From Many Gods to One

Gregory, Tobias

doi:10.7208/chicago/9780226307565.001.0001

Cited by 30 publications

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“…Anansi, the African spider is considered the trickster or God of mischief, and originated in African folklore, it could be found in different forms in American and Caribbean mythology due to the slave trade. Anansi is known for both -playing tricks and being tricked, and thus, in most cases, his pranks lead to getting punished by the victims as a matter of revenge Gregory (2022). Iktómi (also alternatively known as Ikto/ Ictinike/ Inktomi/ Unktome/ Unktomi) is considered a trickster spirit in Lakota mythology and it is in spider form and seen as a cultural hero for the people.…”

Section: Trickster Gods In World Mythology and Folkloric Materials Etcmentioning

confidence: 99%

Opportunistic Dexterity or Flexible Intelligence?: Contemplating the Nature of Ambivalence Intrinsic to Trickster Archetype Figures in Tribal Folktales of Jharkhand

M.,

Pallavi

2023

ShodhKosh J. Vis. Per. Arts

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Trickster figures are absolutely universal and they are creations of human collective unconsciousness. And advantageously as well disadvantageously they are not defined (confined) by any single characteristics as they are multifaceted entities, multiform beings and polytropos, with the accumulation of different qualities/features (such as ‘astuteness’, ‘ambivalence’, ‘wit’, ‘clever’, ‘cunning’, ‘tricky’, ‘creative falsehood’, ‘deceitful’ or ‘camouflage’, ‘clown’, ‘coward’, ‘cheat’, ‘humorous’, ‘brave’, etc.) and different forms (gods, demons, humans, animals), depending on the nature and requirement of the narrative programmes. Apart from being the fictional archfigures found in world mythology, folkloric materials and popular culture, the everyday social life of people is filled with the experiences of real tricksters, socially recognized antics of persons who enjoy mixed attributes of cleverness (i.e., good and bad), complementary to the logical rationality and being part of the periphery of their communities and not outside of the communities. Unlike mythological tricksters who are gods, demons, spirits and other supernatural beings, some of them are even known for having voracious appetites for food and bodily pleasure apart from being shape-shifters, rebellious and supreme boundary-crossers, their counterparts in folktales are simple, comprehensible, deliberate violators of social rules and norms, and cultural as well natural. A vast amount of trickster folktales is available in almost all languages across India. However, this study picks a few folktales from the tribal communities of Jharkhand, and the ‘tribal folktales’ is used as a category, a unit for analysis or a semiosphere to investigate the nature and interconnectedness of various elements associated with the trickster folktales. Grouped under four themes based on the actions of the protagonists or antagonists, this study proceeds to construct the nature and availability of oxymoronic figures as fundamental interdependent elements of these tales. This study reveals that the tribal tales have effectively utilized trickster characters to project the concept of altruism, along with the reflection of local culture and their critical interventions. It also highlights the facts that the trickster figures in these tales bring together two opposite worlds for different purposes through border-crossing which is a common phenomenon as far as the tribal trickster folktales are concerned, and it also reflects their worldview of coexistence attitude and perceiving them as an integral part of the ecosystem. Further, this study implies an essential point that the tricksters found in these tribal folktales perform as semiotic generators who mediate between opposites to allow a kind of cultural articulation of different cultural relationships, evaluate their contradictions and renew their moral and ethical values which are essential for the constitution and dissemination of their behaviour. Finally, this study promises to draw a brief sketch of the nature of tricksters and their social function and also unfolds the reason for the speculation that the tricksters are not enjoying heroic admiration and esteem despite their marvellous and altruistic heroic deeds.

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Section: Trickster Gods In World Mythology and Folkloric Materials Etcmentioning

confidence: 99%

Opportunistic Dexterity or Flexible Intelligence?: Contemplating the Nature of Ambivalence Intrinsic to Trickster Archetype Figures in Tribal Folktales of Jharkhand

M.,

Pallavi

2023

ShodhKosh J. Vis. Per. Arts

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“…Este retrato está en línea con las epopeyas del Renacimiento, como El paraíso perdido, que suponía la existencia de un único Dios verdadero, cuyas acciones y motivos eran a menudo inescrutables. 32 Dado que la premisa central de la serie descansa en el conflicto maniqueo entre el bien y el mal y que el programa explora directamente la cristianidad, uno puede inferir que el Dios cristiano es la fuente.…”

Section: Los Agentes De Control Y La Manipulación Autoralunclassified

Visiones proféticas, series de calidad, el nuevo modo de contar historias de Twin Peaks

Skoptsov¹

2018

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Tras el debut de Twin Peaks en la ABC en abril de 1990, la visión —una secuencia de imágenes que relacionan información del futuro o el pasado de la narración— se ha hecho un producto de primera necesidad de muchas series de cadenas de cable básicas y premium, incluyendo Buffy, la cazavampiros (WB), Battlestar Galactica (SyFy) y Juego de tronos (HBO). Este artículo argumenta que Twin Peaks, en efecto, ha introducido un modo de contar historias llamado “visionarración”, que se basa en la antigua poesía épica al enfocarse en los principales personajes que reciben conocimiento de figuras enigmáticas, parecidas a dioses, que controlan su mundo. Sus visiones rompen la narración lineal, permitiendo que una serie asuma los aspectos formales del medio y cree la impresión de que sus dispares episodios constituyen un todo único. Esto los ayuda a calificar como “televisión de calidad”, al tiempo que disfrazan ejemplos de manipulación autoral evidente dentro de los textos como productos de la divina causalidad interna. Consecuentemente, todos los incidentes narrativos, sin importar qué tan coincidentes o irrelevantes sean, pasan a ser parte de un gran diseño. Un examen detallado de Twin Peaks y Carnivàle demostrará cómo opera este modo, por qué su popularidad entre los contadores de historias modernos y cómo elevar el estatus cultural del programa.

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Milton,John

Gregory¹

2017

The Encyclopedia of English Renaissance Literature

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John Milton (1608–74) was born in London on 9 December 1608. His father John was a scrivener (preparer of legal documents), moneylender, and accomplished amateur musician; of his mother Sara little is known. The young Milton was educated by private tutors and at St Paul's School. He entered Christ's College, Cambridge in 1625, receiving his BA in 1629 and his MA in 1632. After Cambridge, Milton spent the next six years living with his parents. In this period he read deeply in the classics and composed his first major poems, the masque Comus in 1634, and the pastoral elegy Lycidas in 1637. In 1638–39 Milton toured the Continent for 15 months, including stays in Florence, Rome, Naples, and Venice. He and his Latin verses were well received in Florentine literary circles; he also met Hugo Grotius in Paris, Cardinal Francesco Barberini in Rome, and Torquato Tasso's former patron G. B. Manso in Naples. Upon his return to London in the autumn of 1639, Milton became schoolmaster to a small number of pupils, including his two nephews. Shortly thereafter he wrote the first of his polemical works, five fervently anti‐episcopal tracts published in 1641–42.

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From Many Gods to One

Cited by 30 publications

References 0 publications

Opportunistic Dexterity or Flexible Intelligence?: Contemplating the Nature of Ambivalence Intrinsic to Trickster Archetype Figures in Tribal Folktales of Jharkhand

Opportunistic Dexterity or Flexible Intelligence?: Contemplating the Nature of Ambivalence Intrinsic to Trickster Archetype Figures in Tribal Folktales of Jharkhand

Visiones proféticas, series de calidad, el nuevo modo de contar historias de Twin Peaks

Milton,John

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