A tese apresenta o estudo de natureza exploratória do processo de produção partilhada de saberes e apropriação de dispositivo de informação desenvolvido com mestres e aprendizes da cultura de tradição oral. A travessia pelas -veredas da informação? neste território simbólico diferenciado foi delineada com base em três pilares: a) construção de trama conceitual, que contempla o desenvolvimento diacrônico dos processos mnemotécnicos, desde os primórdios até a contemporaneidade, demonstrando como determinados autores ao longo da história participam do jogo de forças sociais, disputando formas, possibilidades, arranjos e ordenamento do conhecimento; b) apresentação do contexto social de pesquisa e respectivo universo simbólico-cultural dos mestres Griôs da tradição oral, por meio de abordagem epistêmica que perpassa pelo reconhecimento ontológico das bibliotecas vivas; c) criação de rede sociotécnica para gestão de dispositivo, com base no conceito operacional de -produção partilhada de saberes? para solução de demandas por apropriação e circulação social de informações. A obra resulta de um diálogo na fronteira entre o legado das culturas de tradição oral e as novas tecnologias da escrita, em que experimentamos uma relação com o saber, voluntária e coletiva, da ciência como artesanato. A materialização da produção partilhada de saberes se deu no fazer prático (savoir-faire) por meio do qual os sujeitos do saber aprenderam a conhecer e a fazer juntos. Descreve o método empregado no processo de criação de um -dispositivo antropotécnico?, entendido como prótese virtual das bibliotecas vivas, lugar de memória, empoderamento e protagonismo social dos mestres e aprendizes da tradição oral, configurado de forma integrada e colaborativa, com abertura para a inovação social estratégica e as trocas simbólicas com os atores de outros pontos de cultura/memória, do Brasil e do mundo. / The thesis presents the exploratory study of the process of shared production of knowledge and appropriation of information device developed with masters and apprentices (teachers and learners) of the culture of oral tradition. The crossing of the -information paths? in this differentiated symbolic territory was based on three pillars: a) construction of a conceptual framework, which contemplates the diachronic development of mnemonic processes, from the earliest times to the present time, demonstrating how certain authors throughout (along) the history participate in the game of social forces, disputing forms, possibilities, arrangements and ordering of knowledge; b) presentation of the social context of research and the respective symbolic-cultural universe of the masters Griôs of oral tradition, through an epistemic approach that permeates the ontological recognition of living libraries; c) creation of a sociotechnical network for device management, based on the operational concept of -shared production of knowledge? to solve demands for appropriation and social circulation of information. The work results from a dialogue at the border between the legacy of cultures of oral tradition and the new technologies of writing, in which we experience a relationship with the voluntary and collective knowledge, of the science as craft. The materialization of the shared production of knowledge took place in the practical way (savoir-faire) through which the subjects of knowledge learned to know and to do together. Describes the method used in the process of creating an -anthropotechnical device?, understood as virtual prosthesis of living libraries, place of memory, empowerment and social protagonists, the masters and learners of oral tradition, configured in an integrated and collaborative\'s way, with openness to innovation social and symbolic exchanges with the actors of other points of culture / memory, of Brazil and of the world.

This study explores reasons for Enid Blyton’s vast popularity. Blyton and her life are discussed in terms of the production and reception of her texts in the light of changing dominant discourses in society and varying horizons of expectation. It has been found that selected aspects of reception theory (in particular the horizon of expectation posited by Hans-Georg Gadamer and developed by Hans Jauss) and the theories of Michel Foucault on power and discourse can be used to examine the influence of societal and literary discourses on both Blyton’s writing and on those who read her work, including adults and children. The study includes a discussion of Blyton’s personal life, her role in education and her success in business. Blyton’s horizons of expectation – shaped not only by the dominant discourses that surrounded her, but also her training in the Froebel method of education – are examined. Furthermore, a number of aspects of Blyton’s life and writing subvert dominant discourses and these are discussed in terms of Foucault’s ideas on power relations. Evidence of the influence of her life on her work has been found in her texts. The criticism of Blyton is discussed in terms of both literary criticism and social criticism. Blyton’s popularity as a storyteller is also considered and it has been found that, regardless of criticism by adults, she remained popular with children. Furthermore, Blyton used a number of specific techniques (such as fast-paced plots and simple language and style) and it has been found that her techniques can be linked to both formula writing, the oral tradition, and to her training as a teacher in the Froebel method of education. These techniques are examined in terms of their manifestation in her writing, particularly in her series books – including adventure stories and school stories. In conclusion, the place of Blyton’s writing in contemporary society is deliberated and recommendations for further research are made. / Dissertation (MA (English))--University of Pretoria, 2003. / English / unrestricted

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

Over the last fourteen-hundred years, Muhammad ibn ʿAbd Allah (d. 632) has been depicted and portrayed in a variety of ways by numerous scholars, theologians, and polemicists. My dissertation offers a unique approach to the “historical Muhammad” as it develops a new method to examine extant primary sources related to his life. I include available sources that provide pertinent information on Muhammad’s life, including the Qur’an, hadith literature, sira-maghazi (biographies and expeditions), and non-Muslim accounts. My research is original because it adopts current historical Jesus scholarship, particularly modern cognitive studies of memory, and uses it on extant sources related to Muhammad’s life. More specifically, I explore how memory, oral tradition, and oral transmission play vital roles in understanding how Muslims remembered their Prophet and how the circumstances of later generations shaped and influenced their commemoration of his life. By adopting this scholarship, which will be contextualized to examine early Muslim literature, I offer a new perspective on surviving sources, the context of seventh-century Arabia, and the function of memory for the nascent Muslim community. I also apply my method on eight significant, polemical, or neglected events that are traditionally believed to have taken place during Muhammad’s life in Mecca and Medina. In sum, my dissertation offers a dynamic cross-disciplinary venture, encompassing the intersection of innovative, modern critical inquiry and early Islamic literature. / Dissertation / Doctor of Philosophy (PhD) / This dissertation examines the field of the “historical Muhammad” and applies a new method on extant primary sources related to Muhammad’s life. I conduct a literature review of scholars’ reconstructions of his life, beginning as early as the seventh century. I also explore numerous primary sources on Muhammad, pointing out their benefits and disadvantages. Next, I overview the quests for the historical Jesus and analyze methods that were established over the last hundred years. In my dissertation, I adopt historical Jesus scholarship, namely memory studies, to develop an original method that provides a unique understanding and fresh perspective of the historical Muhammad. Over the last two chapters, I conduct eight case studies employing my method on events from Muhammad’s life in Mecca and Medina. This dissertation demonstrates that we could reconstruct a reasonably coherent picture of events surrounding Muhammad’s life.

PhD (African Studies) / Centre for African Studies / African authors play a significant role in passing on African folklore. Their writing is often influenced by their lived experiences and the social context embedded within folklore. Folklore houses the cultural beliefs, customs and traditions of a society and is passed on from one generation to the next through oral and written literature. Many African authors’ works instil an appreciation of people’s African identity, customs and beliefs. The aim of this study was to explore the extent to which folklore had influenced the writings of four selected African authors: Chinua Achebe, a renowned author from Nigeria, Ngũgĩ wa Thiongʹo from Kenya, Es’kia Mphahlele and Andrew Nkadimeng, both from South Africa. These African authors, who chose to write their stories in English rather than in their African language, were influenced by the folklore they were exposed to in their upbringing. The objective of the study was to identify various aspects of folklore and demonstrate how folklore had remained entrenched in the writings of these African authors, despite the fact that they were telling their stories in the English language. The research was qualitative in nature and a hermeneutic research method was used to describe and interpret the meaning of texts as used by the authors and to explore the influence of folklore in the text. The study will be a useful resource for teachers in the Further Education and Training (FET) band in schools (grade 10 to 12) which includes folklore studies as part of its syllabus. Currently, folklore is studied in schools only in terms of Oral Literature. However, Oral Literature is just one aspect of folklore, as is discussed in this study. The study will also contribute towards efforts to re-establish Africans’ dignity and identity / NRF

The study sets to establish trends with regard to the role of the praise singer, the changes with regard to the traditional praise singer's rendition/performance and the material or content of his/her poetry. Thus the study highlights the distinction observed between the praise singer of the past and the present praise singer. The study also shows that the praise singer's performance, in terms of his/her role and content, is in the state of flux. The study also demonstrates that the singer of the past and the present praise singer have the same role and their chants or poetry or songs have the same effect. It also highlights situations where praises are chanted in modern times. These are graduation ceremonies, weddings, political gatherings and traditional ceremonies, for example, the annual rain making ceremonies. These events or occasions are inextricably linked to traditional praises. The study also highlights the fact that traditional praises present the history and heroic deeds of members of the clan to which the beneficiary belongs. They also express the deep feeling of royalty and loyalty. Like in the past they boost morale. / African Languages / M.A. (African Languages)

To date, the vast literature on theories of psychology, and psychology as a practice, still remains a reflection of Western experiences and conceptions of reality. This is so despite "psychology" and "psychotherapy" being studied and implemented by Africans, dealing with Africa's existential issues, in Africa. In this context, a distorted impression that positions psychology and psychotherapy as irreplaceable and irrefutable Western discoveries is created. This perception creates a tendency in which psychotherapists adopt and use universalised, foreign and imposed theories to explain and deal with African cultural experiences. In recent years, African scholars' quest to advance "African-brewed" conceptions, definitions and practices of "psychology" and "psychotherapy" is gaining momentum. Psychologists dealing with African clients are increasingly confronted with the difficulty, and in some instances the impossibility, of communicating with, and treating local clients using Western conceptions and theories. Adopting the dominant Western epistemological and scientific paradigms constitutes epistemological oppression and alienation. Instead, African conceptions, definitions and practices of "psychology" and "psychotherapy" based on African cultural experiences, epistemology and ontology are argued for. The thesis defended in this study is that the dominant Western paradigm of scientific knowledge in general and, psychology in particular, is anchored in a defective claim to neutrality, objectivity and universality. To demonstrate this, indigenous ways of knowing and doing in the African experience are counterpoised against the Western understanding and construction of scientific knowledge in the fields of psychology and psychotherapy. The conclusion arising from our demonstration is the imperative to rethink psychology and psychotherapy in order to (i) affirm the validity of indigenous African ways of knowing and doing; (ii) show that the exclusion of the indigenous African ways of knowing and doing from the Western paradigm illustrates the tenuous and questionable character of its epistemological and methodological claims to neutrality, objectivity and universality. Indeed the Western claim to scientific knowledge, as described, speaks to its universality at the expense of the ineradicable as well as irreducible v ontological pluriversality of the human experience. This study's aim is to advance the argument for the sensitivity to pluriversality of be-ing and the imperative for wholistic thinking. / Psychology / D. Phil. (Psychology)

This study is on standard isiXhosa in a multilingual classroom and includes an interpretation of both urban and rurual learners’ literary texts. An attempt is made to examine a selection of isiXhosa texts in order to interprete the state of affairs of the isiXhosa language in the 21st century. Organization of the study This dissertation was organized in the following manner: Chapter one includes an introduction to the study, its aims and objectives as well as the research methodology. Since the isiXhosa language is the focal point of the study, it is discussed in some depth. In chapter two, the researcher concentrates on the Pan South African Language Board (PanSALB) "Imibono yethu". Imibono yethu is an anthology of learners' writings. The learners were invited to enter a competition by using various genres, e.g. short stories, poems, one-act dramas, rap songs, kwaito, essays, and melodic poems. The researcher wanted the learners to use whatever genre inspires them, to put it colloquially, "what turns them on!" Any aspect of the urban lifestyle could be explored within the theme of each entry and fell under the following headings: • Standard language. • Standard isiXhosa. Chapter three investigates non-standard language varieties with special reference to isiXhosa and the language policy of South Africa. In this chapter, a comparison was drawn between non-standard language and standard language. vi In chapter four, the researcher discusses the overall findings of the competition, comparing the results emanating from the Eastern Cape and Gauteng. Chapter five deals with achievement of the objectives and highlights of the research. / African Languages / M.A. (African Languages)

Ce mémoire veut démontrer que le film de famille ainsi que ses conditions de réception empruntent, et ce de façon instinctive, au fonctionnement communicatif et rassembleur de la tradition orale. La parole, l’oralité, devrait être considérée comme le catalyseur de la mise en commun du souvenir que le film de famille suscite. Elle est le véhicule de l’interprétation du message du film de famille en tant que discours familial. D’ailleurs, si l’on compare l’influence des deux registres sensoriels présents dans le médium cinématographique (le visuel et l’oralité), le film de famille reprend davantage les modalités de l’oralité. Conséquemment, son contenu, sa forme et sa finalité correspondent à la définition d’un cinéma de l’oralité, un cinéma de la parole défini par Germain Lacasse. En raison d’une absence de travaux portant spécifiquement sur le sujet, l’objectif de cette recherche est de rapprocher et de définir davantage ces liens qui se sont tissés entre la tradition orale et le film de famille. Dans ce dessein, l’approche théorique développée est basée sur les théories de la tradition orale, sur la théorie de la mémoire collective de Maurice Halbwach et sur les rapports entre le cinéma et l’oralité. Ainsi, les aspects suivants sont abordés : Le rôle de l’oralité dans la constitution de la mémoire familiale, l’apport de l’oralité dans les médias stimulateurs de mémoire familiale et finalement, la forme et le contenu du film de famille en tant qu’aspects distinctifs du cinéma oral. Quatre extraits de films de famille québécois des années 20 à aujourd’hui y sont également analysés. / This research wants to demonstrate that the home movie and his reception context seem to be deeply marked by oral tradition and it’s communicative and social system. Orality should be considered as the family remembrance catalyst in home movies. This spoken word is the main transporter of the interpretation of home movie message as the family discourse. In fact, if we try to evaluate which one of the sensory mediums is more important for family communication (visual or oral medium), we would find out that orality plays a bigger part. Consequently, its form, content and finality correspond to the “oral cinema” definition of Germain Lacasse. Because of an actual lack of literature on this specific subject, the purpose of this study is to connect and define theories of oral tradition and home movie. The theoretical approach developed is based on oral tradition theory, Halbwach’s collective memory theory and on the relations between cinema and orality. Therefore, several aspects will be discussed : the contribution of orality in domestic memory constitution, the orality involvement in family memory stimulators or medias, and finally, the analysis of home movie’s form and content as an oral cinema. In addition, four sequences of Quebec made home movies since the twenties until our days are studied.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal. / Ce mémoire de maîtrise présente une analyse des quatre œuvres qu j’ai composées entre l’automne 2007 et l’automne 2008, au cours du programme d’études : Deux tempêtes et une langueur (violoncelle et piano), Sept gestes ludiques (violon, cor et piano), Azabache (musique pour danse contemporaine, six musiciens) et Landocinógena (orchestre). Il s’agit de quatre projets aux concepts compositionnels différents ayant en commun, la plupart d’entre eux, une ligne directrice se traduisant par un lien avec des sources musicales de tradition orale. Ce volet m’a amené à développer un projet de maîtrise reposant sur une codirection entre composition et ethnomusicologie. Ces analyses seront précédées d’une introduction contextuelle. La dernière partie présentera des conclusions à caractère réflexif. / This Memory of Master Degree presents the analyses of the four works composed during the program (from Autumn 2007 to Autumn 2008): Two Storms and a Languor (cello and piano), Seven Playful Gestures (violin, horn and piano), Azabache (music for contemporary dance, six musicians) and Landocinógena (orchestra). Those projects have different compositional concepts. Nevertheless, the sources of oral musical traditions are the common link between the most of them. This view has conducted my interest to develop a co-direction in the field of Compositions and Ethnomusicology. These analyses will be preceded by a contextual Introduction and will close with some reflexives conclusions.