Kamal al-Lahib Studies Narrative Speech in Mohammed Nagi's Novels

Kamal al-Lahib Studies Narrative Speech in Mohammed Nagi's Novels
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Kamal al-Lahib Studies Narrative Speech in Mohammed Nagi's Novels

Kamal al-Lahib Studies Narrative Speech in Mohammed Nagi's Novels

The General Egyptian Book Organization has recently published a new book titled "Analyzing Narrative Speech" by Critic Dr. Kamal al-Lahib.

In the introduction, Al Lahib said the book has two goals. The first is to dive into the depths of the narrative speech in general, by examining its basic components and quotes, to elicit the philosophy lying behind it and its narrative formations in all Mohammed Nagi's novels.

Nagi always stayed away from noise and debate, busy fighting his illness that reminded him of death every minute. He fought his death by using his art to create several lives with unforgettable characters. His constant thoughts on death might justify his great fondness of creating new characters, and sculpting them skillfully and patiently until he turns them into icons.

"The second goal is studying the narrative speech used by Nagi, starting with the character, by building a critical platform that discusses it in a panoramic picture, and detects its complications and interactions with all the components of the narrative structure," he added.

The book considers that the character element is one of the most important pillars in a novel and an indicator of narration in a text.

In other words, the narrative does not exist without the character, and this is why studying the narrative character is a more important research field than narrative criticism. This study explores the process of character creation including its dimensions, external, internal, and social traits, its introduction, and its classification.

It also highlights the connections between the character and the other components of the narrative structure.

Kamal al-Lahib says he used a simple style for the discussion of the hypothetical material in his book, before moving to the deep analyses of Mohamed Nagi's writings, so those who didn't read the latter's works can easily understand the critical proposal.



Amsterdam Honors its Own Golden Age Sculpture Master

Quellinus has been described as the Bernini of the North. Ramon van Flymen / ANP/AFP
Quellinus has been described as the Bernini of the North. Ramon van Flymen / ANP/AFP
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Amsterdam Honors its Own Golden Age Sculpture Master

Quellinus has been described as the Bernini of the North. Ramon van Flymen / ANP/AFP
Quellinus has been described as the Bernini of the North. Ramon van Flymen / ANP/AFP

Imposing but delicate marble sculptures of Graeco-Roman-style figures grace the vaulted corridors of a huge palace. But this isn't Florence or Rome. This is Amsterdam.

As part of celebrations to mark 750 years since the founding of the Dutch capital, the city is unveiling from Wednesday an exhibition dedicated to Artus Quellinus, the 17th century "sculptor of Amsterdam."

Virtually unknown outside Flanders in present-day Belgium where he made his name, the city has Quellinus to thank for the decorations on the Royal Palace that dominates the city's iconic Dam Square.

Quellinus "lifted our sculpture to a new level" with a fresh style, Dutch art historian Bieke van der Mark told AFP.

Born in Antwerp in 1606, Quellinus sculpted with marble, as well as ivory and clay.

His style, heavily influenced by Flemish baroque painter Reubens, was a complete novelty for the Protestant Netherlands, used to a more sober style at the time.

His subjects -- mythological figures, chubby angels, and animals -- are perhaps a nod to the great masters he would have seen while an apprentice in Rome.

"Like (17th century Italian master Gian Lorenzo) Bernini, he masters the way the flesh looks, and hands," said Van der Mark.

"It's really fantastic," said the 46-year-old, pointing to a statue of the Saturn devouring his son, whom he holds in his huge veiny hands.

Organized by the Amsterdam Royal Palace and the Rijksmuseum, this is the first-ever retrospective devoted to Quellinus, displaying more than 100 of his works from national and international collections.

"We spent quite some time to select and to collect, to bring together all these very special works... to show Quellinus at his best," said curator Liesbeth van Noortwijk.

"Because I think he's an artist that deserves that."

"We dare to call him the Bernini of the North... And I think this is no exaggeration," she told AFP.

The decorations of Amsterdam's Royal Palace, built as a town hall between 1648 and 1665, remains Quellinus's statement work, with an iconic figure on the roof of Atlas bearing the world on his shoulders.

Now, nearly 400 years on, the city hopes the show will raise awareness of the hitherto unrecognized "sculptor of Amsterdam."