Trickster in Nigerian Postcolonial Drama
| المصدر: | مجلة الآداب والعلوم الإنسانية |
|---|---|
| الناشر: | جامعة المنيا - كلية الآداب |
| المؤلف الرئيسي: | عبدالله، رباب فاروق جبر (مؤلف) |
| المجلد/العدد: | ع91, مج5 |
| محكمة: | نعم |
| الدولة: |
مصر |
| التاريخ الميلادي: |
2020
|
| الصفحات: | 1161 - 1173 |
| DOI: |
10.21608/FJHJ.2020.38768.1031 |
| ISSN: |
1687-2630 |
| رقم MD: | 1125456 |
| نوع المحتوى: | بحوث ومقالات |
| اللغة: | العربية |
| قواعد المعلومات: | HumanIndex, AraBase |
| مواضيع: | |
| رابط المحتوى: |
الناشر لهذه المادة لم يسمح بإتاحتها. |
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| 001 | 1868302 | ||
| 024 | |3 10.21608/FJHJ.2020.38768.1031 | ||
| 041 | |a ara | ||
| 044 | |b مصر | ||
| 100 | |9 603974 |a عبدالله، رباب فاروق جبر |e مؤلف |q Abdullah, Rabab Farouq Jabr | ||
| 245 | |a Trickster in Nigerian Postcolonial Drama | ||
| 260 | |b جامعة المنيا - كلية الآداب |c 2020 | ||
| 300 | |a 1161 - 1173 | ||
| 336 | |a بحوث ومقالات |b Article | ||
| 520 | |b Trickster is a mythical character in folktales that shows a great deal of intelligence or secret knowledge and uses it to play tricks to outwit their masters or anyone with authority. They sometimes break social rules and defy traditional behaviour for special reasons. They might exist in the real world as real people who either intentionally or unconsciously inhabit or take on this role. This significant role of the trickster is embodied in the two Nigerian plays under study, Esu and The Vagabond Minstrels by Femi Osofison (1988) and Dionysus of the Holocaust by Femi Euba (2002). The bricoleur technique is adopted in the paper as a methodology as it is best defined by Denzin and Lincoln as one in which the inherent evaluations of a research project are made clear and persistently returned to throughout the period of a study. The paper concludes that all black people need to have Esu-related qualities such as escaping, creating secret codes, encouraging insurrections, deception, and dissembling to keep balance in a world full of fateful/fatal conflicts which is the hardest challenge that Esu, the God of fate introduces. The moral of the two plays is that good and bad coexist and complement each other. People learn to distinguish between them through experience and they overcome evil situations by the amount of trickery they master. | ||
| 653 | |a الفنون المسرحية |a المسرح النيجيري |a الدراما النيجيرية |a مسرحية المحتال مابعد الإستعمار |a النقد المسرحي | ||
| 773 | |4 الادب |4 العلوم الإنسانية ، متعددة التخصصات |6 Art |6 Humanities, Multidisciplinary |c 018 |f Mağallaẗ Al-Adāb wa Al-ʿulūm Al-Insāniyyaẗ |l 005 |m ع91, مج5 |o 1635 |s مجلة الآداب والعلوم الإنسانية |t Journal of Arts and Humanities |v 091 |x 1687-2630 | ||
| 856 | |n https://fjhj.journals.ekb.eg/article_132518.html |u 1635-091-005-018.pdf | ||
| 930 | |d n |p y |q n | ||
| 995 | |a HumanIndex | ||
| 995 | |a AraBase | ||
| 999 | |c 1125456 |d 1125456 | ||
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