Relatos de tradición oral sudamericanos

 

Me citan en esta tesis de máster sobre relatos de tradición oral en Sudamérica:

Álvarez, Gabriela Fernanda. "Los relatos de tradición oral y la problemática de su descontextualización y re-significación." M.A. Diss. U Nacional de La Plata, Facultad de Humanidades y Ciencias de la Educación, 2012.

http://www.memoria.fahce.unlp.edu.ar/tesis/te.746/te.746.pdf

Online at Academia.*

         https://www.academia.edu/19058129/

         2021

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Image - Narrative - Context

Me citan en:

Wagner-Durand, Elisabeth, Barbara Fath and Alexander Heinemann, eds. Image – Narrative – Context: Visual Narration in Cultures and Societies in the Old World. (Freiburger Studien zur Archäologie und visuellen Kultur, 1). Freiburg: Propylaeum, 2019. Introduction (1-17) online at Academia.*

         https://www.academia.edu/40090714/

         2019

De hecho me citan allí varias veces, en varios artículos:

Wagner-Durand, Elisabeth, Alexander Heinemann and Barbara Fath, eds. "Image – Narrative – Context: Visual Narration in Cultures and Societies in the Old World." In  Image – Narrative – Context: Visual Narration in Cultures and Societies in the Old World. Ed. Elisabeth Wagner-Durand, Barbara Fath and Alexander Heinemann. (Freiburger Studien zur Archäologie und visuellen Kultur, 1). Heidelberg: Propylaeum, 2019. Online at Academia.* (Introduction, 1-17).

         https://www.academia.edu/40090714/

         2019

Weixler, Antonius. "Bild – Erzählung – Rezeption: Narrativität in Erzählforschung und Kunstwissenschaft." In  Image – Narrative – Context: Visual Narration in Cultures and Societies in the Old World. Ed. Elisabeth Wagner-Durand, Barbara Fath and Alexander Heinemann. (Freiburger Studien zur Archäologie und visuellen Kultur, 1). Heidelberg: Propylaeum, 2019. 83-108.  Online at Academia.*

         https://www.academia.edu/40090714/

         2019

Bagley, Jennifer. "Narrative and Context of Early La Tène Art in Central Europe." In  Image – Narrative – Context: Visual Narration in Cultures and Societies in the Old World. Ed. Elisabeth Wagner-Durand, Barbara Fath and Alexander Heinemann. (Freiburger Studien zur Archäologie und visuellen Kultur, 1). Heidelberg: Propylaeum, 2019. 193-213.  Online at Academia.*  (Iron Age)

         https://www.academia.edu/40090714/

         2019

Wagner-Durand, Elisabeth. "Narration, Description, Reality: The Royal Lion Hunt in Assyria." In Image – Narration – Context: Visual Narration in Cultures and Societies of the Old World. Ed. Elisabeth Wagner-Durand, Barbara Fath and Alexander Heinemann. (Freiburger Studien zur Archäologie und visuellen Kultur, 1). Heidelberg: Propylaeum, 2019. 235-72.*

         https://www.academia.edu/40090666/

         2019

Wagner-Durand, Elisabeth, Alexander Heinemann and Barbara Fath.  "The Remains of the Day: Approaching Storytelling Via Material Culture." In  Image – Narrative – Context: Visual Narration in Cultures and Societies in the Old World. Ed. Elisabeth Wagner-Durand, Barbara Fath and Alexander Heinemann. (Freiburger Studien zur Archäologie und visuellen Kultur, 1). Freiburg: Propylaeum, 2019. 193-213.  Online at Academia.*  (Objects, Remains).

         https://www.academia.edu/40090714/

         2019

Wagner-Durand, Elisabeth, et al. Bild - Erzählung – Kontext. Conference website at Albert-Ludwigs Universität Freiburg.

         https://www.bild-erzaehlung-kontext.uni-freiburg.de/konzeption

         2019

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Recontextualizando

En su capítulo de Narrative Interaction, Susanne Güntner trata con un tipo de narraciones orales que llama de "misbehavior" o mal comportamiento. En "Contando cómo le paramos los pies" escribí algo sobre este tipo de relatos conversacionales, que tienen lugar en un círculo favorable al narrador, y donde éste recibe apoyo y justificación retrospectivas del grupo, al narrar un episodio en el que un tercero se comportó mal, y, en muchas ocasiones, recibió su castigo. O lo recibe ahora retroactivamente, con la desaprobación del grupo narrativo. Se centra Günthner en el asunto de la recontextualización; este es el abstract:

In order to reconstruct past events, speakers often make use of narrative genres. Hereby, narrators decontextualize past experiences from their original context and recontextualize them in a new communicative context. In this process of recontextualization, the original experience is getting transformed according to generic conventions, situative constraints, intentions of the narrators, reactions of the recipients, etc. On the basis of an original interaction and two different narrative reconstructions of this complaint by the same speaker, I will analyze modifications of the original complaint which the speaker makes use of in the process of de- and recontextualizing the particular interactive event. The analysis reveals how speakers present one and the same communicative event in different ways—adjusting their narrative performances to the situation at hand, to interactive aims and to reactions of the participants. (285)

Goffman ya habló de esta recontextualización en Frame Analysis (506), comparando la narración a un teatro en el que el narrador hace recrearse al público con su pequeño espectáculo. La narración vívida y persuasiva, dice Günthner, es una técnica persuasiva, que transmite a los oyentes la sensación de que la evaluación que el narrador hace de la situación narrada es la correcta.  Esto conlleva el control de las voces, imitando la voz de la persona a desacreditar en tono pretencioso y desagradable, al que se contrasta el tono racional y no marcado de la propia voz. Aquí Günthner remite a Bajtín y su concepto de la estilización paródica:

"The reported utterance shows two different perspectives at the same time: the reproachful voice of the neighbor and the condemnation of htis complaint by the narrator. The narrator not only re-animates the neighbor as a character in her story; she also communicates her evaluation of his complaint as exaggerated and even ridiculous. (291).

 

 

"The lively staging of past misbehavior in complaint stories functions to build and secure solidarity among group members and to assert the reasonable character of the narrators who are portrayed as rational whereas their antagonists are characterized by their deviant behavior." (292)

Se hace obvio aquí que el estilo directo es manipulable como un recurso retórico que en modo alguno se opone al indirecto por una reproducción exacta de las palabras citadas por el personaje: se usa para manipular, recontextualizar y reinterpretar las palabras del personaje, de modo que "Simple dichotomies of direct versus indirect speech unduly reduce the complexitites of restaging past dialogues" (294).

Los relatos orales cotidianos son pues interactivos, polifónicos y dialógicos en la medida en que la recontrucción del suceso narrado va muy unida a la situación interactiva, al nuevo contexto en el que se ubica su reelaboración. (298)

Este artículo de Günthner, y el problema de la recontextualización, se pueden ver a la luz de las observaciones de Bajtín en "El problema del texto", donde observa cómo toda enunciación repetida tiene lugar en un contexto nuevo y adquiere una evaluación diferente en él.

Günthner, Susanne (Konstanz). "12. Narrative Reconstructions of Past Experiences: Adjustments and Modifications in the Process of Recontextualizing a Past Experience." In Narrative Interaction. Ed. Uta M. Quasthoff and Tabea Becker. Amsterdam and Philadelphia: John Benjamins, 2005. 285-301.*

 

 

Mijail Bajtín: 

El problema del texto en la lingüística, la filología y las ciencias sociales

 

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We're Mysterious to Ourselves

A comment to a post by Bill Benzon "Why don't we know what we do?"—on why graffiti artists can't describe their work adequately, and more generally, on why we cannot give an objective account of who we are and of what we do, and of what we mean. Benzon argues that it's out of a lack of attention. But:

Then there's also the issue that, like graffiti, a description is not context-free. It is not a free-standing, all-purpose account of the thing described. Perhaps you do not find that graffiti artists' accounts of what they are doing are satisfactory because you are thinking in terms of a context, discipline, perspective, etc. which is alien to them, call it aesthetics, semiotics, etc. No description describes the thing described. It only does so for a certain communicative purpose. Nothing is separable from its context, and yet, for some purposes, everything is. And talking about anything or any text to a third party is always a recontextualization or recycling of that text, graffiti, etc. A different account is called for, all the time -- I call that "the hermeneutic spiral", follow the link and you'll end anywhere, because it keeps rolling and spiralling.

Teoría interaccionalista del significado