Text in Afrikaans / Die verskillende pre-koloniale samelewings in suidelike-Afrika bet in die laat 18de en vroee 19de eeue reeds 'n herkenbaar moderne vorm begin aanneem, toe hulle identiteit deur koloniale intervensie 'gevries' is. Die verhouding wat met verloop van tyd tussen hierdie samelewings en die indringende koloniste ontwikkel het, is grotendeels gebaseer op persepsies en houdinge wat reeds sedert die 17de, 18de en veral die 19de eeu weens die kontak 'n definitiewe vorm begin aanneem het. Hierdie kan as 'n proses van historiese voorstelling ("historical imaging") beskryf word. In die proefskrif word die agtergrond van hierdie pre-koloniale samelewings geskets en die historiese ontstaan van een samelewing word as tersaaklike voorbeeld bespreek. Die verhoudinge wat plaaslik as gevolg van die proses van koloniale intervensie ontstaan bet, gee met verloop van tyd aanleiding tot die beleid van af sander like ontwikkeling, waarvan die toepassing oar 'n periode van nagenoeg 50 jaar in 'n groat mate bygedra het om die identiteit van hierdie besondere samelewing op 'n besonderse wyse te vorm. Om hierdie beleid van afsonderlike ontwikkeling suksesvol toe te pas, was daar vanaf die regering van die <lag vier mikpunte waaraan voldoen moes word. Dit is deur middel van wetgewing, oorreding en manipulering bewerkstellig. Die eerste mikpunt het die ontwikkeling van 'n afsonderlike politieke bestel vir die swartmense behels, sodat hulle op 'selfstandige' wyse beheer oar die 'state' wat vir hulle geskep sou word, kon uitoefen. Die tweede mikpunt was die daarstelling van 'n eie grondgebied waarbinne die iii mense saamgevoeg kon word en wat as basis sou dien vir die fisiese skeiding tussen swartmense en blankes. Die politieke mag wat vir hulle geskep is, sou net binne die grense van hierdie eie grondgebied uitgeleef kon word. Om die beleid suksesvol tot volvoering te kon bring, moes daar ook 'n strategie vir ekonomiese oorlewing gei'mplimenteer word. Die derde mikpunt was die ekonomiese self standigmaking van elk van die gebiede. Aangesien die grondgebied wat aan hierdie mense afgestaan is totaal onvoldoende was, moes daar verskillende strategiee ontwikkel word vir hul voortbestaan - enersyds deur die regering en andersyds deur die inwoners. Laastens sou al die mense binne 'n grondgebied tot 'n homogene eenheid saamgesnoer moes word. Daar is gevolglik gepoog om 'n eie identiteit vir die inwoners van elk van die gebiede te skep. Die strategie het grootliks op 'n etniese grondslag berus en was van sodanige aard dat dit die verskille tussen die groepe beklemtoon het. Die proses van die konstruksie van identiteit is aan die lig gebring deur navorsing wat onder die Hananwa, 'n Noord-Sotho-sprekende groep mense woonagtig in die weste van Noordelike Provinsie, gedoen is. Hierdie 'konstruksieproses' was egter nie eensydig nie en die Hananwa het, soos wat dit hulle gepas het, aktief daaraan deelgeneem. Die navorsingsproses het die toepassing van 'n multi-dissiplinere benadering behels, wat hoof saaklik van antropologiese, maar ook argeologiese en historiese metodologie gebruik gemaak het. / The various pre-colonial societies of southern Africa emerged in a recognizable modern form during the late 18th and early 19th centuries, when they were 'frozen' in their identities by colonial intervention. The relationships that developed with time between these societies and the colonial powers, were largely based upon perceptions and attitudes that developed since the 17th, 18th and especially the 19th centuries as a result of this contact. This latter process has been described as a process of historical imaging. In this thesis, the background to these pre-colonial societies is given and the historical development of one such society is discussed as a relevant example. The relationships that resulted locally because of this process of colonial intervention eventually gave rise to a policy of separate development, the implementation of which over a period of close to 50 years largely contributed to the creation of the identity of this particular society. As prerequisite for this policy to be successful, four aims that had to be successfully implemented were identified by the government of the day. This was done by means of legislation, persuasion and manipulation. The first aim was the development of a separate political system for black people, by which they could 'independently' govern themselves in the 'states' that were to be created for them. Secondly, for this political mechanism to work, it was necessary to establish a separate area or 'state', where the black people could live and govern themselves. The political power created for them could only be used within the v boundaries of these states. Furthermore, these states would also serve to separate whites and black people from each other. Thirdly, for this policy to work, it was necessary to develop a strategy for the economic survival of the people in these states. As the areas set aside for them were totally inadequate, a number of strategies were developed for their economic survival - on the one hand by the authorities and on the other hand by the inhabitants of these areas themselves. The last aim was to unite all the inhabitants within each of these states into one group. It was therefore tried to establish an identity or image for all the inhabitants of each of these areas. This strategy was largely based on ethnic principles, with particular emphasis on the differences between the various groups. This process of the construction of identity is discussed with reference to a specific society, known as the Hananwa, a Northern-Sotho-speaking people living in the west of the Northern Province. Amongst the Hananwa, this 'construction process' was not one-sided and they took an active part in it as it suited their particular need at a specific time. The research strategy was based on a multi-disciplinary approach that employed mainly anthropological methods, but also included archaeological and historical methodology. / Anthropology and Archaeology / D. Litt. et Phil. (Anthropology)

Magister Artium - MA / The focus of this thesis is on Xhosa oral and written poetry. The discussion in the thesis is based on the information from existing literature, the responses from the questionnaires and the interviews with some Xhosa iimbongi (person who sings praises) who have reflected on their personal experiences. In addition to this, S.E.K. Mqhayi is at the centre of discussion because as a prominent Xhosa imbongi he features in both the oral and the written world. / South Africa

A computationally-assisted analysis was undertaken of Tahitian oral poetry transcribed in the early 19th century, with the aim of discovering its poetic organization. An automated pattern detection process attempted to recognize many of the organizational possibilities for poetry that have been documented in the literature, as well as be open to unanticipated varieties. Candidate patterns generated were subjected to several rounds of manual review. Some tasks that would have proved difficult to automate, such as the detection of semantic parallelism, were pursued fully manually. Two distinct varieties of meter were encountered: A syllabic counting meter based upon a colon line, and a much less common word stress counting meter based upon a colon line or a list item. The use of each meter was ubiquitous in the corpus, but somewhat sporadic. Word stress counting meter was typically applied to lists, and generally co-occurred with patterns of syllabic counting meter; perhaps in order to enhance metrical effect through an addition of rhythm. For both meters, counts were regulated by an external pattern, wherein they were observed to repeat, increment, form inverted structures, or group into alternating sequences. There appeared to be few limitations as to the possibilities for a pattern‟s starting count or length. Patterns were found to juxtapose freely, as well as alongside unpatterned counts. According to Nigel Fabb and Morris Halle, syllabic counting meter is only otherwise encountered in a style of Hebrew poetry from the Old Testament (Fabb and Halle 2008:268, 271, 283). Word stress counting meter may be unique to Tahitian poetry. The colon also functioned as poetic line for purposes of sound parallelism, which manifested itself in patterns of simple assonance, simple consonance, and complex patterns that combined simpler ones of assonance, consonance, and parallel strings of phonemes. Although sound patterns most often spanned lines, they were sometimes constrained to within a line. Occasionally, they were arranged into inverted structures, somewhat analogous to those noted for counting meter. Some sound patterns were contained within names and epithets, and perhaps served as recurring islands of parallelism. Syntactic parallelism was common, especially in the organization of lists. Occasionally, its application was suggestive of canonical parallelism. Items of syntactic frame lists were often arranged so as to assist patterns of counting meter. A syntactic frame‟s variable elements often belonged to a single semantic category for which there seemed to be no restriction, and which could represent any taxonomic level. There appeared to be complete freedom in regards to the arrangement of syntactic frame patterns, and it was common for several to follow one another in unbroken succession. There is evidence that some of the corpus poetry was memorized. Other evidence suggests that a capacity existed, and perhaps continues to exist, of poetic composition-in-performance.

Este trabalho tem como objetivo estudar as peculiaridades da tradição oral africana e suas influências na criação do jazz. Os africanos, sendo um povo onde sua cultura tem como principal característica enfatizar o emprego da oralidade na transmissão do conhecimento, o faz de forma muito distinta aos padrões culturais europeus. Sob a ótica do povo africano, a palavra expressa de forma oral possui um grande valor, sendo atribuído à mesma, um nível de relevância tamanho que chega a ser vista como um elemento místico capaz de criar ou até mesmo destruir. Os africanos, presentes em solo americano, pela imposição da escravidão, fundiram seus elementos culturais à cultura européia, dando luz uma nova concepção musical, o jazz. O jazz desde sua criação até os dias atuais, passou e passa por diversas transformações. Estas transformações, mesmo que de forma implícita, contribuem para que o jazz esteja presente nas mais diversas manifestações culturais. O jazz não pode ser considerado apenas um gênero musical de origem americana. O jazz está presente em diversas partes do mundo, inclusive no Brasil, onde se torna renovado devido à riqueza e diversidade cultural deste país. / This work studies the peculiarities of the oral African tradition and his influences in the creation of the jazz. The Africans, being a people where his culture has like principal characteristic emphasizes the job of the orality in the transmission of the knowledge, it does it in the very different form to the cultural European standards. Under the optics of the African people, the definite word of oral form has a great value, when attributed to same, a so great level of relevance that comes being seen like a mystic element able to create or even to destroy. The Africans, presents in American ground, for the imposition of the slavery, fused his cultural elements to the European culture, giving there shines a new musical conception, the jazz. The jazz from his creation up to the current days, passed and it suffers several transformations. These transformations, even that in the implicit form, they contribute so that the jazz is present in more several cultural demonstrations. The jazz cannot be considered only a musical type of American origin. The jazz is present in several parts of the world, including in Brazil, where it becomes renewed due to the wealth and cultural diversity of this country.

Esta pesquisa tem por objetivo estudar os aspectos da tradição oral das narrativas em língua hakitía, falada por judeus brasileiros ascendentes de marroquinos residentes em Santarém, Pará. Seriam essas narrativas veículo de manutenção e divulgação da identidade étnica do grupo que a fala, de modo a possibilitar o estabelecimento e a paridade absoluta nas diferentes circunstâncias de mudança política e social à que se submetem? Em tese, são falantes linguisticamente diferenciados, pois a língua que falam no cotidiano é diferente da portuguesa brasileira e, aparentemente, têm o predomínio da Tradição Oral nas formas de transmissão cultural. A análise foi feita a partir de narrativas orais tomadas em trabalho de campo e interpretadas à luz das propostas de BRUNER (1991); LABOV (1997) e VANSINA (1982). Acrescida da proposição de cruzamento feita pelo autor da tese. / This research aims at studying features of the traditional oral narratives of the Hakitia language, spoken by Brazilian Jews of Maroccan origin living in Santarém, Pará, Brazil. Would those narratives be a means of maintaining and promoting the ethnic identity of the community that speaks the Hakitia language in order to reassure their cultural heritage and uniqueness amongst different circumstances of political and social changes to which they have been exposed? We verify that they are speakers linguistically differentiated, since their daily language is different from the Portuguese spoken in Brazil, and, apparently, they rely heavily on the Oral Tradition to hand on their culture. Firstly, the analysis was carried out based on oral narratives collected by means of field research, and interpreted in the light of theories formulated by BRUNER (1991); LABOV (1997); and VANSINA (1982). Secondly, the analysis was enriched by the contributions of the researcher of this thesis after carefully crossing the data and their theoretical underpinnings.

Nesta dissertação propomo-nos a fazer o levantamento toponímico das denominações da zona rural do município de São João Batista do Glória/MG, resgatando sua história social e a memória oral contida na toponímia da localidade. A pesquisa inicial foi realizada através do Mapa Rodoviário Municipal, elaborado em dezembro de 1999, em escala 1:50.000, que apresenta a zona rural do município de maneira bem detalhada, configurada por nove regiões e trinta e uma microrregiões, no qual identificamos 177 topônimos que representam, além das próprias regiões e microrregiões, as denominações da bacia hidrográfica, com seu rio, córregos, ribeirões e cachoeiras, além das serras e outros acidentes físicos e humanos, como as pontes e pousadas. Para completar o levantamento, fizemos pesquisa bibliográfica e de campo, onde procuramos investigar a motivação toponímica a partir da evolução históricosocial e de dados culturais que marcam a toponímia da região desde o século XVIII. Analisamos documentação cartográfica, documentos pessoais e do acervo cartorial. As informações obtidas em entrevistas realizadas com informantes, previamente selecionados, reforçaram a tradição oral como fonte preciosa para o resgate histórico e análise do comportamento lingüístico-toponímico do homem local. O presente trabalho está inserido no ATB Atlas Toponímico do Brasil Diversidade e Variedades Regionais (Dick, 1996) / In this dissertation we indented to do a toponymycal survey of rural area denominations of São João Batista do Glória city, MG, recovering its social history and oral memory contained in the locality toponymy. The initial research was done via municipal road map dated December 1999 using the scale 1:50.000 that shows the county in detail, composed by nine regions and thirty one micro regions, in which we identified 177 toponymies that represent, besides the own regions and micro regions, the denominations of the hydro basin, with its rivers, streams, brooks and waterfalls as well as hills and other physical irregurities and human modifications such as bridges and inns. To end up the survey, we have researched literature and conducted a field research as well in order to investigate the topomycal motivation of the social-historical evolution and of cultural data that mark the region topomyny since the 18th century. We analyzed cartographical documentation, personal documents and ones from cartorial acquis. The obtained information from interview held with speakers previously selected strengthened the oral tradition as precious source for historical recovery and analysis of toponymic-language behaviour of local people. This work is inserted in the ATB Atlas toponímico do Brasil - Diversidade e Variedades Regionais (Dick, 1996) (Brazil toponymic atlas Regional Diversities and Varierities)

O romance Les soleils des Indépendances, de Ahmadou Kourouma suscitou inúmeros estudos críticos desde sua publicação, em 1968, pelas Presses Universitaires du Canada. A despeito da orientação temática ou ideológica dos autores, o romance negro-africano reflete, freqüentemente, os conflitos gerados pela imposição da cultura européia. Os estudos relativos à primeira incursão de Kourouma na literatura apontam, em geral, a introdução de estruturas lógico-cognitivas do pensamento malinké na língua francesa como a efetiva inovação do autor, marcando assim, uma nova orientação na literatura africana. Propondo uma outra via de interpretação à tendência crítica de reforçar os conflitos entre as culturas africana e ocidental, a presente pesquisa tem por objetivo analisar as estruturas de ruptura estética e temática do romance a fim de mostrar como a passagem da tradição à modernidade leva o indivíduo a reorganização de sua identidade. As análises mostraram que, em contraposição à recusa de Fama, personagem principal, em negociar suas pertenças culturais, sua primeira esposa, Salimata, torna-se um exemplo da transculturação, integrando em sua vida quotidiana elementos da modernidade sem, contudo, renunciar ao ideal feminino tradicional. Além dessa composição binária, Papillon, em sua rápida e leve participação na trama, encarna, de maneira subliminar, um traço atribuído por Zygmunt Bauman à modernidade tardia, ou seja, a fluidez dos laços sociais e afetivos dos contatos breves. / The novel Les soleils des Indépendances, written by Ahmadou Kourouma engendered a number of criticism studies since its publication in 1968 by the Presses Universitaires du Canada. In spite of the authors\'s thematic or ideological orientation, the black African novel frequently reveals the conflicts generated by the imposed European culture. Most of the studies concerning the first published work of Kourouma underline the introduction of logicalcognitive structures of the Malinké thinking within the French language, representing an effective innovation from this author that marked a new orientation of the African literature. Proposing a new analysis for \"Les soleils des Indépendances\" to the criticism tendency that reinforce the conflicts between the African and Occidental cultures, the present research, evaluated the disrupture of aesthetic and thematic structures, showing how the route from tradition to modernity, takes the individual to re-organize its identity. This work also showed that, in contrast with the refusal of Fama, main character of the novel, to trade his cultural identification, his first wife, Salimata, becomes an example of transculturation, by integrating elements of modernity in her life, without renouncing, however, to the traditional feminine ideals. Besides this binary composition, Papillon, in his fast and shallow participation at the novel, incarnates, in a subliminal manner, an aspect attributed by Zygmunt Bauman to the post-modernity, i.e., the fluidity of the social and affective bonds, characteristics from the ephemeral relationships.

Memória da Cultura, textos constantes e textos excluídos pelo esquecimento. A memória do sonho como a primeira obra de ficção jamais criada pelo homem. O sonho enquanto embrião narrativo de fábulas. Cânones, mecanismos culturais de controle. A performance da palavra. A movência das narrativas orais. O projeto poético e a rede intersemiótica de criação. Inconsciente coletivo, matizes arquetípicos e o mar como metáfora da metáfora do manancial das fábulas imemoriais. / The memory of culture, constant texts versus excluded texts, fables doomed to be forgotten. Remembering dreams as the first work of fiction ever created by mankind. Dreaming as telling tales. Standards as cultural controlling devices. Words as performances. Travelling through oral folktales. Poets and their artistic approach to life, plus the intersemiotic net for art creation. Unconscious collective, archetypical blending of nuances and the sea as the universal metaphor of the everlasting source of long forgotten fables.

Made available in DSpace on 2016-04-27T19:30:36Z (GMT). No. of bitstreams: 1 Victor Martins de Souza.pdf: 14114209 bytes, checksum: b000d73d7ade4a48657730af000956ac (MD5) Previous issue date: 2012-05-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / We discuss the relation between Glauber Rocha and Sembene Ousmane s cinematographics and political projects considering images dialogues. The focus of our analysis is on the movies Der Leone have sept cabeças (1969-70), by Glauber, and Ceddo (1976), by Sembene. Using the technique of historians, these filmmakers problematized the present from the re-intepretation of the past. In Ceddo, Sembene reinvented traditions with the intention of questioning the history of his time, and denounced West African colonialism to be more sophisticated than previously imagined. In Der Leone have sept cabeças there exists different historical periods to question the present. In this process, the oral traditions have a preponderant role because they are used to critize the deformed European view concerning the Third World. Therefore, the relationship between the cinema of Glauber and Sembene enables us to gain a new perspective of their work, through the diasporic, tri-continental, and politically-cultural dialogue / Discutimos os projetos cinematográficos e políticos de Glauber Rocha e Sembene Ousmane à luz do diálogo em imagens. Assim, centramos nossa análise em dois filmes: Der Leone have sept cabeças (1969-70), de Glauber, e Ceddo (1976), de Sembene. À maneira dos historiadores, estes cineastas recorreram ao passado para problematizar o presente. Em Ceddo, Sembene reinventou tradições para questionar a história do seu tempo, mostrando aspectos mais sofisticados do colonialismo da África do Oeste. Em Der Leone have sept cabeças, há a convivência de tempos históricos distintos, nos quais o presente é posto em suspenso, portanto passível de questionamento. Neste processo, as tradições orais possuem papel preponderante, pois é a partir delas que é criticado o olhar enviesado do europeu em relação ao Terceiro Mundo . Assim, as afinidades aqui elencadas entre os cinemas de Glauber e Sembene permitem delinear novos olhares à filmografia de ambos, a partir de um diálogo diaspórico, tricontinental e político-cultural

Jusqu’au milieu du XXe siècle, la littérature kabyle fut essentiellement orale et s'exprimait principalement dans le genre poétique. Si les contes, les fables, les légendes et autres récits mythiques furent l'autre moyen par quoi les Kabyles exprimèrent leur génie, il reste que c’est la poésie qui fût la matrice de leur culture et le réceptacle de leur histoire. Plus qu’un art qui doit transfigurer le réel, la poésie kabyle a pour rôle de rendre ce réel, l’interpréter et le clarifier pour donner du sens aux événements historiques et politiques auxquels sont confrontés les hommes et les femmes de cette région. L’objet de notre recherche est de partir de la production poétique la plus ancienne telle qu’elle est arrivée à nous par les recueils de Adolphe Hanoteau (1867), Amar-Ou-Saïd Boulifa (1904), Belkacem Bensedira (1887), Jean Amrouche (1988) et la somme considérable établie par Mouloud Mammeri (1969, 1980, 1989) afin de scruter l’horizon culturel de la Kabylie et saisir, à travers l’étude les textes, l’homme dans son enracinement social et culturel. / Until the middle of the twentieth century, Kabyle literature was essentially oral and was mainly expressed in the poetic genre. If tales, fables, legends and other mythical narratives were another way by which the Kabyle people expressed their genius, it remains that poetry was the matrix of their culture and the receptacle of their history. The Kabyle poetry, more than an art that has to transfigure reality, has the role of rendering this reality, interpreting it and clarifying it to give meaning to the historical and political events.The object of our research is to start from the earliest poetic production as it came to us by the collections of Adolphe Hanoteau (1867), Amar-Ou-Saïd Boulifa (1904), Belkacem Bensedira (1887) Jean Amrouche (1988) and the considerable sum established by Mouloud Mammeri (1969, 1980, 1989) in order to examine the cultural horizon of Kabylia through the study of its oral poetry.