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Journal articles on the topic 'Trickster'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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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 (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 u

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2

Oburumu, Agbeye. "The Trickster Archetype in Oral Literature: Unravelling Universality and Pedagogical Power across World Cultures." Saudi Journal of Humanities and Social Sciences 8, no. 09 (2023): 240–47. http://dx.doi.org/10.36348/sjhss.2023.v08i09.001.

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This paper delves into the intricate character of the trickster as portrayed in oral literature while conducting a comprehensive survey to explore the universality of this intriguing figure across diverse world cultures. The investigation draws inspiration from Carl Jung's proposition that these archetypal manifestations in cultural and religious literature stem from the "collective unconscious," a profound thread of consciousness connecting all human beings and societies worldwide. The essay emphasises the distinctiveness of each trickster's personality within their respective cultures while

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3

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 embodi

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Lipovetsky, Mark. "Trickster vs. Trickster: “Teachers” and “Students” in Ehrenburg, Olesha, Bulgakov and Babel Works." Koinon 2, no. 1 (2021): 116–47. http://dx.doi.org/10.15826/koinon.2021.02.1.006.

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The paper explores the fulfillment of the trickster trope in Soviet culture based on four works (The Heart of a Dog by M. Bulgakov, Envy by Yu. Olesha, Julio Jurenito by I. Ehrenburg and The Odessa Tales by I. Babel). The author defines the features of the Soviet trickster: the "integral" character, roguery are an illustration of its cynical philosophy, which is devoid of the pragmatism inherent in cynicism and tends to P. Sloterdijk’s estimation of cynicism — the selfless and shameless performative relegation and ragging of all reputable discourses and symbols. The author has also highlighted

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5

Kononenko, Natalie, and Svitlana Kukharenko. "Borat the Trickster: Folklore and the Media, Folklore in the Media." Slavic Review 67, no. 1 (2008): 8–18. http://dx.doi.org/10.2307/27652763.

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Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006) elicits extreme and contradictory audience responses. Some filmgoers find it amusing and clever, while others consider it repulsive, even obscene. Analyzing the film's hero as a traditional and archetypical trickster figure, a master of contradictions, a violator of boundaries, can help explain audience reaction. But while traditional folklore tricksters act in a fantasy world, Sacha Baron Cohen entered the lives of real people in trickster (dis) guise. For theater audiences removed from the interactions

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

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

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KNEŽEVIĆ, Marija. "SHERMAN ALEXIE – TRICKSTER OF URBAN WILDERNESS." Lingua Montenegrina 4, no. 2 (2009): 431–47. https://doi.org/10.46584/lm.v4i2.117.

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This paper reads Sherman Alexie’s short stories included in the collection The Toughest Indian in the World (2000) as exemplary material of contemporary Native American trickster narrative. These narratives are regarded as trickster narratives not only for the fact that they contain frequent native trickster as one of their protagonists, but also because of their hybrid nature that embodies both traditional oral and postmodern narrative manoeuvres. Trickster, as a ubiquitous figure that introduces chaos and changes, is perceived as a creative force that transforms the world and survives thanks

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8

Saktiningrum, Nur. "Framing a Trickster Character in Two Different Media and Eras: A Study on Br’er Rabbit in Uncle Remus’ Stories and Disney’s Song of the South." Jurnal Humaniora 29, no. 2 (2017): 198. http://dx.doi.org/10.22146/jh.24205.

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This article analyses Br’er Rabbit, a trickster character in African-American folklore. As a trickster Br’er Rabbit possesses a paradoxical nature. On the one hand, Br’er Rabbit acts as a hero but on the other hand, he constantly plays tricks on others and by doing so, he is also violating the prevailing values. These two opposing aspects of trickster’s nature offer an interesting subject for the research. The questions considered worth focusing on in discussing the subject are: How can trickster character be described? What values are represented by trickster character? Is there any shift in

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9

Saktiningrum, Nur. "Framing a Trickster Character in Two Different Media and Eras: A Study on Br’er Rabbit in Uncle Remus’ Stories and Disney’s Song of the South." Jurnal Humaniora 29, no. 2 (2017): 198. http://dx.doi.org/10.22146/jh.v29i2.24205.

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This article analyses Br’er Rabbit, a trickster character in African-American folklore. As a trickster Br’er Rabbit possesses a paradoxical nature. On the one hand, Br’er Rabbit acts as a hero but on the other hand, he constantly plays tricks on others and by doing so, he is also violating the prevailing values. These two opposing aspects of trickster’s nature offer an interesting subject for the research. The questions considered worth focusing on in discussing the subject are: How can trickster character be described? What values are represented by trickster character? Is there any shift in

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10

Kovtun, N. V. "The Trickster as a Hero of the Frontier, or On Survival Mechanisms in Chaos." Vestnik NSU. Series: History and Philology 22, no. 9 (2023): 120–33. http://dx.doi.org/10.25205/1818-7919-2023-22-9-120-133.

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Purpose. The article explores the image of a trickster, and the peculiarity of its embodiment in world literature. Special attention is paid to the peculiarities of assignment and functioning of the trickster image in modern Russian literature: from camp prose with its interest in the “naked man”, and the weirdos of traditionalism, to the characters created in the postmodern era. Results. The author analyses the reasons for and prospects of the emergence of the trickster hero, his ability to solve tragic problems facing its consciousness at the turn of the twentieth and twenty-first centuries.

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11

Bannister, Matthew. "Joker to the thief: Trickster guitarists in 1970s stadium rock." Metal Music Studies 9, no. 2 (2023): 151–69. http://dx.doi.org/10.1386/mms_00103_1.

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How and why did the lead guitarist as trickster become a trope of 1970s stadium rock? Rock and roll and its interpretation were influenced by blackface minstrelsy, African American Signifying, and European traditions of foolery, all featuring quasi-demonic, protean figures who amuse, challenge, subvert, shock, but from the margins – eternally shifty, ambiguous antagonists who ‘play’ on paradoxes of rock mythology: (non-)conformity, (in)articulacy and power(lessness). In the increasingly theatrical, spectacular arena of 1970s stadium/hard rock/metal, the trickster guitarist signified as part of

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Amado Barreto, Renato, and Ana Lúcia Machado de Oliveira. "MAKUNAIMA E MACUNAÍMA: DOIS TRICKSTERS." Caderno de Letras, no. 26 (September 16, 2016): 277. http://dx.doi.org/10.15210/cdl.v0i26.8518.

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Macunaíma, protagonista da obra clássica de Mário de Andrade, foi inspirado no herói mitológico dos povos pemons, da região do circun-Roraima, Makunaima, um ser transnacional que existe em comunidades indígenas de três países sul-americanos: Brasil, Venezuela e Guiana. Veremos que os dois personagens são tricksters, e por isso têm diversos aspectos em comum. O trickster é um conceito extraído da observação de personagens mitológicos de culturas distintas, mas que conjugam certas características, dentre as quais se destacam a astúcia e o poder de mediação. Desse modo, primeiro discutiremos algu

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Mirzeler, Mustafa Kemal. "The Tricksters of Karamoja." History in Africa 34 (2007): 421–26. http://dx.doi.org/10.1353/hia.2007.0015.

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Karamojong oral tradition provides several trickster characters such as the rabbit, the self-appointed moral guard. This rabbit pretends to defend the weak and the powerless, yet secretly steals from them, but in the end gets exposed for what it really is. Then there is the clever fox, which skilfully tricks people with its clever manipulations, convincing them that it is honest and upright, not unlike the rabbit, but then it too gets caught stealing. Napeikisina, the one-breasted villain trickster, the symbol of humanity's penchant for evil, masquerades her insatiable cannibalistic propensiti

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SMITH, AYANA. "Blues, criticism, and the signifying trickster." Popular Music 24, no. 2 (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 soci

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15

Serostanova, Oxana B. "The Infl uence of Trickster Behavior in the Media Space on the Dynamics of Cultural Industries." Humanitarian Vector 19, no. 3 (2024): 145–55. http://dx.doi.org/10.21209/1996-7853-2024-19-3-145-155.

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The trend of media consumption in recent years has been the sharp interest of the mass audience in communication and entertainment. This practice can also be traced in the dynamics of the development of cultural industries, where the emergence of new words (“blog”, “podcast”, “hashtag”, etc.) is noted. This indicates that the media continues to play a huge role in the production and preferences of certain cultural products. Under the infl uence of mediatization, there is a steady demand for behavioral models that, based on humor, irony or deception, contribute to changing the existing order. O

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16

Baker, Marie Annharte. "An Old Indian Trick is to Laugh." Canadian Theatre Review 68 (September 1991): 48–53. http://dx.doi.org/10.3138/ctr.68.016.

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To be able to laugh at oneself is one of the greatest gifts of an Aboriginal heritage. For even the one who is the teensy bit Indian, the gift of this self-clowning is humungous. Sometimes our laughter is our only weapon. In spite of efforts to declaw, detooth, detail the Coyote or trickster within us, we continue to find some thing about our oppression as Aboriginal people funny. It is even called “gallows humour” by critics because our many inhibitions usually repress what might be a trickster’s agenda to combat stress, chronic fatigue, tension headaches and many other conditions that arise

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17

Kolesnikova, E. I. "Conceptualization of Trickster in the Modern Literary Process." Vestnik NSU. Series: History and Philology 22, no. 2 (2023): 121–26. http://dx.doi.org/10.25205/1818-7919-2023-22-2-121-126.

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The article observes the monograph of N. Kovtun “Trickster as a hero of our time. On the Material of Russian Prose of the Second Half of the 20th – 21st Century”, where the attributive signs of the trickster archetype (ambivalence, vitality, the role of a mediator, liminarity, creativity, connection with the sacral) are summarized and supplemented. Each of these characteristics is convincingly substantiated on the basis of other researchers’ works. The conceptual and semantic field of tricksterism is revealed with the help of the analysis of the main motives – the path, insecurity, duality, re

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18

Zieliński, Karol. "Odysseus – Trickster and the Issue of the Compatibility of the Image of the Hero with Its Function in the Traditions of the Oral Epic." Studia Religiologica 53, no. 3 (2020): 181–202. http://dx.doi.org/10.4467/20844077sr.20.013.12753.

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In the Greek epic tradition associated with the Trojan cycle, the protagonists are played by Achilles and Odysseus, two heroes with contrasting characteristics. The Homeric poems endeavor to approximate the character of Odysseus to Achilles. They cannot, however, break with his traditional image in which he represents the trickster type. Both preservation of the traditional image and its reinterpretation is typical of the oral tradition. Comparison with other traditions of the oral epic reveals a connection between the trickster character and the antagonist of the hero-protagonist. Both polari

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19

Jaffe, Kate Rutledge. "Trickster." Missouri Review 35, no. 3 (2012): 139–52. http://dx.doi.org/10.1353/mis.2012.0059.

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20

Roberts, J. "Trickster." Oxford Art Journal 22, no. 1 (1999): 81–101. http://dx.doi.org/10.1093/oxartj/22.1.81.

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Liebenberg, Deon. "The Trickster as Personification of Primordial Chaos." Anthropos 118, no. 1 (2023): 187–96. http://dx.doi.org/10.5771/0257-9774-2023-1-187.

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The very widespread occurrence of the trickster figure in myth and folklore has prompted scholars to explain this fascinating character in terms of universal features of the human mind or the human condition. This, however, has the effect of obscuring the sophistication of the cosmological thought that generally underpins the character and behaviour of this character. This article argues that the trickster’s flagrant disregard for boundaries, categories, and social decorum, as well as his androgyny, his shape-shifting nature, his manifold other manifestations of ambivalence as well as his cont

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MADU, UCHECHUKWU EVELYN. "“Where Maga Falls, Guyman Go Wack”: Recollections of the Igbo Tortoise Figure in Selected Cybercrime Narratives." Revista de etnografie și folclor / Journal of Ethnography and Folklore 2024, no. 1-2 (2024): 123–43. http://dx.doi.org/10.59277/jef.2024.1-2.09.

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Where “Maga” Falls, “Guyman” Go Wack is a Nigerian cybercrime slang that metaphorises scamming a “Maga”, a potential victim. This sarcasm is often channelled towards the maga, whose “fall” is a “blessing” (wack) for the smart “guyman.” The ambivalence of “maga falls and guyman wack” dominates the internet scamming discourse where the contemporary trickster, the guyman, not only exhausts the entire wittiness to entrap the victim to do his bid, but also trivialises the deadly crime scheme as a game of wits in order to boost his ego towards committing more crimes. This popular modern attitude, wh

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Ulrich, Lara, and David Gill. "The Tricksters Speak: Klooscap and Wesakechak, Indigenous Law, and the New Brunswick Land Use Negotiation." McGill Law Journal 61, no. 4 (2016): 979–1014. http://dx.doi.org/10.7202/1038494ar.

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In 2015, the University of New Brunswick hosted the Kawaskimhon Talking Circle Moot. The moot problem was based on the case of Buctouche First Nation v. New Brunswick. The applicant First Nation applied to the courts for an injunction opposing the New Brunswick government’s forest strategy. The forest strategy increased the annual harvesting of softwood timber while reducing the area of Crown-protected conservation forest. Participants were assigned clients and asked to represent these clients’ interests and perspectives. This article presents the argument made on behalf of the Council of Trad

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Monsma, Bradley John. ""Active Readers . . . Observe Tricksters": Trickster Texts and Cross-Cultural Reading." Modern Language Studies 26, no. 4 (1996): 83. http://dx.doi.org/10.2307/3195326.

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Rios Silva, Monaliza. "Tecendo Tricksters: Multivocalização Narrativa e Animalização em The Antelope Wife, de Louise Erdrich." Revista Ártemis 28, no. 1 (2019): 52–72. http://dx.doi.org/10.22478/ufpb.1807-8214.2019v28n1.49883.

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Esta pesquisa tem o intuito de investigar a categoria trickster e suas possibilidades de agenciamento no romance da nativo-americana Louise Erdrich, The Antelope Wife (1998). Baseamos nossas epistemes, fundamentalmente, em aparatos teórico-filosóficos que discutem o lugar de nativo-americanas/os e a decolonialidade, em autoras/es como: Cunha (2014); Gates Jr. (1988); Vizenor (1990) e Schneider (2001). Percebemos formas diferentes de tricksters no referido romance que agenciam relações de poder, ora subvertendo-as, ora transgredindo-as. Em The Antelope Wife, a storytelling, evidenciada no discu

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Spinks, C. Williams. "La danza del trickster." Tópicos del Seminario 2, no. 10 (2016): 157–74. http://dx.doi.org/10.35494/topsem.2003.2.10.362.

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Barbara Badcock-Abrahams nos dice que "ninguna figura en la literatura, oral o escrita, nos desconcierta tanto como el trickster." (1975: 147). Cuando se considera la figura del trickster como cualquier otro personaje en la narrativa mítica o como un motivo dentro del folklore, su origen a menudo indeterminado, su forma encarnada, su carácter ambiguo, y su comportamiento marginal, nos conduce a la risa y a la confusión. El carácter indiferenciado del trickster nos comunica mensajes mezclados; la figura del trickster nos obliga a mirar una y otra vez hacia un modelo múltiple y en una trayectori

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27

Anderson, Myrdene. "Pricking Trickster." American Journal of Semiotics 14, no. 1 (1997): 216–21. http://dx.doi.org/10.5840/ajs1998141/416.

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Vizenor, Gerald. "Trickster Discourse." Wicazo Sa Review 5, no. 1 (1989): 2. http://dx.doi.org/10.2307/1409216.

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Duck Chan WOO. "Trickster Travels." Journal of Mediterranean Area Studies 13, no. 1 (2011): 275–79. http://dx.doi.org/10.18218/jmas.2011.13.1.275.

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Snider, Clifton. "Victorian Trickster." Psychological Perspectives 24, no. 1 (1991): 90–110. http://dx.doi.org/10.1080/00332929108408896.

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Vizenor, Gerald. "Trickster Discourse." American Indian Quarterly 14, no. 3 (1990): 277. http://dx.doi.org/10.2307/1185655.

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32

Carlson, David J. "Trickster Today." American Book Review 38, no. 1 (2016): 8–9. http://dx.doi.org/10.1353/abr.2016.0141.

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Ortiz, Janine. "Trickster Jesus." Theater heute 63, Jahrbuch (2022): 159–60. http://dx.doi.org/10.5771/0040-5507-2022-jahrbuch-159.

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Turchyna, Mariia. "The archetype of the trickster and its embodiment in the artistic images of Goat and Malanka (on the example of the oratorio of Hanna Havrylets «Barbivska Kolyada»)." Culturology Ideas, no. 22 (2'2022) (2022): 102–11. http://dx.doi.org/10.37627/2311-9489-22-2022-2.102-111.

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The article analyzes the archetype of the trickster and its embodiment in the artistic images of Goat and Malanka in the oratorio «Barbivska Kolyada» by the modern Ukrainian composer H. Havrylets. The etymology of the concept of «trickster» and its meaning in both archaic mythological thinking and modern culture are considered. The archetype of the trickster has been found to be reflected in human consciousness and folklore through archetypal images of the trickster and the cultural hero, which can exist both syncretically and separately. The history of the oratorio of Hanna Havrylets «Barbivs

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Tarnowska, Balbina. "Mit tricksterski i jego ślady u Schulza." Schulz/Forum, no. 19-20 (October 18, 2022): 171–87. http://dx.doi.org/10.26881/sf.2022.19-20.09.

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Paul Radin in his classic book dedicated to the trickster in Native American cultures pointed out that this mythical figure appears in cultures all over the world. This “jester’s ancestor,” as Monika Sznajderman named him in her monograph Jester. Masks and Metaphors, is called conjurer, “divine rascal”, and cheater. The trickster is known in various mythologies, so he might be present also in the private mythology of Schulz. The first part of the article is an attempt to compare the father from Schulz’s stories with the trickster. My purpose is not to insist that Jakub = trickster, but to show

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Terentyev, V. I. "The last trickster of Siberian ethnography (to the 70th anniversary of Valery Makarovich Kimeev)." Herald of Omsk University. Series: Historical studies 9, no. 4 (36) (2022): 300–309. http://dx.doi.org/10.24147/2312-1300.2022.9(4).300-309.

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This article discusses life and work of Valery Makarovich Kimeev - one of the most prominent Siberian ethnographers, Doctor of Historical Sciences, Associate Professor at the Department of Archaeology of KemSU, in connection with his 70th birthday, which was to be held in October 2022. The article also attempts to identify trickster features in the creative, scientific and social life of the famous Siberian scientist. The trickster is the archetype of the frontier plane, teetering on the thin line that separates productive creation from negative destruction. The trickster is an unpredictable,

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Mohamad Permana, Rangga Saptya, Elis Suryani Nani Sumarlina, and Undang Ahmad Darsa. "KABAYAN, SANG TRICKSTER SUNDA: ANTARA HUMOR DAN KRITIK." KABUYUTAN 2, no. 2 (2023): 105–14. http://dx.doi.org/10.61296/kabuyutan.v2i2.163.

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Kisah Trickster, dalam tradisi lisan di seluruh dunia, adalah sebuah cerita yang menampilkan seorang protagonis yang memiliki kekuatan magis dan dicirikan sebagai ringkasan dari hal-hal yang berlawanan. Genre cerita rakyat Trickster muncul dalam beberapa bentuk di setiap budaya, termasuk di Indonesia, khususnya di masyarakat Sunda, lewat sosok Kabayan. Kabayan merupakan sosok yang bisa dititipi pesan, tergantung dari tujuan, motivasi dan misi pengarangnya. Dalam setiap dongengnya, Kabayan tidak pernah lepas dari unsur humor dan beberapa pencipta memasukkan unsur-unsur kritik dalam nuansa humor

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Pereira Gimenez, Luna. "Feminismos junguianos e a mulher trickster pós-moderna." JUNGUIANA 43 (May 30, 2025): 1–9. https://doi.org/10.70435/junguiana.v43.106.

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O artigo tem como objetivo tratar das questões acerca da mulher pós-moderna sob uma perspectiva pós-junguiana e contemporânea, abordando o conceito arquetípico de trickster. Para tanto, a teoria junguiana é abordada de forma crítica com a intencionalidade de produzir conhecimento atual e coerente com as necessidades contemporâneas. Como norteadoras desta reflexão, algumas perguntas foram feitas: a energia arquetípica trickster se manifesta de forma específica na mulher? O que denunciaria a atitude da mulher como trickster? O que a imaginação da mulher trickster produziu e continua produzindo?

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Sadauskienė, Akvilė. "(Ne)egzistuojanti triksterystė, vešanti suktybė, klasta ir pinklės: triksterio bruožų paieškos tradicinėje lietuvių kultūroje." Res Humanitariae 32, no. 1 (2025): 26–45. https://doi.org/10.15181/rh.v32i0.2685.

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The article searches for manifestations of the trickster phenomenon in Lithuanian folklore and folk customs, trying to investigate whether Lithuanian trickster traits are observed in folk culture, and what names they could be given. The search for an image that is well known to cultural researchers in the West in ‘one’s own’ Lithuanian culture opens up opportunities for a broader analysis and understanding of traditional culture. The study reveals a wide variety of destructive, mischievous, joking or even harmful figures in folk tales and stories, calendar feasts and work customs, which do not

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Turchyna, Mariia. "Transformation of the archetype of the trickster in contemporary Ukrainian art: on the example of the image of Hamlet." UKRAINIAN CULTURAL STUDIES, no. 2 (11) (2022): 43–47. http://dx.doi.org/10.17721/ucs.2022.2(11).08.

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The article analyses the transformation of the archetype of the trickster in contemporary Ukrainian art on the example of the image of Hamlet. The concepts of "trickster", "culture hero" and "hero of culture", their meaning in archaic mythology and modern culture are considered. It was found that the archetype of the trickster is reflected in art through archetypal images – the trickster, a culture hero, which can exist both syncretically and separately. The common and distinctive features of the culture hero and hero of culture have been determined. At the end of the 20th century, the functio

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N.M., Vitvitska, and Yesypenko N. H. "Lexical and Grammatical Features of Direct Speech of the Trickster-Character in Fiction Discourse (Based on the Material of Neil Gaiman's Collection "Scandinavian Mythology")." Studia Philologica, no. 21 (2023): 46–56. http://dx.doi.org/10.28925/2311-2425.2023.214.

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The article is devoted to the analysis of lexical and grammatical features of direct speech of a trickster character in literary discourse. The material for the study was taken from Neil Gaiman's collection of short stories "Scandinavian Mythology". This article includes an analysis of previous studies with the aim of forming the theoretical basis for studying the direct speech of a trickster character, analysis of lexical and grammatical constructions used in the character's direct speech, consideration of the results obtained and drawing conclusions. The subject of the article is the lexical

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Geist, Ingrid. "Trickster huichoI. Una aproximación antropológica y semiótica." Tópicos del Seminario 2, no. 10 (2016): 125–56. http://dx.doi.org/10.35494/topsem.2003.2.10.359.

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El trickster (embaucador, timador o estafador) aparece como figura mítica en un gran número de culturas. El trabajo ofrece una revisión de algunas de las obras más destacadas en antropología en tomo a este ser de la ambivalencia y de la ambigüedad, haciendo énfasis en los planteamientos que se aproximan a un entendimiento semiótico. Se considera ahí esencial la afirmación de Paul Radin de que el trickster es un ser incoativo de proporciones indeterminadas que guarda dentro de sí la promesa de diferenciación, lo cual se busca ilustrar con datos etnográficos del propio trabajo de campo de la aut

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BUKINA, Nataliia. "TRICKSTER ARCHETYPE IN MODERN MEDIA CULTURE: SHOWIZATION AND DEMONISM." 6, no. 6 (December 9, 2021): 39–60. http://dx.doi.org/10.26565/2521-6481-2021-6-02.

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The paper is devoted to the study of the Trickster archetype in modern media culture. The attention is focused on certain literary texts – the literary heritage of the world (“The Golden House” by S. Rushdie) and Ukraine (“The Black Raven” by V. Shkliar), movies (“Joker” (2019) by Todd Phillips), the personalities of political elite (Donald Trump, V. Zelensky, Prankster Joker, etc.) and others, who made the Trickster archetype one of the key archetypes in the modern world and Ukrainian media space as well as in everyday life. For instance, in Shkliar’s novel “The Outcast. The Black Raven” – th

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Laws, Megan. ""You’re a Trickster”." Social Analysis 63, no. 1 (2019): 1–21. http://dx.doi.org/10.3167/sa.2019.630102.

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The trickster has held a prominent place in the study of folklore, as much as it has been central to anthropological understandings of egalitarianism. In both, the trickster embodies an insoluble tension between the repressed, amoral desires of the individual and the moral demands of social life. This tension, so it goes, is visible in the ambiguity of the figure—a protean indeterminate being, neither good nor bad. Among the Jú|’hoànsi of northeastern Namibia, the trickster is similarly ambiguous. The figure conveys not a clash of values, but rather the doubt and uncertainty people feel toward

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Skaggs, Steven. "A Typographic Trickster." American Journal of Semiotics 14, no. 1 (1997): 166–89. http://dx.doi.org/10.5840/ajs1998141/413.

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Dupree, Robert. "Calvino’s Cosmic Trickster." American Journal of Semiotics 14, no. 1 (1997): 34–47. http://dx.doi.org/10.5840/ajs1998141/45.

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Coleman, Gabriella. "The anthropological trickster." HAU: Journal of Ethnographic Theory 5, no. 2 (2015): 399–407. http://dx.doi.org/10.14318/hau5.2.024.

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Opland, Jeff, and Patrick McAllister. "The Xhosaimbongias trickster." Journal of African Cultural Studies 22, no. 2 (2010): 157–67. http://dx.doi.org/10.1080/13696815.2010.491409.

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Grindal, Bruce. "Borat as Trickster." Anthropology News 48, no. 3 (2007): 4. http://dx.doi.org/10.1525/an.2007.48.3.4.

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Pilatto Gonçalves, Melaine. "Palhaço e Trickster." ouvirOUver 15, no. 2 (2020): 436–44. http://dx.doi.org/10.14393/ouv-v15n2a2019-48951.

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Neste artigo busco estender a visão de jogo para além da infância. O jogo aqui é visto como espaço para o encontro com o outro e consigo mesmo. Para isto busco compreensões na psicologia e nos estudos da performance. Ao trazer para o território teatral relaciono o jogar com o arquétipo do Trickster, a palhaçaria e o encontro promovido ao assistir o espectáculo Provisoriamente não cantaremos o amor, da Cia Traço.

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