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Can we say that the methods of writing a short story have changed?

Basiruibrahim
By Basiruibrahim | self meida writer
Published 9 months ago - 0 views

 Can we say that the methods of writing a short story have changed?


 Can we say that the methods of writing a short story have changed? What is the nature of this change? Is it that what happened to her made her become an anecdote, or without a clear theme, or is it a change that affects - only - writing techniques, viewing angles, and the storyteller's treatment of all the narrative units in the story? These questions put us at the center of facing what is going on in the world of storytelling narratives, on the level of the centralization of this narrative in stories, or on the level of its functions in dealing with transformations and paradoxes, which have become a continent and stressful, and emitting pressing necessities in changing the narration game, including the narration game in the language, Or a narration game with history, biography, recognition, mythology and tales ..


 The Iraqi story is not far from this descriptive theoretical framework, nor from the practice that motivated the storytellers to go towards novel writing, as an open space for narration, and for its multiple problems, or an illusion of the idea of ​​expressive aesthetic adventure, or as a kind of revenge with history, as power hates the novel, and tends to To the story, which is often cloudy, and concise, and the wise and publicity act in it is limited, it has no effect on changing the loyalties of the audience, and on the competition of history, which is always made by tales and narratives of power ..


 The art of storytelling is one of the most narrative arts subject to transformation in his perspective, in his poetic linguistic representations, and in their metaphorical and formal references in their expert, graphic and semiotic context, and even in his openness to other arts and their technologies, as the story is a specialized form that has special artistic ways, Closer to Poetry) This is what Nadine Kordimer said, in terms of its sensitivity in making the fast shot / sentence, in the paradox formulation, or in terms of its use of the symbol, or in the representation of the transformative storytelling game ..


 This makes it more capable of possessing the power of suggestion, focus, jargon, rapid cinematic expression, and the narrative self-sensitivity towards what is descriptive, and what is metaphor in dealing with the idea, the theme, the subject, and about communication in the game of imagination, and in the use of coordination tricks. It lies in the mockery of history, in the lengthening of the story through its abbreviation, or by referring it to a semiotic or symbolic field, and by breaking the rhythm of time in it, by formulating what might be called the field time, which is linguistic time, hypothetical, allegorical, and deceitful, which is mentioned in Edgar Allen Poe's views, which indicated that the success of the storyteller lies in his possession of originality, ingenuity, focus, and a touch of imagination.


 Going to write this story can only be an adventure, about a large and accumulated history of storytelling, on the level of artistic realism in the fifties, and on the experimental level in the sixties, and the level of Venetian and magic in the seventies, which means pushing the storytelling game into a narrative break with a history The story is in fact, as the storytellers became more involved in experimentation, which began with the storytellers Jumah al-Lami, Jalil al-Qaisi, Sarkan Polos and Muhammad Khudair, to the vicinity of what Adwar Kharrat put forward by calling this type of storytelling by non-qualitative writing, those that affect naturalization, functions, and structures, The expectation was broken, up to the new generations of storytellers, who returned to the (storyteller) profession where they actually found horizons for fantasia, and in life a lot of alienation ..


 The new story may serve as a representative function of the stories of Dia Al-Jubaili, as she is busy designing the narrative scene through the paradox, to achieve the state of amazement and breaking the expectation horizon, and through what the camera eye monitors or narrates to stimulate the scenic drama energy, in charging the event, and in enriching its significance, as well as what the Ain Al-Hakawati observes. Who knows the secrets of the city, and its psychological, religious, ritual, and mythological memories, and this is what makes these stories involve metaphors and signs in which Al-Fintazi, Al-Gharibi, Al-Tarqawi and Al-Sha'abi are gathered.


 The story as a speech ..

 This title is a referral to a deliberative description of the story, as the new stories appear to exercise the function of the narration, as a discourse, in its constructive, deliberative approach, and in order to delude and foolishness, and in the restoration of the gaps that are usually left by writing history and realistic storytelling, so as far as the story / discourse It is a linguistic application, but it is a verb that relates to a narrator / narrator with self, and perhaps it is in describing Grimas as (a semiotic procedure that appears as a set of rhetorical practices expressed by voices, symbols, signs) in the stories of Dhia al-Jubaili (no windmills in Basra). To look at the concept of the story now, as his stories open to the area adjacent to the novel, where the telling, memory and characters, and where he realizes that the storytelling game is another aspect of the opposite game, as the storyteller engages in the narration of that contrast / paradox, just as he engages in the game of viewing reality and drilling in its surfaces And his memories, where the stories face a world that has changed completely, and reverted to retribution other than language, as it is his field, dictionary, and house of metaphors, and it is also his game of observation, anticipation, and transformation, as well as being his means of recording human defeats, wars, losses, and horrors through the voices of the victims, Of the dead, Mothers and granules made. The narrator writes to us the post-war narratives, where the victim is speaking, and to face reality through the main function of the narrator / narrator, as a type of anti-post-colonial narratives, which imposed a kind of rhetoric based on the verb of the vassal who speaks, exposes and strikes naked ..


 Stories have a sense of bitterness, soreness, and loss, just as the storyteller plays his game through the job of an obsessive writer, haunted by anticipated intuition, and engaging in narrative units, who have the most enriching theme for the storyteller, which is the theme of loss, absence, disappearance, betrayal, human weakness and death, which picks up its blades from the metaphor. And from the reality of the city transformed and violated and contradictory, and from the memory, and from the archives of war and diaries, and from the worlds of loss experienced by women and mothers, and through provocative language, cruel, stuffed with pain, and in a climate that calls the rhetorical side, where he traded the codes and symbols of those themes, and where the images and their technologies In which the al-Fantaazi al-Ghibaibi mixed with the magical realist .. the time of storytelling is the time of the victim, and the storyteller - here - is only the holder of the camera himself, which performs the function of monitoring the victim's movement, and monitoring the worlds and distortions of that fragmented, fragmented personality, which stands in the middle of pain To tell us the diaries of her grief, her ruin, her loss, her oryx, her transformation, and the horrors of her memory, possessed by the biography of war, fear and immigration.

Content created and supplied by: Basiruibrahim (via Opera News )

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