Richard Bauman

Bio: Richard Bauman is an academic researcher from Indiana University. The author has contributed to research in topics: Folklore & Modernity. The author has an hindex of 29, co-authored 81 publications receiving 11023 citations. Previous affiliations of Richard Bauman include University of Texas at Austin.

Poetics and performance as critical perspectives on language and social life

Abstract: Scholars have vacillated for centuries between two opposing assessments of the role of poetics in social life. A long tradition of thinking about language and society argues that verbal art provides a central dynamic force in shaping linguistic structure and linguistic study. This position emerges clearly in the writings of Vico, Herder, and von Humboldt; attention from Sapir, the Russian "Formalists," and members of the Prague School to the role of poetics contributed to the development of performance studies and ethnopoe­ tics in the last two decades. Nonetheless, poetics has often been marginalized by anthropologists and linguists who believe that aesthetic uses of language are merely parasitic upon such "core" areas of linguistics as phonology, syntax, and semantics, or upon such anthropological fields as economy and social organization. The balance between these two views shifted in favor of poetics in the late 1970s and early 1980s as a new emphasis on performance directed attention away from study of the formal patterning and symbolic content of texts to the emergence of verbal art in the social interaction between performers and

Verbal Art as Performance

Abstract: Departing from text-centered perspectives on verbal art, an approach is developed to verbal art as performance, derived from recent work in folklore, the ethnography of speaking, sociolinguistics, and literary stylistics. The patterning of performance in genres, acts, roles, and events is discussed, as well as the emergent quality of performance, manifested in text, event, and social structure.

Exhibiting Cultures: The Poetics and Politics of Museum Display

Abstract: "Throwing open to debate the practices of museums, galleries, and festivals, Exhibiting Cultures probes the often politically charged relationships among aesthetics, contexts, and implicit assumptions that govern how cultural differences and art objects are displayed. This innovative volume brings together museum directors and curators, art historians, anthropologists, folklorists, and historians to examine how diverse settings have appealed to audiences and represented the intentions and cultures of the makers of objects. The essays address such major issues in the politics of culture as how the learned experience of everyday life is used to make exhibitions comprehensible, what happens to minority and exotic arts when they are assimilated into the hegemonic context of the "great" museums, and why ethnographic museums have been neglected in an age of museum expansions" -- p.[4] of cover.

Genre, Intertextuality, and Social Power

Abstract: This article addresses the relationship between discourse, textual and social order, and power by means of an examination of the concept of genre. It begins with a critical review of the way genre has been used in linguistic anthropology. A distinction is delineated between approaches that take for granted the status of genre as a tool for classifying and ordering discourse and those that contend with elements of generic ambiguity and dynamism. Proceeding to outline a new approach to genre, the discussion analyzes a wide range of intertextual relations that are deployed in constituting generic links. A series of examples contrasts strategies for minimizing gaps between texts and generic precedents with strategies for maximizing such gaps. A final section points to the ways that investigating generic intertextuality can illuminate questions of ideology, political economy, and power.

A simplest systematics for the organization of turn-taking for conversation

Abstract: Publisher Summary Turn taking is used for the ordering of moves in games, for allocating political office, for regulating traffic at intersections, for the servicing of customers at business establishments, and for talking in interviews, meetings, debates, ceremonies, conversations. This chapter discusses the turn-taking system for conversation. On the basis of research using audio recordings of naturally occurring conversations, the chapter highlights the organization of turn taking for conversation and extracts some of the interest that organization has. The turn-taking system for conversation can be described in terms of two components and a set of rules. These two components are turn-constructional component and turn-constructional component. Turn-allocational techniques are distributed into two groups: (1) those in which next turn is allocated by current speaker selecting a next speaker and (2) those in which next turn is allocated by self-selection. The turn-taking rule-set provides for the localization of gap and overlap possibilities at transition-relevance places and their immediate environment, cleansing the rest of a turn's space of systematic bases for their possibility.

Speech Genres and Other Late Essays

Abstract: Note on Translation Introduction by Michael Holquist Response to a Question from the Novy Mir Editorial Staff The Bildungsroman and Its Significance in the History of Realism (Toward a Historical Typology of the Novel) The Problem of Speech Genres The Problem of the Text in Linguistics, Philology, and the Human Sciences: An Experiment in Philosophical Analysis From Notes Made in 1970-71 Toward a Methodology for the Human Sciences Index

Identity and interaction: a sociocultural linguistic approach

Abstract: The article proposes a framework for the analysis of identity as produced in linguistic interaction, based on the following principles: (1) identity is the product rather than the source of linguis...

Theory in Anthropology since the Sixties

Abstract: Every year, around the time of the meetings of the American Anthropological Association, the New York Times asks a Big Name anthropologist to contribute an op-ed piece on the state of the field. These pieces tend to take a rather gloomy view. A few years ago, for example, Marvin Harris suggested that anthropology was being taken over by mystics, religious fanatics, and California cultists; that the meetings were dominated by panels on shamanism, witchcraft, and “abnormal phenomena”; and that “scientific papers based on empirical studies” had been willfully excluded from the program (Harris 1978). More recently, in a more sober tone, Eric Wolf suggested that the field of anthropology is coming apart. The sub-fields (and sub-sub-fields) are increasingly pursuing their specialized interests, losing contact with each other and with the whole. There is no longer a shared discourse, a shared set of terms to which all practitioners address themselves, a shared language we all, however idiosyncratically, speak (Wolf 1980).

Poetics and performance as critical perspectives on language and social life

Abstract: Scholars have vacillated for centuries between two opposing assessments of the role of poetics in social life. A long tradition of thinking about language and society argues that verbal art provides a central dynamic force in shaping linguistic structure and linguistic study. This position emerges clearly in the writings of Vico, Herder, and von Humboldt; attention from Sapir, the Russian "Formalists," and members of the Prague School to the role of poetics contributed to the development of performance studies and ethnopoe­ tics in the last two decades. Nonetheless, poetics has often been marginalized by anthropologists and linguists who believe that aesthetic uses of language are merely parasitic upon such "core" areas of linguistics as phonology, syntax, and semantics, or upon such anthropological fields as economy and social organization. The balance between these two views shifted in favor of poetics in the late 1970s and early 1980s as a new emphasis on performance directed attention away from study of the formal patterning and symbolic content of texts to the emergence of verbal art in the social interaction between performers and