This article is a comparative study of Sang Kancil, the Malaysian folkloric trickster character with Brer Rabbit (African-American) and Reynard the Fox (French and Dutch) in order to explain the relationship between the Jungian archetypes and Neo-archetypes that may be found in trickster tales found in the printed medium. An analysis of the Sang Kancil stories was conducted by comparing them to these Trickster stories from other cultures to identify the similarities in the trope of the trickster to determine the ways in which Trickster tales have been used to convey messages of resistance against injustice and impart moral lessons, as well as pointing out the importance of intelligence and wit to solve problems. To limit the corpus due to the countless different Trickster tales around the world, we have only used these two animal tricksters who are the most congruent with Sang Kancil. Following from this, the article examines the commonalities in the neo-archetypal elements present in all of the studied tale types which correspond to the ways in which these tricksters are Andersonian cultural artefacts in the cultural imaginary, disseminated through both oral and print mediums. This is due to the well-documented and widespread sources of print literature on both Brer Rabbit and Reynard the Fox. By studying the commonalities of the tales through the archetypal elements present, Sang Kancil may be determined to be an Andersonian cultural artefact in the cultural imagination.

Chimamanda Ngozi Adichie writes about the Nigeria-Biafra war and its effect on the Igbo in more than one novel in her oeuvre, which is written entirely in English as a cosmopolitan Nigerian diasporic author currently residing in the United States of America. In Half of a Yellow Sun, Adichie memorializes the intellectual and artistic culture of Nsukka before and during the Nigeria-Biafra war. This article postulates that the seed for this bestselling novel is also evident in the play For Love of Biafra, penned by Adichie in her teens. This English-language play focuses directly on the effects of the Nigeria-Biafra war upon the personal life of the protagonist, Adaobi. I examine the manner in which the play demonstrates the function of memory upon second-generation descendants of the Nigeria-Biafra War survivors by examining the impact of postmemory through the lens of Derridean hauntology which I have expanded as a postcolonial feminine hauntology, examining the manner in which the specters of Biafra are conjured in Adichie's Biafran texts. I connect this to the ways in which Adichie's narration of the Nigeria-Biafra war evolves in Half of a Yellow Sun to problematize the question of who may witness, bear testimony and author narrative. The article's findings tie the act of narration to empowerment, identification, the experience of trauma to unearth the myriad ways in which the specter of the Nigeria-Biafra war is recreated in fictions by second-generation diasporic and cosmopolitan authors such as Adichie.

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In this article, we attempt to unravel the family-based haunted house film patterns in both Malaysia and America. Certain types of tropes and attributes have been used by horror filmmakers over the years to define the family motif-pattern of haunted houses in the media. Some of these elements have undergone change over time but most of them still adhere to the rules that constitute the family-based haunted house film patterns based on two Malay films and two American films. These rules were compared and contrasted by applying a combination of two theories which were formulated by Propp and Bailey. Application of these formulas has resulted in the findings of twelve plot functions as examined in this article. Upon analysis of the corpus, it has also been found that there are 10 existing attributes of a haunted house. The findings suggest that the haunted house film pattern is not merely a motif but it is also able to exhibit a number of themes which are considered prominent in haunted house films such as the Manichean clash between good and evil. The convergence and divergence between the Malaysian and American horror flicks show that cultural and religious practices govern the ways in which good and evil are expressed.