Esta tese discute a incorporação da oralidade de falantes excluídos social e culturalmente na grande-reportagem. O foco desta pesquisa é refletir como a grande-reportagem no Brasil, em sua missão de desvendamento do real, tem lidado com a questão da oralidade. Discute os desafios para a incorporação dos registros orais de pessoas com baixa escolaridade, tendo em vista o preconceito que existe na sociedade em relação aos falantes que se utilizam de modalidades diferentes da língua padrão. Propõe algumas reflexões e procedimentos para o jornalista ao incorporar a fala de protagonistas de baixa escolaridade em sua reportagem. E realiza um experimento prático de construção de História de Vida de uma faxineira de São Paulo, oriunda do meio rural de Minas Gerais. / This thesis discusses the incorporation into reporting of the orality of speakers who are sociallly and culturally excluded. The focus is upon considering how reporting in Brazil, in its mission of tapping into reality, has dealt with the orality issue. It discusses the challenges to incorporate oral records from people with low educational level, by considering the prejudice that exists in society against speakers who use different variations of standard idiom. It proposes analysis and procedures regarding how journaliss can introduce into reporting the speeches from main characters with low educational level in. There is also a practical experiment that comprises the writing of a cleaning womans life history.

Esta dissertação consiste num esforço de compreensão referente à prática e à pesquisa teórica tecidas em Educação de Jovens e Adultos (EJA), a partir das relações complexas entre oralidade e escrita e enfatizando alternativas de contribuição próprias da cultura afro-brasileira, esta que é marcada pela força de sua oralidade e de seu pensamento mítico-simbólico. O trabalho partiu da realização de uma oficina no Centro de Integração e Educação de Jovens e Adultos (CIEJA) Campo Limpo, zona sul de São Paulo, que consistiu na apresentação de uma pedagogia sinestésica e escolheu levar à sala de aula elementos fortes da memória cultural afro-brasileira, por seu teor simbólico, para o trato com alunos em fase de letramento. Utilizando-se de instrumentos musicais, vídeos, tecidos, esculturas, poemas, estórias, folhas e plantas, dez encontros centraramse na história e na cultura afro-brasileiras, contemplando assim, também, os esforços em uma implementação efetiva e qualitativa da notória lei 10.639/03. Tendo como fundamentos teóricos os estudos tecidos por Gilbert Durand sobre o Imaginário, mais as concepções de Edgar Morin sobre paradigma, conhecimento e método, a dissertação fundamenta-se ainda nas contribuições de Joseph Campbell, Gaston Bachelard, Michel Maffesoli e Marcos Ferreira Santos sobre as questões centradas em mito, imagem, símbolo, arquétipo e razão sensível. Com a intenção de diferenciar as várias formas de relações que a(s) cultura(s) de matriz(es) africana(s) operou(aram) em relação às culturas hegemônicas na história de nosso país, problematizando os usos indiscriminados dos conceitos sincretismo e hibridismo, baseio-me nos estudos de Muniz Sodré, Leda Maria Martins e Eduardo David de Oliveira, destacando as dimensões de jogo, luta, segredo, regra e ancestralidade que caracterizam a afrobrasilidade, relacionando-as às diretrizes teóricas de Durand. / This dissertation consists in an effort of comprehension related to the practical one and theoretical research weaved in Young and Adults Education, from the complex relations between orality and writing and emphasizing alternatives of contribution peculiars of the afro-Brazilian culture, which is marked by the strength of its orality and its mythical-symbolic thought. The work started from the accomplishment of a workshop a t the Centre of Integration of Youngs and Adults Education (CIEJA) Campo Limpo, south zone of São Paulo, which consisted in a presentation of a sinestesic pedagogy and chose to take to the classroom strong elements of the afro-Brazilian cultural memory, because of its symbolic meaning, (with the goal) related to the treatment of the students in literacy phase. Using musical instruments, videos, textiles, sculptures, poems, stories, leaves and plants in order to construct ten meetings focused in the histor y and Afro-Brazilian culture, also contemplating, in this way, the efforts in a real and qualitative implementation of the well-known law 10.639. Assuming theoretical beddings in the studies weaved by Gilbert Durand about the imaginary and also the conceptions of Edgar Morin about paradigm, knowledge and method, the dissertation still bases on the contributions of Joseph Campbell , Gaston Bachelard, Michel Maffesoli and Marcos Ferreira Santos on the questions centered in myth, image, symbol, archetype and sensible reason. With the intension to differentiate the assorted forms of relations that the culture(s) of African(s) matrix(s) operated in relation to the hegemonic cultures in the histor y of our count ry, analyzing probl ems build up in the indiscriminate uses of the concepts syncretism and hybridism, I took theoretical reference in the studies of Muniz Sodré, Leda Maria Martins and Eduardo David de Oliveira, emphasizing the dimensions of game, struggle, secret, rule and ancestry which is a feature of Afro- brasility relating them to the theoretical lines of Durand.

Cette étude propose de questionner les correspondances entre l’architecture apparente ou non des premiers romans de Marcel Aymé (1902-1967) et la présence des nombreux « faits d’oralité » à l’œuvre ou mis en œuvre. L’approche ethnocritique de ces récits permet de croiser une poétique du romanesque et une anthropologie du symbolique. Nous nous appuyons tout d’abord sur la théorie du « roman parlant » liée à l’entre-deux guerres, période même de l’arrivée de Marcel Aymé dans le champ littéraire. Nous cartographions ensuite la présence et la conscience de la raison graphique en observant les jeux et enjeux d’une écriture composite. En effet, nous percevons à la fois les échos intertextuels avec la littérature classique mais aussi un intérêt pour d’autres formes de langages littéraires et cinématographiques. L’attention particulière à la voix narrative, le recours au burlesque et à l’ironie participent à la compréhension des choix esthétiques du jeune romancier et au style culturel de ces romans. Au centre de cette analyse, les personnages sont interrogés dans leur quête d’identité et dans leurs façons d’être en prise avec des systèmes étatiques et sociaux qui se concrétisent en particulier dans l’état-civil. Le rapport à l’image et la puissance de la numératie complètent la dynamique complexe de cette recherche identitaire. Voix publiques ou privées, singulières ou collectives, sonnantes ou dissonantes se font entendre dans la narration et sont examinées alors comme témoins des tensions culturelles internes aux communautés représentées. Une dernière partie lit les belligérances et/ ou les coalescences de l’habitus littératien et des oralités vivaces telles qu’elles apparaissent dans les romans de notre corpus (Brûlebois, Aller retour, La Table-aux-Crevés). Cette étude se veut aussi ouverte sur le monde ayméen dans son ensemble, attentive aux passerelles entre toutes les publications de l’auteur des articles de presse aux pièces de théâtre. / This study proposes to examine the relationship between the visible or non-visible structure of the first novels by Marcel Aymé (1902-1967) and the presence of numerous aspects of orality in the novels. An ethnocritical approach to these narratives makes it possible to combine a poetics of the novel with an anthropology of symbols. We base our study first of all on a theory of the “talking novel” (“roman parlant”) related to the period between the two world wars, which corresponds to the period when Marcel Aymé began publishing his work. Then we trace the presence and awareness of writing (as opposed to orality) through an examination of the stylistic effects of what could be called a composite form of writing and the role of these effects in the overall strategy of the author. In effect, we perceive intertextual echoes of the classics but also an interest in new forms of literary and cinematographic expression. The particular attention to narrative voice, but also the presence of the burlesque and of irony, are elements that help one to understand the aesthetic choices of the young author and the cultural style of his novels. In the central part of this analysis the characters are studied in the perspective of their search for identity and of their way of coming to terms with the public and social systems with which they are confronted through events involving their civil status (marriage, death, etc.). Their relationship with the image and power of numeracy is another important dimension of the complex dynamics of this search for identity. The voices that one hears in the narration, public or private, individual or collective, consensual or dissenting, are examined for the clues they yield concerning the cultural tensions present within the communities represented in the novels. The last part of the thesis examines the conflict and convergence between literacy as a “habitus” and the living traces of orality as they appear in the novels of the corpus (Brûlebois, Aller retour, La Table-aux-Crevés). This study also aims at being open to the world of Marcel Aymé as a whole and at being attentive to the interrelations between all the publications of the author, including his newspaper articles and his plays.

La mayor parte de los estudios de la traducción de rasgos orales se ha enfocado en investigar la oralidad ficticia en obras occidentales pertenecientes al canon literario. Existen pocos estudios que abarcan la traducción de tradiciones orales, sobre todo de obras de América Latina. En el Perú, precisamente, las literaturas orales han sido excluidas por el canon. En este contexto, se inserta Cuentos del tio Lino, una recopilación de cuentos de Contumazá, en la provincia de Cajamarca, que presenta en el medio escrito las características orales del género andino willakuy y la variación lingüística de dicha zona. Por tanto, esta investigación busca analizar de qué manera se tradujeron al inglés los rasgos orales pragmáticos del willakuy presentes en esta obra. Para lograr este objetivo, se realizarán tanto un análisis de contenido como un análisis contrastivo. En la primera parte, se identificarán los rasgos del willakuy, los rasgos dialectales del español andino y los rasgos pragmáticos del lenguaje oral en el texto fuente. En la segunda parte, al momento de comparar las versiones en español e inglés, se identificarán las técnicas de traducción y los rasgos pragmáticos del lenguaje escrito. A través de este análisis, se podrá determinar si los rasgos orales pragmáticos de la obra han sido estandarizados o no en la traducción, ya que, en inglés, se suelen omitir las referencias culturales ajenas de manera que se presenta un texto meta fluido y domesticado. Dicha estandarización podría suprimir el estilo de narración del texto fuente y su función cultural. / Most research on the translation of oral features has focused on studying fictive orality in western texts within the literary canon. There are a few studies about the translation of oral traditions, especially in Latin American texts. In Peru, oral literature has been excluded from the canon. In this context, we find The Tales of Old Uncle Lino—a stories compilation from Contumazá, in the province of Cajamarca. Both the oral features from the Andean literary genre willakuy, and the local dialect can be found in the writing of these tales. This study therefore aims to analyze how the willakuy’s pragmatic oral features in the source text were translated into English. For this purpose, content and contrastive analyses will be conducted. Firstly, willakuy’s characteristics, Andean Spanish’s dialect features, and oral language’s pragmatic features will be identified in the source text. Then, the translation techniques and the features of written language will be determined while comparing the Spanish and English versions. By examining these aspects, this study will determine if the oral features of the source text were standardized or not in the translation, since foreign cultural references are often omitted in English in order to show a fluent domesticated text. This standardization could eliminate the source text’s particular narrative style and its cultural function. / Trabajo de investigación

Ce projet de recherche-création en cinéma porte sur l’histoire d’une ancienne ville minière. En 1971, un glissement de terrain provoqué par les excavations d’une exploitation minière emporte une partie de la ville d’Asbestos (et de son histoire) au fond du trou. Cet événement hautement symbolique est devenu le point d’ancrage d’une problématique sur la représentation de la mémoire collective au cinéma. En écartant une approche « archiviste » du cinéma documentaire (images et enregistrements du passé), j’ai cherché à faire voir ce qui avait disparu dans le paysage matériel d’Asbestos, mais qui subsistait pourtant dans la mémoire des citoyens. Trois grands axes ont structuré mon projet. 1) Peut-on faire voir le passé d’Asbestos avec des images de son paysage actuel? 2) Est-il possible que la parole vernaculaire soit le meilleur moyen de faire (re)vivre et de faire (re)voir les expériences d'une communauté? 3) Est-ce dans l’interaction entre les images du présent et la parole des témoins de l’histoire que l’on peut révéler un passé disparu? / This film research-creation project focuses on the history of a former mining town. In 1971, a landslide triggered by the excavations of the adjacent mine swept part of the town of Asbestos – and its history – to the bottom of the pit. This symbolic incident serves as the basis for an exploration of how best to represent collective memory in film. In eschewing the archival approach of documentary cinema (using images and audio recordings from the past), I have tried to show what has disappeared from the town’s physical landscape yet is still very present in the memory of its inhabitants. My project is underpinned by three main questions: 1) Can Asbestos’s past be evoked through images of its current landscape? 2) Could capturing the spoken words of its inhabitants be the best way to bring a community’s experiences back to life and share them with others? 3) Can a bygone past be revealed through the interplay of present images and vernacular accounts of recent or distant history?

La sangre de la aurora cuenta la historia de tres mujeres de la sociedad peruana durante el conflicto armado interno. La novela está dividida en fragmentos narrados por las protagonistas —Marcela, Melanie y Modesta— quienes conforman las voces narrativas. La representación de las mujeres se puede examinar desde la interseccionalidad por la manera en la que factores como clase social, etnia, sexualidad y género determinan la caracterización de cada personaje. Asimismo, la oralidad ficticia es un recurso lingüístico que permite expresar la identidad representada de las protagonistas. La aplicación de la interseccionalidad como perspectiva de investigación permite el análisis de las identidades construidas tanto para la cultura origen como la cultura meta desde múltiples ejes. El objetivo de esta investigación será analizar la representación de las mujeres en La sangre de la aurora (2013) y Blood of the Dawn (2016), la traducción al inglés, mediante las dimensiones de etnia, clase social, sexualidad y género en los rasgos orales de las voces de las protagonistas. Para ello, se asumirá el enfoque cualitativo y se realizará la investigación con el método de estudio de caso. Además, se utilizarán las técnicas de producción de datos de análisis de contenido y análisis contrastivo para examinar si se mantiene el sentido sobre la caracterización de las mujeres en la versión traducida. / La sangre de la aurora narrates the story of three Peruvian women during the internal armed conflict era. The novel is divided into fragments narrated by the main characters —Marcela, Melanie y Modesta— who are the narrative voices. The fictional representation of women in the novel could be analysed through an intersectional analysis because aspects involving social class, ethnicity, sexuality and gender affect the story of each character. Furthermore, the use of fictive orality as a linguistic resource works in the representation of identity in regards to the protagonists. Adopting intersectionality as an investigative perspective allows the analysis of constructed identities in the source culture and target culture from different categories. This study will aim to analyse the fictional representation of women in La sangre de la aurora (2013) and its English translation, Blood of the Dawn (2016), through the dimensions of social class, ethnicity, sexuality and gender expressed through fictive orality features in the protagonists’ voices. The study will assume a qualitative approach and use the case study method. Moreover, the content analysis and contrastive analysis will be used as the data production techniques. effect on the transfer of meaning in regards to the characterization of women in the English translation will be analysed. / Trabajo de investigación

Since the release of Nelson Mandela in 1990 and his subsequent election to the presidency in 1994, South Africa certainly has not achieved the hopes and dreams of its people or for the rest of the continent. But despite bleak conditions, there are many who still have hope for their country. One of those people is Zakes Mda, and his hope is reflected in his novels. Yet, his novels remain complex. They do not provide all-encompassing solutions or answers to the problems that face the nation. But they do address questions with possibilities, suggestions, and innovation. The South Africa he creates, both in the past and the present, embodies what the real South Africa is and isn’t, and what it has the potential to be. Mda is not afraid to be critical of his own people, he is not afraid to face the history of his country with an equally critical lens, and even more importantly, he is not afraid to face the future of his country with that same critical gaze. This open approach to the people of his country, to its history, and current policies opens up his narrative to imagination, allowing his characters to re-envision themselves more completely and form a more complete and encompassing cultural identity that was previously denied to them.

Petr Černoch - Dining together in the New Testament church from the collective memory perspective - Abstract The collective memory is a relatively new method of studying early Christianity that was taken from the humanities, especially sociology. This diploma thesis chose it as its method of studying the phenomenon of dining together, especially in the manifestation of the ritual of the Eucharist in the 1st century AD. In the first chapter, right after the introduction, this work briefly discussed the development of the study of memory from the collective memory of Mauritius Halwbachs with its social roots. He influenced contemporary memory studies through Jan Assmann, who developed his collective memory of the cultural and described its connection to New Testament research. By defining Cultural Memory, he showed strong links in religion between identity, myth and ritual. The work tried to define the terms myth and ritual with which it operates The next chapter deals with the linguistic and literary world of books, where the words of the establishment of the ritual of the Eucharist are located, discusses their structure and references to food or dining together. The work tried to show the view of the collective memory and thus shed light on some places of tradition and the origin of the ritual of the...

Ce mémoire porte sur la notion de « texture » et son application dans la forme-moment théorisée par Karlheinz Stockhausen au tournant des années 1960. À partir des écrits, captations audiovisuelles de conférences et partitions du compositeur, il interroge plus particulièrement l’hétérophonie et la composition dite « statistique » dans les œuvres Momente (1962-1969) et Telemusik (1966). Stockhausen et ses contemporains évoluent dans un contexte de révolutions scientifiques et technologiques inégalé dans l’histoire de la musique. Avec l’arrivée de la musique électronique et de l’enregistrement sonore, les notions de « performance » et d’« œuvre » ne vont plus de soi pour plusieurs compositeurs de l’avant-garde européenne. En outre, le mouvement de mondialisation et le contact de plus en plus fréquent avec les musiques extraoccidentales – étroitement liés aux avancées en matière de télécommunications – exposent le public et les musiciens à de nouvelles cultures musicales. Parallèlement, l’hétérophonie, généralement définie comme la « variation simultanée d’une même mélodie » (Cooke 2001) et associée à de nombreuses musiques de tradition orale, devient une texture de plus en plus usuelle pour certains compositeurs européens comme Mauricio Kagel, Pierre Boulez et Karlheinz Stockhausen. Dans cette recherche, l’exploration de l’« espace poïétique » (Nattiez 1999 [1984]) de Stockhausen et l’étude de Momente et de Telemusik selon le modèle tripartite de Pärtlas (2016) montrent que l’hétérophonie correspond à la composition « statistique », qui permet au compositeur de répartir les hauteurs et les durées de façon aléatoire. Cette pratique se manifeste par la graphie qualitative et l’exécution plus libre par les interprètes de Momente, ainsi que par l’insertion d’échantillons sonores de musiques traditionnelles dans Telemusik. Il apparait que l’hétérophonie et la musique « statistique » s’intègrent plus largement dans une nouvelle forme d’oralité à la fois « seconde » (développée dans un contexte d’« hégémonie de l’écriture ») et « médiatisée » (Zumthor 2008) par les nouveaux dispositifs électroniques. / This thesis examines the notion of "texture" and its application in the moment-form theorized by Karlheinz Stockhausen at the turn of the 1960s. Based on the composer's writings, audiovisual recordings of conferences and scores, it considers more specifically the heterophony and the so-called "statistical" composition in the works Momente (1962-1969) and Telemusik (1966). Stockhausen and his contemporaries evolved in a context of scientific and technological revolutions unequalled in the history of music. With the advent of electronic music and sound recording, the notions of "performance" and "work" were no longer self-evident for many composers of the European avant-garde. In addition, the globalization movement and the increasing contact with non-Western music - closely linked to advances in telecommunications - exposed audiences and musicians to new musical cultures. At the same time, heterophony, generally defined as the "simultaneous variation of the same melody" (Cooke 2001) and associated with many musics of oral tradition, is becoming an increasingly common texture for some European composers such as Mauricio Kagel, Pierre Boulez and Karlheinz Stockhausen. In this study, the exploration of Stockhausen's "poietic space" (Nattiez 1999 [1984]) and the examination of Momente and Telemusik according to Pärtlas' (2016) tripartite model show that heterophony corresponds to "statistical" composition, which allows the composer to randomly distribute pitches and durations. This practice is manifested in the qualitative graphics and freer performance by the musicians in Momente, as well as in the insertion of sound samples of traditional music in Telemusik. It appears that heterophony and "statistical" music are part of a new form of orality that is both "second" (developed in a context of a "writing hegemony") and "mediated" (Zumthor 2008) by the new electronic devices.

The evolution of social media platforms and other public forums in the digital realm has created an explosion of user-generated content and data as a component of the already content-saturated digital landscape. The distributed, horizontal nature of the internet as a platform makes it difficult to ascertain value and differentiate between texts of varying validity, bias, and purpose. In addition, the internet is not an inanimate interface. As Pariser (2011) argues, content aggregators, such as Google, actively filter, personalize, and therefore limit each individual's access to information, in both range and type. This has created a crisis of information valuation and control. Importantly, conventional curriculum does not furnish students with the information literacy tools necessary for them to navigate the digital landscape effectively. Information miners and developers, including news organizations, are falling victim to this fallacy as well. Lankshear and Knobel (2011) posit that empowering navigation and control in the digital landscape requires a new mindset. This research offers a context-driven approach that acknowledges this new mindset, promoting "rhetorical consciousness" (Murphy et al., 2003) within the network and providing a framework to recognize, challenge, and co-create gatekeeping roles and mechanism as they increasingly shift to the individual.