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A study of Christopher Marlowe's Dr. Faustus, William Shakespeare's The Merchant of Venice, Henrik Ibsen's A Doll's House and Tawfiq Al Hakim's The Sultan's Dilemma reveals the playwrights' use of the \"bond\" as a recurrent motif The fact that the \"bond\" is essential to the themes of the plays examined is dealt with. Endowing each play with its tragic dimension, the \"bond\" is the only means through which the hero/heroine of each play asserts his/her dignity in a society that negates it. The paper will elucidate how the playwrights use the bond to criticize and condemn certain practices of their societies.

Often associated with the (mis) representation of the Other, Orientalism now alludes to the \"stereotyping\" of Islam. This paper is concerned with illuminating how in both classical and neo-orientalism, sharing the same objectives, the \"knowledge\" about the Other is usually manipulated to control it. A study of Dave Eggers' Zeitoun reveals that the old traits often ascribed to the Orient such as being backward, lazy, sensual and passive are still attributed to the Arab/Muslim in the 21s* century particularly after the 9/11 events. The paper also aims to investigate the concept of neo-orientalism and its major exponents who forged a \"myth\" about the Arab/ Muslim as terrorist. A scrutiny of the concept of \"neo-orientalism\" shows that several of its advocates who are both Western (Lewis, Huntington and Pipes); of Arabic origin (Ajami and Zakaria) and ex-Muslims (Hirsi Ali) express the same views endorsed by classical Orientalists. The paper intends to elucidate how Eggers' novel challenges the stereotypical representation of the Arab Muslim in the media and literature in general particularly after 9/11. It is also concerned with illuminating the chance given to the other/ Arab Muslim to speak his own voice. The paper aims to analyze the most important technical devices employed by Eggers in Zeitoun.

The Nights' re-arrival in the West coincided with the Western reemergence of the Novel; its example pushed eighteenth-century novelists not only to reconsider the relationship of episode to overall narrative arc but also to explore the novel's large-scale formal and philosophical possibilities. The Nights inspired a huge number of imitations, pastiches, and parodies. Yet it also shaped a wide range of experimental texts that deployed literary embedding whether or not they featured Orientalizing motifs. The Nights helped shape many aspects of the eighteenth-century novel, feeding its preoccupations with narrative framing, nesting, and authority and with gender and cultural identity. (Rebecca Jonson et al. 246). Adding to this acknowledgment, we may presume that the Thousand and One Nights- also known as the Arabian Nights has been also an important precursor of many other European genres in the 19th and 20th centuries such as the gothic, grotesque, fairy tales, animal fables, science fiction, romanticism as well as several critical trends such as intertextuality, reader response theory, subaltern studies, orientalism, post colonialism and most of all magical realism. This paper is going to focus on illuminating the different elements that distinguish the Nights as a magical realist text, exploring the different definition of the term, its major characteristics and how they fit into the Nights itself. A study of the thematic and technical aspects of the text will help reinforce its magical realist nature. The paper is going to focus on certain stories to support the main point of view. Some stories will be analyzed in depth while others will be referred to quickly for the sake of brevity.