Mail : Elbarbary est professeur émérite en littérature anglaise à l’Université de Dammam (Arabie Saoudite). His penchant now is not for performing the daring feats of yesterday’s youth, but for narrating them and the creative practice it occasions. (The use of the present tense in itself highlights the oral performance of the text). P. C. Parr. . . It appropriates old and new fictional elements in terms of both manner and matter in the mixing bowl of the text.1 The old is prominent in the manipulation of narrative framing in multi-layered narratives intertwined with the intimate act of telling and listening to oral stories. Joseph Conrad: Achievement and Decline.
Son travail en littérature comparée est publié dans des revues telles que Twentieth  Century Literature, College Literature, Cahiers victoriens et édouardiens, Etudes Lawrenciennes, International Fiction Review, Thomas Hardy Annual, Thomas Hardy Year Book, New  Comparison, Al-‘Arabiyya, Journal of Arabic Literature, Digest of Middle East Studies et In Other Words. He is obviously an accomplished surrogate novelist, as he aestheticizes and transposes the actual events, the. Typhoon and Youth. . Abstract:  I had a bad day.Concrete:  My coffee spilled on my white pants while I was in the office, I missed my taxi on my way home and had to wait for 30 minutes to get another one and my light exploded so I was left in the dark. Justifiable irony is directed toward the youth—his self-importance, his lack-in-vision, miscalculations of his past self, and the self-created heroic meaning of his life. , we read that ‘Dialogue may be external (between two different people) or internal (between an earlier and a later self)’. When he is not involved in acts of Will, aesthetically contemplating the nature of his actions, this is, in Schopenhauer’s terms, the idea of it, placing the self in the epistemological context. Marlow is not waiting in the wings; he is the exceptional young man of labour and initiative.
6 A metafictive text, according to Patricia Waugh, ‘draws attention to its status as an artefact’ (Waugh 2). For this, see Peter N. Dunn, ‘Framing the Story, Framing the Reader: Two Spanish Masters’ (100).

Along with the use of aural and visual images and words descriptive of movement conveying a pictorial quality, the same acoustic balance and alliterative, rhythmic motion are at work in the following passage from ‘Youth’, signalled by a poetic turn of phrase. R. B. Haldane and J. Kemp. 18The passage displays specificities of Carlyle’s style, such as the use of long, involved sentences, and the clusters of three words related in form and function: ‘full of light and music and high-swelling hearts’, ‘Riot cries aloud, and staggers and swaggers’. The statement more or less implicitly propagates the discourse of reason, good sense, and the real, which signifies the shift in Teufelsdrockh’s frame of mind. Moreover, Marlow’s apprehension and devaluation of action, which in youth he had held in high regard, can be inferred from the conclusion that he comes to, forced upon him by circumstances: ‘You fight, work, sweat, nearly kill yourself, sometimes do kill yourself, trying to accomplish something—and you can’t. self-reflexivity emerges from incorporating that which one deflates (Politics 2, 4, 101; Poetics 11).