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Point of view, as the most important aspect of the narrative structure, is the window through which the reader sees the different scenes of the story and the behavior of the characters. The author or the narrator, according to his purpose and skill, uses different methods of point of view in the narration. The present article deals with the descriptive-analytical method of studying the point of view in the tale "Fisherman and Monster" and its related narrative circles in the story collection "One Thousand and One Nights". In this way, the model of Jacques Fontaine, a contemporary semiotician, has been used. He considers the types of applied point of view in the discourse as "universal, cumulative or serial, selective, particularizing, parallel and conflicting ". Based on this, the research answers the question of which cognitive angles did the narrator use in the story of the fisherman and the monster and how? The findings of the research show that with every point of view and rotation, the author creates new form and new meaning in the story in order to have a greater impact on the structure and reach the meaning and purpose. He has used different types of
cognitive points of view based on purposefulness, but the "universal" one, due to the omniscient nature of the narrator and the use of description technique, has the highest frequency in the above-mentioned story and its narrative circles.

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Filmmakers, television programmers, experts in literature, and those with an average knowledge in literature, cinema, and television, have different standards in evaluation of adapted movies. Similarly, there are various theoretical foundations in comparative studies of adaptation. Analyzing adapted movies and comparing them with literary sources can be done with a cultural study approach of which nature is interdisciplinary depended more on cultural feedback. From this perspective, examining the relationships between cinema and television regarding One Thousand and One Nights series shows that the adaptations in which the story has been developed according to its very cultural-historical function, succeeded more. These kinds of adaptation were faithful to the structure of the work. The reason why the faithful adaptations to One Thousand and One Nights were successful is that the theme of this book emerges from its structure. Crossing out the theme pattern in adapted movies doesn’t satisfy common addressees of book and movie.
 



 

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Women in the book of “One thousand and one nights” and “Ferdowsi’s Shahnameh”, various social roles, sometimes positive and sometimes negative, are responsible; the role and position of women in two somewhat different. More tales One thousand and one nights, unlike the shahnameh, the loathing of women begins. At the beginning of this story, it seems that she is defeated and surrendered, but it is not so, but at the end of her affair with a feminine subtlety to spend, will win. In this paper with the method of descriptive-analytical, social status and role of women in two great works have been reviewed and compared. Most of the stories have been studied in this paper, which are responsible for a good female role. The results of this study indicate that the legend of the One thousand and one nights unlike the shahnameh, role of women in negative and sometimes mixed with evil of satanic. .  

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This component is more significant in the relationship between the humanities in general and history in particular with literature. This paper seeks to illustrate this convergence by comparing the metaphorical "Mass City" in the context of history and mythology.
The story of the city of the Mass is one of the tales quoted in thousand and One Nights and in addition to some of the works of Arab geographers, it also comes as a true historical text. The mission of Musa Ben Nassir to Africa, besides introducing historical events into the world of legends, also makes him a legendary figure. That's why he has two personality dimensions: Historical and legendary. As for the city of Mass, it is possible to make such an image. It is certain that every narrative and historical personality does not enter the legendary area. Therefore, the study intends to extract the legendary signs of the historical plan of the Moses mission to conquer the Maghreb and Andalusian lands, and examine it in the narrative of the city of Mass in one thousand and one nights. the result shows a series of factors such as the distinguished personality of Moses, the pretentiousness of the Maghreb and Andalusia, successive conquests and countless victories of spoils has changed the event and transmitted it quickly from the historical text to the legendary text. The method used in this descriptive-analytic study is based on the American Comparative Literature School.
 

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• Each nation has its origins in the manifestation of the beliefs and customs of its people. Literature is the mirror par excellence of each nation's past. The history of each nation or people is not discontinuous and, if a message of a text of folk literature is related to its historical realities, it will always be transmitted over time to the following periods and will be periodically reconstructed. One Thousand and One Nights- the prototype of world’s tale- has been always a remarkable source in folk literature. Throughout the history and over time, these stories have been emerged under diverse meanings and shapes. Farīd ud-Dīn Attār, the mystic poet- has taken the advantages of folk literature in order to express mystic thoughts. The existence of common signs and points as well as formal and content aspects of these tales show the inter-textual relations of both histories. It is possible to describe structural pattern of these stories by investigating their lyric structure. According to their theme, stories have different content (epic, romantic and mystic). In this research, the authors have compared two histories from Elahi-Nāmeh and One Thousand and One Nights according to Gérard Genette theoretical framework and inter textual relation by insisting on the their impressionability from folk literature.
   

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“One Thousand and One Nights”, has continued to grow until the end of the twelfth Hijri. There are therefore several historical layers in this stories, including the historic layer of Baghdād which represents the history of the Abbasid caliphs and the court that accompanies it. Satan’s companionship history with Abū Isḥāq Ibrāhīm al-Mawṣilī and the history of Ishāq al-Mawsili with Satan – two expert minstrels of their time, fit into this same layer. Although these two stories were made and discussed in Baghdad, the themes used in their infrastructure are not anchored in Baghdad in Abbāssid dynasty but rather in pre-Islamic Saudi Arabia because they are based on two ancient Arab myths. The first is the long-standing link between jinn and music, and the other is the recognition of jinn as an inspirer who emerges in the belief of "obedience to Cohen" and "the devil -the poet". An upcoming exploration of ancient Arab sources shows how the storyteller, influenced by these myths, describes Iblis as a masterful minstrel who teaches musician Abū Isḥāq Ibrāhīm al-Mawṣilī.
 

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The book One Thousand and One Nights is among the most important ancient books of fable and parable which has been of interest for a long time and various translation of which exist. There are two main translations of the book to Persian, the first by Abdollatif Tasuji and the second by Ebrahim Eghlidi. Comparing the two translations reveals difference in the opening and closing of the book, story-telling techniques, orientation of though and faith, and the sequence and title of the stories. The choice of original principal texts the translators based their translations on can be considered as the most important reason for such differences. The original principal text for Tasuji was apparently Bulaq’s 1^st ed., while Eghlidi based on his translation of Bualq’s 2^nd ed., Calcutta’s ed., and Burslaw’s ed. Eghlidi also drew on the French and English translations of One Thousand and One Nights. Another reason for such a difference was the different approach of the translators towards the stories. Tasuji has tried to include the main plot of the stories and has not paid much attention to the setting in his translation, while Eghlidi has paid close attention to descriptions in his translation, resulting in lengthier stories and differences with Tasuji’s translation.

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While reading One Thousand and One Nights, one cannot ignore the significant repetition of the textual elements that frequently point out to the process of enunciation. Analysis and evaluation of these textual signs, that refer to the origin of the utterance, provide the reader with an understanding of those that occur behind and beyond the signs. Applying a semiotic analysis of discourse approach, the present study tries to analyze the above signs in One Thousand and One Nights. The analysis indicates that 'the utterance' always emphasizes the important role of the three elements of enunciation, enunciator, and co-enunciator. The present study is to show that, in this discourse, the utterance more than anything else refers to the process of its production so that enunciation has turned to a major part of the content of the text. No doubt such deliberate overemphasis of the enunciator and its textual representations in different levels of narrative is of prime importance. As a result, the textual enunciator has made every effort to, first, disturb the bases of his co-enunciator's system of values and his intellectual, ideological, and ontological systems; and then, through repetition and suggestion, use the urging and persuading functions of language to create in him a new system of value and ideology more compatible with his own interests
 

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Transformation of the characters in the story is a feature that can be observed in literary texts and generally studied under the heading of “metamorphosis”. Metamorphosis increases the mythical and imaginary aspects of the text and it is a reflection of human being dreams and an image of the bound between imagination and the real world. It could be defined as a creation of the people’s need for dominance over other people, creatures, and phenomena. Analyzing this subject can be useful to figure out the common culture among nations and can be a proper background for studying literal and cultural bounds for it is seen in the literature of several nations. This article studies different types of metamorphosis in Nart-Nameh and One Thousand and One Nights based on a comparative-analytic approach. Nart-Nameh is a collection of myths about bravery of the Nart nation and the heroes of the North Caucasus and the shores of the black sea. These myths go back to two thousand years B.C. that were verbally transferred from one generation to the other. These myths are about the life’s important aspects such as loving motherland, fighting against evil, helping the week, etc. One Thousand and One Nights is one of the brightest eastern myths which is a mixture of Indian, Arabic, and Persian literatures. This article analyses the differences and commonalities in these books considering metamorphosis.

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For many centuries, there has been a myth of a creature with a female head and snake body called Shamaran among the Iranian Kurdish people. Respect for this myth has always been associated with special rituals. In the book One Thousand and One Nights, which is one of the most important literary and cultural works of the Orient, there is a story called "Queen of Snakes and Haseb Karimuddin", which is very similar to the story of Shamaran. The traits of these two stories are also a recalling of the myths. Undoubtedly, many folk tales, beliefs and cultures are deeply connected with ancient myths. The main aims of this study is to investigate the role of Shamaran myth in the formation of the story of the "Queen of Snakes" and to find the common roots of the two. Therefore, the main theme of this story, which is human-snake, is examined. The findings of this research, which has been done in a descriptive-analytical way, showed that the story of the "Queen of Snakes" is based on the myth of Shamaran, and this myth is rooted in religion and myth of the most important Iranian civilizations, the ancient Elam.
 

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Najmeh Dari,PH.D.
Hussein Qorbani.
Abstract
 
Fairy and folk tales manifest the ancient cultures and traditions of human communities. A group of researchers, upon reliance on the written texts, remaining from ancient legendary tales, have studied these fairy and folk tales. For instance, Vladimir Propp studied and discovered the structure of Russian folk tales and enumerated a number of particular functions for these tales. Meanwhile, Algirades Julien Greimas made use of the “actor” concept, summarizing Propp’s theory, and presenting a role model in regard to narration’s actors. This research explores “Dalile Mohtaleh va Ali Zaibaq” fairy tale with reliance upon Greimas’ role model. This fairy tale maintains a high capacity for analysis of deeds due to diversity of its characters and the influential functions of each one of them. Based on this study, it was found that the repetitive role models of other stories in different deeds’ realms are also observed in this fairy tale. However, what distinguishes this fairy tale is its religious dialog.
 

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One of the stories of the famous book One Thousand and One Nights is called "Ala'addin Abolshamat". This story narrates Ala’addin’s adventure from his birth in Egypt to his trip to Baghdad and permanent marriage to the girl with whom he was supposed to be with for just one night as well as other adventures until the end of his life. A part of this story has become the source of legends with the same structure in Persian folk tales. In this article, ten types of these narrations have been identified and analyzed. Some of these stories have been published in collection of anecdotes, but most have remained unknown. These narrations have more or less some differences in the method and details of narration as well as linguistic and literary issues. Although the general structure of the stories is the same, the narrators have inadvertently or intentionally made changes in the details over time; maybe because it was more attractive for the audience or the story became more believable for the Iranian audience. By analyzing the details of these narrations, we can get some interesting points. From a broader perspective, we can determine the order of changes in the narratives based on the same details.
 
 

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Among the plays of Rezā Kamāl, three works, Shab-e Hezār-o Yekom, Abāseh Khāhar-e Amir and Aziz-o Azizeh, are known as his adaptations of One Thousand and One Nights stories. These works aim to introduce a new appraoch to thetrical expression by utilizing the potentialities of the orginal texts. The present study reads Kamāl’s adaptations of One Thousand and One Nights stories in the light of Linda Hutcheon’s adaptation theory in order to show the extend to which his plays provide theatrical affordances in the dramatic texts. As a result, the study shows how far these adaptations have succeeded in articulating the requirements of the stage while being in conversation with the original text.

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Faranak Jahangard. PH.D.
Abstract
The recent study puts emphasis on the interpretation of the archetype text, depicting the folk tale’s characters and their actions; while making every effort to display the relations between Shahriar and his spouse, which can be a symbol of negative anima, appearing in the countenance of an betraying woman. Moreover, Shahrzad can be an epitome of positive anima, who through communicating and speaking with Shahriar, remedies and treats the latter. Upon giving birth to an infant, and activation of her feminine aspect which is in line with betterment of Shahriar, an appropriate outcome from this folk tale is narrated. The vizier appears in the form of reprimanding conscience, which lays the ground for emergence of the positive anima. The process of individuality and accompaniment of patient with positive anima, leads to treatment and fertility. Other archetypes such as Night and Day, Morvarid, Kalam, and Number Three are included in this text, which in turn enrich the interpretation of the archetype text, as the methodology of choice. Obviously, the presence of these archetypes in the folk tale of One Thousand and One Nights has contributed to the immortality of this work of art.
Key terms: Archetype criticism, One Thousand and One Nights, Shahrzad, anima, process of individuality

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Copyright: © 2023 by the authors. Submitted for possible open access publication under the terms and conditions of the Creative Commons Attribution (CC BY- NC) license https://creativecommons.org/licenses/by/4.0/).

“The Tale of King Numan and His Sons” is one of the captivating and multi-layered stories from the One Thousand and One Nights collection. On its surface layer, the tale portrays the historical theme of war between Muslims and Christians. Zat al-Dawahi, the main female character, disguised as a male religious figure, conceals her gender and religion, deceiving the Muslim army. Socially, the story primarily focuses on her feminine cunning, ultimately leading to her comeuppance. However, on a deeper layer, when viewed through an archetypal lens, the tale reflects the societal lack of anima (the feminine element) and illustrates the collective conscious and unconscious fragmentation, confirming this theme through the rule of two kings over one realm at the tale’s end. The descriptive-analytical research method based on library sources has been employed. Archetypally, Zat al-Dawahi is a negative “anima (exemplary mother)” who, at times throughout the story, dons a “veil” and vividly illustrates the societal shadows. Albeit, with a slight change in perspective on the roles and positions of characters, she can also be considered a “trickster hero”. Zat al-Dawahi represents the women of her society: those whose feminine traits (love) have been disregarded in a patriarchal system and marginalized. Consequently, her masculine element (animus) is activated, and due to her animosity, she manifests herself as vengeful, fearless, ruthless, and cunning.

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The present study dealt with the narration process of the story “One Thousand and One Nights” and sought demonstrating the movement trends of the narrator’s narration-processing for postponing and neutralizing a morbid action and achievement of the ultimate goal, i.e. complete cessation of that action and reaching the discourse’s teleology based on Greimas’s semio-semantic approach. The main issue of the current research was figuring out how the narration leaked into the discourse and caused a change in the discourse mechanism following which the action system (i.e. murder and the king’s sense of revenge) was suspended; the continuation of such a suspension caused the value system to be changed and it was seen that the change and transformation of the value system resulted in returning from nothingness to existence. The semio-semantic analysis of this story showed that the initial opposing actions between Shahrzad and Shahriyar were transformed into emotional  and adjusting  status in the course of the narration-processing and a semantic transcendence occurred with the change from the disordered status to the organized status.