AUTHORS

INTRODUCTION

I. SOCIOCULTURAL REALITY AND PRESENT-DAY BERTSOLARITZA

II. ACHIEVING A BALANCE AMONGST THE CHALLENGES FACING BERTSOLARITZA: KEYS TO THE CREATIVITY OF THE TRADITION

III. THE PROCESS OF CREATING IMPROVISED BERTSOS

IV. PROPOSALS FOR A THEORETICAL FRAMEWORK

1.The dead-end analysis of oral art in terms of written poetics

2. Enchantment by .but lack of charm of the oralist theory

3. A new theoretical framework for improvised bertsolaritza

3.1. Improvised bertsolaritza as a rhetorical genre

3.2. Bertsolaritza and the five canons of rhetoric

3.3. Inventio in improvised bertsolaritza

3.4. Dispositio and improvised bertsolaritza

a) Dispositio in discourses of a single bertso

b) Dispositio in discourses of two or more bertsos

3.5. Elocutio: the poetic function in improvised bertsolaritza

3.6. Memory and improvised bertsolaritza

3.7. Actio and improvised bertsolaritza

3.8. Final point

V. GLOSSARY

3.4 Arrangement and improvised bertsolaritza

Arrangement is the ordering of the arguments in a suitable manner in order to achieve the desired end.

As regards improvised bertsolaritza, two levels of application of arrangement can be identified. As we have seen, each bersto always constitutes a discursive unit, and this is the first level for consideration: arrangement applied to a single bertso. On occasions, the arrangement can also be applied to larger (a performance or even longer units). In any case, whether or not there is a more ample discursive unit, each bertso still maintains its unitary discursive character.