Moroccan director Fouad Souiba said, “The film industry has historically been weak in front of literature, and because of its late invention, the seventh art used everything that came before it, be it novels, short stories or musicals.” He quoted American writer Linda Seger as saying that adaptation is the lifeblood of the film and television industry. Birth of a Nation) and (Gone with the Wind) and (Casablanca).

Turkish novelist, playwright and screenwriter Cedil Ezer noted that the “betrayal” of the literary work in the quote was “almost inevitable”, especially due to the different writing techniques of the Sixth and Seventh Arts than in writing the novel. and the need to adapt the script to production budgets, as well as the many available actors and comedians.

Moroccan director Nabil Aouch said that the habit of adapting a literary work starts “from the moment of admiring a story”, but that transferring it to cinema is a kind of “betrayal of the literary work”. In this regard, he referred to his experience in the movie “O Horse of God” titled “The Stars of Sidi Moman”, adapted from the novel of the Moroccan writer Mahi Benebein. This novel, but he “found himself drifting away from the story.” It was suggested by the author to create a completely different coexistence between the different characters of the film.

On the other hand, Moroccan researchers and academics presented cross-sectional views on the writings and researches of the late Moroccan sociologist, Fatima Mernissi, through which she dealt with the main ideas and issues she dealt with in her work.

Raja Rouni, a professor at the University of Soueib Doukaly in El Jadida, reviews the various stages that marked the path of the late writer. In her book “Criticism of Islamic Feminism and Secularism in the Works of Fatima Mernisi”, she analyzes the complexity of her texts, describing her work as “a model of post-colonial feminist discourse”.

As for Mokhtar El Haras, professor of sociology at Mohammed V University in Rabat, he focused on the concept of individuality and individuality in Mernisi’s work. She explained that in these books she highlighted the importance of these concepts in the family life of Moroccans, and noted that she followed throughout history the issue of women’s emancipation from family restrictions and pressures that prevented them from developing their individual characteristics. Al-Haraz noted that Mernisi’s works deal with many human issues and concepts, including freedom of thought, sovereignty, tolerance, and consideration of individual feelings.

On the other hand, during an open meeting organized by Moroccan writer Yassin Adnan, Libyan writer Ibrahim al-Khoni expanded his literary ambitions on the desert. In the comprehensiveness of his revelations. He said that his concern was how to make the desert speak to him, to reveal its secrets, and even though his works exceed ninety works, he exemplifies that the desert cannot speak its word on a literary level, because “the desert. It’s a big secret.”

Al-Khoni believed that “there is no literary work in the world that speaks existentially and religiously about the desert.” Dimensions,” adding: “The desert is my home where I live.”

When asked how to adapt desert legends to the genre of the novel, Al-Khoni asserted that his first thought came from the Amashic language and that he was adapting his speech to Arabic. If he is not a desert, he has knowledge of the peculiarities of the desert man who lives in it.” Myths, prophecies and religions”, which are areas “unimaginable to Western man”.

Al-Goni noted that “the desert man is different from others in all his activities”, before concluding that “classical Arabic literature cannot touch the spiritual parts of the desert man and therefore cannot present the reality of the desert” before concluding that “the desert is still waiting for someone to speak its word.”

In turn, Al-Khoni, who lives in the desert and its world, has many readers in different parts of the world, Adnan said, adding that he is “the most Arabic-language writer translated into foreign languages.” He said that the Libyan writer immersed himself in the culture of the Tuareg and traveled with him everywhere, believing that “the desert does not reveal its secrets” and he is one of the owners of literary projects addicted to migration and travel. Easy” for writers.

The tribute organized to the Moroccan writer and critic Ahmed al-Yabouri is an opportunity to celebrate the publication of his book “The Field of Arab Stories”, in which the researcher collected his full profile, printed in a Moroccan university course. works.

The meeting, entitled “Ahmed al-Yabouri, a true Moroccan School of Criticism”, saw a panel presentation highlighting the renowned scholar’s distinguished scholarly achievement as one of the figures of literature in Morocco. The Moroccan academic, Ahmed Bu Hassan, al-Yabouri is considered one of the founders of modern and contemporary critical discourse in Morocco, with prominent names such as Muhammad Barrada and Abbas al-Zarari exemplifying that he established the methodology. Provisions for critical study at a Moroccan university “through his thorough integration of modern Western curricula.”

The interlocutors pointed out that he is a bright sign in the history of Moroccan thought and literature, as he succeeded in creating a group of Moroccan researchers in the field of critical studies, highlighting his contributions to creation and structure. A contribution to writing and creativity, characterized by “bright, clear language and a pleasant style that stimulates the reader.” For reading and observation” he “gifts Moroccan libraries with books of special intellectual flavor.”

Al-Yabouri, in a speech at the event, recalled his scientific career and university research, indicating that his career teaching fiction at the Faculty of Arts in Rabat was “an occasion to test his literary and critical repertoire”.

At the meeting “Women’s Literature in the Desert” organized within the framework of “Women’s Writing” meetings, researchers specializing in desert culture and Hassani tradition unanimously agreed on the uniqueness of women’s literature in the desert. They said that the woman has more value in the existential, human and cultural level of the desert, because she is the poet, the protester and the owner of the tent, on the other hand, indicating the “limitations” of this literature. Experience.

The speakers felt that the codification of Hassani culture by women was still plagued by many problems, the “disturbance” in the appreciation of this literary tradition reflected in the “scarcity and lack” of texts and works in general, emphasizing the role of the media in highlighting the elites of literature, creative women and men.

A researcher of Hassani culture, Al-Azza Biruk, wrote that women’s poetry was best stopped in “Al-Bara”, a very concise and concise poem, full of meaning and imposing many emotions and tragedies in precise language. Derived from Hassaniya, it is characterized by several poetic restrictions, warning that it is special. Men cannot enter it without mentioning their names. She points out that in the poem “Donation” women are not harmed in announcing their name, the poet thereby reveals a set of social restrictions, and “the more restrictions, the greater. The value of the donation”, thus women are “on the wings of Hassani poetry”. » They are looking for outlets for flirting with men with a more sensitive female gaze.

For his part, Muhammad Maulud al-Ahmadi, a researcher interested in the Hasani tradition, argues that the literary genre of “bra” in Hasani poetry has a terrifying capacity to intensify meaning, and it translates to women’s ability to create and create. Present meanings in short parts, while Hassani poetry needs many parts to convey the meaning. Al-Ahmadi praised the creativity of the desert women and lamented the “injustice” she was exposed to, calling for women poets to liberate their poetic content and preserve women’s poetry “as a separate literature comparable to men’s Hasani poetry.”, and researchers interested in studying the “donation” genre. They are drowning.

Writing fiction in the desert is a “challenging hadith,” explained researcher Julika Baba, highlighting that the desert is associated with Hassani culture and that poetry is very important in many areas. The researcher mentioned the female novelists who touched on the issue of women as a creative subject and subject, pointed out some female names who dealt with the issue of educated and ambitious women, women who languished in darkness for years within the walls of the prison, blocked like the novel “Women of the Dune” written by its author, Moroccan novelist Al-Badol. .

During a festive meeting with the Malagasy writer Michel Ragotson, winner of the “Orange Book Award” in Africa for 2023, this journalist, activist, playwright and professor of literature, with a degree in sociology, reviewed his main stages. Professional and personal trajectories, Madagascar’s colonial history in addition to key details. He has said that he considers himself “bicultural” because he attended French school and writes his books in French, but remains attached to his native Malagasy, which he speaks in his native Malagasy. He explained that he spent 10 years writing his latest edition titled “Ampatomanga…Peace and Pain” after delving into documents from Malagasy and French archives, thanks to which he was able to reinforce his story with influential testimonies.

Rakotson expressed his displeasure with the silence surrounding colonialism, the colonial army and the integrity of the publishing world. In this regard, he called for the democratization of Malagasy literature and the democratization of access to books and the “right of review and response” to the colonists.