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Journal articles on the topic 'Arabian nights'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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1

Jasim Mohammed, Azeez. "O. Henry’s A Madison Square Arabian Night: A Cross-Cultural Dialogue." International Journal of Applied Linguistics and English Literature 10, no. 1 (January 31, 2021): 71. http://dx.doi.org/10.7575/aiac.ijalel.v.10n.1p.71.

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In this paper, the assertion of cross-culture in the American literature is studied and put for discussion. Aside from the inspiration of the American writers of the Arabian Nights, the inspiration of the Arabian Culture is inspired as well. O. Henry is given as an example in his short story “A Madison square Arabian Night”. The first part of this research is going to highlight the importance of the Arabian Nights in the American literature. It tries to give a brief idea about the Arabian nights and according to this it is divided into five parts to give enough information as possible about these nights. The first part includes the understanding of the Arabian nights from different perspectives those found in some encyclopaedias, like the Encyclopaedia Americana, the Encyclopaedia Britannica and the Encyclopaedia of Islam. For the necessity of historical background about the contents of the Arabian Nights, the paper deals with the authorship of the stories of the Arabian nights and the contents which includes a short summary of the story of the Arabian nights. A general idea about the origins of the thousand nights and a night is widely explained. The last part is dedicated to stereotype something about the influence of the Arabian nights on the other literatures. O. Henry wrote most of his major works in short story. Thus the short story is the most outstanding literary genre in this age and its explanation has a space in this paper in the sense that it gives a comparison between Baghdad and New York from O. Henry’s point of view. This paper deals with his major work A Madison Square Arabian Night since it is the work in which a very clear example of comparison between Baghdad and New York is composed. His thesis in this story reveals the cross-cultural dialogue and his tendency towards the orientalism.
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2

Thiessen, Valerie. "Arabian Nights." Health Information Management 26, no. 3 (September 1996): 134–35. http://dx.doi.org/10.1177/183335839602600310.

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3

Hawkins, Erin. "The Arabian Nights." Primary Teacher Update 2012, no. 8 (May 2012): 57. http://dx.doi.org/10.12968/prtu.2012.1.8.57.

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4

Gaughan, Joseph. "Old Beginnings, and: Chagall's Arabian Nights, and: Arabian Nights (review)." Marvels & Tales 15, no. 1 (2001): 116–19. http://dx.doi.org/10.1353/mat.2001.0007.

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5

Perrin, Jean-François. "The Arabian Nights Reader." Féeries, no. 4 (October 1, 2007): 260–62. http://dx.doi.org/10.4000/feeries.493.

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6

Petch, Steve. "Arabian Nights – Part 2." Canadian Theatre Review 75 (June 1993): 47–54. http://dx.doi.org/10.3138/ctr.75.009.

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The Arabian Nights is among the best known and least known of the world’s great classics. We’ve all heard of it, and may even remember a tale or two from our childhood story books (“Ali Baba and the Forty Thieves”, or “Aladdin”). But the unabridged, unexpurgated 1001 Nights is a massive work: a dozen volumes, thousands of pages. Not a quick or an easy read. Also, the stories it contains were meant to be performed by a professional storyteller; like most performance literature, they can seem pretty lifeless when pinned to the page.
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7

Pinault, David, and Robert Irwin. "The Arabian Nights: A Companion." Journal of the American Oriental Society 115, no. 2 (April 1995): 339. http://dx.doi.org/10.2307/604710.

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8

Geider, Thomas. "The Arabian Nights Encyclopedia (review)." Marvels & Tales 19, no. 2 (2005): 322–25. http://dx.doi.org/10.1353/mat.2005.0025.

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9

Dalley, Stephanie. "Gilgamesh in the Arabian Nights." Journal of the Royal Asiatic Society 1, no. 1 (April 1991): 1–17. http://dx.doi.org/10.1017/s1356186300000031.

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It is difficult to lose a good story. Many of the best folk tales transcend the boundaries of language and nationality, and the Gilgamesh Epic, attested in Human, Hittite, Elamite and Akkadian cuneiform, is no exception. The latest Akkadian tablets to be inscribed with the story come from the site of Uruk of the late Babylonian period, some time after the fall of Babylon in 539 B.C. and perhaps as late as the Seleurid period, after the reign of Alexander the Great. The story had been popular for some two thousand years. Despite this popularity in so many countries and for such a very long period of time, the story of Gilgamesh was supposed to have died more or less with the death of cuneiform writing, although some residual themes were recognised in various versions of the Alexander Romance.
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10

Beres, Louis René. "Arabian Nights: Four Tales from a Thousand and One Arabian Nights (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 13, no. 3 (1995): 152–53. http://dx.doi.org/10.1353/sho.1995.0040.

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11

Sundararaj, D. "Translation and Adaptation of Thousand and One nights into Tamil." Shanlax International Journal of English 8, no. 2 (March 1, 2020): 46–49. http://dx.doi.org/10.34293/english.v8i2.1880.

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The Thousand and One Nights (also called The Arabian nights) were introduced popularly to Tamil people and got a good response from both Muslims and non-Muslims, so it has been continuously translated into Tamil by different authors for over three centuries. We divided the Tamil translation of Arabian nights two, complete translation and partial translation. Sixteen complete translations and twelve partial translations were made in these three centuries. Some of the complete translations do not cover all stories of Arabian nights. The adaptation can be separated into two. The first one is to extract only the subject matter from Thousand and nights. In this way, there are a lot of short stories and novels were written in Tamil, based on the subject matter of Thousand and nights. Let us take the structure and subject matter of thousands and nights. There is a children novel in Tamil, Mayakkallan by Perisamy Thooran, which adapted the structure and subject matter of Thousand and nights. Mayakkalan, like Thousand and nights, involves many stories within a story and exemplifies magic in the subject matter.
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12

Angel, Natalia. "The Exercise of Patriarchal Power and the Women’s Negotiation of Power in “The Arabian Nights”." K@ta Kita 7, no. 1 (February 28, 2019): 101–8. http://dx.doi.org/10.9744/katakita.7.1.101-108.

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This study focuses on the four tales that are taken from The Arabian Nights, namely The Tale of King Shahryār and His Brother, The Tale of the Porter and The Three Young Girls of Baghdad, Ali Baba and the Forty Thieves, and Ali Shar and Zumurrud. The goal is to find the forms of patriarchal power as the causes of the women characters’ negotiation of power and also the forms of the women characters’ negotiation of power in The Arabian Nights. The theories that are used for this study are the theory of power relation, the concept of docile bodies, and the concept of negotiation of power/power strategies. From the analysis, it is found that in the patriarchal society of The Arabian Nights, power is fluid and not fixed. Thus, in the society of The Arabian Nights, the women can still show reactions against men’s exercise of patriarchal power. Key words: Power, Negotiation, Women, Patriarchy, Resistance, Rebellion.
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13

NISHIO, Tetsuo. "The Arabian Nights Studies: Current Scene." Bulletin of the Society for Near Eastern Studies in Japan 37, no. 2 (1994): 223–36. http://dx.doi.org/10.5356/jorient.37.2_223.

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14

Shaheen, Mohammad, and Peter L. Caracciolo. "The Arabian Nights in English Literature." Yearbook of English Studies 22 (1992): 312. http://dx.doi.org/10.2307/3508431.

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Mullen, Alexandra, and Rosemary O'Brien. "The Arabian Nights of Gertrude Bell." Hudson Review 54, no. 3 (2001): 521. http://dx.doi.org/10.2307/3853395.

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16

Grotzfeld, Heinz. "Neglected Conclusions of the Arabian Nights." Journal of Arabic Literature 16, no. 1 (January 1, 1985): 73–87. http://dx.doi.org/10.1163/157006485x00059.

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17

Møllegaard, Kirsten. "The Arabian Nights: A Play (review)." Marvels & Tales 20, no. 2 (2007): 263–67. http://dx.doi.org/10.1353/mat.2007.0013.

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18

Dickson, Melissa. "Jane Eyre's ‘Arabian Tales’: Reading and Remembering the Arabian Nights." Journal of Victorian Culture 18, no. 2 (June 2013): 198–212. http://dx.doi.org/10.1080/13555502.2013.772534.

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19

Bednarek, Magdalena. "Czar opowieści. Dylogie Catherynne M. Valente oraz Salmana Rushdiego w kontekście Księgi tysiąca i jednej nocy." Poznańskie Studia Polonistyczne. Seria Literacka, no. 28 (February 19, 2017): 183–205. http://dx.doi.org/10.14746/pspsl.2016.28.10.

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From the 18th century on Arabian Nights has been influencing European imaginary, especially culture and literature. It created European vision of the Orient as well. In the 20th century popular culture gave high recognisability to many elements of Arabian Nights (such as characters: Sindbad, Aladdin or magical artefacts: a flying carpet, magic lamp). Scheherazade as an allegory for narrative art became the most important figure for scholars studying the book. The paper shows how two contemporary book cycles make intertextual links to Arabian Nights . Orphan’s Tale by Catherynne M. Valente, Harun and the Sea of stories and Luka and the fire of Life by Salman Rushdie rewrite the elements of Arabian Nights , such as characters, artefacts and linguistic allusion to the Orient. However, the narration in the works by both writers is completely different: Valente recreated a sophisticated device of narration known from the book, whereas Rushdie gave his novels a simple, linear composition. Scheherazade’s gift to spin story out of a life is needed for different aims. For Rushdie telling fairy tales is useful in writing about life of literature itself, for Valente it is important for creating an alternative to the patriarchal vision of the world.
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20

Rokib, Muhammad, and Moh Mudzakkir. "Negosiasi Islam dan Budaya Lokal pada Terjemahan Novel “Kisah Seribu Satu Malam”: Sebuah Kajian Parateks." IBDA` : Jurnal Kajian Islam dan Budaya 14, no. 1 (May 30, 2016): 79–89. http://dx.doi.org/10.24090/ibda.v14i1.621.

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Alf Laylah wa Laylah novel (tales) translated as “The Arabian Nights” and “Kisah Seribu Satu Malam” is a popular literature in the world. Through the Antoine Galland translation in 1704 entitled Les mille et une nuits, the novel had translated as The Arabian Night and widespread to all over the world. In Indonesia, the Arabian Nights received great reception from the society. One of the empirical evidences from the reception is a Mizan publisher translation which was reached to nineteenth edition. Mizan has translated it by “Kisah Seribu Satu Malam” from the English edition. In 2004, the first volume had nineteen edition, while second has fifteen. These frequences of edition showed the Indonesian people interest to the novel. Through the paratext approach which scrutinizes text from the cover of novel include images, codes, symbols, text and combinated design, this paper argues that translated edition of Kisah Seribu Satu Malam has reflected local readers’ reception considering local culture. Within various covers design, there has been similar message on peaceful and humorous symbol of Indonesian Islam.
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21

Elgayyar, Sherif. "The impact of the Arabian Nights in Modern Egyptian narration: Mahfouz’s Arabian Nights and Days as a Case Study." Scripta Neophilologica Posnaniensia 21 (December 15, 2021): 303–19. http://dx.doi.org/10.14746/snp.2021.21.13.

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The Arabian Nights were passed orally for long eras, long before they were written down; the collective sense, through several anonymous narrators, developed them: changing, modifying, omitting and adding to this oral discourse. All for the purpose of entertaining the public according the spirit of the age and the socio-cultural contexts, afterwards, it was recorded in different versions, as diverse as their sources, up until the landmark version, namely the one printed in Bulak, Egypt in 1835.The West is to be commended on paying attention to the significance of The Arabian Nights, academically and creatively, before its original-home, especially since it was later translated to many languages. After French orientalist Antoine Galland (1646 - 1715) translated into French between 1704 and 1713 a third of the manuscript he had brought from the Orient.This study delves into “The Impact of The Arabian Nights on Modern Egyptian Narration”. The researcher tries to point out how Egyptian writers were inspired by the classic text by examining Naguib Mahfouz's Arabian Nights and Days (Layālī alf laylah) as a case study. An analytic, text-based approach was used to detect the intertextual interaction between the classic and the modern, and to explore how classical elements and connotations were employed within the modern text.
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22

Bosman, Frank G. "“I Am Not Good at Any of This.” Playing with Homoeroticism in The Arabian Nights." Religions 12, no. 7 (June 28, 2021): 480. http://dx.doi.org/10.3390/rel12070480.

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The story collection known in the West as The Arabian Nights or One Thousand and One Nights, is famous, among other things, for its erotic playfulness. This eroticism was (and is) one of the key reasons for its continuous popularity after Antoine Galland’s French translation in 1704. The Arabian Nights includes, besides traditional, heterosexual acts, play, and desires, examples of homoerotic playfulness—even though we must tread lightly when using such Western concepts with an oriental text body such as this one. The homoerotic playfulness of The Arabian Nights is the subject of this article. By making use of a text-immanent analysis of two of the Nights’ stories—of Qamar and Budûr and of Alî Shâr and Zumurrud—the author of this article focuses on the reversal of common gender roles, acts of cross-dressing, and, of course, homoerotic play. He will argue that these stories provide a narrative safe environment in which the reader is encouraged to “experiment” with non-normative sexual and gender orientations, leaving the dominant status quo effectively and ultimately unchallenged, thus preventing the (self-proclaimed) defenders of that status quo from feeling threatened enough to actively counter-act the experiment.
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23

Pagan, University of Malaya, Malaysia, Nicholas O. "Gene-Protective Narratives:<i> The Arabian Nights</i> Reconsidered." Asiatic: IIUM Journal of English Language and Literature 10, no. 1 (June 15, 2016): 187–97. http://dx.doi.org/10.31436/asiatic.v10i1.753.

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While acknowledging the importance of Mark Turner’s claim that Shahrazad, the character from The Arabian Nights, epitomises the “literary mind,” this paper points to possible shortcomings in his argument. Through careful consideration of Shahrazad’s function in the narratives within narratives that make up The Arabian Nights, the paper plays down the literary dimensions of her storytelling ability, drawing attention instead to the ways in which she invariably uses language as an instrument designed to achieve a specific end. By incorporating ideas from thinkers outside of the humanities -- especially Daniel C. Dennett and Richard Dawkins – the paper offers a new reading of The Arabian Nights, which incorporates the contention that Shahrazad is both a user of language and is used by language – a spinner of webs of narrative who is also caught up in these webs. Distinguishing carefully between genes and the bodies that contain them, the paper proposes that a fundamental aspect of Shahrazad’s identity is that she is a vehicle for the spreading of genes. Finally, generalising from the stories contained in The Arabian Nights, the paper concludes that other literary narratives may also turn out to be more fundamentally gene-protective than they are “literary.”
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24

Sermain, Jean-Paul. "Robert Irwin, The Arabian Nights. A Companion." Féeries, no. 1 (February 1, 2004): 202–5. http://dx.doi.org/10.4000/feeries.89.

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25

El-Shamy, Hasan, and David Pinault. "Story-Telling Techniques in the Arabian Nights." Asian Folklore Studies 55, no. 1 (1996): 186. http://dx.doi.org/10.2307/1178883.

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26

Damrosch, David, and David Pinault. "Story-Telling Techniques in the Arabian Nights." Journal of the American Oriental Society 114, no. 2 (April 1994): 299. http://dx.doi.org/10.2307/605860.

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Marzolph, Ulrich. "Juhā in the Arabian Nights." Journal of Arabic Literature 36, no. 3 (November 1, 2005): 311–22. http://dx.doi.org/10.1163/157006405774909907.

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28

Brown, Stuart C. "The invention ofthe Arabian nights, a poem." Rhetoric Review 8, no. 1 (September 1989): 151. http://dx.doi.org/10.1080/07350198909388885.

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29

Chraibi, Aboubakr, and David Pinault. "Story-Telling Techniques in the "Arabian Nights"." Studia Islamica, no. 79 (1994): 204. http://dx.doi.org/10.2307/1595846.

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30

Grotzfeld, Sophia, and David Pinault. "Story-Telling Techniques in the Arabian Nights." Die Welt des Islams 34, no. 1 (April 1994): 152. http://dx.doi.org/10.2307/1570890.

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31

Grimsted, David. "Early America Confronts Arabian Deys and Nights." Reviews in American History 24, no. 2 (1996): 226–31. http://dx.doi.org/10.1353/rah.1996.0042.

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32

Menikoff, Barry. "New Arabian Nights: Stevenson's Experiment in Fiction." Nineteenth-Century Literature 45, no. 3 (December 1, 1990): 339–62. http://dx.doi.org/10.2307/3045016.

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33

Menikoff, Barry. "New Arabian Nights: Stevenson's Experiment in Fiction." Nineteenth-Century Literature 45, no. 3 (December 1990): 339–62. http://dx.doi.org/10.1525/ncl.1990.45.3.99p03224.

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34

Bahrawi, Nazry. "A Thousand and One Rewrites." Journal of World Literature 1, no. 3 (2016): 357–70. http://dx.doi.org/10.1163/24056480-00103005.

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Taking its cue from the “cultural turn” move in Translation Studies, this essay argues that modern reimaginings of The Arabian Nights can be seen as attempts at making this classical work relevant to modern sensibilities and aesthetic forms. It will juxtapose the normative versions of the Nights to Edgar Allan Poe’s The Thousand-and-Second Tale of Scheherazade (1845) in light of scientism, Naguib Mahfouz’s Arabian Nights and Days (1979) from the perspective of political agency, as well as Hanan Al-Shaykh’s One Thousand and One Nights (2011) by way of feminism and human rights. This essay posits that the malleability of the Nights to modernist ideas and forms entrenches its stature as an exemplary work of world literature. Lastly and relatedly, this essay will also revisit Lefevere and Bassnett’s “rewriting” theory to explore its potential contribution to the nascent discipline of world literature in light of Zhang Longxi’s arguments on cross-cultural translatability.
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35

Almazroui, Mansour. "Temperature Changes over the CORDEX-MENA Domain in the 21st Century Using CMIP5 Data Downscaled with RegCM4: A Focus on the Arabian Peninsula." Advances in Meteorology 2019 (May 20, 2019): 1–18. http://dx.doi.org/10.1155/2019/5395676.

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This paper examined the temperature changes from the COordinated Regional climate Downscaling Experiment (CORDEX) over the Middle East and North Africa (MENA) domain called CORDEX-MENA. The focus is on the Arabian Peninsula in the 21st century, using data from three Coupled Model Intercomparison Project Phase 5 (CMIP5) models downscaled by RegCM4, a regional climate model. The analysis includes surface observations along with RegCM4 simulations and changes in threshold based on extreme temperature at the end of the 21st century relative to the base period (1971–2000). Irrespective of the driving CMIP5 models, the RegCM4 simulations show enhanced future temperature changes for RCP8.5 as compared to RCP4.5. The Arabian Peninsula will warm at a faster rate (0.83°C per decade) as compared to the entire domain (0.79°C per decade) for RCP8.5 during the period 2071–2100. Moreover, the number of hot days (Tmax ≥ 50°C) (cold nights: Tmin ≤ 5°C) will increase (decrease) faster in the Arabian Peninsula as compared to the entire domain. This increase (decrease) of hot days (cold nights) will be more prominent in the far future (2071–2100) as compared to the near future (2021–2050) period. Moreover, the future changes in temperature over the main cities in Saudi Arabia are also projected. The RegCM4-based temperature simulation data from two suitable CMIP5 models are recommended as a useful database for further climate-change-related studies.
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36

김정명. "Arabian Nights and Romantic Orientalism in Modern Europe." Arabic Language&Literature 12, no. 1 (April 2008): 189–222. http://dx.doi.org/10.18630/kaall.2008.12.1.006.

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37

Beaumont, Dan, and Ferial Ghazoul. "Nocturnal Poetics: The Arabian Nights in Comparative Context." Comparative Literature 51, no. 1 (1999): 81. http://dx.doi.org/10.2307/1771459.

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Kennedy, Philip F. "Marvelous thieves: secret authors of the Arabian Nights." Middle Eastern Literatures 20, no. 3 (September 2, 2017): 315–17. http://dx.doi.org/10.1080/1475262x.2017.1385709.

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Muhawi, Ibrahim. "The Arabian Nights and the Question of Authorship." Journal of Arabic Literature 36, no. 3 (November 1, 2005): 323–37. http://dx.doi.org/10.1163/157006405774909899.

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40

Aliakbari, Rasoul. "Scheherazade’s children: global encounters with the Arabian nights." British Journal of Middle Eastern Studies 43, no. 4 (May 4, 2016): 687–89. http://dx.doi.org/10.1080/13530194.2016.1182265.

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Styles, Morag. "Learning through literature: the case ofThe Arabian Nights." Oxford Review of Education 36, no. 2 (April 2010): 157–69. http://dx.doi.org/10.1080/03054981003696663.

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ROBERTS, D. M. "Arabian sandflies (Diptera: Psychodidae) prefer the hottest nights?" Medical and Veterinary Entomology 8, no. 2 (April 1994): 194–98. http://dx.doi.org/10.1111/j.1365-2915.1994.tb00163.x.

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Minwoo Yoon. "Seduction: under the Veil in The Arabian Nights." Journal of Medieval and Early Modern English Studies 17, no. 1 (May 2007): 1–17. http://dx.doi.org/10.17054/jmemes.2007.17.1.1.

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Sessona, Anna Zambelli. "The Rewriting of The Arabian Nights by Imīl Habībī." Middle Eastern Literatures 5, no. 1 (January 2002): 29–48. http://dx.doi.org/10.1080/14751790220103765.

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Plotz, Judith. "In the Footsteps of Aladdin: De Quincey's Arabian Nights." Wordsworth Circle 29, no. 2 (March 1998): 120–26. http://dx.doi.org/10.1086/twc24044770.

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Woodson, Lisa. "The Arabian Nights Subtext in Venedikt Erofeev’s Moskva-Petushki." Russian Literature 111-112 (January 2020): 119–42. http://dx.doi.org/10.1016/j.ruslit.2020.03.005.

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47

Pickersgill, Frances. "Behind the veil – A nurse’s arabian nights Lydia Laube Behind the Veil – A Nurse’s Arabian Nights Eye Books 204pp £9.99 1903070198 1903070198." Nursing Standard 20, no. 4 (October 5, 2005): 36. http://dx.doi.org/10.7748/ns.20.4.36.s40.

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48

Tzoreff, Avi-ram. "Reading the Arabian Nights in Modern Hebrew Literature: Judaism, Arabness and the City." Philological Encounters 5, no. 2 (June 16, 2020): 223–53. http://dx.doi.org/10.1163/24519197-bja10006.

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Abstract The discourse about the Arabian Nights illustrates the ways through which hegemonic poetic and literary discourses crystallized themselves, while developing a set of distinctions as a yardstick for the estimation of literary works, as well as the connections between these various distinctions—namely ‘realistic’ and ‘fantastic’, East and West, and oral storytelling and folklore versus written literature. This article focuses on the discourse about the Arabian Nights in the field of modern Hebrew literature. In turning towards the collection, discussing it and translating some of its sections, the various characters who dealt with it expressed and promoted a cultural and political narrative which saw cultural affinities as a potential basis for broader political cooperation between Arabs and Jews. I will argue, however, that the discourse about the collection illustrates a process of modern Hebrew literature adopting a definition of itself as European and secular literature. I will also argue that the discourse on the Arabian Nights reveals the various directions taken by those who resisted the construal of modern Hebrew literature as a vector in the European- secular tradition. These counter-hegemonic assertions particularly took the form of arguments that the collection was a multifaceted cultural treasure that includes Hebrew layers, or, alternatively, representing it as a model of a modern literary genre, the city-centered anthology.
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Roozbeh Koohshahee, Roohollah, and Alireza Anushirvani. "Representation of the Orient in Pasolini’s Arabian Nights." International Letters of Social and Humanistic Sciences 58 (September 2015): 123–29. http://dx.doi.org/10.18052/www.scipress.com/ilshs.58.123.

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This article aims at studying the representation of the Orient in Pasolini’s film Arabian Nights(1974). Since this film is a faithful adaptation of Thousand and One Nights it will be examined as carrying the same ideology which the text carries. The text of Thousand and One Nights established and legitimized orientalism in the west. Thus the movie follows suit in institutionalizing Orientalism. This is obtained by a close watching analysis and by looking at the images of the Orient, the plot itself, potential stylistic features which expresses images or attitudes in this regard. Our hypothesis is that the Orient in this movie is portrayed in accordance with notions of representation of the Other being depicted as, amongst other aspects, exotic, sexual, erotic and as a homogenous mass. Pasolini portrays Oriental men and woman as bodies in the duality of mind and body, and portrays them as a homogenous mass this is merely due to their belonging to a particular culture or race. The film represents the Oriental men and women as having a defining interest in sex and eroticism. It displays an exoticising Western view of the Oriental culture.
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Kennedy, Dane. "“Captain Burton's Oriental Muck Heap”: The Book of the Thousand Nights and the Uses of Orientalism." Journal of British Studies 39, no. 3 (July 2000): 317–39. http://dx.doi.org/10.1086/386222.

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Abstract:
In the final decade of his remarkable life, the Victorian explorer and linguist Richard Francis Burton made a daring bid to provoke a confrontation with those forces in British society that he identified with moral intolerance and intellectual pedantry. Unlikely though it might seem, the instrument of this provocation was a work widely regarded as children's literature—the tales of the Arabian Nights. In 1885–86, Burton published a ten-volume translation of the tales, The Book of the Thousand Nights and a Night, followed in 1886–88 by an additional six-volume Supplemental Nights to the Book of the Thousand Nights and a Night. The mammoth scale of the endeavor was matched by its audacity. Burton not only offered an English reading public the first frank and unexpurgated translation of the tales themselves; he also peppered the text with footnotes about esoteric aspects of Islamic culture, especially sexual customs, and closed the tenth volume with a “Terminal Essay” that included a lengthy discourse on pederasty. This quixotic enterprise thrust Burton into the middle of an intersecting network of debates about sexuality and purity, state regulation and personal freedom, the Occident and the Orient. To examine the intentions that motivated Burton's translation of the Nights and the reception it received is to explore some of the crucial elements of the late Victorian crisis of identity.While the crumbling of a Victorian cultural consensus has long been a matter of interest, only recently has attention turned to the role that non-Western influences played in this process.
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