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While searching for their loved ones after the destruction of "The Dream," a telepathic communications net, Father Kendi Weaver and the crew of the Poltergeist are taken hostage by a strange group whose hidden agenda places all of their lives in great danger. Original.

There's nothing funny about what you're dressing up as this Halloween. The killer clown costume is the perfect way to show people what you're really about. The black and white stripped dress with polka dots, hat and footless tights will you the perfect clown look! Includes: Dress Hat Footless tights Materials: Polyester, nylon Care: Hand wash Imported Note: Wig, machete and shoes sold separately

There's nothing funny about what you're dressing up as this Halloween. The killer clown costume is the perfect way to show people what you're really about. The black and white stripped dress with polka dots, hat and footless tights will you the perfect clown look! Includes: Dress Hat Footless tights Materials: Polyester, nylon Care: Hand wash Imported Note: Wig, machete and shoes sold separately

There's nothing funny about what you're dressing up as this Halloween. The killer clown costume is the perfect way to show people what you're really about. The black and white stripped dress with polka dots, hat and footless tights will you the perfect clown look! Includes: Dress Hat Footless tights Materials: Polyester, nylon Care: Hand wash Imported Note: Wig, machete and shoes sold separately

The our Latest Red Lucky 9th Collection. Transforms playing cards from the table into wearable fashion. Don't forget, red brings luck. Sevdrus produces all collections in limited quantities and does not reproduce them once sold. Your chances of matching outfits with someone else are very low. Much love!

Flared pants Trickster with sharp cut-outs, bodycon silhouette and high waist are here to make your look a statement. To undress easily use a hidden front zipper. As any other item in our collections these pants are perfect for fancy parties, mad raves, spontaneous travels, meditative walks and maybe even for family gatherings? (Ummm, probably not the last one but you got our point). Match with anything your heart desires: crop tops (MONOSUIT CROP TOP), long and cropped jackets, shirts or with basic sweatshirts and white T-shirts. Designed in California. Made in Italy. Machine wash, delicate mode, 30 degrees. 80% polyamide 20% elastane

Trickster Blues Rf Shannon - LP 5060467884310

Trickster Makes This World solidifies Lewis Hyde's reputation as, in Robert Bly's words, "the most subtle, thorough, and brilliant mythologist we now have." In it, Hyde now brings to life the playful and disruptive side of human imagination as it is embodied in trickster mythology. He first revisits the old stories--Hermes in Greece, Eshu in West Africa, Krishna in India, Coyote in North America, among others--and then holds them up against the life and work of more recent creators: Picasso, Duchamp, Ginsberg, John Cage, and Frederick Douglass. Authoritative in its scholarship, loose-limbed in its style, Trickster Makes This World ranks among the great works of modern cultural criticism.

Trickster - Part Two Trickster - Part Two - BR 704400052460

Examines the purpose of the trickster figures--mischievous, cultural deviations who also become heroes--in mythology and the role they play as part of the human imagination. Tour.

May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less 0.85

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.

Following the Scotiabank Giller Prize-shortlisted Son of a Trickster comes Trickster Drift, the second book in Eden Robinson's captivating Trickster trilogy.In an effort to keep all forms of magic at bay, Jared, 17, has quit drugs and drinking. But his troubles are not over: now he's being stalked by David, his mom's ex--a preppy, khaki-wearing psycho with a proclivity for rib-breaking. And his mother, Maggie, a living, breathing badass as well as a witch, can't protect him like she used to because he's moved away from Kitimat to Vancouver for school.     Even though he's got a year of sobriety under his belt (no thanks to his enabling, ever-partying mom), Jared also struggles with the temptation of drinking. And he's got to get his grades up, find a job that doesn't involve weed cookies, and somehow live peacefully with his Aunt Mave, who has been estranged from the family ever since she tried to "rescue" him as a baby from his mother. An indigenous activist and writer, Mave smothers him with pet names and hugs, but she is blind to the real dangers that lurk around them--the spirits and supernatural activity that fill her apartment.     As the son of a Trickster, Jared is a magnet for magic, whether he hates it or not--he sees ghosts, he sees the monster moving underneath his Aunt Georgina's skin, he sees the creature that comes out of his bedroom wall and creepily wants to suck his toes. He also still hears the Trickster in his head, and other voices too. When the David situation becomes a crisis, Jared can't ignore his true nature any longer.

New! This book is in the same immaculate condition as when it was published 0.75

The trickster and the hero, found in so many of the world’s oral traditions, are seemingly opposed but often united in one character. Trickster and Hero provides a comparative look at a rich array of world oral traditions, folktales, mythologies, and literatures—from The Odyssey, The Epic of Gilgamesh, and Beowulf to Native American and African tales. Award-winning folklorist Harold Scheub explores the “Trickster moment,” the moment in the story when the tale, the teller, and the listener are transformed: we are both man and woman, god and human, hero and villain.    Scheub delves into the importance of trickster mythologies and the shifting relationships between tricksters and heroes. He examines protagonists that figure centrally in a wide range of oral narrative traditions, showing that the true hero is always to some extent a trickster as well. The trickster and hero, Scheub contends, are at the core of storytelling, and all the possibilities of life are there: we are taken apart and rebuilt, dismembered and reborn, defeated and renewed.

Sixteen is a rebellious age for most young people, and Aly is no exception. With her mother, the lady knight Alanna, forever being summoned to some crisis or other, and the young men of Tortall little more than diversions, Aly is bored and restless. Her father is second-in-command of the country's spies- of only he would let her be one! The former king of theives, he had trained her in the arts of espionage and knows that she is capable of taking care of herself. But he won't risk losing his only daughter to the dangers of the field, so she spendsher time helping him decode messages and dyeing her hair blue.But everything changes when Aly, sailing alone down the coast of Tortall, is captured by pirates and winds up a slave to the Balitangs, a kindly noble family of the Copper Isles. Years of lessons in the Isles' history have prepared her for their dual cultures- those of luarin, or white, conquerors and those of the brown-skinned, or raka, natives. Fueled by prophecies of a twice-royal queen who will free them, the rakas' resentment keeps the realm in constant turmoil. But Aly is no weeping captive; she's determined to free herself.Enter Kyprioth, patron god of the Isles, also known as Trickster, who is looking to shift the balance of power back to his raka worshipers. Aly makes a deal with the god: she will use her own trickster gifts to keep the Balitang children, especially the two teenage girls, safe through the summer. In exchange, Kyprioth will give her magical assistance in the form of spying crows and knowledge of events at court-and eventually, her freedom. But deals with gods are never simple matters; she doesn't count on becoming personally involved in the raka revolt, or with an unusual young man who has his own plans for Aly. ...

Tirso de Molina was, with Lope de Vega and Calderon, one of the great dramatists of 17th century Spain, which produced a theatre as vital rich and as varied as its Elizabethan counterpart. The Trickster of Seville is thoroughly representative of the drama of Spain's Golden Age: a drama of fast-moving action which set its face against classical precepts, broke the unities of time and place, cheerfully mixed the serious and the comic, combined main and sub-plots, and cultivated Spanish subjects and Spanish characters. In this respect Tirso's Don Juan is of course, the most famous character in the drama of the Golden Age, as well as the first of a long line which extends through Mozart and Moliere to the 20th century.

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This book discusses the role of the trickster figure in contemporary film against the cultural imperatives and social issues of modernity and postmodernity, and argues that cinematic tricksters always reflect psychological, economic and social change in society. It covers a range of films, from Charlie Chaplin’s classics such as Modern Times (1936) and The Great Dictator (1940) to contemporary comedies and dramas with ‘trickster actors’ such as Jim Carrey, Sacha Baron-Cohen, Andy Kaufman and Jack Nicholson. The Trickster in Contemporary Film offers a fresh perspective on the trickster figure not only in cinema but in Western culture in general. Alongside original film analyses, it touches upon a number of psychosocial issues including sovereignty of the individual, tricksterish qualities of the media, and human relationships in the mercurial digital age. Further topics of discussion include: common motifs in trickster narratives the trickster and personal relationships gonzo-trickster and the art of comic insurrection. Employing a number of complementary approaches such as Jungian psychology, film semiotics, narrative structure theories, Victor Turner’s concept of liminality and Mikhail Bakhtin’s theory of the carnivalesque, this book is essential reading for students and scholars of film, as well as anyone with an interest in analytical psychology and wider critical issues in contemporary culture.