Orality and Textuality (With an Appendix on the Byzantine Conceptions)

The chapter proposes that one cannot approach Byzantine literature—preserved in either medieval and early modern manuscript books or in the form of inscriptions—without an appreciation of its textual modes of production and circulation, its possible origins in oral creation, and its likely orientation toward oral performance and auditory reception. It thus introduces and surveys three types of texts: (i) texts that reflect conditions of primary orality (songs, sayings, and short or long “stories”); (ii) texts that entail secondary orality (primarily rhetorical and liturgical texts); and (iii) a middle type of texts (texts of fictive orality and rhetoricized liturgical literature). The chapter is rounded off by an examination of Byzantine conceptions of oral vs. written discourse.

CONCEPTUAL ORALITY AND LITERACY FOR THE CONSTRUCTION OF NETWORK IDENTITY

В данной статье рассматриваются особенности формирования сетевой идентичности и самопрезентации в условиях «коммуникации от клавиатуры к экрану», которая условно располагается в континууме между «медиальной письменностью» и «концептуальной устностью». Общение в чатах, мессенджерах и социальных сетях осуществляется в условиях функционирования «вторичной устности» This article is devoted to the construction of network identity and self-presentation under the conditions of «keyboard-to-screen communication», which takes place in the continuum between «medial written communication» and «conceptual oral communication». The interaction in chats, messengers and social networks is carried out in the context of «secondary orality».

From Primary Orality to Secondary Orality

There are two sides to the phenomenon of globalization: the positive and the negative. On the negative side, it is apparent that indigenous cultures and performances are being dangerously diluted and annihilated due to the unprecedented proliferation of globalized values and norms. On the positive however, globalization has opened up many cultures to the world by removing physical distances and space, creating a phenomenon of cultural syncretism evident in information and communication technologies. In this paper, the researcher tries to examine the possibility of internationalizing Nyum Onzho and some aspects of the theatre in order to promote, showcase and project its theatricality across the world through the instrumentality of the variables of globalization such as the television, video-film format and internet sources.Among the Eggon, a story is called Onzho and the art of the storytelling itself is called Nyum Onzho. Hence, Nyum Onzho is the art of storytelling. The aim of this performance is to produce an individual who is transparent, honest, respectful, skilful, and cooperative and one who could conform to the social order of the society. This art of storytelling is central to the life of every Eggon person. It is largely secular and the most eclectic and dynamic in form and content.This paper also explores the proposition for a paradigm shift from primary orality to secondary orality. That is, from its original face-to-face format into the digital format.It also examines how Nyum Onzho performance and the indices of globalisation could be adapted to each other and harnessed in the service of development objectives of the Eggon people. This paper concludes that, despite the challenges, losses and treat inherent in globalization, there are also significant gains,opportunities and benefits the advent of globalization has offered. It therefore becomes imperative for the Eggon people to key into these numerous benefits and opportunities globalization has provided to internationalize, promote and showcase their culture and cultural performance to the global community.

SINTREN DARI SUDUT PANDANG SECONDARY ORALITY

Penelitian ini bertujuan mengungkapkan sintren, sebuah tradisi lisan sebagai primary orality yang bertransformasi dalam bentuk secondary orality. Masalah yang dibahas adalah bagaimana sintren dalam bentuk secondary orality? Apakah benar-benar berubah atau ke luar dari bentuk asalnya? Teori yang digunakan dalam penganalisisan data adalah pendekatan modern dan sudut pandang secondary orality. Metode yang digunakan adalah metode modern dengan teknik perbandingan dan penyimakan. Hasil penelitian menggambarkan bahwa sintren dalam bentuk secondary orality lebih variatif, fungsional, dan lebih menarik, baik dari aspek bentuk maupun tampilannya. Simpulan penelitian ini adalah bahwa secondary orality merupakan satu bentuk penerobosan baru agar sintren sebagai tradisi lisan lebih bertahan, lebih diketahui generasi masa kini, dan lebih bisa menembus zamannya

SURAT-SURAT CINTA DI BAWAH LINDUNGAN KA’BAH Kajian Perbandingan Novel dan Film

The position of the love letter in the novel Di Bawah Lindungan Ka'bah by Hamka (1st/1938 print, 31st/2010 print) with the same film directed by Hanny J. Saputra (2011) is very different and shows the multimedia sensibility that keeps track meaning within the frame of space and time. Therefore, in studying it used the orality and literacy paradigm and vehicle transfer. The method used is comparative literature. As a result, letters that translate literacy become central in novels because letters are in the same position as novels in written or literary traditions, so that exploration of letters goes hand in hand with the objective conditions of the text and the articulation of supporting media in maximizing the message to be conveyed. Meanwhile, in transferring to films, letters metamorphose into devices with different functions and forms, because their position becomes melting with new media sensibilities that emphasize audio-visual, so that the mentality is built up in the nuances of oralities. Love letters in novels as a link between two people's feelings, while in film, it is only an ornament to accompany rides and adaptations from novels to films, and the awareness that is built is a mentality of freedom that depends on memory, so it is called the second or secondary orality.

Orality, Germanic Literacy and Runic Inscriptions in Anglo-Saxon England

The presence of runic writing before the influx of Latinate literacy in Anglo-Saxon England is often neglected when investigating the transitional nature of orality and literacy in vernacular Anglo-Saxon writing. The presence of runes in Anglo-Saxon society and Old English manuscripts supports the theory that Old English poetry operated within a transitional period between orality and literacy (as argued by O'Keeffe (1990), Pasternack (1995), Amodio (2005)). However runic symbols problematize the definition of orality within Old English oral-formulaic studies because runic writing practices predate Latinate literacy in England. This article explores the possibility that the orality contained within Old English poetry is a form of secondary orality due to the pre-existence of runic writing in Anglo-Saxon England. This form of secondary orality occurs within the wider social cultural shift between primary orality and modern hyper-literate states as runes act as a literary representation of change within the construction of thought and literature in the English language. This article suggests that runes can be understood as a type of ‘transitional literacy’ between primary orality and Latinate derived literary practices. They act as a way of composing and recording thought as text while still maintaining elements strongly associated with the construction of a primary oral culture in how the texts are interpreted by a culture familiar with writing. Therefore clarification must be made when understanding Old English as a transitional poetic form, namely that the nature and degree of transition contained within Old English poetry builds upon runic inscriptions as it represents a transition between a Germanic and Latinate forms of textuality and literacy.