Western Folk and Oral Traditions -

Western Folk and Oral Traditions ?

Western folk and oral traditions encompass a vast array of cultural expressions, stories, and practices that have been passed down through generations primarily by word of mouth. These traditions are deeply rooted in the history and cultural identity of various Western societies, offering insights into their beliefs, values, and social structures.

Key characteristics of Western folk and oral traditions include:

Oral Transmission: These traditions are primarily transmitted through spoken word, songs, music, and storytelling, rather than written texts.
Community Focus: They often reflect the shared experiences, beliefs, and values of specific communities or regions.
Adaptations and Variations: Over time, these traditions evolve and adapt as they are passed down from one generation to the next, leading to variations in storytelling, music, and other forms of expression.
Interconnectedness: They often intertwine with other forms of cultural expression, such as music, dance, and visual arts.

Some prominent examples of Western folk and oral traditions include:

Folk Tales and Legends: These include stories like fairy tales, fables, myths, and legends, often featuring mythical creatures, heroes, and moral lessons.
Folk Music and Songs: Traditional folk music encompasses a wide range of genres, including ballads, work songs, and dance tunes, often accompanied by instruments like fiddles, guitars, and banjos.
Proverbs and Sayings: These concise and memorable expressions offer wisdom, advice, and insights into human nature and social behavior.
Riddles and Jokes: These forms of oral expression provide entertainment and challenge listeners’ wit and creativity.
Oral History: The transmission of historical events and personal experiences through storytelling and personal accounts.

Western folk and oral traditions continue to play a vital role in preserving cultural heritage and fostering a sense of community. They offer valuable insights into the past, provide entertainment and inspiration, and contribute to the ongoing evolution of Western cultures.

Storytelling in a Western community

Would you like to learn more about a specific aspect of Western folk and oral traditions, such as folk music, storytelling, or a particular region’s traditions?Sources and related content

What is Western Folk and Oral Traditions ?

Western folk and oral traditions are cultural expressions, stories, and practices passed down primarily through word-of-mouth within Western societies. They offer valuable insights into the history, beliefs, and values of these cultures.

Who is required Western Folk and Oral Traditions ?

Western folk and oral traditions are primarily required by:

Folklorists and Cultural Anthropologists: They study these traditions to understand the history, beliefs, and values of different cultures.
Students of Folklore and Cultural Studies: They learn about these traditions as part of their academic curriculum.
Musicians and Performers: They draw inspiration from these traditions for their own creative work.
Community Members: They keep these traditions alive by participating in festivals, storytelling events, and other cultural activities.
Preservationists and Archivists: They work to document and preserve these traditions for future generations.

In essence, anyone interested in understanding and appreciating the rich cultural heritage of Western societies can benefit from learning about folk and oral traditions.Sources and related content

When is required Western Folk and Oral Traditions ?

Western folk and oral traditions are required at various times, depending on the context:

Academic Settings: In folklore, cultural studies, and related fields, understanding these traditions is essential for research, analysis, and interpretation.
Cultural Events and Festivals: These traditions are often showcased during festivals, celebrations, and community gatherings, promoting cultural heritage and identity.
Creative Expression: Artists, musicians, and writers draw inspiration from these traditions for their own work, incorporating elements like storytelling, music, and themes.
Preservation Efforts: Organizations and individuals involved in preserving cultural heritage actively seek out and document these traditions to ensure their continued existence.
Personal Enrichment: Individuals interested in their cultural roots or simply seeking a deeper understanding of their heritage may explore these traditions for personal enrichment.

Essentially, Western folk and oral traditions are required whenever there is a need to connect with the past, celebrate cultural identity, or draw inspiration from the rich tapestry of human expression.

COURTESY : Centre for Indic Studies

Where is required Western Folk and Oral Traditions ?

Western folk and oral traditions are required in various locations, depending on the context:

Academic Institutions: Universities, colleges, and research institutions often incorporate these traditions into their curricula for folklore, cultural studies, anthropology, and related fields.
Cultural Centers and Museums: These institutions may host exhibits, workshops, and performances showcasing folk and oral traditions, preserving and promoting cultural heritage.
Community Settings: Festivals, gatherings, and social events often feature elements of folk and oral traditions, such as storytelling, music, and dance.
Creative Spaces: Artists, musicians, and writers may draw inspiration from these traditions for their own work, incorporating themes, motifs, and techniques.

Essentially, Western folk and oral traditions can be found wherever there is an interest in understanding, celebrating, or preserving cultural heritage.

How is required Western Folk and Oral Traditions ?

Western folk and oral traditions are required in various ways, depending on the context:

Academic Study: These traditions are studied in fields like folklore, cultural anthropology, and cultural studies to understand the history, beliefs, and values of different societies.
Cultural Preservation: Organizations and individuals work to document and preserve these traditions to ensure their continued existence for future generations.
Creative Inspiration: Artists, musicians, and writers draw inspiration from these traditions for their own work, incorporating themes, motifs, and techniques.
Cultural Expression: These traditions are often showcased during festivals, celebrations, and community gatherings, promoting cultural heritage and identity.

Case study is Western Folk and Oral Traditions ?

Case Study: The Decline of Appalachian Storytelling Traditions

Introduction:

This case study examines the decline of traditional storytelling in Appalachia, a region known for its rich oral history and vibrant folk culture.

Background:

Historical Significance: Appalachian storytelling has deep roots, passed down through generations as a form of entertainment, education, and cultural preservation. Stories often featured local legends, historical events, and moral lessons.
Key Features: Appalachian storytelling is characterized by vivid imagery, dramatic delivery, and a strong emphasis on community. Storytelling sessions often took place in homes, churches, and community centers.

Challenges:

Modernization: The rise of television, radio, and the internet has provided alternative forms of entertainment, reducing the appeal of traditional storytelling.
Urbanization: As people migrate from rural areas to urban centers, they lose contact with older generations and the traditional storytelling culture.
Lack of Documentation: Many stories have never been recorded, risking their loss as older storytellers pass away.

Impact:

Loss of Cultural Heritage: The decline of storytelling threatens to erode a vital part of Appalachian cultural identity and history.
Diminished Community Bonds: Storytelling played a crucial role in fostering community cohesion. Its decline can lead to a sense of isolation and a weakening of social ties.
Erosion of Oral History: Valuable historical information and local knowledge risk being lost as storytelling traditions fade away.

Case Study Questions:

What strategies can be implemented to revitalize Appalachian storytelling traditions?
How can technology be used to preserve and promote these traditions?
What role can schools and community organizations play in educating younger generations about the importance of storytelling?

Conclusion:

This case study highlights the importance of preserving and promoting Western folk and oral traditions. By addressing the challenges faced by these traditions, we can ensure that they continue to enrich our lives and connect us to our cultural heritage.

Note: This is a simplified example. A real-world case study would involve in-depth research, interviews with storytellers, and an analysis of specific communities within Appalachia.

Would you like to explore a case study on a different Western folk and oral tradition, such as Irish music, Scottish ballads, or Native American storytelling?Sources and related content

COURTESY : Nmeict Det

White paper on Western Folk and Oral Traditions ?

White Paper: Western Folk and Oral Traditions: A Tapestry of Cultural Heritage

1. Introduction

Western folk and oral traditions encompass a rich tapestry of cultural expressions, stories, and practices that have been passed down through generations primarily by word of mouth. These traditions are deeply rooted in the history and cultural identity of various Western societies, offering valuable insights into their beliefs, values, and social structures. This white paper aims to explore the significance of these traditions, their key characteristics, and the challenges they face in the modern world.

2. Key Characteristics of Western Folk and Oral Traditions

Oral Transmission: These traditions are primarily transmitted through spoken word, songs, music, and storytelling, rather than written texts.
Community Focus: They often reflect the shared experiences, beliefs, and values of specific communities or regions.
Adaptations and Variations: Over time, these traditions evolve and adapt as they are passed down from one generation to the next, leading to variations in storytelling, music, and other forms of expression.
Interconnectedness: They often intertwine with other forms of cultural expression, such as music, dance, and visual arts.

3. Forms of Western Folk and Oral Traditions

Folk Tales and Legends: These include stories like fairy tales, fables, myths, and legends, often featuring mythical creatures, heroes, and moral lessons.
Folk Music and Songs: Traditional folk music encompasses a wide range of genres, including ballads, work songs, and dance tunes, often accompanied by instruments like fiddles, guitars, and banjos.
Proverbs and Sayings: These concise and memorable expressions offer wisdom, advice, and insights into human nature and social behavior.
Riddles and Jokes: These forms of oral expression provide entertainment and challenge listeners’ wit and creativity.
Oral History: The transmission of historical events and personal experiences through storytelling and personal accounts.

4. Significance of Western Folk and Oral Traditions

Cultural Heritage: These traditions serve as a vital link to the past, preserving cultural identity and heritage.
Community Building: They foster a sense of community and belonging by providing shared experiences and values.
Social and Emotional Development: Storytelling, music, and other forms of oral expression can enhance cognitive, social, and emotional development.
Creative Inspiration: These traditions continue to inspire artists, musicians, and writers, influencing their creative work.
Historical Insights: They offer valuable insights into the history, beliefs, and values of different societies.

5. Challenges Facing Western Folk and Oral Traditions

Modernization: The rise of technology and mass media has led to a decline in the practice of oral traditions.
Globalization: The increasing interconnectedness of cultures can lead to the homogenization of traditions and the loss of unique cultural expressions.
Lack of Documentation: Many oral traditions have not been documented, risking their loss as older generations pass away.

6. Recommendations for Preserving Western Folk and Oral Traditions

Education and Outreach: Promote awareness and appreciation of these traditions through educational programs, workshops, and community events.
Documentation and Archiving: Document and archive oral traditions through recordings, transcriptions, and other methods.
Community Involvement: Encourage community participation in the preservation and transmission of these traditions.
Technology and Innovation: Utilize technology to document, share, and promote oral traditions, such as through online platforms and interactive exhibits.
Intergenerational Transmission: Facilitate the transmission of these traditions from older generations to younger ones.

7. Conclusion

Western folk and oral traditions are an invaluable part of our cultural heritage. By understanding their significance, addressing the challenges they face, and actively working to preserve them, we can ensure that these traditions continue to enrich our lives and connect us to our past.

Note: This white paper provides a brief overview of Western folk and oral traditions. Further research and analysis are needed to fully understand and appreciate the richness and diversity of these traditions.

Industrial application of Western Folk and Oral Traditions ?

While Western Folk and Oral Traditions may seem primarily artistic or cultural, they have surprising industrial applications:

1. Marketing & Branding:

Storytelling in Advertising: Powerful narratives, like those found in folk tales, can create emotional connections with consumers. Brands can weave stories into their marketing campaigns to build brand loyalty and humanize their products.
Authenticity and Heritage: Companies can leverage the authenticity of folk traditions to differentiate themselves. Think of a whiskey brand using a local folk song in their advertising, or a clothing company incorporating traditional patterns.

2. Tourism & Hospitality:

Cultural Experiences: Folk music performances, storytelling events, and traditional craft demonstrations can attract tourists and enhance the visitor experience.
Unique Accommodations: Hotels and resorts can incorporate elements of folk architecture or offer themed experiences based on local legends or stories.

3. Product Design & Innovation:

Inspiration from Traditional Crafts: Folk art, with its intricate patterns and unique designs, can inspire product designs in various industries, from textiles and furniture to jewelry and home decor.
Sustainable Practices: Many folk traditions incorporate sustainable practices and respect for natural resources. These principles can be applied to modern industrial processes.

4. Employee Engagement & Team Building:

Shared Storytelling: Storytelling exercises can foster teamwork, communication, and creativity within organizations.
Cultural Appreciation: Celebrating and learning about local folk traditions can increase employee engagement and create a more inclusive work environment.

5. Software Development & User Experience:

User Stories: The concept of “user stories” in agile software development draws inspiration from storytelling techniques. By framing user needs as narratives, developers can better understand and empathize with their users.
Intuitive Interfaces: User interfaces inspired by traditional folk art can be visually appealing and easy to navigate.

Important Considerations:

Authenticity: It’s crucial to use folk traditions respectfully and avoid cultural appropriation.
Community Involvement: Engaging with local communities and respecting their cultural heritage is essential for successful industrial applications.

By understanding and applying the principles of Western Folk and Oral Traditions, businesses can not only enhance their products and services but also contribute to the preservation and revitalization of these valuable cultural expressions.Sources and related content

Research and development of Western Folk and Oral Traditions ?

Research and development in Western folk and oral traditions encompass a wide range of activities aimed at:

Preservation:
- Ethnomusicology: Scholars study the music, instruments, and performance practices of various folk traditions.
- Folkloristics: Researchers collect, analyze, and interpret stories, legends, and other forms of oral literature.
- Oral History: Interviewing and recording the life stories of individuals and communities to preserve their experiences and perspectives.
- Archiving: Digitizing and preserving recordings, photographs, and other materials related to folk and oral traditions.
Revitalization:
- Community-Based Projects: Engaging with communities to revitalize traditional crafts, music, and storytelling.
- Educational Programs: Developing educational programs to teach young people about their cultural heritage and the importance of folk traditions.
- Festivals and Events: Organizing festivals and events to showcase and celebrate folk and oral traditions.
Innovation:
- New Forms of Expression: Exploring new ways to express and share folk traditions through contemporary art forms, such as digital storytelling, interactive media, and multimedia performances.
- Interdisciplinary Approaches: Combining traditional folk expressions with other artistic disciplines, such as theater, dance, and visual arts.
- Technology and Innovation: Utilizing technology to document, share, and promote folk traditions, such as through online platforms, virtual reality experiences, and interactive exhibits.

Key organizations and institutions involved in this research and development include:

Universities and Research Centers: Departments of folklore, ethnomusicology, anthropology, and cultural studies.
Museums and Cultural Centers: Institutions dedicated to preserving and showcasing cultural heritage.
Community Organizations: Local groups and organizations working to revitalize and promote folk traditions.
Government Agencies: Organizations that support cultural heritage preservation and community development.

By supporting research and development in Western folk and oral traditions, we can ensure that these valuable cultural expressions continue to thrive and inspire future generations.Sources and related content

COURTESY : Pamaco

Reference

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^ Kroeber, Karl, ed. (2004). Native American Storytelling: A Reader of Myths and Legends. Malden, MA: Blackwell Publishing. pp. 6. ISBN 978-1-4051-1541-4.
^ Deloria, jr., Vine (1995). Red Earth, White Lies: Native Americans and the Myth of Scientific Fact. New York, NY: Scribner. p. 54. ISBN 978-0-684-80700-3.
^ Ballenger, Bruce (Autumn 1997). “Methods of Memory: On Native American Storytelling”. College English. 59 (7): 789–800. doi:10.2307/378636. JSTOR 378636.
^ Jump up to:^a ^b ^c ^d Deloria, jr., Vine (1995). Red Earth, White Lies: Native Americans and the Myth of Scientific Fact. New York, NY: Scribner. p. 51. ISBN 978-0-684-80700-3.
^ Lawrence, Randee (Spring 2016). “What Our Ancestors Knew: Teaching and Learning Through Storytelling”. New Directions for Adult and Continuing Education. 2016 (149): 63–72. doi:10.1002/ace.20177.
^ Karen D. Harvey (1995). American Indian Voices. Brookfield, Conn.: Millbrook Press. p. 66. ISBN 9781562943820.
^ Native American Reader: Stories, Speeches, and Poems. Juneau, Alaska: Denali Press. 1990. p. 73. ISBN 9780938737209.
^ Jump up to:^a ^b ^c Ludwin, Ruth; Smits, Gregory (2007). “Folklore and earthquakes: Native American oral traditions from Cascadia compared with written traditions from Japan”. Geological Society of London, Special Publications. 273 (1): 67–94. Bibcode:2007GSLSP.273…67L. doi:10.1144/GSL.SP.2007.273.01.07. S2CID 130713882.
^ Jump up to:^a ^b Echo-Hawk, Roger (Spring 2000). “Ancient History in the New World: Integrating Oral Traditions and the Archaeological Record in Deep Time”. American Antiquity. 65 (2): 267–290. doi:10.2307/2694059. JSTOR 2694059. S2CID 163392796.
^ Mason, Ronald J. (2000). “Archaeology and Native North American Oral Traditions”. American Antiquity. 65 (2): 239–266. doi:10.2307/2694058. JSTOR 2694058. S2CID 147149391.
^ Jump up to:^a ^b Tatyana J. Elizarenkova (1995). Language and Style of the Vedic Rsis. State University of New York Press. pp. 111–121. ISBN 978-0-7914-1668-6.
^ Peter Scharf (2013). Keith Allan (ed.). The Oxford Handbook of the History of Linguistics. Oxford University Press. pp. 228–234. ISBN 978-0-19-164344-6.
^ Oral tradition in African literature. Smith, Charles,, Ce, Chinenye. [Nigeria]. 4 September 2015. ISBN 9789783703681. OCLC 927970109.
^ Jump up to:^a ^b Crowley, David; Heyer, Paul (1999). Communication in History: Technology, Culture, Society (Third ed.). Longman Publishers USA. p. 67.
^ Hanson, Erin. “Oral Traditions”. Indigenous Foundations. Archived from the original on 18 May 2015. Retrieved 5 May 2015.
^ Hartmut Scharfe (2002). Handbook of Oriental Studies. BRILL Academic. pp. 24–29, 226–237. ISBN 978-90-04-12556-8.
^ Donald Lopez (2004). Buddhist Scriptures. Penguin Books. pp. xi–xv. ISBN 978-0-14-190937-0.
^ Jump up to:^a ^b Hartmut Scharfe (2002). Handbook of Oriental Studies. BRILL Academic. pp. 24–29, 226–232. ISBN 978-90-04-12556-8.
^ Jump up to:^a ^b Pierre-Sylvain Filliozat (2006). Karine Chemla (ed.). History of Science, History of Text. Springer. pp. 138–140. ISBN 978-1-4020-2321-7.
^ Wilke, Annette and Moebus, Oliver. Sound and Communication: An Aesthetic Cultural History of Sanskrit Hinduism (Religion and Society). De Gruyter (February 1, 2007). P. 495. ISBN 3110181592.
^ Milman Parry, L’epithèt traditionnelle dans Homère (Paris, 1928), p. 16; cf. Albert B. Lord, The singer of tales (Cambridge: Harvard University Press, 1960), p. 4
^ Dundes, Fables of the Ancients?, 2003: p.17
^ Foley, John Miles. The Theory of Oral Composition. Bloomington: IUP, 1991, p 36.
^ Catherine S. Quick, ‘Annotated Bibliography 1986-1990’, Oral Tradition 12.2 (1997) 366-484
^ Bannister, Oral-Formulaic Study, 65-106.
^ EMONT, Jon (6 August 2017). “Why Are There No New Major Religions?”. Atlantic. Archived from the original on 10 July 2019. Retrieved 10 July 2019.
^ Carroll, Jill. “The Quran & Hadith”. World Religions. Archived from the original on 20 February 2022. Retrieved 10 July 2019.
^ Tamim Ansary (2009). Destiny Disrupted, a History of the World Through Islamic Eyes. Public Affairs. ISBN 9781586486068.
^ Jump up to:^a ^b ^c Bannister, “Retelling the Tale”, 2014: p.2
^ Jump up to:^a ^b ^c “Quran Project – Appendix – Preservation and Literary Challenge of the Quran”. Quran Project. 26 February 2015. Archived from the original on 21 June 2019. Retrieved 10 July 2019.
^ Michael Zwettler, The Oral Tradition of Classical Arabic Poetry, Ohio State Press, 1978, p.14.
^ Jump up to:^a ^b ^c ^d “Qur’an and its preservation through chain of oral tradition”. Arab News. 27 February 2015. Archived from the original on 21 April 2019. Retrieved 13 June 2019.
^ Abu Zakariya (8 January 2014). “The Miraculous Preservation of the Qur’an”. Many Prophets One Message. One Reason. Archived from the original on 10 July 2019. Retrieved 10 July 2019.
^ The Qur’an, verses 44:58; 54:17, 22, 32, 40. Arab-news-27-2-2015
^ Burton, John (1990). The Sources of Islamic Law: Islamic Theories of Abrogation (PDF). Edinburgh University Press. p. 44. ISBN 0-7486-0108-2. Archived from the original (PDF) on 4 January 2020. Retrieved 21 July 2018.
^ Bannister, “Retelling the Tale”, 2014: p.1
^ Bannister, “Retelling the Tale”, 2014: p.1-4
^ Dundes, Fables of the Ancients?, 2003: p.16
^ The Quran, 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
^ Dundes, Fables of the Ancients?, 2003: p.32
^ Dundes, Fables of the Ancients?, 2003: p.65
^ Bannister, “Retelling the Tale”, 2014: p.6-7
^ Bannister, “Retelling the Tale”, 2014: p.10
^ Kurpershoeck, P. Marcel (1994). Oral Poetry and Narratives from Central Arabia. Vol. 1. Leiden: E.J.Brill. p. 57.
^ Bannister, “Retelling the Tale”, 2014: p.68
^ Sowayan, Saad (1992). The Arabian Oral Historical Narrative: An Ethnographic and Linguistic Analysis. Wiesbaden: Otto Harrassowitz. p. 22.
^ Dundes, Fables of the Ancients?, 2003: p.68-9
^ Paul VI (18 November 1965). “Dogmatic Constitution on Divine Revelation “Dei verbum””. www.vatican.va. The Hole See. Archived from the original on 31 May 2014. Retrieved 15 January 2020.
^ Paul VI (21 November 1964). “Dogmatic Constitution on the Church “Lumen gentium””. www.vatican.va. Archived from the original on 6 September 2014. Retrieved 15 January 2020.
^ Law, Robin (1997). “Oral tradition as history”. Writing and Africa.
^ Isichei, Elizabeth (13 April 1997). A History of African Societies to 1870. Cambridge University Press. ISBN 978-0-521-45599-2.
^ Vansina, Jan (1971). “Once upon a Time: Oral Traditions as History in Africa”. Daedalus. 100 (2). MIT Press: 442–468. JSTOR 20024011.
^ Vansina, Jan (1971). “Once upon a Time: Oral Traditions as History in Africa”. Daedalus. 100 (2). MIT Press: 442–468. JSTOR 20024011.
^ Smith, E.W.; Dale, A.M. (1920). The Ila-speaking peoples of Northern Rhodesia.
^ Haring, Lee (1994). “Introduction: The Search for Grounds in African Oral Tradition” (PDF). Oral Tradition. 9 (1).
^ “Early Scholarship on Oral Traditions” Archived 2008-05-29 at the Wayback Machine: Radloff, Jousse and Murko Oral Tradition 5:1 (1990) 73-90
^ See for example Marshall McLuhan, The Gutenberg Galaxy: The Making of Typographic Man. University of Toronto Press, Toronto, 1962.
^ Walter J. Ong. Fighting for Life: Context, Sexuality, and Consciousness. Cornell University Press, Ithaca & London, 1981.
^ Jump up to:^a ^b Foley, John Miles. The Theory of Oral Composition. Bloomington: IUP, 1991, pp. 57 ff.
^ Walter J. Ong. Orality and Literacy, p. 11.
^ Walter J. Ong. Orality and literacy: the technologizing of the word, pp. 31-76.
^ Foley, John Miles. The Theory of Oral Composition. Bloomington: IUP, 1991, p 76.
^ “not found”. illumination.missouri.edu. Retrieved 25 November 2024.
^ Foley, John Miles. Oral Formulaic Theory and Research: An Introduction and Annotated Bibliography. NY: Garland, 1985. The Theory of Oral Composition. Bloomington: IUP, 1991, pp. 64-66.
^ John Miles Foley. The Theory of Oral Composition: History and Methodology. Indiana University Press, Bloomington and Indianapolis, 1988.
^ Foley, John Miles. “Oral Formulaic Theory and Research: An Introduction and Annotated Bibliography.” NY: Garland, 1985. The Theory of Oral Composition. Bloomington: IUP, 1991, p. 70
^ A. Orchard, ‘Oral Tradition’, Reading Old English Texts, ed. K O’Brien O’Keeffe (Cambridge, 1997), pp. 101-23
^ Fry, Donald K. “Old English Formulas and Systems” English Studies 48 (1967):193-204.
^ Davis, Adam Brooke “Verba volent, scripta manent: Oral Tradition and the Non-Narrative Genres of Old English Poetry.” Diss. Univ. of Missouri at Columbia. DAI 52A (1991), 2137 pp. 202, 205
^ Foley, John Miles. Immanent Art: From Structure to Meaning in Traditional Oral Epic. Bloomington: IUP, 1991. 30, 31, 202n22, 207 n36, 211n43
^ Foley, John Miles. “The Singer of Tales in Performance. Bloomington: IUP, 1995. 55, 60, 89 108, 122n40
^ Olsen, Alexandra Hennessey. “Oral -Formulaic Research in Old English Studies:II” Oral Tradition 3:1-2 (1988) 138-90, p. 165) Olsen cites Foley’s “Hybrid Prosody and Old English Half-Lines” in Neophilologus 64:284-89 (1980).
^ Foley, John Miles. The Singer of Tales in Performance. Bloomington: IUP, 1995. 2, 7, 8n15, 17 et passim.
^ Magoun, Francis P. “The Oral-Formulaic Character of Anglo-Saxon Narrative Poetry.” Speculum 28 (1953): 446-67
^ Fry, Donald K. “The Cliff of Death in Old English Poetry.” In Comparative Research in Oral Traditions: A Memorial for Milman Parry, ed. John Miles Foley. Columbus: Slavica, 1987, 213-34.
^ Zumthor, Paul “The Text and the Voice.” Transl. Marilyn C. Englehardt. New Literary History 16 (1984):67-92
^ D. K. Crowne, “The Hero on the Beach: An Example of Composition by Theme in Anglo-Saxon Poetry”, Neuphilologische Mitteilungen, 61 (1960), 371.
^ Clark, George. “The Traveller Recognizes His Goal.” Journal of English and Germanic Philology, 64 (1965):645-59.
^ Armstrong, James I. “The Arming Motif in the Iliad”. The American Journal of Philology, Vol. 79, No. 4. (1958), pp. 337-354.
^ Brian Stock. “The Implications of Literacy. Written Language and Models of Interpretation in the Eleventh and Twelfth Centuries” (Princeton: Princeton University Press, 1983)
^ Bäuml, Franz H. “Varieties and Consequences of Medieval Literacy and Illiteracy”, in Speculum, Vol. 55, No. 2 (1980), pp.243-244.
^ Havelock, Eric Alfred. Preface to Plato. “Vol. 1 A History of the Greek Mind”, Belknap Press of Harvard University Press, Cambridge, Massachusetts: 1963.
^ Jump up to:^a ^b Davis, Adam Brooke. “Agon and Gnomon: Forms and Functions of the Anglo-Saxon Riddles” in De Gustibus: Essays for Alain Renoir. Ed John Miles Foley. NY: Garland, 1992 110-150
^ Foley, John Miles. Immanent Art Bloomington: IUP, 1991. 15, 18, 20-21, 34, 45, 63-64, 64n6, 64-68,, 74n23, 75, 76, 77n28, 78, 80, 82, 82n38, 83, 87-91, 92, 93, 94, 102, 103, 104n18, 105, 109, 110n32
^ Weigle, Marta. “Women’s Expressive Forms” in Foley, John Miles, ed. “Teaching Oral Traditions” NY:MLA 1998. pp. 298-
^ Kevin Robb. “Greek Oral Memory and the Origins of Philosophy.” The Personalist: An International Review of Philosophy, 51:5-45.; A study of the AG oral mentality that assumes (1) the existence of composition and thinking that took shape under the aegis of oral patterns, (2) the educational apparatus as an oral system, and (3) the origins of philosophy as we know it in the abstract intellectual reaction against the oral mentality. The opening section on historical background covers developments in archaeology and textual criticism (including Parry’s work) since the late nineteenth century, with descriptions of and comments on formulaic and thematic structure. In “The Technique of the Oral Poet” (14-22), he sketches both a synchronic picture of the singer weaving his narrative and a diachronic view of the tradition developing over time. In the third part, on the psychology of performance, 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 interprets Plato’s reaction against the poets as one against the oral mentality and its educative process.
^ “Review: Communication Studies as American Studies” Daniel Czitrom American Quarterly, Vol. 42, No. 4 (Dec., 1990), pp. 678-683
^ Nimis, Stephen A. Narrative Semiotics in the Epic Tradition. Indiana University Press: Bloomington, 1988
^ “African American Culture Through Oral Tradition”. www.gwu.edu. Archived from the original on 24 January 2009.
^ “Wayne State University Press – Language and Literature: – Page 1”. Wsupress.wayne.edu. Archived from the original on 10 February 2012. Retrieved 23 October 2012.
^ “Native/American Digital Storytelling: Situating the Cherokee Oral Tradition within American Literary History : Literature Compass”. www.blackwell-compass.com. Archived from the original on 9 February 2012.
^ “Women in Oral Literature: Dreams of Transgressions in two Berber Wonder Tales”. www.usp.nus.edu.sg. Archived from the original on 13 March 2008.
^ “Studies in Canadian Literature”. Lib.unb.ca. Archived from the original on 5 August 2011. Retrieved 23 October 2012.
^ “Archived copy” (PDF). Archived (PDF) from the original on 29 May 2008. Retrieved 13 May 2008.
^ Kelber, Werner H (2003). “Oral Tradition in Bible and New Testament Studies”. Oral Tradition. 18 (1): 40–42. doi:10.1353/ort.2004.0025. hdl:10355/64878. Project MUSE 51595.
^ “Oral Tradition”. Oral Tradition. Archived from the original on 28 October 2012. Retrieved 23 October 2012.
^ 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 (1995). “The Reverend Lamar Roberts and the Mediation of Oral Tradition”. The Journal of American Folklore. 108 (427): 3–37. doi:10.2307/541732. JSTOR 541732.
^ Simpkins, Maureen (2002). Mojab, Shahrzad; McQueen, William (eds.). From Ear to Ear: Cross-Cultural Understandings of Aboriginal Oral Tradition. Adult Education and the Contested Terrain of Public Policy. Proceedings of the Annual Conference of the Canadian Association for the Study of Adult Education. pp. 263–268. ERIC ED478964.
^ “Culture Education” and the Challenge of Globalization in Modern Nigeria by Ademola Omobewaji Dasylva. This paper has to do with the challenges of globalization in modern Nigeria and the process of “culture education,” a terminology used to emphasize the peculiar means and methods of instruction by which a society imparts its body of values and mores in the pursuance and attainment of the society’s collective vision, aspirations, and goals. Within this framework, this paper examines the legacies of imperialism and colonization within the Nigerian educational system––particularly in reference to the teaching of folklore and oral tradition––including the destruction of indigenous knowledge systems and the continuing lack of adequate resources in African universities. The paper concludes by offering suggestions for a more fully synthesized indigenous and formal Nigerian educational system as a method of addressing postcolonial rupture. PDF Archived 2008-05-29 at the Wayback Machine Oral Tradition 21/2 (2006):325-41.
^ “General Information – Rural Human Services Program”. www.uaf.edu. Archived from the original on 7 September 2008. Retrieved 22 May 2022.
^ Skidmore, Thomas E. Black Into White: Race and Nationality in Brazilian Thought New York: Oxford University Press, 1974 p. 89
^ Peplinski, Carrie. “Culture, Communication and Media Studies – Oral Traditions and Weapons of Resistance: The Modern Africa Filmmaker as Griot”. Culture, Communication & Media Studies – UKZN. Archived from the original on 13 August 2011. Retrieved 22 May 2022.
^ J. A. (Bobby) Loubser, “Shembe Preaching: A Study in Oral Hermeneutics”, in African Independent Churches. Today, ed. M. C. Kitshoff (Lewiston, New York: 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 aesthetics, 35, 58, 110-11, 121n26.
^ Foley, John Miles. Immanent Art: From Structure to Meaning in Traditional Oral Epic. Bloomington: IUP, 1991. 245
^ Combellack, Frederick M. (1959). “Milman Parry and Homeric Artistry”. Comparative Literature. 11 (3): 193–208. doi:10.2307/1768354. JSTOR 1768354.
^ Rutherford, R.B. Homer: Odyssey Books XIX & XX,, Cambridge UP 1992 remarks on oral-formulaic diction, pp. 47-49
^ Botstein, Leon (1995). “Hearing Is Seeing: Thoughts on the History of Music and the Imagination”. The Musical Quarterly. 79 (4): 581–589. doi:10.1093/mq/79.4.581. JSTOR 742376.
^ Oring, Elliott (2006). “Folk or Lore? The Stake in Dichotomies”. Journal of Folklore Research. 43 (3): 205–218. doi:10.2979/JFR.2006.43.3.205. S2CID 144634366. Project MUSE 209125.
^ “chapter4.DOC” (PDF). Archived from the original (PDF) on 13 February 2012. Retrieved 23 October 2012.
^ 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 against the Parry-Lord hypothesis of an oral Homer, claiming that, although Lord demonstrated that the oral poet thinks in verse and offered many explanations of the various facets of the Homeric Question by recourse to the Yugoslav analogy, the difference between Homer and other, literate poets is one of degree rather than kind. Wants to rescue Homer’s art from what he sees as the dangers inherent in the oral theory model.
^ Perhaps the most prominent and steadfast opponent of oral traditional theory 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

Vrindawan Academy

Western Folk and Oral Traditions