A Comparative Study of the Chinese Trickster Hero Sun Wukong

Sun Wukong is a fictional hero from the Chinese classic The Journey to the West. As a well-known trickster, Wukong has a lot of similarities with several other tricksters around the world. In order to analyze him, I try to explain both his similarities with, and differences from, other tricksters, especially in the Ancient Greek folklore and myth traditions. The first half of the paper focuses on the general characteristics of tricksters. As a very distinctive group in global mythology, tricksters have particular features. The definition and symbolization of tricksters are illustrated by comparing Wukong and major Greek tricksters, such as Hermes, Odysseus, and Prometheus. The second part of the paper is concentrated on the heroic features of tricksters and the cultural values reflected in the Wukong narrative. How tricksters become cultural heroes is the main theme of Chapter Three. I explain their evolution by elaborating on the change in their nature mentioned in the second chapter. The fourth chapter illustrates the reason why Wukong is an East Asian cultural hero.I explore the personalities of Wukong and see how they fit the dominant philosophy and cultural values of the region. The last chapter briefly shows how popular Wukong is in Chinese and the entire East Asian culture.

O trickster como personificação de uma práxis

O texto procura estabelecer uma correlação entre as necessidades decorrentes do modo cinegético de produção (ou de punçõo ) no que se refere à percepção e às práticas de reposição negativa da natureza, e a idealização da figura do trickster.

O Trickster na escola: um estudo sobre a função educativa do mito

Pós-graduação em Educação Escolar - FCLAR

Reclaiming Indigenous Narratives through Critical Discourses and the Autonomy of the Trickster

How do prevailing narratives about Native Americans, particularly in the medium of film, conspire to promote the perspective of the dominant culture? What makes the appropriation of Indigenous images so metaphorically popular? In the past hundred years, little has changed in the forms of representation favored by Hollywood. The introductory chapter elucidates the problem and outlines the scope of this study. As each subsequent chapter makes clear, the problem is as relevant today as it has been throughout the entire course of filmic history. Chapter Two analyzes representational trends and defines each decade according to its favorite stereotype. The binary of the bloodthirsty savage is just as prevalent as it was during the 1920s and 30s. The same holds true for the drunken scapegoat and the exotic maiden, which made their cinematic debuts in the 1940s and 50s. But Hollywood has added new types as well. The visionary peacemaker and environmental activist have also made an appearance within the last forty years. What matters most is not the realism of these images, but rather the purposes to which they can be put toward validating whatever concerns the majority filmmakers wish to promote. Whether naïvely or not, such representations continue to evacuate Indigenous agency to the advantage of the majority. A brief historical overview confirms this legacy. Various disciplines have sought to interrogate this problem. Chapter three investigates the field of postcolonial studies, which makes inquiry into the various ways these narratives are produced, marketed, and consumed. It also raises the key questions of for whom, and by whom, these narratives are constructed. Additional consideration is given to their value as commodities in the mass marketplace. Typically the products of a boutique-multiculturalism, their storylines are apt to promote the prevailing point of view. Critical theory provides a foundational framework for chapter four. What is the blockbuster formula and how do the instruments of capital promote it? Concepts such as culture industry and repressive tolerance examine both the function and form of the master narrative, as well as its use to control the avenues of dissent. Moreover, the public sphere and its diminishment highlight the challenges inherent in the widespread promotion of an alternative set of narratives. Nonetheless, challenges to prevailing narratives do exist, particularly in the form of Trickster narratives. Often subject to persistent misrecognition, the Trickster demonstrates a potent form of agency that undeniably dismantles the hegemony of Western cinema. The final chapter examines some of the Trickster's more subtle and obscure productions. Usually subjugated to the realm of the mystical, rather than the mythical, these misinterpreted forms have the power to speak in circles around a majority audience. Intended for an Other audience, they are coded in a language that delivers a type of direction through indirection, promoting a poignant agency all their own.

Il trickster del folklore bulgaro Hitar Petar. Traduzione della prefazione e di alcuni aneddoti della raccolta Hitǎr Petǎr di Veličko Vǎlčev.

L’oggetto dell’elaborato è la proposta di traduzione della prefazione e di alcuni aneddoti della raccolta Hitǎr Petǎr dell’autore bulgaro Veličko Vǎlčev. Hitar Petar è un personaggio del folklore bulgaro molto popolare e i suoi aneddoti sono ambientati nel territorio dell’attuale Bulgaria durante l’occupazione ottomana. Con i suoi scherzi e i suoi inganni, diretti soprattutto agli esponenti del potere politico e spirituale della sua epoca, Hitar Petar sfida e sovverte l’ordine sociale vigente e le sue gesta lo rendono un simbolo dell’identità bulgara contro l’oppressione straniera e non solo. L’elaborato è strutturato in tre capitoli. Nel primo si presentano l’opera di Veličko Vǎlčev, il protagonista Hitar Petar, con un focus sulle caratteristiche che lo hanno reso un trickster di grande fama e sul genere letterario degli aneddoti di cui è protagonista. Nel secondo capitolo si introducono i testi selezionati e si presenta la proposta di traduzione. Infine, nel terzo capitolo, si descrive il percorso traduttivo a partire dall’approccio e dalle risorse utilizzate, si approfondiscono le scelte di resa dei nomi parlanti, le peculiarità stilistiche dei testi selezionati e la risoluzione di alcuni problemi traduttivi.

Paradigm shifters : tricksters and cultural science

This paper seeks to link anthropological and economic treatments of the process of innovation and change, not only within a given ‘complex system’ (e.g. a cosmology; an industry) but also between systems (e.g. cultural and economic systems; but also divine and human systems). The role of the ‘Go-Between’ is considered, both in the anthropological figure of the Trickster (Hyde 1998) and in the Schumpeterian entrepreneur. Both figures parlay appetite (economic wants) into meaning (cultural signs). Both practice a form of creativity based on deception, ‘creative destruction’; renewal by disruption and needs-must adaptation. The disciplinary purpose of the paper is to try to bridge two otherwise disconnected domains – cultural studies and evolutionary economics – by showing that the traditional methods of the humanities (e.g. anthropological, textual and historical analysis) have explanatory force in the context of economic actions and complex-system evolutionary dynamics. The objective is to understand creative innovation as a general cultural attribute rather than one restricted only to accredited experts such as artists; thus to theorise creativity as a form of emergence for dynamic adaptive systems. In this context, change is led by ‘paradigm shifters’ – tricksters and entrepreneurs who create new meanings out of the clash of difference, including the clash of mutually untranslatable communication systems (language, media, culture).

Lokia etsimässä : Viisi teoriaa muinaisskandinaavisen Lokin hahmosta

Loki on muinaisskandinaavisen mytologian monimutkaisimpia hahmoja. Keskiaikaiset lähteet Lokista ovat runo- ja Snorrin Edda sekä skaldirunot. Moderneja kansansanontoja on myös käytetty tutkimuksessa Lokin hahmosta, mutta osa tutkijoista vastustaa niiden käyttöä ajallisen ja usein maantieteellisen eroavaisuuden takia verrattuna keskiaikaiseen Lokiin. Analysoimalla Axel Olrikin, Hilding Celanderin, Jan de Vriesin, Georges Dumézilin sekä Anna Birgitta Roothin teorioita Lokista selvitän, minkälaiset teoreettiset lähtökohdat Lokin hahmon tutkimuksesta ovat vallinneet 1900-luvulla ja miten he ovat käyttäneet keskiaikaisia ja moderneja lähteitä. Lisäksi tarkastelen sitä, miten näiden tutkijoiden teoriat ovat vaikuttaneet uudempaan tutkimukseen Lokista. Metodinani käytän systemaattista analyysia. Olrik lähestyi Lokin hahmoa maantieteellis-historiallisen metodin kautta jaotellen myytit Lokista joko Odinn-Loki- tai Thorr-Loki-ryhmään. Hänen johtopäätöstensä perusteella Loki on lähtökohtaisesti Prometheus-tyypin hahmo, joka on ensin yhdistetty Thorriin ja myöhemmin Odinniin. Celanderin mukaan Loki on alun perin haltija, ja hän lähestyy aineistoaan Lokin nimestä tehtyjen etymologisten johtopäätösten kautta yhdistäen teoriaansa moderneja luonnonilmiöihin liittyviä sanontoja. de Vries käyttää metodinaan filologista menetelmää ja hän näkee Lokissa kulttuuriheeroksen ja tricksterin. Dumézilin näkemyksen pohjana on hänen teoriansa kolmiosaisesta indoeurooppalaisesta yhteisöstä. Dumézil vertaa Lokia kaukasuslaiseen Syrdon-hahmoon löytäen näiden väliltä useita yhtäläisyyksiä. Rooth pyrkii löytämään mahdollisimman alkuperäisen Lokin hahmon karsimalla myyteistä muualta tulleet vaikutteet. Hänen mukaansa Loki on ollut alun perin hämähäkin hahmoinen trickster, josta olisi jäänyt merkkejä kansanperinteeseen. Johtopäätöksenäni totean, että Lokin tutkimukseen ovat vaikuttaneet ainakin diffusionistinen metodi, filologinen ja strukturalistinen lähestymistapa sekä varhaisemmat 1800-luvun teoriat kuten Frazerin ja Müllerin uskontoteoriat. Keskiaikaisista lähteistä Snorrin Eddan luotettavuudesta on syntynyt eniten keskustelua, etenkin Baldr-myytin tulkinnan kannalta. Sen sijaan skaldirunojen ja runo-Eddan luotettavuutta ei ole kyseenalaistettu yhtä useasti. Modernien lähteiden luotettavuudesta tutkijat eivät ole päässeet yksimielisyyteen. Myöhempään tutkimukseen on vaikuttanut erityisesti käsitys Lokista tricksterinä. Celanderin ja Roothin etymologinen lähestymistapa on osaltaan vaikuttanut uudempaan tutkimukseen ja tulkintaan Lokista abstraktina hahmona, kuten myös de Vriesin kriittisyys moderneja lähteitä kohtaan. Dumézilin teorian vaikea soveltuvuus trickster-hahmojen tulkitaan on vähentänyt viittauksia häneen myöhemmässä Loki-tutkimuksessa eikä Olrikin maantieteellistä jaottelua näe enää uudemmassa tutkimuskirjallisuudessa. Jotkin teemat ovat jääneet vähemmälle huomiolle tutkimuksessa, kuten kenningien eli runollisten metaforien vähäinen liittyminen Lokiin sekä Lokin suhde jättiläisiin. Jatkotutkimuksen kannalta näiden teemojen syventäminen Lokin hahmon ymmärtämisessä olisi aiheellista. Lisäksi tutkimushistorian tuntemusta Lokin tutkimuksessa olisi mahdollista syventää vielä entisestään selvittämällä esimerkiksi kansallissosialistisen ilmapiirin vaikutusta mytologian tutkimuksessa.

Cosmic Clowns : Convention, Invention, and Inversion in the Yaqui Easter Ritual

Cosmic Clowns: Convention, Invention, and Inversion in the Yaqui Easter Ritual is an ethnographic study of masked clown figures called Chapayekas. They represent Judas and the Roman soldiers in the Passion play that forms the narrative core of the Easter ritual of the Yaquis, an indigenous group in Sonora, Mexico. The study looks at how the Chapayeka is created as a ritual figure, how their performance is constructed, and what the part of the clown is in the dynamics of the ritual. The material was gathered over three periods of anthropological fieldwork in Cócorit, Sonora during Easter in 2004, 2006 and 2007. The Chapayeka masks portray foreigners, animals, mythological figures, and even figures from television and movies. They combine two kinds of performance: they perform set, conventional actions, and improvise and invent new ones. This creates dialectics of invention and convention that allow the figure to mediate between the ritual and its context and different kinds of beings within the Yaqui cosmology. The conventional side of their performance is a cycle of death and rebirth that is an inversion of the cycle of Jesus. Through invention, they separate themselves from the other performers and make themselves powerful. Alternation between the two modes enhances that power and brings it into the conventions of the ritual; ultimately the Chapayekas revitalize the entire ritual. The study finds that the clowns are extremely important to the continuity of both ritual and culture, as the combination of continuity and change, convention and invention, is what makes it possible to recreate the conventions of Yaqui culture as powerful and compelling in various contexts. Another factor is the prevalence of dialectical mediation, which relates concepts by defining them against each other as opposites, and makes it possible to cross a boundary while keeping it intact. Clowns embody and create dialectics to mediate boundaries while guarding against relativization, the disappearance of distinctions. The Chapayekas create and constitute boundaries between the self and other, microcosm and macrocosm, sacred and profane. The study argues that all clown and trickster figures are characterized by constantly alternating between invention and convention; this is what connects them to the collective and moral aspect of culture and, at the same time, makes them unpredictable and powerful. It is possible to do justice to the opposed aspects of these ambiguous and paradoxical figures by taking into account the different foundations and contextual effects of the different modes of symbolization.

Representação social dos políticos em uma comunidade

Buscamos com este trabalho investigar a representação social que moradores de comunidades de baixa renda têm em relação aos políticos. A Teoria das Representações Sociais de Moscovici fundamenta o estudo, que conta ainda com o Modelo Estrutural de Abric, conceitos da Lógica Natural de Grize e procedimentos básicos de estatística descritiva para a análise dos dados. O instrumento da pesquisa foi subdividido em quatro partes, dedicadas às coletas de dados de caracterização socioeconômica dos sujeitos, evocações livres a partir do termo indutor "político", respostas às perguntas do questionário semi-aberto e relatos de casos que envolvessem políticos nas entrevistas abertas. Com as evocações, procuramos determinar os prováveis elementos centrais e periféricos da representação social; com as entrevistas, verificamos relações de causalidade entre os temas mais recorrentes nos discursos. Com a análise, as evocações indicaram um núcleo central com elementos que estão consistentemente em torno da noção de "corrupto": "ladrão", "mentiroso" e "safado". A estrutura da representação social parece, a despeito disso, revelar a possibilidade de uma visão embrionária, por parte dos sujeitos, onde os aspectos mais sociais se sobrepõe à percepção mais pessoal e individualista a respeito dos políticos. As respostas ao questionário denotaram interesse e desconhecimento sobre a atividade política, além de um pensamento marcadamente crítico em relação à questão da representatividade: os políticos são vistos como individualistas, defensores de seus próprios interesses e não acessíveis ao eleitor. As entrevistas revelaram seis temas gerais ("são corruptos", "só querem o voto", "fazem falsas promessas", "manipulam as pessoas", "somem depois das eleições" e "não resolvem os problemas") que foram organizados em uma estrutura, formada pelos seus significados articulados entre si como causa ou efeito, para descrição da representação. Esta, parte de uma condição implícita, a corrupção e o individualismo, passa pelas falsas promessas e pela manipulação das pessoas, e termina na incompetência, na não resolução dos problemas.

A Masters Student’s Journey: Trying to Balance Two Eyes of Research

This project is about a reflective research journey taken by a Masters student in the Child and Youth Studies Department at Brock University in St. Catharines Ontario. This journey consisted of a mixed method approach using the qualitative method of autoethnography along with the Indigenous research method of storytelling. The research was done using the concept of two-eyed seeing which consisted of trying to balance the two eyes of research: Indigenous and Western. The Non-Aboriginal researcher not only reflected on her own learning journey but also the lessons she learned from the voices of 48 women from Six Nations of the Grand River Territory. Like the trickster character Coyote, the researcher struggled, stumbled and was transformed by this journey.

Die Alraune als künstliches Geschöpf in der deutschen phantastischen Literatur : Eine Studie zu Achim von Arnim, E.T.A. Hoffmann und Hanns Heinz Ewers

La forme humaine de la racine de la mandragore est sans doute à l’origine de la fascination que cette plante exerce depuis des millénaires. On lui attribue des qualités surnaturelles : entre autres, elle rendrait son propriétaire infiniment riche. Les détails lugubres se rapportant au mythe de la mandragore font d’elle un thème de prédilection pour la littérature fantastique. Le but de ce travail est d’analyser la légende de la mandragore dans trois œuvres de la littérature fantastique allemande (Isabelle d’Égypte (1812) d’Achim von Arnim, Petit Zacharie surnommé Cinabre (1819) d’E.T.A. Hoffmann et Mandragore (1911) de Hanns Heinz Ewers), dans lesquelles ce motif est combiné avec un thème aussi très prisé du genre fantastique : l’homme artificiel. Dans une perspective intertextuelle, j’analyserai comment chaque auteur s’approprie le mythe de la mandragore et représente le personnage-mandragore. Je me concentrerai ensuite sur les nouvelles qualités créées par son statut de créature artificielle et sur la relation de cette dernière avec son créateur. Puis, j’examinerai le rôle du personnage-mandragore dans chacune des œuvres dans son contexte historique. Ainsi, je montrerai que les personnages-mandragores possèdent bel et bien des caractéristiques qui se réfèrent à la légende de la mandragore, mais que leur nature de créature artificielle leur fait endosser dans leur récit un rôle d’antagoniste qui s’apparente à celui du trickster. Finalement, j’expliquerai comment les auteurs utilisent le motif de la mandragore et la littérature fantastique pour dénoncer la corruption, critiquer les partisans des Lumières et créer une atmosphère de décadence qui justifie l’utilisation du thème de la femme fatale.

Exploratory surgery of the female psyche

The thesis explores the visual narrative concerning a journey of empowerment for women. To enable the journey to advance the inquiry is directed into two areas. The first area is female gender, which is argued to be socially constructed and implicit in the marginalisation of women in western society. The second area is ‘feminine authority’, which is gained by developing an understanding and acceptance of the characteristics which have historically been considered as belonging to the feminine. Granting these characteristics agency would recognise their authority and assist in the elevation of the female to a position of equality in western society. Beginning from a feminist position, the research supported the belief that the female is marginalised in western society. It also confirmed the notion that empowerment and authority can be attained by women if they actively pursue the following; • Explore their own psychology beyond the existing socially constructed gender roles. • Develop an understanding of their feminine self by applying Jung's theories on individuation and archetypes. • Expose the underlying patriarchal influence in western epistemology and science by challenging existing deeply held cultural and scientific beliefs and by actively contributing as feminists to the areas of epistemology and science. Archetypal myths of the ‘feminine’ have developed from an androcentric position. They enforce and perpetuate gender imbalance which contributes to the disenfranchisement of women in western society, ‘Individuation’ is a process in which a person explores aspects of themselves to bring forth parts of their unconscious into their conscious mind in an attempt to gain a deeper understanding of themselves. As a consequence the consciousness develops closer links with archetypal memories which assists the exploration. The ‘true feminine’ is the feminine not restricted or defined by the dominant androcentric view. Knowledge of the feminine empowers women to address the marginalisation of the female in western society and assists in the process of gaining female authority. This enquiry also investigated the four stages of female psychological development with regard to patriarchal influences. Of particular importance is the second stage of psychological development where the female identifies with historically perceived inferior characteristics of the female. This is when she rejects her connections with the primacy of female power and her deep connections with nature which were inherited from archaic times. It is at this stage that she absorbs the myths associated with western patriarchal society which effectively disempower her. Western epistemology, with its emphasis on ‘objective’ investigation and empiricism contributes to the support for and promotion of ‘inferior’ female gender. This type of investigation is brought into question when areas of research into primates and human evolutionary theory is shown to develop from an androcentric view. Western knowledge has associations with power and justice and power is commonly associated with dominance. Regard for ‘truth’ and ‘absolute’ can be viewed as key elements in the support for knowledge and its associations with power. Knowledge has historically maintained suppression of individual experience which promotes a universalised account. This suppression of beliefs other than the dominant authority maintains the existing dominant social structure. Foucault's view of the genderised or inscribed body alerts us to areas where dominance, resistance and power play a part in maximising masculine power and control. Gender becomes an instrument of power within the existing patriarchal structure. Gender, knowledge and power are identified as areas obstructing female empowerment. Part 3 of this exegesis examines the imagery which embodies the visual narrative. Particularly, the harlequin image, its historical background and connections with ancient mythology including reference to Jungian psychology. The harlequin image is developed sequentially in the earlier black and white drawings on paper. These drawings contained a female figure which was often placed in juxtaposition with a Venus or goddess image, reference was also made to ‘eve’ and the ‘siren’. These elements provided the framework which enabled the harlequin image to emerge and evolve. The narrative developed with an understanding of the ‘feminine’ aspects of the psyche which resulted in the harlequin acquiring the elevated authority of a goddess. The Harlequin evolved from my need for symbolic representation of the female psyche. It represents contradiction and dualism. It is a composition of opposites, reflects masculine and feminine traits, the dark and light of the conscious and unconscious mind, it houses both comic and sinister elements, is a trickster and menace. The costume, colours and patterns are expressive elements conducive to fragmentation and layering within the composition of the paintings. Jung examined the harlequin in Picasso's paintings. He concluded that as Picasso drew on his inner experiences the harlequin became important as a symbol; it was a pictorial representation from the unconscious psyche. It travelled freely from the conscious to the unconscious and represented the masculine and feminine, chthonian and apollonian. The final painting in the series, a triptych, completes the narrative and stands alone as a salutatory work. It unites the series by combining existing compositional devices and technique while making reference to imagery from previous works, ‘The Three Graces Victorious’, expresses the authority of the feminine. It completes a victorious stage of a journey where the harlequin is empowered by archaic memories and knowledge of the psyche. The feminine is hailed, elevated and venerated. Other elements which assist in expressing the visual narrative are; colour, technique and influence. Colour is explored and its use as an emotive devise in expressionism. Paul Klee's writing on the use of colour and it's symbolic meaning and Julia Kristeva's investigation on colour from a psychoanalytic and semiotic view are also discussed. To indicate influences and connections within my oeuvre, reference is also made to the following: Jasper Johns' for his use of imagery in his ‘Four Seasons’ series with it's reference to a journey of maturation and Louise Bourgeois' work which deals with issues of gender, memories and past journeys. Although ‘The Three Graces Victorious’; the concluding painting for the investigation is celebratory and represents a finality to the thesis, it points to further areas that impede feminine development and need future examination. Reference is made to a continuation of the exploratory journey by plotting the Harlequin/Goddesses future directions. Although the Harlequin/Goddess is empowered with newly acquired authority, her future journey does not need to be bound by mathematics or limited by rationality. She does not require power to dominate or gender structures to subjugate, but requires limitless boundaries and contexts. The Harlequin/Goddess's future journey is not fixed.