Fr. 240.00

Contemporary Arab Fiction - Innovation From Rama to Yalu

Englisch · Fester Einband

Versand in der Regel in 1 bis 3 Wochen (kurzfristig nicht lieferbar)

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Zusatztext "The author extensively uses the multi-faceted experience of both European and Arab scholars! avoiding eclecticism and 'simplistic and over-generalized conclusions' (p. 15)... Caiani's study is based on a close textual analysis of the novels that are indicative of the diversity of artistic searches in recent decades! and most of the works analysed by the author are known to a wide western audience through their translation. His monograph not only exposes the formal innovations of the novels by Barrada! al-Kharrat! Khuri and al-Takarli! but also reveals the mechanisms of their creativity. In the last analysis they are connected to problems that offer a perspective for further investigations in the fields of theory and history of Arabic literature." - Baian Rayhanova; Middle Eastern Literatures! 14:2! 213-215 (2011). Informationen zum Autor Fabio Caiani teaches Arabic in the Department of Arabic and Middle East Studies at the University of St. Andrews, UK Klappentext This book introduces Western readers to some of the most significant novels written in Arabic since 1979. Relying on literary theory and referring to comparative examples from other literatures, this study places its findings within a wider framework, defining what is meant by innovation in the Arabic novel, and the particular socio-political context in which it appears. Zusammenfassung This book introduces Western readers to some of the most significant novels written in Arabic since 1979. Relying on literary theory and referring to comparative examples from other literatures, this study places its findings within a wider framework, defining what is meant by innovation in the Arabic novel, and the particular socio-political context in which it appears. Inhaltsverzeichnis Introduction: On Literary Innovation (Part 1) 1. Fragmentation 2. Polyphony 3. Intertextuality 4. Metafiction. Conclusion: On Literary Innovation (Part 2)

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