Scholars have vacillated for centuries between two opposing assessments of the role of poetics in social life. A long tradition of thinking about language and society argues that verbal art provides a central dynamic force in shaping linguistic structure and linguistic study. This position emerges clearly in the writings of Vico, Herder, and von Humboldt; attention from Sapir, the Russian "Formalists," and members of the Prague School to the role of poetics contributed to the development of performance studies and ethnopoe­ tics in the last two decades. Nonetheless, poetics has often been marginalized by anthropologists and linguists who believe that aesthetic uses of language are merely parasitic upon such "core" areas of linguistics as phonology, syntax, and semantics, or upon such anthropological fields as economy and social organization. The balance between these two views shifted in favor of poetics in the late 1970s and early 1980s as a new emphasis on performance directed attention away from study of the formal patterning and symbolic content of texts to the emergence of verbal art in the social interaction between performers and

Poetics and performance as critical perspectives on language and social life

Richard Bauman's theory of performance has supported feminist work in folklore but proves incompatible with contemporary concepts of gendered subjectivity. Bauman's com- bination of formalist and behaviorist perspectives paradoxically de-emphasized and un- dertheorized audience and emotion. The threat posed by women's performance is better explained by exploring how performance constructs reciprocal positions for audience and performer, mobilizes desire, and motivates investment in gendered subject positions. Analysis of two stories Bessie Eldreth tells about audience response to her singing exem- plifies the power of this gender-informed approach.

Performance at the Nexus of Gender, Power, and Desire: Reconsidering Bauman's Verbal Art from the Perspective of Gendered Subjectivity as Performance

Estudiosos tem oscilado ha seculos entre duas avaliacoes opostas do papel da poetica na vida social. Uma longa tradicao de pensamento sobre linguagem e sociedade argumenta que a arte verbal oferece uma forca dinâmica central na configuracao das estruturas linguisticas e nos estudos de linguistica. Este ponto de vista emerge claramente nos textos de Vico, Herder, e Von Humbolt. As consideracoes de Sapir, dos “formalistas” russos, e de membros da Escola de Praga sobre o papel da poetica, contribuiram para o desenvolvimento dos estudos de performance e etnopoetica nas ultimas duas decadas. No entanto, a poetica tem sido frequentemente marginalizada por antropologos e linguistas que creem que os usos esteticos da linguagem sao meramente parasitarios de areas “centrais” da linguistica, como a fonologia, sintaxe e semântica, ou de campos da antropologia como a economia e a organizacao social.

/pdf/poetica-e-performance-como-perspectivas-criticas-sobre-a-w55bs05zwt.pdf

Poética e Performance como perspectivas críticas sobre a linguagem e a vida social

rary anthropological study of folklore with an additional consideration of others. Space considerations and intellectual saliency limit the total number of works we consider representative of these trajectories. Our title and primary focus come from our examination of the scholarly shape of the field as it has developed since the marked intervention in the early and mid 1970s of a new conceptual approach in the study of folklore. We refer to the clear emergence of performance and contextually centered understandings of folklore as social behavioral process and as situated communicative interaction (23, 122). Our essay primarily focuses on the achievements and limitations of this central trajectory in folklore studies since 1972. In his most recent formulation of the concept of performance, Bauman (15) usefully identifies three related definitions and uses of "performance" in contemporary sociocultural analysis: performance as situated, ordinary cultural practice, an approach indebted to the Marxian concept of praxis; performance as cultural displays or, to use Abrahams' term, "enactments" (3), an approach closely identified with a particular wing of symbolic anthropology (Singer, Geertz, V. Turner, and Peacock among others) which while closely allied to folklore we nonetheless exclude from this space-limited review; finally, performance as the situated interactional practice of verbal art-oral poetics. It is this third sense of performance that Bauman identifies as his own, and it is also the central concern of anthropological performance

Frontiers, settlements, and development in folklore studies, 1972-1985

Despite its generally negative reputation, gossip continues to be a significant genre of communication in every society. The initial purpose of this paper is to scrutinize gossip from historical, analytical and feminist perspectives. An extensive review of the literature suggests gossip serves three primary functions: information, influence or social control and entertainment. The second purpose is to explore how the functions of gossip may contribute to the socialization of nurses to their professional role and to their work culture.

Gossip: does it play a role in the socialization of nurses?

ed by Anne Kaplan in Folklore Women's Communication, No. 16, Fall 1978, p. 20; and Mary P. Coote, "Women's Songs in Serbo-Croatian," Journal of American Folklore, 90 (1977), 331-38. 44. For example: Finnegan, "Oratory, Formal Speaking, and Other Stylized Forms," in Oral Literature in Africa, pp. 444-80; "On the Ethnography of Oratory," papers by Michelle Rosaldo and Elinor O. Keenan in Language in Society, 2 (1973), 193-243; Maurice Bloch, ed., Political Language and Oratory in Traditional Society (New York: Academic Press, 1975); William J. Samarin, ed., Language in Religious Practice (Rowley, Massachusetts: Newbury House Publishers, 1976); Sapir and Crocker, ed., The Social Use of Metaphor. 45. Finnegan, Oral Literature in Africa, p. 374. Katherine Luomala, for example, reports that both western and eastern Polynesian groups have terms for genres which include not only myth, proverb, hero saga, and legend, but also "artistic conversation," but gives no further data ("Survey of Research on Polynesian Prose and Poetry," Journal of American Folklore, 74 [1961], 421). 46. Stephanie Mills, "Salons and Their Keepers," CoEvolution Quarterly, Summer 1974, p. 102. Also see Marta Weigle, "Salons and Saloons," Folklore Women's Communication, No. 16, Fall 1978, pp. 21-24. 47. Edwin Ardener, "Belief and the Problem of Women," in Perceiving Women, ed. Shirley Ardener (New York: John Wiley & Sons, 1975), p. 3. This content downloaded from 157.55.39.127 on Mon, 27 Jun 2016 06:14:50 UTC All use subject to http://about.jstor.org/terms

http://www.jstor.org/stable/pdfplus/3346320.pdf

Women as Verbal Artists: Reclaiming the Sisters of Enheduanna

Exposition and Mediation: Mary Colter, Erna Fergusson, and the Santa Fe/Harvey Popularization of the Native Southwest, 1902-1940

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Women as Verbal Artists: Reclaiming the Sisters of Enheduanna

Exposition and Mediation: Mary Colter, Erna Fergusson, and the Santa Fe/Harvey Popularization of the Native Southwest, 1902-1940