دراسة أسلوبية لتحولات الحبكة في القصة القصيرة عند فاطمة فوزي: مجموعتي (أوراق ممزقة-مسافة للحب)‎ أنموذجا

الملخص EN

This research aims to monitor the "stylistic study of plot transformations in the short story within two selected groups of the storyteller Fatima Fawzy", and was based on a basic hypothesis represented in considering the plot as an aesthetic and artistic goal that is subject to transformation, and its connection with the structure of the narrative or not, considering that the narrator is aware of the nature of the narrative template, and its narrative plot Based on the composition of the event and its generation, through aggravation and resolution, and monitored the existence of a transformational boom related to the increase in the severity of emotion; The intuitive image becomes the creative crop that finds its appropriate expressive vocabulary through poetics or creating influence in language without narration, a transformation with which the plot becomes poetic linguistic.

The short story becomes a monologue template or a prose poem, with another boom related to the desire to simulate the artistic plot in plastic arts such as drawing, where narration techniques turn into visual or visual display; The path of the plot becomes an element seen by sight, or represented by the geometric line, or the illustrated scenes (images) in a panoramic view of the successive event.

The transformation of the short story into a prose poem for the storyteller stems from the control of emotion and the activity of the imagination in making an intuitive picture of the meaning outside the scope of objectivity.

The plastic or representational pattern of the plot in the storyteller is linked to the process of meditation, which makes room; For the emergence of psychological time and the subjective world, which is based on the narrator's impressions and her own visions.

The simple, complex, and complex plot of the storyteller come as gradual patterns of narrative plot consistent with the vision or idea behind the work, with the logic that the content creates the form.

The narrator was able to weave the threads of the miraculous narration, and the poetic narration, which indicates the superiority of my stylistics, linguistic expertise, selectivity, and sensitivity, which is the secret of her talent.

In most cases, the narrator was good at signing a moment of enlightenment that illuminated the course of the plot, and she was also able to sign more than one moment of enlightenment in one story, and signing the moment of enlightenment came as an end to the story without fillers or digressions.

Sometimes the plot is weakened by the storyteller's ability to disintegrate the narrative structure, or the shortcomings of the moment of enlightenment, or the aesthetically unsatisfactory end, as it is weakened in the form of monologues by the weakness of the poetics themselves as a special structure, or by the weakness of the link between the formation plan that replaces the event and the event itself in the plastic plot.