On Transcription and Oral Transmission in Aseneth: A Study of the Narrative’s Conception

2016 ◽  
Vol 47 (1) ◽  
pp. 119-142
Author(s):  
Nicholas A. Elder
Keyword(s):  
Oral Tradition ◽  
Oral Transmission ◽  
Written Form ◽  
The One ◽  
Joseph And Aseneth ◽  
Romance Novel ◽  
Intonation Unit

The purpose of this article is to investigate and elucidate the oral aspects of Joseph and Aseneth. This is to suggest that Joseph and Aseneth had an oral tradition that preceded, and likely also proceeded, the written version(s) that is (are) now extant. The text is best understood using oral hermeneutics. By making this argument I do not postulate any one oral or written genre for the text, nor any argument for how it might have been composed. Instead, I seek to demonstrate that Joseph and Aseneth retains strong residual orality. Many of the oral features of the text are salient in its written form, including: the consistent use of paratactic καί; the use of the ‘intonation unit’; the one new idea constraint, which is often accomplished by the form ἦν; the visible and descriptive nature of the narrative; and the redundancy of certain words and phrases. The second half of the article offers some repercussions that an oral existence of the narrative might have on Joseph and Aseneth scholarship. The most pertinent effects relate to the assumption that Joseph and Aseneth is a Jewish Hellenistic romance novel and to the scholarly divide concerning the ‘originality’ of the longer b-family textual recension as opposed to the shorter d-family textual recension.

La trasmissione della conoscenza e la funzione della scrittura

GRUPPI ◽  
2009 ◽  
pp. 61-68
Author(s):  
Flavio Nosč ◽  
Silvia Anfilocchi
Keyword(s):  
Theoretical Basis ◽  
Oral Tradition ◽  
Oral Communication ◽  
Oral Transmission ◽  
Online Journals ◽  
Written Form ◽  
Broad Dimension ◽  
Historical Moment ◽  
Over Time

- After reflection upon the role of narcissism - of the pupil as well as of the teacher - as an obstacle to knowledge, we are now reflecting upon the function of writing and its relationship with the oral transmission of psychotherapeutic "knowledge", in that oral learning has always played an important role. It is observed that oral transmission is nurtured by a dialogic context made of emotional confirmation and disconfirmation and takes advantage of the richness of the context, while writing needs to build a sort of dialog with that which is absent. Furthermore, we are now living in a historical moment in which web communica- tion also exists, and although it is in written form, it may be that it has such peculiarities of simultaneity and such a broad dimension that it is closer to oral tradition, and online journals themselves undoubtedly play an important role. The group feels it needs to keep identity and possibility of change together, so as to create a strong theoretical basis, with elements of stability which can be passed on. This theoretical basis can be split up but should remain in contact with the transmission of experience. The group also feels that behind the apparent dichotomy between online writing and traditional writing there is the idea of a culture that is changing over time, and that through this change it is building a tradition in which the group can recognize itself. It is necessary to keep the space devoted to the COIRAG Journal, a space in which a more pondered and processed exchange can be fostered, where the understanding of-and not only the description of-events has its own room. What we need is a space that can collect the consolidated aspects and the strong theoretical core of our reality, and that can build the identity with which we present ourselves to the exterior. .Parole chiave: conoscenza, apprendimento, formazione, comunicazione orale, comunicazione scritta, rivista. .Key words: knowledge, learning, training, oral communication, written communication, magazine.

scholarly journals Anlatı İçinde Anlatı: “Into The Woods (Sihirli Orman)” Filminin Peri Masalı Anlatıları İçindeki Gezintisi

Etkileşim ◽  
2021 ◽  
Vol 4 (7) ◽  
pp. 128-149
Author(s):  
Mustafa Algül
Keyword(s):  
Fairy Tales ◽  
Oral Tradition ◽  
Narrative Structure ◽  
Visual Narratives ◽  
Narrative Structures ◽  
The Status ◽  
Cinematic Narratives ◽  
Written Form ◽  
Oral Expression ◽  
The One

Myths, epics, and tales have survived for centuries in the oral expression tradition and have been permanently transcribed from oral tradition into written form. They are the most frequently recreated narratives in the cinema with their fantastic narrative structures. Hollywood cinema has been using tales as visual narratives for years. Tales, which have been turned into a structure open to the interpretation in accordance with the changing world, on the one hand is being reediting continuously. On the other hand, they gain new appearances along with intertwined narrative structures. In Into the Woods (Rob Marshall, 2014), four different fairy tales were used together. In this study, it is aimed to determine what kind of changes has been carried out in the film in terms of the different stages of the fairy tales. For this purpose, while collecting the data by examining the narrative structure of the fairy tales, the action areas are identified in terms of the “five components” in the Greimas’ ‘canonical narrative’. Briefly, the main object in this paper is to explicate the status of the film within the types of the cinematic narratives.

ALTRUISTIC AND EGOISTIC AGON IN THE EMOTIONAL CRISIS OF SUŠIĆ'S DRAMATIC PERSONS

2018 ◽  
Vol 28 (7) ◽  
pp. 2361-2365
Author(s):  
Almedina Čengić
Keyword(s):  
20Th Century ◽  
Oral Tradition ◽  
Historical Background ◽  
Historical Records ◽  
Artistic Creation ◽  
Avant Garde ◽  
Modern Process ◽  
Artistic Vision ◽  
Dramatic Characters ◽  
The One

The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.

scholarly journals HAMBATAN SEMANTIK DAN BUDAYA DALAM PROSES TRANSFER IDE OLEH MAHASISWA JURUSAN NON BAHASA INGGRIS DALAM PENULISAN PARAGRAF

Edulib ◽  
2016 ◽  
Vol 5 (1) ◽  
Author(s):  
Doddy Rusmono ◽  
Susanti Agustina
Keyword(s):  
English Language Learners ◽  
Language Learners ◽  
English Language ◽  
Information Science ◽  
Native Speaker ◽  
Written Form ◽  
Good Writing ◽  
The One ◽  
Target Culture ◽  
Bahasa Indonesia

Abstrak. Proses transfer ide dalam bentuk tulisan yang dilakukan oleh mahasiswa jurusan ilmu perpustakaan dan informasi sebagai mahasiswa jurusan non Bahasa Inggris (SNED) yang mempelajari Bahasa Inggris sebagai bahasa asing (EFL) perlu diinvestigasi. Ketidakmampuan untuk menjembatani kesenjangan antara ide dalam bahasa ibu (Bahasa Inggris) dengan ide dalam bahasa pembaca (Bahasa Inggris) menghambat pemahaman pembaca, khususnya pembaca yang merupakan penutur asli Bahasa Inggris. Paragraf yang ditulis oleh mahasiswa SNED sebagai pembelajar Bahasa Inggris tidak dapat dipahami karena hambatan linguistik dan budaya. Sejumlah kecil mahasiswa yang membuat tulisan Bahasa Inggris dalam ujian tengah semester memperlihatkan gambaran ketidaktepatan dalam hal menyusun kalimat sehingga Bahasa Inggris mereka pada tingkatan tertentu terdengar seperti Bahasa Indonesia. Dalam hal ini kemampuan mereka untuk menggunakan Bahasa Inggris seperti layaknya bahasa Indonesia terbukti sangat rendah sehingga seorang penutur asli Bahasa Inggris yang mencoba untuk memahami ide mereka bisa salah memahaminya. Seorang pembelajar Bahasa Inggris harus memiliki kosakata yang cukup banyak dan setidaknya mengetahui aturan gramatikal seperti formulasi 9BP+3CC (Cd,Cx,Cdx) dan PoS misalnya, untuk melengkapi pemahaman sebelum benar-benar dapat mengekspresikan ide dalam tulisan Bahasa Inggris yang dapat dipahami. Selain itu, pengetahuan mahasiswa tentang budaya penutur Bahasa Inggris memainkan peranan yang sangat penting untuk menghasilkan tulisan yang bagus, sebagaimana yang diungkapkan oleh seorang ahli bahasa bahwa seringkali seorang pembelajar bahasa mengetahui aturan tata bahasa tetapi tidak memiliki pengetahuan yang cukup tentang budaya penutur asli. Mahasiswa mengalami kesulitan dalam mengkomunikasikan idenya dikarenakan ekspresi suatu ide terikat oleh budaya yang merupakan entitas independen. Budaya penutur asli mempengaruhi dan membentuk perasaan, sikap, dan respons terhadap pengalaman dan interaksi seorang pembelajar bahasa dengan yang lain. Oleh karena itu, upaya fasilitator untuk memperbaiki kemampuan menulis mahasiswa mungkin untuk dilakukan.Kata kunci: Penulisan paragraf, Bahasa, Kultur , Constraint, Betterment,  SNED. Abstract. Ideas transferred in the written form by Library and Information Science students as SNED (Students of Non-English Department)learning English in the environments of EFL (English as a Foreign Language) need investigating. Inability of bridging the gap between the ideas in their native language (Indonesian language) and the audience language (English language)hampers understanding on the readers' part, as especially a native speaker of English language. Paragraphs written by the SNED as English Language Learners (ELLs) are incomprehensible due to linguistic and cultural constraints. Quite a small number of students  willing to write in English in their Mid-term Examination give some picture of inappropriateness in terms of sentence structuring resulting in their English being “Indonesian” to some extent. Their “at-homeness”, in this case, proves to be so low that a native speaker of English trying to understand their ideas put into a paragraph will be more than likely misled. ELLs should have vocabularies in a sufficient number and know grammatical rules such as the one formulated as 9BP+3CC (Cd,Cx,Cdx) and the PoS at least, for instance, to equip themselves with before actually expressing their ideas in comprehensible English writing mode. Other than that, ELLs' knowledge of target culture (English, that is) plays a great role in producing a good writing as coined by a linguist: Most frequently confronted that students to a great extent know the rules of language, but are not knowledgeable enough about the target culture. In communicating their ideas, students found it difficult to do due to a culture-bound independent entity of idea expressions. The target culture influences and shape the ELLs' feelings, attitudes, and responses to the ELLs' experiences and interactions with others. It is indicated that any facilitator's efforts towards betterments in terms of writing better paragraphs by the ELLs should be a possibility.Key words: paragraph writing, linguistic, cultural, constraint, betterment, SNED.

scholarly journals A Rest in the West. Translation of Modernity and Modernism in William Heinesen's „Grylen“ / Týðing av moderniteti og modernismu í „Grylen” eftir William Heinesen

2017 ◽  
Vol 59 ◽  
pp. 87
Author(s):  
Bergur Rønne Moberg
Keyword(s):  
Short Story ◽  
Oral Tradition ◽  
Second World War ◽  
Faroe Island ◽  
World War ◽  
Modern Fiction ◽  
The One ◽  
A Minor ◽  
Second World ◽  
Complex Question

<p><strong>Úrtak</strong></p><p>Greinin viðger ‘týðingar’spurdómar í stuttsøguni „Grylen“ (1957) eftir William Heinesen. Søgan tekur støði í einum elligomlum føstulávintssiði í Føroyum – at ganga grýla – sum doyði út beint fyri seinna heimsbardaga. Í søguni hjá Williami verður grýlan til ein dionýsiskan figur kallaður Grylen, sum er ólýsandi og ímyndar orðloysi. Greinin vísir, hvussu metatilvitaða frásøgufólkið letur seg hugkveikja av hesum fyribrigdi  við  áhaldandi at umringja tað við nýggjum myndum. Týdda grýlan verður greinað sum 1) eitt ontologiskt tulkingartilvitað frásøgufólk og sum 2) eitt eyðkenni við bókmentamentan í  útjaðaranum. Stuttsøgan fær skap sum ein navngevingargongd av einari undantaksveru, og tað er við støði í hesum botnloysi, at frásøgufólkið tulkar og týðir grýluna til eitt listaligt úttrykk. Grylen umboðar eina rest, sum dregur seg undan modernaðum mannagongdum. Við støði í hugsanum hjá Franco Moretti og Andreas Huyssen verður týðingin samstundis knýtt at landafrøðiliga útjaðaranum, sum skapar ein serligan tørv á týðing í royndini at minka um munin millum ‘miðdepil’ og ‘útjaðara’. Í hesum samteksti umboðar Grylen og oyggin Stapa eitt mentanarligt eftirsleip, sum verður gjørt til eina styrki. Hetta ’writing back’ brúkar føroyskan miðaldarsið og fornaldarligt evni sum Dionysos til at seta spurning við hegemoniska(n) modernitet og modernismu og við hvat er miðdepil og hvat er útjaðari.</p><p><strong> </strong></p><p><strong>A</strong><strong>bstract</strong></p><p>This analysis addresses the issue of translation in William Heinesen’s short story „Grylen“ (1957). It is a story of an old Dionysiac Faroese ritual, which died out around The Second World War. The narrator sets himself the task of transplanting this Dionysos into modern fiction.  Due  to  the  muteness  of  the  Gryla the literary connection to the myth can only be established by virtue of interpretation as demonstrated as an explicit mediation of the mythical silence. The muteness appear as a matter of interpretation while being encircled in  conflicting  images.  Focus  is  partly  given on the interpreted Gryla as a complex question of ontological interpretation and partly as an expression of cultural translation linked to aesthetic development in the geographical periphery. Due to the muteness of the Gryla, the whole story appears as a course of naming the nameless forces that work within Dunald, who is the one having the Gryla. Based on Franco Moretti’s og Andreas Huyssen’s notion of ‘centre and periphery’, the question of translation is connected to the Faroe Island as a non­metropolitan culture. Due to the cultural backlog in the periphery there is a special need for translations caused by the discrepancy between the trans­atlantic modernity and a minor culture as the Faroese still close to nature and the oral tradition. In response to the cultural backlog the dynamics of translation become a privileged perspective creating connections between   modern   and   premodern   aspects. The Faroese reaction represents an alternative modernity and an alternative (geo)modernism writing back to a rule­based hegemonic modernity an modernism in order to give an account of the encounter with another world, which evades direct contact and brings into question what is periphery and what is centre.</p><p> </p>

scholarly journals 'Krojenje' in Serbian chant: Application of cognitive structural models of improvisation

New Sound ◽  
2015 ◽  
pp. 29-44
Author(s):  
Marina Marković ◽  
Blanka Bogunović
Keyword(s):  
Oral Tradition ◽  
18Th Century ◽  
Structural Models ◽  
Psychological Research ◽  
Musical Work ◽  
Oral Transmission ◽  
Inherent Feature ◽  
Late 18Th Century ◽  
Long Time

Serbian chant, which was formed on the territory of the Metropolitanate of Karlovci in the late 18th century, has been transmitted primarily by oral tradition for a long time, despite numerous attempts to make church melodies available for liturgical use by producing miscellaneous collections. In the process of the oral transmission of the melodies belonging to the so-called short chant (i. e. less melismatic chant), hymns of the Osmoglasnik (Octoechos) serve as a basis for krojenje (literally: tailoring), which means the adaptation of the melody to a text. Since the procedure of krojenje involves simultaneously detaching Osmoglasnik melodies from their original texts and attaching them to the texts from other liturgical books without notation and realized orally, improvisation is an inherent feature of the krojenje process. Improvisation is an integral part of the creative procedure during the act of performing, even in cases when the musical work is not altogether created by improvisation, as is the case with hymns of contemporary Serbian chant. The relation between krojenje and certain levels of creation, initiated our interdisciplinary - musicological and psychological - research, with the aim of determining the structure of the improvisational process in shaping the melodies in Serbian chant, based on the analysis and application of musical-cognitive structural models.

3. The law of treaties

2021 ◽  
pp. 33-48
Author(s):  
Ilias Bantekas ◽  
Efthymios Papastavridis
Keyword(s):  
International Law ◽  
International Organizations ◽  
The Other ◽  
Vienna Convention ◽  
Written Form ◽  
The Law ◽  
The One ◽  
Definition Of

This chapter examines the rules of international law governing the birth, the life, and the death of treaties. Treaties, a formal source of international law, are agreements in written form between States or international organizations that are subject to international law. A treaty falls under the definition of the Vienna Convention on the Law of Treaties (VCLT), no matter what form or title it may have. The most important factor is that it sets out obligations or entitlements under international law. The VCLT enumerates the rules governing the ‘birth’, ie the steps from the negotiation until the entry into force of the treaty; the ‘life’, ie the interpretation and application of the treaty; and its ‘demise’, ie its termination. The two fundamental tenets are, on the one hand, the principle ‘pacta sunt servanda’ and, on the other, the principle of contractual freedom of the parties.

Transmission of Buddhist Media and Texts

2018 ◽  
Author(s):  
Daniel Veidlinger
Keyword(s):  
Oral Tradition ◽  
Common People ◽  
Ancient India ◽  
Modern Times ◽  
Oral Transmission ◽  
Medieval China ◽  
First Millennium ◽  
The Common ◽  
Canonical Texts ◽  
Over Time

Different media have been used to spread the teachings of Buddhism, and they have exerted a significant influence upon the development of Buddhist ideas and institutions over time. An oral tradition was first used in ancient India to record and spread the Buddhist Dharma, and later the Pali canon was written down in the 1st century bce. Writing was also conspicuously used to transmit Mahāyāna texts starting in the first centuries of the first millennium. Printing was developed in medieval China probably in connection with the Buddhist desire to create merit through copying the texts. Efforts to print Buddhist texts in Western languages and scripts began in earnest in the late 19th century, and Western printing methods were later adopted by Asian Buddhists to publish the texts in modern times. It is important to appreciate the intricate relationship between the medium that is used to transmit a text and the form of the text itself, as well as the commensurate effects of the texts and their ideas on the medium and its uses in society. The oral medium has many constraints that forced the early texts to assume certain forms that were amenable to oral transmission, and institutions arose to assist in the preservation of these texts as well. Even once writing came to be used, the common people generally did not read but rather heard the text recited by learned monks. Private reading is for the most part a modern invention and it, too, had a distinct influence on the development of Buddhism, leading to modern reformist movements that demanded less superstition, more meditation, and a closer adherence to the teachings found in the canonical texts. The Internet is also shaping the popular reception of Buddhism, as Buddhist teachings and texts proliferate on thousands of websites in a dizzying array of languages.

Teatr ZAR's Journeys of the Spirit

2013 ◽  
Vol 29 (2) ◽  
pp. 170-184 ◽  
Author(s):  
Maria Shevtsova
Keyword(s):  
Subject Matter ◽  
Instrumental Music ◽  
International Research ◽  
Oral Tradition ◽  
Early Christianity ◽  
Research Centre ◽  
Theatre Arts ◽  
Oral Transmission ◽  
Spiritual Dimension ◽  
The Subject

Teatr ZAR has been developing its Gospels of Childhood triptych since 2003, when the company was founded after several years of research in Armenia, Iran, and Georgia. It was in Georgia that ZAR learned polyphonic songs from the Svan oral tradition, which it developed in its unique song theatre. In this article Maria Shevtsova maps the first of a series of expeditions, the latter notably including Greece, Corsica, and Sardinia. She describes how the ancient hymns and chants gathered through direct oral transmission (ZAR's choice of material reflects its interest in the songs of early Christianity) provide the subject matter and the spiritual dimension of the group's performance pieces. The idea of the ‘spiritual’ is here distinguished from the strictly religious/denominational as well as the ritualistic or cultic framings of the word. Details from the triptych show how breath, vibration and energy are the forces of ZAR's sonic compositions in which singing, instrumental music, sound making, and movement are vehicles for experience other than immediate material sensation. Reference is made to ZAR's link to the Grotowski legacy in the song theatre of Poland today. Maria Shevtsova, Chair Professor of Drama and Theatre Arts at Goldsmiths, University of London, wishes to thank the International Research Centre of the Freie Universität Berlin for hosting her research, of which this article is an integral part.

A Historical Whodunit: The So-Called “Kano Chronicle” and its Place in the Historiography of Kano

1994 ◽  
Vol 21 ◽  
pp. 127-146 ◽  
Author(s):  
John Hunwick
Keyword(s):  
Seventeenth Century ◽  
Oral Tradition ◽  
The Other ◽  
The North ◽  
Other Hand ◽  
The One

Murray Last obliquely suggests that [the “Kano Chronicle”] is best regarded as a rather free compilation of local legends and traditions drafted in the mid-seventeenth century by a humorous Muslim rationalist who almost seems to have studied under Levi-Strauss.The danger lies in being carried away by one's own ingenuity.The question of the authorship and date(s) of writing of the so-called “Kano Chronicle” (KC) and hence how historians should evaluate it as a source, have intrigued students of Kano (and wider Hausa) history since the work was first translated into English by H. R. Palmer in 1908. Palmer himself had the following to say:The manuscript is of no great age, and must on internal evidence have been written during the latter part of the decade 1883-1893; but it probably represents some earlier record which has now perished….The authorship is unknown, and it is very difficult to make a guess. On the one hand the general style of the composition is quite unlike the “note” struck by the sons of Dan Hodio [ʿUthmān b. Fūdī, Abdulahi and Muḥammad Bello, and imitated by other Fulani writers. There is almost complete absence of bias or partizanship…. On the other hand, the style of the Arabic is not at all like that usually found in the compositions of Hausa mallams of the present day; there are not nearly enough “classical tags” so to speak, in it…. That the author was thoroughly au fait with the Kano dialect of Hausa is evident from several phrases used in the book, for instance “ba râyi ba” used in a sense peculiar to Kano of “perforce.” The original may perhaps have been written by some stranger from the north who settled in Kano, and collected the stories of former kings handed down by oral tradition.

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