History of The Oral Literature Concept
Lore is seen in societies with vigorous oral conveyance practices to be a general term inclusive of both oral literature and any written literature, including sophisticated writings, as well, potentially, as visual and performance arts which may interact with these forms, extend their expression, or offer additional expressive media. Thus even where no phrase in local language which exactly translates "oral literature" is used, what constitutes "oral literature" as understood today is already understood to be part or all of the lore media with which a society conducts profound and common cultural affairs among its members, orally. In this sense, oral lore is an ancient practice and concept natural to the earliest storied communications and transmissions of bodies of knowledge and culture in verbal form near the dawn of language-based human societies, and 'oral literature' thus understood was putatively recognized in times prior to recordings of history in non-oral media including painting and writing.
Oral literature as a concept, after CE 19th century antecedents, was more widely circulated by Hector Munro Chadwick and Nora Kershaw Chadwick in their comparative work on the "growth of literature" (1932–40). In 1960, Albert B. Lord published The Singer of Tales (1960), which influentially exmamined fluidity in both ancient and later texts and "oral-formulaic" principles being used during composition-in-performance, particularly by contemporary Eastern European bards relating long traditional narratives.
From the 1970s, the term "Oral literature" appears in the work of both literary scholars and anthropologists: Finnegan (1970, 1977), Görög-Karady (1982), Bauman (1986) and in the articles of the journal Cahiers de Littérature Orale.
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