Oral Tradition最新文献

{"title":"The Heritage of Australian Children’s Play and Oral Tradition","authors":"K. Darian-Smith","doi":"10.1353/ORT.2013.0023","DOIUrl":"https://doi.org/10.1353/ORT.2013.0023","url":null,"abstract":"oral traditions of children are rich and varied, and encompass the songs, chants, rhymes, stories, riddles, insults, and lore of the playground. In Australia, though the collection of children’s folklore dates from the nineteenth century, it was not until the 1950s that this field of inquiry attracted serious scholarly attention. Since then, there has been an increasingly vigorous interest in the collection and electronic recording of Australian children’s verbal and performative play culture by academics, folklorists, and major collecting institutions (Davey 2011; Factor 2011; Darian-Smith 2012). Between 2007 and 2011, the Childhood, Tradition and Change research project conducted the largest nation-wide study of children’s games and playground culture to date, resulting in a substantial archive of visual, oral, and written data. A significant amount of this research data is available on an open-access website (http:// ctac.esrc.unimelb.edu.au/index.html), where it has much to offer with respect to scholarly and community interest in exploring the dynamic heritage of Australian children’s play. The Childhood, Tradition and Change project was funded by the Australian Research Council and led by a team of academic researchers in collaboration with two internationally acclaimed public repositories of Australian children’s folklore. 1 The National Library of Australia’s Oral History and Folklore Collection (http://www.nla.gov.au/fishtrout/ aus_children.html) has an extensive collection of oral recordings—undertaken mainly with adults—documenting the chants, rhymes, and games of childhood, and providing information about play stretching back to the early twentieth century. The Australian Children’s Folklore Collection at Museum Victoria (http://museumvictoria.com.au/discoverycentre/infosheets/ australian-childrens-folklore-collection/) has over 10,000 documents, recordings, and artifacts relating to children’s play and oral traditions, and its significance has been recognized through its listing on the UNESCO Australian Memory of the World Register. The visual, textual, and aural documentation, as well as some 3D objects gathered from across Australia for the Childhood, Tradition and Change research project have been deposited in the separate collections of the National Library of Australia and Museum Victoria, where they supplement existing holdings on children’s culture. This material includes descriptions of nearly","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"28 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ORT.2013.0023","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66492257","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 Philippine Epics and Ballads Multimedia Archive","authors":"N. Revel","doi":"10.1353/ORT.2013.0032","DOIUrl":"https://doi.org/10.1353/ORT.2013.0032","url":null,"abstract":"Palawan is an island in the Philippines with remarkable heritages of both an archaeological and an intangible nature.1 Major prehistoric discoveries occurred on the island in the 1960s, and today intensive excavations are ongoing alongside progressive, interdisciplinary research employing new analytical tools.2 In May 1970 Charles Macdonald (an anthropologist) and I (trained as a linguist and an ethnologist) met the Pala'wan, and since that time, we have both regularly shared in their lives with many faithful returns.3 But during our very first week of fieldwork, we were invited to attend two simultaneous weddings where we heard for the first time Usuy, a beloved singer of tales and shaman, singing Kudaman. This lengthy narrative--which was performed that night in order to entertain the relatives and friends assembled under the roof of the large meeting house on the eve of the jural discussion related to the marriage alliances--is referred to among the Pala'wan as tultul, a genre-defining term I have proposed to translate as \"epic\" in contrast to the other eight defined oral genres (see Figure 1) present among the culture of the Highlanders on the southern part of this island.","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"28 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ORT.2013.0032","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66491955","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":"MacEdward Leach and the Songs of Atlantic Canada","authors":"Beverley Diamond, I. Brodie","doi":"10.1353/ORT.2013.0017","DOIUrl":"https://doi.org/10.1353/ORT.2013.0017","url":null,"abstract":"1 Leach (1966) had released a small selection of the Newfoundland songs (Songs from the Out-Ports of Newfoundland, Folkways 4075) on Folkways, and song transcriptions of his Labrador collection were published (1965) as Folk Ballads and Songs of the Lower Labrador Coast. 2 There is no connection between the Cape Breton and Newfoundland collections other than the fact that Leach made both of them and that they constitute the earliest audio-recorded collections in Atlantic Canada. The two Newfoundland collections are related in that Leach returned to some families he visited on the earlier trip, but he also traveled to new communities, including Fermuse, Renews, Portugal Cove South, Biscay Bay, Trepassey, St. Shott’s, Riverhead-St. Mary’s, St. Catherine’s, St. Vincent’s, and Mal Bay. His trip to west coast communities was part of the 1950 fieldwork. Details of his fieldwork are explained in the online biography on the website.","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"28 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66492089","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":"A Jukebox Full of Stories","authors":"W. Schneider","doi":"10.1353/ORT.2013.0026","DOIUrl":"https://doi.org/10.1353/ORT.2013.0026","url":null,"abstract":"Many of us who are older grew up eating at diners that featured a music-playing machine called a \"jukebox.\"1 The jukebox contained stacks of vinyl records and a mechanical arm that would activate the record you chose to play. Push a button on the front to make your choice and then stand back and marvel at the way the arm moved to select and play your choice. Imagine now how this same technology might work with an archive of Oral History recordings. Next, imagine adding photographs, maps, videos, and text to accompany each recording. Then, consider the Internet and almost instantaneous search, find, and play abilities for hundreds of hours of recordings and associated materials. This is how Project Jukebox functions today. But the story behind Project Jukebox is not just about technology and what it allows us to do; it also involves a search for ways to preserve as much as possible of the experience of the actual oral events (that is, what you would have experienced by being present when the stories were told). We hope, therefore, that by detailing the history of Project Jukebox we can engender a larger discussion of the opportunities and limitations of technology. To this end, we begin with a description of the Project Jukebox collections and then describe how the program evolved as we sought ways to encourage comparative analysis of topics and themes, as well as ways to preserve how narrators construct and deliver narrative.","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"28 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66492327","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":"From Spoken Word to Digital Corpus: The Calum Maclean Project","authors":"J. Shaw, A. Wiseman","doi":"10.1353/ORT.2013.0024","DOIUrl":"https://doi.org/10.1353/ORT.2013.0024","url":null,"abstract":"The Calum Maclean Collection (http://www.calum-maclean-project.celtscot.ed.ac.uk) is a searchable, standards-based catalog of a collection of Scottish Gaelic oral narrative that was developed between 2005 and 2009 with major research funding from the Arts and Humanities Research Council (AHRC, http://www.ahrc.ac.uk). It is one of a series of projects begun early in the past decade to make folklore materials in Scotland more widely available to the public through the usage of digital technology. Implicit in such initiatives has been the intention to develop multiple social applications of archived folklore materials; during such development, two primary aspects of the technological applications have been a wider promotion of folklore materials through technology and the enhancement of Scotland's main folklore archives.","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"28 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66492271","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":"Patronage, Commodification, and the Dissemination of Performance Art: The Shared Benefits of Web Archiving","authors":"E. Wickett","doi":"10.1353/ORT.2012.0014","DOIUrl":"https://doi.org/10.1353/ORT.2012.0014","url":null,"abstract":"This essay addresses the aesthetic and ethical dimensions of documenting oral performance on film, the evolution of a polymodal form of archival documentation leading to online monographs, and the question of how performers may benefit from the archival process— specifically with reference to performances of the epic of Pabuji in Rajasthan, India.1 Owing to digital technology and the emergence of the Internet as a broadcasting forum and marketing agent, a phenomenon has occurred which we might term the “commodification” of expressive culture. In this technological universe where sounds and images are sold for the benefit of some (but not others), issues of copyright, intellectual property rights, and the commercialization and marketing of expressive culture on the web have become paramount.2 Video excerpts are being broadcast around the world in free and open formats.3 Whereas documentation of oral performance traditions by scholars and for scholars was once the norm, I propose that we—as ethnographers, linguists, and folklorists—must ensure that such performers can also benefit from the process of academic study and documentation, with support for the perpetuation of their livelihood as well as their cultural and artistic legacy. How do we as scholars and ethnographic filmmakers respond to these challenges and use these media to the performers’ benefit? Oral Tradition, 27/2 (2012): 333-350","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"27 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2013-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66491444","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":"Kumeyaay Oral Tradition, Cultural Identity, and Language Revitalization","authors":"Margaret Field, Jon Meza Cuero","doi":"10.1353/ORT.2012.0013","DOIUrl":"https://doi.org/10.1353/ORT.2012.0013","url":null,"abstract":"Forms of oral tradition such as narrative and song often serve as important cultural resources that retain and reinforce cultural values and group identity (Bauman 1992; Bright 1993; Jahner 1999; Sekaquaptewa and Washburn 2004). This is particularly true of American Indian “trickster tales” which, like European Aesop’s fables, contain moral content and are typically aimed at child audiences.1 This essay discusses an example of this genre with specific reference to the Kumeyaay community of Baja California Norte, Mexico. It also discusses how such stories are an important form of cultural property that doubly indexes group identity—once through the code that is used, and then again through the content of the narrative itself. Oral traditions such as trickster tales form an important body of knowledge that not only preserves cultural values and philosophical orientations, but also continues to imbue its listeners with these values. American Indian communities typically view their oral traditions as communal intellectual property (Hill 2002), and for this reason it is incumbent upon researchers who work with traditional texts in these oral communities to collaborate with them to ensure that collected texts are treated in a manner that is appropriate in the view of the communities from which they originate (Rice 2006; Field 2012b). Especially today, in light of the increasing availability of multimedia and the expanding capabilities for archiving oral literatures so that they might be more available than ever before in multiple formats (audio and video in addition to print), it is important for researchers to bear in mind the relationship between the recording, publication, and archiving of oral literature; community preferences regarding these aspects of research; and considerations related to language revitalization—particularly in cases where the indigenous languages themselves are becoming increasingly endangered.","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"11 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2013-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ORT.2012.0013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66491394","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":"Sounding Out the Heirs of Abraham (Rom 4:9–12)","authors":"Nina E. Livesey","doi":"10.1353/ORT.2012.0019","DOIUrl":"https://doi.org/10.1353/ORT.2012.0019","url":null,"abstract":"Recent studies in the fields of orality and oral performance reveal that the recognition of oral features within texts can clarify vexing issues of interpretation and lead the interpreter to a more complete understanding of authorial intent.1 Specifically with regard to ancient authors and hearers, sound played a very strategic role in conveying meaning. Not having the luxury or ability 2 to reread sections of texts to determine meaning semantically, ancient auditors relied upon oral cues such as repetition and word placement to convey meaning.3 Ancient hearers actively listened to compositions orally declaimed. Thus, John Foley remarks (1991:59), “the ‘reader’ of an oral traditional ‘text’ is more a participant actively involved in making the work than an analyst interested only in plumbing the depths of a textual artifact.”4 Oral Tradition, 27/1 (2012): 273-290","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"27 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2013-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66491615","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 Beast Had to Marry Balinda: Using Story Examples to Explore Socializing Concepts in Ugandan Caregivers’ Oral Stories","authors":"V. D. Goodman, G. Goodman","doi":"10.1353/ORT.2013.0000","DOIUrl":"https://doi.org/10.1353/ORT.2013.0000","url":null,"abstract":"studies focused on the learning readiness of young children (ages 5-7) as influenced by the reading habits and library use of their primary caregivers—most often their mothers and grandmothers (although there were two fathers in the study who were the primary caregivers). The project included more than 50 hours spent interviewing 51 caregivers about their reading, storytelling, and literary practices, as well as their home lives, health, and socioeconomic status. As part of the interview process, we asked caregivers to talk about the stories told to their children who were participating in the study. These stories were actually examples of told stories; the caregivers were not observed telling the stories to their children in a natural setting. The caregivers were thus engaged in telling us about their telling of these stories by answering other related questions while also providing examples of the stories themselves. Our study employs a grounded theory approach in order to analyze the data extracted from these interviews. Such an approach provides a way to explore qualitative data systematically for patterns, themes, and theoretical constructs (Glaser and Strauss 1967); the raw data involved may consist of interviews, focus groups, oral narratives, and so on. The method can of course be used to generate research questions for further study, but it also allows researchers to begin their inquiry with guiding ideas that frame the domain being explored (Backman and Kyngas 1999:149). One such research question guided this study: what","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"28 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2013-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66491625","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":"Poetry’s Politics in Archaic Greek Epic and Lyric","authors":"D. F. Elmer","doi":"10.1353/ORT.2013.0005","DOIUrl":"https://doi.org/10.1353/ORT.2013.0005","url":null,"abstract":"In a recent book (Elmer 2013) examining the representation of collective decision making in the Iliad, I have advanced two related claims: first, that the Iliad projects consensus as the ideal outcome of collective deliberation; and second, that the privileging of consensus can be meaningfully correlated with the nature of the poem as the product of an oral tradition.2 The Iliad's politics, I argue, are best understood as a reflection of the dynamics of the tradition out of which the poem as we know it developed. In the course of the present essay, I intend to apply this approach to some of the other texts and traditions that made up the poetic ecology of archaic Greece, in order to illustrate the diversity of this ecology and the contrast between two of its most important \"habitats,\" or contexts for performance: Panhellenic festivals and the symposium. I will examine representative examples from the lyric and elegiac traditions associated with the poets Alcaeus of Mytilene and Theognis of Megara, respectively, and I will cast a concluding glance over the Odyssey, which sketches an illuminating contrast between festival and symposium. I begin, however, by distilling some of the most important claims from my earlier work in order to establish a framework for my discussion.","PeriodicalId":30001,"journal":{"name":"Oral Tradition","volume":"28 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2013-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66492309","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}