Traditional Narrative

Le conte du Petit Chaperon rouge a connu, on le sait, de nombreuses variantes. Après un rappel de celles-ci, l'auteur s'attache plus précisément à mettre en parallèle le traitement de ce conte dans la version de Perrault et celle de Grimm. Il considère les interprétations psychanalytiques de Bettelheim pour ensuite aborder la façon dont Ferron a systématiquement inversé les valeurs de ce conte.

Research in fields as diverse as language acquisition, speech pathology and corpus linguistics has demonstrated the central role that formulaic language plays in human communication and cognition (Wray 2013).Once sidelined in theoretical linguistics as a peripheral concern (Wray 2002: 13), formulas are now recognised as pervasive and natural, and key to our understanding of human language (Bybee 2006: 712-713). Some registers, especially those that are repetitive and constrained in some way, seem to exhibit distinct types and a greater proportion of formulas than others. Scottish Gaelic traditional narrative is one such variety.

My research on the nature of Scottish Gaelic performance culture has focused mainly around seanchas or discourse on tradition and the semiotics of words contained in such discourse (Falzett 2007-2010; 2010; 2012).  However, as John Shaw has argued, much can be learned by applying such contextual knowledge from the field to the analysis of verbal art forms (i.e. songs, stories, etc.) themselves: “Ideally, informants’ perceptions may eventually be correlated with analysis of texts—permitted variants and other materials—to form a coherent description” (1992/1993: 40). Therefore, this paper hopes to provide insights regarding the dynamic relationships between language and music in varied performative contexts of Scottish Gaelic cultural expression. This will be done by examining the role of ‘genre reinforcement’ (Shaw 1992/3: 38-40) in two Scottish Gaelic versions of ATU  503 (The Gifts of the Little People): one from Kate Dix of Berneray, Uist and the other from Donald (Danny) Cameron of Malden, Massachusetts, who grew up in Beaver Meadow, Antigonish County on the Nova Scotia mainland. In turn, the association of these two versions to the dance-tune ‘The Bob of Fettercairn’ and a related port-à-beul  version of it, beginning with the phrase “Cuir dhachaidh e,” will form the basis of our examination here.

The second part of this paper looks more abstractly at the symbolic nature of the narrative and examines the language contained within various Scottish Gaelic recitations of it. The Gifts of the Little People is well attested throughout the Gaelic-speaking regions of Scotland, Ireland and Nova Scotia. Lillis Ó Laoire’s (2009) groundbreaking discussions on the semiotic significance of this popular narrative have elucidated our understanding of its relevance to the inner mechanics of Gaelic aesthetic criteria and modes of transmission. Following Ó Laoire’s approach, the narrative’s aesthetic symbolism will be further explored through the lenses of emerging theoretical trends in the study of metaphor and other tropes from various scholarly disciplines, including cognitive linguistics and anthropology. This will incorporate a discussion concerning embodied understandings of abstract thought as demonstrated by the seemingly intangible nature of the aural and its ability to be made sense of through its associations with more concrete forms of sensory-motor experience, including vision, motion, and taste.

Antología de la narrativa tradicional de Puebla y Tlaxcala. Cuentos en lengua náhuatl con su traducción al español.

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This article offers a review of the main contributions to fieldwork, documentation and other related topics on the Galician oral tradition narrations, from the earliest attested examples to the present.

RESUMEN: En este artículo se ofrece una aproximación crítica a las principales labores de documentación y estudio de las narraciones orales de Galicia desde los primeros trabajos de campo hasta la actualidad.

Stories and images of other cultures have always been a catch for western entertainment companies: considered as a part of a "primitive", unlearned worldview, myths and traditional narratives of many people are often exploited with no consideration of their cultural role and value. The article takes into consideration the example of a famous cartoon movie to show the attitude and the lack of cultural rispect which lay under operations of this kind.

Abstract : The ‘Return Song’ theme (ATU 974 ‘The Homecoming Husband’) is most widely known from its oldest recorded variant: Homer’s Odyssey. Its numerous variants are widely distributed throughout the cultures of Europe and central/western Asia. From the mid-20th century, one view advanced is that the type is inherited from a common Indo-European tradition. However, according to Viktor Zhirmunsky’s (1966) comprehensive comparative study, the story more likely originated in Central Asia near the Altai. In his analysis Zhirmunsky identifies two main varieties: an older ‘heroic’ version in Asia and ancient Greece with mythological content; and a more recent ‘romantic’ version that characterises medieval and modern European variants. This paper aims to identify and interpret additional ‘heroic’ variants appearing in northwestern Europe and attempts to place them in a wider comparative context. Brief comparative summaries of the Odyssey and the Central Asian epic Alpamysh are provided, and a re-examination of the Scandinavian variants from the Middle Ages brings to light ‘heroic’ versions from Norse saga literature heretofore not considered by comparatists. Further west, from its content and structure a Gaelic hero tale, with probable origins in Ireland, is revealed to be an additional example of the ‘heroic’ version in Europe. For this tale, influences from the literature of the Odyssey, as well as transmission through Norse-Gaelic contacts are shown to be unlikely. Interestingly, the Gaelic hero tale contains structural features and mythological content present
in the Central Asian epic but absent from the Greek Odyssey. We conclude with a discussion of what the evidence may reveal concerning the geographical and historical questions raised by the presence of the older ‘heroic’ variants in northwestern Europe.

Le thème de la « Chanson du Retour » (ATU 974 « The Homecoming Husband ») est principalement connu par sa plus ancienne variante enregistrée : l'Odyssée d'Homère. Ses nombreuses variantes sont largement répandues dans les cultures d'Europe et d'Asie centrale/ occidentale. À partir du milieu du xx e siècle, une opinion avancée est que le type est hérité d'une tradition indo-européenne commune. Cependant, selon l'étude comparative complète de Viktor Zhirmunsky (1966), l'histoire est plus probablement originaire d'Asie centrale, près de l'Altaï. Dans son analyse, Zhirmunsky identifie deux variantes principales : une version « héroïque » plus ancienne en Asie et en Grèce antique avec un contenu mythologique ; et une version plus récente « romantique » qui caractérise les variantes européennes médiévales et modernes. Cet article vise à identifier et à interpréter d'autres variantes « héroïques » apparaissant dans le nord-ouest de l'Europe, et tente de les placer dans un contexte comparatif plus large. De brefs résumés comparatifs de l'Odyssée et de l'épopée d'Asie centrale d'Alpamysh sont fournis, et un réexamen des variantes scandinaves du Moyen Âge met en lumière des versions « héroïques » au sein des saga noroises, jusqu'alors non considérées par les comparatistes. Plus à l'ouest, de par son contenu et sa structure, un conte héroïque gaélique, avec de probables origines irlandaises, se révèle être un exemple supplémentaire de la version «héroïque» en Europe. Pour ce conte, l'influence littéraire de l'Odyssée, ainsi que la transmission par le biais de contacts norrois-gaéliques sont peu probables. Fait intéressant, le conte héroïque gaélique contient des caractéristiques structurelles et un contenu mythologique présents dans l'épopée d'Asie centrale mais absents de l'Odyssée grecque. Nous concluons par une discussion sur ce que ces faits peuvent révéler concernant les questions géographiques et historiques soulevées par la présence des variantes «héroïques» plus anciennes dans le nord-ouest de l'Europe.