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All fields Title Creator / Publisher Keyword Year AND OR AND NOT All fields Title Creator / Publisher Keyword Year AND OR AND NOT All fields Title Creator / Publisher Keyword Year AND OR AND NOT All fields Title Creator / Publisher Keyword Year AND OR AND NOT All fields Title Creator / Publisher Keyword Year Sort by creator [A → Z]' creator [Z → A]' publishing year ↑ (asc)' publishing year ↓ (desc)' title [A → Z]' title [Z → A]' Simple Search Hits 1 – 4 of 4 1 "Tu táan yich in kaajal" [On The Face of My People]: Contemporary Maya-Spanish Bilingual Literature and Cultural Production from the Yucatan Peninsula ... Salinas, Alicia. - : University of Virginia, 2018 BASE Show details 2 A tradução do inglês crioulo de Trinidad e Tobago em “The baker’s story”, de V. S. Naipaul, para o português brasileiro Souza, Lucas Rossi de. - 2018 BASE Show details 3 Literatures of the World--Panelist Ruth Elynia Mabanglo Presents Mabanglo, Ruth Elynia. - 2013 BASE Show details 4 Literatures of the World--Panelist Francesca Orsini Presents Her Paper Orsini, Francesca. - 2013 Abstract: The invention of folk literature/loksahitya by Francesca Orsini (SOAS, London) One of the tasks that world literature requires is to pluralise our assumptions about what literature is, and to widen its remit. Oral-performative genres feature significantly in our understandings of Indian literary history (whether devotional song-poems, Barahmasas/ “12-months songs” by all kinds of poets, including Urdu poets, tales, etc.). They stand at the beginnings of the process of “vernacularization” of Indian regional literary cultures between the second half of first and second millenniums CE, but also acted in dynamics of literary circulation, both across languages and scripts and also across oral and literate realms. The study of the production and circulation of these oral-performative genres has generated its own philological method (J.S. Hawley, K.S. Bryant, C.L. Novetzke et al.). Yet while some of the earliest colonial scholars of Indian vernacular languages and literatures (like George Grierson) recorded and studied a great number of these forms, they classified them as “folklore” rather than literature. Similarly Indian literary activists collected folk songs and sayings with verve, but viewed them as loksahitya, the expression of a timeless (and casteless) “folk”. The situation now is that oral-performative forms are studied largely by ethnographers (Ann Gold, Susan Wadley, Kirin Narayan) rather than as part of literature (exceptions like Stuart Blackburn and Rich Freeman and Narayana Rao notwithstanding). This paper will trace this development and ask how, with the pluralising of literature that comes with world literature, the process can be reversed, and what now counts as loksahitya can be viewed as part of sahitya or literature. Keyword: "Song of the Twelve Seasons"; A.K. Ramanujan; African literatures; appropriation of oral artists; Asian literatures; Benares; Buddhist Jataka tales; collective authorship; colonial administrators as publishers; colonial scholars and administrators; commercialization of oral forms and folk forms; cooptation of folk forms; danger of oral transmission; folk literature; folklore and linguistic specimens; folklore in Africa; folklore in India; Francesca Orsini; George Abraham Pearson; Gujarat; Hindavi; Hindawi; Hindi; history of Hindi literature; history of literature; how contemporary writers draw on oral forms; India; intermediary genres; Intizar Husain; investigating what literature is; Jatakas; Jātakas; Last king of Oudh; linguistic survey of India; literary performances in the vernacular; literature and folklore; Literatures of the World; Maila Anchal; making space for oral artists in contemporary literature; multilingual literary history; Muslim; North India; oral composition; oral epics; oral performance; oral performances in India; orality of performance; orature; Pakistan; Persian; Phaneshwar Nath Renu; Phaṇīśvaranātha Reṇu; philological method; politics of the archive; Rajasthani writers; rural oral world and urban intellectualism; rural versus urban; Sadhana Naithani; Sanskrit; seasonal songs and the oral repertoire; social protests; song transcriptions; songs; South Asia; Sufi; tales; technology of print and its relationship orature; theater and music in India; transcription; translation; Urdu; vernacular; vernacular manuscripts; Wajid Ali Shah; world literature; world literature courses; world literature theory; “Basti”; “The Soiled Border”;  perceived frailty of performance and orality URL: http://hdl.handle.net/10125/29475 BASE Hide details

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