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Orientador: Rubens Pereira dos Santos / Banca: Gilberto Figueiredo Martins / Banca: Rosangela Costa Araújo / Resumo: Visa-se estudar as cantigas de Capoeira Angola e descobrir um pouco mais sobre seus mitos e ensinamentos que muitas vezes funcionam como instrumento de transmissão de uma tradição ancestral que resiste até hoje, que interage com a cultura e a oralidade brasileiras enriquecendo-as e, que diante dessa interação por meio de conhecimentos que são passados em situações múltiplas de comunicação forma novos capoeiristas angoleiros. Procura-se demonstrar como os cânticos da roda de capoeira denominados "ladainha", "corrido" e "louvação" podem ser analisados como parte da poesia oral afrobrasileira, pois de antemão já se sabe que os mesmos possuem forma e conteúdo essencialmente enraizados na arte poética. Tais cânticos são providos de ritmo, rimas, musicalidades, gestos, olhares e ambiguidades de vários tipos inerentes ao contexto da roda onde se desenvolve o discurso do canto, revelando uma dupla faceta uma poética e outra dinâmica do mesmo fenômeno. Ainda procura-se ilustrar parte da representação que a Capoeira Angola tem no mundo atualmente. Convém destacar a cotidiana relação que se estabelece com o seu universo por meio de treinamentos e trocas coletivas. Experiências de grandes mestres e mestras da Capoeira Angola contribuíram para o desenvolvimento deste trabalho, pois como aqui tratamos de um saber específico, inevitavelmente em muitas etapas debruçamo-nos diante de seus detentores para então se entender pequenos pedaços de sua magia, que como já se sabe de antemão, é simples, porém reflete sentidos profundos / Abstract: : The aim is to study the songs of Capoeira Angola and discover a little more about their myths and teachings which often act as instrument of transmission of an ancestral tradition that endures until today, that interacts with the Brazilian culture and orality and enriching them, interacting through knowledge that are passed in multiple situations of communication creating new players of capoeira angola. It seeks to demonstrate how the chants of wheel called "ladainha", "louvação" and "corridos" can be analyzed as part of the oral poetry: struggling, because beforehand is already known that they have the form and content essentially rooted in the poetic art. Such songs are fitted with pace, rhymes, gestures, looks and ambiguities of various types inherent in the context of the wheel where develops the chant speech, revealing a dual facet a poetic and other dynamics of the same phenomenon. It still seeks to illustrate part of the representation that Capoeira Angola has in the world today. Everyday should highlight the relationship that is established with his universe through collective exchanges and trainings. Experiences of grandmasters and master of Capoeira Angola contributed to the development of this work, because here we treat a specific knowledge, inevitably in many steps focusing on their holders to then understand small pieces of their magic, which as already known beforehand, is simple, but reflects deep meanings / Mestre

My practice is concerned with the activation of fragmentation, concealment and evasiveness as practical tools for surviving (the danger of visibility when positioned in the margins) while moving or engaging with oppressive power structures. The aforementioned appear in my practice as complete forms of erasure, adornment and costuming, in addition to language play. My thesis’ concern is the desire to speak the autobiographical in relation to generational trauma. Herein lives the voices of three generations of survivors.

This work is a linguistically based historical ethnography of the mammal species of the Flinders Ranges, South Australia, from pre-European times to the present day. The research was motivated by linguistic evidence in the Adnyamathanha people's language, Yura Ngawarla, for the recent existence of a number of mammals in the Flinders Ranges region. The work aims firstly to identify each species represented by those language terms and to discover the identity of other species also present in the past 200 years. Secondly, it aims to present an exhaustive ethnography of mammals for that region. This work is essentially cross-disciplinary, with research extending into the often overlapping fields of linguistics, anthropology, archaeology, applied science, historical zoology and history. Comparative linguistics, oral tradition, historical records, scientific data and sub-fossil material are used to identify the species present at European occupation and their role in traditional Aboriginal life, and in passing, to establish the former existence and distribution of those species throughout the region of the two South Australian gulfs. An inventory of extant and extinct Flinders Ranges species is established. Linguistic, ethnographic, zoological and historical data are used to estimate when species extinction occurred, and what may (or may not) have been the main factors involved. A significant outcome of this work is the documentation of a part of Aboriginal knowledge which itself was on the verge of extinction, and the affirmation of well attested Aboriginal oral tradition as an authentic 'authoritative source'. Conclusion: Prior to European occupation the Flinders Ranges had a rich mammalian fauna comprising around 60 native species. These played a significant part in Aboriginal people's diet, manufacturing industry and cultural and spiritual life. By the end of the first half century of European occupation or soon after around two thirds of the terrestrial species had vanished. The effect of these events on Aboriginal people's ability to survive in their own territory was devastating and irreversible.

<p>Revoicing Sámi narratives investigates the relationship between storytellers, contexts and collective tradition, based on an analysis of North Sámi narratives published in the early 1900s. This dissertation “revoices” narratives by highlighting the coexistence of different voices or socio-ideological languages in repertoires and by considering Sámi narratives as utterances by storytellers rather than autonomous products of tradition. Thus, this study serves as an act of “revoicing,” of recovering voices that had been silenced by the scientific discourse which enveloped their passage into print.</p><p>Narrators considered “tradition bearers” were interviewed or wrote down folk narratives that were interpreted as representative of a static, dying culture. The approach chosen in this thesis highlights the dynamic and conscious choices of narrative strategies made by these storytellers and the implications of the discourses expressed in narration. By taking into account the intense context of social change going on in Sápmi at the time the narratives emerged, as well as the context that includes narrators, ethnographers and tradition, the analysis demonstrates that storytelling is an elaboration that takes place in negotiation with tradition, genres and individual preferences.</p><p>The repertoires of four storytellers are studied according to a methodological framework consisting in critical discourse analysis from a folkloristic perspective. The analysis underscores the polyphony of the narratives by Johan Turi, who related with skillfulness of tradition by taking position as a conscious social actor. This study also investigates the repertoires of storytellers Ellen Utsi, Per Bær and Isak Eira who were interviewed by the</p><p>Norwegian “lappologist” Just K. Qvigstad. Their contributions to his extensive collection of Sámi narratives express their relation to tradition and to the heteroglossia that surrounded them. Based on a receptionalist approach, this dissertation investigates the implications of these narratives for the North Sámi community at the turn of the twentieth century.</p><p>Storytelling appears to have had a set of functions for community members, from the normative as regards socialization, information and warning against dangers to the defensive with the elaboration of a discourse about solidarity, identity and empowerment.</p>

Revoicing Sámi narratives investigates the relationship between storytellers, contexts and collective tradition, based on an analysis of North Sámi narratives published in the early 1900s. This dissertation “revoices” narratives by highlighting the coexistence of different voices or socio-ideological languages in repertoires and by considering Sámi narratives as utterances by storytellers rather than autonomous products of tradition. Thus, this study serves as an act of “revoicing,” of recovering voices that had been silenced by the scientific discourse which enveloped their passage into print. Narrators considered “tradition bearers” were interviewed or wrote down folk narratives that were interpreted as representative of a static, dying culture. The approach chosen in this thesis highlights the dynamic and conscious choices of narrative strategies made by these storytellers and the implications of the discourses expressed in narration. By taking into account the intense context of social change going on in Sápmi at the time the narratives emerged, as well as the context that includes narrators, ethnographers and tradition, the analysis demonstrates that storytelling is an elaboration that takes place in negotiation with tradition, genres and individual preferences. The repertoires of four storytellers are studied according to a methodological framework consisting in critical discourse analysis from a folkloristic perspective. The analysis underscores the polyphony of the narratives by Johan Turi, who related with skillfulness of tradition by taking position as a conscious social actor. This study also investigates the repertoires of storytellers Ellen Utsi, Per Bær and Isak Eira who were interviewed by the Norwegian “lappologist” Just K. Qvigstad. Their contributions to his extensive collection of Sámi narratives express their relation to tradition and to the heteroglossia that surrounded them. Based on a receptionalist approach, this dissertation investigates the implications of these narratives for the North Sámi community at the turn of the twentieth century. Storytelling appears to have had a set of functions for community members, from the normative as regards socialization, information and warning against dangers to the defensive with the elaboration of a discourse about solidarity, identity and empowerment.

Following a growing concern among education stakeholders about the lack of a reading culture and low literacy levels among Rwandans in general and university students in particular, the aim of this thesis is to increase the awareness of Rwandans about the development of a reading culture and early literacy. To achieve this aim, four studies with participants representing different experiences related to reading culture were performed. These qualitative studies draw on different perspectives on the development of a reading culture and emergent literacy by using open-ended questionnaires and interviews. The thesis takes sociocultural and emergent literacy theories as points of departure. The first study investigates students’ reflections on their previous reading experiences, and discuss ways to develop literacy and a reading culture in Rwanda. The next one sheds light on parents’ involvement in literacy practices at home and the third study concerns what literacy knowledge teachers expect from their pupils when they start nursery and lower primary school. An example of a literacy event (storytelling) is given in the fourth study where children’s narratives of fairy tales are followed by their discussions on gender issues, which in turn can develop the children’s interest in reading. This can also help them relate texts to their life and teach them to think critically. In sum, the studies show that there is a limited reading culture in Rwanda. That is attributed to the colonial and post-colonial education system, reliance on verbal communication, limited access to reading materials, and ultimately the low status of the mother tongue Kinyarwanda within the sociolinguistic configuration of Rwanda. Also, the participating students and teachers point out the necessity of involving parents more in the creation of an environment that nurtures children’s emergent literacy development so that it becomes a shared responsibility translated into a teacherparent partnership for children’s success at school. Hence, the findings inform the use of this thesis which is to promote literacy and a reading culture in Rwanda by engaging the whole nation in a national effort to build a sustainable culture of reading. To paraphrase the old African saying ‘it takes a village to raise a child’, I want to conclude by saying that it takes a nation to develop a culture of reading.

An exploration of the mythologized narratives that the work and lives of Conceptual artists Bas Jan Ader, Ana Mendieta, and Francis Alÿs have created and inspired. By virtue of their biographies, the fetishization of their personalities, and the ways in which this anecdotal information can be read in their work, mythologized narratives have been constructed, allowing for a prolonged interest existing within and without the confines of the art world. These mythologies come together as part of the oral tradition of the art world, a chronicling of narratives that incites continued interest for future generations.

Thesis (Ph. D.)--University of Saskatchewan, 1999. / Includes bibliographical references (leaves [184]-198). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD%5F0027/NQ37868.pdf.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 346-357). Also available on the Internet.