Aspects of the carnivalesque and the grotesque in three selected plays : Aphra Behn{u2019}s The Rover (1677) , Saad Allah Wannus{u2019} The King is the King (1977) and Brian Friel{u2019}s Dancing at Lughnasa (1990) /
Asmaa Mostafa Lotfy
Aspects of the carnivalesque and the grotesque in three selected plays : Aphra Behns The Rover (1677) , Saad Allah Wannus The King is the King (1977) and Brian Friels Dancing at Lughnasa (1990) / السمات الكرنفالية والغرائبية (جروتيسك في ثلاث مسرحيات مختارة : مسرحية المتجول (1677) لافرابين : والملك هو الملك (1977) لسعد الله ونوس : والرقص في لوناسا (1990) لبراين فريل Asmaa Mostafa Lotfy ; Supervised Amal Aly Mazhar - Cairo : Asmaa Mostafa Lotfy , 2018 - 155 P. ; 25cm
Thesis (M.A.) - Cairo University - Faculty of Arts - Department of Engilsh
This thesis aims to explore Mikhail Bakhtins theory of the carnivalesque and the grotesque body as discussed in his seminal book Rabelais and his world (1965). This will be applied later to the three selected plays which belong to different cultures and historical periods, Restoration England in Aphra Behns The Rover (1677) , 20th century Syria in Saad Allah WannusThe King is the King (1977) , and lastlyBrian Friels Dancing at Lughnasa (1990). The aim is to show that these elements of the grotesque and the carnivalesque have been used by different cultures and in different historical periods. Moreover, it aims to show that besides being used for the sake of sheer entertainment, it was for other more serious objectives; gender, social and political. Thus, the study will examine the different political, cultural, and social backgrounds, which led to the use and manipulation of these elements in the selected plays
Carnivalesque and the grotesque The King is the King (1977) The Rover (1677)
Aspects of the carnivalesque and the grotesque in three selected plays : Aphra Behns The Rover (1677) , Saad Allah Wannus The King is the King (1977) and Brian Friels Dancing at Lughnasa (1990) / السمات الكرنفالية والغرائبية (جروتيسك في ثلاث مسرحيات مختارة : مسرحية المتجول (1677) لافرابين : والملك هو الملك (1977) لسعد الله ونوس : والرقص في لوناسا (1990) لبراين فريل Asmaa Mostafa Lotfy ; Supervised Amal Aly Mazhar - Cairo : Asmaa Mostafa Lotfy , 2018 - 155 P. ; 25cm
Thesis (M.A.) - Cairo University - Faculty of Arts - Department of Engilsh
This thesis aims to explore Mikhail Bakhtins theory of the carnivalesque and the grotesque body as discussed in his seminal book Rabelais and his world (1965). This will be applied later to the three selected plays which belong to different cultures and historical periods, Restoration England in Aphra Behns The Rover (1677) , 20th century Syria in Saad Allah WannusThe King is the King (1977) , and lastlyBrian Friels Dancing at Lughnasa (1990). The aim is to show that these elements of the grotesque and the carnivalesque have been used by different cultures and in different historical periods. Moreover, it aims to show that besides being used for the sake of sheer entertainment, it was for other more serious objectives; gender, social and political. Thus, the study will examine the different political, cultural, and social backgrounds, which led to the use and manipulation of these elements in the selected plays
Carnivalesque and the grotesque The King is the King (1977) The Rover (1677)