Research problem - This research revolves around the problem: Which characteristic/repetitive pattern formations can be identified in the structure and general content of selected Afrikaans Jakkals en Wolf (Jackal and Wolf) trickster stories. Research aims - Originating from the problem, the primary aim of this research is to identify the structural and content related patterning in the telling of Afrikaans Jackal and Wolf stories in general as well of those particular to the trickster tale/story. The secondary aim of the research is to identify the localisation relating to general content and structure within stories. Research methodology - The structural elements, structural patterns, variation patterns and content were investigated. In order to theorise these patterns, it was necessary to analyse the stories syntagmatically and paradigmatically. For the former, particularly Bremond‟s (1977) action logic was utilised to analyse the action in the stories. The actantial model of Greimas (1966) was used for the paradigmatic analysis of stories and methods of story telling. Existing structural models of the folk tale, oral story, trickster tales and Jakkals en Wolf were also used in the analysis. Examples from the corpus of stories were used to illustrate and substantiate findings. The corpus consists in short out of sound recordings recorded by a project team lead by Du Plessis (1987:8-14), recordings which was done by the researcher in the Murraysburg district in June 2010; Jakkals-en-Wolfstories, told by Dana Niehaus (Niehaus, 2011) as well as stories out of the volumes Die Kaskenades van Jakkals en Wolf (Rousseau, 2011), Die mooiste Afrikaanse sprokies (Grobbelaar en Verster, 2007) and Jakkals en Wolf (Grobbelaar en Verster, 2011). Findings - It was found that unique patterning formations could be identified by the analysis of the corpus Afrikaans oral Jakkals en Wolf trickster tales represent in this study, and that both Bremond‟s action logic and Greimas‟s actantial model add value to describing structure in stories. A consequence of this is that greater appreciation is created in the analyses of stories. / MA (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014

This thesis analyses the long-distance control of the environmentally-situated imagination, in both spatial and temporal dimensions. Central to the project is what I call the extended social brain hypothesis. Grounded in the Peircean conception of 'pragmaticism‘, this re-introduces technical intelligence to Dunbar‘s social brain—conceptually, through Clark‘s 'extended mind‘ philosophy, and materially, through Callon‘s 'actor–network theory‘. I claim that: There is no subjectivity without intersubjectivity. That is to say: as an evolutionary matter, it was necessary for the empathic capacities to evolve before the sense of self we identify as human could emerge. Intersubjectivity is critical to human communication, because of its role in interpreting intention. While the idea that human communication requires three levels of intentionality carries analytical weight, I argue that the inflationary trajectory is wrong as an evolutionary matter. The trend is instead towards increasing powers of individuation. The capacity for tool-use is emphasized less under the social brain hypothesis, but the importance of digital manipulation needs to be reasserted as part of a mature ontology. These claims are modulated to substantiate the work-maker, a socially situated (and embodied) creative agent who draws together Peircean notions of epistemology, phenomenology and oral performance.

La thèse vise à clarifier la notion de la voix et sa place dans la culture occidentale. La multiplicité de la voix est ici étudiée à partir de son origine biologique, fondement de toute expressivité vocale. Cette multiplicité est distinguée du verbal et du musical, ses principales manifestations dans la civilisation humaine. Dans le Chapitre 1 nous proposons une réflexion sur les modes naturels de la vocalité non langagière dont la communication holistique des espèces proto-humaines et l’expression vocale des jeunes enfants forment les principales manifestations. Le Chapitre 2 analyse les rapports du corps avec la voix en tant que signe de l’identité personnelle et preuve de la présence corporelle. Dans le Chapitre 3 nous traitons du statut de l’oralité définie comme la dimension sociale de la voix. Nous étudions l’influence de l’écriture et la domination du visuel exercée sur la voix. Les rapports entre la voix, le langage et la musique sont observés dans le Chapitre 4: nous demandons dans quel sens la voix, en dehors des structures verbales et musicales, peut avoir une signification. Le dernier chapitre est consacré à la voix musicale : une histoire de la voix musicale non verbale dans la tradition savante occidentale est esquissée. Le chant y est défini en tant qu’un acte fondamental de l’expressivité vocale chez l’homme, et non pas comme un art susceptible de superposer des structures linguistiques et musicales. Nous proposons une réflexion sur quelques exemples de l’art vocal contemporain sélectionnés selon leur rapport aux questions théoriques traitées dans la thèse. La thèse se veut comme un outil théorique dans le cadre de la théorie de la culture. / The present thesis aims at clarifying the notion of voice and its place in Western post-literacy culture from the aspect of vocal non-verbal expression and its artistization. The specificity of voice lies in its multiplicity, no single trait of voice may be viewed as representative of human vocality in its entirety. Rooted in human biology, vocal expressivity is inherently distinct from the verbal and the musical; Chapter 1 deals with natural modes of nonverbal vocality of proto-humans and pre-verbal children. A comparison of the functions of human and animal vocalization is made. In Chapter 2 the relation of voice to body is treated. We analyse voice as the mark of personal identity and physical presence. Chapter 3 looks into the question of orality, defined as the social dimension of voice, in post-literacy Western culture and analyse how the democratization of writing, printing, and recording may have influenced the status of voice. In Chapter 4 we ask whether voice outside the framework of language and music may convey meaning and whether such voice may be considered a sign. In the final chapter a brief historical overview of non-verbal vocal music is outlined and a proposition is made to define singing as a fundamental act of human vocal expressivity, not as an art form that superposes linguistic and musical structures. A selection of examples of contemporary voice art is subjected to theoretical reflection in the light of the issues related to vocal expressivity as discussed in the thesis. The aim of the thesis is to provide a theoretical tool for future researches on human expressive vocalization and its artistization in the field of culture studies.

This work argues that the dynamics of the oral and of the literate consciousness play a vital role in the characterization of Bleak House. Through an application of Walter Ong's synthesis of orality/literacy research, Krook's residual orality is seen to play a greater role in his characterization than his more frequently discussed spontaneous combustion. Also, the role orality and literacy plays in understanding Dickens's satire of "philanthropic shams" is analyzed. This study concludes that an awareness of orality and literacy gives the reader of Bleak House a consistent framework for evaluating the moral quality of its characters and for understanding the broader social message underlying Dickens's topical satire.

Le conte provient du fonds culturel universel des peuples et participe à la transmission des savoirs à travers les générations. Comportant d’une façon plus ou moins explicite non seulement des traits culturels mais aussi des traits sociaux et symboliques, le conte populaire a depuis longtemps une place privilégiée dans l’enseignement tant de la langue maternelle que des langues étrangères. Ainsi, de nombreux travaux en didactique des langues s’intéressent à l’emploi du comte pour favoriser la communication et faciliter l’acquisition des structures linguistiques et textuelles de la langue étrangère. Compte tenu de l’importance de certaines formes d’oralité narrative dans la société libanaise, nous supposons que les potentialités culturelles et langagières du conte peuvent judicieusement être mises à profit dans l'enseignement de l'oral en classe de FLE au Liban / The tale is considered as a cultural treasure of peoples and is sometimes a way for the transmission of knowledge. Coming directly from the oral tradition, storytelling is an oral form transmitted from generation to another. Several researchers have studied the importance of storytelling in a favoring of oral communication as a genre that mobilizes the oral structures. We believe that storytelling is an essential teaching aid for teaching of listening in a class of FLE in Lebanon thanks to the specificity of the Lebanese society on the one hand, and the fact that the story retains the characteristics of the oral on the other. With our survey in the FLE class and study of social representations of the tale for Lebanese students, we conclude to the contribution of the valiant tale in learning spoken in a class of FLE in Lebanon

Le terme Tamurt revêt, dans la culture berbère (amazigh), plusieurs acceptions : il désigne couramment un ensemble de personnes possédant la même identité, une région ou un territoire structuré par la même langue, la même origine, mais aussi ce qui a trait à la terre, au paysage ou à l’espace et ce qui est présent dans une même entité : les valeurs, les traditions ou les systèmes d’organisation.Les proverbes kabyles illustrent bien cette polysémie et ont encore, de nos jours, toute leur place dans la vie quotidienne des habitants du village de Tifrit Nait Oumalek, situé dans les monts d’Akfadou près de Tizi-Ouzou. La monographie que nous avons réalisée, prenant appui sur un travail d’enquête qui associe observations in situ, entretiens semi-directifs et questionnaires, se propose d’éclairer – à travers l’analyse des processus de transmission et d’identification – les rapports à la tradition et à la modernité.La relecture de la poésie mohandienne et des écrits, plus contemporains, de Mouloud Feraoun, de Mouloud Mammeri ou de Aït Menguellet, enrichit la discussion et permet de mieux appréhender la problématique de l’oralité, de la symbolisation et des dynamiques intergénérationnelles. / The term Tamurt in the Berber (Amazigh) culture is endowed with many acceptances : it habitually designates a set of people possessing the same identity, a region or territory structured by the same language, and the same origin ; it is also related to the land, landscape or space and to what is present in the same entity : the values, traditions, or systems of organization.The Kabyl proverbs illustrate this polysemy in a good way and they still at this time and age have their entire place in the every day life of the inhabitants of Tifrit Nait Oumalek village situated in the Akfadou Mount near Tizi-Ouzou . The monography that we have realised supported by a survey that associates in situ observations, semi-directive interviews, and questionnaires suggests to clarify, through the analysis of the processes of transmission and identification, the relations with tradition and modernity.The rereading of the Mohandien poetry and that of the more contemporary writings of Mouloud Feraoun, Mouloud Mammeri, or Ait Menguellet enriches the discussion and permits to better apprehend the question of orality, symbolism, and intergeneration dynamics.

Dans la présente thèse nous formulons une réflexion sur la traduction des classiques du théâtre à travers les trois catégories traductologiques de l’herméneutique, de l’oralité et de la temporalité. A cet effet, nous envisageons la traduction comme le résultat d’un processus herméneutique concernant l’œuvre dans sa totalité. Au centre de ce processus, nous plaçons le sujet traduisant, dont la culture individuelle – à son tour reflet et déclinaison de la culture collective de l’espace-temps cible – constitue l’horizon d’interaction avec l’œuvre source. En découle la saisie d’un Sens total, au-delà du simple sens textuel, qui inclut une inscription dans la temporalité et l’identification d’une théâtralité, tout particulièrement vocale. Posant cette construction comme hypothèse de fond, nous recherchons les marques d’une telle interprétation de l’œuvre dans l’oralité de la traduction. Nous imaginons cette dernière comme la projection d’une voix performée et la concevons comme un tissu composite dans lequel les dimensions linguistique, rythmique et vocale participent à la construction d’un discours contemporain sur l’œuvre classique, le théâtre du passé, le théâtre du présent, sur la traduction elle-même et sa relation au temps. Un corpus de traductions italiennes contemporaines de Phèdre et Dom Juan destinées à la représentation scénique constitue la pierre de touche pour la vérification de notre hypothèse, tout en apportant un éclairage sur la réception des classiques du théâtre français en Italie. / In this thesis, we focus on theatre classics and on the interaction between hermeneutics, orality and temporality. To this aim, we think of translation as the result of a hermeneutical process which goes beyond the text and includes an interpretation of the play as a whole. In this framework, the translator plays a central role as they interact with the source text through the hermeneutical horizon of their individual and collective culture, extracting a Sense which extends to the perception of a specific temporality and theatricality. Our hypothesis is that this Sense can be found in the orality of the translative writing, which we consider to be the projection of voice in performance and which we define as a combination of language, rhythm and vocality, resulting in a contemporary discourse about the classic work, about theatre – both past and present – and about translation itself, as well as about its relationship to time. A corpus of Italian translations of Phèdre and Dom Juan for the stage helps verify our hypothesis, while offering an insight into the reception of French classical theatre in Italy.

Les années 1945-1960 correspondent en France à un moment important de réoralisation de la poésie : celle-ci est diffusée à la radio, à la télévision, sur disques, dans les cabarets. Les théâtres voient quant à eux se développer, en plus des spectacles poétiques, des tentatives de poèmes scéniques. La « question du livre » et de ses dehors se révèle ainsi centrale dans l’imaginaire et les débats poétiques de cette époque : il s’agit tantôt de repenser les modes de communication du poème, d’ouvrir le domaine poétique au grand public, d’explorer les possibilités offertes par les nouvelles techniques d’enregistrement et de diffusion des sons, tantôt d’user de l’espace médiatique comme d’un lieu de performance poétique. Ce travail, qui rassemble un grand nombre d’archives écrites et audiovisuelles, dresse un état des lieux de ces médiations orales de la poésie de 1945 aux années 1960 en France et propose, à travers l’étude détaillée de diverses formes de « poèmes hors du livre », de réévaluer la place et le rôle de ces pratiques dans l’histoire de la poésie du XXe siècle. / Between 1945 and 1960, French poetry tended to re-explore its oral roots with radio and television broadcasting, recording and live performance. Theatres developed, aside from poetical performances, some attempts for staged poems. The “question of the book” in its relation to other media turned out to be central in the poetical imagination and debates of the time: some endeavoured to rethink the communication modes of poems, to open the poetical field to a wider public, to explore the possibilities offered by new recording and sound broadcasting techniques, others tried to use the media as a poetical performance space. This dissertation, which collects many written and audiovisual archives, surveys the oralisation of French poetry between 1945 and the 1960s and attempts to reassess, through the detailed study of diverse forms of “poems outside the book”, the importance and the role of those practices in twentieth century poetry history.

No âmbito da literatura brasileira, Macunaíma de Mário de Andrade é uma obra cuja complexidade formal é amplamente reconhecida. Para sua abordagem, tal complexidade leva geralmente à sondagem de duas fontes principais: a Europa (as vanguardas européias) e as culturas indígenas (explicação mítica). Nossa tese investiga essa questão formal, uma das preocupações da arte moderna, recorrendo a uma literatura periférica: a literatura negro-africana de língua francesa. Descobrimos que Mário de Andrade e o escritor negro-africano fundamentam-se na tradição e na oralidade para construir suas obras. Dessa forma, se estabelece uma coerência entre a obra de arte e a sociedade que a produz. O escritor brasileiro e os escritores negro-africanos coincidem em estabelecer uma relação entre a forma da obra de arte e a cultura, criando assim uma nova forma de narrativa calcada na experiência cultural e não na experiência social. / Within the sphere of Brazilian literature, Mário de Andrade\'s Macunaíma is a work of art whose formal complexity is largely acknowledge. In order to approach such work we must take into consideration the fact that such complexity take us usually to the probe of two main sources: Europe (the European avant-garde) and the native cultures (mythical explanation). Our thesis investigates this formal issue, one of the concerns of modern art. We do this by working with a peripheric literature: a black-African French speaking literature. In the course of our research we discovered that both Mário de Andrade and the black-African writers base the construction of their artistic work in the tradition and in orality. In this way, it is established a coherence between the work of art and the society in which it was conceived. The brazilian writer and the black-african writers coincide in establishing a relationship between culture and the form of the work of art, creating, by doing this, a new way of narrating based in the cultural experience, not in the social one.

Nesta tese, apresenta-se um estudo sobre a oralidade presente em O Dia dos Prodígios, obra da autora portuguesa Lídia Jorge, em que é possível identificar alusões à Revolução dos Cravos, quando se atenta à estranheza dos fenômenos ocorridos com os habitantes da aldeia nomeada Vilamaninhos cuja principal característica é o emprego da língua oral como única forma de expressão lingüística entre seus moradores. O microcosmo de Vilamaninhos é composto por indivíduos iletrados em sua quase totalidade. As barreiras impostas pela dificuldade de comunicação causam o isolamento da aldeia em relação aos centros urbanos desenvolvidos, restando ao povo da aldeia compartilhar as condições arcaicas de vida. O propósito deste estudo é identificar, a partir do aporte teórico da Análise da Conversação, as estratégias empregadas pela autora na representação da oralidade em sua narrativa literária. Entende-se que O Dia dos Prodígios apresenta características da fala não só na explicitação dos diálogos entre as personagens, mas em toda sua escrita. A oralidade é representada, além de por palavras, também por recursos gráficos, de estruturação do texto, gerando a sensação, no leitor, de ouvir e de ver as personagens em interação, ao longo da narrativa. A identificação dos elementos de oralidade constantes da narrativa permite, como em circunstâncias reais de conversação, sob perspectiva ideológica, conhecer os indivíduos nesse processo inseridos, por meio do que dizem, explicitam e, inclusive, do que dissimulam. O indivíduo é a chave, o ponto de partida para se conhecer o grupo social a que ele pertence. Pela Análise da Conversação, em O Dia dos Prodígios obtêm-se indícios sobre a sociedade e suas relações de conflito. Os papéis sociais são manifestos pela oralidade, ao mesmo tempo em que, por outro lado, a competência do indivíduo, ao se expressar pela fala, é um fator importante no estabelecimento de seu papel face ao seu grupo social. A linguagem empregada por Lídia Jorge, na caracterização das personagens de sua obra, representa a oralidade, sem ser caricata ou pejorativa. A oralidade de O Dia dos Prodígios é um artifício com o que se enseja a reflexão sobre língua, interação, desenvolvimento humano e social. / In this thesis, a study about the orality existent in O Dia dos Prodígios, written by the Portuguese author Lídia Jorge is presented, in which is possible to identify allusions to Revolução dos Cravos (name given to Portuguese freedom revolution) when considers the strangeness of the phenomenon that occurred with the inhabitants of the village known as Vilamaninhos whose main feature is the use of oral language as unique form of linguistic expression among its members. The Vilamaninhos micro cosmos is composed by illiterate, with almost totally writing lack human beings. The barriers imposed by the communication difficulty cause the isolation of the village in relation with the developed urban centers, remaining to the population of the village, only to share the archaic life condition. The purpose of this study is to identify, beginning with the theoretical contribution of conversation analysis, the strategies employed by the author in the representation of orality in her narrative. It is understood that O Dia dos Prodígios presents speech features not only in the dialogue explanation among the characters, but also in the whole written work. Orality is represented, besides being by words, also by graphical resources of text structuring, generating on the reader, the feeling of listening and seeing the characters interacting through narration. Identifying the orality elements present on the narration allows, as in real conversation circumstances, under ideological perspective, to know the individuals inserted on that process, by means of what they say, explain, and even, by what they dissimulate. The individual is the key, the starting point to know the social group to whom he belongs. By analyzing the conversation in O Dia dos Prodígios there are signs about society and its conflictive relations. The social roles are expressed by orality, at the same time that, on the other hand, the competence of the individual of expressing himself using speech is an important factor to establish his role towards his social group. The language used by Lídia Jorge when characterizing her work\'s characters represents orality without being caricatured and depreciative. Orality in O Dia dos Prodígios is a device with which one wants to ponder about language, interaction, human and social development.