Tone in Oral History

Mohammad Mehdi Abdolahzadeh
Translated by Natalie Haghverdian

2017-06-06

24^th of May[1] provided the opportunity to meet with the Supreme Leader of the Revolution. A couple of attendees shared their memories. When Mr. Abolfazl Kazemi, the narrators of “Kucheye Naghashha”[2] was telling his memory it felt like he was reading his own book. In other words, Mr. Kazemi has spoken his own words in “Kucheye Naghashha” and it also means that Ms. Raheleh Saboouri, the interviewer and compiler of this book, has well maintained and been loyal to the tone of the narrator.

Another fried shared a memory. The memoirs of this friend is also published; however, I feel like the tone of the book was different. He was speaking smoothly but in the book it was as if a literary person was talking. One might think that the ambiance in the session resulted in such difference and it might be true; the story of the narrator shall be experienced under different circumstances to give a verdict.

In oral history, the historian pursues a targeted and systematic dialogue with the narrator to help them remember, recount, evaluate and analyze their memories. The interview audio files are transcribed with care and scientific obsession and then compared to the audio file; then the knowledgeable compiler, well versed on scientific principles of the oral history, compiles the content and publish the book for the access of those interested.

Michel Stanford says: The basic principle in oral history is that in writing history, the historian shall use the reports and words of actors and stakeholders involved in a similar context. Data collection on each subject using systematic interviews might reveal the unknown and implicit aspects of the history. The spoken language of the oral history free from the concerns of written language reveals and uncovers the hidden and unattended aspects of an incident. Also, the layout of historical findings in the form of spoken language is different from the framework of the written language; although, the spoken words turn into written letters on paper eventually. It is easier to express feelings like hatred, love, interest, care, etc. in spoken language, which has a limited scope in written language- which is the reason of success of oral history.[3]

It seems that the compiler is ultimately the one to edit the written content since efforts to elevate the aesthetic aspects and provide a good read might result in the change of words and punctuation. Here, the editor has achieved their ultimate goal but the tone of the resulting text is different from the interview tone which is stripped from its historical implications.

Some believe that the editor of the oral history content compares it with Persian grammar and literature. The individual editing the text shall observe limits in altering the text and it should be done in consultation with the narrator and the interviewer. The editor shall make the tone of the narrator smooth and modify the spoken language into the written form. The editor shall maintain the generalities of the content and be well versed on the subject. The editor shall follow the guidelines of the intended published in omitting words and expressions. Such guidelines steer the editor. Some changes applied by the editor might be so extensive that in the opinion of the narrator the end outcome would be different and unclear.[4]

It seems that in oral history texts, the tone shall be maintained and prevailing dialects shall be ignored. For instance, the words of narrators speaking with dialects of Isfahan, Yazd, etc. shall be substituted with its closest equivalent in Farsi. It is easier to understand a universal language than the specific dialects prevailing in provinces.

Hence, considering numerous dialects prevailing in the country, using the Farsi literature as approved by the Farsi Literature Center is a more acceptable choice. It is acceptable that the narrators speak in their own dialect and the compiler shall define ambiguous words and expressions in the endnotes.

Punctuation is another tool in preserving the tone of the narrator. A portion of feelings expressed using tone and sound is reflected by punctuation on paper. Some believe that: caution is of essence in using punctuation marks; such care is of higher imperative in scientific and technical texts; experienced writers and editors care much for such marks; it is said that Gustavo Flaubert would spend a whole morning trying to figure out the proper place to put a comma and then would spend the whole afternoon omitting it.[5] Mr. Mohammad Reza Omranpour believes that tone is the attitude and emotions of the narrator or the writer of a content which is reflected through a language.[6] Mr. Sirous Shamisa says: “Tone is creating a space in words. Characters define themselves through language and identify themselves to the audience. Hence, in this perspective tone is close to style. We understand characters through their tone and connect with them. Although, one character might have different tones.”[7]

Tone is different in characters; a physician’s tone is different from a lawyer. The tone of a calm person is different from and aggressive individual. Tone might manifest in different forms. Mr. Mohammad Reza Omranpour provides a classification of tone: mystical tone, love tone, roguish tone, clever tone, complimentary tone, foolish tone, emotional tone, surprising tone, happy tone, righteous tone, contempt tone, etc.[8]

Each individual, consciously or subconsciously adopts a tone. The tone is a way of identifying the character and spirit of the narrator. It shows if the narrator intends to tease or is serious; is stressing something or reflects it as unimportant. Consequently, the tone might change depending on the goal of the narrator. In other words, the tone is the rhythm of feelings and careful use of punctuation marks and specific words might help to preserve and transfer the tone.

Mr. Ahmad Samiei is not optimistic towards transfer of tone and says: Every language has initially used in verbal form to transfer a message. Once speech transforms into written literature, some elements like pause, stress, and tone which are the factors of convoying a message or reflecting emotions are hardly present in written form especially using marks other than the alphabet of a language.[9]

Mr. Qassem Sahrayi says: words are tools to form the tone and their combination is of high importance. The author might use a special rhythm and prose, structure and symbols, irony and expressions to convoy the intended message.[10]

Tone is the method of reading and articulating sentences which is subject to the context. It is essential to know that articulation of each word, in any prose, is unique; different tones might be employed in one content. In addition, each sentence or word might carry a special sound. The sounds and tones are different in a poem and the poet or author might like to emphasis on one word in a short sentence.[11]

Mr. Akbari Sholdareh says: Ordinary people speaks based on their feelings. Rage, fear, hatred, love, etc. not only affect our behavior but out speech. The general principle is for the author to observe all the details like a painter.

Each of us adopt a specific tone while talking about a special subject. Talking about a happy event is associated with a joyful tone and recounting a sad incident is with a concern and sad tone.

Some believe that in compiling oral history texts, the implications of the author shall be reflected in the endnote or footnotes saving the original text. Some believe in minimal alterations. The third group acquire memoirs and texts and rewrite them in their prose. All believe that they are involved in oral history. The author believes that the reason of emphasis on interview and transcription of interviews is to preserve the tone of the narrator.

 
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