@article{Tristram1996,
  author    = {Tristram, Hildegard L. C.},
  title     = {Celtic in Linguistic Taxonomy in the 19th Century},
  year      = {1996},
  language  = {en}
}
@article{Tristram1996,
  author    = {Tristram, Hildegard L. C.},
  title     = {Einleitung},
  year      = {1996},
  language  = {de}
}
@article{Tristram1996,
  author    = {Tristram, Hildegard L. C.},
  title     = {Mac Bethad mac Fin mic Laig XVI(I) annis regnavit : Macbeth ; verschriftete Wirklichkeit, gelebte Schriftlichkeit, aufgef{\"u}hrte Wirklichkeit},
  year      = {1996},
  language  = {de}
}
@article{TristramChonghaile1996,
  author    = {Tristram, Hildegard L. C. and Chonghaile, N{\´o}ir{\´i}n N{\´i}},
  title     = {Die mittelirischen Sagenlisten zwischen M{\"u}ndlichkeit und Schriftlichkeit},
  year      = {1996},
  language  = {de}
}
@article{Tristram1996,
  author    = {Tristram, Hildegard L. C.},
  title     = {Voice and Poetry in Dylan Thomas},
  year      = {1996},
  language  = {en}
}
@article{Tristram1996,
  author    = {Tristram, Hildegard L. C.},
  title     = {Near-sameness in early insular metrics : oral ancestry and aesthetic potential},
  year      = {1996},
  abstract  = {The earliest types of versification of the Insular literatures in the early middles ages (Old English, Old Welsh, Old Irish, Middle Breton) were oral-derived, i.e. orally composed and intended for listening audiences. The written records of such early poems, poreserved in the manuscripts, still reflect the flexibility of the metriccal constraints. This type of poetry is characterised by the avoidance of the total identity of the recurrent phonetic features. Rhyme is 'only' near-rhyme, alliteration only near-alliteration, accentuality only near-accentual recurrence, syllabicity only near-syllabicity etc.. This type of oral-derived aesthetics requires a very fine ear for the distinction and appreciation of the metrical near-samenesses and probably a prolongued training in the acquisition of metrical skills on teh part of the poet. In the later written poetries, which were both literate in composition and reception ("reading"), the ear was replaced by the eye. THis seems ot have required identical recurrence of metrical ffeatures rather than near-identities, ultimately leading to forms like 'rime riche' (like in French poetry), which would have been considered to be cloying in the early oral(-derived) context. In other words, the aesthetic potential of the metrical constraints depends on the medium of communication.},
  language  = {en}
}
@article{Tristram1996,
  author    = {Tristram, Hildegard L. C.},
  title     = {Causerie mit Paul Mankin {\"u}ber Dylan Thomas, 18.6.1085},
  isbn      = {3-00-001 194-3},
  year      = {1996},
  abstract  = {Paul Mankin was one of three literature professors who taught at the University of Massachusetts at Amherst in the 1980s and who had attended Dylan Thomas' lecture tours at American universities thirty years earlier as students. They were particularly impressed by the power of Thomas' language and his forceful style of presentation. In this "Causerie" or interview recorded in 1985, Mankin speaks about the effect Thomas' performance at UCLA had on his own work. He also discusses the lasting value of Thomas' poetry and its impact on other poets.},
  language  = {de}
}