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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)

Made available in DSpace on 2016-08-03T12:19:51Z (GMT). No. of bitstreams: 1 Filipe de Oliveira2.pdf: 2235436 bytes, checksum: 54d99448b518032678d03665d849c1d2 (MD5) Previous issue date: 2015-04-17 / Fundação de Amparo a Pesquisa do Estado de São Paulo / Until the fourth century AD, was common among Christians, to read the book of I Enoch. The embryo of rejection began in the second century, with Julius Africanus, and reached its peak in the fourth century with Augustine of Hippo. However, the official position, in Western Christianity, which rejected the writing of I Enoch as a useful literature to faith, happened at the Council of Laodicea (century IV) who said that the only names of angels authorized by the Scriptures would be the Miguel, Gabriel and Raphael. this position deleted the book of Enoch (book that makes reference to several names of angels) from the books useful for theological research, until recent times in the West. The great character of Christianity was a man recognized in Palestinian as Rabbi. This title presupposes knowledge of the main literature enjoyed by the Jews. The consensus among most of the Second Temple scholars, is that the writing of I Enoch occupied a distinct place in the literary scene of that time. This thesis was born from a plausible suspicion, which is embedded within the cultural context of the I century AD, that Jesus knew the Book of I Enoch. But not only that, distrust develops in the possibility that he has studied the writing and he built teachings based on that text. The research had as general objective: Find the relationship between Jesus of Nazareth and the Written I Enoch. With regard to its technical procedures, research is bibliographic, exploratory and documentary. For this research to gain form, we used the historiographical proposal of the Historical Jesus, and have developed a methodology called Analysis of the Sayings of Jesus (ASJ), for use in the investigation of sayings attributed to Jesus contained in the Gospels. The first chapter, besides being a book review of I Enoch addressing the book on various perspectives, was built aiming to bring the Brazilian Academy the latest information on research related to I Enoch, in dialogue with the principal investigators of this literature. The second chapter was developed in order to examine by historiography, the potential of some words recorded in the Gospels in being originates from the person of Jesus. The third and last chapter presents an approach among words that were examined and the Book of I Enoch. The end result indicates that the literature of Enoch may have occupied a prominent place among the estimated written by Jesus Christ. / Até o século IV d.C. era comum, entre os cristãos, a leitura do livro pseudepígrafo de I Enoque. O embrião da rejeição começou no século II, com Júlio Africano, e atingiu o seu auge no século IV com Agostinho de Hipona. Porém, o posicionamento oficial, no cristianismo ocidental, que descredenciou o escrito de I Enoque como uma literatura útil à fé, deu-se no Concílio de Laodiceia (Séc. IV) que afirmou que os únicos nomes de anjos autorizados pelas Escrituras seriam o de Miguel, Gabriel e Rafael, afastando I Enoque (que cita vários nomes de anjos) do cenário teológico, até épocas recentes no Ocidente. O grande personagem do cristianismo foi um homem reconhecido na Palestina como Rabi, título que pressupunha o conhecimento das principais literaturas apreciadas pelos judeus. É consenso entre a maioria dos estudiosos do Segundo Templo que o escrito de I Enoque ocupava um lugar distinto no cenário literário daquela época. A presente tese nasceu de uma desconfiança plausível, inserida dentro do contexto cultural do I século da era cristã, de que Jesus Cristo conhecia o livro de I Enoque. Mas, não somente isso, a desconfiança evoluiu para a possibilidade de que ele tenha feito uso do escrito construindo ensinos embasados no mesmo. A pesquisa teve como objetivo geral: Pesquisar a relação entre Jesus de Nazaré e o Escrito de I Enoque. No que se refere aos seus procedimentos técnicos, a pesquisa é de natureza bibliográfica, exploratória e documental. Para que esta pesquisa ganhasse forma, fizemos uso da proposta historiográfica do Jesus Histórico, bem como desenvolvemos uma metodologia chamada Análise dos Ditos de Jesus (ADJ), para ser utilizada na investigação de ditos atribuídos a Jesus contidos nos evangelhos. O primeiro capítulo, além de ser uma análise do livro de I Enoque abordando o escrito sobre várias perspectivas, foi construído objetivando trazer à academia brasileira as informações mais recentes sobre as pesquisas relacionadas a I Enoque, em diálogo com os principais pesquisadores da obra. O segundo capítulo foi desenvolvido com vistas a examinarmos, pela historiografia, o potencial de alguns ditos, de serem originários da pessoa de Jesus. O terceiro e último capítulo apresenta uma aproximação entre os ditos trabalhados e o livro de I Enoque. O resultado final indica que a literatura enoqueana pode ter ocupado um lugar de destaque entre os escritos estimados por Jesus Cristo.

Cette étude s’appuie sur un fonds d’enregistrements sonores, effectués au Gabon entre 1954 et 1966 par Herbert Pepper, chercheur de l’Orstom. En parcourant l’ensemble du pays, l’ethnomusicologue et son équipe ont collecté une grande variété de musiques, de contes, et autres expressions orales, et ont créé le Musée des Arts et Traditions de Libreville pour conserver, répertorier et valoriser le fruit de ces recherches de manière durable. Ces enregistrements peuvent être considérés comme étant des éléments représentatifs du « patrimoine culturel immatériel » gabonais, tel que le concept a pu être défini par la convention de l’Unesco en 2003. De nombreux pays comme le Gabon, dont les traditions se transmettent de manière orale, étaient jusqu’alors rarement représentés sur la liste du patrimoine mondial. Il est donc intéressant de retracer l’évolution et l’élargissement de la notion de patrimoine depuis le début du XIXe siècle, moment clé qui a vu se développer en Europe l’intérêt pour les vestiges du passé, tant sur le plan de la collecte des traditions orales que de la mise en musée des traces matérielles. Aujourd’hui, l’avènement des médias numériques a considérablement modifié les pratiques et conceptions dans le domaine de la conservation et de la valorisation du patrimoine. Grâce à la numérisation, les traditions orales bénéficient désormais d’outils adaptés à leur diffusion et il est possible de poursuivre le travail amorcé par Herbert Pepper lorsqu’il souhaitait conserver le caractère total des expressions culturelles gabonaises. / This study draws on a fund of sound recordings, made in Gabon between 1954 and 1966 by Herbert Pepper, Orstom's researcher. Going through the whole country, the ethnomusicologist and his colleague collected a wide variety of music, tales and other oral expressions, and created the Arts and Traditions’ Museum of Libreville to preserve, catalog and enhance the results of this research in a sustainable way.These records may be considered as representative components of “intangible cultural heritage” of Gabon, a concept which was defined by the Unesco Convention in 2003. Many countries such as Gabon, whose traditions are orally transmitted, were previously rarely represented on the World Heritage List. It’s therefore interesting to trace the evolution and expansion of the concept of heritage since the early nineteenth century, significant moment in Europe which has seen development of interest in the past’s relics, both of collecting oral traditions and conserving material traces in Museum. Today, the advent of digital media has significantly changed practices and conceptions in the area of conservation and heritage development. Through digitization, oral traditions now have suitable tools for their diffusion and it’s possible to continue the work begun by Herbert Pepper when he wished the character « total » to retain for gabonese cultural expressions.

Este trabalho é uma reflexão acerca da arte-educação e das histórias de tradição oral em suas relações com os conceitos de experiência e aprendizagem. O ponto de partida é a experiência da Escola de Arte Granada, localizada no interior do estado do Rio de Janeiro, na qual o trabalho é realizado a partir da integração de diversas linguagens artísticas com a arte de contar histórias. As questões trazidas pelos autores que tratam da arte-educação propiciam uma reflexão sobre o que compreendemos pelas duas palavras que compõem o termo \'arte-educação\'. A observação da Escola Granada, a partir de entrevistas com as educadoras da escola, revela o uso dos contos de tradição oral como material educativo que continua sempre atual e pode ser usado pelo ser humano em seu processo de desenvolvimento. A reflexão sobre os contos conduz ao estudo da tradição oral e ao conceito de educação na cultura tradicional. Tal concepção é relacionada a certas propostas visionárias sobre as mudanças necessárias na educação para o século XXI. / This work is a reflection about art-education and stories from the oral tradition, in their connection to the concepts of experience and learning. The starting point is the experience of Escola de Arte Granada, located in the countryside of Rio de Janeiro, where the work is developed starting from the integration of various artistic languages with the art of storytelling. The questions brought about by the authors who consider arteducation provide us with a reflection about what we understand by the two words that compose the term \'art-education\'. The observation of Escola Granada, arising from the interviews with the school\'s educators, reveals the usage of traditional tales as an educative material, which is always up-to-date and can be used by the human being in the process of development. The reflection about these tales leads us to the study of oral tradition and the concept of education in traditional cultures. This conception is related to certain visionary proposals regarding the necessary changes for 21st century education.

Ce travail a pour but principal de répondre à certaines difficultés de notation rencontrées par les compositeurs. Dans un premier temps, nous nous se proposons de montrer les limites du système d’écriture musicale occidentale (SEMO) dans la notation de certains éléments de la musique et, dans un deuxième temps, de montrer les avantages qu’offre l’utilisation de l’écriture multimédia (EM). Les résultats de ce travail, obtenus à partir de six « expériences-projets de composition », montrent l’efficacité de l’EM : un ensemble de procédés qui permettent l'utilisation simultanée de plusieurs modes de représentation de l'information (tels que textes, sons, images fixes ou animées, entre autres), servant à noter un message afin de pouvoir le conserver et le transmettre du compositeur à l’interprète. Dans le cadre de la composition musicale, l’EM, telle que nous l’avons employée ici, s’est montrée efficace pour noter les éléments suivants : le timbre, des nouveaux modes de jeu, des nouvelles techniques vocales, des instructions pour l’emploi des logiciels ; et aussi l’EM s’est montrée efficace pour l’intégration des éléments suivants dans les œuvres de musique mixte : le jeu d’un musicien de tradition orale, des modes de jeu tirés des musiques de tradition orale et exécutés par un musicien de tradition écrite, une langue tonale (et l’expressivité liée aux genres de musique de tradition orale dans les œuvres écrites. À l’ensemble de notations multimédia déjà existantes et disponibles pour la composition musicale, nous ajoutons deux types de notation qui se sont révélés efficaces dans cette recherche : la notation auditive et la notation d’un savoir-faire au moyen de la vidéo. / The main goal of this work is to solve some of the difficulties that composers encounter when notating music. Firstly, we describe how the Western musical notation (WMN) is limited when attempting to write specific musical elements. Secondly, we show the possible advantages that multimedia writing (MW) could offer on the notation of such elements. To address these issues, we used MW in six “experiments/composition projects” that were conceived to answer specific notation questions. The results obtained thereof allowed us to demonstrate the efficacy of MW for overcoming current limitations in music notation. More specifically, MW constitutes a group of procedures that allows to simultaneously represent information in different ways. This information could be either text, sounds, still or moving images, among others. Such procedures can be used to note down a message to further save it and transfer it from the composer to the performer. In the context of our experimental paradigms, MW has proven to be efficient for: the notation of timber, the integration of musicians from oral tradition in mixed music works, the incorporation of instrumental techniques drawn from oral tradition music into written music, the integration of a tonal language in a music score, the notation of new instrumental and vocal techniques, the guidance at using new software, and the incorporation of expressiveness associated to music styles of oral tradition into written works. We consider that two types of notation that proved to be efficient in this research could be added to the body of already existing MW, namely auditive notation and the notation of a know-how by the means of video.

Essa dissertação de mestrado resulta de uma pesquisa teórica, na qual a pesquisadora valeu-se de suas experiências pessoais como educadora, aluna, contadora e ouvinte de estórias para pensar a narração de estórias como sendo uma prática relacionada com uma educação de sensibilidade. Trata-se de um estudo das dimensões estéticas e artísticas da literatura de tradição oral que remete à discussão da atual função da narração de estórias dentro do âmbito escolar. Parte-se do pressuposto de que as estórias de ensinamento da tradição oral são obras de arte, de tempos imemoriais, compostas por uma dinâmica de imagens arquetípicas articuladas, sob a forma de metáforas, em uma narrativa. Acredita-se que, ao entrar em contato com essa sintaxe de metáforas, o aluno-ouvinte terá a possibilidade de, por meio do despertar de uma ação imaginante e não de uma audição passiva, ter uma experiência imaginativa de natureza estética, organizadora e integralizadora, capaz de propiciar um momento de intenso aprendizado. Um aprendizado no qual aquilo que se aprende está diretamente relacionado à descoberta e à construção de nossa humanidade, que se dá por ressonância, a partir de diálogos significativos entre as imagens internas que habitam as estórias e as que habitam os ouvintes. Por imagens internas, entende-se que são as imagens arquetípicas que preservam e revelam nossa humanidade e que estão ancoradas em nossa corporeidade. Nesses diálogos, destaca-se a importância de professores e contadores de estórias como agentes de cultura, cuja presença humana intermedia e possibilita o contato de alunos e ouvintes com suas heranças culturais. Como base teórica, utilizou-se obras de filósofos, antropólogos, educadores, poetas e contadores de estórias, dentre os mais significativos: Bachelard, Merleau-Ponty, Campbell, Mircea Eliade, Dewey, Freinet e Cecília Meireles, sendo tomado como elementos norteadores dessa dissertação, o trabalho e os textos de Marcos Ferreira Santos e Regina Machado. A partir de dados recolhidos, ao atuar como contadora de estórias, e de observações feitas em aulas de Língua Portuguesa, em escolas de Ensino Fundamental da rede pública, foram tecidas algumas conclusões. Dentre elas está a constatação de que, nesses ambientes educativos, ainda ocorre um aproveitamento apenas superficial de obras de cunho literário. Quanto à narração de estórias, além do aproveitamento superficial dos contos, constatou-se também uma preocupação com a instrumentalização dessa prática, que, em geral, é tida como uma mera forma de aquietamento e entretenimento dos alunos, quando esta pode servir a um papel nobre na formação do ser humano. Ademais de restabelecer vínculos com nossa ancestralidade, a narração de estórias propicia um aprendizado imaginativo, no qual nossa humanidade ganha corpo, cores, sentidos e significados ao entrar em contato com as metáforas articuladas em uma narrativa. Narrativas cujo principal objetivo é ensinar o outro, colocando-o em sua própria sina, levando-o, em termos socráticos, a tornar-se o que é. / This master dissertation results from a theoretical research where the researcher has used her personal experiences as educator, student, listener and storyteller to think the storytelling as a practice related to an education of sensibility. It studies the aesthetic and artistic dimensions of literature of oral tradition that remits to a discussion about the function of storytelling within the school environment nowadays. It is presupposed that the teaching stories from the literature of oral tradition are works of art, from immemorial times, composed by a dynamic arrangement of archetypical images, under the form of metaphors, joined together in a narrative. It is believed that when the listeners or students get in touch with this syntax made of metaphors, they will have the possibility, by the awakening of an imagining action and not by a passive reception, to have their own imaginative experience of an aesthetic nature, therefore an organizing and integrating experience able to create an intense moment of learning. A kind of learning in which the learned thing is straightly related to the discovery and the building of their humanity, and that happens by resonance, from the significant dialogues that can be engaged between the inner images that live inside the stories and the ones that live inside of each listener. The inner images are the archetypical images that preserve and reveal our humanity and that lie in our corporality. In these dialogues it is emphasized the importance of teachers and storytellers as cultural agents whose human presence intermediates and makes possible the contact of students and listeners with their own cultural heritages. As theoretical bases, works from philosophers, anthropologists, educators, poets and storytellers were used, principally: Bachelard, Merleau-Ponty, Campbell, Mircea Eliade, Dewey, Freinet and Cecília Meireles, considering that the work and the texts of Marcos Ferreira Santos and Regina Machado were used as guiding elements for the elaboration of this dissertation. From the collected data, gathered by the researcher while acting as a storyteller, and from her observations made in Portuguese classes of public schools, some conclusions were drawn; we emphasize the verification that, in most of these educational places, there is still a superficial use of literary works. As for storytelling, besides the teaching stories have been underused, it was noticed that there is a tendency in transforming them into a pedagogical instrument. The storytelling is, in general, seen as a mere form of having students quiet and entertained, when, in fact, it can play a noble part in the human being educational process. This practice has the power of recreating the ties with our ancestral soul. It makes possible an imaginative learning, in which our humanity receives consistence, colors, directions and significance, as long as we get in touch with these metaphors joined together in a narrative. Narratives which their mainly objective is teaching the other, is putting the learners in their own way, and to conduct them, in socratical terms, to become what they really are.