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