L’objet de cette thèse est l’étude du conte libanais et sa transmission. Nous nous proposons donc d’étudier le conte de la tradition orale dans un espace géographique donné : le Liban. Nous nous intéressons à la transmission du conte ainsi qu’aux transmetteurs tout en tenant compte du contexte social, historique et géographique. Pour dresser cette étude, nous tentons de répondre à de nombreuses questions. D’abord, quelle place occupe le conte au Liban aujourd’hui et où et par qui est-il raconté ? Ensuite, en tenant compte des particularités du pays ainsi que de ses nombreuses communautés, nous nous demandons si l’on peut parler d’un corpus de contes du Liban ou s’il s’agit plutôt de corpora de contes communautaires. Par ailleurs, la question de la relation entre ce corpus libanais et le corpus plus large correspondant à l’ensemble régional se posera nécessairement. Peut-on ou non parler d’une spécificité libanaise ? Et si la réponse était affirmative, quelles seraient alors les caractéristiques de ce corpus que l’on pourrait qualifier de « spécifiquement libanaises » ? / The purpose of this work is the study of the Lebanese tale and its transmission. The tale from oral tradition is studied in a specific socio geographic space: Lebanon. I focus on the tale transmission as well as on its transmitters. This analysis takes into account the social, historical and geographical context. This work tries to answer several questions. First of all, what is the place of the tale in Lebanon nowadays? Where and by whom is it told? Secondly, while taking into account the particularities of the country and its many communities, one may wonder if we can speak of a Lebanese tales corpus or whether it is rather a corpora of tales from different communities? Moreover, the question of the relationship between the Lebanese corpus and the wider regional corpus will necessarily arise. Can we talk about a Lebanese specificity? And if the answer is yes, then what are the characteristics of this corpus that could be described as "specifically Lebanese"?

abstract: This thesis is an ethnographic account of the religious practices of the Ammatoa, a Konjo-speaking community of approximately 4600 people living in the southeast uplands of South Sulawesi, Indonesia. It examines aspects of Ammatoan rituals, cosmology, culture, economy, and politics that, from their point of view, are also considered religious. For the purpose of this dissertation, I understand religion to be ways of relationship between human beings and their fellow humans: the living and the dead, other beings, such as animals, plants, forests, mountains, rivers, and invisible entities such as gods and spirits. This conception of religion provides a better framework for understanding Ammatoan religion because for them religion includes many aspects of everyday life. The Ammatoans divide their land into an inner and an outer territory. The former is the constrained domains for their indigenous religion and the latter is more open to interaction with the outside world. The politics of territorial division has enabled Ammatoans to preserve their indigenous religion and navigate pressures from outside powers (i.e., Islam and modernity). The politics is, in part, a religious manifestation of Ammatoan oral tradition, the Pasang ri Kajang, which is the authoritative reference for all elements of everyday life. By following the tenets of the Pasang, Ammatoans seek to lead a life of kamase-masea, a life of simplicity. I explore how Ammatoans apply, challenge, and manipulate their understandings of the Pasang. Ammatoans demonstrate their religiosity and commitment to the Pasang through participation in rituals. This dissertation explores the diversity of Ammatoan rituals, and examines the connections between these rituals and the values of the Pasang through an extended analysis of one particular large-scale ritual, akkatterek (haircut). This ritual serves to incorporate a child into the wider Ammatoan cosmos. I also explore the encounters between Ammatoan indigenous religion, Islam, and modernity. I argue that the local manifestation of the concepts of Islam and modernity have both influenced and been influenced by Ammatoan indigenous religion. I conclude that despite their conversion to Islam and the intrusion of modernity, Ammatoan indigenous religion persists, albeit as an element of a hybrid cultural complex. / Dissertation/Thesis / Ph.D. Religious Studies 2012

I have in my possession a first edition, hard copy of Ruth Finnegan’s quintessential work, Oral Literature in Africa. It has a yellow cover, preserved by a plastic sheathe, it is a little frayed around the edges and has that old, musty library smell about it. I love and treasure this book. It is dedicated by Professor Finnegan ‘[t]o all my teachers’. Professor Finnegan is indeed one of my teachers. I properly met Ruth Finnegan at the second International Society for Oral Literature (ISOLA) conference in 1998, which I hosted at the University of Cape Town. She gave a keynote address which included reference to her seminal work and the future of oral literary studies. She has continually influenced our work as researchers following in her footsteps: Isidore Okpewho, Harold Scheub, Abiola Irele, Graham Furniss, Elizabeth Gunner, Karin Barber, Isobel Hofmeyr, John Foley, Olayibi Yai, Edgard Sienaert, Brian Street, Noverino Canonici, Mark Turin, Daniela Merolla, Jan Jansen, Jeff Opland, and many others; some younger, some older, some living, some departed, scholars influenced by this great and humble intellectual and her body of work.

Made available in DSpace on 2014-12-17T14:36:47Z (GMT). No. of bitstreams: 1 MariaESPA_DISSERT.pdf: 8789278 bytes, checksum: d26a27cb1260769a9d58dd423c2e2b6a (MD5) Previous issue date: 2013-07-29 / This dissertation is about an Education which is made concrete through orality and gestuality of the elderly joking masters of the territory of Mato Grande/RN and proposes a reflection about the exchange between these two knowledges and school education. Thus, it presents the following objectives: identifying the joking elderly in the region; recording their life experiences related to the jokes of the tradition and the way they realize such references at present; besides investigating and recording educative practices which consider the elderly s jokes at the present education. The investigation is supported by the metaphor in the making of a quilt as a methodological resource in the actions of measurement, choice of patches, sewing and binding off. The mapping of the territory of Mato Grande/RN has enabled the identification of seventeen joking elderly people. It considers and records their experiences with the popular amusements and from them, it discusses the ways through which the oral tradition in Mato Grande may be recognized in four categories/actions, namely, narrating, singing, dancing and getting old, which are analyzed under the studies by authors like Benjamin, Zumthor, Almeida, Porpino, among others. Finally, it also focuses the relation between the elderly, the knowledge of the tradition and the systemized education. It describes and articulates educative actions able to connect the knowledge by the joking elderly people and the knowledges taught at school, possibilities of concretization of a rebinding of knowledges which might bring orality and writing, the new and the old, science and tradition close to each other / Esta disserta??o trata de uma Educa??o que se concretiza na oralidade e na gestualidade dos velhos mestres brincantes do territ?rio do Mato Grande/RN e prop?e uma reflex?o sobre o tr?nsito entre esses saberes e a educa??o escolar. Assim, assume os seguintes objetivos: identificar os velhos mestres brincantes da regi?o do Mato Grande, registrar suas experi?ncias de vida relacionadas ?s brincadeiras da tradi??o e o modo como os mesmos percebem essas refer?ncias na atualidade, investigar e registrar pr?ticas educativas que considerem as brincadeiras dos velhos na educa??o atual. A investiga??o ancora-se na met?fora da confec??o de uma colcha de retalhos como recurso metodol?gico, nas a??es de medir, escolher os retalhos, costurar e arrematar. Assim realiza um mapeamento do territ?rio do Mato Grande/RN a partir do qual identifica dezessete velhos brincantes. Considera e registra suas experi?ncias com os folguedos populares e a partir desses registros passa a discutir os modos pelos quais a tradi??o oral do Mato Grande pode ser reconhecida a partir de quatro categorias/a??es: narrar, cantar, dan?ar e envelhecer, as quais s?o analisadas tendo como refer?ncia autores como Benjamin, Zumthor, Almeida, Porpino, entre outros. Por ?ltimo, lan?a um olhar para a rela??o entre o velho, o conhecimento da tradi??o e a educa??o sistematizada. Descreve e articula a??es educativas capazes de conectar o conhecimento dos velhos brincantes aos conhecimentos abordados na escola, possibilidades de concretiza??o de uma religa??o de saberes que possa aproximar a oralidade e a escrita, o novo e o velho, a ci?ncia e a tradi??o

abstract: This dissertation explores how American Indian literature and the legacy of the Red Power movement are linked in the literary representations of what I call "Indigenous Cosmopolitics." This occurs by way of oral tradition's role in the movement's Pan-Indigenous consciousness and rhetoric. By appealing to communal values and ideals such as solidarity and resistance, homeland, and land-based sovereignty, Red Power activist-writers of 1960s and 1970s mobilized oral tradition to challenge the US-Indigenous colonial relationship, speak for Native communities, and decolonize Native consciousness. The introductory chapter points to Pan-Indigenous practices that constructed a positive identity for the alienated and disempowered experience of Native Americans since Relocation. Chapter one examines the Red Power newspapers and newsletters ABC: Americans Before Columbus, The Warpath, and Alcatraz Newsletter among others. These periodicals served as venues for many Natives to publish their poems in collaborating with the politics of the Red Power movement. Among the poems considered is Miguel Hernandez's "ALCATRAZ," which supports the Native resistance and journey towards sovereignty during the Island's occupation. Chapters two and three explore the use of oral tradition in the journalism of Simon Ortiz (Acoma Pueblo), who was then working within the collaborative contexts of the National Indian Youth Council (NIYC) and ABC: Americans Before Columbus, which represents the Indigenous cosmos and appeal to Indigenous peoples' cosmopolitical alliance and resistance throughout the hemisphere and across the world. The final chapter turns to the work of two poets, Joy Harjo (Muskogee Creek), Wendy Rose (Hopi/Miwok), and a singer-songwriter Buffy Sainte-Marie (Cree), showing their appropriation of storytelling modes and topics from within the inclusive functions of oral tradition - storyweaving, employing persona, and performing folk music. Harjo, Rose and Sainte-Marie push on the boundaries of the movement's rhetoric as they promote solidarity between colonized women in and beyond the US. The Red Power movement's cosmopolitics remains persistent and influential in Native nationalism, which stands as the master expression of the decolonizing process. The flexibility of oral tradition operates as a common ground for reciprocal, transformational, and inclusive interactions between tribal/national identity and Pan-Indigenous identity, developing Native nationhood's interactions with the world. / Dissertation/Thesis / Ph.D. English 2014

Esta pesquisa tem por objetivo estudar os aspectos da tradição oral das narrativas em língua hakitía, falada por judeus brasileiros ascendentes de marroquinos residentes em Santarém, Pará. Seriam essas narrativas veículo de manutenção e divulgação da identidade étnica do grupo que a fala, de modo a possibilitar o estabelecimento e a paridade absoluta nas diferentes circunstâncias de mudança política e social à que se submetem? Em tese, são falantes linguisticamente diferenciados, pois a língua que falam no cotidiano é diferente da portuguesa brasileira e, aparentemente, têm o predomínio da Tradição Oral nas formas de transmissão cultural. A análise foi feita a partir de narrativas orais tomadas em trabalho de campo e interpretadas à luz das propostas de BRUNER (1991); LABOV (1997) e VANSINA (1982). Acrescida da proposição de cruzamento feita pelo autor da tese. / This research aims at studying features of the traditional oral narratives of the Hakitia language, spoken by Brazilian Jews of Maroccan origin living in Santarém, Pará, Brazil. Would those narratives be a means of maintaining and promoting the ethnic identity of the community that speaks the Hakitia language in order to reassure their cultural heritage and uniqueness amongst different circumstances of political and social changes to which they have been exposed? We verify that they are speakers linguistically differentiated, since their daily language is different from the Portuguese spoken in Brazil, and, apparently, they rely heavily on the Oral Tradition to hand on their culture. Firstly, the analysis was carried out based on oral narratives collected by means of field research, and interpreted in the light of theories formulated by BRUNER (1991); LABOV (1997); and VANSINA (1982). Secondly, the analysis was enriched by the contributions of the researcher of this thesis after carefully crossing the data and their theoretical underpinnings.

Este trabalho tem como objetivo estudar as peculiaridades da tradição oral africana e suas influências na criação do jazz. Os africanos, sendo um povo onde sua cultura tem como principal característica enfatizar o emprego da oralidade na transmissão do conhecimento, o faz de forma muito distinta aos padrões culturais europeus. Sob a ótica do povo africano, a palavra expressa de forma oral possui um grande valor, sendo atribuído à mesma, um nível de relevância tamanho que chega a ser vista como um elemento místico capaz de criar ou até mesmo destruir. Os africanos, presentes em solo americano, pela imposição da escravidão, fundiram seus elementos culturais à cultura européia, dando luz uma nova concepção musical, o jazz. O jazz desde sua criação até os dias atuais, passou e passa por diversas transformações. Estas transformações, mesmo que de forma implícita, contribuem para que o jazz esteja presente nas mais diversas manifestações culturais. O jazz não pode ser considerado apenas um gênero musical de origem americana. O jazz está presente em diversas partes do mundo, inclusive no Brasil, onde se torna renovado devido à riqueza e diversidade cultural deste país. / This work studies the peculiarities of the oral African tradition and his influences in the creation of the jazz. The Africans, being a people where his culture has like principal characteristic emphasizes the job of the orality in the transmission of the knowledge, it does it in the very different form to the cultural European standards. Under the optics of the African people, the definite word of oral form has a great value, when attributed to same, a so great level of relevance that comes being seen like a mystic element able to create or even to destroy. The Africans, presents in American ground, for the imposition of the slavery, fused his cultural elements to the European culture, giving there shines a new musical conception, the jazz. The jazz from his creation up to the current days, passed and it suffers several transformations. These transformations, even that in the implicit form, they contribute so that the jazz is present in more several cultural demonstrations. The jazz cannot be considered only a musical type of American origin. The jazz is present in several parts of the world, including in Brazil, where it becomes renewed due to the wealth and cultural diversity of this country.

Contemporary performance poetry is a democratic art form that elicits dialogue and is a catalyst for social change. Yet it is an art form that is still not well understood: it is accused of unconsciously mimicking hip-hop and being a watered-down, lesser version of "real" poetry. However once its power is harnessed it may be a powerful art form that can be used to address social ills and act as a medium for memory work. The themes that are prevalent in contemporary performance poetry illustrate society‘s preoccupations. Different South African and American poets from a wide range of socio-economic, national, generational and racial backgrounds are examined to explore the collective preoccupations that keep emerging in the poetry, issues pertaining to race and class, gender, and to the politics of the past and its effect on the present. There is a long debate around the influences of contemporary performance poetry, which is negotiated in Chapter One. Though Gil Scott-Heron‘s "The Revolution will not be Televised" is identified as being a major influence, Saul Williams‘s "Black Stacey" challenges some of the arguments made by Scott-Heron. Lesego Rampolokeng lays the foundation for South African performance poetry by criticising the new black elite in the country in "Riding the Victim Train". Chapter Two examines how the poets challenge the status quo in their work. Sarah Jones‘s "Blood" illustrates how the new black middle class in America is complicit in keeping poor people on the margins, while Kgafela oa Magogodi levels his criticism against state sanctioned poets in South Africa. Mxolisi Nyezwa‘s "The Man is Gone" illustrates that the new class based hierarchal system in South Africa is potentially harsher than the apartheid one that was based on race. Chapter Three focuses on gender issues that are prevalent in South Africa. Tumi Molekane‘s "Yvonne" illustrates the danger that is embedded in the hetero-normative narrative while oa Magogodi‘s "Samson and deli(e)lah" and Sam‘s "Eve" explore how this narrative is unjustly informed by misinterpretations of the Bible. History and the impact of the past on the present is the focus of Chapter Four. "76" by Molekane illustrates how the apartheid legacy still affects many in South Africa, while Andrea Gibson‘s "Eli" explores the devastating effects of America‘s war efforts in Iraq. Dennis Brutus highlights the cathartic attributes of poetry that is community-driven in "So Neat They Were" and "Mumia". The chapter ends with an exploration of how the form of izibongo is used by Chris Thurman in "Holy City (A Jozi Praise-Poem)". The last poem illustrates how the past informs the present and suggests that despite the bleakness of the past, there is hope for South Africa because of its rich cultural heritage.

This thesis focuses on problems of Spanish proverbs and their equivalents in Czech language. The theoretical part is devoted to comparison between Czech and Spanish linguistic theory, phraseology and paremiology, definition of the proverb and description of its properties. The aim of the practical part is to investigate the frequency of use of Spanish proverbs, their semantic and syntactic analysis, as well as their relation to other variants or synonymous expressions, as well as their comparison with Czech proverbs. The practical part is based on the book of Czech author Zdeněk Jirotka Saturnin, translated into Spanish. Key words: phraseology, paremiology, phrasemes, proverbs

Orientador: Lenita Waldige Mendes Nogueira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T01:38:53Z (GMT). No. of bitstreams: 1 Reis_EstevaoAmarodos_M.pdf: 36404177 bytes, checksum: 4ea065e275a729d0f8f42fca8368d111 (MD5) Previous issue date: 2012 / Resumo: O Festival do Folclore de Olímpia - São Paulo (FEFOL) o maior evento do gênero no país, completou em 2011 quarenta e sete anos de existência. Em seu espaço são encontradas manifestações folclóricas ou tradicionais de todas as regiões brasileiras. A partir do pressuposto de que para alguns grupos folclóricos o FEFOL tornou-se o principal espaço de realização das suas atividades e considerando que o deslocamento dos seus locais de origem para outro espaço geográfico e social provoca transformações nas suas práticas, o presente trabalho investiga a relação entre estas manifestações e o novo contexto em que estão inseridas. A pesquisa realizada busca conhecer e compreender quais os motivos que levam os grupos a percorrer centenas de quilômetros todos os anos para participar do FEFOL, a influência do Festival do Folclore de Olímpia nesse processo e suas implicações para os ritos e para os integrantes destes grupos. O trabalho dedicou especial atenção aos grupos Batalhão de Bacamarteiros de Carmópolis (Sergipe), Terno de Congo Chambá (Minas Gerais), Terno de Congada Chapéu de Fitas (São Paulo) e o grupo Sabor Marajoara (Pará) e foram utilizadas, ao lado da bibliografia existente, entrevistas semi-estruturadas com os integrantes dos grupos e organizadores do FEFOL em épocas distintas, bem como o material audiovisual produzido em trabalho de campo e pelo próprio Festival / Abstract: Olímpia's Folklore Festival - São Paulo [Festival do Folclore de Olímpia (FEFOL)], the largest event of its kind in the country, completed forty-seven years of existence in 2011. Folkloric or traditional expressions from all regions of Brazil can be found there. Starting from the assumption that FEFOL became the main place for some folk groups to carry out their activities and considering that the displacements from their original places to another geographic and social area causes changes in their practices, this work investigates the relationship between these expressions and their new insertion context. This research intends to get to know and understand the reasons why those groups travel hundreds of miles every year to participate in the FEFOL, the Festival's influence in this process and its implications for the rites and the members of these groups. A special attention was dedicated to the groups "Batalhão de Bacamarteiros de Carmópolis" (from Sergipe), "Terno de Congo Chambá" (from Minas Gerais), "Terno de Congada Chapéu de Fitas" (from São Paulo) and the group "Sabor Marajoara" (from Pará); alongside the existing bibliography, semi-structured interviews with group members and with FEFOL's organizers at different moments were used, as well as audiovisual material produced in the field research and by the Festival / Mestrado / Fundamentos Teoricos / Mestre em Música