The Singer of Tales in PerformanceBuilding on his work in Traditional Oral Epic and Immanent Art, the author aims to dissolve the perceived barrier between oral and written, creating a theory from oral-formulaic theory and the ethnography of speaking and ethnopoetics. He argues that a work's word-power derives from its performance and its implied traditional context. |
Contents
Ways of Speaking Ways of Meaning | 29 |
The Rhetorical Persistence of Traditional Forms | 60 |
Spellbound | 99 |
2890 | 118 |
99 | 170 |
The Homeric Hymn to Demeter | 181 |
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Common terms and phrases
ancient Greek Anglo-Saxon audience bajanje Bauman Beowulf chap chapter charm communicative economy composition constitute context continuity of reception cultural decasyllable dedicated register Dell Hymes Demeter discourse dynamics enabling event encoded epos Ethnography of Speaking Ethnopoetics event of performance example expressive Foley formulaic function genre gusle Hermes Homeric Hymns Hymes Hymes's Hymn to Demeter idiolectal idiom Iliad immanent Immanent Art implications indexed individual instances institutionalized integers interpretation keys to performance language lexical libretto lines linguistic literary Lord mance metonymic metrical Moslem epic narrative Odyssey Old English oral performance oral tradition oral-derived Oral-Formulaic Theory OraĊĦac paralinguistic Parry-Lord pars pro toto pattern performance arena perspective phrase phraseology poems poetic poetry Praxeis reader Receptionalist repertoire resonance Serbian signals signification singer singer of tales song South Slavic epic story-pattern strategies structure Tale Tedlock textual rhetoric traditional oral traditional register traditional rules translation verbal art verse word-power words