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124 T. S. Satyanathsometimes accompanied by an oral interpretation (vyakhyāna, tīkā‘commentary’) in a dramatic dialogic format constitutes a typicaltraditional ritual vow performance. Although palm-leaf manuscriptsof the two above-mentioned Brahminical texts are available inplenty, their oral transmission has continued even to this day throughgamaka-vāchanas and folk plays.The lack of a distinction between scripto-centric and phonocentrictexts on the one hand and the crucial role of body-centricperformative traditions in shaping and determining the nature ofperforming texts on the other has played an important role, both atthe conceptual and performative levels. This eventually shaped theconstruction, composition, sustenance and transmission of textual,oral and performing traditions of Karnataka. Above all, theirritualistic nature in the form of vows, as vratas and nōmpis, is verycrucial to the existence, continuation and transmission of texts astellings, renderings, and more generally, as cultural transactions.These salient features of medieval Kannada literature appear to havecontinued in the folk plays and performances till the nineteenth andtwentieth century, when the print media and its mode of mechanicalreproduction changed the paradigm of knowledge, itsdocumentation, construction and retrieval among the educatedpopulation of the country. The complex interaction of differentforms of texts that we noticed in medieval Karnataka not onlycontests the neatly generalized definitions of scripto-centric, phonocentricdichotomies proposed for documentation of knowledge onthe one hand and the concept of translation on the other but alsodemonstrates the need for understanding and reconstructing theprocesses and models of cultural transactions such as tellings andrenderings.2.7 The vrata-kathā or nōmpi-kathā model that has beenproposed for capturing the processes involved in medieval tellingsand renderings has significant implications for similar cultural