Abstract

This study deals with the "narrative space" as a signifier that is analyzed by linking form and content, to find out whether the place has a neutral topographical presence in the novel, or an active global presence like other elements of the formal novel. To achieve this desired end, the study proceeded according to a tripartite plan that adopted a modeling with two criteria: the first – the polarity, which is crystallized in two opposite pairs, namely the places of transition and the polarities branching from them. The second – relied on the effectiveness of the imagination to reveal the poeticity of the place – or vice versa, which was manifested in the " Fantastic of the desert". The study sought to approach the way in which the writer constructed his spaces, and each of them appeared as a disruptive or auxiliary factor in the program of the narrative actor, until it ended at the height of the transformation, where the fantastic place and its emergence as a sane actor contributing to directing the plot. This study hopes to take a step forward in semiotic approaches to one of the elements of narrative creativity, and to unveil some of its intractable secrets.