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Olsson, Kolkman Monica. "Miramar av Naguib Mahfouz : En narratologisk analys." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53040.
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Ait, Alla Aomar. "L'inspiration balzacienne dans l'oeuvre de Naguib Mahfouz." Paris 13, 1997. http://www.theses.fr/1997PA131005.
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La these aborde un sujet qui met en rapport deux champs litteraires de spheres civilisationnelles differentes. Elle a consiste a expliquer l'existence d'une inspiration balzacienne dans l'oeuvre de n. Mahfouz. Nous avons entrepris une analyse de l'ecriture realiste dans les textes du romancier egyptien, a partir de caracteristiques de l'ecriture balzacienne, sachant que peu d'etudes constantes ont ete realisees dans le cadre de cette influence litteraire. Le premier volet de la recherche a ete consacre a l'etude de la rencontre culturelle entre les deux litteratures: francaise et egyptienne. Nous avons ensuite releve quelques traits pertinents : a - la relation diachronique entre les deux cultures. B - l'influence du roman francais sur les textes mahfouziens. La deuxieme partie se centre sur la successivite, le traitement des categories de la representation realiste (les personnages et leurs perceptions de l'espace et du temps), puis les modalites du discours sans oublier la vision du monde. Cette etude a necessite l'utilisation d'outils methodologiques inspires de la sociocritique. Nous avons tente de relever tous les elements expliquant cette inspiration tout en analysant les champs narratifs. Balzac insiste beaucoup sur la description riche et detaillee, en revanche chez mahfouz, c'est la description des caracteres des personnages qui prime. Dans les textes des deux romanciers un interet commun est accorde aux personnages, a leur dimension psychologique et leurs relations avec l'espace. Le dernier volet de notre recherche a ete consacre a l'axe spatio-temporel (la relation entre l'espace reel et l'espace romanesque), ensuite a la perception du temps chez les principaux personnages. Le lien entre les deux cultures n'est pas arbitraire, l'inspiration balzacienne existe bel et bien dans l'ecriture mahfouzienne. Les echanges et transferts culturels sont nombreux, a travers l'histoire, entre les deux litteraturesThe thesis approaches a subject that puts in report two literary fields of two spheres of different civilizations. It has consisted in explain the existence of balzacienne inspiration in the work of n. Mahfouz. We have undertaken an analysis of the realistic handwriting in texts of the egyptian novelist; from characteristics of the handwriting of balzac ; knowing that few constant studies have been realized to this literary influence. The first shutter of the research has been devoted to the study of the milk relevant: a - the relationship between two cumtures. B - the influence of the french novel on mahfouziens texts. The second parts centers on the processing of categories of the realistic representation (celebrate and their perceptions of the space and the time), then modes of the space without forgetting the vision of the word. The books which are analysis are constituted next text: - father goriot, eugenie grandet et ferragus de balzac. - impasse of the two palace, sons of the medina and impasse of the mortar writhed by mahfouz. This study has necessitated the utilization of inspired methodological tools of sociocritic, we have tempted to notice all elements explaining this inspiration while analyzing romantic fields. Balzac insists a lot on the precise and rich description, in revenge at mahfouz, the preferences goes to the description of celebrity characters. In texts of the two novelists, a common interest is granted to celebrities, to their psychological dimension and their relation ships with the space. The last shutter of our research has been devoted the axis- spatio-temporel (the relationship of the real space and the fictions romantic space), then to the perception of the time at the main celebrities. The relationship between the two culture is not arbitrary, the balzacienne inspiration exists beautiful and well in the mahfouzienne handwriting. Trades and cultural transfers are numerous between the two texts through the history
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Ajjan, Boutrad Bacima. "Le sentiment religieux dans l'oeuvre de Naguib Mahfouz." Lyon 3, 2006. http://www.theses.fr/2006LYO31003.
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L'œuvre de l'auteur égyptien Naguib Mahfouz semble marquée dès ses premiers écrits par des préoccupations religieuses. Elle témoigne d'un réveil de l'intérêt pour ces problèmes, malgré les nouvelles valeurs dites laïques, assez répandues dans le monde moderne. Si l'on ne peut parler de la redécouverte d'une attitude religieuse qui s'exprime sous la forme de la conversion à une foi empreinte d'aspects doctrinaux, l'on peut constater le surgissement d'une incertitude vague, d'une instabilité spirituelle, pour tout dire d'une inquiétude religieuse profondément enfouie au plus secret de l'âme contemporaine. Il ne s'agit, dans cette thèse, ni d'éloge ni de condamnation, mais d'un acte cognitif qui cherche à mettre en relief les paramètres d'un sentiment religieux omniprésent, à recenser une série d'attitudes et d'expériences à travers une écriture du réel et un discours social mais aussi un aspect fantastique et une tendance spirituelle et religieuse qui font partie de l'imaginaire de l'auteur. Son œuvre fait ressortir de différentes manières un leitmotiv religieux, une allégorie de portée religieuse et morale de différentes attitudes et expériences de l'être humain à l'égard de Dieu et de la religiosité. La tradition plutôt classique de son écriture, ne dissimule pas une singularité dans la conception ni dans le traitement de ce thème qui est le sentiment religieux.
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ʻAǧǧān-Bū, Ṭrād Bāsimaẗ Gobillot Geneviève. "Le sentiment religieux dans l'oeuvre de Naguib Mahfouz /." Arles : Sindbad-Actes Sud, 2008. http://catalogue.bnf.fr/ark:/12148/cb41279836s.
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Léda, Mansour. "Représentations du discours dans La Trilogie de Naguib Mahfouz." Phd thesis, Université de Nanterre - Paris X, 2010. http://tel.archives-ouvertes.fr/tel-00523991.
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Comment lire La Trilogie du Caire de Naguib Mahfouz ? Au-delà d'une lecture réaliste et comparative, et dépassant le fait proprement traductif, notre recherche est fondée sur une analyse linguistique du texte littéraire, qui vise moins à appliquer des modèles et des schémas qu'à mettre en avant la singularité du corpus. Le discours comme fait linguistique descriptible constitue donc notre objet d'étude. Pourquoi les personnages parlent-ils, et autant ? Quel est l'intérêt de l'acte de parler dans un monde diégétique caractérisé par la prudence de dire, d'autant que les personnages sont représentés comme soumis et obéissants ? Les formes de « discours rapporté » rendent compte d'une construction textuelle du personnage parlant ; le discours direct singularise les personnages, mais il constitue aussi la forme privilégiée d'une parole intérieure et intime. Ainsi, le discours fait place aux personnages jusqu'à l'émergence des formes verbales, exprimant une résistance à l'interlocuteur. Ces différents rapports se localisent dans la réplique ; néanmoins, le narrateur se concentre moins sur un aspect structurel interactionnel de l'échange que sur le rapport des personnages au discours des autres. Le discours représente ainsi une technique mobilisée au service du programme narratif : les personnages de La Trilogie se caractérisent par une obéissance qui se sait, puisque les signes d'une résistance y sont présents.
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Mansour, Léda. "Représentations du discours dans La Trilogie de Naguib Mahfouz." Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100083.
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Comment lire La Trilogie du Caire de Naguib Mahfouz ? Au-delà d’une lecture réaliste et comparative, et dépassant le fait proprement traductif, notre recherche est fondée sur une analyse linguistique du texte littéraire, qui vise moins à appliquer des modèles et des schémas qu’à mettre en avant la singularité du corpus. Le discours comme fait linguistique descriptible constitue donc notre objet d’étude. Pourquoi les personnages parlent-ils, et autant ? Quel est l’intérêt de l’acte de parler dans un monde diégétique caractérisé par la prudence de dire, d’autant que les personnages sont représentés comme soumis et obéissants ?Les formes de « discours rapporté » rendent compte d’une construction textuelle du personnage parlant ; le discours direct singularise les personnages, mais il constitue aussi la forme privilégiée d’une parole intérieure et intime. Ainsi, le discours fait place aux personnages jusqu’à l’émergence des formes verbales, exprimant une résistance à l’interlocuteur. Ces différents rapports se localisent dans la réplique ; néanmoins, le narrateur se concentre moins sur un aspect structurel interactionnel de l’échange que sur le rapport des personnages au discours des autres.Le discours représente ainsi une technique mobilisée au service du programme narratif : les personnages de La Trilogie se caractérisent par une obéissance qui se sait, puisque les signes d’une résistance y sont présentsHow should The Cairo Trilogy by Naguib Mahfouz be read?The approach chosen in this study goes beyond a realistic or comparative reading, and departs from strict translation issues.It is based on a linguistic analysis of the literary text, which does not aim primarily at applying models and schemes but rather at pointing out the singularity of the corpus. Speech as a describable linguistic fact therefore constitutes the subject of the study.Why do the characters speak and why do they speak so much? What is the point of the act of speaking in a diegetic world where speech is guarded and where the characters are described as submissive and compliant?The forms of “reported speech” reveal a textual construction of the speaking character ; direct speech individualizes the characters but is also the preferred form used to relate inner and intimate thoughts. Speech thus gives way to the characters, leading to the emergence of verbal forms that express resistance to the interlocutor. These relationships are embodied in the dialogue; nonetheless, the narrator focuses less on the interactional and structural aspect of the exchange than on the relationship of the characters to the speech of others.Speech thus constitutes a technique that serves the narrative programme : the characters of The Trilogy are identified by a conscious submissiveness, as the signs of resistance can be discerned
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Badre, Hagil Hafida. "Awlad haratina recits et codes culturels chez naguib mahfouz." Paris 3, 2000. http://www.theses.fr/2000PA030042.
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Grace a son imagination debridee et sa pensee extravagante. Naguib mahfouz a su exploiter les traditions religieuses populaires et litteraires pour en faire le point de depart de deviances systematiques et nous produire un chef-d'oeuvre nomme a awlad haratina. C'est a ce roman que nous avons consacre cette etude. Notre these presente donc une analyse globale de la structure interne des cinq recits qui composent awlad haratina. C'est un travail qui privilegie certains mecanismes du recit qui jouent le role de principes unificateurs de noyaux d'agregation-organisation des textes dont ils presentent par consequent la charpente narrative. Cette etude s'interesse aussi au temps, mais de deux facons differentes : la premiere, basee sur l'ecoulement irreversible des evenements, l'autre preferantcommencer par la confrontation de plusieurs textes du roman dans le but d'emanciper l'ecriture mahfuzienne en y decelant une thematique recurrente relative au temps diurne ou nocturne.
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Choumar, Amal. "En arabisk nobelpristagare på svenska:Tre svenska översättningar av Naguib Mahfouz." Thesis, Uppsala universitet, Institutionen för lingvistik och filologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-388783.
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Morsy, Ibrahim. "La famille dans les romans de Naguib Mahfouz et Hervé Bazin." Paris 3, 2005. http://www.theses.fr/2005PA030089.
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Dans cette ambiance contemporaine de peur pour l'avenir et d'instabilité économique et même culturelle, pour la majorité des Français et des Egyptiens, la famille est considérée comme un refuge sûr devant les problèmes qui se posent à l'homme à l'époque moderne. Elle vient en tête des grandes valeurs que Français et Egyptiens respectent énormément. C'est dans la famille que s'apprend le respect de l'autre et que se construisent les premières expériences et les premiers apprentissages. C'est là que se transmettent les valeurs, que s'éveillent et s'éduquent la créativité, la soif de savoir. Bien que Naguib Mahfouz et Hervé Bazin appartiennent à deux cultures différentes, les problèmes de la famille qu'ils traitent restent souvent les mêmes : problèmes des rapports entre parents-enfants, succès et difficultés du couple, place et rôle de la femme, sexualité, religion, mariage, divorce, solidarité familiale, préjugés, tabous. . . Etc. Naguib Mahfouz et Hervé Bazin font partie des meilleurs écrivains qui savent exprimer à la perfection les espoirs, les ambitions de leurs sociétés. Ils ont admirablement réussi à décrire la vie familiale et l'évolution des mœurs au sein de la famille égyptienne et française et à suivre cette vie familiale dans ses joies, ses deuils, ses difficultés ainsi que les événements politiques qui ont transformé tous les aspects de la vie en Egypte et en France. Dans leurs romans, Naguib Mahfouz et Hervé Bazin excellent à présenter une peinture réaliste de la vie quotidienne dans les quartiers populaires du Caire et dans l'ouest de la France. Cette étude a pour objectif de suivre, à la fois, l'évolution des deux écrivains et l'évolution sociale et familiale dans les sociétés française et égyptienne dès la Grande Guerre jusque dans les années quatre-vingtsNowadays in an unstable period for economy and culture, the family is seen as a mean of security for French and Egyptian people. It is the most important value that everybody admits. In our family indeed we learn how to respect each other, we have our first lessons, we receive a moral in heritage from our parents and education. Thought Naguib Mahfouz and Hervé Bazin are issued from different cultures, they often talk about the same problems concerning the family: the relations between parents and children, the difficulty in the couple, the place and the part of the woman, sexuality, religion, marriage, divorce, solidarity, prejudices, taboos, etc. . . Naguib Mahfouz and Hervé Bazin are among the best writers, who express perfectly the hopes and the ambitions of their peoples. They marvelously well describe the life of families, and the evolution of the habits and customs inside the same family, painting its days of joy, of sadness and its difficulties through political events, which brought changes in the way of living in Egypt and in France. Naguib Mahfouz and Hervé Bazin both excel in giving a realistic picture of every day life in the popular places or boroughs of Cairo or of west of France. The purpose of this study is to follow the evolution of these tow novelists and also the changes of the family and society in France and in Egypt from the beginning of he Great War to the eighties
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Bahrawi, Nazry. "Sacred impulses, sacrilegious worlds : postsecular intimations in Graham Greene and Naguib Mahfouz." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/57423/.
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Inspired by Charles Taylor’s A Secular Age (2007), this thesis reconsiders ‘the secular’ from within the discipline of literature and theology, employing comparative literature as a methodology. Focusing on the writings of two modern authors of religious doubt, Graham Greene and Naguib Mahfouz, I argue that the secular as an ontological category is from its inception post secular. In the first theoretical part of this thesis, I explore religious utopianism, and argue against the notion that utopianism is a uniquely ‘Western’ concept by outlining its prevalence in non Western societies. Then, I theorise modern intimations of the secular as four dichotomies: faith/reason, this worldliness/otherworldliness, personal/communal and freewill/determinism. In doing so,I draw parallels between ideas of the secular from Western philosophers such as Immanuel Kant and Friedrich Nietzsche and classical Islamic thinkers like Ibn Sina and al-Farabi. Drawing from the concepts of ‘religious utopianism’ and ‘secular dichotomies’, I develop a comparative literary lens known as utopian theologics to explore secular narratives in the selected works of Greene and Mahfouz. The second part of this thesis applies utopian theologics, by first historicising the secular from the socio-political and biographical spheres of the two writers to map out their ‘lifeworlds’ in the Habermasian sense of the word. More elaborately, I embark on a close reading analysis of the selected works according to the dichotomies identified to explore the way their conventional hierarchical orders have been reversed, or rendered irrelevant by hybridisation. Finally, I conclude that the secular disposition, as intimated in the novels, falls apart when its polemics are investigated, though its sense of lasting realness in the modern world is fuelled by perceptions of religion’s seeming antithesis to the idea of human agency. The postsecular narratives that govern the selected works also suggest that humanity has an inclination for ‘sacred impulses’ despite the advent of ‘sacrilegious worlds’.
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Salah, Hussein Aly Wael. "La traduction des formules de politesse dans la Trilogie de Naguib Mahfouz." Rouen, 2010. http://www.theses.fr/2010ROUEL025.
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La notion de politesse occupe une place centrale et dominante dans les cultures mondiales mais en même temps le phénomène de politesse est universellement relatif, c'est à dire, qu'elle est primordiale pour une communauté humaine et secondaire ou accessoire pour une autre. En d'autres termes plus clairs, la politesse en elle-même est universelle mais les manifestations peuvent être différentes : la façon d'exprimer la politesse est différente d'une société à l'autre, d'une région à l'autre, voire dans la même société au niveau culturel, social et linguistique. Au cours de notre recherche, nous avons analysé notre corpus en fonction de notre objectif scientifique, concernant les salutations d'ouverture et de clôture, ainsi que la norme et l'usage des termes d'adresse dans la société égyptienne. Les salutations sont abondamment représentées et décrites, exprimant ainsi une certaine attention des écrivains à ce rituel, à l'époque actuelle. Le système des formes d'adresse varie d'une langue à l'autre et d'une société à l'autre, parfois d'une manière tout à fait subtile. Des variations importantes dans l'usage des termes d'adresse ont été relevées dans notre corpus. Ceci montre que les auteurs, les écrivains ne sont pas indifférents aux changements socio-verbauxThe notion of politeness is central and dominant world cultures but also the phenomenon of politeness is universally relative, that is to say, it is essential for a human community and secundary or ancillary to another. In other words clearer, politeness itself is universal, but the events may be different ways of expressing politeness differs from one society to another, from one region to another, even in the same society at the cultural, social and linguistic. During our research, we analysed our corpus according to our goal of science, concerning the greetings opening and closing ceremonies, as well as the standard and the use of address terms in Egyptian society. Greetings are abundantly illustrated and described, expressing some attention from writers in this ritual, at the present time. The system of address forms varies from one language to another and from one society to another, sometimes in ways quite subtle. Significant variations in the use of address terms were identified in our corpus. This shows that the authors, writers are not indifferent to the socio-verbal
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Khairallah, Gabriel. "Crise de la famille et autonomisation de l'individu chez Mahfouz et Mauriac." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA072/document.
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Ce travail analyse les états de la famille et leurs rapports à l’individu dans deux romans de François Mauriac, Le Nœud de vipères et Thérèse Desqueyroux ainsi que dans la Trilogie de Naguib Mahfouz : Impasse des deux palais, Le Palais des plaisirs et Le Jardin du passé.À travers ces deux univers romanesques, qui abordent la thématique de la famille dans des circonstances bien particulières, liées à la géographie, à l’histoire et à la sociologie de l’époque, ce travail souhaite répondre aux questions suivantes : Quel est l’état de la famille dans ces romans ? Quel est la place accordée à l’individu ? Les familles décrites dans ces romans favorisent-t-elles l’émergence de l’individu comme sujet autonome, capable d’effectuer des choix personnels quitte à ce qu’elles soient en contre-courant des valeurs familiales et celles de la société ? Ou bien, l’individu devrait-il se battre et lutter contre la famille afin qu’il puisse émerger comme sujet propre et autonome ?Ainsi la première partie analysera l’état de la famille dans la trilogie de Mahfouz ; quant à la seconde elle abordera les deux romans de Mauriac. La troisième partie élaborera la comparaison entre les deux univers romanesques en croisant et en confrontant les facteurs qui interfèrent dans les deux univers familiaux : la religion, l’argent et le patrimoine et la politique (chez Mahfouz surtout)This work analyzes the states of the family and their reports to the individual in two François Mauriac’s novels, Vioer’s tangle and Thérèse Desqueyroux as well as in the Trilogy of Naguib Mahfouz: Palace walk, Palace of desire and Sugar street.Through these two romantic universes, which approach the theme of the family on very particular circumstances, connected to the geography, in history and in the sociology of period, this work wishes to answer the following questions: what is the state of the family in these novels? What is the place granted to the individual? Families described in these novels favor the emergence of the individual as autonomous subject, capable of making personal choices even if it means that they are in countercurrent of the values.So the first part will analyze the state of the family in the trilogy of Mahfouz; as for second it will approach both novels of Mauriac. The third part will develop the comparison between both romantic universes by crossing and by confronting the factors which interfere in both family universes: the religion, the money and the heritage and the politics (at Mahfouz especially)
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Gokelaere-Nazir, Férial. "La société cairote dans les romans et nouvelles de Naguib Mahfouz de 1938 à 1980." Lyon 3, 1993. http://www.theses.fr/1993LYO31003.
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Naguib mahfouz a grandi dans un quartier populaire du caire; il est impregne de ses moeurs et de ses coutumes; il vit le s espoirs et les deceptions de cette societe marquee par une histoire et des evenements socio-politiques. Son oeuvre dec rit, analyse, interpelle, critique cette societe qui evolue avec le temps et les evenements. Il s'agit essentiellement de la population cairote. Naguib mahfouz est tellement immerge dans la societe du caire, tellement sensible au vecu de ses contemporains qu'il trouve des formes d'expression adequates aux situations. Le but de ce travail - portant sur les romans et nouvelles ecrits par naguib mahfouz de 1938 a 1980 - est de faire apparaitre la communication etroite qui existe entre : 1) une societe, son histoire, les evenements qui l'occupent, 2) un auteur et ce qu'il a envie de dire, 3)et la forme meme qu'il adopte (ou qui s'impose a lui) pour le dire. Cette communication entraine tout a la fois une continuite dans l'inspiration et la preoccupation profonde de l'auteur et une specificite de l'expression suivant les grandes periodes qui marquent la vie de la societe egyptienne de 1938 a19Naguib mahfouz grew in a popular neighbourhood in cairo; he has become impregnated with the place's manners and habits; he lives the expectations and disappointments of a society bearing the mark of social and political history. In naguib mahfouz's work this ever-changing society is described, analysed, challenged, criticized. It is to be noted th at he is mainly concerned with cairo's people. Naguib mahfouz is so deeply immersed in cairo's society, so sensitive to his fellow-citizens' daily life that he finds forms of expression perfectly adequate to the situations. The present work - through the novels and short stories written by naguib mahfouz between 1938 and 1980 - means to revea l the close link between : - a society, the daily events making up its history - a writer and what he means to say - and the very form he adopts (or feels compulsory to adopt) to say what he means. Such close link implies both continuity in the writer's inspiration and preoccupation and a varitey of expression in relation to the main periods marking egyptian society's life from 1938 to 1980
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Khalaf, Abd Al Jaleel Zeena. "La ville romanesque dans Salammbô de Gustave Flaubert et L'Amante du pharaon de Naguib Mahfouz." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030153.
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Lieux d'ouverture et de brassage culturel, les villes alimentent fantasmes et utopies. Elles grouillent, gagnent sur la campagne. L’enquête porte ici sur la ville antique, Carthage dans Salammbô de Gustave Flaubert et Abou de l’Égypte pharaonique dans L’Amante du pharaon de Naguib Mahfouz. La thèse interroge la représentation de la ville dans l’oeuvre romanesque de Gustave Flaubert (1821-1880), et de Naguib Mahfouz, maître de la littérature arabe (1911-2006). Notre point de départ est la question suivante : "Quelle est l’importance de la ville chez nos deux romanciers ?". L’analyse combine une perspective comparative, historique, et thématique. Elle met en valeur la réception créatrice par Mahfouz du roman français du XIXe sièclePlaces of openness and cultural mixing, cities feed fantasies and utopias. They swarm, taking over the countryside. The subject of investigation here is the city in antiquity, Carthage in Gustave Flaubert's Salammbo, and the Egyptian city of Abou during the times of the Pharaohs in Naguib Mahfouz' Pharaoh's Lover. The thesis examines the representation of the city in the novels of Gustave Flaubert (1821-1880), and Naguib Mahfouz, the master of Arabic literature (1911-2006). Our starting point is the following question, "What is the importance of the city for the two novelists?" The analysis brings together comparative, historic and thematic perspectives. It show cases the creative manner in which Mahfouz received French 19th century novels
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Abbas, Reina. "Le genre de la nouvelle en Egypte ; traditions et emprunts au XX e siècle : l'exemple de Naguib Mahfouz." Thesis, Cergy-Pontoise, 2010. http://www.theses.fr/2010CERG0492.
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Notre étude consiste à retracer l'histoire du genre narratif arabe et plus précisément la nouvelle arabe de la fin du XIXème siècle jusqu'à 1969. Dans un premier temps, nous faisons un rappel historique et littéraire incluant la floraison du genre narratif en Egypte. Dans un second temps, nous analysons, à travers les préfaces de Mahmoud Taymour, l'évolution et les changements que le genre narratif arabe a subis dans la première moitié du XXème siècle. Enfin, la troisième partie illustre le gain en maturité du genre romanesque et plus précisément la nouvelle, à travers les oeuvres de Naguib Mahfouz, dans lesquelles nous trouvons un tableau complet de la société égyptienne et arabe de l'époqueOur study consists on tracking the history of the arab narrative type, more precisely the arab novel since end of nineteenth century till 1969. First, we start in the first chapter by a litterature and historical reminder of the birth of the narrative type in Egypt. Then, we analyze in the second chapter, through the Mahmoud Taymour introductions, the changes and evolutions that occur on this arab narrative type in the first half of the twentieth century. Finaly, the third chapter is the occasion to illustrate the gain in maturity of the narrative litterature and more specificaly the novel. This illustration is done through Naguib Mahfouz novels where we find a complete drawing of the egyptian and arab society at that time
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Khateb, Louis. "L'univers romanesque arabophone de Naguib Mahfouz et francophone d’Albert Cossery. : deux écrivains égyptiens de sensibilité différente." Paris 4, 1996. http://www.theses.fr/1996PA040119.
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La présente étude unit, et pour la première fois, les œuvres romanesques de deux écrivains compatriotes et contemporains : Naguib Mahfouz et Albert Cossery. Cette thèse a pour objectif de démontrer la différence entre les deux œuvres, à travers des liens de continuité et de discontinuité, du point de vue de la forme, de l'idéologie et du message. Notre recherche suit fidèlement la production littéraire des deux auteurs qui se situe, pour l'écrivain arabophone entre 1938 et 1988, et entre 1941 et 1984 en ce qui concerne l'écrivain francophone. Dans une analyse comparative, cinq parties constituent la présente thèse. La première partie se consacre à l'étude de l'espace, des lieux et du temps qui marque la première différence entre les deux auteurs. Tandis que Mahfouz y confirme l'attachement physique et cérébral de ses personnages à l'Égypte et à la ville du Caire, Cossery, avec indifférence et dérision, les en détache, confirmant que ni lieu ni temps ne doivent marquer les hommes. La deuxième partie étudie le portrait féminin en allant du mépris à la fascination, et de la tradition au modernisme. La troisième explore la thématique de la sexualité de l'homme entre liberté, libertinage, pudeur et émotion. La quatrième aborde l'humour et l'ironie, trame de l'esprit de dérision cosserien qui libère ses personnages, et qui reste incapable de faire oublier aux personnages mahfouziens leur détresse. La cinquième et dernière montre l'attachement de l'homme à dieu et son détachement de luiThis study puts together, and this for the first time, the novels of two writers of a same country and of the same time: namely, Naguib Mahfouz and Albert Cossery. The purpose of this thesis is to show the difference between the two works through links of continuity and discontinuity from the point of view of form, ideology and message. Our research carefully follows the literary production of these two authors which runs for the arabophone one between 1938 and 1988 and between 1941 and 1984 for the second one. For a comparative analysis, this thesis contains five parts. In the first one which has to do with the study of space, places and time, we can see the first difference between these two writers. While Mahfouz marks the physical and cerebral attachment of his characters to Egypt and the town of Cairo, Cossery, with indifference and derision, drifts away from them, expounding that neither place nor time must mark human beings. The second part deals with women, ranging from contempt to fascination, from tradition to modernism. The third one is a research about men's sexuality, between liberty, dissoluteness, modesty and emotion. The fourth one speaks about humour and irony; in the cosserian world of derision this humour sets free his characters but is unable to make mahfouzian characters forget their distress. The fifth one shows man at the same time bound to god and away from him
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Alkhawaja, Linda. "The role of social agents in the translation into English of the novels of Naguib Mahfouz." Thesis, Aston University, 2014. http://publications.aston.ac.uk/24450/.
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This research investigates the field of translation in an Egyptain context around the work of the Egyptian writer and Nobel Laureate Naguib Mahfouz by adopting Pierre Bourdieu’s sociological framework. Bourdieu’s framework is used to examine the relationship between the field of cultural production and its social agents. The thesis includes investigation in two areas: first, the role of social agents in structuring and restructuring the field of translation, taking Mahfouz’s works as a case study; their role in the production and reception of translations and their practices in the field; and second, the way the field, with its political and socio-cultural factors, has influenced translators’ behaviour and structured their practices. In this research, it is argued that there are important social agents who have contributed significantly to the structure of the field and its boundaries. These are key social agents in the field namely; the main English language publisher in Egypt, the American University in Cairo Press (AUCP); the translators: Denys Johnson-Davies, Roger Allen and Trevor Le Gassick; and the author, Naguib Mahfouz. Their roles and contributions are examined and discussed through the lens of Bourdieu’s sociology. Particular focus is given to the author Mahfouz and his award of the Nobel Prize, and how this award has influenced the field of cultural production and its social agents. Also, it is argued that socio-cultural factors in the field, in the period between 1960s and 2000s, affected the translators’ practices in terms of modes of production of Mahfouz’s works. To investigate the influence of these factors on translators’ practices in the field, empirical examination is conducted, at the textual level, on a corpus of six translated novels written by the same author, Mahfouz. It is shown that the translators have an increased tendency, over time, towards applying a foreignising approach in their translations of culture-specific items. The translators’ behaviour, which is a result of their habitus, is correlated to political and socio-cultural factors in the field of translation. That is, based on interviews conducted with the translators, it has been found that there are particular factors influenced their translational habitus and, thus, their practices during the production process of the translations.
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Keir, Jonathan [Verfasser], and Jürgen [Akademischer Betreuer] Wertheimer. "Warriors for Civilisation : Naguib Mahfouz, Andrei Tarkovsky, Tu Weiming and their Western Counterparts / Jonathan Keir ; Betreuer: Jürgen Wertheimer." Tübingen : Universitätsbibliothek Tübingen, 2014. http://d-nb.info/1196877521/34.
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Naher, Shamsun. "Chronotopic manifestations and narrative discourse : a comparative study of the works of Naguib Mahfouz and R. K. Narayan." Thesis, SOAS, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442056.
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Al-Mutawah, Hoda. "GENDER RELATIONS IN THE ARAB WORLD: A RHETORICAL CRITICISM OF NAGUIB MAHROUZ'S AWLAD HARATINA." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1131392412.
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Khedre, Mounira. "Naguib Mahfouz et Michel Houellebecq : deux romanciers face au tabou religieux. Le cas des Fils de la Médina [Awlâd Hâratinâ] et de Plateforme." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00831353.
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Le tabou est un sujet éminemment délicat dans le champ universitaire, car il appartient, en premier lieu, à la religion, et en deuxième lieu, à la vie sociale. D'après notre étude, le statut du tabou change, au fur et à mesure que le temps passe et que la technologie progresse. En d'autres termes, Internet permet la circulation de livres et de publications interdits et les rend accessibles au plus grand nombre d'intéressés. Par exemple, des œuvres comme Les Fils de la Médina [Awlâd Hâratinâ] ou Plateforme, peuvent être tout simplement lues en ligne partout dans le monde entier. Donc, la notion de tabou religieux qui a toujours dépendu de la culture de chaque pays et du rôle qu' y jouaient les religieux dans la vie politique, religieuse et sociale, risque d'être ébranlée, ou, tout au moins d'être influencée par une diffusion que les moyens technologiques ne cessent de rendre plus rapide.
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Sazzad, R. "Edward Said's 'exile' reflected in the works of Naguib Mahfouz, Mahmoud Darwish, Leila Ahmed, Nawal El Saadawi and Youssef Chahine." Thesis, Nottingham Trent University, 2013. http://irep.ntu.ac.uk/id/eprint/293/.
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Following Edward Said, my argument is that spatial exile, despite its distress and deprivations, generates a different way of looking at the world. Since intellectuals should look at the world differently, Said insists on their transcending the existential sufferings of losing home and urges them to cultivate what George Lamming famously calls ‘the pleasures of exile’. Thus, Said turns exile into a metaphorical concept and a model of intellectual practice in order to question the familiar and the known. In effect, Saidian intellectuals do not necessarily have to be dispossessed of their homeland. Rather, they have to be figuratively exiled from it by placing themselves at a certain distance from the familiar cultural system(s), and viewing them through the lens of the ‘other’ in order to broaden their perspective on them. To establish this, I first demonstrated that exilic conditions could be intellectually empowering, and outlined the properties of Saidian intellectual practice by showing how Mahfouz, Darwish, Saadawi, Ahmed, and Chahine also uphold its principles. I analysed how the convergences and divergences of their thoughts create diverse resistances, and discussed if writing is the abode where their pluralistic minds reside. I then ascertained the discursive intersections among Said’s ‘exile’ and postcolonialism and postmodernism by exhibiting the ‘exilic’ transcendence of some of the limitations existing there. Thus, my writing formed an in-depth analysis of Said’s ‘exile’ in order to project this as a significant intellectual vocation. At the same time, I presented some of the most prominent Middle Eastern and Arab-American intellectual(s) in a new light by highlighting the humanistic strength of their writings and creations. Thus, I formulate an enhanced understanding of freedom and identity contained in the ‘exile’ through cultural, political and theoretical arguments.
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Zakari, Amal. "La critique française et le roman arabe : étude comparative entre la théorie de Genette et la pratique de Mahfouz." Metz, 1996. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1996/Zakari.Amal.LMZ9601.pdf.
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La "difficulté" n'est pas une notion spécifique à la didactique des langues, pourtant elle est omniprésente dans les discours tenus sur l'enseignement apprentissage. L'objectif de cette présente recherche est de cerner cette notion, de découvrir ce a quoi elle s'applique dans l'acte d'enseignement apprentissage et d'appréhender la place et les valeurs qui lui sont attribuées à l'intérieur du champ du f. L. E. De 1980 a 1990. La revue le francais dans le monde, symbole de la constitution de ce champ, a été systématiquement dépouillée, pour les numéros 150 a 237, de manière à relever les réalisations de la notion. Ce travail s'inscrit donc a la croisée de deux disciplines: la didactique des langues (qui constitue l'objet d'étude) et l'analyse de discours (qui fournit un modèle de description). Une première partie retrace les choix théoriques et méthodologiques opérés : une première approche lexico-notionnelle a abouti à la constitution d'une liste de mots-pivots, fondement de la recherche. La grammaire des cas de Fillmore et les théories énonciatives ont ensuite été empruntées dans le but d'affiner la vision, d'autoriser une multiplication des réseaux et donc d'appréhender ce discours sur la notion de difficulté selon différents points de vue. Dans la seconde partie, les résultats de la recherche sont consignés dans un "portrait de la notion de difficulté", ou le dépouillement et le croisement des données permettent de mesurer la place faite a la notion, souvent dissimulée mais attribuée de manière non aléatoire selon les objets d'écriture et les types d'auteursThe notion of "difficulty" is not specific to language didactics, nevertheless it is omnipresent in the discourse on teaching learning. The objective of the present work is to delimit this notion, to find out to what it applies in the act of teaching learning, and to understand the place and the values attributed to it in the context of french as a foreign language from 1980 to 1990. The journal le francais dans le monde, a paradigm of formulation in this field, was systematically examined (issues 150 to 237) with the intention of analysing the implementation of the notion. This work lies at the crossing of two fields of study: language didactics (which constitutes the object of study) and discourse analysis (which provides a model of description). The first part of the work retraces the theoretical and methodological choices used : firstly, as a basis for the research, a list of key words has been created through a lexical-notional approach. Next fillmore's case grammar as well as enunciative theories have been borrowed in order to sharpen the perspective, to permit a variety of systems and, thus, to apprehend the question on the notion of difficulty from different points of view
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Hamdan, Sahira Yaseen. "Signification et rôle du silence dans l’œuvre d’André Gide et de Naguib Mahfouz (La Porte étroite, La Symphonie pastorale, Les Faux-monnayeur et La Trilogie)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA066.
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Deux écrivains : Gide et Mahfouz, deux visages, l’un occidental, français, l’autre oriental, égyptien d’origine, deux univers de littérature de réputation mondiale reliés dans notre étude par un seul thème : le silence. Diverses sont les similitudes qui se présentent à travers ce thème chez les deux écrivains et dans leurs œuvres. Mais nombreuses sont aussi les divergences. Quel que soit le cas, le thème du silence gidien et mahfouzien peut refléter l’autre visage de la parole, l’art qui consiste à faire taire la parole pour laisser parler le silence.Si le silence est semblable, en apparence, chez Gide et Mahfouz, il est différent quand il s’agit de descendre en détails dans le for intérieur de l’être humain aux prises avec ses évolutions dans des environnements socio-familiaux. La divergence, bien que liée à la situation familiale et sociale, provient aussi de l’éducation des romanciers qui expriment des attitudes personnelles à l’égard d’une incompréhension ou d’une injustice qu’ils ressentent, fruits de leurs propres conditions.Dans le cours de la vie, il y a des plaisirs et des tendres engagements. Certains personnages gidiens utilisent le silence comme un jeu pour marquer leur intelligence et leur pondération face à la course vers les désirs sensuels. Le silence auquel ils ont recours n’est pas l’aveu de leur erreur, mais il reflète une protestation intérieure capable de conduire à une situation de révolte à l’encontre de diverses situations familiales ou sociales.Quant à Mahfouz, qui est avant tout un écrivain réaliste, le silence se présente comme une réalité qui s’impose à la plupart de ses personnages, surtout féminins, une réalité volontairement acceptée et amèrement admise. Dans La Trilogie, les personnages obéissent non seulement par connivence aux règles imposées, mais ils s’arrangent aussi entre eux, dans la plupart des cas, pour que le silence réponde aux conditions familiales et sociales afin de régner obligatoirementTwo writers: Gide and Mahfouz, two faces, one western and French, the other Eastern and Egyptian of origin, two universes of literature of world reputation connected in our study by a single theme: silence. There are various similarities in the two writers and in their works. But there are also many divergences. Whatever the case, the theme of Gidian silence and Mahfouzain can reflect the other face of speech, the art of silencing speech to make the silence speak.If the silence is similar, in appearance, with Gide and Mahfouz, is different when it is a question to going down into details in the inner-self of the human being struggling with his evolutions in socio-familial environments. The divergence, although related to the family and social situation, also comes from the education of novelists, who express personal attitudes towards a misunderstanding or an injustice they feel, fruits of their own conditions.In the course of life, there are pleasures and tender engagements. Some Gidean’s characters use silence as a game to mark their intelligence and their weight in face of the race towards sensual desires. The silence they use is not the admission of their error, but it reflects an inner protest capable of leading to a situation of revolt against various family or social situations.As for Mahfouz, who is above all a realistic writer of Eastern tradition, silence presents itself as a reality which imposes itself on most of his characters, especially feminine, a reality that is deliberately accepted and bitterly admitted. In the Trilogy, the characters not only obey the imposed rules, but they also arrange themselves, in most cases, so that silence responds to family and social conditions in order to rule
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Mashau, Godani Samuel. "Myth as a tool of literary, socio-economic, cultural and political liberation in selected works of Naguib Mahfouz, Ngugi wa Thiong'o and Zakws Mda." Thesis, University of Limpopo (Turfloop Campus), 2011. http://hdl.handle.net/10386/849.
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Lindhagen, Emma. "Passifying the Passive : A contrastive study of the use of the passive in Naguib Mahfouz’s al-Ṯulāṯiyya and its Swedish translation." Thesis, Stockholms universitet, Avdelningen för mellanösternstudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-139736.
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Al, Suraihi Abdulrahman. "Le rapport entre l’Histoire et le roman dans les deux derniers volumes des Thibault de Roger Martin du Gard et La Trilogie de Naguib Mahfouz." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030044.
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Comment l’historique s’incorpore-il dans le projet romanesque et comment cette incorporation vient-elle répondre à l’ambition romanesque de deux auteurs qui, malgré leur appartenance à deux cultures différentes, écrivent une fiction qui raconte l’histoire d’une famille à travers l’Histoire, plus précisément pendant la première moitié du XXe siècle ?Comment comprendre les rapports entre roman et Histoire ? Notre recherche étudie commenta pu s’opérer la contamination entre les deux : contamination mutuelle entre l’historique et l’inventé qui sert d’une part à authentifier le monde fictif élaboré par l’écrivain mais aussi à questionner l’Histoire. L’étude détaillée des marqueurs de l’historicité à savoir les dates, les personnages historiques et les documents nous montre que la fiction s’historicise non pas en rapport avec le genre de l’histoire académique mais en rapport avec les formes nouvelles de l’écriture de la presse comme le reportage dans le cas de Roger Martin du Gard et le feuilleton dans le cas de Naguib MahfouzHow is the historical incorporated in the novel and how does this incorporation serve theambition of two novelists who, even though belonging to different cultures, write fictionswhich tell the story of a family through history, and more precisely during the first half of theXXe century? How to understand the relationship between novel and history? Our researchinvestigates how the contamination between them proceeds: between historical facts and theinvented ones, a mutual contamination is used to authenticate the fictive world created by thenovelist, but also to question history. The detailed study of the marks of historicity, namelydates, historical characters and documents, shows us that the fiction historicizes itself, not inrelation to history as an academic genre, but in relation to new writing forms of the press likethe reportage in the case of Roger Martin du Gard and the feuilleton in the case of NaguibMahfouz
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Ippolito, Jean-Christophe. "Le mythe d'Alexandrie dans la littérature moderne et contemporaine de 1798 à nos jours." Paris 4, 1993. http://www.theses.fr/1993PA040185.
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On s'attache à montrer dans cette thèse comment le mythe d’Alexandrie, après l'expédition de Bonaparte, a permis l'éclosion d'une littérature, dans la mesure où les mythes meurent en créant des romans, et des poèmes. On étudie comment s'opère une création mythique continue jusqu'à nos jours, en examinant les différentes composantes du mythe qui, dans l'espace et dans le temps, s'organisent en différents mythèmes (la sensualité, etc. ). On s'aperçoit que ce mythe est en fait une projection du regard occidental dont les présupposés et les obsessions déforment et altèrent la vision de la ville. Ce même regard, en se référant à l'image de la ville antique comme à un archétype de la civilisation occidentale, transforme la ville en un mythe littéraire qui exprime en particulier son hantise de la décadence. A cette vision imaginaire idéologiquement orientée s'oppose la réalité souvent décevante des relations de voyage et le point de vue arabe moderne illustré par Naguib MahfûzIn this thesis, our purpose is to show how the myth of Alexandria, after Bonaparte’s invasion, permitted the birth of a literature, in so far as myths, by dying, create novels or poems. One studies how the process of a continuous mythic creation operates throughout our times, in examining the different elements of the myth; these elements, in space and time, organize themselves in various "mythems" (sensuality, etc. ). One finds out that this myth is in fact a projection of an occidental point of view, whose prejudices and obsessions alter the vision of the city. This very same point of view, by referring to the image of the antic city as an archetype of the occidental civilization, transforms the city into a literary myth which expresses in particular its obsession with decadence. This imaginary ideologically oriented vision stands in contrast to the often-deceptive reality of travel writings as well as of the Arabic point of view expressed by Naguib Mahfuz
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Aladwan, Dima Adwan. "Translation quality assessment : Naguib Mahfouz's Midaq Alley as case study." Thesis, University of Leeds, 2012. http://etheses.whiterose.ac.uk/21140/.
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This thesis is a descriptive, evaluative and comparative study in the field of translation studies. One of the objectives for this thesis is to explore a valid criterion by which a literary translation can be evaluated efficiently and to assess the translation of the selected novel for this research. The aim of this study is to measure the shifts which occurred between TTl and TT2 when compared to the ST. The thesis also aims at highlighting the significance of culture and the way cultures are introduced to the Tar et readership through translation. It is thought that the strategy of Foreignization enriches target texts and introduces cultural elements to the target reader. The corpus of the study is Ziqiiq Al Midaq the well-known novel by Naguib Mahfouz, the Nobel Prize Laureate in Literature in 1988. This novel has been first translated by Trevor Le Gassick in 1966 and a revision of this translation was published in 1975. The main objective of this study is to explore the translation shifts which were applied in TTl and TT2. The methodology of this thesis relies on the Nord Model (2005). It focuses on the translation problems introduced by Nord. The four aspects of translation problems Nord identifies are Pragmatic, linguistic, cultural and text-specific translation problems. A final assessment of the quality of both versions of translation is discussed at the end of the study.
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Dampierre-Noiray, Ève de. ""Une interrogation si vive adressée à l'Égypte" : transformations de l'Égypte du vingtième siècle dans les récits égyptiens et européens." Paris 4, 2006. http://www.theses.fr/2007PA040075.
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Cette thèse propose une étude comparative des représentations de l’Égypte du XXe siècle dans les récits et fictions d’écrivains égyptiens et européens (domaines arabe, français, anglais, italien). Dans une première partie, nous abordons les enjeux politiques et littéraires soulevés par la représentation de l’Égypte dans les textes occidentaux au XXe siècle. Nous posons l’hypothèse que la transformation politique du pays, engendrée par la fin du colonialisme et l’indépendance, bouleverse sa représentation littéraire. La seconde partie interroge la notion de modernité à travers la littérature : nous présentons différentes étapes de l’histoire du pays entre les années vingt et les années soixante-dix, pour montrer comment se traduisent, d’un point de vue narratif et poétique, l’émergence de la modernité et sa perception subjective. Enfin, après avoir défini un champ littéraire spécifique qui résulte d’une écriture sédentaire, nous présentons dans la troisième partie une étude poétique de l’ensemble du corpus : il s’agit d’en éclairer certaines figures et élaborations fictionnelles, mais aussi de montrer comment l’écriture poétique elle-même met en scène le bouleversement de l’image de l’ÉgypteThis dissertation offers a comparative study of 20th century Egypt as seen through Egyptian and European narrative and fictional texts (Arabic, French, English and Italian). The first section presents political and literary issues connected with representations of Egypt in Western 20th century texts, arguing that political changes affecting the country, which were brought about by the end of colonialism and independence, also radically affect its representation in literature. The second section questions the idea of modernity through a close study of literary texts : it presents different stages of the Egypt’s history between the twenties and the seventies in order to show how the emergence of modernity and its subjective perceptions are translated into narrative and poetic texts. Lastly, after having defined the specific literary field resulting from residence writing, the third section is devoted to a study of the poetics of these different works, aiming not only to shed light on certain figures and structures of these fictions, but also to show how this poetical treatment comes to represent a radical change in Egypt’s image and can be seen as an enactment of this transformation
دراسة مقارنةيقدم هذا البحث دراسة مقارنة لمصر القرن العشرين خلال الكتابات الأدبية والروائية في كل من اللغات العربية والفرنسية والإنجليزية والإيطالية. يقدم الجزء الأول المواضيع السياسية والأدبية المتصلة بالتعبير عن مصر في النصوص الغربية بالقرن العشرين، والدلالة على أن التغيرات السياسية المؤثرة على الدولة نتيجة نهاية الاستعمار إلى الاستقلال، أثرت أيضا بصورة واضحة على تلك الكتابات الأدبية. يبحث الجزء الثاني فكرة التجديد والمعاصرة خلال دراسة مدققة للنصوص الأدبية في فترات مختلفة من تاريخ مصر بين العشرينات والسبعينات وذلك للدلالة على كيفية تأثير المعاصرة بنظرتها الموضوعية والذاتية على النصوص الأدبية والشعرية. أخيرا بعد تحديد خصوصية التعبير الأدبي الناتج عن (كتابة المقيمين)، يقدم هذا الجزء دراسة في شاعرية هذه الكتابات المتنوعة، ليس فقط لإلقاء الضوء على بعض الأسماء والبناء الروائي، ولكن لإظهار كيف أن هذه المعالجة الأدبية والشعرية تمثل تغيرا جوهريا في التعبير عن صورة مصر
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Sales, Anselma Garcia de. "A construção do nacionalismo egípcio no discurso literário: análise do romance Trilogia do Cairo, de Nagib Mahfuz." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8159/tde-18022019-122724/.
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O presente estudo tem como objetivo analisar a construção do nacionalismo egípcio na obra Trilogia do Cairo, de Nagib Mahfuz, romance em três volumes que recobre o período histórico de maturação do nacionalismo egípcio até o momento que antecedeu o nasserismo, respectivamente de 1917 a 1944. Desse modo, inicialmente são apresentadas as teorias sobre o nacionalismo, no intuito de situar as correntes teóricas que descrevem o desenvolvimento dos conceitos de nação, estado e estado nacional ao longo da história, a saber, a teoria clássica, a modernista, a essencialista e a etno-simbolista. Em seguida, este trabalho apresenta o contexto histórico do nacionalismo egípcio e sua confluência com o nacionalismo árabe. Apesar de a Trilogia do Cairo não abranger o período que se estende do início até a decadência do nacionalismo de expressão nasserista, o presente estudo considera importante mencioná-lo como um todo, no intuito de contextualizar aquilo que o romance já anunciava como premente na sociedade egípcia, a necessidade de autonomia política dentro de um projeto de base nacionalista. A fim de se estabelecer as relações entre autor, obra e instituição, na sequência são discutidos os diversos pareceres críticos do romance, além de sua abordagem enquanto discurso literário e prática discursiva. Desse modo, através da narrativa da inscrição da história no discurso literário, analisado no presente estudo sob o formato de cronotopos, se pretendeu efetivar uma exposição do modo como as personagens fictícias e históricas, que participaram do processo de tentativa de emancipação do Egito, construíram o nacionalismo.This work intends to analyse the construction of egptian nationalism in Cairo Trilogy, by Nagib Mahfuz, novel composed by tree volumes that recover the period between 1917 and 1944, regarded to the real rising of nacionalism and the previous nasserism age. Initially this study introduces theories about nationalism in order to define the concepts of nation, state and national state, after that, the context of egptian and arabic nationalism is introduced. Although Cairo Trilogy recovers the period before nasserism age, this reference is important to sign the need of political autonomy within an egpitian nationalist project. The following discussion is about linguistics and literary criticism related to the novel, in whish is made the reflexion about literary discourse and discourse practices. Thus, through the narrative inscription of history in literary discourse, analysed in this study by the notion of chronotope, this work intended to make an exhibition about how ficcional and historical characters, who participated the egption freedom process, built the nationalism.
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Eissa, Ashraf Abdel-Fattah. "The saga of modern literature : a comparative study of Naguib Mahfouz's The Cario Trilogy and John Galsworthy's Forsyte Saga." Thesis, SOAS, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299180.
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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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ELMISSI, ABDERR. "La critique litteraire et nagib mahfuz une etude dans le discours critique arabe des annees 1950 jusqu'aux annees 70." Université Marc Bloch (Strasbourg) (1971-2008), 1996. http://www.theses.fr/1996STR20054.
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Nagib mahfuz, le plus grand romancier arabe, prix nobel de la litterature devient un phenomene litteraire et populaire dans la critique litteraire arabe a partir fin annees cinquante. Si sayyed qutb et anwar al-ma dawi furent ses premiers critiques, d'autres comme abd-al- azim anis, mahmud amin al- alim, louis awad, gali sukri, ibrahim fathi, abd-al-muhsin taha badr, muhammad hasan abdellah, nabil ragib,izz ad-din isma il. . . Lui ont consacre des articles ou des ouvrages critiques. Comment nagib mahfuz a ete etudie ? sur quoi les critiques se fondent-ils pour porter des jugements sur ses romans ? quels sont les mobiles profonds qui animent leur discours ? et quelles sont les tendances intellectuelles et politiques qui s'expriment a travers la critique mahfuzienne ? telles sont les questions essentielles qui ont motive notre travail. L'oeuvre critique etudiee se situe au debut des annees cinquante jusqu'au milieu des annees soixante-dix. L'etude de notre corpus nous a montre que la critique mahfuzienne est animee essentiellement par des objectifs ideologiques. Cette critique vise, en effet, a transmettre une ideologie ou a faire la propagande politique et non pas a expliquer ou comprendre l'oeuvre romanesque de mahfuz. Le romancier est le theatre ou s'affronte et polemique les differents courants politiques de la societe egyptienne. La lutte autour des romans de mahfuz etait extremement animee. Elle nous a permis de degager les deux tendances principales qui se sont heurtees par l'intermediaire de mahfuz. La tendance technophile des annees soixante, l'expression de l'ideologie du pouvoir de gamal abd-an-nasir. Et la tendance liberale et religieuse qui fait son retour avec l'etat sadatien, reapparait et resurgit des le debut des annees soixant-dixNagib mahfuz, one of the most prominent novelists, worldwide known after being the first arab novelist who obtained the nobel prize, becomes a popular literary writer in arabic literature in the late fifties. If sayyed qutb and anwar al-ma dawi were among the first critics to get interested in mahfuz's works. Other critics like g. S. Abdel azim anis, mahmud amin al alim, louis awad, abd-al- muhsin taha badr, nabil ragib etc. Devoted many articles and critical books to the study of his works. Consequently, their positions provoked so many debates. How was nagib mahfuz juged ? and upon what criterion did they base their jugement ? what were the deep motives laying behind their sayings ? and under what intellectual and political current do they express their critics of mahfuz's works ? such are the essential questions which guided us in this study. The critical works we studied starts in the early fifties up to the middle of the seventies. It shows that critics were ideologically biaised. That is to say, most of them were interested either in the ideological impact or the political propaganda and not in understanding and explaining the art of nagib mahfuz's work. They became, in spite of him, the theatre of confrontation between the different political tendencies in egypt. Mahfuz's critics permit us to arrive at two main tendencies which come into play through nagib mahfuz's works. The technophil tendency of the sixties which expresses the ideology of gamal abd -annassir and the liberal and religious tendency which reappears in the beginning of the seventies
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Oersen, Sheridene Barbara. "The representation of women in four of Naguib Mahfouz's realist novels: Palace walk, Palace of desire, Sugar street and Midaq alley." Thesis, University of the Western Cape, 2005. http://etd.uwc.ac.za/index.php?module=etd&.
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This thesis involved the various discourses around Egyptian novelist Naguib Mahfouz's representation of women in four of his most well-known novels, which were originally written in Arabic. At the one extreme, he is described as a feminist writer who takes up an aggressive anti-patriarchal stance, delivering a multi-faceted critique on Egyptian society. Mahfouz's personal milieu, as well as the broader social context in which he finds himself, was given careful consideration. It was also considered whether the genre in which the four novels have been written has a significant influence on the manner in which Mahfouz has represented his female characters.
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Afridi, Mehnaz Mona. "Naguib Mahfouz and modern Islamic identity." Thesis, 2008. http://hdl.handle.net/10500/2745.
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The purpose of this study was to present an analysis of Naguib Mahfouz’s writings in
relationship to modern Islam, changes in Egyptian Islam, the impact of colonialism, and
modern Muslim Identity. The divergent effects and results of transformations in Egypt
are analyzed through history, literature, and religion using theoretical religious,
psychological, historical, and social world views.
Selected writings of Naguib Mahfouz are used as the central body of literature.
Naguib Mahfouz’s writings provide a plethora of divergent views on Egypt, Islam, and
the emerging new Muslim Identity. Mahfouz’s writings centralize the many dilemmas
that Muslims face today in light of modernity, western influences, and a transforming
Islam.
In this study there were some conclusions drawn about modern Islam and literature
that discuss modern Islam as reflected in Mahfouz’s literary portrayals of ordinary
Muslims living in Cairo and Alexandria oscillating between their native Eastern culture
and Western colonial influences, as well as the existential and spiritual questions that
accompany change for modern Muslims.Religious Studies
D. Litt. et Phil. (Religious Studies)
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Ghoneim, Hala. "Modernity, reason and revelation reading Abu Nasr Alfarabi and Naguib Mahfouz /." 2005. http://catalog.hathitrust.org/api/volumes/oclc/62171075.html.
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Thesis (M.A.)--University of Wisconsin--Madison, 2005.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 79-87).
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Lensink, Alan. "THE WRITERS IN THE ALLEY: STATE LEGITIMACY AND LITERATURE IN NASSER’S EGYPT, 1952-1967." 2011. http://hdl.handle.net/10222/14239.
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In 1952 Gamal Abdel Nasser and his clique of disaffected young officers launched ‘the Free Officer’s Coup,’ deposing the monarchy, overturning the parliamentary system, and launching a durable regime that defined the face of Egypt in the second half of the twentieth century. This thesis examines the relationship between Nasser and Egypt’s intellectuals, and takes preeminent writers Naguib Mahfouz and Yusuf Idris to reveal the social environment in which this relationship took place. The literary and historical evidence reveals a lively relationship of contestation, critique, accommodation, dependence, and acclamation. Promulgating reformist domestic policies and defiantly nationalist foreign policies, Nasser earned legitimization from intellectuals. His regime endeavored to establish hegemony over Egyptian civil society, an effort resisted and repulsed by intellectuals. Inspired by the most relevant theoretical literature on intellectuals, namely the work of Julien Benda, Antonio Gramsci, and Edward Said, this thesis reveals responsibilities and challenges faced by intellectuals everywhere.
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Hainová, Martina. "Symboly v moderní egyptské literatuře: Historické romány Naguiba Mahfouze." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-328639.
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Title: Images and Symbols in the Historical Novels of Nağīb Maḥfūẓ Author: Martina Hainová Departement: Ústav Blízkého východu a Afriky Supervidor: PhDr. František Ondráš, PhD. Keywords: Nağīb Maḥfūẓ, egyptian literature, history, symbol, image, egyptology, leader, nationalism, identity This thesis examines the role of the symbols in the three historical novels of Nağīb Maḥfūẓ that take place in the Ancient Egypt. In his return to the history of his nation, he shows people the way to their own identity and explains the contemporary situation in the country by using symbols. We try to prove that his novels renew the traditions and connect the modern Egypt with the legends. We demonstrate on the extracts the intentions of the author, confront his deviation from the historical facts and present reasons which led author to do that. For further comprehension, we give details about the historical novel, egyptology and show the impact of european authors on Nağīb Maḥfūẓ.
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Adwari, Mohammed. "Arabic-English/English-Arabic Literary Translation and Its Cultural Complexities: Illustrated by Midaq Alley by Naguib Mahfouz and The Sun Also Rises by Ernest Hemingway." Doctoral thesis, 2014. https://depotuw.ceon.pl/handle/item/729.
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Abstract
This is a comparative study on literary translation which aims at describing differences and similarities between English and Arabic with reference to literary translation. It focuses on areas of difficulty in English-Arabic/ Arabic- English translation in relation to cultural complexities with regard to religious, social issues, and literary issues. Translation difficulties are often the reflection of the differences between the source and target cultures and linguistic systems. Hence, this research is a practical step towards identifying cultural difficulties in English-Arabic/ Arabic-English translation. It is also concerned with the translation problems relating to the production and reception of the source text by the target reader who have different religious, social and literary backgrounds. Working within these two languages, both the challenges and opportunities for the translator are unusually high, and are discussed in more detail. In order to illustrate the problems that inevitably arise for any translator working with the Arabic and Anglo-American worlds, the study investigates two novels: Midaq Alley by Naguib Mahfouz (1911-2006) and The Sun Also Rises by Ernest Hemingway (1899-1961), both writers being of the same generation and both Nobel Prize Winners for Literature.
The results obtained from this study have shown that both translators were confronted with a vast range of problems when translating cultural expressions from English into Arabic and the other way round. The main cause behind the problems is the lack of knowledge concerning the cultural background of the source text. This clear from the cultural losses in translation , which here refer to the cultural information associated with the original that is absent in the respective translation. But such losses do not hinder a full understanding of the text , even in reference to style , one of the sources of difficulties discussed, despite the fact that each novelist represents a different style to convey his ideas.
The results of the findings lead to useful recommendations for future Arabic-English and English-Arabic translators which, hopefully, may help to improve the final results of such ventures.
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Angeline, Marilyn Natacha Beryl. "Etude critique et auto ethnographique du role de la femme a travers les oeuvres d'auteurs tels que Ananda Devi, Arthur Golden, Dominique Lapierre, Naguib Mahfouz et Marie NDiaye." Diss., 2016. http://hdl.handle.net/10500/22184.
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Hopcroft, Helen Francesca. "Animals, sex and the Orient: a feminist retelling of the Arabian Nights." Thesis, 2017. http://hdl.handle.net/1959.13/1353465.
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Research Doctorate - Doctor of Philosophy (PhD)This exegesis explores contemporary retellings of the Arabian Nights (the Nights). This collection was first translated for European audiences in 1704, and subsequently became something of a ubiquitous cultural icon in the West, particularly in nineteenth-century England. On the basis of texts influenced by the Nights, such as Vathek (1786) by William Beckford, Arabian Nights and Days (1979) by Naguib Mahfouz, Nights at the Circus (1984) by Angela Carter and When Dreams Travel (2003) by Githa Hariharan, this exegesis argues that there is a literary tradition of using the collection, and the frame story in particular, as a platform from which to critique power. The nature and scope of this critique has changed over time: texts from the nineteenth century have tended to consider the moral consequences of colonialism, while those in the twentieth and current century are generally using the Nights as a vehicle to explore feminist, ecological and postcolonial issues. In addition to the exegesis, this thesis includes a novella length piece of creative writing that speaks to this tradition, specifically by using the Nights to critique male power over women, and female complicity in this process; references to human power over animals are also frequently embedded in the text. The novella, an eroticised reimagining of the Nights, is narrated in the first person by Scheherazade and includes a number of individual stories that reference the tropes of fairy tale and traditional British children’s literature. Thematically, the novella challenges what Val Plumwood has called the “the lower value accorded the underside, the body, the senses, emotion, the imagination, the animal, the feminine and nature” (Feminism 123). By conflating Scheherazade’s storytelling with her embodiment, it introduces the concept of ‘skin narratives’ – or sexual performances- and suggests that these play an important role in her perception of empowerment. This focus on the body is meaningful primarily because it accepts embodiment as the ultimate source of all culture and cognition, thus reversing a fundamental Western binary. The novella suggests that if stories emerge from bodies, and both are conceived as having liberatory potential, then storytelling is a type of imaginative becoming that invites agency into our material lives.