scholarly journals The Woman as a Sufi Motif in Modern Arabic Fiction

2021 ◽  
Vol 9 (3) ◽  
pp. 101
Author(s):  
Jamal Ali Assadi ◽  
Mahmud Khaled Naamneh
Keyword(s):  
Arabic Fiction ◽  
Modern Arabic

The Origins of Modern Arabic Fiction

1984 ◽  
Vol 58 (2) ◽  
pp. 317
Author(s):  
Roger Allen ◽  
Matti Moosa
Keyword(s):  
Arabic Fiction ◽  
Modern Arabic

scholarly journals Openness and Closedness: Four Categories of Closurization in Modern Arabic Fiction

1970 ◽  
pp. 1-23 ◽  
Author(s):  
Ibrahim Taha
Keyword(s):  
Social Reality ◽  
Arabic Literature ◽  
The Political ◽  
Open Type ◽  
The Social ◽  
The Face ◽  
Arabic Fiction ◽  
Modern Arabic

The discussion of the four categories of ending and closure in modern Arabic literature in terms of openness and closedness clearly indicates the interrelations between the ending and the model of the textual reality, and the interrelations between this model and the extra-literary reality. It seems that when the historical, and especially the political and the social reality slaps writers across the face and stands before them in all its might and immediacy, they do not remain indifferent and write a literature with optimistic, promising, and closed endings; and vice versa: a text with a model of reality which does not relate to a well defined piece of history ends with a more open type of ending and becomes a closure in the reader.

Modern Arabic Fiction: An Anthology

2006 ◽  
Vol 80 (6) ◽  
pp. 66
Author(s):  
Shawkat M. Toorawa ◽  
Salma Khadra Jayyusi
Keyword(s):  
Arabic Fiction ◽  
Modern Arabic

Fénelon’s Gods, al-Ṭahṭāwī’s Jinn

2017 ◽  
Vol 2 (1-2) ◽  
pp. 139-158 ◽  
Author(s):  
Shaden M. Tageldin
Keyword(s):  
Nineteenth Century ◽  
French Literature ◽  
Literary Tradition ◽  
Ancient Greek ◽  
Arabic Translation ◽  
Islamic World ◽  
The Real ◽  
In Trans ◽  
Arabic Fiction ◽  
Modern Arabic

Reading Rifāʿa al-Ṭahṭāwī’s 1850s Arabic translation (published 1867) of François Fénelon’sLes Aventures de Télémaquewith and against the realist impulses of nineteenth-century British and French literary comparatism, this essay posits al-Ṭahṭāwī’s translation as a transformational moment in the reception of the “European” literary tradition in the Arab-Islamic world. Arguing that the ancient Greek gods who populate Fénelon’s 1699 sequel to Homer’sOdysseyare analogous to Muslim jinn—spirits of smokeless fire understood to be real—al-Ṭahṭāwī rewrites as Islamized “truth” what Muslims long had dismissed as pagan “fiction,” thereby adroitly negotiating a crisis of comparison and mediating an epistemic sea change in modern Arabic fiction. Indeed, the “untrue” gods of the Greeks (and of French literature) turn not just real but historically referential: invoking the real-historical world of 1850s Egypt, al-Ṭahṭāwī’s translation exhorts an unjust Ottoman-Egyptian sovereign to heed lessons that Fénelon’s original once had addressed to French royalty. Catherine Gallagher has defined the fictionality specific to the modern European novel as neither pure deceit nor pure truth. How might al-Ṭahṭāwī’s rehabilitation of the mythological as the supernatural/historical “real”—and of the idolatrous as secular/sacred “truth”—invite us to rethink novelistic fictionality in trans-Mediterranean terms, across European and Arab-Islamic contexts?

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