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The trickster character is prominent in the cultural, particularly narrative, traditions of many different peoples throughout the world. Comic and serious, stupid and clever, benevolent and evil, winner and loser, the trickster is a study in contradictions. The trickster cannot be pigeonholed, for he does not fit into any neat categories or definitions. This study, first published in 1994, aims to give the reader the opportunity to experience in some small measure the dynamic and exciting dramatic oral narrative performances of the Ewe people of West Africa.

Ewe (African people) --- Tricksters --- Oral tradition --- Tales

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Heroes in literature. --- Heroes --- Tricksters in literature. --- Tricksters --- Heroism --- Persons --- Antiheroes --- Apotheosis --- Courage --- Trickster in literature --- Trickster --- Folklore --- Magicians --- Swindlers and swindling --- Folklore. --- Heroes in literature --- Tricksters in literature --- 82.04 --- 82.04 Literaire thema's --- Literaire thema's

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The trickster appears in the myths and folktales of nearly every traditional society. Robert Pelton examines Ashanti, Fon, Yoruba, and Dogon trickster-figures in their social and mythical contexts and in light of contemporary thought, exploring the way the trickster links animality and ritual transformation; culture, sex, and laughter; cosmic process and personal history; divination and social change.

Tricksters --- Folklore --- Africa, West --- Religious life and customs --- Contes --- Personnages --- Personnages. --- Folklore - Africa, West --- Tricksters - Africa, West --- Africa, West - Religious life and customs

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Thematology --- West, Nathanael --- Twain, Mark --- Melville, Herman --- American fiction --- Deception in literature. --- Swindlers and swindling in literature. --- Tricksters in literature. --- History and criticism. --- Deception in literature --- Swindlers and swindling in literature --- Tricksters in literature --- Trickster in literature --- History and criticism

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The impetus for Charms of the Cynical Reason is the phenomenal and little-explored popularity of various tricksters flourishing in official and unofficial Soviet culture, as well as in the post-soviet era. Mark Lipovetsky interprets this puzzling phenomenon through analysis of the most remarkable and fascinating literary and cinematic images of soviet and post-soviet tricksters, including such "cultural idioms" as Ostap Bender, Buratino, Vasilii Tyorkin, Shtirlitz, and others. The steadily increasing charisma of Soviet tricksters from the 1920's to the 2000's is indicative of at least two fundamental features of both the soviet and post-soviet societies. First, tricksters reflect the constant presence of irresolvable contradictions and yawning gaps within the soviet (as well as post-soviet) social universe. Secondly, these characters epitomize the realm of cynical culture thus far unrecognized in Russian studies. Soviet tricksters present survival in a cynical, contradictory and inadequate world, not as a necessity, but as a field for creativity, play, and freedom. Through an analysis of the representation of tricksters in soviet and post-soviet culture, Lipovetsky attempts to draw a virtual map of the soviet and post-soviet cynical reason: to identify its symbols, discourses, contradictions, and by these means its historical development from the 1920's to the 2000's.

Russian fiction --- Tricksters in literature. --- Tricksters in motion pictures. --- Trickster in literature --- Tricksters --- Motion pictures --- Literature and society --- History and criticism. --- History. --- History --- Literature --- Literature and sociology --- Society and literature --- Sociology and literature --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Social aspects --- History and criticism --- Popular culture --- Popular culture. --- Tricksters. --- 1900-1999. --- Russia (Federation). --- Soviet Union. --- Sociolinguistics --- Audio-visual materials --- Mass media --- Performing arts --- literature --- Soviet culture