الخطاب النقدي العربي الحديث نحو استراتيجية ثقافية

Abstract

The field of cultural studies intersects with many of the fields of knowledge surrounding and adjacent it, and does not contradict with those far from it, it is a cross-disciplinary field, it stems from the cultural sphere, through social and political, and leans on the economic to literature. And from it emerges various branches of knowledge, such as colonial studies, feminism, study of gender, class and others ... But most relevant to the modern Arab critical discourse is the colonial studies / colonialism and Orientalism cultural dimensions focusing on criticism of culture in its breadth, and cultural criticism in its narrow sense. If cultural studies are the domain that governs the study of discourse, it is almost free of operational criticism mechanisms to approach this discourse, which is specialized in cultural criticism, except some of the terms borrowed from the criticism curricula and intellectual currents on which cultural studies have based their linguistic, intellectual, and philosophical basis. Within this area are many of the modern Arab criticism discourses, and cultural projects, the aim of our study is to define its cultural strategy based on two different cultural projects, one of which is a cultural intellectual project belonging to the Algerian intellectual "Malek Ben Nabi”, and the other, cultural criticism literature related to the work of the Egyptian critic, "Mustafa Nasif." As for the problematic that we have tried to treat, we have discussed the cultural manifestations of the modern Arab critical discourse: - What are the most important issues treated by this discourse? - And what kind of cognitive, critical and cultural backgrounds from which it originated? - Is the adoption of a unified strategy between discourses of different projects (critical / intellectual) thus, there is symmetry in this discourse and not heterogeneity? - Or is there a logic of cultural reality and ideological references in this discourse ? - The method of asking the intellectual of the case should differ from the way the critic put her language and thought and if the methodology is the same, how did this manifest in the Bennabism intellectual discourse (relative to Malek Ben Nabi) and the Nasiffisme critical discourse (relative to Mustafa Nasif)?