The Tunisian and Moroccan schools of literary criticism still represent distinguishing marks in the academic level, but few academics have engaged in what the academic critic Muhammad Salih bin Omar calls criticism as opposed to describing university research.
Among those academics who approached the literary scene, the Tunisian poet critic Muhammad al-Badawi, who had previously published a variety of books, including “Illusions of Akkad and Genius”, “Methodology in Literary Research and Studies”, “Ali Al-Fazzani… The Poet’s Thirst for Life” and “Al-Hadi” Nouman ... a poet of hope and pain "and also" characteristics of children's literature "and" sources of children's literature ".. and his latest publication by Ibn Arabi publishing house," Tunisian Narratives, "in which he dealt with a number of Tunisian fictional and novelist works with criticism and review.
Tunisian literature and personality
The critic stems from the idea of victory for Tunisian creativity within the project of the critical writer and the continuation of the theses he supervised at the university or the programs he presented on the radio.
He considers that this victory is part of the restoration of distinguished Tunisian texts that have not received criticism or spread in Arabic as a result of "the siege crisis in publishing and distribution in Tunisia."
It is also likely that this interest falls within that extension of "a literary movement that has always sought to compete with the domination of the East over Morocco since long eras when Baghdad and the metropolitan areas of Iraq dominated the rest of the regions, including Africa and Andalusia."
However, the author continues to write that "this movement does not express a despicable chauvinist and regional tendency, and does not aim to eliminate the other, but rather wants to compete with it to support it until the literary scene becomes complete, extending from water to water and may exceed the boundaries of geography to reach every place where the Arabic letter says : I am here .. with you. "
The critic believes that one of the function of criticism and criticism of criticism is to search for the characteristics that distinguish this narrative in Tunisia or in other Maghreb countries, in order to complete the image and characteristics of Arabic literature with the well-established image of Levantine literature.
Professor Muhammad al-Badawi attributes the origin of the crisis to the emergence of this privacy and its access to the Arab reader of media and publishing. He considers cross-criticism of geography and critical literature that may contribute to breaking the siege on that literature.
Pragmatic criticism
The author’s keenness to simplify the critical approaches that dealt with the fictional and narrative blog that he worked on made him relieve the complex critical theories and the many referrals that the researchers ask, who sometimes fall into the fatigue of texts and deviate with them towards confirming the theory instead of those theories helping to understand the texts themselves.
Therefore, Muhammad Al-Badawi says, "The reader will notice that these studies were not keen on critical display, nor were they filled with the condensation of terminology and what corresponded to it in the language of the Persian language, and were not adorned with the sayings of (Gerard)
Genet
and (Tzvitan) Todorov and those who wrapped them. Rather, it was direct interaction with the text after practicing reading Texts in the light of modern curricula for many years.
The truth is that this is what a number of Tunisian critics have approached with regard to texts, headed by the late critic Professor Tawfiq Bakkar, who was the first to introduce Western critical curricula to the Tunisian University and the first to liberate it.
The diverse blog is spanning across generations
Since the cover, the reader easily notices that diversity in the studied code, which sometimes reaches the point of dissonance. The blog collects the texts of the founders with the latest publications of the new Tunisian literary generation. The readings focused on an analysis of the novels and stories of Mahmoud al-Masadi, al-Bashir Kharif and al-Taher Qiqa, but it also crossed that generation to stop at the work of Salah al-Din Boja. Mahjoub Al-Ayari, Mansour Mhanni, Youssef Abdel-Ati and Rashida Al-Sharni until she reached Hind Al-Ziyadi, Tawfiq Al-Baba, Nabiha Al-Issa, and Ali Al-Hosi.
This diversity is also due to the occasions in which these texts were written and for which these texts were written, and the critic subsequently collected and presented them in proportion to the general theme that unites them, which is the victory of Tunisian literature, which did not have ample luck in the East, although some of these novels and stories are known and some are considered texts The foundation for the Arabic novel is such as the novel "Hadath Abu Hurairah Said" by Mahmoud Al-Masaadi.
Questions of time and space poetry
Most of these approaches revolve around time and the stakes of the place narratively. Al-Badawi’s interest in the place comes from his belief that the place “is not just a space in which characters move and events revolve around, but rather that he is active in it and carries many connotations of the writer’s orientations and positions regarding the various issues surrounding the stories.”
This is what was proven in the analysis of the book “Eagles and Frogs” by Idris Guika and “The Wind of Time” by Youssef Abdel-Atti and “Somewhere” by Tawfiq Al-Baba and “Habak Darbani” by Al-Bashir Kharif, where the process of drawing places and moving them represents a central process in the narration, confirming the identity of the text The Tunisian and his "daughter".
While the interest in time is included in these approaches within the critic’s monitoring of the rhythm of the narration on the one hand and the dismantling of the social elements that the novel says and his analysis of the ideas of fictional and fictional characters according to those times in which they move, especially the major times related to the history of events, an occasion that the writer used to invoke to talk about the history of the origin of the text on the basis of From his topography (localization) and what he announces or what he conceals and exposes the personalities through their behavior and language, for language is also hostage to time and recite it.
A diverse Tunisian language
It is not possible to talk about a single language while we are reading this anthology from the Tunisian narrative code because writing is schools.
So if we included the Tunisian writers and novelists Salah al-Din Bujah and Mahjoub al-Ayari in the field of writing with the al-Masadi novelist, which is based on rhetoric and pronouncement, that poetic metaphoric language, where he says, for example, speaking about the language of Al-Masa’di, “he writes from a crowded memory in which the texts of Al-Jahiz and Tawhid, the news of Isfahani and the rhythms of the shrine are crowded together. Writing a carved sculpture from the flint language ... The publication of Al-Masaadi came as if it was felt by the beauty of rhythm, good casting and rhythm, far from my stranger, which has the beauty of the image and the eloquence of brevity.
The language of Tahar Qiqa, Hind al-Ziyadi, and Rashid al-Sharni can be inserted into the language of al-Bashir al-Kharif, but with a variation and according to each of them being aware of the importance of language in narrative writing as levels of social and class subtleties, not rhetoric.
The extent to which these linguistic choices are adapted to the nature of the literary current in which each writer writes.
Al-Badawi considers that the adoption of Al-Bashir in the fall of the Tunisian colloquial was one of his motives for documenting the daily circulation and the songs and songs that were popular at the time, and this would also localize the novel in its Tunisian space through the identity of its discourse and its language, so the studied juxtaposition between classical and colloquial, that colloquial that usually appears in dialogue.
In the fall, Bashir fought major battles for its consecration against writers who were fanatical to al-Fusha, and they saw in the presence of slang in the dialogue only a distortion of literature and an inability to innovate in it, while Al-Bashir Khareef considered this ignorance of the narrative, literature and its industry, and he is the writer who read Spanish and French literature and was influenced by them, especially the wonderful Miguel De Cervantes "Don Quixote", with which he intelligently interviews in his novels "Night Lightning" and "Ballara".
Al-Badawi’s book represents Tunisian narratives on the intensity and simplicity of approaches aimed at the general public and lovers of literature an important addition to the circulation of literature outside the university research traditions on the one hand and shedding new lights on texts, some of them new and some of them old, to incite reading it or re-reading it according to the culture of pleasure and searching for “the pleasure of the text” "In the concept of Roland Barthes and away from the constructive, deconstructive and hermeneutic theories, and the aversion caused by structural and semiotic theories when receiving literary criticism.