| From: guest (LBUMIN) , 174 months, post #1 | hey i want a story or a vid wher the char is made to pay for wt he did , badly, something like defeat of prince altan, and also wher the char is enslaved after transformation...
| | From: guest (The Strange One) , 174 months, post #2 | Well, I want a girl with a mind like a diamond.
| | From: freeballer , 174 months, post #3 | haha I want a girl who knows whats best
| | From: guest (Mr Nobody) , 174 months, post #4 | I want a girl with shoes that cut
| | From: freeballer , 174 months, post #5 | And eyes that burn like cigarettes
| | From: guest , 174 months, post #6 | I want a girl who will laugh for no one else.
| | From: guest , 174 months, post #7 | C-C-C-COMBO BREAKER!
| | From: guest (Guest XII) , 174 months, post #8 | Any thread like this one should have a mention of Aardvark's loooooong novel, the "Warrior of Batuk" at Big Closet, http://bigclosetr.us/topshelf/author/aardvark
Its spins off of the universe created at "The World of Zhor," a well done tg slave erotic site that can be googled. The basic idea is that it's a world that's a lot like John Norman's Gor, but tg is co For the People
By Farihah Zaman Arabian Nights
Dir. Miguel Gomes, Portugal, Kino Lorber How do stories become myths, fables, fairy tales? Is the passage of time required? Does there need to be a sense of long ago and far away? Is it the process of repetition that pushes stories to cultural ubiquity, like the endless international iterations of the Cinderella story? Or is it the inclusion of supernatural events, the magic of the djinn and the genie? In his latest work, the ambitious trilogy Arabian Nights, Miguel Gomes questions the necessity of these factors by mythologizing the quotidian, very recent past: Portugal from 2010 to 2014, when, as each of the film’s three parts informs us at the outset, financial austerity measures resulted in most Portuguese citizens becoming poorer. This simple fact is mind-boggling; one need only imagine the slowly mounting panic as the middle class became the working class and the working class slid toward starving class to see how it could urgently inspire art. It’s in this fragile, chaotic, absurd world that Gomes sets the stories of his trilogy, which include the small-town court trial of a rooster (in Volume 1); the placid Rui Zhang
A Look at Chinese Translations of The Arabian Nights In China, the first translation of selected stories from One Thousand and One Nights appeared in 1900 and proved to be a great success. I'd like to examine how the publication of two particular translations, Xi Ruo's in 1987 and Na Xun's in 1977, reflect adjustments made by the translators for their different Chinese audiences. The two most influential translators of their times-late feudal and Communist eras, respectively-Xi Ruo and Na Xun have different ways of handling the sensitive themes of sexuality and the problematic status of women presented in The Arabian Nights, in order to suit their different audiences. For example, Xi Ruo changes the geography of the stories to reduce the sense of the foreign and draw The Arabian Nights culturally closer to his audience. Na Xun deliberately revises any details suggestive of infidelity or of wickedness in women's natures. Occasionally, his translation even conveys a political message more amenable to the political agenda during the Maoist era. Let's look now at the back-story of each translator and then drill down on further analysis. * * * By the end
The Arabian Nights, Arab-European Literary Shape, and the Lineages of the Novel Modern Language Quarterly The Arabian Nights, Arab-European Literary Influence, and the Lineages of the Novel Rebecca Carol Johnson, Richard Maxwell, and Katie Trumpener W orld literature, transnational literary studies, and globalization studies all center their analyses on circulation, transmission, and translation. The novel in particular is no longer treated as an out- growth of national literary culture in England or France but is seen increasingly as an international phenomenon. This new approach opens up interpretive possibilities for the European novel, for the non- European novel, and for the affair between them. Yet more often than not the history of the novel outside the “core” is still depicted as a belated repetition of literary events now irrelevant to European identity, the equivalent of imperial or late capitalist economies, a structure of unequal resources. Franco Moretti’s description of the “development of underdevelopment in the literary field” and Pascale Casanova’s description of the unification of literary territory both stress the hegemonic influence of the core, either gen 
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