Ближний Восток и его соседи

g 144 h Firuza Melville all women, and who added the last drop to his transformation from a loving and caring husband to a vindictive madman. However, the nameless girl from the glass cage became revengeful too because of the injustice she had suffered due to her sexual attraction for a demon ( sic ). The poor girl was kidnapped on her wedding day by a disgusting jinni , who kept her in a glass case only for himself and used her as a sex slave whenever he wanted. However, even in such inhuman conditions she managed to protest against her fate and demon- strated to cuckolded Shahriyar and Shahzaman that even being sealed in a box and guarded by a demon, she managed to have sex with 570 men, including themselves; even though they were scared to death by the threat of a devilish punishment and against their will, exactly in the manner that she was treated by the demon. Old man Khottabych and young pioneer Vol’ka, or Soviet Aladdin The negative attitude towards Diaghilev’s ballets in Russia did not change af- ter the collapse of the empire. In the Bolshevik state, they were qualified as bourgeois and decadent and were never staged until the collapse of the Soviet Union, although the former Imperatorskij Farforovyj Zavod (‘Imperial Porce- lain Factory’) in St Petersburg (already Leningrad by that time) continued to produce commemorative figurines of the main primas of Diaghilev’s ballets, including Karsavina as Scheherazade. 19 Despite being abandoned in Diaghilev-Bakst’s version, the story did not lose its attractiveness in the Soviet Union. Quite the opposite: after the pub- lication of the first full translation of the Nights into Russian in 1902, it re- ceived different interpretations in the Soviet media. 20 For example, the Aladdin story was turned into an extremely popular novella for children entitled Old Man Khottabych . Its author Lazar Lagin first published it in 1938 in the news- paper Pionerskaja Pravda (‘Pioneer’s Truth’), then in the magazine Pioner (‘The Pioneer’). Later it was turned into a play and in 1956 Gennadi Kazansky 19 From the beginning of the 1920s, the main characters of the Diaghilev’s ballets in Bakst’s cos- tumes were manufactured as 3D models in Leningrad, despite their names never being mentioned positively in Soviet publications. In 1925, at the Paris exhibition the figurines of Tamara Karsavina as Firebird and Michel Fokine as Tsarevich were awarded the Silver medal as a kind of Bakst’s virtual return to the Imperial Porcelain Factory where he worked in 1903. 20 The first full translation from Arabic was prepared in eight volumes by Mikhail Salye and published by the Academia Publisher in Leningrad between 1929 and 1939 under the title “ Тысяча и одна ночь: Арабские рассказы Шахразады. Первый полный русский перевод (по изданию Мардрюса) с пояснительными примечаниями и новейшими иллюстрациями” (‘Thousand and One Nights. Arabic stories of Shahrazada. The first full Russian translation (according to the edi- tion of Mardrus) with explanatory notes and the latest illustrations’).