This work aims at considering superstitions both in the context social, cultural changes and as an essential part of human being, since it makes part of culture. We search to discuss the transformations of superstition in the modern society based on the oral accounts of people who moved from countryside to the city of Catalão, State of Goiás. We has tried to identify how these people consider superstitions now and understand their rural past, marked by oral tradition and popular beliefs, and so to know how popular culture rereads superstitions in the present. In these individual s speech, we have noted some conceptions of past countryside/hindrance and present city/progress which led us to rethink of theses spaces as different and complimentary. / Este trabalho propõe considerar as superstições pelo viés das transformações sociais e culturais e como parte essencial do ser humano, por fazerem parte da cultura que o expressa. Nele, problematizamos a transformação das superstições na sociedade moderna, com base na fala de sujeitos que saíram da zona rural para residir na cidade de Catalão (GO). Buscamos identificar a leitura que fazem das superstições, o passado vivido na zona rural, calcado na oralidade e nas crenças populares, e, assim, saber que releituras das superstições a cultura popular passou a ter. Na fala dos sujeitos, percebemos concepções de passado zona rural, atraso e de presente cidade, modernidade que nos levaram a repensar esses espaços como diferenciados e complementares. / Mestre em História

Desde tempos imemoriais, a milenar arte de contar e ouvir estórias está estreitamente relacionada com a formação de seres humanos. Narrar é uma ação própria do humano, incluindo-se nesse ato não só a narrativa de fatos vividos, mas sobretudo daqueles que são experimentados no âmbito do imaginário, fonte mitológica, portanto primordial, que nos supre dos símbolos essenciais necessários para a nossa existência no mundo. A partir de vivências narrativas proporcionadas aos frequentadores do Lab_Arte da FEUSP, em sua maioria alunos do curso de Pedagogia e de Licenciatura da Universidade de São Paulo, no núcleo de Narração de Estórias, através da investigação poética de seus processos simbólicos e de seus itinerários formativos, pôde-se perceber a importância de se cuidar da formação humana desses futuros docentes. Uma formação que transcende as barreiras escolares e que se dá para além das questões tecnicistas e operacionais que, em geral, servem como base única para os costumeiros cursos formativos de professores. Desde uma perspectiva hermenêutica e fenomenológica, as reflexões suscitadas pelas vivências no laboratório conduziram a pesquisadora desse trabalho ao mito fundador da pessoa contadora de estórias, que encontra sua expressão mais significativa na figura da sultana Sherazade, do livro das Mil e uma Noites, mas que perpassa o mito de Ariadne, a Senhora dos Labirintos, que por sua vez atualiza o mito sumério de Inanna, a senhora dos céus e dos ínferos. Narrando à beira do precipício, a Senhora da Vida convida o Senhor da Morte para uma contradança labiríntica, de cujo fim inexorável ninguém escapa. As estórias de tradição oral como fios que nos conectam aos nossos ancestrais e a todos que virão depois de nós, como palavra viva que prevalece sobre o narrador, nos despertam para um aprendizado que aponta para a necessidade de uma realização pessoal que se situa sempre dentro de uma existência coletiva comum e, como gesticuladores culturais, os professores acabam por entender que no banquete dos saberes tradicionais a única forma de saciar nossa fome e apaziguar nossa sede de conhecer é alimentando-nos e oferecendo-nos água fresca uns aos outros. Assim, acreditando que arte de narrar estórias é, sobretudo, a arte do encontro e do diálogo, foram os encontros e os diálogos dessa pesquisadora, professora e narradora de estórias, com as estórias e com seus alunos ouvintes-narradores, bem como seus diálogos com teóricos e pesquisadores como Georges Gusdorf, Joseph Campbell, Mircea Eliade, Chris Downing, Amadou Hampâté Bá e Marcos Ferreira-Santos , que nortearam essa pesquisa que, dessa forma, resultou numa complexa constelação simbólica de sentidos e significados, como exige o foco de uma investigação poética. / Since immemorial times, the millennial art of storytelling has been closely related to the education and human formation. Narrating is a typical human action, which includes not only narrating experienced facts, but also especially those that are experienced within the imaginary scope, our mythological and so primordial source of essential symbols necessary for our existence in the world. From narrative experiences offered to Lab_Arte goers most of whom being students of Pedagogy and of other degree courses from University of São Paulo, through the poetic research of their symbolic processes and their formative itineraries it was possible to realize the importance of taking care of the human formation of these future teachers. An education that transcends the school barriers and which is made beyond the technicist and operational issues that, in general, serve as a single basis of development for the usual training courses for teachers. From a hermeneutic and phenomenological perspective, the thoughts aroused by experiences in the lab led the researcher of this work to the founder myth of the storyteller, which finds its most significant expression in the figure of sultana Scheherazade, from the Arabians Night book, but that also pervades the myth of Ariadne, the Mistress of the Labyrinth, which turn to updates the Sumerian myth of Inanna, the Mistress of heaven and the world above. While narrates on the edge of the cliff, the Lady of Life invites the Lord of Death to a labyrinth dance, from whose inexorable end nobody escapes. The oral-tradition stories as threads that connect us to our ancestors and to all those who come after us as a living word that prevails on the narrator awaken us towards apprenticeship that points to the need for a personal fulfillment that only can be achieved within the space of a common and collective existence. As cultural agents, teachers will understand that at the feast of traditional knowledge the only way to end up our hunger and assuage our thirst of knowing is to feed us and provide us with fresh water to each other. So, believing that art of storytelling is, above all, the art of encounter and dialogue, the meetings and dialogues of this researcher, teacher and storyteller with the stories and with her students, as well as her dialogue with theoreticians and researchers like Georges Gusdorf, Joseph Campbell, Mircea Eliade, Chris Downing, Amadou Hampâté Bá, and Marcos Ferreira-Santos were the guiders to this research. Therefore, this study resulted in a complex symbolic constellation of meanings and senses, which is de focus of a poetic investigation.

Nesta dissertação, estudo questões relacionadas a oralidade, cultura escrita e suas inter-relações. Através de um estudo semântico e histórico de termos e funções sociais, foco minha pesquisa no conceito de memória. Faço-o trabalhando com fontes epigráficas, constituídas em inscrições em pedra e bronze, datadas do primeiro quarto do século V a.C. A performance legal que transparece nas leis presentes nessas inscrições é o instrumento mais favorável para se perceber as relações entre oralidade e escrita no período, e mais ainda para entender os papéis da memória como constituinte da Tradição Oral entre os helenos. O cargo, a figura, o personagem que permeia todas as inscrições que analisei é o de mnemon, literalmente lembrador. Através de suas funções e relações com outros magistrados e formas de atuação, desdobro minha pesquisa, dedicando-me à análise das influências e funções da memória em uma sociedade que principiava a transição de uma cultura marcada pela oralidade para outra que passava, gradativamente, a se escorar sobre a escrita e o letramento. / In my research I study issues relating to orality, literacy and their interrelationships. Through a semantic and historical study of concepts and social functions I focus my research on the concepts of memory. I do it working with epigraphic sources, bronze and stone inscriptions dating from the first quarter of the fifth century BC. The legal performance that transpires in the present laws, in these inscriptions, are the most conducive instrument to understanding the relationship between orality and literacy in the period, and even more to understand the roles of memory, a constituent of the Oral Tradition among the Hellenes. The job, the figure, the character, which pervades all the entries I examined, is the mnemon, literally Remembrancer. Through their roles and connections with judges and other forms of performance, my research unfolds. I devoted myself to the analysis of the influences and functions of memory in a society that was beginning a transition from a culture marked by orality, to another, gradually supported by writing and literacy.

Orientador: Terezinha Machado Maher / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-18T06:42:48Z (GMT). No. of bitstreams: 1 AbramdosSantos_Lilian_D.pdf: 1452073 bytes, checksum: 7559416944330c59b410637a19c0edc0 (MD5) Previous issue date: 2011 / Resumo: Nesta tese, apresento uma análise de textos em português como segunda língua, escritos por adultos Wajãpi que participam de cursos de formação ministrados pelo Iepé, uma organização não-governamental. Os cursos de formação de Magistério Wajãpi, Formação de Agentes de Saúde Wajãpi e Formação de Pesquisadores Wajãpi são desenvolvidos de acordo com as orientações político-pedagógicas da política pública atualmente vigente no Brasil para a Educação Escolar Indígena. Meu objetivo foi investigar, a partir da análise da produção escolar dos alunos, as relações entre oralidade e escrita presentes na segunda língua. Mais especificamente, conduzi a pesquisa na tentativa de compreender de que forma os textos por eles escritos apresentavam, em sua composição, marcas de modos orais de transmissão e quais eram os significados dessas marcas. Foi possível verificar que os textos apresentam forte influência da transmissão oral, sobretudo nos aspectos relacionados ao predomínio da tipologia narrativa, à remissão constante à memória coletiva do grupo, aos modos particulares de apresentar o discurso reportado e o fechamento narrativo. A questão que direcionou a pesquisa foi motivada pelo fato de os Wajãpi serem um povo que tradicionalmente usa a oralidade para a transmissão e produção de seu conhecimento. O contato desse povo com práticas sociais letradas é bastante recente. Formas letradas de comunicação passaram a se fazer presentes nesse contexto somente após o contato realizado com a FUNAI (Fundação Nacional do Índio), na década de 1970. Nas duas décadas seguintes, foram implantados em território Wajãpi um posto da FUNAI, postos de saúde, escolas e começou a ocorrer o curso de formação de professores wajãpi, que, posteriormente, se formalizou em Magistério Indígena. Em 1998 tem inicio a formação em saúde e no começo dos anos 2000, a Formação de Pesquisadores é iniciada. Ao longo desse mesmo período, os Wajãpi se envolveram com a demarcação do que hoje é a Terra Indígena Wajãpi e criaram duas associações representativas, com sede na cidade de Macapá, capital do estado onde está localizado seu território. Diretamente envolvidos nesse processo, estão os jovens e adultos, a maioria do sexo masculino, autores dos textos aqui analisados. A pesquisa que deu origem a esta tese é qualitativa, de base interpretativista, não havendo, portanto, a pretensão de que seus resultados sejam considerados universais ou conclusivos. Ao contrário, esses resultados devem ser lidos como parciais e temporários. Importa considerar também que minha análise e interpretação dos dados não devem ser vistas como totalmente objetiva e neutra, levando-se em consideração minha inserção pessoal no tema. A expectativa é que os resultados da pesquisa empreendida possam contribuir para, em primeiro lugar, demonstrar a existência e o sentido dessas marcas de modos orais de transmitir o conhecimento. Espero, além disso, poder contribuir com o debate necessário acerca das diferenças entre modos letrados e predominantemente orais de produção e transmissão de conhecimento. Por último, é também minha expectativa, subsidiar o ensino da escrita em português, no contexto Wajãpi / Abstract: In this thesis, an analysis of texts written by adults Wajãpi in their second language (Portuguese) is presented. The authors of such texts participate in the Wajãpi Teacher Education Program, the Wajãpi Health Agents Educational Program and the Program for the Education of Wajapi Researchers, all of which are sponsored by Iepé, a nongovernmental organization. Such programs follow the political and pedagogical orientations of the present Brazilian official policy for Indigenous School Education. My objective was to investigate, taking into consideration these students school production, the relations between oral and written production in their second language. More specifically, the research was conducted in order to try to understand which traits of oral transmission modes were present in their compositions and what such traits actually meant. As a result of data analysis it was seen that these texts showed significant influence of oral transmission modes, particularly in terms of narrative typological predominance, of constant reference to ethnic collective memory and of specific ways of presenting reported speech and narrative closings. The motivation for the study was the fact that the Wajãpi people have been traditionally producing and transmitting knowledge orally. Their contact with literacy social practices is quite recent. Written ways of communication started being present in this context only after the group was contacted by FUNAI (National Indian Foundation) in the 70s. In the following two decades, a FUNAI post, health centers and schools were implemented in Wajãpi territory. A number of teacher education courses, which later officially became the Wajãpi Teacher Education Program, began being offered in the same period. In 1998, health agents began their educational training and in the beginning of 2000, wajãpi researcher started being trained. Along the same time period, the Wajãpi people became involved in the demarcation process of what is today known as Terra Indígena Wajãpi - Wajãpi Indigenous Land - and created two associations whose head offices are located in Macapá, capital of Amapá, the Brazilian state where their territory is located. Actively engaged in this process were the adults and youngsters, mostly male, who are the authors of the texts that constitute the data base of the research in question. This is a qualitative-interpretative research and, therefore, its results are not to be seen as automatically applicable to other contexts or absolutely conclusive. On the contrary, they should be understood as partial and temporary results. It is also important to emphasize that the data analyses is not to be considered totally objective and neutral, considering my personal involvement with the area and the context of investigation. It is expected that the results of this study will contribute, in the first place, to demonstrate the existence and meaning of oral modes of transmitting knowledge. Besides, it is hoped it will contribute to the necessary debate about the differences between written and predominantly ways of producing and transmitting knowledge. Finally, it is my expectation that this thesis can contribute to those responsible for the teaching of written Portuguese in wajãpi context / Doutorado / Multiculturalismo, Plurilinguismo e Educação Bilingue / Doutor em Linguística Aplicada

Este trabalho está centrado na Arte de Contar Histórias e o sopro do narrador, fundamento da vocalidade poética. Ao pensar nos diversos caminhos possíveis para a sua composição, foi aprofundada uma visão direcionada para o entrelaçamento das experiências subjetivas com a própria narrativa. Essa é uma vereda que tem como base a Palavra Viva, proveniente dos narradores tradicionais, onde é ressaltado o seu aspecto artesanal. Paralelos com a contemporaneidade foram cercados, assim como imagens e metáforas, dentre os quais se destacam a criança, o peregrino e o selvagem, que permeiam a reflexão sob ângulos diversos. Para abordá-los é sugerida a ideia de despreparo que se contrapõe a uma ideia de formação mais linear e acentua o chamado à experiência. / This work is centered on the Art of Storytelling and the breath of the narrator, the foundation of the poetic vocality. In thinking about the different possible paths for its composition, a vision was focused on the intertwining of subjective experiences with the narrative itself. This is a path based on the Living Word, from the traditional narrators, where their artisan aspect is emphasized. Parallels with contemporaneity have been surrounded, as well as images and metaphors, among which the child, the pilgrim and the savage stand out, which permeate the reflection under different angles. To address them is suggested the idea of unpreparedness that opposes a more linear idea of formation and accentuates the call to experience.

The tribal life and the oral traditions of black South Africans have been marginalized. The consequence of the western civilization and the apartheid regime forced people to do away from their traditional heritage and culture; they adopted the western way of life. They buried their oral tradition and only a little has survived. To save the dying culture of the art of the oral tradition we need to go out and record and document the surviving oral tradition as soon as possible. Since the art of the oral tradition is an art form conducted by an artist, it may be possible to tell the ibali likaNongqawuse by means of visual imagery. Visual images can be read and be understood easily by the public because visual forms, sings, images can make up a language for both the literate as well as the illiterate.

Cette thèse consiste en une description du sun̄wadia, langue mélanésienne parlée dans l'île de Maewo, située dans la partie centre-nord du Vanuatu (Pacifique Sud). La description est basée sur deux séjours de terrain de trois mois chacun. La langue présente, à des stades plus ou moins poussés, les traits caractéristiques de la famille austronésienne: l'existence d'un article personnel, une tendance à l'omniprédicativité, la modification de la structure argumentale du verbe par quelques morphèmes hérités du système à applicatif des langues situées plus haut dans la généalogie de la famille. Elle présente également le système de marques personnelles très reconnaissable des langues austronésiennes.Il s'agit d'une langue relativement conservatrice sur le plan phonologique, mais dont la morphologie dérivationnelle apparaît assez érodée (il n'existe ni conjugaison verbale, ni déclinaison casuelle, ni marquage morphologique du nombre sur les noms). La thèse s'organise en six parties. La première étudie la phonologie, la morphophonologie, et la structure morphologique du mot sun̄wadia, ainsi que les phénomènes de sandhi. La seconde partie s'intéresse aux parties du discours et pose quelques bases syntaxiques sur lesquelles s'appuiera le reste de l'étude. Les quatre parties suivantes étudient successivement le fonctionnement du syntagme substantival, celui de la prédication (structurée par le recours fondamental aux constructions à verbes sériels), le système de repérage et de référence temporels, spatiaux et circonstanciels, et enfin l'organisation de l'énoncé. La thèse est accompagnée d'un extrait de corpus glosé d'une douzaine de pages. / This PHD thesis consists in a description of Sun̄wadia, a melanesian language spoken in Maewo Island, Central-NorthVanuatu (South-Pacific). It is based on two fieldworks of three months each.This language exhibits, in a variable extension, some of the typical characters of the austronesian languages: it has a personal article, tends towards omnipredicativity; the argumental structure of the verb undergoes modifications via a few morphemes related to the applicative systems of languages that are situated higher in the genetic tree of the family. The language also has the typical pronominal system of austronesian languages.Sun̄wadia is a relatively conservative language, on the phonemic level at least, but its morphology appears to be quite eroded (there aren't any verbal conjugation, nor any nominal declension, nor any morphological marking of number on the noun). This thesis is organised in six parts. The first one studies phonemics, morphophonemics, and the morphological structure of the Sun̄wadia word, as well as sandhi phenomenon. The second part concerns the parts of speech and lays down some syntaxic grounds that will be useful to the rest of the study. The last four parts review the substantival syntagm, the functioning of predication (which is mostly built around serial verbs constructions); the temporal, spatial, and circumstantial reference, and, lastly, the global organisation of the clause. The thesis comes with a short excerpt of our oral corpus (a dozen of pages).

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

The aim of this thesis is to introduce the popular puppet theatre called Opera dei Pupi, which was developed mainly in Sicily in the second half of the 19th century. The first part desrcibes literary influences that nourished this tradition, from which puppeteers derived topics for their repertoire. These stories were primarily about the French king Charlemagne and his knights and were called paladins. I am trying to map the form of an adaptation of this topic for Opera dei Pupi needs and the way of connection with oral tradition. Furthermore I am going to mention the secondary repertoire of the theatre for example farce. Next chapter focuses on a formal side of the Opera dei Pupi including puppeteer's personality, his work and activities, structure of the theatre itself, characteristics of puppets and handling them. Furthermore this section also describes a specific concept of everyday's performances "to be continued" and how were these performaces organized in practice. The analytical part focuses on a process of putting plot on a scene, which includes both improvisation and fixed rules approach. The principal theme of this part is the so-called copione, which are the puppeteer's own handwritten notes, on which the show was based. This section also includes numerous excerpts not only from copione but also...

Sur le fil invisible reliant la temporalité tridimensionnelle de l'ancestral, du présent et du devenir, se profilent les pas du compositeur. Parcours individuel, traversée sociale, épopée humaine, l'acte créatif émane des profondeurs du ressenti de l'être et des profondeurs de la collectivité sociale. Notre recherche se veut un voyage en vue d'une reconstitution du parcours du dire musical en tant qu'expression de l'être impliquant culturalité et subjectivité compositionnelles et aboutissant à l'œuvre musicale en tant qu'entité-signe. En consacrant notre réflexion aux musiques modales arabo-musulmanes de tradition orale, nous développerons dans ce cadre une théorie des strates englobant le processus compositionnel dans sa totalité en le considérant comme un processus préparé par une phase pré-œuvre, élaboré en une phase poïétique et aboutissant à l'émergence d'une entité-signe porteuse de sens. La phase pré-œuvre met à contribution les strates profondes, à savoir la strate psychoperceptive empreinte des composantes immatérielles du ressenti modal, la strate neuroesthétique impliquant les prédispositions génétiques et l'impact du milieu culturel pour une imprégnation modale et la strate d'appropriation du mode d'expression propre au langage modal. La phase poïétique s'articule ensuite autour de l'évolution des strates d'influence constituées d'une strate des facteurs motivationnels, d'une strate permettant l'acheminement vers une amorce de l'œuvre et d'une strate de transduction aboutissant à l'œuvre. Après l'étude de la phase pré-œuvre et de la phase poïétique, nous entreprendrons une analyse sémiotique de l'œuvre en tant qu'entité-signe porteuse d'une mosaïque de sens. / On the invisible thread connecting the three-dimensional temporality of the ancestral, the present and the becoming, the figure of the composer looms large. At once an individual trajectory, a social crossing, a human epic, the creative act emanates from the depths of the being and from those of the social community. This research aims to be like a journey where we seek to reconstitute the path of musical telling as an expression of the being, involving both the cultural and subjective dimensions of composition, and leading to the musical work as a sign-entity. In this framework, by devoting our reflection to Arab-Muslim modal music of the oral tradition, a theory of strata will be developed to include the totality of the compositional process considered as a process prepared by a pre-work phase, elaborated into a poietic phase and leading to the emergence of a meaningful sign-entity. The pre-work phase engages deep strata, namely the psychoperceptive stratum imprinted with the immaterial components of modal feeling, the neuroaesthetic stratum implying genetic predispositions and the importance of cultural environment for modal impregnation, and the stratum of the appropriation of the expressive mode specific to modal language. The poietic phase is then organised around the development of the affluence strata constituted by a stratum of motivational factors, a stratum enabling the progression towards the onset of a work and a transduction stratum leading to the work. After the study of the pre-work phase and the poietic phase, we undertake a semiotic analysis of the work as a sign-entity carrying a mosaic of meanings.