ثيمة الشك في الرواية الميتا سردية : رواية حمام الدار : أظحجية ابن أزرق أنموذجا

Abstract EN

The research presents the nature of the metafiction and the conditions of its emergence associated with the phase of deconstruction, and the preoccupation with what is beyond knowledge and arts (meta).

it also traces its features of questioning, doubt, self-awareness, the crisis of the identity of the narration, breaking the illusion of realism, the interference of creativity with criticism, and the participation of the recipient.

the purpose is to the confirmation of the theme doubt as a common theme among meta-narrative novels.

the research focuses its attention on the novel (the pigeons of the house) by the Kuwaiti novelist Saud al-Sanousi, based on the thematic and narrative approach.

the theme of doubt was the most prominent semantic axis in the novel.

many semantic circles centered on it (suspicion, ignorance, ambiguity, loss, questioning, remembering, silence, fear, sadness and dreaming).

the semantic imperative‘the pigeons of the house does not absent, and the snake of the house does not betray’ reflects the theme of doubt in light of the presence and absence human in its relation with the place.

this suspicious-generating fluctuation extends through the opposite dualities in the novel, for examples, the turbulent character, the place between safety and fear, the time between memoirs (the past) and mornings in the character’s present, the action between the loss of pigeons and the loss of parents, and the conflict between the real (the author) and the imaginary (the characters of the novel).

the research traces the connotations of colors and their relationships.

it observes that the dominance of the blue color, as a symbol of the authoritarian father, constitutes the semantic space of the novel, in contrast to the scarcity of the green color as the safety of the missing (son) character.

the suspicious nature of the novel was also reflected in the multiplicity of its stories, the locations and types of the narrators, the overlapping of narration levels, and the open ending, which created the need for six styles of font, and variations of titles in terms of their locations, fonts, and sizes.