Flows of English-Arabic Translation in Egypt in the Areas of Literature, Literary/Cultural and Theatre Studies

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Flows of English-Arabic translation in Egypt in the areas of literature, literary/cultural and theatre studies : two case studies of the genesis and development of the translation market in modern Egypt Hanna, S

Title Flows of English-Arabic translation in Egypt in the areas of literature, literary/cultural and theatre studies : two case studies of the genesis and development of the translation market in modern Egypt Authors Hanna, S Type Monograph URL This version is available at: http://usir.salford.ac.uk/id/eprint/19302/ Published Date 2011

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Translating in the Mediterranean

FLOWS OF ENGLISH-ARABIC TRANSLATION IN EGYPT IN THE AREAS OF LITERATURE, LITERARY/CULTURAL AND THEATRE STUDIES: TWO CASE STUDIES OF THE GENESIS AND DEVELOPMENT OF THE TRANSLATION MARKET IN MODERN EGYPT

In the framework of the mapping of translation in the Mediterranean, co- produced by the Anna Lindh Foundation and Transeuropéennes in 2010

Data collection, analysis and write-up

Sameh F. Hanna

Assistance with data collection

Amanie Habashi

The following study was conducted by Transeuropéennes in partnership with the Anna Lindh Foundation (Translating in the Mediterranean Programme). It is an integral part of the first ever mapping of translation in the Mediterranean, conducted since 2010 by Transeuropéennes and the Anna Lindh Foundation (Euro-Mediterranean programme for translation), in partnership with over fifteen organisations from the entire Union for the Mediterranean.

Sharing the same wider understanding of translation, the central role it plays in Euro- Mediterranean relations, in the enrichment of languages, development of societies, production and dissemination of knowledge and imaginaries, the partners united around this project shall use this mapping as the working basis to formulate recommendations and undertake long term actions.

Scope and terms of reference of the study

This study aims to explore the socio-cultural dynamics of English-Arabic translation in Egypt in the areas of literature, theatre and literary/cultural studies. Although the study seeks to trace the trends of literary and theatre translation in late nineteenth and twentieth century Egypt, siting the changes in the translation market in the turn of the century, special focus will be laid on the period from 2000 to 2010. The large scale and varied quality of translation, specifically in the areas of literary/cultural and theatre studies during these ten years require more focussed scholarly attention. Although close analysis will be made of the production and circulation of translation during these ten years, this will be situated in the context of the multiple historical and sociocultural factors which conditioned and fashioned translation into Arabic in these areas since late nineteenth century. Data on the publication of translation during the period from 2006 to 2010 have not yet been compiled into one bibliographic resource or index and they have been collected for this study from different sources. Hence, statistics related to this period cannot be taken as fully comprehensive and are only meant to provide an overall translation trend.

‘English’ is used in reference to literary texts originally written in English, both inside and outside the Anglo-American zone (i.e. UK, US and the common-wealth countries). Translations done from other languages and through English as an intermediary language are beyond the scope of this study. In some cases, especially with translations produced in late nineteenth and early twentieth century, it is difficult to judge whether a text is directly translated from English or not. The fact that the indexes of Dar al-Kutub sometimes provide the English title of the original text does not necessarily mean that the translation is out of English. In making decisions about including or excluding translations from the collected data, the following mechanism has been followed:

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011  If the author of the source text is known not to have written in English (e.g. Ibsen, Check, Tolstoy, Strindberg, etc.), the translation is excluded from the lists of translation used for analysis. However, the trend to use English as a middle language in translating literary and cultural works from non-Anglophone cultures has been highlighted and briefly discussed in the report.  In the case of less known writers, some research was needed to establish whether or not their texts were written in English. This is particularly relevant to the wide range of writers of thrillers, romances and adventure stories whose work has been selected for translation at a large scale starting from the 1920s onwards. Some entries in the indexes of Dar al-Kutub do not list the name of the author: these have not been included in the data.  Given the fact that literary and theatre translators in the late nineteenth century Egypt had French education, most translations of English sources were through French. This is taken into consideration when collecting the data. There is some significant evidence that a tendency towards translating directly out of English emerged in the first decade of the twentieth century. The fact that English became the language of education in the aftermath of the British occupation in 1882 was the main reason behind this tendency.

‘Literature’ is used to refer to the conventional genres of poetry, fiction (both novel and short story), drama and literary/cultural studies. A few titles on the translation lists fall within the area of travel literature, literary biographies and literary dictionaries and bibliographies. Recently, a few titles have been translated in the emerging discipline of ‘translation and intercultural studies’ which have been grouped in my analysis under literary/cultural studies. Translations of children and young adult literature have been excluded from the data covering the years from 2000 to 2010, together with simplified and abridged translations published for educational purposes. The large scale of translation of children literature from English into Arabic in the last ten years needs a study on its own.

This study does not adopt any a-priori definition of what literature is and hence the only criterion used for identifying and including ‘literary’ translations in the data is what publishers, library indexers and literary critics consensually categorise and regard as such. However, indexes and bibliographies of literary translation from English to Arabic, while taken to be generally helpful, are not uncritically used (see section on methodology and limitations of bibliographies below). In analysing and discussing data related to drama translation, the focus is mainly laid on translation in book forms, rather than ‘stage’ translation. Although this study will briefly refer to translation activity undertaken by literary journals and reviews, no full reliable data are available in this area. The motivations and dynamics of publishing translation in Arabic literary journals and reviews is another potential area of research and analysis.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 As has been frequently highlighted by other translation surveys and studies involving Arabic as a target language1, the problem of inconsistent book documentation and unreliable data on the publication and dissemination of Arabic translation in the Arab book market cannot be overemphasised. Therefore, the results offered by any study that endeavours to map and analyse the flows of translation into Arabic remain limited and cannot but present an ‘estimated’ picture of the production, circulation and consumption of translation in the Arab social and cultural space.

In addition to sketching a misleading picture of translation, inaccurate data, as Jacquemond (2009) rightly observes, is used by politicians, intellectuals and policy makers, consciously or unconsciously, as the basis for incoherent and, at times, ill-motivated discourses about the logics and dynamics of cultural production in the Arab World. The data provided by the 2003 Arab Human Development report about translation is a case in point. To safeguard against possible misrepresentations of literary translation into Arabic, two necessary measures need to be taken into consideration: first, critiquing available lists, bibliographies and indexes with the double aim of identifying ‘technical’ errors of compilation (e.g. missing or incorrect data on authors, publishers, dates of publication, and bibliographic classification) and unveiling unreliable assumptions about what falls within the category of literature and what cannot be labelled as such (see section below about limitations of bibliographic indexes of translation into Arabic). Second, situating the figures and statistics extracted from these bibliographies within the historical and socio-cultural context of translation in order to identify modes of agency, institutional stakes in translation, and forms of circulation and reception. This study is only one step in this direction.

Bibliographic sources and indexes used

The following sources have been consulted for data collection:

UNESCO Index Translationum: this database provides some useful information on the status of translation in Egypt since 1979, although not always accurate and comprehensive. The data about Egypt is only available until 2007. Even some of the data for 2007 are not reliable. On checking the database in September 2011 for the number of literary translations translated from English in Egypt in 2007, only one title was returned!

National Library and Archives of Egypt (Dar al-Kutub wa al-Watha’iq al-Qawmiyya): some of the bibliographic tools provided by Dar al-Kutub and used for this study include the electronic catalogue available on the website and some of the annual bibliographies

1 See, for instance, the study produced by Next Page Foundation, entitled ‘Lost or Found in Translation: Translations’ Support Policies in the Arab World’. See also the mapping study conducted by Emmanuel Varlet (2010) in this project on the translation flows from French to Arabic.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 published by the Legal Deposit department (Nashrat al-Idā‘). Bibliographic indexes compiled by Dar al-Kutub with focus on published translations in Egypt include:

1. Bibliographic Index of Published Translations into Arabic in the Nineteenth Century (Dar al-Kutub, 1998).

2. Bibliographic Index of Published Translations since the Infancy of the Print Industry to the end of 1995 (available in Transeuropéennes virtual desktop): the earliest listed translation in this index is Tahtawi’s translation of G. B. Depping Apercu historique sur les moeurs et costume des nations, which was published in 1249 Hijri, c.1834.

3. Bibliographic Index of Published Translations from 1996 to 2000 (available in Transeuropéennes virtual desktop).

4. Data compiled for the Bibliographic Index of Published Translations from 2001 to 2005 but not yet published (available through Transeuropéennes virtual desktop).

Information provided through the indexes and the annual bibliographies has been corroborated by consulting data from other sources:

The electronic catalogue of Bibliotecha Alexandrina: this bibliographic tool has been useful in completing the data on the status of literary translation in Egypt after 2005, especially data about major Egyptian publishers with interest in translated literature and the key translation series they publish.

The electronic catalogue of Misr Public Library (Public Library of Egypt): Misr Public Library (MPL) is the product of a joint initiative between the Egyptian Ministry of Culture and the German Bertelesmann Foundation. Launched as the central public library of Egypt in 1995, with other branch libraries established later in some Egyptian governorates, this institution holds 135.000 items indexed into an electronic catalogue available on their website.

Neel wa-Furat: the website of this online bookshop is useful in providing bibliographic data about recently published titles.

In addition to these sources, the catalogues available from publishers have been useful in updating the data after 2005. Publishers’ catalogues that have been consulted include those of the Egyptian-based Shorouk, Merit and Sharqiyyat.

Although the Index Translationum and the indexes published by Dar al-Kutub have been useful as key sources for data collection, they have been found inaccurate in some of the information included. Inaccuracies can be outlined in the following:

 The total number of literary translations from English at different periods of time can be misleading. Index Translationum, for instance, registers 297 titles published during the period from 2000 to 2005. On closely examining these titles, the number could be safely taken down to 179 (see appendix 2). The difference is due to the inclusion of:

a) books translated through English as a middle language from French, Italian, Spanish, German, Norwegian, Turkish, Korean and Japanese. The Index Translationum’s list of English-Arabic translations in Egypt shows entries for translations of the work of such writers as Guy de Maupassant, Jules Verne, Eric- Emmanuel Schmitt, Stefan Zweig, Peter Weiss, Henrik Ibsen, Dino Buzzati, Orhan Pamuk, South Korean novelist Su-san Han and Japanese author Minoru Betsuyaku. Including titles by these authors gives a misleading picture of the translation flow between English and Arabic2. One title by German playwright Jezena Dank Farte, which is translated directly from German, and another by Italian novelist Susanna Tamaro, translated directly from Italian, are also included by mistake; b) books which are not classified in English indexes and bibliographies as literature: the list included such books as Sophy Tahta’s What’s Under the Sea, Why is Night Dark (children science books) and Vance Greg’s A User Friendly Guide to Rapid Personal Development and Shanmugam’s Indonesian Studies. Both lists of Dar al- Kutub and Index Translationum include books with specialised Christian content, usually in the form of testimonies given by evangelists about their missionary tours. These books, published by the Egyptian Christian publisher al-Manar, seem to have been taken by the compilers as novels or travel literature! Examples of these books include Breakthrough, published in Arabic in 2000 as al-Intilaqa abr ‘al- Hudud al-Mamnu‘a (Crossing into Forbidden Frontiers), Drained: Stories of People who Wanted More, published in 200 as al-Bahth ‘ann al-Salam (Looking for Peace), Signposts in Life, published in 2004 by al-Manar as Rihla fi Durub al-Hayah (A Journey on the Roads of Life). c) Abridged and simplified translations produced for educational purposes and targeted at children and young adults. Both the Index Translationum and the bibliographies of Dar al-Kutub include a large number of translations published within the long standing series of World Classics for Young Adults (Rawa’i‘ al-

2 Translation through a middle language in the Arab world is another issue that is worth scholarly attention. Major translations into Arabic are through a middle language, including Khalil Mutran’s translations of Shakespeare, Sami Durubi’s translations of Tolostoy and the Arabic translations of Ibsen’s and Strindberg’s work.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 Adab al-‘alami lil-Nashi’in), edited for a long time by Mukhtar al-Swifi and published by the General Egyptian Book Organisation (GEBO). d) Reprints or new editions of out of print titles. The policy of re-publishing previously translated titles seems to have been a common policy in the last ten years among such state publishers as GEBO and the National Translation Centre (NTC), especially through the GEBO popular series of Maktabat al-Usra (The Family Library) and the National Translation Centre’s (NTC) newly introduced series of Mirath al-Tarjama (Translation Heritage).

 A few titles are listed as translations while they are originally authored in Arabic. Index Translationum, for example, includes the title Milton: Sha‘ir al-Firdaws al-Mafqud (Milton: Poet of Paradise Lost) and lists it as translated by Hasan Husein Shukri, while it is authored by him.  Some titles are classified into the wrong category. Michael Allin’s (misspelt as ‘Allen’ in Index Translationum) Zarafa is listed under literature, while it is a book in popular history. Having said that, one has to admit that the classification of contemporary literary studies, with their increasing tendency toward interdisciplinarity, is problematic. For instance, the bibliography of Dar al-Kutub lists the Arabic translations of Frederic Jameson’s The Cultural Turn (2000) and Benedict Anderson’s Imagined Communities (1999) under social sciences, which is partly true, though they can also be classified under literature. Classification is also problematic in the case of books which had wider appeal to constituencies of readers than they were initially envisaged. The Harry Potter series is a case in point: whether or not they are to be classified as adult or children literature is not easy to decide3.  There are inaccuracies related to details about translators and publishers. The Arabic translator of Transposing Drama (published in Arabic in 2002 as al-Dirama kharij al-Masrah) is not Khaled al-Amiri, as indicated by the Index Translationum, but Somaya Mazlum. The Arabic translation of Jeanette Malkin’s Verbal Violence in Contemporary Drama (titled in Arabic as al-‘unf al-Lughawi fi al-Dirama al-Mu‘asira) is listed as published by the Supreme Council of Culture, while its publisher is the Cairo International Festival of Experimental Theatre (CIFET).  Some foundational translations in the area of cultural studies are not listed in either the Index Translationum or the indexes of Dar al-Kutub. To cite just one glaring example, nothing of the Arabic translations of Edward Said’s work finds their way into these indexes, including early translations by Kamal Abu Deeb and the latest translations by Mohammed Enani in Egypt!

The limitations of the Index Translationum and the bibliographies of Dar al-Kutub have been remedied by checking the electronic indexes of Bibliotheca Alexandrina and Misr Public Library. The data obtained have been further corroborated through the publishers’ lists. I am particularly indebted to Shuhrat al-Alem and Tammiram Mahmould from the National

3 I chose to include the Arabic translations of Harry Potter into the list of translations published during the period of 2000-2010.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 Translation Centre who provided me with an up-to-date list of all translations published by the centre (and previously through the national translation project). The detailed information I got from Tamiram and her response to all my questions have been very useful in drawing a reliable picture of the marketing of translation in NTC. The assistance provided by Amanie Habashi in collecting data about the translations published by NTC, General Egyptian Book Organisation (GEBO), the General Organisation of Cultural Palaces (GOCP) and Cairo International Festival for Experimental Theatre (CIFET) has been indispensable for the completion of this study.

After checking and compiling two lists of literary translations from English to Arabic during the periods of 2000-2005 and 2006-2010, the titles have been categorised into five main groups: novel, poetry, theatre, short stories, literary dictionaries/bibliographies/encyclopedias and literary/cultural studies. A fifth group was added, labelled ‘other’, which includes literary (auto)biographies and texts which have been produced at a very small scale, like translations of travel literature. The types of books published under the category of ‘literary/cultural studies have been found revealing of both publishing trends in the translation market and the position of publishers in this market. The category of literary/cultural studies has been further categorised into the following sub- groups:

 General literary/cultural studies (with focus on literary/cultural history and literary trends/theories/approaches)  Studies focused on the study of novel  Studies focused on the study of short stories  Studies focused on the study of poetry  Theatre studies  Translation and intercultural studies

The statistics obtained about the production of translation during these two periods have been situated in the context of the cultural field in modern Egypt. To provide a context for the translation market in the last ten years (2000-2010), the two lists covering this period (see appendices 2 and 3) have been set against a third list (see appendix 1) that covered the first half of the twentieth century (1900-1949). The genesis and early evolution of the translation market will be the backdrop against which the status of this market in the last ten years can be captured.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 Flow of literary and theatre translation from English to Arabic in modern Egypt: a historical overview and global translation trends

1. The nineteenth century: the genesis of a market for literary and theatre translation

Although it is safe to say that translation activity in Egypt in the areas of law, geography, history and applied sciences has always been motivated and engineered by the state4, translation of literature did not seem to be of high priority on the state’s agenda. This is generally true of the translation activity that started with Mohammed Ali’s project of nation building and continued later until the mid- 1920s when the ministry of education (wazarat al- Ma‘arif al-‘umumiyya) started to subsidise and introduce Arabic translations of literary classics into the curricula of secondary school students (al-Rashidi, 1980). The books commissioned for translation by Mohammed Ali (1769-1849) were mainly meant as textbooks for students of law, medicine, and engineering and as manuals for government officials. On examining the list of published translations directly commissioned by Mohammed Ali, no books related to literature could be identified5 out of 135 titles on medicine, engineering, history, geography, law and agriculture. Probably the only exceptions are three books that may be generally classified as ‘travel literature’6. The Index of Translations Published into Arabic in the Nineteenth Century (a volume published separately by Dar al-Kutub) lists an anthology of poetry which is thought to be authored and translated into Arabic by the Swiss orientalist Jean Humbert (1792-1851). The book, titled ‘Iltiqat al- Azhar fi Mahasin al-Ash‘ar (Selected Flowers of the Best Poems), was published in Bulaq Printing House in 1826.

The initiatives of translating literature during the second half of the nineteenth century and the early twentieth century were then made by individuals who felt the need of the cultural market at that time for new cultural products. These individuals were Egyptians who were familiar with European arts and literature or Syro-Lebanese intellectuals who immigrated to Egypt for economic, religious and political reasons and invested in their knowledge of forein languages and literatures. Both the Egyptian and their Syro-Lebanese fellow translators had French education and shared a common background in French language and literature and hence the majority of translations produced during the second half of the nineteenth century and until the end of the 1910s were out of French, including translations of texts originally written in English. Perhaps the earliest translation directly out of English that we know of is the Arabic translation of a book about learning the English language. The book,

4 See Jacquemond (2009) and Varlet (2010). 5 See al-Shyyal (1951/2000) and the Bibliographic Index of Published Translations since the Infancy of Print Industry until the end of 1995 (2008). 6 This is the classification made by al-Shayyal (1951/2000). See the list of translations published under Mohammed Ali in Appendix 1 of al-Shayyal’s book. The titles of the three books are Siyaha Ifriqiyya (Travelling Around Africa, 1845), Siyaha fi Amrika (Travelling around America, 1846) and Siyahat al-Hind (Travelling around India, 1849), the last of which was edited by Rifa’a al-Tahtawi.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 titled al-Uslub al-Wajeez fi Lughat al-Injiliz (The Easy Method of Acquiring Knowledge about the English Language), was published in Cairo in 18787.

Moosa (1983) speculates that the earliest Arabic translation of a literary text directly out of English is an anonymous version of Robinson Crusoe, published in Malta in 1835 and thought to be the work of Ahmed Faris al-Shidyaq (1804-1887). However, the first literary translation out of English to be published in the Arab World is Butrus al-Bustani’s (1829- 1883) version of Robinson Crusoe entitled Al-Tuhfa al-Bustaniyya fi al-Asfar al-Kuruziyya aw Rihlat Robinson Kruzi (Al-Bustani’s Masterpiece of Crusoe’s Travels, or Robinson Crusoe’s Journey). The translation was first published in 18618 and went into a third edition in 1904. Al- Bustani wrote a one-page introduction in which he tried to explain why his translation should appeal to all readers, including women and school children.

7 See entry no. 5 in the Bibliographic Index of Published Translations into Arabic in the Nineteenth Century. A second edition of the book, published in 1904, is listed in entry no. 4538 in the Bibliographic Index of Published Translations since the infancy of Print Industry until the end of 1995. 8 This is based on the copy held in al-Babtin’s Central Library for Arabic Poetry.

(From left to right the front covers of the first and third editions of B. al-Bustani’s translation of Robinson Crusoe (1861, 1904) and his one-page introduction)

Moosa (1983) lists the following Arabic translations of English fiction which was published in late nineteenth and early twentieth centuries, mostly in Egypt:

- Walter Scott’s Ivanhoe, by an anonymous translator (1889) - Lord Bulwer-Lytton’s The Last Days, by Farida Atiyya (1889) - Jonathan Swifts’s Gulliver’s Travels and Wilkie Collins’s The Women in White, by Mohammed al-Siba’i (1909) - Robert Louis Stevenson’s Treasure Island, by Riyad Junaydi Effendi (1921) - Charles Dickins’s A Tale of Two Cities, by Mohammed al-Siba’i (1912) - Thackeray’s The History of Henry Esmond, by Wahba Mas‘ad Effendi (1918).

Four major obstacles stand in the way of compiling a reliable list of literary translations produced directly from English in turn-of-the-century Egypt and conducting a consistent bibliographic analysis of translation trends during that time: first, most of these translations were serialised in literary magazines and weeklies. This makes it difficult, if not impossible,

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 to have access to the whole of any translation of any one original text. Second, it is sometimes difficult to establish whether or not the translator worked out of English. Third, some of these publications are pseudo-translations, which are not easy to establish their authenticity and authorship. Fourth, most of the theatre translation produced during the late nineteenth century was mainly done for the stage and was only available in the form of play scripts which were not published in book form.

If some of the Arabic translations of English fiction were directly done from English, translation of English drama during the period from the late 1880s until the late 1890s were mainly produced through French. All of Shakespeare translators, for instance, who were commissioned to translate some of his dramatic work for the increasing number of theatre companies during that time had no working knowledge of English and had to use French translations of Shakespeare. These include such names as Najeeb al-Haddad (1867-1899), Tanyus Abdu (1869-1926) and Khalil Mutran (1872-1949).

On examining the indexes of Dar al-Kutub to obtain a list of literary translations published in the nineteenth century, an estimated number of 35 titles could be identified. Only two titles are thought to be from English, i.e. Farida Attiya’s translation of Edward George Lytton’s The Last Days of Pompei (titled in Arabic Al-Rawda al-Nadira fi Ayyam Bombay al- Akhira, 1899) and Labiba Madi’s translation titled Al-Ghada al-Inkliziyya (The English Girl, 1895)9. Apart from one translation from Persian (i.e. Kalila wa Dimna), the rest of the list are all from French, including four translations of Shakespeare’s work. 22 out of the 35 titles are works of fiction, mainly by Victor Hugo and Jules Verne, and the remaining 13 titles are plays, mainly by Moliere and Racine. No title of any poetry anthology could be identified. The central position occupied by fiction and drama in the field/market of translation which evolved in Egypt in the nineteenth century, as this list indicates, continued in the twentieth century, although some changes could be identified in connection with the role of the state in the production of translation, the criteria for selecting texts for translation, the strategies of translation and the modes of agency of translators.

2. The twentieth century: the restructuring of the field of literary and theatre translation

A number of changes in the dynamics of production and consumption of literary and theatre translation unfolded in Egypt starting from the late 1910s which gradually resulted in the

9 Judging by our knowledge of the educational background of both Farida Attiya and Labiba Madi, we can tell that they translated out of English. Both of them graduated from the American College for Girls in Beirut where Education was mainly in English. Although the author of Labiba Madi’s al-Ghada al-Ingliziyya is anonymous, it is still though by her biographers that this was a translation of an English text.

 The rise of a new generation of literary and theatre translators who detached themselves from the commercial dictates of the translation market: the early decades of the twentieth century saw the considerable activity of a number of translators who, unlike the early generation of translators, were financially independent and were capable of setting new standards of translation quality. This new generation included translators who worked as government officials, physicians, lawyers, judges, teachers and university lecturers. The fact that these translators were financially independent allowed them to set their criteria of selection of titles for translation and disengage themselves from the ‘questionable’ translation practices of freelance translators who dominated the translation market in the second half of the nineteenth century. The second generation of translators, which included such translators as Khalil Mutran, Mohammed Iffat, Mohammed Hamdi, Salih Gawdat, Ilyas Fayyad, Ibrahim Ramzy and Husayn Ramzy, used different strategies to signal the distinction of the translation product they offered vis-à-vis the product of the previous generation. Front covers of published translations of both fiction and drama during the early decades of the twentieth century portrayed a significant picture of the new key players in the literary translation market. On the front covers of their translations, the new- comers to the field of translation highlighted the fact that they were not freelancers by mentioning their jobs and also highlighted their cultural capital in the form of other translations and authored books they produced.  Translating directly from English: with this new generation the practice of translating through a middle language was becoming questionable. Although some translators continued this practice, a number of others made it clear to their readers, on front covers and introductions, that their translations are direct from English (see the front cover of Mohamed Iffat’s translation of Macbeth, published in 1911).

10 For a detailed study of the changes in the field of theatre translation in Egypt in early twentieth century and the rise of a new generation of theatre translators, see Hanna (2007).

(Front cover of Mohamed Iffat’s 1911 Arabic translation of Macbeth where he highlights the fact that his translation is direct from English)

 In addition to the dominant practice of producing simplified, abridged, Egyptianised or Arabised versions, there emerged a tendency to produce ‘full’ and ‘close to original’ translations: the dominant practice of producing ‘free translations’, signalled on the front cover of many translations in late nineteenth century by the Arabic phrase ‘tarjama bi-tasarruf’ (i.e. free translation), was countered by the tendency to produce full translations of originals.  The increasing influence of literary reviews and magazines in evaluating the quality of translation production: the literary and theatre reviews which mushroomed in turn-of- the-century Cairo played a key role in evaluating the quality of translation and restructuring the market. In a series of satirical articles, entitled ‘Trial of the Playwrights’ (Muhakamat mu’alifi al-Riwayat al-Tamthiliyya), published in al-Sufur literary weekly in 1920, playwright and theatre critic Muhammad Taymur (1892- 1921) scrutinised the quality of translated drama at that time by imagining a play set in a court where some of the defendants were the theatre translators of the time and the jurors were the foreign authors whose work was translated and adapted by these translators. The jurors included Shakespeare, Corneille, Racine and Goethe. After listing the charges against these translators, some of them, according to Taymur’s narrative articles, were banned from theatre translation because of malpractice11.  The development of new discourses about ‘translation’ in connection with ‘authorship’: the scene portrayed by Taymur in his al-Sufur article series where he made foreign authors the judges of their Arabic translators seemingly echoed the debates in the cultural scene about the distortion that was made to many foreign texts by Arabic translators. Perhaps the most significant debate during this period is the one started by Sami al-Juraydini, himself a new comer to the field of drama translation and a translator of Shakespeare among others, about authorship and translation rights. In

11 For more details on the content of Taymur’s articles, see Hanna (2007).

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 1913, al-Juraydini wrote a lengthy article12 on the topic in Sarkis magazine, published in two consecutive issues. As a lawyer, he approached the issue from a legal perspective and drew the attention of his readers to the fact that Egypt did not have a law that secures intellectual property, in contrast with Europe and America. He emphasised the illegality of copying, imitating and republishing original writings without the prior permission of the author (Awad 1979: 258). Al-Juraydini ultimately wanted to highlight the way in which translators distorted the foreign works they rendered into Arabic. This debate, together with Taymur’s articles, signal an emerging trend within the market towards de-commercialised translation.  The increasing role of the state in the commissioning and publishing of translation: after the 1923 constitution, Arabic became the language of education in Egypt, with English taught only as a second language. Accordingly, the ministry of education (wazarat al- ma‘arif) had to commission translations of world classics to be taught as Arabic text books. A number of renowned translators and intellectuals during the 1920s, 1930s and 1940s were involved in producing these translations (see below the front covers of Abd al-Ziz Amin’s translation of John Drinkwater’s Abraham Lincoln and Ibrahim Ramzi’s translation of King Lear, both commissioned by the Ministry of Education in 19301 and 1932 respectively). The production of translation for the ministry seems to have been structured in a strict process that guaranteed good quality. Ibrahim Ramzi’s translation of King Lear was revised, as the front cover indicates, by three well-known intellectuals at that time, i.e. Khalil Mutran, Muhammed Zaki al-Muhandis and Zaki Tulaymat.

(From left to right the front covers of Abraham Lincoln, 1931 and King Lear, 1932)

The intervention of the state with the production and circulation of translation in Egypt continued, though in different forms, throughout the twentieth century. This control over the translation market materialised in translation projects that subsidised and administered

12 This article is reported in Awad (1979: 258-9).

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 the translation of specific works, but was mainly practised through the institutions of the ministry of culture, especially under Sadat in the 1970s.

3. Translation trends in the first half of the twentieth century: 1900- 1949

The observations outlined above about the changes in the structure and dynamics of the translation market in the early decades of twentieth-century Egypt need to be seen in the light of the information and statistics that can be obtained from available bibliographic indexes. Since the Index Translationum provides information about translation in Egypt only beginning from 1979, the only resource available for us that covers this period is the Dar al- Kutub Index of Published Translations in Egypt since the Infancy of the Print Industry until the end of 1995. In collecting data about published translations of English and French texts (for comparison), in the first half of the twentieth century, there was no other method but going through every single title during this period and checking whether or not the source text is English or French. A margin of error is to be taken into consideration in this case, though the data collected is only meant for providing an overall picture of translation trends during that time.

The amount of literary/theatre translation done from English and French during the first half of the twentieth century is indicative of an emerging cultural shift away from the French and towards Anglo-American culture. The following table lists the number of translations from French and English texts during the period from 1900 to 1949:

Published translations from English and French literary texts in Egypt

(1900-1949)

Years English French 1900-1909 8 32 1910-1919 7 14 1920-1929 38 24 1930-1939 39 27 1940-1949 240 136 Total 333 233

The figures show that translations from French texts continued to exceed those from English during the two decades from 1900 to 1919, although the gap started to shrink during the period from 1910 to 1919. The decreasing number of publications in general during the second decade is due to the fact that most publications were mainly reprints of already translated titles in the first decade13. Translations of English titles start to exceed those of French from the 1920s with the gap significantly increasing in the 1940s. This gap continues

13 These have been excluded from the statistics.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 to increase dramatically throughout the twentieth century and the first ten years of the twenty first century. The following chart shows the change of translation trend away from French and towards English in the first half of the twentieth century:

The increasing number of translations in general in the 1930s and 1940s is mainly due to the fact that a large number of private publishers and small printing houses joined the book market and were keen in investing in literary translation. This is in addition to the large number of literary reviews and journals which published serialised literary translations and then put them in book form. A few of these publishers took interest in translating canonical literature (usually the translations produced by the second generation of literary and theatre translators who joined the market in the first decade of the twentieth century), while the majority of them found in English popular fiction a cultural product that would appeal to the aesthetic needs of the emerging constituencies of readership, for whom classical Arabic literature, including maqama and mono-rhyming poetry, no longer met their expectations14. The distribution of translations of English sources by genre shows the predominance of novel over theatre. The demand on translated poetry, short story and literary criticism was insignificant during this period. The following table and chart provide indicators of the distribution of literary translation from English to Arabic by genre:

14 For a detailed discussion of the new constituencies of readership that emerged in turn-of-the-century Egypt, see Hafez (1993).

Years Novel Short Theatre Poetry Literary Other Total story criticism

1900- 6 - 3 - - - 8 1909

1910- 5 - 2 - - - 7 1919

1920- 20 - 11 2 - 5 38 1929

1930- 29 1 8 - - 1 39 1939

1940- 207 5 26 - 1 1 240 1949

Total 362 6 94 2 1 7 333

The translation share for each genre during the period from 1900 to 1949 can be seen in the following chart:

Distribution of literary translation from English Literary to Arabic by genre (1900-1949) criticism Other 0% poetry 2% 1% Theatre Short story 15% 2%

Novel 80%

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 A close look into the figures shown above and the plethora of names of translators and publishers included in the Dar al-Kutub index reveals a number of observations that are worth scholarly attention in more detailed interpretive studies:

 The large number of fiction translations (mainly novels) during the first half of the twentieth century is due to the key role played by literary journals and reviews. Among the many journals which contributed to the publication of translated novels were Majalat al-‘Usur (edited by writer and translator Ismail Mazhar), Majalat al- Riwayat al-Jadida and Majallat Riwayat al-Jayb. From the 1920s until the 1940s Majallat Riwayat al-Jayb is thought to have published an estimated number of 89 novels by English speaking authors, mostly popular fiction from the work of such writers as Agatha Christie, Arthur Conan Doyle, Earl Stanley Gardner and Rafael Sabatini. This is in addition to the titles translated from French popular fiction.  In addition to the majority of commercially-oriented publishers, a few independent publishing initiatives are recognisable in the index of Dar al-Kutub. The most significant of these initiatives is that of the Committee of Authorship, Translation and Publication (Lajnat al-Ta’lif wa al-Tarjama wa al-Nashr). Founded in 1914 by a group of young Egyptian intellectuals and chaired by writer Ahmed Amin, this committee sought to publish books, both translated and authored in Arabic, which were seen as badly needed in the cultural scene at the time. In addition to translations in different areas of the humanities and social sciences, the committee published a large number of literary translations of which the following could be identified in the index:  Walter Scott’s Talisman (1938)  Bernard Shaw’s Joan of Arc (138)  A number of novels by H. G. Wells  Mary and Charles Lamb’s Tales from Shakespeare.

As indicated by the index, literary translations were published as part of a literary series the committee called ‘Masterpieces of Western Literature’ (‘Uyun al-Adab al-Gharbi). For a detailed list of the translations published by the committee, see Zaki Khorshid (1985).

 The massive translation share given to fiction (80%) is detrimental to both poetry and literary criticism. Poetry gets only 1% of the total share of literary translation from English during this period. As indicated by the index of Dar al-Kutub, only two translations of poetic texts were produced during this period and published in 1922, i.e. Matthew Arnold’s Sohrab and Rustum and Tennyson’s In Memoriam. The higher demand on fiction and drama at that time has been traditionally explained by many studies as due to the fact that these two genres are lacking in Arab culture. Although this explanation is partially true, it seems to take for granted a complex and multifaceted phenomenon. The complexity of negotiating western cultural products through translation in turn-of-the-century Egypt cannot be fully appreciated without mapping and exploring the socio-cultural dynamics of the field of culture production at that time and identifying the key players in that field and the varied stakes they had in translation.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011  Most theatre translations during this period were mainly produced for the stage and not all of them were published in book form. This accounts for the few number of theatre translations listed in the index, compared to fiction translation. The play- scripts of these translations are archived in the National Centre for Theatre in Cairo. Publishing these play-scripts and investigating them will shed more light on the market of theatre translation during this period.  Starting from the 1920s, English started to become not only the main medium of translating literatures written in English, but it also became the middle language through which other literatures were translated into Arabic, a position previously occupied by French. As indicated by the index of Dar al-Kutub, a wide range of texts from non-English literatures were translated into Arabic, mainly through English. Authors translated into Arabic through English included Goethe, Tolstoy, Dostoevsky, Ibsen, among others, who were translated by such well-known intellectuals as Salama Musa, Ahmed Hasan al-Zayyat, Abdel Qader al-Mazini, Ibrahim Ramzi and others.  Some authors received more translations than others and some texts by the same author were more frequently retranslated than the rest of the work of that author. Similarly, Arabic versions by some translators were more popular than versions of the same source text by other translators. The obvious example here is Khalil Mutran’s translations of Shakespeare which, although translated through French, are the most frequently republished Arabic translations until now.

The following chart shows the most translated authors during this period:

Most translated authors from English to Arabic (1900-1940)

35 30 25 number of 20 35 translations 15 10 13 11 11 5 8 6 6 4 2 0

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 Apart from Shakespeare whose work triumphantly receives 35 translations during this period (including translations of abridged versions), authors of popular fiction seem to have dominated the publishing scene, with Conan Doyle getting 13 translations and each of Agatha Christie and Rafael Sabatini getting 11 translations. The work of such canonised authors as Bernard Shaw and Oscar Wilde (each getting 6 translations), Khalil Jibran (4 translations) and D. H. Lawrence (2 translations) were less frequently translated than the thrillers, romance and adventure stories which were produced at a large scale during that time.

4. The diversification of the field of literary and theatre translation in Egypt: translation trends from 2000 to 2010

Mapping translation trends in early twentieth century is meant to provide the backdrop against which the scene of translation production in Egypt in the last ten years can be seen and explained. The comparison between these two historical moments will help in both highlighting and interpreting the changes which happened in the area of literary and theatre translation.

First, it is safe to say that the dominance of English as the language most translated from in Egypt continued to significantly increase, with the gap between it and French widening in all fields of translation. The data retrieved from the Index Translationum on translations from both languages during the period from 1970 to 2006 is indicative of this gap:

Published translations from English and French in Egypt (1970-2006)

1703 1800 1600 1400 1081 Number of 1200 1000 published 684 800 translations 600 400 139 76 136 162 200 19 0

Years

English French

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 If we look into the period of 2000-2006 for the distribution of published translations by the source language, we will find that the share of English amounts to 77%, while French receives 3% of the translation share, leaving a 20% of the total translations published during this period for other languages, including Spanish, Italian, German, Russian and Chinese (see chart below):

Share of published translations in Egypt by language (2000-2006)

English French Other

20% 3%

77%

The predominance of English as the source language for translation in Egypt is due to a number of historical, political and cultural factors. One of the major implications of the long British presence in Egypt (1882-1994) is the Anglicisation of education15 and the shift of national orientation away from the French cultural model towards Anglo-American culture. The second half of the twentieth century and the early two decades of the twenty first century saw a significant increase in English departments in public, as well as private universities. Graduates of these departments usually work as English language teachers or translators. Since the 1940s, English departments in Egyptian universities have been sending some of their graduates in PhD scholarships, mainly in US and UK universities. After these academics came back to Egypt, they contributed to translation activity in different fields. Among the names which contributed to translation in the areas of Anglo-American literature, theatre and cultural studies are Lewis ‘Awad, Fatima Musa, Muhammed Enani, Nehad Seliha, Samir Sarhan, Abdel Aziz Hamuda, Abdel Wahab al-Mesiri, Maher Shafiq Farid and others.

In mapping the translation activity in the fields of literature written in English, theatre, cultural studies and theatre studies, two lists of published translations have been created:

15 Although public education post the 1923 constitution in Egypt has been gradually arabicised, the structure of Egyptian education (including secondary and higher education education) continued to be inspired by the British educational model.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 one covering the period of 2000-2005 and the other covering the period of 2006-2010. The bibliographic resources available for compiling these lists are: the Index Translationum (although the data available on Egypt stops at 2006), the bibliographic index of Dar al-Kutub covering the period from 1996 to 2000 and the data compiled for a new index to be published by Dar al-Kutub that covers the period from 2001 to 2005. Lists of published translations from both government and private publishers have been obtained to cover the period from 2006 to 2010.

The generic classification of literature used in analysing translation production during the period from 1900 to 1949 has been used with these two lists. Two categories for ‘travel literature’ and ‘literary biographies’ (labelled under ‘other’) and ‘literary dictionaries and bibliographies’ have been added to accommodate a few titles translated during that time. The category of ‘literary criticism’ has been conceptually widened to accommodate the rapid changes in this area in the second half of the twentieth century. For the two lists covering this period, this category is not only used to include stylistic and rhetorical commentaries on literary and dramatic texts, but also includes studies that approach literature and drama from a ‘cultural’ perspective, in the widest sense of the word. Translated books related to literary history, literary theory, post-colonial and gender studies have been listed under this category. Two other research areas which have developed relatively recently have also been listed under this category, i.e. theatre studies and translation studies.

Unlike the field of literary and theatre translation in Egypt in the first half of the twentieth century, translation activity since the 1950s has been increasingly centralised and administered by the state. The majority of published translations since the 1970s have been commissioned and produced by a number of institutions attached to the Egyptian ministry of culture. These institutions include the General Egyptian Book Organisation (GEBO), the National Translation Project (later made into a national centre for translation in 2006), the General Organisation of Cultural Palaces (GOCP) and Cairo International Festival for Experimental Theatre (CIFET). A few other institutions attached to the ministry occasionally subsidised and commissioned translations, e.g. the Cultural Development Fund and the National Centre for Theatre. As indicated by the two translation lists compiled, the translation output produced by private publishers in the areas of literature, theatre and cultural studies is marginal, compared to the large scale production of state-run institutions. A close look into the list of translations published during the period from 2000 to 2010 reveals a number of facts about general translation trends and the structure of the translation market.

5. Translation lists and general translation trends

The two lists covering translation production from English in the areas of literature, theatre and cultural studies include an estimate of 429 titles, with 217 titles published during the

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 period from 2000 to 2005 and 212 titles during the period from 2006 to 2010. The distribution of titles by genre during the first five years is shown by the chart below:

Distribution of published literary translation from English by genre (2000-2005) Literary bibliographies/dicti onaries/encyclope dias 0% 1%

Novel 21% short story collections 7% Literary/cultural studies 47%

Theatre 16% Poetry 8%

Data about distribution of published translations by genre reveal a number of facts:

 The overall picture of the translations published during this period shows some significant developments, compared to the picture of the translation market during the period from 1900 to 1949. In addition to the increased number of the total published translations, the translation share of some genres significantly changed. Translations of the novel dropped from 80% to 21%, while literary/cultural studies dramatically rose from 0% (1 title out of 332) to 47%. The drop in the number of translated novels may be partially due to the significant increase in the number of authored novels in Egypt in the last twenty years, a period significantly labelled by

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 Gaber Asfour as ‘the age of the novel’ (zaman al-Riwaya)16.The significant increase in the translations of literary criticism and cultural studies is both due to the rapid developments in this field in the west and the interest taken by specific institutions in Egypt in translating titles in this area (especially the National Translation Centre and Cairo International Festival for Experimental Theatre). Figures of translated dramatic texts remained in the area of 15-16 %. Translations of poetry anthologies and short story collections saw some considerable changes, with poetry translation rising from 1% to 8% and short story translation rising from 2% to 7%. This increase is due to the contribution of publications made by the series of Afaq al-Tarjama, published by the General Organisation of Cultural Palaces (GOCP).  26 publishers produced these translations, 9 of them are state-run and 17 are private publishers. The state publishers produced 174 titles (most of them by the National Translation Project and Cairo International Festival for Experimental Theatre), while the private publishers produced 43 titles.  About 19 titles (9% of total publications) on the list are reprints of already published translations. Most of these titles have been republished in the NTC’s newly introduced series of Mirath al-Tarjama (Translation Heritage). Some of these titles went into second editions in the National series of Maktabat al-Usra (Family Library).  The majority of titles selected for translation are by modern and contemporary writers, with works mostly published in the second half of the twentieth century. Only 9 authors published before the twentieth century (i.e., Shakespeare, Milton, Wordsworth, Oscar Wilde, Yeats, Wilkie Collins, Joseph Conrad, Samuel Johnson and Thomas More) found their way to the list. The most translated writer on the list is Shakespeare (19 titles), with Oscar Wilde and Joseph Conrad coming second (2 titles for each).  The majority of the writers chosen for translation in the categories of poetry, novel and drama are from western metropolitan centres, writing along the traditions of western literature. A few of these writers, though writing in English and publishing their work in the west, come from cultural and literary traditions that were for a long time regarded as ‘peripheral’ to western canonical literature. Only 15 titles (around 7% of total publications) have been identified for such writers as Wole Soyinka, Ben Okri, Cyprian Ekwensi, T. M. Aluko, Peter Palangyo, Stephen Gray, Nadine Gordimer, Athol Fugard, J. M. Coetzee, David Maillu, Mustapha Matura, Tariq Ali and others.  Compared to the number of translations in other genres, the novel still has a higher share of translation with 45 titles translated, amounting to 21% of the total number of published translations. Theatre received 34 (16%) translated titles, leaving 16 (7%) titles for short story collections and 18 (8%) titles for poetry anthologies.  Publications in the category of literary bibliographies, dictionaries and encyclopaedias are very marginal. They made only 1%, equalling three titles: Ibrahim Fathy’s compiled dictionary of literary terms (2000), published by Sharqiyyat, Hamdi al-

16 In addition to two special issues of Fusul quarterly edited by Asfour in 1993 with that title, he authored a book with the same title and published in 1999.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 Sakkut’s translation of Marsden Jones’s Bibliography on Salah abd al-Sabur (2001) and Shaker Abd al-Hamid’s translation of Daniel Chandler’s Semiotics for beginners, published in Arabic under the title Mu‘jam al-Mustalahat al-Asassiyya fi ‘Ilm al-‘Alamat (Dictionary of Key Terms in Semiotics, 2002). Initiatives taken to translate specific English dictionaries or compile dictionaries from different sources in the area of literature, theatre and cultural studies have been rare in the translation market in Egypt. A few titles in this area have been published in the last fifty years:  Magdi Wahba (1974), Mu‘jam Mustalahat al-Adab (Dictionary of Literary Terms).  Ibrahim Hamada (1985), Mu‘jam al-Mustalahat al-Diramiyya wa al-Masrahiyya (Dictionary of Dramatic and Theatrical Terms)  Tharwat ‘Ukasha (1990), Mu‘jama al-Mustalahat al-Thaqafiyya (Dictionary of Cultural Terms)  Fatima Musa (1995), Qamus al-Masrah (Theatre Dictionary), a translation of Oxford Theatre Dictionary.  Muhammed Enani (1996), Al-Mustalahat al-Adabiyya al-Haditha: Dirasa wa Mu‘jam Injilizi-‘Arabi (Modern Literary Terms: Study and English-Arabic Dictionary).  The category of literary/cultural studies received the highest share of translation, with 101 (46%) translated title. The number of books translated from English in the area of literary/cultural studies during the period from 1990 to 2000, according to the Index Translationum, is 37 out of 318 titles, which is equal to 12% of the books under literature. This significant rise in the number of translations in the area of literary/cultural studies in the last ten years is due to the expansion of a constituency of readers, comprising graduates of faculty of arts, language departments and the academy of arts (especially the Higher Institute for Theatre Arts and the Higher Institute of Arts Criticism). This expansion of readership was also made possible by a number of literary journals and reviews which relied in different degrees on translation of literary theory and cultural studies. These journals and magazines include Fusul, Ibda‘, Alif (a quarterly edited by Ferial Ghazul and published by the American university in Cairo), al-Qahira (a monthly journal which used to be edited by Ghali Shukri and now turned into a weekly newspaper) and Akhbar al-Adab. Fusul, for example, is credited by many Arab intellectuals with introducing the conceptual apparatus of western literary theory and cultural studies to the Arabic literary and critical discourse. Since its launch under the editorship of Ezz el-Din Isma‘il (in October 1980), followed by Gaber Asfour (in 1992) and Hoda Wasfi (2002), Fusul continued to publish special issues on contemporary approaches in literary theory, starting from its second issue on ‘Methodologies of contemporary literary criticism’ (Junuary 1981). Articles in these issues were mainly translations of key foundational texts in western literary theory. Along a similar line, the AUC-based Alif published special issues on different schools in contemporary literary theory.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011  The distribution of titles published within the area of literary/cultural studies is also worth-looking at in some detail. The 101 titles translated under this category could be further broken down into the following sub-categories:  General literary/cultural studies (including literary/cultural history, introductions to literary theories, literary/cultural approaches by specific theorists): 36 titles (36%)  Theatre studies: 48 (47%)  Novel studies: 8 (8%)  Poetry studies: 6 (6%)  Short story studies: 1 (1%)  Translation studies: 2 (2%)

Most of the translations produced within the sub-category of general/literary studies are published by the National Translation Project, while the majority of titles within theatre studies are published by the Cairo International Festival for Experimental Theatre. Publications in other sub-categories are shared between the National Translation Project and the series of Afaq al-Tarjama, published by the General Organisation of Cultural Palaces. Private publishers have a very small, almost non-existing, share of publications in this area.

Publishing translations in the area of translation and intercultural studies, though very marginal (2% of total publications in literary/cultural studies), is indicative of a growing consciousness of the importance of translation and intercultural studies and the role it can play in creating a different discourse in Arabic about translation as a means for negotiating ‘cultural otherness’. This discourse aims to reconceptualise translation and re-vision it not only as a linguistic activity, but as a cultural phenomenon that is conditioned and shaped by a complex network of socio-political contingencies. This new consciousness is echoed in the launch of a new series by the NTC, titled Dirasat al-Tarjama (i.e. Translation Studies) with the remit of translating the key and latest publications in the field of translation and intercultural studies and the publication of journals that specifically addresses issues related to translation studies (besides actual translation), e.g. Majallat al-Alsun (edited and published by the Egyptian Faculty of Languages) and the short-lived Awasir, published by the NTC in 2008 and shortly stopped running for bureaucratic reasons. In 2008, a special issue of Fusul (issue no. 74) on translation and intercultural studies was published where some of the foundational texts in this field were translated, annotated and situated in the context of the historical development of the field. Among the scholars introduced, some of them for the first time in Arabic, were Mona Baker, Theo Hermans, Lawrence Venuti, Andre Lefevere and Myriam Salama-Carr.

(From left to right, Fusul, Al-Alsun and Awasir journals)

The overall structure of the translation market in the fields of literature, theatre and literary/cultural studies changed slightly during the period from 2006 to 2010. The following chart explains the global translation trend during this period:

Distribution of published literary translation from English by genre (2006-2010) Bibliographies and other Poetry dictionaries 1% 4% 2%

Novel 41% Literary/cultur al studies 35%

Theatre 10%

Short story collections 7%

While the total number of publications during the period of 2006-2010 (212 titles) does not significantly change from the total published in the five previous years (217 titles), the distribution of publications by genre reveal some considerable change. The share of novel translation almost doubles from 21% of total publications during the period from 2000 to

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 2005 to 41% during the period from 2006 to 2010. This is mainly due to the contribution coming from al-Gawa’iz series which was launched in 2005 by GEBO. The share going to translated short stories remains at the threshold of 7%, with the publications of translated poetry decreasing by half from 8% to 4%. Publications of literary dictionaries/encyclopedias rise from 3 to 4 titles during the years from 2006 to 2010.

The titles published under the category ‘literary/cultural studies’ do not show a recognizable change, except for the drop of titles related to general literary/cultural studies from 36 to 18 titles. Publications within the area of translation studies rise from 2 to 4 titles, two of them by Lawrence Venuti, i.e. The Translator’s Invisibility, published by GEBO and The Scandals of Translation, published by NTC.

The dominance of state-run publishers continues during the period from 2006 to 2010 with 197 out of 212 titles published by them. The number of publications by NTP rises from 73 to 112, especially after it becomes a National Translation Centre. The translation output of GEBO is 38 titles, 37 of which are published in al-Gawa’iz series. The output of literary translations from English by GOCP slightly decreases from 12 to 10 titles, while the titles translated from English by CIFET decreases considerably from 50 to 36 titles. The share of private publishers in the total publications of literature, theatre and literary studies out of English does not exceed 15 titles (almost 8%). Despite the marginal presence of private publishers in the market of literary translation during the ten years from 2000 to 2010, a few small publishers have recently joined the market and attracted attention to the titles they selected for translation and the quality of their publication. Some of these include Dar al-‘Ayn, Dar Nifru and Dar Ru’ya. The latter, for instance, is credited with publishing three translations of Edward Said’s work, i.e. Covering Islam (2004), Orientalism (2006) and Representations of the Intellectual (2006), all translated by Mohammed Enani.

6. Profiling key players in the translation market: publishers and translation series

As shown by the translation lists covering the ten years from 2000 to 2010, the contribution of the private sector to the translation market is minimal. In the following section the profile of the key players in the market of English-Arabic translation in the areas of literature, theatre and literary/cultural studies, mainly state-run, will be identified:

- General Egyptian Book Organisation (GEBO)

GEBO is the major state-run publisher which was founded under Sadat by presidential decree number 2826 in 1971 as the main provider of reasonably priced and subsidised books that meet the educational and cultural needs of middle and low-middle class Egyptians. According to GEBO’s website, accessed in September 2011, the number of titles published during the period from 1986 to 2010 is 6297 in different fields of

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 knowledge. With its massive network of book distributors, GEBO’s publications have been accessible in most parts of Egypt. Two GEBO programmes are directly related to translation: The Second Thousand Books and al-Gawa’iz series.

The ‘Second Thousand Books’ is the continuation of an earlier programme: the ‘First Thousand Books was launched in 1955 by the General Department of Culture (al-Idaral al‘ama lil-Thaqafa), one of the structures of the ministry of education, with the remit of publishing world classics and foundational texts in different fields of knowledge. The programme was terminated in 1969. The Second Thousand Books programme was launched in 1986 and has published to date 421 titles grouped into 19 different series, including one for ‘literature and language’. The GEBO website does not provide an up- to-date list of the titles published in this series. However, 21 translated titles could be identified through Dar al-Kutub indexes since the launch of the whole programme until 2005. Only 13 titles are directly translated from English, with 5 titles translated through English as a middle language and three translated from French, Spanish and Polish. Almost all the titles translated from English in the ‘literature and language’ series’ are related to the category of literary studies, with focus on the novel. A few of these titles went into second editions, e.g. Bradbury’s The Novel Today (1996, 2005, translated by Ahmed Omar Shahin) and Buchbinder’s Contemporary Literary Theory and the Reading of Poetry (1996, 2005, translated by Abd el-Maqsud abd el-Karim).

In 2005, GEBO launched another series with the remit of publishing literary texts, in Arabic or translated, that have been awarded literary prizes. Out of the 89 titles published to date in this series, 80 titles are translated, 37 of which are directly out of English.

Apart from favouring authors awarded literary prizes, the series does not seem to have a clear editorial policy with criteria of selection, given the imbalance between Arabic titles and translated titles on the one hand and the imbalance between titles translated from English and others translated from other languages. One significant credit to be given to the series is its selection of titles by authors less translated into Arabic than the mainstream, canonized writers of Anglo-American literature known to the average Egyptian reader (Varlet 2010).

A few of the translated titles in the Second Thousand Books and al-Gawa’iz Programmes go into second editions, especially through the nation-wide programme of the Family Library (Maktabat al-Usra) which was launched in 1994 under the patronage of Suzannne Mubarak.

 National Translation Project (NTP) and National Translation Centre (NTC)

Envisaged and engineered by Gaber Asfour, the then head of the Supreme Council of Culture, the National Translation Project was launched in 1995, inspired by the one-

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 thousand-translation dream that motivated earlier national translation projects. Within ten years, NTP could achieve its set goal of publishing one thousand translations. In the first issue (April 2008) of the journal Awasir, a periodical published by NTC with focus on translation studies and related subjects, the opening editorial by Gaber Asfour and a final report at the end outline the motivations and the highlights of the National Translation Project and provide a vision for what came to be known in 2007 as the National Translation Centre. Asfour (2008) emphasizes the 6 principles set to frame the vision of both NTP and NTC and which are thought to address the limitations of earlier translation projects in Egypt:

1. Challenging euro-centrism and opening up to less translated languages and cultures. Asfour underlines the fact that most translations produced in earlier projects have been either out of English or mediated through English; 2. Prioritizing the translation of titles that promote the values of progress, rationalism and experimentation; 3. Opening up to different fields of knowledge, prioritizing applied and natural sciences over human sciences, especially literature; 4. Translating foundational texts in all fields of knowledge; 5. Translating directly from source languages and minimizing the use of English and French as middle languages; 6. Involving intellectuals from other Arab countries than Egypt in an initiative that invests in the capabilities and skills of translators all over the Arab World.

The report at the end of the same issue of Awasir is meant to provide the evidence that the six principles have been achieved during the 1995-2006 period and before NTC came into existence. Although some figures suggest that the six principles making the vision of NTP have been put into effect, others suggest the opposite. Out of the 1000 titles published during this period, 418 titles go to literature, which is near 42% of the total publications, while only 7 titles go to applied science, equaling 0.7% of the total publications. Out of the 27 languages translated from, English is still ahead of all, with 54.3% (543 titles), followed by French which takes a share of12.9% of total publications. This marks a much better position for French, compared to its national share of translation (3%). In line with principle number 6, NTP was able to involve 70 non-Egyptian translators and editors, out of a total of 492.

One of the significant additions to the NTP is the ‘Translation Heritage’ series, launched in 2008. This series aimed to provide an insight into the development of translation in Egypt, its aesthetics, strategies and the circumstances conditioning it. Through publishing early Arabic versions, side by side with recent translations of the same source texts, Egyptian and Arab scholars of translation are provided with the opportunity to explore translation in a historical context. In line with this vision, the first Arabic Hamlet by Tanius Abdu was published alongside the latest version by M. Mustapha Badawi; Selim al-Bustani’s monumental version of the Iliad was translated alongside a recent version by a team of translators headed by Ahmed Etman; and Lutfi Jum’a’s incomplete translation of Ulysses was published with an introduction by Ibrahim Awad that puts it in a comparative perspective

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 with Taha Mahmoud Taha’s 1982 version of the same novel. A round table held in February 2006 to assess the publications of the NTC recommended increasing the number of titles produced in the Translation Heritage series.

In the same event, a number of recommendations were made regarding the overall quality of translation, including editing and Arabic language revision. One of the challenges that was not highlighted enough in this discussion is the inefficient marketing and distribution of translated books during the 1995-2006 period. In contact with the marketing manager of NTC in September 2011, it was established that a new marketing policy is now in place whereby more cooperation with government and no-government organisations will be sought and a number of strategies will be implemented in order to make the NTC publications accessible by the widest sector of Egyptian and Arab readers. Some of these strategies are already in place, especially the use of e-newsletters and electronic social media (i.e. facebook) to publicise events and new publications. The rising prices in the book industry and the limited income of the average middle-class Egyptian are among the major obstacles that NTC and all Egyptian publisher need to overcome.

In examining the figures provided about literary translation during the period before NTC was officially created, we will find that out of the first 460 titles produced under literature, 157 were translated from English, equaling 34% of total publications in this category. Most of these titles are shared between novel and literary/cultural studies, with little left to poetry, theatre and short story.

To date, the translation list provided by the NTC stops at number 1813. An estimated number of 125 titles under literature are from English (some titles are listed without mentioning the original language). According to the marketing department of NTC, the print-run for each title falls in the range of 1000-2000 copies, conditioned by an agreement with the foreign publisher. The titles still suggest the dominance of novel and literary/cultural studies, though translations of poetry seem to have slightly increased.

NTC has obviously filled a significant niche in the market of literary/theatre translation. The fund available for the centre and the technical and administrative expertise provided through the staff enabled it to be highly productive, despite the limitations and challenges outlined above. However, securing enough funds seems to be the challenge ahead of NTC especially in a post-revolution Egypt.

 Publications of Cairo International Festival for Experimental Theatre (CIFET)

CIFET was first held in 1988 as one of the many cultural events annually organized by the Egyptian Ministry of culture. The festival was envisaged by x-minister of culture Farouk Hosni with the remit of providing a forum for theatre companies from all over the world to meet for a period of 10 days in Cairo to present their explorations of different innovative ways of theatre-making. One of the key activities accompanying the festival is the publication

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 of a number of books that address issues related to experimental theatre. Since the second round in 1989, the festival has been publishing a number of titles, a few authored in Arabic and most of them translated. Beginning with a modest production of 4 books a year in 1989, the festival continued to increase its output of published translations until it reached 23 titles in the 22nd round in 2010. The total number of publications is 327 titles translated from different languages, including French, German, Spanish, Italian, Russian and Chinese. 188 titles (60%) are translated directly from English. With the wide range of selection of titles that cover both foundational and most recent publications in the field of theatre, CIFET has filled a real gap in the area of theatre studies. However, two major challenges seem to have compromised the impact of these publications: the poor marketing and distribution of translated titles and the inefficient process of translation quality control. The print-run of each title does not usually exceed 500 copies which are usually distributed among Arab and Egyptian theatre critics. A number of copies go to a few public libraries, including the library of the Higher Institute of Theatre Arts in Cairo. Very few of these titles went into second editions through either GEBO or NTP. Two of these titles won national translation awards: Theatre Audiences was awarded the Supreme Council of Culture Incentive Award in Translation in 1994 and Avant-garde Theatre was given the Best Translated Book of the year from Cairo International Book Fair in 1995, both translated by Sameh Fekry Hanna.

 Afaq al-Tarjama/Afaq ‘Alamiyya

This series was launched by the General Organisation of Cultural Palaces (GOCP) in 1995 as Afaq al-Tarjama (Horizons of Translation) and was later reissued in a different format with a different name, i.e. Afaq ‘Alammiyya (World Horizons). It was not possible to obtain a complete list of the now- defunct Afaq al-Tarjama, though we were able to identify 51 entries in the electronic catalogue of Dar al-Kutub, featuring the titles produced in the series from 1995 to 2000. Out of the 51 titles, an estimated number of 18 are translated directly out of English; only 15 of them are related to literature, with one title related to the political history of Egypt and two titles related to the history of art. Some of the titles translated from non-English speaking authors might have been done through English. The electronic index of Bibliotheca Alexandrina records 53 entries for Afaq ‘Alamiyya from 2001 to 2010, only 10 titles are directly out of English. The titles suggest a tendency to publish more short stories and poetry than novel and literary/cultural studies. Out of the ten titles, there are 6 collections of short stories, 2 poetry anthologies, one novel and one book in literary theory.

 Albawtaka electronic review

A quick glance at the figures extracted from the three lists used for analysis in this study will clearly show that the literary genre that receives the least literary translation is the short story. In 2005, Hala Salah Eldin Hussein, a young Egyptian translator and editor of Albawtaka review, came to be aware of this gap in the literary translation market. Knowing that the short story is the least favoured genre among Egyptian publishers, she thought to address

Albawtaka is an Arabic word meaning The Crucible. Albawtaka Review is an Arabic independent (non-governmental) non-profit online quarterly concerned with translating English short fiction. Albawtaka Review is the only print/online periodical that translates the English short story methodically and systematically into Arabic. It is published in Cairo, Egypt.

The remit of this electronic review is described as follows:

Albawtaka Review’s goal is to present a panoramic view of contemporary English literature - no one style is advocated over another. We are especially interested in works that take on human issues by making the invisible seen, that give voice to the voiceless - works that impart message through aesthetic experience. Writers’ colors, religions, gender and ethnicities do not determine our choices in any way. Albawtaka Review does not and will not adopt any political agendas whatsoever.

In addition to showcasing celebrated authors, Albawtaka Review introduces the Arabic reader to authors he/she may have never encountered before, but who are weaving innovative work.

Along with translating outstanding pieces of short fiction into impeccable Arabic language, Albawtaka Review sets another standard for the art of biography shedding light on the life histories of each of the writers being tackled. Albawtaka Review’s biographies tend to be more informative rather than critical.

With this orientation, Albawtaka has been launched in April 2006 as a monthly review then as a quarterly from July 2007. It has published thirty issues presenting seventy English- speaking writers, their work and biographies. The total translation output of Albawtaka to date is a translated novel and seventy-nine translated English stories.

In March 2011, Albawtaka Review has received a grant from The Arab Fund for Arts & Culture to publish six online issues and print three anthologies of short stories: Sharp Senses, Ghosts With No Maps and Hidden Faces.

(Front cover of Sharp Senses, published in book form by Albawtaka, 2011)

Besides the pioneering initiative of publishing translation electronically, let alone short fiction, Hala Salah Eldin is keen on clearing translation rights from publishers and literary agents, which proved not to be easy at the beginning, as she explains in an interview with her. She has managed to clear translation rights of the work of such writers as Arthur Miller, Charles Lambert, Chris Adrian, Dave Eggers, Edward P. Jones and others.

With this impact and wide-ranging dissemination, electronic publishing of translation seems to be a promising direction for the market of literary translation, especially in the case of genres like the short story and poetry.

 American support of Arabic translation in Egypt

After the termination of the Franklin Book Programs17 in 1978, the American involvement in translation support policies in the Arab World continued to take a marginal share in the translation industry, especially in Egypt. The support coming from the American embassy in Egypt, through what is called the ‘Arabic Book Program’ (ABP), takes the form of collaborating with local publishers to translate and publish books for the Arabic-speaking readers. The purpose of this program, as described on the website of the embassy, is “to translate the best of American works into Arabic in order to present the different aspects of the history and culture of American society.18

The current budget for the ABP in Cairo is $50,000 which is set to cover the expenses of translating and publishing 8-10 titles a year. The print run for each title is usually 3000 copies, where ABP purchases 1000 copies for local and regional distribution whereas the publisher sells the remaining 2000 copies in the market.

17 For a detailed study of these programmes, see Robbins (2007). 18 Check page at the following link: http://egypt.usembassy.gov/pa/rbo_.htm

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 The list of published translations available for the Arabic Book Program19 shows translations that have been published since 1987. The list includes book in science, children literature, Africa and books directly related to American history, politics and economy. On checking the current updated list (which includes 33 titles), only two novels were identified: John Steibeck’s Grapes of Wrath, published in collaboration with Dar al-Shorok and Virginia Sorensen’s Miracles on Maple Hill, published in collaboration with Dar Nahdet Misr. A number of children stories have been identified, mainly published by Nahdet Misr.

Apart from a few events in the form of translation workshops, no contribution to the translation industry and market seems to be coming from the British Council in Cairo.

7. Conclusion: observations and future directions

Mapping the genesis of the translation market in Egypt in turn of the twentieth century and the status of this market in the last ten years reveals a number of facts:

 Available bibliographies and indexes covering these periods, though helpful, are not fully accurate and comprehensive and need to be critically used. More work in library archives is required to fill in the gaps, especially during the first half of the twentieth century.  Mapping ‘lists’ of translation is only an initial step that should lead to and motivate a deeper mapping of discourses surrounding and engendered by translation. From my own research experience in nineteenth and twentieth century translation in Egypt, the introductions and front covers published with translations are revealing of the multiple discourses about translation during that time. One potential direction for the future is collecting and analyzing ‘para-texts’ of translation, including covers, introductions, reviews and debates about translation.  The changing trends in translating and publishing different literary genres need more detailed analysis that capture these changing trends over time, linking that to contemporary trends in Arabic authored literature. An atlas of translated literary genres into Arabic needs more coordinated work between research teams than the isolated endeavor of individual researchers.  Mapping is also needed of the changing modes of agency of both individual translators and institutions. The strategies used by producers of translation to position themselves in in the market/field of translation and the type of capital used to achieve ‘distinction’ is another area that needs more informed and interpretive engagement.

19 My thanks go to John Ragheb from the American Embassy in Cairo for providing me with this list.

al-Rashidi, J. (1980). Shakespeare wa Talabat al-Madaris al-Thanawiyya fi Misr (Shakespeare and Secondary School Students in Egypt). Al-Funun(8). al-Shayyal, G. a.-D. (1951/2000). Tarikh al-Tarjama wa al-Haraka al-Thaqafiyya fi Asr Muhammad Ali (History of Translation and Cultural Movement during the Reign of Muhammad 'Ali). Cairo: Maktabat al-Thaqafa al-Diniyya. Asfour, G. (2008). Al-Tarjama: Mashrou' lil-Tanmiyya al-Thaqafiyya (Translation: a Project for Cultural Development). Awasir, 1(1), 6-10. Consulting, T., & Meiering, G. (2004). Lost or Found in Translation: Translations' Support Policies in the Arab World: Next Page Foundation. Hafez, S. (1993). The Genesis of Arabic Narrative Discourse: A Study in the Sociology of Modern Arabic Literature. London: Saqi Books. Hanna, S. F. (2007). Decommercialising Shakespeare: Mutran's Translation of Othello. 'Arab Shakespeare': special issue of Critical Survey, 19(3), 27-54. Jacquemond, R. (2009). Translation Policies in the Arab World: Representations, Discourses and Realities The Translator, 15(1), 15-35. Moosa, M. (1983). The Origins of Modern Arabic Fiction. Washington, D.C: Three Continents Press. Robbins, L. (2007). Publishing American Values: the Franklin Book Programs as Cold War Cultural Diplomacy Library Trends, 55(3), 638-650. Dar al-Kutub wa al-Watha’iq al-Qawmiyya. (2008). Al-Thabt al-Bibliographi lil-Kutub al-Mutarjama lil- lugha al-'arabiyya fi Misr: min Awa'il al-Tiba'a hatta 'am 1995 (Bibliographic Index of Published Translations since the Infancy of the Print Industry to the end of 1995) Cairo: Dar al-Kutub wa al- Watha'iq al-Qawmiyya. Varlet, E. (2010). French-Arabic Translation Flows in Egypt and the Mashreq (1985-2010): Transeuropéennes: Translating in the Mediterranean. Zaki Khorshid, I. (1985). Al-Tarjama wa Mushkilatiha (Translation and its Problems). Cairo: General Egyptian Book Organisation.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 Appendix 1: List of published translations from English to Arabic in the fields of literature, theatre and literary/cultural studies

(1900-1949)

Compiled, classified and annotated by Sameh F. Hanna and Amanie F. Habashi

انرشجًاخ األدتيح ٔانًضشحيح فٗ يظش يٍ اإلَجهيزيح فٗ انفرشج يٍ 1900 حرٗ 1949 )فٓشس انكرة انًرشجًح فٗ يظش يُز تذايح انطثاعح ٔحرٗ 1995(:

1909-1900

ًٍََِ عُٕاٌ ذظُيف 1. يضشح )1(

2. سٔايح )1(

.A : Edward Phillips Oppenheim (Oppenheim wrote thrillers, romances, comedies as well as parables). 3. سٔايح )2(

A : William Black 4. سٔايح )3(

A : Jack Talbot. 5. سٔايح )4(

A : Arthur Conan Doyle. 6. سٔايح )5(

T : Gulliver’s travels . A : Jonathan Swift . 7. يضشح )2(

T : Much ado about nothing A : William Shakespeare 8. سٔايح )6(

ػ 8 ٕب٠ٚٓ ِزوعّخ ػٓ اإلٔغ١ٍي٠خ فٝ ِمبثً 23 عنوان تقريباً عن الفرنسية ؼِ ظُ اٌزوعّبد ٌوٚا٠بد )فٝ اٌٍغز١ٓ(. ِٓ اإلٔغ١ٍي٠خ 6 هٚا٠بد ٖٛٔ 2ٓ َِو١ؽخ  ٕ٘بن ٖٛٔٓ ِغٍٙخ اٌّإٌف ٚإٌٔ األٍٕٝ رُ اٍزجؼبك٘ب. ّٙ ل ٘نا اؼٌمل أٚ٠بً ْٔو روعّبد ػضّبْ عالي ػٓ اٌَّوػ اٌفو١١ٌِٛ( َٝٔو ٚها١ٍٓ(، فمل ْٔو عالي فػ ٝبَ 7907 "األهثغ هٚا٠بد ِٓ ٔقت اٌز١برواد" فٝ اٌّطجؼخ اٌْول١خ. ّٙ ل ٘نا اؼٌمل ؽلصبً ٘بِبً فٝ ربه٠ـ اٌزوعّخ ئٌٝ اؼٌوث١خ، ٛ٘ٚ روعّخ ١ٍٍّبْ اٌجَزبٝٔ ٌإل١ٌبمح ئٌٝ اٌٍغخ اؼٌوث١خ ٚاٌزٝ ْٔود ػبَ 7904 فٝ ِطجؼخ اٌٙالي.    A rising tendency to select literary texts that are related in one way or another to Arab, Egyptian or Islamic culture. This started with Mohamed Ali and his House and continued to mark the publishing policy, probably until now.

يضهضم عُٕاٌ ذظُيف .1 يضشح )1(

A : William Shakespeare T : Macbeth. .2 يضشح )2(

A : William Shakespeare . T : Macbeth. .3 يضشح )3(

A : William Shakespeare T : Julius Caesar . .4 يضشح )4( ستًا ذكٌٕ أٔل ذشجًح عشتيح نعًم يٍ أعًال تشَاسد شٕ A : George Bernard Shaw T : Caesar and Cleopatra. .5 سٔايح (1) ستًا ذكٌٕ أٔل ذشجًح عشتيح نشٔائيح اَجهيزيح A : Marie Corelli. T : Boy : a sketch. .6 سٔايح (2)

T : King Solomon's mines. A : Henry Rider Haggard .7 يضشح )5( انُض األطهٗ تانذاًَشاكيح، ٔنكٍ .A : Henrik Hertz ذشجًّ سيزٖ عٍ اإلَجهيزيح. ستًا ذكٌٕ

 7 عُأيٍ عٍ اإلَجهيزيح فٗ يقاتم 14 عُٕاٌ عٍ انفشَضيح  يٍ اإلَجهيزيح: 5 َظٕص يضشح ٔ 2 سٔايح.  تذأخ اإلَجهيزيح ذحم يحم انفشَضيح كهغح ٔصيطح َقم يٍ خالنٓا َظٕص يٍ ثقافاخ يخرهفح: ذشجًح صاليح يٕصٗ نذيضرٕفضكٗ )انجشيًح ٔانعقاب( عثش اإلَجهيزيح، ٔذشجًح أحًذ حضٍ انزياخ نجٕذّ )آالو فشذش( عثش اإلَجهيزيح، ٔذشجًح اتشاْيى سيزٖ نًضشحيح ُْشيك ْيشذز.  شٓذخ ْزِ انحقثح دخٕل تعض انكراب ألٔل يشج نهغح انعشتيح: تشَاسد شٕ، جٕذّ، دٔصرٕفضكٗ، ُْٔشيك ْيشذز  كًا شٓذخ ْزِ انحقثح دخٕل أٔل سٔائيح اَجهيزيح نهغح انعشتيح.

1929-1920

يضهضم عُٕاٌ ذظُيف 1. شعش )1( ستًا ذكٌٕ أٔل ذشجًح عشتيح نقظيذج يهحًيح، تاصرثُاء ذشجًح صهيًاٌ انثضراَٗ نإلنيارج فٗ 1904 T : The story of Sohrab and Rustum. A : Matthew Arnold. 2. سٔايح )1(

A : Edward Phillips Oppenheim 3. شعش )2( أٔل ذشجًح عشتيح نقظيذج ذُيضٌٕ In Memoriam A : Alfred Tennyson Tennyson طثعد ْزِ انرشجًح فٗ َفش انكراب يع ذشجًح انًؤنف نزْٔشاب ٔسصرى

A : Erle Stanley Gardner 5. سٔايح )3(

A : Charles Jarvis. 6. سٔايح )4(

A : Charles Jarvis. 7. سٔايح )5(

A : Charles Jarvis 8. سٔايح )6(

A : Charles Jarvis. 9. سٔايح )7(

A : Charles Jarvis 10. سٔايح )8(

A : Charles Jarvis. 11. سٔايح )9(

A : Charles Jarvis. 12. سٔايح

A : Charles Jarvis 13. سٔايح )11(

A : Charls Jarvis 14. سٔايح )12(

A : Charles Jarvis. 15. يظعة ذظُيفّ )َثش أدتٗ/فهضفٗ( 1

T : Sand and foam. A : Gibran Kahlil Gibran 16. قظض فهضفيح 2

A : Gibran Kahlil Gibran. 17. قظض فهضفيح 3

A : Gibran Kahlil Gibran. 18. قظض فهضفيح 4

T : The Prophet. A : Gibran Kahlil Gibran. 19. سٔايح )13( ستًا ذكٌٕ أٔل ذشجًح نُض يٍ َظٕص طًٕيم جَٕضٌٕ

A:Daniel Defoe 21. سٔايح )15(

A : Robert Louis Stevenson . T : Treasure Island . 22. سٔايح )16(

A : Robert Louis Stevenson T : Dr Jekyll and Mr Hyde. 23. سٔايح )17(

A : Robert Southey . T : The life of Nelson . 24. يضشح )1(

A : William Shakespeare . T : The merchant of Venice . 25. يضشح )2(

T : Tempest . A : William Shakespeare 26. يضشح )3(

. A : William Shakespeare T : Tempest . 27. يضشح )4(

T : Macbeth. A : William Shakespeare 29. يضشح )6(

A : William Shakespeare T : Macbeth. 30. يضشح )7(

T : Hamlet A : William Shakespeare 31. يضشح )8(

T : King Henry A : William Shakespeare. 32. يضشح )9(

T : King Henry A : William Shakespeare. 33. يضشح )10(

T : Julius Caesar . A : William Shakespeare 34. يضشح )11(

T : Sacrifice and other plays A : Rabindranath Tagore. 35. سٔايح )18(

A : Archibal Joseph Cronin 37. سٔايح )20(

T : Heart of the world . A : Henry Rider Haggard. 38. صيشج راذيح أدتيح )1(

T : De profundis. A : Oscar Wilde

38  ٕٛ٥اْ روعّذ ٥ٓ اإلٔغ١ٍي٠خ فٝ ِمبثً 24 ٕٛ٥اْ ٥ٓ اٌفو١َٔخ )ّٙ٢٦ِب ا٥بكح ٝجب٥خ ٌزوعّبد لل٠ّخ(  ٕ٘بن ٛ٦ٕثخ فٝ رؾل٠ل ِئٌفٝ ث٦٘ ا٦ٌٕب٠ٚٓ، فٝ ٘نٖ اؾٌبٌخ ٠زُ اٍزج٦بكُ٘  ٠ال٠ؽ ريا٠ل اؾَٔبه اٌزوعّخ ٥ٓ اٌفو١َٔخ.  ِٓ ث١ٓ اي 38 ٕٛ٥اْ ٥ٓ اإلٔغ١ٍي٠خ ٛ٠عل 20 هٚا٠خ، 11 َِوػ، 1 ١ٍوح مار١خ، 4 ِغ٥ّٛبد ِٓ اٌمٖٔ اٌفٍَف١خ )عجواْ(، 2 ٦ّو. ّٙ لد ٘نٖ اٌفزوح ٛٙ١ه روعّبد ١َؽ ٗٝٓ، ٚأؽّل ؽَٓ اٌي٠بد ٌٖٕٛٓ ِٓ ا٢كاة اٌفو١َٔخ ٚاألٌّبٟٔ، ٚاٍزّو اٍزقلاَ اإلٔغ١ٍي٠خ وٍغخ ٞ١ٍٚخ ٚ عٛك روعّبد اٍزقلِذ فٙ١ب اإلٔغ١ٍي٠خ وٍغخ ٞ١ٍٚخ ٌٕمً آكاة ه١ٍٚخ ٚأٌّب١ٔخ ّٙ لد ٘نٖ اٌفزوح أٚي روعّبد ٌٖٕٛٓ ٦ّو٠خ: ٍٙواة ٚهٍزُ )آهٌٛٔل( ِٛ ٚد آهصو )أٌفو٠ل ٌٛهك رَٛ١ٕ١ْ(.

1939-1930

ًٍََِ ٕٛ٥اْ ذظُيف 1. سٔايح )1( .

A : Gerald Drayson Adams 2. سٔايح )2(

T : I will repay. A : Emmuska Orczy. 3. سٔايح )3(

T : The uncrowned king. A : Emmuska Orczy. 4. يضشح )1(

T : The will. A : James Matthew Barrie 5. سٔايح )4(

A : Harold Titus 6. سٔايح )5(

A : John Galsworthy. 7. قظض فهضفيح )1(

A : Oliver Goldsmith. T : The vicar of Wakefield. 9. سٔايح )7(

T : Joel : a boy of Galilee. A : Annie Fellows Johnston 10. سٔايح )8(

T : Rodney Stone. A : Arthur Conan Doyle. 11. سٔايح )9(

T : Exploits of Brigadier Gerard. A : Arthur Conan Doyle. 12. سٔايح )10(

T : The adventures of Sherlock Holmes. A : Arthur Conan Doyle 13. سٔايح )11(

A : Arthur Conan Doyle. 14. سٔايح )12( ذثذٔ ذهخيظاخ نهشٔاياخ األطهيح

A : Rex Stout . 16. سٔايح )14(

A : Walter Scott 17. سٔايح )15(

A : Upton Beall Sinclair T : Petroleum . 18. يضشح )2(

T : King Lear . A : William Shakespeare 19. يضشح )3(

. A : William Shakespear V . T : King Henry 20. يضشح )4(

A : William Shakespeare T : Julius Caesar . 21. يضشح )5(

A : George Bernard Shaw . T : The devil’s disciple . 22. يضشح )6(

24. سٔايح )17(

A : John Ferguson 25. سٔايح )18(

A : S. Flieshman T : Mr . Mysterious and company . 26. سٔايح )19(

27. سٔايح )20(

28. سٔايح )21(

29. سٔايح )22(

30. سٔايح )23(

A : Agatha Christie 31. سٔايح )24(

32. يضشحياخ يهخظح )1(

A : Charles Lamb & Mary Ann Lamb. T : The two gentle men of Verona. 34. سٔايح )25(

A : Sinclair Lewis. T : Babbitt. 35. قظض قظيشج )1(

36. سٔايح )26(

T : Cleopatra. A : Henry Rider Haggard 37. سٔايح )27(

T : Rupert of Hentzau . A : Anthony Hope 38. سٔايح )28(

39. سٔايح )29(

 39 روعّخ ٌٕٔ أغ١ٍيٜ األًٕ فٝ ِمبثً 27 ٖٔبً ِٓ األكة اٌفوَٝٔ  29 هٚا٠خ، 6 َِو١ؽبد، 2 َِو١ؽخ ٍِقٖخ )ِبهٚ ٜرْبهٌي الِت(، 1 لٖٔ فٍَف١خ )ِٞواْ(، 1 لٖٔ ل١ٖوح )روعّخ اٌّبىؾٌّ ٝٔزبهاد ِٓ اٌمٖخ اٌم١ٖوح اإلٔغ١ٍي٠خ(

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011  اٌوٚا٠بد اٌّزوعّخ ّٙ٢٦ِب هٚا٠بد ِغبِواد ٦ّج١خ ٚهِٚب١َٔخ ّٙ لد ٘نٖ اؾٌمجخ اٍزقلاَ اإلٔغ١ٍي٠خ وٍغخ ٞ١ٍٚخ روعُ ٕٙ٥ب اثَٓ )اثوا١ُ٘ هِيٚ ،)ٜر١ْىٛف ٚرٌَٛزٜٛ )ٝب٘و ال١ّٓ ٌٞٚفٝ ع٦ّخ( ٚروعّبد أفوٜ ِٓ األكة األٌّبٝٔ. ّٙ لد ٘نٖ اٌفزوح روعّخ ٌفٓ اٌمٖخ اٌم١ٖوح ٛ٘ٚ ِقزبهاد ل١ٖٖخ ِٓ األكة اإلٔغ١ٍيٜ روعّٙب اٌّبىٝٔ ّٙ لد ٘نٖ اٌفزوح اٌّي٠ل ِٓ روعّبد ١َؽ ٗٝٓ ٥ٓ اٌَّوػ اٛ١ٌٔبٝٔ  ٛٙ١ه ٌغٕخ اٌزؤ١ٌف ٚاٌزوعّخ ٚإٌْو ٍٝ٥ ٍبؽخ إٌْو، ١ؽش لبِذ ثْٕو ٍٍٍَخ "ٛ١٥ْ األكة اٌغوثٝ".  كٚه ٌغٕخ اٌزؤ١ٌف ٚاٌزوعّخ ٚإٌْو فٝ اٌزؤص١و فؽ ٝوح اٌزوعّخ ِٕن صالص١ٕ١بد اٌموْ اٌّبٝٙ ثؾبعخ اٌٝ ِي٠ل ِٓ اٌجؾش.

1949-1940

يضه عُٕاٌ ذظُيف صم 1. سٔايح )1(

A : Rex Adams T : The star of Persia . 2. سٔايح )2(

A : Robert Armstrong. 3. سٔايح )3(

A : Liam O'Flaherty T : The guide. 4. سٔايح )4(

A : Louisa May Alcott T : Little women. 5. سٔايح )5(

A : Eric Ambler 6. سٔايح )6(

A : George Allan England. 7. سٔايح )7(

: A : Emmuska Orczy. 9. سٔايح )9(

T : Pride and prejudice. A : Jane Austen 10. سٔايح 10

11. سٔايح 11

12. سٔايح 12

A : Marjorie Baden T : Washington. 13. سٔايح 13

A : E. Barrington T : Between two queens. 14. سٔايح 14

A : E. Barrington. T : The tyrant. 15. سٔايح 15

17. سٔايح 17

18. سٔايح 18

A : Max Brand 19. سٔايح 19

A : Max Brand. 20. سٔايح 20

A : Max Brand 21. سٔايح 21

T : The silent house. A : John Gordon Brandon 22. سٔايح 22

A : Louis Brown.

T : The rains came. A : Louis Bromfield 24. سٔايح 24

A : Pearl (Sydenstricker) Buck T : The promise. 25. سٔايح 25

A : Arnold Bennett. 26. سٔايح 26

A : guy Newell Boothby T : Dr. Nicola. 27. سٔايح 27

A : guy Newell Boothby. 28. سٔايح 28

29. سٔايح 29

T : The chase. A : Kit Porlock 30. سٔايح 30

T : Law of the Gestapo. A : Jean Paterson 32. سٔايح 32

A : Earl D. Beggars. T : The lost child. 33. سٔايح 33

A : Earl D. Biggers 34. سٔايح 34

T : Rival of Charlie Chan. A : Earl D. Beggars. 35. سٔايح 35

36. سٔايح 36

37. سٔايح 37

39. سٔايح 39

40. سٔايح 40

41. سٔايح 41

42. سٔايح 42

A : Winston Churchill. T : The world crisis. 43. سٔايح 43

A : Winston Churchill. 44. سٔايح 44

A : James Hadley Chase. 45. سٔايح 45

A : James Templeton. 47. سٔايح 47

A : Arthur Russell Thorndike 48. سٔايح 48

A : Arthur Russell Thorndike. 49. سٔايح 49

A : Arthur Russell Thorndike 50. سٔايح 50

A : Erle Stanley Gardner. 51. سٔايح 51

A : Erle Stanley Gardner. 52. سٔايح 52

A : Erle Stanley Gardner. 53. سٔايح 53

A : Erle Stanley Gardner. 55. سٔايح 55

A : Erle Stanley Gardner 56. سٔايح 56

A : Erle Stanley Gardner. 57. سٔايح 57

A : Charles Jarvis. 58. سٔايح 58

59. سٔايح 59

T : Ramona. A : Helen Hunt Jackson. 60. سٔايح 60

62. سٔايح 62

T : Letters from John Chinaman. A : Goldsworthy Lowes Dickinson. 63. سٔايح 63

T : Justice and liberty. 64. سٔايح 64

A : Goldsworthy Lowes Dickinson T : A modern symposium. 65. سٔايح 65

66. سٔايح 66

A : Arthur conan Doyle 67. سٔايح 67

A : Arthur Conan Doyle. T : The lost World. 68. سٔايح 68

A : Arthur Conan Doyle. T : The return of Sherlock Holmes.

A : Arthur Conan Doyle T: A scandal in Bohemia. 70. سٔايح 70

A : Arthur Conan Doyle. T : Exploits of Brigadier Gerard. 71. سٔايح 71

A : Arthur Conan Doyle 72. سٔايح 72

A : Arthur Conan Doyle. T : The poison belt. 73. سٔايح 73

A : Arthur Conan Doyle 74. سٔايح 74

T : Sorrell and son. A : Warwick Deeping. 75. سٔايح 75

A : Daniel Defoe . T : Robinson Crusoe 76. سٔايح 76

A : Charles Dickens. 79. سٔايح 79

A : Charles Dickens. T : A tale of two cities. 80. سٔايح 80

A : Charles Dickens. T : Atale of two cities. 81. سٔايح81

A : Charles Dickens 82. سٔايح 82

A : Richard Wright . T: The Negro . 83. سٔايح 83

A: John Robert . 84. سٔايح 84

86. سٔايح 86

A : Douglas Reed . 87. سٔايح 87

A : Mrs . Mary (Roberts) Rimehart . T : The bat . 88. سٔايح 88

89. سٔايح 89

90. سٔايح 90

91. سٔايح 91

A : Rafael Sabatini . 92. سٔايح 92

A : Rafael Sabatini 94. سٔايح 94

A : Rafael Sabatini . 95. سٔايح 95

A : Rafael Sabatini . 96. سٔايح 96

A : Rafael Sabatini 97. سٔايح 97

A : Rafael Sabatini . T : The Pirate returns 98. سٔايح 98

A : Rafaael Sabatini . T : Tavern Knight . 99. سٔايح 99

A : William Saroyan . 100. سٔايح 100

A : Howard Spring . 102. سٔايح 102

103 .103

A : Rex Stout . 104. سٔايح 104

A : Rex Stout . 105. سٔايح 105

A : Rex Stout . 106. يضشح )1(

)حٕند ْزِ T : Seventh Heaven. A : Austin Strong انًضشحيح إنٗ فيهى فٗ ْٕنئٕد عاو )1937 107. يضشح )2(

A : M . A. Strong . 108. سٔايح )106(

T : Dr Jekyll and Mr Hyde. A : Robert Louis Stevenson . 110. سٔايح 108

A : Leslie J . Swabacker . T : Letters to my daughter . 111. سٔايح 109

A : Jonathan Swift . T : Gulliver’s travels . 112. سٔايح 110

T : The bandit . A : Leslie Charteris 113. سٔايح 111

A : Leslie Charteris . T : The avenging Saint . 114. سٔايح 112

A : Dana Chambers . 115. سٔايح 113

A : John Steinbeck . 116. يضشح )يهخض( 3 A : William Shakespeare. T : The taming of the shrew. 117. يضشح

A : William Shakespear T : The Comedy of errors . 118. يضشح )يهخض( 5

T : A midsummer night’s dream . A : William Shakespeare 119. يضشح )يهخض( 6

T : Measure for measure . . A : William Shakespeare 120. يضشح 7

A : William Shakespeare. T : Romeo and Juliet . 121. يضشح 8

T : King Richard . . A : William Shakespeare 122. يضشح )يهخض( 9

. A : William Shakespeare T : Tempest . 123. يضشح )يهخض( 10

. A : William Shakespeare T : Tempest . 124. يضشح )يهخض( 11

. A : William Shakespeare T : Othello. 125. يضشح 12

T : As you like it . A : William Shakespeare

T : Tewlfth night . A : William Shakespeare . 127. يضشح 14

T : Coriolanus. A : William Shakespeare 128. يضشح 15

A : William Shakespeare . T : King John . 129. يضشح )يهخض( 16

T : King Lear . A : William Shakespeare. 130. يضشح 17 )يرشجى عٍ . T : Hamlet . A : William Shakespeare انفشَضيح( 131. يضشح 18

A : William Shakespeare T : King Henry. 132. يضشح 19

)قذ ذكٌٕ . T : Julius Caesar . A : William Shakespeare ْزِ انطثعح انثاَيح، حيث ذشيش يشاجع أخشٖ أٌ انطثعح األٔنٗ طذسخ عاو )1911 133. يضشح

A : Percy Bysshe Shelley . 134. يضشح 21

135. يضشح 22

T : The apple cart : a political axtravaganza. A : George Bernard Shaw . 136. يضشح 23

A : George Bernard Shaw . T : Caesar and Cleopatra. 137. سٔايح 114

138. سٔايح 115

A : Robert Sheckley . T : Citizen in space . 139. سٔايح 116

A : Leonard Frank. 140. سٔايح 117

T:Robin Hood and his merry ?. A : Evelyn Charles vivian. 141. قظض قظيشج 1 142. قظض قظيشج 2

A : Morion Crawford . T : The white sister . 144. سٔايح 119

A : Archibal Joseph Cronin T : The Citadel . 145. سٔايح 120

A : Agatha Christie. 146. سٔايح 121

A : Agatha Christie 147. سٔايح 122

A : Agatha Christie 148. سٔايح 123

A : Agatha Christie 150. سٔايح 125

A : Agatha Christie 151. سٔايح 126

A : Agatha Christie 152. سٔايح 127

A : Agatha Christie 153. سٔايح 128

A : Agatha Christ 154. سٔايح 129

A : Agatha Christie 155. سٔايح 130

156. سٔايح 131

T : The Argo's crew : The Argo nauts

A : Charles Kingsley 158. سٔايح 133

A : Marie Corelli. T : Fathers and Sons. 159. سٔايح 134

A : Marie Corelli. 160. سٔايح 135

A : Marie Corelli. 161. سٔايح 136

A : Marjorie Coryn . T : Enchanters of men. 162. سٔايح 137

163. سٔايح 138

A : James M.Cain 165. سٔايح 140

A : Hall Caine. 166. سٔايح 141

A : Hall Caine 167. سٔايح 142

A : Hall Caine. 168. سٔايح 143

A : Hall Caine. 169. سٔايح 144

A : Hall Caine 170. سٔايح 145

A : Hall Caine 171. سٔايح 146

173. يضشح )يهخض( 24

A : Charles Lamb & Mary Ann Lamb T : Tales from Shakespeare. 174. سٔايح 148

175. سٔايح 149 )ستًا ذكٌٕ أٔل ذشجًح عشتيح نعًم .A : David Herbert Lawrence T : Lady Chatterley's lover يٍ أعًال نٕساَش( 176. سٔايح 150

A : David Herbert Lawrence 177. سٔايح 151

T : Rasputin, the rascal monk. A : William Le Queux 178. سٔايح 152

180. سٔايح 154

181. سٔايح 155

182. سٔايح 156

A : Edison Marshall T : The infinite woman 183. سٔايح 157

A : Alfred Edward Woodley Mason. T : The drum. 184. سٔايح 158

A : Helen MacInnes T : Above suspicion. 185. سٔايح 159

A : Warwick Mannon 186. سٔايح 160

A : Warwick Mannon. 188. سٔايح 162

A : Warwick Mannon 189. سٔايح 163

A : Warwick Mannon T : Devotion 190. َقذ أدتٗ 1

191. سٔايح 164

192. سٔايح 165

A : Alex Morrison 193. سٔايح 166

T : The three strangers. A : Alex Morrison. 194. سٔايح 167

A : Alex Morrison. 196. سٔايح 169

A : Alex Morrison 197. سٔايح 170

A : Alex Morrison. 198. يضشح )25(

A : William Somerset Maugham. T : The letter. 199. سٔايح 171

A : William Somersrt Maugham. 200. سٔايح 172

A : William Somerset Maug ham T : The artist. .201

A : William Somerset Maugham T : The face of nature . 202. سٔايح 173 ]

T : Gone with the wind. A : Margret Mitchell. 204. سٔايح 175

A : Arnold Meredith T : The captive heart.. 205. يضشح 26

A : Arthur Miller. 206. سٔايح 176

A : Bernard Newman T : Secrets of espionage. 207. سٔايح 177

A : William hart 208. سٔايح 178

A : Thomas Hardy. T : Lifes little ironies . 209. سٔايح 179

A : Helen Huntington Howe. T : The whole heart. 210. سٔايح 180

A : Henry Rider Haggard T : Ayesha : the return of she. 212. سٔايح 182

T : Queen Sheba's ring A : Henry Rider Haggard. 213. سٔايح 183

T : The yellow god. A : Henry Rider Haggard. 214. سٔايح 184

A : Aldous Leonard Huxley. 215. سٔايح 185

A : Richard Hill 216. سٔايح 186

A : Ethel Lina White T : The spiral staircase 217. سٔايح 187

A : Anthony Hope. 218. سٔايح 188

220. سٔايح 190

A : Henry holt 221. سٔايح 191

A : James Hilton 192 .222

A : James Hilton. 223. سٔايح 193 …

A : Rupert Hughe 224. سٔايح 194

A : Kathleen Douglas Hewitt 225. سٔايح 195

A : Edgar Wallace. 226. سٔايح 196

] [ A : Edgar Wallace. 228. سٔايح 198

A : Edgar Wallace 229. قظح قظيشج 3

A : Oscar Wilde. T : A house of pomegranates . 230. قظح قظيشج 4

A : Oscar Wild 231. سٔايح 199

A : Oscar Wilde. T : The picture of Dorian Gray. 232. قظح قظيشج 5

233. سٔايح 200

A : Thornton Niven Wilder. T : The bridge of San Louis Rey. 234. سٔايح 201 .

. A : Ben Ames Williams.

T : Forever Amber A : kathleen Winsor 237. سٔايح 204

238. سٔايح 205

T : Time machine A: Herbert George Wells 239. سٔايح 206

T : The invisible man A : Herbert George Wells 240. سٔايح 207

A : Herbert George Wells .

 اجًاني عذد انرشجًاخ: 240 ذشجًح نعُٕاٌ يٍ األدب اإلَجهيزٖ/األيشيكٗ فٗ يقاتم 136 يٍ األدب انفشَضٗ.  انشٔاياخ: 207  انًضشح )تًا فٗ رنك انًضشحياخ انًهخظح ٔانًرشجًح فٗ انغانة عٍ يخرظشاخ ياسٖ ٔذشاسنز الية(:26  قظح قظيشج: 5

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011  قظض فهضفيح )جثشاٌ(: 1  َقذ أدتٗ: 1  يالحظ ذزايذ اصرخذاو اإلَجهيزيح كهغح ٔصيطح فٗ َقم أداب سٔصيح ٔأنًاَيح ُْٔذيح  يالحظ ٔجٕد صالصم كثيشج نعثد دٔساً ٔاضحاً فٗ حشكح انُشش فٗ ْزا انعقذ ٔانعقذ انضاتق عهيّ، يثم صهضهح "يٍ عيٌٕ األدب انغشتٗ" انظادسج عٍ "نجُح انرأنيف ٔانرشجًح ٔانُشش"، ٔصهضهح كراتٗ يٍ ذحشيش حهًٗ يشاد، ٔصهضهح يكرثح انرهًيز، ٔصهضهح أٔالدَا، ٔصهضهح سٔاياخ انجية.  يالحظ غهثح ذشجًح انشٔايح تظٕسج يهحٕظح ٔرنك تانًقاسَح يع ذشجًح انًضشح ٔانقظح انقظيشج. نى يضجم فٓشس داس انكرة أٖ ذشجًح نهشعش فٗ ْزا انعقذ.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 Appendix 2: List of published translations from English to Arabic in the fields of literature, theatre and literary/cultural studies

(2000-2005)

Compiled, classified and annotated by Sameh F. Hanna and Amanie F. Habashi

اؼٌلك ث١بٔبد اٌىزبة فٝ صجذ كاه اٌىزت ٕٛػاْ ِإٌف ِزوعُ ربه٠ـ ٔبّو ٛٔع أكثٝ ْٔو ػ 973 .1بًِ إٌّغُ ث١زو اثوا٘بِي ؾِّل ػجل 2000 اٌّغٌٍ األٍٝػ هٚا٠خ )1( ٓ ١٢٣ اٌٛاؽل ؾِّل ٌٍضمبفخ T : Mine boy. A : Peter Abrahams (1919 South African novelist

2. 985 ِقزبهاد ِٓ ٔمل د. ئً. أٛ١ٌد ِب٘و ّف١ك فو٠ل 2000 اٌّغٌٍ األٍٝػ كهاٍبد ٔمل٠خ )1( .ٓ ٦٦٦ د. ئً. أٛ١ٌد ٌٍضمبفخ T : Selected criticism. A : Thomas Stearns Eliot. 3. 996 اٌّي٠ف هٚثود أ١ًٔٚ ٕجوٜ أثٛ 2000 ا١ٌٙئخ اؼٌبِخ هٚا٠خ )2( .ٓ ٢٣٢ اٌفًٚ ٌٍىزبة T : The forger. A : Robert O’Neill 4. 1004 ه٠بػ اٌْوق- ث١وي ثبي ك. غجو٠بي ٚ٘جخ 2000 اٌلاه اٌّٖو٠خ هٚا٠خ )3( .ٓ ١٠٣ ه٠بػ اٌغوة Pearl Buck (1892- اٌٍجٕب١ٔخ/ٍٍٍَخ .T : East wind - West wind (1973 هٚا٠بد عبئيح .ٛٔ The first American A : Pearl S. Buckثً woman to be awarded Nobel prize for literature 5. 1028 اإلٍالِٝ األكة ثٍٝ١ عوا٘بَ ١َؽٓ 2000 اٌلاه اٌضمبف١خ ٌٍْٕو كهاٍبد ٔمل٠خ/أكث١خ .ٓ ٢٢٦ اٌمبهح ّجٗ فٝ اٌّٖوٜ ِغ١ت )2( A : Graham Bily إٌٙل٠خ اٌجبوَزب١ٔخ 6. .ٍُ ٢٣ ؛ ٓ ٣٧٦ األكة فٝ كهاٍبد رْبهٌٌ / ٚاٌضمبفخ ّىوٜ روعّخ 2000 اٌّغٌٍ األٍٝػ كهاٍبد ٔمل٠خ )3( ٣٦ ؛ ٌٍزوعّخ اٌمِٝٛ اٌّْوٚع ٚاٌضمبفخ ٚآِٛ...[ؿهعبْ ؾِّل ٌٍضمبفخ ١ػبك 7. 1104 وبهٚي ه١ٍٚٓ ؾِّل ٌطفٝ 2000 إلاهاد كهاٍبد ٔمل٠خ )4( .ٓ ٣٣٧ ٛٔفً ِٙوعبْ اٌمب٘وح T: Plays of impasse اٌلٌٝٚ ٌٍَّوػ contemporary Drama اٌزغو٠جٝ set in confining Institutions 8. .ٓ ١١٠ اؼٌْو األِو٠ىٝ ٔقجخ أؽّل ِوٍٝ 2000 اٌّغٌٍ األؼّ ٍٝػو )1( اؼٌّبٕو ٌٍضمبفخ 9. 1142 ِٓ اٌّقزبه ١ٌُٚ ّىَج١و ؾِّل ػٕبٝٔ 2000 ا١ٌٙئخ اٌّٖو٠خ َِوػ )1( .ٓ ٢٢٢ اؼٌْوٜ اٌَّوػ اؼٌبِخ ٌٍىزبة .١ٌٚ A : William Shakespeareُ ػٕل ّىَج١و 10. 1145 ِىجش ّىَج١و ف١ًٍ ِطواْ كاه 2000 َِوػ )2( )اػبكح .ٓ ٣٣٣ اؼٌّبهف )اػبكح طجغ( طجغ( T : Macbeth. A : Willian Shakespeare 11. 1146 أ١ِو ٍّ٘ذ ١ٌُٚ ّىَج١و ؾِّل ٛػٗ كاه 2000 َِوػ )3( .ٓ ٢٣٣ كأّووٗ ؾِّل اؼٌّبهف )اػبكح طجغ( )اػبكح طجغ( T : Hamlet Princq of Denmark. A : Willian Shakespeare 12. 1149 ؛ وٛٔغؽ ٖٝبك ٚٚي ٠ّٕٛىب ١َُٔ ِغٍٝ اٌّْوٚ 2000 َِوػ )4( .ٓ ٢٣٢ اٌَّزٕمغ ٍىبْ ع T : Kongi’s Harvest ; the اٌمِٝٛ .swamp dwellers ٌٍزوعّخ A : Wole soyinka.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 13. 1155 اٌّوا٠ب ِٓ اٌقٛف ٍٝػ طبهق طؼٍذ اٌْب٠ت 2000 اٌّْوٚع اٌمِٝٛ هٚا٠خ )4( ٣٣٤ ٓ )ْٔود ٌٍزوعّخ .T : Fear of Mirrors ثبإلٔغ١ٍي٠خ ػبَ )1998 A : Tariq Ali. 14. 1169 اؼٌْو٠خ إٌظو٠خ ػبطف فٛٚي أٍبِخ ئٍجو 2000 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )5( )اٌّْوٚع ٍُ ٢٣ ؛ ٓ ٣٦١ ئٛ١ٌد ػٕل ٌٍزوعّخ ٣٣٤( ٌٍزوعّخ، اٌمِٝٛ كهاٍخ ٚأك١ٌٔٚ: T : The Poetics of T. S. Eliot and ِمبهٔخ Adunis : a Comparative Study. A : Atif Faddul 15. 1181 اٌْق١ٖخ ِٛد إٛ١ٌه فٛ١ى ؾِّل اٌغٕلٜ 2000 إلاهاد كهاٍبد ٔمل٠خ )6( .ٓ ٣٦٦ ِٙوعبْ اٌمب٘وح .T : The Death of Character اٌلٌٝٚ ٌٍَّوػ .A : Elinor Fuchs اٌزغو٠جٝ 16. 1191 األكة ِٛد أٌف١ٓ وؤبْ ثله اٌل٠ت 2000 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )7( .ٍُ ٢٣ ؛ ٓ ٢٢٢ ْٔو ثبإلٔغ١ٍي٠خ ( ٌٍزوعّخ ٣٦٦ ؛ ٌٍزوعّخ اٌمِٝٛ اٌّْوٚع ػبَ 1992 T : The Death of Literature. A : Alvin Kernan. ػ 1199 .17جواٌجؾبه أ٠ل٠ٛٔ ًٜ وٛاهك أؽّل هٛٙاْ 2000 َِوػ )5( .ٍُ ١٠ ٚهلٗ، ١٢ للِذ ٍٝػ ( اٌفمٝ .T : Hands Across the sea اٌَّوػ ػبَ .A : Noel Coward 1935(. ٕ٘بن روعّخ أفوٜ ؼٌٍوث١خ للِٙب ػجل اٌو١ؽُ عجو إلماػخ اٌجؤبِظ اٌضبٝٔ 18. 1220 األكثٝ إٌمل فَٕٕذ ة ١ٌزِ ؾِّل ٝ١ؾ٠ 2000 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )8( .ٓ ٣٣٦ ِٓ األِو٠ىٝ ٌٍزوعّخ T : American Literary Criticism اٌضالص١ٕ١بد .from the Thirties to the Eighties اٌضّب١ٕ١ٔبد ئٌٝ A : Vincent B . Leitch ْٔود طجؼزٗ ( األٌٝٚ ثبإلٔغ١ٍي٠خ ػبَ 1988( 19. 1241 األكة ٔظو٠خ ٍِه .ه .ة ؼّجبْ ٢٠٠٠ اٌضمبفخ اؼٌوث١خ كاه كهاٍبد ٔمل٠خ )9( ٓ ٢٢٦ ٍُ ٢٣ ِوؾِ ٍّٝل T : The Theory of Literatur. A : B. R. Mullik. ػٚ 1246 .20بٌّٗ اٌىبرت ِٛهعبْ،رْبهٌٌ ّىوؾِ ّٜل ٢٠٠٠ األٍٝػ اٌّغٌٍ كهاٍبد ٔمل٠خ )10( . ٓ ٣٧٦ ١ػبك ٌٍضمبفخ اػبكح طجغ T : The writer and his world. A : Charles Morgan. 21. 1252 اإلَٔب١ٔخ أغالي ٍِٛوٍذ ٚ َِٛفبء فٛىٞ ٢٠٠٠ هٚى ِإٍَخ هٚا٠خ )5( .ٓ ١٤٢ اٛ١ٌٍف T :Of human bandage. A : William Somersset Maugham 22. 1279 لطبه فٝ غو٠جبْ ثبرو١ْ٠ب ١ٍّش )ؾِ -1921ّل ػجل 2000 كاه اٌٙالي هٚا٠خ )6( .ٍُ ٢٠ ؛ ٓ ١١٢ )ْٔود 1995(. هٚائ١خ أِو٠ى١خ اؼٌُّٕ عالي ٍٍٍَخ هٚا٠بد ٦٢٠ ؛ اٌٙالي هٚا٠بد ثبإلٔغ١ٍي٠خ ػبَ اٌٙالي 1950 T : Strangers on the trains. A : Patricia Highsmith 23. 1286 فٝ اٝػٌٛ ر١به هٚثود ّ٘فوّٛؾِ ٜك اٌوثٝؼ١ 2000 كاه غو٠ت كهاٍبد ٔمل٠خ )11( .ٍُ ٢٣ ؛ ٓ ٢٠١ اؾٌل٠ضخ اٌوٚا٠خ ٌٍطجبػخ ٚإٌْو T : Stream of Consciousness in the Modern novel A : Robert Humphrey 24. 1303 ربه٠ـ إٌمل األكثٝ ه١ٕ٠ٗ ١ٍ٠ٚه ِغب٘ل ػجل 2000 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )12( ٢،٣ ِظ .٢ِظ اؾٌل٠ش اؼٌُّٕ ِغب٘ل ٌٍزوعّخ T : History of Modern Criticism1750 –1950. A : René Wellek. ٚ : 1310 .25إٌجٛءح اؼٌٕف ٚ. ة. ١٠زٌ ٠ب١ٍٓ طٗ ؽبفظ 2000 اٌّْوٚع اٌمؼّ ِٝٛو )2( [ .ٍُ ٢٣ ؛ ٓ ٢٢٢ ٚلٖبئل كهاٍبد ٌٍزوعّخ ٣٦٢( ؛ ٌٍزوعّخ اٌمِٝٛ اٌّْوٚع( ِقزبهح

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 T : Selected Poems. A : William Butler Yeats 26. 1040 اٌلهاِب آثواَِْٛ عٍٕلا ئ٠ّبْ ؽغبىٜ 2001 إلاهاد كهاٍبد ٔمل٠خ فٚ ٝاأل٠لٌٛٛ٠ع١ب ِٙوعبْ اٌمب٘وح )13( .ٓ 405اٌضمبفخ، ٚىاهح ئٍوائ١ً اٌلٌٝٚ ٌٍَّوػ T : Drama and ideology in Modern اٌزغو٠جٝ Israel. A : Glenda Abramson 27. 1041 اٌَّوٚٚ ِٓ ػكٜ آ١ٌٓ ٕالػ ٍبِٝ 2002 إلاهاد َِوػ )6( .ٓ 306 األِو٠ىِٙ ٝوعبْ اٌمب٘وح A : Woody Allen اؼٌّبٕو اٌلٌٝٚ ٌٍَّوػ ؛ اٌٍّجخ اؾٌَو٠خ اٌزغو٠جٝ اٌوة ؛ اٌّٛد اٌَّو١ؽبد ٕلهد ثبإلٔغ١ٍي٠خ فٝ أٛػاَ ِقزٍفخ 28. 1043 اٌّنٔجخ أرٚٛك ِبهعو٠ذ ؾٍو رٛف١ك 2005 اٌّْوٚع اٌمِٝٛ هٚا٠خ )7( ٌٍضمبفخ، األٍٝػ اٌّغٌٍ ٌٍزوعّخ ٍُ 24 ؛ ٓ 728 T : Alias Grace. A : Margaret Atwood. 29. 1046 هؤ٠خ : اٌق١بَ ػّو عْٛ آهصو اؾٌف١ظ ػجل 2001 كاه اٌضمبفخ اؼٌوث١خ كهاٍبد ٔمل٠خ )14( .ٓ 75 ِج١ٕخ ٍٝػ عل٠لح ؾِّل ؽَٓ ؽ T : Omar khayyam : a new versionل٠ضخ ِىزْفبد based upon recent discoveries. A : Arthur John Arberry 30. 1050 اٌَّو١ؽبد أفًٚ اّز١ٓ ع١ٍٓ ٛ٠ٔظ ٛ٘اهك ؾِت ػج١و 2001 إلاهاد َِوػ )7( ٓ 469اٌضمبفخ، ٚىاهح اٌم١ٖوٖ األِو٠ى١خ اهلل ؼّٔخ ِٙوعبْ اٌمب٘وح T : The best American short plays اٌلٌٝٚ ٌٍَّوػ (1995-1996) اٌزغو٠جٝ A : Howard Stein & Glenn Young. 31. 1054 ئفو٠م١خ ١ٌٍخ ؽٍُ ٍجو٠بْ ؾِّل ٕجوٜ 2002 كاه اٚؾٌبهح هٚا٠خ )8( .ٓ 134 ئوؽ -1921( َٕٝ٠َٛٓ ٌٍْٕو - طٕطب T : An African Night's 2007(. وبرت هٚائٝ .ٚ Entertainmentلٖخ ل١ٖوح ١ٔغ١وٜ A : Cyprian Ekwensi 32. 1056 ٌألكة ِملِخ هٚعو أٌٓ أؽّل ٘بُّ 2003 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )15( .ٓ 396 ٌٍضمبفخ، األٍٝػ اٌّغٌٍ اؼٌوثؾِ ّٝل ٌٍزوعّخ T : An Introduction to Arabic Literature. A : Roger Allen. 33. 1057 ٌىً ٚاؽل ٍى١ٓ .َ .رٝ ٕجوؾِ ّٜل 2004 اٌّْوٚع اٌمِٝٛ هٚا٠خ )9( األٍٝػ اٌّغٌٍ هعً (2010-1918) أٌٛوؽ َٛٓ 683ٌٍزوعّخ .ٍُ 24 ٓ؛ 343 ٌٍضمبفخ، وبرت هٚائٝ ١ٔغ١وٜ .T: One man, one matchet ٠ىزت ثبإلٔغ١ٍي٠خ A : T. M. Aluko. 34. 1059 اٌقواة األهٗ ً ئٛ١ٌد .د ٠ٌٌٛ ٛػٗ 2001 ا١ٌٙئخ اؼٌبِخ ؼّو )3( .ٓ 125 / أفوٚ ٜلٖبئل ٌمٖٛه اٌضمبفخ – اػبكح طجغ T : The wasteland and other ٍٍٍَخ آفبق ػب١ٌّخ poems. A : Thomas Stearns Eliot. 35. 1066 ئٌٝ اٌزّض١ً ِٓ ف١ٍ١ت فواط ؾٍو 2002 إلاهاد كهاٍبد ٔمل٠خ )16( .ٓ 227 اؼٌوٗ أٍٚالٔله ِٙوعبْ اٌمب٘وح .T : From acting to performance اٌلٌٝٚ ٌٍَّوػ .A : Philip Auslander اٌزغو٠جٝ ؽ 1067 .36ظو ٔغَٛ ثٓ أٚووٜ )1959- (. ٕجوؾِ ّٜل 2004 اٌّْوٚع اٌمِٝٛ لٖٔ ل١ٖوح )1( 20ٍُ ٓ، 256ٌٍضمبفخ، األٍٝػ اٌّغٌٍ اٌغل٠ل اٌزغٛاي وبرت هٚائٚ ّٝبػو ؽَٓ 682ٌٍزوعّخ .T : Stars of the New curfew ١ٔغ١وٜ A : Ben Okri. 37. 1068 إٌمل ٚاأل٠لٛ٠ٌغ١خ ر١وٜ ئ٠غٍزْٛ فقوٜ ٕبؼٌ 2003 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )17( ٌٍضمبفخ، األٍٝػ اٌّغٌٍ : اٌمب٘وح ٌٍزوعّخ اػبكح طجغ. ٕلهد .ٓ 272 طجؼزٗ األػ ٌٝٚبَ .1992 T : Criticism and Ideology. A : Terry Eagleton

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 38. 1073 وزت اٌلَ وال٠ف ثبهوو، ِإٌف أؽّل فبٌل 2002 اٌّإٍَخ اؼٌوث١خ لٖٔ ل١ٖوح )2( .ٓ 155 هٚائٝ ثو٠طبٝٔ رقٖٔ رٛف١ك. اؾٌل٠ضخ .T : The books of blood ف١ّب ؼ٠وف ثمٖٔ ِزوعُ ٚهٚائٝ .A : Clive Barker اٌوػت. روعُ ٌوٚائٝ أِو٠ىؼِ ٝوٚف ثىزبثخ ٘نٖ ا١ػٌٕٛخ ِٓ اٌوٚا٠بد ٛ٘ٚ ٍز١فٓ و١ٕظ 39. 1076 اٌٌّْ. فٝ اٌّٛد ث١زو ثبالٔغٛ١ )1939- ١ٍّو ػجل هثٗ 2002 اٌّْوٚع اٌمِٝٛ هٚا٠خ )10( ٌٍضمبفخ، األٍٝػ اٌّغٌٍ ٕلهد فٝ طجؼزٙب 1993(. وبرت هٚائٝ ٌٍزوعّخ .ٓ 140 اإلٔغ١ٍي٠خ األٌٝٚ رٕياٝٔ .T : Dying in the Sun فٝ ٍٍٍَخ اٌىزبة .A : Peter k. Palangyo األفبهلخ )كاه ْٔو ٘ب٠ّٕبْ( ػبَ 1968 40. 1077 كْٚ عٛاْ- ؾٍِّخ ٌٛهك ثب٠وؾِ ّْٚل ػٕبٝٔ 2003 ا١ٌٙئخ اؼٌبِخ ؼّو )4( .ٓ 443 ٍبفوح ٌٍىزبة T : Don Juan : Mock Epic A : Lord Byron. 41. 1080 األػّبي اٌىبٍِخ ث١زو ثوٚن فبهٚق ػجل 2002 كاه اٌٙالي كهاٍبد ٔمل٠خ )18( .ٓ 564 اٌمبكه. .A : Peter Brook ْٔو روعّبد ِٕفٍٖخ ٌجوٚن لجً مٌه 42. 1081 األكة ٔظو٠خ ثْجٕله ك٠ف١ل ػجل اٌّمٖٛك 2005 ا١ٌٙئخ اؼٌبِخ كهاٍبد ٔمل٠خ )19( 24ٍُ؛ ٓ ٚ 193لواءح اؼٌّبٕو ػجل اٌىو٠ُ ٌٍىزبة ٍٍٍَٗ األٍوح ِىزجخ اؼٌْو األكة T : Contempoary Literary Theory and the Reading of ْٔو فٝ طجؼزٗ .Poetry اإلٔغ١ٍي٠خ ػبَ 1991 A : David Buchbinder. ؼّ 1102 .43و٠خ اثلاػبد ث١وً ٠ٌٛ ٌٍّٟ ٛػٗ 2001 اٌّْوٚع اٌمؼّ ِٝٛو )5( ٌٍضمبفخ، األٍٝػ اٌّغٌٍ ط١ٍمبً ثو١ِٚضًٛ ٌٍزوعّخ اػبكح طجغ .ٓ 143 T : Prometheus unbound. A : Percy Bysshe Shelley 44. 1109 َِوؽخ ا١ٕؾٌٓ ٍٛىاْ ث١ٕ١ذ ٍبؼِ فىوٜ 2002 إلاهاد كهاٍبد ٔمل٠خ )20( .ٓ 363 ّىَج١و رٛؾالد ِٙوعبْ اٌمب٘وح ٚ T : Staging nostalgia shiftingاٌّبٝٙ اٌلٌٝٚ ٌٍَّوػ Shakespeare and اؼٌّبٕو اٌزغو٠جٝ the contemporary past A : Susan Bennett. 45. 1120 َِو١ؽبد فٌّ وبه٠ً رْوًّ ؾَِٓ ٝؾٍ١ِٖ 2003 اٌّغٌٍ األٍٝػ َِوػ )8( .ٓ 194ٌٍضمبفخ، األٍٝػ اٌّغٌٍ ل١ٖوح ٌٍضمبفخ A : Caryl Churchill 46. 1125 اٌزبه٠ـ ػٓ كفبػبً رٛك عب١ٔذ ١َؽٓ هٙ٠بَ 2002 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )21( / اٌَٜٕٛ األكثٟ ئثوا١ُ٘ ٌٍزوعّخ .ٓ 175 األٍٝػ ٌٍضمبفخ، اٌّغٌٍ T : Feminist literary history. A : Janet Todd. 47. 1141 عبء ػٕلِب ٍز١فٓ عواٜ ٍب١ِخ ك٠بة 2002 اٌّْوٚع اٌمِٝٛ لٖٔ ل١ٖوح )3( .ٓ 597 ٌٍضمبفخ، األٍٝػ اٌّغٌٍ لٖٔ : اٌَوك٠ٓ ٌٍزوعّخ T : Southern African stories ِٓ .A : Stephen Gray االفو٠مٝ اٌغٕٛة 48. 1142 هؤٜ صالس عو٠ف١ٌ عٚ ْٕٛفٝ هءٚف 2005 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )22( ٌٍضمبفخ، األٍٝػ اٌّغٌٍ أكة : ٌٍَّزمجً ٌٍزوعّخ - اؼٌلك ٍُ 24 ؛ ٓ 257 اٌق١بي 793 ,T : Three tomorrows : American األِو٠ىٝ اٍّٝؼٌ ٚ Britain andاٌجو٠طبٝٔ ٚ soviet science fictionاٌوٍٝٚ .A : John Griffiths اٌَٛف١زٝ 49. 1146 :ا١ٍّؼٌخ ١٘جوْٚ عٛهكاْ ئه٠ه اٌفزبػ ػجل ّبوو 2001 كاه اٌٙالي هٚا٠خ )11( .ٓ 288 هٚا٠خ أفطو T : Operation Hebron ١ٍطوح رىْف .A : Eric Jordan اٌج١ذ ٍٝػ اٌٍّٛبك

رٖٕف ٍٝػ أٙٔب "هٚا٠خ عب١ٍٍٛخ" 50. 1147 اٌجوعٛاىٜ اؼٌبٌُ ٔبك٠ٓ / هٚا٠خ ١ٍّو ػجل هثٗ 2002 اٌّْوٚع اٌمِٝٛ هٚا٠خ )12( ٌٍضمبفخ، األٍٝػ اٌّغٌٍ اٌيائً عٛهك٠ّو 343ٌٍزوعّخ، .ٍُ 24 ٓ 133 T : The late bourgeois world A : Nadine Gordimer ػ 1149 .51جل ٕالػ ِبهٍلْ عٛٔي ؽّلٜ اٌَىٛد 2001 اٌّْوٚع اٌمِٝٛ ث١جٛ١ٍعواف١ب ؼِٚبعُ .ٓ 271 : اٌٖجٛه ٌٍزوعّخ أكث١خ )1( .A : Jones Marsden ثجٛ١ٍعواف١ب رغو٠ج١خ 52. 1150 فٝ ١ٕل ٍُِٛ ك١ٌٔ عَْٛٔٛ ك٠ف١ي ٔبك٠خ هفؼذ 2003 اٌّْوٚع اٌمِٝٛ لٖٔ ل١ٖوح )4( ٓ ٚ 229لٖٔ ث١وٚد ٌٍزوعّخ T : Open season in Beirut أفوٜ and other stories. A : Denys Johnson Davies 53. 1151 ا١ؼٌَل، اٌٛاكٜ ع٠ّٕٛ ،ًَْٛٔٛ ٠ٌٌٛ ٛػٗ 2001 اٌّْوٚع اٌمِٝٛ هٚا٠خ )13( .ٓ 537 وبٔزوف١ً، ّجؼ أٍٚىبه ٚا٠ٍل ٌٍزوعّخ اػبكح طجغ ٕٛ T : The Carterville ghost Theهح picture of Dorian Gray عواٜ كٚه٠بْ A : Samuel Johnson & Oscar Wilde. ١ٌٛػ 1152 .54ٌ ع١ٌّ ع٠ٌٛ ؾِّل ٌطفػ 2002 ٝبٌُ اٌىزبة هٚا٠خ )14( .ٓ 495 عؼّخ اػبكح طجغ T : Ulysse. A : James Joyce 55. 1192 اٌّلِ٘ اؼٌبٌُ مٌه ١ػل ١َؽٓ 2002 ا١ٌٙئخ اؼٌبِخ كهاٍبد ٔمل٠خ )23( ٓ 262 ِغ ٛؽاهاد : ٌمٖٛه اٌضمبفخ وزبة ػب١١ٌّٓ 56. 1202 اٛ١ٌَ اٌوٚا٠خ ِبٌىَٛ أؽّل ػّو 2005 ا١ٌٙئخ اٌّٖو٠خ كهاٍبد ٔمل٠خ )24( .ٍُ 24 ؛ ٓ 194 ثواكثوٜ ّب١٘ٓ اؼٌبِخ ٌٍىزبة األٍوح - ِىزجخ األكة ٍٍٍَخ T : The novel today. A : Malcolm Bradbury (Prep. & Introd.) 57. 1203 األِو٠ى١خ اٌلهاِب ِبهن هٚثَْٕٛ وبًِ ّٛؾِك 2002 إلاهاد كهاٍبد ٔمل٠خ )25( .ٓ 373 األفوِٙ ٜوعبْ اٌمب٘وح T : The other American اٌلٌٝٚ ٌٍَّوػ .drama اٌزغو٠جٝ A : Marc Robinson. 58. 1206 ثٛرو ٘بهٜ ه١ٌٕٚظ . ن.ط ؽَٓ أثٛ طبٌت 2005 كاه ٚٙٔخ ِٖو هٚا٠خ )15( .ٓ 586 اؼٌٕمبء ٚعّبػخ T : Harry Potter. A : J .K. Rowling 59. 1207 ثٛرو ٘بهٜ ه١ٌٕٚظ . ن.ط هعبء ػجل اهلل ٚٙٔ 2002خ ِٖو هٚا٠خ ) 16( .ٓ 287 األٍواه ؽٚغوح T : Harry Potter and the chamber of secrets. A : J .K. Rowling 60. 1208 لزً األهأت عْٛ ه٠فَٕىوٚفذ فبطّخ ٔبٛػد 2005 كاه ّول١بد لٖٔ ل١ٖوح )5( .ٓ 130 T : Killing rabbits A : Jon Ravenscroft 61. 1254 ّغوح ِطو ٕ٘وٜ ١ٍٍِو ؾِّل ١ػل 2001 ِووي اٚؾٌبهح لٖٔ ل١ٖوح )6( ٓ 136 ل١ٖوح لٖٔ اثوا١ُ٘ اؼٌوث١خ ؼِ A : Henry Millerبٕوح ٌٛ 1257 .62وو٠ٌ ئغزٖبة ١ٌُٚ ّىَج١و رٛف١ك ٍٝػ 2004 اٌّْوٚع اٌمؼّ ِٝٛو )6( ٓ 266 هِٚب١ٔخ أٍطٛهح ِٖٕٛه ٌٍزوعّخ T : The rape of Lucrece A : William Shakespeare. 63. 1258 ربعو اٌجٕلل١خ ١ٌُٚ ّىَج١و أؽّل هٛٙاْ 2002 ِإٍَخ اؼٌج١و َِوػ )9( 164ٓ اٌفمٝ ٌٍطجبػخ ٚإٌْو T : The merchant of Venice. A : William Shakespeare.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 64. 1260 اٌْوٍخ رو٠ٚ٘ ّىَج١و ١ٌُٚ ١ٍٙو اٌمٍّبٜٚ 2004 كاه اؼٌّبهف َِوػ )10( .ٓ 201 اػبكح طجغ T : The taming of the shrew ؽ 1264 .65ٍُ ١ٌٍخ ١ٕف ١ٌُٚ ّىَج١و ّٛؾِ َٓؽك 2005 كاه اؼٌّبهف َِوػ )11( 20ٍُ؛ ٓ ؾِ 148ّل ِواعؼخ اػبكح طجغ T : A midsummer night's غوثبي، ّف١ك .ؾِ dreamّل ثلهاْ A : William Shakespeare 66. 1265 ع١ٌٛذ ٚ ه١ٌٚ ٛ١ُِٚ ّىَج١و ِإٌٔ طٗ 2004 كاه اؼٌّبهف َِوػ )12( .ٓ ١َؽ 217ٓ اػبكح طجغ T : Romeo and Juliet. A : William Shakespeare. ١ٍٔٛ 1266 .67زبد ّىَج١و ١ٌُٚ ّىَج١و ثله رٛف١ك 2005 اٌّْوٚع اٌمؼّ ِٝٛو )7( ٍُ 22 ؛ ٓ 330 إٌٔ ِغ اٌىبٍِخ 849ٌٍزوعّخ .T : Shakespeare's sonnets اإلٔغ١ٍيٞ A : William Shakespeare. ػ 1267 .68ط١ً ّى١َو ١ٌُٚ ؾِّل ػٕبٝٔ 2005 ا١ٌٙئخ اٌّٖو٠خ َِوػ )13( .ٓ 359 اؼٌبِخ ٌٍىزبة T : Othello. A : William Shakespeare. ٛ٘ ٍٝػ 1268 .69ان ١ٌُٚ ّىَج١و ِقزبه اٌٛو١ً 2005 كاه اؼٌّبهف َِوػ )14( ٍُ 20 ؛ ٓ ؽ 186َٓ ِواعؼخ اػبكح طجغ . T : As you like it ئثوا١ُ٘ ّٛؾِك، A : William Shakespeare ىوٝ رمل٠ُ ؛ فٛه١ّل ئٍىٕله فب٠ي ٚ 1269 .70أك١ٌٔٚ ف١ٌٚ ًٕٛ١ُ ّىَج١و ؾِّل ػجل 2002 كْٚ ٔبّو ؼّو )8( ٓ 127 اٌٛ٘بة ؽّلٜ )هثّب رىْٛ أٚي .T : Venus and Adonis روعّخ ٌم١ٖلح .A : William Shakespeare ّىَج١و ػ 1270 .71ْو اٌضب١ٔخ ا١ٌٍٍخ ١ٌُٚ ّىَج١و ِإٌٔ طٗ 2005 كاه اؼٌّبهف َِوػ )15( .ٓ ١َؽ 167ٓ T : Twelfth night. A : William Shakespeare. 72. 1271 اٌٍّه ِأٍبح ١ٌُٚ ّىَج١و ؾِّل ػٕبٝٔ 2008 ا١ٌٙئخ اٌّٖو٠خ َِوػ )16( .ٓ 230 ه٠زْبهك اؼٌبِخ ٌٍىزبة طجؼخ صب١ٔخ T : The tragedy of king اٌضبٝٔ Richard the second. A : William Shakespeare. 73. 1272 ِأٍبح ػط١ً ١ٌُٚ ّىَج١و ؾِّل ِٖطفٝ 2004 اٌّْوٚع اٌمِٝٛ َِوػ )17( ٓ 216 ثلٜٚ ٌٍزوعّخ T : Othello. A : William Shakespeare 74. 1273 ِبوجش ١ٌُٚ ّىَج١و أؽّل هٛٙاْ 2005 ِإٍَخ اؼٌج١و َِوػ )18( ٓ 152 اٌفمٝ ٌٍطجبػخ T : Macbeth. A : William Shakespeare. 75. 1274 ِىجش ّىَج١و ١ٌُٚ ؾِّل ِٖطفٝ 2001 اٌّْوٚع اٌمِٝٛ َِوػ )19( ٓ 185 ثلٜٚ ٌٍزوعّخ T : Macbeth A : William Shakespeare. 76. 1275 ٘بٍِذ ّىَج١و ١ٌُٚ طبٛ١ًٔ أفٕلٜ 2005 اٌّْوٚع اٌمِٝٛ َِوػ )20( ػ 110ٓجلٖ ٌٍزوعّخ- ٍٍٍَخ اػبكح طجغ .T : Hamlet ١ِواس اٌزوعّخ A : William Shakespeare. 77. .ٍُ 20 ؛ ٓ 445 اٌغجً اٌجبهك. رْبهٌي فو٠يه )1950-( أ١ِٓ اٛ١ؼٌطٝ 2002 ِإٍَخ ِووي هٚا٠خ )17( ٕلهد فٝ طجؼزٙب هٚائٝ أِو٠ىٝ اإل٘واَ ٌٍزوعّخ األٌٝٚ ثبإلٔغ١ٍي٠خ ٚإٌْو ػبَ 1997 فٝ اٌٛال٠بد اٌّزؾلح 78. 1289 اٌجغلاكؽ .َٜٓ ع١ٌّ ئٌوٜٚ ف١ٍىو ؾِّل ّٛؾِك 2003 ١٘ئخ لٖٛه اٌضمبفخ َِوػ )21( .ٓ 233 ْٔود ثبإلٔغ١ٍي٠خ )1884-1915(. هٚائٝ ِىٝ ػ T : Hassan : the story ofبَ ٚ 1922ّبػو َِٚوٝؽ Hassan of Baghdad How ئٔغ١ٍيٜ he came to make the Golden journey.

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 A : James Elroy Flecker ٖٛٔ ِٓ 1293 .79ٓ ئ٠ضٛي فٛعبهك ٘جخ ؾِّل 2004 إلاهاد َِوػ )22( .ٓ 479 األفو٠مٝ اٌَّوػ ٔج١ً/عٙ١بْ ِٙوعبْ اٌمب٘وح .A : Athol Fugard اثوا١ُ٘ فو٠جخ اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 80. 1294 أهوبْ اٌمٖخ فٛهٍزو .َ.أ وّبي ١ػبك عبك 2001 ا١ٌٙئخ اٌّٖو٠خ كهاٍبد ٔمل٠خ )26( .ٓ 211 اؼٌبِخ ٌٍىزبة اػبكح طجغ T : Aspects of the novel. A : Edward Morgan Forster 81. 1321 ٍٍطبْ األٍطٛهح عٛى٠ف وبِجً ثله اٌل٠ت 2001 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )27( .ٓ 352 ع٠ٛوى ث١ً ٌٍزوعّخ T : Power of myth. A : Joseph Compbell, Bill Moyers. ٚ 1323 .82أكة وبِٝ اٌج١و عْٛ ووٚوْبٔه عالي اؼٌْوٜ 2005 ا١ٌٙئخ اٌّٖو٠خ كهاٍبد ٔمل٠خ )28( .ٍُ 24 .ٓ 305 اٌزّوك اؼٌبِخ ٌٍىزبة – اػبكح طجغ T : Albert Camus and the ِىزجخ األٍوح literature of revolt. A : John Cruickshank. 83. 1350 : اؾٌّغٛة وْف عٛ ث١ٍِٛ ٝٔٛخ ِظٍَٛ 2003 إلاهاد َِوػ )23( .ٓ ٚ 767ىاهح اٌضمبفخ، ِٓ ِقزبهاد ِٙوعبْ اٌمب٘وح ٖٛٔ T : Extreme exposure : anٓ اٌلٌٝٚ ٌٍَّوػ anthology of solo performance اٌَّوٝؽ األكاء اٌزغو٠جٝ texts from the اٌموْ فٝ إٌّفوك .twentieth century اؼٌْو٠ٓ A : J6 Bonney (ed.) ػ : 1351 .84بك٠خ أِوأح ١ٍٛ١ًٌ و١ٍفزٛ )ّبػوح أؽّل ّبفٝؼ 2005 اٌّْوٚع اٌمؼّ ِٝٛو )9( ٍُ 22 ؛ ٓ ٚ 203موو٠بد لٖبئل أفوٚ-أِو٠ى١خ )1936- 663ٌٍزوعّخ T : Good woman : poems ْٔود فٝ طجؼزٙب 2010( .and memoir اإلٔغ١ٍي٠خ ػبَ 1987 .A : Lucille Clifton 85. 1354 اٌَبػبد ِب٠ىً وٕٕغٙبَ ؾِّل ١ػل 2004 كاه اٌٙالي هٚا٠خ )18( .ٓ 196 ْٔود ثبإلٔغ١ٍي٠خ اثوا١ُ٘ .ػ T : The hoursبَ ٚ 1998ٔبٌذ .A : Michael Cunningham عبئيح اٌج١ٌٛزيه ػبَ 1999 86. 1356 ِب٠ىً ىِٓ ١ؽبح َ وٛرَٝ .ط ؾِّل ٛ٠ٌٔ 2003 كاه اٌٙالي هٚا٠خ )19( .ٓ 197 ن T : Life and times of Michael K A : J. M. Coetzee 87. 1363 إٌظو٠خ ئٌٝ ِلفً عٛٔبصبْ وٌٛو ِٖطفٝ ثِٝٛ١ 2002 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )29( .ٓ 179 األكث١خ ػجل اٌَالَ ٌٍزوعّخ T : Literary theory : a very short introduction. A : Jonathan Culler. 88. 1365 اٌوكاء ماد ٠ٍٚىٝ و١ٌٕٛي ٔبك٠خ فو٠ل 2003 ا١ٌٙئخ اؼٌبِخ هٚا٠خ )20( .ٓ 303 األث١٘ هٚائٟ أِو٠ىٝ )1824- ٌٍىزبة T : Woman in white. ْٔود ف طجؼزٙب 1889(، ؼ٠ل هائلاً فٝ A : Wilkie Collins. اإلٔغ١ٍي٠خ فػ ٝبَ وزبثخ هٚا٠بد اإلصبهح 1859 89. 1368 لٍت اٌظالَ عٛى٠ف وٛٔواك أؽّل فبٌل رٛف١ك 2002 اٌّإٍَخ اؼٌوث١خ هٚا٠خ )21( .ٓ 139 اؾٌل٠ضخ .T : Heart of darkness .A : Joseph Conrad 90. 1369 ِٓ ِقزبهاد عٛى٠ف وٛٔواك ٌط١فخ ػبّٛه 2005 ا١ٌٙئخ اٌّٖو٠خ لٖٔ ل١ٖوح )7( .ٍُ 24 ؛ ٓ 207 اٌمٟٖٖ األكة اؼٌبِخ ٌٍىزبة - .T : Selected novels and stories األكة - ٍٍٍَخ A : Joseph Conrad. األٍوح ِىزجخ 91. 1370 اٌّأٍبح ٚ اٌٍّٙبح ٌٚٚزو و١و ػجل اٌوؽّٓ 2003 كاه األ١ِٓ كهاٍبد ٔمل٠خ )30( .ٍُ 24ٓ؛ 367 أ١ِٓ ِوغالٝٔ .T : Tragedy and comedy .A : Walter Kerr 92. 1372 ّوطٝ اٌّىزجخ ٍز١فٓ و١ٕظ أؽّل فبٌل رٛف١ك 2005 اٌّإٍَخ اؼٌوث١خ هٚا٠خ )22( .ٓ 159 اؾٌل٠ضخ .T : The library policeman .A : Stephen King

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 93. 1375 اٌىبرت ؾِٕخ رْبهٌي الهٍْٛ طؼٍذ اٌْب٠ت 2005 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )31( .ٓ 288 األفو٠مٝ ٌٍزوعّخ T : The ordeal of the African writer. A : Charles Larson 94. 1376 فٝ اٌّغوَ اٌجطً ِبهعو٠ذ الهوٓ ١ؼٍل ّٛلٝ 2002 ك.ْ كهاٍبد ٔمل٠خ )32( .ٓ 163 اٌّٖو٠خ اؼٌب١ِخ A : Margaret Larkin 95. 1384 اٌفٓ اٌوٚائٝ ك٠ف١ل ٌٛكط ِب٘و اٌجطٛطٝ 2002 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )33( .ٓ 256 ٌٍزوعّخ .T : The art of fiction .A : David Lodge 96. 1387 اٌوٚا٠خ اٌزبه٠ق١خ عٛهط ٌٛوبً ٕبؼٌ عٛاك 2005 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )34( .ٓ 516 اٌىبظّخ ٌٍزوعّخ .T : The historical novel .A : George Lukacs ػ 1398 .97ٓ اٌجؾش فٌٟ ٝ ِب٠ىٍي ِٕٝ هفؼذ 2002 اؼٌبِخ ا١ٌٙئخ هٚا٠خ )23( ٓ 279 فب١ٌوٜ ٍٍطبْ ٌمٖٛه 98. 1399 اٌّّٙخ اإلٍزٛائ١خ ك٠ف١ل عٝ ِبٍٛ٠ ٕجوؾِ ّٜل 2005 اٌّْوٚع اٌمِٝٛ هٚا٠خ )24( .ٍُ 20 ؛ ٓ ؽ 229َٓ 867ٌٍزوعّخ، A : Dovid G. Maillu. 99. 1401 األِخ رمبطؼبد ١ٌيا ١ٍٙو ِغظ ف١ًٖ ثٓ 2002 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )35( .ٓ ٚ 379اٌغٌٕ ٚاٌّغزّغ فٚواء ٌٍزوعّخ T : Intersections : gender, nation and community in Arab women's novel. A : Lisa Suhair Majaj. 100. 1403 ِٓ ِقزبهاد ١ؼُٔ ػط١خ 2002 ا١ٌٙئخ اؼٌبِخ َِوػ )24( .ٍُ 20 ؛ ٓ 183 اٌَّوػ هٚائغ ٌمٖٛه اٌضمبفخ – اؼٌبٌّٝ آفبق ػب١ٌّخ 1416 .101 ٛ٠رٛث١ب رِٛبً ِٛه أٔغ١ً ثطوً 2001 ا١ٌٙئخ اؼٌبِخ هٚا٠خ )25( .ٓ 248 ٌٍىزبة 102. .ٓ 582 اٌَّوػ ِإٌفٛا و١ّجٛي و١ٕظ ٘جخ ٔج١ً ػغ١ٕخ 2003 إلاهاد كهاٍبد ٔمل٠خ )36( .T : Modern dramatists اؾٌل٠ش ١ِوفذ ؼٍل ِٙوعبْ اٌمب٘وح (ػ A : Kimball King (edجلاهلل/عٙ١بْ اٌلٌٝٚ ٌٍَّوػ ا١ٌَل اٌزغو٠جٝ ٛؽ 1423 .103ي كهاٍبد ِٕٝ ١ِقبئ١ً ِٕٝ اثوا١ُ٘ 2005 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )37( .ٓ 222 اٌم١ٖوح اٌمٖٔ 191ٌٍزوعّخ- T : Studies in Arabic short fiction. A : Mona Mikhail. 104. 1428 اٌفوكًٚ اٌّفمٛك عْٛ ١ٍِزؾِ ّْٛل ػٕبٝٔ 2002 ا١ٌٙئخ اؼٌبِخ ؼّو )10( .ٓ 867 ٌٍىزبة .T : Paradise lost .A : John Milton 105. 1433 ل١ٖٖخ ٖٛٔٓ ١ٍّو ػجل هثٗ 2005 ا١ٌٙئخ اؼٌبِخ لٖٔ ل١ٖوح )8( ٍُ 20 ؛ ٓ 211 األكة هٚائغ ِٓ ٌٍىزبة اإلفو٠مٟ ٍٍٍَخ األكة- األٍوح ِىزجخ 106. 1438 ئِوأح لٖبئل عو٠ٌ ١ٔىٌٛي ٔبَٝٔ ١ٍّو 2002 ا١ٌٙئخ اؼٌبِخ ؼّو )11( ٓ 119 ثل٠ٕٗ ٍٛكاء ٌمٖٛه اٌضمبفخ - ػ9ب١ٌّخ آفبق 107. 1444 أهٗ فٝ غو٠ت هٚثود ٘ب١ٍٕ٠ٓ أؽّل فبٌل رٛف١ك 2004 اٌّإٍَخ اؼٌوث١خ هٚا٠خ )26( .ٓ 127 غو٠جخ هٚائٝ أِو٠ىٝ ؼ٠ل ٚاؽل ٌٍْٕو .T : Stranger in a strange land ِٓ هٚاك أكة اٌق١بي .A : Robert Heinlein اٍّٝؼٌ 108. 1453 اٌَّوٝؽ اؼٌوٗ عٛاْ ١ٌٛ٘لط، عّٛؾِ ٌٝٛك وبًِ 2004 إلاهاد كهاٍبد ٔمل٠خ )38( .ٓ 314 ث١ٓ إٌَبئٟ رِٛجى١ٕي ِٙوعبْ اٌمب٘وح اٌضمبفبد اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 109. : اٌوٚا٠خ لواءح هٚعو ة ١ٕ٘ىً ٕالػ هىق 2003 كاه غو٠ت كهاٍبد ٔمل٠خ )39( رم١ٕبد ئٌٝ ِلفً اٌزف١َو 110. 1463 ا١ٌّالك ١ػل هٍبئً رل ٛ١٘ى ؾِّل ١ػل 2002 اٌّْوٚع اٌمؼّ ِٝٛو )12( 403 ٓ. اثوا١ُ٘ ٌٍزوعّخ

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 .T : Birthday letters .A : Ted Hughes 111. 1464 ٕل٠مبرٝ أفًٚ ثبَ ٛ١ٍ٘زْٛ ِفوػ وو٠ُ 2003 ١٘ئخ لٖٛه اٌضمبفخ كهاٍبد ٔمل٠خ )40( 207 ٓ. A : Pam Houston. 112. 1465 اٌّفمٛك ّّبي ٔبَٝٔ ٛ١ٍ٘زْٛ ١ٔف١ٓ ا١ٌٖٕوٜ 2005 كاه ّول١بد كهاٍبد ٔمل٠خ )41( 134 ٓ. .T : Losing north .A : Nancy Huston 113. 1466 أكٌٚف ِإٌفبد ِٓ ثبهٔبهك ٠ٛ١٘ذ أ١ِٓ اٌوثبٛ 2005 إلاهاد كهاٍبد ٔمل٠خ )42( 245 ٓ. أث١ب ِٙوعبْ اٌمب٘وح T : Adolphe Appiás. اٌلٌٝٚ ٌٍَّوػ A : Bernard Hewitt. اٌزغو٠جٝ 114. 1467 اٌل٠ّمواط١خ هٚثود ثٓ ٚاهْ فإاك ػجل 2004 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )43( ٚ .ٓ 145اؼٌْو اٌّطٍت ٌٍزوعّخ .T : Democracy and Poetry .A : Robert Penn Warren ٙٔ 1468 .115ب٠بد ك٠و٠ه ٚاٌىٛد ؾِّل ١ػل 2003 ِووي اٚؾٌبهح ؼّو )13( 127 ٓ. اثوا١ُ٘ اؼٌوث١خ .A : Derek Walcott 116. 1469 اٌّإصواد عوا٘بَ ٚآٌ ِٕٝ ٍالَ 2003 إلاهاد كهاٍبد ٔمل٠خ )44( 403 ٓ. اٌَّو١ؽخ ِٙوعبْ اٌمب٘وح T : Effects for the theater. اٌلٌٝٚ ٌٍَّوػ A : Graham Walne. اٌزغو٠جٝ 117. 1470 ىٚط ِضبٌٝ أٍٚىبه ٚا٠ٍل ؾِّل ّىوٜ 2001 ِإٍَخ اإلفالٓ َِوػ )25( ١ػ .ٓ 239بك - ثٕٙب .T : An ideal husband .A : Oscar Wilde 118. 1471 ِقزبهاد ِٓ ٚهكىٚهس ؾِّل ػٕبٝٔ 2002 ا١ٌٙئخ اؼٌبِخ ؼّو )14( 171 ٓ. اؼٌْو اٌوِٚبَٝٔ ٌٍىزبة A : William Wordsworth 119. 1473 ك٠ىٕي رْبهٌي عٛهط ٚٔظ فو٠لح إٌمبُ 2005 ا١ٌٙئخ اؼٌبِخ كهاٍبد ٔمل٠خ )45( 254 ٓ، 32 ٓ ؛ 20 ٍُ. ِواعؼخ ٌغ٠ٛٗ ٌمٖٛه اٌضمبفخ – ػ .T : Dickensبكي ؼ١ٍّ أفبق ػب١ٌّخ 46 .A : George Wing 120. 1474 ِضمٍخ عٛ١ة فوع١ٕ١ب ٌٚٚف فبطّخ ٔبٛػد 2004 اٌّْوٚع اٌمِٝٛ هٚا٠خ )27( ٚ .ٓ 157هٚا٠خ ثبؾٌغبهح ٌٍزوعّخ T : An unwritten novel. رىزت ثؼل ٌُ .A : Virginia Woolf 121. 1475 األكثٝ إٌمل ربه٠ـ ه١ٕ٠ٗ ١ٍ٠ٚه ِغب٘ل ػجل 2001 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )46( ٓ 506 -1750 اؾٌل٠ش اؼٌُّٕ ِغب٘ل ٌٍزوعّخ 1950 T : History of modern criticism1750-1950. .A : René Wellek 122. 1476 األكثٝ إٌمل ربه٠ـ ١ٍ٠ٚه ِغب٘ل ػجل 2002 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )47( 598 ٓ. اؾٌل٠ش اؼٌُّٕ ِغب٘ل ٌٍزوعّخ .T : Hisory of modern criticism .A : René Wellek 123. 1479 ثٚ١بء أٍبط١و هٚثود ٠بٔظ أؽّل ؾِّل 2003 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )48( 381 ٓ. ٌٍزوعّخ .T : White mythologies .A : Robert Young 124. فٓ وزبثخ اٌَّو١ؽخ العًٛ ئهط كهٕٝ٠ فْجخ 2000 ا١ٌٙئخ اٌّٖو٠خ كهاٍبد ٔمل٠خ )49( Lajos Ergi اؼٌبِخ ٌٍىزبة اػبكح طجغ

ؽ .125ل٠مخ إٌجٝ عجواْ ف١ًٍ عجواْ صوٚد ػىبّخ 2000 كاه اٌْوٚق هٚا٠خ )ؼّو٠خ( )28( 126. اٚ ّٝؼٌاٌج١ٖوح ثٛي كٜ ِبْ ١ؼٍل اٌغبّٝٔ 2000 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )50( ٌٍزوعّخ اػبكح طجغ. ْٔود اٌطجؼخ اؼٌوث١خ األػ ٌٝٚبَ 1994 فٝ اٌّغّغ اٌضمبفٝ ثلٌٚخ اإلِبهاد ١ؽ .127ش رٍزمٝ األٙٔبه ٘وثود ١َِٓ. أًِ اٌغجٛهٜ. 2000 اٌّْوٚع اٌمِٝٛ هٚا٠خ )29( أٍزبم أِو٠ىٝ ِزفوؽ فٝ ٌٍزوعّخ

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 كهاٍخ األك٠بْ ٚاٌلهاٍبد ّبػوح اؼٌوث١خ ٚاإلٍال١ِخ. ِٚزوعّخ ػوال١خ رم١ُ فٝ أٌّب١ٔب 128. فٝ أزظبه اٌجواثوح ط. ئَ. وٛرَٝ اثزَبَ ػجلاهلل 2000 اٌّْوٚع اٌمِٝٛ هٚا٠خ )30( ٌٍزوعّخ 129. فوك٠ٕبٔل كٞ عٛٔبصبْ وٌٛو ّٛؾِك ؽّلٜ 2000 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )51( ١ٍٍٛو: رأ١ًٕ ػجل اٌغٕٝ ٌٍزوعّخ ػٍُ اٌٍغخ اؾٌل٠ش ػٍُٚ اؼٌالِبد 130. ٍجؼخ أّٔب١ٍ٠ٚ ِٓ ٛبَ ئِجَْٛ ٕجوؾِ ّٜل 2000 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )52( اٌغؽ َّٗٛٓ ٌٍزوعّخ 131. ثمب٠ب اٛ١ٌَ وبىٚ ا١ْ٠غٛهٚ طؼٍذ اٌْب٠ت 2000 اٌّْوٚع اٌمِٝٛ هٚا٠خ )31( ٌٍزوعّخ ؼّ .132و٠خ وفبفٝ عو٠غٛهٜ عٍٛلا١ٌٔ هفؼذ ٍالَ 2000 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )53( ٌٍزوعّخ 133. أهٗ اٌَّبء ك٠ف١ل ٘وثود ٌٛهأٌ طب٘و اٌجوثوٜ 2000 اٌّْوٚع اٌمؼّ ِٝٛو )15( ٚلٖبئل أفوٜ ٌٍزوعّخ 134. اؼٌٕف اٌٍغٜٛ فٝ عب١ٔذ ِبٌى١ٓ ؾِّل ا١ٌَل 2000 إلاهاد كهاٍبد ٔمل٠خ )54( اٌلهاِب اؼٌّبٕوح ِواعؼخ أ١ِٓ ِٙوعبْ اٌمب٘وح اٌوثبٛ اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ ؼِ .135غُ اٌّٖطؾٍبد كا١١ًٔ رْبٔلٌو ّبوو ػجل 2002 أوبك١ّ٠خ اٌفْٕٛ ث١جٛ١ٍعواف١ب ؼِٚبعُ األٍب١ٍخ فػ ٍُٝ ا١ّؾٌل أكث١خ )2( اؼٌالِبد )إٛؼٌاْ األٍٕٝ ثبإلٔغ١ٍي٠خ: Semiotics for Beginners) 136. اٌلهاِب فبهط ئ٠غ١ً رٛهٔىفَذ ١ٍِٛخ ِظِٙ 2002 .ٍَٛوعبْ اٌمب٘وح كهاٍبد ٔمل٠خ )55( اٌَّوػ. ِواعؼخ ؾِّل اٌلٌٝٚ ٌٍَّوػ إٛؼٌاْ األٍٕٝ: ا١ٌَل اٌمٓ اٌزغو٠جٝ Transposing Drama 137. اٌى١ِٛل٠ب اٌَٛكاء: ثب١ِال ف١ش عبو١ٍِٛ َْٛخ ِظِٙ 2004 ٚ ٍَٛوعبْ اٌمب٘وح َِوػ )26( رَغ َِو١ؽبد، ِواعؼخ أ١ِٓ اٌلٌٝٚ ٌٍَّوػ ِقزبهاد ٔمل٠خ، اٌوثبٛ اٌزغو٠جٝ ِمبثالد ِٚمبالد ِقزبهح ٖٛٔ .138ٓ ِٓ ِٖطفٝ ِبرٛها ١ٍِٛخ ِظِٙ 2000 ٍَٛوعبْ اٌمب٘وح َِوػ )27( اٌَّوػ اإلٔغ١ٍيٜ وبرت َِوٝؽ ِٓ عيه ِواعؼخ ؾِّل اٌلٌٝٚ ٌٍَّوػ اؼٌّبٕو إٌٙل اٌغوث١خ ١ؼ٠ِ فٝ ٌطفٛٔ ٝفً اٌزغو٠جٝ ثو٠طب١ٔب ٠ٚىزت ثبإلٔغ١ٍي٠خ 139. فْٕٛ األكاء فٝ فوا١ٌَٔ ٘بهك٠ٕظ ١ٍِٛخ ِظِٙ 2005 ٍَٛوعبْ اٌمب٘وح كهاٍبد ٔمل٠خ )56( أفو٠م١ب: لواءاد )ؾِوه( ِواعؼخ ٔج١ً اٌلٌٝٚ ٌٍَّوػ ِقزبهح هاغت اٌزغو٠جٝ 140. ِقزبهاد ِٓ إٌمل ِب٘و ّف١ك فو٠ل 2000 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )57( األٔغٍٛ-األِو٠ىٝ ٌٍزوعّخ اؾٌل٠ش ؼِٕ .141طف إٌٙو ف. ئً. ٔب٠جٛي ؾِّل أؽّل 2001 كاه اٌٙالي هٚا٠خ )32( إٛؼٌاْ األٍٕٝ: اٌغٛاك A Bend in the River 142. اؼٌوثٝ فٝ األكة ع١ال هاِواى هاؿٚٚ اٙ٠بة ٕالػ 2000 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )58( اإلٍوائؾِ ٍٝ١ّل فب٠ك/ٔبك٠خ ٌٍزوعّخ ١ٍٍّبْ ؽبفظ 143. لٖٔ ِٓ ئ٠يان أىّٛ٠ف أؽّل فبٌل رٛف١ك 2005 اٌّإٍَخ اؼٌوث١خ لٖٔ ل١ٖوح )9( أىّٛ٠ف اؾٌل٠ضخ 144. ٍبٚهرٛهً ١ٌُٚ فٛوٕو ١ِقبئ١ً هِٚبْ 2005 اٌّْوٚع اٌمِٝٛ هٚا٠خ )33( ٌٍزوعّخ ؽ .145ىب٠بد ِٓ آْ عبرػ ٝيد ػبِو 2004 اٌّْوٚع اٌمِٝٛ لٖٔ ل١ٖوح اٌَٛٙي األفو٠م١خ ٌٍزوعّخ )ؼّج١خ( )10( إٛؼٌاْ األٍٕٝ: Tales from African

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 Plains 146. عٛ٘و اٌزوعّخ: صٛ١ ١٘وِبٔي )ؾِوه( ثِٝٛ١ لٕل٠ً 2005 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )59( ػجٛه اؾٌلٚك ٌٍزوعّخ – ٍٍٍَخ "كهاٍبد روعّخ" ٚاٌضمبفخ كهاٍبد اٌزوعّخ 1 147. اٌفٙل عٛهط: كٚه٠ٌ ١َ١ٌٕظ ػٕبْ اٌْٙبٜٚ 2004 ا١ٌٙئخ اؼٌبِخ لٖٔ ل١ٖوح لٖٔ ل١ٖوح ٌٍىزبة )11( 148. وٍُٙ أثٕبئٝ آهصو ١ٍٍِو ػجل ا١ٍؾٌُ 2005 ا١ٌٙئخ اؼٌبِخ َِوػ )28( اٌجْالٜٚ ٌٍىزبة 149. اٌغّب١ٌبد ػٕل أِٝٛ٠ ١ِيٚوػ ّٖٝٛبَ ػجل 2003 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )60( و١زٌ ٕٚ٘ذ اٌوؤؤف ؾِّل ٌٍزوعّخ 150. اؾٌّمٝ ّٛ٠رْٛ ِبهٛ٠ ثٛىٚ ١ٍٍُ األ١ِو 2003 اٌّْوٚع اٌمِٝٛ هٚا٠خ )34( ؽّلاْ ٌٍزوعّخ 151. اٌوٚا٠خ اٛ١ٌَ ِبٌىٌُٛ ثواكثوٜ أؽّل ػّو 2005 ا١ٌٙئخ اؼٌبِخ كهاٍبد ٔمل٠خ )61( ّب١٘ٓ ٌٍىزبة 152. اٌزوعّخ كٚعالً هٚثَْٕٛ صبئو ك٠ت 2005 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )62( ٚاإلِجواطٛه٠خ: ٌٍزوعّخ – ٍٍٍَخ "كهاٍبد روعّخ" ٔظو٠خ اٌزوعّخ كهاٍبد اٌزوعّخ 2 ِبثؼل اٌى١ٌٔٛٛب١ٌخ 153. اؾٌبفٍخ ا١ٌٍٍى١خ ١ِف ثِٕٝ ْٕٝ١ اٌوٚثٝ 2002 اٌّْوٚع اٌمِٝٛ هٚا٠خ )35( ٌٍزوعّخ 154. وب١ِال عٛى٠ف ١ّو٠لاْ ٌٛ فبٛٔ أؽّل فبٌل رٛف١ك 2005 اٌّإٍَخ اؼٌوث١خ هٚا٠خ )36( اؾٌل٠ضخ ِٛ .155ٔف١ٍذ عْٛ ١ِل فٛوٕو ٔج١ً هاغت 2005 كاه غو٠ت هٚا٠خ )37( 156. ٌّ٘ ِبهن ٍزوأل ث١ْو هفؼذ 2005 ا١ٌٙئخ اؼٌبِخ ؼّو )16( اٌّبً:لٖبئل ٌمٖٛه اٌضمبفخ ِقزبهح 157. األكة اٌفبهٍٝ ثٛي ٛ٘هْ ١َؽٓ ِغ١ت 2005 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )63( اٌمل٠ُ اٌّٖوٜ ٌٍزوعّخ 158. أٍطٛهح ١ٍٍجٚ ٝإّطٓ ئهف١ٕظ أؽّل فبٌل رٛف١ك 2005 اٌّإٍَخ اؼٌوث١خ لٖٔ ل١ٖوح ٌٛٛ٘ اؾٌل٠ضخ )12( 159. ِٓ ال ػياء ٌُٙ وبىٚ ا١ْ٠غٛهٚ طب٘و اٌجوثوٜ 2005 اٌّْوٚع اٌمِٝٛ هٚا٠خ )38( ٌٍزوعّخ 160. م٘ت ِغ اٌوؼ٠ ِبهعو٠ذ ١ِزًْ ٔج١ً هاغت 2005 كاه غو٠ت هٚا٠خ )39( 161. األكة ٚا٠ٌَٕٛخ ثبَ ِٛه٠ٌ ٍٙبَ ػجل اٌَالَ 2002 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )64( ٌٍزوعّخ 162. ِيهػخ اٛ١ؾٌأبد عٛهط أٚه٠ًٚ ٔج١ً هاغت 2004 كاه غو٠ت هٚا٠خ )40( 163. ٘بهٜ ثٛرو ط. ن. ه١ٌٕٚظ ػجل اٌٛ٘بة 2005 كاه ٚٙٔخ ِٖو هٚا٠خ )41( ٚاأل١ِو اٌٙغ١ٓ ٍٛػة 164. اٍّب١ػً ٍواط اٌل٠ٓ ٔغالء أثػ ٛغبط 2002 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )65( ؽلاصخ ّىَج١و ٌٍزوعّخ 165. ٘بٍِذ: أ١ِو ّىَج١و ؾِّل ِٖطفٝ 2005 اٌّْوٚع اٌمِٝٛ َِوػ )29( اٌلأّبهن ثلٜٚ ٌٍزوعّخ 166. األ١ِو ٚاٌفم١و ِبهن ر٠ٛٓ ٔج١ً هاغت 2004 كاه غو٠ت هٚا٠خ )42( 167. أهٗ اؾٌجب٠ت ِبه١ٌٓ ثٛس ؾٍو رٛف١ك 2002 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )66( ث١ؼلح: هؽٍخ ٔمل٠خ ٌٍزوعّخ ف١ؽ ٝبح ٚأػّبي ث١وَ اٌزَٝٔٛ 168. اإلٔزقبة اٌضمبفٝ أٔغو فٛط ّٛلٝ عالي 2005 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )67( ٌٍزوعّخ 169. هثّب فؽ ٍٝت ماد أؽّل اّٝ١ٌْ 2005 اٌّْوٚع اٌمِٝٛ لٖٔ ل١ٖوح ٛ٠َ: ِقزبهاد ِٓ ٌٍزوعّخ )13( اٌمٖخ اٌم١ٖوح األِو٠ى١خ 170. ً٘ ٛ٠عل ٔٔ فٝ ٍزبٍٝٔ ف١ِ أؽّل اّٝ١ٌْ 2004 اٌّْوٚع اٌمِٝٛ كهاٍبد ٔمل٠خ )68( ٘نا اٌفًٖ؟ ٍٍطخ ٌٍزوعّخ اٌغّبػبد اٌّفَوح 171. ١ٔىَْٛ-١ٔىَْٛ هاًٍ ػ ٌٝبطف اٌغّوٜ 2003 اٌّووي اٌمِٝٛ َِوػ )30( ٌٍَّوػ ٚا١ٌٍّٛمٝ ٚاٌفْٕٛ اؼٌْج١خ ٍٍٍَخ هٚائغ اٌَّوػ اؼٌبٌّٝ 172. ِٓ أعً اؼٌْت ١ٔىٛالِٛ ٜهاهٚ، أٚه٠ً ػجل اٌمبكه 2004 اٌّووي اٌمِٝٛ َِوػ ثبهأغب ١ّؽلح ٌٍَّوػ )31( ِواعؼخ أ١ِٓ ٚا١ٌٍّٛمٝ اٛ١ؼٌطٚ ٝاٌفْٕٛ اؼٌْج١خ

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 ٍٍٍَخ هٚائغ اٌَّوػ اؼٌبٌّٝ 173. وٛهٛ٠الًٛٔ ّىَج١و عّبي ػجل 2004 اٌّووي اٌمِٝٛ َِوػ إٌبٕو ٌٍَّوػ )32( ِواعؼخ ؾِّل ٚا١ٌٍّٛمٝ ػٕبٚ ٝٔاٌفْٕٛ اؼٌْج١خ ٍٍٍَخ هٚائغ اٌَّوػ اؼٌبٌّٝ 174. ا٠ف١زب ر١ُ ها٠ٌ ١ٍّو ٍوؽبْ 2004 اٌّووي اٌمِٝٛ َِوػ ٌٍَّوػ )33( ٚا١ٌٍّٛمٝ ٚاٌفْٕٛ اؼٌْج١خ ٍٍٍَخ هٚائغ اٌَّوػ اؼٌبٌّٝ 175. صٛهح اٌّٛرٝ ئه٠ٚٓ ّٛ فإاك كٚاهح 2005 اٌّووي اٌمِٝٛ َِوػ ِواعؼخ ٠ٌٌٛ ٌٍَّوػ )34( ِولٔ ٚا١ٌٍّٛمٝ ٚاٌفْٕٛ اؼٌْج١خ ٍٍٍَخ هٚائغ اٌَّوػ اؼٌبٌّٝ 176. فبهطخ اؾٌت أ٘لاف ٠ٍٛف فبطّخ ٍِٝٛ 2004 كاه اٌْوٚق هٚا٠خ )أ١ػل إلاه٘ب )43( فٝ طجؼخ صب١ٔخػبَ )2009 177. اٌَّوػ اٌزغو٠جٝ ع١ٌّ هًٚ ئ٠فبٔي فبهٚق ػجل 2000 ٘ال ٌٍْٕو كهاٍبد ٔمل٠خ ِٓ ٍزبَٔالفَىٝ اٌمبكه 69 ئٌٝ ث١زو ثوٚن 178. ا١ٌَل ٍزٚ ْٛهفمخ ف. ئً. ٔب٠جٛي ٠بٍو ؼّجبْ 2002 ١ِو٠ذ هٚا٠خ اٌفوٍبْ )44( ؼِ .179غُ اٌّٖطؾٍبد اثوا١ُ٘ فزٝؾ 2000 ّول١بد ث١جٛ١ٍعواف١ب ؼِٚبعُ األكث١خ ػٍِٛٛٚبد أكث١خ )3( 180. ِْغٛط ثفأً: فبطّخ ٔبٛػد 2004 ا١ٌٙئخ اؼٌبِخ ؼّو أٔطٌٛٛع١ب ِٓ ٌمٖٛه اٌضمبفخ – )17( اؼٌْو األِو٠ىٝ آفبق ػب١ٌّخ ٚاٌجو٠طبٝٔ 181. رغط١خ اإلٍالَ اكٚاهك ١ؼٍل ؾِّل ػٕبٝٔ 2005 كاه هؤ٠خ ٌٍْٕو كهاٍبد ٔمل٠خ ٚاٌزٛى٠غ )70( 182. اٌّوأح ٚ اٌفٚبء ؽٕب ١ٌٍٕٛىٛف ؾِّل ٌطفٝ 2000 إلاهاد كهاٍبد ٔمل٠خ اٌَّوٛٔ ٝؽفً ؛ ِواعؼخ ِٙوعبْ اٌمب٘وح 71 ٙٔبك ؾ١ٍٕخ اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ ٛؾٔ .183 َِوػ صبٌش : ئ٠بْ ٚاطِٕٝ َْٛ ٍالَ 2000 إلاهاد كهاٍبد ٔمل٠خ اٛ٠عٛ١ٕ١ ثبهثب، ٚ ِواعؼخ ٍبِٙ ِٝوعبْ اٌمب٘وح 72 َِوػ اٚكْ فْجخ اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 184. اٌّىبْ اٌَّوّٛ :ٝؽكٛ٘هٜ أٚٔب أ١ِٓ اٌوثبٛ 2000 إلاهاد كهاٍبد ٔمل٠خ عغواف١خ اٌلهاِب ِٙوعبْ اٌمب٘وح 73 اؾٌل٠ضخ اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 185. ارغب٘بد عل٠لح فٍٛ ٝىاْ ٍِوٚى ئ٠ّبْ ؽغبىٜ 2000 إلاهاد كهاٍبد ٔمل٠خ اٌَّوػ :ػالِبد ِٙوعبْ اٌمب٘وح 74 إٌٔ اٌلهاِٝ اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 186. اٌواك٠ىب١ٌخ فٝ ثبى و١وؾِ ّّٛل ا١ٌَل 2001 إلاهاد كهاٍبد ٔمل٠خ األكاء اٌَّوِٙ ٝؽوعبْ اٌمب٘وح 75 اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 187. اٌّوّل فٝ ئ١ٌياثش عٛكِبْ/ع١ٓ كٜ ٌطفٛٔ ٝفً 2001 إلاهاد كهاٍبد ٔمل٠خ ا١ٌَبٍخ ٚاألكاء عبٜ ِواعؼخ أ١ِٓ ِٙوعبْ اٌمب٘وح 76 اٌوثبٛ اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 188. اٌزغوثخ اٌَّو١ؽخ ئك٠ٚٓ ٍَٛ٠ْٚ ئ٠ّبْ ؽغبىٜ 2001 إلاهاد كهاٍبد ٔمل٠خ ِواعؼخ ٔج١ً ِٙوعبْ اٌمب٘وح 77 هاغت اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 189. ٘لَ اؾٌّبوبح: ئ١ٌٓ كا٠بِٛٔل ؾِّل اٌغٕلٜ 2001 إلاهاد كهاٍبد ٔمل٠خ ِمبالد فٝ ِواعؼخ فبطّخ ِٙوعبْ اٌمب٘وح 78 إٌظو٠خ ا٠ٌَٕٛخ ٍِٝٛ اٌلٌٝٚ ٌٍَّوػ ٚاٌَّوػ اٌزغو٠جٝ 190. ِْب٘ل اٌغْٕٛ: ك٠و٠ه هاًٍ ك٠ف١ي ؾٍو فواط 2001 إلاهاد كهاٍبد ٔمل٠خ طج١ت ٔفَٝ ِواعؼخ ٍبِٙ ِٝوعبْ اٌمب٘وح 79 ثبٌَّوػ فْجخ اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 191. اٌَّوػ اٌجو٠طبٝٔ رؾو٠و: صٛ١كٚه ّبٔه ؾِّل ا١ٌَل 2002 إلاهاد كهاٍبد ٔمل٠خ اؼٌّبٕو ِواعؼخ أ١ِٓ ِٙوعبْ اٌمب٘وح 80 اٌوثبٛ اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 192. أ١ّ٘خ اٌَّوػ: رؾو٠و: ه٠زْبهك ِٕٝ ٍالَ 2002 إلاهاد كهاٍبد ٔمل٠خ اؼٌوٗ اٌَّوٝؽ ثْٚٛ/عْٛ ثالٍزِٙ ٛوعبْ اٌمب٘وح 81 ٚاٚؾٌبهح فٝ اٌلٌٝٚ ٌٍَّوػ اٌَّوػ اؼٌبٌّٝ اٌزغو٠جٝ 193. أِبوٓ اؼٌوٗ ِبهفٓ وبهٌَْٛ ئ٠ّبْ ؽغبىٜ 2002 إلاهاد كهاٍبد ٔمل٠خ اٌَّوػ: ِواعؼخ ؾِّل ِٙوعبْ اٌمب٘وح 82 ٛ١ّ١ٍط١مب اؼٌّبهح ؽبِل اٌلٌٝٚ ٌٍَّوػ اٌَّو١ؽخ اٌزغو٠جٝ 194. ١ِوٌٛ٘ل: صٛهح فٝ اكٚاهك ثوْٚ أ١ِٓ اٌوثبٛ 2002 إلاهاد كهاٍبد ٔمل٠خ اٌَّوِٙ ػوعبْ اٌمب٘وح 83 اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 195. اٌل١ًٌ اٍّٝؼٌ أَٛ١ٌْ أٚكٜ ئ٠ّبْ ؽغبىٜ 2002 إلاهاد كهاٍبد ٔمل٠خ ٚإٌظوٜ ٌٍَّوِٙ ػوعبْ اٌمب٘وح 84 اٌّجزىو اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 196. اٌٖٛد اٌجْوٜ عبو١ٍٓ ِبهرٓ ؾِّل اٌغٕلٜ 2002 إلاهاد كهاٍبد ٔمل٠خ فٝ اٌَّوِٙ ػوعبْ اٌمب٘وح 85 اؾٌل٠ش اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 197. ١ٍبٍخ اٌَّوػ ِبه٠ب كاَٛ٠ٔيؾِ ّٚل ا١ٌَل 2003 إلاهاد كهاٍبد ٔمل٠خ اٌجل٠ً فِٙ ٝوعبْ اٌمب٘وح 86 ثو٠طب١ٔب: 1968- اٌلٌٝٚ ٌٍَّوػ 1990 اٌزغو٠جٝ 198. اكٚاهك ثٛٔل: ِبٌىٌُٛ ٘بٞ/ف١ٍ١ت ٌطفٛٔ ٜٝفً 2003 إلاهاد كهاٍبد ٔمل٠خ كهاٍخ َِو١ؽخ هٚثورٌ ِٙوعبْ اٌمب٘وح 87 اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 199. اٌّإصواد عوا٘بَ ٚآٌ ِٕٝ ٍالَ 2003 إلاهاد كهاٍبد ٔمل٠خ اٌَّو١ؽخ ِٙوعبْ اٌمب٘وح 88 اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 200. َِوػ ٍبَ ١ّجوك: ٍز١فٓ ثٛرِٛي كا١ٌب ٕجوٜ 2003 إلاهاد كهاٍبد ٔمل٠خ ؽبالد ِٓ ا٢ىِخ ِٙوعبْ اٌمب٘وح 89 اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 201. األكاء فٝ اٌَّوػ كٍٝ٠ الٛ٠ال ؾٍو فواط 2003 إلاهاد كهاٍبد ٔمل٠خ األفو٠مِٙ ٝوعبْ اٌمب٘وح 90 اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 202. إٔٛاد ِٓ َِوػ ّٛ١ٍْ روٍٍو/رمل٠ُ ِبهرٓ ؾِّل اٌغٕلٜ 2004 إلاهاد كهاٍبد ٔمل٠خ اٌَج١ٕ١ؼبد: ئٍٍٓ ِٙوعبْ اٌمب٘وح 91 ٛؽاهاد ْٔود اٌلٌٝٚ ٌٍَّوػ فٝ ِغٍخ ص١١زو اٌزغو٠جٝ وٛاهروٌٝ 203. اؼٌوٗ اٌَّوٝؽ ع١ٌٛ٘ ٌٝٛلط/عٛاْ ّٛؾِك وبًِ 2004 إلاهاد كهاٍبد ٔمل٠خ إٌَبئٝ ث١ٓ رِٛىٕي ِٙوعبْ اٌمب٘وح 92 اٌضمبفبد اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 204. ِب ٝ٘ ثب١ِال ٛ٘اهك ّٛؾِك وبًِ 2004 إلاهاد كهاٍبد ٔمل٠خ إٛ١ٌَغواف١ب؟ ِٙوعبْ اٌمب٘وح 93 اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 205. ٔظو٠بد ؽل٠ضخ فٝ عبْ ١ٍِٕظ/عوا٘بَ ٌٝ ئ٠ّبْ ؽغبىٜ 2004 إلاهاد كهاٍبد ٔمل٠خ

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 األكاء اٌَّوِٙ ٝؽوعبْ اٌمب٘وح 94 اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ ١ؽ .206بح اٌَّوػ ع١ٌٛبْ ثه ئ٠ّبْ ؽغبىٜ 2005 إلاهاد كهاٍبد ٔمل٠خ ػٚاللخ اٌفٕبْ ِٙوعبْ اٌمب٘وح 95 ثبٌٖواع اٌجْوٜ اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 207. ك١ًٌ األػالَ فٝ كا١١ًٔ ١١ِو كأىغواف ِغػّٛخ ِٓ 2005 إلاهاد كهاٍبد ٔمل٠خ اٌفٓ اٌَّوٝؽ اٌّزوع١ّٓ ِٙوعبْ اٌمب٘وح 96 اؼٌّبٕو ِواعؼخ أ١ِٓ اٌلٌٝٚ ٌٍَّوػ اٌوثبٛ اٌزغو٠جٝ ٛٚؽ .208ه اٌّّضً عٛى٠ف ّب٠ى١ٓ ٍبِٝ ٕالػ 2005 إلاهاد كهاٍبد ٔمل٠خ ِٙوعبْ اٌمب٘وح 97 اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ ِٙ .209ٕظ أَ عْٕٛ هٚثود ٠ٌٌٛ ٔبك٠خ ٍٝػ اٌجطً 2005 إلاهاد كهاٍبد ٔمل٠خ ِٙوعبْ اٌمب٘وح 98 اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 210. ِٓ ِإٌفبد أكٌٚف ثبهٔبهك ٠ٛ١٘ذ أ١ِٓ اٌوثبٛ 2005 إلاهاد كهاٍبد ٔمل٠خ أث١ب ٚظ١فخ اٌفٓ ِٙوعبْ اٌمب٘وح 99 اٝؾٌ اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 211. ِٓ أػالَ ك١ٕ٠ٌ ثبث١١ٍٗ عّبي ػجل 2005 إلاهاد كهاٍبد ٔمل٠خ اٌّقوع١ٓ اٌّمٖٛك ِٙوعبْ اٌمب٘وح 100 اٌَّو١١ؽٓ: اٌلٌٝٚ ٌٍَّوػ اكٚاهك عٛهكْٚ اٌزغو٠جٝ وو٠ظ 212. َِوػ ئػبكح ِب٠ىً ٍبْ ك١ٕ٠ٌ ؾٍو فواط 2005 إلاهاد كهاٍبد ٔمل٠خ اوزْبف اإلٍٍٛة ِٙوعبْ اٌمب٘وح 101 اٌلٌٝٚ ٌٍَّوػ اٌزغو٠جٝ 213. َٔبء ِفمٛكاد: ٔقجخ أؽّل اّٝ١ٌْ 2000 ا١ٌٙئخ اؼٌبِخ لٖخ ل١ٖوح ِقزبهاد ِٓ رٖل٠و ِب٘و ٌمٖٛه اٌضمبفخ – )14( اٌمٖخ األِو٠ى١خ ّف١ك فو٠ل ٍٍٍَخ آفبق اؾٌل٠ضخ اٌزوعّخ 214. فٝ اؾٌت ٚاؾٌو٠خ افز١به ٚروعّخ 2003 ا١ٌٙئخ اؼٌبٌّخ ؼّو ٚاٌّمبِٚخ: ؽَٓ فزؼ اٌجبة ٌمٖٛه اٌضمبفخ – )18( ِقزبهاد ِٓ آفبق ػب١ٌّخ اؼٌْو اؼٌبٌّٝ 215. ٍو ث١ٓ اص١ٕٓ: ؾِّل هعت 2003 ا١ٌٙئخ اؼٌبٌّخ لٖخ ل١ٖوح ِقزبهاد ِٓ ٌمٖٛه اٌضمبفخ – )15( اٌمٖخ اٌم١ٖوح آفبق ػب١ٌّخ اؼٌب١ٌّخ 216. ٠مظخ اِوأح و١ذ ّٛثبْ أؽّل اّٝ١ٌْ 2003 ا١ٌٙئخ اؼٌبٌّخ هٚا٠خ ٌمٖٛه اٌضمبفخ – )45( آفبق ػب١ٌّخ 217. ِقزبهاد ِٓ روعّخ ٚرمل٠ُ 2003 ا١ٌٙئخ اؼٌبٌّخ لٖخ ل١ٖوح ؽىب٠بد اٛؼٌْة هأفذ اٌل٠ٚوٜ ٌمٖٛه اٌضمبفخ – )16( آفبق ػب١ٌّخ

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014  121  52  34  16  18  3 

 63  48  8  6  0  1  19  17 9 26   46 

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 Appendix 3: List of published translations from English to Arabic in the fields of literature, theatre and literary/cultural studies

(2006-2010)

Compiled, classified and annotated by Sameh F. Hanna and Amanie F. Habashi

ًٍََِ هلُ اإلٕلاه فٝ إٛ٦ٌاْ اٌّئٌف اٌّزوعُ إٌَخ إٌبّو ا٣ٌٕٛ األكثٝ ؽبٌخ وبْ اإلٕلاه ِْٕٛهاً فٝ اٌّْو٣ٚ/ اٌّووي اٌمِٝٛ ٌٍزوعّخ 1. ٍّ٘ذ ّىَج١و عّبي ٥جل اٌّمٖٛك 2006 اٌّْو٣ٚ اٌمِٟٛ َِوػ 1061 هإ٠خ عل٠لح )روعّخ ٚرمل٠ُ( ٌٍزوعّخ )1( 2. لٖخ اٌقبكِخ ِبهعو٠ذ آرٚٛك ٥جل ا١ّؾٌل فّٟٙ 2006 اٌّْو٣ٚ اٌمِٟٛ هٚا٠خ 1068 اٌغّبي ٌٍزوعّخ )1( 3. وٍت ثٕٝ غبِك ٚ ِغ٥ّٛخ وزبة افز١به ٚ روعّخ فئاك 2006 اٌمب٘وح : ا١ٌٙئخ ا٦ٌبِخ لٖخ ل١ٖوح لٖٔ افوٜ ِقزٍف١ٓ رُٚ لٕل٠ً ٌمٖٛه اٌضمبفخ، )1( ر١ْقٛف، 2006.

١ّٕ٘غٛاٜ، ٍٍٍَخ افبق ٥ب١ٌّخ؛ ٍزؤلثوط، 49 وو٠ٓ ٚآفو٠ٓ 4. لٖخ ا١ٌَل صو٠ب اٛ١ًٔٛٞٔ عّبي اٌغي٠وٞ 2006 اٌّْو٣ٚ اٌمِٟٛ هٚا٠خ 1015 ٌٍزوعّخ )2( 5. االَٔبْ ٚاالَٔبْ عٛهط ثؤبهك ؾِّل للهٞ ٥ّبهح 2006 اٌّْو٣ٚ اٌمِٟٛ َِوػ 1034 األّٛ ٍٝ٥ ٌٍزوعّخ )2(

6. اٌغ١ّالد ٌُ ٛ٠ٌلْ ث٦ل أٞ وٟٕ٠ٛ أهِبٖ ٕجوؾِ ّٜل ؽَٓ 2006 اٌّْو٣ٚ اٌمِٝٛ هٚا٠خ وبرت ِٓ غبٔب ٌٍزوعّخ )3( ٠ىزت 941 ثبإلٔغ١ٍي٠خ Ayi Kwei Armah (1939- ) 7. وو٠ه ٚأٚهوٌ ِبهعو٠ذ آرٚٛك ؾٍو رٛف١ك 2007 اٌّْو٣ٚ اٌمِٝٛ هٚا٠خ 1082 ٌٍزوعّخ )4( 8. 1105 2007 اٌّووي اٌمِٟٛ هٚا٠خ فو٠ب فزبح اٌغيه اٌَج٤ عٛى٠ف وٛٔواك ووَ ؽج١ت ٍٟ٥ ٌٍزوعّخ )5( 9. اٌّووي اٌمِٟٛ أكة هؽالد 1128 اؾٌظ اٌٝ ٔغل ط1 آْ ثٍٕذ ٕجوؾِ ّٞل ؽَٓ 2007 ٌٍزوعّخ )1( 10. اٌّووي اٌمِٟٛ أكة هؽالد 1129 اؾٌظ اٌٝ ٔغل ط2 آْ ثٍٕذ ٕجوؾِ ّٞل ؽَٓ 2007 ٌٍزوعّخ )2( 11. اٌغٚت إٌب٥ُ كهاٍبد ٔمل٠خ )٥جبهح ٥ٓ كهاٍخ )1( ِمبهٔخ فٝ اٝ٥ٌٛ اٌَٜٕٛ ٥ٕل وبرجبد إٛ٦ٌك ؾِّل اٌّووي اٌمِٟٛ 1135 ٍبِٟ فْجخ 2007 اٌوٚا٠خ اإلٔغ١ٍي٠خ اٌْبهؿ ٌٍزوعّخ ٚا٦ٌوث١خ – ٚاٌىزبة ٥جبهح ٥ٓ هٍبٌخ كوزٛهاح ٌٍّئٌفخ( 12. اٌّووي اٌمِٟٛ لٖخ ل١ٖوح 1137 ا٦ٌموة ٚلٖٔ أفوٜ ثٛي ثٌٛي ؾِّل ٘بُّ ٥جلاٌَالَ 2007 ٌٍزوعّخ )2( 13. هٚا٠خ ١ٌٛ٥ٌ اٌّووي اٌمِٟٛ 1143 ع١ٌّ ع٠ٌٛ ؾِّل ٌٞفٟ ع٦ّخ 2007 )6( )١ِواس اٌزوعّخ( ٌٍزوعّخ ا٥بكح ٝج٤ )1( 14. هٚا٠خ لٍت األٍل اٌّووي اٌمِٟٛ ٚ 1206اٌزو ٍىٛد ٦٠مٛة ٕوٚف 2007 )7( )١ِواس روعّخ( ٌٍزوعّخ ا٥بكح ٝج٤ )2( 15. أكا. وٟ.أعٛ هٚا٠خ رٛٔغٟ ١ِىب١ٔىٟ )وبرت ١ٔغ١وٜ اٌّووي اٌمِٟٛ )8( 1207 ٕجوؾِ ّٞل ؽَٓ 2007 ١ٍبهاد ٠ىزت ٌٍزوعّخ ثبإلٔغ١ٍي٠خ(

16. اٌّووي اٌمِٟٛ كهاٍبد ٔمل٠خ 1218 اٌز١ٍؾً اٌضمبفٟ ٔقجخ ٔقجخ 2007 ٌٍزوعّخ )2( 17. اٌٖجٝ اٌنٜ هٍُ اٌمٜٞ افز١به ٚ روعّخ ١ٍّو 2007 اٌمب٘وح : ا١ٌٙئخ ا٦ٌبِخ لٖٔ ل١ٖوح )ٚ لٖٔ افوٜ( اثٛ اٌفزػٛ ٌمٖٛه اٌضمبفخ، )3( 2007

ٍٍٍَخ افبق ٥ب١ٌّخ ؛ 54 18. اٌوعً اٌجٝٞء ط. َ. وٛرَٝ ٥جل اٌّمٖٛك ٥جل 2007 ا١ٌٙئخ اٌّٖو٠خ هٚا٠خ اٌىو٠ُ ا٦ٌبِخ ٌٍىزبة )9( ٍٍٍَخ اٌغٛائي؛ 15 ٥ٍِٛٛ .19خ وّجو٠لط فٟ ث١جٛ١ٍعواف١ب ٦ِٚبعُ ٥ٍِٛٛٚبد اٌّووي اٌمِٟٛ 1181 إٌمل األكثٟ ط2 اٌموْ ٔقجخ ٔقجخ 2008 )1( ٌٍزوعّخ 18 20. ثو٠ٛٔٚٓ ِبرٓ/ ث١جٛ١ٍعواف١ب ٦ِٚبعُ ٥ٍِٛٛٚبد اٌّووي اٌمِٟٛ 1196 ٦ِغُ ا١ّٝٛ١ٌَم١ب ف١ٍيربً ٥بثل فئلاه 2008 أكث١خ ٌٍزوعّخ ه٠ٕغٙبَ )2( 21. ا٦ٌْو ٚا٦ٌْو٠خ فٟ اٌّووي اٌمِٟٛ كهاٍبد ٔمل٠خ ٍٛ 1215ىاْ ث١ٕىؽ َٟٓ اٌجٕب ٥ي اٌل٠ٓ 2008 ا٦ٌٖو ا٦ٌجبٍٟ ٌٍزوعّخ )3( 22. أفٛ١ِب ّٕٛثب هٚا٠خ )10( Ifeoma اٌّووي اٌمِٟٛ 1220 رغبه اؾٌٍُ اٌجْوAkabogu ٞ ٕجوؾِ ّٞل ؽَٓ 2008 ٌٍزوعّخ Chinwuba )وبرت ١ٔغ١وٜ( 23. اٌّووي اٌمِٟٛ هٚا٠خ 1226 ا٦ٌوافخ ِوعو٠ذ أرٚٛك ِٖٞفٝ ٥ي 2008 ٌٍزوعّخ )11( Ben .24ثٓ أٚووٞ هٚا٠خ Okri اٌّووي اٌمِٟٛ )12( ٝ 1231و٠ك اٌغ٣ٛ ١ٍّو ٥جل هثٗ 2008 )هٚائٚ ّٝب٥و ٌٍزوعّخ ١ٔغ١وٜ( 25. اٌّووي اٌمِٟٛ هٚا٠خ 1237 ا٦ٌٕمبء ك.٘ـ. ٌٛهٌٔ :ؾِّل للهٞ ٥ّبهح 2008 ٌٍزوعّخ )13( ٝ .26و٠مخ عل٠لح ٌَلاك ف١ٍ١ت ِبٍٕغو َِوػ اٌلPhilip ْٛ٠ اٌّووي اٌمِٟٛ )3( 1240 ٍٝ٥ أؽّل ّٛؾِك 2008 )ٍٍٍَخ هٚائ٤ اٌلهاِب Massinger ٌٍزوعّخ ا٦ٌب١ٌّخ( (1583-1640) 27. وبىٚ ا١ْ٠غٛهٚ هٚا٠خ )14( Kazuo Ishiguro اٌّووي اٌمِٟٛ 1255 ٥ٕلِب وٕب ٠زبِٝ وبرت ٠بثبٝ ٝٔب٘و اٌجوثوٞ 2008 ٌٍزوعّخ األًٕ ثوٞ٠بٝٔ اٌغ١َٕخ، ٠ىزت ثبإلٔغ١ٍي٠خ 28. ه٠زْبهك ها٠ذ هٚا٠خ )15( Richard Wright ا٥بكح ٝج٤ اثٓ اٌجٍل اٌّووي اٌمِٟٛ 1267 -1908) ٦ٍل ىغٍٛي ٖٔبه 2008 )3( )١ِواس اٌزوعّخ( ٌٍزوعّخ 1960). Afro- American author 29. هٚا٠خ اِب اٌّووي اٌمِٟٛ )16( 1273 ع١ٓ أٍٚزٓ ٕبؼٌ ىوٟ 2008 )١ِواس اٌزوعّخ( ٌٍزوعّخ ا٥بكح ٝج٤ )4( 30. ا.َ فٛهٍزو ١ٍٚبٍخ اٌّووي اٌمِٟٛ كهاٍبد ٔمل٠خ ؾِ 1278ّل ّب١٘ٓ ؾِّل ٥ٖفٛه 2008 االِجو٠ب١ٌخ ٌٍزوعّخ )4( 31. ِغٛٙي هٚا٠خ )17( (could be a pseudo- اٌغبكح االٔغ١ٍي٠خ اٌّووي اٌمِٟٛ translation; 1281 ٌج١جخ ِبٟٙ ٘بُّ 2008 )١ِواس اٌزوعّخ( ٌٍزوعّخ needs some investigatio n)

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 32. اٌّووي اٌمِٟٛ هٚا٠خ 1293 ٛ٠َ االص١ٕٓ أٚ اٌضالصبء ف١وع١ٕب ٌٚٚف ؾِ ٍٟ١ٌّل ٥ضّبْ 2008 ٌٍزوعّخ )18( 33. ٥الِبد أفند ٍٝ٥ اٙٔب اٌّووي اٌمِٟٛ كهاٍبد ٔمل٠خ 1294 فوأىِٛ ٛه٠زٟ صبئو ك٠ت 2008 أ٥بع١ت ٌٍزوعّخ )5( 34. ع١ٌّ صٛهْ هٚا٠خ ١ٍّش )19( )1892-1934( ا٥بكح ٝج٤ اٌّووي اٌمِٟٛ 1301 ٍوٚاي اٌمٌ American صوٚد ٥ىبّخ 2008 )5( ٌٍزوعّخ writer of fantasy fiction 35. ع١ٓ ٚثَزو هٚا٠خ )20( Jean Webster اٌّووي اٌمِٟٛ 1309 أث٠ٛٝ ًٟ اٌَبل١ٓ -1876) ١ٍّو ؾِفٟٛ ث١ْو 2008 ٌٍزوعّخ 1916); American novelist 36. افٛ١ِب ّٕٛثب اٌّووي اٌمِٟٛ هٚا٠خ 1312 ثالفٛف ٕجوؾِ ّٞل ؽَٓ 2008 وبرت ١ٔغ١وٜ ٌٍزوعّخ )21( 37. ِلفً اٌٝ اٌزفى١ه رب١ٌف ١ًِْ رؾو٠و ٚ روعّخ ؽَبَ 2008 اٌمب٘وح : ا١ٌٙئخ ا٦ٌبِخ كهاٍبد ٔمل٠خ ها٠بْ ... ]ٚاؿ. ٔب٠ً ٌمٖٛه اٌضمبفخ، )6( .2008 ٍٍٍَخ افبق ٥ب١ٌّخ؛ 69 38. ِبهرِ ع١و اٌل٠ٓ اِبٝٔ رِٛب 2008 ا١ٌٙئخ اٌّٖو٠خ هٚا٠خ ثوٚوٌ ا٦ٌبِخ ٌٍىزبة )22( Geraldine ٍٍٍَخ اٌغٛائي؛ 32 Brooks (1955- ) 39. ٥ٓ اٌغّبي ىاكٜ ١ٍّش ِفوػ وو٠ُ 2009 ا١ٌٙئخ اٌّٖو٠خ هٚا٠خ ا٦ٌبِخ ٌٍىزبة )23( ٍٍٍَخ اٌغٛائي: 37 40. اغزُٕ اٌفوٕخ ٍٛي ثٍٛ١ اؽّل ٘الي ٠ٌ 2008 ا١ٌٙئخ اٌّٖو٠خ هٚا٠خ ا٦ٌبِخ ٌٍىزبة )24( ٍٍٍَخ اٌغٛائي: 33 41. ٥ٕبل١ل اٌغٚت عْٛ ّزب٠ٕجه روعّخ ٦ٍل ى٘واْ 2008 كاه اٌْوٚق هٚا٠خ

)25( 42. ثبد فوأه هٚا٠خ )26( Pat Frank اٌّووي اٌمِٟٛ 1304 ا١ٌَل آكَ (1964-1907) صوٚد ٥ىبّخ 2009 ا٥بكح ٝج٤ ٌٍزوعّخ )6( American novelist 43. اٌّووي اٌمِٟٛ هٚا٠خ 1314 اٌوعً اٌقفٟ ط.٘ـ . ٠ٍٚي هإٚف ٕٚفٟ 2009 ٌٍزوعّخ )27( 44. اٌّووي اٌمِٟٛ هٚا٠خ 1324 االه٘بثٟ عْٛ اثلا٠ه أؽّل اّٟ١ٌْ 2009 ٌٍزوعّخ )28( 45. ٍٕى١ٍو ٠ٌٌٛ هٚا٠خ )29( Sinclair Lewis اٌّووي اٌمِٟٛ 1332 أهٚ ١ٍّش ّٛؾِ (1885-ك ٥يد ٍِٟٛ 2009 ٌٍزوعّخ 1951); American novelist 46. اٌّووي اٌمِٟٛ كهاٍبد ٔمل٠خ 1333 ِملِٗ فٟ أكة اٌٞفً ث١زو ٕ٘ذ ا٠ياث١ً وّبي 2009 ٌٍزوعّخ )7( 47. اٌّووي اٌمِٟٛ هٚا٠خ 1334 فٕبْ ِٓ ا٦ٌبٌُ ا١ٌٍٞك وبىٚ ا١ْ٠غٛهٚ ٘بٌٗ ٕالػ اٌل٠ٓ 2009 ٌٍزوعّخ )30( 48. اٌّووي اٌمِٟٛ كهاٍبد ٔمل٠خ 1336 األِخ ٚاٌوٚا٠خ ثبرو٠ه ثبهٔله ؾِّل ٥ٖفٛه 2009 ٌٍزوعّخ )8( ٛ٘ .49اهك فبٍذ هٚا٠خ )31( Howard ٍجبهربوFast (1914- ًٛ اٌّووي اٌمِٟٛ ا٥بكح ٝج٤ 1341 أٛٔه اٌّْوٞ 2009 )١ِواس اٌزوعّخ( ;(2003 ٌٍزوعّخ )7( American novelist

51. أ١ّبء رؾلس اٌّووي اٌمِٝٛ َِوػ 1347 ك٠ف١ل ١٘و ٥بٝف اٌغّوٜ 2009 هٚائ٤ اٌلهاِب ا٦ٌب١ٌّخ( ٌٍزوعّخ )4( 52. أ١ِزبف عُٛ هٚا٠خ )33( Amitav Ghosh اٌمٖو اٌيعبعٟ .( -1956) ٥جل اٌّمٖٛك ٥جل اٌّووي اٌمِٟٛ 1355 )اٌوٚا٠خ ْٔود 2009 Indian اٌىو٠ُ ٌٍزوعّخ ثبإلٔغ١ٍي٠خ ٥بَ 2000( author writing in English. 53. اٌّووي اٌمِٟٛ لٖٔ ل١ٖوح 1359 أصو ٍٝ٥ اؾٌبئٜ فوع١ٕ١ب ٌٚٚف فبّٝخ ٔبٛ٥د 2009 ٌٍزوعّخ )4( 54. اٌّووي اٌمِٟٛ هٚا٠خ 1363 اٌمبرً األّٟ٥ ِبهعو٠ذ أرٚٛك ٥يح ِبىْ 2009 ٌٍزوعّخ )34( 55. ِبهٞ أ١ٌٓ هٚا٠خ ر١ٌْ )35( Mary Ellen ا٥بكح ٝج٤ ؽبفخ ا٢ٌالَ Chase اٌّووي اٌمِٟٛ )9( ِٖٞ 1377فؽ ٗٝ ٝج١ت 2009 )١ِواس اٌزوعّخ( -1887) ٌٍزوعّخ 1973); American novelist 56. اٌّووي اٌمِٟٛ هٚا٠خ 1379 أٝفبي ا٦ٌبٕفخ ا١ٌياث١ش ث١زوى ؾِّلللهٞ ٥ّبهح 2009 ٌٍزوعّخ )36( 57. اؾٌىب٠بد ا٦ٌْج١خ هٚعو ك. اٌّووي اٌمِٟٛ لٖٔ ل١ٖوح ٠ٚ َٓؾِ 1380فٟ 2009 األفوٚ- أِو٠ى١خ أثوا٘بِي ٌٍزوعّخ )5( 58. اٌزوعّخ األكث١خ: هؽٍخ )كهاٍبد ٔمل٠خ( اٌجؾش ٥ٓ اإلرَبق )9( اٌّووي اٌمِٝٛ 1389 اٌفٕٝ كٜ عٓ ؾِّل فزٝؾ وٍفذ 2009 "كهاٍبد روعّخ" ٌٍزوعّخ )ٍٍٍَخ كهاٍبد 1 اٌزوعّخ( 59. اٌٖٛد إٌفوك: ِمبالد كهاٍبد ٔمل٠خ اٌّووي اٌمِٝٛ 1405 فٝ اٌمٖخ اٌم١ٖوح فوأه أٚوٛٔٛه ّٛؾِك اٌوثٝ٦١ 2009 )10( ٌٍزوعّخ )١ِواس اٌزوعّخ( 60. ٥جل ا١ّؾٌل فّٟٙ اٌّووي اٌمِٟٛ هٚا٠خ 1406 ٛ٥كح أ٠بَ اٌٖجب آْ ر١ٍو 2009 اٌغّبي ٌٍزوعّخ )37( 61. هٚا٠خ ِب وبٔذ ر٦وفٗ ١ِيٞ اٌّووي اٌمِٟٛ )38( 1407 ٕ٘وٞ ع١ٌّ ٌٛ ّٟ٢ٔلب 2009 )١ِواس اٌزوعّخ( ٌٍزوعّخ ا٥بك ٝج٤ )10( ؽ .62وة اٛ٦ٌاٌُ ٖ.ط. ٠ٍٚي هإٚف ٕٚفٟ 2009 اٌّْو٣ٚ اٌمِٟٛ هٚا٠خ 1060 ٌٍزوعّخ )39( 63. ِيه٥خ اٛ١ؾٌأبد عٛهط اٚه٠ً روعّخ ّبًِ اثب١خ ؛ 2009 كاه اٌْوٚق هٚا٠خ

ِواع٦خ صوٚد اثب١خ )40( 64. فٙوٙٔب٠ذ 451 هاٜ ثواكثوٜ روعّخ ِبعلح ِٖٕٛه 2009 كاه اٌْوٚق هٚا٠خ

ؽَت إٌجٝ )41( 65. ث١ذ ا٦ٌبئٍخ : هٚا٠خ / ٍب١ِخ روعّخ ٔج١ً ٠ٛٔوح ؛ 2009 كاه اٌْوٚق هٚا٠خ

ٍواط اٌل٠ٓ ِواع٦خ ا١ِوح ٠ٛٔوح. )42( 66. اؾٌوف اٌموِيٜ ٔبصب١١ًٔ ٥جل اٌجبلٝ ثووبد 2010 اٌّووي اٌمِٝٛ هٚا٠خ 1349 ٚٛ٘صٛهْ ٌٍزوعّخ )43( 67. َِوػ فبة ٝ٦ٍ ا٦ٌْبق اٌّووي اٌمِٟٛ )5( ١ٌٚ 1418ُ ّىَج١و ٠ٌٌٛ ٛ٥ٗ 2010 )١ِواس اٌزوعّخ( ٌٍزوعّخ ا٥بكح ٝج٤ 11 68. َِوػ أٚ ًٛ١ٔٛٞٔوٛ١ٍثٞوح اٌّووي اٌمِٟٛ )6( ١ٌٚ 1421ُ ّىَج١و ٠ٌٌٛ ٛ٥ٗ 2010 )١ِواس اٌزوعّخ( ٌٍزوعّخ ا٥بكح ٝج٤ 12 69. اٌّووي اٌمِٟٛ َِوػ 1426 ٥ْو َِو١ؽبد ِفمٛكح ٛ٠ع١ٓ أ١ًٔٚ ٥جل اٌَالَ اثوا١ُ٘ 2010 ٌٍزوعّخ )7( 70. 1435 ع١وروٚك ٍبهح ٌٍْٛٛ الجبي ثووخ 2010 اٌّووي اٌمِٟٛ َِوػ

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 ٌٍزوعّخ )8( 71. اٌّووي اٌمِٟٛ كهاٍبد ٔمل٠خ 1438 و١ف ٔموأ ٌّٚبما؟ ٘بهٌٚل ثٍَٛ ١َُٔ ِغٍٟ 2010 ٌٍزوعّخ )11( 72. لواءاد فٟ ا٦ٌْو ٦ّو اٌّووي اٌمِٟٛ 1440 األِو٠ىٟ ا٦ٌّبٕو ٔقجخ أؽّل ِوٍٟ 2010 )1( ٌٍزوعّخ )ٍٍٍَخ ٦ّو( 73. ١ٍو ٛ١٘ط اٌّووي اٌمِٟٛ هٚا٠خ 1441 اٌىبرلهائ١خ ١ٍّو ؾِفٟٛ 2010 ٚاٌجٛي ٌٍزوعّخ )44( 74. اٌّووي اٌمِٟٛ َِوػ 1448 إٌْٛح اٌقف١خ ك٠ف١ل ١٘و أٛٔاه ٥جل اٌقبٌك 2010 ٌٍزوعّخ )9( 75. اٌَّوػ اٌّٖوٜ فٝ ف١ٍ١ت اٌّووي اٌمِٝٛ كهاٍبد ٔمل٠خ 1449 ٥ّوٚ ىوو٠ب ٥جلاهلل 2010 اٌموْ اٌزب٤ٍ ٥ْو ٍبكعوٚف ٌٍزوعّخ )12( 76. هرْبهك اٌّووي اٌمِٟٛ هٚا٠خ ؾّ 1459بد هعً ِٓ ِٖو ١ٍّو ؾِفٟٛ ث١ْو 2010 وو٠زْف١ٍل ٌٍزوعّخ )45( 77. اٌّووي اٌمِٟٛ كهاٍبد ٔمل٠خ ٚأكث١خ 1466 َِوػ ّىَج١و رب١ٔب ثٛالهك وّبي اٌل٠ٓ ١٥ل 2010 ٌٍزوعّخ )13( 78. األ١ِوح اٌزٝ ال رجىٟ اٌّووي اٌمِٟٛ لٖٔ ل١ٖوح 1475 ث١ٍيأذ ك٠َج١ٓ ٥يح ف١ًٍ/ ف١ًٍ وٍفذ 2010 ؽٚىب٠بد أفوٜ ٌٍزوعّخ )6( 79. اٌّووي اٌمِٟٛ كهاٍبد أكث١خ ٚٔمل٠خ 2010 1483 ٖٛٔٓ ٍوك٠خ ١َِٕخ هٚعو ثوٍِٟٚ ١٘ضُ اؾٌبط ٍٝ٥ ٌٍزوعّخ )14( 80. أ١ٌٚفو عٌٛل ١َُٔ ِغٍٟ / ْٔؤد اٌّووي اٌمِٟٛ َِوػ 2010 1486 رزَّىٓ ؽزٝ رزّىٓ ١ٍّش ثبفَٛ ٌٍزوعّخ )10( 81. كهاٍبد ٔمل٠خ ٚأكث١خ اٌزوعّخ فٝ ١ٍبق ِبث٦ل اٌّووي اٌمِٝٛ )15( 2010 1491 و١ٌٔٛٛبٌٝ ٌٍزوعّخ "كهاٍبد روعّخ" )كهاٍبد اٌزوعّخ( ِبه٠ب رّٛ١ّىٛ ف١ًٍ وٍفذ 2 82. ك٠ف١ل أٚ ٌَْٛٚ اٌّووي اٌمِٝٛ كهاٍبد ٔمل٠خ ٚأكث١خ 2010 1497 اٌىزبث١خ ٚاٌْفب١٘خ ٔبَٝٔ رٛهأٌ ٕجوؾِ ّٜل ؽَٓ ٌٍزوعّخ )16( 83. اٌّووي اٌمِٟٛ َِوػ 1514 فٟ لٍت أِو٠ىب ٔبٚ ِٟٛ٥االٍٟ ٥جل اٌجبلٟ ثووبد 2010 ٌٍزوعّخ )11( ٍٛ .84ىاْ ث١ٕىٟ اٌّووي اٌمِٟٛ كهاٍبد أكث١خ ٚٔمل٠خ 1527 اٌم١ٖلح ٚاٌٍَٞخ ؽَٓ اٌجٕب ٥ياٌل٠ٓ 2010 ٍز١زى١ف١زِ ٌٍزوعّخ )17( 85. أغ١ٕخ اٌجؾو...أٍب١ٝو اٌّووي اٌمِٟٛ لٖٔ ل١ٖوح 1537 آْ ١ٍَٕو ٥يد ٥بِو 2010 ؽٚىب٠بد ٚفٍىٍٛه ٌٍزوعّخ )7( 86. كاٚك هٚفبئ١ً اٌّووي اٌمِٝٛ هٚا٠خ 1538 ١٘جبر١ب ٚاؾٌت اٌنٜ وبْ ؾٍو رٛف١ك 2010 فْجخ ٌٍزوعّخ )46( 87. ٔقجخ ِٓ ٦ّو اٌّووي اٌمِٟٛ 1540 رزبث٤ ؽٍُ ِفزػٛ اٌْب٥واد ِٕٝ ثؤٌ 2010 )2( ٌٍزوعّخ إٌٙل٠بد 88. اٌمٖخ ا٦ٌوث١خ اٌم١ٖوح اٌّووي اٌمِٟٛ كهاٍبد ٔمل٠خ ؾِ 1548ّل ّب١٘ٓ ٥الء اٌل٠ٓ أثٛى٠ٕٗ 2010 ٚا٦ٌّبٕوح ٌٍزوعّخ )18( 89. اٌّووي اٌمِٝٛ كهاٍبد ٔمل٠خ 1550 أٍواه وزبثخ اٌى١ِٛل٠ب ٍِفٓ ١ٍ٘زوى ٕجوؾِ ّٜل ؽَٓ 2010 ٌٍزوعّخ )19( 90. اٌّووي اٌمِٟٛ هٚا٠خ 1552 ثْو وبألهثبة ٘ـ . ط. ٠ٍٚي هءٚف ٕٚفٟ 2010 ٌٍزوعّخ )47( 91. ٥جل اٌّمٖٛك ٥جل اٌّووي اٌمِٟٛ كهاٍبد ٔمل٠خ 1553 اإل٥لاك ٚاإلٔزؾبي عٌٝٛ ٍبٔلهى 2010 اٌىو٠ُ ٌٍزوعّخ )20( 92. ِب٠ىً وبهٍْٛ هٚا٠خ )وبرت ثوٞ٠بٝٔ اٌّووي اٌمِٟٛ )48( 1554 إٔللبء ٚوفبه ١ٍّو ؾِفٟٛ ث١ْو 2010 ٥بُ ٚوزت ٥ٓ ٌٍزوعّخ ا٦ٌبٌُ ا٦ٌوثٝ( 93. َ. و١ش ثٛوو كهاٍبد ٔمل٠خ اٌّوع٤ فٟ ه٠ٚبد اٌّووي اٌمِٟٛ 1557 /آْ ِبهٞ ٥بٝف ٛ٠ٍف ّٛؾِك 2010 )21( اٌق١بي اٍّٟ٦ٌ ٌٍزوعّخ رِٛبً ؽ .94ىب٠بد ٦ّج١خ أفو٠م١خ هٚعو ك. اٌّووي اٌمِٟٛ لٖٔ ل١ٖوح 1568 ٥يد ٥بِو 2010 )عيئبْ( اثوا٘بِي ٌٍزوعّخ )8( 95. ٥جل اٌّمٖٛك ٥جل اٌّووي اٌمِٝٛ كهاٍبد ٔمل٠خ 1575 أفىبه ّىَج١و ك٠ف١ل ث١ف١ٕغزْٛ 2010 اٌىو٠ُ ٌٍزوعّخ )22( 96. ِب٠ىً آّو اٌّووي اٌمِٟٛ هٚا٠خ 1578 ِبي ٚهِبي ؾِّل للهٞ ٥ّبهح 2010 )وبرت أغ١ٍيٜ( ٌٍزوعّخ )49( 97. اٌّووي اٌمِٟٛ هٚا٠خ 1579 اٌل١ِخ ِبهعو٠ذ أرٚٛك ٍب١ِخ ك٠بة 2010 ٌٍزوعّخ )50 ( 98. ٥وٚٗ َِوػ اٌّووي اٌمِٟٛ كهاٍبد ٔمل٠خ ٌٛ 1582ه١ٌٔ ١ٍ١ٕ١ٍه ؾِّل هف٦ذ ٛ٠ٌٔ 2010 ر١ْقٛف ٌٍزوعّخ )23( 99. 1584 ا٢ٌٕو٠خ إٌمل٠خ: ِلهٍخ آٌٓ ٘بٚ صبئو ك٠ت 2010 اٌّووي اٌمِٝٛ كهاٍبد ٔمل٠خ

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 فوأىفٛهد ٌٍزوعّخ )24( 100. اٌّووي اٌمِٝٛ هٚا٠خ 1603 فٝ أز٢به ِبه٠ب افٛ١ِب ّٕٛثب ٕجوؾِ ّٜل ؽَٓ 2010 ٌٍزوعّخ )51( 101. غبكح اٍٛؾٌأٟ/ِواع٦خ اٌّووي اٌمِٟٛ ٦ّو ٚ 1606اكٞ اٌمٍك اكعبه آالْ ثٛ 2010 اكٚاه اٌقواٛ ٌٍزوعّخ )3( 102. اٌّووي اٌمِٟٛ هٚا٠خ 1617 عٕبػ إٌَبء ث١وي ثبن ١ٍّو ؾِفٟٛ ث١ْو 2010 ٌٍزوعّخ )52( 103. ٢٥بَ إٌّو َِٚو١ؽبد اٌّووي اٌمِٟٛ َِوػ ٦ّوٜ 1620 ر١ل ٛ١٘ى ا٠ياث١ً وّبي 2010 أفوٜ ٌٍزوعّخ )12( 104. فٚبئؼ اٌزوعّخ ٥جل اٌّمٖٛك ٥جل اٌّووي اٌمِٝٛ كهاٍبد ٔمل٠خ ٌٛ 1621هأٌ فٕٛ١رٝ 2010 )كهاٍبد اٌزوعّخ( اٌىو٠ُ ٌٍزوعّخ )25( 105. كهاٍبد ٔمل٠خ ِال٢ؽبد ٛؾٔ ر٦و٠ف اٌّووي اٌمِٟٛ )26( 1623 اٌضمبفخ د.ً.اٛ١ٌد ّىوٞ ١٥بك 2010 ٌٍزوعّخ ا٥بكح ٝج٤ )ا٥بكح ْٔو( 13 106. اٌّووي اٌمِٟٛ هٚا٠خ 1636 ١الَ فٟ ا١ٙ٢ٌوح آهصو و١ٍَو ه١ٌَِ ٛ٥ٗ 2010 ٌٍزوعّخ )53( 107. اٌّووي اٌمِٟٛ َِوػ 1646 اٌغ١ّٕخ عٞٛ اٚهرْٛ ْٔؤد ثبفَٛ 2010 ٌٍزوعّخ )13( 108. ِقزبهاد ِٓ لٖٔ ل١ٖوح لٖٔ ل١ٖوح اٌّووي اٌمِٟٛ )9( ؽ 1649بًِ اٌٌّْ ِٕٝ ٕ٘ٙ٠ ثؤٌ 2010 ٌىبرجبد ٕ٘ل٠بد ٌٍزوعّخ ل١ٖٖخ 109. كٚهح اٌٌٍٛت ٥جل اهلل اٌج١ْو/ صوٚد اٌّووي اٌمِٟٛ هٚا٠خ 1652 ٕ٘وٞ ع١ٌّ 2010 )١ِواس اٌزوعّخ( أثب١ٗ ٌٍزوعّخ )54( 110. اٌّووي اٌمِٝٛ كهاٍبد ٔمل٠خ 1654 ٦ِبٌُ اٌضمبفخ األِو٠ى١خ ١ٕ١٘ظ و١٘ٛٓ ٔج١ً هاغت 2010 ٌٍزوعّخ )27( 111. ٢ٔو٠بد اٌَّوػ: كهاٍبد ٔمل٠خ اٌّووي اٌمِٝٛ 1664 ٥وٗ ٔملٚ ٜربه٠قٝ ِبهفٓ وبهٚ ٌَْٛعلٜ ى٠ل 2010 )28( ٌٍزوعّخ )ؽيئبْ( 112. اٌىبرت ٥ٚبٌّٗ رْبهٌٌ اٌّووي اٌمِٟٛ كهاٍبد ٔمل٠خ 1673 ّىوؾِ ّٞل ١٥بك 2010 )١ِواس اٌزوعّخ( ِٛهعبْ ٌٍزوعّخ )29( 113. ث١ً كهاٍبد ٔمل٠خ أّىوٚفذ،عبه٠ )30( كهاٍبد ِبث٦ل أؽّل اٌوٚثٟ،أ٠ّٓ اٌّووي اٌمِٟٛ 1681 س 2010 اٌى١ٌٔٛٛب١ٌخ ٍّٝؽ،٥بٝف ٥ضّبْ ٌٍزوعّخ عو٠ف١ش،١ٍ١٘ٓ ر١ف١ٓ 114. إٌّٙظ فٝ ربه٠ـ اٌّووي اٌمِٝٛ كهاٍبد ٔمل٠خ 1682 أٝٔٛٞٔ ث١ُ ٍٝ٥ وٍفذ 2010 اٌزوعّخ ٌٍزوعّخ )31( 115. األكة االٔغ١ٍيٞ)ربه٠ـ عْٛ ث١ه/ اٌّووي اٌمِٟٛ كهاٍبد ٔمل٠خ ؽ 1686ّلٞ اٌغبثوٞ 2010 ِٛعي( ِبهرٓ و٠ًٛ ٌٍزوعّخ )32( 116. ِقزبهاد ِٓ وزبة ّٕ٘غٛاٜ، روعّخ ١َؽٓ ١٥ل. 2010 ]اٌمب٘وح[ : ا١ٌٙئخ لٖٔ ل١ٖوح ٛٔثً ١ٌَٕظ، ٌِٛو( ا٦ٌبِخ ٌمٖٛه اٌضمبفخ، )10( .2010 ٍٍٍَخ افبق ٥ب١ٌّخ ؛ 90 117. ا٦ٌبّك اٌَّبفو ِٛ ٚٔوٚ، ا١ٌٌ، روعّخ ٚ رمل٠ُ اؽّل 2010 اٌمب٘وح : ا١ٌٙئخ ا٦ٌبِخ لٖٔ ل١ٖوح لٖٔ افوٜ 1931- اّٝ١ٌْ. ٌمٖٛه اٌضمبفخ، )11( .2010 ٍٍٍَخ افبق ٥ب١ٌّخ ؛ 92 118. وزبة ا٦ٌغبئت ٛ٘صٛهْ، روعّخ ١ٍٙو اٌمٍّبٜٚ ؛ 2010 اٌمب٘وح : ا١ٌٙئخ ا٦ٌبِخ هٚا٠خ ٔبصب١ًٔ، 1804- رٖل٠و ِب٘و ّف١ك ٌمٖٛه اٌضمبفخ، )55( 1864. فو٠ل. 2010. ٍٍٍَخ افبق ٥ب١ٌّخ ؛ 95 119. ١ِواس اٌقَبهح و١واْ ك٠َبٜ اؽّل ٘و٠لٜ 2010 ا١ٌٙئخ اٌّٖو٠خ هٚا٠خ ا٦ٌبِخ ٌٍىزبة )56( ٍٍٍَخ اٌغٛائي ؛ 44 120. كاٜ ا.ي. و١ٕلٜ ٥جل اٌّمٖٛك ٥جل 2010 ا١ٌٙئخ اٌّٖو٠خ هٚا٠خ )هٚائ١خ اٌىو٠ُ ا٦ٌبِخ ٌٍىزبة )57( اٍىزٍٕل٠خ( ٍٍٍَخ اٌغٛائي ؛ 67 ؽ .121يْ ِلهٍٝ كا١ًٔ ثٕبن ٥بٝف ؾِّل ٥جل 2010 ا١ٌٙئخ اٌّٖو٠خ هٚا٠خ اٌّغ١ل ا٦ٌبِخ ٌٍىزبة 58 ٍٍٍَخ اٌغٛائي ؛ 78 122. هلخ اٌنئبة ٍز١ف ثٕٝ١ روعّخ ٍٙب ٍبؼِ ؛ 2010 ا١ٌٙئخ اٌّٖو٠خ هٚا٠خ

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 )هٚائ١خ وٕل٠خ( ِواع٦خ ٚ رمل٠ُ ٔبعٝ ا٦ٌبِخ ٌٍىزبة )59( هّٛاْ ٍٍٍَخ اٌغٛائي 63 123. اؾٌت اٌّلِو كٚ ٜاٜ ث١ْبهك روعّخ اٙ٠بة ١٦ٍل 2010 ا١ٌٙئخ اٌّٖو٠خ هٚا٠خ اثوا١ُ٘ ؛ ِواع٦خ ا٦ٌبِخ ٌٍىزبة )60(

ِٖٞفّٛؾِ ٝك ٍٍٍَخ اٌغٛائي 68 124. اٌىٍّخ اٌّىَٛهح اكَ فٌٛلى روعّخ ٝالي ف١ًٖ 2010 ا١ٌٙئخ اٌّٖو٠خ ٦ّو ا٦ٌبِخ ٌٍىزبة )4(

ٍٍٍَخ اٌغٛائي 80 125. 671 لً ٌٟ وُ ِٟٚ ٍٟ٥ ع١ٌّ ثٌٛل٠ٚٓ ٍٟ٥ ٥جل األ١ِو ٕبؼٌ 2006 اٌّْو٣ٚ اٌمِٝٛ هٚا٠خ ه١ؽً اٌمٞبه وبرت أفوٚ- )وبرت ِٚزوعُ ِٓ ٌٍزوعّخ )61( أِو٠ىٝ اٌى٠ٛذ( 126. ا٦ٌجل أ١ِوٜ ثووخ ؾَِٓ ٥جبً 2006 كاه ٔفوٚ ٌٍْٕو َِوػ ٕلهد ِٕٙب ٝج٦خ )14( صب١ٔخ ٥بَ 2009 ٥ٓ

كاه ا١٦ٌٓ رؾذ ٕٛ٥اْ ا٦ٌجل ٚاٌّالػ اٌٞبئو 127. ا٦ٌجل َِٚو١ؽبد أفوٜ أ١ِوٜ ثووخ ١٦ّٔخ ٍٟ٥ ٥جل اٌغٛاك اٌّْو٣ٚ اٌمِٝٛ َِوػ 952 2006 ٌٍزوعّخ )15( 128. اٌّالػ اٌٞبئو أ١ِوٜ ثووخ ؾَِٓ ٥جبً 2006 كاه ٔفوٚ ٌٍْٕو َِوػ

)16( 129. إٛاد ٍٟ٥ ٘بِِ ١ِو٠بَ وٛن ٕالؽ ػي٠ٓ 2006 اٌّْو٣ٚ اٌمِٝٛ كهاٍبد ٔمل٠خ )33( اؾٌوة )أٍزبم اٌلهاٍبد ٌٍزوعّخ )وزبة ٥ٓ اٌىبرجبد ا٦ٌوث١خ ثغب٦ِخ

اٌٍجٕب١ٔبد اٌالرٝ رٕبٌٚٓ كٛ٠ن( اؾٌوة األ١ٍ٘خ فٝ وزبثبرٙٓ( 130. ث١وح فٝ ٔبكٜ اٌج١ٍبٚهكٚ ٚع١ٗ غبٌٝ ٕ٘بء ١ٖٔو 2006 كاه ا٦ٌبٌُ اٌضبٌش هٚا٠خ )ٕلهد فٝ ٝج٦زٙب ِواع٦خ ِب٘و ّف١ك )62( اإلٔغ١ٍي٠خ األٌٝٚ ٥بَ فو٠ل

1964 ٥ٓ كاه ثٕغ٠ٛٓ(،ٝ٘ ٚ اٌوٚا٠خ ا١ؽٌٛلح ٌىبرجٙب. 131. لٖخ ٚهّخ اٌَّوػ ٘بٚهك عٛهٝٔ ٍبِٝ ٕالػ 2006 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ اٌمب٘وح اٌلٌٝٚ )34( ٌٍَّوػ اٌزغو٠جٝ ؾِ .132بِٝ اٌْٛاه٣ عْٛ عو٠ْبَ أؽّل فبٌل رٛف١ك 2006 اٌّئٍَخ ا٦ٌوث١خ هٚا٠خ ٕلهد ٝج٦زٙب John اؾٌل٠ضخ ٌٍْٕو )63( اإلٔغ١ٍي٠خ األٌٝٚ ٥بَ Grisham (1955- ) 1998 هٚائٝ أِو٠ىٝ ٦ِبٕو ِٙزُ

ثىزبثخ اٌوٚا٠بد اٌزٝ رلٚه أؽلاصٙب فٝ أهٚلخ legal)اؾٌّبوُ thrillers). 133. ٍالَ ِٕفًٖ ع٠ٛٔ ٍْٛي ؾِّل ٝبهق كاٚك 2006 كاه ٚٙٔخ ِٖو هٚا٠خ )ْٔود فٝ ٝج٦زٙب ٌٍٞ Johnجب٥خ ٚإٌْو )64( اإلٔغ١ٍي٠خ األٌٝٚ ٥بَ Knowles (1926-2001) )1959 هٚائٝ أِو٠ىٝ 134. اٌّوأح ٚاؾٌووخ إٌَبئ١خ وبصو٠ٓ وؾٍ َٕٝ٠ٛو فواط 2006 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ فٝ اٌلهاِب فٝ ٥ٖو ِواع٦خ ؾِّل ٥ٕبٝٔ اٌمب٘وح اٌلٌٝٚ )35( اإلٕالػ ٌٍَّوػ اٌزغو٠جٝ 135. كوزٛه فبٍٚزٌ وو٠َزٛفو ِبهؾِ ٌّٛل ّىو ٥جل ا٦ٌُّٕ 2006 ك.ْ َِوػ

)17( 136. ِقزبهاد ٦ّو٠خ ّىَج١و رٛف١ك ِٖٕٛ ٍٝ٥ه 2006 كاه اٌٛصبئك اٌغب١٦ِخ ٦ّو ِزوعّخ )ط1( ْٔود فٝ ٝج٦خ صب١ٔخ )5(

فٝ اٌّْو٣ٚ اٌمِٝٛ ٌٍزوعّخ 137. ِقزبهاد ٦ّو٠خ ّىَج١و رٛف١ك ِٖٕٛ ٍٝ٥ه 2006 اٌّْو٣ٚ اٌمِٝٛ ٦ّو

ِزوعّخ )ط2( ٌٍزوعّخ )6(

ا٥بكح ٝج٤ 14 139. ِٓ كٛ٠اْ أٚهاق ا٦ٌْت ٚاٌذ ٠ٚزّبْ ِب٘و اٌجٝٝٛٞ 2006 ا١ٌٙئخ اٌّٖو٠خ ٦ّو ا٦ٌبِخ ٌٍىزبة-ٍٍٍَخ )7( اٌغٛائي 140. أْ رمزً ٝبئواً ثو٠ئبً ٘بهثو ٌٝ كا١ٌب ا١ٌْبي 2009 كاه اٌْوٚق هٚا٠خ ؽٍٖذ ٍٝ٥ عبئيح ِواع٦خ ِٖٞفٝ )65( اٌج١ٌٛزيه ٥بَ 1961، ه٠بٗ

ٚمٌه ث٦ل ْٔو٘ب فٝ ٝج٦زٙب األٌٝٚ ٥بَ 1960 141. افزفبء اٌّزوعُ: ربه٠ـ ٌٛهأٌ فٕٛ١رٝ ٍّو ٍٝجخ 2010 ا١ٌٙئخ اٌّٖو٠خ كهاٍبد ٔمل٠خ )36( ٌٍزوعّخ ِواع٦خ ؾِّل ٥ٕبٝٔ ا٦ٌبِخ ٌٍىزبة "كهاٍبد روعّخ"

142. ٍبهرٛهً ١ٌُٚ فٛوٕو ١ِقبئ١ً هِٚبْ 2009 اٌّووي اٌمِٝٛ هٚا٠خ ِواع٦خ ِٖٞفٝ ثلٜٚ ٌٍزوعّخ )66( رمل٠ُ: ِب٘و ّف١ك فو٠ل 143. ١٥ٓ اٌمٞخ ِبهعو٠ذ آرٚٛك ٥جل ا١ّؾٌل فّٝٙ 2007 اٌّْو٣ٚ اٌمِٝٛ هٚا٠خ

اٌغّبي ٌٍزوعّخ )67( 144. ٕٕب٥خ ا٦ٌوٗ ٔقجخ ا٠ٕبً ٥جل اٌقبٌك 2010 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ اٌَّوٝؽ ِواع٦خ ٚعلٜ ى٠ل اٌمب٘وح اٌلٌٝٚ 37 ٌٍَّوػ اٌزغو٠جٝ 145. ِبٚهاء اؾٌلٚك: اٌَّوػ صٛ١كٚه ّبٔه ٍبِٝ فْجخ 2008 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ األِو٠ىٝ اٌجل٠ً ِواع٦خ ؾِّل ٥جل اٌمب٘وح اٌلٌٝٚ 38 ا٦ٌبٝٝ ٌٍَّوػ اٌزغو٠جٝ 146. ٥ٓ اٌىزبثخ ٍز١فٓ و١ٕظ ١ٍّو ؾِفٟٛ 2008 ١ِو٠ذ كهاٍبد ٔمل٠خ

39 147. ٦ِغُ كهاٍبد اٌزوعّخ ِب٠ىً عّبي اٌغي٠وٜ 2008 اٌّْو٣ٚ اٌمِٝٛ كهاٍبد ٔمل٠خ ّز٠ٍٚٛوس ٚ ٌٍزوعّخ 40

٠ِٛوا وٜٚٛ "كهاٍبد روعّخ" )4( 148. لبًِٛ اؾٌٍّٖٞبد ا٥لاك ؾِّل ّٛؾِك 2010 اٌلاه اٌّٖو٠خ ث١جٛ١ٍعواف١ب ٦ِٚبعُ ٥ٍِٛٛٚبد األكث١خ ٚاٌٍغ٠ٛخ ٌٍىزبة أكث١خ )أغ١ٍيٜ-٥وثٝ( )3( 149. ٖٔف ٌّّ ٕفواء ر١ّْبٔبٔلا فبّٝخ ٔبٛ٥د 2009 ا١ٌٙئخ اٌّٖو٠خ هٚا٠خ ٔغٛىٜ آك٠زْٝ ا٦ٌبِخ ٌٍىزبة- ٍٍٍَخ )68(

)هٚائ١خ اٌغٛائي ١ٔغ١و٠خ( 150. أثٕبء اٌٌّْ اٌقبَِخ: ِغ٥ّٛخ ٦ّواء فبّٝخ ٔبٛ٥د 2010 ا١ٌٙئخ ا٦ٌبِخ ٌمٖٛه ٦ّو أٌٛٛٞٔع١ب ٦ّو٠خ ٥بٛ١ٌّْ اٌضمبفخ – آفبق ٥ب١ٌّخ )8(

ّٛٚ٠ْ ٦ّواء ِٓ أِو٠ىب 151. ا٥بكح اوزْبف اٌفٚبء فوأَي ه٠ل ا١َؾٌٓ ٍٝ٥ ٝ١ؾ٠ 2010 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ اٌَّوػ ِواع٦خ ٍبِٝ هاف٤ اٌمب٘وح اٌلٌٝٚ )41( ٌٍَّوػ اٌزغو٠جٝ 152. ِٓ اٌىٍّخ اٌٝ فْجخ ٍَٝ١ٍ ثوؾِ ّٜل ؽّلٜ اثوا١ُ٘ 2010 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ اٌَّوػ ِواع٦خ ؾِّل ٥ٕبٝٔ اٌمب٘وح اٌلٌٝٚ )42( ٌٍَّوػ اٌزغو٠جٝ 153. اٌَّوٚ ػاٌّْب٘ل: ١ٍ١٘ٓ فوٚٛ٠رو ٔغٜٛ اثواٜ١ُ٘ 2010 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ األفالق ؽٚمٛق ِواع٦خ ؾِّل ٥ٕبٝٔ اٌمب٘وح اٌلٌٝٚ )43( اإلَٔبْ ا١ٌَب١ٍخ ٌٍَّوػ اٌزغو٠جٝ 154. اٌَّو١ؽخ األِو٠ى١خ ِبهن هٚث١ٍِٛ َْٕٛخ ٍٛ٢َِ 2010 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ )ط1( ِواع٦خ ٥جل اٝٞ٦ٌّ اٌمب٘وح اٌلٌٝٚ )44( ٦ّوٚاٜ ٌٍَّوػ اٌزغو٠جٝ 155. ِآٍٝ ّىَج١و أٌىَٕله ١ٌغبد عّبي ٥جل اٌّمٖٛك 2010 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ ِواع٦خ: اٌمب٘وح اٌلٌٝٚ )45( ؾِّل أثٛ اٌق١و ٌٍَّوػ اٌزغو٠جٝ 156. اٌولبثخ ٍٝ٥ اٌَّوػ عٛ٘ ْٛر١ْٓ ا٠ّبْ ؽغبىٜ 2010 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ األِو٠ىٝ فٝ اٌموْ ِواع٦خ ؾِّل ٥ٕبٝٔ اٌمب٘وح اٌلٌٝٚ )46( ا٦ٌْو٠ٓ ٌٍَّوػ اٌزغو٠جٝ 157. وبرجبد اٌَّوػ عبثو١٠ً عو٠ف١ٓ ؾِّل اٌغٕلٜ 2010 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ ا٦ٌّبٕو األفو٠م١بد ِواع٦خ ٔج١ً هاغت اٌمب٘وح اٌلٌٝٚ )47( ٚاأل٠ٛ١ٍبد فٝ ثوٞ٠ب١ٔب ٌٍَّوػ اٌزغو٠جٝ

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 158. ا٣ٌٕٛ ٚاٌلهاِب ٍٛىاْ وبؾِ ّْٛٔل ١ٍل ٍٝ٥ 2010 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ األ٠وٌٕل٠خ اؾٌل٠ضخ ٘به٠ٌ ِواع٦خ اٌمب٘وح اٌلٌٝٚ )48( ٍٝ٥ عّبي اٌل٠ٓ ٥يد ٌٍَّوػ اٌزغو٠جٝ 159. ا اٌزىٍُ ثبألٌَٓ: اٌٍغخ ِبهفٓ وبهٌَْٛ اثوا١ُ٘ ؾِّل اثوا١ُ٘ 2010 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ اٌّز٦لكح فٝ اٌَّوػ ِواع٦خ ٔج١ً هاغت اٌمب٘وح اٌلٌٝٚ )49( ٌٍَّوػ اٌزغو٠جٝ 160. اٌْجبة ٚاٌَّوػ اٌغل٠ل ٠ًٛٔ عو٠ظ ؾٍو فواط 2010 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ ِواع٦خ ؾِّل ٥ٕبٝٔ اٌمب٘وح اٌلٌٝٚ )50( ٌٍَّوػ اٌزغو٠جٝ 161. االٍزْواق: اٌّفب١ُ٘ اكٚاهك ١٦ٍل ؾِّل ٥ٕبٝٔ 2006 كاه هإ٠خ ٌٍْٕو كهاٍبد ٔمل٠خ

اٌغوث١خ ٌٍْوق ٚاٌزٛى٤٠ )51( 162. اٌّضمف ٚاٌٍَٞخ اكٚاهك ١٦ٍل ؾِّل ٥ٕبٝٔ 2006 كاه هإ٠خ ٌٍْٕو كهاٍبد ٔمل٠خ

ٚاٌزٛى٤٠ )52( 163. اٌي٘وح األف١وح ٔقجخ ِٓ وزبة ا١َؾٌٓ ف١ٚوٜ 2009 ا١ٌٙئخ ا٦ٌبِخ ٌمٖٛه لٖخ ل١ٖوح ٚلٖٔ أفوٜ اٌمٖخ اٌم١ٖوح اٌضمبفخ – ٍٍٍَخ آفبق )12( ِٓ أِو٠ىب ٥ب١ٌّخ ٚأغٍزوا ٚأ٠وٌٕلا ؽ .164ل٠مخ إٌجٝ عجواْ ف١ًٍ وّبي ىافو ١ٌٞف 2009 ا١ٌٙئخ ا٦ٌبِخ ٌمٖٛه هٚا٠خ )٦ّو٠خ( عجواْ اٌضمبفخ – ٍٍٍَخ آفبق 69 ٥ب١ٌّخ 165. أفىبه ّىَج١و: أ١ّبء ك٠ف١ل ث١فٕغزْٛ ٥جل اٌّمٖٛك ٥جل 2010 كاه آفبق ٌٍْٕو كهاٍبد ٔمل٠خ أفوٜ فٝ اٌَّبء اٌىو٠ُ ٚاٌزٛى٤٠ )53( ٚاألهٗ 166. اٌزّض١ً ٛ٘ اٌزٖل٠ك رْبهٌٌ ِبوغبٚ ٍبِٝ ٕالػ 2006 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ اٌمب٘وح اٌلٌٝٚ )54( ٌٍَّوػ اٌزغو٠جٝ 167. ٦ِغُ أٔضوٚثٌٛٛع١ب أٚعٛ١ٕ١ ثبهثب – أ١ِٓ اٌوثبؾِ -ّٛل 2006 إلاهاد ِٙوعبْ ث١جٛ١ٍعواف١ب ٦ِٚبعُ اٌَّوػ ١ٔىٛال ٍبفبه٠ٌ ا١ٌَل اٌمب٘وح اٌلٌٝٚ )4( ٌٍَّوػ اٌزغو٠جٝ 168. اٌَّوػ ا٦ٌّبٕو: ثبرو٠ٌ ثبف١ٌ ؾِ ٍٍّٜٛل ٌٞفٝ 2006 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ ر١ٍؾً اٌٖٕٛٓ اٌمب٘وح اٌلٌٝٚ )55( ٌٍَّوػ اٌزغو٠جٝ 169. ا األكاء ٚاٌلهاِب فٝ هٚث١ٓ ع١واَ عّبي ٥جل اٌّمٖٛك 2006 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ ِٖو اٌمل٠ّخ اٌمب٘وح اٌلٌٝٚ )56( ٌٍَّوػ اٌزغو٠جٝ 170. اؾٌلٚك اٌّزمب٦ٝخ: ثٛي ثوا٠ٕذ – ا٠ّبْ ؽغبىٜ 2006 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ َِوػ أكه٠بْ و١ٕلٜ عبو٠ٌٛٚ ٌَْٛ اٌمب٘وح اٌلٌٝٚ )57( ٛ٘ه ٌٍَّوػ اٌزغو٠جٝ 171. اٌقٞبة اٌلهاِٝ ف١ّبال ١٘وِبْ ٍبَ فْجخ 2007 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ ِواع٦خ ؾِّل ٥جل اٌمب٘وح اٌلٌٝٚ )58( ا٦ٌبٝٝ ٌٍَّوػ اٌزغو٠جٝ 172. َِوػ اٌَٛك: ا٦ٌوٗ ثٛي وبهرو ؾِّل ١ٍل – ٌٞفٛٔ ٝفً 2007 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ اٌَّوٝؽ ا٦ٌْبئوٜ فٝ ٘بهَٛ٠ْ اٌمب٘وح اٌلٌٝٚ )59( اٌْزبد األفو٠مٚ ٝآفوْٚ ٌٍَّوػ اٌزغو٠جٝ 173. َِوػ فٝ أىِخ: ِبه٠ب ك٠ٍغبك١ٍِٛ ٚخ ٍٛ٢َِ 2007 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ ١ٍبٍبد األكاء ٌموْ ٚآفوْٚ اٌمب٘وح اٌلٌٝٚ )60( اٌغل٠ل ٌٍَّوػ اٌزغو٠جٝ 174. َِوؽخ إٌي٥خ اٌم١ِٛخ و١ىٝ عٛٔب ه٠لؾٍ ٚو فواط 2007 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ اٌمب٘وح اٌلٌٝٚ )61( ٌٍَّوػ اٌزغو٠جٝ 175. ٕ٘و٠ه اثَٓ ١ِٚالك ٛٔه٠ً ِٜٛ عّبي ٥جل اٌّمٖٛك 2007 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ إٌي٥خ اٌٝ اؾٌلاصخ اٌمب٘وح اٌلٌٝٚ )62( ٌٍَّوػ اٌزغو٠جٝ 176. إٌَبء فٝ كهاِب اثَٓ عْٛ رّجٍزؾِ ّْٛل ١ٍل ٍٝ٥ 2008 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ اٌمب٘وح اٌلٌٝٚ )63( ٌٍَّوػ اٌزغو٠جٝ 177. اإل٥لاك اٌلهاٚ ِٝفْٕٛ وبصٝ ر١ؤو ٌٞ ٚفٛٔ ٝفً 2008 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ األكاء ١ٍٓ ن ثؤلد اٌمب٘وح اٌلٌٝٚ )64( ٌٍَّوػ اٌزغو٠جٝ 178. وبرجبد اٌَّوٌٛ ػها ؾِّل اٌغٕلٜ 2008 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ ٚاٌّمبِٚخ فٝ ّّبي ّبووافبهرٝ اٌمب٘وح اٌلٌٝٚ )65( أفو٠م١ب ثٛوٌ ٌٍَّوػ اٌزغو٠جٝ 179. ِملِخ فٝ ربه٠ـ رؾو٠و ف١ٍ١ت ١ٍِٛخ ٍٛ٢َِ 2008 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ اٌَّوػ )ط1( ىاهٍٍٝ٠ اٌمب٘وح اٌلٌٝٚ )66( ٚآفوْٚ ٌٍَّوػ اٌزغو٠جٝ

© Transeuropéennes, Paris & Anna Lindh Foundation, Alexandria - 2011 180. ا١ٌَّٕب ٚاٌف١لٛ٠ ٍٝ٥ عو٠ظ عب٠َىبَ ّٛؾِك وبًِ 2008 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ فْجخ اٌَّوػ اٌمب٘وح اٌلٌٝٚ )67( ٌٍَّوػ اٌزغو٠جٝ 181. اؾٌلاصخ ٚاألكاء أٌٚغب ربو١َلؾٍ ٚو فواط 2008 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ اٌمب٘وح اٌلٌٝٚ )68( ٌٍَّوػ اٌزغو٠جٝ 182. اٌَّبهػ اٌغَل٠خ: ّٛ١ٍْ ِواٜ- عّبي ٥جل اٌّمٖٛك 2008 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ ِملِخ ٔمل٠خ عْٛ و١١ف اٌمب٘وح اٌلٌٝٚ )69( ٌٍَّوػ اٌزغو٠جٝ 183. ٌغبد اٌَّوػ اٌزٝ ع١ٓ كٜ عؾِ ّٝل اٌغٕلٜ 2009 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ رٖٛغٙب اٌّوأح ٚا١ٌياثش اٌمب٘وح اٌلٌٝٚ )70( عٛكِبْ ٌٍَّوػ اٌزغو٠جٝ 184. ِقوعبد َِو١ؽبد آْ فٛ١ٍرٚ ًَٛ ٔغٜٛ اثوا١ُ٘ 2009 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ أِو٠ى١بد فٝ اٌموْ ٠ٕٚلٜ ف١وٚ اٌمب٘وح اٌلٌٝٚ )71( ا٦ٌْو٠ٓ )ط1، 2( ٌٍَّوػ اٌزغو٠جٝ 185. اٌَّوٚ ػا٦ٌوٗ وو٠َزٛفو ثٛ ٘جخ ٥غ١ٕخ 2009 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ ٚاٌزىٌٕٛٛع١ب: رٛٞه اٌمب٘وح اٌلٌٝٚ )72(

إٛ١ٌَغواف١ب فٝ اٌموْ ٌٍَّوػ اٌزغو٠جٝ ا٦ٌْو٠ٓ 186. رٛٞه اٌَّوػ اٌزغو٠جٝ أٔلهٚ ك٠ف١ي ا٠ّبْ ؽغبىٜ 2009 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ ٚاٌجل٠ً فٝ ثوٞ٠ب١ٔب اٌمب٘وح اٌلٌٝٚ )73( ٌٍَّوػ اٌزغو٠جٝ 187. اٌغّب٥خ اٌضبئوح: وزبة ٍىٛد عوا٘بَ ا٠ٕبً ٥جل اٌقبٌك 2010 إلاهاد ِٙوعبْ كهاٍبد ٔمل٠خ ٥ٓ اٌَّوػ اإلثزىبهٜ – ٍز١فٓ ٛ٘عذ اٌمب٘وح اٌلٌٝٚ )74( ٌٍَّوػ اٌزغو٠جٝ 188. ِنوواد عبهح ١ٝجخ: كٚه٠ٌ ١ٌَٕظ ها١ٔخ فالف 2010 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

ِنوواد ع١ٓ ٍِٛوى – ٍٍٍَخ اٌغٛائي )70( 189. ٦ٌت ٤ِ إٌّو كٚه٠ٌ ١ٌَٕظ ٥جل اٌَالَ اثوا١ُ٘ 2009 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة َِوػ – ٍٍٍَخ اٌغٛائي )19(

190. وً هعً ف١ٍ١ت هٚس ِٖٞفّٛؾِ ٝك 2010 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

– ٍٍٍَخ اٌغٛائي )71( 191. وبىاٛٔفب أٔلهٚ ١ٍٍِو ١ٍّو أثٛ اٌفزػٛ 2009 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

– ٍٍٍَخ اٌغٛائي )72( 192. ثو٠ه ١ٌٓ ١ِٔٛىب ٍٙ ٍٝ٥ب ٍبؼِ 2009 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

– ٍٍٍَخ اٌغٛائي )73( 193. ٥ْت ٠غٕٝ كٚه٠ٌ ١ٌَٕظ ؾٍو رٛف١ك 2009 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

– ٍٍٍَخ اٌغٛائي )74( 194. اٌٞفً اٌقبٌِ كٚه٠ٌ ١ٌَٕظ 2009 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

– ٍٍٍَخ اٌغٛائي )75( 195. اؾٌت اٌّلِو كٚ ٜاٞ ث١ْبهك اٙ٠بة ١٦ٍل اثوا١ُ٘ 2010 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

– ٍٍٍَخ اٌغٛائي )76( 196. اٌَّو١ؽبد اٌىجوٜ ٘بهٚك ث١ٕزو ؾِّل ٥ٕبٝٔ 2009 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة َِوػ

– ٍٍٍَخ اٌغٛائي )20( 197. ثٓ ٠غٛة ا٦ٌبٌُ: ِززب١ٌخ كٚه٠ٌ ١ٌَٕظ ثض١ٕخ إٌبٕوٜ 2009 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

هٚائ١خ – ٍٍٍَخ اٌغٛائي )77( 198. ّبه٣ ١ِغً ف. اً. ٔب٠جٛي أؽّل ٘الي ٠ٌ 2007 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

– ٍٍٍَخ اٌغٛائي 78 ؾٝ .199بٌت: ِززب١ٌخ ِبهٚ ٜاَْٛٝ ٥ّوٚ ف١وٜ 2007 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة لٖخ ل١ٖوح

ل١ٖٖخ – ٍٍٍَخ اٌغٛائي 13 200. ٘بهٌٚل ث١ٕزو: ٥ْو ٘بهٌٚل ث١ٕزو ؾِّل ٥ٕبٝٔ 2007 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة َِوػ

َِو١ؽبد ِقزبهح – ٍٍٍَخ اٌغٛائي 21 201. اٌوعً اٌجٞئ ط. اَ. وٛرَٝ ٥جل اٌّمٖٛك ٥جل 2007 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

اٌىو٠ُ – ٍٍٍَخ اٌغٛائي 79 202. األٔضٝ و٣ٕٛ: أٍواه ع٠ٌٛ وبهٚي أ١ِٕخ ٥بِو- ؾِّل ٥جل 2007 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة لٖٔ ل١ٖوح

ِْٛلخ أٚرٌ اٌَالَ ؽَٓ – ٍٍٍَخ اٌغٛائي 14 203. ا١ٌياثش وٍٛزٍٛ ط. اَ. وٛرَٝ ٥جل اٌّمٖٛك ٥جل 2008 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

اٌىو٠ُ – ٍٍٍَخ اٌغٛائي 80 204. ٥به ط. اَ. وٛرَٝ 2009 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

– ٍٍٍَخ اٌغٛائي 81 205. اْ ا٦ٌغٛى اٍزٞب٥ذ كٚه٠ٌ ١ٌَٕظ ٔبعؾِ ّٝل ٍٝ٥ 2009 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

– ٍٍٍَخ اٌغٛائي 82 206. ١ِواس اٌقَبهح و١واْ ك٠َبٜ أؽّل ٘و٠لٜ 2009 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

– ٍٍٍَخ اٌغٛائي 83 207. اإله٘بث١خ ا١ٌٞجخ كٚه٠ٌ ١ٌَٕظ ؾٍو رٛف١ك 2009 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

– ٍٍٍَخ اٌغٛائي 84

– ٍٍٍَخ اٌغٛائي 85 209. ّالالد ع٠ٌٛ وبهٚي ٥ّوٚ ف١وٜ 2009 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

أٚرٌ – ٍٍٍَخ اٌغٛائي 86 210. ٘بهٌٚل ث١ٕزو: ٘بهٌٚل ث١ٕزو ؾِّل ٥ٕبٝٔ 2009 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة َِوػ اٌَّو١ؽبد اٌىجوٜ – ٍٍٍَخ اٌغٛائي 22 )ط1( 211. أٌُ فن أٔلهٚ ١ٍٍِو 2010 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

– ٍٍٍَخ اٌغٛائي 87 212. ِٕيي ا١ٌَل ثَٛ١اً ف. اً. ٔب٠جٛي ٕالػ ٕجوٜ 2010 ا١ٌٙئخ ا٦ٌبِخ ٌٍىزبة هٚا٠خ

– ٍٍٍَخ اٌغٛائي 88

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