BDB Bertsolaritzaren datu-basea

1. THE NARRATOR AND THE PRAXIS OF FOLK NARRATIVES ...9
2. MEMORY PROCESSES AND THE MEANING OF A NARRATIVE ...14
2.1. The "rules" of narrating ...14
2.2. Memory organisation ...15
2.3. The understanding, memorising and performance of a narrative ...18
2.4. The simple narrative scheme ...22
2.5. The meaning of the narrative and the narrator's goals ...26
3. PERMANENCE OF INTERPRETATION IN REPEATED NARRATIVES …36
3.1. The basic premises …36
3.2. Repeated narratives …40
3.3. Crystallisation criteria in the narrative and the scale of individual variation …80
3.4. Ways of evaluation and interpretation, and their permanence …87
4. VARIATION IN THE INTERPRETATION OF DIFFERENT NARRATORS …90
4.1. The narrative tendency as the cause of variation …90
4.2. Individual interpretation of a legend …92
4.3. Narrative tendency and meaning …109
5. THE DIMENSIONS OF TRADITION ORIENTATION …113
5.1. How to delineate tradition orientation? …113
5.2. Factors characterising tradition orientation …117
5.2.1. The narrator’s repertoire …117
5.2.2. Mode of narration …122
5.2.3. The storyteller’s status …125
5.3. Factors moulding tradition orientation …127
5.3.1. Experience and values …127
5.3.2. Self-concept and social reaction tendencies …134
6. A TYPOLOGY OF NARRATORS: TRADITION ORIENTATION ALTERNATIVES IN KAUHAJOKI …137
6.1. Villages and storytellers …137
6.2. Familiarity with the collective tradition …140
6.3. Types of narrators …143
6.3.1. Weighting of motifs and properties as a narrator …143
6.3.2. The active narrator placing a distance between himself and tradition (type A) …146
6.3.3. The occasional narrator closely associating with tradition (type B) …151
6.3.4. The passive narrator who has internalised tradition (type C) …156
6.3.5. The active narrator who has internalised tradition (type D) …163
6.3.6. The passive narrator placing a distance between himself and tradition (type E) …167
6.3.7. Experiences of life and tradition orientation …169
7. ORAL TRADITION AS REFLECTOR OF CULTURAL CONSCIOUSNESS …172
7.1. Cultural consciousness and oral genres …172
7.2. The cultural milieu of South Ostrobothnia …177
7.3. The cultural bond of narrative corpora …184
7.4. Performing context and the transfer of tradition …191
8. NARRATIVE, NARRATOR, CULTURE – CONCLUSIONS …197
APPENDIX: THE GOALS AND TECHNIQUE OF FIELD RESEARCH …208
BIBLIOGRAPHY …215