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1
Robinson, Gregory K. "The Trickster Archetype: Tracing the Trickster Myths to Their Proto-Trickster Roots." University of Toledo / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1300928452.
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Ratt, Solomon. "Continuing Trickster storytelling, the trickster protagonists of three contemporary Indian narratives." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq30539.pdf.
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Maja, Tebogo Stanislaus Abel. "Sepedi tricksters : reflections of the human ego." Thesis, University of Limpopo, 2012. http://hdl.handle.net/10386/2644.
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Thesis (M.A. (Folklore Studies)) --University of Limpopo, 2013<br>The purpose of this study is to investigate whether human conduct and behaviour can be “seen” through the actions of trickster tales. This study focuses on how Bapedi people’s actions can be manifested in the actions of these tales. A variety of trickster tales will be used in trying to investigate the above claim. There will be some folktales that will be sampled from a variety of existing Literature. The sampled folktales will be brought together for analysis at the end of this study.
The other folktales will be gathered from respondents. A number of respondents will be sampled through the snowballing technique. Each respondent will be interviewed through the face to face interview to gather more information in as far as folktales are concerned especially trickster tales. Gender sensitivity will be taken into cognizance when sampling the respondents in order to make the study more representative.
Interviewees will be sampled from youth to senior citizens. Information gathered will thereafter be brought together with those collected from existing literature for creation of manuscripts. There manuscripts will thereafter be analysed through contend analysis technique.
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Coleman, Arvis R. (Arvis Renette) 1961. "The West African Trickster Tradition and the Fiction of Charles W. Chesnutt." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277706/.
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Analyzing Chesnutt's fiction from the angle of the West African trickster tradition explains the varying interpretations of his texts and his authorial intentions. The discussion also illustrates the influence that audience and editorial concerns may have had on African-American authors at the turn of the century.
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Coffey, Eryn. "The Trickster in Research| It's a Trap." Thesis, Pacifica Graduate Institute, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10076216.
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<p> This thesis interweaves the theories of Jungian psychology with the Native American Winnebago tribe’s trickster mythology in order to identify what the role of the trickster is in the process of research. With an alchemical hermeneutic and heuristic methodological approach, the researcher becomes the subject of the thesis. In this intertwining of ideas and heuristic methodology, the trickster archetype traps the researcher in such a way that promotes assimilation of unconscious material through the use of dream work, shadow integration, and the exploration of countertransference and individuation. This thesis emphasizes the hermeneutics aspects of psychotherapy and explores the therapeutic relationship from a Jungian perspective. In documentation of the personal experience of the researcher, the trickster helps to illuminate that which is not understood.</p>
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Fergusson, Stephen. "Native literature in Canada a comparative study of the coyote trickster in the literature of Thomas King and W.P. Kinsella." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/MQ61746.pdf.
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Krause-Loner, Shawn Christopher. "Scar-Lip, Sky-Walker, and Mischief-Monger the norse god Loki as trickster /." Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1063416355.
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Thesis (M.A.)--Miami University, Dept. of Comparative Religion, 2003.<br>Title from first page of PDF document. Document formatted into pages; contains 72 p. Includes bibliographical references (p. 69-72).
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Kahan, David. "Trickster Redux : a reappraisal of Jacob's theological significance." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/2319/.
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Bringing God into history is Jacob's task. Jacob the patriarch, the one who breaks through, is a powerful biblical figure who may have been a role model for Jesus and was considered eldest of the angels during New Testament. Medieval church frescoes depict Jesus and Jacob together wearing halos. Unfortunately, as a survey of commentary will show, Post-Reformation Jacob becomes the typical Jew ruthlessly taking advantage of his brother, repulsive, a vile deceiver. Cardinal Ratzinger questioned whether Christians still can claim in good conscience to be the legitimate heirs of Israel's Bible: to a degree Jacob, his narrative, and a viable hermeneutic has been 'lost' to Christianity. Decisively breaking with more traditional and literary approaches, the oldest hermeneutic has been rearticulated and brought back into play: verbal performing art. It is this hermeneutic - more intuitional and more capable of capturing ephemeral poetic moments - that can efficaciously attend to the biblical text's heterogene vivacity. It is well suited to explore inherent textual ambiguity. Loosely set within an ethnographic context where both narrative and character demand serious attention, the Jacobean narrative is approached closely. Seeking Jewish perspectives as well as Christian, it listens carefully for possibly dominated voices. There in the textual gaps, evidence will be found of a more hidden transcript with trickster discourse. Primarily a theological endeavour attempting to build bridges to the Tanakh for Christian readers, the goal is to discover fresh presences of Jacob, uncover narrative coherence for his actions and establish theological significance. A return to the biblical text will reveal that between the formative time and Sinaiic time lies Jacobean time. As will be demonstrated, Jacob is blessed by God only after Jacob recognizes his own amporphous disruptive and subversive abilities. As has been said of others, Jacob shatters convention by mastering tradition. Jacob is the liminal figure who grasps the nature of perdurance and is therefore able to conceive a nascent Judaism and ensure that at Sinai the covenant will be set in Halakah. Jacob's narrative can be conceived as a tribute to sacred trickster.
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Murtha, William Gearty. "The role of trickster humor in social evolution." Thesis, The University of North Dakota, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1552210.
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<p> Trickster humor is ubiquitous. Every society has some version of trickster and each society tells the stories of trickster over and over again to both enlighten and entertain. This thesis argues that trickster humor plays a fundamental role in helping society adapt by challenging social norms. Because trickster stories are humorous they are entertaining, because they critique social behaviors they are instructive. Tricksters break social rules, leaving society to remake them. This thesis examines the works of American Humorists Tom Robbins and Edward Abbey, particularly <i>Still Life with Woodpecker </i> and <i>The Monkey Wrench Gang</i>, arguing that these authors are contemporary trickster figures whose work not only entertains their audience but through their rule breaking offers them new possibilities in dealing with the unresolved conflicts American society is wrestling with in the last quarter of the twentieth century and beyond.</p>
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Oh, Seiwoong. "The Scholarly Trickster in Jacobean Drama: Characterology and Culture." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278216/.
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Whereas scholarly malcontents and naifs in late Renaissance drama represent the actual notion of university graduates during the time period, scholarly tricksters have an obscure social origin. Moreover, their lack of motive in participating in the plays' events, their ambivalent value structures, and their conflicting dramatic roles as tricksters, reformers, justices, and heroes pose a serious diffculty to literary critics who attempt to define them. By examining the Western dramatic tradition, this study first proposes that the scholarly tricksters have their origins in both the Vice in early Tudor plays and the witty slave in classical comedy. By incorporating historical, cultural, anthropological, and psychological studies, this essay also demonstrates that the scholarly tricksters are each a Jacobean version of the archetypal trickster, who is usually associated with solitary habits, motiveless intrusion, and a double function as selfish buffoon and cultural hero. Finally, this study shows that their ambivalent value structures reflect the nature of rhetorical training in Renaissance schools.
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Rizzo, Therese M. "The Sentimental trickster in nineteenth-century American (con)texts." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 244 p, 2009. http://proquest.umi.com/pqdweb?did=1654494551&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Herrmann, Andrew F. "Trujillo the Trickster: Trouble in the Sign of Love." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/813.
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Douglas, Greig. "The columnist as trickster: satire and subversion in literary journalism." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1008397.
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This project examines facets of racial identity as they emerge in a contemporary South African context, and considers how instances of local satire both subtly resist and support white normativity. It consists of two separate sections: firstly, a self-reflective essay that, employing current theories from the academic field of whiteness studies, assesses South African satire’s relation to and negotiation of race and identity politics; and secondly, The Weekly Crab, my own creative response to the genre of satire. Using contemporary theories of racial construction, the first section will delineate whiteness as a dominant but invisible identification, and as a social construction underpinned by an inherited and continually reproduced privilege. Satire, in turn, will be described as a mode of rhetorical and conceptual attack that is capable of cultivating an understanding of how whiteness functions as a cultural construct, as well as foster a sensitivity to how its cultural dynamics shape and inform racial politics in the South African context. The first section will identify the website Hayibo.com as a source of local satire whose satirising of current events is often complicit in the perpetuation of white normativity. I will point to moments in its work where white expectations, fears and social mores are left unexamined, and, indeed, become an unspoken part of their critiquing lens rather than the focus of it. An accompanying critical breakdown of my own satire in The Weekly Crab will show my work to be a countertext to Hayibo. As I will make clear, I am not saying that I successfully fill a gap in the landscape of South African satire. Instead, in comparing my work to the satire that Hayibo produces, and by providing, in the second section, a creative response to that particular approach to satire, I am trying to circumscribe a blind spot in South African literary journalism : that is, the paucity of satire that aggressively subverts the normativity of whiteness.
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Wright, Sarah. "The trickster-function in the theatre of Federico García Lorca." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624924.
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Sarny, Dominique. "Contribution à l'étude du trickster : une figure de la modernité." Master's thesis, Université Laval, 1993. http://hdl.handle.net/20.500.11794/17659.
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Groneman, Matthew. "Trickster's Taxonomy." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/121.
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Matthew Groneman explores the dynamic nature of language through a series of poems broken into three thematically-linked sections. The first section includes poems about the natural world, scientific processes and technological innovation. The second section is centered around poems exploring American culture, from the nineteenth century to contemporary times. The final section explores the speaker's perceptions of self, particularly with regards to the speaker's masculinity relative to societal expectations thereof. The poems play with concepts of fluid semiotics by employing notions of the trickster as narrator in several poem, disrupting binaries and complicating the nature of meaning. Also utilized toward this end are formal variations, homophones and various sets of jargon
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Stein, Wolfgang. "Der Kulturheros-Trickster der Winnebago und seine Stellung zu vergleichbaren Gestalten in den oralen Traditionen nordamerikanischer Indianer : eine Kritik an der Kulturheros-Trickster-Konzeption Paul Radins /." Bonn : Holos, 1993. http://catalogue.bnf.fr/ark:/12148/cb37450183v.
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Warn, Jaime Dawn-Lyn, and University of Lethbridge Faculty of Arts and Science. "A trickster paradigm in First Nations visual art : a contemporary application." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2007, 2007. http://hdl.handle.net/10133/533.
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In the past few decades, Indian art has been available to the mainstream under the supervision of Western science and art history. For the sake of cultural survival and identity, countless Native artists, curators, critics, and writers have objected to these often wrongful and discriminating art histories and scientific classifications. Indian artists are re-writing their history from Native perspective, and as a result, the misrepresentation of Indian art has begun to be recognized by those working in contemporary art galleries and museums. Today many contemporary spaces support and give control of exhibitions to those who share in the Native perspective. However, these changes did not take place overnight; this was an exhausting battle for many contemporary First Nations artists and curators. Native reality is best understood through the trickster, who has always been known to First Nations people through oral traditions, and who is best described as a creator that is constantly transforming and shape-shifting. In using trickster strategies, Native artists are able to deconstruct and reconstruct ideas about Native people and their culture. According to many Native artists, this new discourse, called the “trickster shift,” has been around since the beginning, seeded in oral traditions, and it requires the Native perspective to decode these trickster undertakings properly.<br>xi, 161 leaves ; 29 cm.
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Cruz, Thiago Moraes Fernandes. "Duas faces da malandragem: a figura do malandro nos contos \"A volta do marido pródigo\", de Guimarães Rosa, e \"Paulinho perna torta\", de João Antônio." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-29042015-155520/.
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O presente trabalho analisa a construção da personagem malandra em dois contos da literatura brasileira: A volta do marido pródigo (1946) de Guimarães Rosa e Paulinho Perna Torta (1965) de João Antônio. O foco da análise incide na representação, respectivamente, culturalista e histórica do malandro pelos seus protagonistas. A construção da personagem malandra nesses contos corresponde à redução estrutural dessa figura na sociedade, seja como um tipo cultural, que, ideologicamente, representa o tipo simpático e cordial do brasileiro, ou como figura histórica, que se transformou na figura marginal e violenta do narcotraficante.<br>This paper discusses the construction of the roguish character in two tales of Brazilian literature: \"The Return of the Prodigal Husband\" (1946) by Guimarães Rosa, and \"Paulinho Bowleg\" (1965) by João Antônio. The focus of the analysis will concern mostly on the representation, respectively, culturalist and historical of the trickster by its protagonists. The construction of the roguish character in these tales corresponds to the structural reduction of this figure in society, either as a cultural type, which, ideologically, is the friendly and cordial kind of Brazilian, or as a historical figure who became the drug dealer\'s marginal and violent figure. Keywords: Tales, Roguish, Trickster, Guimarães Rosa, João Antônio
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Teixeira, Carlos Henrique [UNESP]. "O Trickster na escola: um estudo sobre a função educativa do mito." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/123357.
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000822823.pdf: 1688451 bytes, checksum: 2f999eea6606f787d979d6490c6eb400 (MD5)<br>O objetivo desta pesquisa é identificar, a partir de um levantamento etnológico em uma escola pública de Araraquara, a manifestação do mito trickster presente nas narrativas de professores, alunos, diretores e demais membros da comunidade escolar. Desta forma, pretendemos realizar o inventário dos variados mitemas tricksterianos que se repetem de forma recorrente nos relatos, revelando a função educativa deste mito e seu papel na emolduração dos comportamentos no cotidiano escolar no que se refere às estratégias dos educadores no trato com a desordem, a manifestação dos alunos, a vivência em sala de aula e o convívio nos ambientes escolares. Buscamos levantar, em primeiro lugar, os vários aspectos da mitologia do trickster através da leitura dos principais trabalhos em antropologia, psicanálise e literatura para identificar as variadas facetas desta figura ancestral contraditória. Em segundo lugar, buscamos no modelo etnológico proposto por Pierre Erny (1982) identificar, através de pesquisa de campo, as manifestações tricksterianas presentes na desordem escolar relatadas por professores, alunos e administradores. Por fim, tendo como base teórica a antropologia do imaginário de Gilbert Durand e seus desdobramentos na pedagogia do imaginário de Alberto Filipe Araújo e Maria Cecília Sanchez Teixeira, buscamos interpretar os dados colhidos com o objetivo de contribuir para o estudo da função criativa do trickster e suas inevitáveis conexões com a educação escolar. Incluímos aqui o suporte da socioantropologia do cotidiano de Michel Maffesoli que nos conduzirá ao estudo das sensibilidades ambivalentes que emergem do cotidiano vivido em toda a sua dramaticidade<br>The objective of this research is to identify, from an ethnological survey in a public school in Araraquara, the manifestation of the trickster myth in the narratives of teachers, students , principals and other school community members. Thus, we plan to conduct an inventory of mythemes varied tricksterianos that are repeated recursively on reports revealing the educational function of this myth and its role in framing behavior in everyday school life with regard to the strategies of educators in dealing with the disorder, the manifestation of the students, the experience in the classroom and coping in school environments. We seek to raise in the first place, the various aspects of the trickster mythology by reading the major works in anthropology, psychoanalysis and literature to identify the various facets of this contradictory ancestral figure. Secondly, we seek to ethnological model proposed by Pierre Erny (1982) identified through field research, the tricksterianas manifestations present in school disorder reported by teachers, students and administrators. Finally, the theoretical ground of the imaginary anthropology Gilbert Durand and its developments in the pedagogy of the imagination of Alberto Filipe Araujo and Maria Cecília Sanchez Teixeira, we seek to interpret the data collected with the aim of contributing to the study of the creative function of the trickster and its inevitable connections with school education. We include here the support of everyday socioantropologia Maffesoli that will lead us to the study of ambivalent sensitivities that emerge everyday living in all its drama
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Turner, Ian. "Changing the subject, objectivity, trickster and the transformation of the Western academy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0020/MQ49783.pdf.
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Stevens, Nancy, and Germain Janice St. ""Using the gifts of the Trickster: Balancing "Self" in the helping field"." School of Native Human Services, 2003. http://142.51.24.159/dspace/handle/10219/409.
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As helpers in an Aboriginal mental health program, we are
faced with a number of challenges that constantly reinforce the need for balance in our
professional and personal lives. These challenges occur within the helping relationships,
within the larger agency and between the other services and service providers that
we encounter in our daily work. In order to demonstrate this ongoing struggle for balance,
we will share some of the history of B'saanibamaadsiwin and the context in which we
work.
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Knight, Deborah Frances. "Geographic enchantments : the trickster and crone in contemporary fairy tales and storytelling." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4195.
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Fairy tales are enchanting geographical stories, which affectively organize space-time in socially, politically, and ethically significant ways. Despite this, fairy tales have been neglected in the discipline of geography, and the inter-discipline of fairy tale studies has rarely interrogated the spatialities of tales, or of storytelling more widely. This thesis addresses this lacuna by theorizing the relationship between fairy tales, storytelling, and geography through the subversive folkloric figures of the trickster and crone. It posits, first, that we understand fairy tales as iterative stories that constitute mythic communities; and second, that trickster and crone figures are enchanting territorializing and deterritorializing refrains that subvert this mythic community. These two concerns are explored through Nolan’s (2008) Batman film The Dark Knight, and Maitland’s (2009) short story Moss Witch. An experimental research approach provides insight into these ‘worldly,’ enchanting, and symbolically rich stories, without sacrificing their liveliness or ‘systematizing’ them for ideological gain. The research begins with an interpretive textual analysis to address the symbolic traditions of the fairy tale refrains. Collage enables a ‘retelling’ of the stories as materially and visually expressive media. Genealogical analysis traces the material-discursive matterings of the geographical refrains within academic ‘storytelling.’ These combined approaches ‘story’ the trickster and crone as spatial patterns with affective force. Trickster refrains are animating forces of destruction and chaos. They shift between the centre and periphery of mythic community, violently overturn its seemingly ordered realities, and unfold insecure and profane in-between places, where (human) community can no longer be sustained. The crone refrain enacts a ‘wilding’ in fairy tales, entangling the civilized, storied human polis (or culture more generally) with the nonhuman ‘environment,’ and undermining both relational accounts of being and more romantic discourses of dwelling. Going forward, continued engagement with this nexus of geography, storytelling, and fairy tales promises to enrich our multidisciplinary endeavours, highlight our theoretical ‘matterings’ of fairy tales, and enable more responsible engagement with these endlessly enchanting stories.
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Fang, Hong, and 方紅. "The ethnic trickster in Maxine Hong Kingston's Tripmaster monkey: his fake book." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31244154.
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Teixeira, Carlos Henrique. "O Trickster na escola : um estudo sobre a função educativa do mito /." Araraquara, 2014. http://hdl.handle.net/11449/123357.
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Orientador: Sueli Aparecida Itman Monteiro<br>Banca: Ricardo Ribeiro<br>Banca: Micael Carmo Côrtes Gomes<br>Banca: Débora Raquel da Costa Milani<br>Banca: Luci Regina Muzzeti<br>Resumo: O objetivo desta pesquisa é identificar, a partir de um levantamento etnológico em uma escola pública de Araraquara, a manifestação do mito trickster presente nas narrativas de professores, alunos, diretores e demais membros da comunidade escolar. Desta forma, pretendemos realizar o inventário dos variados mitemas tricksterianos que se repetem de forma recorrente nos relatos, revelando a função educativa deste mito e seu papel na emolduração dos comportamentos no cotidiano escolar no que se refere às estratégias dos educadores no trato com a desordem, a manifestação dos alunos, a vivência em sala de aula e o convívio nos ambientes escolares. Buscamos levantar, em primeiro lugar, os vários aspectos da mitologia do trickster através da leitura dos principais trabalhos em antropologia, psicanálise e literatura para identificar as variadas facetas desta figura ancestral contraditória. Em segundo lugar, buscamos no modelo etnológico proposto por Pierre Erny (1982) identificar, através de pesquisa de campo, as manifestações tricksterianas presentes na desordem escolar relatadas por professores, alunos e administradores. Por fim, tendo como base teórica a antropologia do imaginário de Gilbert Durand e seus desdobramentos na pedagogia do imaginário de Alberto Filipe Araújo e Maria Cecília Sanchez Teixeira, buscamos interpretar os dados colhidos com o objetivo de contribuir para o estudo da função criativa do trickster e suas inevitáveis conexões com a educação escolar. Incluímos aqui o suporte da socioantropologia do cotidiano de Michel Maffesoli que nos conduzirá ao estudo das sensibilidades ambivalentes que emergem do cotidiano vivido em toda a sua dramaticidade<br>Abstract: The objective of this research is to identify, from an ethnological survey in a public school in Araraquara, the manifestation of the trickster myth in the narratives of teachers, students , principals and other school community members. Thus, we plan to conduct an inventory of mythemes varied tricksterianos that are repeated recursively on reports revealing the educational function of this myth and its role in framing behavior in everyday school life with regard to the strategies of educators in dealing with the disorder, the manifestation of the students, the experience in the classroom and coping in school environments. We seek to raise in the first place, the various aspects of the trickster mythology by reading the major works in anthropology, psychoanalysis and literature to identify the various facets of this contradictory ancestral figure. Secondly, we seek to ethnological model proposed by Pierre Erny (1982) identified through field research, the tricksterianas manifestations present in school disorder reported by teachers, students and administrators. Finally, the theoretical ground of the imaginary anthropology Gilbert Durand and its developments in the pedagogy of the imagination of Alberto Filipe Araujo and Maria Cecília Sanchez Teixeira, we seek to interpret the data collected with the aim of contributing to the study of the creative function of the trickster and its inevitable connections with school education. We include here the support of everyday socioantropologia Maffesoli that will lead us to the study of ambivalent sensitivities that emerge everyday living in all its drama<br>Doutor
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Thiele, Maria Elisabeth. "Trickster, Transvestiten und Ciganas : Pombagira und die Erotik in den afrobrasilianischen Religionen /." Leipzig : Leipziger Univ.-Verl, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014794422&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Nabigon, Herbert, Rebecca Hagey, Schuyler Webster, and Robert MacKay. ""The learning circle as a research method: The trickster and windigo in research"." School of Native Human Services, 1999. http://142.51.24.159/dspace/handle/10219/461.
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This study reports on how funded research - carried out by a recognized elder in selected communities on Manitoulin Island - affects the community experiences and perceptions of the emotional issues surrounding diabetes. In his research, this elder was able to assert and Aboriginal approach of achieving human subjects' review approval.
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Westendorf, Elizabeth J. "Banksy as Trickster: The Rhetoric of Street Art, Public Identity, and Celebrity Brands." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275671316.
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Rutherford, Miranda Julia. "A Trickster in Disguise: Reading a New Type of Satan in 2 Corinthians." Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1433465476.
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Gauck, Megan. "Killed a Bird Today: The Emergence and Functionality of the Santeria Trickster, Eleggua." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/461.
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Recognizable by their cunning exploits and gray morality, tricksters can be found in mythology, folklore, and religions throughout the world. Two tricksters were familiar to the Yoruba people in West Africa, Ajapa and Eshu, and their stories and abilities provide insight to the functions fulfilled by trickster characters. Upon the introduction of Regla de Ocha (or Santeria) to Cuba following the transatlantic slave trade, a new figure emerges, known for his tricks and adaptability. Due to the West African influence in Santeria religious practices, the original roles and traits of Eshu and Ajapa are analyzed for comparison, but Eleggua, the Santeria trickster, has become his own entity. Through ethnographic observations, personal conversations, and a collection of various sources and manuals, this project explores Eleggua and the trickster presence in Cuba. Although his role as a trickster has changed throughout the past few centuries, Eleggua and the trickster identity persists in modern Cuba, visible in religious practices and secular exchanges.
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Torres, Oyarce Tania. "El trickster en el Manuscrito de Huarochirí: los casos de Cuniraya Huiracocha, Huatiacuri y Pariacaca." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/101815.
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En este artículo, sostenemos que Cuniraya Huiracocha, Huatiacuri y Pariacaca, en su calidad de sujetos carentes, actúan como tricksters al tomar la figura de huacchas para obtener un objeto de deseo específico a través del cual se satisfaga su carencia: Cuniraya Huiracocha desea quedarse con la doncella Cahuillaca, lo cual conduce a la reorganización de la fauna andina; Huatiacuri, al incorporarse a un núcleo familiar, prepara la llegada de Pariacaca; y este último, al demostrar su poder y ser reconocido como deidad, busca instaurar y consolidar un orden nuevo regido por él mismo. Sobre esta base, exploramos un plan de salvación cristiano-andino por el paralelo existente entre Cuniraya y Dios Creador, Huatiacuri y Juan el Bautista, y Pariacaca y Jesús, en el cual comportarse como trickster ocupa un lugar central.<br>In this paper, I claim that Cuniraya Huiracocha, Huatiacuri and Pariacaca, which are lacking subjects, act as tricksters under the form of huacchas to obtain a particular object of desire through which their lack becomes fulfilled: Cuniraya Huiracocha tries to keep the maiden Cahuillaca, which leads to the reorganization of the Andean fauna; Huatiacuri, through his incorporation to a nuclear family, prepares Pariacaca’s arrival; and Pariacaca, through the demonstration of his power, and being recognized 318 Lexis Vol. XXXIX (2) 2015 and confirmed as deity, seeks to establish and consolidate a new regime, which he himself will rule. Based on this discussion, I explore a ChristianAndean plan of salvation due to the parallels between Cuniraya and the Creator God, Huatiacuri and John the Baptist, and Pariacaca and Jesus, where acting as trickster plays a crucial role.
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Smith, Derek Wesley. "108 Kōans." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1161.
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The capacity for creative thought is of utmost importance for the survival and furtherance of humanity. Luckily, creative thought is the most essential aspect of humanity; it is what defines us. Unfortunately, we have created a society that tries to make us forget that. I am building a body of work that encourages mindfulness and heightens awareness. Awareness of self and mindfulness in everyday activities are prerequisites to social and spiritual evolution. I want nothing less than to expand human consciousness. 108 Kōans occurred over a period of time that I devoted to maintaining a "beginner's mind." During that time, 108 evidences of this practice were produced. These are my kōans. They are events, observations, sounds, interventions, texts, images, scripts, objects, rearrangements, etc.--experiments in recontextualization that attempt to remind people of the ability they have to recontextualize their everyday. If we can become aware of our everyday habits and assumptions and experiences--the mundane thoughts and actions that make up the bulk of who we are--then we will realize that there are other ways of being that are available to us. This awareness will then extend to examinations of cultural, social, and institutional habits. People cannot imagine another way of existence for society until they can imagine another way of being themselves. We must become literate in the language of creativity. We must celebrate our self as one with the Universe and realize that the nature of the Universe is change.
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Anderson, Robyn Lisa, and n/a. "The decolonisation of culture, the trickster as transformer in native Canadian and Maori fiction." University of Otago. Department of English, 2003. http://adt.otago.ac.nz./public/adt-NZDU20070508.145908.
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The trickster is a powerful figure of transformation in many societies, including Native Canadian and Maori cultures. As a demi-god, the trickster has the ability to assume the shape of a variety of animals and humans, but is typically associated with one particular form. In Native Canadian tribes, the trickster is identified as an animal and can range from a Raven to a Coyote, depending on the tribal mythologies from which he/she is derived. In Maori culture, Maui is the trickster figure and is conceptualised as a human male. In this thesis, I discuss how the traditional trickster is contexualised in the contemporary texts of both Native Canadian and Maori writers. Thomas King, Lee Maracle, Witi Ihimaera, and Patricia Grace all use the trickster figure, and the tricksterish strategies of creation/destruction, pedagogy, and humour to facilitate the decolonisation of culture within the textual realms of their novels. The trickster enables the destruction of stereotyped representations of colonised peoples and the creation of revised portrayals of these communities from an indigenous perspective. These recreated realities aid in teaching indigenous communities the strengths inherent in their cultural traditions, and foreground the use of comedy as an effective pedagogical device and subversive weapon. Although the use of trickster is considerable in both Maori and Native Canadian texts, it tends to be more explicit in the latter. A number of possibilities for these differences are considered.
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Wallart, Kerry-Jane. "La poétique du trickster dans le théâtre de Derek Walcott : la référence en jeu." Paris 4, 2005. http://www.theses.fr/2005PA040127.
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Héritiers de l'esclave contraint à parler par sous-entendus afin de déjouer son maître, les personnages déploient, dans le théâtre de Derek Walcott, une rhétorique qui n'est claire que lorsqu'on devine leur système d'encodage. Tous les niveaux sémantiques de la pratique théâtrale sont touchés par une volte-face du sens. Une même référence désigne deux référents, une même mimesis renvoie à deux objets dans cette dramaturgie diabolique. Elle est orchestrée par la figure immuable mais métamorphique du trickster, clochard céleste et habile qui plonge ses racines à la fois dans les contes africains, dans le carnaval européen, dans la mythologie américaine de l'escroc vagabond et dans la tradition noire américaine du " singe signifiant ". Le spectateur doit sans relâche se demander de quoi on l'entretient. Dans la bouche inspirée du trickster, qui fait souvent figure d'auteur, ajoutant par là l'autoréférence à toutes les références, cette rhétorique complexe devient une véritable poétique<br>The characters in Derek Walcott's plays prove to be heirs to the slave who had to resort to double entendre so as to trick his master ; their rhetoric can only be understood if one already knows how to decipher it. Meaning is turned upside down at all semiotical levels, the encoding remaining largely concealed. One signifier will designate two signifieds, one representation will refer to two objects. The encoding is endemic. Such a diabolical dramaturgy is orchestrated by the immutable figure of the trickster, a celestial fool ; he is as shape-shifting as his roots are varied, from African tales to European Carnival, from the American hobo and hustler to the Black American tradition of the signifying monkey. The spectators find themselves questioning what exactly the topic is, what every reference stands for, and what the frame of reference could be. The trickster also often appears as the author, thus adding self-reference to proliferate references ; with him, complex rhetorics turn to poetry
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Simpson-McIntyre, Janet. "Characteristics of trickster tales found in What the crow said & The Double hook." Mémoire, Université de Sherbrooke, 1992. http://hdl.handle.net/11143/10353.
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Le trickster représente une figure fondamentale dans le folklore et les légendes des indigènes dans tous les coins du monde et, en particulier, il se retrouve au centre de la mythologie amérindienne. Depuis un siècle, il a fait son apparition dans la culture littéraire des autochtones sous la forme de légendes et chants écrits. L'importance de ce personnage mythologique dans la culture des peuples autochtones partout à travers le monde est bien reconnue et bien documentée. Elle est reconnue, par exemple, en anthropologie, en psychologie et en sociologie. Le mythe du trickster faisait, autrefois, partie de la tradition orale des autochtones où il jouait un rôle important dans leurs contes et légendes. Ces racines orales marquent leur forme écrite. Nous avons donc examiné les sources des légendes écrites, les démarches entreprises pour les recueillir ainsi que le processus de transcription et de traduction de ces légendes. Rappelons que dans n'importe qu'elle traduction la langue d'origine garde nécessairement sa propre personnalité. Jusqu'à présent, la culture amérindienne et la culture canadienne non-autochtone sont restées isolées, l'une de l'autre, ainsi que les littératures qui les expriment. On voit rarement des influences de la culture amérindienne sur les écrits des Canadiens non-autochtones. Il y a cependant quelques exceptions et parmi elles se trouvent The Double Hook de Sheila Watson et What the crow Said de Robert Kroetsch. On voit dans les deux oeuvres les éléments qui évoquent le mythe du trickster - soit au niveau de la forme qui reflète les origines orales, soit au niveau du contenu. Bien que d'autres légendes et contes peuvent contenir quelques-uns de ces éléments qu'on identifie comme "éléments-trickster", c'est la combinaison des caractéristiques, leur répétiion et leur philosophie qui rendent uniques ceux du trickster. Parmi ces caractéristiques on relève la présence du personnage identifié universellement comme "Trickster" dans les légendes, l'importance que joue le monde "naturel" dans la mythologie ainsi que le rapprochement extraordinaire du monde humain et monde de la nature. On remarque qu'il y a aussi des éléments qui font surface dans les légendes du trickster au niveau de la forme. Il ressort, dans ce deuxième groupe, des caractéristiques formelles comme la brièveté des légendes, le langage dont on se sert pour garder le parfum d'origine orale des contes amérindiens, l'usage des expressions ou mots empruntés des amérindiens, les expressions figées et la présence de beaucoup de dialogues. Nous examinons ces éléments afin de voir comment ils se manifestent tout en offrant les exemples particuliers tirés des légendes. Nous avons tenté de trouver, dans The Double Hook et What the Crow Said, les manifestations de ces éléments du mythe du trickster et l'effet de la rencontre des cultures sous une forme littéraire.
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Chiu, Wai-fong, and 趙慧芳. "Tradition as inheritance and departure: transformation, survival, and the trickster in Love medicine, Chinamen and Illywhacker." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47850024.
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This dissertation examines literary representations of the trickster in contemporary literature across different cultures. The introduction traces the recent development in the studies on the trickster since Radin's influential publication, The Trickster. There are two major trends in recent scholarship. First, many theorists believe that the trickster is a cross-cultural phenomenon. Second, recent scholars have started to track modern expressions of the trickster in contemporary societies. Building upon these two observations, this dissertation further explores various forms of the modern trickster, new trickster strategies and their functions in contemporary texts. This dissertation discusses the relationship between tradition and transformation expressed through modern trickster narratives. It is argued that modern trickster stories manifest the transformation of a culture through the transformative characteristics of the trickster, as well as through a text's formal transformation. Transformation signifies the possibility of change, therefore opening mainstream representations and ideologies for re-interpretation. Chapter Two offers a reading of Louise Erdrich?s Love Medicine and demonstrates how the novel transforms a Chippewa Nanabozho myth cycle into a modern Chippewa trickster story cycle. Erdrich?s Nanabozho appears as multiple modern Native Indians. This deconstructs the stereotypical image of the "vanished tribe" by showing that the Chippewa people, culture and traditions are not dead; they have transformed to survive. The formal transformation of the text also enables Chippewa oral traditions to be passed down, preserved and to survive through this contemporary fiction. Chapter Three examines and discusses how a subaltern community uses trickster strategies to resist marginalization by focusing on Maxine Hong Kingston?s China Men. Specific to China Men's use of the trickster's transformation is its manifestation of changes and struggles experienced by Chinese American immigrants.
Appropriating the genre of talk-story, Kingston transforms Chinese myths into American tales, her family stories into history writing. Stories told by China Men's characters, as well as histories retold in the transformative text, are the rhetorical acts of the trickster used to challenge dominant representations and the silencing of Chinese Americans. Chapter Four analyzes Peter Carey?s Illywhacker to further test the boundary of the trickster?s realm. In this chapter, Illywhacker is conceptualized as a trickster's Australian country show in the form of a simulated exhibition showcasing emblematic Australian mythologies. The text builds upon the bush literary traditions to oppose the Australian national culture and identity constructed and mediated through the bush metaphor. The performativity of all three texts implies a repetitiveness that takes new form every time, opening the metanarratives of Australian national history and identity for revision, subversions and re-imagination.<br>published_or_final_version<br>English<br>Master<br>Master of Philosophy
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Van, Woudenberg Gerdine. "The political constitution of indigenous land struggles, a case study of the Aboriginal rights; trickster." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0002/MQ43331.pdf.
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Walker, Tracy Deonn Pollock Della. "Authentic chameleons mythic identity, performative trickster-ing, and the potential of the telephone booth moment /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,905.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.<br>Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Communication Studies (Performance Studies)." Discipline: Communication Studies; Department/School: Communication Studies.
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Torres, Oyarce Tania. "El trickster en el Manuscrito de Huarochirí : los casos de Cuniraya Huiracocha, Huatiacuri y Pariacaca." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2014. http://tesis.pucp.edu.pe/repositorio/handle/123456789/5694.
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En este trabajo, sostenemos que, en el Manuscrito de Huarochirí, los personajes Cuniraya Huiracocha, Huatiacuri y Pariacaca, en su calidad de sujetos carentes, actuán como tricksters al tomar la figura de huacchas con el fin de obtener un objeto de deseo específico a través del cual se satisfaga su carencia. Dicho comportamiento tiene alcances de gran importancia para la organización del universo andino presentado en el texto, debido a que, bajo la apariencia de pobres y la utilización de la astucia como mecanismo de engaño, Cuniraya Huiracocha desea quedarse con una mujer deseada por muchos, la doncella Cahuillaca, lo cual conduce a la reorganización de la fauna andina; el héroe o semidiós Huatiacuri, mediante su incorporación a un núcleo familiar, prepara la llegada de su padre yhuacatutelar Pariacaca; y este último, mediante la demostración de su poder, su reconocimiento y confirmación como deidad, busca instaurar y consolidar un orden nuevo regido por él mismo.<br>Tesis
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Van, Woudenberg Gerdine (Gerdine Marinna) Carleton University Dissertation International Affairs. "The Political constitution of indigenous land struggles; a case study of the aboriginal 'rights' trickster." Ottawa, 1999.
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Chisum, Pamela Corinne. "Becoming visible in invisible space| How the cyborg trickster is (re)inventing American Indian (ndn) identity." Thesis, Washington State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3598054.
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<p> This dissertation investigates issues of representation surrounding the American Indian (NDN) and the mixedblood. By conflating images of the trickster as described by NDN scholars with the postmodern theories of Donna Haraway, I explore in my dissertation how the trickster provides a way of viewing formerly accepted boundaries of identity from new perspectives. As cyborg, the trickster is in the "system," but it is also enacting change by pushing against those boundaries, exposing them as social fictions. I create a cyborg trickster heuristic, using it as a lens with which to both analyze how NDNs construct online identities and the rhetorical maneuvers they undergo. Moving beyond access issues, I show how NDNs are strengthening their presence through social media. Ultimately, I argue that the cyborg trickster shows how identities (NDN and non-NDN alike) are multiply-created and constantly in flux, transcending the traditional boundaries of self and other, online and offline, space and place, to allow for a new understanding of the individual in society and society within the individual.</p>
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Squibb, Catherine. "Tobacco and Tar Babies: The Trickster as a Cultural Hero in Winnebago and African American Myth." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/313.
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This thesis explores the trickster character through the lens of his role as a cultural hero. The two characters that I chose to examine are from North American myth, specifically Winnebago Hare and Brer Rabbit. These two characters represent the duality of the trickster while simultaneously embodying the lauded abilities of the hero. Through their actions these two characters shape culture through the very action of disrupting societal norms.
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Tsuji, Yasuko. "A comparative study of Japanese and Polynesian mythology with particular reference to selected cosmogony and trickster myths." Thesis, University of Canterbury. Japanese, 1998. http://hdl.handle.net/10092/8131.
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In this thesis, Japanese mythology is compared with Polynesian mythology. Particularly, two Polynesian myths are selected as comparative material. The first one is a Maori cosmogony myth, a South Island version of Tāne, the second one a Samoan trickster myth, The Octopus and the Rat.
Tāne is compared with the Japanese cosmogony myth, while The Octopus and the Rat is compared with the Japanese trickster myth, the White Rabbit of lnaba. Some common elements between the two mythologies and their origins are discussed in an analysis of the myths.
Both myths are also translated into Japanese. To my knowledge, this is the first time this version of Tāne and The Octopus and the Rat have been translated into Japanese.
Present Polynesian and Japanese migration theories and studies are also investigated, in order to explain the occurrence of similarities between both mythologies.
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Calhoun, Fraser C. "Blues signifying and the trickster figure in the improvisations of Johnny Hodges, Charlie Parker, and Ornette Coleman." Thesis, The William Paterson University of New Jersey, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10003779.
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<p> The goal of this study is to relate blues characteristics as they appear in the playing of Johnny Hodges, Charlie Parker, and Ornette Coleman, to blues lyrics, Signifying, the artists’ life experiences, and to the ancient cultural icon Esu-Elegbara. This study reviews the theory of Signifying, discusses existing literature on blues Signifying, and investigates select biographical information of each player. In addition, the study presents and analyzes transcriptions of jazz improvisations for each artist and reveals and investigates their blues characteristics. The study then contextualizes discovered blues characteristics in terms of blues lyrics (and consequently their melodies), the meaning of these lyrics, and later their respective artist’s life experiences. Findings show that each artist has personal similarities to the Yoruban cultural figure Esu-Elegbara. These similarities assist in revealing the Signifying nature of the blues characteristics in the case studies’ improvisations. </p>
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Hawley, Steven Jubitz. "Tracking the Trickster Home: The Animal Nature of Words in the Writing of Gerald Vizenor and Barry Lopez." The University of Montana, 2007. http://etd.lib.umt.edu/theses/available/etd-03012007-101943/.
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Booy, Simon. "'The files of Agent 22' : trickster aesthetics and the 'culture of discourse' in the writings of Ishmael Reed." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324222.
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Sattaur, Jen. "Representations of childhood : motifs of child and trickster in selected mid-Victorian to fin-de-siecle prose fiction." Thesis, Aberystwyth University, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.731709.
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This thesis reads Victorian fin de siecle literature through perceptions of childhood, as revealed in the patterns of two archetypes: the Trickster and the Child. It examines a connection between the chaotic and the idealistic symbolic representations of childhood, as represented by these two archetypes, and as seen in some of the newly-developed cultural formations of the Victorian fin-de-siecle. Victorian anxieties about change are linked closely to anxieties about childhood, procreation, and maturation, revealed as a progression of patterns of the two archetypes in a range of children's and adults' texts. For each decade I examine one adult text and one children's text, comparing how cultural formations relating to body, mind, 'soul' and society, explore symbolic renditions of 'generationality' through the Child and Trickster archetypes. Two 1860s texts provide a mid-century marker - Collins' The Moonstone, revealing aspects of the economic-sociologic impact of Empire on society, linked with Carroll's Alice in Wonderland, seen in terms of perceptions of madnes~ and 'normality' which shaped the field of psychoanalysis: for the 1880s, I examine Stevenson's Jekyll and Hyde and its use of evolutionary theory, linked with Wilde's The Happy Prince and Other Tales, discussed in terms of the aesthetic movement; finally, for the 1890s, George MacDonald's Lilith, is considered in relation to aspects of spiritualism, linked with Kipling's The Jungle Books, viewed in terms of anthropology and its exploration of connections between 'primitive' life, animal life, and progress. By examining how these two archetypal ways of representing childhood progressed from being distinct to being merged in literature, this thesis hopes to demonstrate the ways in which some of the emergent intellectual formations which have come to represent change in the fin-de-siecle period were inherently concerned with perceptions of childhood as they represented both the promise and the threat of the future.
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Mountian, Daniela. "Simbologia do caos em O diabo mesquinho de Fiódor Sologub." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-15062012-103007/.
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Este trabalho se propôs a analisar O Diabo Mesquinho (1892-1902), romance-chave de Fiódor Sologub (1863-1927), um dos expoentes do simbolismo russo. Além da importância incontestável da obra para a literatura russa e mundial, foi estímulo para a pesquisa a possibilidade de delinear o primeiro estudo acadêmico sobre o autor no Brasil. A análise seguiu duas direções, que continuamente se encontraram: a evidente tessitura paródica, e a presença de arquétipos míticos universais perpassados por elementos do folclore russo. Quanto ao uso da paródia, tendo como base teórica autores como Iuri Tyniánov e Mikhail Bakhtin, foram feitas aproximações de O Diabo Mesquinho com textos de Aleksándr Púchkin, Nikolai Gógol e Fiódor Dostoiévski, cujas marcas deflagradas são essenciais para o entendimento da estrutura da obra, assim como o narrador que, subvertendo a estética realista, organiza esses discursos. Com relação à incorporação de arquétipos literários, a qual ressalta a dimensão paródica e a contextura neomitológica, tal como conceituada por Zara Mints, foi desenvolvida uma análise do desdobramento do anti-herói Ardalión Peredonov, um trickster diabólico, no herói cultural mítico. Esse aprofundamento, embasado sobretudo em Eliazar Meletínski, desvelou a articulação que a narrativa faz entre as dualidades míticas mais estáveis (caos versus cosmos, próprio versus alheio), as construções de herói e de anti-herói, e os traços folclóricos e do demonismo popular. A convivência desses componentes conduz o enredo ao caos mítico junto da loucura progressiva de Peredonov. A breve contextualização do simbolismo russo, movimento que, apoiado na própria cultura e história, inaugurou novos rumos na arte e na filosofia russas, foi também fundamental para trabalhar com O Diabo Mesquinho, pois o romance consagra seus grandes mestres, sublinha seu contexto gerador e rompe paradigmas.<br>The research aims at analysing The Petty Demon (1892-1902), a key novel by Fiódor Sologub (1863-1927) who is one of the best known writers of the Russian symbolism. The importance of this novel is well established for Russian and world literature, and this research thesis was the first academic study on the author in Brazil. The analysis followed two main directions, which appear in intersection: first, the evident parodist structure of the text and second, the presence of universal mythic archetypes juxtaposed by elements of the Russian folklore, which inhabit the narration. Regarding the use of parody, drawing on Iuri Tyniánov and Mikhail Bakhtin, the analysis establish dialogues between The Petty Demon and texts by Aleksándr Púchkin, Nikolai Gógol and Fiódor Dostoiévski. These parodist dialogues are seen here as essential for the understanding of the structure of the text, as well as the narrator who organises these discourses subverting the realistic aesthetics. In relation to the incorporation of literary archetypes in the novel, highlighting the parodist dimension and the neomythologic structure, as conceptualised by Zara Mints, an analysis was developed on the history of the anti-hero Ardalión Peredonov, a diabolic trickster, as a cultural mythic hero. This in-depth analysis drawing on Eliazar Meletínski, unravelled the articulation between well established mythic dualities (chaos versus cosmos); the construction of the hero and anti-hero; and the folkloric characteristics and popular demonism. The relation between these components guides the story to the mythic chaos alongside the gradual madness of Peredonov. The brief contextualisation put forward in this research thesis of the Russian symbolism - a movement that based on its own culture and history launched new paths for Russian arts and philosophy - was fundamental to the analysis of The Petty Demon, as the novel established great masters in literature, highlighted its symbolist context and broke paradigms.
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Byrd, Gayle. "The Presence and Use of the Native American and African American Oral Trickster Traditions in Zitkala-Sa's Old Indian Legends and American Indian Stories and Charles Chesnutt's The Conjure Woman." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/258606.
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English<br>Ph.D.<br>The Presence and Use of the Native American and African American Oral Trickster Traditions in Zitkala-Sa's Old Indian Legends and American Indian Stories and Charles Chesnutt's The Conjure Woman My dissertation examines early Native American and African American oral trickster tales and shows how the pioneering authors Zitkala-Sa (Lakota) and Charles W. Chesnutt (African American) drew on them to provide the basis for a written literature that critiqued the political and social oppression their peoples were experiencing. The dissertation comprises 5 chapters. Chapter 1 defines the meaning and role of the oral trickster figure in Native American and African American folklore. It also explains how my participation in the Native American and African American communities as a long-time storyteller and as a trained academic combine to allow me to discern the hidden messages contained in Native American and African American oral and written trickster literature. Chapter 2 pinpoints what is distinctive about the Native American oral tradition, provides examples of trickster tales, explains their meaning, purpose, and cultural grounding, and discusses the challenges of translating the oral tradition into print. The chapter also includes an analysis of Jane Schoolcraft's short story "Mishosha" (1827). Chapter 3 focuses on Zitkala-Sa's Old Indian Legends (1901) and American Indian Stories (1921). In the legends and stories, Zitkala-Sa is able to preserve much of the mystical, magical, supernatural, and mythical quality of the original oral trickster tradition. She also uses the oral trickster tradition to describe and critique her particular nineteenth-century situation, the larger historical, cultural, and political context of the Sioux Nation, and Native American oppression under the United States government. Chapter 4 examines the African American oral tradition, provides examples of African and African American trickster tales, and explains their meaning, purpose, and cultural grounding. The chapter ends with close readings of the trickster tale elements embedded in William Wells Brown's Clotel; or, The President's Daughter (1853), Harriett Jacobs's Incidents in the Life of a Slave Girl (1861), and Martin R. Delany's Blake, or the Huts of America (serialized 1859 - 1862). Chapter 5 shows how Charles Chesnutt's The Conjure Woman rests upon African-derived oral trickster myths, legends, and folklore preserved in enslavement culture. Throughout the Conjure tales, Chesnutt uses the supernatural as a metaphor for enslaved people's resistance, survival skills and methods, and for leveling the ground upon which Blacks and Whites struggled within the confines of the enslavement and post-Reconstruction South. Native American and African American oral and written trickster tales give voice to their authors' concerns about the social and political quality of life for themselves and for members of their communities. My dissertation allows these voices a forum from which to "speak."<br>Temple University--Theses
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OLIVEIRA, ANA PAULA SILVA DE. "GOOD NIGHT FOR THOSE WHO ARE UP FOR IT: THE PATHS OF THE TRICKSTER IN THE SUNG POINTS OF UMBANDA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34820@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>A Umbanda é uma religião afro-brasileira, na qual ocorre a manifestação de espíritos por meio do transe. Durante as giras, essas energias são evocadas através de cânticos, denominados pontos cantados, uma espécie de mantras, fundamentais na ritualística. A cosmologia umbandística possui em sua estrutura uma variedade de entidades, a grande maioria tipos sociais notavelmente subalternizados e oriundos do contexto popular. Dentre os arquétipos está o malandro, ator dos espaços da margem, enraizado na formação da sociedade brasileira. Ao longo das décadas e das mudanças na arte, na literatura, nos contextos históricos e sociais, festas e ritos, o malandro recebeu diversos moldes estéticos, performáticos e psicológicos. No entanto, o típico representante carioca dos anos 20 e 30, com seu terno branco e chapéu Panamá, se cristalizou como um dos símbolos de uma noção de identidade brasileira e, na Umbanda, foi incorporado e suas dimensões de malandragem ressignificadas para que ele pudesse atuar. Na categoria dos malandros, Zé Pelintra, ou apenas Seu Zé, é figura conhecida. Durante as visitas ao terreiro do Caboclo Arruda, no bairro do Valqueire, ele narra a sua relação com o universo no qual está inserido e tenta esclarecer os novos rumos tomados por outros malandros que deixaram a vida carnal e migraram para outras bandas. Como forma de conservar a permanência dessa figura na memória, o presente trabalho tem como objetivo analisar, através dos pontos cantados da Umbanda, ele próprio e seus elementos característicos que o determinam no contexto profano e sagrado.<br>Umbanda is an Afro-Brazilian religion where the manifestation of spirits takes place through trances. During the dances, these energies are evoked through chants, denominated sung points, a sort of mantra, which are fundamental to the rites. Umbanda s cosmology possesses in its structures a variety of entities, most of them social types remarkably marginalized and derived from popular context. Among the archetypes is the trickster, known in Brazil as malandro, an actor present in the voids of the margins, rooted in the formation of Brazilian society. Throughout the decades and changes in the arts, literature, historical and social contexts, parties and rites, the malandro welcomed various aesthetic, performative and psychological molds. However, the typical Rio de Janeiro representative of the 1920s and 1930s, wearing his white suit and Panama hat, crystallized himself as one of the symbols of a notion of Brazilian identity and, in the Umbanda, was incorporated and his dimensions of mischief resignified so that he could act. In the category of the so-called malandros, Zé Pelintra, or Seu Zé, is a well-known figure. During visitations to the Caboclo Arruda temple, in the Valqueire neighborhood, he narrates his relationship with the universe in which he is inserted and tries to clarify the new directions taken by other malandros who have left the carnal life and migrated to other paths. In order to guarantee the conservation of such character in memory, the present work aims to analyze, through the sung points of Umbanda, itself and its characteristic elements that determine it in the profane and sacred context.