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This book shows the role of specific linguistic structures in the creation of formulaic, artistic patterns in Quechua legendary narratives and explores how the patterns function in relation to concepts such as main event line and other rhetorical structures.
The analysis of the texts into artistic patterns is mainly based on Dell Hymes’s criteria; thus “pattern numbers,” initial connectives and evidential markers play an important role in the pattern formations. The Quechua texts also show that the switch-reference markers and/or the rotation of subject in general is crucial to the structuring of the texts. The analysis moreover shows how the different patterns discovered are closely tied to rhetorical/cognitive structures, as they are perceived and lined out by various linguists, especially those of Robert Longacre and Wallace L. Chafe.
The analysis of the texts prompts various questions in regards to the functions of the linguistic structures mentioned. Some of these get specific attention in the final chapter which also includes a discussion that seeks to find an explanation of the textual patterns through looking at universal artistic patterns as outlined by other scholars, as well as looking to some Quechua cultural patterns.
Ågot Bergli received the Dr. art. (Ph.D.) in linguistics in 2002 from Norges Teknisk-Naturvitenskapelige Universitet (NTNU), Trondheim.She has worked with SIL International since 1979, primarily as an editor of works on Quechua and discourse studies.
List of Figures Preface Acknowledgements Abbreviations
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
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
