This dissertation explores the way Kotiria/Wanano (E. Tukanoan, Kotiria hereafter) women of the Brazilian Alto Rio Negro (ARN) contrive (McDowell 1990) kaya basa ‘sad songs’ using linguistic and musical resources to construct songs that express loneliness and other private emotions, while also creating alliances and separations from other women in their lives. A central concept is the practice of linguistic exogamy, in which Kotiria marry speakers of other languages, creating a multilingual and multivocal, cacophonic sound during po’oa exchange ceremonies. I compare these songs to mythological narratives depicting the beginnings of Kotiria society and the roles of men and women within it, as well as men’s ceremonial forms of speech and unmarried women’s joking songs as a way to think about the resonances of sound and meaning married women create in their songs. Drawing on resources from linguistic anthropology, ethnomusicology, semiotics, and intersectional feminism, I demonstrate that the singing of – and listening to – kaya basa is a fundamental social structuring event. Despite previous works (e.g., Brüzzi 1962) that saw men’s expressive practices like shamanic chanting or ritual instrument playing as those upholding the social order, I argue that the social order owes its stability equally to women’s public participation in musical practice. Following Hill’s formulation of musicalizing the other (1993, 2009, 2011, 2013), I demonstrate that kaya basa reflect on inter- and intra-community relations on the macro level, while also giving women the chance to comment on important life transitions on the micro level. Moreover, my combined linguistic and spectrographic analyses of the sounds of these songs illustrate the intricate relations between the sounds of language and the sounds of music, the methods by which one understands something is true or false, and how individual singers can contrive differently within the same genre to create a well-formed song. I propose further work on this genre, and on genres that seem to be related which are produced by other groups in the area. I extend Beier, Michael, and Sherzer’s (2002) conception of the greater Amazonian discourse area to one of a greater Amazonian soundscape in which sonic ways of producing and gathering meaning (acoustemologies, Feld 1996) have been and are a major driving force in the arraying of social life across language families in the ARN.

Esta tese propõe identificar e analisar alguns dos princípios norteadores da tradução poética das artes verbais ameríndias à luz da etnopoética norte-americana, e em diálogo com teorias da etnologia indígena sul-americana. Para isso, temos como objetivo situar a emergência do movimento etnopoético no contexto do americanismo e examinar as concepções teóricas que dão suporte aos projetos tradutórios dos três nomes mais significativos dessa geração: Dell Hymes, Dennis Tedlock e Jerome Rothenberg. Mostra-se como a prática etnopoética desses tradutores, nutrindo-se e ao mesmo tempo diferindo da tradição de Franz Boas, marcou a reivindicação da poeticidade dos cantos e narrativas ameríndias a partir do fim da década de 1960, chamando atenção para como a organização do discurso se dá em termos de paralelismo, prosódia e paralinguagem nas formas expressivas em questão. Assim, por meio de uma interlocução entre Estudos da Tradução, Etnologia, Linguística Antropológica e Estudos Literários, espera-se oferecer uma incursão crítica pelas experiências de tradução analisadas e oferecer subsídios para o desenvolvimento da temática no contexto brasileiro. / This dissertation proposes to identify and analyze some of the guiding principles of the poetic translation of Amerindian verbal arts in the light of the movement known as ethnopoetics begun in the late 1960s in the United States , approached in dialogue with theories coming from South American indigenous ethnology. It aims to place the emergence of ethnopoetics in the context of Americanism, and to examine theoretical conceptions offered by Dell Hymes, Dennis Tedlock, and Jerome Rothenberg, who have made diverse yet structuring contributions to shaping this aesthetic. It shows how these translators affirmed the poetic quality of Amerindian songs and narratives by drawing attention to how discourse is organized in terms of parallelism, prosody, and paralinguistic features in such forms of expression, while building on yet differing from the Boasian tradition. In doing so, it hopes to offer a critical incursion into the translational experiences analyzed, strengthening the dialogue between Translation Studies, Ethnology, Linguistic Anthropology and Literary Studies, as well as to contribute some insights to the field in the Brazilian context.

In this paper I explore the role of ambiguity in the creation of meaning in the Urdu ghazal. Ghazal, the predominant genre of Urdu poetry, consists of a series of thematically unrelated yet metrically and prosodically related couplets, each densely packed with multiple and complex meanings. Ambiguity, both lexical and grammatical, is a key technique in the poetics of this genre. Here I not only analyze the different ways ambiguity manifests itself but also the way it has historically been and continues to be mobilized by poets and practitioners of the genre to further imbue each couplet with culture-specific, socially relevant meanings. Breaking with previous approaches to Urdu poetry and poetics, I examine ambiguity in the ghazal with reference to theoretical traditions in linguistic anthropology of ethnopoetics, performance and verbal art, and ethnographic examination of poetic praxis. Finally, addressing various phenomenologies of language, I propose a phenomenological turn in the study of this poetry in order to better theorize processes of meaning creation on both an individual and wider ethnographic level. / text

Esta tese propõe identificar e analisar alguns dos princípios norteadores da tradução poética das artes verbais ameríndias à luz da etnopoética norte-americana, e em diálogo com teorias da etnologia indígena sul-americana. Para isso, temos como objetivo situar a emergência do movimento etnopoético no contexto do americanismo e examinar as concepções teóricas que dão suporte aos projetos tradutórios dos três nomes mais significativos dessa geração: Dell Hymes, Dennis Tedlock e Jerome Rothenberg. Mostra-se como a prática etnopoética desses tradutores, nutrindo-se e ao mesmo tempo diferindo da tradição de Franz Boas, marcou a reivindicação da poeticidade dos cantos e narrativas ameríndias a partir do fim da década de 1960, chamando atenção para como a organização do discurso se dá em termos de paralelismo, prosódia e paralinguagem nas formas expressivas em questão. Assim, por meio de uma interlocução entre Estudos da Tradução, Etnologia, Linguística Antropológica e Estudos Literários, espera-se oferecer uma incursão crítica pelas experiências de tradução analisadas e oferecer subsídios para o desenvolvimento da temática no contexto brasileiro. / This dissertation proposes to identify and analyze some of the guiding principles of the poetic translation of Amerindian verbal arts in the light of the movement known as ethnopoetics begun in the late 1960s in the United States , approached in dialogue with theories coming from South American indigenous ethnology. It aims to place the emergence of ethnopoetics in the context of Americanism, and to examine theoretical conceptions offered by Dell Hymes, Dennis Tedlock, and Jerome Rothenberg, who have made diverse yet structuring contributions to shaping this aesthetic. It shows how these translators affirmed the poetic quality of Amerindian songs and narratives by drawing attention to how discourse is organized in terms of parallelism, prosody, and paralinguistic features in such forms of expression, while building on yet differing from the Boasian tradition. In doing so, it hopes to offer a critical incursion into the translational experiences analyzed, strengthening the dialogue between Translation Studies, Ethnology, Linguistic Anthropology and Literary Studies, as well as to contribute some insights to the field in the Brazilian context.

This dissertation presents a comparative case-study of how two groups of culturally diverse elementary school students engage with particular forms of narrative practice shared by cultural educators through First Nations cultural education programs. The project develops the argument that different cultures afford different symbolic resources useful in “structuring” and “organizing” experience for individuals and that one important way in which these “possible worlds” are shared in a community is through storytelling. To develop this argument the project was structured around two main research questions: 1) what are the forms and functions of narrative practices that children experience during the First Nations cultural education programs? And 2) how do children “echo” and “transform” these narrative practices through their participation in the narrative activities organized around the programs? Participants in the project were two First Nations cultural educators conducting cultural education programs in public schools who participated as research partners, as well as 16 students from a grade 1 classroom (Class A) who participated in the first educator’s program and 15 students from a grade 4 classroom (Class B) who participated in the second educator’s program. Data for this project came from a multiple sources and analysis focused especially on stories told from the cultural educators during their programs as well as retellings of these stories from students in the two classrooms. Additional data was included from interviews and discussions with the cultural educators and student participants, field notes on the cultural education programs, and the classroom communities, as well as discussions with classroom teachers. This additional data was integrated into the project at various points to support interpretations. An ethnopoetic or verse analysis (Hymes, 1981, 1996, 2003) of stories told by the cultural educators revealed recurring patterns in the stories that both educators employed for particular rhetorical effects. In addition, these patterns revealed a number of “cultural features” of the storytelling performances that the educators used to emphasize specific points, to make parts of the stories especially memorable for the audience and to share lessons with the audience. Verse analyses of students’ story-retellings revealed a number of ways in which these students echoed and transformed these cultural features and made use of them to share the meaning or lesson of the stories. Finally, comparative analyses of story-retellings from the differently aged students in the two classrooms through a number of analytical frameworks showed that the retellings from grade 4 students were more complex in a number of ways, but also that students in both classrooms skillfully employed these different forms of narrative resources. The results reported in this study suggest that students were making use of the space provided in the cultural education programs to explore particular forms of narrative practice shared by the cultural educators and that they were making use of these narrative resources in meaningful ways. / Graduate / 0620 / jwallen@uvic.ca, james_w_allen@hotmail.com

This is a study of autobiographical letters written in the early 1950s by seven Swedish sailors. The letters were contributions to a project at the Nordiska Museet in Stockholm aiming to collect and publicize workers' autobiographical narratives. The aim of this thesis is to analyze how the sailors composed their narratives in dialogue not only with heroic epics and other oral and written literary traditions but also with folklore studies and with contemporary public conversations about Sweden. According to Bachtin, any given text must be understood as a dialogue with the entire history of literature and the analysis in this study shows that the sailors' narratives are composed according to the pattern of the returning Homeric hero: the hero by destiny, the hero by action, and the hero by tradition. In terms of contents the letters are centered on two major themes: the two world wars and the transformation of Sweden from a poor rural society into a modern well-fare state. These themes are dramatized in plots, test-conflicts, motifs, and motif-complexes (functions, motiphemes), well-known from oral traditions and classical drama. An experiment in which two of the letters are subjected to “ethnopoetic transcription” shows the nature and extent of the oral idiom used by the writers. Two other writers display their literary ambitions through an abundance of paraphrases and hidden quotations. For the museum staff, the sailors' contributions were problematic. The verbal artistry of the writers challenged assumptions that workers' life narratives should be “simple and ingenious descriptions” and transparent sources of ethnological data. Furthermore, the sailors' frankness about Sweden's and their own part in the world wars challenged the myth of the neutrality and peacefulness of the Swedish folkhem.

Made available in DSpace on 2016-04-25T20:20:49Z (GMT). No. of bitstreams: 1 Egle Betania Portela Wanzeler.pdf: 2623240 bytes, checksum: b02cd6fd011e12625261ece785818eb0 (MD5) Previous issue date: 2012-10-04 / Fundação de Amparo à Pesquisa do Estado do Amazonas / This work refers to a reflexive analysis over an indigenous teacher‟s education experience, in which it was established an educational praxis inspired in the complexity and transdisciplinarity operators. It consists of the construction process of a matrix towards an epistemological and methodological exploration implied in these operators. Methodologically, this work was developed through ethnographic research. The research tried to establish pertinent dialogues between two cognitive operators: sensible thought and scientific thought, inherent to the educational context. The empiric field of this research was the educational experience itself that was developed in the Estágio Supervisionado (Supervised Internship) and Prática da Pesquisa Pedagógica (Pedagogic Research) disciplines. Furthermore, this work tried to institute bounds between the mythical and cosmological universe of the individuals in the research and insert them in the experience as constituents of education and learning. At last, it comprises a research inspired by the experience on what has been sensed and lived, nurtured by sensibilities, imaginaries, intuitions, wisdoms, ethics and aesthetics / Este trabalho refere-se a uma análise reflexiva acerca de uma experiência de formação de professores indígenas, por meio da qual se procurou estabelecer uma prática de formação inspirada nos operadores da complexidade e da transdisciplinaridade. Trata-se do processo de construção de uma matriz de exploração epistemológica e metodológica implicada nesses operadores. Metodologicamente, este trabalho foi desenvolvido por meio da pesquisa etnográfica. A pesquisa buscou estabelecer diálogos pertinentes entre dois operadores cognitivos: pensamento sensível e pensamento científico, inerentes ao contexto da formação. O campo empírico da pesquisa foi a própria experiência de formação que se desenvolveu nas disciplinas Estágio Supervisionado e Prática da Pesquisa Pedagógica. Além disso, o trabalho procurou estabelecer vínculos entre o universo mítico e cosmológico dos sujeitos da pesquisa e inseri-los na experiência como conteúdos de ensino e de aprendizagem. Enfim, trata-se de uma pesquisa inspirada pela experiência do sentido e do vivido, a qual se procurou nutrir de sensibilidades, imaginários, intuições, sabedorias, ética e estética

Made available in DSpace on 2016-04-26T14:53:46Z (GMT). No. of bitstreams: 1 Egle Betania Portela Wanzeler.pdf: 2623240 bytes, checksum: b02cd6fd011e12625261ece785818eb0 (MD5) Previous issue date: 2012-10-04 / Fundação de Amparo à Pesquisa do Estado do Amazonas / This work refers to a reflexive analysis over an indigenous teacher‟s education experience, in which it was established an educational praxis inspired in the complexity and transdisciplinarity operators. It consists of the construction process of a matrix towards an epistemological and methodological exploration implied in these operators. Methodologically, this work was developed through ethnographic research. The research tried to establish pertinent dialogues between two cognitive operators: sensible thought and scientific thought, inherent to the educational context. The empiric field of this research was the educational experience itself that was developed in the Estágio Supervisionado (Supervised Internship) and Prática da Pesquisa Pedagógica (Pedagogic Research) disciplines. Furthermore, this work tried to institute bounds between the mythical and cosmological universe of the individuals in the research and insert them in the experience as constituents of education and learning. At last, it comprises a research inspired by the experience on what has been sensed and lived, nurtured by sensibilities, imaginaries, intuitions, wisdoms, ethics and aesthetics / Este trabalho refere-se a uma análise reflexiva acerca de uma experiência de formação de professores indígenas, por meio da qual se procurou estabelecer uma prática de formação inspirada nos operadores da complexidade e da transdisciplinaridade. Trata-se do processo de construção de uma matriz de exploração epistemológica e metodológica implicada nesses operadores. Metodologicamente, este trabalho foi desenvolvido por meio da pesquisa etnográfica. A pesquisa buscou estabelecer diálogos pertinentes entre dois operadores cognitivos: pensamento sensível e pensamento científico, inerentes ao contexto da formação. O campo empírico da pesquisa foi a própria experiência de formação que se desenvolveu nas disciplinas Estágio Supervisionado e Prática da Pesquisa Pedagógica. Além disso, o trabalho procurou estabelecer vínculos entre o universo mítico e cosmológico dos sujeitos da pesquisa e inseri-los na experiência como conteúdos de ensino e de aprendizagem. Enfim, trata-se de uma pesquisa inspirada pela experiência do sentido e do vivido, a qual se procurou nutrir de sensibilidades, imaginários, intuições, sabedorias, ética e estética

Syftet med den här uppsatsen är att undersöka om ett experimenterande med etnopoetisk transkribering av den i fältarbetet skapade etnografin kan ge fördjupade insikter i musikens funktion och betydelse inom demensvården. Det sju dagar långa fältarbetet på ett demensboende gav upphov till ljud- och videoupptagningar, intervjuer med personalen, samt fältanteckningar och -dagbok. Etnografin presenteras i två empirisk- analytiska kapitel, av vilka det första undersöker formellt organiserade musiksituationer, medan det andra undersöker informella musiksituationer på demensboendet. Den etnopoetiska transkriberingen eftersträvar att i text så noggrant som möjligt återge tal och sång, liksom även de minsta detaljer i mänsklig kommunikation, så som prosodi, gestik, koreografi och andra paralingvistiska element. Som svar på fem ställda frågor konkluderar undersökningen att den etnopoetiska transkriberingen tydliggör: 1) hur spegling, upprepning och turtagning strukturerar samspelet mellan vårdtagare och personal; 2) den sociala interaktionen mellan forskaren, personer med demenssjukdom och deras personal; 3) hur musik förekommer i situationer som inte vid första anblicken uppfattas som musik; 4) demenspatienter (som agerande subjekt); 5) den kommunikativa musikkompetensen hos personer med demenssjukdom, de anhöriga och personalen. / The aim of this paper is to investigate if an experiment with ethnopoetic transcription of the ethnography created in a field study can convey profound insights into the functions and meanings of music in dementia care. The seven days fieldwork, resulting in sound- and video recordings, interviews, field notes and diaries, was conducted in a nursing home. The ethnography is presented in two empirical-analytical chapters, the first of which investigates formally organized music situations, whereas the second scrutinizes informal music situations in the nursing home. The ethnopoetic transcript aspires to meticulously render speech and singing in text, as well as minute details of interaction, such as prosody, gestures, choreography and other paralinguistic elements of communication. In response to a set of five questions, the investigation concludes that the ethnopoetic transcription makes evident: 1) how mirroring, repetition and turn-taking structure the interaction between patients and nursing staff; 2) the social interaction between the researcher, the patients and the nursing staff; 3) how music actually happens in situations that at first sight may be considered non-music situations; 4) dementia patients (as acting subjects); 5) the communicative music-competence of dementia patients, their relatives and the nursing staff.

Franz Baermann Steiner [1909-1952], à la fois poeta doctus de langue allemande et anthropologue de langue anglaise, développe dans son oeuvre une pensée qui préfigure la théorie postcoloniale, d’une part par sa critique de l’eurocentrisme, de l’impérialisme colonial et de la violence épistémique occidentale, et d’autre part, à travers son ethnopoésie et la réécriture poétique du mythe robinsonien. La présente étude s'attache à analyser le discours postcolonial dans l’ensemble de son oeuvre qui comprend plus de 9500 aphorismes, quelques 300 poèmes et des écrits scientifiques. Présentant l’arrière-plan culturel et l’identité de Steiner, qui sont comparés à ceux des intellectuels postcolonialistes, l’étude examine d’abord les éventuelles structures coloniales dans l’Empire austro-hongrois, de la situation sociopolitique en Bohême et à Prague pendant la première République Tchèque. Ainsi elle révèle les éléments structurels qui ont favorisé l’éclosion du discours postcolonial chez Steiner : la position liminale et le caractère hybride de la communauté d’origine de Steiner – les juifs pragois germanophones –, l’impact discursif du sionisme culturel, son exil en Angleterre et, enfin, son appartenance à la Social Anthropology. Ensuite, elle retrace le discours aux accents postcoloniaux, depuis son origine dans ses aphorismes, dans son oeuvre anthropologique et poétique. La liminalité, notion centrale du postcolonialisme, est omniprésente dans l’oeuvre de l’auteur tant sur le plan méthodologique [positionnement discursif contestataire ou observateur] que thématique [esclavage, tabou, poète chaman, exil]. Malgré l’attachement de l’auteur à la pensée essentialiste, l'hybridité constitue un élément essentiel de son identité, irriguant toute son oeuvre. [Traduisibilité de faits culturels, ethnopoésie hybride, figure robinsonienne hybride]. / Franz Baermann Steiner [1909-1952], an exile from Prague, was a German poeta doctus who taught anthropology at the Oxford Institute after the Second World War. In his oeuvre, comprising more than 9500 aphorisms, over 300 poems and also anthropological writings, he sketches a critique of eurocentrism, colonial imperialism and epistemic violence, thus anticipating postcolonial theory. The first part of our thesis analyses how an assimilated Jew from Prague developed a discourse that takes up notions developed in the writings of Aimé Césaire and Edward Said. It therefore offers a complete analysis of his background in the Habsburg Empire from a post-colonial point of view, and an evaluation of the linguistic and social politics in Bohemia and Prague during the first Czech Republic. The study focuses, on the one hand, on the hybrid and liminal character of his milieu [i.e. German Jews in Prague] as well as the decisive discursive impact of cultural Zionism and, on the other hand, on his exile in England and the influence of British Social Anthropology. These are, from our point of view, the key elements of the post-colonial discourse emerging in Steiner’s writings. Taking his aphorisms as a starting point, our study then follows up the post-colonial thought in the entire oeuvre of the poet and anthropologist, underlining the various links between poetry, religion and science which are so characteristic of his original writings. The concept of liminality is present in all his writings on a methodological level [a liminal discursive positioning within the Western academic structures and an observant position in his poetry] and it also dominates the choice of themes [slavery, taboo, Shaman poet and exile]. Although Steiner never completely abandoned the essentialist vision of culture, the notion of hybridity is an essential factor of his identity, enriching his writings immensely [e.g. problem of cultural translatability, hybrid ethnopoetics and a new hybrid Robinson figure].