Dramatic Silence in the Plays of Naguib Mahfouz | ||||
| مجلة وادي النيل للدراسات والبحوث الإنسانية والاجتماعية والتربويه | ||||
| Volume 43, Issue 43, July 2024, Page 1-30 PDF (550.22 K) | ||||
| Document Type: المقالة الأصلية | ||||
| DOI: 10.21608/jwadi.2024.371760 | ||||
 View on SCiNiTO | ||||
| Author | ||||
| Ahmad A. Elsheemi | ||||
| Faculty of Al-Alsun, Beni-Suef University | ||||
| Abstract | ||||
| In the plays of Naguib Mahfouz: "Yumeet wa Yuhyui" (Death and Resurrection), "Al-Tarika" (The Legacy), "Al-Nagah" (The Salvation), " Mashru’ Lilmunaqasha " (A Draft Proposal)", "Al-Muhemah" (The Task), "Al-Mutaradah" (Chase). We want to prove that silence in these plays is the main character; the hero; the initiator of all action. Mahfouz treated silence as a very important dramatic element, influenced by a long tradition of using silence in drama since Sophocles to Harold Pinter and Samuel Beckett. It is suggested that Mahfouz uses all forms of silence in these plays, we shall concentrate on five main forms: suspension dots, pointed silence, stage direction pauses, and suspension sentences. | ||||
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