Structure
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so | The king allowed the princess and 500 The maid went up to the water to play. |
Actually, it is not thinking but praying that is more appropriate. This is probably because the President's Vietnamese language is not fluent. Actually, I have to say: I just found out it's not a ghost. | - When she reached the island, the princess saw that everyone was fast asleep, only Prince Thong was still awake. Seeing so many people, the prince thought to himself that if they were ghosts, they would disappear, but if they were humans, they would remain the same. After thinking about it, seeing that the group of people were still the same, the prince realized that they were humans. |
Someone reminded: The princess knows she is the king's daughter so she must have manners. The President agreed. | - The two of them just talked and the prince felt sorry for the princess. The princess also agreed to feel sorry for him. Mr. Pras Thong wanted the princess to stay in his country but the princess said no, she had to inform the old man. She had to ask for her father's permission and could not decide for herself. The Dragon King listened and agreed, allowing his daughter to marry Pras Thong. The underwater king then used magic to drain the water, level the land to set up a tent to hold the wedding on the island. Long King also up. |
This way of telling is probably influenced by Khmer wedding customs. | - Then the Dragon King asked to go down to the water to have a wedding again to introduce relatives and divide status. But Pras Thong was a mortal and could not go down to the water, so he felt sad and did not say a word. The princess saw her husband was sad so she asked why? "I am the wife Husband, what do you have to tell me? |
- Pras Thong just told the truth. |
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Structure
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The use of the word “responsible” is very modern. The participants all affirmed that the Pong Thlot country was real, which is present-day Cambodia. Later, the Khmer people used that story to make wedding ceremonies for their children. Later, people called that story Pras Thon - Neang Nec. | I cannot go down to the water as the king said. The princess said: "Then don't worry, I will take responsibility. Just hold on to my shirt, your soldiers can hold on to you and we will be able to go." Everyone did and went down to the dragon palace and got married. After that, they were given the throne. that country |
I asked: What is this genre called, sir? Mr. TT replied: Generally, it is called ruong ni tien (story), or ruong put (true story), both are correct. "It's true, but it was a long time ago. "It must be new" - another person interrupted to explain. |
Through the above recording method, the transcript shows the content of the story in the right column, while the way, structure of the story and psychological emotions are shown in the left column. The left column itself has suggestions or indicators for analyzing the meaning and value of the folk tale. It is the activities, words, exchanges, negotiations, reactions between the speaker and the participants that provide the most practical data that creates the value of the work. After following the story with the recorded structure and context, the reader, based on the indicators in each transcript, can make assessments of many aspects behind the text. The reader can also imagine the mood of the participants and the atmosphere of the storytelling session through the researcher's description. The reader will also see the specific feelings that the field worker feels, experiences.
experience, reflect on every detail. Roger D. Abrahams believes that “movement is the most important characteristic of a folklore repertoire” [105, p.190]. Therefore, when recording and studying narrative discourse, we do not only see it as an entity but also feel with it. This empathy is inherent in the aesthetic construction of the repertoire, but it only becomes effective when the repertoire is performed.
To see the change in the content expression of the two ways of recording according to context and textualization, we make a comparison diagram of a story expressed by two different methods: The story of 4 talented young men with two ways of recording, on the left is recorded according to the context approach, on the right is the Legend of the Areca flower in the Khmer wedding ceremony (collected version by Tien Van Trieu).
Note taking in context approach | Textualized Stories | |
Background | From the gingerbread event in the coffee shop, a stimulus inspired Mr. Thach Thuol to want to tell a story to explain. | Narrator's name: teacher Thach Manh, in Thanh Tan commune, Thanh Tri district, Soc Trang |
-Four people went to study religion with a teacher. Each person became talented in different ways: fortune telling, archery, diving, saving people. -On the way back, the four people challenged each other. The fortune teller told the story of someone being caught by a bird. | - There are 4 close friends who split up to find a teacher to learn magic > each person learns 1 magic: fortune telling, archery, diving, saving people - On the way back, we met at the S'tung River, at the base of the Ni Crot tree > to compete with each other. - In the kingdom of Cre Me, there was a king. Pre Ba Me Hanu, there was princess Khe Ma Ri > went for a walk > was hit by a bird |
Note taking in context approach | Textualized Stories | |
-The truth happened like that, everyone helped save the princess from death. -Four people all wanted to marry the princess, arguing. Shakyamuni had not yet become a Buddha, he became a judge. -The diver was made the husband, the rest were made the brothers and parents. | Crut catch > The fortuneteller said that a bird would bring valuable things and caused an argument > the Crut bird flew by > he shot an arrow and hit the bird's leg > the princess fell into the water > he knew how to dive and jumped in to save her but the princess died when she was brought to shore > he was left to make medicine to bring the princess back to life. - All four people wanted to marry the princess > asked Father Pre Po Thi Sat to judge > Father advised everyone to unite and help each other, not to argue > finally said: +The fortune teller became a father because he knew what would happen. +The one who saved my life became my mother, like the one who gave birth to a princess again. +The archer is the elder brother because he knows how to protect and defend his younger brother. +The person who knows how to dive is the husband because he hugged the princess when he was rescued from underwater. | |
Meaning is | The meaning of the ceremony of cutting areca flowers and tying them into three bunches to give to the father | Two people who get married must be grateful to the other three people by |
Note taking in context approach | Textualized Stories | |
interpretation | mother and brother with relatives | Use areca flowers in wedding ceremony and divide into 3 bunches: + 1 bundle for dad with 21 areca nuts + bundle 2 for mom with 12 areca nuts + 3 bunches for you with 6 areca nuts |
The diagram above is also the progression of a story but it is collected, recorded and presented in two different ways, so the plot structure is not similar. When recorded in context, because this story is only part of a series of other events in preparation for a wedding, the plot structure after two tellings is simple, mainly serving the purpose of explanation. On the contrary, the plot of the story collected and texted in the traditional way is very detailed and long. Even the text-based plot tries to attach many details such as people's names, birds' names, rivers, trees, etc., making the story unnecessarily heavy. Because there is no direct context, the text-based story often tends to be detailed and lengthen the story so that it can be suitable for many situations and reach many audiences. On the contrary, when a story is told in context, it tends to simplify a lot of unnecessary details, only keeping what needs to be said for a certain purpose. The content of the story is not revealed by the plot itself but by the circumstances and the narrator's wishes. The length or shortness of the plot, the details or the simplicity of the plot itself is not determined but by the context. However, saying so does not mean that the narrator can tell whatever he wants, but the content of the story depends partly on the listener. Which part of the plot or type of core story is retained while telling is not determined by
The external principle governs but is determined by the participating community. If the listeners are people who share the same cultural capital with the storyteller, have memories and community activities for a long time, when encountering a familiar story, the way of telling and the details or types of stories will be more numerous and richer; the listeners' reactions to adjust the story will be less. On the contrary, if the story is strange, not originating from the locality, appearing to the audience outside the community, the number of details and motifs may be less; the listeners' responses may be more. Even in communities with cultures that are foreign to the culture in which the story originates, many details, motifs and types of stories can be omitted or replaced by other elements as long as the community using that story understands and accepts it.
As introduced in the theoretical part of chapter 1, the nature of the research direction of VHDG in context is research based on sociolinguistics, including pragmatics. Therefore, discourse in communication is considered the main object for literary research, not text. Therefore, a story recorded in this way can be just dialogues between two or more people and activities in the accompanying context. When receiving and reading, readers should read both the atmosphere and context of the story, that is, they must change the habit of reading the text in a narrative voice from beginning to end to a reading style that puts them in the atmosphere of the actual storytelling session. Accordingly, the language will be more free and allow for flexibility according to the narrator's emotions without being constrained by the grammatical principles of the written text.
Regarding the applicability of this recording model in other genres. Based on the characteristics of the context-oriented approach to VHDG works, the recording model in the thesis can be suitable for all genres related to the performance element. That is, any VHDG work
is expressed in real life in a process-like manner, with interactive communication between the speaker and the listener, with the personal experience of the fieldworker, then it can be used. Because the recording model focuses mainly on the contextual and performance elements, it can be applied whenever such activities take place. Regardless of the genre of the text being told, the way of recording does not change much in terms of structure. This can be seen not only in folk narratives (jokes, fairy tales, legends, fables, myths, ...) but can also be applied with some changes in genres such as folk philosophy (riddles, proverbs), folk lyricism (folk songs, folk songs) and folk theater and genres that combine language with performance (for example, Cham Rieng Cha Pay of the Khmer people in the South).
For example, with folk lyrical genres such as folk songs , describing the context in which the folk song occurs and the situation that stimulates the performance of a folk song is extremely necessary. What makes the folk song applied? What environment usually occurs when a folk song is performed? How do people start to signal the performance of a folk song? ... are questions that the description of the context in the above section must express. The more detailed the level, the easier the explanation. The structure of recording the performance of a folk song is the most difficult, because it must show both the activities of the performer and the listener and describe the sound and emotions of the performance atmosphere. Folk songs do not have a plot, so the presentation is not governed by linear time. Proverbs and riddles also have similar difficulties when building a clear model. However, if the recording principles and the goal of changing the research direction are firmly grasped, this model can be widely applied. The only thing is, this template cannot be reused and must be created and processed.
Summary
1. To change the direction of folktale research from text to context, the researcher needs to have the means and techniques suitable for the new method. This chapter has discussed how to record a story studied in context. This way of recording changes the way a story is read and understood. Recording in contextual research should not only use paper but also use all other means of information to support.
2. Accepting the basic conditions for considering a situation as a context is as important as considering what is a real work for textual research. Therefore, setting conventional limits is an important condition for research. What factors stimulate a narrative act is considered a context situation. In the process of recording the ongoing event, knowledge of psychology, sociology and anthropology is applied to the maximum in a transcript. There, the subjective feelings of the performer and the observations of the participants' attitudes are arranged into a unified whole. With that way, after reading the transcript, we have also had basic understandings of the meaning and value of the work.
3. Through the transcript model, it is shown that the presentation of the entire content of a story told in context helps readers visualize exactly what is happening behind the story. The motivations and needs that make a story long or short are described in the structure of the transcript. With the nature of dialogue, of narrative discourse, the story is now not just the words of a narrator to a hypothetical audience but is told to specific audiences with direct contact.