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Journal articles on the topic 'The Magic Of Scheherazade'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Moosavi Majd, Maryam, and Nooshin Elahipanah. "The Enchanted Storyteller: John Barth and the Magic of Scheherazade." International Letters of Social and Humanistic Sciences 59 (September 2015): 65–75. http://dx.doi.org/10.18052/www.scipress.com/ilshs.59.65.

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During the fifties he was considered to be an existentialist, and absurdist and later a Black Humorist, yet, John Barth proved that he would never subscribe to any specific theory and would make his own world of/about fiction by himself. A traditional postmodernist as some of the critics calls him; he was obsessed with Scheherazade the narrator of the Thousand and one Nights and her art of storytelling. This essay aims to depict Barth’s employment of the frame narrative and embedding structure which are the main devices of Scheherazade’s mystifying narratives. Revealing the architectonic structure of his writing, we would demonstrate how traditional technique can bridge postmodernist aesthetics to recreate and replenish the exhausted materials in writings.

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2

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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3

Pârvan, Alexandra. "Scheherazade." Annals of Internal Medicine 170, no. 3 (February 5, 2019): 209. http://dx.doi.org/10.7326/m18-2007.

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4

Lilian Faschinger and Jeanette Clausen. "The New Scheherazade." Women in German Yearbook: Feminist Studies in German Literature & Culture 18, no. 1 (2002): 1–17. http://dx.doi.org/10.1353/wgy.2002.0013.

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5

Hashim, Alamira Reem Bani, Clara Irazábal, and Greta Byrum. "The Scheherazade Syndrome." Architectural Theory Review 15, no. 2 (August 2010): 210–31. http://dx.doi.org/10.1080/13264826.2010.495455.

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6

Verdurmen, Ilonka. "One more night…" Index on Censorship 23, no. 4-5 (September 1994): 83–86. http://dx.doi.org/10.1080/03064229408535743.

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7

Hall, Marny. "Scheherazade Was a Dyke." Journal of Lesbian Studies 4, no. 2 (June 2000): 149–58. http://dx.doi.org/10.1300/j155v04n02_10.

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8

Olry, Régis, and Duane E. Haines. "Phrenology: Scheherazade of etymology." Journal of the History of the Neurosciences 29, no. 1 (December 19, 2019): 150–57. http://dx.doi.org/10.1080/0964704x.2019.1695465.

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9

Eshel, Ofra. "From the “Green Woman” to “Scheherazade”." Contemporary Psychoanalysis 40, no. 4 (October 2004): 527–56. http://dx.doi.org/10.1080/00107530.2004.10747243.

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10

Stein, Karen. "Margaret Atwood'sThe Handmaid's Tale: Scheherazade in Dystopia." University of Toronto Quarterly 61, no. 2 (January 1992): 269–79. http://dx.doi.org/10.3138/utq.61.2.269.

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11

Sellin, Eric, and Fatema Mernissi. "Scheherazade Goes West: Different Cultures, Different Harems." World Literature Today 76, no. 3/4 (2002): 84. http://dx.doi.org/10.2307/40157610.

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12

OUYANG, WEN-CHIN. "Metamorphoses of Scheherazade in literature and film." Bulletin of the School of Oriental and African Studies 66, no. 3 (October 2003): 402–18. http://dx.doi.org/10.1017/s0041977x03000284.

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This article traces the metamorphoses of Scheherazade, the heroine of The Thousand and One Nights' frame-tale, in modern fiction and film. It examines these metamorphoses in the context of a discussion of the function of narrative across cultures and disciplines. It looks more particularly at the role of genre ideologies—paradigms of knowledge implicit in generic expectations, ideologies external to genre, and subjectivities in narrative transformation—in transforming the story as it travels in time and across media of expression and cultures. Analysis of the Nights frame-tale, the story of Scheherazade, and its transformations, is further informed by an interrogation of the process of reading ‘texts’ critically. Do genre, ideology and subjectivity inform our readings of ‘texts’? In what ways do paradigms of knowledge perceived as inherent in these categories in turn affect our understanding of story and narrative?

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13

Pollock, Timothy G., and Joyce E. Bono. "Being Scheherazade: The Importance of Storytelling in Academic Writing." Academy of Management Journal 56, no. 3 (June 2013): 629–34. http://dx.doi.org/10.5465/amj.2013.4003.

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14

Goldstein, L. S. B. "With Apologies to Scheherazade: Tails of 1001 Kinesin Motors." Annual Review of Genetics 27, no. 1 (December 1993): 319–51. http://dx.doi.org/10.1146/annurev.ge.27.120193.001535.

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15

GREGORY, STEPHEN. "Scheherazade and Eva Luna: Problems in Isabel Allende's Storytelling." Bulletin of Spanish Studies 80, no. 1 (January 2003): 81–101. http://dx.doi.org/10.1080/1475382032000091555.

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16

Vidulin, Sabina, and Marlena Plavšić. "Contribution of Cognitive-Emotional Approach to Music Listening on Students’ Cognitive and Emotional Experience." Musicological Annual 56, no. 1 (June 30, 2020): 225–41. http://dx.doi.org/10.4312/mz.56.1.225-241.

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It was explored whether cognitive-emotional and standard approach to music listening in music teaching contribute to different students’ cognitive and emotional experiences regarding the artworks Masquerade, Wellington’s Victory, Scheherazade, and Pavane. Results reveal advantages of the cognitive-emotional approach, as well different contribution of the four music pieces in fostering music listening.

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17

Steiner, Tina. "Scheherazade’s Achievement(s): Practices of Care in Fatema Mernissi’s Memoir, Dreams of Trespass: Tales of a Harem Girlhood, and her Creative Non-Fiction, Scheherazade Goes West." English in Africa 47, no. 3 (February 10, 2021): 121–43. http://dx.doi.org/10.4314/eia.v47i3.7s.

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The Moroccan feminist sociologist Fatema Mernissi (1940–2015) is probably best known for her pioneering scholarly work on gender equality in Islam. This paper, however focuses on her life writing: her memoir, Dreams of Trespass: Tales of a Harem Girlhood, published in 1994 and her reflections on its Eurocentric reception, which culminated in the publication of her work of creative non-fiction Scheherazade Goes West: Different Cultures, Different Harems in 2001. Written in popular genres in accessible registers, Mernissi’s texts translate her scholarly feminism into stories of the everyday in order to encourage her readers to see possibilities of feminist practices within and against oppressive social structures. Both texts deal with the way in which women’s agency is circumscribed by particular horizons of constraint determined by their social contexts and thus the texts contrast local, particular forms of constraint with more diffuse forms of oppression that characterise western modernity. This paper offers a reading of her harem childhood to trace some of the alternative modes of enacting small freedoms that the memoir documents. As becomes apparent in Mernissi’s reflections on the memoir’s reception, these achievements seem to be largely illegible within meritocratic scripts of success. In contrast, Mernissi asserts that care for self and other – via modes of storytelling, performance, artistic production and looking after one’s physical wellbeing – mark direct, albeit subtle, forms of resistance even if they are not recognised as such. Drawing on a popular cultural repertoire, the well-known figure of Scheherazade emerges in Mernissi’s texts as a central role model for women crafting pockets of resistance and webs of care. In this way, Mernissi’s texts offers a Moroccan perspective on the debate of the conditions of possibility of ordinary feminist practices inspired by popular artistic forms. Keywords: Fatema Mernissi, life writing, Scheherazade, ethics of care, storytelling, Moroccan feminism

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18

Duarte, Regina Horta. "Scheherazade tropical: narrativas e diálogos da história ambiental no Brasil." História (São Paulo) 32, no. 2 (December 2013): 3–20. http://dx.doi.org/10.1590/s0101-90742013000200002.

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Por meio da evocação de elementos narrativos d'As mil e uma noites, este ensaio discute o surgimento e o desenvolvimento da história ambiental desde 1970, em consonância com graves desequilíbrios naturais que ameaçam a sociedade contemporânea. A história ambiental possibilita diálogos sociais com grupos ambientalistas, cientistas de diversas áreas e pesquisadores da história social, cultural e política. As amplas e promissoras possibilidades de investigação propiciam abordagens transdisciplinares e transnacionais. Um dos enfoques estimulantes diz respeito ao patrimônio. Abrem-se perspectivas para o estudo do patrimônio natural urbano - como no caso dos fícus de Belo Horizonte - e do patrimônio representado por áreas protegidas, a exemplo da ilha da Trindade.

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19

Wilson, Mac J. "Scheherazade, Achilles, and Borges: "El sur" as an Infinite Narrative." Confluencia: Revista Hispánica de Cultura y Literatura 34, no. 1 (2018): 47–60. http://dx.doi.org/10.1353/cnf.2018.0037.

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20

al-Musawi, Muhsin. "A Missing Link in a Thousand and One Nights Scholarship: A Narrative Grammar for the Frame Tale?" Journal of Arabic Literature 52, no. 1-2 (April 16, 2021): 1–36. http://dx.doi.org/10.1163/1570064x-12341418.

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Abstract This article argues that scholarship has been missing the pre-Scheherazade dynamic scenes that set the stage for further action and narrative. These preludinal sites function as the stepping stone for action, a series of encounters that initiate and perpetuate instability and disequilibrium. It draws attention to the unnamed queens as prototypes for Scheherazade, the abducted bride, the three ladies of Baghdad, and many other women in unfolding varieties of rebellion or compromise. As there is little talk and more voyeurism in this prelude with its focus on the bedroom and garden scenes, readers and kings are spectators, and the spectacle unfolds as in cinematic close-ups. Hence, this significant turn to the spectacle contravenes common approaches to the frame tale as only an enveloping framework that accommodates an ongoing marvelous story-machine. Although cursorily passed on in scholarship, the bedroom and garden scenes offer us not only a powerful incitement for action, but also a sweeping challenge to authority which the named kings could hardly overcome. The discussion re-situates sites of trial and defiance in context of a flowing narrative. The article proposes therefore to come up with a narrative grammar that engages with current narratology.

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21

Futamura, C. Wakaba. "Cendrillon or Scheherazade?: Unraveling the Franco-Algerian Legend of Baya Mahieddine." Women in French Studies 24, no. 1 (2016): 61–71. http://dx.doi.org/10.1353/wfs.2016.0018.

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22

Shomali, Mejdulene B. "Scheherazade and the Limits of Inclusive Politics in Arab American Literature." MELUS 43, no. 1 (2018): 65–90. http://dx.doi.org/10.1093/melus/mlx089.

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23

Grant, Lyle K. "The Secrets of Scheherazade: Toward a Functional Analysis of Imaginative Literature." Analysis of Verbal Behavior 21, no. 1 (April 2005): 181–90. http://dx.doi.org/10.1007/bf03393020.

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24

Çıraklı, Mustafa Zeki. "Storytelling with Actional Function in Haruki Murakami’s Hypertexts: Yesterday and Scheherazade." LITERA 31, no. 1 (June 10, 2021): 95–119. http://dx.doi.org/10.26650/litera2021-871832.

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25

Mosavat, Mitra, Zohre Taebi, and Sara Mosavat. "Structural Forms of Feminine Psyche in Scheherazade According to Toni Wolff's Quaternity." European Journal of Language and Literature 6, no. 1 (December 1, 2016): 32. http://dx.doi.org/10.26417/ejls.v6i1.p32-39.

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The universality and significance of The Thousand and One Nights is undeniable: the complexity of the book has combined its various literary techniques to create a masterpiece which has been translated by famous figures, and has influenced many writers all around the world. The central figure of The Thousand and One Nights is its female narrator, Scheherazade, whose complex personality has a great potential to be studied. One of psychological theories which can fully present this complexity and multidimensionality is Toni Wolff's quaternity. Wolff, a Swiss analytical psychologist and one of Jung's students, is best known for her paper on four aspects or structural forms of feminine psyche, which are the Mother, the Hetaira, the Amazon, and the Medial. These four aspects, though working independently, form the feminine psyche: if they are put in a balance with each other, the personality is a complete one. The present article is an attempt to apply Wolff's structural forms of feminine psyche in Scheherazade's character: first, the basic tenets of Wolff's quaternity is presented and consequently, her views will be examined in the various stories narrated by Scheherazade, since the four aspects mentioned above are crystalized in women characters of The Thousand and One Nights.

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26

Wills, Herbert. "Magic with Magic Squares." Arithmetic Teacher 36, no. 8 (April 1989): 44–49. http://dx.doi.org/10.5951/at.36.8.0044.

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Johnny Carson docs a routine that is a take-off on the answer man. Instead of answering questions, however. Johnny is presented with an answer and he supplies a question having that answer. An analogous situation can be presented to youngsters. Let them play Johnny's part. the part of the question person. Suppo e that you orally give them, say, fifteen. This is the answer to a question that involves the addition of three different whole numbers. The students' task is to give the addition questions related to that sum.

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27

King, David, and John Baker. "Magic Hexagons — Magic Moments." Mathematical Gazette 90, no. 518 (July 2006): 235–48. http://dx.doi.org/10.1017/s002555720017963x.

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A ‘magic’ hexagon has rows of numbers in three directions that add to the same total. It is possible to construct such a hexagon from a honeycomb array of hexagons and from an array of triangles (Figure 1). There is known to be only one magic hexagon formed from hexagons. However, numerous magic arrangements are possible for the hexagon of triangles and these arrangements have many additional interesting properties. In this article we give the reasons why such configurations are possible, we look at the number of arrangements possible when there are 2 triangles on each side of the hexagon and we show that in general the arrangements are balanced in many ways – including that they are physically balanced, a property we call ‘magic moments’.

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28

Weber, Charlotte. "Unveiling Scheherazade: Feminist Orientalism in the International Alliance of Women, 1911-1950." Feminist Studies 27, no. 1 (2001): 125. http://dx.doi.org/10.2307/3178453.

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29

LEE HYE-IN and HyeYoung Yun. "The ‘Past’ recognition of “Men Without Women” - Focusing On ‘Yesterday’ and ‘Scheherazade’-." Journal of Foreign Studies ll, no. 40 (June 2017): 177–96. http://dx.doi.org/10.15755/jfs.2017..40.177.

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30

Dowd, Christopher. "The Irish Scheherazade: Conquering Death in Synge'sTHE PLAYBOY OF THE WESTERN WORLD." Explicator 73, no. 1 (January 2, 2015): 55–60. http://dx.doi.org/10.1080/00144940.2014.1000258.

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31

Yee, J. "Les Amoureux de Scheherazade: variations modernes sur les 'Mille et une nuits'." French Studies 64, no. 1 (December 17, 2009): 116. http://dx.doi.org/10.1093/fs/knp234.

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32

Rebecca, Nesvet. "“Have you thought of a story?” Galland's Scheherazade and Mary Shelley's 1831frankenstein." Women's Writing 12, no. 3 (October 2005): 369–80. http://dx.doi.org/10.1080/09699080500200269.

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33

Sherrill, James M. "Magic Squares and Magic Triangles." Arithmetic Teacher 35, no. 2 (October 1987): 44–47. http://dx.doi.org/10.5951/at.35.2.0044.

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For drill, many teacher use magic square, n × narrays of numbers in which the sums of the numbers in each row. each column, and each diagonal are the same. The only difficult y with magic squares is creating them. Once a specific magic square ha been used, it isn't much fun to use it again.

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34

Wood, Eric F. "More Magic With Magic Squares." Arithmetic Teacher 37, no. 4 (December 1989): 42–46. http://dx.doi.org/10.5951/at.37.4.0042.

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Many articles have appeared in the Arithmetic Teacher showing teachers how to use magic squares in their classrooms. Games (Bernard 1978), pattern searching (Atkinson 1975; Freitag and Freitag 1970), drill and practice (Bright 1977). and explorations (Wills 1989) are all activities that can be designed around magic squares. This article. however, serves a different purpose: to present the teacher with an easy method for constructing magic squares to use in these applications. In addition to explaining a method that can be carried out manually, a computer program that will do all the work is included.

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35

Blank, B., and P. H. Regan. "Magic and Doubly-Magic Nuclei." Nuclear Physics News 11, no. 1 (January 2001): 15–22. http://dx.doi.org/10.1080/10506890109411553.

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36

Andonova - Kalapsazova, Elena. "Abjuring Magic, Yielding to Magic." International Journal of the Humanities: Annual Review 5, no. 8 (2007): 137–44. http://dx.doi.org/10.18848/1447-9508/cgp/v04i08/42060.

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37

Kuwajima, Iwao. "Magic ARB, or magic trial?" Hypertension Research 33, no. 5 (May 2010): 414–15. http://dx.doi.org/10.1038/hr.2010.34.

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38

Guyker, James. "Magic squares with magic inverses." International Journal of Mathematical Education in Science and Technology 38, no. 5 (July 15, 2007): 683–88. http://dx.doi.org/10.1080/00207390701240810.

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39

Seutin, Vincent. "Magic softballs versus magic shotguns?" Nature Reviews Drug Discovery 3, no. 10 (October 2004): 894. http://dx.doi.org/10.1038/nrd1346-c1.

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40

Ghivirigă, Teodora. "Deep Magic and Modern Magic." Linguaculture 2014, no. 2 (December 1, 2014): 79–85. http://dx.doi.org/10.1515/lincu-2015-0024.

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Abstract The paper discusses C. S. Lewis’ position on, and criticism of, magic vs. wisdom and the type of “fast” magic that the (post-)modern world has fallen prey to and ends by returning to the alternative that Lewis-and other writers such as his friend and contemporary J. R. R. Tolkien and more recent ones such as Tery Pratchett-suggest as a more propitious alternative.

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41

Pak, Vladimir. "Magic Targets for Magic Bullets." Clinical Oncology Research and Reports 1, no. 1 (July 24, 2020): 01–03. http://dx.doi.org/10.31579/2693-4787/003.

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The “magic bullet” by Paul Ehrlich is a chemotherapeutic, which can precisely locate and destroy tumor cells. For over 100 years, a great number of approaches have been developed for targeted delivery of toxins. Nevertheless, the progress in the battle with cancer is moderate. In reality, the magic bullet is unable to destroy cancer cells with 100% efficacy. However, cancer cells are neither an optimal nor the only possible target. The magic bullet needs a “magic target”.

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42

Houstoun, William George Provan. "The grand cycle of conjuring treatises: Modern Magic, More Magic, Later Magic and Latest Magic." Early Popular Visual Culture 16, no. 2 (April 3, 2018): 123–45. http://dx.doi.org/10.1080/17460654.2018.1540172.

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43

Verthuy, Maïr. "Aujourd’hui Schéhérazade a appris à écrire : Anne-Marie Alonzo et l’entreprise de vivre." Dossier 19, no. 2 (August 30, 2006): 268–78. http://dx.doi.org/10.7202/201090ar.

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Résumé Ce texte établit un parallèle par-delà les siècles entre deux femmes, toutes deux prisonnières, l'une du harem, Scheherazade, l'autre d'un corps rétif, Anne-Marie Alonzo. Les deux femmes ont recours à l'art, à la narration pour échapper à leurs contraintes, la première choisissant la parole pour vaincre la mort, la deuxième l'écriture. L'entreprise d'Alonzo qui fait l'objet de cette étude se caractérise par l'intertextualité et fait appel tant aux Mille et Une Nuits qu'à la Bible, tant au roman familial qu'à l'histoire égyptienne, tant aux souvenirs personnels qu'aux mânes de Colette.

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44

Willis, James. "Magic." British Journal of General Practice 59, no. 569 (December 1, 2009): 962. http://dx.doi.org/10.3399/bjgp09x473376.

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45

Swann, Brian. "Magic." College English 50, no. 3 (March 1988): 285. http://dx.doi.org/10.2307/378134.

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46

Dench, Emma. "Magic." Classical Review 49, no. 2 (October 1999): 443–45. http://dx.doi.org/10.1093/cr/49.2.443.

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47

Ogden, Daniel. "MAGIC." Classical Review 52, no. 1 (March 2002): 129–33. http://dx.doi.org/10.1093/cr/52.1.129.

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48

Foster, Stephen William. "Magic." Anthropology and Humanism Quarterly 10, no. 3 (September 1985): 81. http://dx.doi.org/10.1525/ahu.1985.10.3.81.

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49

Foster, Stephen William. "Magic." Anthropology Humanism Quarterly 10, no. 3 (September 1985): 81. http://dx.doi.org/10.1525/ahu.1985.10.3.81.1.

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50

Falco, Edward. "Magic!" Iowa Review 21, no. 1 (January 1991): 179–80. http://dx.doi.org/10.17077/0021-065x.3983.

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