By Radwa Ashour, Ferial J. Ghazoul
This e-book is a useful new reference resource and important evaluate of Arab ladies writers from the 19th century to the tip of the twentieth.Arab women's writing within the sleek age started with A'isha al-Taymuriya, Warda al-Yaziji, Zaynab Fawwaz, and different nineteenth-century pioneers in Egypt and the Levant. This certain research - first released in Arabic in 2004 - seems on the paintings of these pioneers after which lines the improvement of Arab women's literature throughout the finish of the 20 th century, and likewise features a meticulously researched, accomplished bibliography of writing by means of Arab girls. within the first part, in 9 essays that disguise the Arab center East from Morocco to Iraq and Syria to Yemen, critics and writers from the Arab global research the beginning and evolution of women's writing in each one kingdom within the zone, addressing fiction, poetry, drama, and autobiographical writing.The moment a part of the quantity includes bibliographical entries for over 1,200 Arab girls writers from the final 3rd of the 19th century via 1999. each one access incorporates a brief biography and a bibliography of every author's released works. This part additionally contains Arab women's writing in French and English, in addition to a bibliography of works translated into English.With its wide scope and large study, this publication is an imperative source for someone drawn to Arabic literature, women's stories, or comparative literature.
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Additional info for Arab Women Writers: A Critical Reference Guide, 1873-1999
20 The love story between ‘Aziz and Rosa is, ﬁrst and foremost, a story of exile and alienation, from oneself and one’s country, after events in Mount Lebanon separate ‘Aziz from his father and death deprives him of his mother. The tragedies that befall Rosa do not happen because she is a woman, nor are ‘Aziz’s sufferings speciﬁc to his being a man. Rather, they grow out of this beginning, from what happened to ‘Aziz’s father Habib Nasr Allah and his mother Fatina. In other words, they are linked to conditions in Lebanon, which are represented in relationships between individuals and their conduct, and in the dissolution of these relationships and departures.
Both were strangers in their own countries, but love teaches them that exile and alienation are inscribed, ﬁrst and foremost, in the self and thus much crueler than physical exile from one’s homeland. Love in Sha‘ban’s novel is a human characteristic that rises above social violence and scenes of war that burden memory. In Iman Hamidan Yunus’s Ba’ mithl bayt . . mithl Bayrut (B as in Beirut) 1997, the war destroys love: women live the daily grind of war and lose the intimate ties that were all that remained to them after the death and destruction.
In this novel, alternately realistic and fantastical, the masculine and the feminine merge completely and the differences between them become negligible. The protagonist, Hamad, is both masculine and feminine. ”44 His sexual identity crisis is linked to his status as the sole boy among seven girls and his resemblance to his mother, Silana. As a result of their intimacy, everyone calls him “Hamad, the son of his mother,”45 as if he has no relation at all to his father ‘Aql. But ironically, Hamad is not saddened by his mother’s sudden death as one would expect—particularly since he grew into adolescence without ever cutting the umbilical cord that bound him to her.