هذا القسم يحتوي علي العديد من القصص والروايات باللغة الإنجليزية

(Stories and novels) القصص والروايات
الرواية هي سرد نثري طويل يصف شخصيات خيالية أو واقعية وأحداثاً على شكل قصة متسلسلة، كما أنها أكبر الأجناس القصصية من حيث الحجم وتعدد الشخصيات وتنوع الأحداث، وقد ظهرت في أوروبا بوصفها جنساً أدبياً مؤثراً في القرن الثامن عشر، والرواية حكاية تعتمد السرد بما فيه من وصف وحوار وصراع بين الشخصيات وما ينطوي عليه ذلك من تأزم وجدل وتغذيه الأحداث
A novel is a relatively long work of narrative fiction, normally written in prose form, and which is typically published as a book. The present English word for a long work of prose fiction derives from the Italian novella for "new", "news", or "short story of something new", itself from the Latin novella, a singular noun use of the neuter plural of novellus, diminutive of novus, meaning "new". Walter Scott made a distinction between the novel, in which (as he saw it) "events are accommodated to the ordinary train of human events and the modern state of society" and the romance, which he defined as "a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents". However, many such romances, including the historical romances of Scott, Emily Brontë's Wuthering Heights and Herman Melville's Moby-Dick, are also frequently called novels, and Scott describes romance as a "kindred term". This sort of romance is in turn different from the genre fiction love romance or romance novel
A short story is a piece of prose fiction that typically can be read in one sitting and focuses on a self-contained incident or series of linked incidents, with the intent of evoking a "single effect" or mood.

A dictionary definition is "an invented prose narrative shorter than a novel usually dealing with a few characters and aiming at unity of effect and often concentrating on the creation of mood rather than plot."

The short story is a crafted form in its own right. Short stories make use of plot, resonance, and other dynamic components as in a novel, but typically to a lesser degree. While the short story is largely distinct from the novel or novella (a shorter novel), authors generally draw from a common pool of literary techniques.

The Naked and the Dead    

One of the fundamental narrative and iconographic motifs of the fantastic genre is the dead person who
returns from the grave to demand or claim something. (1) In a large number of contemporary films in
which the fantastic has become second nature to melodrama, that return has taken on an unusual
formulation: the person has ceased to be a mere incarnation of an unsatisfied impulse, an outstanding
debt, and has become the protagonist of a fiction caught on the fundamental ellipse of his own death,
usually an unexpected and violent one. Having forgotten the accident which is the cause of his death, the
revenant does not necessarily appear as a threat, nor does he trigger a retrospective fiction spun from
the flashback, as in Billy Wilder’s classic Sunset Boulevard (1950); he rather launches an incursion into a
paradoxical space, a world between, where the time of the living and the dead is confused.
As opposed to what happens with traditional societies and with some contemporary cultures in which the
mythological imaginary remains deeply rooted in psycho-social structures, (2) that interregnum shared by
the living and the dead is not defined in these films as a purgatory or a space for reconciliation, but as an
evanescent and precarious projection of the imaginary of death. In an attempt to group and define these
films, Michel Chion (1983: 39) has coined the term “Bardo films” in reference to the Tibetan Book of the
Dead, the Bardo-Thödol. According to that text, after death the dead person’s soul is unaware of its
condition and wanders for a long period, while still believing that it is alive, and sees its family and its
environment as if they were real. With the aim of promoting that metaphor, another theoretician, E.
Boullot (2002: 9), has pointed out that the cinema today approaches post-mortem fiction with the idea of
an irreversible time, not in its duration but in its possibility. 

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