The Oral Epic: From Performance to Interpretation: Routledge Studies in Medieval Literature and Culture
Autor Karl Reichlen Limba Engleză Paperback – 31 mai 2023
The leading question of the book is how the socio-cultural context of performance and the various performance elements contribute to the meaning of oral epics. This is a question which not only concerns epics collected from living oral tradition, but which is also of importance for the understanding of the epics of antiquity and the Middle Ages which originated and flourished in an oral milieu.
The book is based on fieldwork in the still vibrant oral traditions of the Turkic peoples of Central Asia and Siberia. The discussion combines fieldwork with theory; it is not limited to Turkic epics but branches out into other oral traditions.
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Specificații
ISBN-13: 9781032038087
ISBN-10: 103203808X
Pagini: 282
Ilustrații: 3 Tables, black and white; 40 Halftones, black and white; 40 Illustrations, black and white
Dimensiuni: 152 x 229 x 15 mm
Greutate: 0.45 kg
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Seria Routledge Studies in Medieval Literature and Culture
Locul publicării:Oxford, United Kingdom
ISBN-10: 103203808X
Pagini: 282
Ilustrații: 3 Tables, black and white; 40 Halftones, black and white; 40 Illustrations, black and white
Dimensiuni: 152 x 229 x 15 mm
Greutate: 0.45 kg
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Seria Routledge Studies in Medieval Literature and Culture
Locul publicării:Oxford, United Kingdom
Public țintă
Postgraduate and UndergraduateCuprins
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
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
Notă biografică
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.
Recenzii
Underlying The Oral Epic: From Performance to Interpretation are Reichl’s pioneering labor of many decades to inform research on orality in medieval European literatures by means of his extensive fieldwork with Central Asian Turkic oral bards (Parry’s first and unrealized choice as ethnographic subjects to test his path-breaking theory of Homeric composition) and his grounding in musicology, ethnology and otherwise. The book goes beyond this basis, however. It is one of the most broadly comparative single-authored syntheses of research yet produced on living or recently living oral epic traditions worldwide. [...] This book skillfully blends two seemingly contrasting virtues, ambition and brevity. Jargon is used but explained very clearly in the process. This theoretical and methodological guide will be equally valuable to advanced scholars and students. It needs to be widely used, thrust in rucksacks, not just acquired by libraries; to that end, the publisher might consider making the paperback edition more affordably priced.”
Professor Daniel Prior, Miami University, Ohio, Journal of American Folklore, Volume 137, Number 544, Spring 2024, pp. 257-259.
In The Oral Epic: From Performance to Interpretation, Reichl offers a synthesis of knowledge he has gained through a lifetime’s study of both the early epic poems of Europe—which we know only through texts—and the less familiar living epic traditions of other parts of the world. While most of his examples pertain to his fieldwork among Turkic-speaking peoples, Reichl is a comparatist by training and conviction, so that what he has to say about any one example fills out one’s understanding of the oral epic genre. At the same time, he avoids generalities that would obscure the unique character of different poems, traditions, or individual singers, each of which is grounded in a culturally specific context. The book consolidates Reichl’s place as the leading contemporary heir of such prior scholars as the Russian Turkologists Friedrich Wilhelm Radloff and Viktor Zhirmunsky and the American classicists and comparatists Milman Parry and Albert B. Lord. [...] A noteworthy strength of this book is the author’s equanimity in navigating between past and present, East and West, text and voice, polished literature and folk literature, the visionary English poet William Blake and the shaman-like epic singers of Central Asia, all the while making this kind of remarkable synthesis look easy. Anyone who wonders how folkloric scholarship that meets the highest standards of professionalism can be combined with other virtues—good sense, readability, a gift for colorful anecdotes, and an urbane awareness of the place of folkloric studies amidst a much larger world of letters—can turn to this compact yet major survey as a model.
Professor John D. Niles, Emeritus, University of Wisconsin, Madison, Western Folklore, Vol. 82, No. 1 – Winter 2023
I heartily recommend The Oral Epic to anyone interested in performance traditions of verbal art. Whereas performance-oriented approaches to verbal art have tended to focus on linguistic behavior as socially situated, Reichl’s book advocates a performer-centered approach, weighting concerns for performance as embodied activity and its reception through the materialities of embodied experience. The book is designed to be read as a book, with chapters of limited and balanced length written in a pleasant, accessible style, revealing the nuanced and perceptive understanding of a learned scholar. Each chapter balances the background or theoretical discussions of the relevant topic with engaging examples and illustrations that reveal the remarkable diversity of epic traditions’ manifestations in different cultures, milieux, and social situations. This book will be of value and interest to anyone interested in oral performance traditions of verbal art and storytelling.
Docent Frog, Ph. D., University of Helsinki, Department of Cultures, Fabula, 66 (July) 2025 (De Gruyter)
Professor Daniel Prior, Miami University, Ohio, Journal of American Folklore, Volume 137, Number 544, Spring 2024, pp. 257-259.
In The Oral Epic: From Performance to Interpretation, Reichl offers a synthesis of knowledge he has gained through a lifetime’s study of both the early epic poems of Europe—which we know only through texts—and the less familiar living epic traditions of other parts of the world. While most of his examples pertain to his fieldwork among Turkic-speaking peoples, Reichl is a comparatist by training and conviction, so that what he has to say about any one example fills out one’s understanding of the oral epic genre. At the same time, he avoids generalities that would obscure the unique character of different poems, traditions, or individual singers, each of which is grounded in a culturally specific context. The book consolidates Reichl’s place as the leading contemporary heir of such prior scholars as the Russian Turkologists Friedrich Wilhelm Radloff and Viktor Zhirmunsky and the American classicists and comparatists Milman Parry and Albert B. Lord. [...] A noteworthy strength of this book is the author’s equanimity in navigating between past and present, East and West, text and voice, polished literature and folk literature, the visionary English poet William Blake and the shaman-like epic singers of Central Asia, all the while making this kind of remarkable synthesis look easy. Anyone who wonders how folkloric scholarship that meets the highest standards of professionalism can be combined with other virtues—good sense, readability, a gift for colorful anecdotes, and an urbane awareness of the place of folkloric studies amidst a much larger world of letters—can turn to this compact yet major survey as a model.
Professor John D. Niles, Emeritus, University of Wisconsin, Madison, Western Folklore, Vol. 82, No. 1 – Winter 2023
I heartily recommend The Oral Epic to anyone interested in performance traditions of verbal art. Whereas performance-oriented approaches to verbal art have tended to focus on linguistic behavior as socially situated, Reichl’s book advocates a performer-centered approach, weighting concerns for performance as embodied activity and its reception through the materialities of embodied experience. The book is designed to be read as a book, with chapters of limited and balanced length written in a pleasant, accessible style, revealing the nuanced and perceptive understanding of a learned scholar. Each chapter balances the background or theoretical discussions of the relevant topic with engaging examples and illustrations that reveal the remarkable diversity of epic traditions’ manifestations in different cultures, milieux, and social situations. This book will be of value and interest to anyone interested in oral performance traditions of verbal art and storytelling.
Docent Frog, Ph. D., University of Helsinki, Department of Cultures, Fabula, 66 (July) 2025 (De Gruyter)
Descriere
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.