Representation of Polynesian Linguacultures in Maritime Folklore

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Abstract

The article deals with the phenomenon of sea shanties and their intercultural features in the context of European-Polynesian interactions. The history of the emergence of this genre of maritime folk music, as well as the main functions that sea shanties served, are described. A general functional classification of shanties is also provided. The integration of Polynesian linguacultures into the texts of sea songs and the consequences of such integration are given particular attention.

About the authors

Semyon Sergeevich Galaktionov

Institute of Scientific Information for Social Sciences, Russian Academy of Sciences

Author for correspondence.
Email: semengal98@mail.ru

Junior Research Fellow of Linguistic Department

Russian Federation

References

  1. Schreffler, G. (2018). Boxing the compass: a century and a half of discourse about sailor’s chanties. Portland: Loomis House Press.
  2. Doerflinger, W. M. (1990). Songs of the sailor and lumberman. Glenwood: Meyerbooks.
  3. Kelby, R. (2013). Nostalgia and imagination in nineteenth-century sea shanties. The Mariner’s Mirror, 98(2), 147–160.
  4. Harlow, F. P. (1962). Chanteying aboard American ships (maritime). Mystic: Mystic Seaport Museum.
  5. Hugill, S. (1961). Shanties from the seven seas: shipboard work-songs and songs used as work-songs from the great days of sail. London: Routledge.
  6. Risko, S. M. (2015). 19th century sea shanties: from the capstan to the classroom. ETD Archive, 658. https://engagedscholarship.csuohio.edu/etdarchive/658
  7. Carr, J. R. (2014). Hawaiian music in motion: mariners, missionaries, and minstrels. Champagne: University of Illinois Press.
  8. Medeiros, M. (2018). Western-constructed narratives of Hawai’i. History in the Making, 11, 214–246.

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