@misc{10481/91431,
year = {2024},
month = {1},
url = {https://hdl.handle.net/10481/91431},
abstract = {The Arabic short story occupied a prominent position, and this is due to the great interest it received
from her book, the latter which became the tongue of the writer who expresses what stirs in his chest
in a beautiful artistic form, using its mechanisms to write about the homeland, heritage, love, war,
memory and the encounter of cultures.
Mohsen al-Ramli is among the Arab writers who produced a short narrative discourse that relies on
experimentation, symbolism, imitation, suggestion and declaring between the real and the delusion of
it.
Iraq is an occasional guest in all the stories that involve a sense of deprivation, but the absent Iraq, the
Iraq of the family, tries to be present as a hidden equivalent to the one that haunts the imagination of
the storyteller in his exile, yet it remains on the sidelines of events even if it tries to cling to the
consciousness of the hero of the story.
It is hoped that this article will answer some questions, perhaps the most important of which are: To
what extent was the structure of the story formed in a group of papers far from the Tigris? What is the
peculiarity of writing sandy stories?},
publisher = {Universidad de Granada},
keywords = {Structure},
keywords = {Short story},
keywords = {Mohsen Al-Ramli},
keywords = {Symbol},
keywords = {Title},
keywords = {Motherland},
title = {Narrative Techniques in the Short Story According to Mohsen Al-Ramli: Distant Papers from the Tigris as a Sample},
doi = {10.47750/jett.2024.15.01.016},
author = {Attia, Fatima Zohra and Abdelhadi, Mohamed},
}