Poetic Dialogues: Performance and Politics in the Tuscan "Contrasto"

Pagliai, Valentina

doi:10.2307/4153003

Cited by 21 publications

(6 citation statements)

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“…Tá an tsáraíocht sin i gcroílár na n-agallamh beirte mar sheánra agus díol spéise na cosúlachtaí idir traidisiún na hÉireann agus aighnis fhileata i gcultúir eile ar fud an domhain. Cleachtar ealaíona béil cosúil leis an agallamh beirte, mar shampla, san Iodáil (Pagliai 2002), i dtír na mBascach (Foley 2007), i bhFidsí (Brenneis agus Padarath 1975) agus i gcluichí magúla fonóideacha i gceantair uirbeacha áirithe i Meiriceá (Abrahams 1962). Cé nach ionann i gcónaí cruth, cur i láthair ná feidhm na gcomhrac seo i gcultúir éagsúla, feictear na buntréithe céanna ina bhformhór.…”

Section: Allagar An Bhéil Bheounclassified

“…Cur i láthair atá ann atá dírithe i ndáiríre ar an tríú rannpháirtí sa chomhrac -an lucht éisteachta. Tobchumadóireacht nó ceapadóireacht extempore a bhíonn i gceist le contrasto na hIodáile (Pagliai 2002) agus bertsolaritza na mBascach (Foley 2007). Ullmhaítear agus cleachtaítear na haighnis fhileata sula gcuirtear i láthair iad i dtraidisiúin eile (Pagliai 2009: 64).…”

Section: Allagar An Bhéil Bheounclassified

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Allagar an ardáin: taibhealaíona Johnny Chóil Mhaidhc Uí Choisdealbha

Mhuircheartaigh

2018

COMHARTaighde

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Section: Allagar An Bhéil Bheounclassified

Allagar an ardáin: taibhealaíona Johnny Chóil Mhaidhc Uí Choisdealbha

Mhuircheartaigh

2018

COMHARTaighde

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“…Capturing such persisting and evolving aspect of genres Bakhtin (1986:87) argues genres "correspond to conventional speech communication, typical themes, and, consequently, also to particular contacts between the meanings of words and actual concrete reality under certain typical circumstances". The conception of genres as conventional cultural expression and simultaneously the products of socio-historical and living circumstances (Bauman 2004;Hanks 1987:250) lies at the heart of this article, which explores how a traditional Mongolian art form, khuuriin ülger ('fiddle story') has become a vehicle of health communication and socio-political commentary in the ongoing global fight against The traditional Mongolian khuurch ('storytellers, bards') who recite great cycles of stories with the acoustic accompaniment of a four-stringed fiddle fall in the category of peripatetic bards that once flourished in many parts of the world (Finnegan 1977), such as the reciters of great poetry and stories during the Arab Empire in the ninth and tenth century (Hourani 1991), today's Kazakh aitys akhyndar ('improvisational poets') (Dubuisson 2010), or Tuscan Contrasto ('verbal duel') poets (Pagliai 2002). Like these, Mongolian khuurch not only entertain, but may also serve as comedians, satirists, religious proselytizers, or political propagandists (Hangin 1988:69-70).…”

Section: Introductionmentioning

confidence: 99%

Fighting COVID-19 with Mongolian fiddle stories

Bai

2020

Multilingua

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This article examines the recontextualization of traditional Mongolian verbal art khuuriin ülger (‘fiddle story’) by Mongolian folk singers in the context of the spread of covid-19 in Inner Mongolia, China. Drawing on the concept of intertextuality, I analyze the verbal and visual signs in 94 videos of Mongolian fiddle stories. The article argues that the minority Mongols participate in the dominant global and national discourses while at the same time creating a sense of Mongolian-ness by marrying Mongolian verbal art with public health messages related to covid-19. The article also finds that the multivocal covid-19 Mongolian fiddle stories are a medium to articulate the very heteroglot sense of the world in which minority Mongols dwell and to construct and reaffirm their multi-layered identities. The study contributes to our understanding of how traditional genres and symbols evolve in response to the pandemic.

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“…13 13 On poets' dialogue in verbal duels and the representation of two possible worldviews, see also Pagliai (2002). …”

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confidence: 99%

Confrontation in and through the Nation in Kazakh Aitys Poetry

Dubuisson

2010

J Linguistic Anthropol

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Despite a climate of authoritarianism and heavy censorship of independent media and political opposition in post-Soviet Kazakhstan, Kazakh aitys akhyndar (improvisational poets) have emerged as a voice of sociopolitical critique. In excerpts analyzed here, poets speaking as and for the xalykh (Kazakh people) berated contemporary Kazakhstani leaders as greedy, impotent, and russified. This article examines how poets' successful critique was made possible and protected by the conflictive and collaborative nature of poets' dialogues, by the legitimacy of aitys as "authentic Kazakh culture" as a result of folklorization processes, and by the collusion of the tradition's sponsors, members of the country's political elite. (Kazakh aitys, poetic dialogism, accountability in performance, post-Soviet nationalisms, cultural sponsorship, folklorization, Central Asian media, post-Soviet political critique).j ola_1051 101..115 Poetry and CriticismK azakh aitys, improvisational poetry, is one of the many oral and musical traditions linking Turkey across the Eurasian steppe to Mongolia and China. Literally meaning "shared talk," aitys refers both to a genre and to a competitive performance in which at least two characters or personae pit their words and wits toward victory, leaving their opponent trumped, sometimes literally speechless, without words. A victory is also marked by the use of solu suzder (beautiful words) and adaly suzder (ancestors' words), words and phrases that demonstrate knowledge of previous cultural texts, that employ metaphor, and that characterize a situation precisely, to great effect. Aitys is always performed in front of an audience, and by tradition it is audience approval that ultimately decides the winner. Aitys is always a dialogue (Zharmukhamedoly 2001:26). One poet may voice both personae, but it is much more typical for two poets to engage in a verbal duel (as defined by Pagliai, this issue).This article explores how, due to (1) processes of folklorization, (2) elite sponsorship, and (3) the conflictive and dialogic nature of the poetry itself, aitys has become a vehicle of sociopolitical critique in Kazakhstan. For the last 20-odd years, a national network of culture producers, including formerly high-ranking members of the socialist intelligentsia and communist party elite, 1 as well as members of the current president's inner circle, has established a regular series of performances across the country (and in the Kazakh diaspora of neighboring countries) which attract audiences of hundreds and which are typically televised on a national station. 2 Unlike regular holiday performances at the regional level, funded by monies channeled from the state government as they were during the Soviet period, the new national network has relied primarily on independent sponsors for its livelihood. In an otherwise authoritarian environment of repression and censorship, poets have

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Poetic Dialogues: Performance and Politics in the Tuscan "Contrasto"

Cited by 21 publications

References 13 publications

Allagar an ardáin: taibhealaíona Johnny Chóil Mhaidhc Uí Choisdealbha

Allagar an ardáin: taibhealaíona Johnny Chóil Mhaidhc Uí Choisdealbha

Fighting COVID-19 with Mongolian fiddle stories

Confrontation in and through the Nation in Kazakh Aitys Poetry

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