Ruth Finnegan is Visiting [{esearch Professor imd Emeritus Profl'Ssor in the Faculty of Social Sciences at the Open University. She was elected a Fellow of the British Academy in 1996 ilnd iln Hon. Fellow of Somerville College Oxford in 1997; and was awarded an OBE for services to Sod..1Sciences in 2000. Her publications include Lilllba Stories alld Slur}l-Telling 1967, 1981; Oral Literature in Africa, 1970; Mode:; ofThought (ioint ed.), 1973; Oral Poetry, 1977, 1992); lllfirrmation Technology: Sodallssues (joint ed.), 1987; Utl'racy alld Orality: Studies ill tile Tee/m%gy of Communicatioll, 1988; Tire Hidde/l MU$iciarl:;: Music-Making ill an E'lg/isll '7<l1on, 1989 and 2007; Ora/ Traditions ,md the Verbal Arts, 1992; SOllth Pacific Oral TraditilJ!l_5 Goint ed.), 1995; Tab of the City: A Study of Narrative and Urban Life, 1998; Communicating: The Multiple Modes ofHI/mml Interconnection, 2002: Parflcipatillg i,1 the Knowledge Sociel.l( Re:;eare/leys Be.l/ond Ihe UIll'"eysil.y WaJt.. (ed.), 200S; Th,. Oral ,wd Bl'yond: Doing Things wilh Words in Africa, 2007. Ruth Finnegan Why Do We Quote? The Culture and History of Quotation Cambridge OpenBookM ~ Publishers 2011 OpenBook iI1Y11l Publishers~ Open Book Publishers ClC lid., 40 Devonshire RO'ld, Cambridge, CBl 2BL, Unit(>d Kingdom http://www.opcnbookpublishers.com @2011 Ruth Finnegan Some rights ilTe reserved. This book is ffiilde availilblc under the Creative Commons Attribution-Non-Commerciill-No Derivative Works 2.0 UK: Englnnd & W..les License. This license allows for copying ilny part of the work for personal and non-commerdal use, providing author ilttribulion is dei!rly slated. 0('1,1i15 of .11lowances ilnd restriclions are vail.lble at: il http:!{w\\Iw.opcnbookpuhiishcrs.com As with all Open Book Publishers titles, digital material and resources associated with this volume are available from our wcbsitc: http://www.upenbookpuhlishers.com ISBN Hardback: 978-1-9U6924-34-8 ISBN Paperback: 978-1-906924-33-1 ISBN Digital (pdf): 978-1-906924-35-5 All pilper used by Open Book Publishers is Sf[ (Sustainilble Forestry Initiative), imd PEFC (Programme for the Endorsement of Forest Certification Schemes) Certified. Printed in the United Kingdom and United States by Lightning Source for Open Book Publishers To the lIlany voices that have shaped a"d resounded in lily above OW1I, all those ofmyfamily, past and }JYesent. Contents Preface XI Acknowledgements XIV Abbreviations and Note on Sources XVII I. SETTING THE PRESENT SCENE 1. Prelude: A Dip in Quoting's Ocean 3 2. Tastes ofthe Present: The Here and Now ofQuoting 13 2.1. 'Here and now'? 13 2.2. What are people quotingtoday? IS 2.3. Gathering and storingquotations 33 3. Putting Others' Words on Stage: Arts and Ambiguities of Today's Quoting 43 3.1. Signalling quotation 43 3.2. Whento quote and how 55 3.3. To quote ornotto quote 63 3.4. So why quote? 74 11. BEYOND THE HERE AND NOW 77 4. Quotation Marks: Present, Past, and Future 79 4.1. What are quote marks and where didthey come from? 80 4.2. What do theymean? 95 4.3. Do we needthem? 108 5. Harvesting Others' Words: The Long Tradition ofQuotation Collections 113 5.1. A presentday example: The OxfordDictionary of Quotations 114 5.2. Forerunners inthe written Westerntradition 120 5.3. Where didthey come from? 141 5.4. Why collect quotations? 147 V111 WhyDo We Quote? 6. Quotation in Sight and Sound 153 6.1. Quoting and writing - inseparable twins? 154 6.2. The wealth oforal quotation 159 6.3. Quoting blossoms in performance 167 6.4. Music, script and image 173 7. Arts and Rites ofQuoting 183 7.1 Frames fot others' words and voices 184 7.1.1. Narrative and its plural voices 184 7.1.2. Poetry 188 7.1.3. Exposition and rhetoric 189 7.1.4. Ritual and sacredtexts 192 7.1.5. Play 195 7.1.6. Displayedtext 197 7.2. An array ofquoting arts 198 7.3. How do the thousand flowers grow and who savours them? 212 8. ControllingQuotation: The Regulation ofOthers' Words and Voices 221 8.1.Who plants and guards the flowers? Imitation, authorship, and plagiarism 223 223 8.2. Constraining and allowing quotation: flower orweed? 232 8.3. The fields where quoting grows 246 Ill. DISTANCE AND PRESENCE 253 9. What Is Quotation and Why Do We Do It? 255 9.1. So what is it? 256 9.2. The far and near ofquoting 259 9.3. Why quote? 264 Appendix 1. Quotingthe Academics 267 Backgroundto this study: citingthe authorities 267 Academics quoting 279 Appendix 2. Ust ofthe Mass Observation Writers 287 References 299 Index 321 LIST OF ILLUSTRATIONS Fig. 1.1 'Ifit weren't for the last minute.. ' 3 Fig. 1.2 'Dadturns out all right' 4 Fig. 1.3 Warmemorial, Church Green Road, B1elch1ey, November 2009 6 Fig. 1.4 Graveyard quoting 8 Fig. 2.1 Example ofextractfrom a Mass Observer comment 16 Fig. 2.2 An 85 year-old widow's quoting 20 Fig. 2.3 Sayings in 'ourcircle offriends' 30 Fig. 2.4 A large collection of quotation books 39 Fig. 3.1 '1 Was suddenlyconscious ofthe quote marks' 47 Fig. 4.1 New EnglishBible: Matthew, Chapter21, verses 1-6 81 Fig. 4.2RevisedStandardBible :Matthew, Chapter21, verses 1-6 82 Fig. 4.3 Reina Va1era Bible (Spanish), web version: Matthew, Chapter21, verses 1-6 82 Fig. 4.4HolyBibleKingJames Version: Matthew, Chapter21, verses 1-6 83 Fig. 4.5 New Testament (Greek), London, 1885 :Matthew, Chapter21, verses 1-5 83 Fig. 4.6 TheNew Testament, translated into English by William Tynda1e, Worms, 1526: Matthew, Chapter21, verses 1-6 84 Fig. 4.7 The Bible andHoly Scriptures Conteinedin the Olde andNewe Testament, Geneva 1560 :Matthew, Chapter21, verses 1-7 85 Fig. 4.8 Dip1e marks in an 8th century manuscript: Bede's, Commentary on Proverbs 87 Fig. 4.9 Scriba1 citation marks, 7thto 9th centuries AD 88 Fig. 4.10 Laurence Sterne, Yorick's SentimentalJourney, Dublin, 1769 91 Fig. 4.11 The Crisis ofthe Sugar Colonies, London, 1802 93
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