1001 Nights

Geographies of the night. This intervention invites us to explore "geographies of the night" at multiple levels, in different contexts and through different approaches. If this project seeks to map out the geographies of a particular astronomical moment in the 24-hour cycle, it also aims to reflect on the emergence of a specific branch of the discipline, one with its own concepts, methods and tools. This is both a reflection "on" the night, "with" and "through" geography and an interrogation of geography from the perspective of night. In this article, we will begin by tracing the pressures which act upon the night and have made it a present-day concern, a preoccupation of public policy and an object of research in geography and across the social sciences and humanities. In a second movement, we will analyse research on the night within the discipline and trace the emergence of an interdisciplinary field of research: "night stud-ies". Finally, we will explore the possible contributions of a "night" turn for geography. From such a perspective, the night is simultaneously a matter, an infrastructure, an object, an environment, an ambiance and a generator of research.

Básicamente se conocen como rocas ígneas aquellas formadas por la solidificación de magmas, aunque pueden incluirse dentro de este grupo algunas rocas cuyo origen es intermedio entre los procesos metamórficos de muy alto grado, procesos metasomáticos o de cumulados y los procesos puramente magmáticos. La clasificación primaria de dichas rocas ígneas debe estar basada en su composición mineralógica cuantitativa o moda, es decir en el porcentaje en volumen de los minerales existentes en la roca. Si este porcentaje es imposible de determinar, bien por la presencia de vidrio, bien por el tamaño extremadamente fino de los minerales, pueden entonces utilizarse otros criterios, como puede ser la composición química de la roca. El término roca plutónica se aplica a aquellas rocas ígneas de textura fanerítica (es decir rocas en las cuales los minerales pueden ser distinguidos a simple vista), que se han formado a una profundidad considerable. Rocas volcánicas son aquellas rocas ígneas de textura afanítica (los cristales individuales no pueden ser distinguidos a simple vista), que pueden contener vidrio y cuya formación está relacionada con la actividad volcánica. Pueden ser tanto rocas eruptivas (que han salido a la superficie) como las coladas de lava, o rocas intrusivas (intercaladas con otras preexistentes) a niveles muy superficiales, formando diques, sills, etc.

This article examines the motif of a man being buried alive with his recently deceased spouse found in the Fourth Voyage of Sindbad (El-Shamy S123.2). In 1904, D. S. Margo-
liouth noted that Sindbad’s Fourth Voyage
shared this theme with a story of a Byzantine
patriarch recounted in the tenth-century collection of al-Tanūkhī
Deliverance after Hardship. This article proposes one hitherto unknown textual route through which
this motif traveled from Tanūkhī to Sindbad—the
Maqāma Baṣriyya of al-Sayyid ʿAbd al-Raḥīm al-ʿAbbāsī (d. 1556). ʿAbbāsī’s Maqāma Baṣriyya reflects Ottoman intellectuals’
anxieties over their increasing involvement in the Indian Ocean trade during the 1530s. The final section of the paper discusses the tale of Cogia Muzafffer—which appears  to be a version of the ʿAbbāsī’s maqāma heard by Galland in 1673 while in Istanbul.

The translations of the "Arabian Nights" have been subjected to longstanding critics by scholarship as angled and tendentious translations reflecting the etiquette of their time.
On the one hand the paper confirms these allegations while on the other it compares the Europan translations to the historical evolution process of the "Nights".
From this perpsective those onvidous translations turn out to be totally harmonic with the variant tradition of the historical grown collection of the "Arabian Nights". Like being part of the everlasting narrative heritage of Sheherazade

Language: German

Entre 1954 y 1955 se publicó en México la que se declaraba primera traducción completa al castellano de las Mil y una noches. La firmaba Rafael Cansinos Assens, un prestigioso hombre de letras, ajeno al arabismo académico universitario. Dicha versión fue saludada por el gran conocedor de la obra maestra árabe en el ámbito del castellano: el argentino Jorge Luis Borges, quien se declaró, en más de una ocasión, admirador del resultado de Cansinos. Al cabo de una década dos editoriales publicaron en Barcelona sendas nuevas versiones debidas a bien asentados profesores universitarios de la Universidad de Barcelona. Y, desde que aparecieron, personas cercanas al arabismo barcelonés comenzaron a dirigir ataques a Cansinos, imprecisos al principio, pero que se fueron sustanciando con el paso del tiempo. En el presente estudio se muestra lo infundado de algunos de tales ataques, y se ponen de manifiesto algunos de sus indudables méritos. Con todo ello se ofrecen datos de interés para el estudio de los procesos que llevan a una traducción a la condición de canónica, además de suscitar cuestiones relativas a la responsabilidad de los traductores ante la labor de quienes los han precedido.

This article examines a group of twelve fragments in different languages and different scripts previously held in the Schøyen collection in London and Oslo. After they first emerged on the market in 1993, these fragments received colourful hypothetical and/or fictional pseudo-provenances. However, a consideration of the material logic of these parchment fragments (including folding lines and sewing holes) as well as an examination of the Arabic marginal manuscript notes they carry allows us to re-establish their historical trajectory from the seventh/thirteenth century onwards. At this point, they became part of Muslim Damascene manuscript culture and were reused as wrappers for small booklets in the scholarly field of ḥadīth. In the late ninth/fifteenth century, these booklets were subjected to a massive binding project and the fragments went into new large volumes. This article thus suggests approaches to use provenance research in order to re-historicize decontextualized fragments in modern collections.

The tale of Abū 'l-Ḥasan al-khalīʿ-better known in English as "The Sleeper Awakened" (Lane) or "The Sleeper and the Waker" (Burton) is a well-known representative of a specific genre of traditional Arabic tales. Rather than deriving their generic quality from structural or content-based labels such as "epic", "fantastic," "mythical," or "humorous," tales of this genre share the feature of beginning with the motif of the profligate son, usually the son of a merchant. If one considers only the different versions of The Thousand and One Nights, a collection whose tales address the social circumstances of the merchant class to such an extent that Aboubakr Chraïbi has adequately labeled it a "mirror for merchants", we already find more than a dozen tales belonging to this subgenre, and many more are bound to exist in the numerous anonymous collections of traditional Arabic tales that have not been studied in detail.

This paper focuses on the evolution of the Orientalist ideas
expressed in one of the most European artistic genres,
namely ballet, and how they are related to its ”Oriental” literary
prototype. To make it feasible I will concentrate on one case study: Diaghilev’s cult ballet Scheherazade, which was produced for his second Russian season in Paris in 1910. The transformation of the ballet libretto throughout the ages and cultural milieux reflects the development of perception of the main story: from its literary protograph in the Arabian Nights throughout its European “translations” as reflected in visual art, cinema, music and ballet,2 from Paris and St. Petersburg of 1910 to Baku of 1979 and
Stockholm, Dushanbe and Hamburg of 2013.

This paper focuses on two cultural developments in Germany and their intersection in the period from 1880 to 1935. One of these developments is the robust reception of the Arabian Nights in print. The other is the emergence of visual culture in the form of motion pictures. The paper shows how the literary reception of the Arabian Nights as a visual experience can help explain why filmmakers like Ernst Lubitsch (Sumurun, 1920), Fritz Lang (Der müde Tod, 1921), and Paul Leni (Das Wachsfigurenkabinett, 1924) adapted the content and narrative structure of the Arabian Nights in their cinematic work.

Am plecat de la povestea Șeherezadei, mai exact de la dubla ipoteză:
Sultanul = opinia publică
Șeherezada = televiziunea
Pe scurt: sultanul îşi ucide soţia adulteră apoi începe să " consume " metodic femei, câte una pe noapte. Însă Şeherezada are un plan de supravieţuire: povești interminabile, pentru a-și prelungi viața, noaptea, în patul sultanului.

Inter-imperiality is a decolonial-feminist intervention into Global Studies focused on the millennia-spanning geopolitical field of vying empires that forms together with manifold forms of anti-imperial dissent and alliance. This radically interdisciplinary book argues that human struggles have unfolded in relation to the inorganic, organic, and human-animal worlds that sustain us, yet in ways that have been pressured by interacting empires, whose infrastructures and violent legacies accrue over centuries into stratifying, determining conditions. Given that the gendered reproduction of state and economic stratification operates at the center of these dynamics, this analysis incorporates intersectional methods to build a dialectical analysis of world politics.  Also emphasizing that this relational field has been structured by languages, the analysis examines how languages, translation, and literatures have been instrumentalized by empires yet also turned against them. Ultimately the book reveals that it is not only the materialities of empires that have accrued dialectically over millennia but also forms of relation and imagination through which communities have maneuvered in an inter-imperial force field. This kind of interdisciplinary, decolonial, and intersectional method enables a more deeply non-eurocentric analysis of global history and contemporary world politics.

This chapter will use the materials related to the Russian and Soviet Orientalist ballets and operas with the focus on Schehera-zade, which became one of the main highlights of Diaghilev's whole project of the Ballets Russes, or the Russian Seasons. It aims at showing the different representations and perceptions thereof not only in pre-revolutionary Russia but in the Soviet Union, post-Soviet Russia and Europe. Diaghilev-Benois-Bakst's Scheherazade based on Rimsky-Korsakov's sea suite became a hallmark of Russ-ian Orientalist art at its peak in all aspects: music, choreography, staging and design. It was produced for Diaghilev's second Russ-ian season in Paris in 1911, and gained an exceptional fame not only for the founder of the Seasons but for the whole troupe, and mainly for their main designer, Léon Bakst (Melville 2015 and 2017).

De entre los procesos de recepción mundial de las Mil y una noches, el producido en el ámbito iberoamericano ha sido uno de los más sobresalientes. Se ha extendido a lo largo de, al menos, nueve siglos; ha afectado a varias lenguas, diversas sociedades y Estados; ha dado lugar a buen número de traducciones y adaptaciones; ha ejercido una profunda influencia artística, y generado algunas de las más relevantes indagaciones sobre la obra misma y la naturaleza del narrar. A pesar de ello, dicho proceso sigue sin estudiarse con la extensión y detalle que merece.
Among the world processes of reception of One Thousand and One Nights, the one pertaining to the Ibero-American realm (roughly the Portuguese and Spanish speaking countries) has had a striking significance. It has lasted for at least nine centuries; it affected several languages, societies, and states; it prompted numerous translations and rewritings; it left a deep artistic impact, and it produced some of the most important elaborations about the work itself and the very nature of storytelling. Nevertheless, this process has not been studied with the detail and extension it deserves yet.

Bio-bibliography arguably forms the core of all research into the textual history of the Arabian Nights and its related materials.1 In the first part of this article, I would like to offer a small contribution to that line of research, through a detailed study of a group of
Arabic manuscripts preserved at Cambridge University Library, of their provenance, and of the narratives contained therein. In the second part, I will use the Cambridge texts and their 18th-century translation as the basis for a discussion of critical responses to the Nights.

RESUMEN A comienzos del presente siglo se publicó una amplia selección, traducida al castellano, de la obra poética de materia vínica debida a Abu Nuwás, poeta abbasí, muerto a comienzos del siglo IX, en Bagdad. Antes de eso, su obra había sido ya recibida a través de tres vías: las antologías generales de poesía árabe clásica traducida, los ensayos críticos o históricos que prestaban atención a esta, y las versiones de otras obras que recogían poemas de Abu Nuwás. La acogida indirecta a través de esta tercera vía se produjo gracias a la presencia del poeta bagdadí en Mil y una noches, como personaje destacado de varias historias. Estas pasaron a formar parte de Il fiore delle mille e una notte, el film de P. P. Pasolini, que se tradujo asimismo al castellano para su exhibición comercial; de modo que también el cine sirvió de vehículo al recibimiento indirecto de Abu Nuwás. Después de precisar hasta qué punto es genuina la obra poética que en Mil y una noches se atribuye a este, se compara el tratamiento que a los poemas del bagdadí se da en la magna obra narrativa árabe y en la película italiana, respecto de la fidelidad al discurso sustentado por los poemas originales. Se examina, pues, lo que ocurre cuando un clásico es incluido en otro clásico.

This book presents seven parallel versions of a story from the Arabian Nights. The texts are an important source for the study of vernacular Arabic, and for the history and development of popular literature in Egypt around the turn of the nineteenth century. Text in Arabic, with an introduction and preliminary notes in English.

As executive editor of Medieval Encounters. Contents: "Hidden Davidic and Solomonic Legends in The Hundred and One Nights: Backgrounds in Muslim Tradition Echoing the Bible and Midrash" (Amir Lerner); "Fluid Boundaries: Christian Sacred Space and Islamic Relics in an Early Ḥadīth" (Adam C. Bursi); "Review of Friends of the Emir: Non-Muslim State Officials in Premodern Islamic Thought, written by Luke B. Yarbrough" (Maaike van Berkel); "Review of That Most Precious Merchandise: The Mediterranean Trade in Black Sea Slaves, 1260–1500, written by Hannah Barker" (Matthew Delvaux) "Review of Islamic Law of the Sea: Freedom of Navigation and Passage Rights in Islamic Thought, written by Hassan S. Khalilieh" (Phillip I. Lieberman); "Review of Conversion, Circumcision, and Ritual Murder in Medieval Europe, written by Paula Tartakoff" (Yosi Yisraeli)

Knjiga arabskih pravljic z naslovom Tisoč in ena noč ali Arabske
nočne zabave je zbirka orientalskih besedil ljudskega izvora. Nastala naj bi v času evropskega srednjega veka (476‒1492). Ima okvirno pripoved o dekletu Šeherezadi, ki kralju Šahriarju vsako noč pripoveduje pravljice. Teh ni 1001, ampak 365, ker so strukturirane kot nadaljevanke. Žanrsko jih literarna zgodovina imenuje ljudske pravljice, vendar so med njimi pravljice, legende, basni, anekdote, realistične pripovedi in podobno.
V zvezi z nastankom, zgodbo in vsebino okvirne in vloženih pripovedi ostajajo številna vprašanja, kot na primer, ali so indijskega ali predvsem arabskega izvora (Iran, Irak, Egipt, Turčija). Obstajajo tudi motivno-tematski  elementi iz Indije, Mongolije, iz azijskih kultur in Grčije, tako da je zbirka enciklopedija samostojnih besedilnih enot, povezanih z okvirno
zgodbo. V srednjem veku je bilo običajno pripovedovati in/ali pisati vložene zgodbe s skupno okvirno zgodbo (na primer Dekameron, Mahabharata, Pančatantra, Ramhajana, Pentameron). Prvi pisni vir, ki omenja Tisoč in eno noč, je fragment iz 9. stoletja, vendar so zanimivi prvi evropski prevodi Antoineja Gallarda v francoščino v dvanajstih knjigah, nastali med letoma 1704 in 1717.

Discussing a specific tale in context, the present essay is a contribution to the study of pre-modern Middle Eastern narrative culture. The tale under consideration is contained in the anonymous Muǧmal at-tavāriḫ va-'l-qeṣaṣ (Compendium of History and Tales), a historical work compiled in Persian early in the twelfth century. In terms of narrative motifs, the tale of the king of Ḥimyar's adventures contained in the Muǧmal at-tavāriḫ overlaps with the later tale of Sindbād the seafaring merchant's fourth adventure to such an extent as to consider the former a precursor to the latter.