Please click on the full text.

The major aim of this study is to show the impact of myth of Scheherezade on the postmodernist narrative style of John Barth. It also tends to subvert Barthian subverted mythology or worldview in the light of Paul de Man's deconstructive perspectives. The decentralization of what Barth considers as the replenishment of used up literary conventions in its turn can be decentralized by de Manian rhetorical reading of the text. This article is a reading of Chimera as related to a two-step de Manian reading strategy, first, the detection of figures of speech or topological language and the aberration of each trope, second, the exemplification of allegory of reading in each of the novellas. As de Man proclaims, all the languages are figural, in other words, constituted of denominative and conceptual spheres. The conflict between the two is never resolved within a text and culminates into an aberrant aporia. Such a loophole is what causes the impossibility of reading in any text.

This paper briefly approaches the views, looked into the origins of A Thousand and One Night, based on narrative, historical, ecological and regional proofs and specifically focusing on the protagonist, SCHEHERAZADE, through her motifs and mythological origins. The archetypes, on which SCHEHERAZADE is created, have been studied as the motifs forming her thoughtful and practical character. Through such an exploration, we have found out that SCHEHERAZADE manifests two Iranian archetypical motifs: "Existence for Combat" and "Resurrection Oriented Conclusion.

Interdisciplinary studies and psychoanalytic criticism have recently opened up new horizons for researchers. The Thousand and One Nights has been evaluated in various ways so far, but what has been overlooked is the psychoanalytical dimension of the stories. The context of the “ Story of King Shahryar and His Brother Shah Zaman” illustrates a problem unique to civilization, whose examination can provide the readers with insight into latent meanings. Although Freud, the father of psychoanalysis, used to read the works of poets and writers, including fantastic and suprarealist stories and claimed that he and those writers were both inspired by the same origin, albeit in two different ways (Shariat Kashani, 2014: 13), psychoanalytic criticism does not have the prominent place it deserves in contemporary literature, or is harshly criticized by those who do not support theorists such as Freud, Lacan, and others. The analytical power of psychoanalysis and its amenity to interpretation led us to decipher the core story of The Thousand and One Nights according to Lacan’ s theories. Despite their difficulty, Lacan’ s theories contain neither the misunderstandings around Freud’ s concepts nor the sense of superiority one finds in Jung’ s antirealist and mystical psychology. This paper deals with the origins of the story of Shahryar and his brother Shah Zaman from a Lacanian perspective.

The Thousand and One Nights includes heroic tales, didactic literature, beast fables, legends through which the world is known, literary debates and an array of poems. The narratee gets to know a large number of characters in a short time and after learning about their past, present and future moves on to another tale with another set of characters. SCHEHERAZADE narrates these tales night after night to escape death. When the tales get to their end, she will see what life has in store for her. Her haste is transferred to the narratee through her omission of many minor events and through brief character sketches. To familiarize the narratee with major and minor characters, she makes use of both direct and indirect characterization methods. Characters are described only as much as they are relevant to the events of the stories. Their characteristics, inner feelings and thoughts are rarely explicitly mentioned.

French abstract: L’ orientalisme remontant au XIXe siè cle, est un mouvement qui marque l'inté rê t de cette é poque pour la langue, la litté rature, les arts et la culture des pays orientaux. Le rapport entre l'Orient et l'Occident est connu depuis l'Antiquité . Mais, l'é tude savante de la langue et de la culture orientale remonte à la seconde moitié du XVIIe siè cle et il atteint son apogé e par la premiè re traduction du grand tré sor de la litté rature universelle; des Mille et une nuits, par Antoine Galland. Mathias É nard, é crivain contemporain, ayant connu comme spé cialiste des cultures et des langues arabe et persane, a essayé de dé crire l'Orient de son temps. Cet article a pour objet de mettre en valeur la ré é criture des Mille et une Nuits et la ré incarnation de Shé hé razade par Mathias É nard dont le reflet se voit dans son livre majeur, Boussole. Dans cette modeste recherche, à l’ aide d’ une approche analytique et comparative, nous allons essayer de ré pondre à deux questions: Quelle est l’ influence de la traduction des Mille et une Nuits sur Boussole? Quelles sont les figures repré sentatives de Shé hé razade dans ce roman? Nous allons tout d’ abord é tudier le parcours litté raire de Mathias É nard en tant qu'admirateur de l'orient des Mille et une Nuits. Ensuite, nous allons dé chiffrer que ces deux ouvrages se rapprochent non seulement par la structure mais é galement par le contenu. English abstract: THe West has cultivated a fascination for the East and Islamic civilization over the centuries. This fascination took off in the Age of Enlightenment and in the Romantic era, when the artistic movement of Orientalism was born. Orientalism, dating back to the 19th century, is a movement which marks the interest of this period in the language, literature, arts and culture of the Eastern countries. This movement reached its peak with the first translation of The Thousand and One Nights, by Galland (1704-1717). Antoine Galland, French orientalist, was a specialist in ancient manuscripts and coins. After fifteen years spending in Middle East, and also being fascinated by the culture and languages of the Orient and the fables he met there, he decided to translate tales of Persian origin, which would later be known as The Thousand and One nights. After the publication of this collection, the perspective of the Orient was completely changed and became a fabulous territory, an East where everything is luxury and pleasing. Henceforth, he made progress in literature, painting, archeology and music. Finally, he made an impact on the great romantic writers such as: Thé ophile Gautier, Charles Baudelaire, Gustave Flaubert, Lamartine and Victor Hugo. Thus, today we discover a contemporary figure of orientalist writers, fascinated by this universal treasure: Mathias Enard. This is how we fixed our choice on the influence of the Arabian Nights on Mathias Enard's major book, Compass. Mathias Enard is a French writer and translator, a specialist in Arabic and Persian cultures and languages. The romantic works of Mathias Enard often take place in Eastern countries. Reading Mathias Enard's books, we see that all of his works is strongly influenced by the Orient and that he reveals his own attachment to it. Mathias Enard reconstructs the image of the Orient. He celebrates art and literature and more particularly poems and musics of the East. According to him, the East and the West were built together and we cannot consider them separately. The purpose of this article is to highlight the rewriting of A Thousand and One Nights and the reincarnation of SCHEHERAZADE by Mathias Enard whose reflection is seen in his major book, Compass. In this modest research by using an analytical and comparative approach, we will try to answer two questions: What is the influence of the translation of the Arabian Nights on Compass? Who are the representative figures of SCHEHERAZADE in this novel? We will first study the literary journey of Mathias Enard as an admirer of the Orient and of the Thousand and One Nights; then we will decipher that these two works are brought together not only by structure but also by content. Indeed, thanks to his excellent translation, Antoine Gallant, managed to bring us back to the Orient. So, Mathias Enard, who was so impressed with the Orient and especially the Orient of the Thousand and One Nights, tries to reconstruct The Nights of his time. In addition, by taking up the character of SCHEHERAZADE, Enard tried to describe the Orient of his time. By using a literary form, Enard tries to portray today's society and compare it to yesterday. By building a story on a real basis, he actually seeks to give us a description, broad and precise, of the East and the reciprocal relationship between East and West from the nineteenth century to our days. This study, which aims at being comparative, has indicated that Les Mille et une Nuits et Boussole is not only related by structure but also by content. Also remember that the principle is the same. Both works appeal for love, fear, suffering, adventure and death, but in a totally different way, with a different SCHEHERAZADE. SCHEHERAZADE chez Enarde is represented in different ways. Indeed, Enard skillfully plays with the figure of SCHEHERAZADE. In fact, the latter is embodied in different characters of this novel. It influences the entire novel and its characters. Therefore, it is obvious that The Thousand and One Nights offered fertile ground for literary creations. The author of Compass, who was indirectly inspired by the Arabian Nights, tried to prevail over this work, to write something even greater. Indeed, it is obvious that one should not consider Boussole as one of the tales of the Arabian Nights, but like a night having more greatness and complexity than their model. The field is nevertheless larger and always requires more additional research on unknown aspects.

Thousand and One Nights is a multinational literary cultures of different nations of the Orient in its place. In this work clearly, culture, gender and patriarchy can be seen, the present study was to investigate the story of the Thousand and One Nights, ideas and thoughts gender East will showcase the culture of the pastThe role of each of the two sexes (male and female) will be explained in this culture. The research, to investigate and represent the cultural area of the eastern countries of the Old Testament, especially the Sassanid era and the role and status of women and men in conflict with each other (as opposed to gender) is developed where SCHEHERAZADE as a perfect example of Sex couple's Sex symbol male and patriarchal system will be introduced. The results showThe woman in the story of the Thousand and One Nights has different roles, All she is tryingThe different roles assigned to women, his story is that one side is acceptable in male-dominated society SassanieraOn the other hand, for she is very important that the patient's mind and get ready to soften positive roles for women.

Myth, as the first human intellectual system, is part of the mental experiences of nations, and poetry has been a continuation of that because imagination in myth is cognate with the imagery in poetry. Adonis and Bekas, with assimilative and abstract mindsets and breaking down classical forms have brought great innovations and by adopting and recreating mythological symbols have appropriated them to express their themes. This research, using content analysis and a comparative approach based on the American school, examines the application of myth in modern Arabic and Kurdish poetry, with an emphasis on the poems of Adonis and Sherko Bekas, to explain the fundamental aspects of the mythological symbols in their poetry. Myth is used in all the major themes of Adonis and Sherko Bekas’ poetry, yet implicit connotations of mythological concepts are more than the explicit ones. Phoenix, Jesus, Mary, SCHEHERAZADE, Cain and Abel, Mahyar and Hallaj, Sisyphus, Noah and Sindbad are among the common myths in their poetry. Sherko Bekas is more inclined towards Eastern and Iranian myths, while Adonis often leans towards Greek and Roman myths. Expanding the semantic strategies, utilizing conceptualization capacity, exerting the fluidity of mythological themes, and combining them with historical knowledge are factors that have helped both poets succeed in applying myth in their poetry. They have added to the richness of the meaning of their poetry by combining concepts, masking mythical characters, strengthening structural and conceptual functions of language, explaining the mental and physical dimensions of time and place, and hinting at narratives and characters.

The Thousand and One Nights, with its varied features based on the process of narration, description and dialogue between the characters in the space of time and place, reflects the reality of society in its various aspects, where the contemporary novelist seeks to enhance his novelistic effectiveness by being inspired by The Thousand and One Nights, as a source text, with the refinement of his literary faculties and his mind for creation. “, Soulaf Baghdad”,by Muhsin Jassim al-Musawi, the Iraqi critic and novelist, who borrowed “, Baghdad”,to represent the bleak Iraqi reality after the American occupation, is only the evidence of his direct, creative and indirect influence on the narrative climates of the tales of the nights from the stylistic point of view. For the spread of his ideas, his novelistic or creative experience, and his critical skill, as a literary critic, he is immersed in the concepts and techniques of narration simultaneously. Getting to know the novelist's motive for inspiration from the narrative framework of The Thousand and One Nights, explains the necessity of conducting the current research using the descriptive-analytical method. It seems to us that the narrative structure of the novel, with its overlapping narrative structure, secret places, and the presence of eccentric characters, bringing poetry, associated with the thousand and one nights. It can be said that this influence is a driving force for a project that aims to draw the atmosphere of Baghdad, the tragic past of the fifties and Baghdad, its unknown and frightening future, next to the conditions and facts of “, Soulaf”,with its people, with several narrations in one narration by the narrator of SCHEHERAZADE, between reality and imagination. As for the content of the fictional work, It can be said that according to the author's critical viewpoint and the many books he wrote in the field of criticism of The Thousand and One Nights and Arabic narratology has provided his novel with an artistic image with a new reading of The Thousand and One Nights and the mechanisms of intellectual vision in it,