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In a world ruled by ancient magic, a formidable enemy long thought extinct reappears, throwing the kingdoms into disarray. With a thousand suns' worth of power, this force appears invincible, prompting the monarchs to wonder: How can you fight a war you can't win? How can you kill a soul that never dies, especially when theyre a friend?
The Arab world's greatest folk stories re-imagined by the acclaimed Lebanese novelist Hanan al-Shaykh, published to coincide with the world tour of a magnificent musical and theatrical production directed by Tim Supple
Almost three centuries have passed since the oldest manuscript of The Thousand and One Nights arrived in Europe. Since then, the Nights have occupied the minds of scholars world-wide, in particular the questions of origin, composition, language and literary form. In this book, Muhsin Mahdi, whose critical edition of the text brought so much praise, explores the complex literary history of the Nights, bringing to fruition the search for the archetype that constituted the core of the surviving editions, and treating the fascinating story of the growth of the collection of stories that we now know as The Thousand and One Nights.
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A lively discussion of the sexual life contained in the Arabian Nights, appealing to academics and general readers.
In a 2004 meeting marking the Arabian Nights' tercentennial at the Herzog August Library in Wolfenb'ttel, Germany, nineteen international scholars presented their work on the transnational aspects of the Arabian Nights. This volume collects their papers, whose topics range from the history of the Arabian Nights manuscripts, to positioning the Nights in modern and postmodern discourse, to the international reception of the Nights in written and oral tradition. Essays are arranged in five sections. The first section contains essays on Galland's translation and its "continuation" by Jacques Cazotte. The second section treats specific characteristics of the Nights, including manuscript tradition, the transformations of a specific narrative pattern occurring in the Nights and other works of medieval Arabic literature, the topic of siblings in the Nights, and the political thought mirrored in the Nights. The essays in the third section deal with framing in relation to the classical Indian collection Panchatantra and as a general cultural technique, with particular attention to storytelling in the oral tradition of the Indian Ocean islands off the African coast. The two concluding and largest sections focus on various aspects of the transnational reception of the Nights. While the essays of the fourth section predominantly discuss written or learned tradition in Hawai'i, Swahili-speaking East Africa, Turkey, Iran, German cinema, and modern Arabic literature, the fifth section encompasses essays on the reception and role of the Nights in the oral tradition of areas as wide apart as Sicily, Greece, Afganistan, and Balochistan. A preface by Ulrich Marzolph unifies this volume. In view of the tremendous impact of the Arabian Nights on Western creative imagination, this collection will appeal to literary scholars of many backgrounds.
Every night for three years the vengeful King Shahriyar sleeps with a different virgin, executing her next morning. To end this brutal pattern and to save her own life, the vizier's daughter, Shahrazad, begins to tell the king tales of adventure, love, riches and wonder - tales of mystical lands peopled with princes and hunchbacks, the Angel of Death and magical spirits, tales of the voyages of Sindbad, of Ali Baba's outwitting a band of forty thieves and of jinnis trapped in rings and in lamps. The sequence of stories will last 1,001 nights.
Lo-Melkhiin killed three hundred girls before he came to her village, looking for a wife. When she sees the dust cloud on the horizon she knows he has arrived. She knows he will want the loveliest girl: her sister. She vows she will not let her be next. And so she is taken in her sister's place, and she believes death will soon follow. But back in their village her sister is mourning. Through her pain, she calls upon the desert winds, conjuring a subtle unseen magic, and something besides death stirs the air in it's place. Lo-Melkhiin's court is a dangerous palace filled with pretty things: intricate statues with wretched eyes, exquisite threads to weave the most beautiful garments. She sees everything as if for the last time. But the first sun sets and rises, and she is not dead. Night after night Lo-Melkhiin comes to her, and listens to the stories she tells and day after day she is awoken by the sunrise. Exploring the palace, she begins to unlock years of fear that have tormented and silenced a kingdom. Lo-Melkhiin was not always a cruel ruler. Something went wrong. The words she speaks to him every night are given strange life of their own. She makes things appear. Little things, at first: a dress from home, a vision of her sister. With each tale she spins, her power grows. Soon she dreams of bigger, more terrible magic: power enough to save a king, if she can put an end to rule of a monster.
This volume is centred around the idea that the aim of literature is to build bridges, to bring people together, and to highlight underlying similarities despite the apparent differences in world literatures. As such, the book focuses on the moral purpose of literature and its tendency to overcome divisive forces. It supports the idea of cosmopolitanism, a re-working of the ancient Indian ideal of Vasudhaiva Kuttumbakam, or ‘the world is my home’, a concept close to the African notion of ‘ubuntu’, which refers to an open society (as against a small, enclosed one) and relates to the essence of being human and working for the benefit of a larger community. The book uses examples from texts across geographical and cultural borders, beginning with classics like the Indian epics, the Panchatantra, the Kathasaritsagar, and the Arabian Nights, before moving on to contemporary texts in the age of information technology. Although these may originate against diverse backdrops, they have a commonality that cannot be denied. The stories we tell, the tales we love to hear and repeat, all share certain features which reach out across boundaries of time and space, thus bridging the gap between people and places. Living in today’s globalized world, there is a need to study literature in a broader perspective and to be aware that, though stories may be rooted in a particular time and place, they are still a part of the world heritage and comprise what is called world literature. The book will be of particular interest to scholars studying the art of storytelling, as well as the lay reader passionate about literature.