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Arabian Nights – Abenteuer aus 1001 NachtÜbersetzung im Kontext von „arabian nights“ in Englisch-Deutsch von Reverso Context: It's like something out of the Arabian Nights. Arabian Nights spielen - Hier auf benpayton.com kannst du gratis, umsonst & ohne Anmeldung oder Download kostenlose online Spiele. Arabian Nights – Abenteuer aus Nacht ist ein US-amerikanischer Fantasyfilm aus dem Jahr Inhaltsverzeichnis. 1 Handlung; 2 Hintergrund; 3 Kritiken.
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TV that didn't bore me. Share this Rating Title: Arabian Nights 7. The soundtrack was composed by Ennio Morricone.
Masjed-e Shah , Isfahan . Jaisi Deval Temple, Kathmandu . Sundhara Chowk, Patan, Nepal . Shibam , Yemen. The shooting locations are varied and the film was shot in many disparate nations to capture the internationalism of the stories depicted.
The market scene at the very beginning of the film was filmed in a town in Yemen named Zabid , as were the sex scene between Nur-ed-Din and Zummurrud and when the European man abducts Zummurrud.
Most of the Nur-ed-Din and Zummurrud story was shot here. Sium's story that Zummurrud reads about was filmed in Ethiopia with uncredited native actors.
Princess Dunya's palace is the Dar al-Hajar palace in Yemen. Likewise, the deleted scenes of Dunya battling her father were filmed in a desert near the location.
The desert city that Zummurrud rides to disguised as Wardan was shot at Sana'a in Yemen. Aziz's story was also filmed here.
Mesjed-e Imam Imam Mosque, formerly the Shah Mosque in Isfahan, Iran served as the place of the wedding feast where Zummurrud extracts revenge on her former captors and where she sees Nur-ed-Din eating at the very end of the film.
The feast of the three sisters and Nur-ed-Din was shot in Shibam. The pool scene was also filmed here.
When the king meets the first prince transformed into the form of a monkey, this scene was filmed at the golden gate of Hanuman Dhoka in Nepal.
Likewise, Prince Yunan's oriental palace was also shot at Hanuman Dhoka. Yunan's father is bathing in the sunken bath of the Sundari Chowk courtyard.
Shooting was complicated in Isfahan. Military guards threw Pasolini and the crew out because they brought donkeys onto the premises of Imam mosque and Pasolini had women singing for the scene.
This was explicitly prohibited and cost the production a few days delay. Most of the score was composed by Ennio Morricone and intentionally keeps away from traditional music unlike the first two films of the Trilogy of Life.
The music is symphonic. Sometimes a character in Scheherazade's tale will begin telling other characters a story of his own, and that story may have another one told within it, resulting in a richly layered narrative texture.
Different versions differ, at least in detail, as to final endings in some Scheherazade asks for a pardon, in some the king sees their children and decides not to execute his wife, in some other things happen that make the king distracted but they all end with the king giving his wife a pardon and sparing her life.
The narrator's standards for what constitutes a cliffhanger seem broader than in modern literature. While in many cases a story is cut off with the hero in danger of losing their life or another kind of deep trouble, in some parts of the full text Scheherazade stops her narration in the middle of an exposition of abstract philosophical principles or complex points of Islamic philosophy , and in one case during a detailed description of human anatomy according to Galen —and in all of these cases she turns out to be justified in her belief that the king's curiosity about the sequel would buy her another day of life.
The history of the Nights is extremely complex and modern scholars have made many attempts to untangle the story of how the collection as it currently exists came about.
Robert Irwin summarises their findings:. In the s and s a lot of work was done on the Nights by Zotenberg and others, in the course of which a consensus view of the history of the text emerged.
Most scholars agreed that the Nights was a composite work and that the earliest tales in it came from India and Persia. At some time, probably in the early 8th century, these tales were translated into Arabic under the title Alf Layla , or 'The Thousand Nights'.
This collection then formed the basis of The Thousand and One Nights. The original core of stories was quite small. Then, in Iraq in the 9th or 10th century, this original core had Arab stories added to it—among them some tales about the Caliph Harun al-Rashid.
Also, perhaps from the 10th century onwards, previously independent sagas and story cycles were added to the compilation [ In the early modern period yet more stories were added to the Egyptian collections so as to swell the bulk of the text sufficiently to bring its length up to the full 1, nights of storytelling promised by the book's title.
Devices found in Sanskrit literature such as frame stories and animal fables are seen by some scholars as lying at the root of the conception of the Nights.
The influence of the Panchatantra and Baital Pachisi is particularly notable. It is possible that the influence of the Panchatantra is via a Sanskrit adaptation called the Tantropakhyana.
Only fragments of the original Sanskrit form of this work survive, but translations or adaptations exist in Tamil,  Lao,  Thai,  and Old Javanese.
In the 10th century Ibn al-Nadim compiled a catalogue of books the "Fihrist" in Baghdad. He noted that the Sassanid kings of Iran enjoyed "evening tales and fables".
He also writes disparagingly of the collection's literary quality, observing that "it is truly a coarse book, without warmth in the telling".
In the s, the Iraqi scholar Safa Khulusi suggested on internal rather than historical evidence that the Persian writer Ibn al-Muqaffa' was responsible for the first Arabic translation of the frame story and some of the Persian stories later incorporated into the Nights.
This would place genesis of the collection in the 8th century. In the midth century, the scholar Nabia Abbott found a document with a few lines of an Arabic work with the title The Book of the Tale of a Thousand Nights , dating from the 9th century.
This is the earliest known surviving fragment of the Nights. Some of the earlier Persian tales may have survived within the Arabic tradition altered such that Arabic Muslim names and new locations were substituted for pre-Islamic Persian ones, but it is also clear that whole cycles of Arabic tales were eventually added to the collection and apparently replaced most of the Persian materials.
One such cycle of Arabic tales centres around a small group of historical figures from 9th-century Baghdad, including the caliph Harun al-Rashid died , his vizier Jafar al-Barmaki d.
Another cluster is a body of stories from late medieval Cairo in which are mentioned persons and places that date to as late as the thirteenth and fourteenth centuries.
Two main Arabic manuscript traditions of the Nights are known: the Syrian and the Egyptian. The Syrian tradition is primarily represented by the earliest extensive manuscript of the Nights , a fourteenth- or fifteenth-century Syrian manuscript now known as the Galland Manuscript.
It and surviving copies of it are much shorter and include fewer tales than the Egyptian tradition. It is represented in print by the so-called Calcutta I — and most notably by the 'Leiden edition' Texts of the Egyptian tradition emerge later and contain many more tales of much more varied content; a much larger number of originally independent tales have been incorporated into the collection over the centuries, most of them after the Galland manuscript was written,  : 32 and were being included as late as in the 18th and 19th centuries, perhaps in order to attain the eponymous number of nights.
All extant substantial versions of both recensions share a small common core of tales: . The texts of the Syrian recension do not contain much beside that core.
It is debated which of the Arabic recensions is more "authentic" and closer to the original: the Egyptian ones have been modified more extensively and more recently, and scholars such as Muhsin Mahdi have suspected that this was caused in part by European demand for a "complete version"; but it appears that this type of modification has been common throughout the history of the collection, and independent tales have always been added to it.
No copy of this edition survives, but it was the basis for an edition by Bulaq, published by the Egyptian government. Each volume contained one hundred tales.
Soon after, the Prussian scholar Christian Maximilian Habicht collaborated with the Tunisian Mordecai ibn al-Najjar to create an edition containing nights both in the original Arabic and in German translation, initially in a series of eight volumes published in Breslau in — A further four volumes followed in — In addition to the Galland manuscript, Habicht and al-Najjar used what they believed to be a Tunisian manuscript, which was later revealed as a forgery by al-Najjar.
This claimed to be based on an older Egyptian manuscript which has never been found. In , a further Arabic edition appeared, containing from the Arabian Nights transcribed from a seventeenth-century manuscript in the Egyptian dialect of Arabic.
The first European version — was translated into French by Antoine Galland from an Arabic text of the Syrian recension and other sources.
Galland's version of the Nights was immensely popular throughout Europe, and later versions were issued by Galland's publisher using Galland's name without his consent.
As scholars were looking for the presumed "complete" and "original" form of the Nights, they naturally turned to the more voluminous texts of the Egyptian recension, which soon came to be viewed as the "standard version".
The first translations of this kind, such as that of Edward Lane , , were bowdlerized. Burton's original 10 volumes were followed by a further six seven in the Baghdad Edition and perhaps others entitled The Supplemental Nights to the Thousand Nights and a Night , which were printed between and It has, however, been criticized for its "archaic language and extravagant idiom" and "obsessive focus on sexuality" and has even been called an "eccentric ego-trip " and a "highly personal reworking of the text".
Later versions of the Nights include that of the French doctor J. Mardrus , issued from to It was translated into English by Powys Mathers , and issued in For you.
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Crazy Credits "Truth lies not in one dream, but in many. Alternate Versions The film was cut for UK cinema with heavy edits to all shots of genital nudity, a man firing a phallic shaped arrow at a woman, and a naked man having wine licked from his feet but passed completely intact by the BBFC in Was this review helpful to you?
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