Ballads published during the English Civil Wars and Interregnum were a uniquely potent cultural medium. Ballad authors and publishers used the tools of format and genre, music, and available discourses to translate contentious topics into a form of entertainment. The addition of music to what would otherwise have been merely another form of cheap print allowed ballads to be incorporated into many parts of daily life, through oral networks as well as through print and literacy. Ballads and their music permeated all levels of society and therefore the ideas presented in ballads enjoyed a broad audience. Because any given ballad was subject to repeated performances, its meaning was recreated with each performance. Performances of ballads published in the 1640s and 1650s created a vision of an imaginary England of the past, and projected hope that this past would be restored in the future.

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No abstract available. / Thesis (Ph.D.)-University of Natal, Durban, 1996.

This study focuses on the rituals and rites, customs and beliefs associated with dying, death, mourning, burial and integration among the Zulu people of KwaZulu-Natal at the turn of the millenium. These have been examined from the perspectives of • the traditional or rural view; • The urban view; • The view of the youth in the townships. / Thesis (M.A.) - University of Natal, Durban, 2000.

This qualitative study of humour theory provides a broad descriptive account of the current status of humour theory within the multidisciplinary context of human and social studies. The nature of qualitative research is examined in terms of its relevance to humour research studies. Qualitative research is found to be a generic term applying to a range of types of data collecting approaches that fall outside the ambit of quantitative paradigms. Quantitative methods are shown as having limited applicability to humour studies which are primarily reliant on data collecting. Humour is examined in terms of its biological, phylogenetic and historical antecedents. The emergence of schools of humour theory is discerned; and a study is made of changing social perceptions of humour in terms of the 'ruling discourse'. Humour theory is examined in terms of parameters of contemporary research which entails the processes of defining humour and theorizing about humour in terms of a variety of variables. Critiques are provided of Murdock and Ganim's macro-level descriptive study of humour definitions and theories as well as of Apter's reversal theory of humour. Reflectivity is employed as a qualitative approach to analyse the personal experience of a 'humorous event'. Attention is also given to the relevance of orality, oral tradition and anthropological perspectives to humour research. Finally, recommendations are made for further research. / Thesis (M.A.)-University of Natal, 1998.

No description available.

124f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-07T19:05:31Z No. of bitstreams: 1 Dissertacao_Viviane Fernandes.pdf: 2348047 bytes, checksum: 7d08ee6374a2e92d1d7fd115ec74358a (MD5) / Approved for entry into archive by NELIJANE MENEZES(rubi2276@gmail.com) on 2013-06-05T23:48:41Z (GMT) No. of bitstreams: 1 Dissertacao_Viviane Fernandes.pdf: 2348047 bytes, checksum: 7d08ee6374a2e92d1d7fd115ec74358a (MD5) / Made available in DSpace on 2013-06-05T23:48:41Z (GMT). No. of bitstreams: 1 Dissertacao_Viviane Fernandes.pdf: 2348047 bytes, checksum: 7d08ee6374a2e92d1d7fd115ec74358a (MD5) Previous issue date: 2011 / O texto dissertativo procura levantar as concepções das professoras alfabetizadoras e dos alunos de EJA (Educação de Jovens e Adultos) sobre a relação entre linguagem oral e escrita e suas implicações na aprendizagem da escrita. Tem o objetivo de expor o imaginário de escrita e de oralidade das professoras alfabetizadoras e dos alunos. As concepções foram coletadas através de observações das aulas e entrevistas coletivas realizadas numa escola municipal que fica situada na cidade de Lauro de Freitas, região metropolitana de Salvador – Ba, em três salas, duas turmas de EJA 1, que corresponde à 1ª e 2ª séries, as quais são denominadas turma A e B, e a outra, de EJA 2 (3ª e 4ª séries). As análises dos dados coletadas no campo estão sustentadas pelos teóricos da Linguagem e pelas reflexões do pesquisador, e os teóricos da linguagem também fundamentam a pesquisa teórica. Quanto aos resultados obtidos, às concepções, aos valores, às atitudes das alfabetizadoras e dos alunos sobre a escrita e a oralidade, verificou-se que influenciam tanto a prática docente quanto o processo de aquisição da língua escrita realizado pelos alunos, já que o imaginário de escrita e de oralidade construído por eles é compartilhado entre os indivíduos da sociedade. / Salvador

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho aborda a influência dos elementos da língua falada coloquial na obra de Lygia Bojunga, cujo estilo costuma ser definido como prosa falada. Através da elaboração lingüístico-estilística de determinados aspectos da oralidade, a autora promove a identificação com o público-leitor ao utilizar uma linguagem que se aproxima daquela presente em seu cotidiano. Partindo do pressuposto de que a relação entre fala e escrita se baseia na noção de continuum, busca-se, por meio do levantamento das principais marcas da oralidade encontradas na obra de Bojunga, demonstrar as semelhanças entre ambas as modalidades, e assim provar que não se pode falar de superioridade de uma com relação a outra. No que se refere ao ensino do Português, pretende-se, levando a questão oralidade para as salas de aula, ampliar a visão dos alunos sobre a língua ao discutir as noções de heterogeneidade e preconceito lingüístico. / This research approaches the influence of the colloquial spoken language elements on Lygia Bojungas workmanship, whose style uses to be defined as "spoken prose".Through the linguistics-stylistics elaboration of determined orality aspects, the authoress promotes identification with the reader while using a language that approaches to that used in its quotidian. Considering that relation between spoken and written language bases on the notion of continuum, it is intended, by the survey of the main orality marks on Bojungas workmanship, to demonstrate likeness between both modalities, so that, it should not be affirmed that there is a superiority of one over the other. Regarding the Portuguese teaching, it is intended, bringing orality to the classrooms, to extend the students vision of the language while discussing about heterogeneity and linguistics prejudice notions.

O presente trabalho tem como foco analisar o caráter de oralidade presente na poesia, demonstrando com o mesmo é apreendido mediante os atos de performance do texto poético. Buscou-se apontar que o recalque do aspecto oral da poesia em face da escrita tem provocado uma interpretação incompleta das manifestações poéticas em todas as culturas. A falta de estudos sobre o tema gera uma carência de nomenclaturas que buscou-se sanar mediante o estabelecimento de uma tipologia capaz de abranger, senão em totalidade, ao menos a maior parte dos atos de performance poética. Dado o caráter efêmero da performance, fez-se necessário que o texto se estabelecesse principalmente sobre gravações de poesias bem como da observação empírica de performances e a busca da descrição e análise dos efeitos que provocam nos espectadores, apontando assim para a recepção do texto poético em performance / The present work focuses the oral character present in poetry, trying to show how it manifests itself in the acts of performance of the poetic text. I have sought to point out that the repression of the oral aspect of poetry in face of its written dimension has brought an incomplete interpretation of the poetical manifestations in all cultures. The lack of studies concerning this topic creates an absence of conceptualization that I strove to solve through the creation of a tipology that might include at least some of the major aspects of the acts of poetical performance. Because of the ephemeral character of the performance act, this study relies on the description and analysis of playback recordings as well as on the empirical observation of performances, searching to demonstrate the effects that they induce on the audience, as part of a better undestanding of the process of reception of the poetic text