NARRATIVE FUNCTIONS OF THE TRICKSTER ARCHETYPE IN ENGLISH AND UZBEK FOLK TALES

222 Vol. 5, No. 11 – Special Issue (EJAR) ISSN: 2181-2020 LPTIENP International Scientific-Practice Conference on “Linguistics and Pedagogical Technologies: International Experience and National Practice” Denau, November 20, 2025 in-academy.uz/index.php/ejar NARRATIVE FUNCTIONS OF THE TRICKSTER ARCHETYPE IN ENGLISH AND UZBEK FOLK TALES Eshboyeva Dilshoda Master’s student of Department of English Philology, Denau Institute of Entrepreneurship and Pedagogy Email: [email protected] Sodiqova Baxtigul Ibodullayevna Supervisor: Teacher at Denau Institute of Entrepreneurship and Pedagogy https://doi.org/10.5281/zenodo.17629069 Abstract: This article analyzes the narrative functions of the trickster archetype in English and Uzbek folk tales. The research is based on Vladimir Propp’s Morphology of the Folktale and Carl Jung’s archetypal theory(The Archetypes and the Collective Unconscious, 1968). By comparing English tricksters such as Reynard the Fox and Robin Hood with Uzbek characters like Aldar Kosim and Mastura, the study explores how these figures reflect cultural values, humor, and moral lessons. The findings reveal that in both English and Uzbek traditions, the trickster serves as a symbol of intelligence, freedom, and resistance against social injustice. Key words: archetype, trickster, narrative function, folklore, symbol INTRODUCTION Folklore is a mirror of people’s beliefs, experiences, and worldview. Among the recurring figures in world folklore, the trickster archetype occupies a unique place. Tricksters often appear as witty, humorous, and cunning characters who break rules and challenge authority. Their actions usually lead to social or moral transformation. The aim of this paper is to analyze the narrative functions of the trickster archetype in English and Uzbek folk tales, revealing their similarities and cultural distinctions. Carl Jung described archetypes as universal images inherited from the collective unconscious (Jung, 1968), and the trickster is one of the most ancient and widely spread archetypes in world mythology and folklore. According to Jung, these archetypes represent the deep psychological patterns shared by all human beings, regardless of time or culture. In the same way, Vladimir Propp’s Morphology of the Folktale (1968) provides a structural framework that helps to analyze how such archetypal figures function within narratives. Propp identified thirty-one narrative functions that appear repeatedly in folk tales, forming a universal pattern of storytelling. When applied to the trickster archetype, Propp’s model reveals that the trickster frequently plays roles such as the “false hero,” the “helper,” or the “deceiver,” depending on the moral and cultural context of the tale. His theory shows that the trickster’s actions, though often mischievous or deceptive, serve an essential purpose in driving the plot toward transformation and resolution. By combining Jung’s psychological perspective and Propp’s structural analysis, we can understand the trickster not merely as a comic or immoral figure, but as a necessary force for change. The trickster challenges authority, exposes hypocrisy, and transforms chaos into new forms of order. This dual approach allows us to see the trickster as both a narrative device and a psychological symbol. Each tale involving a trickster, therefore, becomes not only an entertaining story but also a reflection of universal human struggles — the tension between conformity and freedom, tradition and innovation, morality and desire. This study employs a comparative and structural analysis based on Propp’s functional model and Jung’s archetypal framework. The method includes identifying narrative functions (Propp, 1968), analyzing the archetypal motifs (Jung, 1968), and comparing their realization in English and Uzbek 223 Vol. 5, No. 11 – Special Issue (EJAR) ISSN: 2181-2020 LPTIENP International Scientific-Practice Conference on “Linguistics and Pedagogical Technologies: International Experience and National Practice” Denau, November 20, 2025 in-academy.uz/index.php/ejar folklore. Additional cultural interpretations are supported by Dundes (1980) and Hynes & Doty (1993), who emphasized the symbolic and moral roles of tricksters across cultures. In English folklore, Reynard the Fox and Robin Hood are classic examples of the trickster archetype. Reynard uses intelligence and deceit to outwit stronger enemies, often exposing greed, hypocrisy, and corruption among those in power (Hynes & Doty, 1993). Through his clever tricks, he becomes not just a deceiver but also a critic of social injustice, teaching moral lessons hidden beneath humor. Robin Hood, on the other hand, represents the heroic form of the trickster who challenges authority for a noble cause. He steals from the rich to help the poor, becoming a symbol of fairness and courage (Dundes, 1980). Both characters embody the balance between mischief and morality, showing that cleverness, when guided by justice, can overcome force and inequality. In this sense, English folklore portrays the trickster as a cultural hero who transforms rebellion into a form of wisdom and virtue. In Uzbek folklore, the trickster appears in the forms of Aldar Kosim, Mastura, and sometimes Nasreddin Afandi. Aldar Kosim uses lies and humor to expose greed, arrogance, and foolishness among the wealthy and powerful, turning deception into a tool of social justice (Ashurova, 2019). His stories often reflect the common people's desire to outsmart oppressors through wit rather than strength. Mastura, on the other hand, represents the intelligent and resourceful woman who uses her sharp mind to protect herself and her family, highlighting the role of women’s wisdom in traditional Uzbek culture. Similarly, Nasreddin Afandi combines humor with philosophical insight, making people laugh while teaching deep moral lessons. All these tricksters serve not only to entertain but also to preserve cultural wisdom and express the people’s criticism of social inequality and injustice. Through laughter and irony, they communicate the resilience, creativity, and moral strength of the Uzbek people. Both English and Uzbek tricksters share common features: wit, humor, and moral courage. However, there are cultural differences. In English tales, the trickster often fights for freedom and justice (Dundes, 1980). In Uzbek tales, the trickster reflects social wisdom, humor, and everyday survival strategies (Ashurova, 2019). Thus, the trickster archetype functions as a cultural mediator, connecting moral values with entertainment. CONCLUSION The comparative study of English and Uzbek folk tales shows that the trickster archetype plays an essential narrative and cultural role in shaping moral and social values. It embodies intelligence, humor, and resistance to injustice, reflecting the timeless human struggle for freedom and fairness. Although cultural settings differ, both traditions portray the trickster as a figure who challenges authority and questions established norms through cleverness and irony. In English folklore, this archetype often defends the poor and mocks corruption, while in Uzbek tales, it conveys social wisdom and moral resilience through laughter and satire. Together, they illustrate how humor and intellect can serve as instruments of truth and justice. Therefore, the trickster remains one of the most dynamic and meaningful archetypes in world folklore, symbolizing the creative power of the human spirit to resist oppression and uphold moral integrity. References: 1. Ashurova, D. Comparative Study of Uzbek and English Folklore. Tashkent State University Press, 2019. 2. Dundes, A. Interpreting Folklore. Indiana University Press, 1980. 224 Vol. 5, No. 11 – Special Issue (EJAR) ISSN: 2181-2020 LPTIENP International Scientific-Practice Conference on “Linguistics and Pedagogical Technologies: International Experience and National Practice” Denau, November 20, 2025 in-academy.uz/index.php/ejar 3. Hynes, W., & Doty, W. Mythical Trickster Figures: Contours, Contexts, and Criticisms. University of Alabama Press, 1993. 4. Jung, C. G. The Archetypes and the Collective Unconscious. Princeton University Press, 1968. 5. Propp, V. Morphology of the Folktale. University of Texas Press, 1968.