Submitted by Alisson Mota (alisson.davidbeckam@gmail.com) on 2015-06-17T18:52:46Z No. of bitstreams: 1 Dissertação - Marlene Gomes.pdf: 29003097 bytes, checksum: 7a4c7c6ec09243533a19272f88d43798 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-06-18T17:53:08Z (GMT) No. of bitstreams: 1 Dissertação - Marlene Gomes.pdf: 29003097 bytes, checksum: 7a4c7c6ec09243533a19272f88d43798 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-06-18T17:56:27Z (GMT) No. of bitstreams: 1 Dissertação - Marlene Gomes.pdf: 29003097 bytes, checksum: 7a4c7c6ec09243533a19272f88d43798 (MD5) / Made available in DSpace on 2015-06-18T17:56:27Z (GMT). No. of bitstreams: 1 Dissertação - Marlene Gomes.pdf: 29003097 bytes, checksum: 7a4c7c6ec09243533a19272f88d43798 (MD5) Previous issue date: 2008-11-26 / Não Informada / This research has as its objective to analyze the contribution of regional mythic in the process of written textual production, from a group of seven grade learners of a public school in Manaus. Its other intention is to identify in the produced texts in this process expressive traces of Amazonian culture assimilated by oral tradition. The research ran three comparative analyses of written productions verifying the progressive evolvement as to the written narrative of The Manioc Legend; of versions collected from oral counts and told to the group by the learners themselves up to the one by Jose Coutinho Oliveira, presented as a possible model. The analyses of sequences found in the texts revealed the efficacy of mythic narratives as a method resource to orient the production of written texts in school setting. This was firstly noticed through creativity expression presented by the learners by adding new elements to the narrative sequences of the legend, as well as, the utilized resources in characterizing the layers; as a last element, it was the use of a language of which one could verify the projection of its socio-cultural reality. / Esta pesquisa tem como objetivo analisar a contribuição das narrativas míticas regionais no processo de produção textual escrita, de uma turma de aprendentes de sétimo ano do Ensino Fundamental, de uma escola pública de Manaus, bem como identificar, nos textos produzidos nesse processo, traços expressivos da cultura amazônica assimilados da tradição oral. A pesquisa percorreu uma análise comparativa das produções escritas, em número de três, verificando a progressiva desenvoltura dos aprendentes quanto à narrativa escrita da Lenda da Mandioca, a partir de versões colhidas da oralidade e relatadas à turma pelos próprios aprendentes, e da versão de José Coutinho de Oliveira, apresentada como possível modelo. A análise das seqüências encontradas nos textos revelou a eficácia das narrativas míticas, enquanto recurso metodológico, para a orientação de produção de textos escritos no contexto escolar. Isso foi percebido por meio da criatividade com que os aprendentes se expressam, acrescentando elementos novos às seqüências narrativas da lenda, dos recursos utilizados na caracterização das personagens, e, do emprego de uma linguagem na qual se pode verificar a projeção da sua realidade sociocultural.

Made available in DSpace on 2016-03-15T19:43:27Z (GMT). No. of bitstreams: 1 Andreia Ramalheiro Tolentino.pdf: 611809 bytes, checksum: 4a46b14768105b4c2c28dd0170adadf0 (MD5) Previous issue date: 2009-02-11 / Fundo Mackenzie de Pesquisa / The present research runs upon the importance of oral tradition in contemporary age, an age characterized by the loss of traditional references.It examines "rap" and "repente" as oral poetics that represent popular culture and tell the globalization effects, consequence of the current economic system. The research aimed at identifying the similarities between these two popular musical manifestations, ressignifying the action of cultural agents responsible for the continuance of such tradition, characterized by spoken singing. Under a cultural perspective, it created a dialogue with the interviewed subjects, in order to clarify both their world vision and the way they organize their social practices. By doing so, it was possible to see the elements which allow the comprehension of artistic and social representations of such groups. / O presente trabalho aborda a importância da tradição oral na contemporaneidade, caracterizada pela perda de referências tradicionais. Analisa o rap e o repente como poéticas orais que representam a cultura popular e traduzem os efeitos da globalização, conseqüência do sistema econômico vigente. Objetivou identificar as semelhanças entre ambos, ressignificando a ação dos agentes culturais responsáveis pela continuidade dessa tradição caracterizada pelo canto falado. A pesquisa realizada, sob o prisma cultural, estabeleceu um diálogo com os sujeitos entrevistados, explicitando a visão de mundo e o modo de organização das práticas sociais destes agentes, o que possibilitou a descoberta de elementos que permitiram a compreensão das representações artísticas, culturais e sociais desses grupos.

O objetivo geral desta tese consiste em transformar a narrativa inédita de tradição oral “A filha do diabo”, recolhida em Luzerna, no oeste de Santa Catarina, em um texto literário para o público leitor infanto-juvenil. Para alcançar tal objetivo, propõe-se descrever o relato de pesquisa e o diário de campo, bem como transcrever a narrativa inédita de tradição oral “A filha do diabo”, analisar a narrativa transcrita “A filha do diabo”, definir um conjunto de pressupostos aplicáveis ao processo de reinterpretação de uma narrativa de tradição oral para literatura infanto-juvenil e reinterpretar a narrativa analisada “A filha do diabo” para um texto literário destinado ao público infanto-juvenil que se intitulará A Dita-Cuja. / This paper intends to change the brand new narrative of oral tradition “The Devil’s Daughter” (Luzerna, Western Santa Catarina) into a literary work for juveniles. In order to achieve this objective, it is proposed to describe the research report and the field diary as well as transcribing this narrative and analysing the transcribed version of it. Moreover, it is suggested to set a group of presuppositions, which are applicable to the process of reinterpretation of a narrative of oral tradition focusing it on juvenile literature, and reinterpret the analysed narrative “The Devil’s Daughter” by making it a literary text for juveniles named “The Un-referable”.

O presente trabalho, resultado do contato com sociedades da Reserva Indígena Kadiwéu, localizada no Pantanal Sul-mato-grossense, verifica a cerâmica ali produzida pelas índias, no período compreendido entre o final do século XIX e a atualidade. A investigação focaliza o processo de produção, os padrões ornamentais, a forma e a função dos objetos, além dos materiais e técnicas utilizados. A cerâmica Kadiwéu difere, atualmente, das demais produções brasileiras principalmente pela ornamentação, marcada por grafismos e cores muito peculiares. Essa produção sofreu, durante o período ao qual a pesquisa se ateve, transformações significativas no que se refere aos padrões e técnicas ornamentais, possivelmente devido à fixação dos índios próximo a Serra da Bodoquena, que oferece grande variedade de matérias-primas, incorporadas às produções correntes. Foram utilizadas como referência para esta pesquisa duas importantes coleções etnográficas: a de Guido Boggiani, que esteve entre os Kadiwéu em 1892 e 1897 e se encontra, sobretudo, em museus da Itália e a coleção recolhida por Darcy Ribeiro na década de 1940, período em que conviveu com eles. Essas coleções diferem muito da produção atual, conforme verificação feita durante os anos 2000 e 2005. A aproximação aos processos de produção, das formas, cores e padrões, impressos na cerâmica Kadiwéu, possibilitou a compreensão da real dimensão das inúmeras possibilidades de exploração do barro transformado pelo fogo, propondo, então, uma tradução poética dessa observação. São de essencial importância a apresentação desse percurso, a verificação e o registro dos processos de produção atuais, usados pelas mulheres índias para preparar, modelar e submeter o barro à ação mágica e transformadora do fogo. A tradução poética aqui delineada nasceu desse encontro, que provocou reflexões manifestadas por dois conceitos: persistência e tradição oral. / This work, resulting from contact with Reserva Indígena Kadiwéu (Kadiweu Indian Reserve) societies, located in South Mato Grosso state marsh region (Pantanal), focuses on pottery made by female Indians between late XIXth century and today. Besides material and techniques used, the investigation focuses on objects production process, ornamental patterns, form, and function. Nowadays, Kadiweu pottery differs from other Brazilian natives production mainly in ornamentation, marked by distinctive graphisms and colors. During the period researched, this productions patterns and ornamental techniques have significantly changed, possibly due to the settlement of that native group near Bodoquena Range, where they find a variety of raw material, incorporated to their current production. Two important ethnographic collections were used as a reference for this research: that of Guido Boggiani (who visited the Kadiweu Indians in 1892 and 1897), now specially found at Italian museums, and that accumulated by Darcy Ribeiro in the last century 40s, when he lived with them. These collections differ a lot from current production, as verified in 2000 and 2005. Approaching production processes, forms, colors and patterns imprinted in Kadiweu pottery provided comprehension of the actual dimension of the numberless possibilities of fire-transformed clay exploitation, leading then to a poetic translation of this observation. Of essential importance are presenting this trajectory, checking and registering present production processes used by female Kadiweu Indians in preparing, modelling and subjecting clay to the magic and transforming action of fire. The poetic translation here outlined was born from this meeting, which caused reflections manifested through two concepts: persistence and oral tradition.

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This study examines the foundation of contemporary Cree performance, tracing its existence to traditional Cree narratives. Contained within traditional Cree stories is the trickster, Wasakaychak. These oral stories are shared collectively, providing the community with relevant cultural knowledge. The thesis concludes that contemporary Cree playwrights and performers such as Shirley Cheechoo and Margo Kane maintain the roles of traditional storytellers because their work informs its audience about the history of the land and also comments on the state of the community. This study further demonstrates how the mythological character, Wasakaychak, remains an active part of Cree society by examining his significance within Tomson Highway's plays, The Rez Sisters and Dry Lips Oughta Move to kapuskasing. / v, 107 leaves ; 28 cm.

This thesis follows the interaction of "double-voicing" and "double-consciousness" in Native American literary history. It begins with surviving records from the time of colonial contact and ends with works by Leslie Marmon Silko and Thomas King, two contemporary authors of the Native American Literary Renaissance. "Double-voicing" is a common feature found in many works preserved by early anthropologists from various Native American oral traditions. However, after colonial contact this feature largely disappears from literary works written by Native American authors, when it is replaced by the societal condition "double-consciousness." With the revitalization of cultural knowledge in the mid-twentieth-century, Native authors also revitalize their rhetorical techniques in their writing and the "double-voice" feature reemerges coupled with a bicultural awareness that is carried over from "double-consciousness." / vi, 98 leaves ; 29 cm.

Historical conditions of colonialism, and more recently, the emergence of a post-colonial state and urbanization, have brought about rapid socio-cultural change in the Solomon Islands, characterized by heterogeneity and the influx of new cultural products. Throughout this process, notions of tradition have emerged, iterated largely through the multivocal category of kastom which is fundamentally construed in opposition to notions of Christianity and modernization. This thesis examines how these changes have affected stories, specifically a group of narratives called "kastom stories," told by students in the urban setting, and how these narratives have become a space for tradition to be stated and created. Notions of genre are explored to discover how such an amalgam of stories as that of the kastom stories regarded here could be considered as a group. I examine story structures to understand how elements from diverse sources could become integrated to the stories, and look at transformations which, in distanciating the stories from their original socio-cultural context of production, serve to recontextualize them in their present socio-cultural setting.

Certain cultural practices present unspoken questions to women. While women may not be free to state these concerns upfront I argue that they have always had some means of expressing themselves in creative ways about issues that affect them. One issue that is investigated in this dissertation is the question of why women sing. This study, therefore, examines one of the channels, which are songs, that women and rural women in particular employ to deal with their day to day living. To this end I have selected cultural songs as one of the ways of demonstrating how women negotiate their spaces in the culture. The study is based on a community of women from Zwelibomvu near Pinetown, South Africa but goes beyond this as I believe that women in general speak for the majority of other women especially with regard to issues around gender and power inequalities. Songs have been selected as a genre and as a special form of expression that women in particular find easier to use to raise issues that affect them in their daily lives. The three hour DVD rendition that forms part of this study captures a synoptic view of the amount of raw data found in this study. Through the medium of song, and strengthened by the stories that they share, Zwelibomvu rural women are able to get a sense of relief and consolation from the burdens that they have and which they would like to share. Presented as a two part field work process, the first process involves the collection of songs in ceremonies and occasions and observing an d being part of the occasions and ceremonies where the songs that are sung by women are performed. This process culminates in the production of the three hour DVD rendition that forms part of this study and which captures a synoptic view of the amount of r aw data found in this dissertation. The second part mainly involves interviews of categories of respondents in similar settings/districts observed where ceremonies were attended and attempts to provide some insight into why women sing and the question of gender and power in contemporary women’s songs. Finally, the last chapters involve an analysis of songs with regard to themes that emanate from these songs as well as a review on their oral composition. / Thesis (Ph.D)-University of KwaZulu-Natal, Durban, 2008.

This study focuses on the work of Marcel Jousse, the 20th century French anthropologist, linguist, educationist and theologian who discovered and developed the Anthropology of Language, the study of human memory and expression, and their mutual transation. As central underpinning theory of the Anthropology of Language, Jousse identified the anthropology of Geste and Rhythm manifest in the Oral Style as gestual-visual/oral-aural mnemonic. In Memory, Memorisation and Memorisers in Ancient Galilee, the account of the transmission of the Besorah-Gospels in the intra-ethnic and extra-ethnic Galilean-Hellenic diaspora. Jousse demonstrates (I) the fidelity and accommodating fluidity of mnemonic Oral Style expression as support of human memory; (2) the role of the Metourgeman-Sunergos as interpreter-translator and scripter of the Besorah-Gospels; (3) the role of the Counting-necklaces constructed by Kepha-Peter and Shaoul-Paul as ordering and mnemonic support in the recounting the Deeds and Sayings of the Rabbi Ieshou"a of Galilee. In this thesis three kinds of translation are addressed. (I) It is about the translation of invisible and visceral memory into the visible and audible expression thereof in speech and movement for the purposes of learning, understanding and recording of the oral socio-cultural archive: Stylology manifest in rhythmo-stylistics, rhythmo-pedagogy and rhythmo-catechism; (2) it is about the translation of speech and movement into writing of two kinds: the recording of dictated texts in writing, (Memory, Memorisation and Memorisers in Ancient Galilee) and the putting-into- writing of memorised formulaic recitation, viz. rhythmo-stylistics, rhythmo-pedagogy and rhythmo-catechism; (3) it is about the translation of a specific and specialised technical texts from one (kind of) language to another: Memory, Memorisation and Memorisers in Ancient Galilee and Glossary of Joussea Concepts, Terms and Usage. The products of this study are: (I) a critical investigation and contextualised account of the perspective of Marcel Jousse on the operation of the invisible visceral metaphor called memory into the visible and audible expression thereof in speech and movement for the purposes of learning, understanding and recording of the oral socio-cultural archive in rhythmo-mnemonic expression (2) a proposed work-in-progress model for the presentation and analysis mnemonic Oral-style texts, viz. rhythmo-stylistics, rhythmo-pedagogy and rhythmo-catechism; (3) an annotated translation of Dernieres Dictees Memory, Memorisation and Memorisers in Ancient Galilee; (4) a glossary of specialised technical terms to be used in the interpretation of the works of Marcel Jousse compiled from Jousse's texts already translated into English: Jousse developed a specialised and complex terminology to explain his view of the origin and operation of mnemonic human expression. The Glossary documents this terminology, and demonstrates the translation of the concepts, and their usage by Jousse. This study is presented in three parts: Part One: Translations on and at the oral-literate interface; Part Two: Memory, Memorisation and Memorisers in Ancient Galilee - an annotated translation; Part Three: Glossary of Joussean Concepts Terms and Usage . / Thesis (Ph.D.)-University of Natal, Durban, 2000.