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By Ferial Jabouri Ghazoul

This factor is dedicated to exploring inventive texts through authors from the Arab global, together with KarimAlrawi, Edward stated, Rafik Schami, and Ahdaf Soueif, who write in Dutch, English, French, German, and Hebrew.

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The question is sometimes raised, therefore, as to which of these has the truest claim to be seen as Maghrebi literature; an attitude which seems to ignore the possibility of plurilingualism: an issue examined in depth by Abdelkebir Khatibi, one of the most vociferous advocates of diversity, in several works, including Maghreb pluriel (Plural Maghreb) and Figures de I'etranger dans la litterature frangaise^ (The Foreigner in French Literature). Nevertheless, even though it may be difficult to group Maghrebi Francophone writings under a single heading, it may be useful to look at their various facets, to determine whether there is a unifying thread which could be said to link them together to form a distinguishable canon, in terms of language and concerns.

Aboul-Fotouh ne peut que conclure sa these citee supra par un voeu pieux qui resume toute sa demarche: "Face a un roman charge de tant de symbolisme et de valeurs culturelles, il faut que, de son cote, le public d'accueil assume un role qui depasse celui d'une simple lecture passive. Pour bien apprehender tous les niveaux de lecture dans une oeuvre, ce public devrait etre en quelque sorte, si nous osons dire, sociologue et historien. Alors, mais alors seulement, 1'integrite de 1'oeuvre originale serait preservee" (Traduction et reception, p.

J. ], Bibliographic de la culture arabe contemporaine (Paris: Sindbad/Les Presses de 1'Unesco, 1981) pp. 371-72). Nada Tomiche, La litterature arabe traduite. Mythes et realites (Paris: Geuthner, 1978) p. 21. Noter en ce sens le fait que la traduction fran9aise du roman de T. al-Hakim a etc reedite dans la collection "Terre humaine" (Plon, 1974), specialisee dans les recits et documents ethnographiques. On pourrait expliquer par ce type d'affinites la relation privilegiee qui unit alors Yahya Haqqi aux jeunes de la generation des annees soixante, qu'il re9oit sans fa9on dans son bureau d'al-Majalla et public volontiers, alors meme qu'il n'a guere d'attirance pour leurs audaces morales et esthetiques.

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