French TV‘s M6 aired a ground-breaking television advance, known as Kaamelott, from 2005 to 2009, derived from a long tradition of Arthurian narrative form and a long tradition of that form‘s modernization. Spanning the split, therefore, between the Modern and the Medieval, Alexandre Astier‘s experimental Adventure-Comedy, adapting no single model, this Frankenstein, brought to life through canny theatrical bricolage, provokes the following concrete question: how have the dimensions of the exemplary human life of the King been updated by this installment of an eight centuries (and more) old tradition? Using the frame-work of Berne‘s Games People Play, I explore the respective fields of Childhood, Games, and Loves, in parallel to his Child, Adult, and Parent. To what extent, ultimately, has the self-retracting, pre-historical origin of ―Arthur‖ mutated? Does this literary but transmedia window of history perspicuously describe the internal dynamics of tradition‘s afterlife? And—is King Arthur really coming back?
","abstract_html":"<p>French TV‘s M6 aired a ground-breaking television advance, known as <em>Kaamelott</em>, from 2005 to 2009, derived from a long tradition of Arthurian narrative form and a long tradition of that form‘s modernization. Spanning the split, therefore, between the Modern and the Medieval, Alexandre Astier‘s experimental Adventure-Comedy, adapting no single model, this Frankenstein, brought to life through canny theatrical <em>bricolage</em>, provokes the following concrete question: how have the dimensions of the exemplary human life of the King been updated by this installment of an eight centuries (and more) old tradition? Using the frame-work of Berne‘s <em>Games People Play</em>, I explore the respective fields of Childhood, Games, and Loves, in parallel to his <em>Child</em>, <em>Adult</em>, and <em>Parent</em>. To what extent, ultimately, has the self-retracting, pre-historical origin of ―Arthur‖ mutated? Does this literary but transmedia window of history perspicuously describe the internal dynamics of tradition‘s afterlife? And—is King Arthur really coming back?</p>","abstract_has_math":false,"creators":["Bashi, Ahmed S."],"institution":null,"degree_name":"Master of Arts (MA)","degree_level":"Open Access Thesis","degree_discipline":"English Language and Literature","degree_department":null,"school":null,"contributors":["Christine Neufeld, PhD","Martin Shichtman, PhD"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2010,"date_issued":"2010-01-01T08:00:00Z","date_published":"2010-01-01T08:00:00Z","updated_at":"2026-07-24T02:16:36Z","subjects":["Kaamelott (Television program); Arthurian romances on television; France","English Language and Literature"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://commons.emich.edu/theses/297","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Christine Neufeld, PhD","Martin Shichtman, PhD"]},{"key":"dc:creator","label":"Author","values":["Bashi, Ahmed S."]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2011-04-07T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["English Language and Literature"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Open Access Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts (MA)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Kaamelott (Television program); Arthurian romances on television; France","English Language and Literature"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://commons.emich.edu/theses/297"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["French TV‘s M6 aired a ground-breaking television advance, known as Kaamelott, from 2005 to 2009, derived from a long tradition of Arthurian narrative form and a long tradition of that form‘s modernization. Spanning the split, therefore, between the Modern and the Medieval, Alexandre Astier‘s experimental Adventure-Comedy, adapting no single model, this Frankenstein, brought to life through canny theatrical bricolage, provokes the following concrete question: how have the dimensions of the exemplary human life of the King been updated by this installment of an eight centuries (and more) old tradition? Using the frame-work of Berne‘s Games People Play, I explore the respective fields of Childhood, Games, and Loves, in parallel to his Child, Adult, and Parent. To what extent, ultimately, has the self-retracting, pre-historical origin of ―Arthur‖ mutated? Does this literary but transmedia window of history perspicuously describe the internal dynamics of tradition‘s afterlife? And—is King Arthur really coming back?
"]},{"key":"dc:title","label":"Title","values":["The king at Kaamelott"]}]}],"canonical_facts":{"dc:contributor":["Christine Neufeld, PhD","Martin Shichtman, PhD"],"dc:creator":["Bashi, Ahmed S."],"dc:date.available":["2011-04-07T07:00:00Z"],"dc:description.abstract":["French TV‘s M6 aired a ground-breaking television advance, known as Kaamelott, from 2005 to 2009, derived from a long tradition of Arthurian narrative form and a long tradition of that form‘s modernization. Spanning the split, therefore, between the Modern and the Medieval, Alexandre Astier‘s experimental Adventure-Comedy, adapting no single model, this Frankenstein, brought to life through canny theatrical bricolage, provokes the following concrete question: how have the dimensions of the exemplary human life of the King been updated by this installment of an eight centuries (and more) old tradition? Using the frame-work of Berne‘s Games People Play, I explore the respective fields of Childhood, Games, and Loves, in parallel to his Child, Adult, and Parent. To what extent, ultimately, has the self-retracting, pre-historical origin of ―Arthur‖ mutated? Does this literary but transmedia window of history perspicuously describe the internal dynamics of tradition‘s afterlife? And—is King Arthur really coming back?
"],"dc:identifier":["https://commons.emich.edu/theses/297"],"dc:subject":["Kaamelott (Television program); Arthurian romances on television; France","English Language and Literature"],"dc:title":["The king at Kaamelott"],"thesis:degree_discipline":["English Language and Literature"],"thesis:degree_level":["Open Access Thesis"],"thesis:degree_name":["Master of Arts (MA)"]},"updated_at":"2026-07-24T02:16:36Z"}