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OralPoeticsandCognitiveScience linguae & litterae PublicationsoftheSchoolofLanguage&Literature FreiburgInstituteforAdvancedStudies Editedby PeterAuer,GesavonEssen,WernerFrick EditorialBoard MichelEspagne(Paris),MarinoFreschi(Rom),EkkehardKönig(Berlin), MichaelLackner(Erlangen-Nürnberg),PerLinell(Linköping), AngelikaLinke(Zürich),ChristineMaillard(Strasbourg), LorenzaMondada(Basel),PieterMuysken(Nijmegen), WolfgangRaible(Freiburg),MonikaSchmitz-Emans(Bochum) Volume 56 Oral Poetics and Cognitive Science Editedby MihailoAntovićandCristóbalPagánCánovas ISBN978-3-11-034838-5 e-ISBN(PDF)978-3-11-034853-8 e-ISBN(EPUB)978-3-11-038468-0 ISSN1869-7054 LibraryofCongressCataloging-in-PublicationData ACIPcatalogrecordforthisbookhasbeenappliedforattheLibraryofCongress. BibliographicinformationpublishedbytheDeutscheNationalbibliothek TheDeutscheNationalbibliothekliststhispublicationintheDeutscheNationalbibliografie; detailedbibliographicdataareavailableontheInternetat:http://dnb.dnb.de. ©2016WalterdeGruyterGmbH,Berlin/Boston Typesetting:jürgenullrichtyposatz,Nördlingen Printingandbinding:Hubert&Co.GmbH&Co.KG,Göttingen ♾Printedonacid-freepaper PrintedinGermany www.degruyter.com Contents Preface–Acknowledgments VII CristóbalPagánCánovasandMihailoAntović Introduction:Oralpoeticsandcognitivescience 1 ElizabethMinchin RepetitioninHomericepic:Cognitiveandlinguisticperspectives 12 RaymondF.Person,Jr. Fromgrammarineverydayconversationtospecialgrammarinoraltraditions: Acasestudyofringcomposition 30 WilliamDuffyandWilliamMichaelShort Metaphorasideology:TheGreek“folkmodel”oftheepictradition 52 CristóbalPagánCánovasandMihailoAntović Constructiongrammarandoralformulaicpoetry 79 HansC.Boas Framesandconstructionsforthestudyoforalpoetics 99 AnnaBonifazi ParticlesascuestostructuringinSerbo-CroatianandearlyGreekepic 125 MarkdeKreij TheprimingactinHiomericepic 148 SonjaZeman Orality,visualization,andtheHistoricalMind:The“visualpresent”in (semi-)oralepicpoemsanditsimplicationsforaTheoryof CognitiveOralPoetics 168 – Preface Acknowledgements TheeditorsthanktheFreiburgInstituteforAdvancedStudiesforawardingthem theTandemFellowshipinLinguisticsandLiteraryStudies.Thankstothissplendid support, during the fall and winter 2012–13 we had the privilege of working at FRIASonourjointproject,entitled“TowardsaCognitiveOralPoetics:Traditional Epic and Cognitive Linguistics”. This was, as far as we know, the first project seekingtoconnectmajorapproachesfromcognitivelinguistics,suchasconstruc- tiongrammarorframesemantics,tothecentraltenetsoforalpoetics,mainlythe researchtraditionon oralformulaicstyleoriginated bytheParry-Lordtheoryof composition in performance. Besides the connections that wedetected between these fields, we were also inspired by other authors who have been building bridgesbetweenoralpoeticsandcognitivescience,aswellasbyresearchersin bothdisciplineswhohaveworkedindependently,notrealizinghowrelevanttheir workmaybefortheotherfield. Fortunately for us, the many privileges associated with the FRIAS tandem fellowshipalsoincludedsupportfororganizingaconferenceon“OralPoeticsand Cognitive Science”1, which took place at the Freiburg Institute for Advanced Studies from 24 to 26 January, 2013. This conference gave us the opportunity to bring together some of the researchers that had inspired our project, as well as other scholars whose work is very relevant for connecting oral poetic traditions with research on mind and language in general. To pave the way towards a cognitiveoralpoetics,amultidisciplinarygroupofexpertsexaminedthepossibi- litiesthattheanalytictoolsfromcognitivelinguisticsandcognitivescienceoffer for the study of oral poetry. At the same time, we wanted to explore how oral poetics, especially in the empirical tradition originated by Parry and Lord, pro- vides precious data for central issues in cognitive science and linguistics: language acquisition, the emergence of non-compositional meaning, idiomaticity, theoriginsoflanguageandmusic,socialcognition,thenegotiationofmeaning duringperformance,andmanyothers. Theconferencewasalsoaninvitationtoimagineacognitiveoralpoetics,a new field for the bi-directional exchange between two disciplines that have experienced a quick expansion during the past half-century or so: oral poetics andcognitivescience.Wehadtheprivilegeofenjoyinginterrelatedtalksbyoral poeticians, cognitive scientists, linguists, and literary scholars, all dealing with related topics, and seeking to connect what their respective disciplines have to offer.ThankstothegeneroushospitalityofFRIAS,wealsoenjoyedlongdebates, 1 Seehttps://sites.google.com/site/oralpoetcogsci/. VIII Preface–Acknowledgements roundtables,andQ&Asessions.Thisbookpresentsaselectionofpaperswritten after this experience. We thank all the participants at the conference, and our contributors in particular, for providing enthusiastic support and very useful feedback.WeareespeciallygratefultoAnnaBonifazi,alongsideherPhDstudents Mark de Kreij and Annemieke Drummen, for their invaluable and insightful supportoveralongperiod,aswellasforinvitingusasvisitorstotheirprojectat Heidelberg University. We thank Professors Egbert Bakker, Winfried Mennin- ghaus, and Mark Turner for making room for our conference in their busy agendas. ForalltheirsupportduringourresearchstayandconferenceinFreiburg,as wellasthroughouttheeditionofthevolume,wefeelextremelyfortunatethatour paths crossed with Coordinator of FRIAS Language and Literature School Gesa von Essen, FRIAS Linguistics Director Peter Auer, and Werner Frick, FRIAS LiteratureDirectorandSpeakeroftheBoardofDirectorsatFRIAS.Wewouldalso liketothankallthemembersoftheFRIAScommunity,whoprovidedathriving environment for our research, and especially the participants in the Linguistics and Literature Seminars. Finally, we thank the two anonymous reviewers of de Gruyter’s Linguae et Litterae series for their work, which has allowed us to improvethevolumeinmanyways. CristóbalPagánCánovas,UniversityofNavarraand MihailoAntović,UniversityofNiš Introduction: Oral poetics and cognitive science 1 A new field about the oldest verbal art Thisbookisaninvitationtoreflectonthevalueoforalpoetictraditionsforthe studyofaesthetics,language,andthemind.Itisalsoaninvitationtoexplorehow much more we can learn about orality in verbal art if we combine the analytic tools that cognitive science and oral poetics have been developing separately. Cognitiveapproachestoliteraturehavebecomeaburgeoningfieldoverthelast decades. Understanding the cognitive mechanisms that underlie verbal art re- quires what we could call a cognitive oralpoetics. That isto say,an account of howthehumanmindproducesthepoeticinitsoriginalformandcontext:theoral performancesituatedwithinthetradition. The variety of cultural traditions around the world magnificently reflects humandiversity.Butwhenitcomestopreservingandstudyingverbalart,music, or plastic arts, we easily forget two obvious facts. One is that, no matter how fascinatingtheirparticularitiesmaybe,alltraditionsareproductsofthehuman mind.Thereliestheirtrueintrinsicvalue,whatmakeseachandeverytraditiona treasure,aninvaluablepartoftheheritageofmankind.Languages,cultures,and nations come and go. As fascinating as their individual study can be, what mattersmostiswhattheycantellusabouthumannature. Thesecondfactisthatoraltraditionscamefirst,along,verylongtimebefore writing was invented and disseminated. Oral performances have been the only vehiclesofartandknowledge—includingplasticarts,inseparablylinkedtomyth andperformanceintheirorigins—forover90%ofthefiftythousandorsoyears thatcognitively-modernhumanbeingshavebeenaround.Eventoday,barelyhalf oftheworld’spopulationmastersreadingandwritingbeyondthebasics.Tothis we must add that oral traditions are intrinsically multiform and abundant (no publishing limitations), which makes them far more productive than written traditions. As a result, the vast majority of the poetry, music, and plastic arts being produced around the globe right now are situated within an oral milieu. Extremelyrichandcomplexoraltraditionsstilldevelopandflourish,sometimes interactingwithliteracy,sometimesnot. The combination of these two facts leads to a necessary conclusion: oral traditionsarecrucialforunderstandingtheaestheticphenomenon,culture,and