This paper addresses two questions. The first is whether the life of Deirdriu, as described in Longes mac n-Uislenn, can reasonably be said to correspond to the narrative pattern commonly referred to as the ‘heroic biography’. I argue that Deirdriu’s biography is, indeed, a heroic one, at least at the level of narrative structure, and can be shown to broadly follow the same progression as the biographies of more typical heroic biography subjects, and in particular that of Oedipus, who provides a model for many studies of the biography pattern. Moreover, this narrative kinship can be observed straightforwardly and without appealing to alternate versions of the pattern constructed to suit stories about women (i.e. those of Jezewski 1984 and Covington 1989). The second question is that of what Deirdriu’s biography tells us about the heroic biography itself. I argue that in recognising that Deirdriu not only has a heroic biography, but also that it is a conventional one, we gain insight into the use of the heroic biography as a narrative structuring device in stories about the lives of those who cannot be labeled ‘hero,’ according to any standard definition of the word.
{"title":"Deirdriu and Heroic Biography","authors":"Anna Page","doi":"10.33353/SCF.74105","DOIUrl":"https://doi.org/10.33353/SCF.74105","url":null,"abstract":"This paper addresses two questions. The first is whether the life of Deirdriu, as described in Longes mac n-Uislenn, can reasonably be said to correspond to the narrative pattern commonly referred to as the ‘heroic biography’. I argue that Deirdriu’s biography is, indeed, a heroic one, at least at the level of narrative structure, and can be shown to broadly follow the same progression as the biographies of more typical heroic biography subjects, and in particular that of Oedipus, who provides a model for many studies of the biography pattern. Moreover, this narrative kinship can be observed straightforwardly and without appealing to alternate versions of the pattern constructed to suit stories about women (i.e. those of Jezewski 1984 and Covington 1989). The second question is that of what Deirdriu’s biography tells us about the heroic biography itself. I argue that in recognising that Deirdriu not only has a heroic biography, but also that it is a conventional one, we gain insight into the use of the heroic biography as a narrative structuring device in stories about the lives of those who cannot be labeled ‘hero,’ according to any standard definition of the word.","PeriodicalId":52764,"journal":{"name":"Studia Celtica Fennica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44749105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the 1890s three collections of Manx traditional music and song were made at a time when similar collections were being made elsewhere, particularly in Britain and Ireland. In the Isle of Man the collections were made by 1) medical practitioner Dr. John Clague (1842-1908) of Castletown (also a colleague of Prof. John Rhŷs (1840-1915) during his visits to Man (1886-1893), by 2) the Gill Brothers (William Henry Gill (1839-1923) and the Deemster John Frederick Gill (1842-1899)) and Manx aristocrat Arthur William Moore (1853-1909). The first two (Clague and the Gill Brothers) mainly collected traditional tunes, Moore mainly song-texts. However, a number of song-texts (usually the first stanza only) find place in Clague's music collection. Although some of the texts were dealt with by Anne G. Gilchrist in her edition of the Clague Music Collection printed in the Journal of the Folk Song Society VII, 28-30 (1924-26), the main emphasis lay on a comparison of their texts with similar versions of a given song in other traditions (i.e. Ireland, Scotland, England, and a few in Wales, some even further afield). In this article all the known texts in Clague's music collection are dealt with particularly with regard to their linguistic contect and treatment, especially in the contet of the obsolescence taking place in spoken Manx at the time. In this latter respect, we do see some of the effects of obsolescence on the recorded pronunciation of the Manx texts in the songs. In the Appendix we look at the remnants of the May-time song (in its Manx form) Huggey my fainey sourey lhien, a Manx version of the traditional Irish Thugamar féin an samhradh linn 'we brought the summer with us', the Manx version showing some antiquity in its form.
在19世纪90年代,马岛的三个传统音乐和歌曲集被制作出来,与此同时,其他地方,特别是英国和爱尔兰也在制作类似的音乐和歌曲集。在马恩岛,这些收藏品是由1)卡斯尔敦的医生约翰·克莱格博士(1842-1908)(也是约翰教授Rhŷs(1840-1915)在访问马恩期间(1886-1893)的同事),2)吉尔兄弟(威廉·亨利·吉尔(1839-1923)和Deemster约翰·弗雷德里克·吉尔(1842-1899))和马恩岛贵族亚瑟·威廉·摩尔(1853-1909)收集的。前两位(克拉格和吉尔兄弟)主要收集传统曲调,摩尔主要收集歌曲文本。然而,一些歌曲文本(通常只有第一节)在克拉格的音乐收藏中找到了一席之地。尽管安妮·g·吉尔克里斯特(Anne G. Gilchrist)在《民歌协会杂志》(Journal of the Folk Song Society)第七期28-30(1924-26)上出版的《克拉格音乐集》(Clague Music Collection)中收录了一些文本,但主要的重点是将这些文本与其他传统(即爱尔兰、苏格兰、英格兰和威尔士的一些版本,甚至更远的地方)中特定歌曲的类似版本进行比较。在这篇文章中,Clague的音乐收藏中所有已知的文本都被处理,特别是关于它们的语言背景和处理,特别是在当时马恩岛口语中发生的过时的背景下。在后一个方面,我们确实看到了一些过时的影响在歌曲中记录的马岛文本的发音。在附录中,我们看到了五月歌曲(马恩岛形式)Huggey my fainey sourey lhien的残余,这是传统爱尔兰Thugamar fsamhradh linin 'we带来了夏天'的马恩岛版本,马恩岛版本显示了它的形式有些古老。
{"title":"MANX TRADITIONAL SONGS AND SONG-FRAGMENTS IN THE END-PHASE OF MANX GAELIC: FROM THE CLAGUE MUSIC COLLECTION (1890s)","authors":"G. Broderick","doi":"10.33353/SCF.70414","DOIUrl":"https://doi.org/10.33353/SCF.70414","url":null,"abstract":"During the 1890s three collections of Manx traditional music and song were made at a time when similar collections were being made elsewhere, particularly in Britain and Ireland. In the Isle of Man the collections were made by 1) medical practitioner Dr. John Clague (1842-1908) of Castletown (also a colleague of Prof. John Rhŷs (1840-1915) during his visits to Man (1886-1893), by 2) the Gill Brothers (William Henry Gill (1839-1923) and the Deemster John Frederick Gill (1842-1899)) and Manx aristocrat Arthur William Moore (1853-1909). The first two (Clague and the Gill Brothers) mainly collected traditional tunes, Moore mainly song-texts. However, a number of song-texts (usually the first stanza only) find place in Clague's music collection. Although some of the texts were dealt with by Anne G. Gilchrist in her edition of the Clague Music Collection printed in the Journal of the Folk Song Society VII, 28-30 (1924-26), the main emphasis lay on a comparison of their texts with similar versions of a given song in other traditions (i.e. Ireland, Scotland, England, and a few in Wales, some even further afield). In this article all the known texts in Clague's music collection are dealt with particularly with regard to their linguistic contect and treatment, especially in the contet of the obsolescence taking place in spoken Manx at the time. In this latter respect, we do see some of the effects of obsolescence on the recorded pronunciation of the Manx texts in the songs. In the Appendix we look at the remnants of the May-time song (in its Manx form) Huggey my fainey sourey lhien, a Manx version of the traditional Irish Thugamar féin an samhradh linn 'we brought the summer with us', the Manx version showing some antiquity in its form.","PeriodicalId":52764,"journal":{"name":"Studia Celtica Fennica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47765131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}