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Not long ago we were quite confident about how to go about thinking. If we wanted to think about some fundamental value—say, justice—we charted the course of our exploration over the broad and silent ocean of historical and philosophical knowledge accumulated in libraries. Within the last few decades, however, we have discovered, to our dismay, that knowledge has burst the boundaries of print to attack not only eyes, but ears, touch—the whole sensorium. Ease of travel and the wonders of electronics have launched us into an informational universe of too many dimensions. We can be almost anywhere. We can watch space lift-offs and half-an-hour later watch magnified human sperm travel into the womb and beyond. We can "see" the color-coded temperature of Jupiter and look back from beyond the Earth. We can see and hear war happen.

Recent work on political liberalism attempts to find ways to bring divergent cultural practices under a single rubric. This article examines one of the limits of the cultural commensurability of modern liberal legality. It argues that Western forms of evidentiary proof are not amenable to oral history testimony given by indigenous litigants. Current anthropological research on oral history and indigenous culture shows that oral history is not simply a "record" or "chronology" of events, but is a particular cultural practice that draws its members into the fold – and this is an event of its own. Western forms of evidence, however, traditionally treat testimony as "reporting" or as "creating a record" of a prior set of events in time. This article suggests that the distance between these two conceptions of "events" and "record" is significant enough to warrant rethinking the place of traditional trial practices in the treatment of oral history. It also suggests that the Western form of legality is grounded in an understanding of temporality that eschews any other way of thinking about events and their occurrence, a legality oriented against orality.

The paper traces the ordinary—yet extraordinary—life story of a Bedouin woman, Amneh, in historic Southern Palestine from the 1930s to the 1970s. Amneh's oral narratives and memories combine the personal and the political, drawing a picture of the lives that the often forgotten Palestinian Bedouin population of the South lived before, during and after theNakba, the Palestinian Catastrophe of 1948. Her counter-narrative challenges and complicates the hegemonic settler-colonial, ethno-nationalist, elite and male-dominated historiography of the region, and confirms her as an historical actor who finds her ways through difficult social, political, economic and cultural constraints. Although unique, her story is not exceptional, nor is it representative of 'Bedouin women of the Naqab'. Rather, it offers a lens through which the much more intricate and messy historical realities in the Naqab can be unfolded. As such, Amneh's biography, as told by her, is also telling of the wider social and political dynamics, relations and events in the region at the time.

Walter Ong published Orality and Literacy: The Technologizing of the Word in 1982, synthesizing his career-long concern with the impact of the shift from orality to literacy on various cultures. Scholars of African American literary and cultural studies were coming to redefine their field around the terms orality and literacy at around the same time that Ong published his book; but where Ong stressed historical change or the fall from orality to literacy, African Americanists tended to accent their mutual mediation. This article explores the way that African Americanists, in stressing mediation, return orality and literacy to the concerns of Ong's ostensible field: media studies.

While podcasts as a storytelling media have exploded in popularity in the West since 2014, the uptake and consumption of this sonic new media was relatively slow in Africa until recently. This article explores amateur and start-up entrepreneurship podcasts that came to dominate the African mediascape during the medium's coming of age moment between 2014 and 2018. I extend Walter Ong's observation that broadcast and electronic media recreate the experience of oral performance, to show how the oral and aural dimensions of podcasting represent a set of approaches that can be described as new orality. This article also draws connections and distinctions between what I term the "dialogic schema" of African tech podcasts and "traditional" forms of narrative storytelling in African public cultures, as well as the emerging forms of mobile digital practices that, like podcasting, challenge easy distinctions between written and oral and literacy.

Shaped by a combination of romantic aesthetics and capitalist economics in the 19th century, the musical work was only enshrined in copyright law at the beginning of the 20th. However, even as the distinctiveness of the work was being legally inscribed, there emerged a new form of popular music making based on iteration. The recorded blues depended on continuity with other record-songs rather than the uniqueness of the individual work. Significantly, the phonographic orality at stake here was effectively unregulated, with 'plagiarism' being tolerated. The contrast is then with the hip hop genre. This has the same iterative mode as the blues, yet with the later style rights owners have become quite litigious, and now guard their symbolic property jealously. Focusing on the USA this article examines the differences between the two moments of blues and hip hop by analysing some key music copyright cases. It argues that despite stronger legal scrutiny of phonographic oral production in the contemporary period, this does not represent straightforward censorship in the way suggested by some commentators. Rather recent cases show the deep contradictions in copyright law between principles of uniqueness and tolerable continuity, and between the codification of physical sound and formal structure in music. These contradictions are inherent in the capitalist organization of music making, and are not susceptible to any quick policy fix.

AbstractThis study analyses how fictional languages can be influenced by natural languages exemplified by the use of Yiddish. It shows how a fictional language can be a data source for research on historical development of Western Yiddish (WY) and its sociolinguistic situation. In contrast to the varieties of Eastern Yiddish (EY), which are still spoken today, Western Yiddish was given up during the complex acculturation process of West-Ashkenazic Jewry during the nineteenth century. As a language driven by a pejorative view of language variations and by growing antisemitism, Yiddish found its way into German fiction, where it is still used in contemporary fiction as a means of characterising Jewish figures. This article presents the main results of a corpus study on 53 of such fictional texts from the eighteenth and nineteenth centuries.The Yiddish examples in Yiddish script will be primarily quoted in their original form and then be transliterated following the YIVO romanisation system (cf. Weinreich 1968).It will be shown that reflexes of spoken WY can be found in these imitations of Yiddish. This data can be used as secondary evidence of WY structures. Furthermore, the data gives an impression of the intensity of the language contact situation between German and Yiddish. In addition it gives insights into mechanisms of how German Jews were excluded from the German ideal of aSprachnation.