جستجوی مقالات مرتبط با کلیدواژه « a thousand » در نشریات گروه « ادبیات و زبان ها »

“The Tale of King Numan and His Sons” is one of the captivating and multi-layered stories from the One Thousand and One Nights collection. On its surface layer, the tale portrays the historical theme of war between Muslims and Christians. Zat al-Dawahi, the main female character, disguised as a male religious figure, conceals her gender and religion, deceiving the Muslim army. Socially, the story primarily focuses on her feminine cunning, ultimately leading to her comeuppance. However, on a deeper layer, when viewed through an archetypal lens, the tale reflects the societal lack of anima (the feminine element) and illustrates the collective conscious and unconscious fragmentation, confirming this theme through the rule of two kings over one realm at the tale’s end. The descriptive-analytical research method based on library sources has been employed. Archetypally, Zat al-Dawahi is a negative “anima (exemplary mother)” who, at times throughout the story, dons a “veil” and vividly illustrates the societal shadows. Albeit, with a slight change in perspective on the roles and positions of characters, she can also be considered a “trickster hero”. Zat al-Dawahi represents the women of her society: those whose feminine traits (love) have been disregarded in a patriarchal system and marginalized. Consequently, her masculine element (animus) is activated, and due to her animosity, she manifests herself as vengeful, fearless, ruthless, and cunning.

One of the stories of the famous book One Thousand and One Nights is called "Ala'addin Abolshamat". This story narrates Ala’addin’s adventure from his birth in Egypt to his trip to Baghdad and permanent marriage to the girl with whom he was supposed to be with for just one night as well as other adventures until the end of his life. A part of this story has become the source of legends with the same structure in Persian folk tales. In this article, ten types of these narrations have been identified and analyzed. Some of these stories have been published in collection of anecdotes, but most have remained unknown. These narrations have more or less some differences in the method and details of narration as well as linguistic and literary issues. Although the general structure of the stories is the same, the narrators have inadvertently or intentionally made changes in the details over time; maybe because it was more attractive for the audience or the story became more believable for the Iranian audience. By analyzing the details of these narrations, we can get some interesting points. From a broader perspective, we can determine the order of changes in the narratives based on the same details.

One of the cases of research in the field of comparative literature is the study of cinematic adaptation. The scope of the present article is the study of John Rawlins' special interpretation of One Thousand and One Nights in the form of its recreation in the movie Arabian Nights (1942). This movie, which is named after the book, One Thousand and One Nights, has distanced itself from One Thousand and One Nights and has distorted it. This distortion or change inheres in the adaptation because Rawlins does not want to be completely faithful to the story and practically sacrifices fidelity to his creativity. The main issue of the research is that since the director of the film is a Westerner who represents the East, the question is whether this change is ideological and the film should be examined in the field of Orientalism studies. Has he distorted the East? The results of the research show that Rawlins has completely metamorphosed Shahrazad's character and introduces her as a female dancer who dances for Arabs and enchants them with her dance. Rawlins maybe interpreted as to have distorted the East and through this distortion of the East Rawlins maybe interpreted as to have presented stereotypical and negative images of the Orient. Rawlins’s adaptation maybe interpreted to portray the Orientals as autocrats, law-breakers, emotional, superstitious and authoritarian people.

Dynamics refers to the change in the attitude and actions of the characters things like: legerdemain, journey, material and spiritual tools, the role of fairies, superhuman powers in the story, etc. which are among the factors that cause the dynamism of the character of the lover and the beloved. In this article, the authors describe the above-mentioned factors in the twelve love stories of One Thousand and One Nights. At first, it was thought that the beloved had less action and dynamism than the lover, but we found that the beloved uses all the factors to achieve the lover in "crisis" and "Infrastructure". Therefore, the present study, which has been done analytically-descriptively, with a look at the intellectual infrastructure of the work, is an answer to the question: why the narrator sometimes has a sociological and semantic approach (attitude) to the formation of characters and sometimes to the superstructure and functions and actions pays attention to the characters? The results of the research show that in the story of One Thousand and One Nights, wherever the lover reaches a state of stagnation, the lover with a clear plan makes him dynamic and active. Besides, whenever the lover loses the beloved somewhere in the story, he tries to include a helper like a fairy in the process of telling the story in order to encourage and motivate the lover to travel. However, the lover of finds his lost circle and flourishes from inside and is freed from "individuality".

The Thousand and One Nights, with its varied features based on the process of narration, description and dialogue between the characters in the space of time and place, reflects the reality of society in its various aspects, where the contemporary novelist seeks to enhance his novelistic effectiveness by being inspired by The Thousand and One Nights, as a source text, with the refinement of his literary faculties and his mind for creation. “Soulaf Baghdad” by Muhsin Jassim al-Musawi, the Iraqi critic and novelist, who borrowed “Baghdad” to represent the bleak Iraqi reality after the American occupation, is only the evidence of his direct, creative and indirect influence on the narrative climates of the tales of the nights from the stylistic point of view. For the spread of his ideas, his novelistic or creative experience, and his critical skill, as a literary critic, he is immersed in the concepts and techniques of narration simultaneously. Getting to know the novelist's motive for inspiration from the narrative framework of The Thousand and One Nights, explains the necessity of conducting the current research using the descriptive-analytical method. It seems to us that the narrative structure of the novel, with its overlapping narrative structure, secret places, and the presence of eccentric characters, bringing poetry, associated with the thousand and one nights. It can be said that this influence is a driving force for a project that aims to draw the atmosphere of Baghdad, the tragic past of the fifties and Baghdad, its unknown and frightening future, next to the conditions and facts of “Soulaf” with its people, with several narrations in one narration by the narrator of Scheherazade, between reality and imagination. As for the content of the fictional work, It can be said that according to the author's critical viewpoint and the many books he wrote in the field of criticism of The Thousand and One Nights and Arabic narratology has provided his novel with an artistic image with a new reading of The Thousand and One Nights and the mechanisms of intellectual vision in it.

Research on myths and old or new literary works leads to stories about the battle between relatives, especially the battle between the son and the father. These stories have emerged in multiple genres including, myths, tragedies, epics, and religious narratives. When it comes to form and structure, they have a lot of similarities, however, they are significantly different in their particular characteristics that distinguish them from others. For instance; the story of Rostam and Sohrab in Shahnameh and the story of Badr-al-din and Ajaib from the stories of One Thousand and One Nights which belong to two different literary types. This research, considering that one is a tragedy and the other is a myth, examines their similarities and differences. This research is conducted using an analytical-descriptive method and is based on the American school of comparative literature studies. It. Precisely, targets the general structure of the two stories by emphasizing the subject of the son-father battle. As the findings have indicated, the two stories are similar in elements and some themes Such as the anonymity of the father, marriage for one night, the absence of the father and searching him, the quarrel between the son and the father, etc. However, the difference between the two stories is in the manner of the quarrel. Additionally, the battle in the story of Rostam and Sohrab is a national issue, but in the story of Badr-al-din and Ajib, it is considered as a personal issue. In the story of Rostam, the proposal of marriage is by a woman means Tahmineh and ,finally, the two stories are full of educational, training and moral benefits.

"One Thousand and One Nights” The Sublime Example of Grotesque in Oriental Folk Literature Abstract Heeding the modern criticism and literary theory is an effective method for reading a text and achieving the deep meaning of it. Such an approach causes the reader’s vast understanding too. Therefore, nowadays the study of literature influenced by modern critical theories is profoundly attractive for researchers. The classic literary works are no exception. “One Thousand and One Nights” as the most comprehensive collection of Middle Eastern folk tales has always drawn sociologists’, anthropologists’, art and literature researchers’ attention to itself. Hence, by studying and analyzing it’s long and short tales and defining Grotesque features of them (e.g. incompatibility, disharmony, funny, terrifying and hideous issues) readers will respectfully find out that “One Thousand and One Nights” is not a collection of mere nonsensical absurd jokes. This paper is attempting to clarify that due to various contents, combination of comedy and tragedy, literary delicacy, mysterious themes and so on “One Thousand and One Nights” is the sublime example of Grotesque in Oriental folk literature and oral tradition.

Storytelling and narration are ways to better understand the environment around us and the world in general. That is, the human mind, with its literary power and narrative processing, regulates irrelevant and meaningless data. The study of a story based on its construction is a linguistic study and is both descriptive and an explanation of the literary construction and narrative sham. The purpose of this collection is to study the construction of the story - especially its theme-based on its linguistic features, i.e., narrative opening. From the mysterious world of One Thousand and One Nights, the most impressive themes were selected, and then the opening was described in the selected themes. Needless to say, choosing these themes does not mean that there is no other theme; But also, the choice of themes under the headings of love, crime, sightseeing, story Illusions, and wisdom are evident in most of the stories of One Thousand and One Nights. Rather, a story can have several different themes. In the author's view, the theme was more colorful, selected, and elaborate.

Sacrifice is among the oldest religious rituals that has received attention by human beings and its life can be tied to the length of human life. One Thousand and One Nights is important and necessary because it shows a deeper understanding of the human's beliefs and convictions during the past centuries. Various researches have been done about the sacrifice and its types in Persian texts. This article aims to study the types of sacrifices (especially human ones), their goals and methods in the stories of One Thousand and One Nights with a descriptive-library method with content analysis tools and also referring to scientific sources and references, journals, and databases. The results show that all kinds of sacrifices (human and animal) have been common among all religions and its purpose was to ward off calamity, fear of the wrath of the gods, legitimizing the need, a religious practice on the feasts of different religions, making aqeeqah and so on. This ritual act changed after the emergence of divine religions and human intellectual growth, and animals replaced man. It is still prevalent in various communities, especially Muslims, and is becoming something not related to killing the alive creatures.

The art of animation, in recent decades, has turened out to a lucrative indusy; hence attractig many audiences across the globe through its enchantment. Adapting from literary texts is one of the strategies applied by  cinema and animation industry to produce an attractive movie. One Thousand and One Night is regarded as one of the most important samples of these foresaid texts that its vast distribution has made this work significant for many audiences in Iran, India, the Arab world and the West.  This study, by highlighting the imaginative and fantasy aspect- as one of the most important prerequisites for animation- of the anecdote of "Ebony Horse" , intends to adapt the aectode with the structure of the animated screenplay in a descriptive-analytical approach to explain the elements that are influential in making its animation. Furthermore, it aims to indicate the capacities of this anecdote to the audience particularly to the directores by highlighting aspects such as: subject and story; utilizing the structure of Aristotelian triad theatrical scenes including dilemma, crisis, climax, and solution; practical and suspenseful conflicts; charactrization based on dialogue and action as well as interesting fantasy scenes and situations suitable for animation, the characters show the audience the capabilities of this anecdote.

Abolfath Khan Dehghan Samani is one of the prominent poets of the literary return style of the Qajar period who has several works in order. His masterpiece is the poem Hazaravik Shab, in which the poet has arranged the translation of the story Hazaravik Shab by Abdul Latif Tassoji. In this research, with the aim of understanding the ability and art of the Samani peasant"s poetry, the style of his poem Hazaravik Shab is introduced and examined from the linguistic, literary and intellectual aspects.

Descriptive and analytical research method is the method used by the authors in this research. Also, 400 bits of this system have been selected for counting and plotting the frequency table.

The results indicate that in the system of Hezarovik Shab Dehghan Samani, the abundance of repetition and punctuation has caused the rhymes to be original. The variety of rhyming syllables and the existence of various phonetic coordinates, many puns and repetitions and other verbal arrays show the prominent level of the poet"s language. The poet has extensively added to the literary richness of the system in his use of various expressive arrays, the most important of which are proportionality, contradiction, and allusion, as well as his artistic use of imaginary forms (metaphor, simile, irony, and exaggeration).

The poet has been more imitative in using imaginary forms and in rare cases, he has had innovations and initiatives. At the intellectual level, while the poet"s religious ideas and Shiite beliefs have been seen, his inclination to mysticism is also evident. Extensive use of terms from various sciences indicates his abundant knowledge and information, and the abundance of customs and folk beliefs indicate that the poet is popular.

For many centuries, there has been a myth of a creature with a female head and snake body called Shamaran among the Iranian Kurdish people. Respect for this myth has always been associated with special rituals. In the book One Thousand and One Nights, which is one of the most important literary and cultural works of the Orient, there is a story called "Queen of Snakes and Haseb Karimuddin", which is very similar to the story of Shamaran. The traits of these two stories are also a recalling of the myths. Undoubtedly, many folk tales, beliefs and cultures are deeply connected with ancient myths. The main aims of this study is to investigate the role of Shamaran myth in the formation of the story of the "Queen of Snakes" and to find the common roots of the two. Therefore, the main theme of this story, which is human-snake, is examined. The findings of this research, which has been done in a descriptive-analytical way, showed that the story of the "Queen of Snakes" is based on the myth of Shamaran, and this myth is rooted in religion and myth of the most important Iranian civilizations, the ancient Elam.

Black satire is a feature of surrealist works and is about situations and subjects that are often more serious, frightening, and sad than can be laughed at. This type of humor is often accompanied by death, hatred, suffering, fear, sorrow, and emptiness, with a sarcastic look at morbid, horrific, and horrific situations. This article, with a descriptive-analytical method, intends to show some of their features in Persian literature by mentioning examples from the book "One Thousand and One Nights" after defining black humor and its features. According to the results of this study, the most characteristic features of black humor in this book are features such as: contradiction and contradiction, exaggeration and exaggeration, surrealist descriptions, metamorphosis and animals, tragedy-comedy, etc., which can be seen in prose more than poetry. . Burton describes black humor as a dignified laugh and a mask of despair, but in the black satire of "Thousand and One Nights", blind hatred and destiny have no absolute dominance over man and love and faith.

This survey attempts to demonstrate how the perception-sense process has been formed in the narration- process of One Thousand and One Nights via the study from Action Pattern and Semantic Square to Tension Square to find out how the function of story-into-story narrative structure in One Thousand and One Nights has passed from the Semantic Square and penetrated into the Tension Process, transformed the discursive condition, led to produce the fluid meanings and ultimately made up the tension of the Extensity and Intensity. In One Thousand And One Nights, everything has commenced from a deficiency. Emotional crisis that made Shahriyar as a vindictive actor, appeared due to the external oppression; but the narration process has begun by the presence of Sharzad as an intelligent narrator. Narration has displayed its function as elimination of deficiency via the presence of the narrator along with Shahriyar . The continual presence of narrator with her purposeful discourse has been suspending the abnormal condition, and the narration- process has led to semantic transcendence and created tension between the main actors. Disjunction from the revenge object and conjunction to the valuable object that have reprodued the relationship between Shariyar and his existence, clarifies a new movement and at last causes the transformation and reproduction of signs. Shahrzad has transformed the abnormal psychic condition of Shahriyar by means of the narrative language and ultimately, the injection of energy into the discursive space caused to change the stable and contracted situation into the redemptive situation .

Interdisciplinary studies and psychoanalytic criticism have recently opened up new horizons for researchers. The Thousand and One Nights has been evaluated in various ways so far, but what has been overlooked is the psychoanalytical dimension of the stories. The context of the “Story of King Shahryar and His Brother Shah Zaman” illustrates a problem unique to civilization, whose examination can provide the readers with insight into latent meanings. Although Freud, the father of psychoanalysis, used to read the works of poets and writers, including fantastic and suprarealist stories and claimed that he and those writers were both inspired by the same origin, albeit in two different ways (Shariat Kashani, 2014: 13), psychoanalytic criticism does not have the prominent place it deserves in contemporary literature, or is harshly criticized by those who do not support theorists such as Freud, Lacan, and others. The analytical power of psychoanalysis and its amenity to interpretation led us to decipher the core story of The Thousand and One Nights according to Lacan’s theories. Despite their difficulty, Lacan’s theories contain neither the misunderstandings around Freud’s concepts nor the sense of superiority one finds in Jung’s antirealist and mystical psychology. This paper deals with the origins of the story of Shahryar and his brother Shah Zaman from a Lacanian perspective.
 

One Thousand and One Nights and One thousand and one days are Persian folk literature and the meaningful part of the historical memory of the Iranian people. These two works, which were created in the context of the Persian language and the Iranian (Himself)  Semiosphere to create the norm and order of the cultural system, In the translation process They surprised other culture and Over time, they greatly influenced world literature. These two works, with the Insignia similar, signifier arrangement and semantic guidance in the Semiosphere and similar texts in Persian tales, making this question , how is the relation the relationship between these two works and in memory of the text of world literature? So, this research has a descriptive analytical approach based on Yuri Lutman's theory of cultural semiotics: Study of bilateral and calico relationship between different sign systems, Affected by examining translations and texts of these two works In the cultural memory of world literature. and concludes: The cultural signs of these works has the representation of conflict, tolerance and Iranian man’s dialogue with nature, society and with Adjacent cultures. The translation of these stories was the discourse of Iranian culture with other cultures. The beginning of this discourse was accompanied by the repetition and sequence of translation production, Then, by influencing the method of producing new texts based on the pattern of Iranian stories, the automation and its reflection in other cultures, it caused the evolution of those cultures.

Proverbs have a valuable place in Persian language and literature. Sometimes a very short proverb, is like a book of wisdom replete with important and profound contents of prudence and knowledge. The necessity and importance of proverbs is due to the fact that they express the social way of life, way of thinking and customs of nations; and their study shows a deeper understanding of the beliefs and conventions of our ancestors in the past. Various researches have been done regarding the use, role and quality of proverbs in Persian poetry and prose. This article has been carried out using analytical-descriptive method and for gathering data library method is used. The purpose is to study the role, quality and effect of gnomic verse in the stories of One Thousand and One Nights. The results show that in the book One Thousand and One Nights, Gnomic verse (i.e. proverbs) in Persian language and literature are used proportionately and indirectly to further strengthen and enrich the words.

In recent years, we have witnessed the introduction of the word social capital in discourses and scientific documents in various fields. Social capital is discussed as a factor for success in various areas of life with social health. The justification for this focus on social capital is based on the role it plays in the production and increase of human capital, and for this reason today it has a special place in the study and development of social indicators and development by reputable global organizations.

The research method in this article is descriptive-analytical. First, a complete study of the tales of One Thousand and One Nights from the version of Abdul Latif Tassoji has been done, and then the sources related to social capital from Pierre Bourdieu"s point of view have been explored.

"One Thousand and One Nights" is one of the books before the Achaemenid period, which in addition to literary and political issues is of special importance in terms of social and moral issues and in the field of social capital contains significant elements and components. Due to the development of new knowledge and theories in the field of social capital presented by experts, in this study, the intellectual level of Thousand and One Nights drawings from a new perspective and based on the theories of the twentieth century French sociologist, Pierre Bourdieu, is examined.

The results of this study indicate that the indicators of social capital used in these tales from the perspective of the three levels of micro, medium, and macro include religious beliefs, trust, hope, forgiveness and forgiveness, patience, cooperation and cooperation.

Transformation of the characters in the story is a feature that can be observed in literary texts and generally studied under the heading of “metamorphosis”. Metamorphosis increases the mythical and imaginary aspects of the text and it is a reflection of human being dreams and an image of the bound between imagination and the real world. It could be defined as a creation of the people’s need for dominance over other people, creatures, and phenomena. Analyzing this subject can be useful to figure out the common culture among nations and can be a proper background for studying literal and cultural bounds for it is seen in the literature of several nations. This article studies different types of metamorphosis in Nart-Nameh</em> and One Thousand and One Nights </em>based on a comparative-analytic approach. Nart-Nameh</em> is a collection of myths about bravery of the Nart nation and the heroes of the North Caucasus and the shores of the black sea. These myths go back to two thousand years B.C. that were verbally transferred from one generation to the other. These myths are about the life’s important aspects such as loving motherland, fighting against evil, helping the week, etc. One Thousand and One Nights</em> is one of the brightest eastern myths which is a mixture of Indian, Arabic, and Persian literatures. This article analyses the differences and commonalities in these books considering metamorphosis.</span>

One Thousand and One Nights is of great significance among many different nations in a way that many works in various genres have been inspired by it.  Each of these works has artistically recreated the structure and content of the original story based on the author's views towards life and psychosocial needs. The present paper is a descriptive analytical research and offers a comparative study of the play Shahrzad by Tawfiq al-Hakim (1898-1987) and the screenplay Shahrzad (the Woman of One Thousand and One Nights) by Tahmineh Milani (1960-) based on Erich Fromm's (1900-1980) theory of personality. The findings indicate that according to Fromm's theory of character, character orientations in both works are mostly of Receptive type, even though Shahrzad has both Receptive and Marketing orientations, the Receptive orientation dominates the Marketing one. Tawfiq al-Hakim's play has a philosophical and ontological viewpoint and searches for the discovery of truth by combining pure wisdom and insight (heart) and, in this respect, is different from Milani's narrative. However, both these works have similarities in their subject matters, themes and their central characters. The king's journey is fundamentally different in these works, in a way that Shahriar's journey in Tawfiq al-Hakim's play is philosophical -mystical in nature, while in Milani's screenplay it is a literal, ordinary trip.