Verbal Art As Performance

The cross-disciplinary and integrative nature of sociolinguistics is clearly evidenced in this highly regarded, insightful volume. Baumans holistic study brings together the separate fields of folklore, anthropology, linguistics, and literary criticism as they focus on verbal art. The work represented here is a clear assembly of perspectives and methodology of these disciplines from the viewpoint of performanceartistic action and artistic event. The basic principles underlying sociolinguistics (patterned variability and context as revealed through language) provide the coherence. In addition to Baumans useful conceptual framework, four lively, informative essays by leading scholars are included that clarify, illustrate, and amplify in an effort to treat verbal art as performance.

The study of oral traditions and verbal arts leads into an area of human culture to which anthropologists are increasingly turning their attention. Oral Traditions and the Verbal Arts provides up-to-date guidance on how to approach the study of oral form and their performances, treating both the practicalities of fieldwork and the methods by which oral texts and performances can be observed, collected or analysed. It also relates to those current controversies about the nature of performance and of 'text'. Designed as a practical and systematic introduction to the processes and problems of researching in this area, this is an invaluable guide for students, and lecturers of anthropology and cultural studies and also for general readers who are interested in enjoying oral literature for its own sake.

In Competence in Performance, Charles L. Briggs explores the nature of the gift of oral performance and the competence that underlies that ability. His study focuses on rural Hispanic communities in northern New Mexico. There, individuals, particularly older people, are highly respected for their ability to use language both beautifully and persuasively, prompting their listeners to look beyond appearances to grasp the deeper meaning of the performance. Briggs elucidates the contributions of each genre--proverbs, scriptural allusions, jokes, legends, treasure tales, hymns and prayers--to the Mexicans' struggle to survive as a community, showing how the meaning of a given performance arises from a creative interaction between the worlds of reality and imagination. The author argues that the differing ways in which each performance, performer, and genre relate text and context underlie the power and creativity of verbal art and he suggests that analyzing this process will provide crucial insights into the nature of communicative competence in general. Competence in Performance will be of interest to scholars and students of folklore, anthropology, linguistics, and oral history, was well as ethnomethodology and literary criticism.

Wells argues that the victory song is a traditional art form that appealed to a popular audience and served exclusive elite interests through the inclusive appeal of entertainment, popular instruction, and laughter. Wells offers a new take on old Pindaric questions: genre, unity of the victory song, tradition, and epinician performance.

An analysis of Texan oral narratives that focuses on the significance of their social context. Although the tales are all from Texas, they are considered representative of oral storytelling traditions in their relationships between story, performance and event.

A history of the encounter between Europeans and the colonized people with a groundbreaking analysis of four types of Malagasy folklore: riddles, proverbs, hainteny (dialogic exchanges of traditional metaphors), and oratory.

Shakespeare’s Verbal Art is a profoundly important study of the newly rediscovered anagrams that lie hidden below the surface of all Shakespearean texts. It explains the essential role played by these concealed figures in Classical and Renaissance poetry, demonstrating the revelatory function of anagram by reference to the close analysis of a wide range of examples. Special attention is given to Shakespeare’s use of these sub-textual devices to clarify meaning and intention. The focus is first on Shake-speares Sonnets of 1609, and secondly on Hamlet, Othello and Twelfth Night, all of which are found to be composed around the concealed anagrams that render these works self-interpreting. A new kind of language use is revealed, in terms of which pre-Enlightenment text is envisaged as existing in two distinct dimensions – the overt and the covert – both of which must be read if any particular poem or play is to be fully understood. In effect, a wholly new set of Shakespearean texts is made available to the reader, who will find Shakespeare’s Verbal Art an essential guide to the new discoveries. The book will also be indispensable in the fields of Classical and Renaissance literature, linguistics, poetics, rhetoric, and literary history, and in relation to the pre-Enlightenment text in general, and will interest both the specialist and the general reader.