2013
DOI: 10.19130/iifl.ecm.2008.32.70
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De las unidades paralelísticas en las tradiciones orales mayas

Abstract: El paralelismo, una forma retórica común a muchas tradiciones orales en el mundo, ha sido objeto de numerosos estudios antropológicos y lingüísticos. Las estructuras paralelas parecen como marcadores discursivos fundamentales de géneros rituales, y ornamentos estilísticos insertados en otros géneros de las tradiciones orales mayas. La extensión del fenómeno, tanto en el espacio del mundo maya y mesoamericano, como en el tiempo desde las inscripciones glíficas hasta ahora, la permanencia y a la vez la variedad … Show more

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Cited by 10 publications
(7 citation statements)
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References 13 publications
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“…Parallel structures are a stylistic strategy based on the formulation of a par of lines which are identical with the exception of a single element. The identical part of the constructions is called "co-text", whereas the alternating pairs are often called "parallel units" (Monod and Becquey 2008). Semantic parallelism is a widespread strategy among Shipibo-Konibo soccer commentators as illustrated in (9).…”
Section: Parallel Structuresmentioning
confidence: 99%
“…Parallel structures are a stylistic strategy based on the formulation of a par of lines which are identical with the exception of a single element. The identical part of the constructions is called "co-text", whereas the alternating pairs are often called "parallel units" (Monod and Becquey 2008). Semantic parallelism is a widespread strategy among Shipibo-Konibo soccer commentators as illustrated in (9).…”
Section: Parallel Structuresmentioning
confidence: 99%
“…This stylistic use of repetition is also known as parallelism or parallel verse and is used in a wide variety of oral and written traditions around the world. The use of parallelism has been widely documented in Mesoamerica (Edmonson and Bricker ; León‐Portilla ; Bright ; among others), and especially in the Mayan family of languages, for example, in Yucatec (Mudd ; Hanks , ; Edmonson and Bricker ; Bricker ; Vapnarsky ), Quiche (Edmonson ; Norman ; Du Bois ; Tedlock 2000/2010), Tojolabal (Brody ), Ixil (Townsend ), Tzotzil (Gossen , ; Haviland , ; Bricker , ), Tzeltal (Monod Becquelin ; Pitarch ), Ch'orti (Monod Becquelin and Becquey ), and Chol (Hopkins and Josserand , ; Rodríguez , ). Parallel verses are formed by inserting a synonym, a semantically related word, or an antonym in a repeated syntactic frame (Bricker ).…”
Section: Performativity Repetition and Symbolic Efficacy In Chol Hementioning
confidence: 99%
“…Los géneros rituales se distinguen en varios aspectos, relativos a (i) su contenido y finalidad; (ii) su marco interaccional y participativo (oradores especialistas o no, otros participantes presentes en el ritual, ya sean humanos o no humanos, el tipo de intervención que se espera de ellos, etc., ver Hanks 1999;2006;Haviland 2000;Monod Becquelin 2000); (iii) su configuración textual (por ejemplo, los tipos de organización textual cíclica, así como las distintas formas de paralelismo que los definen y operan a diferentes niveles del discurso) (Hanks 1984;Monod Becquelin & Becquey 2008;Monod Becquelin et al 2010;Vapnarsky 2000;; (iv) su configuración vocal (prosodia, melodía, tempo, unidades de soplo, pausas, alargamientos vocálicos, etc. ); y (v) su configuración gestual (posturas, gestos, miradas asociados con el habla).…”
Section: Los Discursos Rituales Mayasunclassified