’aborder dans son historicité et son évolution. Jouant sur ses origines ‘orientales’ et les mettant sans cesse en scène tout en écrivant en allemand, Rafik Schami s'inscrit dans la tradition d’un discours sur l’Orient et sa réception occidentale. A partir d’une double approche – l’une sociopoétique, l’autre relevant d'une analyse littéraire interne des textes – nous interrogeons d’une part les postures ‘interculturelles’ de l’auteur et ses rapports avec la tradition orale, entre Orient et Occident, et d’autre part, nous entendons démontrer comment son oeuvre met en question les rapports de pouvoir inhérents au couple que forment le centre et la périphérie. A la frontière entre une littérature populaire aux visées mercantiles et une littérature exigeante, les fictions interculturelles de Rafik Schami sont une tentative, parfois équivoque du fait des stratégies employées, de faire découvrir au lecteur occidental un 'ailleurs'. Que cet ailleurs soit le monde du travailleur étranger ou de l’immigré en Allemagne, un monde arabe vaguement délimité et mis en scène en tant qu’une « Arabie », ou encore la Syrie, Damas et ses environs, cet ailleurs est au cœur d’un projet culturel et politique qui voudrait sensibiliser le plus grand nombre aux destins des minorités et des sans-voixOften times, German so called ‘literature of migration’ has been the subject of general studies which regroup several authors. This work, exclusively dedicated to the work of the Syrian-born (1946) German-speaking author Rafik Schami, intends to reindividualize the work of this author and to consider it in its historicity and evolution. Building his work largely upon his 'Oriental' origins all-whilst writing in German, Schami instrumentalizes his prose, intertextual references and his own public and literary persona to connect himself to a certain lineage of discourse on the Orient and the Western reception responding to that discourse. From a dual approach – one socio-poetical, and the other text-analytical –, we examine on one hand the many postures of Schami's 'intercultural' authorship as they relate to storytelling between the East and the West, and on the other hand consider his work as an inquiry of power relations inherent to the interplay between the center and the periphery. Somewhere between popular literature and belles-lettres, the intercultural fictions of Rafik Schami are an attempt, even at times ambiguous, to introduce the Western reader an ‘elsewhere’. This 'elsewhere', sometimes portrayed as the world of the worker or the immigrant in Germany, some others as an Arab world vaguely defined and staged as an "Arabia", and most frequently as Syria, or Damascus and its surroundings in particular, forms the core of Rafik Schami's work. It is through the 'elsewhere' that Schami aspires to raise cultural awareness in his readers, and aims to interest them in the lives of the minorities and of the unvoiced groups and individuals whose stories he tells
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Tazartez, Chloé. "Après l’attentat : fictions de l’événement terroriste dans les littératures arabe et états-unienne contemporaines." Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20040/document.
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Les attentats du 11 septembre 2001 ont eu un tel impact et un tel retentissement planétaire qu’ils sont parfois considérés comme l’événement historique marquant l’entrée du monde dans le XXIe siècle. Si ce bornage est discutable, l’importance du terrorisme dans la société contemporaine ne l’est pas. Ce travail s’attache à analyser la fictionnalisation de ces événements et à les mettre en perspective avec des fictions sur d’autres attentats-suicides. Il en résulte que l’exceptionnalité du 11 septembre 2001 réside principalement dans sa médiatisation. Cette étude s’organise en trois parties. Dans la première, nous interrogeons l’impact d’un tel événement sur la société ainsi que les enjeux de sa représentation fictionnelle. L’attention est centrée sur l’événement en lui-même, ses dimensions traumatiques et historiques ainsi que la valeur fictionnelle qu’il revêt dans les oeuvres du corpus. Dans la deuxième partie, nous entrons davantage dans les détails des oeuvres et nous observons la problématisation du langage et des discours face à l’événement, ainsi que la nécessité d’avoir recours à l’intertextualité pour aborder le traumatisme présent. Enfin, le parcours effectué dans les deux premières parties aboutit au constat que l’événement n’est pas traité dans le détail et constitue rarement le point central des oeuvres. Ainsi, l’attention se déplace de l’événement vers ceux qui le subissent : les personnages. L’absence d’ancrage temporel très précis nous permet d’élargir notre réflexion. L’étude de la configuration narrative en triple dispositif et l’analyse de la construction des personnages ont orienté notre interprétation des fictions du terrorisme comme une invitation à repenser l’humain et la société qu’il construitThe importance and the huge impact of the 9/11 attacks transformed them into the symbol of the entry of the world into the 21st century. If this status is questionable, the importance of terrorism in our contemporary society is not. This work focuses on the analysis of the fictionalisation of these events and on their comparison to fictions related to other attacks. This leads to the conclusion that the exceptionality of 9/11 is mainly due to its media coverage. This study is organized in three parts. In the first one, we question the impact of such events on society and the issues of their fictional representation. The focus is on the event in itself, on its traumatic and historical dimensions and also on the fictional part it plays in the novels of the corpus. In the second part, we go more and more into the details of the works and we observe the link between language, speeches and the traumatic event, and the necessity to use intertextual relations in order to deal with the present trauma. Then, the process carried out in the first two parts ends to the statement that the event is not represented in its details and is rarely the central point of the works. Thus, the focus slips from the event to those who suffer from it: the characters. The absence of precise temporal anchoring allows us to enlarge our reflection. The study of the narrative structure in a triple plan and the analysis of the construction of the characters lead our interpretation of fictions of the terrorist event as an invitation to rethink the mankind and the society they build
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Fili-Tullon, Touriya. "Figures de la subversion dans les littératures francophone et d'expression arabe au Maghreb et au Proche-Orient, des années 1970 à 2000 : (R. Boudjedra, A. Cossery, E. A. El Maleh, É. Habibi et P. Smaïl)." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030012/document.
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Dans l’aire arabofrancophone, la valeur littéraire de la fiction narrative tend souvent à se confondre avec sa dimension subversive. Le présent travail aborde cette notion problématique de subversion en tant que modalité discursive et posturale. Sont analysées les perturbations infligées aux codes linguistiques, énonciatifs et génériques à la lumière du postulat suivant lequel le bilinguisme et le biculturalisme des écrivains favorisent cette veine et la nourrissent. C’est, en effet, autour d’une double appartenance, feinte ou avérée, que se rejoignent les poétiques d’auteurs aussi éloignés que Rachid BOUDJEDRA, Albert COSSERY, Edmond Amran EL MALEH, Émile HABIBI et Paul SMAÏL. L’articulation de l’analyse textuelle à celle des postures auctoriales permet de discerner une dynamique littéraire dans laquelle ce qui s’offre a priori comme une littérature politique s’avère un avatar d’une politique de la littératureIn the Arabo-Francophone culture, the literary value of narrative fiction often tends to intermingle with its subversive dimension. The present study deals with this problematical notion of subversion considered as a posture and a discursive modality. The disturbances inflicted on linguistic, enunciative and generic codes are analysed under the assumption that the writers' bilingualism and biculturalism favour this type of inspiration and nurture it. Indeed, the poetics of authors as different as Rachid BOUDJEDRA, Albert COSSERY, Edmond Amran EL MALEH, Émile HABIBI and Paul SMAÏL seem to meet around this double belonging, whether it is real or simply assumed. Together, text analysis and authors' postures observation enable us to discern a literary movement in which what is a priori offered as a political literature ends up being a metamorphosis of a literary policy
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Rubino, Marcella. "Religion et violence dans l'oeuvre de Yūsuf Zaydān : les chemins croisés de la fiction et de l'histoire." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCF014/document.
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L’écrivain égyptien Yūsuf Zaydān s’inscrit dans la tradition - constituée à l’âge de la Nahḍa – de l’intellectuel “éducateur des consciences”. Depuis cette époque, face à un récit national contrôlé par le pouvoir politique ou religieux, la littérature arabe a souvent revisité l’histoire et l’actualité dans le but de rétablir - grâce à la liberté offerte par le discours fictionnel - la vérité occultée par le récit officiel. Dans ce processus de réécriture, Zaydān s’intéresse particulièrement à la relation entre religion, politique et violence. L’objectif de cette étude est d’explorer l’oeuvre littéraire de cet auteur, dans le but d’en dégager l’originalité. Celle-ci apparaît, d’une part, dans la capacité de Zaydān à mettre en valeur son double profil d’universitaire et de romancier, à travers une production très variée allant du roman à l’essai; d’autre part, dans les stratégies spécifiques qu’il emploie afin de s’adresser à son destinataire privilégié: le lecteur égyptien. Auteur controversé autant pour son oeuvre que pour sa personnalité, Zaydān n’en demeure pas moins un phénomène littéraire : illustration à la fois de l’éclatement du champ littéraire et d’une démocratisation exacerbée de la culture en Egypte, son cas permet de mieux comprendre la littérature arabe ultra contemporaine et ce qu’elle exprime sur les sociétés en recomposition - politique, économique et culturelle - desquelles elle émaneThe Egyptian writer Yūsuf Zaydān is part of the tradition – dating from the age of the Nahḍa – of intellectuals as "educators of consciousness". Since then, faced with a national narrative controlled by political or religious power, Arab literature has often revisited history and current affairs with the aim of restoring – through the freedom offered by fictional discourse – the truth overshadowed by official history. Through this rewriting process, Zaydān is particularly interested in discussing the relationship between religion, politics and violence. The objective of this thesis is to explore Zaydān’s literary work in order to identify its originality. This originality is manifested, first, through Zaydān's dual profile as both academic and novelist, engaged in varied production that ranges from novels to essays; second, in the specific strategies he employs in order to address his privileged audience: the Egyptian reader. A controversial author in both his work and his personality, Zaydān is above all a literary phenomenon. An example of the blossoming literary field and the exacerbated cultural democratisation in Egypt, his case allows us to better understand ultra-modern Arab literature and what it expresses about the (politically, economically, culturally) recomposed and changing society that have produced it
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Rifai, Nabila. "Le féminin et le maternel dans l'imaginaire occidental : le mythe de Shéhérazade en analyse." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040131/document.
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Cette thèse analyse le mythe fondateur des Mille et une nuits, ou « mythe de Shéhérazade », par une approche psychanalytique et comparatiste. Nous mettons en évidence que le récit-cadre des Nuits constitue un récit mythique, miroir de l’imaginaire collectif, qui révèle la place de la femme, du féminin et du maternel dans le processus de civilisation.En effet, les Nuits s’ouvrent sur un double adultère et un double meurtre: deux femmes, sultanes, trompent leur époux avec un esclave noir. Ce désir féminin transgressif est le déclencheur de tout le recueil. Il constitue le péché originel qui entraîne la déchéance et le chaos. Shahrayar, tel le patriarche de la horde primitive freudienne, se venge et instaure le meurtre de la femme comme loi. La parole infinie de Shéhérazade, à la fois amante et mère, crée une zone transitionnelle féconde et mène le sultan à renoncer à la jouissance éphémère pour entrer dans le champ de la sublimation et du symbolique. Par la fonction symbolique du langage, la conteuse conduit le tyran à advenir sujet, parlêtre, soumis aux lois fondamentales de la civilisation.Nous analysons l’évolution de la dialectique du féminin, du maternel et des lois symboliques dans les réécritures, imitations, pastiches, perversions, parodies, tragédies, suites et adaptations musicales du mythe de Shéhérazade du XVIIIe au XXIe siècleThis thesis analyzes the founding myth of the Arabian Nights, or « myth of Scheherazade », with a psychoanalytical and comparative approach. This research points that the frame story of the Nights is a mythical story that constitutes the mirror of the collective imagination, which reveals the place of the woman, the feminine and the maternal in the process of civilization.The Nights open on a double adultery and a double murder scene: two sultanas commit adultery with a black slave. This transgressive feminine desire is the trigger of the Arabian Nights' collection. It constitutes the original sin that leads to the forfeiture and the chaos. Shahrayar, such as the patriarch of the Freudian primal horde, decides to take revenge on them and institutes as a law the murder of women. The infinite word of Scheherazade, who is at the same time lover and mother, creates a transitional fertile space and leads the sultan to give up the temporally enjoyment to enter the field of the sublimation and symbolism. With the symbolic function of the language, the storyteller leads the tyrant to become parlêtre, subject to the fundamental laws of civilization.We examine the rewritings, imitations, pastiches, perversions, parodies, tragedies, continuations and musical adaptations of the myth of Scheherazade from eighteenth to the twenty-first century, to analyze the dialectic’s evolution of the feminine, the maternal and the symbolic laws
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Paul, William Andrew. "Border fiction : fracture and contestation in post-Oslo Palestinian culture." 2013. http://hdl.handle.net/2152/23099.
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This dissertation delves into a body of Palestinian literature, film, and art from the past two decades in order theorize the relationship between borders and their representations. In Israel and Palestine, a region in which negotiating borders has become a way of life, I explore the ways in which ubiquitous boundaries have pervaded cultural production through a process that I term “bordering.” I draw on theoretical contributions from the fields of architecture, geography, anthropology, as well as literature and film studies to develop a conceptual framework for examining the ways in which authors, artists, and filmmakers engage with borders as a space to articulate possibilities of encounter, contestation, and transgression.
I argue that in these works, the proliferation of borders has called into question the Palestinian cultural and political consensus that created a shared set of narratives, symbols, and places in Palestinian cultural production until the last decade of the 20th century. In its place has emerged a fragmented body of works that create what Jacques Rancière terms “dissensus,” or a disruption of a cultural, aesthetic, disciplinary, and spatial order. Read together, they constitute what I term a “border aesthetic,” in which literature, film, and art produce new types of spaces, narratives, and texts through the ruptures and fractures of the border. I trace the emergence of this aesthetic and the new genres and forms that distinguish it from earlier Palestinian literary, political, and intellectual projects through analyses of the works of Elia Suleiman, Sayed Kashua, Raba’i al-Madhoun, Emily Jacir, Yazid Anani, and Inass Yassin. In their attempts to grapple artistically with the region’s borders, these authors, directors, and artists create new codes, narratives, vernaculars, and spaces that reflect the fragmentation wrought by pervasive boundaries. These works, fluent in multiple mediums, genres, and languages, reveal both the possibilities and the limits of this aesthetic, as they seek to contest borders but nevertheless remain bound by them.text
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Lorins, Rebecca M. 1970. "Inheritance: kinship and the performance of Sudanese identities." Thesis, 2007. http://hdl.handle.net/2152/3494.
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In this project, I treat Sudan as an exemplary case study for the examination of kinship and agency in contexts of layered imperialisms. I juxtapose a contemporary postcolonial novel by Tayeb Salih (Mawsim al-hijra ila shamal / Season of Migration to the North (1966/69)), and four contemporary unpublished plays (1994 - 2002) by the Kwoto Cultural Center in Khartoum, Sudan, and ask how the texts, the performance traditions, and their creators appropriate kinship as a vehicle to discuss, uphold and/or challenge the reproduction of economic, social and political values and the dominant ideologies that continue to define a "North" and "South" as gendered geographies in contemporary Sudan. Rather than simply reiterate the transformative importance of the 19th century British colonial period in Sudan, I seek to build on the insights of previous scholarship by bringing to the fore the ways the vestiges and shadows of overlapping and layered imperialisms condition the architecture of the texts audiences read and witness today. I argue that within these multiple contexts, kinship is an elastic concept, one that is not static, but constantly made, remade, lived in and negotiated over the boundaries of temporalities and geographies. I argue that the texts under investigation do not force Sudan to cohere as "one nation" but rather attest to this complex present both by mirroring Sudan's diverse composition and by inviting new ways of reading and relating that help to create new configurations and new social orders that compete with "nation" as a modality of community. In the Introduction, I set out an historical framework sensitive to layered imperialisms and examine how the reconsolidation and resilience of kinship ties has impacted authority and agency. In Chapter One, "The Kinlessness of Mustafa Sa'eed: Parentage and the Migration North in Tayeb Salih's Season of Migration to the North," I suggest that Sudan's ethno-religious division into a geography of "North" and "South" is revealed through an analysis of Mustafa Sa'eed's "kinlessness" and the inextricability of that kinlessness from the reality of his parentage. My analysis suggests that this novel by a celebrated northern Sudanese author traces a submerged history of Sa'eed's parents: the Beja from the North and the slave from the South, and in this way explores the opposing ideologies of "freedom" and "servility." Chapter Two, "'Summarizing the South': Staging Kinship and Unity in Select Plays by The Kwoto Cultural Center," explores the "North"/ "South" divide from the perspective of displaced southerners living in the North of Sudan. This chapter moves to the realm of performance, from literacy to orality, and from the single author to the collective. After an introduction to the troupe and its context as well as the salient themes of the chapter, I discuss my methodology and fieldwork in Sudan, and then offer a selective overview of Sudanese performance traditions that are relevant to a reading of Kwoto's theater. I then turn to an analysis of the plays, focusing on how each play engages kinship as both content and method in the context of relations among southerners and between southerners and those external to the community, including ancestors, northerners, Westerners, and aid workers. By juxtaposing the literary and the performative, I seek to diversify the kinds of texts we consider and compare in our analysis of the postcolonial. Pairing a novel with performance texts brings into sharp relief the conditions of production and interpretation for each form, also reminding us of the historical context of a form's cultural ascendance. Additionally, the juxtaposition of unpublished manuscripts with an international novel destabilizes the boundary between "elite" and "low" cultures and arrives at a more accurate picture of the heterogeneity and multiplicity of the cultural marketplace in African societies than postcolonial scholarship has heretofore allowed. Finally, the juxtaposition of Season with Kwoto's unpublished manuscripts allows us to probe the resonances across regional, ethnic, and generic difference, and to examine how the "problem of the South" -- or more broadly, the divisions between "North" and "South" in Sudan are negotiated and become visible in different cultural products. I argue in the chapters that follow that kinship becomes one vehicle these texts use to discuss transforming Sudanese identities and that, moreover, kinship as a heuristic moves beyond nation to pave the way for imagining multiple affiliations and communities.
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"National, linguistic, and religious identity of Lebanese Maronite Christians through their Arabic fictional texts during the period of the French Mandate in Lebanon." GEORGETOWN UNIVERSITY, 2009. http://pqdtopen.proquest.com/#viewpdf?dispub=3350466.
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(8850251), Ghaleb Alomaish. "“DOUBLE REFRACTION”: IMAGE PROJECTION AND PERCEPTION IN SAUDI-AMERICAN CONTEXTS: A COMPARATIVE STUDY." Thesis, 2020.
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This dissertation aims to create a scholarly space where a seventy-five-year-old “special relationship” (1945-2020) between the Kingdom of Saudi Arabia and the United States is examined from an interdisciplinary comparativist perspective. I posit that a comparative study of Saudi and American fiction goes beyond the limitedness of global geopolitics and proves to uncover some new literary, sociocultural, and historical dimensions of this long history, while shedding some light on others. Saudi writers creatively challenge the inherently static and monolithic image of Saudi Arabia, its culture and people in the West. They also simultaneously unsettle the notion of homogeneity and enable us to gain new insight into self-perception within the local Saudi context by offering a wide scope of genuine engagements with distinctive themes ranging from spatiality, identity, ethnicity, and gender to slavery, religiosity and (post)modernity. On the other side, American authors still show some signs of ambivalence towards the depiction of the Saudi (Muslim/Arab) Other, but they nonetheless also demonstrate serious effort to emancipate their representations from the confining legacy of (neo)Orientalist discourse and oil politics by tackling the concepts of race, alterity, hegemony, radicalism, nomadism and (un)belonging.