{"id":4977,"date":"2026-10-01T15:24:00","date_gmt":"2026-10-01T12:24:00","guid":{"rendered":"https:\/\/qiraatafrican.com\/journal\/?post_type=article&#038;p=4977"},"modified":"2026-10-27T15:48:17","modified_gmt":"2026-10-27T12:48:17","slug":"alienation-in-the-contemporary-senegalese-arab-novel-a-cultural-critical-approach-to-omar-lees-novel-death-boats","status":"publish","type":"article","link":"https:\/\/qiraatafrican.com\/journal\/article\/alienation-in-the-contemporary-senegalese-arab-novel-a-cultural-critical-approach-to-omar-lees-novel-death-boats","title":{"rendered":"Alienation in the Contemporary Senegalese Arab Novel A Cultural Critical Approach to Omar Lee\u2019s Novel \u201cDeath Boats\u201d"},"content":{"rendered":"\n<div class=\"wp-block-group is-content-justification-left is-nowrap is-layout-flex wp-container-core-group-is-layout-a1b15d37 wp-block-group-is-layout-flex\">\n<p class=\"wp-container-content-9cfa9a5a wp-block-paragraph\" style=\"font-size:20px;font-style:normal;font-weight:300\"><strong>Publisher: <\/strong>Qira&#8217;at Afriqiyah Magazine<strong><br>Issue:<\/strong> 70, October 2026<br><strong>ISSN<\/strong>: 2634-131X<strong><br>Year :<\/strong> 22<strong><br>Pages: <\/strong>110-119<strong><br>Author<\/strong>: Dr.Tiarwe Gaye &#8211; Senegal<br><a href=\"https:\/\/qiraatafrican.com\/journal\/wp-content\/uploads\/2026\/10\/\u0627\u0644\u0627\u063a\u062a\u0631\u0627\u0628-\u0641\u064a-\u0627\u0644\u0631\u0648\u0627\u064a\u0629-\u0627\u0644\u0633\u0646\u063a\u0627\u0644\u064a\u0629-\u0627\u0644\u0639\u0631\u0628\u064a\u0629-\u0627\u0644\u0645\u0639\u0627\u0635\u0631\u0629-\u0645\u0642\u0627\u0631\u0628\u0629-\u0646\u0642\u062f\u064a\u0629-\u062b\u0642\u0627\u0641\u064a\u0629.pdf\" data-type=\"page\" data-id=\"38\">Download pdf<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized is-style-default\"><a href=\"https:\/\/qiraatafrican.com\/journal\/wp-content\/uploads\/2026\/10\/\u0627\u0644\u0627\u063a\u062a\u0631\u0627\u0628-\u0641\u064a-\u0627\u0644\u0631\u0648\u0627\u064a\u0629-\u0627\u0644\u0633\u0646\u063a\u0627\u0644\u064a\u0629-\u0627\u0644\u0639\u0631\u0628\u064a\u0629-\u0627\u0644\u0645\u0639\u0627\u0635\u0631\u0629-\u0645\u0642\u0627\u0631\u0628\u0629-\u0646\u0642\u062f\u064a\u0629-\u062b\u0642\u0627\u0641\u064a\u0629.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"650\" height=\"945\" src=\"https:\/\/qiraatafrican.com\/journal\/wp-content\/uploads\/2026\/10\/\u0627\u0644\u0627\u063a\u062a\u0631\u0627\u0628-\u0641\u064a-\u0627\u0644\u0631\u0648\u0627\u064a\u0629-\u0627\u0644\u0633\u0646\u063a\u0627\u0644\u064a\u0629-\u0627\u0644\u0639\u0631\u0628\u064a\u0629-\u0627\u0644\u0645\u0639\u0627\u0635\u0631\u0629-\u0645\u0642\u0627\u0631\u0628\u0629-\u0646\u0642\u062f\u064a\u0629-\u062b\u0642\u0627\u0641\u064a\u0629.jpg\" alt=\"\" class=\"wp-image-4938\" style=\"width:200px\" srcset=\"https:\/\/qiraatafrican.com\/journal\/wp-content\/uploads\/2026\/10\/\u0627\u0644\u0627\u063a\u062a\u0631\u0627\u0628-\u0641\u064a-\u0627\u0644\u0631\u0648\u0627\u064a\u0629-\u0627\u0644\u0633\u0646\u063a\u0627\u0644\u064a\u0629-\u0627\u0644\u0639\u0631\u0628\u064a\u0629-\u0627\u0644\u0645\u0639\u0627\u0635\u0631\u0629-\u0645\u0642\u0627\u0631\u0628\u0629-\u0646\u0642\u062f\u064a\u0629-\u062b\u0642\u0627\u0641\u064a\u0629.jpg 650w, https:\/\/qiraatafrican.com\/journal\/wp-content\/uploads\/2026\/10\/\u0627\u0644\u0627\u063a\u062a\u0631\u0627\u0628-\u0641\u064a-\u0627\u0644\u0631\u0648\u0627\u064a\u0629-\u0627\u0644\u0633\u0646\u063a\u0627\u0644\u064a\u0629-\u0627\u0644\u0639\u0631\u0628\u064a\u0629-\u0627\u0644\u0645\u0639\u0627\u0635\u0631\u0629-\u0645\u0642\u0627\u0631\u0628\u0629-\u0646\u0642\u062f\u064a\u0629-\u062b\u0642\u0627\u0641\u064a\u0629-206x300.jpg 206w, https:\/\/qiraatafrican.com\/journal\/wp-content\/uploads\/2026\/10\/\u0627\u0644\u0627\u063a\u062a\u0631\u0627\u0628-\u0641\u064a-\u0627\u0644\u0631\u0648\u0627\u064a\u0629-\u0627\u0644\u0633\u0646\u063a\u0627\u0644\u064a\u0629-\u0627\u0644\u0639\u0631\u0628\u064a\u0629-\u0627\u0644\u0645\u0639\u0627\u0635\u0631\u0629-\u0645\u0642\u0627\u0631\u0628\u0629-\u0646\u0642\u062f\u064a\u0629-\u062b\u0642\u0627\u0641\u064a\u0629-8x12.jpg 8w\" sizes=\"auto, (max-width: 650px) 100vw, 650px\" \/><\/a><\/figure>\n<\/div>\n\n\n<pre class=\"wp-block-preformatted\" style=\"text-align: justify; padding: 15px 15px;\"><strong><span style=\"font-family: 'Tajawal-Regular', sans-serif; font-size: 18pt; line-height: 50px;\"><a name=\"abstract\"><\/a>Abstract:<\/span><\/strong><span style=\"font-family: 'Tajawal-Regular', sans-serif; font-size: 14pt;\"><bdo dir=\"ltr\" lang=\"en\"><br \/><\/bdo>\nThe theme of alienation in the contemporary Arab-Senegalese novel is one of the most prominent critical issues that calls for a multidimensional approach, combining the philosophical, cultural, and social. The phenomenon of irregular migration through \u201cdeath boats\u201d is no longer just a passing event in the African scene, but has turned into a narrative discourse that reflects the crisis of identity and belonging in light of post-colonial transformations. Oumar LY\u2019s novel \u201cDeath Boats\u201d presents a narrative text rich in symbols and connotations, marrying individual experience with collective memory, and reposing the question of alienation at the levels of space, time, language, and existence.\n\nThe study of this novel is not limited to analyzing the suffering of the immigrant, but goes beyond it to dismantle the narrative structure that produces and reproduces alienation, making it an indicative model of the interaction of Senegalese Arabic literature with the major issues of the age.\n\nThis study proceeds from a central question: How does the novel \u201cDeath Boats\u201d embody the manifestations of alienation on its multiple levels, and what narrative and cultural mechanisms does it employ to reproduce this alienation in the context of forced migration and diaspora?\n\nThe first topic deals with the theoretical and conceptual framework, the second examines the cultural context of the novel, the third topic deals with the manifestations of alienation in the narrative structure, the fourth topic focuses on alienation and cultural identity, the fifth topic deals with alienation and the political and ideological dimension, and the latter topic deals with alienation and writing \u2013 the aesthetics of fragmentation.\n<\/span><\/pre>\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Pages: 110-119<\/p>\n","protected":false},"author":113,"featured_media":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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