مرجعيات تماهي الخطاب الصوفي في الرواية العرفانية : قراءة تأويلية في "ياسين قلب الخلافة" لعبد الإله بن عرفة

Abstract EN

This research deals with a very important topic, because when literature comes in to contact with the religious system with a creative vision, it is accused of superficiality in its creative dealing with meaning and weakness in building.

The criticism is innocent.

Perhaps the greatest evidence that it is free of this accusation is the prevalence of a type of narrative narrative in Morocco known as the mystical narration.

and dreams.

This is because whenever you read this type of narration, you will find that you are rich in knowledge, and an unparalleled artistic pleasure.

Not only that, but the matter will become clear to you on a narrative that married the mystical discourse and the genre of the novel in a literary art in which the arts and methods of narration permeate feelings of admiration, love, passion and infatuation to the extent that the recipient stands in front of it amazed and admired by this type of purposeful literature, and finds no way but to accept good Style and beauty of creativity.

Perhaps the reason for this is due to the phenomenon of identification between the author and his subject, or between the novelist and his characters, or between the subject of the novel and the techniques of narration; Rather, this identification is very possible due to two main references: the identification of the threshold of the title and the text of the novel, and then the identification of the dualities of the personality and the event, and the research dealt with two models of interpretive reading that beg for the purposes of the text of the novel (Yassin Qalb Al-Khilafa), through the topic (Identity).

Sufi discourse in the narrative) through the mystical novel.

Concluding the recognition of the identification of the Sufi discourse in the mystical narrative refutes the allegations of the bearers of the inability to marry the Sufi discourse with the techniques of narrative narrative.