Week1Quiz - 1.Which Of The Following Groups Preserved Their... ~ High-End News

Anglo-Saxon literature has gone through different periods of Poetry represents the smallest amount of the surviving Old English text, but Anglo-Saxon culture had a rich tradition of oral story telling, just not The Psalter Psalms 51-150 are preserved, following a prose version of the first 50 Psalms.Folktales are oral tradition with no specific author or origin. It stands to reason that they originated when humans began to gather in groups. Storytellers were the historians of the tribe, so anything important that happened would have been preserved as a story.Skinner, Linda Teaching through Traditions: Incorporating Languages and Culture into Curricula. edge, values, and history through oral tradition. We learn from the experiences of others. As our elders have modeled their love for this method of learning and teaching, I want to give the following...Literary words serve to satisfy communicative demands of official, scientific, poetic messages, while the colloquial ones are employed in non-official everyday communication. Though there is no immediate correlation between the written and the oral forms of speech on one hand, and the literary and...The oral tradition preserved the past as there was no other way to do so at the time. One of the earliest known manuscripts known in English literature is Beowulf. Even this is based on a much The oral tradition is still practiced in some areas of the world today where people cannot write, but can...

What groups preserved their literature through an oral tradition?

Although most people acquire their sense of right and wrong during childhood, moral development occurs throughout life and For example, consider the following case Conducting a review of the literature that fails to acknowledge the contributions of other people in the field or relevant prior work.Native American literature is rooted in oral tradition. An example of a cultural characteristic is. NATIVE AMERICAN ORAL TRADITIONS- preserves the exact wording of stories handed down Which of the following best describes the main purpose of the excerpt from Incidents in the Life of a...Oral tradition is the cultural knowledge and information that has been passed down through Quiz yourself! Which of the following is an example of cultural knowledge that has been passed on Tradition alone preserves the memory of men and places across the ages and renders real to us...Oral traditions and expressions are used to pass on knowledge, cultural and social values and collective memory. The most important part of safeguarding oral traditions and expressions is maintaining their every day role in society.

PDF Incorporating Languages and

Ancient texts of Hinduism, Buddhism and Jainism were preserved and transmitted by an oral tradition. For example, the śrutis of Hinduism called the Vedas, the oldest of which trace back to the second millennium BCE.Like many other cultures of the world, Native Americans also followed a tradition of storytelling. There are many American Indian nations with their distinct language and culture but the only similarity in these cultures is their rich oral tradition.Their plots feature stark conflicts between good and evil, with magic and luck determining the usually happy endings. Because of the worldwide ubiquity of fairy tales, their imagery and tropes have had a vast impact on many Fairy tales are a genre in literature. They have their roots in the oral tradition.Yet through words literature elevates and transforms experience beyond "mere" pleasure. Most great dramas are considered literature (although the Chinese , possessors of one of the world's greatest dramatic traditions, consider their plays, with few exceptions, to possess no literary merit...This literature focussed on the telling of the brave and heroic deeds of the warriors possessing attributes The only surviving full—length epic in Old English from this tradition is «Beowulf», the Because Anglo-Saxon literature was preserved in a very disorganized fashion, because much of it...

Jump to navigation Jump to search This article is about oral tradition in general. For the gospel tradition in Christianity, see Oral gospel tradition. For the journal, see Oral Tradition (magazine). Further information: Literature § Oral literature, and Oral Literature A traditional Kyrgyz manaschi acting section of the Epic of Manas at a yurt camp in Karakol

Oral tradition, or oral lore, is a sort of human communique by which knowledge, artwork, ideas and cultural subject matter is won, preserved, and transmitted orally from one generation to every other.[1][2][3] The transmission is through speech or tune and may include folktales, ballads, chants, prose or verses. In this manner, it's conceivable for a society to transmit oral historical past, oral literature, oral legislation and other wisdom across generations without a writing gadget, or in parallel to a writing machine. Religions akin to Buddhism, Hinduism, Catholicism,[4] and Jainism, for example, have used an oral tradition, in parallel to a writing gadget, to transmit their canonical scriptures, rituals, hymns and mythologies from one generation to the next.[5][6][7]

Oral tradition is information, recollections, and data held in commonplace through a bunch of people, over many generations; it isn't the similar as testimony or oral historical past.[1][8] In a normal sense, "oral tradition" refers to the recall and transmission of a specific, preserved textual and cultural wisdom through vocal utterance.[2][9] As an educational discipline, it refers both to a set of objects of study and the approach via which they are studied.[10]

The study of oral tradition is distinct from the educational self-discipline of oral history,[11] which is the recording of private memories and histories of those that skilled historical eras or events.[12] Oral tradition is also distinct from the learn about of orality, defined as concept and its verbal expression in societies the place the technologies of literacy (particularly writing and print) are unfamiliar to most of the population.[13] A folklore is a sort of oral tradition, but wisdom instead of folklore has been orally transmitted and thus preserved in human history.[14][15]

History

According to John Foley, oral tradition has been an historical human tradition found in "all corners of the world".[9] Modern archaeology has been unveiling proof of the human efforts to preserve and transmit arts and data that depended completely or partially on an oral tradition, across quite a lot of cultures:

The Judeo-Christian Bible unearths its oral traditional roots; medieval European manuscripts are penned by way of acting scribes; geometric vases from archaic Greece reflect Homer's oral style. (...) Indeed, if these ultimate decades of the millennium have taught us the rest, it should be that oral tradition never was the different we accused it of being; it by no means was the primitive, preliminary technology of verbal exchange we idea it to be. Rather, if the whole fact is advised, oral tradition sticks out as the unmarried most dominant communicative know-how of our species as both a historical fact and, in lots of spaces nonetheless, a modern reality.

— John Foley, Signs of Orality[9] Asia

In Asia, the transmission of folklore, mythologies in addition to scriptures in ancient India, in numerous Indian religions, was via oral tradition, preserved with precision with the lend a hand of elaborate mnemonic techniques.;[16] Quote: The early Buddhist texts also are generally believed to be of oral tradition, with the first by evaluating inconsistencies in the transmitted variations of literature from various oral societies reminiscent of the Greek, Serbia and other cultures, then noting that the Vedic literature is just too consistent and huge to have been composed and transmitted orally throughout generations, without being written down.[5] According to Goody, the Vedic texts likely concerned both a written and oral tradition, calling it a "parallel products of a literate society".[5][7]

Australia

Australian Aboriginal tradition has thrived on oral traditions and oral histories passed down through 1000's of years. In a learn about printed in February 2020, new evidence showed that both Budj Bim and Tower Hill volcanoes erupted between 34,000 and 40,000 years in the past.[17] Significantly, it is a "minimum age constraint for human presence in Victoria", and also may well be interpreted as proof for the oral histories of the Gunditjmara other people, an Aboriginal Australian other people of south-western Victoria, which tell of volcanic eruptions being some of the oldest oral traditions in existence.[18] A basalt stone awl discovered beneath volcanic ash in 1947 had already proven that people inhabited the region sooner than the eruption of Tower Hill.[17]

Ancient Greece and Middle East

"All ancient Greek literature", states Steve Reece, "was to some degree oral in nature, and the earliest literature was completely so".[19]Homer's epic poetry, states Michael Gagarin, "was largely composed, performed and transmitted orally".[20] As folklores and legends have been performed in front of distant audiences, the singers would substitute the names in the stories with native characters or rulers to present the stories a neighborhood flavor and thus connect with the audience, but making the historicity embedded in the oral tradition as unreliable.[21] The lack of surviving texts about the Greek and Roman religious traditions have led students to presume that these were ritualistic and transmitted as oral traditions, but some students disagree that the complicated rituals in the historic Greek and Roman civilizations had been an unique product of an oral tradition.[22] The Torah and different historical Jewish literature, the Judeo-Christian Bible and texts of early centuries of Christianity are rooted in an oral tradition, and the term "People of the Book" is a medieval assemble.[9][23][24] This is evidenced, as an example, through the a couple of scriptural statements through Paul admitting "previously remembered tradition which he received" orally.[25]

Native American

Writing methods aren't recognized to exist amongst Native North Americans before touch with Europeans. Oral storytelling traditions flourished in a context with out the use of writing to record and maintain history, clinical knowledge, and social practices.[26] While some tales were informed for amusement and recreational, most functioned as sensible classes from tribal revel in implemented to immediate ethical, social, mental, and environmental issues.[27] Stories fuse fictional, supernatural, or otherwise exaggerated characters and instances with actual emotions and morals as a means of educating. Plots often mirror real existence eventualities and may be aimed at particular other folks known through the story's audience. In this manner, social power may well be exerted with out immediately inflicting embarrassment or social exclusion.[28] For instance, slightly than yelling, Inuit folks would possibly deter their kids from wandering too with reference to the water's edge by telling a story a few sea monster with a pouch for kids inside of its succeed in.[29] One single story may supply dozens of courses.[30] Stories had been also used as a method to evaluate whether or not conventional cultural ideas and practices are efficient in tackling contemporary circumstances or if they should be revised.[31]

Native American storytelling is a collaborative experience between storyteller and listeners. Native American tribes normally have not had professional tribal storytellers marked by social standing.[32] Stories could and will also be advised via someone, with each storyteller the usage of their personal vocal inflections, word choice, content material, or shape.[28] Storytellers no longer only draw upon their personal memories, but also upon a collective or tribal memory extending past private enjoy however nonetheless representing a shared reality.[33] Native languages have in some instances as much as twenty phrases to explain bodily features like rain or snow and can describe the spectra of human emotion in very exact techniques, allowing storytellers to supply their own personalised tackle a tale in line with their own lived reports.[34][35] Fluidity in story deliverance allowed tales to be applied to different social circumstances in keeping with the storyteller's goal at the time.[28] One's rendition of a story was once often thought to be a response to another's rendition, with plot alterations suggesting other ways of applying conventional concepts to offer conditions.[28] Listeners would possibly have heard the tale advised repeatedly, or even can have informed the identical tale themselves.[28] This does no longer take away from a story's meaning, as curiosity about what happens subsequent used to be much less of a concern than listening to recent views on well-known topics and plots.[28] Elder storytellers usually were not concerned about discrepancies between their model of historic occasions and neighboring tribes' version of equivalent occasions, comparable to in origin stories.[34] Tribal stories are regarded as valid inside the tribe's own body of reference and tribal enjoy.[34] The 19th century Oglala Lakota tribal member Four Guns was once recognized for his justification of the oral tradition and grievance of the written phrase.[36][37]

Stories are used to maintain and transmit each tribal historical past and environmental history, which are often intently connected.[34] Native oral traditions in the Pacific Northwest, for example, describe natural failures like earthquakes and tsunamis. Various cultures from Vancouver Island and Washington have stories describing a physical fight between a Thunderbird and a Whale.[38] One such tale tells of the Thunderbird, which can create thunder through shifting just a feather, piercing the Whale's flesh with its talons, inflicting the Whale to dive to the backside of the ocean, bringing the Thunderbird with it. Another depicts the Thunderbird lifting the Whale from the Earth then shedding it backtrack. Regional similarities in subject matters and characters suggests that those tales mutually describe the lived enjoy of earthquakes and floods inside tribal memory.[38] According to one tale from the Suquamish Tribe, Agate Pass used to be created when an earthquake expanded the channel because of this of an underwater battle between a serpent and chicken. Other stories in the area depict the formation of glacial valleys and moraines and the incidence of landslides, with stories being used in a minimum of one case to identify and date earthquakes that occurred in CE 900 and 1700.[38] Further examples come with Arikara origin tales of emergence shape an "underworld" of power darkness, which may constitute the remembrance of life in the Arctic Circle during the last ice age, and stories involving a "deep crevice", which may check with the Grand Canyon.[39] Despite such examples of agreement between geological and archeological information on one hand and Native oral data on the other, some students have cautioned in opposition to the ancient validity of oral traditions because of their susceptibility to element alteration through the years and lack of actual dates.[40] The Native American Graves Protection and Repatriation Act considers oral traditions as a viable source of evidence for establishing the association between cultural items and Native Nations.[39]

Transmission

The mythical Finnish storyteller Väinämöinen together with his kantele

Oral traditions face the problem of accurate transmission and verifiability of the accurate version, specifically when the tradition lacks written language or has limited access to writing gear. Oral cultures have employed more than a few methods that achieve this with out writing. For instance, a heavily rhythmic speech full of mnemonic devices enhances memory and recall. A couple of useful mnemonic devices include alliteration, repetition, assonance, and proverbial sayings. In addition, the verse is usally metrically composed with an actual number of syllables or morae - reminiscent of with Greek and Latin prosody and in Chandas present in Hindu and Buddhist texts.[41][42] The verses of the epic or textual content are usually designed through which the lengthy and short syllables are repeated via certain regulations, in order that if an error or inadvertent alternate is made, an internal exam of the verse unearths the downside.[41] Oral Traditions are ready to be handed on through manner of performs and appearing which will also be shown in the modern day Cameroon through the Graffis or Grasslanders who act out and ship speeches to spread their historical past in the approach of Oral Tradition.[43] Such methods lend a hand facilitate transmission of knowledge from person to person without a written intermediate, and they are able to also be implemented to oral governance.[44]

Oral transmission of regulation The legislation itself in oral cultures is enshrined in formulaic sayings, proverbs, which aren't mere jurisprudential decorations, however themselves represent the regulation. A judge in an oral culture is often called on to articulate sets of relevant proverbs out of which he can produce equitable choices in the circumstances below formal litigation prior to him.[44]

Rudyard Kipling's The Jungle Book supplies an superb demonstration of oral governance in the Law of the Jungle. Not most effective does grounding laws in oral proverbs allow for easy transmission and understanding, however it also legitimizes new rulings via allowing extrapolation. These stories, traditions, and proverbs don't seem to be static, but are often altered upon every transmission barring the overall which means remains intact.[45] In this fashion, the laws that govern the persons are modified by the complete and no longer authored through a unmarried entity.

Indian religions

Ancient texts of Hinduism, Buddhism and Jainism had been preserved and transmitted by an oral tradition.[46][47] For instance, the śrutis of Hinduism known as the Vedas, the oldest of which trace again to the 2d millennium BCE. Michael Witzel explains this oral tradition as follows:[6]

The Vedic texts have been orally composed and transmitted, without the use of script, in an unbroken line of transmission from teacher to scholar that used to be formalized early on. This ensured an impeccable textual transmission awesome to the classical texts of other cultures; it's, in truth, one thing like a tape-recording... Not simply the precise words, but even the long-lost musical (tonal) accessory (as in outdated Greek or in Japanese) has been preserved up to the present.

— Michael Witzel[6]

Ancient Indians evolved ways for listening, memorization and recitation of their wisdom, in colleges known as Gurukul, while keeping up exceptional accuracy of their knowledge throughout the generations.[48] Many paperwork of recitation or paths had been designed to help accuracy in recitation and the transmission of the Vedas and other knowledge texts from one era to the next. All hymns in every Veda had been recited on this manner; as an example, all 1,028 hymns with 10,Six hundred verses of the Rigveda used to be preserved in this method; as had been all other Vedas including the Principal Upanishads, in addition to the Vedangas. Each textual content used to be recited in a host of tactics, to ensure that the other methods of recitation acted as a pass check on the different. Pierre-Sylvain Filliozat summarizes this as follows:[49]

Samhita-patha: continuous recitation of Sanskrit phrases bound via the phonetic rules of euphonic mixture; Pada-patha: a recitation marked by means of a aware pause after every word, and after any special grammatical codes embedded inside of the text; this method suppresses euphonic mixture and restores each and every phrase in its original supposed form; Krama-patha: a step-by-step recitation where euphonically-combined phrases are paired successively and sequentially after which recited; for example, a hymn "word1 word2 word3 word4...", can be recited as "word1word2 word2word3 word3word4 ...."; this system to verify accuracy is credited to Vedic sages Gargya and Sakarya in the Hindu tradition and mentioned via the historic Sanskrit grammarian Panini (dated to pre-Buddhism length); Krama-patha modified: the identical step by step recitation as above, but without euphonic-combinations (or loose shape of each word); this system to verify accuracy is credited to Vedic sages Babhravya and Galava in the Hindu tradition, and is also discussed by way of the historic Sanskrit grammarian Panini; Jata-pāṭha, dhvaja-pāṭha and ghana-pāṭha are methods of recitation of a text and its oral transmission that developed after 5th century BCE, this is after the start of Buddhism and Jainism; those methods use extra sophisticated regulations of mixture and had been much less used.

These peculiar retention tactics assured an accurate Śruti, fastened across the generations, no longer simply in terms of unaltered phrase order but also in terms of sound.[48][50] That these methods had been effective, is testified to through the preservation of the most historic Indian spiritual text, the Ṛgveda (ca. 1500 BCE).[49]

Poetry of Homer Further data: Oral-formulaic composition

Research by Milman Parry and Albert Lord indicates that the verse of the Greek poet Homer has been handed down (a minimum of in the Serbo-Croatian epic tradition) no longer by rote memorization however by way of "Oral-formulaic composition". In this procedure extempore composition is aided by use of inventory words or "formulas" (expressions that are used steadily "under the same metrical conditions, to express a particular essential idea").[51] In the case of the work of Homer, formulation incorporated eos rhododaktylos ("rosy fingered dawn") and oinops pontos ("winedark sea") which have compatibility in a modular type into the poetic form (in this case six-colon Greek hexameter). Since the construction of this principle, of Oral-formulaic composition has been "found in many different time periods and many different cultures",[52] and according to another supply (John Miles Foley) "touch[ed] on" over 100 "ancient, medieval and modern traditions."[53][Note 1]

Religion of Islam

The most recent of the world's great religions,[56]Islam claims two main resources of divine revelation — the Quran and hadith — compiled in written form quite shortly after being revealed:[57]

the Quran—which means "recitation" in Arabic, is thought via Muslims to be God's revelation to the Islamic prophet Muhammad, brought to him from 610 CE till his death in 632 CE—is claimed to have been moderately compiled and edited right into a standardized written shape (referred to as the mushaf)[Note 2] about two decades after the remaining verse was revealed. hadith—which means "narrative" or "report" in Arabic, is the file of the phrases, actions, and the silent approval, of Muhammad—used to be transmitted by way of "oral preachers and storytellers" for around 150–250 years. Each hadith includes the isnad (chain of human transmitters who passed down the tradition ahead of it was sorted in line with accuracy, compiled, and dedicated to written form through a reputable student.[Note 3]

Nonetheless, few disagree that the oral milieu the resources have been revealed in,[59] and their oral form basically had been/are vital.[60] The Arab poetry that preceded the Quran and the hadith have been orally transmitted.[59] Few Arabs have been literate at the time and paper was now not to be had in the Middle East.[61][62]

The written Quran is alleged to have been created partially from what have been memorized through Muhammad's companions, and the determination to create a regular written work is alleged to have come after the dying in fight (Yamama) of a large number of Muslims who had memorized the paintings.[60]

For centuries copies of the Qurans/mushaf have been written by means of hand, no longer revealed, and their scarcity and expense made reciting the Quran from memory, now not studying, the primary mode of educating it to others.[62] To nowadays the Quran is memorized through millions and its recitation will also be heard right through the Muslim international from recordings and mosque loudspeakers (throughout Ramadan).[62][63] Muslims state that some who train memorization/recitation of the Quran represent the end of an "un-broken chain" whose unique teacher was Muhammad himself.[62] It has been argued that "the Qur'an's rhythmic style and eloquent expression make it easy to memorize," and was once made so that you could facilitate the "preservation and remembrance" of the work.[Note 4]

Islamic doctrine holds that from the time it was once revealed to the reward day, the Quran has no longer been altered,[Note 5] its continuity from divine revelation to its latest written shape insured by way of the huge numbers of Muhammad's supporters who had reverently memorized the paintings, a cautious compiling procedure and divine intervention.[60] (Muslim students agree that even supposing scholars have labored arduous to separate the corrupt and uncorrupted hadith, this different supply of revelation isn't just about so free of corruption because of the hadith's great political and theological affect.)

But no less than a couple of non-Muslim scholars (Alan Dundes and Andrew G. Bannister) have tested the possibility that the Quran was now not simply "recited orally, but actually composed orally".[64] Bannister postulates that some portions of the Quran — such as the seven re-tellings of the tale of the Iblis and Adam, and the repeated phrases "which of the favours of your Lord will you deny?" in sura 55 — make more sense addressed to listeners than readers.[59]

Banister, Dundes and different students (Shabbir Akhtar, Angelika Neuwirth, Islam Dayeh)[65] have additionally famous the large amount of "formulaic" phrasing in the Quran consistent with "oral-formulaic composition" discussed above.[66] The maximum not unusual formulation are the attributes of Allah — all-mighty, all-wise, all-knowing, all-high, and so forth. — often discovered as doublets at the end of a verse. Among the other repeated phrases[Note 6] are "Allah created the heavens and the earth" (discovered 19 times in the Quran).[Note 7]

As a lot as one 3rd of the Quran is made up of "oral formulas", in line with Dundes' estimates.[68] Bannister, the usage of a computer database of (the unique Arabic) phrases of the Quran and of their "grammatical role, root, number, person, gender and so forth", estimates that relying on the duration of the phrase searched, somewhere between 52% (3 phrase words) and 23% (five word phrases) are oral formulas.[69] Dundes reckons his estimates ascertain "that the Quran was orally transmitted from its very beginnings". Bannister believes his estimates "provide strong corroborative evidence that oral composition should be seriously considered as we reflect upon how the qur'anic text was generated."[70]

Dundes argues oral-formulaic composition is in line with "the cultural context of Arabic oral tradition", quoting researchers who have found poetry reciters in the Najd (the region next to the place the Quran used to be revealed) the use of "a common store of themes, motives, stock images, phraseology and prosodical options",[Note 8] and "a discursive and loosely structured" genre "with no fixed beginning or end" and "no established sequence in which the episodes must follow".[Note 9]

Catholicism

The Catholic Church upholds that its teaching contained in its deposit of religion is transmitted not most effective through scripture, however in addition to through sacred tradition.[4] The Second Vatican Council affirmed in Dei verbum that the teachings of Jesus Christ was first of all handed on to early Christians via "the Apostles who, by their oral preaching, by example, and by observances handed on what they had received from the lips of Christ, from living with Him, and from what He did".[75] The Catholic Church asserts that this mode of transmission of the religion persists through current-day bishops, who by means of right of apostolic succession, have persevered the oral passing of what had been revealed through Christ through their preaching as teachers.[76]

Study

Chronology Filip Višnjić (1767–1834), Serbian blind guslar

The following evaluation attracts upon Oral-Formulaic Theory and Research: An Introduction and Annotated Bibliography, (NY: Garland Publishing, 1985, 1986, 1989); further subject material is summarized from the overlapping prefaces to the following volumes: The Theory of Oral Composition: History and Methodology, (Indiana University Press, 1988, 1992); Immanent Art: From Structure to Meaning in Traditional Oral Epic (Bloomington: Indiana University Press, 1991); The Singer of Tales in Performance (Bloomington: Indiana University Press, 1995) and Comparative Research on Oral Traditions: A Memorial for Milman Parry (Columbus, Ohio: Slavica Publishers, 1987). in the work of the Serb scholar Vuk Stefanović Karadžić (1787–1864), a modern and friend of the Brothers Grimm. Vuk pursued similar initiatives of "salvage folklore" (similar to rescue archaeology) in the cognate traditions of the Southern Slavic regions which would later be accumulated into Yugoslavia, and with the identical admixture of romantic and nationalistic pursuits (he regarded as all the ones speaking the Eastern Herzegovinian dialect as Serbs). Somewhat later, but as section of the similar scholarly endeavor of nationalist research in folklore,[77] the turcologist Vasily Radlov (1837–1918) would find out about the songs of the Kara-Kirghiz in what would later transform the Soviet Union; Karadzic and Radloff would offer models for the paintings of Parry.

Walter Ong

In a separate construction, the media theorist Marshall McLuhan (1911–1980) would start to focus attention on the ways in which communicative media form the nature of the content conveyed.[78] He would function mentor to the Jesuit, Walter Ong (1912–2003), whose pursuits in cultural historical past, psychology and rhetoric would lead to Orality and Literacy (Methuen, 1980) and the necessary however less-known Fighting for Life: Contest, Sexuality and Consciousness (Cornell, 1981)[79] These two works articulated the contrasts between cultures outlined by way of number one orality, writing, print, and the secondary orality of the electronic age.[80]

I style the morality of a tradition completely untouched through any knowledge of writing or print, 'primary orality'. It is 'number one' in contrast with the 'secondary orality' of present-day high technology culture, in which a brand new orality is sustained by means of phone, radio, tv and other digital gadgets that depend for their existence and functioning on writing and print. Today number one culture in the strict sense infrequently exists, since each and every culture knows of writing and has some revel in of its results. Still, to varying levels many cultures and sub-cultures, even in a high-technology environment, maintain a lot of the mind-set of primary orality.[81]

Ong's works additionally made possible an built-in idea of oral tradition which accounted for both manufacturing of content (the chief fear of Parry-Lord principle) and its reception.[80] This means, like McLuhan's, stored the field open now not simply to the study of aesthetic tradition but to the way physical and behavioral artifacts of oral societies are used to retailer, arrange and transmit wisdom, so that oral tradition provides methods for investigation of cultural variations, as opposed to the purely verbal, between oral and literate societies.

The most-often studied segment of Orality and Literacy concerns the "psychodynamics of orality" This bankruptcy seeks to outline the basic characteristics of 'primary' orality and summarizes a series of descriptors (together with but no longer limited to verbal facets of tradition) which could be used to index the relative orality or literacy of a given text or society.[82]

John Miles Foley

In advance of Ong's synthesis, John Miles Foley started a chain of papers in line with his own fieldwork on South Slavic oral genres, emphasizing the dynamics of performers and audiences.[83] Foley successfully consolidated oral tradition as an educational field [4] when he compiled Oral-Formulaic Theory and Research in 1985. The bibliography offers a abstract of the development scholars made in comparing the oral tradition up to that time, and includes a checklist of all related scholarly articles with regards to the theory of Oral-Formulaic Composition. He also both established both the magazine Oral Tradition and based the Center for Studies in Oral Tradition (1986) at the University of Missouri. Foley developed Oral Theory past the relatively mechanistic notions presented in previous versions of Oral-Formulaic Theory, by way of extending Ong's passion in cultural features of oral societies past the verbal, by means of drawing consideration to the company of the bard and by means of describing how oral traditions undergo that means.

The bibliography would identify a clear underlying technique which accounted for the findings of students running in the separate Linguistics fields (essentially Ancient Greek, Anglo-Saxon and Serbo-Croatian). Perhaps extra importantly, it could stimulate conversation amongst those specialties, in order that a network of independent but allied investigations and investigators might be established.[84]

Foley's key works come with The Theory of Oral Composition (1988);[85]Immanent Art (1991); Traditional Oral Epic: The Odyssey, Beowulf and the Serbo-Croatian Return-Song (1993); The Singer of Tales in Performance (1995); Teaching Oral Traditions (1998); How to Read an Oral Poem (2002). His Pathways Project (2005–2012) draws parallels between the media dynamics of oral traditions and the Internet.

Acceptance and additional elaboration

The theory of oral tradition would go through elaboration and construction because it grew in acceptance.[86] While the quantity of formulation documented for various traditions proliferated,[87] the concept of the formula remained lexically-bound. However, a large number of inventions appeared, such as the "formulaic system"[Note 10] with structural "substitution slots" for syntactic, morphological and narrative necessity (in addition to for artistic invention).[89] Sophisticated fashions akin to Foley's "word-type placement rules" adopted.[90] Higher levels of formulaic composition have been defined over the years, akin to "ring composition",[91] "responsion"[92] and the "type-scene" (often known as a "theme" or "typical scene"[93]). Examples come with the "Beasts of Battle"[94] and the "Cliffs of Death".[95] Some of those characteristic patterns of narrative main points, (like "the arming sequence;"[96] "the hero on the beach";[97] "the traveler recognizes his goal")[98] would display evidence of international distribution.[99]

At the similar time, the moderately rigid division between oral and literate was changed via popularity of transitional and compartmentalized texts and societies, together with fashions of diglossia (Brian Stock[100]Franz Bäuml,[101] and Eric Havelock).[102] Perhaps most importantly, the phrases and concepts of "orality" and "literacy" came to be replaced with the more helpful and apt "traditionality" and "textuality".[103] Very huge units could be defined (The Indo-European Return Song)[104] and spaces out of doors of military epic would come underneath investigation: women's song,[105]riddles[103] and different genres.

The technique of oral tradition now prerequisites a large selection of research, not most effective in folklore, literature and literacy, however in philosophy,[Note 11]conversation idea,[107]Semiotics,[108] and including a very broad and regularly increasing variety of languages and ethnic groups,[109][110][111][112][113] and possibly most conspicuously in bible study,[114] in which Werner Kelber has been especially prominent.[115] The annual bibliography is listed by One hundred spaces, most of which are ethnolinguistic divisions.[116]

Present trends explore the implications of the principle for rhetoric[117] and composition,[118]interpersonal conversation,[119]cross-cultural communication,[120]postcolonial research,[121]rural neighborhood development,[5] popular culture[122] and picture studies,[6] and many different areas. The most vital spaces of theoretical construction at the present is also the construction of systematic hermeneutics[123][124][125] and aesthetics[126][127] specific to oral traditions.

Criticism and debates

The concept of oral tradition encountered early resistance from scholars who perceived it as doubtlessly supporting either one side or every other in the controversy between what were known as "unitarians" and "analysts" – this is, students who believed Homer to had been a single, historical figure, and people who noticed him as a conceptual "author function," a convenient identify to assign to what was once necessarily a repertoire of conventional narrative.[128] A a lot more normal dismissal of the principle and its implications simply described it as "unprovable"[129] Some scholars, mainly outdoor the field of oral tradition,[130][131][132][133] constitute (either dismissively or with approval) this body of theoretical paintings as decreasing the great epics to children's party games like "telephone" or "Chinese whispers". While games supply amusement via showing how messages distort content material by the use of uncontextualized transmission, Parry's supporters argue that the idea of oral tradition unearths how oral strategies optimized the signal-to-noise ratio and thus advanced the quality, steadiness and integrity of content transmission.[134]

There have been disputes regarding explicit findings of the idea. For instance, the ones looking to fortify or refute Crowne's speculation found the "Hero on the Beach" system in a large number of Old English poems. Similarly, it used to be also discovered in other works of Germanic starting place, Middle English poetry, or even an Icelandic prose saga. J.A. Dane, in an article[135] characterized as "polemics without rigor"[136] claimed that the appearance of the theme in Ancient Greek poetry, a tradition with out known connection to the Germanic, invalidated the perception of "an autonomous theme in the baggage of an oral poet."

Within Homeric research particularly, Lord's The Singer of Tales, which fascinated about issues and questions that get up at the side of applying oral-formulaic theory to problematic texts comparable to the Iliad, Odyssey, and even Beowulf, influenced just about all of the articles written on Homer and oral-formulaic composition thereafter. However, based on Lord, Geoffrey Kirk published The Songs of Homer, wondering Lord's extension of the oral-formulaic nature of Serbian and Croatian literature (the house from which the principle was first evolved) to Homeric epic. Kirk argues that Homeric poems differ from the ones traditions in their "metrical strictness", "formular system[s]", and creativity. In other words, Kirk argued that Homeric poems had been recited beneath a gadget that gave the reciter a lot more freedom to make a choice words and passages to get to the same end than the Serbo-Croatian poet, who was merely "reproductive".[137][138] Shortly thereafter, Eric Havelock's Preface to Plato revolutionized how scholars checked out Homeric epic by way of arguing now not most effective that it was the product of an oral tradition, but in addition that the oral-formulas contained therein served as a way for ancient Greeks to keep cultural knowledge throughout many various generations.[139]Adam Parry, in his 1966 paintings "Have we Homer's Iliad?", theorized the lifestyles of the most fully evolved oral poet to his time, a person who may just (at his discretion) creatively and intellectually create nuanced characters in the context of the authorized, traditional story. In fact, he discounted the Serbo-Croatian tradition to an "unfortunate" extent, opting for to raise the Greek model of oral-tradition above all others.[140][141] Lord reacted to Kirk's and Parry's essays with "Homer as Oral Poet", revealed in 1968, which reaffirmed Lord's belief in the relevance of Yugoslav poetry and its similarities to Homer and downplayed the highbrow and literary role of the reciters of Homeric epic.[142]

Many of the criticisms of the theory were absorbed into the evolving field as useful refinements and adjustments. For instance, in what Foley referred to as a "pivotal" contribution, Larry Benson introduced the thought of "written-formulaic" to describe the standing of some Anglo-Saxon poetry which, while demonstrably written, comprises proof of oral influences, including heavy reliance on formulation and topics[143] A host of person scholars in lots of areas proceed to have misgivings about the applicability of the principle or the aptness of the South Slavic comparison,[144] and specifically what they regard as its implications for the creativity which would possibly legitimately be attributed to the person artist.[145] However, at present, there seems to be little systematic or theoretically coordinated challenge to the elementary tenets of the theory; as Foley put it, ""there were a large number of suggestions for revisions or adjustments of the principle, however the majority of controversies have generated additional understanding.[146]

See additionally

American Indian elder Folk process Hadith Intangible culture Oral historical past Oral regulation Oral Torah Oral Tradition Journal Oral-formulaic composition Orality Panchatantra Parampara Patha, Śrauta Secondary orality Traditional knowledge Understanding Media World Oral Literature Project

References

Notes ^ see additionally:[54][55] ^ "During Abu Bakr's khalifate, at Omar's suggestion, all the pieces of the Qur'an were compiled in one place. It was a miscellaneous collection at first, because then the revelations were coming in, people recorded them on anything that came to hand -- a sheet of parchment, a piece of leather, a stone, a bone, whatever. As khalifa, Omar began a sorting process. In his presence, each written verse was checked against the memorized version kept by the professional reciters whom this society regarded as the most reliable keepers of information. Scribes then recorded the authorized copy of each verse before witnesses, and these verse were organized into one comprehensive collection."[58] ^ Muhammad is assumed to have died 632 CE, the compilers of the six collections of Sunni hadith that experience loved near-universal acceptance as phase of the respectable canon of Sunni Islam died (that is should have stopped compiling hadith) between 795 CE and 915 CE. ^ (The Qur'an asserts this in verses, 44:58; 54:17, 22, 32, 40)[62] ^ An selection belief is that some of what was revealed to Muhammad was later abrogated by hook or by crook by God. "The mushaf is incomplete, in the sense that not everything that was once revealed to Muhammad is to be found today in our mushaf. The Quran, however, is complete, in the sense that everything that God intends us to find in the mushaf we shall find there, for whatever God intended to include, He made sure to preserve..." .mw-parser-output cite.quotationfont-style:inherit.mw-parser-output .quotation qquotes:"\"""\"""'""'".mw-parser-output .id-lock-free a,.mw-parser-output .quotation .cs1-lock-free abackground:linear-gradient(transparent,clear),url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em heart/9px no-repeat.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration abackground:linear-gradient(clear,clear),url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")appropriate 0.1em middle/9px no-repeat.mw-parser-output .id-lock-subscription a,.mw-parser-output .quotation .cs1-lock-subscription abackground:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")appropriate 0.1em center/9px no-repeat.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registrationcolour:#555.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration spanborder-bottom:1px dotted;cursor:lend a hand.mw-parser-output .cs1-ws-icon abackground:linear-gradient(transparent,clear),url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")appropriate 0.1em middle/12px no-repeat.mw-parser-output code.cs1-codecolor:inherit;background:inherit;border:none;padding:inherit.mw-parser-output .cs1-hidden-errorshow:none;font-size:100%.mw-parser-output .cs1-visible-errorfont-size:100%.mw-parser-output .cs1-maintshow:none;colour:#33aa33;margin-left:0.3em.mw-parser-output .cs1-formatfont-size:95%.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-leftpadding-left:0.2em.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-rightpadding-right:0.2em.mw-parser-output .citation .mw-selflinkfont-weight:inheritBurton, John (1990). The Sources of Islamic Law: Islamic Theories of Abrogation (PDF). Edinburgh University Press. p. 44. ISBN 0-7486-0108-2. Retrieved 21 July 2018. ^ Dundes lists of repeated words come from an English translation and so those Quranic phrases in the authentic Arabic every so often have slight variations ^ 6:14, 79; 7:54, 10:3, 12:101, 14:10, 19, 32; 17:99, 29:44, 61; 30:8, 31:25, 32:4, 35:1, 39:38, 46; 42:11, 45:22, 46:33, cf. 2:117, 6:101[67] ^ Dutch diplomat P. Marcel Kurpershoek in his complete 3 volume study Oral Poetry and Narratives of Central Arabia[71][72] ^ scholar Saad Sowayan relating to the genre of "Saudi Arabian historical oral narrative genre called suwalif"[73][74] ^ [88] Donald Okay. Fry responds to what was once identified, pejoratively, in Greek research as the "hard Parryist" position, in which the method used to be outlined in terms of verbatim lexical repetition (see Rosenmyer, Thomas G. "The Formula in Early Greek Poetry" Arion 4 (1965):295-311). Fry's fashion proposes underlying generative templates which supply for variation and even inventive creativity inside of the constraints of strict metrical necessities and extempore composition-in-performance ^ ;[106] A learn about of the AG oral mentality that assumes (1) the existence of composition and pondering that took shape underneath the aegis of oral patterns, (2) the instructional apparatus as an oral system, and (3) the origins of philosophy as we realize it in the abstract intellectual response against the oral mentality. The opening phase on historic background covers tendencies in archaeology and textual criticism (including Parry's paintings) since the overdue nineteenth century, with descriptions of and feedback on formulaic and thematic structure. In "The Technique of the Oral Poet" (14-22), he sketches both a synchronic image of the singer weaving his narrative and a diachronic view of the tradition developing over the years. In the third phase, on the psychology of functionality, he discusses "the prevalence of rhythmic speech over prose; the prevalence of the event' over the abstraction'; and the prevalence of the paratactic arrangement of parts... over alternative schema possible in other styles" (23). In sympathy with Havelock (1963), he translates Plato's reaction in opposition to the poets as one against the oral mentality and its educative process. Citations ^ a b Vansina, Jan: Oral Tradition as History (1985), reported statements from present technology which "specifies that the message must be oral statements spoken, sung or called out on musical instruments only"; "There must be transmission by word of mouth over at least a generation". He issues out, "Our definition is a working definition for the use of historians. Sociologists, linguists or scholars of the verbal arts propose their own, which in, e.g., sociology, stresses common knowledge. In linguistics, features that distinguish the language from common dialogue (linguists), and in the verbal arts features of form and content that define art (folklorists)." ^ a b Oral Tradition Archived 2016-08-09 at the Wayback Machine, Encyclopædia Britannica, John Miles Foley ^ Ki-Zerbo, Joseph: "Methodology and African Prehistory", 1990, UNESCO International Scientific Committee for the Drafting of a General History of Africa; James Currey Publishers, ISBN 0-85255-091-X, 9780852550915; see Ch. 7; "Oral tradition and its methodology" at pages 54-61; at web page 54: "Oral tradition may be defined as being a testimony transmitted verbally from one generation to another. Its special characteristics are that it is verbal and the manner in which it is transmitted." ^ a b "Catechism of the Catholic Church - The Transmission of Divine Revelation". www.vatican.va. Retrieved 2020-01-15. ^ a b c Jack Goody (1987). The Interface Between the Written and the Oral. 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Muse.jhu.edu. doi:10.1353/ort.2004.0025. Retrieved 2012-10-23. Cite magazine requires |journal= (assist) ^ "Oral Tradition". Oral Tradition. Archived from the unique on 2012-10-28. Retrieved 2012-10-23. ^ Boni, Stefano. Contents and contexts : the rhetoric of oral traditions in the oman of Sefwi Wiawso, Ghana. Africa. 70 (4) 2000, pages 568-594. London ^ Miller, Susan, Rescuing the Subject. A Critical Introduction to Rhetoric and the Writer. Southern Illinois University Press, 2004 ^ Minton, John. "The Reverend Lamar Roberts and the Mediation of Oral Tradition". The Journal of American Folklore, Vol. 108, No. 427 (Winter, 1995), pp. 3-37 ^ (PDF). 1 October 2006 https://web.archive.org/web/20061001192638/http://www.oise.utoronto.ca/CASAE/cnf2002/2002_Papers/simpkins2002w.pdf. Archived from the original (PDF) on 1 October 2006. Retrieved 28 April 2018. Missing or empty |title= (lend a hand) ^ "Culture Education" and the Challenge of Globalization in Modern Nigeria via Ademola Omobewaji Dasylva. This paper has to do with the challenges of globalization in trendy Nigeria and the procedure of "culture education," a terminology used to emphasise the unusual manner and techniques of instruction by means of which a society imparts its body of values and mores in the pursuance and attainment of the society's collective vision, aspirations, and targets. Within this framework, this paper examines the legacies of imperialism and colonization inside the Nigerian tutorial machine––particularly in reference to the educating of folklore and oral tradition––including the destruction of indigenous knowledge methods and the continuing lack of good enough assets in African universities. The paper concludes by means of offering ideas for a more totally synthesized indigenous and formal Nigerian instructional device as a technique of addressing postcolonial rupture. PDF Archived 2008-05-29 at the Wayback Machine Oral Tradition 21/2 (2006):325-41. ^ Skidmore, Thomas E. Black Into White: Race and Nationality in Brazilian Thought New York: Oxford University Press, 1974 p. 89 ^ J. A. (Bobby) Loubser, "Shembe Preaching: A Study in Oral Hermeneutics," in African Independent Churches. Today, ed. M. C. Kitshoff (Lewiston, N.Y.: Edwin Mellen Press, 1996 ^ Kelber, Werner H. "The Oral and the Written Gospel: The Hermeneutics of Writing and Speaking in the Synoptic Tradition" Philadelphia: Fortress P 1983. ^ Swearingen, C. Jan. "Oral Hermeneutics during the Transition to Literacy: The Contemporary Debate". Cultural Anthropology, Vol. 1, No. 2, The Dialectic of Oral and Literary Hermeneutics (May, 1986), pp. 138-156 ^ Foley, John Miles. The Theory of Oral Composition: History and Methodology. Bloomington: IUP, 1988. 55, 64, 66, 72, 74, 77, 80, 97, 105, 110-111, 129n20,; artistic cp to mechanistic, 21, 25, 38, 58, 63-64, 65, 104, 118-119n20, 120-121n16, 124n31, 125n53, oral aesthetic cp to literate aestetics, 35, 58, 110-11, 121n26. ^ Foley, John Miles. Immanent Art: From Structure to Meaning in Traditional Oral Epic. Bloomington: IUP, 1991. 245 ^ Frederick M. Combellack, "Milman Parry and Homeric Artistry" Comparative Literature, Vol. 11, No. 3 (Summer, 1959), pp. 193-208 . p. 194 ^ Rutherford, R.B. Homer: Odyssey Books XIX & XX,, Cambridge UP 1992 remarks on oral-formulaic diction, pp. 47-49 ^ Botstein, Leon. "Hearing Is Seeing: Thoughts on the History of Music and the Imagination." The Musical Quarterly 1995 79(4):581-89 ^ Elliot Oring cites Bruchac, Joe Storytelling: Oral History or Game of 'Telephone'?" American Folklore Society Newsletter 19/2:3–4. ^ "Christopher Butler cites Bart Ehrman, 'Misquoting Jesus: The Story Behind Who Changed the Bible and Why'". Christopherbutler.wordpress.com. 2006-04-28. Archived from the unique on 2012-11-05. Retrieved 2012-10-23. ^ "chapter4.DOC" (PDF). Archived from the authentic (PDF) on 2012-02-13. Retrieved 2012-10-23. ^ Dawkins, Richard. The God Delusion. Great Britain: Bantam, 2006 p. 118 -- Dawkins contradicts this view, however, on p. 227) ^ Dane, J.A. "Finnsburh and Iliad IX: A Greek Survival of the Medieval Germanic Oral-Formulaic Theme The Hero on the Beach." Neophilologus 66:443-449 ^ Foley, John Miles. Oral-Formulaic Theory and Research: An Introduction and Annotated Bibliography, (NY: Garland Publishing, 1985), p. 200 ^ Kirk, Geoffrey S. The Songs of Homer. Cambridge: Cambridge University Press, 1962. pp88 - 91. ^ Foley, John M. Oral-Formulaic Theory and Research: An Introduction and Annotated Bibliography. New York: Garland Publishing, Inc, 1985. p. 35. ^ Foley, John M. Oral-Formulaic Theory and Research: An Introduction and Annotated Bibliography. New York: Garland Publishing, Inc, 1985. p. 36. ^ Foley, John M. Oral-Formulaic Theory and Research: An Introduction and Annotated Bibliography. New York: Garland Publishing, Inc, 1985. pp. 36, 505. ^ Parry, Adam. "Have we Homer's Iliad?"Yale Classical Studies.20 (1966), pp.. 177-216. ^ Foley, John M. Oral-Formulaic Theory and Research: An Introduction and Annotated Bibliography. New York: Garland Publishing, Inc, 1985. pp. 40, 406. ^ Foley, John M. Oral-Formulaic Theory and Research: An Introduction and Annotated Bibliography. New York: Garland Publishing, Inc. 1985. p. 42.; Foley cites "The Literary Character of Anglo-Saxon Formulaic Poetry" Publications of the Modern Language Association 81 (1966):, 334-41 ^ George E. Dimock. "From Homer to Novi Pazar and B ack." Arion, 2, iv:40-57. Reacts towards the Parry-Lord hypothesis of an oral Homer, claiming that, despite the fact that Lord demonstrated that the oral poet thinks in verse and presented many explanations of the more than a few aspects of the Homeric Question via recourse to the Yugoslav analogy, the difference between Homer and different, literate poets is one of degree somewhat than type. Wants to rescue Homer's artwork from what he sees as the risks inherent in the oral theory style. ^ Perhaps the maximum prominent and steadfast opponent of oral traditional idea on these grounds was Arthur Brodeur, in, e.g., The Art of Beowulf. Berkeley: University of California Press. 3rd printing 1969; "A Study of Diction and Style in Three Anglo-Saxon Narrative Poems." In Nordica et Anglica. Ed. Allan H. Orrick. The Hague: Mouton. pp. 97-114; "Beowulf: One Poem or Three?" In Medieval Literature and Folklore Studies in Honor of Francis Lee Utley. Ed. Jerome Mandel and Bruce A. Rosenberg. New Brunswick: Rutgers University Press. pp. 3-26. ^ Foley, John Miles. The Theory of Oral Composition: History and Methodology. Bloomington:IUP, 1988." p.93 Bibliography Bannister, Andrew G. "Retelling the Tale: A Computerised Oral-Formulaic Analysis of the Qur'an. Presented at the 2014 International Qur'an Studies Association Meeting in San Diego". academia.edu. Retrieved 20 May 2019. Dundes, Alan (2003). Fables of the Ancients?: Folklore in the Qur'an. Rowman & Littlefield Publishers. ISBN 9780585466774. Retrieved 2 May 2019. Foley, John Miles. Oral Formulaic Theory and Research: An Introduction and Annotated Bibliography. NY: Garland, 1985 Foley, John Miles. The Theory of Oral Composition. Bloomington: IUP, 1991

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Wikimedia Commons has media related to Oral tradition.Back to the Oral Tradition Folkatles from around the global The Center for Studies in Oral Tradition The Milman Parry Collection of Oral Literature Online Oral Tradition Journal The World Oral Literature Project Post-Gutenberg Galaxy Dédalo Project. Open Software Platform for Management of Intangible Cultural Heritage and Oral History Archive of Turkish Oral Narrative at Texas Tech UniversityvteFolklore genres and typesNarrative Animal story Fable Fairytale Legend Myth Parable Personal narrative Urban legendOral tradition Folk etymology Joke Nursery rhyme Proverb Riddle Saying Word gameFolk trust Folk religion Ghostlore Legend tripping Mythology Old other halves' tale RitualFolk arts Folk artwork Folk dance Folk device Folk music Folk wrestling FoodwaysSee additionally Folklore research Morphology (folkloristics) Aarne–Thompson–Uther Index Motif-Index of Folk-Literature Storytelling Tradition Authority keep an eye on BNE: XX539615 BNF: cb11939724k (knowledge) GND: 4040600-3 HDS: 027838 LCCN: sh85095251 MA: 543933250 Retrieved from "https://en.wikipedia.org/w/index.php?title=Oral_tradition&oldid=1016132742"