وعود مؤجلة عودة إلى سؤال الأدب و غوايات التخييل و التسريد

Abstract EN

This is a long analyse of the technical and stylistic tools any writer should use correctly in order to make the reading experience of his novel a pure pleasur by the surrender of the reader to its imaginative delusion, its dreamy world, and its coordinated and artistically furnished space in a way that transforms the reading experience into a joyful adventure, whether by negative, neutral esthetic reception, or by a positive one, where the reader participates in interpretation and production of the meaning .beside that we have been keen on analyzing the practices that spoil that dream, confuse it, and cast obstacles in front of the smooth reading, by making use of the principles laid down by the American critics ; John Gardner and Ben Yagoda in their books in wich they analyzed these issues at length, from wich we borrowed the most critic principles used in in this article especialy the Reading from the perspective of imaginative dream, textual pleasure, intense or nude style, and natural performance that takes into account the values of rhythm, harmony, and sweetness, in opposite of the amateur performance that is stuck in its shortness of affectation and emotion, or emotional coldness, superficiality, and the inability to access the intimacy of characters, building plot and the like.

After controlling the methodological critical determinations capable of reading the work and revealing its literary and artistic potential, we used it to read two fictional works that were consecrated by the official literary institution in the Arab countries with two prestigious awards, namely (Katara) and (poker), based on a preliminary dedication that gives the impression of a basic primary investigation of literary and artistic values.

It was also established by the jury and judged through it to sort the texts and crown the best of them with the award, which makes this study a review of that choice on critical and methodological grounds without any prior assumption, with the exception of working from within the two texts, and presenting them to critical controls established in the work of the critics mentioned above.