Oral tradition, volume 07, number 1 (March 1992)

Permanent URI for this collection

https://hdl.handle.net/10355/63766

Table of Contents

  • Cover
  • Front Matter
  • Editor's Column
  • About the Authors (Back Matter)
  • Articles
    • A Gaelic Songmaker's Response to an English-speaking Nation
      by Thomas A. McKean
    • Oral Poetry and the World of Beowulf
      by Paul Sorrell
    • Innervision and Innertext: Oral and Interpretive Modes of Storytelling Performance
      by Joseph Sobol
    • The Production of Finnish Epic Poetry—Fixed Wholes or Creative Compositions?
      by Lauri Harvilahti
    • Song, Text, and Cassette: Why We Need Authoritative Audio Editions of Medieval Literary Works
      by Ward Parks
    • Latin Charms of Medieval England: Verbal Healing in a Christian Oral Tradition
      by Lea Olsan
    • The Combat of Lug and Balor: Discourses of Power in Irish Myth and Folktale
      by Joan N. Radner
    • The Narrative Presentation of Orality in James Joyce's Finnegan's Wake
      by Willi Erzgräber
    • Symposium Turkish Oral Tradition in Texas: The Archive of Turkish Oral Narrative
      by Warren S. Walker
    • Review
      by Carolyn Higbie

[Collection created May 30, 2018]

Browse

Recent Submissions

Now showing 1 - 5 of 15
  • No Thumbnail Available
    Item
  • No Thumbnail Available
    Item
    A Gaelic Songmaker's Response to an English-speaking Nation
    (1992-03) McKean, Thomas
    "The bàird bhaile [village bard] was an important figure in Gaelic society for centuries and remained so until well after the Second World War. These unpaid, unofficial poets were the de facto spokesmen and -women for their communities and as such wielded considerable power over both their neighbors and public opinion. For this society a song was, and to some extent still is, very much a functional and practical piece, an essential element of communication seamlessly integrated with other types of human expression. To mainstream Western society on the other hand, a song, whether old or new, is well outside accepted norms of daily social interaction; to most, it is an anomaly, while to the bàird bhaile and their communities, it is not. Only in the present century has Gaelic society's ancient emphasis on song and poetry as the usual form of emotional expression begun to break down."--Opening paragraph.
  • No Thumbnail Available
    Item
    Latin Charms of Medieval England: Verbal Healing in a Christian Oral Tradition
    (1992-03) Olsan, Lea
    This is an essay to open a discussion of medieval Latin charms as a genre rooted in oral tradition. It will concern itself solely with materials drawn from manuscripts made in England from about A.D. 1000 to near 1500. One reason for setting such limitations on the materials is that restricting the study chronologically and geographically will facilitate identification of features peculiar to the insular English tradition of Latin charms. For though Latin charms can be found throughout medieval Europe, to make cross-cultural comparisons prematurely might obscure distinctive regional features.
  • No Thumbnail Available
    Item
    Song, Text, and Cassette: Why We Need Authoritative Audio Editions of Medieval Literary Works
    (1992-03) Parks, Ward
    "My purpose here is to advocate the use of these new facilities towards the better understanding of the past. Specifically, as a community of scholars, we ought to undertake systematic sponsorship and production of audio-cassette editions of medieval literature. This publication--and we should conceive of it in this honorific sense--should merely spearhead a comprehensive revamping of scholarly practice towards the recuperation of medieval discourse as sound."--Taken from second paragraph.
  • No Thumbnail Available
    Item
    The Combat of Lug and Balor: Discourses of Power in Irish Myth and Folktale
    (1992-03) Radner, Joan N.
    "Over the past millennium, and probably much longer, the combat of Lug and Balor has been told and retold, written and rewritten, revised constantly in order to present in fictive form the key political and economic configurations of the day, and to demonstrate that even invasion and cultural imperialism can be resisted. The validity of the narrative, for those who tell it, is borne out by its inscription in the very landscape of Ireland and in each place name that, as Seamus Heaney puts it, "succinctly marries the legendary and the local" (1980:131). Volatile imagination informs the solid rock. To quote Henry Glassie, "History makes the locality rich. Its names become cracks through which to peek into excitement . . . , a way to make the small place enormous, complete, inhabitable, worth defending" (1982:664)."--Taken from final paragraph.
Items in MOspace are protected by copyright, with all rights reserved, unless otherwise indicated.