Charles University, Faculty of Arts
East and Central European Studies
Spring 2017
Czech Ballads in Comparative Perspective: Between Print and Oral Tradition
CUFA LIT 315
Instructor:
Ondřej Skovajsa, Ph.D.
Office Hours:
by appointment
Email:
[email protected]
Class Days/Time:
Tuesday & Thursday 12:30 – 14:00
Classroom:
MB 129
Prerequisites
There are no prerequisites for this course. Yet students should be prepared to read not merely ballads in
English translation but also various theoretical texts.
Course Description
Centuries-old practice of Czech and Moravian balladry offers a fascinating glimpse into the roots of
Central European cultural tradition. Despite significant influence of print and writing in transmission,
the traditional ballads were a communal property, passed along mostly orally. Their often enigmatic and
harsh subject matter dealt with love, war, religion, domestic crimes, cruel landlords, animism and magic.
Unlike their printed – and read – counterpart, the traditional ballad had to pass the test of generations:
what was not relevant for social coherence of the community was mercilessly forgotten.
During the course, students will observe the development of the “song that tells a story”,
focusing on its verbal part, yet keeping track of its musical side as well. After broader survey of Czech
traditional balladry, the class will discuss the gradual shift from residually oral to printed discourse, and
pay visit to broadside ballads whose Czech format is actually quite small and narrow. The class will
then move to “authorized” literary ballads and finish with ballads of Czech rock’n’roll.
Students will be gaining relevant interpretative skills and theories to apply to the genre, ranging
from oral mnemonics and orality-literacy studies, ballad composition, cultural context and nationalism,
to Sigmund Freud’s hermeneutics. The selection of ballads presents a rich network of relationships for
possible comparisons. As the class will encounter most traditional ballads merely academically, in print
and on YouTube, a visit of Czech traditional music concert or and/or a field-trip should somewhat
compensate for this.
Course Goals and Student Learning Objectives
By completing the course, students will gain skills in literary, ethnomusicological and folkloristic
comparative analysis of the Czech ballad, genre that spans between poetry, music and historical
evidence. They will be aware of the society in which the traditional ballad functioned – and which it
sanctioned – and be able to uncover some stock formulas and symbols it employed. They will understand
and argue why there is no such thing as pure oral tradition when discussing Czech folksong. They will
describe differences between traditional ballads, broadside ballads, literary ballads and rock&pop
ballads. Students will see exactly how romanticism sanctified the traditional balladry and endowed it
with religious value. The students will note some specific features of Czech balladry (as compared
mainly to the English and Scottish tradition); they will be able to come with a working hypothesis for
questions such as: Why there are so few Czech ballads with heroic themes? How does Czech traditional
balladry offer a glimpse into current Czech xenophobia? One important thing that ballads offer is living
our grief through, shaping it and thus making us overcome it. Students should learn to enjoy the often
crude and blunt emotive appeal of traditional ballads towards which often our elaborate hermeneutic
apparatus seems of little use.
Required Readings (all included in the class reader)
Theoretical texts come from the following sources, unless stated otherwise.
1. Abrams, M.H.: Glossary of Literary Terms, 1999.
2. Anderson, Benedict: Imagined Communities [1983]. London, Verso 1991.
3. Atkinson, David and Steve Roud (eds.): Street Ballads in Nineteenth Century Britain, Ireland
and North America. Farnham, Ashgate 2014.
4. Burke, Peter: Popular Culture in Early Modern Europe. Farnham, Ashgate 2002.
5. Dundes, Alan (ed.): International Folkloristics: Classic Contributions by the Founders of
Folklore. Lanham, Rowman & Littlefield 1999.
6. Heschel, A.J.: The Prophets, Vol. II., New York 1975.
7. Rubin, David C.: Memory in Oral Traditions. Oxford, OUP 1995.
The individual Czech, Moravian and Slovak ballads come from the following editions, unless
otherwise stated:
1. Sušil, František (ed.). Moravské národní písně. [1941]. Praha, Argo 1995.
2. Šrámková, Marta and Oldřich Sirovátka (ed.) České lidové balady. Praha, Melantrich 1983
3. Erben, K. J. (ed): Prostonárodní písně a říkadla. Praha 1837.
4. Čelakovský, F.L.: Slovanské národní písně. Praha 1946.
5. Burlasová, Soňa (ed.): Ej, prišli sme, prišli sme na pole družstevné. Bratislava 1980.
6. Bowring, John (ed., trans.): Cheskian Anthology. London 1832.
7. Kopta, Frances (ed., trans.): Bohemian Legends and Other Poems. New York 1896.
8. Horák, Jiří (ed.): Slovenské l’udové balady. Bratislava, SVKLB 1958.
9. Erben, K.J. Kytice. Czech and English Edition. Translated by Susan Reynolds. Jantar 2014.
10. Matějka, Ladislav (ed.): Czech Poetry, A Bilingual Anthology (vol. I.). Ann Arbor 1973.
The individual English and American ballads come from the following sources, unless stated
otherwise:
1. Child collection online:
http://www.sacred-texts.com/neu/eng/child/, and Child Ballad
Collection on archive.org
2. Graves, Robert: The English Ballad: A Short Critical Survey [1927]. N.Y., Haskel House, 1971.
Recommended Links
1. archive.org
2. The Library of Congress Celebrates Songs of America (www.loc.gov)
3. Traditional ballad catalogue: http://www.fresnostate.edu/folklore/ballads/
4. Broadside ballad archive: http://ballads.bodleian.ox.ac.uk/about
Assignments and Grading Policy
ASSESMENT
In-class Participation
20
Midterm test
15
Final test
15
Report
10
Final paper presentation
10
Final paper
30
IN-CLASS PARTICIPATION. Students are required to read the assigned texts and prepare answers for
the in-class debate. Students who do not speak much in the class should feel free to send their reflections
via email. When unprepared for a class, students lose one point from their total of 20 points for
participation. Every two weeks of classes, students will be informed about their participation grade.
MIDTERM AND FINAL TESTS
In midterm and final tests students will be asked to identify segments of assigned theoretical texts,
identify their key concepts and to apply the learned knowledge while answering questions concerning
an analysis of a new song. Both tests will have bonus questions.
REPORT
A five minute student’s speech – and with the screening of the YouTube video maximum ten-minute
presentation in total – about a short narrative song of the student’s choice. The report must (1) utilize
the knowledge learned in previous classes and (2) show further academic research. Preferably, but not
compulsorily, it should thematically fit into the given session. The presenter must (3) prepare paper
handouts for the rest of the class. The report (4) must not be read, but may be recited or sung. The report
in total must not be longer than ten minutes (if the student speaks for five minutes and the YouTube
performance of the narrative song lasts 5 minutes, after that the student will be mercilessly cut (5).
Stumbling and oral repetitiveness are very welcome. If the student fulfills these five requirements, they
will get full ten-point score. Students sign up for the report in the beginning of classes. Students may
apologize at least a day in advance from not being able to present the report and agree with the teacher
for another day. This shifting be done only once, however, unless a doctor’s note is presented. If the
student fails to report, he or she loses the ten points.
FINAL PAPER PRESENTATION
A five to ten minute oral report of main findings of the student’s final paper. The presentation must not
be read. The report must (1) utilize the knowledge learned in previous classes and (2) show further
academic research. The presenter must (3) prepare paper handouts for the rest of the class. The report
(4) must not be read, the presenter may use bullet points. The report must not be longer than ten minutes
in total (if the presentation should last more than ten minutes, the student will be mercilessly stopped
(5). Stumbling and oral repetitiveness are welcome. If a student fulfills the five noted requirements, they
will get full ten-point score. If the student does not present the final report the last week of class – or
sooner if previously discussed with the teacher – unless a doctor’s note is presented, they lose all ten
points.
FINAL PAPER
Students are asked to interpret a ballad of their choice from a given perspective, or compare and contrast
more ballads not discussed in class, or form or delve in deeper in some cultural issues discussed in class
connected to balladry. The topic needs to be first discussed with the teacher. The academic paper should
be about five pages long (no less than three!), consistently utilize citation norm of the student’s choice
(MLA, APA, Harvard, Chicago) and as an appendix the discussed ballad(s). It must include introduction,
topic sentence, analysis, conclusion, consistent quotations, Works Cited list. It must be handed in by the
last class, preferably in a paper copy.
Attendance
Regular and punctual class attendance is mandatory for all students. Absence of 180 minutes is allowed.
Three or more absences (90 minutes each) lower the grade automatically (A to A-, A to B+ in case of 4
absences etc.). Students must attend at least 70 % of the course. If a student attends less than 70 % of
the class meetings, he or she will receive the final grade 'F' on their transcript.
Presentation Policy: Missing the presentation will result in an F (when applicable). If the student wants
to switch the date, he/she must find someone to do it and both students must confirm the change in emails to the professor at least 10 days in advance. If the student is sick and has a medical note, then the
professor must agree with the student on how the work will be made up for.
Final Test or Paper Policy: Completing the final test or paper is required. Failure to submit the final test
or paper according to the deadline will result in a letter grade F for the entire course.
For further details, please see the Attendance Policy at the ECES website under “Academic Policies and
Procedures”: http://eces.ff.cuni.cz/.
Student Responsibility and Code of Conduct
Standards of study and conduct in the ECES Program are set and maintained. You are subject to the
general standards and requirements of Charles University in regard to attendance, examinations, and
conduct, as well as to specific requirements of the program. The student is expected to assume the
initiative in completing all requirements at the time specified.
It is the responsibility of the student to be informed concerning all regulations and procedures required.
In no case will a regulation be waived or an exception granted because a student pleads ignorance of the
regulation or asserts that he/she was not informed by an advisor or other authority.
Charles University expects all students to adhere to the highest standards of ethics and academic
integrity. Students certify that all work (whether an examination, research paper, research project, form
of creative expression, or any other academic undertaking) submitted for evaluation, presentation, or
publication meets these standards.
All forms of academic fraud are strictly prohibited. An automatic grade of F will result for the entire
course if a student is found guilty of academic misconduct. These include, but are not limited to:
•
Plagiarism
•
Cheating
•
Falsification
•
Violation of professional ethics
•
Misrepresentation of research data
Weekly Schedule
I. TRADITIONAL BALLADS
WEEK 1
Introduction and Working Definition of “songs that tell stories” ((Feb. 21 and 23)
In Nové Zámky (Sušil)
Nick Cave and PJ Harvey
*M.H. Abrams “Ballad”.
Lord Randall (Child 12A)
Mother the Poisoner (Matka travička, Sušil 330)
The Orphan (Erben, trans. Kopta)
Uliánka (Sušil)
Murderous Wife (Manželka vrahyně, Sušil)
Field trip 1: Roztoky Masopust (Mardi Gras). Meeting spot Dejvická Metro Station below where
the trains come and go. 12:20 pm.
WEEK 2
Laws of Epic Narrative (Feb. 28) as shown also on ballads with metamorphosis (Feb. 2)
*Axel Olrik: “Laws of Epic Narrative” (Dundes)
* D.C. Rubin, From “Word Choice and Commonplaces”.
Bonny Barbara Allan (Child 84)
Axed (Poroubaný) (Sušil 382)
Mother’s Curse – Heřman a Dorotha (trans., ed. Bowring)
The Mother's Malison (Child 216)
Grimm Brothers: Juniper Tree
Far Wedded (Daleko vydaná)
A Cradle in Heaven (Kolébka v háji, Šrámková 23)
Wandering Fiddlers (Erben 1)
WEEK 3
Ecotype and Motif (March 7 and March 9)
*Von Sydow, C. W.: “Geography and Folk-Tale Oikotypes”. In Alan Dundes (ed.), pp. 137-151.
The Daemon Lover (from Child Collection)
V tu neděli po ránu (see also Žalman version)
Who Does Not Observe Sunday (“Nesvěcení neděle”, Sušil)
K.J. Erben: “The Strange Guest” (trans., ed. Kopta)
Dead Lover (When Janko Went to War) (Keď sa Janko na vojnu bral:
https://www.youtube.com/watch?v=xiaa6UA00gg)
The Only Son (Jediný syn, Šrámková)
The Only Son (Janeček ed.)
Three Daughters (Tři dcery, Sušil)
Salt Over Gold (Němcová Fairy Tail)
The Cherry-Tree Carol (Graves, pp. 74-75)
From pseudo-Mathew 20–21
The Bitter Withy
Virgin Mary’s Birth (Sušil)
Field trip No. 2: Saturday March 11: Traditional Music Concert: “Prácheňský soubor
Strakonice”. Meeting point 6:30 PM, “tram stop Švandovo divadlo”
WEEK 4: Marriage and Its Discontents; Freud (March 14 and 16)
*Freud, Sigmund: “Symbolism in Dreams.” (Dundes ed.)
From Půlčín Church (Z půlčínského kostelíčka) (www.youtube.com/watch?v=PxpgHGMRvIQ)
Careless Love (Trad. sung by Odetta, https://www.youtube.com/watch?v=LOGXiYruaug)
The Bride Has Overslept (Zaspala nevěsta) https://www.youtube.com/watch?v=8sSijAn_8U0)
A Suicide (Samovrahyně, Sušil),
* Andrea Dworkin: “The Fairy Tales”, from Woman-Hating.
Clever Anička (Chytrá Anička, Šrámková).
Peacock’s Feathers (Sušil)
As I walked over the Green Wood (Když jsem šla tenkrát přes háječek, Bowring)
Under Your Window, Dove (Bowring)
Za našima humnama (Sušil)
WEEK 5: Servitude and Its Discontents; the Turk, the Jew, the Gypsy (March 21 and 23)
* Burke, Peter: “Heroes, Villains and Fools”.
Arrested Reaper (Zajatá žnečka, Šrámková 37–38).
Count Breda (Erben)
Fighting Maiden (Bojovnice, Sušil 233).
Trickster King (Podvodník, Sušil 223).
St. George (Sv. Jiří, Sušil 87).
On the Turkish Boarder (Na tureckém pomezí, Bowring 129-136, Čel 292)
Kol Ha Olam Kulo (A Hasidic Song)
A Poštaris Avel, Telegramos Avel (A Roma Ballad)
WEEK 6
March 28 and March 30 -- no regular class. Join at least one of the offered field trips instead! (You
are very welcome to join two or all three offered field trips!)
WEEK 7
The (Un)Making of Heroes (April 4)
Lord Raglan: “The Hero of Tradition”, Folklore (1934). 212-231.
Rubin, D. C.: From “North Carolina Ballads”. (Rubin)
Pretty Polly (web)
Tom Dooley (web)
Jesse James (Graves)
In Africa on a Hill (web)
What Happened High Up (Čo se stalo Hore, Burlasová 2, 83)
From Jánošík (dir. Martin Frič, 1936)
Midterm Test (April 6)
Saturday, April 8.
Field trip, no. 3: Saturday March 11: Traditional Music Concert, Oldrzychowice Ostrava,
meeting point 6:30 PM at the tram stop Švandovo divadlo
II. BROADSIDE BALLADS
WEEK 8
Introduction to Broadside Ballads (April 11)
*Lucy Skeaping’s Lecture. Watch here: http://www.gresham.ac.uk/lectures-and-events/broadsideballads-of-17th-century-england
A Description of a Strange Fish
The Unfaithful Servant
News out of East India
The Interface of Writing and Print (April 13)
*Steve Roud: “Introduction” (2014).
A New Song about Murderous Deed
An Exemplary Song (facsimile and translation)
Dolorous Story (Facsimile and translation)
III. LITERARY BALLADS
WEEK 9
A Root of Romanticism (April 18 and April 20)
Robert Lowth. from Lectures on the Sacred Poetry of Hebrews (1843[1753])
From Heschel, A.J.: “The Bible as Literature”. Pp. 155-158.
From Johann Gottfried Herder “On Slavian Nations”-- from Outlines of a Philosophy of the History of
Man (1800 [1784-1791])
Benedict Anderson (short excerpt). Imagined Communities. London and New York: Verso, 1983.
p. 36.
K.J. Erben: “Posy” (Kytice)
WEEK 10
Writers writing “songs” (Apr. 25) and writer’s anxiety (Apr. 27)
From Jan Assmann from Cultural Memory (short excerpt)
William Blake: Introduction to Songs of Innocence (1789)
William Wordsworth: From “Preface to Lyrical Ballads” (1802),
William Wordsworth: “Solitary Reaper”
John Keats: “La Belle Dame Sans Merci” (1819)
J.W. Goethe: Singer (Der Saenger, 1782)
J.W. Goethe: Erl-King (Erlkoenig, 1782)
K.J. Erben: The Noonday Witch (Polednice)
WEEK 11
Erben and Coleridge (May 2)
K.J. Erben: Záhořovo Lože (Zahor’s Bed)
S.T. Coleridge: Rime of the Ancient Mariner (1798, 1802)
Czech Social Ballad (May 4)
Jaroslav Vrchlický: Count Breda (Hrabě Breda, trans. Justin Quinn)
Petr Bezruč: Maryčka Magdonova (trans. Ian Milner)
Petr Bezruč: Bernard Zar (trans. Ian Milner)
Petr Bezruč: Schoolmaster Halfar (trans. Ian Milner)
CODA: CZECH R’N’ R BALLADS
WEEK 12 (May 9)
From Balada pro banditu (Michal Uhde, Music Miloš Štědroň and Vlastimil Hála)
Marta Kubišová: “Magdalene” EN (Magdalena) 1969 (Luboš Svoboda / Pavla Zachařová)
Josef Kainar / Vladimír Mišík: “They cut off the hair of the little boy” (Stříhali dohola malého
chlapečka).
Traband: Me and My Dad
Traband: The Rope that Anchors in Heaven (http://www.youtube.com/watch?v=P-4RgVsH2B4)
Gypsy.cz: One Day
Walk to Vyšehrad (May 11)
WEEK 13 (May 16 and 18)
Essay presentations I. Final Test.
Essay presentations II. Essays due. Wrap up.
Updated February 13, 2017