Oral Tradition最新文献

{"title":"Ritual, Performance, and Transmission: The Gaddi Shepherds of Himachal Himalayas","authors":"Mahesh Sharma","doi":"10.1353/ORT.2015.0004","DOIUrl":"https://doi.org/10.1353/ORT.2015.0004","url":null,"abstract":"Nawala, a sacrificial ritual offering made to Shiva, is central to the identity of the Gaddis, nomadic mountain shepherds of Himachal Pradesh — Northern India. Over a long period of time the Gaddis were encouraged to give up shepherding and settle in the plains among agricultural communities. Displaced from their ancestral habitat and nomadic ways, the focus of their ritual performances changed. Examining one ritual text as a prism for folklore and social change, this essay analyzes how dislocated “identity” negotiates and reinvents itself through ritual performance. The transformation of ritual text, disappearing lineages of traditional singers and ritual specialists, new interpretations and transmission agencies, as well as the eventual preservation and transmission of ritual-lore through audio and video technology chart the trajectory of identity transformation and engagement with modernity.","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"29 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2015-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66492686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Seneca Storytelling: Effect of the Kinzua Dam on Interpretations of Supernatural Stories","authors":"Melissa Borgia","doi":"10.1353/ORT.2014.0002","DOIUrl":"https://doi.org/10.1353/ORT.2014.0002","url":null,"abstract":"Supernatural tales among the Seneca and other Iroquois, or Hodinohŝyonih,1 nations have been a critical part of their culture before recorded history and are still enjoyed today. While the specific content and way of telling the stories may have changed over time, the popularity of supernatural themes remains, and many of the stories’ characters still feature prominently in both text and storytelling in the community. The building of the Kinzua Dam on the Seneca Allegany Territory in the late 1960s and the subsequent upheaval in the community have deepened the tradition of stories about supernatural incidents. The upheaval has also served as a means through which old stories have gained strength and aided community members removed by the dam’s construction in overcoming those tragic events. A possible vehicle promoting interest in supernatural themes and Seneca storytelling traditions is the desire to bring together tellers and listeners to strengthen the community against outside threats. Numerous threats to the traditional way of life and landbase have plagued the Iroquois—including the Seneca—since pre-Revolutionary times. The Indigenous people of the region have faced centuries of outside pressures and banded together against them: from the 1797 Treaty of Big Tree that ceded Seneca lands and created reservations in New York, to boarding school enforcement, notably the Thomas Indian School in operation from 1855 until 1956, to New York Thruway incursions during the mid-twentieth century, to the building of dams including the Kinzua Dam, which was ostensibly built by the United States Army Corps of Engineers in 1963 for energy and to control flooding in Pittsburgh, hundreds of miles downstream on the Allegheny River. The location of the dam was especially devastating to the Seneca people since it flooded the gravesite of Cornplanter, warrior and diplomat during the Revolutionary War era, and the vision-site of spiritual leader, Handsome Lake. The dam’s construction flooded one-third of the Allegany Territory, displaced hundreds of Seneca people, and caused the relocation of cemeteries and the longhouse, a place of worship. As people who enjoy an ancient oral history, the Seneca enjoin their community members to lift their spirits Oral Tradition, 29/1 (2014):87-98","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"40 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2015-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66492075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Voices from Kilbarchan: Two versions of “The Cruel Mother” from South-West Scotland, 1825","authors":"Flemming Andersen","doi":"10.1353/ORT.2014.0000","DOIUrl":"https://doi.org/10.1353/ORT.2014.0000","url":null,"abstract":"was not until the early decades of the nineteenth century that a concern for preserving variants of the same ballad was really taken seriously by collectors. Prior to this ballad editors had been content with documenting single illustrations of ballad types in their collections; that is, they gave only one version (and often a “conflated” or “amended” one at that), such as for instance Thomas Percy’s Reliques of Ancient English Poetry from 1765 and Walter Scott’s Minstrelsy of the Scottish Border from 1802. But with “the antiquarian’s quest for authenticity” (McAulay 2013:5) came the growing appreciation of the living ballad tradition and an interest in the singers themselves and their individual interpretations of the traditional material. From this point on attention was also given to different variations of the same ballad story, including documentation (however slight) of the ballads in their natural environment. William Motherwell (1797-1835) was one of the earliest ballad collectors to pursue this line of collecting, and he was very conscious of what this new approach would mean for a better understanding of the nature of an oral tradition. And as has been demonstrated elsewhere, Motherwell’s approach to ballad collecting had an immense impact on later collectors and editors (see also, Andersen 1994 and Brown 1997). In what follows I shall first give an outline of the earliest extensively documented singing community in the Anglo-Scottish ballad tradition, and then present a detailed analysis of two versions of the same ballad story (“The Cruel Mother”) taken down on the same day in 1825 from two singers from the same Scottish village. The fact that Motherwell’s material includes alternative performances of the same ballad story from the same area allows us to get one of the earliest glimpses into ballads as a living oral tradition. We may assess at close hand the degree of variability and multiformity that is characteristic of texts in oral tradition (Foley 1998:5), and thus gain an appreciation of the ballads as a living cultural phenomenon.","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"29 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2015-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66492014","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Hades’ Famous Foals and the Prehistory of Homeric Horse Formulas","authors":"R. Platte","doi":"10.1353/ORT.2014.0006","DOIUrl":"https://doi.org/10.1353/ORT.2014.0006","url":null,"abstract":"The adjective κλυτόπωλος (of famous foals) appears five times in early Greek poetry, thrice in the Iliad as an epithet of Hades, once in the fragmentary Hesiodic Catalogue in reference to the hero Ion, and later in a very brief fragment from Pindar where it refers to Poseidon.1 The Iliadic corpus, however, provides us the best forum for understanding the word’s usage in oral poetry and opens a special window into the generation of Homeric horse formulas generally.2 In what follows I will show that κλυτόπωλος and a wide array of Homeric expressions used to describe horses should be viewed as part of a unified network of historically and linguistically connected oral formulas. All of the formulas in this network will be shown to relate to ὠκέeς ἵπποι (swift horses), one of the oldest and best attested formulas preserved in Greek from Indo-European poetry’s ancient past. I will argue that the origin of κλυτόπωλος is linked to a wide range of formulas that all convey the idea of “good horses” and that recognizing the position of κλυτόπωλος within this formulaic network helps us to chart the diachronic evolution of this network as a whole. This analysis will, I hope, prove especially useful since existing scholarship does not approach the epithet from the perspective of oral verse mechanics or consider its relationship to other Homeric formulas, but instead focuses exclusively on the mythological and religious significance of the term’s application to Hades, which is difficult to Oral Tradition, 29/1 (2014):149-162","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"29 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2015-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66492172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Folk Literature of the Sephardic Jews Digital Library","authors":"B. Rosenstock, Belén Bistué","doi":"10.1353/ORT.2013.0013","DOIUrl":"https://doi.org/10.1353/ORT.2013.0013","url":null,"abstract":"The Folk Literature of the Sephardic Jews Digital Library contains over 200 digitized reel-to-reel audiotapes that record the fieldwork of two of America’s foremost Romance medievalists, Samuel Armistead (University of California, Davis) and Joseph Silverman (University of California, Santa Cruz), who gathered ballads and other folk literature in the Hispanic tradition as preserved by Sephardic Jews. Their fieldwork extended over several decades in the latter half of the twentieth century and spanned three continents and many dozens of informants. The audio recordings can be heard in their entirety or they can be searched for specific ballads across a number of different tapes. The transcriptions of the ballads and other folk material can also be searched for words and phrases. The digital library is now permanently hosted by the University of Illinois library and can be accessed at http://sephardi folklit.illinois.edu.","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"28 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2014-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66492025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Editor’s Column","authors":"J. Zemke, Mark Turin, Patricia Fumerton, Eric Nebeker, D. Funk, J. C. Bishop, Outi Lauhakangas, Lauri Harvilahti, K. Darian-Smith, Natalie Kononenko, N. Thieberger, Andrea L. Berez, D. Reynolds, E. B. Vitz, M. Lawrence, Risto Järv, W. Schneider, David J. Atkinson, R. Walser, Ríonach uí Ógáin, B. Rosenstock, Belén Bistué, Beverley Diamond, I. Brodie, D. Elmer, J. Shaw, A. Wiseman, Lillis Ó Laoire, N. Revel, S. Kung, Joel Sherzer","doi":"10.1353/ort.2013.0021","DOIUrl":"https://doi.org/10.1353/ort.2013.0021","url":null,"abstract":"","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"28 1","pages":"- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -"},"PeriodicalIF":0.0,"publicationDate":"2014-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66492189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ukrainian Folklore Audio","authors":"N. Kononenko","doi":"10.1353/ORT.2013.0027","DOIUrl":"https://doi.org/10.1353/ORT.2013.0027","url":null,"abstract":"The Internet provides scholars with an ever-expanding variety of ways to interact with the public. Crowdsourcing, or putting one’s research tasks online and asking for help from volunteers, is perhaps one of the most rewarding things an academic can do. The assistance one gets is not only free labor, but it is also reassurance that others are interested in the things that we find fascinating. Crowdsourcing, as I learned from the Ukraine Folklore Audio project, also provides researchers with valuable information about the public. When I first developed the idea for this project, my goal was to have prospective users help me select which of the many types of folklore materials that I had recorded during my fieldwork in Ukraine should be processed for non-academic consumption. By choosing to transcribe and translate one type of audio file as opposed to another, the volunteers would reveal their interests while simultaneously doing some of the work needed for the publication of the texts. As my team and I worked with our contributors, we discovered that our site could also be used to glean information about the dynamics of heritage and ethnicity. Our volunteers came largely from the Ukrainian Diaspora, so we were crowdsourcing the audio files to a limited demographic rather than the public at large. We discovered that we could “experiment” with this group by adding select content to our site and watching volunteer reactions. Some of our results confirmed findings in other heritage situations while others were specific to Ukrainian culture and influenced by Ukraine’s political history. The understanding of the Diaspora that we gained through work on this site could not have been possible through other means. Ukrainian Folklore Audio (http://www.artsrn.ualberta.ca/folkaudio/)is a site where the public can listen to songs, stories, and beliefs recorded in Ukraine and among the Ukrainian Diaspora of Kazakhstan. Volunteers who wish to transcribe the recordings or translate them can “check out” the item that interests them and work on it. All completed transcriptions and translations are available for public use. Thus, when an item has been completely processed, the user can listen to a recording, see it written out in Ukrainian, and also view the parallel English translation. Anyone can use the site passively but, to avoid frivolous posts, we have required people submitting transcriptions and translations to register. Because of the registration requirement, we consider our site a modification of crowdsourcing and call what we do “groupsourcing.” The registration requirement also helps with quality control. Submissions made by a volunteer are visible only to that volunteer and to the person monitoring the site (usually me) and are posted for general viewing only after they have been checked for accuracy.","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"28 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2014-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66491872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cnuasach Bhéaloideas Éireann: The National Folklore Collection, University College Dublin","authors":"Ríonach uí Ógáin","doi":"10.1353/ort.2013.0009","DOIUrl":"https://doi.org/10.1353/ort.2013.0009","url":null,"abstract":"Ireland is renowned for its storytelling, folklore, and vernacular traditions. Cnuasach Bhéaloideas Éireann : The National Folklore Collection, University College Dublin (http:// www.ucd.ie/folklore/en) is Ireland’s primary repository for such materials of traditional vernacular culture. The Collection is a public archive, currently accessible for the most part in person; certain elements, however, are available online, and the intention is to make significant portions of the Collection available on the Internet in the near future. 1 This current essay is divided into three main sections. It begins by placing the Collection in its cultural, historical, and contemporary contexts. It then addresses the Collection itself and the material it has to offer in terms of folkloristics and other aspects of social and cultural research. The final section offers an example from the archive in the form of a single sheet of music transcription and its collecting that underlies the importance and urgency of ongoing ethnographic fieldwork as well as its potential.","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"28 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2014-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66491910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The James Madison Carpenter Collection of Traditional Song and Drama","authors":"J. Bishop, David Atkinson, R. Walser","doi":"10.1353/ORT.2013.0030","DOIUrl":"https://doi.org/10.1353/ORT.2013.0030","url":null,"abstract":"James Madison Carpenter (1888-1983) was until recently a relatively unknown figure in the history of Anglo-American folksong and British folk play scholarship (Jabbour 1998; Bishop 1998). Born and bred in Mississippi, he was university-educated and worked as a minister and teacher prior to entering Harvard in 1920 to do a Ph.D. in English. Under the supervision of George Lyman Kittredge, he wrote a thesis on “Forecastle Songs and Chanties,” based on fieldwork with retired seamen in the United States and in ports that he visited in the summer of 1928 on a Dexter Oral Tradition, 28/2 (2013):307-316","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"28 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2014-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66491899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On the Principles of a Digital Text Corpus: New Opportunities in Working on Heroic Epics of the Shors","authors":"D. Funk","doi":"10.1353/ORT.2013.0033","DOIUrl":"https://doi.org/10.1353/ORT.2013.0033","url":null,"abstract":"The Corpus of Folklore Texts in the Languages of Indigenous Peoples of Siberia (http:// corpora.iea.ras.ru) is a collection of folklore texts in lesser used, mostly endangered, Siberian languages and was initiated in 2011 through support from the Department of Northern and Siberian Studies at the Institute of Ethnology and Anthropology of the Russian Academy of Sciences (RAS). The main idea was to create a corpus capable of storing both an original version and an orthographically standardized version of any text. Another task was to build a system able to perform some related analytical procedures. At the same time we were aiming at making a significant part of the unknown materials available for researchers and others able to read in the native Siberian languages. This essay will use the Shor corpus as its main example, though the Teleut, Evenki, or Nenets corpora might easily have been chosen instead. The reasoning behind this choice is the fact that the whole project arose out of my long-term study of the Shor epics. Additionally, the Shor (like the Teleut) materials belong for the most part to me, and I am the primary individual who has been working with them within the frame of this project. It is my hope that this single example will help readers better understand what our Corpus is able to do and how it has been organized. Oral Tradition, 28/2 (2013):193-204","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"28 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2014-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66492000","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}