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 provide a gleaming examine intertextuality as communicative perform.
- A attention-grabbing 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 huge diversity 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 combination genres, e.g., telling tales approximately riddles or legends approximately magical verses, or developing revenues pitches.
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Extra resources for A World of Others' Words: Cross-Cultural Perspectives on Intertextuality
Following a metanarrational introduction that aligns the narrative to other recitations by WormóQ that Mrs. ” As before, the verse is presented as direct discourse, Icelandic Stories About Magical Poems 25 set off stylistically from the discourse that surrounds it by markedly increased formal regimentation and presentational contrast: meter, rhyme, loudness, a shift of tense and mood, and so on. And again, notwithstanding the formal contrast, there is clear cohesion between the virtual action of the verse – “may there be wind to calm the water” (line 10) – and the actualization of that action in the narrative passage that follows (line 12), as the verse, itself impenetrable by its cotext, exerts a formative influence on the subsequent prose.
The narrative is accommodated to the verse at the end, while the verse retains its unitary integrity, if not its performative power. Note, however, that this is not a necessary consequence of merging narrative and verse. That narrative can take over and subordinate verse is clearly evidenced by line 11, in which the fisherman’s verse is merely reported, preserving only a reference to its general poetic form and illocutionary force. 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.
He says, “But I’m The Dynamics of Genre in the Riddle Tale 37 a sportin’ man. ” So the guess he was given, it was impossible for to get them. That was the sort. They just gave the men a chance, to keep them in agony, you know, and thinkin’ aboot the thing. ” You see? And what was the next one? How many stars was in the sky? And the next one, “Could you tell me what,” the king, he says, “Can you tell me what I’m thinkin’ on? ” So the miller says, “Now,” he says, “wait a minute,” he says. ” So of course the army and the King rode away.