scholarly journals De Tayeb Salih à Abdelwahab Meddeb : Saison de la migration vers le Nord ou vers l’orientalisme ?

Author(s):  
Ridha Boulaâbi
2020 ◽  
Vol 19 (2) ◽  
pp. 27-44
Author(s):  
Bernard Aresu
Keyword(s):  

Babel ◽  
1999 ◽  
Vol 45 (2) ◽  
pp. 166-168 ◽  
Author(s):  
Abdullah Shunnaq
Keyword(s):  

2021 ◽  
Vol 75 (1-2) ◽  
pp. 121-139
Author(s):  
Edwige Tamalet Talbayev
Keyword(s):  

Author(s):  
Yasser Elhariry

I conclude Pacifist Invasions by arguing for the continued relevance and urgency of the translational and intertextual perspectives afforded by poetry and poetics in both French and Arabic, and by probing the on-going debates in French and Francophone studies with regard to the new lyric studies. I develop the notion of the postfrancophone as one means of broaching these debates, a concept that I historicize and develop based on the preceding poetic analyses, and with particular reference to Jean-Marie Gleize’s recent coinage, postpoésie or ‘postpoetry.’ I end with a polemical reappraisal that revisits what I am construing to be the central case of Abdelwahab Meddeb, and with a re-evaluation of the history of Meddeb scholarship. I insist on the textual and poetic underpinnings of the field of French and Francophone studies, its future, and what I dub postfrancophonie. In light of both past and present aesthetic, translational, and intertextual engagements, I call for a thorough reassessment of the longstanding critical division between French and Arabic literary cultures.


Arabica ◽  
1988 ◽  
Vol 35 (3) ◽  
pp. 328-349 ◽  
Author(s):  
Joseph John ◽  
Yosif Tarawneh
Keyword(s):  

1980 ◽  
Vol 11 (1) ◽  
pp. 105-114
Author(s):  
Constance E.G. Berkley
Keyword(s):  

1985 ◽  
Vol 17 (1) ◽  
pp. 25-36 ◽  
Author(s):  
Mona Takieddine-Amyuni

Naguib Mahfouz's realistic treatment of his subject matter in Midaq Alley (Cairo, 1947) stands in sharp contrast to the symbolic mode of Tayeb Salih in Season of Migration to the North (Beirut, 1966). The style of Mahfouz here is simple, clear, and direct. His characters are common people who belong to the lower strata of life in Cairo and, more specifically, in the “Midaq Alley” of Cairo, this dark enclosed street which literally grinds down its inhabitants (as its Arabic name suggests), then carries on, indifferent to their plight.


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