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020 _a9780823270477
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_c : hardback
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035 _a(DE-627)839087802
035 _a(DE-599)GBV839087802
035 _a(OCoLC)951504914
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100 1 _aSaussy, Haun
_d1960-
_eVerfasserIn
_0(DE-588)132292963
_0(DE-627)520410564
_0(DE-576)171764005
_4aut
245 1 4 _aThe ethnography of rhythm
_borality and its technologies
_cHaun Saussy
250 _aFirst edition
264 1 _aNew York
_bFordham University Press
_c2016
300 _axv, 251 Seiten
_bIllustrationen
_c24 cm
336 _aText
_btxt
_2rdacontent
337 _aohne Hilfsmittel zu benutzen
_bn
_2rdamedia
338 _aBand
_bnc
_2rdacarrier
490 0 _aVerbal arts
500 _aIncludes bibliographical references and index
505 8 0 _aMachine generated contents note:Preface -- Introduction: Weighing Hearsay -- 1. Poetry Without Poems or Poets -- "Two or Three Hundred Rhythmic Formulae -- Festivals of Rhythm -- The Oral Style -- Formula as System -- Langue, Parole, and Constraint -- 2. Writing as One Form of Notation -- The Epic Cyborg -- "Word for Word" -- Stitches in Time -- 3. Autography -- The Inscribing Ear -- "Speech is a Movement" -- The Patois of Parnassus -- A Difference of Fifteen Cycles -- 4. The Human Gramophone -- "Errores Modernistarum" -- The Gospel of Movement -- A Bone Gallery -- "Four Obscure Jews" -- Gallo-Galilean Civilization -- 5. Embodiment and Inscription -- Materials Science -- Techniques of the Body -- Notes -- Bibliography -- Index.
520 _a"Who speaks? The author as producer, the contingency of the text, intertextuality, the "device"-core ideas of modern literary theory-were all pioneered in the shadow of oral literature. Authorless, loosely dated, and variable, oral texts have always posed a challenge to critical interpretation. When it began to be thought that culturally significant texts-starting with Homer and the Bible-had emerged from an oral tradition, assumptions on how to read these texts were greatly perturbed. Through readings that range from ancient Greece, Rome, and China to the Cold War imaginary, The Ethnography of Rhythm situates the study of oral traditions in the contentious space of nineteenth- and twentieth-century thinking about language, mind, and culture. It also demonstrates the role of technologies in framing this category of poetic creation. By making possible a new understanding of Maussian "techniques of the body" as belonging to the domain of Derridean "arche-writing," Haun Saussy shows how oral tradition is a means of inscription in its own right, rather than an antecedent made obsolete by the written word or other media and data-storage devices"--
520 _a"A history of the concept of orality (that is, the creation and transmission of literary works without the use of writing), this book shows awareness of this medium emerging from the encounter of many literary and scientific developments (romanticism, post-symbolism, structuralism; physiology, psychology, the study of expression, anthropology; phonography, cinema)"--
520 _aMachine generated contents note: -- Preface -- Introduction: Weighing Hearsay -- 1. Poetry Without Poems or Poets -- "Two or Three Hundred Rhythmic Formulae -- Festivals of Rhythm -- The Oral Style -- Formula as System -- Langue, Parole, and Constraint -- 2. Writing as One Form of Notation -- The Epic Cyborg -- "Word for Word" -- Stitches in Time -- 3. Autography -- The Inscribing Ear -- "Speech is a Movement" -- The Patois of Parnassus -- A Difference of Fifteen Cycles -- 4. The Human Gramophone -- "Errores Modernistarum" -- The Gospel of Movement -- A Bone Gallery -- "Four Obscure Jews" -- Gallo-Galilean Civilization -- 5. Embodiment and Inscription -- Materials Science -- Techniques of the Body -- Notes -- Bibliography -- Index
650 0 _aOral tradition
650 0 _aPoetics
650 0 _aOrality in literature
650 0 _aStorytelling
650 0 _aFolk literature
_xHistory and criticism
653 _aClass of Fall 2018
653 _aJohn P. Birkelund Fellow in the Humanities
653 _aFellow
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_bDarstellung ohne geografischen Bezug
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_kEthnolinguistik, Kommunikation allgemein
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