By Mohammad Shaheen

Far from being social, orthodox or purely anecdotal, smooth Arabic fiction is in reality major and radical on the planet context of recent fiction, as this publication exhibits. It contains an advent to and critique of the quick tale in addition to a variety of Arabic brief tales, selected and translated by means of the author.

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The Modern Arabic Short Story: Shahrazad Returns

Faraway from being social, orthodox or only anecdotal, glossy Arabic fiction is in truth major and radical on the planet context of recent fiction, as this e-book indicates. It comprises an creation to and critique of the fast tale in addition to a range of Arabic brief tales, selected and translated by means of the writer.

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The desire to settle and the inclination for adventure are, as we have already seen, two opposite impulses happily reconciled in Sindbad. who has no scepticism about life. By Sindbad 's seventh voyage, the reader wishes he could meet the old but wise, pleasant, cheerful. happy and optimistic Sindbad. How is this Sindbad of old but all time presented in modern times? The modern Sindbad is deeply rooted in and affected by the present grim reality in which he finds himself inevitably caught. He is a sort of double, identified at once with the old Sindbad, but utterly different from him; and the identification is one fragment or the other of the old picture of Sindbad.

However, Sindbad's dramatic progression is not merel y a state of Aux presenting thinking as a th inking process, but rather a transforming power which brings about the realisation of his awareness of the situation. Thus he abandons the waiting ship as the state of feeling becomes concrete specific thought that determines his course of action. Sindbad's decision to return home can also be viewed in the light of the mythical thought in the Odyssey, where Odysseus's 'great shrewdness' guides him towards 'the return to life and light'.

S. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. A Critical Study stopped writing altogether. It was apparent that the short story had come to a halt and that a new phase in the history of th e Egyptian personality had been reached. C. Ostle. 108). After writing this chapter, I met Sabri Hafez at a seminar anc' ; sked him why he had not written in the sixties what he wrote in the seventies. I mentioned, in particular, an article he had published in al-Maiallal: (an avant-garde journal of the time) in 1966 in which he ignored the issue of the dilemma.

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