Esto no me conviene en absoluto.
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See how to enable JavaScript in your browser. Curated Articles. Short Writings: I. Table of Contents [[This essay is an expanded online version of an original printed version that appeared as Chapter 34 in The Oxford Handbook of Hellenic Studiesed. Boys-Stones, B. Graziosi, P. Vasunia Oxford: Oxford University Press The terms performance and textas a pair, cannot be considered the equivalent of another pair of terms, orality and literacy.
Still, there is what is genetic screening in pregnancy link between performance and oralitymatching the obvious link between text and literacy. In what follows, I propose to consider these matching links. The concept of orality stems from ethnographic descriptions of oral poetry in particular and of oral tradition in general What does read by 1 mean in texting Lord ; posthumous new ed.
Parry was a professor of ancient Greek, seeking new answers to the what does read by 1 mean in texting Homeric Question. The cumulative work of Parry and Lord is generally considered to be the single most successful solution to the Homeric Question, though the debate among Classicists continues concerning the contingencies of Homeric composition. The ultimate success of Parry and Lord, however, can best be measured by tracking the applications of their methods to a wide range of literatures and preliteratures beyond the original focus on ancient Greek oral poetry Mitchell and Nagy The idea is this: oral traditions formed the basis of literary traditions.
There what does read by 1 mean in texting been earlier formulations of this idea, but Parry and Lord were the first to perfect a systematic way of comparing the internal evidence of what does read by 1 mean in texting oral traditions, as observed in their fieldworkwith the internal evidence of literary traditions. It is primarily their methodology that we see reflected in the ongoing academic usage of such terms as orality and oral theory. On the pitfalls of using the term oral theorysee Nagy b For Parry and Lord, the histories of literary and oral traditions, of literatures what does read by 1 mean in texting preliteratures, were interrelated.
Accordingly, Lord would even speak of oral literature Lordespecially chapter 8. Further, Lord developed the comparative study of oral and literary traditions into a new branch of Comparative Literature Guillén ; Mitchell what is object oriented modeling in uml Nagy xvii.
Attested in a wide variety of societies, from prehistoric times all the way into the present, oral traditions can most broadly be described as verbal systems of expression combining performance and composition. Here we come to the element of performancewhich is clearly an aspect of oral traditions. But performance in and of itself does not define any oral tradition. Not all performance involves oral tradition, even if all oral tradition involves performance.
It is the relationship of performance to composition that leads to a definition of any given oral tradition. As we consider the many various oral traditions of the world, we find many variations in this relationship: besides the basic category of the performing composer who is at the same time the composing performerwe need to consider such additional categories as 1 the reperforming composer2 the recomposing performer3 the reperformed composerand even 4 the recomposed performer Nagy what do you say in an online dating message. The last two of these four categories are exemplified by the traditions of performing Homeric poetry in Athens during the classical period of the fifth century BCE.
In this classical period, Homeric poetry is static or fixed, not fluid. This fixity has led to the inference that this poetry had always been a written text. The term written texthowever, is too imprecise for describing what had been a process of gradual fixation in the ongoing tradition of performing Homeric poetry. This process can be described in terms of a progression from transcript to script.
By transcript I mean the broadest possible category of written text: a transcript can be a record of performance, even an aid for performance, but not the equivalent of performance Nagy b, As for scriptI mean a narrower category, where the written text is a prerequisite for performance Nagy b In considering such categories, we need to ask what happens when oral traditions become written traditions — or when oral traditions come into contact with pre-existing written traditions.
In the history of scholarship on this question, the work of Parry and Lord is pivotal. Their fieldwork on the living oral traditions of the former Yugoslavia gave them an opportunity to test the living interactions of oral and literary traditions. They observed that the prestige of writing as a technology, and of the culture of literacy that it fostered, tended to destabilize the culture of oral traditions — in the historical context they were studying.
What they observed, however, was strictly a point of comparison with other possible test cases, not some kind of universalizing formulation Mitchell and Nagy xiii. For example, Lord himself makes it clear in his later work that there exist many cultures where literary traditions do not cause the destabilization of oral traditions and can even coexist with them Lord ; see also especially Lord what are the three sure things in life In general, the textualization or Verschriftung of any given oral tradition needs to be distinguished from Verschriftlichung — that is, from the evolution of any given culture of literacy, any given Schriftlichkeit Oesterreicher For Parry and Lord, the opposition of literacy and orality — of Schriftlichkeit and Mündlichkeit — is a cultural what does read by 1 mean in texting, not a universal.
Moreover, their fieldwork experiments led them to think of literacy and orality as cognitive variables as well Mitchell and Nagy xiv. And yet, the only universal distinction between oral and literary traditions is the historical anteriority of the first to the second. The technology of writing has what does read by 1 mean in texting to do with whether there can or cannot be poetics or rhetoric.
What is correlation coefficient in regression analysis and rhetoric can exist without writing. It is needless to posit a dichotomy between orality and text in the history of Greek civilization. But the question remains: is there a dichotomy between performance and text?
To find an answer, we must consider how the technology of writing relates to the production of texts. Further, we must consider the rationale behind the production of texts. As we are about to see, the text was meant not only for reading as we understand the phenomenon of reading. It was meant also for performance. This formulation can be justified on the basis of observations made by Aristotle in his Poetics concerning the reading of texts.
As we will see presently, these observations show that the ancient Greeks, including Aristotle himself, regarded reading as a reenactment of live speech. Such a sense of reenactment was driven by their writing system. By hindsight, we can say he is demonstrating a remarkably accurate linguistic understanding of the sound system or phonology of the Greek language as spoken in his time, the fourth century BCE. Just as remarkable is the phonological accuracy of the writing system inherited by Aristotle and his contemporaries in reproducing the language that went into the texts they produced.
That system is what we know as the Greek alphabet, which had been derived many centuries earlier from the Phoenician alphabet. The ancient Greek text, as produced by way of alphabetic writing, was a most accurate sound-recording of the ancient Greek language. From what does read by 1 mean in texting very earliest times, the Greek alphabet excelled in phonological accuracy.
The same cannot be said about the earlier Phoenician alphabet from which it was borrowed. The writing system of the Phoenicians, in the course of its evolution, had dispensed with the representation of vowels. We see the same principle in the writing system of Hebrew, a language closely related to Phoenician. It was a loss of phonological accuracy for the alphabets of these two Semitic languages to dispense with vowels, but there was a compensatory gain in morphological accuracy.
So the morphological integrity of the individual word could be maintained by writing only the consonants in the Semitic alphabets — provided that each word was divided from the next. By contrast, in the process of borrowing the writing system of the Phoenicians, the writing system of the Greeks developed a way to represent vowels. The historical consequences are vast. From another perspective, it is simply a contingency — or, in terms of the Greek language, a kairossomething that happens at the right time and at the right place.
In this case, what happened is that certain consonants as pronounced in Phoenician were simply not heard in Greek. In early Greek alphabetic writing, the practice of dividing words from each other by way of blank spaces or special marks is well attested, as we see from inscriptions dating from before the classical period of the fifth century BCE.
But this practice, parallel to what we find in texts written in Semitic alphabets, became obsolescent with the advent of the classical period. It was what are the easiest things to draw by the practice of scriptio continuawhich is a mode of writing that runs words together, and this practice persisted all the way through the ninth and tenth centuries CE.
From then on we see a radical shift toward the newer practice of dividing the words from each other by way of blank spaces, and this newer practice continues to this day in the editing of classical texts. So the question is, why was scriptio continua a basic feature of ancient Greek literacy for a period that covers well over a thousand years? We can pick out the words more readily when we see them separated from each other by blank spaces. I use here the metaphor of picking out the words because it applies to the cognitive process of reading in the ancient world as well.
The ancient Greek reader, while reading out loudhas to pick out the words. Granted, the reader also has to pick out the overall meaning from the continuous stream of letters that are being read, but the fact is that the basic unit of meaning for readers of Greek in ancient as well as in modern times is still the word. So what does correlation and causation mean now the question deepens: why were words run together in scriptio continua if they impeded the cognitive flow of reading?
The answer is simple: scriptio continua promoted the phonological realism of continuity in speaking or singing or reciting in ways that people really spoke and sang and recited. Stopping at the wrong place between words could impede the flow, the continuity. Stopping could only be allowed at the right place, that is, at the end of a word that coincides with what does read by 1 mean in texting end of a phrase or a clause, with the end of a colon or a verse.
That would be phonologically right. Stopping elsewhere would be phonologically wrong, ruining the rhythmic and melodic contour of the phrasing. The systematization of when to stop and when not to stop between words is evident in some surviving ancient texts. We see a striking illustration in a set of papyri dating from the second century CE featuring the songs of Bacchylides: the formatting of these texts shows most clearly that scriptio continua is being coordinated with the placements of line-endings that correspond to the ends of cola Nagy Even if the process of reading such texts in scriptio continua was cognitively more difficult than the process of reading the more recent scriptio discontinua as simulated in the printed pages of modern editions, the older way of formatting offered the advantage of reading something what does read by 1 mean in texting was far closer to the reality of live performance.
Viewed in this light, the device of scriptio continua can be counted as yet another aspect of the overall accuracy and precision of the Greek writing system in representing the reality of Greek speech and song. This term silent reading refers to what does read by 1 mean in texting way of reading that dispenses with the ancient practice of reading out loud. There has been a long debate over the validity of such a dichotomy, without a clear outcome Gavrilov That is because this sequence of letters serially turning into sounds is given meaning by the serial sounding out of words that take shape as the sequence continues, helping the reader keep moving ahead to the finish.
It is clear that Aristotle really means reading out loud here, not silent reading Halliwell A combination of two linked passages in the Poetics helps clarify what Aristotle means here. From these two linked passages we see that Aristotle accepts the idea that hearing is essential what does read by 1 mean in texting for the reading of tragedy, not only for the performance of what does read by 1 mean in texting in theater. And what is being heard is obviously what is being read out loud.
As Aristotle says, visualization is a necessity for tragedy — even when this medium is simply being read out loud instead of being formally performed in theater. And what he is saying here is not just theory. More than that, it is an institutional reality of theater.
Esto no me conviene en absoluto.