Listening Up, Writing Down, and Looking Beyond
Interfaces of the Oral, Written, and Visual
Publication Year: 2012
Published by: Wilfrid Laurier University Press
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The Social Sciences and Humanities Research Council (SSHRC) provided a standard research grant with release time that helped Susan Gingell to develop the idea for The Oral, the Written, and Other Verbal Media conference, which was further supported by a SSHRC conference grant. The eVOCative! festival was also generously supported...
Introduction: Opening the Door to Transdisciplinary, Multimodal Communication
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Word up, dear reader: open the door to transdisciplinary, multimodal communication as widely as you can. This book and the website you will find if you look and listen beyond this volume’s pages to http://drc.usask.ca/projects/ oral invite you to move away from what stl’atl’imx poetscholartheorist1 Peter Cole, in Coyote and Raven Go...
Listening Up: Performance Poetics
Bring Da Noise: The Poetics of Performance, chez d’bi young and Oni Joseph
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One warm April Saturday, in Toronto, Ontario, in 1983, I was typing up poems in my office at Queen’s Park, the Ontario Provincial Parliament, when I decided to head toward the lobby of the red-sandstone, Hindu-templestyle building and regard the tens-of-thousands strong, anti-nuclear-weapon protest rally assembled on the front lawn. However, a phalanx of Toronto police constables, standing about...
Poetry Performances on the Page and Stage: Insights from Slam
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This is not the start of the text. It is a shifting reference point located somewhere between an indeterminate beginning and an equally indeterminate end. Neither is this essay a solitary creation. Rather, it is a collaborative performance between you and me, made possible through dialogue with numerous others, such as the...
Poetry and Overturned Cars: Why Performance Poetry Can’t Be Studied (and Why We Should Study It Anyway)
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On the first day of the performance poetry symposium that I coordinated at Trent University in February 2008,1 Christian Bök said: I actually dislike the term “performance poetry,” for the same reasons that I would probably dislike the term “performance music.” There is no such thing as “performance...
Echohomonymy: A Poetics of Ethos, Eros, and Erasure
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This is a poetics of performance that focuses on not what is being said, but how “meaning” is determined through what’s eVOCative, provocative, talkative In the aching ochos of tokable vocables, soaking in the awkward pockets of sticky fricatives, a flickerin...
Dialect Poetry and the Need for Performance: The Case of William Barnes
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We live in a primarily visual culture in which a picture is thought to be worth a thousand words. How many people (other than literature students and their teachers) read classic novels nowadays if they haven’t first seen an adaptation on television or on film? How many directors of Shakespeare on film let us visualize Ophelia’s death...
The Speech–Music Continuum
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At the Trois jours de musiques vocales festival, held in Montreal in 1982, I sat listening to a California quartet called the Extended Vocal Techniques Ensemble. I was performing at the same festival, there with the poetry-performance group The Four Horsemen, which also included bpNichol, Steve McCaffery, and Rafael Barreto-Rivera...
Writing Down: Textualized Orature and Orality
South Africa is a country desperately seeking normality. After centuries of repressive white domination, various efforts are being made to break with the violent past of apartheid, the system of legalized racism enforced by the National Party in 1948. But daily stories of ongoing racism, crime, rape, and government corruption suggest...
Writing and Rapping for a New South Africa: The Poetry of Lesego Rampolokeng
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Collocations of orality with the politically disadvantaged are commonplace in the popular imagination; so if, as Winston Churchill is often credited with asserting, “history is written by the victors,” oral tradition might well be looked to as a repository for the histories of the vanquished and oppressed. A fighting example...
The Ballad as Site of Rebellion: Orality, Gender, and the Granuaile Aislingi
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Collocations of orality with the politically disadvantaged are commonplace in the popular imagination; so if, as Winston Churchill is often credited with asserting, “history is written by the victors,” oral tradition might well be looked to as a repository for the histories of the vanquished and oppressed. A fighting example of such felicitous...
“Pleasure for our Sense, Health for our Hearts”: Inferring Pronuntiatio and Actio from the Text of John Donne’s Second Prebend Sermon
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“He is a little of the religious spellbinder, the Reverend Billy Sunday of his time, the flesh-creeper, the sorcerer of emotional orgy” (16). T. S. Eliot goes on to admit that this grotesque caricature of John Donne is for effect, in the service of his comparison with another celebrated English preacher of the early seventeenth century, Lancelot...
“The Power and the Paradox” of the Spoken Story: Challenges to the Tyranny of the Written in Contemporary Canadian Fiction
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Several years ago during a course on Canadian fiction at the University of Saskatchewan, my students and I began to notice a recurring mode of narration in the stories and novels we were reading. While many of the earlier works emphasized written modes of storytelling—ranging from the letters of Frances Brooke’s...
What’s in a Frame? The Significance of Relational Word Bundles in Louise Bernice Halfe’s Blue Marrow
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Blue Marrow by the Cree poet Louise Bernice Halfe has an intriguing textual history. Originally published by McClelland and Stewart in 1998, Halfe’s poem was reissued by Coteau Books in 2004 in a revised and partly rewritten edition that differs considerably from the poem’s earlier published version. Of the changes made to the...
Toward an “Open Field”: The Ethics of the Encounter in Life Lived Like a Story
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In “Recent Ethnographic Research on North American Indigenous Peoples,” anthropologist Pauline Turner Strong outlines and evaluates the important and innovative forms of ethnographic research that have coincided with the “transformed social, political, and intellectual conditions” of the twenty-first century (3). Strong refers to...
Looking Beyond: Reintegrating the Visual
Becoming the Storyteller: Meaning Making in Our Age of Resistance
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As a child of an Indigenous oral tradition, I am now completing the transformation into the storyteller. I have become a bearer of our family and tribal stories. The challenges of this evolution have become apparent as I work with my grandmother’s oral narratives to complete my forthcoming project, When the Plum Trees Blossom: Indigenous Survival Strategies...
Re-Si(gh)ting the Storyteller in Textualized Orature: Photographs in The Days of Augusta
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Transforming Aboriginal oral narratives (whether from live performances, tape recordings, films, or video tapes) into print—producing what Susan Gingell calls print textualized orature (Introduction 3)—is a valuable but complex endeavour. As Gingell points out, textualizing orature is “often a deliberate attempt to widen...
Traditionalizing Modernity and Sound Identity in Neal McLeod’s Writings of the Oral[sup( )]
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A detail from Neal McLeod’s painting wîhtikow II (Figure 1), reproduced on the cover of his first collection of poems, Songs to Kill a Wîhtikow, shows words and phrases in both Cree/nêhiyaw syllabics and English ranged around a wîhtikow, a cannibal character from Cree oral tradition. The viewer literate in English can link the English words to...
A Nexus of Connections: Acts of Recovery, Acts of Resistance in Native Palimpsest
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From the outset of the Indigenous North American and European colonial encounter, Native epistemologies were characteristically either overlooked or blatantly rejected as primitive. From Christopher Columbus’s professed motive in the capturing of Arawak natives “in order that they might learn...
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Publication Year: 2012