Oral Traditions E-Journal

Memory Recitations!!

2005-04-26T14:31:00.000-07:00

Another amazing perfomance of my fellows as they perfomed their memory feats.
It was so great to see the wide range of interests, poems, and ecclectic lists: Juliette's unique and descriptive list of her favorite foods; Jennie's well-wishing performance of Dr. Seuss; Hannah's informative recount of religious sects; and Josh's colorful account of a prisoner's sex life....all very stimulating and engaging. It seems that with all of our public performances we are not only exposing and sharing bits of our own personalities, but some of us are also becoming more comfortable and skilled as public speakers and entertainers. Much gratitude should be given to both Francis Yates, Walter Ong, Sean Kane, and Dr. Sexson for providing us with the opportunity to learn not only about the ongoing debate between orality and literacy, but also for providing for the opportunity to learn a great deal about ourselves and each other...

Thanks everyone for the great and educational experience of Oral Traditions 2005!

March 31 - Review for Test # 2

2005-04-01T10:53:00.000-08:00

1. What is it about Nikole that makes her every guy's wish? She likes to fish.
2. Wayne is the brain, we si-i-ing of Wayne. Kristi's poem.
3. What model did Tracy use for repetition? Leviticus.
4. Valerie swears the fish was "this big" and used the Odyssey as a model.
5. Wayne used the pantoum structure as an inspiration. It is a structure that ensures that at the poem's conslusion every line has been repeated twice.
6. What, according to Aristotle, is the difference between an epic and a tragedy? Epics- episodic, redundant, too copious. Tragedy- coherently unified, short and organic with a single focus.
7. Ong p144-148: The reigning perfect peice of literature for the 19th and 20th centuries is the Detective Story. .
8. Ong p139: Discussion of Freytag's pyramid.
9. What word could one use to sum up Finnegans Wake? Either mememorme, or, remember.
10. The 7 liberal arts: GGRAMAD, Grammar, Geometry, Rhetoric, Arithmatic, Music, Astronomy, Dialectic.
11. The words 'in medias res' mean in the middle of things.
12. What epithet of Homer's which refers to women is used most often? "of the lovely cheeks"
13. "Amathia" means forgetting, to forget everything that is important. To be truly sinful is to be forgetful.
14. Ong p96: How does one authenticate a written document if one has just entered a literate/written culture? attach a symbolic object such as a sword.
15. Ong p126: The issue of typographic space as in Easter Wings. The poem in this case takes on the shape of wings on the page.
16. Ong Chapter 4 is titled "Writing Resturctures Consciousness".
17. Ong p103: Corrections- Oral performers do not admit mistakes or draw attention to them.
18. Ong p103: Plato wrote in dialogue form, one person talking to another, yet, the dialogues are NOT transcriptions of actual discussions.
19. Ong p104: Writing introduces introspectivity into our culture. With it, we became more interior and isolated.
20. Ong p123: The book is a thing, not an utterance.
21. Ong p141: lengthy and climactic plot comes into being only with writing. pg 142: there is an incompatibility between the linear plot and oral memory. Print gives the need for closure.
22. Ong, p145: Which gives us the firmest sense of "closure" : (a) print (b) writing (c) oral performance (d) film
23. Ong p146: Who else, besides Salman Rushdie, felt the need to declaim the written novel in order to reclaim the feel for the old orla narrator's world?
24. Ong p147: According to Corinthians, the spirit gives life, but the letter ________.
25. Ong p148: The "round" character is valued most by which tradition, the oral or the written?
26. Overwhelmingly, the symbols of Camillo's theatre tend to be from: (a) classical myth and the zodiad; (b) the Bible (c) the underworld images of the Middle Ages (d) Virgil's Aeneid.
27. Read carefully the last paragraph of page 172 in Art of Memory and be prepared to answer questions about what a "Renaissance plan of the psyche" might mean.
28. Lull: be able to answer questions about Ramon Lull and his memory system as it relates to (a) neoplatonism (b) the abstract vs. images (c) movement (d) the Cabala (Kaballah).
Google the term Cabala for more information.

Oral Epic Poems

2005-03-29T12:09:00.000-08:00

WOW!!!!

The poetic creations of my fellow classmates completely stunned me. They were so impressive, especially the ones that were able to perform theirs from memory. Being a non-musical person myself, I am always amazed by those who can write songs or write their own lyrics for old songs. The performances of Kristi, Jerimiah, Courtney, and Josh were fantastic. I also enjoyed Zac's Irish-like ballad for the "fire-haired lass" and Callan's classic ode to his fair Juliet. Many of the poems that weren't musical had a certain rythmic quality about them that was so telling of the inherent qualities of oral performances. The theatrical elements of some of them were also very impressive. For example Hana's dramatic retelling of Heather's encounters with "creeping and crawling critters" and Valerie's epic tale of Wes' fishing adventure. The best part of being a member of the audience was being exposed to the talent and accomplishments of my fellow classmates. Not only is every unique, but we are now all been memorialized. So Cool!!

A Poem for Kelly Stoll

2005-03-28T10:19:00.000-08:00

Sing to me, sing through me,
Let us hear a gentle song.
Dear muse, sweet muse,
Tell us a tell of the lovely and fair
So that we may rest in slumber.

From the east a gentle wind once blew
Into the quiet home of a loving two.
A child was born, a beautiful babe
With sparkling eyes of cornflower blue.

From the tops of the hills of old West Virginia
The proud father stood tall and shouted, "Hoorah!
A princess has come, and soon she'll become
Our fair and lovely Queen."

But before her coronation could come to pass,
She had to grow, to blossom, with much to surpass.

Like the seeds of a dandelion her journeys went far
From Virginia to Massachussets and on to Connecticut
Where finally her proud father screamed "This is patheticut!
The cornflower blue diamonds of my young babe's eyes
never will shine nor dazzle under these dull gray skies."

So he packed up his treasures into suitcases and trains
And set out for the West where it promised great things:
The air always fresh and the water crystal clear,
The spaces wide open and the animals not too near.

Across the barren and empty, dry, dusty plains,
And into the buffered yet rocky mountain terraine.
Untill finally this fair flower and her dear family paused
And settled in Missoula where it praised their sweet cause.

To school went this delicate and rare tiny flower,
Where a destiny slowly began to unfold for her
With her diamond like eyes of cornflower blue,
She continued to blossom, mature, Oh, how she grew!

Finally the day came for her to came her reign.
And her proud father again cried out "Hoorah!"

In her royal blue dress of satin and lace
She flashed her eyes of cornflower blue
And wowed those poor judges right of their shoes.

With her dazzling white pearls she smiled their favor
And blinded them with the beauty of her ravishing curls
The ballots were cast to support the old claim
That Kelly was more lovely than all of the girls.

With little competition those dull ladies faded
And the fair and lovely Kelly was granted her fame
Complete with a title, a sash, and a crown
Miss Western Montana Cowgirl, a queen had been found.

On stallions and mares she entered corrals,
Waving and flaunting those infamous jewels.
To the faithful and jubilent she would shout and grin,
"Hello, Welcome, Let the fun and games begin!"

She escorted the cows, the sheep, and the bulls
Out from the limelight where they had been culled.
She often would dance in the arms of new beaus,
Those courageous young heroes of the day's rodeo.

She has since then retired her sash and her crown
But her diamonds and pearls continue to shine on.
Just gaze at her lovely cornflower blue eyes
And return a smile when she flashes one by.

Now off to a peaceful slumber for you.
I promise sweet dreams of glittering stars
That twinkle and glimmer as gentle clues
Of the fair and lovely queen with cornflower blues.

Salman Rushdie!!

2005-03-08T12:05:00.000-08:00

Today the class discussed Salman Rushdie, his public performance, and his master class. I was very grateful that we covered all three topics for those of us who were unable to attend. Dr. Sexson said it was a "compelling presentation" because Rushdie dipped into the basket of oral traditions. There was a certain rythym or cadence to his speaking. Rushdie discussed the differences between the oral storyteller and the novelist. The novelist is restrained by the confinements of literature. For example, the author must follow the form and structure of written texts, whereas the oral storyteller can create and shape a more fluid story. Much of Rushdie's success may be attributed to his ability to balance the two and reconcile such differences. Indeed one of the characters within his novel must constantly keep him on a linear track. Dr. Sexson related this linear organization of literature to Aristotle, and reminded us how very little affection Aristotle had for oral traditions. He detested the spilling over, messy, unstructured form of oral narratives and prized the linear, box-like organization of rhetoric and books.

The oral storyteller is forever conscious of the audience. He is always observing the feedback fromt the audience so as to prevent the audience from leaving or falling asleep. The oral narrator is in fact a juggler. He must manipulate many different parts of story without every dropping one or the other. There is a need to wrap things up, cohere all elements, as well as entertain. He must also constantly adapting and adjusting his presentation which often requires great skills in reassembly and reorganization.

Salman Rushdie went into great detail and explanation about the importance of freedom of speech. As an author and as an individual he has been extremely outspoken about the problems and limitations of religion, especially when it interferes with politics. He articulates a difference between religion and faith with his statement, "I believe in the their stories, and there are many stories." This statement aims to free people up from literal interpretations of religious documents. As stories they are more complicated and more revealing about human nature and the way in which people should be spiritual. Great problems arise when people forget that they are stories and think that they are historical facts. In this way, religions become boxed up and confining entities, when in reality there are many perspectives and many oppourtunities. His comparison of "boxed up" religions resonates of Aristotle's obessesion with neat and tidy organization of information and thoughts. History has proven that religion itself is a multi-faceted, diverse, messy, and unpredictable institution.

Dr. Sexson was also fascinated with the fact that Salman Rushdie referred to many of the same books that were part of the Top 100 titles on MSU bookmark. Rushdie referred to these important texts as the important stories, and that everyone could get closer to the "root, source, origen" of the human experience. Rushdie made repeated references to The Marriage of Cadmus and Harmony, Alice in Wonderland, Shakespeare, the Bible, the Qu'ran, Homer, and the Orestae Trilogy.

Jeremy had to opportunity to ask Salman Rushdie a question. He asked, "What reccomendation would you give to aspiring writers?"
Rushdie responded, "Endure and Perservere"

100 Book Titles Memory Presentations

2005-03-05T12:03:00.000-08:00

Congratulations!!!
Everyone was able to demonstrate their new skill and fabulous art of memory. Although it was a bit tedious to listen to the same 100 titles more than 30 times, it was fascinating to watch the process and results of such an accomplishment. I found the discussion afterwards on how other students created their memory palaces very interesting and revealing. Thanks Jennie for walking us through your home and a big thanks to Brian J. for giving us all a visual and creative represention of your memory palace.

February 17- Review for Test #`1

2005-02-18T12:02:00.000-08:00

1. Singing is referred to as a text (Sing in me, Muse . . .)
2. How are words defined in an oral culture?Gestures, vocal inflections, facial expressions, and the entire human existential setting in which the real, spoken word always occurs.
3. What activities put us in contest with nature?Agriculture – to build a fence around a field or pasture, to tether an animal, to harbor seeds and plant them at just the right time – these activities put humanity in a state of contest with nature.
4. Chirographic – All evidence of writing
5. Typographic – Writing with print Oral-Chirographic-Typographic-Electronic
6. Loci – Latin for ‘place’, where you store memory palace images
7. Anima – Latin for ‘soul/sprit’
8. Rhapsode – Greek for ‘weave’
9. Text – to ‘weave’, pulling strands together
10. Gesang ist dasein – ‘song is existence’
11. Paratactic – additive/ Syntactic – subordinate
12. White berries = practical wisdom
13. Primary vs. 2ndary Orality (literary residue)
14. There is no such thing as a story, only the idea of a story – it only exists while being told
15. “How do you know what you think until you see what you say?” W.H. Auden
16. Agon – Greek for ‘battle’, having to do with Ong’s flyting
17. Mnemosyne – mother of muses
18. Epithet’s importance as a memory device and grab-bag for rhyming possibilities
19. Milman Perry – within a text there are complexes, themes, and formulas
20. What virtue is memory a part of? Prudence
21. Tabula Rossa, ‘blank slate’ – as we age more of our knowledge is erased
22. Aristotilian – induction/ Platonic – recollection
23. Mnemotechnics – Ram’s testicles
24. Define and give an example of flyting
25. Natural and Artificial memory

February 15- Lecture

2005-02-16T12:01:00.000-08:00

Finnegans Wake - A book rooted in the oral culture, where tradition is disquised in the expectations and presumptions of chirographic world.

Continuation of Ong's canononical features of Oral Traditions
#5 - close to the lifeworld: oral people are less analytical on abstractions, but they remain extremely analytical to that which is close the the lifeworld; just because their vocabulary, descriptions, and understandings of those elements that are important to their culture and community are not metaphorical, imaginative, or rhetorical, these people themselves are not primative, savage, studid, or non-analytical.
#6 - homeostatic: rooted in the present; oral narratives are relevant to the present problems and situations of the contemporary world, they are not preoccupied with preserving history, but rather maintaining relevance; obsolete, unneccesary, irrelevent pieces of information.

Differences between the tales of:
Luria - researched oral communities and discovered that rather than think abstractly or form categories in order to organize information, members of that community engaged in "situational thinking" where questions were answered according to what was pratical or specific to an event or action
Grimm Brothers - records the stories of the house-fraus, becoming part of the stories, one should also consider the fact that these stories are transcriptions, that is written documents of the oral tradition
Hans Christian Anderson - translated oral folktales into literary form

bards, singers, and poets are the center of the story as the narrator, but they do so at the service of the community for which they are performing. The poet directly reacts and responds to the audience.

SOLISISTIC - related to self, you alone exist

oral narratives are not merely repetitions of the same story over and over again, but rather they are the improvisations of a live performer

Ong p74: hygemony of the phonocentric tradition takes an exception to Plato in that we privilege speech over writing and create a binary opposition. this conflicting duality needs to be overturned; writing is not superior to speech

Kane p19: the villianification of agriculture; separation between animals and humans; domestication, heirarchy, subjegation, dominance, and manipulation of nature; man assumes dominion over land and its creatures

The book is death- 'the letter killeth, but the spirit giveth life"
Antigone - "Law is in the breath, the spirit"
Creon - "The Law is written"
Caliban - representative of the oral world and its tradition, he speaks the language of the land
Prospero - representative of the written world and its tradition, knowledge of words and texts

Kane p21: the rise of the class system; property, ownership, wealth, hording of resources; 3 classes - priests (Odin), farmers (Frey), and warriors (Thor).
Kane p40: preservation of the mystery
Kane p 43: the reduction of myth to a mere antecdote, only a story complete with characters and superstitions

Finnegans Wake
"Every telling has a tale, and that's the he and the she of it"
recreation of the "bedroom of the dreamer"

February 10-Lecture

2005-02-11T16:55:00.000-08:00

AGONSTIC- referring to combat, battle, conflit, opposition, struggle
associated with the AGONY of losing a battle

"Interiorized writing is an act of disengagement, and promotes isolation" --Ong

FLYTING - verbal agression, verbal battle

A literate person is always hesitant to give specific examples orally. Instead they say such things as "like that" or "oh, you know, just terrible." A literate person is reluctant to offer gruesome or vivid details, and so generic words are used as a polite subsitute. This behavior contrast with that of flyting because the terms of abuse in verbal attacks need to be extreme and colorful. Only then when the other can outperform the expressions of another, with the other concede. Dr. Sexson suggests that we must reprogram ouselves so that we can appreciate the techniques of artistry of oral traditons.

SUBORDINATE -
PARATACTIC -
SYNTACTIC -

Gary Snider suggests that a culture that has been reading for a very long time, in order to forget may unfortunately get bored. We are robbed of a profound experience of listening and the power of hearing words spoken aloud.

Passages from Kane:
p45: outline of the terms and definitions related to mythelling, reference points of the landscape and part of the myth itself become sacred; the patterns found in myths allude to the human process of defining what is sacred.
p40: the argument that is better not to know the WHY and HOW of everything; mysteries themselves become part of the initiations process; knowledge is accessed through experience; secrets are preserved so that the mythic rituals survive; relevence of the process itself, it is shown, spoken, done, re-enacted; "mustes"
p38: the natural remedies that are embedded withing mythic tales; advice and knowledge are transferred through mythical narratives and figures; Nanabozo and his humorous tale on why not to eat white berries.

"Live a life that is not a life of quiet desperations, but rather live a life in an oral community rich in religious and spirtitual acts" --John Powis, a Welsch writer

p38.

February 8-Lecture

2005-02-10T16:57:00.000-08:00

Today Dr. Sexson discussed memory as a narrative and related this idea to Shakespeare's Globe Theatre. There is an ongoing debate about whether or not the construction of this theatre is a sort of Memory Palace. The way the theatre is arranged indicates that Shakespeare was aware of Guilio Camillo's idea that a specific construction could replicate or assist the human memory. Dr. Sexson again stated that to make things memorable they should be grotesque, spectacular, graphic, violent, or beautiful. Such visual images guarantee permanence in one's mind. We should seek to access memory, for it provides access to the soul. The soul is immortal and in gaining access to the soul, we may remember what has been forgotten. Dr. Sexson went on to discuss Ong's claim that critical thinking is based on the presumptions of a literate culture. He discussed the geneaological obesssions of Wayne's mother and argued that such an obssession is related to her need to know her self and her community. It allows her to know where she came from. Dr. Sexson also mentioned his article "Re-membering Finnegan" and linked it to how the writings of James Joyce are like cave drawings because they can be understood as memory devices. He supported this claim by describing the very physical experience of the young initiates crawling underground to witness the visual images drawn on the wall. By doing so the young men became part of the larger picture of the world experience, and so, too, do the readers of Joyce's texts. Gods were often associated with hieroglyphics, sacred pictures and icons. Heros were united with the aristocracy and poetry. The man was linked to utilitarian uses of writing such as commerce/trade transactions, whereas chaos was associated with slang, vulgar, and common language.

Passages from Ong that were discussed:
p75: iconistic residue, idolatry where the image is so powerful it becomes something to be worshipped.
p36: formulaic processing of experience, related to TS Eliot's "Third Quartet", '"we had percieved the experience but missed the meaning"
p43: apprenticeship was a process of watching and learning, very little speaking involved
p15: literacy consumes orality, it is destructive and promotes cataclysmic changes

"secondary orality"- functioning with very little requirements to engage with literary texts; not a return, but an aquisition, a stage after working through the literary world.

p78 Ong + p 38 Yates: Plato's dialogue "Phadreus"
1. its inhuman and manufactured;
2. writing destroys memory
3. unresponsive, no interaction, one sided
4. unable to defend itself

"Every technology is a mixed blessing." -John Updike

Luddite- one who is against technology and claims that it dehumanizes the human experience
obscene- "off scene" old stage direction

Spiteful Flyting

2005-02-10T16:53:00.000-08:00

In a typical case of partner relationships, my boyfriend and I have engaged in spiteful flyting. Because we both have studied other languages our most humorous flyting moments have been while practicing new vocabulary...

Du bist ein Kartoffle! (he, he, he)
Ein Kartoffle, eh? Da, du bist ein Hund! Hah
Ja, ich bin ein hund, donc du bist eine Toilette!
Eine Toilette, eine Toilette... uh, uh, ummm. How can you beat being called a toilette? A toilette is one of the lowest comparisons to human life, isn't it? Not quite....

Instead of calling me a nag or a rag, my boyfriend has coined two key terms that he finds both hilarious and effective in shuting me up quick...

Bitch Hog! and Bloody Tampon!

Although crude, insulting, and downright vulgar, I can't supress a smile when he throws one of these colorful insults my way, for they are so original and vivid. They have the power to stop me dead in my tracks; however, I would reccomend severe caution if using these terms on others. One never knows if the reciever will send something flyting or flying in your direction. It would be best to be better prepared than me who can never top such insults. Whether it be because I am too busy laughing or crying, it depends.

My Memory Palace, A Gift from Frances Yates

2005-02-04T11:47:00.000-08:00

After the impressive perfomance of Justin's recitation of the 100 book titles I was convinced that I needed a new strategy for memorizing. However, I felt a bit unsure of my creative abilities in creating such a complex narrative. Dr. Sexson once again encouraged us all to employ Yates' technique of creating our own memory palace by remembering our childhood home and assigning specific loci for each title. Determined to master the task I heeded to his suggestion. I had already invested a few intermittent hours memorizing the list using my old strategies, but had yet to complete the entire list and would easily become confused. For example, after memorizing the first twenty with little effort, I then attempted to memorize significant numbers to serve as guidepost: #30, Absolam! Absolam; #40, Heart of Darkness; #50, The Manuscript found at Saragossa; etc. After that I tried to chunk titles together 31-39, 41-49...But I soon got lost in whether or not the forties were the fifties or I mixed the sixties with the eighties...AAARRRRGGGG!

So with much frustration and filled with inspiration from Justin's feat, I decided to give the memory palace a shot. And it worked!!! After one hour of assiging titles to objects, doors, and places found within my parent's home I was able to rattle off the 100 titles with ease and confidence. The washer and dryer are James Joyce's Ulysses and Dante's Divine Comedy. Oscar Wilde and his famous play are represented by the hallway closet. Finnegan's Wake rests upon the dining room table as if a coffin has been placed upon it for family and friends to pay their last respects. What an amazing experience to learn of such a skill and reap its rewards so quickly. Frances Yates as indeed given me an invaluable gift that I will use forever!!!

Geneaological Obsessions

2005-02-04T11:33:00.000-08:00

I think that people become obsessed with their geneaology because it connects them with their past. Although people don't usually enjoy historical accounts, their own personal history is an exception. People often become fascinated with staking claim to their own identities: Where they came from? Who they are? Where they are going? Who do they wish to become? I compare this to the creation of their own heroic journey. Maybe with their geneaoligical obsessions people are merely trying to fill in the missing or forgotten pieces of their soul's journey. Not me. I would hate to know the specifics and factual reality of where I came from. Instead I engage in fantasies of where my own soul has traveled. Although I can't prove anything, my soul is forever linked to the ancient nomads who crossed the Bering Strait from Russia to a new land. My heart aches at the plight of indigenious Americans, not because it is a historical tragedy, but because my undocumented genealogical connections whisper to me that my soul was once there. The imaginative wanderings of my personal spirit links to me cats and butterflies, trees and flowers, streams and mountains, owls and mice. For me these mystical obsessions unite me to a time that is not only now or what will be, but to what has once been. I am not limited to being a member of the human race. I am forever connected to all species and all things. The limitations of blood relatives stiffle me, and I pity those who must know if they are kin to kings and queens. For I know, deep in my heart, that in reality we are all connected: then, now, and forever. Whether or not you believe, I do, and I know that my journey is not yet complete. So obsess not in the the documented past, but contemplate or imagine what could have been before the writing down of family trees. Could you not have once been a living tree?

The Interiority of Sound

2005-02-04T10:43:00.000-08:00

I just finished reading Chapter 3 in Walter Ong's book and became really intrigued with his account of the power and the evanescence of sound itself. He discusses the unique relationship between the spoken word and human interiority. Ong compares the different senses of sight, touch, taste, and smell to hearing sounds. He argues that each of the other senses is separate and distinct from our innerselves. Employing sight is an act of dissection; "a typical visual ideal is clarity and distinctness, a taking apart" (71), whereas sound unifies. One can look in only one direction at a time. One cannot see an entire room but can only focus on certain parts found within the room. But with sound we can "gather [it] simutaneously from every direction at once" (71). Being at the center of an auditory experience and having the ability to experience it in its totality is extremely powerful and personal. We become the center of the the world, we internalize the experience. It is harmonious. It is not limited or fractured. Ong goes onto discuss this powerful experience and its relationship with the sacred and communal. On page 74 he writes, "The spoken word is always an event, a movement in time." And because such an event is not only experienced by one individual but more oftentimes by an entire community, the momentous event becomes sacred. The spoken word has the power not only to bring ourselves into greater harmony, but it also can unify entire groups of people.

Ong's argument may not be definitively correct, but it offers much insight to humanity's tendency to internalize their experiences while continuously striving to be a part of something greater than oneself. This passage suggests that orality accomplishes both, and the inherent power of the spoken word is deserving of much more reflection than it has been previously been assigned.

January 26-Lecture

2005-01-27T10:08:00.000-08:00

Today Dr. Sexson discussed the relationships between sight, memory, history, and location.
After claiming that "the great secret in memory is sight," he went on to support his claim with a museum analogy. He said that visiting a museum is "an adventure into history." It is the sacred shrine, the established loci of the muses, the daughters of Mnemosyne. When one walks through a museum, one is inundated with visual reminders of history and evidence of ancient humanity. Museums force us to remember what our "psyches" may have long forgotten. Dr. Sexson later compares this experience to the imagistic and iconographic Macintosh experience as well as the Catholic perfomance of "stations of the cross." Instead of viewing visual texts like pictures, paintings, carvings with hostility or condenscension, Dr. Sexson argued that such images and rituals are pragmatic and helpful in revealing latent memories and hidden messages. To prove this argument he is going to provide the class with visual representations for the one hundred book titles we are to memorize. He claims that such an exercise will guarantee our success in this daunting task.

Questions to ponder...

What would be the value of introducing oral traditions into museum visits? Reciting or composing incantations to the Muses upon entering...Poetic Odes to your favorite artist...Communal singing...Story hour for adults as well as children...

January 25-Lecture

2005-01-26T11:05:00.000-08:00

Today we discussed how deeply imbedded modern culture is with writing and literacy. Dr. Sexson stated that the act of writing "structures and organizes jumbled and incohate thought."
He quoted WH Auden, "How do you know what you think until you see what you write?"
He referred to the "Baby M" case where a surrogate mother refused to give up her baby after signing a contract. The case was taken to court and the mother was forced to give up her baby because documented evidence of her written signature. Such a case illustrates the switch from an oral culture to our modern culture steeped in chirographic elements: documents, historical texts, law, letters, newspapers. Dr. Sexson was dismayed and a bit disappointed that none of us were familiar with Martial McLuhan and his famous quote, "The Medium is the Message!" This statement suggests that to change the way in which a message is presented, to change its style, actually changes the subject. What is being communicated is not so much about the information, but more emphasis and effect arises from the medium itself. Dr. Sexson also introduced a new term, apothegm, which is a million dollar word for "a saying." The Oxford English Dictionary online defines it as "a terse, pointed saying, embodying an important truth in few words; a pithy or sententious maxim." He discussed the evolution of literacy and the celebrations of its inevitable stages of development. In contrast he also mentioned the predictable villification of all technological advancements often involved in the evolution of modern literacy, including Plato's condemnation of writing, the hostility that confronted the typewriter, and the animosity of many in regards to the internet. And again, he offered a tempting appetizer of what's to come. Not only will the practical benefits of studying memonic devices and tricks be limitless, but he also promised that such skills will help us to tap into collective group psyche and the individual soul. In the words of Plato, "To remember what we have always known."

Links to Other Oral Traditions E-Jounals

2005-01-26T09:20:00.000-08:00

Courtney: www.livejournal.com/users/wilsoncourt/
Opai: www.geocities.com/apabritabasu
Shauna: www.ideasandramblings.blog.com
Allison: www.oraltraditions.blogspot.com
Cindy: www.spaditions.blogspot.com
Jennie: http://www.buttersickle-la-la.blogspot.com/
Debbie: http://oraltraditionsdeb.blogspot.com/
Justin: http://oraltraditionsengl337.blogspot.com/
Cara: www.dineenc.blogspot.com.
Juliet: http://julietno.blogspot.com/
Stephanie: http://stephurban.blogspot.com/
Jeremy: http://www.adamlamb.com/webPages/Oral%20Traditions%201/Feats%20of%20Memory
Valerie: http://www.thefirebird2005.blogspot.com
Wes: http://www.livejournal.com/users/wesleyfriske/
Sophie: http://oraltradsophie.blogspot.com/
Josh: http://www.livejournal.com/users/jgerdes/
Brian: http://rememory.blogspot.com/
Samantha: http://www.originaldrivel.blogspot.com/

First Encounter with Walter Ong

2005-01-24T13:31:00.000-08:00

What a challenging text!! Walter Ong does a scholarly job in indentifying, describing, and outlining the history and development of the orality and literacy debate; however, I was particularily challenged both by his language and comprehensive account of the major theorists, their studies, and their findings. Saussure, Sweet, Parry, Lotman, Frye, Lord, Bynum, McLuhen...Aagghh!

Despite these initial difficulties, I became interested in some of his major premises. In Chapter 1 Ong identifies the distinctive characteristics of orality "a primary system, spoken language," and how it precedes and relates to writing, "a secondary modeling system" (8).
Father Ong writes, "Oral expression can exist and mostly has existed without any writing at all, writing never without orality" (8). This relationship between the two may be obvious, so why has literacy and literature become more valuable and esteemed? Maybe because writing is regarded as an advancement in civilization, where oral traditions are deemed archaic and obsolete. But shouldn't the foundation which supports the architectual miracle be honored and celebrated? Why is all the glory given to what only can be seen and touched? Is not energy, power, or the spiritual essence of life to be regared as awesome? Ong's passage definitely forced me to re-evaluate my love with the written word and mild disdain for common communication.

The inclusion of latin origens of words is always insightful:
text..."to weave"; rhapsodize..."to stitch songs together"; epos..."to voice" also related to vocal and oral.

In closing of Chapter 1, Ong discusses the disadvantages and limitations of literacy. He writes,
"Moreover to dissociate from words from writing is psychologically threatening, for literates' sense of control over language is closely tied to the visual transformations of language" (14). And goes on to say, "moving into the exciting world of literacy means leaving behind much that is exciting and deeply loved in the earlier oral world" (15). Maybe statements such as these is what makes Walter Ong wrong. Perhaps it is not an either/or predicament. Maybe it is the one case in which one CAN "have the cake and eat it, too!" As long as both traditions are recognized for their unique contributions, assests, and limitations.

In Chapter 2, Ong introduces the Homeric Question, Milman Parry and Albert Lord's ground-breaking discoveries and repercussions, as well as other fundamental scholars involved in ongoing study of orality. What I found most interesting were statements like the following:

"[Writing] freed the mind for more original, more abstract thought" (24).

"The effect of print on sixteenth-century thought processes...has convincingly shown how shifts from magic to science...from the so-called 'prelogical' to the more 'rational' state of consciousness...from the 'savage' mind to the domesticated thought, can be more economically and cogently explained as shifts from orality to various stages of literarcy" (29).

I was also intrigued with Bynum's "Two Tree Pattern" that identifies the differences between the "oral narrative organization" and "chirographic-typographic narrative organization" (25).
The analogy between the "green tree that speaks of separation, gratuity, and unpredictable danger" and the "dry tree, hewn wood represents unification, recompense, and reciprocity" was a bit vague yet stimulating. This theory is something in which I am curious to investigate further...

The introduction of the term "bicameral psyche" was also very intriguing. According to Julian Jaynes it is a "lack of introspectivity, of analytical prowess, of concern with the will as such, of a sense of a difference between past and even today...Bicamerality may mean simply orality. The question of orality and bicamerality perhaps needs futher investigation" (Ong, 30). Yes, indeed!

Sean Kane, A Modern Mythteller

2005-01-22T13:31:00.000-08:00

WOW! I just finished the Prologue and Chapter 1, "Pattern," of Sean Kane's text and loved it! I have read a few of Joseph Cambell's books including The Hero with a Thousand Faces, Power of Myth, as well as his Companion Guide to Everyday Living. When I read Kane's initial premises about the importance of myth, I was reminded so much of Cambell's wisdom. Both authors stress the importance and value of reclaiming the traditions in the telling of ancient myths as well as creating new myths that speak of modern life. Kane supports Cambell's argument that myths need not be reduced to a mere antecdotes; they offer so much more. So, too, do I expect this class to enlighten me with the reality that orality is not yet dead...There indeed remains much to learn about the inherent power and value in the spoken word.

The myth of the sapsucker and the old father figure within the tree was so beautiful. Sean Kane, as does Cambell, adresses the cyclical patterns of the soul and every life found in nature.

Kane writes, "according to the logic of Haida kinship, the grandfather is reincarnated in the grandson. Life is served" (36).

I am instantly drawn to contemporary scholars, authors, and teachers who ask me and others to contemplate the universe in such ways. I rebel against what Kane writes as "constructions of civilized efforts...[that assume] human power...and shift from the authority of the plants and animals, each the spirit children of supernatural progenitors, to the authority of man" (34). I long for my people to place their faith in such natural descendents, those who will remain long after we are gone.

"The myth teaches that these sacred places are to be respected for their own sake, not for what human beings can make of them...Once the power of the place is lost to memory, myth is uprooted" (Kane, 50).

I am excited to see how this text ties into our discussion of orality and literacy in group presentations, but am mildly disappointed that such a discussion will have to wait until the end of the semester. I myself am a "Contact," and promise to write more when I discover what my group's role will be in sharing Kane's message.

My Experiences Before Literacy

2005-01-22T13:26:00.000-08:00

It is hard for me to remember life before I was literate as I often use books as benchmarks for my childhood...Dr. Seusse and Curious George, Judy Blume and Nancy Drew, Shel Silverstein and The Babysitter's Club. But I imagine it was a poetic and sensual time. Instead of flipping pages and reaching for bindings, I bet my fingers were diligently digging in the dirt creating perfect mud for my famous mud pies, or petting any furry animal, stuffed or real. My eyes would have been drawn to vivid colors and visual beauty: a golden sunspot on the kitchen wall, puffy white clouds in the clear blue sky, my favorite rainbow striped socks. I do remember taking great pride in shouting out colors as I tottered throughout the house, supermarkets, and waiting rooms. "Bue couch, Ellow duck, Ed ball, Pink hat!" Rather than reading aloud to myself, my parents, or my imaginary friends, I imagine I had trained my vocal chords by copying others, inventing new sounds, and reciting my favorite childhood songs..."I'm a little teapot, short and stout...When I get all steamed up, I will shout, Tip me over and pour me out!" I loved that song! I loved that song not just because it rhymed, but because it demanded physical movement. I loved making my handle and spout with my chunky little arms. What fun! And since I was a growing child, I am sure I also took great pleasure in stuffing my face with snacks and drinks when I wasn't busy singing, dancing, and tormenting my younger sister. Although I preferred food, I do remember tasting a great many things, and my mud pies were NOT mouth-watering! As a young creature I also found much joy in music...Ah, where would a child be without the booty-shaking, body-bouncing bop of tunes on the radio. I still smile everytime I see a baby or toddler discovering the pure thrill of bobbing and wiggling to any type of music.

In writing this exercise and recalling my experiences as a illiterate child, I recognize that my life was not a deep, dark void before books. Rather it was a rich and joyful time complete with imagination, subtle learning, and fantastic fun!!!

The Orality and Literacy Debate

2005-01-21T13:28:00.000-08:00

Some interesting sites I found when I "googled" the Orality and Literacy Debate...

http://www.nyu.edu/gsas/dept/africana/hinton/tongue.html

http://assets.cambridge.org/052159/3565/sample/0521593565ws.pdf

http://www.anthropoetics.ucla.edu/ap0502/varga_e.htm

http://www.iath.virginia.edu/pmc/text-only/issue.999/10.1.r_theall.txt

January 20-Lecture

2005-01-20T11:01:00.000-08:00

Today Dr. Sexson introduced the ongoing debate between orality and literacy. He claimed that this is a discussion that is neither limited to the past or present, but will continue to be debated well into the future. He encouraged us to ponder the incredible value that has been placed upon literate culture and reflect upon its historical development from oral traditions. Dr. Sexson discussed some key terms introduced by Walter Ong: primary orality, orality of a culture totally untouched by any knowledge of writing or print; chirographic, referring to that of writing cultures; typographic, referring to that of print culture; and logos, rational and logical thought. He also emphasized the relationship between morality and original mythtelling as discussed in Sean Kane's book. He alluded to the "intense pleasure in the power and action of sound" which was offered as a tempting appetizer to what is later to come. We also briefly discussed the process of how symbols become language.

Two assignments:
1) Write about your experience before literacy.
2) Google and read about the debate between orality and literacy.

January 18-Lecture with Corey Winslow

2005-01-18T13:31:00.000-08:00

Corey's lecture today was soooo helpful in understanding the basic foundations of "Father Ong's" book Orality and Literacy. Not only did she clearly define terms like oral, literate, illiterate, chirographic, typographic, and grapholect, but she also provided us with information about the comparable purposes (function) and types (form) of written and oral "texts."

I was particulary startled by her observation that written texts are acts of silent isolation versus oral creations as collaborative and participatory events. Such a statement is not necessarily shocking, but it places the different mediums in completely different contexts which demands futher consideration. What is lost when human beings begin to isolate themselves for study? What is gained? What about the inevitable physical and mental distance from other humans? Does the act of writing separate us or bring us closer together? If writing continues to serve as a link between individuals, how does the relationship change and develop?
Such questions are stimulating and offer so much clarification into the complexities and miracles of contempory living.

Corey also discussed the "Homeric Question," and for which I am forever grateful. She was able to put the debate in such simple and direct terms I could understand. In reading Ong's account of whether or not the Illiad and the Odyssey were the creations of a one man versus the the collaborative efforts of a multi-generational community was a bit mind-numbing and unclear. Ong bogged down his text with integral scholars, dates, and critical findings. Kory isolated the key delimna and offered key elements of support like the "bag of tricks," including complexes, themes, and formulas.

One more thing for which I am truly appreciative is Corey's concise preview of Ong's Chapter 3, "Some Psychodynamics of Orality." She defined as well as summarized the eight charteristics of oral storytelling: participatory, repetitive, homeostatic, additive, use of epithets, conservative, agonistic, and resembles human life.

Thanks Corey!!!