تسريد اللوحة في رواية "أصابع لوليتا" لواسيني الأعرج

This research paper attempts to stand at the faces of the overlap and the Interdependence  between the narrative and the visual in the novel "Lolita's Fingers" by the Algerian novelist Wassiny  Laredj, which has a clear tendency towards enriching its imaginary worlds by benefiting from the energies of photography and the art of drawing, as one of the aesthetic expressive systems, which represents nothing but a possibility of other diverse creative possibilities, all of which are directed towards ways of activating narrative writing, enriching its sources, and grafting its textual structures with artistic textures that provide it with a different kind of nourishment.

If this novelistic code has relied on a painting copied from (The Repentant Magdalene) by Georges Delatour, taking it as a vehicle or pretext for the flow and flow of the story, and a mirror reflecting the fluctuations of the psychological state of the hero Younes Marina, to what extent has it succeeded in narrating it and transforming it into Creative framework that expends the horizons of reading and the possibilities of interpretation?

Keywords The intersection of races, fine art, narrative painting, Lolita’s fingers, light and darkness.