scholarly journals Problematyka przekładu dawnej literatury ustnej Mexików i Majów

1970 ◽  
Vol 22 (2(28)) ◽  
pp. 123-138
Author(s):  
Katarzyna Szoblik

Some aspects of the 15th‑18th century native American texts translation The artistic verbal expression of the native inhabitants of the pre‑Hispanic Mesoamerica presented great variety of forms, among which there could be distinguished, for example, solemn speeches, ritual songs and even very complex performances, that could be compared to some forms of the European theatre. Most of these pieces were destroyed with the conquest and colonization of America. Some of them, however, survived, mainly thanks to the effort that some missionaries and their indigenous students made to register parts of the native oral tradition in the alphabetic writing. The present article presents chosen problems related with the translation of this kind of texts, one of the most important difficulties being a huge distance in time and space that separates the source and the target cultures.

Tlalocan ◽  
2020 ◽  
Vol 25 ◽  
pp. 287-342
Author(s):  
Hans Roskamp ◽  
Cristina Monzón

Primordial titles form an important category in the extensive corpus of native documents from 17th and 18th century New Spain. Generally made by local scribes (carariecha) or regional specialists who combined information from older documents and oral tradition, they emphasize the foundation of the villages and the boundaries of their lands. These local histories were —and often still are— used whenever the territorial integrity of the community was threatened by their neighbors. The present article includes the transcription, translation and analysis of a primordial title written in the Tarascan or P’urhépecha language. The document, now kept in the National Library of Anthropology and History (BNAH) in Mexico City, originally comes from Tócuaro, a small village on the southern shores of Lake Pátzcuaro in Michoacán.


KIVA ◽  
2021 ◽  
pp. 1-22
Author(s):  
Michael W. Diehl ◽  
Deil Lundin ◽  
Robert B. Ciaccio ◽  
J. Homer Thiel
Keyword(s):  

Kadmos ◽  
2019 ◽  
Vol 58 (1-2) ◽  
pp. 33-48
Author(s):  
Alwin Kloekhorst

Abstract Following Rieken’s 2008 establishment that the Anatolian hieroglyphic sign *41 (CAPERE/ta) denoted the syllable /da/, with lenis /d/, Yakubovich (2008) argued that the sign’s phonetic value was acrophonically derived from the Hittite verb dā-i/d- ‘to take’. In the present article it is argued that this view can no longer be upheld in view of new proposals regarding the phonetic value of sign *41 (rather [da]) and the interpretation of Hitt. dā-i/d- (rather [tʔā-]). It is proposed that the value of sign *41 has instead been derived from the Luwian verb ‘to take’, lā-i/l-, which from a historical linguistic perspective must go back to earlier *.ā-i/ *.-. This acrophonic assignment of the value [da] to sign *41 must then be dated to the beginning of the 18th century BCE at the latest, which implies that already by that time the Anatolian hieroglyphs were in use as a real script that made use of phonetic signs.


2014 ◽  
Vol 14 ◽  
pp. 87-147 ◽  
Author(s):  
Florentina Badalanova Geller

Cosmogonies and mythopoesis in the Balkans and beyondCompared and contrasted in this article are three different types of accounts dealing with the cosmogonic and eschatological themes employed in Slavonic and Balkan oral tradition, para-Biblical literature and modern poetry. The focus of analysis is the cluster of motifs attested in the creation narrative of the apocryphal Legend of the Sea of Tiberias. Two versions are examined: the South-Slavonic one discovered in 1845 by V. Grigorovich in the Monastery of Slepche, and the 18th century Russian account from MS № 21.11.3 (fols. 3a–5b) from the Archaeographic Department of the Library of the Academy of Sciences [Библиотека Академии наук, Рукописный отдел] in St. Petersburg, composed most probably by an Old Believer; this manuscript is published here for the first time. Folklore counterparts of the apocryphal Legend of the Sea of Tiberias are treated, with special emphasis on the oral narratives from the Bulgarian diaspora in Bessarabia (God and the Devil Create the World Amicably but then Fall Out). Finally, a poem of the 20th century Bulgarian intellectual Pencho Slaveykov [Пенчо Славейков] from his anthology “On the Island of the Blessed” is discussed; the poem, entitled How God willed the Earth to come to be and what did Satanail do after that? was designated by Slaveykov himself as “a legend of the Bogomils”, and blended within his lyrics are dualistic themes and motifs attested in vernacular Christianity, with the hallmark of Haeresis Bulgarica. Kosmogonie i mitopoetyki na Bałkanach i nie tylkoW artykule zostały porównane trzy typy narracji zawierających wątki kosmogoniczne i eschatologiczne, które funkcjonują w słowiańskiej i bałkańskiej tradycji ustnej, literaturze parabiblijnej oraz poezji doby modernizmu. Przedmiotem uwagi stała się grupa motywów poświadczonych w narracji o stworzeniu, znanej z Legendy o Morzu Tyberiadzkim. Analizom poddane zostały dwie wersje: południowosłowiańska, odkryta w 1845 roku przez W. Grigorowicza w Monastyrze w Slepče, oraz ruska – z XVIII wieku, znajdująca się w kodeksie MS № 21.11.3 (fols. 3a–5b), przechowywanym w Oddziale Rękopisów Biblioteki Akademii Nauk w Sankt Petersburgu – skomponowana najprawdopodobniej w środowisku staroobrzędowców (rękopis ten jest tu publikowany po raz pierwszy). Następnie przeprowadzona została analiza odpowiedników folklorystycznych apokryficznej Legendy o Morzu Tyberiadzkim, ze szczegól­nym uwzględnieniem narracji ustnych funkcjonujących w bułgarskiej diasporze w Besarabii (Bóg i Diabeł tworzą świat w przyjaźni ale potem stają się wrogami). Na końcu został poddany interpretacji poemat z XX wieku autorstwa bułgarskiego modernisty Penczo Sławejkowa [Пенчо Славейков] z antologii Na wyspie błogosławionych [На острова на блажените]; poemat ten, zatytułowany Jak Bóg zezwolił, aby powstała ziemia i co potem uczynił Satanael?, został nazwany przez samego autora „legendą Bogomiłów”, i skompilowany w jego tekstach z dualistycznymi motywami występującymi w chrześcijaństwie tego regionu, a rozpoznawa­nymi jako haeresis bulgarica.


2020 ◽  
Author(s):  
Qasim Shafiq ◽  
Dr. Ghulam Murtaza2 ◽  
Asma Haseeb Qazi

<p>This study new-historically explores the dialectics of time and space in American Indian women’s writings to explain American Indians’ awareness of and attachment to their surrounding nature and its expression in the contemporary American Indian tribal life. With delimited focus on Louise Erdrich’s <i>Tracks</i> (1988) and Leslie Marmon Silko’s <i>Ceremony </i>(1977), this article analyzes American Indian approach to time and space reflecting Natives’ awareness of their surrounding place. Mythical stories of oral tradition inscribed in <i>Tracks</i> and <i>Ceremony </i>recreate American Indian timeless and macrocosmic realities. American Indian women writers have been selected owing to the matriarchal nature of American Indian social order wherein women have been the conscious carriers of their timeless oral tradition. The two selected novels of different settings express the cultural range of American Indian tribal belt from Canadian border (<i>Tracks’ </i>setting) to Mexican border (<i>Ceremony’s </i>setting). This range is evidence of the synchronic and diachronic integrations and distinctions of American Indian past, present and future.</p>


New Sound ◽  
2015 ◽  
pp. 29-44
Author(s):  
Marina Marković ◽  
Blanka Bogunović

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.


2021 ◽  
Vol 8 (1) ◽  
pp. 60-88
Author(s):  
Sean Curtice ◽  
Lydia Carlisi

The partimento tradition of eighteenth-century Italy developed within a musical culture that prioritized oral pedagogy. While these teaching methods were successful in producing generations of great composers, they have left scholars with vexing questions concerning the precise manner in which partimenti should be realized. The recent appearance of a remarkable and previously unknown manuscript—"Rudimenti di Musica per Accompagnare del Sig. Maestro Vignali," dated 1789—promises to shed invaluable new light on the oral tradition of partimento instruction. The manuscript's likely author is Gabriele Vignali (c. 1736– 1799), a maestro di cappella active in Bologna; it is unique in the presently known canon owing to the detailed footnotes that accompany each of its twenty-four Bassi (one in each major and minor key). Vignali's annotations provide precisely the sort of commentary that was ordinarily restricted to real-time explanation, teaching the student to recognize keys, scale degrees, modulations, cadences, typical bass progressions, and significant motives. The present article and accompanying English-language edition examine this exceptional partimento collection in detail, offering modern partimentisti the opportunity for the first time to listen in, as it were, on a series of lessons between an eighteenth-century maestro and his student.


Anthropology ◽  
2020 ◽  
Author(s):  
Bronwen Douglas ◽  
Dario Di Rosa

This article situates ethnohistory historically, conceptually, methodologically, and geographically in relation to its intertwined “parent” disciplines of anthropology and history. As a named interdisciplinary inquiry, ethnohistory emerged in the United States in the mid-1950s in the “applied” context of academic involvement in Native American land claims hearings after 1946. However, anthropology (the science of humanity) has overlapped, intersected, or diverged from history (study or knowledge of the past) since becoming a distinct field in Europe in the mid-18th century and gradually professionalized as an academic discipline from the 1830s, initially in Russia (see Before Boas: The genesis of ethnography and ethnology in the German Enlightenment [Lincoln: Univ. of Nebraska Press, 2015], cited under Anthropology and History). Anthropological approaches oscillated between historicization and its neglect or denial, with recurring tension between event and system, process and structure, diachrony and synchrony. In the late 18th and 19th centuries, ethnology (comparative study of peoples or races, their origins and development) was distinguished from the natural history of man and from anthropology (the science of race), initially in France. From the 1860s to the 1920s, Anglophone anthropological theory was dominated by the opposed doctrines of sociocultural evolution and diffusion—both superficially historical but largely ahistorical processes. For the next half century, prevailing functionalist, structuralist, and culturalist discourses mostly denied knowable history to ethnography’s purportedly vanishing “primitive” subjects. This uneven, agonistic disciplinary history did not encourage a subfield uniting anthropology and history. However, after 1950, in global contexts of anticolonialism, decolonization, and movements for Indigenous or egalitarian rights, anthropologists, historians, and archaeologists developed the hybrid fields of Ethnohistory and Ethnographic History, which flourished for half a century. Practitioners transcended ethnohistory’s spatial and conceptual roots in the United States and Canada to investigate Indigenous or African American pasts in Latin America and the Caribbean, Indigenous or local pasts in Africa, Asia, and Oceania, and non-Indigenous pasts in Europe and elsewhere. The need to incorporate Indigenous or popular histories and viewpoints was increasingly emphasized. From the 1980s, ethnohistory was condemned as Eurocentric, outdated, even racist, by postcolonial and postmodern critiques (see: The state of ethnohistory. Annual Review of Anthropology 20 (1991):345–375, cited under General Overviews). The label’s usage declined in the 21st century in favor of the already established terms anthropological history or historical anthropology, or the emergent fields of Anthropology of History, historical consciousness, and historicity.


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