رؤية الذات في القصة النسوية المصرية في القرن العشرين قراءة ثقافية

This study attempts to monitor the stages of development experienced by the Egyptian writer, the beginning of the twentieth century until the end, with the progress of time feminist writing turned from the writings calling for the rights of women in science and work Kktabat king Hifni Nasif or stories that portrayed thoroughly male-dominated society for women who have responded to this appeals; I learned and worked as in Dr. Aisha Abdul Rahman stories to creative writing at the end of the twentieth century and particularly after the 1953 revolution m reflect the manifestations of loss of self and a sense of B_itha and lost in a world governed by the physical systems and driven by machinery, overcame self-stamp on writers Feminism, and signed writer under the clutches of self-inflation, Vtantkd and destroyed a culture all that is masculine and celebrates all that is feminine, and give starring roles, effectiveness and yes in the stories of women's personalities while confine male roles within the margin and pillage, and truer model of this story (must) to charm waveform as heroine gives her story absolute personal effectiveness in moving the male which caused their full disability, the man in this story Kldermih needs to be driven from even its amended.
Once the bounce writer to discover the falsehood of her world realistic imagined her world championship in which the roles of volatility and it swells the same female Kmat express all the daughters of her sex and the same is not necessarily true, is located in a state of confrontation, forcing them to put a tragic end to her stories personalities, story (Mirage) for attractiveness Sidqi and story (global anonymous) for pets raised, where it ended Algostan madly main heroine, has resorted writer other end reflect the fact in the case of a clash with reality as to make the heroine her story rebel against the fact of her sex as female, Vtaatnker to femininity and That story (just a number) to Alhnfawi faith, as the heroine refuses to recognize the story along Pkinontha a female, and a story (Rgel..rgel) to Azza Adli as it tries to disguise the heroine of the story one night clothes men but nevertheless do not feel alone and lost, so it was decided isolation and reclusion in a dark secluded corner ..
The author has been addressed
Bumper case with reality in a way reflects the consciousness-alone female and reconcile with, since it makes the heroine her story bother Bmhaorh itself and Mnajatha, Vtakhlu the story of the characters except the heroine and the same, this kind of stories always rely on the conscience of the speaker in the dialogue narrative, unlike the stories with tragic endings in which the omniscient narrator absent personalities or what is known as "Vision of the back."
Methodology: cultural reading.
The study is divided into: boot, and three chapters, and a conclusion.