Socio-Psychic Levels of Oral Narration

Fabula ◽  
1981 ◽  
Vol 22 (Jahresband) ◽  
pp. 64-73
Author(s):  
J. Russell Reaver
Keyword(s):  
2019 ◽  
pp. 368-373
Author(s):  
A. S. Bokarev

The review is concerned with detailed analysis of I. Kargashin’s monograph on Russian poetic narrations in the 17th–21st centuries. Normally applied to the epic genre, the concept of skaz [oral narration, tale] is extrapolated by the scholar to describe lyrical poetry. Hence the broad scope of issues discussed in the book: how accurately can the term be applied to lyrical works, since poetry is anti-narrative in its ‘pure form’? How can one structure the subjective sphere of poems, given that a skaz recreates a consciousness other than that of the author, unlike in lyrical poetry, where the author and the hero are inseparable? Following the questions, the scholar identifies typological characteristics of the examined phenomenon (appropriation of another’s consciousness, realization of this consciousness through a colloquial monologue, and depiction of the subject’s speech in verse), uncovers the reasons for its emergence (including ‘emancipation’ of the hero and transition to the spoken word), and traces its history and development.


Author(s):  
Rueben Zaramian

This paper incorporates mnemonic, oral-formulaic, and semantic theory to identify a clear, replicable pattern of tropes, memes, and 'phraseological units' in Armenian Genocide oral narratives. The paper is part of a larger project that aims to propose a new theory on the efficacy and structural value of memory-based storytelling and oral transmission.Cette communication incorpore des théories de la mnémonique, de l’oralité et de la sémantique afin d’identifier un ensemble de tropes, de mèmes et d’unités phraséologiques clairs et reproductibles dans le discours narratif oral relatif au génocide arménien. La communication s’inscrit dans un projet plus vaste qui cherche à proposer une nouvelle théorie sur l’efficacité et la valeur structurelle de l’histoire basée sur la mémoire et la transmission orale. 


PMLA ◽  
1969 ◽  
Vol 84 (3) ◽  
pp. 577-586
Author(s):  
Nathan Gross

By keeping the frame-characters before the reader while they visit Versailles and listen to the tale of Cupid and Psyche, and by informing us of the kinds of emotions Psyché's adventures inspire, La Fontaine uses the elaborate framework to place into perspective our reactions to his art. The frame makes the reader recognize his reactions to the story, mirrored in the four friends responses, as well as to the poet's stylistic devices: badinage, reminders of the tale's oral narration, a variety of rhetorical and narrative modes including verse passages that decorate the tale. The friends intrude according to temperament; each prefers a different literary style for the emotions it induces. Their comments lead to the central “digression” on tragedy and comedy, between Parts I and n of Psyché's adventures. This discussion permits transition between the tragic and comic parts of the tale, and the analysis of pity there prepares for Part n in which compassion is the principal emotion experienced by the characters in the tale and the frame. La Fontaine's strategy of holding the frame-characters before the reader is his most significant contribution to his version of Apuleius' tale.


2017 ◽  
Author(s):  
Janice Carruthers
Keyword(s):  

2020 ◽  
Vol 47 (3/4) ◽  
Author(s):  
Karoliina Louhema ◽  
Jordan Zlatev ◽  
Maria Graziano ◽  
Joost Van de Weijer

Human communication can be either monosemiotic or polysemiotic, depending on whether it combines ensembles of representations from one or more semiotic systems such as language, gesture and depiction. Each semiotic system has its unique storytelling potentials, which makes intersemiotic translation from one system to another challenging. We investigated the influence of the source semiotic system, realised in speech and a sequence of pictures, respectively, on the way the same story was retold using speech and co-speech gestures. The story was the content of the picture book Frog, Where Are You?. A group of Finnish speakers saw the story in pictures, and another group heard it in matched oral narration. Each participant retold the story to an addressee and all narrations were video-recorded and analysed for both speech and gestures. Given the high degree of iconicity in depiction, we expected more iconic gestures (especially enactments) in the narratives translated from pictures than in those translated from speech. Conversely, we expected greater narrative coherence in the narratives translated from speech. The results showed that more iconic gestures were produced in the narratives translated from speech, but these were primarily not from the enactment subtype. As expected, iconic enactments were more frequent in the narratives translated from the story presented in pictures. The narratives produced by participants who had only heard the story did not have a greater variety of connective devices, yet the type of devices differed slightly between the groups. Together with some additional differences between the groups that had not been anticipated, the results indicate that a story presented in different semiotic systems tends to be translated into different polysemiotic narratives.


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