The fragmentation of critical reading involves an adventurous awareness, and an expansion of the series of critiques, so that the theoretical side is effective, and in a direction intended to reveal the relationship of this aspect to ideas and approaches, and even to the systematic hidden in the texts read, and since the novel is the most expansive and vivid narrative field, to choose a part of its structure To read, it means to subject this part to a critical anatomy, his carry merit as a reading field and refer to it as a semiotic field.
Text thresholds, or parallel texts, as described by Gerard Genette, have changed into a discursive structure because they have entered into visual, semantic and cognitive uses, or perhaps to evoke a certain vision, intentional or unconscious, to reveal which is aesthetic and representative, leads to the approach of the hidden in history, or in the worlds of its characters, or to provoke the reader, and I think this critical and semiotic characterization has become an important element in the contexts of the cognitive use of reading. To the extent that the critic assumes the real existence of the parallel text, he intends to make it a subject for experimentation and induction, and perhaps to give the reader revealing keys to the narrative text, and to the references that raised by the thresholds, which may seek interpretation, or treatment of the signs frequency thereof, in the context of providing a predicate or revealing reading, or framing it as a kind of narrative scenography.
The book “Textual Thresholds in the Narratives of Muhammad Hassan Alwan” by Saudi critic Mona Khalaf Al-Anazi, recently published by the Arab Diffusion Foundation in Beirut / 2021, places us before these approaches, at the level of his “postmodern” ”Critical treatment or at the level of identifying the nature of its semiotic context, as The novels of Muhammad Hassan Alwan refer to worlds in which there is more hidden than preached, and in which there is a semiotic immersion, which is the task of the “mayoral reader,” as Rivatir calls it.
In presenting the book, Muhammad Al-Shehri wanted to point out the importance and effectiveness of the semiotic lesson of the concept of thresholds, and to justify the author’s ability to possess it through her semiotic treatment, and by using it in the framework of the mechanisms of reading and comprehension, through what is representative, and what is systematic, and this correlation is What gave this study its distinction, as a study that transcends the pattern, to the approach of thresholds as instruments and media to to feed the act of reading, and to reveal the relationship of those media to a range of psychological, historical, and plastic functions in the novel texts.
To pay attention to the thresholds means to take care of creating parallel tools for definition and description, and to entice the reader to search for what is in depth, not by describing the mobilization of reception technology, but by revealing the vitality of the text, and its relation to the novelist’s experience, and the cultural field in which he moves, and we mean here the narrative and critical fields in Saudi Arabia, where the writing of a novel is a distinctive became characteristic in the Saudi cultural scene.
In her introduction, Al-Enezi wanted to place her approach to thresholds in the context of the activation of the reading field, and to make her vision a sensor for detection, and to motivate the digging into the depths of the read texts, and on a way that criticizes the thresholds as an exercise in the game of detection, or is effective experimentation, with the aim of renewing the instruments of the critic, and its transformation is parallel to the text of the thresholds.
The novels “The Ceiling of Sufficiency” “Sofia” “The Collar of Purity” “The Beaver” and “A Small Death” are the narrative space in which Al-Anazi moved, through choice, experimentation and application, as she studied thresholds, an attempt to illuminate and deceive the semiotic, as a temporary measure, Just as it is an opportunity to deal with problematic issues that the novelist wanted to tell, and thereby to cross over to an approach to worlds related to history, personalities, places and identities in crisis, adopted by the novelist, through treatments in which he applied the approach of “narrative imagination” and travel stories, love struggles and fragmentation of places.
Semiotics and field systematization
In the context of her theoretical work, which includes an exhibition side, the author wanted to explore the mechanisms of her work through her “conceptual and idiomatic apparatus” and the extent of her novelty in understanding the “semiotic method” and its use. make it clear, by approaching the signs that extrapolate history, politics, reality and the daily, and the nature of its representation in the narrative text. , as this text appears to be a condescending, sly, or symbolic representation of what is hidden in history, especially since the author, by paying attention to the concept of reception, or his “Yausian” theory, adopted what the reader could make, at the level of his interpretation and production of a different meaning, or at the The level of search for the references of the novelist who hides behind his texts, and in spite of the academic nature on which the author tried to rely in the framework from the theoretical side, she gave her reader an essential input, theoretical and linguistic / idiomatic, to learn about the importance of reading and receiving lessons, in approaching thresholds as a narrative concept, and as parallel texts or texts Neighborhood, or in the search for meaning by semiotic loads, which are problematic issues that require a critical and scientific approach, in which the curriculum is used as an option for reading roots, and for review, with its procedures in the essential application, at the conceptual, analytical and at the level of detection. The burdens of the literary work itself, either as “a neighboring or parallel history”, or that it demarcates the representative field of “narrative identity” as a peer to delve into the realms of historical identity.
Theoretical employment in the context of the critical approach is inseparable from the procedural employment, as the author deliberately subordinates the duality of external and internal thresholds to her semiotic critical operator, in the second and third chapters, in a way that gives qualitative weight to the book, especially in methodological rigor, and in controlling the relationship between framework The methodological, and the applied lesson, to distance itself from constructivism, and from the delusions in which some critics often lapse, when the curriculum is weakened, and the language becomes urbanized as a compensatory, deceptive, and satisfying rhetoric.
The field of reading begins with the examination of what is external, with the intention of introducing it firstly, or secondly to create a reading context for it. The subject of controversy, and it may be an opportunity to expand the act of reading, by creating relationships, or illusions between these neighboring texts, in their visual and linguistic technology, and in their graphic formation Activation of active reading, and recognition of what that reading can call, by searching for meaning, the absent meaning, and reference to marginalized and neglected systems, by activating the effectiveness of the historical imagination, framing the conflict environment, and by identifying events and personalities that bring with them a great deal of ambiguity and confusion …
The internal thresholds may be more representative of the author’s self, requiring an effort to find out the interrelationships between them as signs, and the main body, as they play the role of referent and explorer, beginning with the devotion, the initiation, the internal address and ending with the margins Thresholds is a visual and tangible actor, revealing their psychological charges, the approach to content and their historical and symbolic charges.
At the end of her book, the author wanted to assume that there is an objective unit that controls her book, by declaring the existence of a relationship between the external thresholds and the will of the book / its internal thresholds, by the representation of his narrative texts, and by the ratio of covers, colors, and graphic units, with the characteristic of the author’s personal mood, as he turns. This mood leads to a psychological motive that emerges through certain choices, in the devotion and in the narrative content. just as the internal thresholds wanted to make him more interested in introductory “platforms” for the painful self, to seduce the reader, and to summon him to the vital field of the text.