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dc.contributor.authorMoses, Maryaeng
dc.contributor.authorLangen, Toby C. S.eng
dc.date.issued1998-03eng
dc.descriptionIt has often been noted that translation is interpretation. My presentation of the printed text of this story seeks to emphasize the parallel truth that decisions made concerning native-language transcription are also interpretive. Thus, the Lushootseed text is formatted in a style different from that of the English. In the Lushootseed text, a new line begins where a pause in the taped performance is preceded by falling intonation; double spaces mark pauses of more than two seconds or the occurrence of a pause accompanied by a change of delivery style (for instance, from straightforward style to declamatory, chanting, or otherwise marked style). Italics identify words and phrases spoken in characterized voices (for Crow or the seagulls), in chant form (characteristic of content that implies spiritual valence), or in a form that emphasizes the innate rhythms and internal echoes of the phrases being spoken (characteristic of formulaic portions of the story). My purpose was not to distinguish among these forms of speech, but merely to indicate the amount of specialized speech in Mrs. Lamont's storytelling.eng
dc.descriptionIssue title; "Native American Oral Traditions: Collaboration and Interpretation."eng
dc.format.extent38 pageseng
dc.identifier.citationOral Tradition, 13/1 (1998): 92-129.eng
dc.identifier.urihttps://hdl.handle.net/10355/65042
dc.languageEnglisheng
dc.titleReading Martha Lamont's Crow story todayeng
dc.typeArticleeng


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