Artistic and Rhetorical Patterns in Quechua Legendary Texts
List of Figures
Preface
Acknowledgements
Abbreviations
- Introduction
- Assumptions about Texts
- Theory and Methodology
- Quechua Language and Culture
- Textual Patterns (I)—Ayacucho Coracora Quechua
- Textual Patterns (II)—Ayacucho Coracora Quechua
- Quechua Textual Patterns—Shausha
- Quechua Text Patterns and Their Implications
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
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
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
4.1 Facts about the Quechua languages
4.2 Some aspects of Quechua culture
4.3 Verbal art forms
5.1 The textual data
5.2 The basic organization of the Juan del Oso text
5.3 The presentational form of the story
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
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
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