Abstract: Using illustrative audio clips, this article offers insights into the historical symbiosis between oral history and radio and the relationship between orality, aurality, and affect that makes radio...

Abstract: Introduction Part I: Plato's Life and his Historical and Philosophical Context The Academy Anti-Platonism Drama Education Eleatics Epic Life Mime Orality and Literacy Pre-Socratics Phythagoreans Socrates Sophists Part II: The Dialogues Alcibiades 2nd Alcibiades Apology Charmides Clitophon Cratylus Critias Crito Epinomis Euthydemus Euthyphro Gorgias Hipparchus Hippias major Hippias minor Ion Laches Laws Letters Lysis Menexenus Meno Minos Parmenides Philebus Phaedo Phaedrus Protagoras Republic Rival Lovers Sophist Statesman Symposium Theaetetus Theages Timaeus Part III: Features of the Dialogues Anonymity Characters Direct and narrated Frames and framing Irony Language Paideutic structure Pedimental structure Part IV: Themes and topics Account Appearance Art Athens Beauty Being Cave Character City Collection (and division) Constitutions Cosmos Courage Daimon Desire Dialectic Doubt Emotion Eristic Excellence Friendship Forms/Ideas Gods Goodness Happiness Hypothesis Image Imitation Induction Inspiration Knowledge Justice Language Law Line Love Madness Mathematics Music Myth Nature One, the Opinion Participation Philosophy Piety Pleasure Poetry Politics Possession Reason Recollection Rhetoric Self-knowledge Sophist Sensation Soul Sun Teaching Temperance Tyranny Universe Wisdom Writing Wonder Part V: Plato's Influence Ancient Platonism Medieval Platonism and the Study of Plato Renaissance Early Modern Modern Modern and Contemporary Interpretation Bibliography Index.

Abstract: The concern of this essay is with the transformations which occur when what is variously termed, “orality”, the “oral tradition”, “oral literature” or “orature” is incorporated into literature in the context of Somali culture. While most sources use these terms interchangeably, Ngugi wa Thiongo, the Kenyan novelist, in a lecture titled “Oral Power and Europhone Glory”, stresses a subtle distinction of meaning between “orature” and “oral literature”. Ngugi notes that: “The term ‘orature’ was coined in the Sixties by Pio Zirimu, the late Ugandan linguist”.1 Ngugi observes that while Zirimu initially used the two terms interchangeably, he later identified “orature” as the more accurate term which indexed orality as a total system of performance linked to a very specific idea of space and time. The term “oral literature”, by contrast, incorporates and subordinates orality to the literary and masks the nature of orality as a complete system of its own. For this reason, “orature” is the preferred term in this essay.

Abstract: Acknowledgments Prologue 'April is the cruellest month ...' Look Backward, Enquire Farther 1. A Renewed Approach to Marshall McLuhan's Poetics From Figure to Ground What Was THAT? McLuhan's 'Little Point' Pointing to Action: This Book Digging the Ground Hey, Marshall McLuhan, What Were You Doin'? Oh, What a Seer He Was! The Electric/Eclectic Humanist Learning the Grammar Post-literate 'Paideia' From Integral Awareness to Storytelling PART ONE: THE MOSAIC 2. Towards Post-Secondary Orality: The Mosaic Embodying McLuhan Casting the Hybrid Substantial Discontinuity What's in a Probe? Playing with Form Render Not Narrate McLuhan's Interactive Mosaic or Post-Secondary Orality 3. Thus Spoke the Oracle Oracular Pronouncements Interfacing Orality and Literacy Performative Storytelling 4. Let the Guru Resound The Gurus' Guru Redefining Space Holistic Mosaic: Western Science, Eastern Philosophies Touch-A Touch-A Touch the Guru 5. A Conscious Modernist Craftsman A Pioneer of (New) Modernist Studies Universal Quest, Fragmented Rendering To Make You Feel: Probing through Language 6. The Hyper-Language of the Media 'Fan' Media Fan or Grammarian of Media? Hypertexting the Mosaic De-hypertexting the Mosaic Electrifying Hybrid PART TWO: MODERNIST ASCENDANCIES 7. McLuhan and Media Studies Labelling the Media Theorist Evolutionary Grammarian A Political Thomist A Classic Modernist 8. From Literature to Media Studies Conscious Planning Practical Mystics From Renaissance to Modernism On a Mission 9. Ford Madox Ford: 'Not Mere Chat' Literature Matters An Imaginative Writer Things, Not Words Comparing Strategies Rendering Change Ford's The Fifth Queen: Probing the Making of the Gutenberg Galaxy 10. James Joyce: Vivisecting Society Applied Joyce Sci-Fi Phantasmagoria Grotesque Vivisection Newspaperwise Attack 11. Ezra Pound: Pursuing Persuasion, Translating Cultures Epical News From Old to New Learning 196 (Ideo)Grammatic Baedeker Totalitarian Craft? 12. Wyndham Lewis: Blasting Time, Blessing Space A Proto-postmodernist From Time to Space Experiencing Arrest Counterblastings PART THREE: APPLIED McLUHAN 13. Literature and Media: A Round Trip Engaging with or Applying McLuhan? 'Visual Literate' Forms Masking the Guru Actual Sci-Fi Rear-View Mirrors Performing Presence Pathological Narcissuses Charismatic Flesh Epilogue: Witty Fool or Foolish Wit? Merging Right and Left Coda: Enters the Fool, Exit All Others Notes Bibliography Index

Abstract: Interpersonal digital discourse (CMC and SMS), currently performed by wide circles of users, is characterized by deliberate misspelling and exhibits a strong influence of orality on the written text. This article examines the social legitimation of such non-standard oral discourse and its socio-discursive implications. I argue that this digital orality has strong links to postmodern and post-structural ideas. Oral-written text ostensibly reflects a melting of linguistic structures, resembling the changes that occurred in social structures in the late modern era. However, I demonstrate, using De Saussure’s basic structural perceptions in analyzing how this oral-written text is formed, that this deliberate misuse of language is quite structural and systematic in nature. What seems to be an anarchistic use of language or a rebellion against modernist rigid linguistic structures is highly performative in essence.

Abstract: The educational institutions that train archivists and records managers in Europe and North America have not engaged with the challenges of orality until very recently. As their counterparts in Africa are modelled on the earlier version of European and North American practice, they do not address the relationship between oral cultures and written records either. This article attempts to address this significant omission. It is grounded on evidence gathered during a fellowship at Chancellor College in Malawi and arises from the author’s work in preparing courses on archives and records management for a planned postgraduate degree. The methodological limitations imposed by the author’s lack of the appropriate African language skills are acknowledged. It is observed that the colonial archive has been subjected to vociferous criticism and that oral history programs have been advocated to fill perceived gaps. Yet, paradoxically the colonial archive is itself largely the product of a process of turning oral communications into written records. The nature of the processes and of the products is discussed. It is argued that these archives, like all archives, need to be interpreted as products of their historical and cultural setting. If users can read them ‘with the grain’, then they may be able to utilise them for a range of purposes never envisaged by the creators of the records.

Abstract: The Doloneia, Book 10 of the Iliad, takes place during the night and its events have been long interpreted as unheroic exploits of ambush and cunning. First the desperate Greek leader Agamemnon cannot sleep and initiates a long series of wake-up calls as he seeks new information and counsel. When the Greeks finally send out Odysseus and Diomedes, the two heroes encounter the Trojan Dolon who intends to spy on the Achaeans. They hunt him down, and in his fear of death, Dolon betrays the whereabouts of Rhesus and his Thracian troops who have arrived on scene late. Accordingly, the focus shifts from the endeavor to obtain new knowledge to the massacre of enemies and the retrieval of wondrous horses through trickery and violence.

Abstract: An Ear for an Eye: Greek Tragedy on Radio examines the dramaturgical principles involved in the adaptation of Greek tragedies for production as radio dramas by considering the classical dramatic form’s representational ability through purely oral means and the effects of dramaturgical interventions. The inherent orality of these tragedies and Aristotle’s suggested limitation of spectacle (opsis) appears to make them eminently suitable for radio, a medium in which the visual dimension of plays is relegated entirely to the imagination through the agency of sound. Utilizing productions from Canadian and British national radio (where classical adaptations are both culturally mandated and technically practical) from the height of radio’s golden age to the present, this study demonstrates how producers adapted to the unique formal properties of radio. The appendices include annotated, chronological lists of 154 CBC and BBC productions that were identified in the course of research, providing a significant resource for future investigators. The dissertation first examines the proximate forces which shaped radio dramaturgy and radio listeners. Situating the emergence of radio in the context of modernity, Chapter One elucidates how audiences responded to radio’s return to orality within a visually-oriented culture. Chapter Two then analyses the specific perceptual and imaginative activity of individuals, considering how audiences experience acoustic space. I describe how the audience’s central position in the reception of radio drama is integral to the completion of the dramatic frame of radio. The second part of this dissertation addresses radiophonic dramaturgy and issues in representation. In Chapter Three, the didactic and nationalistic impetus for the adaptation of classics as radio plays is considered and the principles of radio adaptation are outlined. The final two chapters examine the formal properties of productions in adaptation through case studies to illustrate where the play’s inherent orality allows for ease in adaptation or where greater dramaturgical intervention is required. Chapter Four examines the construction of dramatic figures, music and song, the use of paratheatrical materials, and narrative strategies for the representation of action, space, and time. Chapter Five examines productions where greater dramaturgical intervention and innovation is in evidence, including the manipulation of perspective (in the CBC’s 2001 Medea), the use of music to modernize setting (in the 1998 CBC-BBC co-production of The Trojan Women), the use of experimental montage (in the BBC’s 1976 Ag), the introduction of flashback sequences (in the CBC’s 1987 Antigone), and solutions to the problem of what I term “dramaturgical erasure” (the inadvertent removal of silent figures from the perspectival field).%%%%PhD

Abstract: and analytic thinking and oral expression. I will return more to these thoughts of cognitive thinking and orality, at different places throughout the chapter. These sacrifices, these goals, are largely driven by a common belief, or expectation, throughout the municipality that high school graduates will move on to

Abstract: Questions of definition and genre seem to be crucial elements in a great majority of the studies that deal with short story theory.1 Other essential issues for debate include short stories' experimental and borderline functions within the field of literature and/or their social environment.2 Also central to this point seems to be the subject of orality, which is often considered a predecessor to both traditional and modern short stories, closely linked to their actual development and change. This essay takes these ideas one step further and argues that in certain literary contexts letters may operate as if they were short stories, understood in Vitor Manuel de Aguiar e Suva's terms as a brief narration mainly characterized by a high concentration of time and space.4 Examples have been found in the work of three postcolonial authors from African Portuguese-speaking countries who opt for the conventional format of the letter to recount marginal experiences in an experimental way that is close to orality. These literary writings in letter form are the short story "Rosita ate morrer" (1971) by the Mozambican writer Luis Bernardo Honwana; the poem "Carta de um contratado" (1961) by Antonio Jacinto, from Angola; and a letter within the novel Chiquinho (1947) by Baltasar Lopes, from Cape Verde. I will show that, irrespective of the genre these letters adopt (narrative, lyric, etc.), they share a number of formal and functional conditions which in all the cases analyzed affect the reader in the same way the short story does. My argument supports Perm's claim that "the short story has genres of its own invention",5 as well as the theories of other critics who see no strong boundaries between the short story and other presumably different genres, such as the prose poem, the lyric,6 the essay,7 and the letter.8Postcolonial literature in Portuguese bears many of the characteristics that according to Mary Louise Pratt favor the production of short stories as an experimental form of narration.9 As was generally the case with the literatures produced in the former colonies, postcolonial literature in Portuguese was one of the subversive artistic responses practiced and developed in the hybrid societies of the new evolving nations during the process of decolonization, when authors determinedly used their powerful inherited oral tradition as intellectual weaponry in combination with their acquired written literary practice of Portuguese and Western influence. Hybridity is an important factor in postcolonial literatures, as it results from the capacity of the new emergent cultures to integrate social, political, cultural, ideological, and even idiosyncratic features from the two communities that are in contact. The discourse these societies produce thus reflects the existing tension between the autochthonous and dominant cultures and the need to overcome it. Pratt talks of these dual realities as "contact zones" and sees in them "the space of colonial encounters, the space in which peoples geographically and historically separated come into contact with each other and establish ongoing relations, usually involving conditions of coercion, radical inequality, and intractable conflict".10Bhabha interprets the hybrid reality of postcolonial nations as a more autonomous third space where "new sites are always being opened up". He notes that these new sites are independent of the national and colonial cultures even if they draw from them, and says that "if you keep referring those new sites to old principles, then you are not able to participate in them fully and productively and creatively".11 The emphasis Bhabha places on creativity and newness as characteristic of postcolonial hybrid cultures coincides with Pratt's remarks on the fact that in some parts of the world "the short story [is] being used to introduce new regions or groups into an established national literature, or into an emerging national literature in the process of decolonization". …

Abstract: Contents Preface Notes on Contributors Introduction Elizabeth Minchin Part I Poetry in Performance Chapter 1 The Audience Expects: Penelope and Odysseus Adrian Kelly Chapter 2 The Presentation of Song in Homer's Odyssey Deborah Beck Chapter 3 Comparative Perspectives on the Composition of the Homeric Simile Jonathon Ready Chapter 4 Composing Lines, Performing Acts: Clauses, Discourse Acts, and Melodic Units in a South Slavic Epic Song Anna Bonifazi and David F. Elmer Chapter 5 Works and Days as Performance Ruth Scodel Part II Literacy and Orality Chapter 6 Empowering the Sacred: The Function of the Sanskrit Text in a Contemporary Exposition of the Bhagavatapurana McComas Taylor Chapter 7 Prompts for Participation in Early Philosophical Texts James Henderson Collins II Chapter 8 Performing an Academic Talk: Proclus on Hesiod's Works and Days Patrizia Marzillo Chapter 9 The Criticism--and the Practice--of Literacy in the Ancient Philosophical Tradition Mathilde Cambron-Goulet Chapter 10 Reading Books, Talking Culture: The Performance of Paideia in Imperial Greek Literature Jeroen Lauwers Chapter 11 Eumolpus Poeta at Work: Rehearsed Spontaneity in the Satyricon Niall Slater

Abstract: Modern scholarship is aware of the profound and multifaceted impact of print culture on intellectual traditions, on the arts and sciences, and on the construction of social and political communities. On the basis of various studies it is also known that in an oral environment where no writing is used, traditions of knowledge and culture have distinctive features that change significantly once the oral traditions become literary traditions. This chapter gives a brief overview from which two temporal contours of Indian manuscript culture are derived: an earlier one, around the second or third century before CE; and a concluding one, more than two millennia later, in the first decades of the nineteenth century. An important and decisive parameter is the balance between (a) manuscript culture and (b) morality and memory culture. The temporal contours and the major parameters of competing means of textual transmission are also presented in the chapter. Keywords:literary traditions; manuscript culture; memory culture; orality culture

Abstract: Recent studies in oral tradition have shown that many societies produced oral and written literature simultaneously. Such a model for biblical literature proposes that a tale circulating by word of mouth only was virtually unknown, just as a tale circulating by text only was equally rare. Written texts circulated in spoken form by recitation long after they were committed to writing. And those recited forms spawned oral forms that were never in writing, or were not put in writing for some time afterwards. Ancient Near Eastern and ethnographic societies in similar situations also provide information on performance contexts for the oral component of this interplay.

Abstract: Scholarship has still not settled on an answer to the question as to whether Catherine could write. Nor has it asked a more important question, one that emerges when pondering women like Francesca who rejected writing as a demonic incursion into their quiet and submissive lives: how to account for Catherine's fascination with the transmission of her words - and at times with the possibility of producing texts by her own hand in the vernacular? What difference did literacy make to Catherine and her female contemporaries? The remarks presented in this chapter reflects how Catherine straddled oral and literate cultures, as she at once championed the force of the spoken word and sought to extend - and alter - the ephemeral moment of orality, when the word, once "it leaves the mouth, is no more". Keywords:Catherine; Francesca

Abstract: This article focuses on orality and performance in Sissako's work, with particular attention to Bamako (2006). I analyse the numerous monologues in the film, both scripted and unscripted, in relation to the film's overall narrative structure, which is multi-layered, digressive and occasionally circular. Drawing on theoretical works by scholars such as Melissa Thackway, Ruth Finnegan and Manthia Diawara, I argue that this formal experimentation with both western and African oral forms is carefully deployed, both to perform the work the film needs to do and to reflect on cinema as an art form. Bamako sparked discussion about the role of the World Bank—it was even screened within the walls of the Bank itself—but it also raises questions about oral communication in general and cinema in particular. The result is a profound interrogation of the performative role of cinema, both as an actor in international politics and as an agent of aesthetic change.

Abstract: The articles collected in this book were read as papers during a symposium held in Leiden in December 2008. This symposium focused on Theory and Practice of Knowledge Transfer and the papers discuss many aspects of this subject. Most articles deal with ancient Mesopotamia, but two of them look at Europe (classical antiquity and the Middle Ages) and one discusses a case from Mali. Most papers center around past and present relationships between orality and literacy in the societies discussed. An important aspect is the way knowledge was conveyed from master to student and the supposed transition from an oral tradition to a tradition that was predominantly based on writing. For this, much attention is paid to the many school texts that have been discovered in Mesopotamia and the peripheral areas to the west. Also, not every society made use of writing and at times special conditions seem to have fostered its adoption. Classical antiquity and medieval Europe provide valuable parallels for the data collected for Mesopotamia, as does a modern case from Africa. Finally, other aspects, such as scribal conventions and what we can learn from mistakes made by scribes, give us a better insight in how the scribes accomplished their task and how students acquired their knowledge.

Abstract: This article shows the final results of a research which the main problem is the lack of a thoughtful and systematic education on oral language in the context of the Colombian school (tenth and eleventh grade) In particular in a succinct way, tensions, openings and needs related to the orality as a language activity (concept), the configurations forms are exposed (events) and the uses given (functionality) in a sociocultural and school context For this purpose, two dimensions are adopted: the instituting of the orality as the carrier of new theoretical perspectives and application contexts- linked to the universalisation of the markets, democracy, scientific, technological and communication advances- along with the instituted dimension as the carrier of situations that remain and tend to perpetuate itself through a system of beliefs, meanings, and action rules, ie, conceptions derived from the history and evolution of societies Likewise, an analysis of the concepts around the processes of teacher training in oral language is presented, which is one of the eight disciplinary and didactic categories identified This characterisation and interpretation of certain conceptions derived from the discourse and didactic action theachers training course is the main contribution of the research and upholds the drawing up of the guidelines for the teachers’ updating and professional development aimed to the development of the students’ oral discursive competence

Abstract: Up to half of the world’s 6,500 languages spoken today may be extinct by the end of this century. Most of these endangered languages are oral speech forms, with little if any traditional written literature. If undocumented, these tongues—each representing a unique insight into human cognition and its most powerful defining feature, language—risk disappearing without trace. In this article, I discuss the unique spatial and temporal worlds occupied by communities whose languages are still principally oral. Drawing on examples from the Himalayas, I show how technology is effecting global linguistic diversity and the voices of these vanishing worlds.

Abstract: In different ways and with quite different outcomes Dunn, Mournet, Baum, and Burkett invoke practices associated with orality and writing in the ancient world to call into question all or some aspects of the Two Document Hypothesis and to build rationales for alternative source hypotheses. In a criticism of their appeals to ancient media this essay works out the significance of cultural practices associated with orality, writing, and memory for further work on the synoptic problem, especially as regards the uneven patterns of variation and agreement in the tradition.

Abstract: This research discusses communication and meaning in the context of orality, using a variety of theoretical perspectives, including memory theory, media and communication theory, and semiotics. Drawing on the work of Walter Ong, it provides new insight about the characteristics and limits of oral narration by assessing the memes, tropes, and phraseological units in the oral narrations of Armenian Genocide survivors. This research identifies a list of replicable forms of stories and oral devices that are used by the group in question; it then proposes that oral narration of non-fictional topics designed to convey historical or episodic information to others is intuitive, reactive, directed, fuzzy, and sticky. Concerns about the legitimacy and historical value of the narrations under review do not play a role in this research; instead, the focal point is the meaning embedded in the form and structure of the narrations under study.

Abstract: In this article, I present some considerations on the relationship between graphic realisation and orality in the specific framework of graffiti. These observations are based on a corpus of approximately 140 graffiti found in the city of Cagliari, the regional capital of Sardinia, Italy. More precisely, I focus on graphic deviations from written conventions (more or less established), in order to assert identity or to achieve a humorous effect. The sociolinguistic environment characterising the Sardinian area has an important influence on the production of these graffiti. In particular, the presence of two languages (Italian, the national language, and Sardinian, the minority language) plays an important role in the usages, underlying the linguistic phenomena observed. This regional language is the object of a valorisation policy at the regional level Regional Act 26/1997) and at the national level (National Law 482/1999). In 2006, the Regional Council of Sardinia has formalised the employment of a standard variety (together with Italian, which keeps its institutional status) for the publication of the regional administration’s official documents. Nonetheless, Italian is the most widespread language on the island and is used in both formal and informal contexts. These considerations may provide further elements to an understanding of the relationships between writing, oral practices, and social attitudes in bilingual contexts characterised by the coexistence of a highly standardised national language and a minority language without an official standard.