الفهرس 
Revisiting Myth and folklore during Irish and Egyptian National Crises : An Intertextual/Semiotic study of selected plays by W. B. Yeats and Naguib Sorou
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Abstract
That a country{u2019}s/nation{u2019}s intangible cultural heritage -manifested in its mythology and folklore- is among the dead relics of an obsolete past, is an idea that the present thesis regards erroneous especially with the intangible cultural heritage{u2019}s capacity to address/express contemporary issues. Since that drama/theatre helps individuals to take a reflective stance on their reality and to unite their minds around collective impulses, this study deals with the employment of mythology and folklore in the Irish and the Egyptian drama/theatre during the traumatising national crises of the 1900s{u2019} colonised Ireland and the early 1960s{u2019} to the early 1970s{u2019} defeated/occupied Egypt. The thesis comparatively examines four of William Butler Yeats{u2019} (1865-1939) and Naguib Sorour{u2019}s (1932-1978) dramatic/theatrical oeuvres in which Irish and Egyptian intangible cultural heritage is adeptly deployed. The study{u2019}s selected texts are Yeats{u2019}s On Baile{u2019}s Strand (1904) and Deirdre (1907) and Sorour{u2019}s Oh Night! O Moon! (Ah Ya Leel Ya Qamar) (1966) and Tell the Eye of the Sun (Qulu L Ain El-Shams) (1972). Intriguingly, to the best of the researcher{u2019}s knowledge, these works have never been studied against each other in relation to their respective contexts.The main premise the thesis aspires to attest is that both dramatists did not revisit their countries{u2019} mythology and folklore in the selected plays influenced only by the heritage-oriented cultural scene of the 1900s{u2019} Ireland and the 1960s{u2019} Egypt. Conversely, the study brings to light two other objectives lying behind Yeats{u2019} and Sorour{u2019}s re-contextualisation of their Irish and Egyptian intangible cultural heritage that the close scrutiny of the selected plays proves valid: The first one is to foster/recover the national identities of their audience/spectators that the despicable experiences of colonialism, war, and occupation had severely traumatised in the 1900s{u2019} Ireland and the early 1960s{u2019} to the early 1970s{u2019} Egypt. As for the second objective, it is to urge them to reflect on these critical national moments and stir them to action