Lesson #73 Sinbad the Sailor's First Voyage
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A Structural Approach to the Arabian Nights
AWEJ. Special Issue on Literature No.2 October, 2014 Pp. 125- 136 A Structural Approach to The Arabian Nights Sura M. Khrais Department of English Language and Literature Princess Alia University College Al-Balqa Applied University Amman, Jordan Abstract This paper introduces a structural study of The Arabian Nights, Book III. The structural approach used by Vladimir Propp on the Russian folktales along with Tzvetan Todorov's ideas on the literature of the fantastic will be applied here. The researcher argues that structural reading of the chosen ten stories is fruitful because structuralism focuses on multiple texts, seeking how these texts unify themselves into a coherent system. This approach enables readers to study the text as a manifestation of an abstract structure. The paper will concentrate on three different aspects: character types, narrative technique and setting (elements of place). First, the researcher classifies characters according to their contribution to the action. Propp's theory of the function of the dramatist personae will be adopted in this respect. The researcher will discuss thirteen different functions. Then, the same characters will be classified according to their conformity to reality into historical, imaginative, and fairy characters. The role of the fairy characters in The Arabian Nights will be highlighted and in this respect Vladimir's theory of the fantastic will be used to study the significance of the supernatural elements in the target texts. Next, the narrative techniques in The Arabian Nights will be discussed in details with a special emphasis on the frame story technique. Finally, the paper shall discuss the features of place in the tales and show their distinctive yet common elements. -
SCHEHERAZADE a Musical Fantasy
Alan Gilbert Music Director SCHEHERAZADE A Musical Fantasy School Day Concerts 2013 Resource Materials for Teachers Education at the New York Philharmonic The New York Philharmonic’s education programs open doors to symphonic music for people of all ages and backgrounds, serving over 40,000 young people, families, teachers, and music professionals each year. The School Day Concerts are central to our partnerships with schools in New York City and beyond. The pioneering School Partnership Program joins Philharmonic Teaching Artists with classroom teachers and music teachers in full-year residencies. Currently more than 4,000 students at 16 New York City schools in all five boroughs are participating in the three-year curriculum, gaining skills in playing, singing, listening, and composing. For over 80 years the Young People’s Concerts have introduced children and families to the wonders of orchestral sound; on four Saturday afternoons, the promenades of Avery Fisher Hall become a carnival of hands-on activities, leading into a lively concert. Very Young People’s Concerts engage pre-schoolers in hands-on music-making with members of the New York Philharmonic. The fun and learning continue at home through the Philharmonic’s award-winning website Kidzone! , a virtual world full of games and information designed for young browsers. To learn more about these and the Philharmonic’s many other education programs, visit nyphil.org/education , or go to Kidzone! at nyphilkids.org to start exploring the world of orchestral music right now. The School Day Concerts are made possible with support from the Carson Family Charitable Trust and the Mary and James G. -
Arabian Nights
1 Arabian Nights Oh I come from a land, from a faraway place Where the caravan camels roam it's all flat and immense And the heat is intense It's a furnace, but hey, it's home When the wind's from the east And the sun's from the west And the sand in the glass is right Come on down Stop on by Hop a carpet and fly To another Arabian night Arabian nights Like Arabian days More often than not Are hotter than hot In a lot of good ways Part 2 Arabian nights Like Arabian days More often than not Are hotter than hot In a lot of good ways Part 3 Oh I come from a land Where intrigue is in style And adventure is status quo Where a Daughter must wed Hold her head up and smile It‟s the law, did I make it? No! Part 7 When the wind's from the east And the sun's from the west And the sand in the glass is right Come on down Stop on by Hop a carpet and fly To another Arabian night Arabian nights Like Arabian days More often than not Are hotter than hot In a lot of good ways Arabian nights „neath Arabian moons A fool off his guard Could fall and fall hard out there On the dunes.... 2 One Jump Ahead Aladdin: One jump ahead of the breadline One swing ahead of the sword I steal only what I can't afford ( That's Everything! ) One jump ahead of the lawmen That's all, and that's no joke These guys don't appreciate I'm broke [Crowd:] Riffraff! Street rat! Scoundrel! Take that! Aladdin: Just a little snack, guys [Crowd:] Rip him open, take it back, guys Aladdin: I can take a hint, gotta face the facts Now you see what I go through, ooh! [Ladies:] Ooh! [Ladies:] -
Punk Islam and Selected Works of Michael Muhammad Knight
Arabian Knights: Punk Islam and Selected Works of Michael Muhammad Knight by Kurosh Amoui Kalareh M.A., The University of British Columbia, 2013 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIRMENTS FOR THE DEGREE OF MASTER OF ARTS in THE COLLEGE OF GRADUATE STUDIES (Critical Studies) (Interdisciplinary Graduate Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Okanagan) August 2013 © Kurosh Amoui Kalareh, 2013 Abstract This thesis is an analysis of Michael Muhammad Knight’s works with a particular focus on The Taqwacores, Blue-Eyed Devil, Osama Van Halen, Impossible Man, William S. Burroughs vs. the Quran, and Tripping with Allah. It differs from earlier critical writing on Knight by taking a Bakhtinian approach to his ground-breaking first novel The Taqwacores and its attempt to open a dialogue on reforming American Islam, focusing on Knight’s relationship to the Beats and their often overlooked Islamic discourses as his ideal model for this artistic/social reform, and tracing a shift in his work from reformist, documentary fiction to self-focused, “cool” autobiography. It argues that what enables Knight to initiate a punk reading of Islam, to cut-up the Quran, and to prescribe ayahuasca (a psychoactive vine native to Amazonian Peru) to pilgrims going to Mecca is his interpretation of the famous statement attributed to Hassan Sabbah: “Nothing is true; everything is permitted.” Meanwhile, Knight’s approach differs from that of many writers from Rabelais and Dostoyevsky to Nietzsche and Burroughs who have cited or paraphrased this statement. While these writers describe how devastating it would be to live in a godless world where everything is permitted with no hereafter, Knight stresses a vague “coolness” in Sabbah’s statement which he uses to guide his own style of living. -
The Voyages of Sindbad the Sailor
LEVEL 2 Teacher’s notes Teacher Support Programme The Voyages of Sindbad the Sailor Retold by Pauline Francis In the second voyage, Sindbad sets sail again because EASYSTARTS he has become bored with his easy life in Baghdad. This time he is accidentally abandoned by his shipmates on a beautiful island. But soon he is attacked by a giant bird and finds himself in a valley surrounded by dangerous LEVEL 2 snakes. Then he notices that the valley floor is covered in diamonds! Sindbad uses some meat to attract the giant bird which flies down to carry the meat (and Sindbad with LEVEL 3 it) back to its nest. In this way, Sindbad is able to escape from the valley with many diamonds. He is rescued by merchants and then returns to Baghdad as a very rich LEVEL 4 man. Sindbad sets off on his third voyage when he becomes Summary bored again with life in Baghdad. Strong winds blow the LEVEL 5 The Voyages of Sindbad the Sailor contains the stories of ship to a strange island inhabited by yellow-eyed monkey- seven voyages. All the stories, except the first and the men. Sindbad and his fellow travellers hide in a big house last one, begin with Sindbad getting bored with life in but soon realise they are not safe when an enormous LEVEL 6 Baghdad and deciding to go on a voyage. In all the stories giant arrives and begins to eat the men one by one. They but the last one, Sindbad makes his way to the south manage to escape by blinding the giant with red-hot and the east from Basra, i.e. -
Arabian Nights Performance Guide
adapted by Dominic Cooke directed by Daniel Gidron Performance Guide How to Use This Performance Guide Thank you for taking the time to look over our Performance Guide for Arabian Nights. This guide contains information about the show to help enrich your students’ experience. The Performance Guide is divided into four sections: • Get Ready to help you and your students prepare to see the show; • Deepen Understanding to explore specific elements or themes from the show, and; • Reflect and Connect to further engage students in the show they have seen; • Performance Guide Tools to further enhance the guide activities. Table of Contents Welcome ............................................................................................. 1 How to Use This Resource Guide ........................................................ 2 Massachusetts Curriculum Connection .............................................. 3 About Central Square Theater ............................................................ 4 About Arabian Nights ......................................................................... 4 Get Ready: Attending a Live Performance .......................................... 5 Get Ready: Storytelling ....................................................................... 6 Deepen Understanding: Be the Storyteller ......................................... 7 Reflect and Connect: Meet an Actor ................................................... 8 Reflect and Connect: Write a Review .................................................. 9 Performance -
The False Caliph ROBERT G
The False Caliph ROBERT G. HAMPSON 1 heat or no heat, the windows have to be shut. nights like this, the wind winds down through the mountain passes and itches the skin on the backs of necks: anything can happen. 2 voices on the radio drop soundless as spring rain into the murmur of general conversation. his gloved hands tap lightly on the table-top as he whistles tunelessly to himself. his partner picks through a pack of cards, plucks out the jokers and lays down a mat face down in front of him. 285 286 The 'Arabian Nights' in English Literature the third hones his knife on the sole of his boot: tests its edge with his thumb. 3 Harry can't sleep. Mezz and the boys, night after night, have sought means to amuse him to cheat the time till dawn brings the tiredness that finally takes him. but tonight everything has failed. neither card-tricks nor knife-tricks - not even the prospect of nocturnal adventures down in the old town has lifted his gloom. they're completely at a loss. then the stranger enters: the same build the same face the same dress right down to the identical black leather gloves on the hands The False Caliph 287 which now tap contemptuously on the table while he whistles tunelessly as if to himself. Appendix W. F. Kirby's 'Comyarative Table of the Tales in the Principal Editions o the Thousand and One Nights' from fhe Burton Edition (1885). [List of editions] 1. Galland, 1704-7 2. Caussin de Perceval, 1806 3. -
The Second Voyage of Sinbad the Sailor
THE SECOND VOYAGE OF SINBAD THE SAILOR designed, after my first voyage, to spend the rest of my days at Bagdad; but it was not long ere I grew weary of a quiet life. My inclination to trade revived. I bought goods suited to the commerce I intended, and put to sea a second time, with merchants of known probity. We embarked on board a good ship, and after recommending ourselves to God, set sail. We traded from island to island, and exchanged commodities with great profit. One day we landed on an island covered with several sorts of fruit trees, but so unpeopled, that we could see neither man nor beast upon it. We went to take a little fresh air in the meadows, and along the streams that watered them. Whilst some diverted themselves with gathering flowers, and others with gathering fruits, I took my wine and provisions, and sat down by a stream betwixt two great trees, which formed a curious shape. I made a very good meal, and afterwards fell asleep. I cannot tell how long I slept, but when I awoke the ship was gone. I was very much surprised to find the ship gone. I got up and looked about everywhere, and could not see one of the merchants who landed with me. At last I perceived the ship under sail, but at such a distance that I lost sight of her in a very little time. …………..At last I resigned myself to the will of God; and not knowing what to do, I climbed up to the top of a great tree, from whence I looked about on all sides to see if there was anything that could give me hope. -
One Thousand and One Nights
One Thousand and One Nights PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Wed, 10 Nov 2010 06:21:59 UTC Contents Articles Overview 1 One Thousand and One Nights 1 New Arabian Nights 21 Arabian Nights and Days 23 Stories and characters 24 Stories 24 Characters 40 Scheherazade 46 Abu Nuwas 48 Aladdin 51 Ali Baba 56 Al-Mustazi 60 Badoura 60 Harun al-Rashid 61 Ja'far 67 Khosrau 69 Mustensir Billah 75 Old Man of the Sea 75 Shirin the Armenian 76 Sinbad the Sailor 78 Widow Twankey 85 The Fisherman and the Jinni 87 Famous translators 88 Antoine Galland 88 Richard Francis Burton 90 Edward William Lane 104 Joseph Charles Mardrus 107 John Payne 108 Gustav Weil 109 References Article Sources and Contributors 111 Image Sources, Licenses and Contributors 114 Article Licenses License 115 1 Overview One Thousand and One Nights Kitāb 'alf laylaةليلو ةليل فلأ باتك :One Thousand and One Nights (Arabic Hezār-o yek šab) is a collection of Middle بش کی و رازه :wa-layla; Persian Eastern and South Asian stories and folk tales compiled in Arabic during the Islamic Golden Age. It is often known in English as the Arabian Nights, from the first English language edition (1706), which rendered the title as The Arabian Nights' Entertainment.[1] The work as we have it was collected over many centuries by various authors, translators and scholars across the Middle East and North Africa. The tales themselves trace their roots back to ancient and medieval Arabic, Persian, Indian, Egyptian and Mesopotamian folklore and literature. -
Teaching the Arabian Nights in Wisconsin a Resource Guide for Educators
Teaching The Arabian Nights In Wisconsin A Resource Guide for Educators Prepared by Sofia Samatar Center for the Humanities University Wisconsin-Madison University Club Building, 3rd Floor 432 East Campus Mall, Madison WI 53706 608-263-3412 [email protected] Teaching The Arabian Nights in Wisconsin: A Resource Guide for Educators Contents Introduction and Overview How to Use this Guide Close Reading Strategies Lesson Plans Include: Objectives, Suggestions for Lectures, Discussion Questions, Activities and Project Ideas Unit 1: Text and Context: The World of The Arabian Nights *The Story of King Shahrayar and Shahrazad, His Vizier’s Daughter; The Tale of the Ox and the Donkey; The Tale of the Merchant and His Wife] Unit 2: Orientalism: Reading Others *The Story of the Merchant and the Demon; The First Old Man’s Tale; The Second Old Man’s Tale+ Unit 3: Stories Within Stories: the Structure of The Arabian Nights [The Story of the Fisherman and the Demon; The Tale of King Yunan and the Sage Duban; The Tale of the Husband and the Parrot; The Tale of the King’s Son and the She-Ghoul; The Tale of the Enchanted King] Unit 4: Gender and Class *The Story of the Porter and the Three Ladies; The First Dervish’s Tale; The Second Dervish’s Tale; The Tale of the First Lady, Mistress of the House; The Tale of the Second Lady, the Flogged One] Unit 5: Romance [The Story of the Three Apples; The Story of the Two Viziers, Nur al-Din Ali al-Misri and Badr al-Din Hasan al-Basri] Unit 6: Humor *The Story of the Hunchback; The Christian Broker’s Tale; -
Open Sesame: a Magical World of Reading
Open Sesame: A Magical World of Reading Grade Level: Third Grade/Special Education Presented by: Laura Beatty and Anne Corman, Serna Elementary, San Antonio, Texas Length of Unit: Six Lessons I. ABSTRACT This is a six lesson unit based on the third grade Core Knowledge sequence. It creates a magical world of reading for students through a variety of activities using music, food, costumes, artifacts, and maps. As the tales of Ali Baba and the Forty Thieves and Aladdin and the Lamp from The Arabian Nights are read aloud, the students will use reading comprehension, writing, and geography skills to develop an appreciation of classic multicultural literature and geographical awareness. The overall assessment will be based upon the student’s participation and ability to retell the stories. II. OVERVIEW A. Concept Objectives 1. Students will develop an appreciation of classic multicultural literature. 2. Students will develop geographical awareness. B. Content from the Core Knowledge Sequence: 1. Point to specific words or passages that are causing difficulties in comprehension. 2. Orally summarize main points from fiction readings. 3. Ask and pose plausible answers to how, why, and what-if questions in interpreting fiction texts. 4. Produce a variety of types of writing—such as stories, poems, and letters—and make reasonable judgments about what to include in his or her own written works based on the purpose and type of composition. 5. Produce written work with a beginning, middle, and end. 6. Organize material in paragraphs and understand How to use a topic sentence How to develop a paragraph with examples and details That each new paragraph is indented 7. -
The Thousand and One Nights Video Transcript Transcript
Invitation to World Literature: The Thousand and One Nights Video Transcript Willingham: The elements of the Arabian Nights tales are that it's this fantastic, and wonderful and demon haunted world. That any time you go out of your door, you're in for an adventure and you're in danger. Zimmerman: There are genies, rocks that grab you in their claws and transport you to different lands. Rezaei: Love and lust and passion and jealousy. These are all the things that existed in 1001 Nights and it really is what makes it the most universal set of stories that were ever told. Zimmerman: It's not all Aladdain and it's not all Sinbad. Barry: I encountered The Thousand and One Nights as a child, and thanks to The Thousand and One Nights, I have remained a child. Naddaff: We know it mostly these days as The Arabian Nights, most people don't call it The Thousand and One Nights. The original Arabic is (alf layla wa-layla), The Thousand and One Nights and A Night. Damrosch: Many of the stories are over 1,000 years old and we often know them without even knowing that we know them. Jetha: My first experience with The Thousand and One Nights was as a kid, watching movies. Willingham: Especially the cheesy Ray Harryhousen Sinbad movies, that were a small sliver of the original text. Naddaff: I think for most of us now, the best-known popular representation of the 1001 Nights is Disney's Aladdin. The 1992 film. Popeye has a number of cartoons, a whole of series of cartoons from the 1930's that use the 1001 Nights to tell Popeye stories.