جستجوی مقالات مرتبط با کلیدواژه « one nights » 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.

Jacques Derrida's deconstruction is both the result and extension of Dusosaurian constructivism which is organized through the precise and accurate defeat of contradictory semantic forces in the text. Thus, the text's claim diminishes in significance, and the text itself gains more significance. Due to the text's abundance of empty spaces, unspoken words, and permeable gaps and It is the reader's duty to complete these spaces and unspoken spaces throughout the process of continuous confirmation. The current study, conducted through a descriptive-analytical method, analyzed the story of Abu Qir and Abu Sir for a period of one thousand and one nights to gain a new reading and a deeper understanding of how stories are created, and to acknowledge the social and cultural influences that shape it. And by revealing the hidden contradictions and angles in the story through the cues within the text, certainty has broken the original meaning of the story and the results indicate that the neither desirable fictional character Abu Sir is, good, or absolutely good, nor Abu Qir have the personality of honor, evil, or absolutely evil but sometimes both thoughts and actions are measurable, contrary to the appearance of the text. Breaks, empty spaces, and holes also contribute to its fragility, impressionability, and unreliability. The absence of content for comparison means that parts of the story were relied upon by a third person, furthermore, utilize the techniques of rhetoric, such as the concept of Simile for singularity and altering meanings, are semantic proof holes in this work. and establish the foundation for breaking the narrative structure of the story.

One of the parts of the stories of One Thousand and One Nights is the story of the "Jewish tailor and the hunchback". In this section, it is mentioned that a Jewish person was worried about unintentionally causing the death of a hunchback and was afraid that if the Muslims found out about his work, they would "remove the Jewish generation from the earth". "Violence" can be observed in this passage. In a comparative approach, in order to find the roots of this phrase, this article has gone through several versions and translations of the stories of the Thousand and One Nights and has come to the conclusion that the sentence in question did not exist in its Persian root before it was translated into Arabic, and when it was translated again from Arabic to Farsi has been added to it. When the version of One Thousand and One Nights was under Arab control and Harun al-Rashid took possession of it, this sentence was also added to it sooner or later; That is, there was no such sentence in its original version.

 One of the parts of the stories of One Thousand and One Nights is the story of the "Jewish tailor and the hunchback". In this section, a Jewish person is worried that he accidentally caused the death of a hunchback and is afraid that if the Muslims find out about his work, they will "remove the Jewish generation from the earth". "Violence" can be observed in this passage. In a comparative approach, in order to find the root of this phrase, this article has gone through many versions and translations of the stories of the Thousand and One Nights and came to the conclusion that the sentence in question did not exist in its Persian root before it was translated into Arabic, and when it was translated again from Arabic to Farsi has been added to it.

Minimalism is the result of the social, political and cultural developments of the last few decades, which has been manifested in visual and non-visual arts in a significant way. In the field of fictional literature, the emergence of minimalism, in addition to the influence of political and social conditions, has been considered the result of formalists' efforts to innovate and create new methods, considering that the origin of short stories and short stories, according to formalists, is anecdotes, the tales of the Thousand and One Nights as one of The most important works of lyrical literature provide a suitable platform for the explanation of the minimalistic foundations of Kalam. In the present research, the social levels of the narratives of this work have been discussed with the analytical descriptive method. The main goal of this research is to investigate and explain the basics of lyrical literature in the stories of the Thousand and One Nights based on the characteristics of the school of minimalism. The results of the research show that each of the stories, with a short structure, tries to express the events of people's daily life by relying on the thoughts, beliefs, foundations and customs of a period, and the social and moral relations of that period by relying on superstition elements and well-known symbols. In a society, they are criticized. The main research question in the present study is how the art school of minimalism and its characteristics explain the themes of the lyrical stories of the Thousand and One Nights.

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.

Based on Fairclough's approach, narrative texts can play an important role in recreating cultural, political, social, and meaning-producing structures. One Thousand and One Nights stories have a context based on the production of meaning in the structure of the text and hypertext. The story of the Sindbad Bahri is an example of what has hidden the changeable relation of the act of discourse. In this regard, this study examines the story of Sindbad Bahri based on Fairclough’s theory of critical discourse analysis in three levels of description, interpretation, and explanation using a descriptive-analytical method. It has explored the hidden and obvious layers of meaning of the text of the story. The results of this study show that most of the verbs have a predicative aspect and negative verbs are rarely seen because the existence of positive and predicative verbs shows the omniscience and the narrator's movement in the heart of the story. At the level of interpretation of this story, it expresses the spirit of economic individualism in authoritarian societies where the foundations of Ash'arism and tyranny prevent the government from feeling the duty to maintain a minimum of economic prosperity. The explanation also shows the ideological function of determinism in order to process and produce meaning in the story. The story uses the element of fear, which is a tool of power inequality in the society governing the story and also a sign of acquittal of the ruling class in traditional societies in establishing social justice.

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.

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.

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.

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.

One Thousand and One Nights is one of the ancient and classical Persian texts that in terms of its breadth of content and its references to simple yet profound concepts that have been of concern to human beings throughout history, has been the subject of discussion to this day. The content and conceptual diversity of this work has given rise to the most extensive literary, theological, philosophical and symbolic discussions of this work. But one of the concepts that may not have been well received is the issue of human metamorphosis based on magic and in order to turn in this great work. The purpose of this article is to investigate the role and function of the element of magic and its relationship with rotation in the stories of One Thousand and One Nights.

This research has been done with a descriptive-analytical approach and using the library data collection method.

The concept of magic has long had a special place in the narrative literature and mythology of nations. In these stories, especially the ones that project the idea of ​​human metamorphosis in a completely imaginary way, an approach to the rich capacities of imagination in opposition to natural phenomena is conceivable.

In the stories of One Thousand and One Nights, the strong presence of the concept of magic has caused narrative suspensions and sometimes unravelings. Also, the structural process of concepts such as magic and wandering in One Thousand and One Nights shows them in their interaction with the world of myth, rather than meaning them in the construction of myths.

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.