Textualization of Oral EpicsLauri Honko No detailed description available for "Textualization of Oral Epics". |
Contents
| 38 | |
| 57 | |
| 71 | |
| 89 | |
Karl Reichl | 103 |
Arthur T Hatto | 129 |
Juha Pentikäinen | 161 |
John Brockington | 193 |
John William Johnson | 237 |
Jan Knappert | 247 |
Dwight F Reynolds | 263 |
Dan BenAmos | 279 |
AnnaLeena Siikala | 337 |
Index | 371 |
List of contributors | 389 |
Lauri Honko | 213 |
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Common terms and phrases
audience bard Beowulf Buni collected context Cook Islands culture Dell Hymes dialect discourse documentation eddic edition elegies English epic poetry epic text epic tradition episodes ethnopoetic example expressions fieldwork folklore folkloristics formulaic genealogies genres Gopala Naika heroes heroic Homeric Honko Hymes Iliad Jakut Kadiar Kalevala Karadžić Karakalpak kasa Kazakh kekue Knappert Kroeber language Lauri lines linguistic literary literature long oral epic Mahābhārata manuscript meaning mental text Milman Parry musical myth Nanaj narration narrative Nenec oral epic oral performance oral text oral tradition original pādas passages pattern phonetic poems poetic poets prose published Qoblan Rāmāyaņa recited recorded Reguly's relations ritual Samuela scholars script sequence shaman singer singing Siri epic songs South Slavic speech stanza story structure style sung Swahili Takelma Tangaroa tape textualization tion transcription translation Tulu tumu korero Turkic University Press variation verse Wintu woman words writing written codification
Popular passages
Page 5 - A folklore work is extraindividual and exists only potentially . . . it is a skeleton of actual traditions which the implementers embellish with the tracery of individual creation, in much the same way as the producers of a verbal message (la parole in the Saussurian sense) act with respect to the verbal code (la langue) . (Matejka, l97l:9l) Here, the Saussurian langue /parole distinction is used as an analogy.
Page 318 - ... if he also tells tales, has recourse to quite other subjects and artistic devices; but where the heroic tradition ceases, many of the usual formulas and sometimes even entire plots are taken over from the epic song by the fairy tale. The favorite sovereign of the Russian heroic songs, Vladimir, the great prince who christianized Russia at the end of the tenth century, moves from the bilirii to the fairy tale. In his retinue we find the leading Russian valiant knight (bogat'ir\ from the Persian...
Page 199 - These, and their equivalents in the opposite direction, are for me the most problematic, since I consider on the basis of various other evidence that the two epics were originally independent of each other, though sharing a common background, and...
Page 13 - ... definition: the text is a discourse fixed by writing. What is fixed by writing is thus a discourse which could be said, of course, but which is written precisely because it is not said. Fixation by writing takes the very place of speech, occurring at the site where speech could have emerged. This suggests that a text is really a text only when it is not restricted to transcribing an anterior speech, when instead it inscribes directly in written letters what the discourse means.
Page 281 - absolute past" - serves as the subject for the epic; (2) national tradition (not personal experience and the free thought that grows out of it) serves as the source for the epic; (3) an absolute epic distance separates the epic world from the contemporary reality, that is, from the time in which the singer (the author and his audience) lives.
Page 281 - its reliance on impersonal and sacrosanct tradition, on a commonly held evaluation and point of view — which excludes any possibility of another approach...
Page 237 - It has established itself as the generic term under which the traditional Beliefs, Customs, Stories, Songs, and Sayings current among backward peoples, or retained by the uncultured classes of more advanced peoples, are comprehended and included.
Page 281 - By its very nature the epic world of the absolute past is inaccessible to personal experience and does not permit an individual, personal point of view or evaluation. One cannot glimpse it, grope for it, touch it; one cannot look at it from just any point of view; it is impossible to experience it, analyze it, take it apart, penetrate into its core.
Page 200 - A fourth group of formulae whose distribution in both epics is relatively late provides some evidence of the changed interests of the later parts of both epics, since, although a few more general formulae first appear now and even one battle formula, the majority have a broadly religious significance. Of these a number are specifically Vaisnava but there are several which reflect general religious, ethical or cosmological concerns, while links with the Puränas are becoming more obvious.