Journal articles: 'Narrative of oral tradition'

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Algül, Mustafa. "Anlatı İçinde Anlatı: “Into The Woods (Sihirli Orman)” Filminin Peri Masalı Anlatıları İçindeki Gezintisi." Etkileşim 4, no. 7 (April 2021): 128–49. http://dx.doi.org/10.32739/etkilesim.2021.7.121.

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Myths, epics, and tales have survived for centuries in the oral expression tradition and have been permanently transcribed from oral tradition into written form. They are the most frequently recreated narratives in the cinema with their fantastic narrative structures. Hollywood cinema has been using tales as visual narratives for years. Tales, which have been turned into a structure open to the interpretation in accordance with the changing world, on the one hand is being reediting continuously. On the other hand, they gain new appearances along with intertwined narrative structures. In Into the Woods (Rob Marshall, 2014), four different fairy tales were used together. In this study, it is aimed to determine what kind of changes has been carried out in the film in terms of the different stages of the fairy tales. For this purpose, while collecting the data by examining the narrative structure of the fairy tales, the action areas are identified in terms of the “five components” in the Greimas’ ‘canonical narrative’. Briefly, the main object in this paper is to explicate the status of the film within the types of the cinematic narratives.

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McBride, Lawrence W., and Gary E. McKiddy. "The Oral Tradition and Arab Narrative History." Teaching History: A Journal of Methods 14, no. 1 (May 5, 1989): 3–17. http://dx.doi.org/10.33043/th.14.1.3-17.

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Sulistyowati, Sulistyowati. "Tradisi Lisan Yogyakarta: Narasi dan Dokumentasi." Bakti Budaya 2, no. 1 (April 15, 2019): 45. http://dx.doi.org/10.22146/bb.45032.

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Yogyakarta is one of the provinces where people are still aware of their oral tradition. Oral tradition as a culture contains aspects of life of a society. Types of oral tradition are verbal oral traditions, half-oral traditions, and non-verbal (material) oral traditions. Narrating the tradition in written form becomes an eﬀort in documentation, both in Javanese and Indonesian narratives. To translate it from the original language (Javanese) to Indonesian language creates some problems. The narrative script of the oral tradition still requires a lot of improvements in terms of language and the content of story. This research aims to train and assist people of Yogyakarta to write down their oral traditions. The activity specifcally aims to create texts of oral tradition in Yogyakarta which can be published into a semi popular book. The program, then, should be followed up by cultural discussions on oral tradition in Yogyakarta. =================================================================Salah satu daerah yang masyarakatnya masih sadar akan kehadiran tradisi lisan adalah Yogyakarta. Tradisi lisan sebagaikebudayaan mengandung segala aspek kehidupan yang ada di masyarakat. Jenis kelompok tradisi lisan di antaranya tradisi lisan verbal, tradisi lisan setengah verbal, dan tradisi lisan nonverbal (material). Narasi tulis tradisi lisan menjadi sebuahupaya dalam dokumentasi, baik narasi berbahasa Jawa maupun bahasa Indonesia. Adanya alih bahasa dari bahasa Jawa ke bahasa Indonesia maupun sebaliknya membuat permasalahan baru muncul. Sebagian besar narasi yang terkumpul belum sepenuhnya dapat dianggap sebagai naskah karena masih memerlukan banyak perbaikan dalam segi bahasa ataupun isi cerita. Kegiatan Pengabdian kepada Masyarakat ini bertujuan untuk melatih dan mendampingi masyarakat Yogyakarta untuk menulis naskah tradisi lisan. Kegiatan pengabdian ini secara khusus bertujuan untuk menciptakan naskah tradisi lisan Yogyakarta yang dapat dipublikasikan menjadi buku semipopuler. Keberlanjutan program yang dapat dilakukan adalah terlaksananya diskusi budaya secara rutin tentang tradisi lisan Yogyakarta.

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Huber, Loreta, and Evelina Jonaitytė. "Oral Narrative Genres as Communicative Dialogic Resources and their Correlation to African Short Fiction." Respectus Philologicus, no. 37(42) (April 20, 2020): 137–46. http://dx.doi.org/10.15388/respectus.2020.37.42.45.

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Oral and written storytelling traditions in Africa developed at the same time and influenced each other in many ways. In the twentieth century, the relation between the deeply rooted oral tradition and literary traditions intensified.We aim to reveal literary analysis tools that help to trace ways how oral narrative genres found reflection in African short fiction under analysis. A case study is based on two short stories by women writers, The Rain Came by Grace Ogot and The Lovers by Bessie Head. Images and symbols both, in oral and written traditions in Africa, as well as the way they evolved and extended in a literary genre of short fiction are considered within the framework of hermeneutics, reader reception theory and feminist literary criticism.The results obtained in the study prove that oral narrative genres interact with literary genres, though most importantly, women’s writing as a literary category and images embodied in the short stories play a decisive role and deviation from the images embodied in African oral tradition.

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McCall, Daniel F., and Robert Cancel. "Allegorical Speculation in an Oral Society: The Tabwa Narrative Tradition." International Journal of African Historical Studies 23, no. 1 (1990): 185. http://dx.doi.org/10.2307/220027.

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Dorsey, David, and Robert Cancel. "Allegorical Speculation in an Oral Society: The Tabwa Narrative Tradition." World Literature Today 64, no. 1 (1990): 184. http://dx.doi.org/10.2307/40146063.

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Kang, Choon Ae. "Narrative bonding between the Oral Tradition and the Classical Drama." ONJI COLLECTION OF WORKS 54 (January 31, 2018): 343–78. http://dx.doi.org/10.16900/onji.2017.54.13.343.

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Kang, Choon Ae. "Narrative bonding between the Oral Tradition and the Classical Drama." ONJI COLLECTION OF WORKS 54 (January 31, 2018): 343–78. http://dx.doi.org/10.16900/onji.2018.54.13.343.

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Roberts, Allen F., and Robert Cancel. "Allegorical Speculation in an Oral Society: The Tabwa Narrative Tradition." African Arts 24, no. 1 (January 1991): 96. http://dx.doi.org/10.2307/3336886.

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Davies, Sioned. "From Storytelling to Sermons: The Oral Narrative Tradition of Wales." Oral Tradition 18, no. 2 (2004): 189–91. http://dx.doi.org/10.1353/ort.2004.0060.

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Roberts, Allen F., and Robert Cancel. "Allegorical Speculation in an Oral Society: The Tabwa Narrative Tradition." Journal of American Folklore 104, no. 413 (1991): 379. http://dx.doi.org/10.2307/541464.

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Eygerðardóttir, Dalrún. "Drifting: Feminist Oral History and the Study of the Last Female Drifters in Iceland." Feminist Research 2, no. 1 (June 2018): 1–15. http://dx.doi.org/10.21523/gcj2.18020101.

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This paper examines the story of the last female drifters in Iceland from the voices of women who remembered them. It examines the advantages of the woman-on-woman oral history interview when obtaining women’s perspectives on women’s history. An examination of women’s narrative techniques suggests that women’s narrative style is often consistent with a conversational style; and therefore it is important to construct a space in woman-on-woman oral history interviews that carries a sense of place for a conversation. It also examines the woman-on-woman oral history interview as a continuation of women’s oral tradition in Iceland, especially an oral tradition from medieval Iceland; called a narrative dance (ice. sagnadans). Lastly, it examines the shared features of the Icelandic #Metoo event stories and the Icelandic narrative dances, in relation to woman-on-woman oral history interviews.

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Pavlovic, Aleksandar. "A bloodthirsty tyrant or a righteous landlord? Smail-aga Cengic in literature and oral tradition." Bulletin de l'Institut etnographique 69, no. 1 (2021): 109–24. http://dx.doi.org/10.2298/gei2101109p.

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The 1840 murder of a notable 19th century Bosnian dignitary Smail-aga Cengic immediately inspired strong artistic production in the South Slav literature and oral tradition. These narratives, comprising newspaper articles, oral epic songs, and particularly Ivan Mazuranic?s literary epics written in the manner of oral folk epic, presented and codified Smail-aga as a bloodthirsty tyrant whose ultimate aim was to terrorize and extinct his Christian subjects. In distinction, some marginalized local narratives and oral folk tradition, which will be examined in this article, remembered Smail-aga as a righteous and merciful lord, protector of his flock and a brave warrior. Thus, when we scrutinize several versions of oral songs about the death of Smail-aga recorded between 1845 and 1860, as well as later collected anecdotes from his native Herzegovina, it appears that his hostile portrayal in written literature was rather the contribution of the Serbian and Croatian Romantic nationalists around the mid- 19th-century than an actual popular perception of him among local people in the region that he lived with. In conclusion, the article advocates for a wider consideration of the overall polyphonic narrative tradition and the revitalization of traditional narratives that glorify values which transcend strict religious, ethnic and national divisions as a way of reimagining and revaluating relationship of the South Slavs towards the Ottoman heritage.

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Bala, Mustapha Ruma. "African Literature and Orality: A Reading of Ngugi wa Thiango’s Wizard of the Crow (2007)." Journal of English Language and Literature 3, no. 1 (February 28, 2015): 196–204. http://dx.doi.org/10.17722/jell.v3i1.39.

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This paper explores the relationship between orality and written literature in Africa. The paper interrogates the transformation of oral narrative into written texts and vice-versa. The paper specifically focuses on how Ngugi appropriates oral-narrative techniques commonly employed in African traditional societies in shaping the narration of events in this monumental novel. In this regard, the paper focuses on how the oral tradition in Africa influences the plot structure of Wizard of the Crow. The paper also looks at how Ngugi uses multiple narrators some of whom are observers as well as participants in unfolding the drama in the novel. These narrators, some of whom are categorically defined and the not well-defined, recount and render events happening in the novel orally in the presence of a live audience and in the process also embellish the story as they deem fit thereby rendering different versions of the same event The paper concludes with the observation that in spite of its being presented in the written medium of the novel, Wizard of the Crow indeed has generic resemblance to an extended oral narrative.

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Labashchuk, Oksana, Halyna Derkach, and Tetiana Reshetukha. "Child in the Natal Narratives of Modern Ukrainian Mothers: Folkloric Symbols and Frequent Motifs." Folklore: Electronic Journal of Folklore 80 (December 2020): 69–96. http://dx.doi.org/10.7592/fejf2020.80.ukraine.

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The article focuses on the manner natal narratives accumulate and transmit prevailing traditional ideas about motherhood and the baby in modern society. It lists and exemplifies the major motifs that are typical of oral tradition of the Ukrainians, Slavs, and other peoples. This research is based on stories of more than 500 women about personal experience of pregnancy and childbirth, which were recorded using the narrative interview method. The thick description method (Clifford Geertz 1973) has been applied for material interpretation. The authors analyse animal–child symbolism in the narration of pregnancy, the accents on weather and time while telling about the moment of birth, and the manifestation of each child’s uniqueness in the mother’s interpretation.

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Lienert, Elisabeth. "Widersprüche in heldenepischem Erzählen." Beiträge zur Geschichte der deutschen Sprache und Literatur 141, no. 2 (June 1, 2019): 225–59. http://dx.doi.org/10.1515/bgsl-2019-0014.

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Abstract This article (re-)examines (marked) inconsistencies and incompatibilities in Middle High German heroic epic. Those contradictions may result from oral tradition, from the difficulties of transfering oral narratives into literacy, from the conditions of performing from memory, or from traditional narrative regularities of the genre. Frequently, they are striking side effects of a type of narration which is paradigmatic instead of syntagmatic, elliptic and aggregative, scenic and final, and therefore highly tolerant against contradictions of any kind. Contradictions and inconsistencies are (consciously or unconsciously) used (and imitated) as one of the constitutive stylistic features of heroic epic. In some cases, moreover, contradictions and inconsistencies are obviously part of an intentional poetics of contradiction ostentatiously accumulating and exhibiting different layers of knowledge and meaning. The textual strategies of heroic epic, in some respect perhaps of premodern narration in general, tend to favour discrepancies, contrasts, and contradiction instead of nuances, compromises, and smooth transitions.

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Jaago, Tiiu. "Critical events of the 1940s in Estonian life histories." Sign Systems Studies 34, no. 2 (December 31, 2006): 471–92. http://dx.doi.org/10.12697/sss.2006.34.2.11.

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The article observes how critical times, conditioned by events concurrent with Soviet power and World War II, are currently reflected in life histories of newly independent Estonia. Oral history analysis comprises texts from southern Läänemaa: oral life history interview (2005), written responses to the Estonian National Museum’s questionnaire “The 1949 Deportation, Life as a Deportee” (1999) and a written life history sent to the Estonian Literary Museum’s relevant competition “One Hundred Lives of a Century” (1999). Aiming at historic context, materials from the Estonian Historical Archives and Läänemaa County Archives have been used. The treatment focuses on two issues. First, whether oral and written narratives only differ by the form of presentation or do they also convey different messages (ideologies). Secondly, whether memories and history documents solely complement each other or do they more essentially alter the imaginations obtained from the events. The public is presented with experience narratives on coping under difficult circumstances, both at practical and mental levels. Narratives are presented from a certain standpoint, pursuant to narrators’ convictions, with the main message remaining the same in different presentations. The addition of history sources enables to better observe the evolving of narrative tradition (narration rules) and highlight new questions (hidden in the narrative).

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Jaffee, Martin. "Writing and Rabbinic Oral Tradition: On Mishnaic Narrative, Lists and Mnemonics." Journal of Jewish Thought and Philosophy 4, no. 1 (June 1, 1995): 123–46. http://dx.doi.org/10.1163/147728595794761855.

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Bachvarova, Mary R. "Multiformity in the Song of Ḫedammu." Altorientalische Forschungen 45, no. 1 (June 1, 2018): 1–21. http://dx.doi.org/10.1515/aofo-2018-0001.

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AbstractA new analysis of the narrative tradition of the Hurro-Hittite Song of Ḫedammu is presented, arguing that two separate Hittite versions can be reconstructed, one relatively condensed, the other more prolix. Such multiformity supports the postulation of an oral tradition lying behind the scribal production of Hurro-Hittite narrative song at Ḫattuša.

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Wright, Donald R. "The Epic of Kelefa Saane as a Guide to the Nature of Precolonial Senegambian Society--and Vice Versa." History in Africa 14 (1987): 287–309. http://dx.doi.org/10.2307/3171842.

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What oral tradition tells us is in its way ethnography; ethnography allows an understanding of the implications of traditions…Probably the most popular and most frequently-recited oral tradition in all of Senegambia and somewhat beyond is the epic of Kelefa Saane. From southwestern Guiné-Bissau to Bondu on the middle Senegal, griots regularly play the tune of “Kelefa” on their harp-lutes as they sing the familiar refrains:The war was a disaster.There was no one who could takeKelefa Saane's place.…Wounded menCrawled backTo Niumi. …Ah, the nobles are finishedWar has finished the nobles…Such epics have captured the attention of African historians since early in the years of professional interest in the continent. Over the last decade historians have made fresh examination of oral data and their use in reconstructing the African past. One volume of essays, The African Past Speaks, edited by Joseph C. Miller, assesses problems associated with analysis of these traditions. In his introductory essay Miller makes a point that most of the authors of subsequent chapters reinforce. It is that many forms of oral traditions are sociological models of the societies they come from. The structure and content of a narrative, Miller asserts, often provides insight into the nature of a particular society at some point in the precolonial past. Conversely, knowledge of the structure of the society in which traditionists tell the narrative helps one evaluate the narrative as a historical source.

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정윤길. "Marina Carr and Tom Murphy's Alternative Narrative: Rewriting the Irish Oral Tradition." Journal of English Cultural Studies 6, no. 2 (December 2013): 251–74. http://dx.doi.org/10.15732/jecs.6.2.201312.251.

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Tockgo, Hyun. "Continuity of the Vernacular Oral Tradition - From Toasts to Hip-hop Narrative." Comparative Study of World Literature 63 (June 30, 2018): 119–45. http://dx.doi.org/10.33078/cowol63.06.

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Boni, Stefano. "Contents and Contexts the Rhetoric of Oral Traditions in the ɔman of Sefwi Wiawso, Ghana." Africa 70, no. 4 (November 2000): 568–94. http://dx.doi.org/10.3366/afr.2000.70.4.568.

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AbstractThis article examines political oral traditions in the Sefwi (Akan) area of Ghana. Two types of narrative are studied: negotiations over the political status of stools within the kingdom and the claims to succession of matrilineal branches within stools. Narratives are analysed in relation to their claims to historicity, to the political conflicts in which they are generated and to their correspondence to legal criteria of attribution of ‘traditional’ political offices. It shows that pre‐colonial dynamic norms concerning stool status and succession turned into a fixed legal corpus in the twentieth century. Contenders’ histories have been used as evidence to judge ‘traditional’ stool disputes. Narrators have thus constructed narratives presenting ideal pasts considered worthy of legal attribution of ‘traditional’ political office. Narratives have consequently legalised narrators’ claims with reference to ancient history. The study of the context of the emergence of oral traditions—hostility between particular stool holders, national politics’ influence or conflicts over the sharing of stool revenue—shows that narratives and political conflicts have a history of their own which is carefully omitted from the narration.

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Bentes, Anna Christina. "Processos de referenciação em duas configurações narrativas: o conto popular e a estória oral." Cadernos de Estudos Lingüísticos 41 (September 12, 2011): 177–89. http://dx.doi.org/10.20396/cel.v41i0.8637009.

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This article describes how narrators from Brazilian Amazon region configurate oral tradition in two different ways. The first way, called “folk-tale” is characterized considering the fact that narrators, when telling their stories, privilege the dimensions of repetition and stability. The second one, called “oral story”, is characterized considering the fact that narrators, when telling their stories, privilege the dimensions of difference and instability. The present analysis of both configurations takes into account two aspects (i) the enunciative situation in which they were produced and (ii) the textual and discursive strategies developed by narrators. Folk-tales present (i) fixed plots, which are common-shared and (ii) referenciation strategies that do not show the discursive instances in which the stories are produced. Oral stories reconstruct tradition radically. In this way, they do not present fixed plots, what makes possible the emergency of versions that are distant from the formulaic nature of oral tradition. Referenciation strategies present in this second narrative configuration are much more varied and they also make possible the emergency of the discursive instances in which narratives are produced.

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YAQIN, AMINA. "Truth, Fiction and Autobiography in the Modern Urdu Narrative Tradition." Comparative Critical Studies 4, no. 3 (October 2007): 379–402. http://dx.doi.org/10.3366/e1744185408000086.

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From its various beginnings in the nineteenth century and ever since the rise of print capitalism on the Indian subcontinent, the Urdu novel has become a prime medium of expression for writers seeking to fuse the narrative traditions of both the East and the West. As a hybrid genre which took shape during the nineteenth century, the Urdu novel's early beginnings were associated with the theme of historical romance; this eventually gave way to the influence of realism in the first half of the twentieth century. By and large, the Urdu novel incorporates influences encompassing the fantastical oral storytelling tradition of the dastan or the qissa (elaborate lengthy heroic tales of adventure, magic and honour), the masnavi (a form of narrative poem), Urdu grammars, religious pamphlets and journals, and the European novel.

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Rose, Heidi M. "Inventing one's “voice”: The interplay of convention and self-expression in ASL narrative." Language in Society 25, no. 3 (September 1996): 427–44. http://dx.doi.org/10.1017/s0047404500019230.

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ABSTRACTDrawing on the work of Jean-François Lyotard and Mikhail Bakhtin, this study analyzes personal narratives created and performed in American Sign Language (ASL) by three Deaf college students. These narratives can be viewed as “boundary phenomena” in that they reflect themes common to the Deaf oral tradition, yet were deliberately poetically created, extensively rehearsed and publicly performed, based on fact, and created with a specific rhetorical purpose. The texts are examined for literary features and themes, as well as for the key elements of performance and social-cultural context. Discussion centers on the ways in which students' individual styles emerged from exposure to the thematic and stylistic techniques of professional Deaf artists. (American Sign Language, personal narrative, narrative pragmatics, speech genres, intertextuality)

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Sangphil Shin. "Intercourse of Narrative between Joseon and China on the Role of Oral Tradition." Korean Language and Literature ll, no. 161 (August 2012): 321–43. http://dx.doi.org/10.17291/kolali.2012..161.010.

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Mellmann, Katja. "On the Origin of the Epic Preterit." Journal of Literary Theory 13, no. 2 (September 6, 2019): 206–26. http://dx.doi.org/10.1515/jlt-2019-0008.

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Abstract The use of past tense in narrative discourse at first glance seems to imply that the narrated events are lying in the past as compared to the act of narration. However, this intuitive notion was doubted by several scholars in the mid 20th century, among them Käte Hamburger, Harald Weinrich, Émile Benveniste, and Ann Banfield. This article investigates the temporal constitution of literary narratives from a perspective of the biological evolution of Human cognition. My analysis begins with Hamburger’s most disputed claim that in epic fiction the past tense »loses its grammatical function of designating what is past« and proceeds by testing a derived hypothesis against a cross-cultural sample of (mostly oral) folklore. Hamburger denied any temporal relation between the speaker and that which he speaks of, assuming instead a fictitious neverland in which the narrated events are situated and to which the preterit refers. If Hamburger’s model is correct, so the derived hypothesis goes, then the use of past tense in fictional narratives is merely a cultural convention, and different narrative traditions should expose different conventions. Indeed it can be shown that in other cultures stories are told in the present tense, in infinitive verb forms, or in forms indicating abstractness or remoteness. It can be followed that Hamburger was right at least in presuming that reference to the past is not a necessary constituent of verbal storytelling. Actually, instead of referring to the past, the epic preterit rather seems to indicate a change in the modality of speaking, thus adhering to the category of grammatical mood rather than tense. In some languages of oral cultures, however, this presumed mood shows up instead as a way of indicating the source of information. This kind of source information – fully grammaticalized in a quarter of the world’s languages – is called ›evidentiality‹ by linguists. In a phylogenetic perspective on the evolution of cognition, source information only becomes necessary with extended inferential and communicative capabilities and may thus have emerged as a cognitive tool in early humans when entering the ›cognitive niche‹. Evidentiality markers in language may thus be the linguistic reflex of a very ancient cognitive scope category in the innate architecture of the human mind, one which served to separate first-hand experience from reported knowledge. In oral storytelling, evidentiality is marked not only by specific verb forms but also by specific formulas (›they say‹/›it is said‹), intonations, or rhetorical devices. From this perspective, the phenomenon observed by Hamburger and others can be said to originate in the beginning of Tradition – that is, of verbal transmission of cultural knowledge. My hypothesis is that literary narratives in literate cultures still use this ancient cognitive scope operator of ›tradition‹ when employing the epic preterit. Admittedly, in literate cultures it often suffices to put »A novel by« on the title page in order to signal the categorical otherness of narrative fiction. Yet still, authors employ additional means to evoke the atmosphere of a ›murmuring conjuring‹ – as Thomas Mann once called it – that creates the impression of an objective world of tradition behind the individual story told. I point toward examples in literary first-person narratives, because homodiegetic narration – in contrast to Hamburger’s classical case of heterodiegetic narration – shows a continuous spatio-temporal relation between speaker and that which he speaks of and thus requires additional means or efforts to signal a break between the ordinary world of first-hand experience and the world of the literary. Since Hamburger once treated the epic preterit as a signal of fictionality, I briefly discuss the notion of fiction in the last paragraphs of my paper. I consider ›fictionality‹ to be a late cultural concept in literate societies that is not identical with the cognitive category of ›tradition‹ but is ultimately made possible by the existence of the latter.

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Eskell-Blokland, Linda Marie. "Listening to Oral Traditions in a Re-searching for Praxis in a Non-western Context." Journal of Health Management 11, no. 2 (May 2009): 355–73. http://dx.doi.org/10.1177/097206340901100206.

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The relevance and appropriateness of western oriented psychology in practice and research is a concern in developing and non-western contexts. It is difficult to address this problem from any alternative position other than the western academic frame if one is situated in a tertiary educational institution in South Africa. In acknowledgement, this article explores the academic context including some local voices from the field in a search for possible congruent research methodologies, which may echo knowledge systems of the traditions of the local context in South Africa and its broader context in the continent. Constraining factors to the development of an appropriate praxis have been suggested to include epistemological issues, western academic hegemony and the perceived elitism of psychology as a discipline. In particular, this article explores the adoption of a narrative literary stance for research in psychology. Literary theory and discussions of the narrative from Bakhtin's writings are drawn on in an attempt to bridge a perceived epistemological divide between local traditional knowledge systems and western academia. From this perspective the oral tradition of Africa is considered at the interface of local and western knowledge around healing /helping traditions.

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Singh, Ahanthem Homen. "Manipuri Ramkatha through Wari Leeba: A Dialogue between Text and Oral Renditions." IRA International Journal of Education and Multidisciplinary Studies (ISSN 2455-2526) 6, no. 2 (February 28, 2017): 156. http://dx.doi.org/10.21013/jems.v6.n2.p2.

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<div>The paper seeks to highlight the dynamism of Indian Literary traditions which blurs the strict compartmentalization of written and oral traditions. Taking an instance from the Manipuri Ramayana in written text and its oral rendition through the narrative art of Wari Leeba, the paper tries to delineate the negotiation and interaction between the various forms of expressions in Indian literary scenario. From a detailed study of how the Manipuri Ramkatha tradition develops in Manipur to the way how Wari Leeba as a narrative art evolves and associates itself with recitation of Ramkatha in Manipur, the paper gives an insight into the various aspects of their interaction and corresponding cultural ethos. Social and religious context associated with the evolution and development of Ramkatha and Wari Leeba has been dealt with in this paper.</div>

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Smith, M. A. "The historiography of kardimarkara: Reading a desert tradition as cultural memory of the remote past." Journal of Social Archaeology 19, no. 1 (December 26, 2018): 47–66. http://dx.doi.org/10.1177/1469605318817685.

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The idea that the kardimarkara tradition in the Lake Eyre region is a distant cultural memory of the remote past, of a time when the desert once teemed with life, was propelled into the public domain by JW Gregory in his 1906 book, The Dead Heart of Australia. This paper examines the historiography of the kardimarkara narratives, arguing that such use of Indigenous tradition needs to be subject to the same canons of scholarship and critical analysis as other historical records. The reading of kardimarkara as cultural memory is a misunderstanding of a typical ‘Dreaming’ narrative, in which kardimarkara represents the rainbow serpent, and where contemporary observations of fossil bones are used to validate this landesque ideology. This paper proposes a general framework for scrutinising and evaluating the historicity of oral tradition.

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Mohamed, Noriah, Jamilah Bebe Mohamad, and Mohd Tarmizi Hasrah. "Antu Language in the Sangin Oral Narrative of the Sihans in Sarawak." KEMANUSIAAN The Asian Journal of Humanities 28, no. 1 (May 31, 2021): 171–92. http://dx.doi.org/10.21315/kajh2021.28.1.8.

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This article discusses the Sihan community and one of their traditional oral narratives, known as sangin. Sihan is an indigenous ethnic group residing in Belaga, Sarawak, Malaysia, and sangin is an activity that can be considered a folklore, narrative in manner, and performed for entertainment and native remedy. Data on the community in this study was obtained through interviews with 71 Sihan informants in Belaga, Sarawak, Malaysia. The sangin by one of its practitioners was recorded during the community’s leisure activities. The recorded sangin song, delivered in the style of storytelling, narrated for entertainment, not for remedy purposes. The description of the sangin indicates that the language in the oral tradition, called antu language (language of the spirit) is very different from the modern, every day Sihan language used by its speakers. In terms of usage, sangin can be considered extinct because of the reduced number of Sihan speakers (only 218 left) and lessening number of sangin practitioners (only three remain). Sangin as a native remedy no longer has a place in the community with the availability of modern medical treatment, the mass migration of the Sihans from their original area, and the change in the Sihans’ life style, from nomadic to community life.

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Adamo, Giuliana. "Down memory lane. Oral tradition, history and historiography in the narrative of Vittore Bocchetta." Quaderns d’Italià 19 (November 2, 2014): 93. http://dx.doi.org/10.5565/rev/qdi.367.

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Jansen, Jan. "A Critical Note on “The Epic of Samori Toure”." History in Africa 29 (2002): 219–29. http://dx.doi.org/10.2307/3172161.

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Samori Toure (d. 1900) is celebrated, both in written history and oral tradition, in Mali and Guinea because of the empire he founded and his fierce resistance against the French, as they sought to occupy their future colony of the French Sudan. Recently published anthologies of African epic (Johnson/Hale/Belcher 1997; Kesteloot/Dieng 1997; Belcher 1999) attest that an orally transmitted Samori epic exists in these countries. In this paper the texts hitherto presented as the Samori epic will be compared to some oral sketches about Samori which I recorded during two years of fieldwork conducted in southwestern Mali and northeastern Guinea. I will hypothesize that a Samori epic may be in the making, but does not yet exist. The texts hitherto presented as the epic of Samori are largely oral narratives produced more or less in concord with expectations about what an epic should look like. The focus is on Samori as a hero on the battefield, and this is not representative for the present-day oral narrative on Samori. Therefore, an epic of Samori, if it ever does come into being and takes the form of a standardized oral narrative, might deal with different issues than one might expect from reading the texts presented in the anthologies.

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Taljaard, G. H. "Die aard en funksie van Zoeloe-folklore in Die ding in die vuur van Riana Scheepers." Literator 20, no. 2 (April 26, 1999): 31–46. http://dx.doi.org/10.4102/lit.v20i2.464.

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The nature and function of Zulu folklore in Die ding in die vuur by Riano ScheepersThis article is concerned with how and why Zulu folklore and oral narrative traditions are absorbed in the literature of the writer Riana Scheepers. Scheepers does not use Zulu culture in her work to make it part of the struggle genre. The question therefore arises: Why does Scheepers, a modern, even postmodern writer, make use of the prehistoric, ancient Zulu oral narrative tradition?As starting points for this article the following issues are explored: What is the nature of Zulu folklore and how has it been applied in the texts concerned? What is the function of Zulu folklore in Scheepers’ work?In the oral narrative tradition, the ugogo (grandmother) is the narrator of the story and she tells her stories to the listeners (mostly children) to educate them in a very entertaining way, but also to adjure many social evils, symbolized by a variety of characters, such as animals, monsters and tricksters. Riana Scheepers uses the ugogo to create a story within a story in front of the reader's eyes, in other words, she uses the ugogo to create metatextuality. By writing stories, Scheepers also edifies her readers in an entertaining manner and like the ugogo, she adjures many social evils like violence, poverty, chauvinism and racism. By transforming truth into fiction (fictionalization), she makes the harsh realities of life tolerable and in this way protects herself and her readers against the horrific realities of modern life.

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Park, Jongseong. "WHAT IS AN ORAL HEROIC EPIC POETRY? – OVERCOMING THE LIMIT OF THE ILIAD." International Journal of Korean Humanities and Social Sciences 5 (February 28, 2020): 57–65. http://dx.doi.org/10.14746/kr.2019.05.04.

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The ancient Greek epic Iliad, including the oral epic and the written epic, has enjoyed a solid status as a ‘heroic epic’ (or ‘narrative poetry’) of European literature. But if a reader takes look at the general aspects of the heroic epic of oral tradition, it turns out that Iliad is not a typical work of a typical epic, but rather an individual one. Because the birth, trials, performance, and ending of a hero’s life are divided relatively evenly, and the general pattern of transferring the hero’s life to the heroic epic of oral tradition can be found in such cases as Manas, Jangar, Gesar and Mwindo.

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Syamsuddin, Muh. "Totemisme dan Pergeserannya: Studi Terhadap Tradisi Lokal di Sendang Mandong, Klaten, Jawa Tengah." RELIGI JURNAL STUDI AGAMA-AGAMA 13, no. 01 (July 30, 2018): 96. http://dx.doi.org/10.14421/rejusta.2017.1301-06.

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Totemism that Emile Durkheim calls the origin of belief in the sacred, is also found in Sendang Mandong, Klaten, Central Java. Bulus as a totem is a representation of a local mythological figure, Kyai Gringsing. Reverence for this mythological figure not only helps the conservation of the environment, especially water resources, but also breeds a tradition that run for decades. The tradition includes the merit sendang wayangan, mangan bulus for the bride, and offerings. The tradition is also a form of ecounter between totemism with the influence of Islam. As the result, Islam Kejawen is existing in Mandong Village. However, the Islam Kejawen is local narrative of totemism and then Islam Kejawen is undocumented and not inherited either in writing or oral tradition. The local narrative is futher undermind by the changes caused by education, modernity, and the development of puritan religious stream.

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Tulius, Juniator. "LESSON FROM THE PAST, KNOWLEDGE FOR THE FUTURE: ROLES OF HUMAN MEMORIES IN EARTHQUAKE AND TSUNAMI NARRATIVES IN MENTAWAI, INDONESIA." Paradigma: Jurnal Kajian Budaya 10, no. 2 (August 31, 2020): 147. http://dx.doi.org/10.17510/paradigma.v10i2.396.

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Oral traditions are an important part of the culture of most Indonesian communities. Mentawai, an ethnic group residing in Mentawai Islands of Indonesia, has various genres of oral tradition. Traditional knowledge and local wisdom pertaining to natural disasters are also part of their oral tradition. Mentawai Islands are located along active tectonic plates, where earthquakes commonly occur at various magnitudes. Records show that great earthquakes and tsunamis hit Mentawai Islands several times in 1797, 1833, 2007, and 2010. Surprisingly, earthquakes occurring some hundred years ago do not seem to appear in Mentawai oral tradition. This is slightly different from communities in Simeulue, Solomon, and Andaman Islands whose natives still remember some devastating catastrophes that occurred in the past. People’s collective memories play an important role in upholding significant messages from past natural disasters. Some of those messages contain important lessons on how to cope with natural disasters if they should occur again. As a result, the majority of inhabitants of those islands survived future catastrophes because they remembered the lessons contained in their oral tradition. This is totally different in Mentawai where more than 500 people died during the 2010 earthquake and tsunami. Because of this, the Mentawai case becomes an interesting topic of study. This paper aims, therefore, to find out the reasons behind this apparent lack of oral tradition pertaining to the earthquakes and tsunamis that occurred several hundred years ago.

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Park, Jongseong. "A Strategy and Narrative Variations of a Marriage of Brother and Sister on Oral Tradition." Comparative Korean Studies 24, no. 3 (December 31, 2016): 241–68. http://dx.doi.org/10.19115/cks.24.3.7.

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Weintraub, Andrew N. "Tune, Text, and the Function of Lagu in Pantun Sunda, a Sundanese Oral Narrative Tradition." Asian Music 26, no. 1 (1994): 175. http://dx.doi.org/10.2307/834389.

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Constenla Umaña, Adolfo. "Sisimique: Orígenes indígenas de un personaje del cuento popular costarricense." Revista de Filología y Lingüística de la Universidad de Costa Rica 21, no. 2 (August 30, 2015): 161. http://dx.doi.org/10.15517/rfl.v21i2.20823.

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Este fue el discurso de incorporación del profesor Constenla a la Academia Costarricense de la Lengua Española. Tiene que ver con la etimología de la palabra sisimique y el origen del personaje de la narrativa popular costarricense que lleva este nombre. Se concluye que el étimo es el nahuat / tsitsimit /, y que entró en la tradición oral de Costa Rica por difusion desde el norte de América Central.This was the incorporation speech of professor constenla to the Costa Rican Academy of the Spanish Language. It deals with the etymology of the word sisimique and the origin of the character from Costa Rican folk narrative which bears this name. It concludes that the etymon is the nahuat /tsitsimit/, and that it entered Costa Rican oral tradition by difusion from northern Central America.

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Sparrow, Kathy Bedard. "Correcting the Record: Haida Oral Tradition in Anthropological Narratives." Anthropologica 40, no. 2 (1998): 215. http://dx.doi.org/10.2307/25605898.

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Gogiashvili, Elene. "Georgian Epic Heroes between Literary and Oral Narrative Traditions." Fabula 60, no. 3-4 (November 1, 2019): 285–303. http://dx.doi.org/10.1515/fabula-2019-0018.

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Zusammenfassung Die epischen Helden – Amiran, Tariel und Rostom – sind die beliebtesten Helden in der georgischen Erzähltradition, beeinflusst von der Literatur, die viele Interpretationen in den Volkserzählungen haben. Im Aufsatz werden die archivalischen Quellen aus dem neunzehnten und zwanzigsten Jahrhundert untersucht. Diese Texte, die in eine Rahmenerzählung eingepasst sind, präsentieren die drei Helden aus verschiedenen Epen in einer Geschichte als Freunde, die sich gegenseitig ihre Abenteuer erzählen.

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Ktsoeva, Sultana G. "Religious features of the ethnic tradition of the Ossetians in the conditions of social modernization of the late 19th and early 20th centuries, according to the folklore legend “The Tale of the Lonely”." RUDN Journal of Russian History 18, no. 4 (December 15, 2019): 922–37. http://dx.doi.org/10.22363/2312-8674-2019-18-4-922-937.

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The article analyzes transformation processes in the Ossetian ethnic tradition that resulted from the modernization of the Great Reforms era. While the article covers the late nineteenth and early twentieth centuries, the changes in question stretched beyond these limits, being complex in nature and increasing gradually. As mountainous Ossetia was drawn into the orbit of Russian inﬂuence the ethnic isolation was ended, and certain aspects of the tradition changed. The period of Great Reforms contributed to the strengthening of capitalist development in the Russian Empire. This period provided signiﬁcant changes not only in the economic but also in the socio-cultural life of the Ossetian highlanders. We observe a gradual modernization of the archaic tradition of the ethnos at that time. This transformation of the traditional ethnic worldview of the Ossetian highlanders is reﬂected in various narrative sources. In particular the folk legends recorded by representatives of the educated part of Ossetian society carry signiﬁcant information. The bearers of oral folklore - the inhabitants of mountainous Ossetia - often introduced new realities into the narratives, elements that were atypical for the archaic consciousness. Folk legends therefore constitute an important source for studying the processes of modernization of the traditional consciousness. The present article studies these processes with the folklore legend The Tale of the Lonely recorded in the nineteenth century, which reﬂects ideological transformations characteristic of the ethnic consciousness in this period.

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Henriquet, Stéphane. "Aspects of New Survey on Oral Heritage in the Alps of Savoy." IRIS, no. 38 (June 30, 2017): 9–42. http://dx.doi.org/10.35562/iris.1042.

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Cette nouvelle enquête sur le patrimoine narratif de tradition orale dans les Alpes de la Savoie s’est inscrite dans la continuité des enquêtes de Charles Joisten, commencées dès les années 1950 et qui ont donné les recueils de contes et de récits de croyance rendus disponibles au tournant de ce siècle. Seul ce type d’enquête directe s’est révélé capable de nous permettre — en tirant parti des moyens disponibles de nos jours, notamment d’enregistrement — de donner le jour à de nouveaux exemplaires de cette matière de l’oralité. Nous exposerons ici les aspects de notre expérience sur plusieurs années de terrain ayant abouti à plusieurs publications. Nous mettrons l’accent sur les questions de forme narrative (linguistique, typologique) et de fond dans l’univers de l’oralité, tout particulièrement en ce qui concerne la narration des croyances, dans leurs contextes historiques.

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Henriquet, Stéphane. "Aspects of New Survey on Oral Heritage in the Alps of Savoy." IRIS, no. 38 (June 30, 2017): 9–42. http://dx.doi.org/10.35562/iris.1042.

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Cette nouvelle enquête sur le patrimoine narratif de tradition orale dans les Alpes de la Savoie s’est inscrite dans la continuité des enquêtes de Charles Joisten, commencées dès les années 1950 et qui ont donné les recueils de contes et de récits de croyance rendus disponibles au tournant de ce siècle. Seul ce type d’enquête directe s’est révélé capable de nous permettre — en tirant parti des moyens disponibles de nos jours, notamment d’enregistrement — de donner le jour à de nouveaux exemplaires de cette matière de l’oralité. Nous exposerons ici les aspects de notre expérience sur plusieurs années de terrain ayant abouti à plusieurs publications. Nous mettrons l’accent sur les questions de forme narrative (linguistique, typologique) et de fond dans l’univers de l’oralité, tout particulièrement en ce qui concerne la narration des croyances, dans leurs contextes historiques.

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Nielsen, Vilhelm. "Myter og mundtlighed." Grundtvig-Studier 37, no. 1 (January 1, 1985): 79–84. http://dx.doi.org/10.7146/grs.v37i1.15943.

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Myths and Word of MouthJens Peter Ægidius: Braga Talks, Norse Myths and Narrative Myths in the Danish Tradition (to 1910). Odense 1985.Reviewed by Vilhelm NielsenThe title Braga Talks is taken from Grundtvig, who in 1843-44 gave 25 lectures under this heading; these are treated in detail by Ægidius. The phrase has since been misunderstood, however, and misused to mean words without content or basis in reality. Braga, the god of poetry, has been forgotten and the emphasis has been transferred to the word talk. The title of this book expresses a slipping from the mythology itself into its narrative reproduction. While working on the preface and the introduction to Norse Mythology (1832) Grundtvig made the discovery (as Thaning has proved) that myths are oral. This was one of the slow discoveries he made, and could have been made the main theme of this book, which says little that is new about Grundtvig’s use of his sources. It does, however, offer a great deal on the narrative tradition in use at the grundtvigian folk high schools, which has been revived in this century by Aage Møller, a clergyman and high school teacher. Unfortunately this phase has not been treated, as the book stops at 1910. Ægidius has, however, included Ludvig Christian Møller, the narrative historian, who was Grundtvig’s disciple and who even before him gave historical talks for both men and women at Borch’s hostel in the 1830s. His narration of myths and legends was only his introduction to narratives from medieval history. The other major characters in Ægidius’ book are Christian Flor and Ludvig Schrøder. Flor was originally Professor of Danish at Kiel but became principal of the first Danish folk high school at Rødding in 1844. Schr.der became principal of Askov folk high school, which from 1864 onwards carried the stamp of his personality. Ægidius claims, and the reviewer underlines this new information, that Schrøder did not give up teaching the myths, even though from 1884 onwards he went on to talk about Denmark’s natural resources. Unfortunately we have only comprehensive notes to the lectures but no myth narratives in written form from his side. His lectures on myth were apparently not the same from year to year, but they were wellprepared and reformulated every time, a necessary precondition for their being both “animated” and mythically “sound”, not in fact lectures but “proper stories”, as Grundtvig says in 1838. The reviewer looks forward to a continuation of the book to include an assessment of Aage Møller’s attempt to revive the tradition — and possibly as a guideline for the most recent trends.

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Halverson, John. "Oral and Written Gospel: A Critique of Werner Kelber." New Testament Studies 40, no. 2 (April 1994): 180–95. http://dx.doi.org/10.1017/s0028688500020543.

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In The Oral and Written Gospel, Werner Kelber argues that the first written gospel was an attempt to supersede oral tradition by the creation of a literary ‘counterform’. It aimed to discredit ‘oral authorities’ (identified as the disciples and family of Jesus and Christian prophets). Similarly, the paucity of sayings in Mark indicates a suspicion of the sayings genre, which is taken to be the oral genre par excellence. The sayings represent the living voice of the living Lord. The substitution of a written gospel would silence that voice as an ongoing phenomenon by relegating it to the dead past. The passion narrative is essentially the creation of Mark, and with its emphasis on the death and post-resurrectional silence of Jesus, creates a new Christology in opposition to the ‘oral Christology’ of the sayings, which never refer to the death of Jesus. The net effect of the written gospel was to inaugurate a theology (or ‘hermeneutic’) of death and absence in contradiction to the principle of presence that informed the oral tradition.

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Mirvoda, T. A., and M. V. Stroganov. "FEARS AND SCARY NARRATIVES OF CHILDREN IN THE ERA OF THE INTERNET." Culture and Text, no. 44 (2021): 129–47. http://dx.doi.org/10.37386/2305-4077-2021-1-129-147.

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(Discussion based on the materials of the defense of T. A. Mirvoda’s PhD thesis “Poetics of a modern children’s “scary” narrative in oral tradition and the Internet”)Within the framework of the conversation, the article discusses psychological background of the emergence and existence of scary stories in the modern online space which are being accompanied with audio-visual objects and ritual practices, which on a par with the oral folk art of similar themes form the network mythology of horrors (the creepypasta). The principles of genre stratification of children’s «scary» narrative folklore and the creation of a corresponding index of characters and plots, as well as the differentiation of scary stories and evocations, proposed in the dissertation research by T. A. Mirvoda, are highlighted.

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Buivytė, Giedrė. "The Manifestations of Fate in Medieval Germanic Poetry and Lithuanian Folk Songs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 8–21. http://dx.doi.org/10.37384/aplkp.2021.26-2.008.

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Reflections of mythical worldview are embedded in traditional oral poetry, viz. Old Icelandic collection of poems Poetic Edda, Old English poem Beowulf, and Lithuanian folk songs. Archaic motifs and archetypal imagery are conveyed by means of poetic grammar (alliteration, kennings, epithets, etc.). Through interpretation, the hidden (symbolic) meaning of the poetic grammar is unveiled, and the connection between the two worlds, the sacred (the divine) and the profane (the human) (Eliade 1959), is exposed. To advance the analysis of poetic narrative, the methodology employed in the paper combines comparative Indo-European poetics (Watkins 1995) and oral-formulaic theory (Kiparsky 1976; Foley 1996). The paper focuses on the poetic narrative’s motifs that encode the archetypal image of the goddess(es) of fate in the Germanic and Baltic traditions. Selected passages from Old Icelandic, Old English, and Lithuanian poetic texts reveal the motif of fate in the following contexts: the establishment of the laws governing human life, the courtship and wedding narrative, the inescapable decrees of misery and death, the warrior’s fame and fate, and the connection between the goddess of fate and the cuckoo bird (in the Lithuanian tradition). The poetic grammar and poetic formulas, in particular, reveal the prototypical characteristics of the supernatural beings who rule fate – Norns, Wyrd, and Laima – and present them as an integral part of the Indo-European mythological system.

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Journal articles on the topic 'Narrative of oral tradition'

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