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Journal articles on the topic 'POETICA ORALE'

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Published: 9 March 2023

Last updated: 10 March 2023

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1

Lucia, Carmela. "I “suoni dei sensi” e le partiture sonore nella lingua di scena del teatro di Ruggero Cappuccio." Forum Italicum: A Journal of Italian Studies 52, no. 2 (April 24, 2018): 648–66. http://dx.doi.org/10.1177/0014585818757730.

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Obiettivo del saggio è presentare una prima analisi della lingua del teatro di Ruggero Cappuccio, autore multanime e poliedrico, considerato una delle voci più originali della drammaturgia contemporanea, non solo dell’area napoletana. Oggetto della ricerca sono due opere pubblicate Shakespea Re di Napoli (2002) e Le ultime sette parole di Caravaggio (2012), con un copione inedito, intitolato Circus Don Chisciotte (2017). Le scelte formali, fortemente ancorate alla dialettalità del napoletano, ma anche del siciliano e, con minore frequenza, del veneziano, si affrancano dalla koinè regionale del napoletano, perché superano la diglossia italiano-dialetto della drammaturgia di Eduardo, per dare corpo a una lingua di scena poetica, lontana dal realismo mimetico, resa attraverso un raffinato e originale mlange verbale carico di sonorità, con un ben consolidato livello di scelte pluristilistiche. La rilevanza attribuita alla phoné, reinventata in un’entitè reificata e palpabile, o caratterizzata da una grottesca materialità, dà luogo a partiture sonore e a una scrittura votata all’adibizione di misure poetiche e strutture melodiche, a una “lingua di scena”, fatta soprattutto di intarsi e parallelismi fonici, con prevalenza di couplingassonantici, per l’interferenza di registri tonali dissonanti e per l’esaltazione del patrimonio orale delle koinai regionali del repertorio italiano, spesso accostate all’inglese e allo spagnolo.

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2

Scotti Jurić, Rita, and Lorena Lazarić. "TRADUZIONE E TRADIZIONE. ALCUNE RIFLESSIONI SULLA POESIA DI DANIEL NAČINOVIĆ." Folia linguistica et litteraria XI, no. 30 (2020): 175–93. http://dx.doi.org/10.31902/fll.30.2020.11.

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C’è una differenza sostanziale tra chi si esprime con la lingua standard e chi lo fa in dialetto. Gli studi sulla traduzione della poesia dialettale sono pochi e le prospettive teoriche denunciano per lo più difficoltà implicite in una tale operazione, ma non forniscono modelli operativi soddisfacenti. La domanda che ci si pone è se sia corretto tradurre la poesia ciacava nel dialetto istroveneto o lo si debba fare in italiano standard. Nel saggio si discuteranno le peculiarità della scrittura poetica dialettale di Daniel Načinović: l'espressività della lingua orale legata alla concretezza e all’immediatezza, l'uso frequente di immagini e paragoni, di suoni onomatopeici, di forme allocutive e di modi di dire. In particolare si analizzeranno le tecniche traduttive che permetteranno di recuperare quell'orizzonte antropologico che può essere testimoniato non solo dal ciacavo che lo esprime, ma anche dall'istroveneto che questo mondo lo conosce e lo vive.

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3

Calderón Quindós, M. Teresa. "Blending as a theoretical tool for poetic analysis." Annual Review of Cognitive Linguistics 3 (October 31, 2005): 269–99. http://dx.doi.org/10.1075/arcl.3.14cal.

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The relation between Linguistics and Poetics has often been a controversial issue in Poetic Studies. With the advent of Cognitive Linguistics and its open disposition to consider any kind of discourse as interesting enough samples of human thought — and human thought being discovered to be of a figurative nature — doors have been widely opened to poetry. Despite the firm reluctance of some Literary sectors to move beyond traditional Poetics, the works by E. Semino, P. Stockwell, Gavins & Steen and M. Freeman are clear confirmation of the modern tendency to incorporate CL findings into poetic analysis. The present paper explores this relation once again. Based on the “unity-in-variety” aesthetic principle, it analyses the way Blending Theory provides the necessary resources to consider any single piece of the poem in the integration network. The paper also offers a systematic methodology — illustrated with a brief analysis of Seamus Heaney’s “Oracle” — which intends to make a contribution to the discipline of Poetics mainly in the educational field.

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4

Nagy, Gregory. "Oral Poetics and Homeric Poetry." Oral Tradition 18, no. 1 (2003): 73–75. http://dx.doi.org/10.1353/ort.2004.0031.

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5

Janssen, Niek. "A Gemstone of Many Complexions." Mnemosyne 68, no. 6 (December 4, 2015): 956–74. http://dx.doi.org/10.1163/1568525x-12341763.

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The Orphic Lithica is often considered an incoherent hodge-podge of teachings on magical stones. This paper, however, argues that the polyphony of voices (human, semi-divine, and divine), as well as the amalgam of various subtypes of the hexametric super-genre (didactic epic, narrative epic, bucolic, hymn, oracle), contribute to the ultimate goal of the Lithica: to overwhelm the reader with authorities for the hermetic truth that the poem preaches. The poem further accomplishes this by appealing to the poetic tradition, so as to make the subject matter more recognizable and enjoyable to the audience.

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6

Pagán Cánovas, Cristóbal, and Mihailo Antović. "Formulaic creativity: Oral poetics and cognitive grammar." Language & Communication 47 (March 2016): 66–74. http://dx.doi.org/10.1016/j.langcom.2015.12.001.

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7

Litvak, Lily, and Diego Catalan. "Arte poetica del romancero oral. Parte 2a. Memoria, invencion, artificio." Hispanic Review 68, no. 1 (2000): 78. http://dx.doi.org/10.2307/474359.

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8

Danchinova, M. D. "Dream poetics in oral prose of the Buryats." BSU Bulletin 2 (2016): 231–38. http://dx.doi.org/10.18101/1994-0866-2016-2-231-238.

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9

Bredehoft, Thomas A. "Writing the Oral Tradition: Oral Poetics and Literate Culture in Medieval England (Poetics of Orality and Literacy). Mark C. Amodio." Speculum 81, no. 2 (April 2006): 470–71. http://dx.doi.org/10.1017/s0038713400002694.

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10

Kleut, Marija, and Ljiljana Pešikan-Ljuštanović. "Uskoks of Senj: Reality and oral poetic fiction." Kultura, no. 174-175 (2022): 93–112. http://dx.doi.org/10.5937/kultura2275093k.

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The paper examines Uskok poems, especially those dedicated to the Uskoks of Senj, primarily from the point of view of the relationship between epic poems and history. The people of Senj worked from 1537 to 1617, fighting as paid soldiers or volunteers on the side of the Austrian Monarchy, but also going on campaigns on their own, fighting almost to the same extent with the Turkish invaders and the Christians from the wider region. In contrast to the relatively short period of eight decades of their historical presence, the people of Senj have survived in the oral epics in a very wide Balkan area over a long period of time covering a wide anachronistic field. The paper presents an assumption that the Uskoks of Senj were a warrior-patriarchal world, one that has created and spread oral epics. There were many events in their real lives that were themed in the oral epics. In addition, those who jumped from the mainland to the Austrian territory and settled in Senj probably carried some songs/ poems in their spiritual baggage, primarily those about Hajduks. And they were ready to create new ones. Thus, the first known records are proof that the early poetic narrative was suitable for depicting the Uskoks of Senj, and then that it survived in time and space. In certain interpretations, to which the second part of the work is dedicated, it is shown on the basis of anthological examples of poems, how the mythical, ritual and the historical intersect in the poetics of oral epic poetry; how the anachronistic field of a particular poem is formed, whether it is about gathering "power and dominance" in wedding processions, about concentrating heroes around certain events, personalities or spaces important for national history, or about opposing worthy opponents, and how it affects the aesthetic values and meanings that are shaped in the poems; how different genre features intertwine in such poems (epic and epic-lyric poetry, for example); and form complex and witty, full of twists novelistic plots. All this contributes to the meaning of the epic story: it seems that the past of one's own community is brought into a meaningful, paradigmatic order, which can serve as a basis for future actions.

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11

Araújo, Nádia Barros Araújo, Robson Teles Gomes, André Luís de Araújo Araújo, and Rinalda Cordeiro Siqueira Costa Ferraz Ferraz. "Poetic intergenericity in tales of the oral tradition." Concilium 23, no. 2 (February 11, 2023): 351–66. http://dx.doi.org/10.53660/clm-800-23a52.

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In this study sought to present a theoretical literary analysis based on the epistemological reflections of Aristotle (1992), Rosenfeld (1994) and Staiger (1977), on the intertwining and dialogue between the epic/narrative, lyrical and dramatic genres - the poetic intergenericity, present in tales of oral tradition, from the literary collection of traditional storytellers from the city of Tapiramutá, Chapada Diamantina, Bahia. In the analyzes carried out, the presence of the interpenetration between the lyrical, epic/narrative and dramatic genres was evidenced, thus pointing to the fact that the genres literary works appear mixed, mixed, like threads that intertwine between the parts. As well, it was noticed that through this intertwined dialogue between the poetic genres, traits of culture, history, geographic, social and political contexts are revealed, both of the enunciative subjects (traditional accountants) and of their collectivity.

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12

Wethington, Norbert A., and Mark C. Amodio. "Writing the Oral Tradition: Oral Poetics and Literate Culture in Medieval England." Sixteenth Century Journal 37, no. 4 (December 1, 2006): 1217. http://dx.doi.org/10.2307/20478222.

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13

Garner, Lori Ann. "Writing the Oral Tradition: Oral Poetics and Literate Culture in Medieval England." Journal of English and Germanic Philology 106, no. 1 (January 1, 2007): 131–34. http://dx.doi.org/10.2307/27712641.

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14

Zieliński. "Women as Victims of War in Homer’s Oral Poetics." Humanities 8, no. 3 (August 16, 2019): 141. http://dx.doi.org/10.3390/h8030141.

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The article presents the problem of the empathy felt by the author or authors of the Iliad and Odyssey towards women depicted as victims of war. Understanding of the world in the Homeric poems may be misinterpreted today. Since Homer’s works are a product of oral culture, in order to determine his intentions, it is necessary to look at them from the perspective of the tradition from which they derive. Furthermore, the author of an oral work can be deemed as creative because s/he shapes his/her story through interaction with the listening audience. The different aspects of the relationship of women as victims of war with their oppressors are, therefore, interpreted according to the use of traditional techniques adopted to evoke specific emotions in the audience.

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15

Ribó, Ignasi. "Poetics of Cohabitation: An Ecosemiotic Theory of Oral Poiesis." Poetics Today 43, no. 3 (September 1, 2022): 549–81. http://dx.doi.org/10.1215/03335372-9780431.

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Abstract This article exposes the principles of an ecosemiotic theory of oral poiesis, which conceives of singing as a highly specific habit or skilled practice within the human domain of languaging. It is claimed that oral poiesis may contribute to the semiotic alignment of human and nonhuman own-worlds (Umwelten), playing a role in processes of structural coupling within a habitat, understood as a hybrid assemblage or collective of multispecies inhabitants. The article describes how oral poiesis, as a modeling system, contributes to sustaining the various modes of identification that characterize collective human ontologies (animism, naturalism, totemism, analogism) through distinctive operations of symbolization (literality, metaphor, metonymy, analogy). These modes of ecopoetic symbolization serve to bring nonhumans, such as animals, plants, mountains, or rivers, into human own-worlds. Moreover, as one of many skilled practices of humans, oral poiesis is characterized by certain intrinsic features, such as attention, play, feeling, ritualization, musicality, or remembrance, which contribute to human sociality and hence to a system-wide relationality. All these elements constitute the foundations of a poetics of cohabitation.

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16

Ivanova, Elvira Vasilyevna. "Oral Poetical Tradition in Grigory Chinkov’s Artistic Creative Work." Filologičeskie nauki. Voprosy teorii i praktiki, no. 8 (August 2020): 42–47. http://dx.doi.org/10.30853/filnauki.2020.8.9.

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17

Taylor, Andrew, and John D. Niles. "Homo Narrans: The Poetics and Anthropology of Oral Literature." Modern Language Review 97, no. 4 (October 2002): 924. http://dx.doi.org/10.2307/3738621.

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18

Bolarinwa, Abidemi. "Recreation of Oral Poetic Genres in Selected Yorùbá Home-Video Films." Afrika Focus 32, no. 1 (February 27, 2019): 13–34. http://dx.doi.org/10.1163/2031356x-03201003.

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The Yorùbá film as audio-visual literature is thought of as one of the most educative components building society. “Modernization” and responses to global change brought about the Yorùbá films which are an offshoot of the Yorùbá Travelling Theatre Movement. The indigenous theatre practitioners who are versatile in practicing the oral poetic genre and have successfully emerged as producers, directors and film-script writers employ and recreate oral poetic genres by adding feelings, beliefs and knowledge they had acquired in the past. This paper attempts a descriptive analysis of five purposively-selected Yorùbá video films by using the sociological approach: Ẹfúnsetán Aníwúrà; Basọ̀run Gáà, Ogun Àgbẹ́kọ̀ya, Ogun Ìdàhọ̀mì and Ọ̀rànmíyàn; which are replete with instances of ingenious recreations of Yorùbá oral poetic genres. The analysis is conducted with a view to elucidating the attempts of Yorùbá home-video scriptwriters in recreating and reconstructing their experiences. The analyses of the selected Yorùbá home-video films reveal that the Yorùbá home-video script writers make artistic use of Yorùbá oral genres in their films through the creative exploitation of proverbs, songs, chants and mythical allusions. The allusions to myths in the selected films suggest that Yorùbá home-video films share apparent inter-textual links with Yorùbá oral poetry. The study concludes that Yorùbá home-video scriptwriters deploy oral poetic genres in their films as one of the ways in which the artistic experiences of the Yorùbá people can resonate.

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19

Wallensten, Jenny. "Karpophoroi deities and the Attic cult of Ge. Notes on IG II2 4758." Opuscula. Annual of the Swedish Institutes at Athens and Rome 7 (November 2014): 193–203. http://dx.doi.org/10.30549/opathrom-07-11.

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Karpophoros, fruit-bearing, is an epithet easily considered as “literary”, i.e., a poetic name with little or no relation to cult. The epigraphic sources, however, clearly show us that gods thus named were offered divine worship. The epithet is found in connection with several deities. Goddesses of agriculture, such as Demeter, and Ge, the Earth, naturally carry this name, but so do Zeus, Dionysos and a goddess known as “The Aiolian”, who was sometimes associated with Agrippina. This paper surveys deities known as karpophoroi and examines what their cult entailed. Its focus is, however, on a brief Acropolis inscription, IG II2 4758, where Ge is honoured as Karpophoros, in accordance with an oracle. The case study provides insights into the Attic cult of Ge, the epithet Karpophoros, as well as the use and function of epithets within Greek dedicatory language.

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20

Huffmon, Herbert B. "The Oracular Process: Delphi and the Near East." Vetus Testamentum 57, no. 4 (2007): 449–60. http://dx.doi.org/10.1163/156853307x222880.

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AbstractThe famous Oracle of Apollo at Delphi and various prophetic centers in the ancient Near East have provided extensive but incomplete bodies of reports about oracular activity. Though one cannot find significant interconnections, the two bodies of evidence are complementary and can be mutually informative about the respective oracular processes and the importance of their roles, about what we know and what we do not know in each instance. A comparative analysis is suggestive regarding the background of the oracular speakers, the process of selection, and perseverance in place. The differing bodies of evidence illuminate, inter alia, the process of formulating and presenting questions to the deity for oracular response, the importance of ecstacy in the process, and the capacity of the oracular speakers to produce intelligible, even elegant and rather poetic oracles on their own.

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21

Daneshvar. "On Oral and Poetic Transculturalism in Franco-Persian Novels." International Journal of Persian Literature 1, no. 1 (2016): 164. http://dx.doi.org/10.5325/intejperslite.1.1.0164.

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22

Matjila, Daniel S. "Analogy and intertextuality in Setswana oral/written poetic diction." Muziki 6, no. 1 (July 2009): 92–111. http://dx.doi.org/10.1080/18125980902931364.

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23

Borland. "Horsing around Again: Poetics and Intention in Oral Narrative Performance." Journal of Folklore Research 58, no. 1 (2021): 5. http://dx.doi.org/10.2979/jfolkrese.58.1.02.

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24

Askovic, Dragan, and Zoran Rankovic. "The poetics of liturgical chant between oral and written tradition." Zbornik Matice srpske za drustvene nauke, no. 157-158 (2016): 517–31. http://dx.doi.org/10.2298/zmsdn1658517a.

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In this work the authors explain the relevant terms from the Old Testament, biblical tradition and the Scripture, as well as from liturgical songs and prayers, which refer to liturgical music - chanting. On the basis of the translations from Hebrew into Greek, Latin and Church Slavonic, their original meaning is identified, and some new or possible discrepancies, created in the process of translation, or new meanings are pointed out. In this way, the role and meaning of the Christian liturgical poetics are stressed as well as its inseparable connection with the church chanting. Namely, liturgical chanting is a prayer, ?the theology of sound?, and that means that the word is more important than the music - although it is more complete with the music, and music is to follow and show the meaning of words, and to help their adoption.

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25

Ramey, Peter. "Variation and the Poetics of Oral Performance in Cædmon’s Hymn." Neophilologus 96, no. 3 (May 6, 2011): 441–56. http://dx.doi.org/10.1007/s11061-011-9270-4.

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26

Dreyzis, Yulia A. "Сorrelation of the oral and the written in topolect poetry." Slovo.ru: Baltic accent 13, no. 2 (2022): 121–33. http://dx.doi.org/10.5922/2225-5346-2022-2-6.

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The paper describes the practice of creating poetic texts on lects that possess a problematic linguistic status. The author proposes using ‘topolect’ as a universal term for such entities, which allows them to be placed in a special category of language systems that occupy an intermediate level between the standard and the rather homogeneous territorial dialects in a kind of multilingualism that is characterized by the distribution of functions between idioms. The analysis of the poetic tradition of topolects makes it possible to reveal some general patterns of text functioning for the texts on de facto normalized, but not subjected to strict standardization, semi-autonomous idioms. Different modes of correlating the oral and the written in these texts come in direct connection with the practice of recitation and other forms of the auditory existence of poetry. The introduction of new empirical material contributes to the reassessment of the problem of the oral and the written, since it demonstrates the non-equivalence of the oral and the spoken, and the written and the literary. The visually perceptible text in its written form is informatively not equivalent to the voiced version of the same text. Building relationships between ‘visual speech’ (in the form of a poetic text) and its sounding shows the evolution of topolect writing and metalanguage reflection of its authors.

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27

Khanna, Puneet, Soumya Sarkar, and Deepak Gunjan. "Anesthesia for Per-oral endoscopic myotomy (POEM) – not so poetic!" Journal of Anaesthesiology Clinical Pharmacology 38, no. 1 (2022): 28. http://dx.doi.org/10.4103/joacp.joacp_179_20.

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28

Kordas, Bronislawa. "The Poetic Functions and the Oral Transmission of Chinese Proverbs." CHINOPERL 15, no. 1 (January 1990): 85–94. http://dx.doi.org/10.1179/chi.1990.15.1.85.

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29

JUREWICZ, JOANNA. "The Rigveda, the cognitive linguistics and the oral poetry." European Review 12, no. 4 (October 2004): 605–13. http://dx.doi.org/10.1017/s106279870400050x.

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My aim is to show how the principal notions of cognitive linguistics, namely metaphor and metonymy are helpful in the analysis of the ancient Indian poetical text, the Rigveda. Their use enables us to reconstruct aspects of thinking of the Rigvedic poets and to explain some obscure metaphors. The basic way of conceptualization of desire in the Rigveda is presented.

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30

Lindahl, Carl. "Oral Poetics in Middle English Poetry ed. by Mark C. Amodio." Studies in the Age of Chaucer 18, no. 1 (1996): 167–70. http://dx.doi.org/10.1353/sac.1996.0006.

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31

Connolly, Thomas C. "Berber Spider: Tahar Djaout, Arachne, and the Afterlife of Oral Poetics." MLN 133, no. 4 (2018): 1099–122. http://dx.doi.org/10.1353/mln.2018.0068.

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32

Van Heekeren, Deborah. "Naming, Mnemonics, and the Poetics of Knowing in Vula'a Oral Traditions." Oceania 84, no. 2 (July 2014): 169–84. http://dx.doi.org/10.1002/ocea.5050.

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33

Callan, Terrance. "Prophecy and Ecstasy in Greco-Roman Religion and in 1 Corinthians." Novum Testamentum 27, no. 1 (1985): 125–40. http://dx.doi.org/10.1163/156853685x00247.

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AbstractWe have seen that in Greek prophètes means spokesman in a very general sense. Most characteristically it designates the medium, or mantis, at an oracle, who is considered a spokesman for the god of the oracle. This mantic prophecy is accompanied by trance, i.e., when the mantis functions as spokesman, his or her ordinary consciousness is replaced by another. However, in an effort to explain why oracles at Delphi are no longer given in verse, Plutarch develops a theory according to which even prophecy in this sense does not involve trance, but makes use of the ordinary consciousness of the mantis. In addition to this use of prophetes, it is also used to designate other spokesmen. Some of these are considered entranced, e.g., poets, the spokesmen of the Muses, in Plato's view. But most are not, e.g., poets according to the understanding of poetic inspiration reflected in Pindar, and those who functioned at oracles as spokesmen for the mantis. I have argued that the uses of prophètes in Greek correspond fairly well to the apparent range of meanings for nabi in the OT. But the use of prophètes to translate nabi involved a shift of emphasis: while in Greek prophètes mainly designates those who prophesy in trance, as a translation for nabi, prophètes mainly designates those whose prophecy is apparently not accompanied by trance. This can be seen clearly in Philo who knows of prophecy as a trance phenomenon, but who sees at least Moses mainly as a prophet whose prophecy does not involve trance. This understanding of prophecy results both from fidelity to scripture and from Philo's desire to praise Moses and account for certain difficulties in scripture.

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34

Kabuta, Ngo Semzara. "De Eigennaam en het “Zelflofdicht” in de Afrikaanse Orale Literatuur." Afrika Focus 17, no. 1-2 (February 11, 2001): 15–50. http://dx.doi.org/10.1163/2031356x-0170102003.

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The proper name and “selfpraise poetry” in the African oral literature There is a particular poetic genre in African oral literature, based on selfpraise. Selfpraise poetry is built on proper names and formulas, with the metaphor and hyperbole as central style figures. In this article, we situate the proper name inside African culture and show the link between the proper name and selfpraise. Furthermore, we try to grasp the meaning of praising oneself in African culture. The study relies essentially on Cilubà and Kilubà data, but references are made to other languages, in order to show that the genre is not limited to the Lubà oral literature. The first part concentrates on name giving and its meaning. The second part is an analysis of selfpraise poetry, with examples in different languages.

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35

Ataev, Boris Makhachevich. "THE LANGUAGE OF ORAL FOLK ART AS A SOURCE OF FORMATION OF THE AVAR LITERARY LANGUAGE." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 28 (November 24, 2021): 6–9. http://dx.doi.org/10.31029/vestiyali28/1.

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Oral and poetic creativity played a huge role in the development of the Avar language, in particular, in the for-mation, formation and development of written and literary norms. It was folklore that had a beneficial influence on the formation and development of the narrative genres of Avar fiction. Already at the dawn of its develop-ment, Avar fiction used all the expressive means of colloquial speech developed in folklore. The hammered syllable of the oral and poetic creativity of the Avars, its rich vocabulary, complex syntactic constructions were the basis for the formation of written literary norms.

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36

Heath, Peter. "Dwight Fletcher Reynolds, Heroic Poets, Poetic Heroes: The Ethnography of Performance in an Arabic Oral Epic Tradition, Myth and Poetics (Ithaca and London: Cornell University Press, 1995). Pp. 261." International Journal of Middle East Studies 30, no. 2 (May 1998): 313–15. http://dx.doi.org/10.1017/s0020743800066149.

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37

Nyitse. "An Investigation into the Poetic Praxis of Two Tiv Oral Poets." Global South 5, no. 2 (2011): 50. http://dx.doi.org/10.2979/globalsouth.5.2.50.

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38

Uden, James. "TheContest of Homer and Hesiodand the ambitions of Hadrian." Journal of Hellenic Studies 130 (November 2010): 121–35. http://dx.doi.org/10.1017/s0075426910000054.

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AbstractThis article examines the compilation known as theContest of Homer and Hesiod. More usually mined for the material it preserves from the sophist Alcidamas, here I advance a reading that seeks to make sense of the compilation as a whole and situates the work ideologically in its Imperial context. An anecdote early in the compilation depicts the emperor Hadrian enquiring about Homer's birthplace and parents from the Delphic Oracle; he is told that Telemachus was Homer's father and Ithaca his homeland. When the text says that we must believe this self-evidently absurd response on account of the status of the emperor, its author is satirizing Hadrian's ambitions to participate in the Greek intellectual world and the pressures on scholars to accept Hadrian's authority in their field. Moreover, the compiler has linked this anecdote to the long account of the poetic contest between Homer and Hesiod in order to draw an unflattering parallel between Hadrian and King Panedes, who, as writers such as Lucian and Dio Chrysostom suggested, exposed his ineptitude in choosing Hesiod over Homer as the victor of the contest.

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Boffey, Julia. "Writing the Oral Tradition: Oral Poetics and Literate Culture in Medieval England by Mark C. Amodio." Modern Language Review 102, no. 1 (2007): 202. http://dx.doi.org/10.1353/mlr.2007.0203.

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TYLER, ELIZABETH M. "Writing the Oral Tradition: Oral Poetics and Literature Culture in Medieval England By Mark C. Amodio." Early Medieval Europe 14, no. 4 (October 5, 2006): 505. http://dx.doi.org/10.1111/j.1468-0254.2006.193_1.x.

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Artists and Authors, Multiple. "Manifestos in a Room / Manifestes dans une pièce." ti< 8, no. 1 (April 6, 2019): 18–31. http://dx.doi.org/10.26522/ti.v8i1.2168.

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In Fall 2018, artist Heather Hart installs a rooftop in the largest room of the Rodman Hall Art Centre for her exhibition Northern Oracle. She asks the question: “What do you want to say? Shout it from the rooftop!” Throughout history, thinkers, authors and artists have eloquently expressed their views on cultural and social phenomena in manifestoes. The function of a manifesto is to convince a public and encourage creative thinking. Reflecting on Heather Hart’s exhibition, students in Visual Arts, Studies in Arts and Culture, and French Studies at Brock University transform the Studio Gallery into a “manifesto room” in which they create their own statements, be they poetic, absurd or political, in English or in French. In a space that is both radical and respectful, visitors are invited to experience the pleasurable effects of surprise. A l’automne 2018, l’artiste Heather Hart installe le toit d’une maison dans la plus grande salle du Centre d’art de Rodman Hall pour son exposition Northern Oracle. Elle pose ainsi la question suivante : « Que veux-tu dire ? Crie-le sur le toit ! » Au cours du temps, penseurs, auteurs et artistes ont éloquemment exprimé dans des manifestes leurs vues sur des phénomènes culturels et sociaux. Un manifeste a pour fonction de convaincre un public et d’encourager une pensée créative. En réponse à l’artiste, des étudiant.e.s d’Arts visuels, Etudes en arts et cultures et Etudes en français transforment la galerie Studio en « pièce manifeste » dans laquelle elles/ils créent leurs propres déclarations, que celles-ci soient poétiques, absurdes ou politiques, en anglais ou en français. Dans un espace à la fois radical et respectueux, les visiteuses et visiteurs sont invité.e.s à faire l’expérience d’agréables effets de surprise. Curators / Commissaires – Catherine Parayre and / et Donna Akrey

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Semaj-Hall, Isis. "A Poetics of Performance: The Oral-Scribal Aesthetic in Anglophone Caribbean Fiction." Caribbean Quarterly 63, no. 2-3 (July 3, 2017): 400–404. http://dx.doi.org/10.1080/00086495.2017.1352289.

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Bobunova, Maria A., and Alexander T. Khrolenko. "Proper Names in Oral Poetic Tradition in the Light of Folklore Lexicography." Вопросы Ономастики 18, no. 1 (2021): 85–112. http://dx.doi.org/10.15826/vopr_onom.2021.18.1.003.

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The paper uses three cases of folklore lexicography to substantiate its applicability and the methodological capacity it holds in the study of onomastic elements of different folklore genres. It is this original lexicographic approach that gives a new perspective and brings new results to the solution of some recurrent problems connected with the poetic language of folklore. The research builds on the lexicographic projects by Kursk linguists, focused on folklore studies: a dictionary of the language of bylinas and the concordances of Russian non-ritual lyric songs. The present study employs the overlay technique for comparing dictionary entries and gives three cases of its application. The first compares lexicographic descriptions of the Dunai (Danube) river name as one of the key images of Russian folklore, and how it is used in non-ritual lyric songs of the 19th century. This has allowed the authors to identify semantic differences in the river name across the regions. The second case illustrates that, lexicographically, the body of folklore proper names has a capacity to verbalize the emotional experience of the ethnic group that has both regional and gender-based specificity. The third case considers the meaning, usage, and derivational potential of exotic place names. Based on bylinas texts, the authors illustrate transformations of borrowed words in the vocabulary of Russian folk-tale narrators. On the general scale, embracing a lexicographic approach to the study of folklore vocabulary can solve a number of long-standing issues related to semantics, word-formation, generic and territorial features of the national poetic language. Apart from that, the authors conclude that folklore lexicography can open new interesting areas of onomastic research and gives a tool to explore them.

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Fulk, R. D. "Old English Meter and Oral Tradition: Three Issues Bearing on Poetic Chronology." Journal of English and Germanic Philology 106, no. 3 (July 1, 2007): 304–24. http://dx.doi.org/10.2307/27712658.

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Braček, Tadej. "Fact, Myth and Legend in Matthew Arnold’s Westminster Abbey." ELOPE: English Language Overseas Perspectives and Enquiries 4, no. 1-2 (June 16, 2007): 99–106. http://dx.doi.org/10.4312/elope.4.1-2.99-106.

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The paper deals with the multilayered elegy “Westminster Abbey;” which was not given a lot of attention by Matthew Arnold’s critics. The poem is dedicated to Arnold’s life-long friend Dean Stanley; who was; like Arnold himself; “a child of light.” The term refers to their common fight against Philistinism in the English society of the time. As the poem is about a real person; it contains real data; such as excerpts from Stanley’s life; described in the form of praise. However; the poem also introduces the old Saxon legend of consecration of the Abbey; namely the consecration by the light; performed by the First Apostle (St Peter) himself. In addition to the legend; Arnold also used some classical Greek allusions to depict the late Dean’s character. In one of the allusions; Stanley is associated with Demophon; whose immortality was never achieved due to the fault of another human; and in the second he is transformed into an everlasting oracle of the Abbey using the Trophonius; a builder of Delphi; metaphor. All elements of the poem form a homogenous eulogy; making it worthwhile reading for English scholars and students; and possibly a candidate for the English poetic canon.

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Vet, Théérèèse de. "Parry in Paris: Structuralism, Historical Linguistics, and the Oral Theory." Classical Antiquity 24, no. 2 (October 1, 2005): 257–84. http://dx.doi.org/10.1525/ca.2005.24.2.257.

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Abstract This paper investigates the origins of the Oral Theory as formulated by Milman Parry in Paris during the late 1920s by reexamining the scholarship on which it rests. Parry's Oral Theory compared the texts of oral performances in Yugoslavia with the Homeric texts in order to shed light on the presumed oral origins of the latter. His work integrated the work of the linguist and Indo-Europeanist Antoine Meillet, the linguist and scholar of oral poetics Matthias Murko, and the anthropologists Lucien Léévy-Bruhl and Marcel Jousse.

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Scheil, A. "LORI ANN GARNER. Structuring Spaces: Oral Poetics and Architecture in Early Medieval England." Review of English Studies 63, no. 260 (December 23, 2011): 494–96. http://dx.doi.org/10.1093/res/hgr134.

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Marsh, Nicky, Peter Middleton, and Victoria Sheppard. ""Blasts of Language": Changes in Oral Poetics in Britain since 1965." Oral Tradition 21, no. 1 (2006): 44–67. http://dx.doi.org/10.1353/ort.2006.0016.

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Nicholson, Melanie. "The Reluctant Troubadour: Tracing the Oral Tradition in the Poetics of Juan Gelman." Revista de Estudios Hispánicos 50, no. 1 (2016): 167–90. http://dx.doi.org/10.1353/rvs.2016.0013.

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Morrison, Tessa. "Structuring Spaces: Oral Poetics and Architecture in Early Medieval England (review)." Parergon 29, no. 1 (2012): 208–10. http://dx.doi.org/10.1353/pgn.2012.0018.

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