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Journal articles on the topic 'Female tricksters'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Rüsse, Paul, and Anastassia Krasnova. "Pro-Social Trickstars in Khaled Hosseini’s A Thousand Splendid Suns." Interlitteraria 24, no. 2 (January 15, 2020): 556–76. http://dx.doi.org/10.12697/il.2019.24.2.21.

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Tricksters are usually defined as non-heroic male characters obsessed with food, sex, and general merrymaking, occasionally changing shape and even gender but eventually returning to their masculine self. But is this necessarily true in contemporary ethnic literature? The current essay explores the notion of the trickstar, or the female trickster, in Afghan- American fiction, analysing the three heroines in Khaled Hosseini’s 2007 novel A Thousand Splendid Suns, which is a mother-daughter story set in Kabul at the turn of the millennium. In order to place this text into a cultural context and underscore the significance of the trickstar figure, it is compared to a traditional Afghan folk tale, “Women’s Tricks.” Two research questions are at the centre of this article: (1) In what ways are trickstars from Afghan folklore similar to the heroines of Hosseini’s novel? and (2) What roles do his heroines perform as pro-social trickstars?

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2

Vega González, Susana. "Toni Morrison's "Love" and the trickster paradigm." Revista Alicantina de Estudios Ingleses, no. 18 (November 15, 2005): 275. http://dx.doi.org/10.14198/raei.2005.18.14.

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The aim of this article is to propose a reading of Toni Morrison's Love (2003) as a trickster novel. The trickster paradigm, characterized by ambiguity, indeterminacy and transgression, pervades Morrison's fiction and dominates her latest novel in a clear continuation of her challenge to unquestioned univocal concepts and world views. Two of its female characters, Junior and Celestial, join the ranks of Morrisonian tricksters like Pilate or Sula. As a writer of trickster fiction, Toni Morrison turns into a figurative trickster herself, playing with language and words and welcoming paradoxes like those engendered by the multidimensional concept of love.

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3

Cox, Jay. "Dangerous Definitions: Female Tricksters in Contemporary Native American Literature." Wicazo Sa Review 5, no. 2 (1989): 17. http://dx.doi.org/10.2307/1409399.

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4

Mills, Margaret A. "The Gender of the Trick: Female Tricksters and Male Narrators." Asian Folklore Studies 60, no. 2 (2001): 237. http://dx.doi.org/10.2307/1179056.

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5

Jurich, Marilyn. "The Female Trickster-Known as Trickstar-As Exemplified by Two American Legendary Women, "Billy" Tipton and Mother Jones." Journal of American Culture 22, no. 1 (March 1999): 69–75. http://dx.doi.org/10.1111/j.1542-734x.1999.00069.x.

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6

Bassil-Morozow, Helena. "Persona and Rebellion in Trickster Narratives. Case Study: Fleabag (BBC 2016-2019)." Persona Studies 6, no. 1 (December 11, 2020): 30–42. http://dx.doi.org/10.21153/psj2020vol6no1art998.

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This paper brings together the concept of persona and the figure of the trickster to examine the dynamic between social norms and creative noncompliance, between the social mask and human authenticity, in moving image narratives. In particular, it looks at the female trickster challenging the female persona in recent television shows, primarily BBC’s Fleabag (2016-2019), using the previously outlined framework of trickster attributes (Bassil-Morozow 2012; Bassil-Morozow 2015). The concept of persona is examined using a combination of Erving Goffman’s presentation of self theory and Jung’s persona concept. It is argued that the female persona – the artificial vision of socially acceptable femininity – is a particularly rigid psycho-social structure, comprising repressive and unrealistic expectations for women’s looks, bodies, and conduct in public situations. Using the nameless protagonist of Fleabag as a case study, the paper shows how the female trickster can challenge these prescribed attributes and expectations while defying the individual-controlling techniques: shame, social embarrassment, social rejection and ostracism.

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7

Morrison, Hope. "Sister Tricksters: Rollicking Tales of Clever Females (review)." Bulletin of the Center for Children's Books 60, no. 4 (2006): 190. http://dx.doi.org/10.1353/bcc.2006.0844.

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8

Pickles, Penny. "The Female Trickster: The Mask That Reveals by Tannen, Ricki Stefanie." Journal of Analytical Psychology 52, no. 5 (October 24, 2007): 682–83. http://dx.doi.org/10.1111/j.1468-5922.2007.00693_6.x.

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9

Roberts, J. W. "Madcaps, Screwballs, and Con Women: The Female Trickster in American Culture." American Literature 72, no. 1 (March 1, 2000): 223–24. http://dx.doi.org/10.1215/00029831-72-1-223.

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10

Kozol, Wendy, and Lori Landay. "Madcaps, Screwballs, and Con Women: The Female Trickster in American Culture." American Historical Review 105, no. 3 (June 2000): 942. http://dx.doi.org/10.2307/2651884.

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11

Grave, Kathleen De, and Lori Landay. "Madcaps, Screwballs, and Con Women: The Female Trickster in American Culture." Journal of American History 86, no. 2 (September 1999): 833. http://dx.doi.org/10.2307/2567163.

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12

Berkowitz, Dan. "Suicide Bombers as Women Warriors: Making News Through Mythical Archetypes." Journalism & Mass Communication Quarterly 82, no. 3 (September 2005): 607–22. http://dx.doi.org/10.1177/107769900508200308.

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This study explores how mythical archetypes become a journalistic tool for reporting news about terrorism. Textual analysis of newspaper items examined coverage about seven female Palestinian suicide bombers. Mythical archetypes changed initially from the male suicide bomber as Trickster, to female bomber as Woman Warrior, and finally, to the Terrible Mother when the circumstances of the seventh suicide bomber no longer fit the Woman Warrior mold. Findings suggest that journalists negotiate their reporting within two realms—realities of occurrences and resonance of myths—to accomplish their work.

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13

Radulescu, Domnica. "Caterina's Colombina: The Birth of a Female Trickster in Seventeenth-Century France." Theatre Journal 60, no. 1 (2008): 87–113. http://dx.doi.org/10.1353/tj.2008.0059.

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14

Hussein Ali, Zahra A. "DIABOLIC MUSIC AND FEMALE DYSFUNCTIONALITY: HARDY'S “THE FIDDLER OF THE REELS”." Victorian Literature and Culture 44, no. 2 (May 10, 2016): 331–42. http://dx.doi.org/10.1017/s1060150315000650.

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Although scholars often praise Hardy's “The Fiddler of the Reels” as a work with “considerable power” (The Cambridge Companion 46), the theme of the workings of the market culture in the story has gone uninvestigated. Set against the backdrop of urban transformations that were enacted by the Great Exhibition and the new mass transportation system, the text dramatizes how male impulses fit into larger questions of acquisitive power and how a narrow preoccupation with dominance creates a messy reality. This study argues that exhibitions (in the material, commercial sense of the term) and exhibitionistic celebrity behavior are aligned in “The Fiddler,” and claims that certain Darwinian and Dionysian elements in the story underwrite this theme. To substantiate this argument, my analysis is attentive to two notions: a general notion of economy and a literary notion of the trickster as expounded by C. G. Jung and Mikhail Bakhtin. Before taking my argument further, I will summarize the plot of “The Fiddler.”

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15

El Gendy, Nancy. "Trickster Humour in Randa Jarrar'sA Map of Home: Negotiating Arab American Muslim Female Sexuality." Women: A Cultural Review 27, no. 1 (January 2, 2016): 1–19. http://dx.doi.org/10.1080/09574042.2015.1122484.

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16

Kolehmainen, Tuula. "“He Mought, en Den Again He Moughtent”: The Ambiguous Man in Toni Morrison’s Tar Baby." American Studies in Scandinavia 50, no. 1 (January 30, 2018): 63–82. http://dx.doi.org/10.22439/asca.v50i1.5694.

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In this article, I discuss Toni Morrison’s 1981 novel, Tar Baby, through the lens of a trickster tale on which the novel is loosely based. Tar Baby invites one to choose sides between Jadine, the African American female protagonist with a European education and worldviews, or Son, the bearer of a more traditional African American cultural heritage and values. Son is initially constructed as other, and his representation is based on negative stereotypical notions of the African American male. First impressions need to be revised later, as the text plays with the readers’ sympathies about Son. Even his survival is left open at the end of the novel and the range of options of how to categorize Son would seem to reflect the readers’ perceptions back on themselves. In this way, Morrison sets up a trap in which any reader making too easy or essentialist definitions of the character will fall. Thus, the most important expression of the trickster tale is the novel’s name: the novel itself is the tar baby. Moreover, the most important construction of tar lies in the ambiguous representation of Son.

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17

Kunzle, David. "Review Article." European Comic Art 12, no. 2 (September 1, 2019): 106–13. http://dx.doi.org/10.3167/eca.2019.120206.

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With Marie Duval, virtual creator of the ineffable Ally Sloper (first appearance 1867) and mainstay of a new magazine named Judy founded that year, we find a new kind of cartoon character, a new kind of caricature and a new kind of journal aiming, unlike Punch, at a female and lower-class audience. The moment was propitious: after two decades of national prosperity during which the GNP almost doubled, the demand (a push from below) was felt for some cultural irreverence and novelty. Maybe the 1850s and 1860s were the first ‘Age of Leisure’ rather than the succeeding one, that of Duval, proposed by the authors here (7); the later age, of Duval, was that of increased and lower-class leisure, for sure. This caricaturist and artist is a quite recent discovery: before the late 1980s and 1990, she was virtually unknown. She was Europe’s first female professional exponent of caricature (as distinct from a few sisters in conventional cartooning), and her initials and name took credit for the long-term development of an extraordinary artistic property, which quickly became a new sociological phenomenon: a dissolute trickster called Ally Sloper. He attained wild popularity in the 1870s and 1880s, and beyond. He was the first of many British comic characters to become a household name, and the first such comic character to be widely commercialised.

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18

Bankauskaitė, Gabija. "Respectus Philologicus, 2011 Nr. 19 (24)." Respectus Philologicus, no. 20-25 (April 25, 2011): 1–284. http://dx.doi.org/10.15388/respectus.2011.24.

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CONTENTS I. PROBLEMS AND SOLUTIONSMichał Mazurkiewicz (Poland). Sport versus Religion... 11Natalia А. Kuzmina (Russia). Poetry Book as a Supertext... 19Jonė Grigaliūnienė (Lithuania). Possessive Constructions as a Purely Linguistic Phenomenon?... 31 II. FACTS AND REFLECTIONSAleksandras Krasnovas, Aldona Martinonytė (Lithuania). Symbolizing of Images in Juozas Aputis Stories...40Jūratė Kumetaitienė (Lithuania). Tradition and Metamorphosis of Escapism (Running “from” or “into”) in the Modern and Postmodern Norwegian Literature...51Natalia V. Kovtun (Russia). Trickster in the Vicinity of Traditional Modern Prose...65Pavel S. Glushakov (Latvia). Semantic Processes in the Structure of Vasily Shukshin’s Poetics...81Tatyana Kamarovskaya (Belarus). Adam and the War...93Virginija Paplauskienė (Lithuania). Woman’s Language World in Liune Sutema’s Collection “Graffiti....99Jolanta Chwastyk-Kowalczyk (Poland). The Models of e-Comunication in the Polish Society of Britain and Northern Ireland...111Vilma Bijeikienė (Lithuania). How Equivocation Depends on the Way Questions are Asked: a Study in Lithuanian Political Discourse...123Viktorija Makarova (Lithuania). The One Who Names the Things, Masters Them: Ruskij vs. Rosijanin, Ruskij vs. Rosijskij in the Discourse of Russian Presidents...136Dorota Połowniak-Wawrzonek (Poland). Idioms from the Saga Film “Star Wars” in Contemporary Polish Language...144Ilona Mickienė, Inesa Birbilaitė (Lithuania). Women’s Naming in Telsiai Parish in the First Dacades of the 18th Century...158Liudmila Garbul (Lithuania). Reflection of Results of Interslavonic Language Contacts in the Russian Chancery Language of the First Half of the 17th Century (Synchronic and Diachronic Aspects). Part II...168Vilhelmina Vitkauskienė (Lithuania). Francophonie in Lithuania... 179Natalia V. Yudina (Russia). On the Role of the Russian Language in the Globalizing World of the XXI Century...189Maria Lojko (Belarus). Teaching Legal English to English Second Language Students in the US Law Schools...200 III. OPINIONElena V. Savich (Belarus). On Generation of an Integrative Method of Discourse Analysis...212Marek Weber (Poland). Lexical Analysis of Selected Lexemes Belonging to the Semantic Field ‘Computer Hardware’...220 IV. SCIENTISTS ABOUT SCIENTISTSOleg Poljakov (Lithuania). On the Female Factor in Linguistics and Around It... 228 V. OUR TRANSLATIONSBernard Sypniewski (USA). Snake in the Grass. Part II. Translated by Jurga Cibulskienė...239 VI. SCIENTIFIC LIFE CHRONICLEConferencesTatiana Larina (Russia), Laura Alba-Juez (Spain). Report and reflections of the 2010 International Conference on Intercultural Pragmatics and Communication in Madrid...246Books reviewsAleksandra M. Ponomariova (Russia). ЧЕРВИНСКИЙ, П. П., 2010. Номинативные аспекты и следствия политической коммуникации...252Gabija Bankauskaitė-Sereikienė (Lithuania). PAPLAUSKIENĖ, V., 2009. Liūnė Sutema: gyvenimo ir kūrybos keliais...255Yuri V. Shatin (Russia). Meaningful Curves. ГРИНБАУМ, О. Н., 2010. Роман А.С. Пушкина «Евгений Онегин»: ритмико-смысловой комментарий... 259Journal of scientific lifeDaiva Aliūkaitė (Lithuania). The Idea of the Database of Printed Advertisements: the Project “Sociolinguistics of Advertisements”...263Loreta Vaicekauskienė (Lithuania). The Project “Vilnius is Speaking: The Role of Vilnius Language in the Contemporary Lithuania, 2010”...265Daiva Aliūkaitė (Lithuania). The Project “Lithuanian Language: Fractures of Ideals, Ideologies and Identities”: Language Ideals from the Point of View of Ordinary Speech Community Members...267 Announce...269 VII. REQUIREMENTS FOR PUBLICATION...270 VIII. OUR AUTHORS...278

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19

Yékú, James. "Tricksters and female warriors: womanist interweavings from Oríta to Wakanda." Journal of the African Literature Association, October 20, 2020, 1–18. http://dx.doi.org/10.1080/21674736.2020.1815965.

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20

Kriebernegg, Ulla. "“Neatly Severing The Body From The Head:” Female Abjection In Margaret Atwood’S The Edible Woman." Linguaculture 2012, no. 1 (January 1, 2012). http://dx.doi.org/10.2478/v10318-012-0020-8.

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AbstractIn Margaret Atwood’s fiction and poetry, wounded female bodies are a frequently used metaphor for the central characters’ severe identity crises. Atwood’s female protagonists or lyric personae fight marginalization and victimization and often struggle to position themselves in patriarchal society. In order to maintain the illusion of a stable identity, the characters often disavow parts of themselves and surrender to a subversive memory that plays all sorts of tricks on them. However, these “abject” aspects (J. Kristeva, Powers of Horror) cannot be repressed and keep returning, threatening the women’s only seemingly unified selves: In Surfacing, for example, the protagonist suffers from emotional numbness after an abortion. In The Edible Woman, the protagonist’s crisis results in severe eating disorders and in Cat’s Eye and The Robber Bride the central characters’ conflicts are externalized and projected onto haunting ghost-like trickster figures.In this paper, I will look at various representations of “wounded bodies and wounded minds” in samples of Margaret Atwood’s The Edible Woman, focusing on the intersection of memory and identity and analyzing the strategies for healing that Margaret Atwood offers.

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21

"Book Review." European Journal of Cultural Studies 3, no. 1 (January 1, 2000): 117–40. http://dx.doi.org/10.1177/a010414.

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Book reviews: Lynne Pearce and Gina Whisher (eds), Fatal Attractions: Re-scripting Romance in Contemporary Literature and Film (reviewed by Campbell and Harbord); Lori Landay, Madcaps, Screwballs, Conwomen: The Female Trickster in American Culture (reviewed by Jan Campbell and Janet Harbord); Kirsten Belgum, Popularizing the Nation: Audience, Representation and the Production of identity in Die Gartenlaube, 1853-1900 (reviewed by Erica Carter); Beverley Skeggs, Formations of Class and Gender: Becoming Respectable (reviewed by Sanna Ojajarvi); H. J. Stam (ed), The Body and Psychology (reviewed by Alkeline van Lenning); Akhil Gupta and James Ferguson (eds), Anthropological Locations: Boundaries and Grounds or a Field Science (reviewed by Laura Huttunen); Deborah Cartmell, Trash Aesthetics, Popular Culture and its Audience (reviewed by Sofie Van Bauwel)

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22

"Lori Landay. Madcaps, Screwballs, and Con Women: The Female Trickster in American Culture. (Feminist Cultural Studies, the Media, and Political Culture.) Philadelphia: University of Pennsylvania Press. 1998. Pp. xi, 258. Cloth $45.00, paper $22.50." American Historical Review, June 2000. http://dx.doi.org/10.1086/ahr/105.3.942.

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