BDB Bertsolaritzaren datu-basea

* 1- INTRODUCTION
* 1.1- Historical antecedents. Myth or reality in improvised bertsolaritza
* 1.2- The transformation of bertsolaritza in the XX century: the dominance of the improvised bertso
* 1.3- Objectives of this book
* 2- SOCIOCULTURAL REALITY AND PRESENT-DAY BERTSOLARITZA
* 2.1- The environment in which bertsolaritza finds itself: the Basque-speaking (euskaldun) community
* 2.2- Sociocultural relevance of bertsolaritza within this Basque-speaking community
* 2.3- Bertsolaritza today
* 2.3.1- Spectacle or public performance
* 2.3.2- Contests and championships
* 2.3.3- Group entertainment at an informal level: bertsolaritza workshops or schools
* 2.3.4- Bertsolaritza: its content and its practice in statutory education
* 2.3.5- Sub-genre in the media
* 3- ACHIEVING A BALANCE AMONGST THE CHALLENGES FACING BERTSOLARITZA: KEYS TO THE CREATIVITY OF THE TRADITION
* 3.1- Some revealing features
* 3.1.1- Total absence of mass production
* 3.1.2- Public participation and the vital importance of feedback
* 3.1.3- The nature of live performance in a public area and group participation.
* 3.1.4- Integrated nature of the audience
* 3.1.5- Accessibility of the bertsolari: economic self-sufficiency and modesty
* 3.2- What does the bertsolari sing?
* 3.3- . Achieving a balance amongst the challenges. What are roots for?
* 3.3.1- Appreciation of what is of value in one’s own tradition
* 3.3.2- Choosing to survive through adaptation
* 3.3.3- Daring to evolve
* 3.4- Three keys for development
* 3.4.1- Attitudes of self-confidence
* 3.4.2- Transmission from generation to generation
* 3.4.3- Organisational self-management: Bertsozale Elkartea
* 3.4.3.1- General characteristics of the organisation
* 3.4.3.2- Bertsogintza and bertsolaritza: The artistic approach and the organisational approach
* 3.4.3.3- The foundations of bertsolaritza as a cultural project
* 3.4.3.4- Self-management of bertsolaritza: a model for social action in cultural initiatives
* 3.4.3.5- Opening up to the outside world
* 4- THE PROCESS OF CREATING IMPROVISED BERTSOS
* 4.1- Formal aspects
* 4.1.1- The melodies
* 4.1.2- Metre
* 4.1.3- Rhyme
* 4.2- Principal strategy in the construction of the improvised bertso
* 4.2.1- General Strategy: the sting in the tail
* 4.2.2- Practical example-1: “The dilemna of designer drugs"
* 4.2.3- A number of exceptions
* 4.3- The soul of bertsolaritza - Improvised oral confrotation
* 4.3.1- General strategic possibilities in improvised oral confrontation
* 4.3.2- Practical example -2: "The worker and the housewife"
* 4.3.3- Practical example 3: "The debate about wind farms"
* 4.3.4- Improvised oral confrontations without an imposed theme
* 5- PROPOSALS FOR A THEORETICAL FRAMEWORK
* 5.1- 1. The dead-end analysis of oral art in terms of written poetics
* 5.1.1- Text as a pretext
* 5.1.2- The text in context: co-text and situation
* 5.1.2.1- Co-textual factors
* 5.1.2.2- Situational factors
* 5.2- Enchantment by . . . but lack of charm of the oralist theory
* 5.2.1- Orality in writing
* 5.2.2- Literature in orality
* 5.2.2.1- Formulas in present-day bertsolaritza
* 5.2.2.2- Intellectual experimentation
* 5.2.2.3- Distancing
* 5.2.2.4- Performance
* 5.3- A new theoretical framework for improvised bertsolaritza
* 5.3.1- Improvised bertsolaritza as a rhetorical genre
* 5.3.2- Bertsolaritza and the five canons of rhetoric
* 5.3.3- Inventio in improvised bertsolaritza
* 5.3.4- Dispositio and improvised bertsolaritza
* 5.3.4.1- Dispositio in discourses of a single bertso
* 5.3.4.2- Dispositio in discourses of two or more bertsos
* 5.3.5- Elocutio: the poetic function in improvised bertsolaritza
* 5.3.5.1- Poetic-rhetorical resources
* 5.3.5.2- Limits to poetic strategy
* 5.3.5.3- Resources exclusive to bertsolaritza
* 5.3.5.4- Poetics and rhetoric
* 5.3.5.5- Practical example 4: “Hunger in Africa”
* 5.3.5.6- Practical example 5: “The scars of war”
* 5.3.6- Memory and improvised bertsolaritza
* 5.3.6.1- Memory: its mnemotechnic nature and function
* 5.3.6.2- Memory and memorability
* 5.3.6.3- Memory as a data base
* 5.3.6.4- Memory and psychology
* 5.3.7- Actio and improvised bertsolaritza
* 5.3.8- Final point
* 6- GLOSSARY