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ʕĪsà ʕUbayd, Muqaddima (1921)

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Arabic
1 – الفنّ القصصي في مصر فنّ ولید ، لم يستوفِ حقّه من ا لجلاء تجاه أفكار كتّابنا العصريين لاستغراقهم في وضع أو تعريب الروايات المرسحية ممّا قد كاد يكون عندنا الفنّ المرسحي قبل الفنّ القصصي
translit
1 – al-fann al-qiṣaṣī fī miṣr fann walīd, lam yastawfi ḥaqqa-hū min al-ǧalāʔ tuǧāha ʔafkār kuttābi-nā ’l-ʕaṣriyyīn li-’stiġrāqi-him fī waḍʕ ʔaw taʕrīb al-riwāyāt al-marsaḥiyyaẗ mimmā qad kāda yakūn ʕinda-nā al-fann al-marsaḥī qabla al-fann al-qiṣaṣī
Transl_SG
1 | The art of story-writing1 in Egypt is a newly-born art that has not yet obtained in the minds of our contemporary writers the prestige/ presence/prominent place it deserves, because they are so occupied with producing or Arabizing2 theatrical3 plays4 that, for us [sc. Egyptian writers], dramatic art almost comes before story-writing,
1. al-fann al-qaṣaṣī (or perh. better: qiṣaṣī): Given that (oral) story-telling has a long tradition in the Middle East and I don’t think that the author completely ignored this, the expression is rendered by ‘story-writing’ here (and further down by ‘narrative prose’). 2. Taʕrīb ‘Arabizing’: means ‘translation into Arabic’, which often rather implies an ‘adaptation’ of the plot to the domestic context than a translation in the contemporary sense where – an ideally congenial – faithfulness vis-à-vis the original is the desired norm. 3. The author still uses the adj. marsaḥī rather than the more modern masraḥī, with metathesis. 4. Lit., accounts, reports – riwāyāt. For the author’s variable use of the term riwāyaẗ, cf. also below, passim.
keywords
AR: fann, qaṣaṣ/qiṣaṣ, Miṣr, kuttāb (kātib), ʕaṣrī (ʕaṣriyyaẗ), waḍʕ, taʕrīb, riwāyaẗ, marsaḥ
EN: art, story-telling, Egypt, writer(s)/writing, modern(ity), composition, Arabization, theatre
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Enhet: Det humanistiske fakultet   Utviklet av: IT-seksjonen ved HF
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