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This version was also used as the main titles theme for the Aladdin television series. Aladdin and the King of Thieves features a reprise performed by Bruce Adler as the Peddler , which was originally recorded for the first film but unused.
Oh, I come from a land, from a faraway place Where the caravan camels roam Where it's flat and immense and the heat is intense It's barbaric, but hey, it's home When the wind's from the east And the sun's from the west And the sand in the glass is right Come on down, stop on by Hop a carpet and fly to another Arabian night Arabian nights like Arabian days More often than not are hotter than hot in a lot of good ways Arabian nights 'neath Arabian moons A fool off his guard could fall and fall hard out there on the dunes.
Follow me to a place where incredible feats are routine every hour or so Where enchantment runs rampant Yes, wild in the streets Open Sesame, here we go!
Arabian nights like Arabian days They tease and excite Take off and take flight They shock and amaze Arabian nights like Arabian days More often than not are hotter than hot in a lot of good ways Pack your shield, pack your sword You won't ever get bored Though get beaten or gored, you might Come on down, stop on by Hop a carpet and fly to another Arabian night.
So it goes, short and sweet They were wed down the street May their marriage be truly blessed Happy end to the tale And tomorrow's a sale So I'd better go home and rest Here's a kiss and a hug Sure you don't need a rug?
I assure the price is right Well, salaam, worthy friend Come back soon, that's the end Till another Arabian night. Genie: spoken Salaam and good evening to you all dear friends Welcome to the fabled city of Agrabah City of flying carpets, soaring heroes, famous love ballads, and more glitz and glamour than any other fictional city in the world!
We can fix that! See the dervishes dance in ridiculous pants And romance to your hearts delight Genie and Company: Come on down Come on in Let the magic begin It's another Arabian nights Arabian nights, like Arabian days More often than not are hotter than hot in a lot of good ways Arabian nights, 'neath Arabian moons a fool off his guard could fall and fall hard out there on the dunes Soloist: In that magical land that mystical place there's a genie inside of every door Men: He'll do all of your bidding Your wishes command Genie: It's demeaning, but hey, there you are!
Ladies: Unbelievable, yes And an ethical mess Ensemble: None the less No ones very contrite You come here and you come to a land where any mountain can move A land of high intrigue with tricky logistics by prophets and mystics Genie: And I've got statistics that prove All: Arabian nights Arabian nights dance break Genie: spoken Agrabah, Come for the hummus, stay for the floor show Even the poor people look fabulous And everyone here has a minor in dance And now for the softer side of Agrabah!
All: Arabian nights Genie: It's a city where a penniless nobody Can turn out to be a noble somebody All: Arabian nights Genie: It's a place where a princess would give up her crown for true love But her father, the Sultan is a stickler for the ancient ways And our heroes pals are as thick as thieves Adorable Full Company: Arabian nights like Arabian days More often than not are hotter than hot in a lot of good ways Arabian nights 'neath Arabian moons A fool off his guard Could fall and fall hard Out there on the dunes Arabian nights Arabian nights Arabian nights Arabian nights!
One whose worth lies far within. A diamond in the rough. Genie Mariner : Arabian nights Like Arabian days They seem to excite Take off and take flight To shock and amaze Continued in the film version: Cave of Wonders: spoken Seek thee out the diamond in the rough.
Initially, a longer composition, Howard Ashman and Alan Menken score treatment incorporated several reprises sung by The Genie of the Ring, who served as the story's narrator in the original treatment although under the guise of the Peddler.
The first reprise introduces The Wicked Wazir later to be named Jafar as the story's main antagonist.
The third plays as someone - presumably Aladdin - is locked in the dungeon, awaiting death. The jinn are also related to the wind.
They may appear in mists or sandstorms. Accordingly, Tabasi showed him the jinn, seeing them like they were "a shadow on the wall".
A common characteristic of the jinn is their lack of individuality, but they may gain individuality by materializing in human forms,  such as Sakhr and several jinn known from magical writings.
But also in their anthropomorphic shape, they stay partly animal and are not fully human. Therefore, individual jinn are commonly depicted as monstrous and anthropomorphized creatures with body parts from different animals or human with animal traits.
However, since they stay partly animal, their bodies are depicted as fashioned out of two or more different species. Therefore, a sorcerer may summon a jinn and force him to perform orders.
Summoned jinn may be sent to the chosen victim to cause demonic possession. Such summonings were done by invocation,  by aid of talismans or by satisfying the jinn, thus to make a contract.
Soothsayers reveal information from the past and present; the jinn can be a source of this information because their lifespans exceed those of humans.
Since jinn are afraid of iron, they are unable to remove it with their own power. Seven kings of the Jinn are traditionally associated with days of the week.
Although many passages are damaged, they remain in Ottoman copies. These jinn-kings sometimes afarit instead are invoked to legitimate spells performed by amulets.
During the Rwandan genocide , both Hutus and Tutsis avoided searching local Rwandan Muslim neighborhoods because they widely believed the myth that local Muslims and mosques were protected by the power of Islamic magic and the efficacious jinn.
Beliefs in entities similar to the jinn are found throughout pre-Islamic Middle Eastern cultures.
Lamashtu , also known as Labartu, was a divine demoness said to devour human infants. The description of jinn is almost identical with that of the shedim from Jewish mythology.
As with the jinn, some of whom follow the law brought by Muhammad, some of the shedim are believed to be followers of the law of Moses and consequently good.
Some Jewish sources agree with the Islamic notion that jinn inhabited the world before humans. As in Islam, the idea of spiritual entities converting to one's own religion can be found in Buddhism.
According to lore, Buddha preached to Devas and Asura , spiritual entities who, like humans, are subject to the cycle of life, and who resemble the Islamic notion of jinn, who are also ontologically placed among humans in regard to eschatological destiny.
Some scholars evaluated whether the jinn might be compared to fallen angels in Christian traditions. Comparable to Augustine's descriptions of fallen angels as ethereal, jinn seem to be considered as the same substance.
Although the fallen angels is not absent in the Quran,  the jinn nevertheless differ in their major characteristics from that of fallen angels: While fallen angels fell from heaven, the jinn did not, but try to climb up to it in order to receive the news of the angels.
From Wikipedia, the free encyclopedia. Several terms redirect here. For other uses, see Jinni disambiguation , Jinn disambiguation , Djinn disambiguation and Genie disambiguation.
Supernatural spirits integrated in Islamic beliefs. See also: Islamic mythology. Main article: Genies in popular culture.
Dols points out that jinn-belief is not a strictly Islamic concept. It rather includes countless elements of idol-worship, as Muhammad's enemies practised in Mecca during jahilliya.
According to F. Meier early Islam integrated many pagan deities into its system by degrading them to spirits. In Islam, the existence of spirits that are neither angels nor necessarily devils is acknowledged.
Thereby Islam is able to incorporate non-biblical[,] non-Quranic ideas about mythic images, that means: a. Dols macht darauf aufmerksam, dass der Ginn-Glaube kein strikt islamisches Konzept ist.
Er beinhaltet vielmehr zahllose Elemente einer Götzenverehrung, wie sie Muhammads Gegner zur Zeit der gahiliyya in Mekka praktizierten. Meier integrierte der junge Islam bei seiner raschen Expansion viele heidnische Gottheiten in sein System, indem er sie zu Dämonen degradierte.
Im Islam wird die Existenz von Geistern, die weder Engel noch unbedingt Teufel sein müssen, anerkannt. Damit besitzt der Islam die Möglichkeit, nicht-biblische[,] nicht koranische Vorstellungen von mythischen Vorstellungen sich einzuverleiben, d.
Götter zu Geistern zu erniedrigen und so ins islamische Geisterreich aufzunehmen. Depictions, whose actors are referred to as jinn are generally located apart from Judeo-Christian traditions.
Oxford Dictionaries — English. Archived from the original on 8 April Dictionary of Modern Written Arabic 4 ed.
Urbana, Illinois: Spoken Language Services. I, , p. Fee, Jeffrey B. Spencer J. Zeitlin 19 March The Historical Muhammad. Fee , Jeffrey B.
London, UK: W. Retrieved 4 October The World of the Jinn and Devils. Islamic Books. Retrieved 13 March Oxford University Press.
Noegel, Brannon M. Bearman, Th. Bianquis, C. Bosworth, E. JSTOR, www. Accessed 10 May Islam Question and Answer.
Columbia University Press. Retrieved 8 July Retrieved 10 December Retrieved 14 March Accessed 6 Feb.
It is a powerful account of their attempt to free themselves from a past viewed as inhabited by evil forces and about the encounter between contemporary Salafi reformism and a presumed disappearing religious universe.
It serves to prove how a novel version of Islam has superseded former practices; delegitimized and categorized as belonging to the past.
The story is, however, also an important source and an interesting entry-point to examine the continued relevance of past practices within processes of reform.
Analyzing the story about the jinns and the trajectory of Salafi reform in Bale, this contribution demonstrates how the past remains intersected with present reformism, and how both former practices and novel impetuses are reconfigured through this process.
The article pays attention to the dialectics of negotiations inherent to processes of reform and points to the manner in which the involvement of a range of different actors produces idiosyncratic results.
It challenges notions of contemporary Islamic reform as something linear and fixed and argues that such processes are multifaceted and open-ended.
Transcultural Psychiatry. Culture, Medicine, and Psychiatry. Lokale Konzeptionen über Geister und Dämonen in der syrischenPeripherie". Consulted online on 09 January doi : Dictionary of Islam.
New York: Columbia University Press, Taurus, Fodor, ed. Budapest, 10—17 September Universidad de Granada, The Book of Deadly Names.
Ishtar Publishing. Accessed 27 Mar. Islam and Christian-Muslim Relations. The British Museum Press. The Devil Within. Retrieved 23 March Moore, Savary M.
Moore p. Al-Ashqar, Dr. Umar Sulaiman Barnhart, Robert K. The Barnhart Concise Dictionary of Etymology. The Oxford English Dictionary.
Second edition, Aarne and S. Thompson , The Types of the Folktale , 2nd rev. Smynova, Moscow, Christensen, Essai sur la Demonologie iranienne , Det.
Danske Videnskabernes Selskab, Historisk-filologiske Meddelelser, Marzolph, Typologie des persischen Volksmärchens , Beirut, Nöldeke "Arabs Ancient ", in J.
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