Tellings and Texts: Music, Literature and Performance in North India 2015
DOI: 10.11647/obp.0062.05
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5. Note to Self: What Marathi Kirtankars’ Notebooks Suggest about Literacy, Performance, and the Travelling Performer in Pre-Colonial Maharashtra

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Cited by 17 publications
(2 citation statements)
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“…The local literary sources, such as kulavrittanta rely heavily on oral and aural traditions as the cursory study of these sources suggests. In his thesis on the Maharashtrian quotidian religious tradition based on aural literacy (Novetzke, 2007;Novetzke, 2015), Novetzke elaborates aural performative traditions as the background for Bhakti literature of the medieval period. Sahyadri Khanda and later regional texts in both Sanskrit and Marathi emerge as invaluable resources for the study of lesser-known deities and their aural traditions along the western coast of India.…”
Section: Creation Of a Local Culturementioning
confidence: 99%
“…The local literary sources, such as kulavrittanta rely heavily on oral and aural traditions as the cursory study of these sources suggests. In his thesis on the Maharashtrian quotidian religious tradition based on aural literacy (Novetzke, 2007;Novetzke, 2015), Novetzke elaborates aural performative traditions as the background for Bhakti literature of the medieval period. Sahyadri Khanda and later regional texts in both Sanskrit and Marathi emerge as invaluable resources for the study of lesser-known deities and their aural traditions along the western coast of India.…”
Section: Creation Of a Local Culturementioning
confidence: 99%
“…For Finnegan (2014), this approach is underpinned by technological determinism, and it fails to grasp the diversity of ways in which different communications technologies (speech, writing systems, print or digital) develop in different historical circumstances. More recent studies generally accept that most literary performance traditions develop out of patterns of interaction between written texts and oral performance, effectively collapsing the opposition between these two modes of creativity (Novetzke 2015;Widdess 2015). As the early twentieth century Uyghur scholar Mohammad Ali Damollah explains:…”
Section: Text and Performancementioning
confidence: 99%