The Singer of Tales in Performance. Bloomington: Indiana University Press.

　　A volume that continues the work of Traditional Oral Epic (1990) and Immanent Art (1991) by exploring the connections between oral-formulaic and performance-based theories as they apply to oral and oralderived texts. Chapter 1 (“Common Ground”) begins the laying of a theoretical foundation for the study by elucidating points of contact between Oral-Formulaic Theory and the Ethnography of Speaking/ Ethnopoetics approaches. Chapter 2 (“Ways of Speaking, Ways of Meaning”) then extends this foundation to incorporate Receptionalism and the concepts of performance arena, register, and communicative economy, while Chapter 3 (“The Rhetorical Persistence of Traditional Forms”) explores the ways in which oral traditional art can retain performance-based meaning even past the point of transition into written 698 R. SCOTT GARNER form. The last three chapters (“Spellbound,” “Continuities of Reception,” and “Indexed Translation”) then apply this established theoretical framework to the Serbian tradition of charms (bajanje), the Homeric Hymn to Demeter, and the Old English Andreas.