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INTRODUCTION
1.The dead-end analysis of oral art in terms of written poetics 2. Enchantment by .but lack of charm of the oralist theory |
After the
critical appraisal of the principal socio-cultural characteristics
of improvised bertsolaritza (chapters I and II) and the description
with examples of the procedures for the creation of this oral art
form, of its techniques, its cognitive mechanisms and the limits that
improvisation places on the bertsolari (chapter III), this chapter is
an outline of the main features of a new theoretical framework which we
have been developing over the last two decades as participating observers
in the world of improvised bertsolaristic activity. As we mentioned
in the introduction, the need to draw up a suitable theoretical framework
has arisen from the observation that the methodologies in use are inadequate
to explain so specific a phenomenon as the improvised oral art of the
bertsolaris. It is this inability of current theories to describe, in
a thorough manner, the reality of improvised bertsolaritza which has pushed
us to draw up the theoretical framework which we present here and not
our predilection for a specific theoretical school. It would therefore be wise to start the presentation of our proposed theoretical framework with a review of the main methods of analysis which have continually and systematically clashed with the reality of modern-day improvised bertsolaritza and which we have been obliged to discard, at least in part. |