Christopher B. Balme
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198184447
- eISBN:
- 9780191674266
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198184447.003.0005
- Subject:
- Literature, Drama
This chapter discusses the deviation from dramatic dialogue in post-colonial theatre. There are numerous occasions where dialogue is replaced by other modes of linguistic communication. The most ...
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This chapter discusses the deviation from dramatic dialogue in post-colonial theatre. There are numerous occasions where dialogue is replaced by other modes of linguistic communication. The most important of these deviations is oral performance. Various forms of lyric-musical songs or verse are usually integrated into oral performances, where dramatists make use of the song or poetry as a way of approximating the structural features and functions of indigenous cultural texts. Another deviation from dramatic dialogue is the use of paralinguistic signs in the form of recognizable culturally specific vocalizations.Less
This chapter discusses the deviation from dramatic dialogue in post-colonial theatre. There are numerous occasions where dialogue is replaced by other modes of linguistic communication. The most important of these deviations is oral performance. Various forms of lyric-musical songs or verse are usually integrated into oral performances, where dramatists make use of the song or poetry as a way of approximating the structural features and functions of indigenous cultural texts. Another deviation from dramatic dialogue is the use of paralinguistic signs in the form of recognizable culturally specific vocalizations.
Michael
Caesar
and
Nick
Havely
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199584628
- eISBN:
- 9780191739095
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199584628.003.0007
- Subject:
- Literature, 19th-century and Victorian Literature, Poetry
This chapter attempts to reconstruct, as far as possible, the dantate performed in London and in Italy by the celebrated actor and patriot, Gustavo Modena. These were a distinctive form of ...
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This chapter attempts to reconstruct, as far as possible, the dantate performed in London and in Italy by the celebrated actor and patriot, Gustavo Modena. These were a distinctive form of declamation of passages from the Divine Comedy which met with considerable acclaim between the 1830s and the 1850s, and enjoyed a long afterlife in the memory of witnesses and fellow professionals for at least half a century after Modena's death in 1861. The chapter contributes to the study of Dante in the nineteenth century by exploring the possibilities and limitations of oral performance of the text at a time when Dante was rapidly filling the role of national poet amidst the heightened political tensions of the Risorgimento. The concluding sections place Modena's further reflections on and performance of Dante in the context of his growing disillusionment with the likely and actual outcomes of the struggle for nationhood.Less
This chapter attempts to reconstruct, as far as possible, the dantate performed in London and in Italy by the celebrated actor and patriot, Gustavo Modena. These were a distinctive form of declamation of passages from the Divine Comedy which met with considerable acclaim between the 1830s and the 1850s, and enjoyed a long afterlife in the memory of witnesses and fellow professionals for at least half a century after Modena's death in 1861. The chapter contributes to the study of Dante in the nineteenth century by exploring the possibilities and limitations of oral performance of the text at a time when Dante was rapidly filling the role of national poet amidst the heightened political tensions of the Risorgimento. The concluding sections place Modena's further reflections on and performance of Dante in the context of his growing disillusionment with the likely and actual outcomes of the struggle for nationhood.
Lene Rubinstein
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780199654314
- eISBN:
- 9780191751370
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199654314.003.0009
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter examines the epigraphic evidence for oral performances by envoys on diplomatic missions. It begins by considering two kinds of inscriptions: firstly, inscriptions recording speeches ...
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This chapter examines the epigraphic evidence for oral performances by envoys on diplomatic missions. It begins by considering two kinds of inscriptions: firstly, inscriptions recording speeches which delimit the oratorical task set before the ambassadors and the boundaries of their diplomatic brief; and, secondly, inscriptions recording the response to the oral performance by the ambassadors of the community they visited. The fact that we can even detect differences between the two documents in terms of their contents brings up a number of methodological considerations about the real nature of the ambassadors' oratorical performances and their actual effect on the outcome of the embassy. The chapter proceeds to ask a number of questions: was the ambassadors' oratorical potential was limited by the constraints of their official brief? If so, was their role little more than decorative? Was an oratorical performance by the envoys indispensable to the success of the embassy's mission? The evidence for oratorical performances by teams of envoys may point to the dangers they encountered in their diplomatic missions, and may thus reflect a desire to spread the risk among a greater number of individuals. The chapter concludes that the ambassadors' oral performances were paramount to the establishment and perpetuation of a reciprocal relationship of gratitude between two communities. Thus, the rhetorical strategies adopted by the ambassadors in such oratorical performances were of crucial importance.Less
This chapter examines the epigraphic evidence for oral performances by envoys on diplomatic missions. It begins by considering two kinds of inscriptions: firstly, inscriptions recording speeches which delimit the oratorical task set before the ambassadors and the boundaries of their diplomatic brief; and, secondly, inscriptions recording the response to the oral performance by the ambassadors of the community they visited. The fact that we can even detect differences between the two documents in terms of their contents brings up a number of methodological considerations about the real nature of the ambassadors' oratorical performances and their actual effect on the outcome of the embassy. The chapter proceeds to ask a number of questions: was the ambassadors' oratorical potential was limited by the constraints of their official brief? If so, was their role little more than decorative? Was an oratorical performance by the envoys indispensable to the success of the embassy's mission? The evidence for oratorical performances by teams of envoys may point to the dangers they encountered in their diplomatic missions, and may thus reflect a desire to spread the risk among a greater number of individuals. The chapter concludes that the ambassadors' oral performances were paramount to the establishment and perpetuation of a reciprocal relationship of gratitude between two communities. Thus, the rhetorical strategies adopted by the ambassadors in such oratorical performances were of crucial importance.
Arnold Krupat
- Published in print:
- 2012
- Published Online:
- August 2016
- ISBN:
- 9780801451386
- eISBN:
- 9780801465857
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801451386.003.0002
- Subject:
- Society and Culture, Native American Studies
This chapter examines a variety of Native American oral performances, beginning with the Condolence Rites of the Iroquois. The Rites of Condolence, performed upon the death of one of the fifty chiefs ...
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This chapter examines a variety of Native American oral performances, beginning with the Condolence Rites of the Iroquois. The Rites of Condolence, performed upon the death of one of the fifty chiefs of the Iroquois League, include chants rehearsing the history of the League and conclude with the appointment of a replacement for the deceased chief. The chapter also considers the Tlingit koo.'eex' and goes on to discuss a number of more informal, occasional oral performances responding to loss, from several different Native nations. Finally, it explores songs of the religious resistance movement known as the Ghost Dance. The Ghost Dance songs constitute the first major genre of oral, elegiac expression in response to exile, but also serve as symbolic attempts at restoration.Less
This chapter examines a variety of Native American oral performances, beginning with the Condolence Rites of the Iroquois. The Rites of Condolence, performed upon the death of one of the fifty chiefs of the Iroquois League, include chants rehearsing the history of the League and conclude with the appointment of a replacement for the deceased chief. The chapter also considers the Tlingit koo.'eex' and goes on to discuss a number of more informal, occasional oral performances responding to loss, from several different Native nations. Finally, it explores songs of the religious resistance movement known as the Ghost Dance. The Ghost Dance songs constitute the first major genre of oral, elegiac expression in response to exile, but also serve as symbolic attempts at restoration.
McComas Taylor
- Published in print:
- 2016
- Published Online:
- August 2016
- ISBN:
- 9780190611910
- eISBN:
- 9780190611934
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190611910.003.0001
- Subject:
- Religion, Hinduism
The binding metaphor for this book is yajña, the ancient Vedic ritual of sacrifice. The preliminary act of that event was called kṣetropadhāna, the measuring of the field. This introductory chapter ...
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The binding metaphor for this book is yajña, the ancient Vedic ritual of sacrifice. The preliminary act of that event was called kṣetropadhāna, the measuring of the field. This introductory chapter measures out the field for the remainder of the book, setting the boundaries and laying the groundwork. It begins by introducing the genre of mythological texts known as the purāṇas. This is followed by a brief description of the Bhāgavatapurāṇa itself, which is the main source of narratives for these week-long performances. Next, the concept of the seven-day performance is introduced, with a description of an idealized saptāha probably dating from the early eighteenth century. This is followed by an outline of contemporary practice and an overview of scholarly writing on the subject. The chapter then describes how the Bhāgavata-saptāha fits in with other forms of oral performance of sacred texts in India. It concludes with a rationale for the work as a whole, an outline of the theoretical framework, and an overview of the contents of the following chapters.Less
The binding metaphor for this book is yajña, the ancient Vedic ritual of sacrifice. The preliminary act of that event was called kṣetropadhāna, the measuring of the field. This introductory chapter measures out the field for the remainder of the book, setting the boundaries and laying the groundwork. It begins by introducing the genre of mythological texts known as the purāṇas. This is followed by a brief description of the Bhāgavatapurāṇa itself, which is the main source of narratives for these week-long performances. Next, the concept of the seven-day performance is introduced, with a description of an idealized saptāha probably dating from the early eighteenth century. This is followed by an outline of contemporary practice and an overview of scholarly writing on the subject. The chapter then describes how the Bhāgavata-saptāha fits in with other forms of oral performance of sacred texts in India. It concludes with a rationale for the work as a whole, an outline of the theoretical framework, and an overview of the contents of the following chapters.
Andrew Ford
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199733293
- eISBN:
- 9780199918539
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199733293.003.0003
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval, Ancient Greek, Roman, and Early Christian Philosophy
This Chapter compares another pair of representations of Hermias, two epigrams in elegiacs. An epigram Aristotle is said to have composed for a memorial at Delphi is read against the mocking response ...
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This Chapter compares another pair of representations of Hermias, two epigrams in elegiacs. An epigram Aristotle is said to have composed for a memorial at Delphi is read against the mocking response to this verse by Theocritus of Chios and the different social functions of elegiacs as opposed to lyric verse are introduced. It emerges that Aristotle’s poetry for his friend necessarily took on a polemical, even propagandistic aspect. The genre of epigram also raises possibility that the occasion projected by a poem for its ostensible performance may be fictive, as in the case of “book epigrams.” Although it declares itself a poem inscribed on stone, Aristotle’s Delphic epigram shows a rhetorical subtlety that suggests that he, like Theocritus, may have anticipated the Hellenistic tradition of literary epigrams.Less
This Chapter compares another pair of representations of Hermias, two epigrams in elegiacs. An epigram Aristotle is said to have composed for a memorial at Delphi is read against the mocking response to this verse by Theocritus of Chios and the different social functions of elegiacs as opposed to lyric verse are introduced. It emerges that Aristotle’s poetry for his friend necessarily took on a polemical, even propagandistic aspect. The genre of epigram also raises possibility that the occasion projected by a poem for its ostensible performance may be fictive, as in the case of “book epigrams.” Although it declares itself a poem inscribed on stone, Aristotle’s Delphic epigram shows a rhetorical subtlety that suggests that he, like Theocritus, may have anticipated the Hellenistic tradition of literary epigrams.
Anthony Welch
- Published in print:
- 2012
- Published Online:
- October 2013
- ISBN:
- 9780300178869
- eISBN:
- 9780300188998
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300178869.003.0001
- Subject:
- Literature, 16th-century and Renaissance Literature
This introductory chapter sets out the book's purpose, which is to explore two tightly interwoven aspects of the Renaissance epic tradition: its changing relationship with antiquity and its complex ...
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This introductory chapter sets out the book's purpose, which is to explore two tightly interwoven aspects of the Renaissance epic tradition: its changing relationship with antiquity and its complex attitudes toward oral performance. This book seeks to show that a key transition in literate Europe's perception of oral culture took place in the late sixteenth and seventeenth centuries: an emerging view of orality not simply as a fact of daily social life but as the lost and mysterious preserve of human societies far remote in space and time. It also shows how epic poets from Tasso to Milton constructed models of the past that are characterized by song and oral performance, and how, in turn, those models forced them to reassess their own art and vocation.Less
This introductory chapter sets out the book's purpose, which is to explore two tightly interwoven aspects of the Renaissance epic tradition: its changing relationship with antiquity and its complex attitudes toward oral performance. This book seeks to show that a key transition in literate Europe's perception of oral culture took place in the late sixteenth and seventeenth centuries: an emerging view of orality not simply as a fact of daily social life but as the lost and mysterious preserve of human societies far remote in space and time. It also shows how epic poets from Tasso to Milton constructed models of the past that are characterized by song and oral performance, and how, in turn, those models forced them to reassess their own art and vocation.
Arnold Krupat
- Published in print:
- 2012
- Published Online:
- August 2016
- ISBN:
- 9780801451386
- eISBN:
- 9780801465857
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801451386.003.0003
- Subject:
- Society and Culture, Native American Studies
This chapter examines oral performances of the Indian “farewell” speech. Indian farewells have been printed at least since the seventeenth century, when Christian ministers recorded (or perhaps ...
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This chapter examines oral performances of the Indian “farewell” speech. Indian farewells have been printed at least since the seventeenth century, when Christian ministers recorded (or perhaps sometimes wrote) the pious deathbed speeches of their Indian converts. From the late eighteenth to the late nineteenth century, however, the speeches of greatest interest to the American public were those attributed to prominent Indian leaders who had—with the exception of Chief Sealth—resisted the whites militarily. Indeed, the farewell speeches attributed to Chief Sealth and Chief Joseph continue to be celebrated today. This chapter discusses the farewell speeches delivered by the Mingo chief Logan, Black Hawk, the Apache leader Cochise, Chief Joseph, and Chief Sealth. The speeches made by Black Hawk and Chief Joseph are considered surrender speeches.Less
This chapter examines oral performances of the Indian “farewell” speech. Indian farewells have been printed at least since the seventeenth century, when Christian ministers recorded (or perhaps sometimes wrote) the pious deathbed speeches of their Indian converts. From the late eighteenth to the late nineteenth century, however, the speeches of greatest interest to the American public were those attributed to prominent Indian leaders who had—with the exception of Chief Sealth—resisted the whites militarily. Indeed, the farewell speeches attributed to Chief Sealth and Chief Joseph continue to be celebrated today. This chapter discusses the farewell speeches delivered by the Mingo chief Logan, Black Hawk, the Apache leader Cochise, Chief Joseph, and Chief Sealth. The speeches made by Black Hawk and Chief Joseph are considered surrender speeches.
Michael A. Uzendoski and Edith Felicia Calapucha-Tapuy
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252036569
- eISBN:
- 9780252093609
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036569.001.0001
- Subject:
- Anthropology, Latin American Cultural Anthropology
This book offers the first theoretical and experiential translation of Napo Runa mythology in English. It presents and analyzes lowland Quichua speakers in the Napo province of Ecuador through ...
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This book offers the first theoretical and experiential translation of Napo Runa mythology in English. It presents and analyzes lowland Quichua speakers in the Napo province of Ecuador through narratives, songs, curing chants, and other oral performances, so readers may come to understand and appreciate Quichua aesthetic expression. Like many other indigenous peoples, the Napo Runa create meaning through language and other practices that do not correspond to the communicative or social assumptions of Western culture. Language itself is only a part of a communicative world that includes plants, animals, and the landscape. In the Napo Runa worldview, storytellers are shamans who use sound and form to create relationships with other people and beings from the natural and spirit worlds. Guiding readers into Quichua ways of thinking and being—in which language itself is only a part of a communicative world that includes plants, animals, and the landscape—the book weaves exacting translations into an interpretive argument with theoretical implications for understanding oral traditions, literacy, new technologies, and language.Less
This book offers the first theoretical and experiential translation of Napo Runa mythology in English. It presents and analyzes lowland Quichua speakers in the Napo province of Ecuador through narratives, songs, curing chants, and other oral performances, so readers may come to understand and appreciate Quichua aesthetic expression. Like many other indigenous peoples, the Napo Runa create meaning through language and other practices that do not correspond to the communicative or social assumptions of Western culture. Language itself is only a part of a communicative world that includes plants, animals, and the landscape. In the Napo Runa worldview, storytellers are shamans who use sound and form to create relationships with other people and beings from the natural and spirit worlds. Guiding readers into Quichua ways of thinking and being—in which language itself is only a part of a communicative world that includes plants, animals, and the landscape—the book weaves exacting translations into an interpretive argument with theoretical implications for understanding oral traditions, literacy, new technologies, and language.
Sarah M. Strong
- Published in print:
- 2011
- Published Online:
- November 2016
- ISBN:
- 9780824835125
- eISBN:
- 9780824870331
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824835125.001.0001
- Subject:
- Society and Culture, Asian Studies
Indigenous peoples throughout the globe are custodians of a unique, priceless, and increasingly imperiled legacy of oral lore. Among them the Ainu, a people native to northeastern Asia, stand out for ...
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Indigenous peoples throughout the globe are custodians of a unique, priceless, and increasingly imperiled legacy of oral lore. Among them the Ainu, a people native to northeastern Asia, stand out for the exceptional scope and richness of their oral performance traditions. This book provides a study and English translation of Chiri Yukie's Ainu Shin'yoshu, the first written transcription of Ainu oral narratives by an ethnic Ainu. The thirteen narratives in Chiri's collection belong to the genre known as kamuiyukar, said to be the most ancient performance form in the vast Ainu repertoire. In it, animals (and sometimes plants or other natural phenomena) assume the role of narrator and tell stories about themselves. Along with critical contextual information about traditional Ainu society and its cultural assumptions, the book brings forward pertinent information on the geography and natural history of the coastal southwestern Hokkaido region where the stories were originally performed. It also offers the first extended biography of Chiri Yukie (1903–1922) in English. The story of her life, and her untimely death at age nineteen, makes clear the harsh consequences for Chiri and her fellow Ainu of the Japanese colonization of Hokkaido and the Meiji and Taisho governments' policies of assimilation. Chiri's receipt of the narratives in the Horobetsu dialect from her grandmother and aunt (both traditional performers) and the fact that no native speakers of that dialect survive today make her work all the more significant. The book concludes with a full, integral translation of the text.Less
Indigenous peoples throughout the globe are custodians of a unique, priceless, and increasingly imperiled legacy of oral lore. Among them the Ainu, a people native to northeastern Asia, stand out for the exceptional scope and richness of their oral performance traditions. This book provides a study and English translation of Chiri Yukie's Ainu Shin'yoshu, the first written transcription of Ainu oral narratives by an ethnic Ainu. The thirteen narratives in Chiri's collection belong to the genre known as kamuiyukar, said to be the most ancient performance form in the vast Ainu repertoire. In it, animals (and sometimes plants or other natural phenomena) assume the role of narrator and tell stories about themselves. Along with critical contextual information about traditional Ainu society and its cultural assumptions, the book brings forward pertinent information on the geography and natural history of the coastal southwestern Hokkaido region where the stories were originally performed. It also offers the first extended biography of Chiri Yukie (1903–1922) in English. The story of her life, and her untimely death at age nineteen, makes clear the harsh consequences for Chiri and her fellow Ainu of the Japanese colonization of Hokkaido and the Meiji and Taisho governments' policies of assimilation. Chiri's receipt of the narratives in the Horobetsu dialect from her grandmother and aunt (both traditional performers) and the fact that no native speakers of that dialect survive today make her work all the more significant. The book concludes with a full, integral translation of the text.
