Arap edebiyatında "rivaye" kelimesiyle karşılığını bulan roman türü, şiir ve hikâye türüne göre daha geç bir zamanda ortaya çıkmıştır. Modern anlamda Arap romanı XIX. yüzyılın son çeyreğinde Batı edebiyatlarının etkisi ve çeviri yoluyla gelişmiş, bu süreci uyarlama ve telif romanlar takip etmiştir. Romanda bir kahraman etrafında gelişen olaylar ve bunların aktarımı söz konudur. Romanı oluşturan temel yapı taşlarından biri olan mekân kavramı, kahramanların etrafında gelişen olayların yaşandığı yerlerdir. Olaylar ister gerçek ister hayali olsun bir mekâna ihtiyaç duyar. Bu çalışmada San'âî romanı "mekânın 'yeniden' üretimi", "kadın-mekân ilişkileri" ve "toplumsal cinsiyet" gibi çeşitli başlıklar altında bir incelemeye tâbi tutulacaktır. Bu bağlamda bu çalışmanın odağını Yemenli yazar Nâdiye elKevkebânî ve San'âî adlı romanında kadın-mekân ilişkisi ve bunun ele alınışı oluşturmaktadır. Bu romanda mekân unsuru kadının toplumsal olarak konumlandırılışı bakımından irdelenecektir. Roman kahramanları Subhiye, Hamid, Gamdân ve Huriye'dir. Her bir kahraman Yemen toplumsal ve kültürel hayatını temsil eder biçimde kurgulanmıştır. Kahramanların mekânsal pratikleri yoluyla kadın-erkek, kamusal-özel alan ayrımları öne çıkarılmıştır. Subhiye, eğitimli ve modern Yemen kadınını sembolize ederken Huriye ataerkilliğin ve gelenekselliğin etkisindeki Yemen kadınını temsil etmektedir. Hamid romanın geleneksel özellikler gösteren erkek kahramanıdır. Gamdân ise kamusal alanların erkeklere tahsis edilişinin bir örneğidir. Bu çalışmada kadın-erkek rolleri ve mekânsal karşılıkları bakımından farklılıklar ortaya konulmuştur. Roman kahramanlarının gözünden mekânlara ne gibi anlamlar yüklendiği ve atfedildiği araştırılmıştır

The novel genre which is known as ‘rivaye’ in Arabic Literature, emerges later in comparison to story and poetry genres. In the modern sense, the Arabic novel developed in the last quarter of the 19th century through the influence of Western literature and through translation, and this process followed by adaptations and authentic novels. The novel consists of a hero and the narration of events he goes through. The concept of space, one of the basic building blocks that make up the novel, is where the events that the hero lives take place. Events, whether it's real or imaginary, need a ‘space’. In this study, the San'âî novel will be reviewed under various headings such as "reproduction of space”, "woman-space associations" and "gender". In this context, the focus of this work is on the relationship between women and space in Yemeni writer Nâdiye al-Kevkebani and her novel San'âî. In this novel, the space element will be examined in terms of the social positioning of the woman. The heroes of the novel are Subhiye, Hamid, Gamdân and Huriye. Each hero is designed to represent the social and cultural life of Yemen. Through the spatial practices of heroes, the distinctions between men and women, public-private spheres have been emphasized. Subhiye represents the educated and modern Yemen woman, while the Huriye represents the Yemen woman influenced by tradition and patriarchal structure.Hamid is the male hero of the novel that shows traditional features. Gamdân is an example of the allocation of public spaces to men. In this article differences in terms of male-female roles and spatial responses were described. It has been researched what meanings are assigned to the spaces by novel heroes The focus of this article is on the female-space relation and how this relation is processed in San'âî, a novel of Nadiye al-Kevkebaniî's, who is a Yemeni woman writer and academician. In this novel, the space element is examined in terms of the social positioning of the woman. It can be said that the situation of women in Yemen, which has experienced a turbulent political life, is complicated and contradictory. The Yemeni woman has a more non-modern appearance when compared to women of other Arab and Gulf countries. Outside their home, they can take part in the social life only if, they wear a chador and a veil which only leaves their eyes open. Yemeni women, who live a life determined by political and economic conditions, describes their reason for wearing a veil as; tradition. Theoretical Frame Nâdiya al-Kevkebani's San'âî novel consists of twelve sections. This novel uses the siege of the City of Sana’a as a baseline, which lasted for seventy-two days and is an important turning point in the history of modern Yemen; and mentions subjects, such as devotion to nation, love, and yearning of memories. In this novel, the effects of the siege period on the novel heroes are emphazied through spatial associations. It also provides information about the post-revolutionary political history of the 1962 period. In the beginning, a relation is established between society and history. Then, it focuses on the concealment of the woman's identity and the dilution of her existence from the public arena with the help of social and cultural items. In the novel, social life and spaces are intertwined. Old Sana'a's narrow streets, Turkish baths, and window figures are blended with a love story and these emotional adventures of the heroes are presented to the reader in the 1962 revolution and the post-revolutionary political history scene. With this, the writer encourages the reader to remember the martyrs who die for their country, and the history of the country. The city of Sana'a has been the expression and representation of these feelings with the impressions and narrations of different characters. The frequently used descriptions in the novel enrich the narration and added aesthetics. Through these descriptions, the author presents the sense of space of novel heroes to the reader. The heroes of the novel are Subhiye, Hamid, Gamdân and Huriye. Each hero is designed to represent the social and cultural life of Yemen. Through the spatial practices of heroes, the distinctions between men and women, public-private spheres have been emphasized. Subhiye represents the educated and modern Yemen woman, while the Huriye represents the Yemen woman influenced by tradition and patriarchal structure.Hamid is the male hero of the novel that shows traditional features. Gamdân is an example of the allocation of public spaces to men. The city, which is the place where the main characters of San'âî novel lives, is also the physical place where the civil war is experienced. Traditions, customs, personal and social experience also came from the same place. In this context, the city of Sana'a was constructed as the intersection point of relations and life practices in the novel. For Subhiye, Sana'a is the motherland where he lived and loved so much in his dreams; and for Hamid, it is the city where he was born and raised, where he fell in love. This city, where their fathers fought and gave their lives for it, is depicted by the author like a panoramic picture, to the smallest detail. The city's cultural heritage, history, old buildings, narrow streets, mythological stories, women's attire, and all the changes that the city has experienced in terms of location and socially are told in detail. As one of the elements of the novel, space has an important and functional role. The space can be defined as: “a the general environment in which social relations are experienced; earth, human geography, streets, city infrastructure, neighborhood, periphery; the layer of everyday life, of everyday experience; a concept that has both physical and rational qualities defined as an architectural and ecological environment " (Akbal Süalp’den aktr. Maltaş Erol, Görmez, 2016: 83). When the relations of the novel heroes are examined in the spatial context, it is observed that each one is chosen to reflect its character traits. While everyone is visiting Subhiye's small art gallery; Hamid's house reflects his loneliness after his family moved the new the Sana‘a to another house. While the Presidential Palace was chosen as a space for Gamdan, who has an official duty; Huriye, who is even ignored by her family, is portrayed as a woman living in the edge of the neighborhood, again transmitting her inner world to the reader. Study Methods This article has undergone a review under various headings such as spatial relations of heroes, reproduction of space, woman-space relations, patriarchy and gender.The spaces described in the novel, such as mosques, streets, Turkish baths and living quarters have been tried to be examined in this context, and differences in terms of male-female roles and spatial responses have been put forward. It has been researched what meanings are assigned to the spaces by novel heroes. Findings and Discussion The San'ai novel is a novel in which space elements are used in various dimensions. The same space in the novel is designed in such a way which shows us; a place that has been through a civil war; a place where people can fall in love; and also a place where reflects the positioning of women. The inner worlds of heroes have been studied on the axis of human-space relations. Subhiye counted Cairo as his motherland after his father preferred to live away from Sana'a, but Sana'a always lived in his mind, like a dream world. Hamid is a man who loves this city, knowing all of its streets and history in detail. Hamid's love for this city also links Huriye to Hamid. They grew up together in the same city where they are connected with its background and history. (el-Kevkebânî, 2015: 261).