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Journal articles on the topic 'Trickster in literature'

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

Kocot, Monika. "On Unruly Text, or Text-Trickster: Leslie Marmon Silko’s "Ceremony" as Healing." Text Matters, no. 9 (December 30, 2019): 292–315. http://dx.doi.org/10.18778/2083-2931.09.18.

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The article discusses Leslie Marmon Silko’s Ceremony with a focus on textual manifestations of the figure of the trickster. The theme of shape-shifting and transformation that one usually associates with tricksters is linked here with the theme of (non)dualist timespace, the notion of interbeing, which in turn introduces the theme of trauma healing. The author combines two perspectives—Paula Gunn Allen’s view on timespace in her The Sacred Hoop, and Gerald Vizenor’s writings concerning trickster aesthetics—in order to show that the narrative structure of the novel can also be seen as an embodiment of the trickster: trickster-timespace, trickster-relation, and trickster-processuality; these three manifestations of the trickster are analyzed from the perspective of one more actualization of the trickster, that of a psychopomp, the “Guide of Souls” (which is manifested both at the level of plot and narration).

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3

SMITH, AYANA. "Blues, criticism, and the signifying trickster." Popular Music 24, no. 2 (May 2005): 179–91. http://dx.doi.org/10.1017/s0261143005000449.

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Scholars in the field of literary theory have defined clearly the role of signifying in African-American literature. This article identifies one aspect of the signifying tradition and its influence on the early blues tradition. Since the Signifying Monkey is the ultimate trickster in the African-American narrative tradition, this article presents evidence for considering the blues singer as a trickster figure at several different levels. First, the singer identifies with the trickster's character traits through pseudo-autobiographical content in song narratives, particularly in expressing socially aggressive or unacceptable exploits. Second, the trickster figure can be perceived as the singer's alter ego, as in songs about the boll weevil and similar folk characters. Third, the topics or tropes associated with crossroads and railways, used frequently in blues texts, relate to the liminal nature of Esu-Elegbara (the African ancestor of the Signifying Monkey), who embodies the boundary between the word and its (mis)interpretation.

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4

Hawley, Steve. "Trickster of Literacy." Studies in American Indian Literatures 18, no. 3 (2006): 46–48. http://dx.doi.org/10.1353/ail.2006.0033.

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5

Clasby, Nancy Tenfelde. "Sula the Trickster." Lit: Literature Interpretation Theory 6, no. 1-2 (April 1995): 21–34. http://dx.doi.org/10.1080/10436929508580145.

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6

Shlykova, Svetlana P. "Genesis of the Archetype of the Trickster in Russian Literature." ICONI, no. 2 (2021): 59–74. http://dx.doi.org/10.33779/2658-4824.2021.2.059-074.

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The article is devoted to demonstrating the genesis of the archetype of the trickster in Russian literature. The antihero, the sources of whose anti-behavior are traced in harlequinade and skmorokh buffoonery, is examined on the material of folklore and literary works from the 18th to the early 20th century. Anti-behavior in Russian culture symbolizes a rebellion unrefl exed in the folk environment against the norms of behavior and orderliness of life imposed by those in power. The archetype of the trickster, which has longtime traditions in world culture, was personifi ed in Russia as the skomorokh, then the jester Farnos, who in many ways adopted the skomorokh traditions. Among the populace Petrukha Fornos became one of the favorite comic jester heroes, having acquired special popularity as the result of crude color woodcuts from the 18th century. In the 19th century the image of Farnos was transformed into Petrushka, a puppet character of the theatricalized genre. With his assistance the simplistic satirical subjects lay at the foundation of the so-called Petrushka theater which, despite the unaltered plot, bore an improvisational-play character, pertaining to a number of “baculine” comedies, in the 19th century the image of Petrushka was so popular, that it surpassed the oral folk tradition and found its place in literary compositions. In the early 20th century the image of Petrushka the trickster became the source for numerous interpretations in modernist literature.

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7

Baker, Margaret P. "The Rabbit as Trickster." Journal of Popular Culture 28, no. 2 (September 1994): 149–58. http://dx.doi.org/10.1111/j.0022-3840.1994.2802_149.x.

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8

Butler, Francelia. "The Teacher as Trickster: My Journeys into Children's Literature." Children's Literature Association Quarterly 1986, no. 1 (1986): 1–4. http://dx.doi.org/10.1353/chq.1986.0014.

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9

De Souza, Pascale. "Trickster Strategies in Alain Mabanckou'sBlack Bazar." Research in African Literatures 42, no. 1 (March 2011): 102–19. http://dx.doi.org/10.2979/ral.2011.42.1.102.

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10

den Uijl, Sebastiaan. "The Trickster “Archetype” in theShahnama." Iranian Studies 43, no. 1 (February 2010): 71–90. http://dx.doi.org/10.1080/00210860903451220.

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11

Dynes, William R. "The Trickster-Figure in Jacobean City Comedy." Studies in English Literature, 1500-1900 33, no. 2 (1993): 365. http://dx.doi.org/10.2307/451004.

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12

The Women of Mabumba and Spier. "Four Trickster Tales from Lwapula Province, Zambia." World Literature Today 95, no. 4 (2021): 68. http://dx.doi.org/10.7588/worllitetoda.95.4.0068.

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13

Vajić, Nataša. "The Trickster’s Transformation – from Africa to America." European Journal of Social Sciences Education and Research 10, no. 1 (May 19, 2017): 133. http://dx.doi.org/10.26417/ejser.v10i1.p133-137.

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One of the most favorite characters in many African myths and folk tales is definitely a trickster. As a part of the African cultural heritage, the trickster has an important place in the cultures of many African nations. He is an entertainer, teacher, judge and a sage. Many comic aspects of life are brought together through the trickster, as well as serious social processes. He rewards and punishes. He is a deity and an ordinary man, if not an animal. During the Middle Passage Era he goes along with his suffering people to the New World. New circumstances require him to change and assume new forms. He has to be a rebel and a protector of his people due to slavery and violation of human rights. So, from comical spider and monkey back in Africa, we now have new characters such as Railroad Bill, Brother John, Br’er Rabbit and many hoodoo doctors. African oral tradition is transformed and becomes the basis for African-American literature.

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14

Hart, Kylo-Patrick R. "Pop Trickster Fool: Warhol Performs Naivete." Journal of Popular Culture 39, no. 1 (February 2006): 167–69. http://dx.doi.org/10.1111/j.1540-5931.2006.00217.x.

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15

Perkins, Lina. "Remembering the Trickster in Tomson Highway'sThe Rez Sisters." Modern Drama 45, no. 2 (May 2002): 259–69. http://dx.doi.org/10.3138/md.45.2.259.

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16

Beecher, Don. "The Progress of Trickster in Ben Jonson's Volpone." Cahiers Élisabéthains: A Journal of English Renaissance Studies 27, no. 1 (April 1985): 43–51. http://dx.doi.org/10.1177/018476788502700107.

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17

Carlyon, David. "The Trickster as Academic Comfort Food." Journal of American Culture 25, no. 1-2 (March 2002): 14–18. http://dx.doi.org/10.1111/1542-734x.00003.

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18

Lock, Helen. "Getting into the Game: The Trickster in American Ethnic Fiction." Ethnic Studies Review 26, no. 1 (January 1, 2003): 1–11. http://dx.doi.org/10.1525/esr.2003.26.1.1.

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Trickster novels, especially those by Gerald Vizenor and Maxine Hong Kingston, can be used to destabilize and undermine ethnic stereotypes. As many studies show, the trickster him/herself cannot be stable and thus resists the limitations of definition as the embodiment of ambiguity. Both insider and outsider, s/he plays with the whole concept of “sides” so as to erase the distinction between them. The trickster plays the game, including the game of language, in order to break and exploit its rules and thus destabilizes linguistic markers. Kingston and Vizenor use their novels to subvert the rules of the linguistic game and free perception from stereotypic rigidity. Perceptions of race and ethnicity are frequently codified in the form of stereotypes with which we are all familiar. Once established, they, of course, prove remarkably difficult to dismantle however false or misleading they might be with regard to the race or ethnicity in question; and thus they continue to exacerbate the social tensions with which we are equally familiar. Ethnic American literature has frequently addressed this issue; in this essay I intend to look at one narrative strategy which is specifically designed to question, challenge, exploit, and even manipulate perception.

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19

WEINGARTEN, OLIVER. "Chunyu Kun: Motifs, Narratives, and Personas in Early Chinese Anecdotal Literature." Journal of the Royal Asiatic Society 27, no. 3 (May 2, 2017): 501–21. http://dx.doi.org/10.1017/s1356186316000572.

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AbstractThe present article undertakes a comprehensive study of ancient Chinese anecdotal and dialogic sources on Chunyu Kun, who is presented in a variety of roles such as trickster, sophist, envoy, jester, procurer of talent for his ruler, and erudite at the so-called Jixia academy which was allegedly established in the pre-imperial state of Qi. The article outlines how certain motifs and topics were reused and, in the process, reshaped by the narrative tradition and Chunyu Kun came to serve as a stock figure in different types of discourse.

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20

Borgatti, Jean. "Willie Cole's Africa Remix: Trickster and “Tribe”." African Arts 42, no. 2 (June 2009): 12–23. http://dx.doi.org/10.1162/afar.2009.42.2.12.

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21

De Souza. "Trickster Strategies in Alain Mabanckou's Black Bazar." Research in African Literatures 42, no. 1 (2011): 102. http://dx.doi.org/10.2979/reseafrilite.2011.42.1.102.

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22

Andreichuk, Ksenya R. "Trickster in Modernist Swedish Literature (Based on Pär Lagerkvist’s Novel The Dwarf)." Studia Litterarum 4, no. 1 (2019): 160–75. http://dx.doi.org/10.22455/2500-4247-2019-4-1-160-175.

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23

Margaret A. Mills. "Afghano-Persian Trickster Women Definitions, Liminalities, and Gender." Marvels & Tales 32, no. 1 (2018): 33. http://dx.doi.org/10.13110/marvelstales.32.1.0033.

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24

Kreidler, Jan. "Reviving Julia Peterkin as a Trickster Writer." Journal of American Culture 29, no. 4 (December 2006): 468–74. http://dx.doi.org/10.1111/j.1542-734x.2006.00423.x.

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25

David J. Carlson. "Trickster Hermeneutics and the Postindian Reader: Gerald Vizenor's Constitutional Praxis." Studies in American Indian Literatures 23, no. 4 (2011): 13. http://dx.doi.org/10.5250/studamerindilite.23.4.0013.

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26

Hobson, Geary, and Gerald Vizenor. "The Trickster of Liberty: Tribal Heirs to a Wild Baronage." World Literature Today 63, no. 4 (1989): 724. http://dx.doi.org/10.2307/40145720.

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27

White, Bob W. "Modernity's Trickster: ?Dipping? and ?Throwing? in Congolese Popular Dance Music." Research in African Literatures 30, no. 4 (December 1999): 156–75. http://dx.doi.org/10.2979/ral.1999.30.4.156.

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28

Leggatt, Alexander, and Richard Hillman. "Shakespearean Subversions: The Trickster and the Play-text." Shakespeare Quarterly 46, no. 4 (1995): 473. http://dx.doi.org/10.2307/2870988.

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29

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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30

Helstern, L. L. "Trickster Chaos in Turbulent Flow: Louis Owens's Dark River." Interdisciplinary Studies in Literature and Environment 17, no. 2 (April 1, 2010): 327–48. http://dx.doi.org/10.1093/isle/isq030.

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31

Guenther, Mathias Georg. "The Bushman Trickster: Protagonist, Divinity, and Agent of Creativity." Marvels & Tales 16, no. 1 (2002): 13–28. http://dx.doi.org/10.1353/mat.2002.0003.

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32

Rüsse, Paul, and Karita Nuut. "Rehepapp and Robin Hood: Tricksters or Heroes?" Interlitteraria 21, no. 1 (July 4, 2016): 130. http://dx.doi.org/10.12697/il.2016.21.1.11.

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In reference books and specialised literature, the traditional distinction between the culture hero and the trickster remains surprisingly unequivocal: the latter mythological character is usually defined as the demonic or comical counterpart of the former. While it might be a useful if rigid description for an encyclopaedia, does it always hold true in works of fiction? The present essay attempts to demonstrate that the interaction of the two types is much more ambiguous, and this complex and contradictory relationship is traced through the juxtaposition of probably the best-known characters in Estonian and English folklore, Rehepapp and Robin Hood. Albeit to a different degree, these personages possess traits of both the trickster and the hero but play somewhat different roles in their respective societies. The aim of the article, therefore, is to compare these functions in Rehepapp ehk november by Andrus Kivirähk and The Adventures of Robin Hood and His Merry Outlaws by J. Walker McSpadden and Charles Wilson.

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33

LYNN, THOMAS JAY. "Postcolonial Encounters Re-Envisioned: Kojo Laing’s Trickster Narrative." Matatu 45, no. 1 (2014): 153–66. http://dx.doi.org/10.1163/9789401211093_010.

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34

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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35

Ballinger, Franchot, and Gerald Vizenor. "The Trickster of Liberty: Tribal Heirs to a Wild Baronage." MELUS 16, no. 4 (1989): 137. http://dx.doi.org/10.2307/467111.

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36

Ballinger, Franchot. "Ambigere: The Euro-American Picaro and the Native American Trickster." MELUS 17, no. 1 (1991): 21. http://dx.doi.org/10.2307/467321.

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37

Provost, Kara, and Audre Lorde. "Becoming Afrekete: The Trickster in the Work of Audre Lorde." MELUS 20, no. 4 (1995): 45. http://dx.doi.org/10.2307/467889.

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38

Blair, Elizabeth. "Text as Trickster: Postmodern Language Games in Gerald Vizenor's Bearheart." MELUS 20, no. 4 (1995): 75. http://dx.doi.org/10.2307/467891.

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39

Dube. "A Luta Continua: Toward Trickster Intellectuals and Communities." Journal of Biblical Literature 134, no. 4 (2015): 890. http://dx.doi.org/10.15699/jbl.1344.2015.1915.

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40

Robert W.Guyker, Jr. "Trickster(s) of Neal Stephenson's The Diamond Age." Marvels & Tales 32, no. 1 (2018): 93. http://dx.doi.org/10.13110/marvelstales.32.1.0093.

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41

Soufas, C. Christopher, and Sarah Wright. "The Trickster-Function in the Theatre of García Lorca." Hispanic Review 71, no. 1 (2003): 137. http://dx.doi.org/10.2307/3247007.

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42

Gross, Lawrence William. "The Trickster and World Maintenance: An Anishinaabe Reading of Louise Erdrich's Tracks." Studies in American Indian Literatures 17, no. 3 (2005): 48–66. http://dx.doi.org/10.1353/ail.2005.0070.

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43

Kuzin, Ivan V. "The Trickster Hero in M. Frisch’s Novel My Name Be Gantenbein." Studia Litterarum 6, no. 2 (2021): 74–95. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-74-95.

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The article offers an interpretation and analysis of the novel My Name Be Gantenbein, allowing to find an explanation to the genre uncertainty of the work of the Swiss writer M. Frisch. Due to the non-linear stylistics of the narrative, the image of Gantenbein eludes an unambiguous classification in terms of moral and ethical problematics lying on the surface. The hero of the novel turns into a methodological principle that clarifies the fundamental existences of life. In classical tradition, these included the concepts of freedom and law, truth and lies, truth and deception, game and life. The complicated plot makes Gantenbein a functional representative of both freedom and blind law. They create semantic space of self-organizing life. As a result, the character is endowed with properties of a trickster, because he accepts the complexity of such a life at the level of his existence. The investigation reveals that the game, roles and masks create the ideological basis of the story. This framework directs the reader to perceive life in its everyday manifestations, contributing to the development of an antidote to escapism.

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44

Kuzin, Ivan V. "The Trickster Hero in M. Frisch’s Novel My Name Be Gantenbein." Studia Litterarum 6, no. 2 (2021): 74–95. http://dx.doi.org/10.22455/2500-4247-2021-6-2-74-95.

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The article offers an interpretation and analysis of the novel My Name Be Gantenbein, allowing to find an explanation to the genre uncertainty of the work of the Swiss writer M. Frisch. Due to the non-linear stylistics of the narrative, the image of Gantenbein eludes an unambiguous classification in terms of moral and ethical problematics lying on the surface. The hero of the novel turns into a methodological principle that clarifies the fundamental existences of life. In classical tradition, these included the concepts of freedom and law, truth and lies, truth and deception, game and life. The complicated plot makes Gantenbein a functional representative of both freedom and blind law. They create semantic space of self-organizing life. As a result, the character is endowed with properties of a trickster, because he accepts the complexity of such a life at the level of his existence. The investigation reveals that the game, roles and masks create the ideological basis of the story. This framework directs the reader to perceive life in its everyday manifestations, contributing to the development of an antidote to escapism.

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45

Schechner, Richard. "Donald John Trump, President?" TDR/The Drama Review 61, no. 2 (June 2017): 7–10. http://dx.doi.org/10.1162/dram_e_00644.

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Donald J. Trump, like it or not, is POTUS. This president is also a Caligula, a fool-king, and a trickster. He is a performer rather than an actor: someone who inhabits his own (narcissistic) persona to an extreme degree, not someone who follows a prescribed script. His policies, executive orders, and appointments show he is cruel, dangerous, unpredictable, and entertaining.

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46

Seeds, Dale E., and Thomas Riccio. "Trickster by Trade: Thomas Riccio on Indigenous Theatre. An Interview." TDR (1988-) 40, no. 4 (1996): 118. http://dx.doi.org/10.2307/1146594.

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47

Simpson, M. "Trickster Poetics: Multiculturalism and Collectivity in Nathaniel Mackey's Song of the Andoumboulou." MELUS: Multi-Ethnic Literature of the United States 28, no. 4 (December 1, 2003): 35–54. http://dx.doi.org/10.2307/3595299.

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48

POTTS, D. C. "MOLIÈRE'S DOM JUAN AND THE TRICKSTER: A COHERENT THEATRICAL READING." French Studies XLIX, no. 2 (1995): 142–54. http://dx.doi.org/10.1093/fs/xlix.2.142.

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49

POTTS, D. C. "Moliere's Dom Fuan and the Trickster: A Coherent Theatrical Reading." French Studies 49, no. 2 (April 1, 1995): 142–54. http://dx.doi.org/10.1093/fs/49.2.142.

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50

Rebecca M. Lush. "Turning Tricks: Sexuality and Trickster Language in Vizenor's The Heirs of Columbus." Studies in American Indian Literatures 24, no. 2 (2012): 1. http://dx.doi.org/10.5250/studamerindilite.24.2.0001.

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