Emirati and Moroccan authors emphasized the lasting influence and dynamic potential of the short story as bot a guardian of cultural heritage and a fertile ground for innovative storytelling, speaking at a panel discussion on saturday program on saturday part of sharjah’s guest of rarjah’s guest of Rarjah’s Guest of Rarjah’s Guest of Rarjah’s Guest of Rarjah’s Guest of Rarjah’s Guest of Rarjah’s Guest of Rarjah’s Guest from Rarjah, Guest of Rarjah, of Rarjah Book Fair.
The panelists affirmed the unique capacity of the genre to reflect social changes, safeguard oral traditions and explore the limits of narrative expression.
By combining the ideas of the literary experiences Emirathi and Moroccans, the session underlined the important role of the story to reinforce the Arab literal identity and guarantee its continuous relevance.
Organized by the Sharjah Book Authority (SBA), The Session Nasser, and Maria Nasser, and Maria Nasser, and Maria Nasser, and Mariamside, and Mariam Nasser, and Maryside writer, and Mariamside, and Mariam Nassin, and Mariam Nassin, and Mariam Nassin, and Mariam. Readers, critics and cultural enthusiasts attend.
Maryam al Ghafli began the discussion in describing the historical roots of short history in the EAU, highlighting its deep connection with oral traditions such as Sirrat Bani Hilal and the stories of Saif Ibn Dhi Yazan. She accredited the literary pioneers, including Abdulaziz to Sharhan, Ali Abdullah, Abdul Redha to Saxwani and Mohammed al Murr, which he rewarded to significantly mold the trajectory of the genre.
Al Ghafli detailed three fundamental stages of the Emiratí short fiction: the era prior to the union, strongly influenced by broader Panarab literary movements; The phase after the union, marked by local thematic conerns; And the modern period of the 1990s, characterized by a greater global commitment. He concluded pointing out that the Emirati short stories “Begen where others had ended”, indicating his sophisticated narrative maturity from an early stage.
The Moroccan writer Abdul Nabi Dashin began his direction with a piece of poetic prose in honor of the experiences of women writers in the EAU. Then he drew the evolution of Moroccan short fiction, from the 1950s, when the issues focused mainly on national and social concerns.
In the 1970s, the authors broke separate from traditional narrative limitations, integrating the influences of cinema and visual arts. Dashin emphasized the deep and continuous influence of Arab inheritance in Moroccan narration, describing oral tradition as a “natural essay for the imagination” essential for the creative process.
Mariam Nasser addressed the technical complexities and creative discipline required by the writing of stories, qualifying it from the most demanding forms of literature due to its emphasis on briefness and precision. She illustrated this with the example of the Emirati writer, the Abdullah Saqr, Al-Khashaba stories collection, which was published in the EAU.
She signed the famous advice of Gabriel García Márquez of the Guayaba fragrance: “Do not bring a nail to your story unless you use it.” Nasser also emphasized the interpretive wealth of the highly condensed form of story writing, Flash fiction, and its inherent flexibility for creative exploration.
Regarding the heritage, he pointed out that the integration of popular stories and legends in contemporary short fiction demonstrates a deep commitment to preserve Arab cultural memory and safeguard vital traditions.
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