tag:blogger.com,1999:blog-64668047099961442642024-03-13T01:56:43.144-07:00The Journal of the 1001 NightsAn online resource for new and developing news, scholarship and info on the 1001 (aka The Arabian) Nights and their many manifestations.Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.comBlogger445125tag:blogger.com,1999:blog-6466804709996144264.post-76914379442298454132022-01-20T12:31:00.003-08:002022-01-20T12:31:31.699-08:00Abbasid Caliphate Bibliography<p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGkN6XlEXaRY2_bkQ3Zgnxd5T3LMSsuIVOdPmb7eiC-PHjTqP7rsoFuMyB42oZTn4C1Rqx1vyCgRuhCQWK2_J9m-BCTxf_nNWX3GhnkWBGfpngFFf1-W7G_YeXar7xgJUbupSI9ZkcxWQ/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="800" data-original-width="1334" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGkN6XlEXaRY2_bkQ3Zgnxd5T3LMSsuIVOdPmb7eiC-PHjTqP7rsoFuMyB42oZTn4C1Rqx1vyCgRuhCQWK2_J9m-BCTxf_nNWX3GhnkWBGfpngFFf1-W7G_YeXar7xgJUbupSI9ZkcxWQ/" width="320" /></a></div><br /><br /><p></p><p>*I was fortunate enough to teach a <i>1001 Nights</i> film and literature course last Fall (2021). And I'm even more fortunate to have had such great students. They've let me share their work with you. Bibliography, Annotated Bibliography, and a further report on one article related to their topic (which in some cases is loosely <i>Nights</i>-related). I'll be posting them over the next few weeks. </p><p>**I messed up the formats with my copying and pasting but you know. - M</p><p>Here is Kenji's on The Abbasid Caliphate</p><p>Kenji Fukuda Professor Lundell English 260</p><p>8 December 2021</p><p><br /></p><p>The Abbasid Caliphate Extended Bibliography</p><p>“Abbasid Caliphate.” Encyclopedia of Empire, 2016.</p><p>“Abbāsid Empire.” Gale Encyclopedia of World History: Governments, vol. 1, 2008.</p><p>"Abbasid Caliphate." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 1 Dec. 2021. Web. 9 Dec. 2021.</p><p>Amotz Asa-El. “Arabian Nights II: Daily Edition.” The Jerusalem Post, The Jerusalem Post Ltd, 1998.</p><p>Bagdadi, Nadia. “Registers of Arabic Literary History.” New Literary History, vol. 39, no. 3, The Johns Hopkins University Press, 2008, pp. 437–61, https://doi.org/10.1353/nlh.0.0046.</p><p>Demiralp, Seda. “1001 Nights with Animus.” Arab Studies Quarterly, vol. 43, no. 3, Pluto Journals, 2021, pp. 213–29, https://doi.org/10.13169/arabstudquar.43.3.0213.</p><p>Doyle, Laura. “Shahrazad’s 1001 Mediations: Translation in the Inter-Imperial Economy.” Parergon, vol. 35, no. 2, Australian and New Zealand Association of Medieval and Early Modern Studies (Inc.), 2018, pp. 7–28, https://doi.org/10.1353/pgn.2018.0065.</p><p>FARAG, F. ROFAIL. “The Arabian Nights: A Mirror of Islamic Culture in The Middle Ages.” Arabica, vol. 23, no. 2, Brill, 1976, pp. 197–211.</p><p>Goodwin, Jason. “The Glory That Was Baghdad.” The Wilson Quarterly (Washington), vol. 27, no. 2, Woodrow Wilson International Center for Scholars, 2003, pp. 24–28.</p><p>Kennedy, Hugh. “The True Caliph of the Arabian Nights: Hugh Kennedy Examines the Life of One of the Most Powerful Men in the World in the Eighth Century.” History Today, vol. 54, no. 9, History Today Ltd, 2004, p. 31–.</p><p>Malti-Douglas, Fedwa. “Arabian Nights.” Encyclopedia of Sex and Gender: Culture Society History, vol. 1, 2007, pp. 80–82</p><p>Marozzi, Justin. “Stranger Than the nights.(Hugh Kennedy’s Nuanced Portrayal of Abbasid Caliph Harun Al Rashid).” History today 64.7 (2014): 72–. Print.</p><p>Tim Mackintosh-Smith, et al. Two Arabic Travel Books: Accounts of China and India and Mission to the Volga. Library of Arabic Literature, 2014.</p><p>Shureteh, Halla A. “The Contemporary Landscape of Arabic Translation: A Postcolonial Perspective.” Theory and Practice in Language Studies, vol. 4, no. 7, Academy Publication Co., LTD, 2014, p. 1376–, https://doi.org/10.4304/tpls.4.7.1376-1384.</p><p>Sprengling, M. “The Arabian Nights Stone of the Oriental Institute.” The American Journal of Semitic Languages and Literatures, vol. 51, no. 4, The University of Chicago Press, 1935, pp. 217–32, https://doi.org/10.1086/370459.</p><p>Yucesoy, Hayrettin. “Translation as Self-Consciousness: Ancient Sciences, Antediluvian Wisdom, and the ’Abbāsid Translation Movement.” Journal of world history 20.4 (2009): 523–557. Web.</p><p><br /></p><p><br /></p><p>Annotated Bibliography</p><p><br /></p><p>Marozzi, Justin. “Stranger Than the nights.(Hugh Kennedy’s Nuanced Portrayal of Abbasid Caliph Harun Al Rashid).” History today 64.7 (2014): 72–. Print.</p><p>This is a peer reviewed article published in the fifty fourth volume of History Today by the author of the book Baghdad: City of Peace, City of Blood, Justin Marozzi. Justin Marozzi has six published books, several having to do with Islam and the middle east and has worked as a journalist for the BBC, the Financial Times and the Economist. In this article Marozzi praises Hugh Kennedy’s 2004 article that paints Harun al Rashid, the caliph of the Abbasid Empire in a more nuanced light than his portrayal in the One Thousand and One Nights. Marozzi also praises Kennedy for his inclusion of Harun al Rashid’s patronage to various types of disciplines, scholarship and most importantly translation of Greek, Hindu and Persian works. I will be referring to this source when I discuss important figures of the Abbasid Califate and the extent to which the dynasty championed academics from various sources.</p><p><br /></p><p>Amotz Asa-El. “Arabian Nights II: Daily Edition.” The Jerusalem Post, The Jerusalem Post Ltd, 1998.</p><p>This is a peer reviewed news article published in The Jerusalem Post by bestselling Israeli author and former executive editor of the same publication Amotz Asa-El. Amotz Asa-El is also known for being a fellow at the Hartman Institute and has been quoted or published by The New York Times, The Washington Post, The Wall Street Journal, and the Los Angeles Times. In this news article Asa-El compares Saddam Hussein’s Baghdad as the opposite of Harun al-Rashid's Baghdad. He claims that during al-Rashid's reign, Baghdad was a cosmopolitan city like Manhattan, while Saddam’s was ideologically restrained. He also draws comparisons to the Chinese import, paper, and its impact on the Abbasid Empire to the impact that the Arab oil industry has had on the West. This article will be used to show the impact of paper production has had on the Abbasid Caliphate and to the spread of ideas across the EuroAsian subcontinent.</p><p><br /></p><p>Goodwin, Jason. “The Glory That Was Baghdad.” The Wilson Quarterly (Washington), vol. 27, no. 2, Woodrow Wilson International Center for Scholars, 2003, pp. 24–28.</p><p>This article was published in the 27th volume of The Wilson Quarterly and was written by English writer and historian Jason Goodwin. Goodwin has written six books with various topics, and those of which have received a variety of awards including but not limited to, Edgar Award for Best Novel, the Library Dagger and the John Llewllyn Rhys Prize. This article is about the Baghdad of the Abbasid era and how it was a city of scholarship and philosophy. Goodwin describes the Baghdad of the Nights as a site of translation and transformation and the city had influences coming from India, Alexandria, and Persia. Baghdad was also a center for trade and the home of mythic trader Sinbad the sailor from the Arabian Nights. This article will be sited when talking about the original sources from around the Asian continent that went into the Nights and the great translation moment that took place during the Abbasid Caliphate.</p><p><br /></p><p>Part 3: “The True Caliph of the Arabian Nights”</p><p><br /></p><p>Author – Who is the author of this piece? What is their relevance to the topic? Where do they work? Do they seem like an expert in this field? Do they have contact information or a bio that you can find online? Did you contact them?</p><p> </p><p>The author of this piece is Hugh N. Kennedy. He is a British Medieval historian and specializes in Islamic Middle East, Muslim Liberia and the Crusades. Kennedy from 1997 to 2007 worked as a professor of Middle eastern History at the University of St Andrew and from 2007 to the present he is a Professor of Arabic at SOAS, University of London. Kennedy is without a doubt an expert on the Abbasid Caliphate and its implications to the One Thousand and One Nights. He has published works such as The Early Abbasid Caliphate; a Political History, The Prophet and the Age of the Caliphates, The Armies of the Caliphs: military and society in the early Islamic State, The Court of the Caliphs, When Baghdad Ruled the Muslim World: The Rise and Fall of Islam's Greatest Dynasty and The Caliphate: A Pelican Introduction. There is a short Wikipedia page about him https://en.wikipedia.org/wiki/Hugh_N._Kennedy and his contact information can be found on the SOAS University of London website https://www.soas.ac.uk/staff/staff36939.ph</p><p>Email address: hk1@soas.ac.uk Telephone: +44(0)20 7898 4251. I have not contacted Professor Kennedy because his article answered many of the questions I had regarding the caliphate and then some.</p><p><br /></p><p>Thesis – What is the thesis of this text? How is it built? What evidence is used to make their argument? What is the question or problem that the author is responding to? This article is about Harun al-Rashid and comparing the real-life figure to how he is portrayed in the Arabian Nights. Kennedy also writes in detail about the history of the Abbasid Caliphate and how their society was structured. The article was built by first explaining how most of the information regarding other caliphs apart from al-Rashid, are unknown to the world besides specialists in Islamic history. Next, he explains how al-Rashid came to power and how with his and his son’s reign Baghdad became a center of learning and science. He also claims that it wasn’t real achievements that have kept his memory alive but his role in stories collected in Book of Songs and Arabian Nights. Kennedy also explains how this is where the legends of Abbasid historical figures come from, but we must read between the lines to get a more nuanced view of them. Kennedy supports his arguments by saying that the Harun of the Nights was a street wander and promiscuous while in reality was a shy but accomplished ruler. Much of the article is dictated to giving its readers real information about the Abbasid Caliphate, their customs and most of all Harun, without looking at them through the lenses of orientalism like the Arabian Nights.</p><p>Critique – What is good, specifically, about your text? What issues does it address and how? What is lacking in your text? What things would you like to see expanded on/written about instead?</p><p>What I thought was good about Kennedy’s article was how it gave its readers a lot of information about the Abbasid Caliphate, its social and political environment and how he compared it to the misrepresentations we have over in books like Arabian Knights. Kennedy does a fantastic job reading between the lines and with his expertise gives us insight into the Abbasid Caliphate with a more nuanced view. I think if Kennedy used quotes from the Nights and immediately afterward compared them to how things were in the Abbasid era, I think this would have made his arguments easier to digest. He seems to scatter his comparisons to the Nights and misrepresentations and go into long history lessons between points. I would have been interested in Kennedy discussing the different versions of the Nights and showing if the misrepresentations got worse or better with each new version. I would have also liked it if Kennedy expanded more on the customs of the time and used specific quotes from the Nights to prove or disprove its accuracy.</p><p> </p><p>Timeliness – When was this written? Does the text include other, relevant scholarship? Why is timeliness important to investigate for this text’s focus? (Maybe it’s not, if not why not?)</p><p>This article was written in September of 2004. This text does include some photographs and maps that were relevant to this topic. From my other research it does not seem like any of the information that Kennedy put forth in this article has been proven to be false since its publishing. For these reasons I feel that timeliness in this case was not a big factor. Though I do feel that Kennedy was lax in his criticism of Haruns portrayal in the Nights and ever mentioned the word orientalism. I thought this might have been the case because of the time and environment in which the article was written.</p><p>Relevance – How relevant is your text to your topic? (IE: Does this article shed any new (revelatory) light on your topic? If so what is it?)</p><p>I felt that this article was relevant to the topic of the Abbasid Caliphate, Arabian Nights and Orientalism because Kennedy shares the history of the dynasty, wrongful portrayal of it most well-known ruler, and how this all relates to the Nights. This article gave me a deep dive into the Caliphate that most other videos and websites failed to provide. Kennedy was very thorough in explaining how Harun came to power, the circumstances in which it happened, and how the Nights mischaracterized him.</p><p>Future Ideas – How might a course on your topic incorporate this text? What might an essay assignment on this text look like?</p><p>If there was an entire course on the Abbasid Caliphate this article would be great for explaining how the dynasty exchanged hands and the customs of succession. It would also provide a great amount of information regarding its most well-known ruler. I think a great essay assignment based on this text would be to see if any of the historical facts have been disproven since the time it was written or if any new information has surfaced.</p><p>What I Learned – What new thing(s) did you learn about your topic? What might you do in the future with this information?</p><p>I learned from my research that this dynasty was crucial in not just the development of the Nights but to so many other aspects of modern life. Science, medicine, math and literature were all improved upon, and we wouldn’t be where we are today if it wasn’t for the Abbasid</p><p>Caliphate. I think this period of history doesn’t get the credit it deserves because of things like orientalism. We choose to focus on things like flying carpets and genies because we don’t want to admit to ourselves that we all stand on the shoulders of the giants before us. So many of our modern accomplishments are in debt to the Abbasids but we choose to ignore these facts because of our fear of the “other”. I think still to this day it scares many people to think that a civilization so different from ours could be this accomplished so long ago.</p><p>Optional - An overview of your research methodologies – How did you find this source? What made you choose it?</p><p>My research started on YouTube and Wikipedia just a brief overview. Next, I went to the Palomar Library database and used the search term “Abbasid Caliphate Nights”. This resulted in over a thousand articles, so I narrowed my search results to just peer reviewed articles. I read all the short articles I found and for the longer articles I pressed Control+F on my keyboard and searched words like “Abbasid” or “Nights” to quickly find sections relevant to my topic. I chose this topic because I enjoy learning about cultures and have an interest in the sciences and arts. I have no interest in made up things like magic lamps or flying carpets, so I left those for someone else. I also felt that to understand the Nights you must know the environment in which it came from.</p><div><br /></div><p><br /></p>Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-5854869957413056012022-01-16T14:48:00.006-08:002022-01-16T14:49:49.586-08:001889 Exposition Universelle Bibliography<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgt-522ODH1j7mTb47U4nkuRpvOadhEO_vwkXjarBzVbIj5Mzatuy3NlDjK56vuARfBuinDNQryH1yJbyikd_Lz_PTBJzM9gofBObjRWQKCXzWv91kZ1trlJujqieCjFIOo96nZ8O32jo45AFlxzrKlH9FKTOMlCAzbT-Q-dNL5JjMsu6nayxg9ojE=s1112" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1112" data-original-width="828" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgt-522ODH1j7mTb47U4nkuRpvOadhEO_vwkXjarBzVbIj5Mzatuy3NlDjK56vuARfBuinDNQryH1yJbyikd_Lz_PTBJzM9gofBObjRWQKCXzWv91kZ1trlJujqieCjFIOo96nZ8O32jo45AFlxzrKlH9FKTOMlCAzbT-Q-dNL5JjMsu6nayxg9ojE=s320" width="238" /></a></div><br /><p></p><p>*I was fortunate enough to teach a <i>1001 Nights</i> film and literature course last Fall (2021). And I'm even more fortunate to have had such great students. They've let me share their work with you. Bibliography, Annotated Bibliography, and a further report on one article related to their topic (which in some cases is loosely <i>Nights</i>-related). I'll be posting them over the next few weeks. </p><p>**I messed up the formats with my copying and pasting but you know. - M</p><p>Here is Shaanel's work on the 1889 Paris Exposition Universelle - </p><p><br /></p><p>Shaanel Saroch</p><p>Professor Michael Lundell</p><p>English 260</p><p>14 December 2021</p><p>Research Project</p><p>Part One: Extended Bibliography</p><p>“About Us about the Bie Who We Are How We Work Our History the 1928 Paris Convention FAQS about Expos What Is an Expo? How Is an Expo Organised? A Short History of Expos.” Official Site of the Bureau International Des Expositions, https://www.bie-paris.org/site/en/1889-paris. </p><p>Anido, Julien. “The Exposition Universelle of 1889: Un Jour De plus à Paris.” Un Jour De plus à Paris | L'incontournable Des Visites Culturelles Et Touristiques à Paris. Balades, Visites Guidées, Découvertes Insolites... Visitez Paris Autrement !, 29 July 2020, https://www.unjourdeplusaparis.com/en/paris-reportage/exposition-universelle-1889. </p><p>Bibesco, Georges. Exposition Universelle 1889. Impr. Typ. J. Kugelmann, 1890. </p><p>Catalogue général Officiel: Exposition rétrospective Du Travail Et Des Sciences Anthropologiques. Imprimerie L. Danel, 1889. </p><p>Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/topic/International-Exposition-of-1889. </p><p>“Exposition Universelle (1889).” Wikipedia, Wikimedia Foundation, 25 Nov. 2021, https://en.wikipedia.org/wiki/Exposition_Universelle_(1889). </p><p>Exposition Universelle De 1889, https://www.nga.gov/research/library/imagecollections/photographs-of-international-expositions/exposition-universelle-de-1889.html. </p><p>Jonnes, Jill. Eiffel's Tower and the World's Fair Where Buffalo Bill Beguiled Paris, the Artists Quarreled, and Thomas Edison Became a Count. Viking, 2009. </p><p>"Mephisto", the Marvellous Automaton, Exhibited at the International Theatre, Exposition Universelle, Paris, 1889. T. Pettitt & Co, 1889. </p><p>“Paris 1889 Exposition: History, Images, Interpretation.” Ideas, http://www.arthurchandler.com/paris-1889-exposition. </p><p>“Paris Exposition of 1889.” Paris Exposition of 1889 (Prints and Photographs Reading Room, Library of Congress), https://www.loc.gov/rr/print/coll/250_paris.html. </p><p>Paris-exposition... / Exposition universelle de 1889. A. Colin (Paris), 1889.</p><p>Paris: Capital of the 19th Century, https://library.brown.edu/cds/paris/worldfairs.html. </p><p>“The Rue Du Caire at the Exposition Universelle in Paris (1889): Patrimoines Partagés تراث مشترك.” The Rue Du Caire at the Exposition Universelle in Paris (1889) | Patrimoines Partagés تراث مشترك, https://heritage.bnf.fr/bibliothequesorient/en/street-of-cairo-art. </p><p>Sabry, Randa. “Le Témoignage d’Amīn Fikrī Sur l’Exposition Universelle de 1889 et La Rue Du Caire : Petite Polémique Avec Timothy Mitchell.” Arabica, vol. 2018, no. 3, Brill, 2018, pp. 368–91, https://doi.org/10.1163/15700585-12341493.</p><p>Sayers, Isabelle S. Annie Oakley and Buffalo Bill's Wild West. Dover, 1981. </p><p>“World's Fair - Official Eiffel Tower Website.” La Tour Eiffel, 8 Apr. 2020, https://www.toureiffel.paris/en/the-monument/universal-exhibition. </p><p><br /></p><p><br /></p><p>Part Two: Annotated Bibliography</p><p>Paris-exposition... / Exposition universelle de 1889. A. Colin (Paris), 1889.</p><p>The author created this book as a guide to visitors of the Exposition Universelle in 1889. The beginning of the book has maps of the exposition so that the reader can see where the different things to do and see are located. Further on there is a map of different areas in Paris associated with the exposition. The author details what he believes are the most interesting things to see at the exposition so that visitors need not waste time on less interesting displays. There is also a schedule of when certain events are happening and a description of the public transportation that could be used to get to the exposition. This guide is very useful in finding out what exactly went on at the exposition. </p><p>Jonnes, Jill. Eiffel's Tower and the World's Fair Where Buffalo Bill Beguiled Paris, the Artists Quarreled, and Thomas Edison Became a Count. Viking, 2009. </p><p>This book provides the back story of why the Exposition Universelle was created. The book also details different major personalities that were present at the exposition such as Buffalo Bill, Gustave Eiffel and Thomas Edison. While these personalities are famous now and were well known at the time as well, the book also lists people that were relatively unknown at the time who are now famous. Some of these people were Van Gogh, Whistler and Gaugin. The book makes the reader feel as if they are personally experiencing the Exposition Universelle in 1889. </p><p>Sabry, Randa. “Le Témoignage d’Amīn Fikrī Sur l’Exposition Universelle de 1889 et La Rue Du Caire : Petite Polémique Avec Timothy Mitchell.” Arabica, vol. 2018, no. 3, Brill, 2018, pp. 368–91, https://doi.org/10.1163/15700585-12341493.</p><p>This article discusses a man named Amin Fikri’s visit to the 1889 Exposition Universelle. He details the Rue du Caire which was a street, built for the exposition, meant to emulate a busy street in Cairo. Buildings on the street were made from demolished buildings from Egypt. The author also discusses how the previous expositions in Paris had different versions of the Rue du Caire. In the 1867 exposition there was a medieval Egyptian palace. This article is a good resource for visualizing the Egyptian displays at the various expositions. </p><p><br /></p><p><br /></p><p>Part Three</p><p>Paris: Capital of the 19th Century, https://library.brown.edu/cds/paris/worldfairs.html. </p><p>Author: The author of this piece is Pauline De Tholozany. This text was created as a collaboration between the departments of French Studies and Comparative Literature at Brown University. These departments relevance to the topic is that the Exposition Universelle in 1889 occurred in Paris, France and the authors use different sources of literature to detail the events. The author seems like an expert in this field because they comprehensively cover all the various expositions that occurred in France from 1855 to 1900. The French Studies department’s contact information is french_francophone_studies@brown.edu. Their online bio is located at https://www.brown.edu/academics/french-studies/. The Comparative Literature department’s contact information is Comp_lit@Brown.edu. Their online bio is located at https://complit.brown.edu/. I did not attempt to contact them. </p><p>Thesis: The thesis of this text is that the purpose of the Expositions Universelle in Paris was to showcase technology and art and to boost the economy. The thesis is built by highlighting the various events and displays that were held during the Expositions Universelle. The evidence the authors use to support their thesis are several primary and secondary sources from the Brown University library such as books with firsthand accounts of the expositions and different artwork that show scenes from the expositions. The question that the author is responding to is “why were the expositions in Paris held?”</p><p>Critique: Elements of this text that are good specifically is that the text covers the politic climate, attitudes towards the fairs, and the most interesting events at the fairs. This allows the reader to feel like they were present at the fairs and as if the reader has an eye into the inner working of the fair organizers. Another good element of this text is that the authors used excellent sources while writing the text so there is a lot of interesting and informative data. There were not really any issues to address on this topic in this text other than dispelling rumors of people feeling negatively towards the Eiffel tower and talk of wanting to prevent its construction. The issue is addressed by saying what the actual public sentiment around the Eiffel tower was. One thing that is lacking in my text is any talk of public figures that were present at the 1889 Exposition Universelle. Personalities such as Wild Bill Hickok, Thomas Edison, and Vincent Van Gogh were all present at this exposition and it would have been interesting to read more about their interaction with the exposition. </p><p>Timeliness: This text was written in 2011. The text utilized other relevant scholarship as resources for creating this piece. I don’t believe that timeliness is relevant or important to investigate for this text’s focus because the article is reporting on events that occurred a long time ago for historical purposes. This text does not really have any effect on current events, so timeliness is not an issue. </p><p>Relevance: This text is extremely relevant to the topic of Exposition Universelle 1889. The text not only details the Exposition Universelle that occurred in 1889 it also describes the other expositions that occurred in France and performs some comparison of the fairs in order to understand the different impacts of the fairs on the events of that time period. The only new information that this article gives on the topic is discussing the Exposition Universelle 1889 in relation to the other expositions. I did not find information like this in any of the other texts that I read.</p><p>Future Ideas: A course on the topic of the Exposition Universelle that occurred in 1889 could incorporate this text in the beginning of the course as a historical background to this particular exposition and its relation to the other expositions that occurred. An essay assignment on this text might pose questions like “which exposition had the greatest effect on French culture,” “What is the most significant technological advance that came from the Exposition Universelle that occurred in 1889,” or “What impact did the Exposition Universelle in 1889 have on the art world at that time.” All of these questions would make for essays that I would be interested in reading. </p><p>What I Learned: One new thing that I learned about my topic from this specific text is that the Exposition Universelle took some of the power away from the Salon. The Salon was the only way to get your art publicly exhibited in France around this time. It was very difficult to get one’s art in the Salon and the people who chose the art that would be displayed were very political and exclusionary. During the Exposition Universelle artists were able to display their art without the judgement and control of the Salon. This had a huge impact on the art world at that time. What I might do in the future with this information is to apply this knowledge to the art history class I will be taking next semester. Previously I took a class on art that discussed the Salon but did not go in depth about it. As I take various courses, I feel like I learn a little bit in each class that adds up like pieces of a puzzle and eventually I have a greater understanding of a bigger picture of what happened during certain times in history. </p><p>An Overview of Research Methodologies: I found this source by googling the Exposition Universelle in 1889. I chose this article because it came from a reputable source such as the French Studies and Comparative Literature departments at Brown University. I also chose this article because it discussed all the expositions instead of just mentioning the exposition that I was studying. I felt like learning about the other expositions gave context to the specific exposition that I was interested in. </p><p><br /></p><p><br /></p>Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-73806328886976218472021-11-29T21:22:00.002-08:002021-11-29T21:23:13.064-08:00The Arabian Nights in Translation: How the World of Scheherazade was Epitomized by the West<p> Here is a Bachelors Degree paper by Rachel Kurlander (Honors Wesleyan Class of 2016 - congrats Rachel!). </p><p>It's called "The Arabian Nights in Translation: How the World of
Scheherazade was Epitomized by the West"</p><p><br /></p><p>https://digitalcollections.wesleyan.edu/islandora/object/ir%3A456/datastream/PDF/view</p><p><br /></p><p><br /></p>Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-76203501861370176022021-11-01T21:20:00.004-07:002021-11-01T21:20:55.743-07:001001 Recaps Blog <p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgajkuDXIbEYSlazS4bywp5xK9KNRGAMppwYqgNok5bKWnp73xavK2oj8hur-yzTAiRXFZv-pNR-GN_vsrPZQ44eRntWfJJX9Bcrh8T0p6GXSuKGpMpCFyUsyyWkWbzH2tgiBRBKW2G7QQ/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="458" data-original-width="1452" height="101" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgajkuDXIbEYSlazS4bywp5xK9KNRGAMppwYqgNok5bKWnp73xavK2oj8hur-yzTAiRXFZv-pNR-GN_vsrPZQ44eRntWfJJX9Bcrh8T0p6GXSuKGpMpCFyUsyyWkWbzH2tgiBRBKW2G7QQ/" width="320" /></a></div><p></p><p><br /></p><p>Here's a 1001 Nights blog I just discovered but can't figure out who the author is. Unfortunately they also seem to have stopped posting but what's up there is really nicely done - </p><p><a href="https://1001recaps.org/">https://1001recaps.org/</a></p>Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-81029080414709779372021-03-05T13:06:00.005-08:002021-03-05T13:06:50.945-08:00Chateaubriand’s Travels in Greece, Palestine<p style="text-align: left;"><span style="font-family: times; font-size: medium;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: times; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm1ml6yNmlS8m-lq0brTQMZqFrhbWNsE5OHO_7LmSbn7lwhpN4wLb2lQYt76Uz9n6_BkpAmysWieBzXMvPdCe5AI79azk5Gott3b7SBZRNeW1JRA8YgdMz73XvQT2o0HncehFa282hPOA/s1024/Screen+Shot+2021-03-05+at+1.05.09+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="744" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm1ml6yNmlS8m-lq0brTQMZqFrhbWNsE5OHO_7LmSbn7lwhpN4wLb2lQYt76Uz9n6_BkpAmysWieBzXMvPdCe5AI79azk5Gott3b7SBZRNeW1JRA8YgdMz73XvQT2o0HncehFa282hPOA/w259-h358/Screen+Shot+2021-03-05+at+1.05.09+PM.png" width="259" /></a></span></div><span style="font-family: times; font-size: medium;"><br /></span><p></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: times; font-size: medium;"><br /></span></p><div class="separator" style="clear: both; text-align: left;"><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: times; font-size: medium;">“From a new work, ‘Chateaubriand’s Travels in Greece, Palestine, &c. in 1806 & 1807,’ we extract the following interesting passages, descriptive of various scenes”</span></p><p class="p2" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: times; font-size: medium;"><br /></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: times; font-size: medium;">It was midnight when we arrived at the kan of Menemen. I perceived at a distance a great number of scattered lights : it was a caravan making a halt. On a nearer approach I distinguished camels, some lying, others standing, some with their load others relieved from the burden. Horses and asses without bridles were eating barley out of leather buckets;<span class="Apple-converted-space"> </span>some of the men were still on horseback, and the women, veiled, had not alighted from their dromedaries. Turkish merchants were seated cross-legged on carpets in groups round the fires, at which the slaves were busily employed in dressing pilau. Other travellers were smoking their pipes at the door of the kan, chewing opium, and listening to stories. Here were people burning coffee in iron pots ; the hucksters went about from fire to fire offering cakes, fruit and poultry for sale. Singers were amusing the crowd; imans were performing their ablutions, prostrating themselves, rising again and invoking the prophet; and the camel-drivers lay snoring on the ground. The place was strewed with packages, bags of cotton, and <i>couffs</i> of rice. All these objects, now distinct and reflecting a vivid light, now confused and enveloped in a half shade, exhibited a genuine scene of the Arabian Nights. It wanted nothing but the caliph Haroun al Raschid, the vizir Giaffar, and Mesrour, the chief of the black eunuchs."</span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: times; font-size: medium;"><br /></span></p></div><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: times; font-size: medium;">"Travels in Greece, &c." <i>National Intelligencer</i>, 15 Apr. 1813. Accessed 4 Mar. 2021.</span></p><p></p><div class="separator" style="clear: both;"><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p></div>Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-63308524457357077052021-02-23T13:27:00.002-08:002021-02-23T13:28:42.745-08:00New Yorker Review of Disney's Live Action Aladdin<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYg1qDi5wDOYx0BunIsHH9Iac0o9UJicEhxlNKnB87pzXkSNRFXYFig26X68UMwZbPLLj21bXmnCh2swWX2LBRTzWDkrLYfInCYytJtv6uixqX6Ki-kmnmT2IMgBrejW7kNnTuu3Kp8vk/s1080/Screen+Shot+2021-02-23+at+1.26.44+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="524" data-original-width="1080" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYg1qDi5wDOYx0BunIsHH9Iac0o9UJicEhxlNKnB87pzXkSNRFXYFig26X68UMwZbPLLj21bXmnCh2swWX2LBRTzWDkrLYfInCYytJtv6uixqX6Ki-kmnmT2IMgBrejW7kNnTuu3Kp8vk/w400-h194/Screen+Shot+2021-02-23+at+1.26.44+PM.png" width="400" /></a></div><p><br /></p><p> Here's a great and hilarious review of Disney's live action car wreck <i>Aladdin</i> (2019). </p><p><a href="https://www.newyorker.com/magazine/2019/06/03/a-live-action-aladdin-falls-short-of-its-animated-predecessor">https://www.newyorker.com/magazine/2019/06/03/a-live-action-aladdin-falls-short-of-its-animated-predecessor</a></p><p><br /></p><p>And some clips: </p><p>"<span style="background-color: white; font-family: TNYAdobeCaslonPro, "Times New Roman", Times, serif; font-size: 21px;">The director of the latest “Aladdin” is a middle-aged white Brit, Guy Ritchie, but the diversity of his cast is quite in keeping with the tangled roots of the tale. We have an African-American, Will Smith, as the Genie, and a Cairo-born Coptic Canadian, Mena Massoud, as Aladdin. Princess Jasmine, whom he woos, is played by Naomi Scott, whose Ugandan mother is of Gujarati Indian descent. Marwan Kenzari, a Dutch-Tunisian actor, takes the part of the dastardly vizier, Jafar. The show is deftly stolen, like a bracelet slipped from a wrist, by the Iranian-American Nasim Pedrad, famed for her impersonations on “Saturday Night Live,” which run all the way—and it’s a hell of a way—from Kim Kardashian to Christiane Amanpour. Here, Pedrad plays Jasmine’s handmaiden, Dalia, who, in an unprecedented twist, has a crush on the Genie. Good luck with that."</span></p><p><span style="background-color: white; font-family: TNYAdobeCaslonPro, "Times New Roman", Times, serif; font-size: 21px;">"</span><span style="background-color: white; font-family: TNYAdobeCaslonPro, "Times New Roman", Times, serif; font-size: 21px;">Yet Ritchie has made significant alterations. First, he has modified the law of sultanic succession by giving women the right to rule. Second, by some cunning spell, he has taken all the fun from the earlier Disney film and—abracadabra!—made it disappear. The big musical numbers strain for pizzazz. The action sequences are a confounding rush, which is a grave drawback amid the alleys of the bazaar. And Jafar is about as frightening as the rug, though the fault, I’d suggest, lies less with the actor than with Disney, which is busy rebooting its cartoons with human performers and hoping that we won’t notice the difference. But the Jafar of 1992 derived his power from the ease with which he swelled and stretched, like a sort of evil taffy. Animation, in other words, became him. Ritchie tries to repeat the trick with C.G.I., to graceless and cumbersome effect."</span></p>Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-29594416458610509782020-10-31T16:53:00.000-07:002020-10-31T16:53:29.728-07:00Aladdin's Lamp is Real<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5witmqBwRr1giZuR6w5ARrm9F1S-RkNB4MfBatEt-1PzwQAk0ZFZUp4kPLbKnPJyzIriJmtIdZYVn_X01Xyu6EwGc-Yire9OY1wE_dYOxDGu7zw3E-TPHv3njncHu8h5XmIpcj6m5oZY/s1350/Screen+Shot+2020-10-31+at+4.48.50+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="740" data-original-width="1350" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5witmqBwRr1giZuR6w5ARrm9F1S-RkNB4MfBatEt-1PzwQAk0ZFZUp4kPLbKnPJyzIriJmtIdZYVn_X01Xyu6EwGc-Yire9OY1wE_dYOxDGu7zw3E-TPHv3njncHu8h5XmIpcj6m5oZY/w587-h321/Screen+Shot+2020-10-31+at+4.48.50+PM.png" width="587" /></a></div><br /><p></p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; color: #282828; font-family: TundraWeb, serif; font-size: 18px; line-height: 26px; margin: 0px 30px 10px; outline: 0px !important; padding: 5px 0px 10px; width: 600px;">From - https://www.thehindu.com/news/national/other-states/meerut-conmen-dupe-several-with-promise-of-riches-from-aladdins-lamp/article32983494.ece</p><h1 class="title" style="-webkit-font-smoothing: antialiased; box-sizing: border-box; color: #282828; font-family: TundraWeb, serif; font-size: 36px; font-weight: normal; letter-spacing: -0.5px; line-height: 36px; margin: 0px; outline: 0px !important; padding: 15px 30px 0px; width: 660px;">Meerut conmen dupe several with promise of riches from Aladdin’s lamp</h1><br />by Anuj Kumar<div><br /></div><div>Oct. 30. 2020<br /><div class="author-container hidden-xs" style="-webkit-font-smoothing: antialiased; background-color: white; box-sizing: border-box; display: table; margin: 15px 0px; outline: 0px !important; padding: 0px 30px; position: relative; width: 660px;"></div><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; color: #282828; font-family: TundraWeb, serif; font-size: 18px; line-height: 26px; margin: 0px 30px 10px; outline: 0px !important; padding: 5px 0px 10px; width: 600px;">"In an incident that reminds how human greed is beyond reason, two persons have been arrested in Meerut for allegedly duping people with what they claimed is ‘Aladdin’s Chiragh’.</p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; color: #282828; font-family: TundraWeb, serif; font-size: 18px; line-height: 26px; margin: 0px 30px 10px; outline: 0px !important; padding: 5px 0px 10px; width: 600px;">Meerut Police have arrested Ikramuddin and Anis on the complaint of one Laiq Khan for allegedly duping him of ₹2.5 crores after promising him that all his wishes would be fulfilled through the magical lamp.</p><div class="dfp-ad Inarticle" id="div-gpt-ad-1552914402102-0" style="-webkit-font-smoothing: antialiased; box-sizing: border-box; outline: 0px !important; text-align: center;"><div id="google_ads_iframe_/22390678/Hindu_Desktop_Inarticle_1x1_0__container__" style="-webkit-font-smoothing: antialiased; border: 0pt none; box-sizing: border-box; clear: both; height: 1px; margin-bottom: 0px; outline: 0px !important; width: 1px;"></div></div><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; color: #282828; font-family: TundraWeb, serif; font-size: 18px; line-height: 26px; margin: 0px 30px 10px; outline: 0px !important; padding: 5px 0px 10px; width: 600px;">“Laiq, who apparently specialises in Ayurveda and claims to be a doctor used to treat the mother of the accused Ikramuddin, himself a <em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; outline: 0px !important;">tantrik </em>(occult practitioner). Ikramuddin promised the doctor that he had a lamp that would make him a billionaire,” said SHO, Brahmpuri Subhash Atri. </p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; color: #282828; font-family: TundraWeb, serif; font-size: 18px; line-height: 26px; margin: 0px 30px 10px; outline: 0px !important; padding: 5px 0px 10px; width: 600px;">Anis and Ikramuddin have been booked under sections 386 (extortion after putting a person under fear of death or grievous hurt and 420 of IPC. </p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; color: #282828; font-family: TundraWeb, serif; font-size: 18px; line-height: 26px; margin: 0px 30px 10px; outline: 0px !important; padding: 5px 0px 10px; width: 600px;">Mr Khan, who claims to have spent some time in London, told the police that Ikramuddin and his brother-in-law Anis would make a djinn appear in a dark room. “When Laiq would ask them to sell the lamp, they would scare him by saying that it would bring bad things to him. Ultimately, they agreed to sell [the lamp] him for ₹70 lakh but told him not to use it for six months otherwise the <em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; outline: 0px !important;">djinn </em>would destroy his family,” said Mr Atri.</p><p class="atd-ad" style="-webkit-font-smoothing: antialiased; box-sizing: border-box; color: #282828; font-family: TundraWeb, serif; font-size: 18px; line-height: 26px; margin: 0px 30px 10px; outline: 0px !important; padding: 5px 0px 10px; width: 600px;">According to the SHO, however, Ikramuddin confessed to having duped Mr. Khan of only ₹40 lakhs. “He said the rest of the amount was paid back to the doctor to win his trust. We are investigating his account and would attach a house that he says he built from the amount received.”</p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; color: #282828; font-family: TundraWeb, serif; font-size: 18px; line-height: 26px; margin: 0px 30px 10px; outline: 0px !important; padding: 5px 0px 10px; width: 600px;">Mr Atri said the modus operandi of the accused included winning the trust of the people by first showing them the results of the magical lamp. “For instance, they would ask people to give them ₹5 lakhs and give them ₹7 lakhs in return. In some cases, they would bury the money in some secluded place and ask the client to go there and dig it out. Such practices convinced people of their power.”</p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; color: #282828; font-family: TundraWeb, serif; font-size: 18px; line-height: 26px; margin: 0px 30px 10px; outline: 0px !important; padding: 5px 0px 10px; width: 600px;">Mr Atri said Ikramuddin tried to convince the police too about the powers of the lamp. </p><p class="atd-ad" style="-webkit-font-smoothing: antialiased; box-sizing: border-box; color: #282828; font-family: TundraWeb, serif; font-size: 18px; line-height: 26px; margin: 0px 30px 10px; outline: 0px !important; padding: 5px 0px 10px; width: 600px;">He said Meerut police were tracking the duo for some time. “As they have no fixed place of residence, it was hard to fish them out. Such practices mostly work on word of mouth. Finally, after a tip-off from a mole, they were nabbed on October 25. When Mr. Khan realised that the police were after Ikramuddin, he became circumspect and approached us.”</p><p style="-webkit-font-smoothing: antialiased; box-sizing: border-box; color: #282828; font-family: TundraWeb, serif; font-size: 18px; line-height: 26px; margin: 0px 30px 10px; outline: 0px !important; padding: 5px 0px 10px; width: 600px;">Now, the artificial, gleaming ‘Aladdin ka Chiragh’ is a case property along with the stone that was used to rub it. “As long as man is driven by greed, such cases would keep on happening,” Mr Atri said.</p><div class="dfp-ad" id="div-gpt-ad-1564640628558-0" style="-webkit-font-smoothing: antialiased; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; box-sizing: border-box; caret-color: rgb(0, 0, 0); color: black; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; outline: 0px !important; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"></div></div>Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-45517878089196869532019-09-10T17:33:00.001-07:002019-09-10T17:33:26.046-07:00oil lamp light explained<div dir="ltr" style="text-align: left;" trbidi="on">
Finally an explanation.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixG6M8MsVY-GEO3GslwLposd42Fgb59Sel9DsHEd5SfIuZhzH5a4ukuV43-gNA4ye0Rdw9jmmzU0qIUGESdOpN-ohfwtWdhkYs7tHskeIE4ghwCTJEl_HbHoGJAW0-Ft52Y0ZfMCoCcP0/s1600/Screen+Shot+2019-09-10+at+5.32.05+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="996" data-original-width="596" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixG6M8MsVY-GEO3GslwLposd42Fgb59Sel9DsHEd5SfIuZhzH5a4ukuV43-gNA4ye0Rdw9jmmzU0qIUGESdOpN-ohfwtWdhkYs7tHskeIE4ghwCTJEl_HbHoGJAW0-Ft52Y0ZfMCoCcP0/s400/Screen+Shot+2019-09-10+at+5.32.05+PM.png" width="238" /></a></div>
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-23521241150641911142019-06-10T16:17:00.002-07:002019-06-10T16:18:15.940-07:00New Book by Dr. Ulrich Marzolph<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX6A6h70rnsg5KD0AxPbuJXKajkYvXvtkzYfOjinKY6g7drrUja1Rrkc_2cLq7r7p5EZEACp2VFyHQbWbB6kHf_McPEnJWWyeTyUm70yuicUXDe19PTpRYtMW_zHBgR07LMiwA2TwXra4/s1600/Screen+Shot+2019-06-10+at+4.15.22+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="906" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX6A6h70rnsg5KD0AxPbuJXKajkYvXvtkzYfOjinKY6g7drrUja1Rrkc_2cLq7r7p5EZEACp2VFyHQbWbB6kHf_McPEnJWWyeTyUm70yuicUXDe19PTpRYtMW_zHBgR07LMiwA2TwXra4/s320/Screen+Shot+2019-06-10+at+4.15.22+PM.png" width="320" /></a></div>
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I'm excited to announce a new book by the "Godfather" of <i>1001 Nights</i> research, Professor Dr. Ulrich Marzolph (<a href="http://wwwuser.gwdg.de/~umarzol/">http://wwwuser.gwdg.de/~umarzol/</a>).<br />
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Dr. Marzolph's career has been instrumental in <i>Nights</i> research. He is the editor of the indispensible <i>The Arabian Nights Encyclopedia, The Arabian Nights Reader</i>, and <i>The Arabian Nights in Transnational Perspective</i>. He is also the author of several books and scores of articles on the <i>Nights</i>.<br />
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His latest book is <i>Ex Oriente Fabula: Exploring the Narrative Culture of the Islamic Near and Middle East Part 3</i>.<br />
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I've attached the table of contents below. Most all of the articles are <i>Nights</i> related.<br />
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You can order the book through the publisher, Verlag <span style="font-size: 15px;"><span style="font-family: inherit;">für Orientkunde,</span></span> by emailing them – verlag.fuer.orientkunde@web.de<br />
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Here are the Table of Contents:<br />
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<iframe height="480" src="https://drive.google.com/file/d/1hfnAOiAcQf4WhcpRBqf7HwzNdEKRn_Mx/preview" width="640"></iframe>
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-89138109254607601502019-05-22T13:13:00.002-07:002019-05-22T13:14:55.332-07:00Barnum & Bailey's Circus<div dir="ltr" style="text-align: left;" trbidi="on">
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Poster for Barnum & Bailey's Persia or the Pageants of The Thousand and One Nights (1916)</div>
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And also the following info about the show is from the book, <i>From Barnum & Bailey to Feld</i> by Ernest Albrecht (2014):</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIfl2La7cy_yPfAmWsHWppEdnnS-W-59WEr6IWH6H3gZoTYwN6JkIkKVCv5JKiNfzOr9CYKUtrL4pPp-jBgbF4tgifgoBDKk2eBbV3mSNMmyFs0KWKQcb3uJmdaCcro1395VYiLjHZpps/s1600/Screen+Shot+2019-05-22+at+1.02.28+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="892" data-original-width="1214" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIfl2La7cy_yPfAmWsHWppEdnnS-W-59WEr6IWH6H3gZoTYwN6JkIkKVCv5JKiNfzOr9CYKUtrL4pPp-jBgbF4tgifgoBDKk2eBbV3mSNMmyFs0KWKQcb3uJmdaCcro1395VYiLjHZpps/s400/Screen+Shot+2019-05-22+at+1.02.28+PM.png" width="400" /></a></div>
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-38470969715231680542019-05-18T15:31:00.000-07:002019-05-18T15:32:02.079-07:00Aladdin Scentsy Bars - May 20<div dir="ltr" style="text-align: left;" trbidi="on">
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So, like, yeah. On May 20th you can buy Disney Aladdin based/themed Scentsy bars. It wasn't clear to me exactly what a scentsy bar was so I did some "research" and found out that they seem to be these wax scented thingys that you warm up in your house to make your house smell a certain way. Those plug-in scent blaster things that always give me allergic headaches. I think that's what they are.<br />
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But now you can have your house smell like Aladdin! And the Arabian Nights!</div>
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(WTF??)</div>
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Not until May 20th though. And Disney's live action <i>Aladdin</i> hits the big screen on May 24. </div>
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-84427000664432469842019-05-12T19:44:00.002-07:002019-05-12T19:45:27.338-07:00Aladdin and the Wonderful Lamp - Anne Anderson<div dir="ltr" style="text-align: left;" trbidi="on">
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<i>Aladdin and the Wonderful Lamp</i> - Anne Anderson</div>
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Read more about Anne Anderson, the Scottish illustrator, here: <a href="https://en.wikipedia.org/wiki/Anne_Anderson_(illustrator)">https://en.wikipedia.org/wiki/Anne_Anderson_(illustrator)</a></div>
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-14077510648558152482019-05-08T01:15:00.004-07:002019-05-08T01:17:02.641-07:00Ali Baba and the Forty Thieves - Felicitas Kuhn<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "times new roman";">“Ali Baba and the Forty Thieves” - <i>The Golden Book of Fairytales</i>- Collins Publishing, 1966, United Kingdom. Illustration by Felicitas Kuhn (<o:p></o:p></span><span style="text-align: left;"><a href="https://en.wikipedia.org/wiki/Felicitas_Kuhn" target="blank">https://en.wikipedia.org/wiki/Felicitas_Kuhn</a>).</span></div>
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-13550510886118983282019-02-11T15:07:00.001-08:002019-02-11T15:07:38.899-08:00Aladdin Trailer 3 - Will Smith as the Blue Genie<div dir="ltr" style="text-align: left;" trbidi="on">
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A new trailer from Disney was released which ends with a brief glimpse of the live action genie played by Will Smith. He's blue. And he's sort of animated and sort of live. This blend seems to do something weird. It's likely not to be the weirdest thing about this film though.<br />
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See it for yourself –<br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/a_R9pd3_OZg" width="560"></iframe>
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-46112597989665970282019-01-25T22:27:00.003-08:002019-01-25T22:28:42.106-08:00Galland’s Scheherazade and Mary Shelley’s 1831 Frankenstein <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd4qjx1QOOIk2x1ecpJTgnr2KiRs4HZm4-vFeZSvMpsGJY-U84Gg-rLukHwvQOu3MTkyiV3P9cH3019uigPG6nZdqaN8bEVam918t7rtazZZ_lkWkw8ZP96lu2dyxsadhRc7WhCw88EjA/s1600/Screen+Shot+2019-01-25+at+10.26.37+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="642" data-original-width="508" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd4qjx1QOOIk2x1ecpJTgnr2KiRs4HZm4-vFeZSvMpsGJY-U84Gg-rLukHwvQOu3MTkyiV3P9cH3019uigPG6nZdqaN8bEVam918t7rtazZZ_lkWkw8ZP96lu2dyxsadhRc7WhCw88EjA/s400/Screen+Shot+2019-01-25+at+10.26.37+PM.png" width="316" /></a></span></div>
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<span style="font-size: small;">"'Have You Thought of a Story?': <span class="a" style="border: medium none; box-sizing: border-box; color: black; font-family: "ff1" , "times new roman" , "times" , serif; font-style: normal; font-weight: normal; height: 1px; left: 1192px; letter-spacing: normal; line-height: 1; margin: 0px; padding: 0px; position: absolute; text-decoration: none; text-indent: 0px; text-transform: none; top: 791px; white-space: nowrap; word-spacing: -3px;">“Have You Thought of a<span class="Apple-converted-space"> </span><span class="w6" style="border: none; box-sizing: border-box; display: inline-block; font-family: "ff1" , "times new roman" , "times" , serif; font-style: normal; font-weight: normal; height: 1px; line-height: 1; margin: 0px; padding: 0px; white-space: nowrap; width: 6px;"></span>Story?”</span></span><span style="font-size: small;">Galland’s Scheherazade and Mary Shelley’s 1831 <i>Frankenstein"</i> is an interesting 2005 article by Rebecca Nesvet which explores Shelley's debt to the <i>Nights</i> in creating her novel. </span><span style="font-size: small;"><span class="a" style="border: medium none; box-sizing: border-box; color: black; font-family: "ff1" , "times new roman" , "times" , serif; font-style: normal; font-weight: normal; height: 1px; left: 1192px; letter-spacing: normal; line-height: 1; margin: 0px; padding: 0px; position: absolute; text-decoration: none; text-indent: 0px; text-transform: none; top: 791px; white-space: nowrap; word-spacing: -3px;"></span></span><br />
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<span style="font-size: small;">Among the similarities are Shelley's use of the frame technique and also her inclusion of "Orientalist" motifs, including Safie the Turkish merchant's daughter and the female narrator in general. The article suggests in a sideways fashion, interestingly, that the novel could not have been written without Galland's <i>Nights</i>. </span><br />
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<span style="font-size: small;">The article can be read here - <a href="https://www.academia.edu/28741925/_Have_you_thought_of_a_story_Gallands_Scheherazade_and_Mary_Shelleys_1831_frankenstein">https://www.academia.edu/28741925/_Have_you_thought_of_a_story_Gallands_Scheherazade_and_Mary_Shelleys_1831_frankenstein target="blank"</a></span><br />
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Article Abstract:<br />
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"Internal evidence from Mary Shelley’s Frankenstein and its
1831 Introduction reveals Antoine Galland’s translation of the Arabian Nights as
the source of many of the novel’s most significant themes and imagery. From
Scheherazade’s legendary experience and her own, Shelley constructs a lineage
of female survivalist storytellers crossing temporal, geographic, and cultural
boundaries. For the text of Frankenstein Shelley appropriates the telescopic
structure, the character of Safie, and several anecdotes and images. In her
Introduction to the revised edition of 1831, Shelley more conspicuously
emphasises the parallel with the Arabian Nights, reliving Scheherazade’s
struggle and triumph when she takes up Byron’s intimidating storytelling
challenge. Shelley’s use of Scheherazade’s stories and life story suggests that
in her own perspective, to quote the Introduction, her “invention” of Frankenstein
comes not “ex nihilo”, but out of Arabia."</div>
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-->Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-71677541430008901802018-11-29T00:59:00.002-08:002018-11-29T00:59:57.507-08:00Disney's Aladdin Teaser Trailer - In Theaters May 24th, 2019<div dir="ltr" style="text-align: left;" trbidi="on">
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Well amigos. It continues. Here is the Disney trailer for its live-action version of <i>Aladdin</i>. Will Smith as the Genie. </div>
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-68728609956615687362018-11-26T18:30:00.000-08:002018-11-26T18:31:13.354-08:00The Wonderfully Bizarre History of The Magic Voyage of Sinbad<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifPlOz6RJPhMgeguVJCwPjfB6B7wHxQE4v8Pw_reDbJd0D_tIPYDvjdFRVTQGg6Rom1RQ30qbRtAG67Yf5Ki_YQAfuc6v3y-kHY7eqfcAtyJE5_AoY4nv9rwTv5a8o83_Ms-ANALvoPjY/s1600/Screen+Shot+2018-11-26+at+6.19.30+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="690" data-original-width="884" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifPlOz6RJPhMgeguVJCwPjfB6B7wHxQE4v8Pw_reDbJd0D_tIPYDvjdFRVTQGg6Rom1RQ30qbRtAG67Yf5Ki_YQAfuc6v3y-kHY7eqfcAtyJE5_AoY4nv9rwTv5a8o83_Ms-ANALvoPjY/s400/Screen+Shot+2018-11-26+at+6.19.30+PM.png" width="400" /></a></div>
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So there's this Russian film called Sadko (1953) that won a bunch of awards in Russia. Roger Corman's film company in the States went and bought the rights (or something, the history isn't exactly clear) to the film and the company remade it. According to Wikipedia Francis Ford Coppola helped write the new script. </div>
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They changed it from a Russian adventure film with nothing to do with the <i>Nights</i> into a <i>1001 Nights</i> Sinbad film, changing the dialogue and dubbing it into English. It's not clear how much of the plot they changed but the company did cut some of the original. The resulting film is <i>The Magic Voyage of Sinbad</i>, which didn't do well at all in terms of reception. It's sort of tolerated in B-movie/camp fans and was featured on <i>Mystery Science Theater 3000</i>.</div>
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From wikipedia (<a href="https://en.wikipedia.org/wiki/Sadko_(film)">https://en.wikipedia.org/wiki/Sadko_(film)</a>) - </div>
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"<span style="font-family: "helvetica neue"; font-size: 12px; text-align: left;">The film was re-released in the United States in 1962 in an English-dubbed and modified form by </span><a href="https://en.wikipedia.org/wiki/Roger_Corman" style="font-family: "Helvetica Neue"; font-size: 12px; text-align: left;"><span style="color: #dca10d;">Roger Corman</span></a><span style="font-family: "helvetica neue"; font-size: 12px; text-align: left;">'s Filmgroup under the title </span><i style="font-family: "Helvetica Neue"; font-size: 12px; text-align: left;">The Magic Voyage of Sinbad</i><span style="font-family: "helvetica neue"; font-size: 12px; text-align: left;">. It retains the plot structure of </span><i style="font-family: "Helvetica Neue"; font-size: 12px; text-align: left;">Sadko</i><span style="font-family: "helvetica neue"; font-size: 12px; text-align: left;"> but includes several changes: the total running time is reduced from approximately 85 to 79 minutes (most of the deleted footage consists of scenes in which songs are performed, though one song is retained and sung in English), voice-over narration is added, the protagonist "Sadko" is renamed "Sinbad," and other characters and places are renamed to disguise the film's Russian origin and transform the film into a story about Sindbad the Sailor (perhaps most significantly, the city of Novgorod is renamed "Copasand"). The English dubbing in this version arguably gives the film a slightly "campier" tone than the original version, in which the dialogue has a more polished and "literate" tone. Cast and credits were also altered to made-up "American-sounding" names. The "Script Adaptor" for this version of the film, uncredited, was a young </span><a href="https://en.wikipedia.org/wiki/Francis_Ford_Coppola" style="font-family: "Helvetica Neue"; font-size: 12px; text-align: left;"><span style="color: #dca10d;">Francis Ford Coppola</span></a><span style="font-family: "helvetica neue"; font-size: 12px; text-align: left;">.</span></div>
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This version of the film was featured in <a href="https://en.wikipedia.org/wiki/List_of_Mystery_Science_Theater_3000_episodes#SEASON_5.2FComedy_Central_1993-94"><span style="color: #dca10d;">Season 5</span></a>, Episode #505 of <a href="https://en.wikipedia.org/wiki/Mystery_Science_Theater_3000"><span style="color: #dca10d;"><i>Mystery Science Theater 3000</i></span></a> in 1993, despite the fact that <a href="https://en.wikipedia.org/wiki/Kevin_Murphy_(actor)"><span style="color: #dca10d;">Kevin Murphy</span></a>, voice of <a href="https://en.wikipedia.org/wiki/Tom_Servo"><span style="color: #dca10d;">Tom Servo</span></a>, has professed a love for the "breathtaking" visual style of this and other films by Aleksandr Ptushko in multiple interviews.<sup>[1][2]</sup> <a href="https://en.wikipedia.org/wiki/Paul_Chaplin"><span style="color: #dca10d;">Paul Chaplin</span></a>, another writer of the show, has also expressed admiration elsewhere, but not regrets for the mockery."</div>
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If you like, you can watch it here: </div>
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<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/oYfvBMK_HvM" width="459"></iframe>
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-34587242101624876382018-10-22T22:45:00.003-07:002018-10-22T22:46:04.963-07:00Long-Lost Watercolors Of '1001 Nights' Bring New Life To Age-Old Tales<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="storytitle" style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; border: 0px none; box-sizing: border-box; caret-color: rgb(0, 0, 0); color: black; float: none; font-family: Helvetica, Arial, sans-serif; font-stretch: inherit; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; line-height: inherit; margin: 0px auto; max-width: 680px; padding: 0px 15px; position: relative; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; width: auto; word-spacing: 0px;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqOQXDfAKjzCb1ydYNKQWBjF7_s_XNeJg2XVd-txwxpwhAguruMi-Jdj9Nu2bX3VHkOeh1E0uxBtw7V_BCGDrQsUEpZjh91E6GQ6TK8M6u5kGk179pdKfGUjz7g99NWUMFzWhEhy-gGBo/s1600/Screen+Shot+2018-10-22+at+10.41.27+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1132" data-original-width="1178" height="383" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqOQXDfAKjzCb1ydYNKQWBjF7_s_XNeJg2XVd-txwxpwhAguruMi-Jdj9Nu2bX3VHkOeh1E0uxBtw7V_BCGDrQsUEpZjh91E6GQ6TK8M6u5kGk179pdKfGUjz7g99NWUMFzWhEhy-gGBo/s400/Screen+Shot+2018-10-22+at+10.41.27+PM.png" width="400" /></a></div>
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<span style="font-size: small;"> </span></h2>
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<span style="font-size: small;">Long-Lost Watercolors Of '1001 Nights' Bring New Life To Age-Old Tales</span></h2>
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<div class="story-meta has-byline" id="story-meta" style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; border: 0px none; box-sizing: border-box; caret-color: rgb(0, 0, 0); color: black; float: none; font-family: Helvetica, Arial, sans-serif; font-stretch: inherit; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; line-height: inherit; margin: 0px auto 20px; max-width: 680px; padding: 0px 15px; position: relative; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; width: auto; word-spacing: 0px;">
<div class="story-meta__one" style="border: 0px none; box-sizing: border-box; color: #767676; font-family: "Gotham SSm", Helvetica, Arial, sans-serif; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: inherit; margin: 0px 0px 20px; padding: 0px; vertical-align: baseline;">
<div style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; border: 0px none; box-sizing: border-box; color: #333333; float: none; font-family: Georgia, serif; font-stretch: inherit; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; line-height: 1.70588; margin: 0px auto 1.17647em; max-width: 680px; padding: 0px 15px; position: static; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; width: auto; word-spacing: 0px;">
<span style="font-size: small;">"In the early 20th century, artists experimented with color and less realistic dimensions, and mixed the worlds of Eastern and Western mythologies. Danish illustrator Kay Nielsen, working in Europe during World War I, finished his own evocative version of<span class="Apple-converted-space"> </span><em style="border: 0px none; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: italic; font-variant-caps: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">A Thousand and One Nights</em>. His mysticism-tinted take on the Arabian stories pushed visual storytelling to new heights.</span></div>
<div style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; border: 0px none; box-sizing: border-box; color: #333333; float: none; font-family: Georgia, serif; font-stretch: inherit; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; line-height: 1.70588; margin: 0px auto 1.17647em; max-width: 680px; padding: 0px 15px; position: static; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; width: auto; word-spacing: 0px;">
<span style="font-size: small;">Nielsen filled his illustrations with expressionist, nearly surrealist characters and whimsical landscapes, breaking the boundaries of what visual storytelling was supposed to look like. His use of bright reds and deep blues, of golden leaves and detailed floral elements, hinted at a mix of Asian folklore and Arab iconography, make of his work a revolutionary body of visual art.</span></div>
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<span style="font-size: small;">But the illustrations were never published, and the watercolor images remained tucked away for more than 40 years. They were rescued from oblivion after Nielsen's death in 1957 and sat unused for another 60 — until now."</span></div>
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More on the story, the new book and reproductions of the artwork - <br />
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<a href="https://www.npr.org/sections/pictureshow/2018/10/22/653642391/long-lost-watercolors-of-1001-nights-bring-new-life-to-age-old-tales">https://www.npr.org/sections/pictureshow/2018/10/22/653642391/long-lost-watercolors-of-1001-nights-bring-new-life-to-age-old-tales</a></div>
Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-21102030719366717682018-09-04T19:55:00.003-07:002018-09-04T19:56:15.520-07:00New Translation of Aladdin<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoPtwqp_ANRkmp3rP1HSDvuX-bKQBEfVKC8K_UhHyE2KS4RuhZb2ZV1cp0D_YjyyGinS1kLeWsYJGlccjFxfg_PzjRCrgdJuRtXUuiJCR6yESxdFJgFez0KzTyM1RKVChSIaY1Wnj_mAg/s1600/Screen+Shot+2018-09-04+at+7.48.18+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="958" data-original-width="644" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoPtwqp_ANRkmp3rP1HSDvuX-bKQBEfVKC8K_UhHyE2KS4RuhZb2ZV1cp0D_YjyyGinS1kLeWsYJGlccjFxfg_PzjRCrgdJuRtXUuiJCR6yESxdFJgFez0KzTyM1RKVChSIaY1Wnj_mAg/s400/Screen+Shot+2018-09-04+at+7.48.18+PM.png" width="268" /></a></div>
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W.W. Norton and Company are set to release a new, stand-alone English translation of <i>Aladdin</i> in November of 2018. It will be translated by Yasmine Seale and edited by Paulo Lemos Horta. <br />
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From their website – <a href="http://books.wwnorton.com/books/detail.aspx?ID=4294996827">http://books.wwnorton.com/books/detail.aspx?ID=4294996827</a><br />
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A dynamic French-Syrian translator, lauded for
her lively poetic voice, tackles the enchanted
world of Aladdin in this sparkling new translation.<br />
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Long defined by popular film adaptations that have reductively portrayed <em>Aladdin</em>
as a simplistic rags-to-riches story for children, this work of
dazzling imagination—and occasionally dark themes—finally comes to
vibrant new life. “In the capital of one of China’s vast and wealthy
kingdoms,” begins Shahrazad— the tale’s imperiled-yet-ingenious
storyteller—there lived Aladdin, a rebellious fifteen-year-old who falls
prey to a double-crossing sorcerer and is ultimately saved by the ruse
of a princess.<br />
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One of the best-loved folktales of all time, <em>Aladdin</em>
has been capturing the imagination of readers, illustrators, and
filmmakers since an eighteenth-century French publication first added
the tale to <em>The Arabian Nights</em>. Yet, modern English translators
have elided the story’s enchanting whimsy and mesmerizing rhythms. Now,
translator Yasmine Seale and literary scholar Paulo Lemos Horta offer
an elegant, eminently readable rendition of <em>Aladdin</em> in what is destined to be a classic for decades to come.<br />
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-87557644487468591982018-08-30T19:32:00.000-07:002018-08-30T19:32:24.626-07:00Walter Benjamin - On Hashish<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjipt8RYdZKhntCUuEo9hkqXBsbINwyCY2bBRBOiJvt4sD1lnDLrXqWNxlLpL_SUELoAhQjcq1Lii0VvTTB1CUTiW8sIAleIFipN6tNRgh_eizCCbQxa8U7_ZrLdBHA4ODn5VK1-DYpmj0/s1600/Screen+Shot+2018-08-30+at+7.27.47+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="388" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjipt8RYdZKhntCUuEo9hkqXBsbINwyCY2bBRBOiJvt4sD1lnDLrXqWNxlLpL_SUELoAhQjcq1Lii0VvTTB1CUTiW8sIAleIFipN6tNRgh_eizCCbQxa8U7_ZrLdBHA4ODn5VK1-DYpmj0/s400/Screen+Shot+2018-08-30+at+7.27.47+PM.png" width="268" /></a></div>
<br />
<i>The Journal of the 1001 Nights</i> took a little break but is now back in full force. Promise. MJL.<br />
<br />
Here is from Walter Benjamin's <i>On Hashish</i> - a little reflection of what he thought of while smoking hash.<br />
<br />
Full text is here - <a href="https://archive.org/stream/walter-benjamin-on-hashish/walter-benjamin-on-hashish_djvu.txt">https://archive.org/stream/walter-benjamin-on-hashish/walter-benjamin-on-hashish_djvu.txt</a> <br />
<br />
"December 18, 1927<br />
<br />
13. Oven turns into cat. The word “ginger” is uttered and suddenly in place of the desk there is a fruit stand, in which I
immediately recognize the desk. The Thousand and One
Nights came to mind."
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-37570052288767692922017-09-12T15:46:00.001-07:002017-09-12T15:49:50.673-07:00The 1001 Nights Podcast<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm7-5EL-5JFfpVwld0m4XPLJN7_xlBEDv_poCjIj5MtmkAfyHSWVULv5QGPh6E6AMWc0h6JHrPcb8Jps-fduC6YMIqgkyGczPG1dS4U8cymjQx6gjQKegs4pbRE7AxJYTb_Z89u3LBV6E/s1600/Screen+Shot+2017-09-12+at+3.40.05+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="558" data-original-width="624" height="357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm7-5EL-5JFfpVwld0m4XPLJN7_xlBEDv_poCjIj5MtmkAfyHSWVULv5QGPh6E6AMWc0h6JHrPcb8Jps-fduC6YMIqgkyGczPG1dS4U8cymjQx6gjQKegs4pbRE7AxJYTb_Z89u3LBV6E/s400/Screen+Shot+2017-09-12+at+3.40.05+PM.png" width="400" /></a></div>
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The 1001 Nights Podcast is a collaborative online storytelling website featuring 25 retellings of <i>Nights</i>-related stories. They seemed to stop making new ones in 2015 but you can still listen to all of the old podcasts here -<br />
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<a href="http://www.1001nightspodcast.com/" target="blank">http://www.1001nightspodcast.com/</a></div>
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-25835281025858489962017-09-06T23:26:00.000-07:002017-09-06T23:27:58.116-07:00(De) Toppers - 1001 Nights<div dir="ltr" style="text-align: left;" trbidi="on">
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<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/3wlidBZDXjc" width="480"></iframe></div>
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This is the Orientalist-out-of-control introduction to a (De) Toppers concert in 2013. <br />
<br />
The song they intro with, "1001 Nights," was originally done by Dutch pop band Ch!pz as "1001 Arabian Nights."<br />
<br />
Enjoy!<br />
<br />
If you'd like more, here they are in 1001 Nights' shirts dancing around Turkey, singing a version of Marc Anthony's song "Vivir Mi Vida" - <br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/MrUxpM3oFJk?rel=0" width="560"></iframe>
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-30942578279000667132017-07-24T17:41:00.003-07:002017-07-24T17:51:08.761-07:00Live-Action Aladdin Casting Controversy<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBJGdKo3DcY236jA7CucgyleYAC8ta788lYCo8m6uOXlBqWb1DahAhzHfvm3m_2ErrrvqjjN_15NSewaFTmAA5adNSniIGtw8nV9C1G3JiUwTX0HxRBUiBQs9p2eA8A-UUBawTQipTdPg/s1600/Screen+Shot+2017-07-24+at+5.24.36+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="776" data-original-width="1410" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBJGdKo3DcY236jA7CucgyleYAC8ta788lYCo8m6uOXlBqWb1DahAhzHfvm3m_2ErrrvqjjN_15NSewaFTmAA5adNSniIGtw8nV9C1G3JiUwTX0HxRBUiBQs9p2eA8A-UUBawTQipTdPg/s400/Screen+Shot+2017-07-24+at+5.24.36+PM.png" width="400" /></a></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Disney's live action version of its animated 1992 <i>Aladdin</i> is currently in production. Recently, the company announced who would be playing the various parts and it has provoked some controversy. In 1992 groups in the US and elsewhere pressured Disney to change the animated film because of its lyrics and portrayals of the "East" and some parts of the movie and its lyrics were changed after its initial release. </span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">That did little to erase what many saw as Disney's continued misrepresentation of race and culture. </span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This Fortune.com opinion piece by Germine Awad aptly highlights some of the critical viewpoints that have been levied against the upcoming live-action version:</span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<br />
<h1 class="_8UFs4BVE" data-reactid="189">
<span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>How Disney Blew a Huge Opportunity While Casting Aladdin</b> - <a href="http://fortune.com/2017/07/21/disney-aladdin-cast-naomi-scott/">http://fortune.com/2017/07/21/disney-aladdin-cast-naomi-scott/</a></span></span></span></h1>
<h1 class="_8UFs4BVE" data-reactid="189">
<span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">"With the recent backlash in Hollywood surrounding the casting of white actors to play characters of color, Disney went to great lengths to mount a large-scale, worldwide search to find culturally appropriate actors for the live-action reboot of Aladdin. Reportedly, more than 2,000 actors read for the parts of Jasmine and Aladdin. The process resulted in Mena Massoud, a Canadian Egyptian, being cast as Aladdin; and Naomi Scott, a woman of British and Indian heritage, landing the role of Jasmine. The casting call included a search for actors of both Middle Eastern and Indian descent, presumably to widen the net of potential actors that could realistically depict Middle Easterners.</span></span></span></h1>
<h1 class="_8UFs4BVE" data-reactid="189">
<span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></span></h1>
<div class="column small-12 medium-10 medium-offset-1 large-offset-2 text size-1x-large line-height-large _10M0Ygc4" data-reactid="284">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The
backlash against Disney for choosing Naomi Scott, a woman not of Middle
Eastern descent, to depict Jasmine is partially a response to the
notion that individuals of Middle Eastern and South Asian descent are
interchangeable. This is not the first time that South Asians and Middle
Easterners have been mistaken for one another. Shortly after the 9/11
terror attacks, a Sikh man was murdered in a hate crime aimed at someone
of Middle Eastern descent. Individuals of Middle Eastern and South
Asian descent both experienced a rise in hate crimes post -9/11.</span></span></div>
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<div class="column small-12 medium-10 medium-offset-1 large-offset-2 text size-1x-large line-height-large _10M0Ygc4" data-reactid="286">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">There
is a psychological concept that explains this phenomenon called the
outgroup homogeneity effect, where majority group members see the
uniqueness and individuality within their own group, but see minority
group members as homogeneous. In other words, the majority views the
minority as all being the same.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In
a climate that includes Muslim bans and general anti-immigration
rhetoric, children of Middle Eastern descent are constantly bombarded
with negative messages about Middle Easterners. Author and lecturer Jack
Shaheen documented the longstanding negative media portrayals of Arabs
in films and television. He noted that Arab characters tend to be
terrorists; passive, oppressed women; rich oil sheiks; or brutes."</span></span><br />
<br /></div>
Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0tag:blogger.com,1999:blog-6466804709996144264.post-65739957587931469032017-03-10T14:02:00.003-08:002017-03-10T14:03:28.853-08:00The Arabian Nights in the English Popular Press and the Heterogenization of Nationhood<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdQdMAPu0hzKits2NbMksiWkzXDZKfHsPrUjafjLQju3WY2uLn0D0GZSVBvGcEKtclOyjeSXxNDonrF7L4O47V7rNdCq7yxLOHaprCFIKPyFZKrfxheCXBIR5b5o0bp1V8kvou5lRv4W8/s1600/Screen+Shot+2017-03-10+at+2.02.03+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdQdMAPu0hzKits2NbMksiWkzXDZKfHsPrUjafjLQju3WY2uLn0D0GZSVBvGcEKtclOyjeSXxNDonrF7L4O47V7rNdCq7yxLOHaprCFIKPyFZKrfxheCXBIR5b5o0bp1V8kvou5lRv4W8/s400/Screen+Shot+2017-03-10+at+2.02.03+PM.png" width="270" /></a></div>
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<br />
Rasoul Aliakbari's new article "The <em>Arabian Nights</em> in the English Popular Press and the Heterogenization of Nationhood: A Print Cultural Approach to Benedict Anderson’s <em>Imagined Communities" </em>explores nation-building via Anderson, Edward William Lane, the popular press and <i>The 1001 Nights</i>.<br />
<br />
It's a great read and fills some much-needed gaps in terms of popular renditions of the <i>Nights</i> and their relationship with understandings of nation.<br />
<br />
If you have academic access you can read it here at <i>Canadian Review of Comparative Literature</i> -<br />
<br />
<a href="https://muse.jhu.edu/article/632227">https://muse.jhu.edu/article/632227</a><br />
<br />
Rasoul Aliakbari is a graduate student at The University of Alberta in Comparative Literature. <br />
<br />
I've pasted the abstract/overview below -<br />
<br />
<div class="sec">
<h1 class="sec-headA">
I. A<small class="caps">ims and</small> S<small class="caps">cope</small></h1>
This article investigates the popular print culture of the <em>Arabian Nights</em><sup><a href="https://muse.jhu.edu/article/632227#f01" id="f01-text" name="f01-text">1</a></sup>
in nineteenth-century England in order to challenge Benedict Anderson’s
standpoints on modern nation-building in his now-classic <em>Imagined Communities</em>. There is a growing body of research on the <em>Nights</em>,
its sources, its literary character, its cultural significance, its
translations, its adaptations, and its continuing popularity in
contemporary cultures throughout the world. Ulrich Marzolph’s website
provides an extensive list of <strong></strong>representative scholarship on various aspects of the <em>Nights</em> in its various pre-modern, modern, and contemporary contexts (<a href="https://muse.jhu.edu/article/632227#b34" id="b34-text" name="b34-text"><em>The Arabian Nights Bibliography</em></a>). However, reviewing the literature of the <em>Nights</em> on his website and elsewhere, one notices a relative lack of scholarship on the uses of print editions of the <em>Nights</em>
to converse with theories of print capitalism and modern
nation-building. Responding to this lacuna, this article mainly aims to
investigate publications of the <em>Nights</em> for lower-class readers
in nineteenth-century England, in order to offer a heterogenized picture
of the formation of modern English nationhood.<sup><a href="https://muse.jhu.edu/article/632227#f02" id="f02-text" name="f02-text">2</a></sup> In particular, I will explore the print circumstances of Edward Lane’s translation of the <em>Nights</em> as well as some reproductions of, and responses to, the <em>Nights</em> in nineteenth-century British cheap popular periodicals, to develop a critical dialogue with Anderson.<sup><a href="https://muse.jhu.edu/article/632227#f03" id="f03-text" name="f03-text">3</a></sup>
This dialogue includes revisiting, challenging, and complicating some
dimensions of Anderson’s discourses on print capitalism, the formation
of the modern nation as an imagined community, and official nationalism.
By examining the uses of the <em>Nights</em> for and among British
lower classes and the expanding bourgeois readership of the time, I will
demonstrate that, unlike Anderson’s conception of nationhood as
homogeneous, steady, and solid, the formation of modern English
nationhood is heterogeneous, porous, borderly, and conditioned at the
intersection of social classes and the oriental literariness of the <em>Nights</em>. In other words, rather than arguing for the impact of the <em>Nights</em>
on European literary modernity or nation-building, this essay seeks to
demonstrate some of the uses of this tale collection in the English
enterprise of nation-building, including the dissemination of
‘wholesome’ reading matter and the establishment of British sovereignty
over lower-class and mass readership in England during the nineteenth
century.<br />
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com1tag:blogger.com,1999:blog-6466804709996144264.post-50400203208291858332016-09-14T10:46:00.002-07:002016-09-14T10:49:44.014-07:00A Thousand and One Nights: A History of the Text and its Reception by Dwight Reynolds<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "verdana" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZz6AcRaiYPlfHt3KiqvA9jx090YN9mM93xYRH3TVQd6kaOGaeuuWSARA64AKE742SPJUBrlVxiuYaa0nGxoTAV9Zrd2zNbR9VzenoBHBIpGZPj9-q49mKnmmBhR8CgmfmAud4cYcawtE/s1600/Screen+Shot+2016-09-14+at+10.44.13+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZz6AcRaiYPlfHt3KiqvA9jx090YN9mM93xYRH3TVQd6kaOGaeuuWSARA64AKE742SPJUBrlVxiuYaa0nGxoTAV9Zrd2zNbR9VzenoBHBIpGZPj9-q49mKnmmBhR8CgmfmAud4cYcawtE/s400/Screen+Shot+2016-09-14+at+10.44.13+AM.png" width="400" /></a></span></div>
<div style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><b>The West "discovers" the <i>Nights</i></b></span></span></div>
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<br />
<div class="js-swp-work-title col-xs-12 col-md-9 u-fontSerif u-fw100 u-fs30 u-lineHeight1_4 u-mt5x u-mb3x u-ph0x">
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<span style="font-family: "verdana" , sans-serif; font-size: small;"><span itemprop="name">"A Thousand and One Nights: A History of the Text and its Reception" by Dwight Reynolds (<a href="http://www.religion.ucsb.edu/people/faculty/dwight-reynolds/" target="_blank">http://www.religion.ucsb.edu/people/faculty/dwight-reynolds/</a>) is, in my opinion, one of the most succinct – yet right on – histories of the <i>Nights</i>. It was only available before via academic libraries and is part of the volumes that make up Cambridge University Press' Arabic Literature series.</span></span></div>
<div class="js-swp-work-title col-xs-12 col-md-9 u-fontSerif u-fw100 u-fs30 u-lineHeight1_4 u-mt5x u-mb3x u-ph0x">
<span style="font-family: "verdana" , sans-serif; font-size: small;"><span itemprop="name"><br /></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: small;"><span itemprop="name">Professor Reynolds has uploaded a copy on academia for you to read/download here, however - <a href="https://www.academia.edu/28322004/A_Thousand_and_One_Nights_A_history_of_the_text_and_its_reception" target="_blank">https://www.academia.edu/28322004/A_Thousand_and_One_Nights_A_history_of_the_text_and_its_reception</a></span></span></div>
<div class="js-swp-work-title col-xs-12 col-md-9 u-fontSerif u-fw100 u-fs30 u-lineHeight1_4 u-mt5x u-mb3x u-ph0x">
<span style="font-family: "verdana" , sans-serif; font-size: small;"><span itemprop="name"><br /></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: small;"><span itemprop="name">I like the way the chapter successfully defines the <i>Nights</i> in a very clear, non polemic, manner, especially in its conclusion:</span></span></div>
<div class="js-swp-work-title col-xs-12 col-md-9 u-fontSerif u-fw100 u-fs30 u-lineHeight1_4 u-mt5x u-mb3x u-ph0x">
<div class="MsoNormal">
<br />
<span style="font-family: "verdana" , sans-serif; font-size: small;">“<i style="mso-bidi-font-style: normal;">The Nights </i>was a
relatively unknown collection of fabulous tales, one of many such collections
that formed a part of late medieval popular Arabic literature, its unique
embedding of tales and its compelling heroine notwithstanding. </span></div>
<div class="MsoNormal">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif; font-size: small;">By chance, this particular work was snatched from obscurity
and given a new existence by Western scholars, translators, publishers and
readers who acclaimed it both as a literary masterpiece and as a trustworthy
guide to Middle Eastern cultures.”</span></div>
<div class="MsoNormal">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif; font-size: small;">And I love this too about the <i>Nights</i>, how random of a text from that time period it was to have been "chosen" and "discovered" by Western Orientalists like Galland and co. to become the penultimate representative of the Muslim and Arab world for the West. That's truth. And it's weird. And fascinating. </span></div>
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Michael James Lundellhttp://www.blogger.com/profile/16048758980267850809noreply@blogger.com0