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 Spy Who Came In from the Cold    

Spying, as the cliché has it, is the world’s second-oldest profession,2
yet a profusion of state practice has been tempered by the regular denunciation of intelligence gathering, expulsion or execution of agents, and
sporadic demands for nonrepetition of such activities.3
 This is due in part
to the nonreflexive manner in which governments approach the subject:
we and our friends merely gather information; you and your type violate
sovereignty. Most domestic legal systems thus seek to prohibit intelligence
gathering by foreign agents while protecting the state’s own capacity to
conduct such activities abroad.
What, then—if anything—does international law have to say about
the subject? A surprising amount, though the surprise comes largely
from the fact that the issue tends to be approached indirectly: intelligence is less a lacuna in the legal order than it is the elephant in the
room. Despite its relative importance in the conduct of international affairs, there are few treaties that deal with it directly.4
 Academic literature
typically omits the subject entirely, or includes a paragraph or two defining espionage and describing the unhappy fate of captured spies.5
 For the
most part, only special regimes such as the laws of war address intelligence explicitly. Beyond this, it looms large but almost silently in the
legal regimes dealing with diplomatic protection and arms control.
Whether custom can overcome this dearth of treaty law depends on how
one conceives of the disjuncture between theory and practice noted
above: if the vast majority of states both decry it and practice it, state
practice and opinio juris appear to run in opposite directions. 
 

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