Search results

1

On Unruly Text, or Text-Trickster: Leslie Marmon Silko’s Ceremony as Healing

100%

Kocot M.

Text Matters: A Journal of Literature, Theory and Culture

|

2019

|

issue 9

292-315

EN

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

2

Hodża Nasreddin – antybohater w służbie kultury

89%

Ayşen-Kaim A.

Zeszyty Naukowe Uczelni Vistula

|

2015

|

issue 39/2015 Filologia IV

36-47

PL

Niniejszy artykuł ma charakter badawczy, jego celem jest przedstawienie ustnej tradycji anegdotycznej, żywej zarówno w Azji, jak i na Bliskim Wschodzie, która skupia się wokół postaci mądrego głupca. Występuje on w różnych trawestacjach o imieniu Hodża Nasreddin i łączy ludowe poczucie humoru z autoironiczną krytyką społeczną. Po rozpoznaniu specyficznych warunków społeczno-kulturowych, zmiany trybu życia z koczowniczego na osiadły i trudności adaptacyjnych tego procesu, przedstawiono zasięg ich oddziaływania i specyfikę w zależności od lokalnych tendencji. Następnie, po zarysowaniu studium postaci bliskowschodniego żartownisia pod kątem antropologicznym i turkologicznym, przywołane zostały analogiczne postacie bohaterów plebejskich i antybohaterów z kultury anatolijskiej. Jako przedstawiciel tradycji zachodnioeuropejskiej dla celów porównawczych przedstawiony został Dyl Sowizdrzał (niem. Till Eulenspiegel, ang. Owlglass). W pracy wykorzystano przykłady anegdot Hodży Nasreddina, towarzyszące po dziś dzień codziennemu życiu na Bliskim Wschodzie. W studium przypadku wykorzystano prace tureckich folklorystów i antropologów jak Ilhan Başgöz i Mary Douglas.

EN

The article is of the research nature; its aim is to present the spoken anecdotal tradition, vivid both in Asia and in the Middle East, which focuses around the figure of a wise fool. He appears in various travesties under the name of Hodja Nasreddin and combines the folk sense of humour with a selfironic social criticism. Having recognised the specific sociocultural conditions, the change of the lifestyle from the nomadic to the settled one, and the adaptive difficulties of this process, the author presented the scope of their impact and the specificity depending on the local tendencies. Next, having outlined the study of the figure of the Middle East joker from the anthropological and turkological angle, she the referred to similar figures of plebeian heroes and anti-heroes from the Anatolian culture. As the representative of the West European tradition, for the comparative purposes, there is presented Dyl Sowizdrzał (Germ. Till Eulenspiegel, Eng. Owlglass). In her study, the author used examples of the Hodja Nasreddin’s anecdotes, accompanying to this day the everyday life in the Middle East. In the case study, there were used works of Turkish folklorists and anthropologists such as Ilhan Başgöz and Mary Douglas.

3

Les crucifix comiques dans quelques textes du Moyen Age français

89%

Sobczyk A.

Quêtes littéraires

|

2013

|

issue 3

16-23

EN

The presence of the crucifix in comical literature is a special case of an encounter of the sacred and the profane. It appears in several French medieval texts, where it is associated with sexuality or with food, it is treated with familiarity and even casualness, which is not meant to outrage the public, but to make people laugh. The profanation with which we are dealing here has many aspects, depending on whether it can be assigned to a particular personage or to the author, since it is included in the story itself. In the former case, much can be justified by simplicity, but the intentions of the personage do not always seem pure. In the latter case, contrary to expectation, the sacrilege is not necessarily associated with anticlericalism. However, what is the most interesting is the question of the reception of this kind of texts in a profoundly Christian society.

4

Mythic Incantations of American Empire

88%

Ivie R., Giner O.

Res Rhetorica

|

2015

|

vol. 2

|

issue 2

2-15

EN

American empire is sustained by the mythic incantations of rhetorical rituals constituting an attitude of war. The discourse of empire consists of dead metaphors that lend a sense of necessity and inevitability to war by depicting it as rhythmical, timeless, migratory, clean, and heroic. It is a persistent but declining discourse. Its totalizing worldview resists critique, leaving it politically moribund and exposed to transformation by tricksters.

XX

Imperium amerykańskie opiera się na mitycznych zaklęciach i retorycznych rytuałach kreujących obraz wojny. Dyskurs imperium składa się z martwych metafor, które nadają poczucie konieczności i nieuchronności wojny, przedstawiając ją jako rzeczywistość rytmiczną, ponadczasową, nomadyczną, szlachetną i heroiczną. Światopogląd wyrażany w tak natarczywym dyskursie jest odporny na wszelką krytykę, czyniąc go politycznie martwym i narażając na mistyfikacje.

5

Discursive Contexts of Image of an Odysseus‑nostalgic

75%

Фокина С.

Slavia Orientalis

|

2021

|

vol. LXX

|

issue 3

6

Trickster - definicje, stan badań. Rekonesans

71%

Struzik A.

Roczniki Humanistyczne

|

2013

|

vol. 61

|

issue 4: Historia Sztuki

241-251

EN

A trickster, or a deceiver, a cheat, a smart fool, and at the same time a personification of all carnal impulses, is typical of any corner of the world. Heteromorphic, hiding under the figures of people, spirits, magic creatures and animals, he is also not devoid of divine features. His nature is never cognized till the end, and a trickster keeps evolving, revealing ever new faces. He introduces conflict, chaos and destruction, and at the same time he teaches people tricks, gives them a spark of divine fire, helps to cognize and organize the world, and fans the flames of passion. He is a figure known first of all in anthropology, important for interpreting and understanding numerous myths. It is ever more often that his features may be also found in the attitudes of contemporary artists, film heroes and icons of pop-culture. So a trickster may become the key to understanding contemporary culture, including many works of modern art – often controversial, breaking the taboo, eagerly using irony, provocation and immoderation. In the present article the author describes this unusual figure. She mentions various attempts at defining this extremely important cultural archetype, briefly presenting the most important publications devoted to it. Using chosen examples she discusses the presentations of the figure of the trickster in traditional narrations, that is in myths, folklore and folk traditions. She shows how universal he is and emphasizes these features and roles owing to which the trickster assumes the proportions of an icon of our times and becomes an alluring model to be imitated for artists who incessantly, albeit not always consciously, use him in their works.

Refine search results

1 Quêtes littéraires

1 Res Rhetorica

1 Roczniki Humanistyczne

1 Slavia Orientalis

1 Text Matters: A Journal of Literature, Theory and Culture

1 Zeszyty Naukowe Uczelni Vistula

1 Ayşen-Kaim A.

1 Giner O.

1 Ivie R.

1 Kocot M.

1 Sobczyk A.

1 Struzik A.

1 Фокина С.

1 2021

1 2019