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Contributors
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- By Waiel Almoustadi, Brian J. Anderson, David B. Auyong, Michael Avidan, Michael J. Avram, Roland J. Bainton, Jeffrey R. Balser, Juliana Barr, W. Scott Beattie, Manfred Blobner, T. Andrew Bowdle, Walter A. Boyle, Eugene B. Campbell, Laura F. Cavallone, Mario Cibelli, C. Michael Crowder, Ola Dale, M. Frances Davies, Mark Dershwitz, George Despotis, Clifford S. Deutschman, Brian S. Donahue, Marcel E. Durieux, Thomas J. Ebert, Talmage D. Egan, Helge Eilers, E. Wesley Ely, Charles W. Emala, Alex S. Evers, Heidrun Fink, Pierre Foëx, Stuart A. Forman, Helen F. Galley, Josephine M. Garcia-Ferrer, Robert W. Gereau, Tony Gin, David Glick, B. Joseph Guglielmo, Dhanesh K. Gupta, Howard B. Gutstein, Robert G. Hahn, Greg B. Hammer, Brian P. Head, Helen Higham, Laureen Hill, Kirk Hogan, Charles W. Hogue, Christopher G. Hughes, Eric Jacobsohn, Roger A. Johns, Dean R. Jones, Max Kelz, Evan D. Kharasch, Ellen W. King, W. Andrew Kofke, Tom C. Krejcie, Richard M. Langford, H. T. Lee, Isobel Lever, Jerrold H. Levy, J. Lance Lichtor, Larry Lindenbaum, Hung Pin Liu, Geoff Lockwood, Alex Macario, Conan MacDougall, M. B. MacIver, Aman Mahajan, Nándor Marczin, J. A. Jeevendra Martyn, George A. Mashour, Mervyn Maze, Thomas McDowell, Stuart McGrane, Berend Mets, Patrick Meybohm, Charles F. Minto, Jonathan Moss, Mohamed Naguib, Istvan Nagy, Nick Oliver, Paul S. Pagel, Pratik P. Pandharipande, Piyush Patel, Andrew J. Patterson, Robert A. Pearce, Ronald G. Pearl, Misha Perouansky, Kristof Racz, Chinniampalayam Rajamohan, Nilesh Randive, Imre Redai, Stephen Robinson, Richard W. Rosenquist, Carl E. Rosow, Uwe Rudolph, Francis V. Salinas, Robert D. Sanders, Sunita Sastry, Michael Schäfer, Jens Scholz, Thomas W. Schnider, Mark A. Schumacher, John W. Sear, Frédérique S. Servin, Jeffrey H. Silverstein, Tom De Smet, Martin Smith, Joe Henry Steinbach, Markus Steinfath, David F. Stowe, Gary R. Strichartz, Michel M. R. F. Struys, Isao Tsuneyoshi, Robert A. Veselis, Arthur Wallace, Robert P. Walt, David C. Warltier, Nigel R. Webster, Jeanine Wiener-Kronish, Troy Wildes, Paul Wischmeyer, Ling-Gang Wu, Stephen Yang
- Edited by Alex S. Evers, Washington University School of Medicine, St Louis, Mervyn Maze, University of California, San Francisco, Evan D. Kharasch, Washington University School of Medicine, St Louis
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- Book:
- Anesthetic Pharmacology
- Published online:
- 11 April 2011
- Print publication:
- 10 March 2011, pp viii-xiv
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- Chapter
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Ballad, Tale, and Tradition: A Study in Popular Literary Origins
- Arthur Beatty
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- Journal:
- PMLA / Publications of the Modern Language Association of America / Volume 29 / Issue 4 / 1914
- Published online by Cambridge University Press:
- 02 December 2020, pp. 473-498
- Print publication:
- 1914
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- Article
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To anyone who has followed the development of the theory of ballad origins, it is well known that there are two main theories in the field for our suffrages at the present time: the communal; and the individualistic, literary, or anti-communal theory. The last name of the second theory is indicative of the attitude of its upholders, for they have in truth been largely occupied with a criticism of the communalists, always demanding of them more and ever more light, and ever, like doubting Thomas, refusing to believe until an actual ballad dating from at least the time of Hereward the Wake is produced for their fingers to touch. The communalists, by an appeal to the well-established facts of folk-lore and ethnology, maintain that the ballads are the product of the communal stage of society in Europe, in which the populace held festive dances, and in which there was actual improvisation of certain traditional lyric narratives. These narratives had their verse-form determined by the dance; and the whole poem from beginning to end was the product of the people, and was not in any way composed by literary persons. Moreover, these ballads have been handed down by oral tradition, and live in the mouths of the people. Of course, there is no claim that one expects to find in the ballads of the collections anything which springs directly from the ancient source; all that is claimed is that the poetic form is handed down, and, so to say, the general ballad tradition. This claim of long descent is substantiated by the very features of the ballads as they exist to-day; by their impersonality, their refrain, their depicting of but a single situation, their use of incremental repetition. Thus, it is maintained, the ballad is not derived from any pre-existing literary material, but is the result of a primary impulse which is as old as man, and out of which the various forms of communal poetry spring. Finally, the ballad is not connected with the popular tale; “it follows an entirely different line and springs from an entirely different impulse.”