عتبة العنوان في روايات أيمن العتوم

الملخص EN

The title is a particularly important element in the internal and external paratext in terms of its place, importance and signification.

Therefore, it occupied a great deal of attention on two levels: The level of critical discourse and the level of literary discourse.

Critics in the West have been engaged in the study of titles since 1968, and the made extensive studies on what they called "Titrologie".

At the level of literary discourse, the title is of extreme importance as a revealing sign as well as being a controlling component that governs reading.

In addition to the abundance of literary works at the present time, authors have been interested in the creation of titles to attract readers and determine their expectations.

Therefore, the writers compete in the selection of vague and subtle titles to their works.

They use different strategies to create their titles which may be related to a particular ideology of the writer.

Thus the title became a substantial discourse with unlimited energy to produce significance.

In this paper, I examine the title in the novels of Ayman AlAtom.

The choice of this writer is based on the fact that he followed a consistent strategy in which he derived all the titles of his novels from Quran, such as (Yā Şāĥibayi As-Sijni (O two companions of the prison), Yasma`ūna Ĥasīsahā (They hear the slightest sound of it), Ĥadīthu Al-Junūd (The story of the soldiers), Khāwiyah (hollow), Nafarun Mina Al-Jinni (a group of jinns), Dhā'iqatu AlMawt (Tasting death), Kalimatu Allāh (The Word of Allah), Ismuhu 'Aĥmad (Whose name shall be Ahmed), Tis`ata `Ashar (Nineteen).

When the intertextual phenomenon occurs consistenly in the works of the author, it provides suggestions related to the perception of writing and its functions in a social and cultural situation.

This paper is an attempt to answer a range of questions including: What motivated the writer to follow this consistent strategy? Is this strategy related to a particular ideology of the writer? Do the titles of his novels represent a message or a parallel discourse to the text itself? How does the title work within the text? How effective is the use of Qur'anic texts as titles for novels?