| Abstrakt: |
The present article deals with the comparative study of literary fiction and music in the short story Marsh al-Ghroub by Youssef Idris, based on comparative literature criticism studies and with a semiotics discourse approach. In this story, in addition to the musical title, a kind of folk music related to the profession, in the overall structure of its plot, advances the narrative sequence. In this discourse three types of active, tense and aesthetic presence are formed and the main core of the process of meaning is aesthetic presence. At this stage, the music becomes the essence of music. Therefore, the issue that arises is what the aesthetic presence is based on. How the dialogue between literature and music guarantees the transformation of the world? This research examines three types of presence in this story with a descriptive-analytical method, and at the same time, they refer to the role of title, place, and time. This study shows that the subject, passing through two relations of action and tension due to the phenomenological view, reaches one of presence and aesthetic moment, and its manifestation is shown in his improvisation and his ecstatic and transcendental relationship with existence. At this stage, due to the disturbance in the action and tension relationship, the literary narrative suffers a deficiency in its progress, from here, literature and music enter a dialogue, and the reflection of the voice of the narrative is entrusted to music. [ABSTRACT FROM AUTHOR] |
