Oral tradition, volume 06, number 1 (January 1991)

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https://hdl.handle.net/10355/63719

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

Folk Traditions in Serbo-Croatian Literary Culture
by Svetozar Koljević
The Evolution of an Oral Tradition: Race-Calling in Canterbury, New Zealand
by Koenraad Kuiper
Serial Defamation in Two Medieval Tales: The Icelandic Oelkofra Thattir and the Irish Scela Mucce Meic Datho
by William Sayers
There's Nothing Natural About Natural Conversation: A Look at Dialogue in Fiction and Drama
by Ryan Bishop
Compound Diction and Traditional Style in Beowulf and Genesis A
by Jeffrey Alan Mazo
Phemius' Last Stand: The Impact of Occasion on Tradition in the Odyssey
by Carol Dougherty
Tradition, But What Tradition and For Whom?
by Ruth Finnegan
Toward an Evolutionary Ontology of Beauty
by Frederick Turner
The Oral Aesthetic and the Bicameral Mind
by Carl Lindahl
Literary Aesthetics in Oral Art
by Robert Kellogg

[Collection created May 30, 2018]

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Oral tradition, volume 06, number 1 (January 1991)
(1991-01)
Phemius' Last Stand: The Impact of Occasion on Tradition in the Odyssey
(1991-01) Dougherty, Carol
When Odysseus and Telemachus finally take their stand against the suitors in Book XXII of the Odyssey, Phemius, the poet who has been entertaining the suitors in Ithaca during Odysseus' absence, makes a single attempt to save his own life. He begs Odysseus not to kill him because he is a poet (344-49): I beg you, Odysseus, respect me and have pity on me. For you will have trouble in the future if you slay a poet, I who sing for both the gods and men. I am self-taught and the god has inspired me with all kinds of songs. It is fitting for me to sing for you as for a god. For these reasons, do not be eager to kill me.
Tradition, But What Tradition and For Whom?
(1991-01) Finnegan, Ruth
Folk Traditions in Serbo-Croation Literary Culture
(1991-01) Koljević, Svetozar
The Evolution of an Oral Tradition: Race-Calling in Canterbury, New Zealand
(1991-01) Kuiper, Koenraad
The roots of the contemporary study of oral tradition lie in the German Romantic movement, for example in the work of great collectors of oral folklore such as the Grimms. But collecting folklore is one thing; understanding exactly what an oral tradition is and how oral traditions are transmitted is another. The most significant contribution to such an understanding has been made by Milman Parry and Albert Lord. Their seminal theory of oral-formulaic performance has given rise to a great deal of scholarly activity.

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