FREN1111: The Arabian Nights

A to Z World Superstitions & Folklore is an encyclopedia featuring myths, legends and irrational beliefs passed down through generations in 175 countries worldwide. Detailed entries on spirit worship, curses, mystical characters, folk tales, burial and th

This book offers an exciting new landscape in which to situate research on cultures and societies of the non-European world, with a road-map that leads us beyond the restrictive dichotomy of Occident/Orient.

No other edition offers extensive textual apparatus such as explanatory notes, plot summaries, particularly vital as stories are complex and interwoven.The Sultan Schahriar's misguided resolution to shelter himself from the possible infidelities on his wives leads to an outbreak of barbarity in his kingdoms and a reign of terror in his court, stopped only by the resourceful Scheherazade. The tales with which Scheherazade nightly postpones themuderous intent of the sultan have entered our language and our lives like no other collection of narratives before or since. Sinbad, Aladdin, Ali Baba: all make their spectacular entrance on to the stage of English literary history in the Arabian Nights Entertainments (1704-17). The storiescontained in this `store house of ingenious fiction' initiate a pattern of literary reference and influence which today remains as powerful and intense as it was throughout the eighteenth and nineteenth centuries.This edition reproduces in its entirety the earliest English translation of the French orientalist Antoine Galland's Mille et une Nuits. This remained for over a century the only English translation of the story cycle, influencing an incalculable number of writers, and no other edition offers thecomplete text supplemented by full textual apparatus.

Alf layla wa layla (known in English as A Thousand and One Nights or The Arabian Nights) changed the world on a scale unrivalled by any other literary text. Inspired by a fourteenth-century Syrian manuscript, the appearance of Antoine Galland's twelve-volume Mille et Une Nuits in English translation (1704-1717), closely followed by the Grub Street English edition, drew the text into European circulation. Over the following three hundred years, a widely heterogeneous series of editions, compilations, translations, and variations circled the globe to reveal the absorption of The Arabian Nights into English, Continental, and global literatures, and its transformative return to modern Arabic literature, where it now enjoys a degree of prominence that it had never attained during the classical period. Beginning with a thorough introduction situating The Arabian Nights in its historical and cultural contexts-and offering a fresh examination of the text's multiple locations in the long history of modern Orientalism--this collection of essays by noted scholars from "East," "West," and in-between reassesses the influence of the Nights in Enlightenment and Romantic literature, as well as the text's vigorous afterlife in the contemporary Arabic novel.

To commemorate the tercentenary of the first Western edition of The Arabian Nights, Yamanaka and Nishio marry Western and Japanese perspectives to analyse the rich cross-cultural fertilization that ensued. The Arabian Nights and Orientalism examines the tales' narrative motifs, and relates them to other cultures, traditions, and forms of representation. Yamanka and Nishio place the tales in a whole range of new contexts, from 19th century British feminism to ancient Greek romance. The Arabian Nights and Orientalism explores the interplay between image and text in various editions, and sheds new lon the tales' origin in the Persian professional storytelling tradition. Extensively illustrated throughout, the Arabian Nights and Orientalism will be of interest to scholars of the Middle East, and to anyone who has ever fallen under the spell of Scheherazade's stories. Robert Irwin's introduction offers an overview of critical responses to The Arabian Nights which highlights the originality of this volume.

Art, Commerce and Colonialism 1600-1800 examines European art, architecture and design of the seventeenth and eighteenth centuries in the light of the continent's growing engagement with the rest of the world. In a series of case studies spanning the globe from Asia to the Americas, it shows how the expansion of intercontinental trade and the proliferation of colonial ventures gave rise to new and diverse forms of visual and material culture. Among the examples discussed are ornate altarpieces in the cathedrals of colonial Latin America, Dutch still-life paintings of exotic luxury imports, English interior decoration in the Chinoiserie style and the architecture of plantation houses in North America and the Caribbean. Drawing on a wide range of recent scholarship, the book proposes a new history of European art 1600-1800, which should appeal to undergraduate students as well as to a general readership.

This first of four volumes accurately translating the wonderful tales of the Arabian nights.( Volumes 2-3 on order)

The Cambridge Companion to Postcolonial Literary Studies, first published in 2004, offers a lucid introduction and overview of one of the most important strands in recent literary theory and cultural studies. The volume aims to introduce readers to key concepts, methods, theories, thematic concerns, and contemporary debates in the field. Drawing on a wide range of disciplines, contributors explain the impact of history, sociology and philosophy on the study of postcolonial literatures and cultures. Topics examined include everything from anti-colonial nationalism and decolonisation to globalisation, migration flows, and the 'brain drain' which constitute the past and present of 'the postcolonial condition'. The volume also pays attention to the sociological and ideological conditions surrounding the emergence of postcolonial literary studies as an academic field in the late 1970s and early 1980s. The Companion turns an authoritative, engaged and discriminating lens on postcolonial literary studies.

In this 1998 book, Meyda Yegenoglu investigates the intersection between post-colonial and feminist criticism, focusing on the Western fascination with the veiled women of the Orient. She examines the veil as a site of fantasy and of nationalist ideologies and discourses of gender identity, analyzing travel literature, anthropological and literary texts to reveal the hegemonic, colonial identity of the desire to penetrate the veiled surface of 'otherness'. Representations of cultural difference and sexual difference are shown to be inextricably linked, and the figure of the Oriental woman to have functioned as the veiled interior of Western identity.

This new set provides students and researchers with a much-needed, comprehensive resource on the subject of colonialism and expansion. The work describes and analyzes the many aspects of the history of Europe's expansion overseas into the Americas, Asia, Africa and the Pacific, beginning in the 15th century and the building and collapse of empires (Spanish, Portuguese, British, French, Dutch, German, American). Race relations in decolonized regions as well as current examples of continuing dependence by much of the developing world on Western nations are covered. In addition, a number of the more than 400 articles in the set address the ideology and theories behind colonialism and imperialism, as well as the major and controversial issues at the core of the debate on colonialism and its consequences. Other features include a thematic outline for assistance in cross-curricular research, a glossary for quick reference and a handy subject index for easy navigation. The breadth and depth of coverage results in substantial geographic, historical, political, economic, social and cultural data.

What we know in European literature as One Thousand and One Nights was born as a transnational text 300 years ago. In the exact same manner, the ‘original’ tales of those early translations were born prior to the ninth century in Baghdad, by collecting and incorporating earlier tales from other cultures and literary traditions and elaborating them while appropriating them into the local culture at the same time. At times, these tales are transformations of other, earlier tales, and at times, they have striking parallels with other and later tales, which clearly demonstrates how entangled the literary world is in the past and in present times.

Narrative moves, stories migrate from one culture to another, over vast distances sometimes, but their path is often difficult to trace and obscured by time. "Fabulous Orients" looks at the traffic of narrative between Orient and Occident in the eighteenth century, and challenges the assumption that has dominated since the publication of Edward Said's "Orientalism" (1978) that such traffic is always one-way. Eighteenth-century readers in the West came to draw their mental maps of oriental territories and distinctions between them from their experience of reading tales 'from' the Orient. In this proto-colonial period the English encounter with the East was largely mediated through the consumption of material goods such as silks, indigo, muslin, spices, or jewels, imported from the East, together with the more 'moral' traffic of narratives about the East, both imaginary and ethnographic.; Through analyses of fictional representations (including travellers' accounts, letter narratives such as "Letters Writ by a Turkish Spy," and popular sequences of tales such as the "Arabian Nights Entertainments") of four oriental territories (Persia, Turkey, China and India), Ros Ballaster demonstrates the ways in which the East came to be understood as a source of story, a territory of fable and narrative. "Fabulous Orients" is structured according to territory rather than genre. Each section opens by re-narrating an oriental story in which a feminine character serves to 'figure' western desire for the territory she represents: the courtesan queen of the Ottoman seraglio Roxolana; the riddling Chinese princess Turandocte; and the illusory sati of India, Canzade.; The book goes on to explore the range of fabulous writings relating to each territory in order to illustrate how certain narrative tropes can come to dominate its representation: the conflict between the male look and female speech staged in the seraglio in the case of Turkey and Persia, the inauthenticity and/or dullness associated with China and its products such as porcelain, and the illusory dreams that are woven in the space of India and associated with its textile industries. This is the first book-length study of the oriental tale to appear for almost a century. Informed by recent historiographical and literary re-assessments of western constructions of the East, it develops an original argument about the use of narrative as a form of sympathetic and imaginative engagement with otherness, a disinvestment of the self rather than a confident expression of colonial or imperial ambition.

The 1931 International Colonial Exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The Exposition displayed the people, material culture, raw materials, manufactured goods and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the Orient - the site for rampant sensuality, decadence and irrationality - and as the laboratory of Western rationality. This book shows how the Exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture.

Prompting a reevaluation of canonical understandings of twentieth century art history, Mapping Modernisms provides an analysis of how indigenous artists and art from Africa, Oceania, and the Americas became recognized as modern.

Lavishly illustrated with exotic images ranging from Renoir's forgotten Algerian oeuvre to the abstract vision of Matisse's Morocco and beyond, this book is the first history of Orientalist art during the period of high modernism. Roger Benjamin, drawing on a decade of research in untapped archives, introduces many unfamiliar paintings, posters, miniatures, and panoramas and discovers an art movement closely bound to French colonial expansion. Orientalist Aesthetics approaches the visual culture of exoticism by ranging across the decorative arts, colonial museums, traveling scholarships, and art criticism in the Salons of Paris and Algiers. Benjamin's rediscovery of the important Society of French Orientalist Painters provides a critical context for understanding a lush body of work, including that of indigenous Algerian artists never before discussed in English. The painter-critic Eugène Fromentin tackled the unfamiliar atmospheric conditions of the desert, Etienne Dinet sought a more truthful mode of ethnographic painting by converting to Islam, and Mohammed Racim melded the Persian miniature with Western perspective. Benjamin considers armchair Orientalists concocting dreams from studio bric-à-brac, naturalists who spent years living in the oases of the Sahara, and Fauve and Cubist travelers who transposed the discoveries of the Parisian Salons to create decors of indigenous figures and tropical plants. The network that linked these artists with writers and museum curators was influenced by a complex web of tourism, rapid travel across the Mediterranean, and the march of modernity into a colonized culture. Orientalist Aesthetics shows how colonial policy affected aesthetics, how Europeans visualized cultural difference, and how indigenous artists in turn manipulated Western visual languages.

Acknowledging the significance of Edward Said's Orientalism for contemporary discourse, the contributors to this volume deconstruct, rearrange, and challenge elements of his thesis, looking at the new conditions and opportunities offered by globalization. What can a renewed or reconceptualized Orientalism teach us about the force and limits of our racial imaginary, specifically in relation to various national contexts? In what ways, for example, considering our greater cross-cultural interaction, have clichés and stereotypes undergone a metamorphosis in contemporary societies and cultures? Theoretically, and empirically, this book offers an expansive range of contexts, comprising the insights, analytical positions, and perspectives of a transnational team of scholars of comparative literature and literary and cultural studies based in Australia, Hong Kong, Japan, Malaysia, USA, Singapore, Taiwan, and Turkey. Working with, through and beyond Orientalism, they examine a variety of cultural texts, including the novel, short story, poetry, film, graphic memoir, social thought, and life writing. Making connections across centuries and continents, they articulate cultural representation and discourse through multiple approaches including critical content analysis, historical contextualization, postcolonial theory, gender theory, performativity, intertextuality, and intersectionality. Given its unique approach, this book will be essential reading for scholars of literary theory, film studies and Asian studies, as well as for those with a general interest in postcolonial literature and film.

The publication of Edward Said's Orientalism in 1978 marks the inception of orientalism as a discourse. Since then, Orientalism has remained highly polemical and has become a widely employed epistemological tool. Three decades on, this volume sets out to survey, analyse and revisit the state of the Orientalist debate, both past and present. The leitmotiv of this book is its emphasis on an intimate connection between art, land and voyage. Orientalist art of all kinds frequently derives from a consideration of the land which is encountered on a voyage or pilgrimage, a relationship which, until now, has received little attention. Through adopting a thematic and prosopographical approach, and attempting to locate the fundamentals of the debate in the historical and cultural contexts in which they arose, this book brings together a diversity of opinions, analyses and arguments.

This book examines the relationship between Romantic writing and the rapidly expanding British Empire. Literature played a crucial role in constructing and contesting the modern culture of empire that was fully in place by the start of the Victorian period. Postcolonial criticism's concern with issues of geopolitics, race and gender, subalternity and exoticism shape discussions of works by major authors such as Blake, Coleridge, both Shelleys, Austen and Scott, as well as their less familiar contemporaries.

Seen and Unseen teases out and explores how visual mediums construct visual cultures that often create limited perspectives of certain issues and groups. This volume focuses in particular on the representation of Islam and Muslims. It deals with fixed and stereotypical visual representations and explores alternative and challenging visual representations that reconstruct and dismantle existing belief systems. It approaches the topic from a vantage point of diverse multiple perspectives. Covering issues from Brunei, Iran, Egypt, and England and cyberspace, the essays in this volume examine the visual cultures of how Islam and Muslims are understood, misunderstood, misrepresented, or even embraced visually. Scholars in this volume draw on historical paintings, books and their covers, photography, and news to demonstrate the diversity and sometimes contradictory visual cultures that construct and adhere meaning to how Islam and Muslim people are seen.

In Veiled Figures, Teresa Heffernan explores how the clash of civilizations is perpetuated by the rhetoric of veiling and unveiling. Drawing on travel narratives, harem literature, and other stories, Heffernan argues that women's bodies have been used to exacerbate the divide between religion and reason in the eighteenth century, the Islamic umma and the Western nation in the nineteenth, and Islamism and global capitalism in the contemporary period.