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 sequence of ethnographic case reviews that provide a gleaming examine intertextuality as communicative perform.
- A attention-grabbing viewpoint on intertextuality: the concept that 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 wide 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 info for A World of Others' Words: Cross-Cultural Perspectives on Intertextuality
13–14 Sphinx: What walks on four legs in the morning, on two at noon, and on three in the evening? Oedipus: Man. Sophocles, Oedipus Rex Turandot: What is like ice, but burns? Calàf: Turandot! Puccini, Turandot The Problem of the Riddle Tale These brief excerpts, taken from some of the most familiar and symbolically resonant narratives in our cultural canon, afford us a vivid reminder of the productiveness of riddle as a narrative and dramatic device. Samson’s riddle, based upon his experience of bees swarming in the skull of a lion, leads ultimately, we recall, to his massive slaughter of the Philistines.
Thus, a ton (or a hundredweight 44 The Dynamics of Genre in the Riddle Tale in John’s version) – a unit of weight and therefore an appropriate basis for analogy – is conventionally divided into “quarters,” so that the word “quarter” can refer to a quarter of a ton. The moon too has quarters, in this instance a unit of time. By analogy, then, the moon weighs a ton. Rendered fully as a riddle, Jack’s transformation would yield: Why does the moon weigh a ton? – Because it has four quarters. In addition, Jack exploits a basic vulnerability of the King’s question, namely, that the King does not know the answer himself, which deprives him of full interactional power.
He was a workin’ hand aboot the place, but he was a kinda daft fella, this, and she goes and tells him what happened, his [sic] father was goin’ tae . . Anyway. So Jack made a bargain wi’ her. ” You see? So anyway, the father’s goin’ aboot worried, he cannae think. He takes tae his bed at the finish-up, no well, you see? And Jack, so he’s workin’ aboot the mill as usual, and when the year and the day come up, at the time he had tae meet the King, Jack goes 38 The Dynamics of Genre in the Riddle Tale and dresses hissel’ as this old miller.
A World of Others' Words: Cross-Cultural Perspectives on Intertextuality by Richard Bauman