"Kevés szó van benne kidalolva" : A számi folklórszövegek kutatásának módszertani kérdései

• Main Author: Tamás, Ildikó
• Format: Article in Journal/Newspaper
• Language: unknown
• Published: 2013
• Subjects: GR Folklore / etnológia; folklór; kulturális antropológia; PH03 Lappic language and literature / lapp nyelv és irodalom; sami
• Online Access: http://real.mtak.hu/9730/; http://real.mtak.hu/9730/1/Tamas%20Ildiko%281%29_pdfa.pdf

“FEW WORDS ARE SUNG IN IT” THE METHODOLOGICAL PROBLEMS OF THE STUDY OF SAMI FOLKLORE TEXTS The author presents the major characteristics of the archaic Sami textual tradition via the analysis of the material collected by György Szomjas-Schiffert (1966) available in the Folk Music Archives of the Institute of Musicology of the Hungarian Academy of Sciences (Budapest). According to the author, the traditional approach to folklore studies and ethnomusicology is not sufficient in the investigation of loose, motif repeating, cyclically structured lyrical works. Since the research of folk poetry focuses primarily on the typological features and the structure of lines, the Sami folklore texts, having loose, unbound structure and inward oriented, hardly interpretable and fragmentary character, can be only partly analysed with traditional methods. The pragmatic approach in the investigation of yoik texts is eminently important and the author finds it necessary to apply some methods of cognitive linguistics as well. In addition, problems of semiotics and linguistic philosophy just as well as the emergence of synesthesia are also touched upon in the article. The author presents that the gap filling textual elements (panels) may be autonomous subjects of investigation. Their role is to reinforce the message, expressed musically and separated from ordinary speech, and to evoke (culturally bound) associations in the audience. The author examines the characteristics of the conformity of text and tune as well, since the use of panels may play an important role in the prosodic anomalies of the yoiks. Relying on an investigation of cultural contexts, the author points it out that both the tunes as well as the panels are under community control. The creator is not totally free in shaping the text, not even if (s)he uses exclusively panels.