A Structural Approach to the Arabian Nights
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272 the 1960S and 1970S. the Reviewer Believes the Author Could Have Made Greater Use of It. a Name Index Would Be Desirable. St
272 REVIEWS the 1960s and 1970s. The reviewer believes the author could have made greater use of it. A name index would be desirable. Stephan Guth's book is the result of conscientious research efforts and a great enthusiasm for the chosen subject. It contributes notably to the understanding of current literary developments in Egypt. Anyone dealing with modern Egyp- tian literature will find in it much valuable information and stimulating ideas. Charles University, Prague JAROSLAVOLIVERIUS DAVID PINAULT, Story-telling Techniques in the Arabian Nights, Leiden, E.J. Brill 1992. IX, 262 pp. (Studies in Arabic Literature. Supplements to the Journal of Arabic Literature, ed. M.M. Badawi and J. N. Mattock, Vol. XV). This book has its origin in a doctoral dissertation, finished in 1986 at the University of Pennsylvania. The author wants to address the general reader as well as the student of Arabic literature, so he gives all the Arabic passages in translation and summarizes the plots of the stories before he analyzes them. He defines his main purpose as to find out "What narrative techniques are favored by the Alf Lailah story tellers for engaging an audience? And: In what ways does the redactor make use of pre-existent material?" (p. IX). To be able to answer this question he compares the different printed versions of the stories he analyzes: Bflaq (II), Macnaghten (not MacNaghten), to a very limited extent Habicht and, of course, the Leiden edition of Galland's manuscript by Muhsin Mahdi. He also compares some of the stories he analyzes with similar or nearly identical stories which he has found in hitherto unpublished manuscripts of anthologies of popular narrative independent of "The Nights", to be found in some North African and French libraries. -
The Magic Horse
The Magic Horse Once upon a time far away in the land of Persia a traveller approached the King’s palace. As he looked towards its spiralling towers and gates of gold, he could feel the excitement of the season stirring around him. A tinge of green was spreading across the dusty land and poppies bloomed in the meadows. It was Nowruz, the Spring Festival, when everyone celebrated the start of a new year. The traveller was a man of mysterious powers but, despite all the things he could do, he did not have what he really wanted. His heart beat fast as he thought of today’s plan. For many months he had been working toward his goal. Perhaps today he would achieve his heart’s desire. He joined the procession that was wending its way towards the castle gates. It was a cheerful crowd. Acrobats were limbering up beside the queue of people. Jugglers were juggling. Someone was carrying a cageful of singing birds. Each person was bringing their best skill or treasure to present to the King. It was the custom that the King would bestow a Nowruz gift on anyone that pleased him. When it was the traveller’s turn, he bowed low to the King and wheeled a large box before him. “In this box, Your Majesty, I have a horse such as you have never seen before. Upon its back I can fly through the air with great speed. And, what is more, I can teach anyone else to do the same.” “Let me see this wonder,” said the King. -
The Arabian Nights Free Download
THE ARABIAN NIGHTS FREE DOWNLOAD Richard Burton,Kenneth C. Mondschein | 750 pages | 24 Nov 2011 | Advantage Publishers Group | 9781607103097 | English | San Diego, United States The Arabian Nights Archived from the original on 6 March Accessed May 9, The fisherman tricks the genie into returning to the jar, and then tells him the story of "The Vizier and the Sage Duban ," detailed below. Try reading the story you are interested in first, then decide if it is appropriate material for your young listener. Comment Name Email Website Save my name, email, and website in this browser for the next time The Arabian Nights comment. The framework works nicely; the harried sultan, initially all sweat and paranoia, set on the path to redemption by his new wife Scheherezade Mili Avital, who is just exquisitewho must The Arabian Nights his interest by telling him stories or be executed. The story ends with the king in such disgust at the tale Scheherazade has just woven, that he has her executed the very next day. Yunan has Duban executed on that suspicion, and Duban gifts him a magic book before The Arabian Nights dies. A further four volumes followed in — The Arabian Nights Parents Guide. Bearman; Th. Today it is the official language of IranTajikistan and one of the The Arabian Nights official languages of Afghanistan. Brother to Shahzaman. Please exercise care when reading them to young children. Crazy Credits. Tauris Parke Paperbacks Kindle edition. The source for most later translations, however, was The Arabian Nights so-called Vulgate text, an Egyptian recension published at BulaqCairoinand several times reprinted. -
VCU Open 2013 Round #2
VCU Open 2013 Round 2 Tossups 1. Just before leaving this location, a story about the origin of certain rivers is told, involving a statue that is made of a gold head, silver chest, brass midection, iron legs, and one clay foot, which stands on Mount Ida. The author of the Trésor is seen at this location, as is an advisor to Frederick II who was blinded for supposed treachery. Another person in this location is depicted as lying on his back in echo of the Thebiad. This location is where Pier della Vigna and Capaneus are encountered. Many former residents of the city of Cahors are found in this location, as is Bruno Lattini. A river of blood in this location contains men who are prevented from climbing out by arrows fired by centaurs. Access to this location is impeded by a pile of boulders, on top of which sits the Minotaur, who begins to bite himself and buck about, upon hearing the name of Theseus. Certain people here are changed into trees gnawed at by the Harpies in this location. For 10 points, name this circle of Hell in the Inferno where those guilty of blasphemy, usury, sodomy, suicide, and murder are found, located just above a circle with many "bolgia." ANSWER: the seventh circle of Hell [or 7, etc.; prompt on Hell or Inferno] 019-13-64-02101 2. A scandal involving this party was revealed by Sheila Fraser and investigated by the Gomery Commission. A member of this party who was killed in a plane crash was Norman Rogers. -
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Revue dramatickyÂch umenõ VydaÂva Kabinet divadla a filmu 1±21±2 1±21±2 Slovenskej akadeÂmie vied RocÏnõÂk 53 ± 2005 ± CÏõÂslo 1±2 OBSAH Hlavny redaktor: Andrej Mat'asÏõÂk RedakcÏna rada: MilosÏ MistrõÂk, JuÂlius PasÏteka, JaÂn SlaÂdecÏek, Ida HledõÂkovaÂ, SÏ TU DIE Karol HoraÂk, NadezÏda LindovskaÂ,JaÂn ZavarskyÂ, Miloslav Bla- hynka, Ladislav CÏ avojskyÂ, Jana Dutkova Ladislav CÏ avojskyÂ: MuzikaÂlovy BednaÂrik ............................... 3 Miloslav Blahynka: Esteticka analyÂza opery a jej mozÏnosti ................. 22 Dagmar InsÏtitorisovaÂ: O divadelnej konvencii .......................... 28 Anton Kret: Z esejõ ozaÂhadaÂch tvorby: Talent alebo Vystupovanie na Olymp .. 32 VladimõÂrSÏtefko: Zabudnuty rezÏiseÂr Ernest StrednÏansky .................. 36 Martin PaluÂch: Film ako zrkadlo subjektu I. ............................. 57 Elena KnopovaÂ: TajovskeÂho ZÏ ensky zaÂkon a Hasprov Tajovsky ............. 69 Technicka redaktorka: Jana JanõÂkova ROZHL' ADY Adresa redakcie: Kabinetdivadla a filmu SAV MilosÏ MistrõÂk: Sarah Kane ± samovrazÏda dialoÂgu ........................ 95 DuÂbravska cesta 9 Dagmar SabolovaÂ-Princic: Ako vypovedat'nevypovedane ................ 106 841 04 Bratislava Slovenska republika ROZHOVOR TelefoÂn: ++ 4212/ 54777193 Andrej Mat'asÏõÂk ± MatuÂsÏ Ol'ha: DivaÂk chodõ do divadla pre odpoved' Fax: ++ 4212/ 54777567 na otaÂzku ako zÏit' ............................................... 114 E-mail: [email protected] STATE Dagmar PodmakovaÂ: OpaÈt' o cÏloveku... na ceste ....................... -
The Influence of the Arabian Nights on Modern Young Adult Literature
Volume 4, issue 7, 2014 e-ISSN: 1857-8187 p-ISSN: 1857-8179 Review Article Linguistics & Literature The Influence of The Arabian Nights on Modern Young Adult Literature: Midwinter Keywords: Cliff hanger, intertexuality, mythogenic, Leitwortstil, narratology, unreliable Blood and In Darkness as Examples narrator, embedded narrative. Brahim Bouali University of North Carolina Abstract The aim of this paper is to avoid the impressionism that may result from ad hoc personal opinion and consider the whole Arabian nights as a multi-dimensional genre or better canon genre from which artists continue to be inspired.The novelty in this study may be summarized in two points. First, it attempts to consider One Thousand and a Night as a canon genre that in a way proves the limitation of classical genre categorization/nomenclature and pushes us to introduce new terms in genre theory such as the notion of the canon genre and even the concept of anti-genre which will be dealt furtively with in this paper. Second, it attempts to study its degree of influence on modern young adult literature represented by Midwinter Blood and in Darkness both Winners, successively, of the 2013 and 2014 Michael L. Printz awards. This linguistic study of a celebrated literary work such as ―the Arabian Nights‖ will fill a gap in the literature and pave the ground towards a better communication between east and west. Derrida and Blanchot2 may be right when they consider genre as an imposition on a text. They seem to agree that a text achieves its singularity status only by ―exceeding genre conventions‖. -
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. -
TALES of the ARABIAN NIGHTS FAQ V1.0 Thanks to Kevin Maroney
TALES OF THE ARABIAN NIGHTS FAQ v1.0 Thanks to Kevin Maroney and Sterling Babcock. THE GOLDEN RULE: The Golden Rule of Tales of the Arabian Nights is, "Whatever makes for the most entertaining story, makes for the best game." The rules are pretty simple, and we don't want to try to address here every possible situation that could come up during the game, so if you come across something where you're not sure how to continue, go for the option that produces the most entertaining story. CONTENTS: 2 Decks Status Cards (112 = 28 x 4) 1 Decks Encounter Cards (55) 1 Decks Treasure Cards (30) 0 Decks Quest Cards (19, Packaged with Treasure Cards) ERRATA IN BOOK OF TALES: Pg 15 paragraph 117: Change Cold to Vengeful Pg 65 613: NO SKILL: Change Matrix to I (Unconfirmed, but general agreement.) ERRATA IN REACTION MATRIX Matrix I: Strange Customs: Honor: Change 1005 to 1004. Matrix I: Bloodthirsty: Honor: Change 2058 to 2059. Book of Tales Minor Typos in the rewards [] area: Pg 52 paragraph 488: NO SKILL: change reward of S to S1 Pg 127 paragraph 1175: EBONY HORSE: missing “you” "If you are not Married…" Pg 128 paragraph 1184: NO SKILL: change Max to Min Pg 131 paragraph 1210: WISDOM: add “Choice of” before Seduction or Beloved Pg 153 paragraph 1427: NO SKILL: add “Use” after “Lose Weapon” Pg 157 paragraph 1466: NO SKILL: change Min to Max Pg 293 paragraph 2257: the heading of this paragraph should be 2557. STATUSES: GENERAL QUESTIONS: Receiving a status twice: You can't have the same status twice at the same time. -
Larry's Handy Dandy SOWPODS Wordolator
Larry's Handy Dandy SOWPODS Wordolator Words with Q not followed by U (84) BUQSHA BUQSHAS BURQA BURQAS FAQIR FAQIRS INQILAB INQILABS MBAQANGA MBAQANGAS MUQADDAM MUQADDAMS NIQAB NIQABS QABALA QABALAH QABALAHS QABALAS QABALISM QABALISMS QABALIST QABALISTIC QABALISTS QADI QADIS QAID QAIDS QAIMAQAM QAIMAQAMS QALAMDAN QALAMDANS QANAT QANATS QASIDA QASIDAS QAT QATS QAWWAL QAWWALI QAWWALIS QAWWALS QI QIBLA QIBLAS QIGONG QIGONGS QINDAR QINDARKA QINDARS QINGHAOSU QINGHAOSUS QINTAR QINTARS QIS QIVIUT QIVIUTS QOPH QOPHS QORMA QORMAS QWERTIES QWERTY QWERTYS SHEQALIM SHEQEL SHEQELS SUQ SUQS TALAQ TALAQS TRANQ TRANQS TSADDIQ TSADDIQIM TSADDIQS TZADDIQ TZADDIQIM TZADDIQS UMIAQ UMIAQS WAQF WAQFS YAQONA YAQONAS Words without Vowels (28) BRR BRRR CH CRWTH CRWTHS CWM CWMS CWTCH HM HMM MM NTH PFFT PHPHT PHT PSST PST SH SHH ST TSK TSKS TSKTSK TSKTSKS TWP ZZZ ZZZS Words with Vowels and One Consonant by Consanant (130) BEAU OBIA OBOE CIAO COOEE ACAI AECIA A DIEU IDEA IDEE ODEA AIDE AIDOI AUDIO EIDE OIDIA EUOI EUOUAE A GEE AGIO AGUE OGEE AIGA EUGE HIOI HUIA OHIA EUOI JIAO AJEE OUIJA KAIE KUIA AKEE LIEU LOOIE LOUIE LUAU ALAE ALEE ALOE ILEA ILIA OLEA OLEO OLIO AALII AULA AULOI EALE AIOLI MEOU MIAOU MOAI MOOI MOUE AMIA AMIE EMEU OUMA NAOI ANOA INIA ONIE UNAI UNAU AINE AINEE AUNE EINA EINE AEON EOAN EUOI EUOUAE PAUA EPEE OUPA QUAI QUEUE AQUA AQUAE RAIA ROUE AREA AREAE ARIA URAEI URAO UREA AERIE AERO AURA AURAE AUREI EERIE EURO IURE OORIE OURIE A SEA EASE OOSE AIAS EAUS TOEA ATUA ETUI AITU AUTO IOTA EUOI EUOUAE EUOUAE VIAE EVOE UVAE UVEA EAVE A WEE I XIA EAUX ZOAEA -
Teaching the Short Story: a Guide to Using Stories from Around the World. INSTITUTION National Council of Teachers of English, Urbana
DOCUMENT RESUME ED 397 453 CS 215 435 AUTHOR Neumann, Bonnie H., Ed.; McDonnell, Helen M., Ed. TITLE Teaching the Short Story: A Guide to Using Stories from around the World. INSTITUTION National Council of Teachers of English, Urbana, REPORT NO ISBN-0-8141-1947-6 PUB DATE 96 NOTE 311p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 19476: $15.95 members, $21.95 nonmembers). PUB 'TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) Collected Works General (020) Books (010) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Authors; Higher Education; High Schools; *Literary Criticism; Literary Devices; *Literature Appreciation; Multicultural Education; *Short Stories; *World Literature IDENTIFIERS *Comparative Literature; *Literature in Translation; Response to Literature ABSTRACT An innovative and practical resource for teachers looking to move beyond English and American works, this book explores 175 highly teachable short stories from nearly 50 countries, highlighting the work of recognized authors from practically every continent, authors such as Chinua Achebe, Anita Desai, Nadine Gordimer, Milan Kundera, Isak Dinesen, Octavio Paz, Jorge Amado, and Yukio Mishima. The stories in the book were selected and annotated by experienced teachers, and include information about the author, a synopsis of the story, and comparisons to frequently anthologized stories and readily available literary and artistic works. Also provided are six practical indexes, including those'that help teachers select short stories by title, country of origin, English-languag- source, comparison by themes, or comparison by literary devices. The final index, the cross-reference index, summarizes all the comparative material cited within the book,with the titles of annotated books appearing in capital letters. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Xavier College Preparatory High School Summer Reading 2020
XAVIER COLLEGE PREPARATORY HIGH SCHOOL SUMMER READING 2020 Dear Incoming AP Literature Senior, We hope that this letter finds you well and anticipating the end of a rewarding year. We hope that you will have many good experiences and make many good decisions before we see you again in August. One of those decisions we would like to help you with is the decision to remain engaged in some kind of academic activity this summer. It is our belief that encouraging students to read year-round is a key element in the development of lifelong learners. While the summer is certainly time to be away from school, we hope that it is not a time to stop reading, thinking, and growing. Required Books: ● How to Read Literature Like a Professor by Thomas C. Foster (2014 Revised Edition) ● The Awakening by Kate Chopin You will have two (2) assignments this summer: Assignment #1: You will read two books this summer (see below). These required works will be part of the overall theme of the year, Literature Through a Critical Theory Lens, where we will focus on the introduction to contemporary critical theory, by applying common approaches to literary analysis - psychoanalytic/Freudian; feminist/gender criticism; new historicism; Marxism; mythological/archetypal; critical race theory; and post-colonial criticism - to various works of literature. 1) How to Read Literature Like a Professor by Thomas C. Foster (2014 Revised Edition) - In order to start our journey of looking at literature through a critical theory lens, we will read through Foster’s classic guide to help us discover hidden truths by looking with the eyes - and the literary codes - of the ultimate professional reader - the college professor.