Narrative


Testimony and Truth After Auschwitz

Sarah Gordon
Indiana University

Abstract:

Survivor testimony of the Holocaust often deviates from historical fact.  Postmodern theory allows for the near nihilation of that testimony by arguing that history is nothing but a version of events.  This paper seeks to authenticate survivor testimony in a postmodern context through the exploration of an ethics of testimony, concluding that factual truth and testimonial truth are members of fundamentally different categories, the latter dependent not on accuracy but on the social, ethical mandate to respect the memory of people who suffer and die so that others may live to tell the story. (more…)

So, What Is the Story Behind This Name?: Royal Praise-Poetry As an Oral Mythic Narrative

Abdulai Salifu
Indiana University

Abstract
The Dagomba praise singing genre of northern Ghana employs figurative language to recapture historical events in the political life of the people. A reigning chief occupies a central, pivotal position in the daily life of the community and is seen as a reincarnation of his ancestors, whose exploits are used to praise him or her. Royal praises rely on stories which depict supernatural ancestral achievements. This piece looks at the metaphors and mythical elements to be found in the language used to praise a chief during a social event in Tamale, Ghana, and focuses on the mythical elements in the praise song, based on real historical events. This happens in the context of a revered epic tradition at a Dagomba King’s palace.


The praise names drummers sing or use to address their patrons at ceremonies are abridged historical mythic narratives, taken from the myths and legends of the Dagbamba (also called Dagombas) of Northern Ghana. The narration assumes mythical dimensions and religious beliefs and practices are woven into the telling of the tale.

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Healing Charms and Family Legends:
Passing on Beliefs Through Québécois Maternal Lineage1

Julie LeBlanc
Memorial University of Newfoundland

Abstract

This article examines how emotions in fieldwork may both prevent and encourage the transmission of folklore.  It illustrates a specific healing charm legend told by the author’s maternal family members in the province of Québec, Canada.  Through her family members, Julie M-A LeBlanc examines the sense of sorority and the role of women in storytelling, a tradition mainly associated with men in Québec.  This article also discusses bonding experiences as they are created amongst women when sharing family narratives as a cathartic response when faced with a family member’s fatal illness.  She argues that a sense of urgency may stimulate spontaneous storytelling, such as the case with family members when death or the fear of losing memories is present. (more…)

Jack Zipes. Hans Christian Andersen: The Misunderstood Storyteller. New York: Routledge, 2005. Pp. xvii + 171, bibliography, film bibliography, index.

Steve Stanzak
Indiana University

As the subtitle suggests, this work by distinguished fairy tale scholar Jack Zipes endeavors to dispel the romanticized image of Andersen in popular culture by offering a more accurate and nuanced examination of the Danish storyteller. Although published during the bicentennial commemoration event of Andersen’s birth (the book carries the event’s logo), Zipes nevertheless avoids celebrating Andersen. Instead, Zipes aims to reevaluate the life and works of the prolific storyteller so that he may be taken as a serious literary figure. (more…)

Laura Gonzenbach. The Robber with a Witch’s Head: More Stories from the Great Treasury of Sicilian Folk and Fairy Tales. Trans. Jack Zipes. New York: Routledge, 2004. Pp. xxxii+230. Illus., notes, bibliography.

David Elton Gay
Indiana University

The Robber with a Witch’s Head is the second volume of Jack Zipes’s translation of Laura Gonzenbach’s nineteenth-century collection of Sicilian folk narrative. While this volume completes the translation of Gonzenbach’s work, the introduction to the volume is a slight revision of the introduction to the first volume, and thus it could easily stand alone as a translation of Italian folk narrative. (more…)