Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.585485
Title: Carnivalesque in satyr play
Author: Almohanna, Mohammad
Awarding Body: University of Nottingham
Current Institution: University of Nottingham
Date of Award: 2012
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Abstract:
Since the discovery of the fragment of Sophocles' Ichneutai, the study of Satyr play has steadily developed. Significant work has been done on surveying evidence about this dramatic genre which traditionally occupied a quarter of the production of each poet participating in the major dramatic festival in Athens during the fifth and part of the fourth century BC. Few studies, however, attempt to apply contemporary theory to reading Satyr play, to examining the surviving pieces of evidence, and to considering the function of this genre in classical Athens. The quality of classical Satyr play seems to be measured by the extent to which it treats light mythical episodes by adding a chorus of satyrs, a playful mythical creature. The result of such treatment is often a piece of drama that contains a certain degree of carnival fantasy. Thus this original characteristic of the Satyric genre can be interpreted by applying the theory of Carnivalesque of Mikhail Bakhtin. This thesis will provide a comparative approach to the relationship between Satyr play and Carnivalesque theory. The main scope will be the examination of several Carnivalesque features in Satyr play. The ways that Satyr play creates its Carnivalesque sense in adapting myth and poetry will also be investigated. The reception of Satyr play in literary theory and on the contemporary stage will be considered to the extent that these disciplines recognize or implicitly identify the Carnivalesque of Satyr play. The majority of the literary evidence on Satyr play is preserved in difficult conditions even though it can still provide useful information. A number of classical vase paintings depict satyrs in myth or theatre in a context that is Carnivalesque. Ancient and contemporary critics underline several aspects of Satyr play which appear among the essential Carnivalesque features in Bakhtin's theory of the Carnivalesque. Implications of the Carnivalesque are detected also in several recent productions of Satyr play in form, meaning, and purpose. Carnivalesque theory provides a new reading of Satyr play. It can improve our understanding of the nature and the function of the Satyric genre and throw light on some of the surviving evidence on Satyr play.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.585485  DOI: Not available
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