Basotho family odes (diboko) form part of oral literature, and refer to names of families, clans or totems. They constitute poetic compositions conveying information about clans' historical origin, philosophy and ancestors. The performance of this oral art form makes use of formulaic techniques such as linking, parallelism, alliteration, etc., which are commonly used in praise poetry. As basis to the content of these oral art forms, the genealogies of the various Basotho clans are discussed to show the reflection of the progenitor names in the clan praises. The functions of family odes are of educational, social and religious nature. Other functions include their use in compositions of other genres, such as, praise poems, mine workers' chants, traditional doctors' falls (mawa) and songs. The recitation of this oral art form is characterised by the instability of the texts, which takes the form of extensions, additions, truncations, improvisations and genre transitions. / African Languages / M.A. (African Languages)

Made available in DSpace on 2016-08-03T12:19:46Z (GMT). No. of bitstreams: 1 Ma1a145.pdf: 1856786 bytes, checksum: ddcffb826ac74f4719db5da637f6e2c5 (MD5) Previous issue date: 2014-10-20 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research is about Memory and Identity in the Synoptic Gospels, in the view of Mk 2.23-28, Mt 12.1-8 and Lk 6.1-5, that read the conflict between Jesus and the Pharisees, about Plucking of the Grain on the Sabbath. We try the demonstrate that the Gospels narratives are indiciary of the communities identity that generate them, in the Greek-roman World, that orality and textuality has the same influence. Therefore, will study the colletive memory as oral tradition formative, as well the orality and textuality relation in Synoptic Gospels narratives and memories. The choice of the pericope is justified by the texts indicate a identity linked to Judaic culture, in that the Sabbath was a most important identity symbol of the Judaism of 1th Century. In this way the Protochristians communities has arguments to defend of accusations and in the same time define boundaries to insert their place in relation to other intrajudaic groups. Finally, in the elaboration of this document, each community choice a specific literary genre, closer to text purpose. In this way is possible identify which Gospel is closer to Judaic environment and which them is so far. In their narratives, the Evangelists want affirm whom is Jesus to the community as well, establishing his messianic identity. In the specific pericope, the most important logia is that affirm Jesus Son of Man as Lord of the Sabbath. Jesus assumes the community prototype, while the Pharisees, Jesus opponents, assume the role of their that dont have any concerned about the neighbor, try the justify themselves by the strict observance of the mosaic Law. / Esta pesquisa versa sobre memória e identidade nos Evangelhos Sinóticos, à luz de Mc 2.23-28, Mt 12.1-8 e Lc 6.1-5, que trata do conflito entre Jesus e os fariseus sobre pegar espigas num campo em dia de Sábado. Procura-se demonstrar que as narrativas dos evangelhos são indiciárias da identidade das comunidades que as geraram, no mundo greco-romano, onde oralidade e textualidade tinham a mesma influência. Para tanto, será estudada a memória coletiva como formadora da tradição oral, bem como da relação entre oralidade e textualidade nas narrativas e memórias dos Evangelhos Sinóticos. A escolha da perícope se justifica pelos textos indicarem uma identidade vinculada à cultura judaica, onde o Sábado era um dos marcos identitários mais importantes dos judaísmos do séc. 1 d.C. Desse modo as comunidades protocristãs tinham argumentos para se defender de acusações e ao mesmo tempo estabelecer fronteiras para definir o seu lugar em relação aos demais grupos intrajudaicos. Por fim, na elaboração de seu documento, cada comunidade optou por um gênero literário específico, mais adequado ao objetivo de seu texto. Torna-se possível, desse modo, identificar qual Evangelho está mais vinculado ao ambiente judaico e qual deles está mais distante. Em suas narrativas, os evangelistas desejam afirmar também quem é Jesus para a comunidade, estabelecendo assim sua identidade messiânica. Na perícope em questão, o dito mais importante é o que afirma que Jesus o Filho do Homem - é Senhor do Sábado. Jesus passa a ser o protótipo da comunidade, enquanto os fariseus, adversários de Jesus, passam a representar aqueles não tem qualquer preocupação com o próximo, tentando se justificar pela observância rigorosa da Lei mosaica.

Submitted by Maike Costa (maiksebas@gmail.com) on 2017-04-20T13:29:36Z No. of bitstreams: 1 arquivototal.pdf: 1667012 bytes, checksum: d0a701f1ad6fbd462b73ed21b3cfd8a1 (MD5) / Made available in DSpace on 2017-04-20T13:29:36Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1667012 bytes, checksum: d0a701f1ad6fbd462b73ed21b3cfd8a1 (MD5) Previous issue date: 2015-08-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work presents the results of an investigation that aimed to describe the development process of the students’ orality in schools’ environment, using the oral storytelling tradition. This research has an applied and interventionist nature, with this we promote the use of our students as an instrument in order to act as more competent transmitters of traditional oral texts based on a suggestion of education that considers the situational context of the short story genre in the oral tradition and their cultural characteristics. The term orality refers to acquired skills in spoken language as social practices. Included in this context, the school has the responsibility to teach skills directed to public presentations, developing models of communicative adaptation in which there are the “me” and the “another” interacting with each other. The storytelling plays a decisive role in the literary literacy in the classroom, providing pleasure to tell and hear stories, rescuing some of the art tradition of the ancient storytellers in oral cultures.We believe that with the huge repertory of stories, including short stories, myths and legends, the teachers may, with due authority, turn the lessons into moments of pleasure. Given these considerations, theoretically, this research is based primarily on considerations of Cascudo (1984), Benjamin (1987) and Arendt (2013). The intervention carried out in the classroom, in the other hand, is based on the proposal of didactic sequence presented by Dolz and Schneuwly (2004). This work has as a corpus 09 (nine) story telling performed by students of a public school. After the intervention process was accomplished, it was possible to notice that the difficulties previously detected in the first storytelling were properly overcome in the development of students’ orality. / Este trabalho apresenta os resultados de uma investigação que objetivou descrever o processo de desenvolvimento da oralidade de alunos no meio escolar, utilizando-se da contação de histórias de tradição oral. Com essa investigação de natureza aplicada e intervencionista, promovemos a instrumentalização dos nossos alunos no sentido de atuarem como transmissores mais competentes de textos tradicionalmente orais, a partir de uma proposta de ensino que considere o contexto situacional do gênero conto de tradição oral e suas características culturais. O termo oralidade refere-se a habilidades adquiridas na língua falada enquanto práticas sociais. Incluída nesse contexto, a escola tem o dever de ensinar habilidades direcionadas a apresentações em público, desenvolvendo modelos de adequação comunicativa em que há um eu e um outro que interagem entre si. A contação de histórias desempenha um papel decisivo para o letramento literário na sala de aula, proporcionando o prazer por contar e ouvir histórias, resgatando, assim, um pouco da tradição da arte dos antigos contadores de histórias nas culturas orais. Acreditamos que diante do gigantesco repertório de histórias, incluindo contos, mitos e lendas, o professor pode, com a autoridade que traz da palavra, transformar as aulas em momentos de prazer. Diante de tais considerações, teoricamente, essa pesquisa fundamenta-se, basicamente, nas considerações de Cascudo (1984), Benjamin (1987) e Arendt (2013). A intervenção realizada em sala de aula, por sua vez, fundamenta-se na proposta de sequência didática apresentada por Dolz e Schneuwly, (2004). O trabalho tem como corpus 09(nove) contações de histórias realizadas por alunos de uma escola pública. Após o processo de intervenção realizado, foi possível perceber que as dificuldades anteriormente detectadas na primeira contação foram devidamente superadas no desenvolvimento da oralidade dos alunos.

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”.

Los cronistas de la conquista española de los Andes recogieron en sus textos algunas muestras de la tradición oral ancestral de los pueblos avasallados. Así, Juan de Betanzos incluyó en su Suma y narración de los incas ([¿1551?] 1987) un cantar fúnebre atribuido al inca Tupac Yupanqui cuya interpretación semántica y semiolingüística es presentada en este artículo. / The chroniclers of the Spanish conquest of the Andes gathered in their texts some traces of the colonized people’s ancestral oral tradition. Thus, Juan de Betanzos included in his Suma y narración de los incas ([¿1551?] 1987) a funeral chant ascribed to Tupac Inca Yupanqui. In this article, I present a semantic and semiolinguistic interpretation of this chant.

abstract: This dissertation explores complex representations of spiritual, social and cultural ways of knowing embedded within engraved ivory drill bows from the Bering Strait. During the nineteenth century, multi-faceted ivory drill bows formed an ideal surface on which to recount life events and indigenous epistemologies reflective of distinct environmental and socio-cultural relationships. Carvers added motifs over time and the presence of multiple hands suggests a passing down of these objects as a form of familial history and cultural patrimony. Explorers, traders and field collectors to the Bering Strait eagerly acquired engraved drill bows as aesthetic manifestations of Arctic mores but recorded few details about the carvings resulting in a disconnect between the objects and their multi-layered stories. However, continued practices of ivory carving and storytelling within Bering Strait communities holds potential for engraved drill bows to animate oral histories and foster discourse between researchers and communities. Thus, this collaborative project integrates stylistic analyses and ethno-historical accounts on drill bows with knowledge shared by Alaska Native community members and is based on the understanding that oral narratives can bring life and meaning to objects within museum collections. / Dissertation/Thesis / Ph.D. Art 2013

Com esta análise, procuro investigar a presença da oralidade nos documentos municipais da cidade de São Paulo do século XIX (1820-1870), de modo a se enxergar a constituição e preservação de tradições orais na sociedade, e de que maneira os poderes advindos desses saberes populares conseguiam se verticalizar, entrando também nas esferas políticas. Para isso, trabalhei com conjuntos documentais camerários, tais como as Atas da Câmara, os Papéis Avulsos e os Maços de População, buscando neles os deslizes no estilo mais oficial do registro, nos quais a palavra falada, livre da censura, pudesse se manifestar. Esse detalhamento analítico de cada palavra, e da própria natureza do documento, juntamente com a investigação de seu conteúdo, busca expandir o escopo teórico-metodológico da historiografia que trabalha com grupos menos favorecidos e menos letrados, cujos conhecimentos, mais orais do que escritos, podem ficar escondidos atrás do estilo mais formal e burocrático dos documentos oficiais. A cidade de São Paulo da época, de reduzidas dimensões, além de ser objeto do estudo, também serviu de palco para se aprofundar as questões teóricas levantadas acerca das tradições oral e escrita. Para se trabalhar a aproximação entre essas duas culturas, foi preciso entender também os arranjos sociais da população entre as mais diferentes classes e grupos, contemplando seus desejos mais particulares e suas necessidades. / The purpose of this study was to evaluate oral evidences found in the municipal documents of the city of São Paulo corresponding to a 19th-century period (1820-1870) as a means to determine the features and preservation of oral traditions in society, as well as the way by which these popular knowledge could reach a political scope. For that reason, official documents were analyzed with a focus on the absence of the official writing style, so that uncensored speech evidences could be identified. The detailed word-by-word analysis and the investigation of its contents have the purpose of spreading the theoretical and methodological scope of historiography that studies lower and less educated social classes whose knowledge is shared orally rather than by written. This knowledge may be concealed by the writing style of official documents, which is formal and standardized. Geographically smaller by then, São Paulo was not only the subject of study, but also promoted a deeper understanding of theoretical matters that were raised from oral and written traditions. A comprehension of social arrangements among different classes and groups was also necessary to study the proximity between both cultures, observing their particular aspirations and needs.

Né en Guadeloupe au XVIIe siècle avec l’esclavage transatlantique, le Gwoka se fit à l’origine musique de résistance à une acculturation forcée violente et occasion de préserver un héritage culturel. Accordant une large place à la voix, cette pratique musicale – qui s’appuie sur le triptyque tambour-chant-danse et dont le socle est la langue créole – a été transmise de génération en génération. Quelques familles ont su préserver ce genre musical. Parmi celles-ci, les Geoffroy – originaires de la région des Grands Fonds et spécialisés dans les chants de veillées et le bouladjèl. Cette recherche doctorale s’intéresse aux modalités de transmission du santiman et de la lokans, deux valeurs esthétiques propres à cette tradition orale. Nous examinons ces propriétés expressives en nous appuyant sur des observations ethnographiques et sur des enregistrements sonores réalisés in situ – ces derniers faisant l’objet d’analyses comparatives réalisées notamment à l’aide de sonogrammes. Nous avons choisi comme étude de cas la famille Geoffroy, autrement dit un processus de transmission en contexte endoculturel. Nous explorons en outre la question de la filiation entre Gwoka et musiques traditionnelles africaines. Sont également examinés les enjeux identitaires sous-jacents à cette tradition orale – terreau pour la communauté Gwoka d’une affirmation de son africanité et / ou de sa « guadeloupéanité ». Nous nous intéressons à cette esthétique sonore en tant que pratique d’appartenance associée à une mémoire collective. / Beginning in Guadeloupe in the 17th century with the transatlantic slave trade, Gwoka developed as music of resistance to the violence of forced acculturation and a means of preserving cultural heritage. Granting a large importance to voice, this musical practice – which relies on the triptych drum-song-dance and whose base is the Creole language – has been transmitted from generation to generation. Some families have been able to preserve this musical genre. Amongst them, the Geoffroys – originating from the “Grands Fonds” region and specialized in wake songs and bouladjèl. This doctoral research aims to study the methods of transmitting santiman and lokans, two aesthetical values characterizing this oral tradition. We examine these expressive qualities by means of ethnographical observations and also voice recordings obtained in situ – these being the object of comparative analysis making use in particular of sonograms. We chose as a case study the Geoffroy family, in other words a transmission process in an endocultural context. Our research also explores the question of filiation between Gwoka and African traditional music, as well as the identity issues at stake that underlie this oral tradition – which, for the Gwoka community, represents a support for claiming its Africanity and/or its “Guadeloupeanity”. Our interest in this sound aesthetics questions the fact that it is a practice of belonging associated to a collective memory.

M.A. (Linguistics) / Please refer to full text to view abstract

(in English): This thesis focuses on the first book of Historia Langobardorum (History of the Lombards), a historiographical work written by Paulus Diaconus (Paul the Deacon), a Benedictine monk and Lombard historian. The thesis consists of three parts - an introductory essay, a translation of the book and a commentary. An edition of the Latin text is attached as an appendix. In the introductory essay, having given the necessary facts, I summarise previous research on Historia Langobarorum and discuss Paul's use of sources with focus on some of the questions connected to this topic (especially the question of Paul's knowledge of the Lombard oral tradition). In the following part of the essay, the book is analysed within the conventions of so-called origo gentis-genre. The emphasis is laid especially on the legendary elements that are dominant in the initial passages of the narrative. The translation is accompanied with a commentary in which the information provided by the text are set in a broader cultural and historical context.