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Narrative and visual art representations read models in marginalized narrative | ||
| Journal Of Al-Frahids Arts | ||
| Article 1, Volume 1, Issue 27, 2017, Pages 39-64 | ||
| Author | ||
| Khalil Shukri Hayas | ||
| Abstract | ||
| The interpenetration between genres is one of the vital topics in both literature and criticism, in which the hybrid genre that consists of more than one type of literary genres exceeds the traditional legacy that is framed with gender or type. In this respect, the author can open more horizons with his text so as to accommodate the techniques of other creative texts and at the same time, keeping the experience’s framework since it is the topic of the text. Such framework is the result of cultural and educative entity that has a real existence outside the text and imaginative existence inside the text. The short story is one of the literary genres that has opened the way for the interpenetration (mix or overlap) with other genres. It doesn’t matter whether these genres are close to the short story or away, opposite to it or not, real or imaginative, oral or written, new or old. The short story exceeds all theses aspects and comes to a case of interpenetration with cinema, theater and plastic art. Its wide spread has touched the cultural legacy , the ancient recording knowledge, and all the components of human awareness. According to what is mentioned above, this study tries to enter the world of Iraqi marginal stories that haven’t exposed to enough critical studies for many reasons: the most important one is that Iraqi criticism was restricted by the autocracy of the central government at certain period of time, and because of those who mixed politics with literature. As a result, a binary equation appeared of central and marginal literary works. Literary works that were represented by the Capital considered as central, and other literary works by other Iraqi regions considered marginal. the other reason is that the central government considered the religious literature as forbidden, they only allowed the secularist one. So the first was marginal and the second was central. For the sake of this study, three short stories are chosen. The first one is (the night of rain) by Hassan Silviani. this story is translated from Kurdish into Arabic. In this story,The study deals with the interpenetration between the narration and the montage of the cinema. The second story is (images) by Jamal noori , the study examines the interpenetration between the narration and the camera filming in this story. The third one is ( the dark portrait)by Theli Salih, and it is also translated from Kurdish into Arabic. In this story, the study deals with the interpenetration between the narration and the plastic art. Introductory words: Iraqi narration, visual arts, Hassan Silviani , Jamal noori, Theli Salih, narration in plastic art, narration in camera, narration in montage. | ||
| Keywords | ||
| Narrative and visual art representations; read models in marginalized narrative | ||
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