Orality and Textuality (With an Appendix on the Byzantine Conceptions)

2021 ◽  
pp. 240-272
Author(s):  
Charis Messis ◽  
Stratis Papaioannou
Keyword(s):  
Early Modern ◽  
Oral Performance ◽  
Written Discourse ◽  
Liturgical Texts ◽  
Secondary Orality ◽  
Primary Orality

The chapter proposes that one cannot approach Byzantine literature—preserved in either medieval and early modern manuscript books or in the form of inscriptions—without an appreciation of its textual modes of production and circulation, its possible origins in oral creation, and its likely orientation toward oral performance and auditory reception. It thus introduces and surveys three types of texts: (i) texts that reflect conditions of primary orality (songs, sayings, and short or long “stories”); (ii) texts that entail secondary orality (primarily rhetorical and liturgical texts); and (iii) a middle type of texts (texts of fictive orality and rhetoricized liturgical literature). The chapter is rounded off by an examination of Byzantine conceptions of oral vs. written discourse.

scholarly journals Visualisasi dan Transformasi Kebertubuhan Dalam Film Animasi Planes (Ke Arah Pembentukan Mitos Baru)

Panggung ◽  
2015 ◽  
Vol 25 (4) ◽  
Author(s):  
Acep Iwan Saidi ◽  
Agung Eko Budiwaspada
Keyword(s):  
Semiotic Analysis ◽  
Living Things ◽  
History Of ◽  
History Of Culture ◽  
Primary Orality ◽  
The Mind ◽  
As If

ABSTRACTThis research is entitled “Visualization and Transformation of Embodiment in the Film of Planes Animation”. As an animation film, Planes is interesting because it is using inanimate objects, in this case the planes, as characters. This fact indicates that the character transformation is done by an animator, from the character of inanimate objects in to live character. By using the methods of structural and semiotic analysis, found that the transformation is done not only for personification (it is made as if the inanimate objects becomes alive). In the Planes, “the living things” not only exist in the mind as imagination, but it is exist out of the mind, as an autonomous reality. Based on that, Planes is the animation film which opens space for creating a new myth in the history of culture. Like the fable as a myth in the tradition of primary orality, Planes allows the formation of myth in digital oral tradition.Key Words: Transformation, visualization, embodiment, personification, metaphor, tradition, myth ABSTRAKPenelitian ini bertajuk “Visualisasi dan Transformasi Kebertubuhan dalam Film Animasi Planes”.Sebagai film animasi, Planes menarik karena menggunakan benda-benda mati, dalam hal ini pesawat, sebagai tokoh cerita. Fakta ini mengindikasikan dilakukannya transformasi karakte r ole h animator, yakni dari karakte r “yang mati” ke “yang hidup”.Dengan menggunakan metode analisis structural dan semiotik, ditemukan bahwa transformasi tersebut dilakukan melampaui sarana retorika personifikasi (membuatseolah- olah yang mati menjadi hidup).Di dalam Planes, “yang hidup” itu tidak berada di dalam pikiran dan imajinasi apresiator sebagai yang seolah-olah, melainkan hadir di luar pikiran, berdiri sendiri sebagai realita sotonom. Berdasarkan hal itu, Planes merupakan film animasi yang membuka ruang bagi terciptanya mitos baru dalam sejarah cerita. Jika fable merupakan mitos dalam tradisi kelisanan primer, Planes memungkinkan terbentuknya mitos dalam tradisi lisan digital.Kata kunci: transformasi, visualisasi, kebertubuhan, personifikasi, metafora, tradisi, mitos.

Telepathos: Medium Cool Romanticism

2006 ◽  
Author(s):  
Celeste Langan
Keyword(s):  
Critical Value ◽  
Media History ◽  
Vanishing Point ◽  
Romantic Poetry ◽  
Walter Ong ◽  
Primary Orality ◽  
As If

Abstract This essay argues for the critical value of situating Romantic poetry—particularly as it’s theorized by Wordsworth and Scott—as a “medium” between the two extremes that often shape accounts of media history: the “primary orality” of Walter Ong and the “techno-informatic vanishing point” of aesthetics recently described by Alan Liu in The Laws of Cool. I propose that Sir Walter Scott’s story, “My Aunt Margaret’s Mirror,” offers a “supernatural” or occulted account of how literature operates as a kind of telepathic medium, enabling readers to be “affected by absent things as if they were present.” But it offers at the same time, in its almost anachronistic play with the concept of “resolution” as a feature of the televisual screen, an account of all perception—both “immediate” and mediated—as a process of discretization and resynthesis that works remarkably like Wordsworth’s “digital” theory of meter.

scholarly journals Marginalisasi dan Revitalisasi Parikan di Era Kelisanan Sekunder

ATAVISME ◽  
2010 ◽  
Vol 13 (2) ◽  
pp. 187-200
Author(s):  
D. Jupriono
Keyword(s):  
Public Service ◽  
Police Department ◽  
Social Injustice ◽  
Social Critique ◽  
Oral Literature ◽  
Central Java ◽  
The Social ◽  
Traditional Market ◽  
Secondary Orality ◽  
Primary Orality

Sastra lisan parikan termarginalisasikan dari masyarakatnya di Jawa Timur dan Jawa Tengah karena: makin langkanya habitat tempat munculnya parikan (ludruk, tayub, dll.); melimpahnya acara pop di media elektronik TV; punahnya budaya sindiran; tergusurnya lembah lokalisasi; makin berkurangnya jumlah penjual jamu di pasar tradisional dan para pedagang keliling berlayar tancap; lenyapnya budaya cangkrukan/jagongan. Meskipun demikian, ada dua komunitas yang tetap melestarikan parikan, yaitu komunitas pesantren, yang tetap mempertahankan parikan sebagai produk kelisanan primer, dan masyarakat Jawa pedesaan serta komunitas urban etnis Jawa, yang melestarikan parikan sebagai produk kelisanan sekunder dalam kemasan media elektronik. Di antara parikan yang masih tersisa, terdapat parikan pelesetan, yang hanya main-main oleh dagelan ludruk, dan parikan serius, sebagai media iklan resmi layanan masyarakat oleh kepolisian, parpol, perusahaan, dan media massa, serta sebagai kritik sosial terhadap ketimpangan keadaan dan kesewenangan penguasa, juga oleh dagelan ludruk. Abstract: Parikan as oral literature is marginalized from its society in East Java and Central Java because the more rarely of habitat it emerges (ludruk, tayub, etc); the abundance of popular programs in TV electronic media; the vanishing satirical culture; the abolition of prostitution locality; the lesser of the amount of herbs seller in traditional market and vendors on layar tancap; the diminishing of the culture of cangkrukan/jagongan. Fortunately, yet there are two communities keeping on conserve parikan, they are pesantren community, which keeps parikan as the product of primary orality, and Javanese villagers and also Javanese urban community who conserve parikan as the product of secondary orality in electonic media packaging. Among the rest of parikan, there are plesetan parikan, merely for jokes which come from ludruk comedians, and serious parikan, as the official advertising media of public service by police department, politic parties, companies, and mass media, also as the social critique by ludruk comedians towards social injustice and despotism of public officers. Key Words: oral literature; revitalization; secondary orality; social critique; marginalization

scholarly journals SINTREN DARI SUDUT PANDANG SECONDARY ORALITY

2019 ◽  
Vol 8 (2) ◽  
pp. 188
Author(s):  
Yeni Mulyani Supriatin
Keyword(s):  
Secondary Orality ◽  
Primary Orality

Penelitian ini bertujuan mengungkapkan sintren, sebuah tradisi lisan sebagai primary orality yang bertransformasi dalam bentuk secondary orality. Masalah yang dibahas adalah bagaimana sintren dalam bentuk secondary orality? Apakah benar-benar berubah atau ke luar dari bentuk asalnya? Teori yang digunakan dalam penganalisisan data adalah pendekatan modern dan sudut pandang secondary orality. Metode yang digunakan adalah metode modern dengan teknik perbandingan dan penyimakan. Hasil penelitian menggambarkan bahwa sintren dalam bentuk secondary orality lebih variatif, fungsional, dan lebih menarik, baik dari aspek bentuk maupun tampilannya. Simpulan penelitian ini adalah bahwa secondary orality merupakan satu bentuk penerobosan baru agar sintren sebagai tradisi lisan lebih bertahan, lebih diketahui generasi masa kini, dan lebih bisa menembus zamannya

scholarly journals Translating the other: Marlow’S Discourse between Imperial Rhetoric and Primary Orality

2014 ◽  
Vol 11 (1) ◽  
pp. 56-64
Author(s):  
Ana Cristina Băniceru
Keyword(s):  
The Other ◽  
The Core ◽  
Congo River ◽  
Heart Of Darkness ◽  
Primary Orality

Abstract The present paper attempts to see what determines Marlow’s difficulty to turn his Congolese experience into language. Therefore, I argue that Marlow’s storytelling collapses because at the core of his discourse there is the unknown semantic universe of the other. In the “heart of darkness”, on the banks of the Congo River, there stands an unknown language, the language of the natives which is known only by Kurtz. Thus it becomes impossible for Marlow to translate it and incorporate it in his story.

scholarly journals Słowo jako medium tradycji: szkic z teorii oralności

Politeja ◽  
2020 ◽  
Vol 17 (4(67)) ◽  
pp. 148-166
Author(s):  
Włodzimierz Mich
Keyword(s):  
Basic Mechanism ◽  
Structural Level ◽  
Moral Norms ◽  
Cultural Patterns ◽  
Technical Instruction ◽  
Written Form ◽  
Concept Of Word ◽  
The 1960S ◽  
Primary Orality ◽  
Everyday Communication

Word as Medium of Tradition. Essay on Theory of OralityThe goal of the paper is to outline the concept of word as medium of intergenerational transfer of tradition in cultures of primary orality as formulated in the theory of orality since the 1960s. According to the classic anthropological approach, it emphasizes the orientation on tradition and stability of oral cultures. It also focuses on mechanisms of preserving fidelity and persistence of cultural patterns in the utterances/messages despite the lack of the written form. The basic mechanism here is to grasp messages in the form of epic poetry. Information (technical instruction and moral norms) is depicted in the narrative context, that is, descriptions of heroes’ activities as only by that the listeners’ emotions and – consequently – actions were stimulated. Combining poetry with music, singing, gestures and dancing were also used as mnemotechnical tools – messages affected listeners by rhyme, rhythm, and melody. On the verbal level, shaping messages according to mnemotechnical mechanisms have led to the origins of preservative language (elevated speech) that differed from flexible language used for everyday communication. Its main constitutive trait was dominance of formulas (formulative style) aimed at preserving those messages from critical analysis and being reshaped by the recipients. On the structural level of stories, formulas’ equivalent were typescenes and story-patterns. They were used to secure high fidelity of several performances (repetitions) of particular pieces. Other inherent traits of oral messages are: paratactic composition, redundancy, and Homeric epithets for descriptions of heroes.

scholarly journals Orality, Germanic Literacy and Runic Inscriptions in Anglo-Saxon England

2017 ◽  
Vol 5 (1) ◽  
pp. 39-52
Author(s):  
James Daly
Keyword(s):  
Old English ◽  
English Language ◽  
Transitional Period ◽  
English Poetry ◽  
Anglo Saxon ◽  
Old English Poetry ◽  
Writing Practices ◽  
Secondary Orality ◽  
Primary Orality ◽  
Runic Inscriptions

The presence of runic writing before the influx of Latinate literacy in Anglo-Saxon England is often neglected when investigating the transitional nature of orality and literacy in vernacular Anglo-Saxon writing. The presence of runes in Anglo-Saxon society and Old English manuscripts supports the theory that Old English poetry operated within a transitional period between orality and literacy (as argued by O'Keeffe (1990), Pasternack (1995), Amodio (2005)). However runic symbols problematize the definition of orality within Old English oral-formulaic studies because runic writing practices predate Latinate literacy in England. This article explores the possibility that the orality contained within Old English poetry is a form of secondary orality due to the pre-existence of runic writing in Anglo-Saxon England. This form of secondary orality occurs within the wider social cultural shift between primary orality and modern hyper-literate states as runes act as a literary representation of change within the construction of thought and literature in the English language. This article suggests that runes can be understood as a type of ‘transitional literacy’ between primary orality and Latinate derived literary practices. They act as a way of composing and recording thought as text while still maintaining elements strongly associated with the construction of a primary oral culture in how the texts are interpreted by a culture familiar with writing. Therefore clarification must be made when understanding Old English as a transitional poetic form, namely that the nature and degree of transition contained within Old English poetry builds upon runic inscriptions as it represents a transition between  a Germanic and Latinate forms of textuality and literacy.

scholarly journals The Internet – (cyber)space of interpersonal communication

1970 ◽  
Vol 12 (2) ◽  
pp. 150-162
Author(s):  
Justyna Majchrowska
Keyword(s):  
Interpersonal Communication ◽  
Global Network ◽  
The Internet ◽  
Cyber Space ◽  
Secondary Orality ◽  
Primary Orality ◽  
Main Factor

The article focuses on the problem of Internet as a space for interpersonal communication. Among the determinants of the global network, mainly in functional terms, close links with existing forms of communication that occur and co-occur inside the Internet, and in the last phase they return to their original characters, are important. This observation is based on the opposition of the concepts of primary orality and secondary orality, which are defined by, among others electronics – the main factor of (cyber)space modification.

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