Download Oral Literature in Africa (World Oral Literature Series) by Ruth Finnegan PDF

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By Ruth Finnegan

Ruth Finnegan’s Oral Literature in Africa was once first released in 1970, and because then has been extensively praised as some of the most very important books in its box. according to years of fieldwork, the examine strains the historical past of storytelling around the continent of Africa.

This revised variation makes Finnegan’s ground-breaking study to be had to the subsequent new release of students. It features a new creation, extra pictures and an up-to-date bibliography, in addition to its unique chapters on poetry, prose, "drum language" and drama, and an outline of the social, linguistic and historic historical past of oral literature in Africa. Oral Literature in Africa has been accessed by way of 1000s of readers in over 60 various international locations, together with Ethiopia, Kenya, Rwanda and diverse different African countries.

The electronic variations of this booklet are loose to obtain because of the beneficiant help of readers and companies, who made donations utilizing the crowd-funding site Unglue.it. Oral Literature in Africa is a part of our global Oral Literature sequence together with the area Oral Literature Project.

This quantity is complemented via unique recordings of reports and songs from the Limba nation (Sierra Leone), amassed via Finnegan in the course of her fieldwork within the past due Sixties, that are are hosted by way of the area Oral Literature venture and are freely obtainable right here.

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Extra resources for Oral Literature in Africa (World Oral Literature Series)

Sample text

The use of a familiar melodic contour, juxtaposed with the exotic timbres of the celesta sound in the opening organ melody, the filtered vocal delivery, the surrealistic lyrics, are evocative of a good trip. As such, the song elicits a sense of confidence. The Beatles have enjoyed hallucinogenic experience, they know the effects of LSD and can musically guide the initiate through to a new and heightened sense of awareness. The foregrounding of the psychedelic imagery ('tangerine trees', 'marmalade skies') is thus strongly supported by the musical coding to evoke a spatial dimension5 comparable to that of a hallucinogenic trip, where heightened awareness causes the ordinary to take on new colours and dimensions.

4 Musically, the gentle beat works towards a slowing down of the listener's own pulse rate, while the gradual shifting harmonies in the chromatic descent in the bass line suggest a relaxation into a comfortable and languorous 'dream' state. The melody line of the verse is trancelike, the repetitive phrases revolving around the third degree of the scale. For the listener, the effect is both reflective and reassuring as the gentle melodic contours respond to the dactylic metre of the words. 'For No One', 'And I Love Her', and 'Yesterday' were also structured around rising and falling phrases and short melodies and, as such, 'Lucy' evokes a feeling of reassurance.

In common with many late Victorian paintings, there is an implied sense of voyeurism. 'She tripped naked through the woods, roamed carelessly among the bushes, and grew like a white-breasted human waterlily among the flora of the sea'14 – or, in the words of the Rolling Stones, 'She swims to the side, the sun sees her dried ... ' Similar to Louis Eilshemius' wellknown painting of a cluster of women afloat in The Afternoon Wind (1899), the eroticised and naked body invites the man to take charge.

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