By Richard Bauman
Drawing on his paintings in Iceland, eire, Scotland, North the US, Ghana, and Fiji, linguistic anthropologist and folklorist Richard Bauman offers a chain of ethnographic case reviews that supply a glowing examine intertextuality as communicative perform.
- A interesting viewpoint on intertextuality: the concept written and spoken texts converse to each other, e.g. via style or allusions.
- Presents a sequence of ethnographic case stories to demonstrate the topic.
- Draws on a extensive diversity of oral performances and literary files from around the world.
- The author’s creation units a framework for the research of style, practice and intertextuality.
- Shows how performers mix genres, e.g., telling tales approximately riddles or legends approximately magical verses, or developing revenues pitches.
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Additional resources for A World of Others' Words: Cross-Cultural Perspectives on Intertextuality
Tradition here is a rhetorical resource, not an inherent quality of a story. To be sure, tradition is always such a resource, but in folklore and anthropology traditionalization has overwhelmingly been a resource of intellectual outsiders, a means of selectively and analytically valorizing and legitimizing – or denying the value and legitimacy of – aspects of culture frequently not their own by locating them within lineages of descent and structures of authority for scholarly rhetorical and analytical purposes (Bauman and Briggs 2003).
Scholarly thinking about verbal genres, both in folklore and linguistic anthropology, has been much influenced by canons of scientific taxonomy, whether from an etic or an emic point of view: genre classifications must be based on the application of consistent sorting principles throughout, they must be exhaustive, the categories must be mutually exclusive, and so on. But even in the enthusiasms of ethnoscience, there were constant reminders from the data that human expression doesn’t fit so neatly into taxonomic categories.
In order to accomplish a telling of a kraftaskáld legend, the narrator must accomplish the management of contextualization, determined to a significant degree by the formal and functional capacities of the genres brought into dialogue, here saga and vísa, story and verse. My analysis has been meant to show for this one dialogic form how that generic contextualization gets done. For other mergers, it would have to be accomplished differently. One value of the kind of formal and functional analysis I have attempted, I believe, is its potential for establishing a basis for the comparative investigation of such hitherto poorly understood dialogic genres as a key to a significant dimension of generic creativity.