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This paper explores two autobiographies/memoirs where writing an autobiography serves as scriptotherapy for intellectuals, helping them out of their Olympian detachment and providing a therapeutic effect that helps relieves their inner dilemmas. The two autobiographies/memoirs addressed by this paper are: Edward Said's Out of Place: A Memoir (1999), and Abdelwahab Elmessiri's Rehlaty Al Fikriyah: Fi al Gozoor wa al Bozoor wa al Themar: Sira Ghayr Zatiyah Ghayr Mawdw`iyah (My Intellectual Journey: of Seeds, Roots and Fruits: a Non-objective, Non-subjective Autobiography) (2006). Though the two intellectuals have not been through a traumatic experience as such, they have experienced moments of extreme anguish and their \"selves\" have been shaped and re-shaped by a number of inner dilemmas and surrounding challenges. The paper is arranged around a number of subthemes related to the central theme of autobiography as scriptotherapy. The paper starts by highlighting the hardships and conflicts encountered by both intellectuals through their journeying in place and time. It then addresses the ultimate centrality of \"writing\", and more particularly of the 'confessional act of writing to these intellectuals as evident in their autobiographies and elsewhere. For Edward Said 'writing' was a means to help him put his disseminated 'self' back together and re-assemble the varied components of his identity at odd with each other. Similarly, one reason Elmessiri wrote his many books and encyclopedias to relieve the many personal and intellectual anxieties he was subject to and the various dilemmas he had to resolve. Testimonial writing grants the space needed for the 'self' to contemplate its own identity and to reflect on its journeying through life, re-experiencing vitality, re-considering life choices and most of all get relieved of the burden of having a confession to tell.

Through analyzing the works of T.E. Hulme and Abū Nawās, two poets from different cultural and historical backgrounds, this paper challenges the Eurocentric perspective that confines modernism to a literary movement exclusive to twentieth-century Europe. Abū Nuwās was a renowned Arab poet who lived during the Abbasid era in the eighth century, while Hulme is considered one of the founders of modern English poetry. The paper bases its argument on two primary scaffolds: the contemporary and recurrent scholarly call for a decolonization of the concept of Modernism like; El Messeri, Adonis, Feroza Jussawalla, Jean-Michel Rabaté, Aditya Nigam, and others, and the definitions of modernism as a universal phenomenon that include non-Western voices into the discussion of modern literature. The paper then analyzes the modern aspects in the poetry of Abū Nawās from the Dīwan Abī Nuwās: redacted by Aḥmd ʿAbd Almǧyd Alġzāly الغزالي المجيد عبد أحمد تحقيق: نواس أبي ديوان ,compared to the aspects of modern poetry expressed by T.E. Hulme in his critical essay like \"A Lecture on Modern Poetry\" and \"Romanticism and Classicism.\" The paper focuses on three significant aspects of modernism: manifestation of modern thought through Metapoetry, linguistic awareness, and imagism.

This paper attends to the crisis of theory in two critics: Terry Eagleton and Abdel Aziz Hammuda. Eagleton, the leading British theorist, explores vital theory-related issues in Literary Theory: An Introduction (1983), The Significance of Theory (1990), and After Theory (2003). Abdel Aziz Hammuda, the Egyptian critic, playwright and professor of English literature addresses the crisis of theory in a renowned trilogy: The Convex Mirrors: From Structuralism to Deconstruction (1998), The Concave Mirrors: Towards an Arabic Critical Theory (2001), and Getting out of the Labyrinth: Scrutinizing the Authority of the Text\" (2003). Both Terry Eagleton and Abdel Aziz Hammuda are critical of newer theories, particularly Structuralism and Post-structuralism, attempting to pin down reasons behind the crisis, and to map a way out. Whereas Eagleton bases his criticism on cultural grounds, Hammuda wishes that Arab history would be re-visited instead of being caught up in the entangling Western web of theories.

This article disrupts the materialistic paradigm disseminated by modern Western civilization through introducing samples of its subversion as represented in literature addressed to the young audience. The researcher limits herself to the analysis of two children's stories: How the Grinch Stole Christmas! (1957) by Dr. Seuss (1904-1991) and Al-Amira wa Al-Sha'ir (The Princess and the Poet) (2004) by Abdelwahab Elmessiri (1938-2008), both stories stand against the notions of consumerism, materialism, and culture industry. Dr. Seuss and Elmessiri employ children's narratives as a medium to critique modernity, a socio-cultural shift that displaces the sacred transcendental realm with an unwavering focus on scientific rationality in which materialism and consumerism are regarded as the sources of happiness. The paper adopts a comparative approach through which the similarities and differences between Dr. Seuss and Elmessiri's narratives, with reference to Alain Touraine and George Simmel's critiques of modernity, along with a consideration of Michel Foucault's conceptualization of critique. Through the characters of the Grinch and the princess, Dr. Seuss, and Elmessiri, respectively, advocate for a return to the spiritual dimensions of human existence beyond the confines of material possessions. Dr. Seuss focuses his critique on the commercialization of holidays and the adverse consequences of materialism, while emphasizing the redemptive potential of compassion and community as well as the significance of human connections, whereas Elmessiri questions the prevalence of scientific reason over the spiritual dimensions of human existence, delving into the paradigms of immanence and transcendence.

Madness has always been a recurring theme in many literary works. Consequently, there was a growing critical interest in studying the representations of madness in literature. Later, the theme of madness gained a new level of interpretation since it has become a pretext for violations committed by authorities. It was used as a tool to restrict many non-conformist writers by censoring or banning their literary productions, in addition to different forms of torture to silence their voices. This paper addresses the question of madness in the legacy of the enfant terrible, the Zimbabwean poet, novelist, and sociopolitical critic Dambudzo Marechera (1952- 1987), in the light of Michel Foucault's interpretation of madness and power. Since some of Marechera's writings present the correlation between madness and power, the Foucauldian paradigm presents a valid theoretical explanation for his works. Marechera faced sociopolitical turbulence in colonial and postcolonial Zimbabwe at his time; he also experienced many problems during his scholarship in England which all eventually contributed to his suffering from psychological and mental crisis. Insights from Foucault can explain how the literary trajectory of Marechera was affected by the authority's definition of madness and its practice of power. Marechera has been stigmatized as mad, yet he tried to challenge such stigma as reflected in The House of Hunger (1978), Mindblast (1984), and Cemetery of Mind (1992).

The objective of this paper is to represent how the feelings of dissatisfaction with the present can lead the colonizer to recall the history of the colonized land. This is represented through the analysis of the American play Homebody/Kabul (2001) written by Tony Kushner (1950). The play depicts the suffering of the English protagonist, Homebody, from displacement within her homeland and family and her alienation from the present. Therefore, she decides to seek home and to recall history of Afghanistan, a country which is trapped between its glorious past and its traumatic present. Thus, nostalgia becomes a helpful mechanism for the colonizer to transcend those feelings of alienation and displacement. The analysis of this paper depends on the theories of Svetlana Boym through her book The Future of Nostalgia (2001,) and Dennis Walder throughout his Postcolonial Nostalgias: Writing, Representation, and Memory (2012), in order to examine how nostalgia for the lost time and the lost homeland may force the colonizer to recall the history and to seek home in the land of the colonized. Through a postcolonial lens, the analysis investigates Homebody's emotions of displacement from her home and her emotions of alienation from the present which forces her to search home in the land of the colonized, first mentally by recalling its history then by moving physically to Afghanistan.