21.1023, Diss: Discourse Analysis: Maduell: 'On-Stage Calls: An...'

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LINGUIST List: Vol-21-1023. Tue Mar 02 2010. ISSN: 1068 - 4875.

Subject: 21.1023, Diss: Discourse Analysis: Maduell: 'On-Stage Calls: An...'

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1)
Date: 26-Feb-2010
From: Mariana Maduell < dr_m_maduell at hotmail.com >
Subject: On-Stage Calls: An ethnolinguistic analysis of spoken language in professional flamenco performance

-------------------------Message 1 ---------------------------------- 
Date: Tue, 02 Mar 2010 17:35:20
From: Mariana Maduell [dr_m_maduell at hotmail.com]
Subject: On-Stage Calls: An ethnolinguistic analysis of spoken language in professional flamenco performance

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Institution: University of Hawai'i at M?noa 
Program: Linguistics 
Dissertation Status: Completed 
Degree Date: 1994 

Author: Mariana Maduell

Dissertation Title: On-Stage Calls:  An ethnolinguistic analysis of spoken
language in professional flamenco performance 

Linguistic Field(s): Discourse Analysis

Subject Language(s): Spanish (spa)

Dissertation Director(s):
Michael L. Forman
George W Grace

Dissertation Abstract:

This dissertation describes jaleo and cues, two genres of calls that
occur on stage during professional flamenco performance. It is based 
on performance data collected over the last nine years, especially 1985 
through 1988, plus additional material from earlier periods.

Chapters one through three provide general background.  Chapter one 
introduces the idea of taking frameworks usually used in the analysis of
performance situations in which language use is the most important 
aspect of the situation and applying them to situations in which 
language use is only one of many aspects of the performance, and 
indeed not the focus of the performance, which is the case for on-stage 
calls in flamenco.  It also details certain words and concepts as they will 
be used in the dissertation.

Chapter two presents a brief survey of relevant literature.  Chapter 
three provides background information on flamenco, its performance, 
and its performance speech genres: cante, jaleo, and cues.

Chapters four through six discuss three separate levels of analysis for 
jaleo and cues: characteristics of the calls themselves, the calls in the 
context of performance, and considerations with respect to verbal art.

Chapter seven concludes the study by presenting my findings for the 
three levels of analysis attempted, reinforcing my claim that existing 
methods can be applied profitably to examine this type of language 
use.  Ideas are offered for further research of both other flamenco 
linguistic situations and of similar linguistic phenomena in other 
cultures.  

Appendices of flamenco terminology and videography are also 
provided. 

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