Naguib Mahfouz

The 1967 defeat remains one of the most dreadful moments in modern Arab history. Rapid and violent, it shook the foundations of the political order and dismantled the myth of Nasser and his anti-colonial project. This crisis had lasting consequences on the trajectory of post-1967 Arab literature and intellectual thought. This article seeks to explore Maḥfūẓ's depiction of national trauma through a close reading of two of his works written in the aftermath of the defeat: the short story Taḥt al-miẓalla ('Under the Bus Shelter,' 1969) and the novel al-Ḥubb taḥt al-maṭar ('Love in the Rain,' 1973, 2023). I argue that re-reading these works through the lens of trauma theory offers an essential dimension to their literary analysis, deepening our understanding of their significance. In applying trauma theory to this new reading, I draw on the studies by Neal (1998, 2005), Alexander et al. (2004), LaCapra (2001, 2014) and those related to decolonized trauma theory by Visser (2014), as well as studies applying a sociological approach to Arabic literature (Mehrez 1994; Jacquemond 2008), which have been fundamental resources. Both works exemplify Maḥfūẓ's sincere commitment to the socio-political realities of his country, as well as his innovative narrative techniques that capture the complexities of the world he seeks to portray.

The present paper draws on theoretical insights from postcolonial criticism to propose a postcolonial reading of Naguib Mahfouz's Midaq Alley (1947), a novel that depicts life in a traditional Cairo alley in the closing years of World War II. Western accounts have tended to ignore the effects of that war, and of colonialism, on colonial subjects whose regions became battlefields for rival Western powers. The novel explores these events from the colonized perspective. By weaving in the traumatic history of colonialism and of war on the one hand, and by foregrounding alternative voices, experiences, and geographies on the other, the novel sets up a counter-hegemonic dynamic that works to unsettle the grand narratives of colonial history and their underlying assumptions. A fuller understanding of this dynamic is essential for a broader appreciation of Mahfouz's work and of the narrative tradition of which this work is an important part.

This study offers a close reading of al-Shaḥḥādh by the Egyptian novelist Naguib Mahfouz. It aims to demonstrate that Mahfouz, in this novel, succeeds in breaking the norms of the classic realistic novel to create a new literary style heralding modernism in the Arabic novel. Behind the façade of a simple story there is a complexity of style and a thematic profundity. Features of modernism are shown in this paper by examining the techniques Mahfouz uses to present the protagonist's existential suffering in his quest to find a solid meaning of life, and portraying his thoughts and feelings in a language that sometimes seems poetic. Reading this novel in its sociopolitical context reveals the collapse of traditional values, including artistic values, and hints at the "absurdity" of revolution in Egypt and the Arab world.

Recenze skvělého překladu Jitky Jeníkové od klíčového románu nobelisty Nagíba Mahfúze Děti naší ulice (Dybbuk 2025). Ve kterém jsou celé dějiny lidstva a lidské víry předloženy narací plné symbolů rodiny, rodinných vztahů a lidských, přírodních i dějových zákoutí. Mistrovský překlad Jitky Jeníkové

Cairo has been the capital of Egypt throughout the Islamic era, from the time of the country's inception in the Fatimid era to the present, regardless of changes in the seat of government. However, Cairo never lost its natural beauty or distinctive qualities over time, and it remained a hub of civilizational radiation and cultural regeneration. Instead, Cairo continues to amaze and inspire travelers, writers, painters, poets, and historians due to its aesthetic, literary and cultural legacy. One writer who profited from Cairo's influence was Naguib Mahfouz. Mahfouz was able to create a realistic portrayal of the Egyptian popular milieu by using the neighborhoods of Al-Hussein, Khan Al-Khalili, Al-Gamalia, Al-Musky, and Al-Abbassia to illustrate Cairo's tangible and intangible heritage. Additionally, since locations connected to well-known individuals play a significant role in the heritage industry, the actual locations of writers' births, residences, and creations of well-known literary works are particularly valuable tourist attractions because they are components of cultural heritage. This study aims to promote Cairo as a destination for literary tourism by utilizing the heritage of Cairo that Naguib Mahfouz narrated in his novels.

The aim of this study is to examine the challenges of handling verb tense and aspect in Arabic to English machine translation. A small corpus of selected Arabic sentences was submitted to Google Translate for a contrastive analysis of Arabic and English verb tense use. The main purpose of this study is to provide an understanding of morphology and forms of Arabic and English verbs in their syntactic context, in order to reveal details that can be used in current machine processing systems.

The practice and denotation of tense and aspect differ in Arabic and English, so there is a challenge when translating between the two languages, particularly when the appropriate translation depends on a range of linguistic contexts, comprising also the context of use. In this paper, the Qur’anic Arabic corpus of verbs is used in Arabic with their English translations by building a sub-corpus of verbs. The study uses a statistical method incorporating SPSS and Kappa feature of SPSS to investigate the rate of agreement and disagreement of Quran Verb Tense and Aspect in Arabic to English translations. The aim is to provide information that can be used to address some of the challenges that arise when translating between Arabic and English. The SPSS results indicate the highest percentage for past, present and future tenses of Quranic Arabic verbs; the progressive and perfective aspect has the lowest percentage. Kappa must is used to estimate the disagreement between translations with...

Цель исследования – проанализировать, в каком русле развивалась романическая проза Египта в 1950-х гг.: на материале ряда произведений мы выявили общие тенденции десятилетия и отметили авторские особенности. В начале статьи дано обоснование выбора романов, обозначена актуальность исследования, включающая в себя обзор литературы. Затем описан сюжет романов и представлены главные действующие лица. Далее мы определили основные композиционные составляющие произведений: тематика, система персонажей и психологизм, стиль и язык произведений (в том числе литературный арабский или египетский диалект арабского), повествование и точка зрения, конфликт как главная объединяющая сила произведений. Мы передали эти компоненты романов в виде таблицы: она обеспечивает легкость сопоставления и равный подход ко всем произведениям, а также наглядно и лаконично представляет материал. Проведен сравнительно-сопоставительный анализ, на основе которого выделены ключевые особенности и направления развития романной прозы в Египте 1950-х гг., а также исследованы пределы ее разнообразия. В заключении статьи мы подвели итог и вкратце рассмотрели будущее египетского романа, вписав исследование в более широкий исторический контекст.

В статье изучается одно из наиболее значимых произведений арабской литературы XX в. – «Каирская трилогия» (1956–1957) египетского писателя Нагиба Махфуза (1911–2006; Нобелевская премия 1988) – с точки зрения заглавий его частей как особого типа рамочных текстов. Заглавия романов «Байн ал-касрайн», «Каср аш-шаук» и «ас-Суккариййа» отсылают к названиям улиц в старых кварталах Каира и в переводе с арабского означают: «Меж двух дворцов», «Дворец страсти» и «Сахарная [улица]» соответственно. В них повествуется о трех поколениях семьи ‘Абд ал-Гаввад, улицы из заглавий указывают, где расположены семейные дома. Способ называния романов, на первый взгляд, прост – по пространственному признаку. Мы задаемся вопросами: действительно ли в заглавиях романов нет ничего, кроме указания на географию, или заголовки «Трилогии» создают дополнительную почву для интерпретации содержания романа? Оправдываются ли ожидания читателя, продиктованные заглавиями «Трилогии», после ознакомления с романом? В статье показано, что заглавия романов выводят на первый план место (Египет первой половины XX в.), показывают подавляющее воздействие эпохи на личность: находясь «между» («Байн ал-касрайн») двух времен, ‘Абд ал-Гаввады переживают распад уклада семейного дома, взамен которому приходит полная «запретной страсти» жизнь («Каср аш-шаук»). Моральное и физическое разложение семьи, изображенное в финальной части «Трилогии» «ас-Суккариййа», вступает в противоречие с ожиданиями читателя от «сахарного» заглавия.

Статья в коллективном сборнике "Проблемы арабской филологии", опубликованном по результатам 16-й Конференции арабистов "Чтения И. М. Смилянской".
Первый роман "Каирской трилогии" Нагиба Махфуза, "Бейн ал-касрейн", был впервые опубликован главами в журнале "Ар-Рисаля аль-гадида" в 1954–1956 гг. Статья исследует споры и дискуссии, которые разворачивались в выпусках журнала в то время.

Нагиб Махфуз (1911-2006)-египетский романист и мыслитель, один из наиболее широко признанных писателей как на родине, так и за ее пределами. В его «Каирскую трилогию» входят три романа-«Байн ал-касрайн» (1956), «Каср аш-шавк» и «Ас-Суккариййа» (1957). Они повествуют о жизни нескольких поколений одной каирской семьи, главой которой является Ахмад 'Абд ал-Гаввад; заглавия романов соответствуют названиям улиц в старых кварталах Каира. Роман быстро стал классикой, но примечательно, что он и по сей день привлекает внимание ученых всего мира. Почему это происходит? Проанализировав тематику работ последних 20 лет, мы приходим к выводу, что исследователей интересует несколько основных аспектов романа-отраженные общественные отношения, культура прошлого, язык (особенно проблемы перевода), и от этого зависят избранные авторами методы. Зачастую они, помимо прочего, используют сравнительно-типологический метод. В статье дается обзор исследований, сгруппированных по методологии, и делается попытка ответить на озвученный выше вопрос.

Доклад на XXXI Международном научном конгрессе по источниковедению и историографии стран Азии и Африки. Рассмотрен хронотоп дома семьи Ростовых в романе "Война и мир" Л. Н. Толстого и дома семьи 'Абд ал-Гаввад в "Каирской трилогии" Нагиба Махфуза – двух великих семейных романах, связанных цепью влияния и сходных типологически.

Презентация к докладу на конференции "Ломоносов-2021". Исследование отвечает на вопрос: какой конфликт «Каирской трилогии» приобретает наибольшую остроту в контексте описания жизни трех поколений одной семьи? Как представители разных поколений раскрываются в отношениях с собой и миром?

В докладе на конференции "Ломоносов-2020" исследованы композиционные особенности рассказов-сновидений, которые египетский писатель Нагиб Махфуз издавал в 2000-2006 гг. Методологическая основа - теория точек зрения как центрального элемента композиции, предложенная Б. А. Успенским.

Перевод статьи Леды Мансур с французского языка, опубликованной в 2010 г. в Idioma (Брюссель). В статье поднимается вопрос перевода юмора в художественной литературе. Учитывая субъективную природу юмора и его зависимость от культурного контекста, автор задаётся вопросом: возможно ли переводить юмор и воссоздать в тексте перевода юмористический эффект оригинального текста? Рассматривается роман «Каирская трилогия» (1956–1957) — семейная сага за авторством одного из наиболее широко признанных как на родине, так и за рубежом египетских писателей и мыслителей, лауреата Нобелевской премии по литературе (1988) Нагиба Махфуза (1911–2006). В романе повествуется о жизни каирской буржуазной семьи ‘Абд ал-Гаввадов в первой половине XX в. В качестве исследовательского материала берётся оригинал романа на арабском язы-ке и его перевод на французский язык (1985, 1987, 1989), выполненный Филиппом Вигрё.

În câmpia Dunării, cu câţiva ani înaintea celui deal doilea război mondial, se pare că timpul avea cu oamenii nesfârşită răbdare; viaţa se scurgea aici fără conflicte mari. Era începutul verii. Familia Moromete se întorsese mai devreme de la câmp. Cât ajunseseră acasă, Paraschiv, cel mai mare dintre copii, se dăduse jos din căruţă, lăsase pe alţii să deshame şi să dea jos uneltele, iar el întinsese pe prispă o haină veche şi se culcase peste ea gemând. La fel făcuse şi al doilea fiu, Nilă; intrase în casă şi după ce se aruncase într-un pat, începuse şi el să geamă, dar mai tare ca fratele său, ca şi când ar fi fost bolnav. Al treilea băiat, Achim, se furişase în grajdul cailor, se trântise în iesle să nu-l mai găsească nimeni, iar cele două fete, Tita şi Ilinca, plecaseră repede la gârlă să se scalde. Rămas singur în mijlocul bătăturii, Moromete, tatăl, trăsese căruţa sub umbra mare a celor doi salcâmi de lângă poarta grădinii şi apoi ieşise şi el la drum cu ţigara în gură. Părea de la sine înţeles că singură mama rămânea să aibă grijă ca ziua să se sfârşească bine. Moromete stătea pe stănoaga podiştei şi se uita peste drum. Stătea degeaba, nu se uita în mod deosebit, dar pe faţa lui se vedea că n-ar fi rău dacă s-ar ivi cineva... Oamenii însă aveau treabă prin curţi, nu era timpul de ieşit în drum. Din mâna lui fumul ţigării se ridica drept în sus, fără grabă şi fără scop.-Ce mai faci, Moromete? Ai terminat, mă, de sapă? Iată că se ivise totuşi cineva. Moromete ridică fruntea şi îl văzu pe vecinul său din spatele casei apropiindu-se de podişcă. Se uită numai o dată la el, apoi începu să se uite în altă parte; se vedea că nu o astfel de apariţie aştepta. "...Pe mă-ta şi pe tine, chiorule!" şopti atunci Moromete pentru el însuşi, ca şi când până atunci ar mai fi înjurat pe cineva în gând şi acum îl îngloba şi pe vecin, fiindcă tot apăruse; după care răspunsese foarte binevoitor:-Da, am terminat... Tu mai ai, mă, Bălosule?-Am terminat şi eu. Mai aveam un petic dincoace în

This paper reads Toni Morrison’s Paradise (1998) as a revision of prior harem narratives to investigate how Morrison’s novel contests the patriarchal ideologies of space through her incorporation of the Convent as a site of radical feminist resistance. Morrison’s Paradise re-imagines the African American doubles of the Islamic hijab (veil) and the harem (forbidden space), historically patriarchal facets of female seclusion. In fact, I would argue that Paradise strategically relies on madness to configure patriarchal forms of oppression. In particular, Paradise defines masculinist monomania as a form of patriarchal insecurity—both gendered and sexist—that uses nationalism and racial chauvinism to justify itself, intensifying the stigmatization of women.  Ultimately, Morrison narrativizes a female-oriented revolt through the novel’s imaginative reproduction of the subversive structure of tales in the classical Alf Laylah Wa Laylah (Arabian Nights). Morrison’s literary text incorporates a cryptic architecture based on Shahrazadian tropes and elliptical framing, simultaneously integrating the closure of the labyrinth with a temporal open-endedness fundamental to the harem’s structure. Ultimately, what results is that Morrison’s complex novel cultivates, from the forbidden space of female madness as literary experimentation, a transgressive harem narrative based on women’s sociopolitical exclusion, solidarity, and ultimate empowerment.
References:
Atieh, Majda. “The Revelation of the Veiled in Toni Morrison’s Paradise: The Whirling Dervishes in the Harem of the Convent.” MELUS 36.2 (2011):89-107

Atieh, Majda. “Another Night, Another Story: the Frame Narrative in Alf Laylah Wa Laylah (Arabian Nights) and Morrison’s Paradise.” Contemporary African American Fiction: New Critical Essays. Ed. Dana A. Williams. Columbus: Ohio State UP, 2009.119-135.

Atieh, Majda. “Shahrazade’s Sisters and the Harem: Reclaiming the Forbidden as a Site of Resistance in Toni Morrison’s Paradise.” Madness in Black Women’s Diasporic Fictions:
Aesthetics of Resistance. Ed. Caroline Brown and Johanna Garvey. New York: Palgrave Macmillan, 2017. 201-224.

Atieh, Majda. “Activating Continuity in Post-Conflict Environments for African and African American Communities in Toni Morrison’s Paradise and Chimamanda Ngozi Adichie’s Half of a Yellow Sun.” Tishreen University Journal 41.5 (2019).

This article reexamines the character of Ahmad Abd al-Jawad from Naguib Mahfouz's Cairo Trilogy, challenging the prevailing scholarly view of him as merely a symbol of patriarchal tyranny. While acknowledging his authoritarian tendencies, the study uncovers a more complex, human portrayal marked by tenderness, self-awareness, and emotional vulnerability, especially in his relationships with his children. Through a close reading of key scenes, the article highlights his inner contradictions: his simultaneous embrace of religious devotion and sensual indulgence, his stern exterior masking deep paternal love, and his ability to navigate these paradoxes without fragmentation. Ultimately, the character emerges as a richly drawn figure who embodies the tension between power and compassion, tradition and emotion, and public performance and private grief.

This research thesis detects the philosophy of existence, depicted in two historical literary works: Egyptian novelist Naguib Mahfuz and Waiting for Godot (1953) by Irish playwright Samuel Beckett, by Chor and the Dogs (1961). Although they originate from separate cultural and literary traditions, both texts express concern about life's equality, the separation of the individual, and the quest for meaning in a chaotic world. This comparative study analyses the heroes' struggles with despair, alternative identities, and the postponement of universal resonance due to temporary, linguistic, and geographical boundaries. Through a careful reading of the two texts, this letter argues that "Safe and Baked" presents a vision of existence that is relevant to modern readers. Both Mahfuz and Beckett rent minimalist settings and fragmented narratives to reflect the internal turmoil of their protagonists. The use of circulation-of-cognisance in Mahfuz's paintings contrasts with the cyclical dialogue in Beckett's play, yet each technique serves to underline the uncertainty and instability of human notions. These stylistic choices no longer most effectively enhance the philosophical intensity of the texts but also invite readers to interact more in detail with the characters' psychological landscapes and existential fears.

This study aimed to examine the ability of Iranian English as a Foreign Language (EFL) students to accurately recognize and use past, present perfect, and present perfect progressive tenses. A mixed-method approach was employed to gather both qualitative and quantitative data. The study involved 65 EFL students majoring in English language at a university in Iran, all of whom had previously taken grammar courses. The findings revealed that most students struggled to distinguish between the past tense and the present perfect or present perfect progressive tenses. In both the production and recognition tests, there were frequent instances of the past tense being incorrectly used instead of the present perfect. The analysis also highlighted errors stemming from mismatches in tense usage, particularly in reflecting the relationship between event time and speech time. Students often failed to accurately translate events that began in the past but continued to affect the present. These difficulties can be attributed to differences between the tense systems of English and Persian. Persian lacks the ability to express the continuum of time, especially the relationship between speech time and reference points that are inherent in English non-past perfect verb forms. Furthermore, students' reliance on their native language in the early stages of language acquisition led to erroneous tense transfers from Persian to English. The findings contribute to EFL programs by emphasizing the importance of addressing tense-related challenges and incorporating a deeper understanding of the differences between English and Persian tense structures.

Studi, attività on-field e nuove acquisizioni scientifiche a cura di Serenella Ensoli ILPOLIGRAFO PTOLEMAICA STUDI SUL MEDITERRANEO ptolemaica. studi sul mediterraneo ptolemaica. studies about the mediterranean sea collana diretta da | a series edited by Serenella Ensoli Comitato Scientifico della collana Series Scientific Committee

Arka kapak yazısı:

İnsanların hepsi yapraklı ağacın gölgesine sığınır ama kış gelip de kuraklık ve soğuk ağacı çırılçıplak bıraktığında aynı insanlar onu gözünü kırpmadan terk eder.

Mezarında rahatsız edilen bir mumyanın 20. yüzyıla öfke içinde uyanışı, oğlu ve yakınları tarafından ihanete uğrayan bir firavun, sürgün edilen erdemler, açgözlülük, hırs… Arap edebiyatının en saygın romancılarından, Nobel Ödüllü Necib Mahfuz tarihî şahsiyetlere, kadim metinlere ve şiirlere dayanarak Antik Mısır dünyasını günümüzle bir araya getiren büyüleyici ilk dönem öyküleriyle ülkesinin görkemli geçmişine uzanıyor.

“Kutsanan Kötülük”, “Firavun Userkaf’ın Affı”, “Mumyanın Uyanışı”, “Sinuhe’nin Dönüşü” ve “Öteki Dünyadan Bir Ses” adlı beş öyküden oluşan bu derlemeyi Mehmet Hakkı Suçin’in incelikli çevirisiyle sunuyoruz.

"Mahfuz’un yazınındaki olağanüstü çeşitlilik gözlerimizi kamaştırmaya devam ediyor.”
The Washington Post

“Mahfuz, modern Arap edebiyatının en önemli yazarı.”
Newsday

This paper conducts a comparative analysis of An American Marriage by Tayari Jones and The Frightened Ones by Dima Wannous, both published in 2018, through the lens of intersectional feminism. The study explores how systemic injustices—racial discrimination in the U.S. and the trauma of the Syrian civil war—shape the identities, relationships, and agency of the female protagonists in these novels. The paper argues that intersectional feminism is vital for analyzing these narratives, as it reveals the interconnectedness of race, gender, and systemic injustice. By juxtaposing disparate cultural settings, the study highlights universal patterns of oppression while honoring the specificity of each context. Ultimately, both novels advocate for a nuanced understanding of identity and resistance in the face of structural inequities.

This chapter investigates the symbolic configurations of abject masculinities that permeate the diegetic spaces of Naguib Mahfouz’s Midaq Alley (1947), a novel that captures the irreversibly altered quotidian realities of a back street in Cairo. Highlighting the close encounters with modernity and war that largely shape and inform the lives of the narrative’s central characters, it argues for a more discursive and relational understanding of the multiple emasculatory conundrums that the author presents throughout the text. The promises and possibilities of “modernities in the backyard” go hand in hand with the provisional economic prospects that the war offers to men seeking to make a living amidst a disaster. Primarily relegated to the peripheral limits, the menacing and spectral presence of hostilities (externalized through the Allied soldiers) nevertheless poses an overriding conundrum for the principal male protagonist whose vindictive act of violence can be read as another futile affirmation of manhood in a long list of gendered abjection and unrestrained outbursts.

تمثلت أهداف الدراسة في التعرف على طبيعة العلاقة بين تداعيات التعايش مع جائحة كورونا (كوفيد-١٩) بمحاوره الثلاث (تداعيات اجتماعية، تداعيات اقتصاديه، تداعيات نفسية)، وتعديل ممارسات الحياة الاسرية كما تدركه الزوجات بمحاورة الثلاث (ممارسات داخل المنزل، ممارسات خارج المنزل، ممارسات التباعد الاجتماعي) ، وبعض المتغيرات الاجتماعية والاقتصادية للأسرة (بيئة السكن، عمر الزوجة، عدد أفراد الأسرة، عدد سنوات الزواج، المستوى التعليمي للزوجة، فئات الدخل الشهري)، وتحديد طبيعة الفروق بين كل من (الحالة المهنية، بيئة السكن، مدي تأثير الحجر المنزلي على تقوية العلاقات الأسرية) في تداعيات التعايش مع جائحه كورونا بمحاورة الثلاث، وتعديل ممارسات الحياة الاسرية بمحاورة الثلاث ، والتعرف على طبيعة الاختلافات بين الزوجات عينة الدراسة في تداعيات التعايش مع جائحه كورونا بمحاورة الثلاث، وتعديل ممارسات الحياة الاسرية بمحاورة الثلاث تبعاً لـ (عمر الزوجة، عدد أفراد الأسرة، المستوى التعليمي لكل من للزوجة، وفئات الدخل الشهري للأسرة، طبيعة التعليم الذي يتلقاه الابناء).
واتبعت الدراسة الحالية المنهج الوصفي التحليلي، حيت تم إعداد وتقنين استبيان تداعيات التعايش مع جائحه كورونا، استبيان تعديل ممارسات الحياة الاسرية لدي الزوجات تم تطبيقها على عينة من الزوجات تم اختيارها بطريقة صدفية غرضية مكونة من 319 من الزوجات العاملات وغير العاملات، الريفيات والحضريات في محافظة الدقهلية، وتم اختيارهن بطريقة صدفية غرضية من مستويات اجتماعية واقتصادية مختلفة.
وأوضحت النتائج وجود علاقة ارتباطية موجبة عند مستوى دلالة 0,01 بين مجموع تداعيات التعايش مع جائحة كورونا وبين مجموع تعديل ممارسات الحياة الاسرية ، توجد علاقة ارتباطيه موجبة عند مستوى دلالة 0,01 بين مجموع تداعيات التعايش مع جائحة كورونا وبين كل من مستوي تعليم الزوجة ومستوي فئات الدخل الشهري، وتوجد علاقة ارتباطيه سالبة عند مستوى دلالة 0,01 بين مجموع تداعيات التعايش مع جائحة كورونا وبين بيئة السكن، وتوجد علاقة ارتباطيه سالبة عند مستوى دلالة 0,05 بين مجموع تداعيات التعايش مع جائحة كورونا وبين كل من عمر الزوجة وعدد افراد الأسرة، بينما لا توجد علاقة ارتباطية بين مجموع تداعيات التعايش مع جائحة كورونا وعدد سنوات الزواج،  وكذلك وجود فروق ذات دلالة إحصائيا بين متوسط درجات ربات الأسر (العاملات وغير العاملات، الحضريات والريفيات، اللواتي تأثرن بالحجر المنزلي واللواتي لم تتأثرن بالحجر المنزلي) في مجموع تعديل ممارسات الحياة الاسرية عند مستوى دلالة 0,05، لصالح (العاملات، الحضريات، اللواتي تأثرن بالحجر المنزلي) على التوالي،  وكذلك وجود فروق ذات دلالة إحصائيا بين متوسط درجات ربات الأسر (الحضريات والريفيات، اللواتي لم تتأثرن بالحجر المنزلي واللواتي تأثرن بالحجر المنزلي) في مجموع تداعيات التعايش مع جائحة كورونا عند مستوى دلالة 0,001 لصالح (الحضريات، اللواتي لم تتأثرن بالحجر المنزلي) علي التوالي، وكذلك وجود تباين دال احصائياً بين درجات ربات الاسر عينة الدراسة في تداعيات التعايش مع جائحة كورونا، تبعاً لـ (المستوي التعليمي للزوجة، فئات الدخل الشهري) وذلك لصالح ربات الأسر (اللواتي حصلن على مستوي تعليمي مرتفع، الأسر ذات الدخل المرتفع المتمثل في 6000جنية فأكثر) على التوالي، وعدم وجود تباين دال احصائياً بين ربات الاسر عينة الدراسة في مجموع تداعيات التعايش مع جائحة كورونا، تبعاً لـ (عمر الزوجة، عدد أفراد الأسرة، طبيعة التعليم الذي يتلقاه الأبناء أثناء الجائحة).
وقدمت الدراسة مجموعة من التوصيات كان من أهمها إعداد برامج ارشادية وتثقيفية موجهة للأسر بخطورة الفيروس ورفع مستويات الوعي بالممارسات الحياتية والإجراءات الاحترازية اللازمة للوقاية من الفيروس لتجاوز الازمات عند حدوثها وذلك من خلال شبكات التواصل الاجتماعي والمنصات الالكترونية عبر الانترنت، تضمين المناهج الدراسية موضوعات حول المناعة الصحية والحالة النفسية الايجابية لضمان تمتع الافراد بالمناعة الصحية والحالة النفسية الايجابية.
الكلمات المفتاحية: تداعيات التعايش، جائحة كورونا، تعديل الممارسات، الزوجات.

Naguib Mahfouz's Children of the Alley (1959) has been extensively studied, often as a critique of religion. However, this analysis argues that its enduring relevance lies in its exploration of power, oppression, and intellectual resistance-issues that remain urgent in contemporary discourse. Rather than reinforcing colonial binaries of self/other, Mahfouz exposes how such divisions sustain hierarchies of gender, race, and class. This study offers a fresh perspective by examining Gabal as a prototypical organic intellectual (as defined by Antonio Gramsci) who challenges these structures. By applying postcolonial theory, particularly Gramsci's concept of organic intellectuals and Edward Said's analysis of power, this research uncovers overlooked tensions within resistance movements, including class and gender conflicts. Ultimately, the study advances debates on intellectual resistance by arguing that solidarity with all marginalized groups-not just one's own-can serve as the foundation for radical intellectual engagement.

Studi, attività on-field e nuove acquisizioni scientifiche a cura di Serenella Ensoli ILPOLIGRAFO PTOLEMAICA STUDI SUL MEDITERRANEO ptolemaica. studi sul mediterraneo ptolemaica. studies about the mediterranean sea collana diretta da | a series edited by Serenella Ensoli Comitato Scientifico della collana Series Scientific Committee

Reservados todos los derechos. El contenido de esta obra está protegido por la Ley, que establece penas de prisión y/o multas, además de las correspondientes indemnizaciones por daños y perjuicios, para quienes reprodujeren, plagiaren, distribuyeren o comunicaren públicamente, en todo o en parte, una obra literaria, artística o científica, o su transformación, interpretación o ejecución artística fijada en cualquier tipo de soporte o comunicada a través de cualquier medio, sin la preceptiva autorización.

In the late of 20th centuries, based on the ideas of an American thinker, Steven Greenbelt, term of the new historicism was formed against the traditional one. In the new historicism, literary texts can be interpretable as historical texts, and if history is a kind of narrative, then narratives are the same kind of historical texts, hence it is referred to history text and text history. In modern historicism, there is no boundary between history and literature, and reader can re-read the texts to discover the hidden layers behind the original text. Sometimes factors to the power structure by denying the freedom of his expression openly and force him to use another way to express his intentions. Najīb Maḥfūẓ, who was in this situation, chose the code language to express the truths of society and strengthen the spirit of anti-colonialism and fight against the authoritarian policies of the rulers, in order to fulfill his mission in the form of historical-Egypt as a pretext to express nationalist and libertarian and anti-colonial ideas.

This journal provides a forum to promote diversity in world literature, with a particular interest in the study of literatures of those neglected countries and culture regions. With four issues coming out every year, this journal publishes original articles on topics including theoretical studies, literary criticism, literary history, and cultural studies, as well as book review articles.

Naguib (Abdel Aziz al-Sabilgi) Mahfouz adalah sastrawan Arab modern dengan reputasi literer yang belum tertandingi sastrawan Arab modern lainnya hingga hari ini. Dialah sastrawan peraih Nobel Sastra pertama dan satu-satunya yang, didorong hasratnya untuk mencari jawab untuk segala perkara metafisika yang ternyata absen pemenuhannya dalam sains, suatu waktu dalam hidupnya, pernah terpesona oleh dunia mistisisme dan dalam waktu yang cukup lama larut di dalamnya.

Tak seperti prasangka dangkal orang-orang yang gemar mendaulat diri sebagai juru bicara Tuhan bahwa Mahfouz adalah kaki tangan Barat yang kafir, Mahfouz sesungguhnya salah seorang warga Dunia Ketiga yang menyuarakan keperihan nasib yang merantai saudara-saudaranya yang ironisnya kerap mencurigai dan mengancam keselamatan jiwanya. 

Dalam meniti karir kesusatraan, Mahfouz pun merupakan mata air keteladanan yang layak dirujuk. Sebagai “langkah kompromi” demi membumikan kecintaannya kepada kesusastraan—karena aktivitas kesusastraan tak pernah dianggapnya sebagai profesi yang bisa menopang hidup, setidaknya sampai ia diganjar Nobel Sastra dan buku-bukunya kian banyak diterjemahkan dalam bahasa-bahasa Barat—Mahfouz rela, misalnya, menjadi pegawai yang bergonta-ganti jabatan dari satu posisi ke posisi lainnya. “Pilihan rasional” yang memaksanya baru bisa menjadi penulis-penuh—bukan part-timer yang melakukan kerja kesusastraan selepas pulang kerja hingga larut malam—setelah memasuki masa pensiun di usianya yang ke-60.

Dus, untuk menjadi novelis prolifik seperti Mahfouz tentu saja tak harus meneladani semua langkah yang pernah ditempuhnya. Menunda perkawinan hingga usia ke-43 (The Guardian, 31/08/2006) lantaran kekhawatiran berlebihan bahwa perkawinan hanya akan menghambat produktivitas dalam berkarya, misalnya, mungkin bukan pilihan yang juga harus diteladani oleh setiap orang yang ingin menjadi novelis besar sepertinya. Meskipun tak ada larangan jika seseorang hendak mencoba mengamalkannya!

This comparative literature study investigates the concept of justice in the works of Naǧīb Maḥfūẓ and Leonardo Sciascia. Both novelists, throughout their extensive careers, obsessively explore the fundamental concept of justice in both their literary and non-literary works. Beginning with the historical context, the article examines the political transformations that occurred in Egypt and Italy during the lifetimes of these writers. These transformations significantly impacted the judicial system and social life in each country. While Maḥfūẓ focused on justice in its social context and the Sciascia in its institutional context, both explore through their literary texts and cultural-political commitments the intricate relationship between political power, the legal system, and organized crime. The article addresses the methodological differences in the authors' styles and their approaches to the concept of justice, as well as the similarities in their attempts to find alternatives to the absence of justice through aesthetic-literary compensation and, subsequently, through a metaphysical dimension. The article demonstrates how Maḥfūẓ and Sciascia's exploration of justice evolves from a rational critique of societal and institutional failures to a metaphysical contemplation, where the concept of 'death' becomes central to understanding justice.

The Nobel Prize, established in 1895 by Alfred Nobel, stands as one of the most prestigious international honors, recognizing exceptional contributions across six categories: Peace, Literature, Chemistry, Physics, Physiology or Medicine, and Economic Sciences. This comprehensive overview explores the significance, recognition, and legacy of the Nobel Prize, highlighting its role in celebrating groundbreaking achievements that shape human progress. Nobel's vision emphasized the advancement of knowledge, peace, and societal betterment, with laureates such as Martin Luther King Jr., Marie Curie, and Bob Dylan exemplifying the transformative impact of these awards. The selection process, rigorous and confidential, ensures that only those who have made profound contributions are chosen. Beyond mere recognition, the Nobel Prize provides financial support and amplifies the laureates’ work on the global stage. Its evolving nature, reflecting modern challenges like climate change and social justice, demonstrates the Prize’s enduring relevance. The Nobel Prize continues to inspire future generations, driving innovation and fostering progress in a rapidly changing world.

a fost unul dintre cei mai importanti romancieri romani din perioada postbelica. Acesta a studiat la Universitatea din Bucuresti si a scris mai multe opere precum: "Desfasurarea","Ferestre inalte", "Intrusul" si "Morometii". "Morometii" este un roman postbelic, publicat in 2 volume, primul aparand in 1955, iar al doilea in 1967, ce ilustreaza o istorie ampla a unei familii de tarani din lumea rurala. Acesta fixeaza in memorie o realitate pierduta, aceea a satului romanesc traditional pe care de disparitie si a ultimilor tarani arhaici, autentici. Opera literara apartine genului epic de mare intdindere, la care iau parte multe personaje, implicate intr un conflic puternic. Din punct de vedere compozitional, romanul este structurat pe doua volume, primul aparand in 1955 iar al doilea 12 ani mai tarziu in 1967.

The works of Rudyard Kipling, the first and the youngest, Doris Lessing the last and the oldest and at the same time the only female author and John Galsworthy the only lawyernovelist Nobel Prize winners of Britain are critically analysed in this paper to investigate the common core of the literary nobility of their selected works, The Jungle Books, The Good Terrorist and The Forsyte Saga respectively. This paper also intends to find the noble literary quality of the aforementioned works which made them worthy of Nobel Prize in literature. At the turn of the 20 th century, Alfred Nobel, in his will, decided to found an organization in order to cherish scholars and scientists who have done significant activities in their fields. To nobody's surprise, he included literature as one of the fields worthy of the reward, being immensely interested in literature himself. It is imperative to point out that firstly, the researcher's examination of the Nobel laureates is narrowed down to novelists and secondly, they are chosen to cover different periods of the life of the Nobel Prize, having in mind that the history of the Nobel Prize is divided into different periods by literary commentators concerned with the Nobel Prize and its standards according to the approaches taken for choosing the winners in each phase. Covering different periods of the history of the Nobel Prize, it appears that some other non-literary factors may have played a significant role in choosing the winners. On the one hand, there have been writers who won the Noble Prize due to political prejudices of the Academy like Kipling; on the other hand, writers like Galsworthy and Lessing seem to have benefited from this approach of the Nobel Academy. Galsworthy, striving to give voice to the other silent part of society and suppressed writers and Lessing, a constant supporter of the change and improvement in the condition of women, were involved in some political issues in attempts to bring into light political and social flaws of society and political system.

The works of Rudyard Kipling, the first and the youngest, Doris Lessing the last and the oldest and at the same time the only female author and John Galsworthy the only lawyer-novelist Nobel Prize winners of Britain are critically analysed in this paper to investigate the common core of the literary nobility of their selected works, The Jungle Books , The Good Terrorist and The Forsyte Saga respectively. This paper also intends to find the noble literary quality of the aforementioned works which made them worthy of Nobel Prize in literature. At the turn of the 20 th century, Alfred Nobel, in his will, decided to found an organization in order to cherish scholars and scientists who have done significant activities in their fields. To nobody’s surprise, he included literature as one of the fields worthy of the reward, being immensely interested in literature himself. It is imperative to point out that firstly, the researcher’s examination of the Nobel laureates is narrowed down to nov...

En los escritos de mujeres árabes analizados en este trabajo, el encierro y el exilio se contraponen, restringiendo la posibilidad de libertad a un espacio intermedio, la escritura. A través de novelas, ensayos y poemas, se delinea un espacio liminal, libre de maniqueísmos, donde la tierra abandonada es tan añorada como temida. Al contrario de otros escritos del exilio, el país perdido no es homenajeado ni idealizado, es culpable del encierro. Así, la transformación social es condición irrenunciable para el regreso y es la razón del activismo y compromiso de las autoras con los países que dejaron atrás. Son escritos que surgen de experiencias de mujeres en la intersección de dos negaciones: ser árabes en occidente y ser mujeres en países árabes. ¿Cómo reclaman en sus escritos su integridad en un espacio donde los extremos les exigen el desgarre, la amputación? Aquí se busca recuperar el sentido del encierro y del exilio en los textos de autoras como Hamida Na'ana, Samar Yazbek, Ghada al-Samman, entre otras, descubriendo los rasgos de su similar propuesta poética: su celebración en clave de denuncia (¿o denuncia en clave de celebración?) de la lejanía y de la cercanía, y su inadvertida pero transparente redefinición de la libertad.

This paper is hinged on the following proposition: that in no other region in Africa are the arguments about the role of the artist in the “public” sphere more intense as is the case in North Africa; that the problematic of what constitutes the “public” sphere in North Africa is circumscribed by the struggle for and the contest over “power”, “status” and “authority”; that the attempt by North African writers particularly Najib Mahfuz (d. 2006) to mirror the sociopolitical and cultural fissures and contradictions in the public sphere usually lead to conflict not only over what constitutes the “public sphere” and who governs it, but equally on how the “private” and the sphere “in-between”-in its quintessential slippery and highly charged texturescould be reclaimed for the “public good”. In grappling with the foregoing the paper rereads Najib Mahfuz’s Awlād Hāratinā (Children of our Quarter 1959). In reading for “meaning” and the “meaning of meaning” in the novel the paper pays attenti...

This paper is hinged on the following proposition: that in no other region in Africa are the arguments about the role of the artist in the "public" sphere more intense as is the case in North Africa; that the problematic of what constitutes the "public" sphere in North Africa is circumscribed by the struggle for and the contest over "power", "status" and "authority"; that the attempt by North African writers particularly Najib Mahfuz (d. 2006) to mirror the sociopolitical and cultural fissures and contradictions in the public sphere usually lead to conflict not only over what constitutes the "public sphere" and who governs it, but equally on how the "private" and the sphere "in-between"-in its quintessential slippery and highly charged textures-could be reclaimed for the "public good". In grappling with the foregoing the paper rereads Najib Mahfuz's Awlād Hāratinā (Children of our Quarter 1959). In reading for "meaning" and the "meaning of meaning" in the novel the paper pays attention to the sociopolitical and cultural "codes" provided by Najib Mahfuz even as it searches for possible theoretical insights that the works of Arab-African and Euro-American writers including Ibn Qayyim, Abdul Qāhir al-Jurjānī, Edward Said, Michel Foucault and Benhabib could yield in an excursus which probes into how the trialetic of "power", "status" and "authority" continues to shape the "public" the "private" and the sphere "in-between" of the Egyptian society.

Awlad Haritna (1959) almost cost Naguib Mahfouz his life. The attempt on Mahfouz's life in 1994 was the result of a fatwa issued by Islamist cleric Omar Abdel Rahman, the blind Egyptian cleric and militant currently serving a life sentence in the United States. Abdel Rahman's fatwa followed that issued in 1989 by the then Iranian Supreme Leader Ayatollah Khomeini against Salman Rushdie after the release of The Satanic Verses (1988). Khomeini sanctioned the shedding of Rushdie's blood on the basis of blasphemy and called upon Muslims to kill him if they got the chance. One year later, Abdel Rahman linked Rushdie to Mahfouz, making the assumption that had the second been killed, the first would not have thrived: "Both Salman Rushdie and Naguib Mahfouz are apostates, but had we killed Mahfouz from the very beginning, Rushdie would have never emerged," he was quoted as saying. "If those people do not repent, they have to be killed." While The Satanic Verses did revive interest in Awlad Haritna, it was the Nobel Prize for Literature that Mahfouz was awarded in 1988 that brought the novel back to the limelight and renewed fatwas against its author. Although he was given police protection, an Islamist extremist succeeded in attacking Mahfouz outside his house and stabbing him in the neck. Mahfouz survived, yet his right arm was permanently affected and his ability to write dwindled remarkably.

In recent years, women's activism in Asia has received greater attention in literary production. The active involvement of women in instigating, propelling, and sustaining revolutionary activism has assumed a significant status to warrant in a female gender perspective. This article examines Robert Hamilton as an innovative novel depicting the role of women in urban uprisings, particularly during the Arab uprisings of 2011. Drawing on James Scott's (1985) construct of the "weapon of the weak," it explores how technology, specifically smartphones, became central to the activism of female characters in the novel. The analysis involves a close textual reading of the novel, considering the fragmented narration of the novel and the representation of social media as a tool for organizing protests. The article looks at how Mariam's character is used to represent women's activism, highlighting the innovative ways she utilizes technology to oppose more potent oppressive forces. Examining how propaganda and fake news play out in the book against the struggles of the main characters, this article shows how power dynamics shift when even the most vulnerable people have access to powerful technologies.