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Read e-book online A World of Others' Words: Cross-Cultural Perspectives on PDF

By Richard Bauman

ISBN-10: 0470773898

ISBN-13: 9780470773895

ISBN-10: 1405116048

ISBN-13: 9781405116046

Drawing on his paintings in Iceland, eire, Scotland, North the United States, Ghana, and Fiji, linguistic anthropologist and folklorist Richard Bauman provides a chain of ethnographic case experiences that supply a gleaming examine intertextuality as communicative perform.

  • A interesting standpoint on intertextuality: the concept written and spoken texts converse to each other, e.g. via style or allusions.
  • Presents a sequence of ethnographic case experiences to demonstrate the topic.
  • Draws on a vast variety of oral performances and literary documents 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 info for A World of Others' Words: Cross-Cultural Perspectives on Intertextuality

Sample text

He is able to tell the King what he is thinking, but even further, and more powerfully, he is able to falsify that knowledge, thus gaining a The Dynamics of Genre in the Riddle Tale 45 still greater measure of interactional power. In John Stewart’s version, the impact of the young man’s transformational ploy is enhanced still further by withholding it from the audience, unlike Andrew’s and Alec’s versions, revealing it only at the end, at the same moment that he removes his disguise before the King.

And he got a year and a day to think what riddles he was gonna give the King, you understand? So here he mounted his horse, Jack, and he went to the King’s palace, and all the army was there, you see, and the King’s guards, so the riddle had tae be read oot, so Jack . . one o’ the men read the riddle out, and the riddle was: Under the earth I go, On the oak leaf I stand, I ride on the filly that never was foaled, And I carry the dead in my hand. So they tried to guess and guess, and everybody tried to guess, but they couldnae make out what it was.

It is Páll’s verse, with its magical efficacy, that is the point of the story, hence its dominant position in the interplay of genres. For comparative purposes, and to demonstrate that the organization we have discovered in Jón NorQmann’s story is not unique to his performance, we may examine a second text, one of the legends surrounding WormóQ (d. 1747), a kraftaskáld who lived for a time in VaQstakks Island in BreiQafjord (Almqvist 1961:82, 87). After a brief reminder of a WormóQ story she had recounted to Eiríksson on an earlier occasion, Ólöf Jónsdottir narrated the following (April 10, 1968): 24 Icelandic Stories About Magical Poems 1 2 Um þ ormóQ /On þ ormóQ Og svo var þaQ önnur visa And then there was another verse sem aQ líka aQ hann hefQi kveQiQ that I also heard that he had recited.

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A World of Others' Words: Cross-Cultural Perspectives on Intertextuality by Richard Bauman


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