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As his first intallment of his trilogy of life titled Decameron was followed by Tales of Canterbury The motion picture lavishly produced by Alberto Grimaldi was well directed by Pier Paolo Pasolini , it has rarely been seem in a great number of countries after its release in by United Artists , and being ludicrously cut by the censor and insanely dubbed.
Pasolini was member of the Italian Communist Party from to and he was expelled because of his homosexuality. He was also a poet, a painter , actor and a novelist.
In his movies he shows his own more personal projects, expressing his controversial views on Marxism, atheism, fascism and homosexuality. His first film Accattone was based on his own novel and its violent depiction of the life of a pimp in the slums of Rome caused a sensation.
He was arrested in by his contribution to the portmanteau film Ro. It might have been expected that his next film, Gospel According to St.
Matthew , here Paolo presented the Biblical story in a totally realistic, stripped-down style, would cause a similar fuss but, in fact, it was rapturously acclaimed as one of the few honest portrayals of Christ on screen.
Subsequently , he made a Greek rendition: Pasolini was murdered in still-mysterious circumstances shortly after completing the film.
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Full Cast and Crew. A youth is chosen by a beautiful slave girl to be her new master; she is kidnapped and they must search for each other.
Stories are told within stories; love, travel and the whims of destiny. Pier Paolo Pasolini , Dacia Maraini script collaboration.
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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 exist, 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".
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 tradition includes the oldest manuscripts; these versions are also much shorter and include fewer tales.
It is represented in print by the so-called Calcutta I — and most notably by the Leiden edition , which is based above all on the Galland manuscript.
It is believed to be the purest expression of the style of the mediaeval Arabian Nights. 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,  and were being included as late as in the 18th and 19th centuries, perhaps in order to attain the eponymous number of nights.
The final product of this tradition, the so-called Zotenberg Egyptian Recension , does contain nights and is reflected in print, with slight variations, by the editions known as the Bulaq and the Macnaghten or Calcutta II — 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 first European version — was translated into French by Antoine Galland from an Arabic text of the Syrian recension and other sources.
He wrote that he heard them from a Syrian Christian storyteller from Aleppo , a Maronite scholar whom he called "Hanna Diab. 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. 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 Mahdi argued that this version is the earliest extant one a view that is largely accepted today and that it reflects most closely a "definitive" coherent text ancestral to all others that he believed to have existed during the Mamluk period a view that remains contentious.
In a new English translation was published by Penguin Classics in three volumes. It is translated by Malcolm C. Lyons and Ursula Lyons with introduction and annotations by Robert Irwin.
Moreover, it streamlines somewhat and has cuts. In this sense it is not, as claimed, a complete translation. Scholars have assembled a timeline concerning the publication history of The Nights: The One Thousand and One Nights and various tales within it make use of many innovative literary techniques , which the storytellers of the tales rely on for increased drama, suspense, or other emotions.
An early example of the frame story , or framing device , is employed in the One Thousand and One Nights , in which the character Scheherazade narrates a set of tales most often fairy tales to the Sultan Shahriyar over many nights.
An early example of the " story within a story " technique can be found in the One Thousand and One Nights , which can be traced back to earlier Persian and Indian storytelling traditions, most notably the Panchatantra of ancient Sanskrit literature.
The Nights , however, improved on the Panchatantra in several ways, particularly in the way a story is introduced. The general story is narrated by an unknown narrator, and in this narration the stories are told by Scheherazade.
Within the "Sinbad the Sailor" story itself, the protagonist Sinbad the Sailor narrates the stories of his seven voyages to Sinbad the Porter.
In yet another tale Scheherazade narrates, " The Fisherman and the Jinni ", the "Tale of the Wazir and the Sage Duban " is narrated within it, and within that there are three more tales narrated.
This technique is used in several tales of the One Thousand and One Nights. A common theme in many Arabian Nights tales is fate and destiny.
The Italian filmmaker Pier Paolo Pasolini observed: So a chain of anomalies is set up. And the more logical, tightly knit, essential this chain is, the more beautiful the tale.
The chain of anomalies always tends to lead back to normality. The protagonist of the stories is in fact destiny itself.
Though invisible, fate may be considered a leading character in the One Thousand and One Nights. Another early foreshadowing technique is formal patterning , "the organization of the events, actions and gestures which constitute a narrative and give shape to a story; when done well, formal patterning allows the audience the pleasure of discerning and anticipating the structure of the plot as it unfolds".
This technique is also found in One Thousand and One Nights. Another form of foreshadowing is the self-fulfilling prophecy , which dates back to the story of Krishna in ancient Sanskrit literature , and Oedipus or the death of Heracles in the plays of Sophocles.
A variation of this device is the self-fulfilling dream, which can be found in Arabic literature or the dreams of Joseph and his conflicts with his brothers, in the Hebrew Bible.
Several tales in the One Thousand and One Nights use this device to foreshadow what is going to happen, as a special form of literary prolepsis.
A notable example is "The Ruined Man who Became Rich Again through a Dream", in which a man is told in his dream to leave his native city of Baghdad and travel to Cairo , where he will discover the whereabouts of some hidden treasure.
The man travels there and experiences misfortune, ending up in jail, where he tells his dream to a police officer.
The officer mocks the idea of foreboding dreams and tells the protagonist that he himself had a dream about a house with a courtyard and fountain in Baghdad where treasure is buried under the fountain.
The man recognizes the place as his own house and, after he is released from jail, he returns home and digs up the treasure.
In other words, the foreboding dream not only predicted the future, but the dream was the cause of its prediction coming true.
This is an early example of reverse causation. In the 12th century, this tale was translated into Latin by Petrus Alphonsi and included in his Disciplina Clericalis ,  alongside the " Sindibad " story cycle.
This device occurs in the One Thousand and One Nights , which binds several tales in a story cycle. The storytellers of the tales relied on this technique "to shape the constituent members of their story cycles into a coherent whole.
Thematic patterning is "the distribution of recurrent thematic concepts and moralistic motifs among the various incidents and frames of a story.
In a skillfully crafted tale, thematic patterning may be arranged so as to emphasize the unifying argument or salient idea which disparate events and disparate frames have in common".
This technique is also used in the One Thousand and One Nights. In some of these, the siblings are female, while in others they are male.
One of the tales, "Judar and His Brethren", departs from the happy endings of previous variants and reworks the plot to give it a tragic ending instead, with the younger brother being poisoned by his elder brothers.
The Nights contain many examples of sexual humour. Some of this borders on satire , as in the tale called "Ali with the Large Member" which pokes fun at obsession with human penis size.
The literary device of the unreliable narrator was used in several fictional medieval Arabic tales of the One Thousand and One Nights.
Seven viziers attempt to save his life by narrating seven stories to prove the unreliability of women, and the courtesan responds back by narrating a story to prove the unreliability of viziers.
In this tale, Harun al-Rashid comes to possess a chest, which, when opened, contains the body of a young woman. Thus the mystery is solved.
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