صورة البطل في رواية براري الحمي لإبراهيم نصرالله

Abstract EN

The hero in real literature is an ordinary person from the common people, and so the real hero differed from his classic and romantic counterpart, so he is no longer a knight, noble or feudal lord who owes the world loyalty to him as is the case of the classic hero, but he is an ordinary person who touched and irritated the relationship that binds him to others and society and realized the relationship between them He is influential and affected at the same time, striving to prove himself and obtain rights, but his effort and not at the expense of others.

Changing the image of society, its concepts, values and perceptions affects the literature and its characteristics, and leads to the emergence of the image of the hero with new features and specific features.

Prairie Fever is one of the most novelist stories of a modernist character that were issued in the eighties and it is characterized by its own new original taste, due to its abandonment of the element of time and the sequence of events and the establishment of a relationship between it between the form and the content and the adoption of a temporal parallel to the human events of the painful realities of the place and the fist grip of traditions inherited since Centuries and the nature of the mechanism upon which the state.

In this article, the two researchers are trying to bring the appearances of the hero to the general and the hero in this narration and his suffering with the problems he faces in Al-Qunfudah, that desert in Saudi Arabia, according to the descriptive-analytical approach.

What the article found is that the Barārī al-ḥummá is not concerned with the existence of the heroism or the pivotal character with certain features and features, the characters in this novel are without features or dimensions and are only symbols or consciences without end and we find that Nasrallah cuts his hero from any relationship that would give him a special identity With it and an explanation of his existence, he is cut off from himself and others, and we find confusion in this narration, as the hero's vision dominates the mental fantasies and confused fantasies of the dream mixing with the truth, and we also face figures with fuzzy and foggy destinies depicted by Nasrallah.