آليات السرد الصوفي وتمظهراته في رواية بحر نون لعبدالإله بن عرفة (دراسة في الرؤية والبنية)

The invocation of the mystical heritage - as one of the religious systems - has emerged clearly in literature, especially in a number of contemporary novels. This reveals spiritual developments among the writers, who aim behind this to produce knowledge based on abstract foundations. The ground paves the way for presenting it to the reader through literary forms that are embodied in the narrative process, and that rely on spiritual and religious references. From this standpoint, some Arab novelists - specifically in west arabian - employed the knowledge and mystical heritage in the revival of the modern Arab novel, They crystallized it in their works, which confirms that the contemporary novelist is trying to move beyond the expression of heritage to a new step, which is the expression of heritage, and confirms the extent to which literature is linked to religion. In the midst of this experimentation, valuable attempts have emerged since the beginning of the present century in employing the mystical and mystical heritage in a number of Arab novels, especially the novels of Abd al-elah bin Arafa, the Moroccan novelist who was interested in Sufism and mysticism, influenced by Muhyī al-Dīn ibn al-ʿArabī in his al-Fotuhat book. In his conception of the mystical narration, Abd al-elah bin Arafa talks about two main concepts: “The concept of writing with light and by traveling in it from the realm of reality to the world of imagination, the creative imagination, as much as it draws inspiration from its source from the Qur’an and the secrets of its letters and the manifestations of its sea. It reveals to the self-aware of sciences, knowledge, and fantasies, which transfers the text of the novel to the shores that you do not expect; And the concept of the present or the testimony of the presence that absorbs the past and the future together, and re-presents previous issues that occurred in the course of collective history, especially those urgent issues that are still present before us, addressing conscience, knowledge and imagination, such as the issue of freedom. As a result... he distances the gnostic novel from its classification within the historical novel, even if it relies like it on specific characteristics, such as the dominance of narration in the past tense form, taking into account the chronology of events. Abd al-elah Ibn Arafa is considered one of the novelists in the Eastern Arabic with a distinguished vision of writing. All of his narrative works seek to express and express this vision in a unique way. His novel Bahr Noon was a new and unusual work in the contemporary Arab narrative, as it was woven from references, the most important of which are history and mysticism, and all of this led to the formation of a narrative structure of a new type. The narrative narration in Bahr Noon's novel follows the historical paths of life and existence, and the mystical journeys of the cosmic spirits. This research, with its descriptive and analytical approach, tried to shed light on the second path, i.e. mysticism, and studies the mechanisms of Sufi narration and its manifestations through its intellectual and aesthetic dimensions represented in language. The study also talked about the Sufi symbols used in the novel, especially the literal and numerical symbols. In the end, the study concluded that Bahr Noon's novel derives its intellectual reference from the historical and mystical heritage, led by the idea of Muhyī al-Dīn ibn al-ʿArabī in the existence of human existence and the absolute divine self. The events in the novel proceeded in a continuous interaction with this idea. The study also revealed the parallelism of the Sufi narrative spaces in them to enrich the narrative structure. The narrator's invocation of religious figures in different scenes of the novel came in line with the epistemological focus, and with the aim of imparting poeticism with new connotations to his text. Finally, the research revealed that the narrator employed a wonderful Sufi lexicon in his text, along with numerical and literal symbols, and geometric shapes with mystical connotations, all of which came in continuous interaction with the narrative structure.