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008 181117s2018 ua f m 000 0 eng d
040 _aEG-GiCUC
_beng
_cEG-GiCUC
041 0 _aeng
049 _aDeposite
097 _aM.A
099 _aCai01.02.12.M.A.2018.As.A
100 0 _aAsmaa Mostafa Lotfy
245 1 0 _aAspects of the carnivalesque and the grotesque in three selected plays :
_bAphra 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) /
_cAsmaa Mostafa Lotfy ; Supervised Amal Aly Mazhar
246 1 5 _aالسمات الكرنفالية والغرائبية (جروتيسك في ثلاث مسرحيات مختارة :
_bمسرحية المتجول (1677) لافرابين : والملك هو الملك (1977) لسعد الله ونوس : والرقص في لوناسا (1990) لبراين فريل
260 _aCairo :
_bAsmaa Mostafa Lotfy ,
_c2018
300 _a155 P. ;
_c25cm
502 _aThesis (M.A.) - Cairo University - Faculty of Arts - Department of Engilsh
520 _aThis thesis aims to explore Mikhail Bakhtin{u2019}s 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 Behn{u2019}s The Rover (1677) , 20th century Syria in Saad Allah Wannus{u2019}The King is the King (1977) , and lastlyBrian Friel{u2019}s 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
530 _aIssued also as CD
653 4 _aCarnivalesque and the grotesque
653 4 _aThe King is the King (1977)
653 4 _aThe Rover (1677)
700 0 _aAmal Aly Mazhar ,
_eSupervisor
856 _uhttp://172.23.153.220/th.pdf
905 _aNazla
_eRevisor
905 _aShimaa
_eCataloger
942 _2ddc
_cTH
999 _c68582
_d68582