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- W184621072 abstract "Most scholarly and critical work concerning medieval Icelandic literature over the past one hundred and fifty years has assumed that the eleventh and twelfth centuries witnessed a shift in the practice and mode of learning in Iceland from a dominantly oral tradition to a dominantly literate and literary one. The argument goes that with the invention and development of a method of the writing Old Norse/Icelandic after the advent of Christianity, Icelanders with the new technology gradually became the dominant voice in a culture that previously had been almost purely oral, runic inscription being the exception. My contention in this essay is that the oral and literary traditions at their extremes are different in kind, the oral being essentially a performance art, the literary a text specific one. Away from the extremes, however, there is a regular and fruitful interface between the oral and the literary that should always be borne in mind when considering the origins of the literature that we have today. During the years in question, and for a long time after, the oral and literary traditions happily co-existed. The older oral traditions weren’t displaced, replaced, or suppressed by newer literate and literary modes as we so often assume. I hope to show here that a consideration of kinds of musical inscription and performance in the last two hundred and fifty years reveals an analogous development and variety that can shed light on the years during which old Icelandic literature was composed, performed, read, listened to and inscribed." @default.
- W184621072 created "2016-06-24" @default.
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- W184621072 date "2002-01-01" @default.
- W184621072 modified "2023-09-24" @default.
- W184621072 title "Oral to literary kvöldvaka, textual instability, and all that jazz" @default.
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- W184621072 hasPublicationYear "2002" @default.
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