This book shows the role of specific linguistic structures in the creation of formulaic, artistic patterns in Quechua legendary narratives and explores how the patterns function in relation to concepts such as main event line and other rhetorical structures.
The analysis of the texts into artistic patterns is mainly based on Dell Hymes’s criteria; thus “pattern numbers,” initial connectives and evidential markers play an important role in the pattern formations. The Quechua texts also show that the switch-reference markers and/or the rotation of subject in general is crucial to the structuring of the texts. The analysis moreover shows how the different patterns discovered are closely tied to rhetorical/cognitive structures, as they are perceived and lined out by various linguists, especially those of Robert Longacre and Wallace L. Chafe.
The analysis of the texts prompts various questions in regards to the functions of the linguistic structures mentioned. Some of these get specific attention in the final chapter which also includes a discussion that seeks to find an explanation of the textual patterns through looking at universal artistic patterns as outlined by other scholars, as well as looking to some Quechua cultural patterns.
About the author
Ågot Bergli received the Dr. art. (Ph.D.) in linguistics in 2002 from Norges Teknisk-Naturvitenskapelige Universitet (NTNU), Trondheim.She has worked with SIL International since 1979, primarily as an editor of works on Quechua and discourse studies.
Table of Contents
List of Figures
Preface
Acknowledgements
Abbreviations
- Introduction
1.1 A general perspective on the study
1.2 About the data
1.3 Procedures
1.4 Significance of the research
1.5 The organization of this work
- Assumptions about Texts
2.1 Preliminaries
2.3 Culture and orality
2.4 Linearity, structures and recall
2.5 “Text”versus“oral literature”
2.6 Poeticversus formula
2.7 Linguistics and text analysis
- Theory and Methodology
3.1 Preliminaries
3.2 Hymes’s approach
3.3 Literary/folkloric studies
3.4 Longacre’sapproach to text analysis
3.5 Other approaches in line with Longacre’s salience scheme
- Quechua Language and Culture
4.1 Facts about the Quechua languages
4.2 Some aspects of Quechua culture
4.3 Verbal art forms
- Textual Patterns (I)—Ayacucho Coracora Quechua
5.1 The textual data
5.2 The basic organization of the Juan del Oso text
5.3 The presentational form of the story
- Textual Patterns (II)—Ayacucho Coracora Quechua
6.1 Preliminaries
6.2 Analysisof smaller texts
6.2.1 The presentational forms of Ampatopa Cuenton
6.2.2 The presentational forms of the Mankapa Cuenton
6.2.3 The presentational forms of Watuchi I
6.2.4 The presentational forms of Watuchi II
6.2.5 Typical features in the texts
6.3 Other patterns seen in Juan del Oso
6.4 Patterns pertaining in general to the texts
- Quechua Textual Patterns—Shausha
7.1 Preliminaries
7.2 Languagespecifics
7.3 Patterns found in the Shausha texts
7.3.1 The presentational forms of ‘The Fox and the Frog’
7.3.2 Patterns of other texts
7.3.3 Shausha texts and Coracora texts compared
- Quechua Text Patterns and Their Implications
8.1 Preliminaries
8.2 Structural patterns
8.3 Artistic patterns once more
8.4 Final remarks
Appendices
Appendix 1 Okumaripa Watuchin
Appendix 2 Okumaripa Watuchin–Chart
Appendix 3 Mankapa Cuenton
Appendix 4 Watuchi I
Appendix 5 Watuchi II
Appendix 6 El Zorroyla Vizcacha I
Appendix 7 El Zorroyla Vizcacha II
Appendix 8 Hwan Usu
Bibliography
SIL International Publications in Translation and Textlinguistics 3
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