The purpose of this essay is to explain and also problematize the reasons behind my use of intertextual interaction as an inclusive term that cuts across time and space. With regard to Arabic literary production, ancient and modern, this inclusive term recalls a similar classical and pre-modern understanding of textual engagements as manifestations of textual subordination, anxiety, empowerment, competitiveness, and supremacy. Therefore, the present essay associates this understanding with Arab philologists’ theories of plagiarism. What came once under the rubric of plagiarism has a shared register, parlance, and postulates with current intertextual practices. Both address textual tapestries and matrices whereby threads are woven in an intricate manner. Over time, words, meanings, motifs, and thence theorizations form a constellation. The essay explores a number of Arabic novels of the third millennium as examples of this textual engagement not only with Arabic literary tradition, but also with texts from the global south. Such a substantial and visible textual appropriation invites this critical intervention which, in turn, is bound in dialogue with contemporary literary forays that reflect on texts as tissues of quotations.

本文的目的是解释和质疑我使用互文交互作为跨时空的包容性术语的原因，并对其提出质疑。关于古代和现代的阿拉伯文学作品，这个包容性的术语使人们回想起类似的古典和近代人对文本约定的理解，这些理解是文本从属，焦虑，授权，竞争力和至高无上的体现。因此，本文将这种理解与阿拉伯语言学家的窃理论联系起来。曾经under窃的主题是一种共有的语气，用语，并假定了当前的互文性实践。两者都涉及文本的挂毯和矩阵，因此以复杂的方式编织线。随着时间的流逝，单词，含义，主题和理论由此形成一个星座。本文探讨了第三千年的许多阿拉伯小说，以此作为这种文本参与的例子，不仅涉及阿拉伯文学传统，而且涉及来自全球南方的文本。如此大量和可见的文本使用方式引起了这种批判性干预，而这种干预又反过来又与当代文学作品的对话形成了对话，这些文学作品反映了作为报价单组织的文本。