In The Arabian Nights in Historical Context. Between East and West. ed. by Saree Makdisi and Felicity Nussbaum. Oxford: Oxford University Press, pp. − Tausendundeine Nacht ist eine Sammlung morgenländischer Erzählungen und zugleich ein Klassiker der Weltliteratur. Typologisch handelt es sich um eine Rahmenerzählung mit Schachtelgeschichten. The Arabian Nights (Leather-bound Classics) | Burton, Richard, Mondschein, Ph.D. Kenneth C. | ISBN: | Kostenloser Versand für alle Bücher.
Tales of the Arabian Nights (EN)The Arabian Nights (Leather-bound Classics) | Burton, Richard, Mondschein, Ph.D. Kenneth C. | ISBN: | Kostenloser Versand für alle Bücher. Arabian Nights – Abenteuer aus Nacht ist ein US-amerikanischer Fantasyfilm aus dem Jahr Inhaltsverzeichnis. 1 Handlung; 2 Hintergrund; 3 Kritiken. In The Arabian Nights in Historical Context. Between East and West. ed. by Saree Makdisi and Felicity Nussbaum. Oxford: Oxford University Press, pp. −
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In " Ali Baba and the Forty Thieves," hardworking Ali Baba stumbles upon a thieves' hideout full of treasure, protected by a magic entry.
When Ali Baba accidentally reveals the secret to his richer brother Cassim , Cassim gets trapped in the hideout, and killed by the thieves.
The villains then try to track down and kill Ali Baba, but their plans are consistently thwarted by the quick-witted slave Morgiana.
In "The Three Apples," a fisherman finds a chest in the ocean containing a woman's body. Both her father and her husband try to take the blame, but the caliph discerns that the husband had killed her, believing her unfaithful.
He had brought her three rare apples when she was sick, then got mad when he saw a slave with one of the apples, claiming he had received the fruit from his girlfriend.
Believing the slave, he killed the woman. He then learned that his son had actually given the apple to the slave, who then lied to stir up trouble. The ruler's vizier Ja'far ascertains that his own slave is the culprit, and the caliph pardons everyone.
The same as with The Canterbury Tales which also featured international actors, this movie was shot with silent Arriflex 35 mm cameras and was dubbed into Italian in post-production.
Pasolini went to Salento , particularly the towns of Lecce and Calimera to find his voice actors because he believed the local dialect was "pure" and untainted by overuse in Italian comedies and because he saw similarities between Arabic and the Lecce accent.
The film was shot with Arriflex cameras. Pasolini refused to adopt one of the most conventional aspects of cinematography at that time, the Master shot.
Pasolini never used a Master shot. The scenes are all constructed shot by shot. This guarantees there is no coming back to the story or the characters.
It gives the film a free form aspect that anything can happen. The shots still remain perfectly calibrated despite this however.
The protagonists are often framed frontally, reminiscent of portraits. He wanted his films to reflect the immediate needs that would be required for his visual storytelling.
Pasolini shot a couple scenes that were later discarded from the final film. In the first scene, Nur ed Din gets drunk at a party and then returns home to hit his angry father.
His mother helps him escape to a caravan where he is propositioned for intercourse. In the next scene, Dunya is caught with her lover who is to be executed by her father.
She helps him to escape while dressed as a man. Her father follows in pursuit but she fights him off and kills him.
Now in a tent while still disguised as a man, Dunya propositions her lover for anal intercourse. He replies timidly by stripping only for Dunya to pull off her helmet and reveal it was only a joke.
The reason for keeping these scenes out was probably two-fold, the runtime of the film was already too long but also the scenes depict some of the protagonists in a very unflattering light for a film that is intended as an erotic film with light adventures elements Nur-ed-Din gets drunk and punches his father and then steals some of his money and Dunya cuts her father's throat with a knife.
The cross-dressing reveal of the Dunya story was also already used in the film for the Zummurrud and Nur-ed-Din story.
Pasolini intended with his Trilogy of Life to portray folksy erotic tales from exotic locales. Pasolini was much more positive and optimistic with his Trilogy of Life than he was with his earlier films.
He was notoriously adversarial and his films often touched on depressing themes. None of that is in this trilogy which stood as a new beginning.
Of note is that this is the only film of the trilogy to not be overtly critical of religion. Whereas the previous two were highly critical of the church and clergy, Islam plays very little into this film though in a deleted scene, Nur-ed-Din's father scolds him for drinking which is prohibited in the Koran.
Allah's name is invoked twice in the entire film and none of the characters are seen going to mosque or performing any religious acts of any kind.
The characters are very irreligious and the films emphasis on folk superstitions such as ifrits and magic lends emphasis to this. It is represented in print by the so-called Calcutta I — and most notably by the 'Leiden edition' Texts of the Egyptian tradition emerge later and contain many more tales of much more varied content; a much larger number of originally independent tales have been incorporated into the collection over the centuries, most of them after the Galland manuscript was written,  : 32 and were being included as late as in the 18th and 19th centuries, perhaps in order to attain the eponymous number of nights.
All extant substantial versions of both recensions share a small common core of tales: . The texts of the Syrian recension do not contain much beside that core.
It is debated which of the Arabic recensions is more "authentic" and closer to the original: the Egyptian ones have been modified more extensively and more recently, and scholars such as Muhsin Mahdi have suspected that this was caused in part by European demand for a "complete version"; but it appears that this type of modification has been common throughout the history of the collection, and independent tales have always been added to it.
No copy of this edition survives, but it was the basis for an edition by Bulaq, published by the Egyptian government. Each volume contained one hundred tales.
Soon after, the Prussian scholar Christian Maximilian Habicht collaborated with the Tunisian Mordecai ibn al-Najjar to create an edition containing nights both in the original Arabic and in German translation, initially in a series of eight volumes published in Breslau in — A further four volumes followed in — In addition to the Galland manuscript, Habicht and al-Najjar used what they believed to be a Tunisian manuscript, which was later revealed as a forgery by al-Najjar.
This claimed to be based on an older Egyptian manuscript which has never been found. In , a further Arabic edition appeared, containing from the Arabian Nights transcribed from a seventeenth-century manuscript in the Egyptian dialect of Arabic.
The first European version — was translated into French by Antoine Galland from an Arabic text of the Syrian recension and other sources.
Galland's version of the Nights was immensely popular throughout Europe, and later versions were issued by Galland's publisher using Galland's name without his consent.
As scholars were looking for the presumed "complete" and "original" form of the Nights, they naturally turned to the more voluminous texts of the Egyptian recension, which soon came to be viewed as the "standard version".
The first translations of this kind, such as that of Edward Lane , , were bowdlerized. Burton's original 10 volumes were followed by a further six seven in the Baghdad Edition and perhaps others entitled The Supplemental Nights to the Thousand Nights and a Night , which were printed between and It has, however, been criticized for its "archaic language and extravagant idiom" and "obsessive focus on sexuality" and has even been called an "eccentric ego-trip " and a "highly personal reworking of the text".
Later versions of the Nights include that of the French doctor J. Mardrus , issued from to It was translated into English by Powys Mathers , and issued in Like Payne's and Burton's texts, it is based on the Egyptian recension and retains the erotic material, indeed expanding on it, but it has been criticized for inaccuracy.
In a new English translation was published by Penguin Classics in three volumes. It is translated by Malcolm C.
Lyons and Ursula Lyons with introduction and annotations by Robert Irwin. It contains, in addition to the standard text of Nights, the so-called "orphan stories" of Aladdin and Ali Baba as well as an alternative ending to The seventh journey of Sindbad from Antoine Galland 's original French.
As the translator himself notes in his preface to the three volumes, "2100o attempt has been made to superimpose on the translation changes that would be needed to 'rectify' Moreover, it streamlines somewhat and has cuts.
In this sense it is not, as claimed, a complete translation. Scholars have assembled a timeline concerning the publication history of The Nights :   .
The One Thousand and One Nights and various tales within it make use of many innovative literary techniques , which the storytellers of the tales rely on for increased drama, suspense, or other emotions.
The One Thousand and One Nights employs an early example of the frame story , or framing device : the character Scheherazade narrates a set of tales most often fairy tales to the Sultan Shahriyar over many nights.
Many of Scheherazade's tales are themselves frame stories, such as the Tale of Sinbad the Seaman and Sinbad the Landsman , which is a collection of adventures related by Sinbad the Seaman to Sinbad the Landsman.
Another technique featured in the One Thousand and One Nights is an early example of the " story within a story ", or embedded narrative technique: this can be traced back to earlier Persian and Indian storytelling traditions, most notably the Panchatantra of ancient Sanskrit literature.
The Nights , however, improved on the Panchatantra in several ways, particularly in the way a story is introduced.
In the Panchatantra , stories are introduced as didactic analogies, with the frame story referring to these stories with variants of the phrase "If you're not careful, that which happened to the louse and the flea will happen to you.
The general story is narrated by an unknown narrator, and in this narration the stories are told by Scheherazade. In most of Scheherazade's narrations there are also stories narrated, and even in some of these, there are some other stories.
Within the "Sinbad the Sailor" story itself, the protagonist Sinbad the Sailor narrates the stories of his seven voyages to Sinbad the Porter.
In yet another tale Scheherazade narrates, " The Fisherman and the Jinni ", the "Tale of the Wazir and the Sage Duban " is narrated within it, and within that there are three more tales narrated.
Dramatic visualization is "the representing of an object or character with an abundance of descriptive detail, or the mimetic rendering of gestures and dialogue in such a way as to make a given scene 'visual' or imaginatively present to an audience".
This technique is used in several tales of the One Thousand and One Nights ;  an example of this is the tale of " The Three Apples " see Crime fiction elements below.
A common theme in many Arabian Nights tales is fate and destiny. Italian filmmaker Pier Paolo Pasolini observed: . So a chain of anomalies is set up.
And the more logical, tightly knit, essential this chain is, the more beautiful the tale. By 'beautiful' I mean vital, absorbing and exhilarating.
The chain of anomalies always tends to lead back to normality. The end of every tale in The One Thousand and One Nights consists of a 'disappearance' of destiny, which sinks back to the somnolence of daily life The protagonist of the stories is in fact destiny itself.
Though invisible, fate may be considered a leading character in the One Thousand and One Nights. Early examples of the foreshadowing technique of repetitive designation , now known as "Chekhov's gun", occur in the One Thousand and One Nights , which contains "repeated references to some character or object which appears insignificant when first mentioned but which reappears later to intrude suddenly in the narrative.
Another early foreshadowing technique is formal patterning , "the organization of the events, actions and gestures which constitute a narrative and give shape to a story; when done well, formal patterning allows the audience the pleasure of discerning and anticipating the structure of the plot as it unfolds.
Several tales in the One Thousand and One Nights use the self-fulfilling prophecy , as a special form of literary prolepsis, to foreshadow what is going to happen.
This literary device dates back to the story of Krishna in ancient Sanskrit literature , and Oedipus or the death of Heracles in the plays of Sophocles.
A variation of this device is the self-fulfilling dream, which can be found in Arabic literature or the dreams of Joseph and his conflicts with his brothers, in the Hebrew Bible.
A notable example is "The Ruined Man who Became Rich Again through a Dream", in which a man is told in his dream to leave his native city of Baghdad and travel to Cairo , where he will discover the whereabouts of some hidden treasure.
The man travels there and experiences misfortune, ending up in jail, where he tells his dream to a police officer. The officer mocks the idea of foreboding dreams and tells the protagonist that he himself had a dream about a house with a courtyard and fountain in Baghdad where treasure is buried under the fountain.
The man recognizes the place as his own house and, after he is released from jail, he returns home and digs up the treasure. In other words, the foreboding dream not only predicted the future, but the dream was the cause of its prediction coming true.
Ja'afar, disturbed and upset flees Baghdad and plunges into a series of adventures in Damascus , involving Attaf and the woman whom Attaf eventually marries.
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Ancient Arabia. A youth is chosen by a beautiful slave girl to be her new master; she is kidnapped and they must search for each other.Deine Frage. Genau: Tales Touch übersetzung the Arabian Nights EN.