Blooms Literary Themes - THE TRICKSTER.pdf - ymerleksi - home

More documents

Recommendations

Info

Kiowa references in, 93, 94, 99 language in, 94, 98 liminality in, 98 mythic/ritual concepts in, 94, 95 Navaho healing ceremonies in, 95–96, 97, 98, 99 Nightway/Night Chant in, 95–96 peyote ceremony in, 95, 96 Pueblo/Santiago myth in, 91–92 subaltern in, 9, 91 “trickster energy” in, 89, 91, 94 vision in, 97 Hughes, Langston, 16 human condition, mythology of the, 101 human identity, 155, 156, 157 human nature, inconsistency in, 21–23, 24, 25–26, 27, 34 “Hunger Artist, A” (Kafka), 101–108 aesthetic performances, 104, 105 art in, 102, 105, 106 asceticism in, 102, 106 martyrdom in, 104–105 negation of art, 105 parables and, 102–103, 107 paradoxical fi gure in, 106 Hyde, Lewis, 92, 164–165, 167, 212 Hynes, Samuel, 68 “On Pincher Martin,” 64 Hynes, William J., 101–102, 105, 109–110, 115 I Iago, xv identity, 155, 156, 157 continuity and, 181, 182, 183 rural communities and, 170 Iliad (Homer), 122, 124–125 Achilles in, 127, 130, 133 fi rst/second parts of, 130 intrigue of, 131 Index 247 time span in, 133 in-between, as tricksters’ realm, 90 Inciarte, Monique Dasche, 209–218 Indian. See Native Americans Indian Killer (Alexie), 10, 11, 17 Inferno (Dante), 48–49, 53 Inheritors, Th e (Golding), 66–67 Invisible Man (Ellison), 20 J Jacaranda Review, 14 Jacob’s Room (Woolf ), 151 Jameson, Frederic, 90 Jernigan, Daniel K., 159–168 Johnson, Samuel, 121 Joyce, James, 64, xv Jung, Carl, 160, 168 Jung as a Writer (Rowland), 168 juxtaposition, 40, 90, 92, 104 K Kafka, Franz, xv, xvi “A Hunger Artist,” 101–108 “On Parables,” 103 Th e Trial, 101 Kemble, E.W., 5, 8 Ker, William Paton, 229 Kerouac, Jack, 18 On the Road, 137–150 Kesey, Ken, 138, 140, 141, 143, 144, 145, 150 Kiekegaard, 33 King, Rosemary, 94 King, Stephen, 11 Kott, Jan, 109 L Le Bossu, René, 121–136 Lévi-Strauss, Claude, 98, 113
248 Lewis, R.W.B., 20, 30, 33, 34 life/death divide, 105, 107 liminality, 98, 101 Lincoln, Kenneth, 9–18 Lindberg, Gary, 137–150 Loki (Nordic giantgod), 69, 234 Lone Ranger and Tonto Fight in Heaven, Th e (Alexie), 13 Lord of the Flies (Golding), 66, 67 Louis, Adrian C. Old Shirts & New Skins, 9–10, 15–16 “Love Song of J. Alfred Prufrock, Th e” (Eliot), 70 Luckert, Karl W., 95 M Mailer, Norman, 11 “Making Smoke” (Alexie), 13 Manly, John, 232 Manzoor, Sohana, 63–76 Marshall, Paule, 178–185 writings of, 178–179 martyrdom, 104–105 masks/masquerades, 19, 26–28, 30–31, 37 laughter as hollow mask, 54–55 Mazzotta, Giuseppe, 37–62 McCarthy, Cormac, 11 McVicker, J.H., 85–86, 87 Means, Russell, 18 Melville, Herman, 30 Confi dence Man, xv, 19–36 contemporaries of, 20 Moby-Dick, 20 review of Hawthorne by, 23–24 Midsummer Night’s Dream, A (Shakespeare), 109–119, 188, 190 anarchy in, 116, 117 archetypal trickster in, 112, 117 Athenians in, 116–117, 118 Index Elizabethans and, 112 romantic confusions in, 114, 115, 116, 117–118 script of, 114, 116–117 mischievousness, 114 Mixon, Wayne, 220–221 Moby-Dick (Melville), 20, 22, 29 Ishmael in, 32 modern literature, central theme of, 74 Momaday, N. Scott, 11, 89–100 Mordred, 234–235 Morrison, Toni, 11, 169–178, 185 Mrs Dalloway (Woolf ), 151, 156 “Much Ado About Nothing” (Shakespeare), 79 multidimensionality, 90 Mysterious Stranger, Th e (Twain), 20 myth critics, 74 mythology Biblical myth of Fall, 66 half-divine trickster in, 101 of the human condition, 101 trickster characters and, 107 of woman as devil, 58 N Naked Angels (Tytell), 144 Native Americans, 89, 90. See also House Made of Dawn Anglo culture and, 98 facts on, 15 Kiowa references, 93, 94, 99 Navaho ceremonies, 95–96, 97, 98, 99 Pueblo people, 91 Raven trickster character of, 234 spirituality of, 93 trickster traits and, 92, 111 writers, 11 Nick Adams, xvi
Page 2 and 3:
Bloom's Literary Th emes f Alienati
Page 4 and 5:
Bloom’s Literary Th emes THE TRIC
Page 6 and 7:
, Contents . Series Introduction by
Page 8:
Contents Th e Tempest (William Shak
Page 11 and 12:
xii Series Introduction by Harold B
Page 14 and 15:
, Volume Introduction by Harold Blo
Page 16 and 17:
THE ADVENTURES OF HUCKLEBERRY FINN
Page 18 and 19:
Th e Adventures of Huckleberry Finn
Page 20 and 21:
Page 22 and 23:
Page 24 and 25:
the Works of sherman alexie ,. “F
Page 26 and 27:
Th e Works of Sherman Alexie 11 Sup
Page 28 and 29:
Th e Works of Sherman Alexie 13 reg
Page 30 and 31:
Th e Works of Sherman Alexie 15 tea
Page 32 and 33:
Th e Works of Sherman Alexie 17 A k
Page 34 and 35:
The ConfidenCe-Man: his Masquerade
Page 36 and 37:
Th e Confi dence-Man: His Masquerad
Page 38 and 39:
Page 40 and 41:
Page 42 and 43:
Page 44 and 45:
Page 46 and 47:
Page 48 and 49:
Page 50 and 51:
Page 52 and 53:
DECAMERON (GIOVANNI BOCCACCIO) ,.
Page 54 and 55:
Decameron 39 commonplace, eludes al
Page 56 and 57:
Decameron 41 mercenary soldier, fal
Page 58 and 59:
Decameron 43 pretends to confi de t
Page 60 and 61:
Decameron 45 general laughter. Cala
Page 62 and 63:
Decameron 47 For the storytellers j
Page 64 and 65:
Decameron 49 alcuni, più gentili c
Page 66 and 67:
Decameron 51 death and is, in this
Page 68 and 69:
Decameron 53 city of Naples is iron
Page 70 and 71:
Decameron 55 Th e Decameron constan
Page 72 and 73:
Decameron 57 9. “Avvegna che, chi
Page 74 and 75:
Decameron 59 20. It may be of inter
Page 76 and 77:
Decameron 61 33. Lynn Th orndike, A
Page 78 and 79:
THE NOVELS OF WILLIAM GOLDING Intro
Page 80 and 81:
Th e Novels of William Golding 65 h
Page 82 and 83:
Th e Novels of William Golding 67 u
Page 84 and 85:
Th e Novels of William Golding 69 B
Page 86 and 87:
Th e Novels of William Golding 71 t
Page 88 and 89:
Th e Novels of William Golding 73 t
Page 90 and 91:
Th e Novels of William Golding 75 I
Page 92 and 93:
haMleT (William shakespeare) ,. “
Page 94 and 95:
Hamlet 79 I picture the old fellow
Page 96 and 97:
Hamlet 81 natural dignity of his tr
Page 98 and 99:
Hamlet 83 the gruesome relics that
Page 100 and 101:
Hamlet 85 Th e dialogue is terminat
Page 102:
Hamlet 87 It appeared that our prop
Page 105 and 106:
90 N. Scott Momaday Th e in-between
Page 107 and 108:
92 N. Scott Momaday (Momaday, HMD,
Page 109 and 110:
94 N. Scott Momaday with grace and
Page 111 and 112:
96 N. Scott Momaday House made of d
Page 113 and 114:
98 N. Scott Momaday fearsome experi
Page 115 and 116:
100 N. Scott Momaday Jones, Peter N
Page 117 and 118:
102 Franz Kafka notes in his deft a
Page 119 and 120:
104 Franz Kafka hunger artist and t
Page 121 and 122:
106 Franz Kafka evoked by the narra
Page 123 and 124:
108 Franz Kafka Kafka, Franz. Th e
Page 125 and 126:
110 William Shakespeare Contours, C
Page 127 and 128:
112 William Shakespeare likeness of
Page 129 and 130:
114 William Shakespeare Th roughout
Page 131 and 132:
116 William Shakespeare the comic c
Page 133 and 134:
118 William Shakespeare he had, iro
Page 136 and 137:
ODYSSEY (HOMER) ,. “A General Vie
Page 138 and 139:
Odyssey 123 without offending again
Page 140 and 141:
Odyssey 125 their own miscarriages.
Page 142 and 143:
Odyssey 127 SECT. V Th e action 7 o
Page 144 and 145:
Odyssey 129 he should have ended il
Page 146 and 147:
Odyssey 131 a passion that begins a
Page 148 and 149:
Odyssey 133 which we only read or h
Page 150 and 151:
Odyssey 135 the rest of the work, w
Page 152 and 153:
ON THE ROAD (JACK KEROUAC) ,. “Fa
Page 154 and 155:
On Th e Road 139 person with extrao
Page 156 and 157:
On Th e Road 141 for limitless spac
Page 158 and 159:
On Th e Road 143 motion.” Whether
Page 160 and 161:
On Th e Road 145 Buddha . . . sator
Page 162 and 163:
On Th e Road 147 the middle of the
Page 164 and 165:
On Th e Road 149 faith when Dean le
Page 166 and 167:
ORLANDO (VIRGINIA WOOLF ) ,. “Wit
Page 168 and 169:
Orlando 153 a rather masculine view
Page 170 and 171:
Orlando 155 the biographer, the len
Page 172 and 173:
Orlando 157 often it is only the cl
Page 174 and 175:
ROSENCRANTZ AND GUILDENSTERN ARE DE
Page 176 and 177:
Rosencrantz and Guildenstern are De
Page 178 and 179:
Page 180 and 181:
Page 182 and 183:
Page 184 and 185:
Tar BaBy (toni morrison) Praisesong
Page 186 and 187:
Tar Baby and Praisesong for the Wid
Page 188 and 189:
Page 190 and 191:
Page 192 and 193:
Page 194 and 195:
Page 196 and 197:
Page 198 and 199:
Page 200 and 201:
Page 202 and 203:
THE TEMPEST (WILLIAM SHAKESPEARE) ,
Page 204 and 205:
Th e Tempest 189 imitations of comm
Page 206 and 207:
Th e Tempest 191 affi nity to the f
Page 208 and 209:
Th e Tempest 193 under-current of h
Page 210 and 211:
Th e Tempest 195 the latter allow a
Page 212 and 213: Th e Tempest 197 the fools for murd
Page 214 and 215: Th e Tempest 199 saved, but some, a
Page 216 and 217: Th e Tempest 201 rest, and we look
Page 218 and 219: Th e Tempest 203 stream of life hur
Page 220 and 221: Th e Tempest 205 meets the brutal.
Page 222 and 223: Th e Tempest 207 long known to the
Page 224 and 225: A THOUSAND AND ONE NIGHTS ,. “Sev
Page 226 and 227: A Th ousand and One Nights 211 ways
Page 228 and 229: A Th ousand and One Nights 213 top
Page 230 and 231: A Th ousand and One Nights 215 Just
Page 232 and 233: A Th ousand and One Nights 217 him
Page 234 and 235: UNCLE REMUS (JOEL CHANDLER HARRIS)
Page 236 and 237: Uncle Remus 221 Mixon’s view foun
Page 238 and 239: Uncle Remus 223 Harris calls “the
Page 240 and 241: Uncle Remus 225 the plantations at
Page 242 and 243: Uncle Remus 227 accused of a crime,
Page 244 and 245: “THE WIFE OF BATH’S TALE” (GE
Page 246 and 247: “Th e Wife of Bath’s Tale” 23
Page 254: “Th e Wife of Bath’s Tale” 23
Page 257 and 258: 242 Acknowledgments Warde, Frederic
Page 259 and 260: 244 “Battle of the Maldon, Th e,
Page 261: 246 Free Fall (Golding), 65 Freud,
Page 265 and 266: 250 narrative, 183, 184 Tatem, Sout
Page 267 and 268: 252 Th ousand and One Nights, A, 20
show all

Blooms Literary Themes - THE TRICKSTER.pdf - ymerleksi - home

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?