Suspecting it was more widely known for its sporting prowess than its culture, Australia decided to stage four arts festivals prior to hosting the 2000 Olympics. The first, held in 1997, celebrated the indigenous cultures of the world, with prominence given to Aboriginal Australia. Conceived as the “Festival of the Dreaming,” it featured, in addition to dance, storytelling, and art, performances of Waiting for Godot in Bundjalung. It was hoped parallels between the play’s universal themes and historical Aboriginal experience – a politics of waiting and existential despair – would reveal indigenous culture. In the event, this was not realized. This chapter explores some of the reasons why. Audiences heard Bundjalung spoken but it proved so mellifluous that the expected interplay of antagonism and resignation voiced in English did not take place. Audiences could follow the English text cued as sur-titles but given ignorance of Bundjalung they could not appreciate they were hearing a transliteration. Audiences could see the cast interacting, but they were not aware that the protocols of Aboriginal conversation had been set aside. While the Bundjalung Waiting for Godot was years ahead of its time, it continues to raise issues for the notion of global Irish studies.

In its broadest sense, book history is concerned with all the media – electronic, printed, handwritten, oral – in which dictionaries have been preserved and circulated. Lexicography began at a particular point in the development of the book, and many topics in the global history of lexicography are book-historical topics. One of the most fundamental of these is the distinction, seen in western and non-western traditions alike, between dictionaries which are made to support ready reference, and dictionaries which are made to support slower, more thorough, study. Another is the distinction between the dictionary text as a single entity, and the body of lexicographical material as a repertoire from which different selections can be made on different occasions. Another is the dependence of the textual structure of the dictionary as we know it on the physical structure of the codex (as opposed to scrolls, clay or wooden tablets, and other media). These topics are of evident continuing relevance to the compilers, publishers, and users of dictionaries in electronic form.

Ancient literary-historical narratives commonly envisage developments in poetry and music in terms either of gradual technical progress, or of decadence and hyper-sophistication. This chapter argues that Lucretius strikingly combines these two perspectives in the concluding paragraphs of the culture-history at the end of De Rerum Natura 5: the invention of carmina as songs (5.1379–1411) is associated with simple pleasures, emphatically unsurpassed by later refinements in technique which are linked in turn to the insatiable and destructive desire for novelty and luxury; whereas carmina as (epic?) poems are mentioned amongst the refinements listed in the book’s closing lines as steps on the way to a ‘peak’ (cacumen) of artistic and cultural progress (5.1448–1457). The dual narrative adumbrated here may be linked in turn with the dichotomy between text as written artefact and poem as disembodied ‘song’, which has been a focus of attention in recent scholarship on Latin poetry: both models of textuality, like the conflicting models of cultural development that shape the finale to Book 5, are important to Lucretius’ poetics and his Epicurean didaxis. Lucretius’ poem thus exemplifies the manifold ways in which literary-historical narratives may be determined by the discursive demands of the text in question.

This chapter is focused on a battle in the Athenian law-court between two great orators. Aeschines was trained as a tragic actor who worked in a mask, and brought the skills of the stage to the democratic arena. He argued for making peace with the new rising imperial power, Macedon, and tried to persuade the jury to position themselves as authentic democrats. Demosthenes was a skilled writer who wrote speeches for others, and later learnt how to present himself as a public speaker. He won the debate for two reasons. He persuaded the jury to position themselves in nationalistic terms as Athenians, and he also persuaded them that he was sincere while his opponent was merely acting. The reputation of Demosthenes has undergone many changes, and it was only in the nineteenth century that he emerged as an archetypal democrat. In Demosthenes’ day the drive for sincerity was tied to a shift from communitarian thinking to a higher degree of individualism, in a political context where the city was losing its power of self-determination. I end by drawing on Peter Brook’s minimalist definition of theatre to create a definition of democracy.

This chapter provides a chronological review of critical responses to Old Norse-Icelandic literature. The ‘book-prose vs free-prose’ debate is the starting-point for this overview, which then focuses on modern scholarship on sagas. The approach of the Icelandic school is discussed, followed by consideration of theoretical issues such as orality, structuralism, anthropological methods and the influence of non-Icelandic literary forms. Next come post-structuralism and narratology. The diversity of theoretical approaches which grew up towards the end of the twentieth century is documented, including post-colonialism and polysystem theory. Long-held generic distinctions are reviewed, and the development of gender studies with regard to Old Norse is described. Recent developments in the study of orality in prose and poetry are discussed, as are theoretical topics such as memory studies and the role of the paranormal. The chapter concludes with an account of the diversity of critical approaches to Old Norse-Icelandic literature and explains the need to employ integrated theories bringing in research from a number of disciplines, including archaeology, psychoanalysis and sociology.

This chapter opens the volume’s investigation of several major questions – What is technology? What is literary technology? Is literature a technology? – by responding to Walter Ong’s opposition of the naturalness of oral speech and the artificiality of “technologized” writing. It presents a historical overview of the consequences of the development of writing in the West. Considering indigenous texts by such Haida authors as Skaay and Ghandl, MacRae pushes against standard scholarly accounts of the teleological triumph of print that have served to provide “an intellectual bulwark for imperialism and colonialism.” MacRae positions orality and oral performance as rich and generative technologies whose complex affordances are impossible to render in other media: Writing and printing, he argues, “impact literature and culture” primarily “by leaving things out: gestures, colors, coughs, shouts, and murmurs, the sound of falling rain: the entire three-dimensional world of human experience.”

African literature courses offered in African universities are typically taught in a conventional classroom setting with a focus on written texts. This chapter reflects on a departure from this situation, as the undergraduate course ENGL 314: Introduction to African Literature, taught at the University of Ghana’s Department of English, was reworked between 2019 and 2022. By adopting and adapting Africanist interpretations of text and writing, theming the course on sound, inviting guest lecturers and practitioners, engaging in basic field research, and infusing orality and experiential learning; students reconceptualized their natural environments as sites for intellectual investigation. The course sought to provoke sustained critique of traditional modes of teaching by displacing agency to students, allowing for an interrogation of assumptions that underpin their lived experiences. Due to the Covid-19 pandemic, there were opportunities to evolve further away from the traditional classroom setting, as the class harnessed the power of digital technology and social media by underlining their connections to oral tradition. Ultimately, the decolonizing perspectives engendered by the nature of the course pivoted toward a more Afrocentric offering of how such a course can be run at an African university.

In this chapter, I contextualize the discourse of orality as the privileged medium of revelation through three corpora; rabbinic idea of Oral Torah, the Manichaean claim that the Kephalaia contain Mani’s Oral Revelation not found in his Written Revelations, and the Pseudo-Clementine’s argument that only Orality (not vision) can guarantee prophetic truth. I ultimately argue that all three drew from a common fund of discursive tools to thematize orality as a privileged site of revelation. After a summary of contemporary discussions on rabbinic Oral Torah, I show how the Kephalaia itself emerged from an “Oral Performative” contexts that was largely independent of textual exegesis of Mani’s books. I argue that, like the rabbis, the Manichaeans privileged the orality because it allowed them to claim that they were simply continuing the revelation that Mani had begun. I then turn to the Ps.-Clementine Homilies and show it thematizes orality in ways that are surprisingly congruent with both the rabbis and the Manichaeans.

This chapter begins by exploring the issue of Proverbs as wisdom literature and its context within that group of books, it looks at the distinctive forms and content of the book and at the various possible context(s) for different sections of the work. It also looks at the Solomonic attribution and at other attributions to different characters found in Proverbs and at questions of orality and literacy.

Less dependent than the novel on the containing medium of the book (codex), the short story has an inherent power to move between different media – the magazine, the spoken word, the anthology, the story cycle, etc. This chapter examines how this transmedial power has impacted the form and content of the short story from the early nineteenth century to the present day. In particular, we examine the impact on the short story of the magazine; the creative writing program; the technology of photography; the spoken voice; and the audio tape. We see how transmediation informs themes such as literary commercialization and craft, and techniques such as realism and metafiction. The authors discussed include Nathaniel Hawthorne, Edgar Allan Poe, O. Henry, Ernest Hemingway, Nam Le, Jennifer Egan, Eudora Welty, Charles Chesnutt, Ted Chiang, John Barth, Elizabeth Tallent, and Jenn Alandy Trahan.

This chapter explores coincidences and divergences between Hesiod’s conception of language and those found in Akkadian literature. First, it provides a synopsis of Hesiod’s ideas about language and the interrelation of these ideas with the poet’s broader poetics. Then it discusses how Hesiodic conceptions of language are deeply intertwined with the interpretation of divine names. The chapter also investigates how Hesiod’s particular ways of interpreting theonyms is used to endorse hermeneutic practices anchored in an oral tradition. It explores the differences between the Theogony and its cuneiform counterparts, especially by comparing how wordplay and etymology are deployed in the analysis of divine names.

This chapter considers Alexis Wright’s trajectory as a writer from Grog War (1997) to The Swan Book (2013), arguing that her body of work presents a consistent vision that is “at once Aboriginal and Australian, modern and ancient, local and yet outward-looking.” It pays special attention to the notion of “all times,” the relation between form and politics, and how imaginative sovereignty underpins Wright’s work.

This essay explores overlapping and intersecting modes of communicative interchange which characterised Gaelic cultural expression in the long early modern period. For a variety of complex reasons, print failed to supplant script as a communicative mode in Irish until arguably late in the nineteenth century and early in the twentieth century. Accordingly, the present essay seeks to delineate an often elusive but nonetheless intellectually dynamic encounter between print technology and communication in Irish down to the nineteenth century. Given the potent cultural and historical resonance of Gaelic script, it is argued that early modern Gaelic Protestants were acutely attentive to the ideological implications of an alignment of venerable scribal practice with print technology in the presentation of a new and radical religious programme. It is proposed that a vibrant Gaelic scribal culture was informed and energised by a creative confluence of script, print, and orality.