This book focuses on the performance of oral epics and explores its significance for interpretation. The discussion is also relevant for the understanding of medieval and earlier oral-derived epics. The study is based on field-work on the oral traditions of the Turkic peoples of Central Asia and Siberia.
This book focuses on the performance of oral epics and explores its significance for interpretation. The discussion is also relevant for the understanding of medieval and earlier oral-derived epics. The study is based on field-work on the oral traditions of the Turkic peoples of Central Asia and Siberia.
Karl Reichl is Professor Emeritus of the University of Bonn (Institute of English, American and Celtic Studies). He has had visiting professorships at Harvard University, the Hebrew University of Jerusalem, the École Pratique des Hautes Études in Paris, the University of Madison at Wisconsin, and the Karakalpak State University in Nukus. His main research interests lie in medieval oral literature and in contemporary (or near-contemporary) oral epic poetry, especially in the Turkic-speaking areas of Central Asia.
Inhaltsangabe
Introduction Part I: Settings 1 How to Identify an Oral Epic Oral: shades and grades The challenge of native classification An African interlude The Uzbek dastan 2 The Singer Epic singers: types and terms How to become an epic singer The chain of transmission Creativity and innovation 3 Introducing Performance The ethnography of communication Textualization Part II: Performance 4 Voice Speaking Singing Shamanic voices 5 Gesture Conventional gestures: the Karakalpak jïraw Stylized gestures: the Kyrgyz manaschï Gesture and inspiration Gesture, miming, stage props 6 Oral Epics as Songs Song as vehicle, song as music 'Riding the song': the singing of the Kyrgyz epic Manas Music and metre: some examples 7 Voice and Instrument Gusle, qobïz, horse-head fiddle Lute, dutar, dombira The interplay of song and instrument Part III: Interpretation 8 Words, Music, Meaning Meaning and expression What's in a name? Imitation Leitmotifs in Siberian oral epics Expression and convention 9 The Singer and the Tale Point of View Mythological epics, sacred time First-person narration, shamanic traces The narrator's presence in the narrative 10 Performance and Interpretation Visualization and imaging Aria and recitative From context to text Appendices A Notes on Oral Epic Traditions B Audio/Video Examples C Discography
Introduction Part I: Settings 1 How to Identify an Oral Epic Oral: shades and grades The challenge of native classification An African interlude The Uzbek dastan 2 The Singer Epic singers: types and terms How to become an epic singer The chain of transmission Creativity and innovation 3 Introducing Performance The ethnography of communication Textualization Part II: Performance 4 Voice Speaking Singing Shamanic voices 5 Gesture Conventional gestures: the Karakalpak jïraw Stylized gestures: the Kyrgyz manaschï Gesture and inspiration Gesture, miming, stage props 6 Oral Epics as Songs Song as vehicle, song as music 'Riding the song': the singing of the Kyrgyz epic Manas Music and metre: some examples 7 Voice and Instrument Gusle, qobïz, horse-head fiddle Lute, dutar, dombira The interplay of song and instrument Part III: Interpretation 8 Words, Music, Meaning Meaning and expression What's in a name? Imitation Leitmotifs in Siberian oral epics Expression and convention 9 The Singer and the Tale Point of View Mythological epics, sacred time First-person narration, shamanic traces The narrator's presence in the narrative 10 Performance and Interpretation Visualization and imaging Aria and recitative From context to text Appendices A Notes on Oral Epic Traditions B Audio/Video Examples C Discography
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