Oral tradition, volume 07, number 2 (October 1992)

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https://hdl.handle.net/10355/63765

Cover
Front Matter
Editor's Column
About the Authors (Back Matter)
Articles

Narrative Proverbs in the African Novel
by Emmanuel Obiechina
Storytelling in Medieval Wales
by Sioned Davies
Beowulf: The Monsters and the Tradition
by Marilynn Desmond
Homer and Oral Tradition: The Type-Scene
by Mark W. Edwards
On the Composition of Women's Songs
by Mary P. Coote
Repetition as Invention in the Songs of Vuk Karadžić
by Svetozar Koljević
"Sound Shaping" of East Slavic Zagovory
by Alla Astakhova
Symposium: Current State of Studies in Oral Tradition in Japan
by Hiroyuki Araki

[Collection created May 30, 2018]

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Oral tradition, volume 07, number 2 (October 1992)
(1992-10)
About the authors (Oral Tradition, 7/2, 1992)
(1992-10)
On the Composition of Women's Songs
(1992-10) Coote, Mary P.
Coote delves into the differences inherent to Serbo-Croatian folksongs, namely how they are subdivided into heroic songs (the gusle, sung exclusively by men) and women's songs (which can be sung by both women and young men) which encompasses everything else.
Storytelling in Medieval Wales
(1992-10) Davies, Sioned
Very little is known of the storyteller and his functions in medieval Welsh society. Welsh sources imply that tales were recited in prose by professional storytellers--the cyfarwyddiaid (singular cyfarwydd). In medieval Ireland, there is evidence to suggest that the composition of both prose and poetry was linked to the fili, the poet, although storytelling was not one of his main functions. In Wales, however, there is no direct evidence regarding the relationship between the bardd (poet) and cyfarwydd (storyteller).--The Storyteller.
Beowulf: The Monsters and the Tradition
(1992-10) Desmond, Marilynn
Grendel's attack on Heorot and the resulting battle with Beowulf is undeniably the most vivid and memorable scene in Beowulf and quite possibly in all of Anglo-Saxon narrative. Arthur Brodeur has commented on its narrative power (1959); Stanley B. Greenfield has analyzed the style of the passage on more than one occasion (1967, 1972); Alain Renoir has called the scene "one of the most effective presentations of terror in English literature" (1968:166); George Clark has described this scene as a version of the theme he calls "The Traveler Recognizes His Goal" (1965). Almost every book on Beowulf touches on the narrative qualities of this scene, and many an article on Beowulf will include some discussion of it. Thus Grendel's attack on Heorot is not only the most memorable scene in the text; it is also one of the most heavily glossed.

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