Medieval Arabic Drama: Ibn Dāniyāl

Badawi, M. M.

doi:10.1163/157006482x00070

Cited by 52 publications

(3 citation statements)

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“…Notwithstanding incursions of Egyptian dialect, they seem primarily aimed at an educated audience versed in poetry and literature. 12 Their affinity with the Maqāmāt can be perceived at several levels.…”

Section: Alain F George the Illustrations Of The Maqāmāt And The Shamentioning

confidence: 99%

The Illustrations of the Maqāmāt and the Shadow Play

George

2011

Muqarnas Online

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Section: Alain F George the Illustrations Of The Maqāmāt And The Shamentioning

confidence: 99%

The Illustrations of the Maqāmāt and the Shadow Play

George

2011

Muqarnas Online

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“…The plays also rely on the vulgar traditions prevalent in medieval European morality drama and in Aristophanes' bawdy comedies. 18 All the speaking and non-speaking names in Ibn Dāniyāl's trilogy are scatological, genitalo-centric, abusive and humorously vulgar. Humorous names with sexual connotations are abundant in The Love-Stricken One and the Lost One Who Inspires Passion, including the public bath Bāb al-kharq ('Door of Penetration'), Zallāqa ('Penis Asshole Slipping'), Abū al-Sahl ('Mr.…”

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confidence: 99%

“…Badawī pointed out that in the parodic carnivalesque mock world of Ibn Dāniyāl's trilogy the poetic passages portray all 'low forms of life in a mock heroic style, with ironic allusions to the serious Arabic poetic tradition'. 32 The poet's praise, to quote Bakhtin, is both 'ironic and ambivalent' since his grotesque language 'abuses while praising and praises while abusing'. 33 In Ibn Dāniyāl's wasteland, the bohemian utopia in which Satan holds kingly powers, is destined to collapse from the outset.…”

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confidence: 99%

Carnivalesque Homoeroticism in Medieval Decadent Cairo: Ibn Dāniyāl'sThe Love-Stricken One and the Lost One Who Inspires Passion

Mahfouz¹

2015

Theatre Research International

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This study explores the theme of carnivalesque homoeroticism in medieval decadent Cairo as portrayed by oculist andlittérateurIbn Dāniyāl in his third shadow playThe Love-Stricken One and the Lost One Who Inspires Passion. The playwright's satirical response to Sultan Baybars's campaign against vice in Egypt in the thirteenth century falls within the irreverent burlesque tradition. The article analyses the playwright's carnivalesque and satirical shadow play in light of Bakhtin's theory of carnival. He related the carnivalesque – a burlesque dramatic genre aiming to secretively challenge and sabotage the social and political hierarchy of an autocratic regime through satirical obscenity and rhetoric – to the medieval carnivals and feasts of fools throughout Europe. Bawdy burlesque comedies were intended to provoke hilarious laughter by mockingly satirizing the despotic government's absurd subjugation of its citizens. The study shows how carnivalesque dialogic, long thought to be limited to medieval literature in Europe, found fertile soil in medieval Cairo. Ibn Dāniyāl's trilogyṬayf al-Khayāl, which consists ofThe Shadow Spirit,The Amazing Preacher and the Stranger, andThe Love-Stricken One and the Lost One Who Inspires Passion, can unquestionably be studied in the context of Bakhtin's plebeian popular culture of laughter and the carnivalesque tradition.

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