[pt] Esta pesquisa é um percurso. Uma busca pelo entendimento do ritmo, em seus paradoxos e desvios, como uma potência. Algo que pode contagiar, anestesiar, alienar, mas também, e principalmente, ativar a nossa reconexão com nós mesmos, com o mundo, com as outras pessoas. Na realidade contemporânea de fluxos frenéticos e artificiais, segue-se a ideia de que é preciso retomar o corpo como vibração, em seu poder de afetar e ser afetado. E a intuição de que o ritmo, em sua lógica e organicidade, é um modo potente de produzir estesia. Como recorte do tempo, capaz de simular simultaneidades e criar atmosferas, o ritmo é aqui observado nas múltiplas possibilidades advindas da tecnologia de registro e edição de áudio. Nas fronteiras fluidas da poesia sonora, onde a voz desponta como presença, expressão do que há em nós de mais visceral, destaca-se a mediação da máquina na desmontagem da linguagem e na rearticulação de palavras em texturas sonoras de múltiplas camadas. Investiga-se como os novos ritmos compostos a partir daí interferem na ordem estabelecida, confrontando a semântica, criando disrupções, sugerindo novas formas de fluir, produzindo intensidade. / [en] The present research is a journey. A search for understanding rhythm, in its paradoxes and deviations, as a power. Something that can be contagious, seductive and can alienate, but also, and mainly, can activate our reconnection with ourselves, with the world and with people. In the frenetic and artificial fluxes of contemporary reality, we follow the assumption that we should retake our body as vibration, in its capacity of affecting and being affected. And the intuition that rhythm, in its logic and organicity, is a powerful mode of producing esthesis. As a time cut, able to simulate simultaneities and create atmospheres, rhythm is noted here in the multiplicity of possibilities created by audio recording and edition technology. On the fluid margins of sound poetry - where voice, our most visceral expression, emerges as presence -, the mediation of the machine stands out in the deconstruction of the language and rearticulation of words in textures of multiple sound layers. We investigate how the new rhythms created from there interfere in the established order, confronting semantics, creating disruptions, suggesting new ways of flowing, producing intensity.

Listen. If I ask you to listen, what is it that I ask of you—that you will understand, or perhaps obey? Or is it some sort of readiness that is requested? What occurs with a body in the act of listening? How do sound and voice structure audio-visual-spatial relations in concrete situations? This doctoral thesis in fine arts consists of six artworks and an essay that documents the research process, or rather, acts as a travelogue as it stages and narrates a series of journeys into a predominantly sonic ecology. One entry into this field is offered by the animal “voice” and attempts to teach animals to speak human language. The first journey concerns a specific case where humanoid sounds were found to emanate from an unlikely source—the blowhole of a dolphin. Another point of entry is offered by the acousmatic voice, a voice split from its body, and more specifically, my encounter with the disembodied voice of Steve Buscemi in a prison in Philadelphia. This listening experience triggered a fascination with, and an inquiry into, the voices that exist alongside us, the parasitic relation that audio technology makes possible, and the way an accompanying voice changes one’s perceptions and even one’s behavior. In the case of both the animal and the acousmatic, the seemingly trivial act of attending to a voice quickly opens up a complex space of embodied entanglements with the potential to challenge much of what we take for granted. At the heart of my inquiry is a series of artworks made between 2012 and 2016, which constitute a third journey: the performance Limit-Cruisers (#1 Sphere), the praxis session Limit-Cruisers (#2 Crowd), the installations Therapy in Junkspace, Fluorescent You, and “Then, ere the bark above their shoulders grew,” and the lecture performance Articulations from the Orifice (The Dry and the Wet). The relationship between what is seen and heard is being explored and renegotiated in the arts and beyond. We are increasingly addressed by prerecorded and synthetic voices in both public and private spaces. Simultaneously, our notions of human communication are challenged and complicated by recent research in animal communication. My work attempts to address the shifts and complexities embodied in these developments. The three journeys are deeply entwined with theoretical inquiries into human-animal relationships, technology, and the philosophy of sound. In the essay, I consider as well how other artistic practices are exploring this same complex space. What I put forward is a materialist and concrete approach to listening understood as a situated practice. Listening is both a form of co-habitation and an ecology. In and through listening, I claim, one could be said to perform in concert with the things heard while at the same time being changed by them. / <p>Avhandlingen är även utgiven i serien: Malmö Faculty of Fine and Performing Arts, Lund University: DoctoralStudies and Research in Fine and Performing Arts, 16. ISSN: 1653-8617</p>

This study probes selected stories from Bessie Head's The Collector of Treasures (1977) in order to elicit instances of contiguity and disjuncture between orality and literacy, to establish Head's complex identity configurations which are often manifested in the interactions between aesthetic form and content, authorial consciousness, character delineation, and narrative voice. At the same time, the dissertation explores her portrayal of the proscribed condition of women, the subversive consciousness that undercuts women's subjugation by patriarchy, and her vision for the liberatory possibilities for women from the exigencies of patriarchal domination. I also examine Head's (re-)vision of culture within the framework of hybridity and creolity and determine how some of these perspectives are crystallized in discourses such as When Rain Clouds Gather (1968), Maru (1971) and A Question of Power (1973). I juxtapose my reading of Head with other African writers such as Bâ, Emecheta and Nwapa to draw references in instances where the context permits. The dominant critical approach adopted in this thesis is a contextual approach. I consider this approach useful for my purposes because of its flexibility, the attention it pays to the formal properties of literary texts and, its cognizance of the socio-historical genesis of texts and its demonstration of literature's timeless value. / English Studies / M.A. (English)

This dissertation examines the dynamics of the oral communication which takes place in the Easter Vigil at St. Augustine's Anglican Church, Thaba 'Nchu. The study uses an analytical framework drawn from Orality Theory and Speech Act Theory, to analyse oral communication in the preaching and singing of the Vigil. Through an approach of Participant Observation, details were obtained of the Easter Vigils of 1994, 1995 and 1996. The historical and cultural background of this All-Night Vigil is traced in European Church History and African Traditional Religion. The roles of the Mothers' Union, the St. Agnes Guild and the Guild of Bernard Mizeki are also highlighted. / Missiology / M.Th (Missiology)

Plusieurs monographies récentes se sont intéressées à la traduction des littératures africaines europhones (Gyasi 2006, Bandia 2008, Batchelor 2009), faisant valoir le concept d’autotraduction (au sens métaphorique) et insistant sur le fait que ces écritures sont porteuses d’une oralité ou de marques linguistiques issues des langues parlées par les écrivains. Toutefois, la question de l’hybridité comme point de jonction entre littératures orales et écrites a encore rarement été examinée sous un angle poétique et c’est précisément dans cet esprit que cette recherche a été entreprise. Dans un premier temps, à partir des ouvrages originaux de six auteurs, trois d’expression littéraire anglaise (Farah, Hove et Armah) et trois d’expression littéraire française (Waberi, Adiaffi et Djebar), je montre en quoi ces écritures méritent d’être qualifiées de poétiques avant de mettre cette esthétique en relation avec le patrimoine littéraire de chacun des auteurs du corpus; ponctuellement, d’autres affiliations littéraires sont mises en évidence. Cette poétique est examinée dans sa dimension mélopoéique (Pound 1954), c’est-à-dire sous l’angle des structures audibles, appelées aussi figures de style jouant sur la forme phonétique des mots (Klein-Lataud 2001). Dans un second temps, j’examine comment cette poétique sonore a été recréée, tant de manière qualitative que quantitative, dans les traductions de Bardolph, de Richard et de J. et R. Mane (pour les auteurs d’expression anglaise) et de Garane, de Katiyo et de Blair (pour les auteurs d’expression française). Les enjeux associés à la réactivation des structures poétiques sonores sont mis en évidence dans le dernier chapitre qui propose un tour d’horizon des modalités de « consommation » de l’objet littéraire et qui s’achève sur les questions soulevées par la progression du livre audio. La méthodologie élaborée dans ce cadre s’inspire essentiellement de Berman (1995) et de Henry (2003). La conceptualisation de la poétique sonore, telle que mise en œuvre dans le contexte particulier de ces littératures, fait appel aux paradigmes de valence traductive (Folkart 2007) et de traduction métonymique (Tymoczko 1999). Par ailleurs, cette recherche s’appuie sur la récente thèse de doctorat de Fraser (2007) consacrée à la théorisation du sonore en traduction. / Recent publications explore Europhone African literatures as translation and in translation (Gyasi 2006, Bandia 2008, Batchelor 2009) insisting that these texts are better understood as a form of self-translation through oral subtexts, showing evidence of linguistic interplay by drawing on the writers’ native language(s). Yet hybridity as an encounter between oral and written literatures has seldom been explored in its poetic dimension. This lack of attention shapes the blueprint of this dissertation. Drawing on six original texts from African writers publishing in English (Farah, Hove and Armah) or in French (Waberi, Adiaffi and Djebar), I show in which extent these writings deserve to be labelled as poetic and how they are informed by the authors’ native literary background; occasionally I discuss other literary affiliations. In this specific context, I explore poetry in its melopoeic actualization (Pound 1954) as it relates to aural poetic devices (i.e. relying on their audible features). I then analyze, qualitatively and quantitatively, how this audible poetry has been reactivated by the translators: Bardolph, Richard, J. and R. Mane (translating Farah, Hove and Armah, respectively); Garane, Katiyo, Blair (translating Waberi, Adiaffi and Djebar, respectively). The last chapter suggests how reactivating sonorous poetic devices in translation relates to different literary modalities, especially audiobooks, as they represent a rapidly growing trend. The methodology draws on Antoine Berman’s translation project (1995) and Jacqueline Henry’s Traduire les jeux de mots (2003). Approaching the translation of aural/audible poetry in the specific context of these texts was facilitated by calling upon paradigms such as translational valency (Folkart 2007) and metonymy (Tymoczko 1999). Last but not least, this dissertation benefited from Fraser’s recent doctoral thesis (2007) dedicated to theorizing sound translation.

Par la nature double de sa réflexion, le présent mémoire propose d'interroger, au théâtre contemporain, la violence dans le langage comme modalité de négociation avec le réel. D'abord par une fiction au dispositif épuré et à la langue poétique, la pièce de théâtre Caille-moi, puis par un essai sur la pièce de théâtre Rouge gueule d'Étienne Lepage, nous désirons mettre en lumière un langage désubjectivé (Gilles Deleuze et Félix Guattari, Pierre Ouellet) au cœur duquel la présence de l'altérité remplace une certaine aliénation. Inscrivant notre démarche à la croisée des études littéraires et théâtrales, à la suite des travaux de Marion Chénetier-Alev sur l'oralité au théâtre, nous exposons à la fois la violence faite au dispositif théâtral et aux lecteurs-spectateurs dans l'espace du théâtre rendu possible par la violence du langage. Notre réflexion se pose également dans une visée plus large, interrogeant l'inscription du théâtre in-yer-face britannique (Sarah Kane) et de ses répercussions dans le théâtre québécois contemporain, en soulignant la connaissance de la dramaturgie québécoise dont fait preuve la pièce. En ce sens, le langage inventé par le jeune dramaturge offre le contrepoint à un certain cynisme contemporain et impose un langage riche et conscient de son histoire. / Through a twofold approach, the current M.A. thesis suggests an investigation of violent language in contemporary theatre as a means of coping with reality. By proposing first the play Caille-moi and its sober scenography and subsequently an essay on Étienne Lepage’s Rouge gueule, this thesis aim to draw attention to a desubjectified language (Gilles Deleuze and Félix Guattari, Pierre Ouellet) in which alterity replaces an undeniable alienation. At the cross road of Literature and Theatre Studies and following Marion Chénetier-Alev’s work on the oral nature of theatre, the present study wants to address violence as both a theatrical apparatus and as directed towards the readers-viewers in the space of the theatre by use of language. The reflection on the subject also expands to investigate the British In-yer-face Theatre (Sarah Kane) and its ramifications on Quebec’s contemporary theatre by demonstrating its broad knowledge as proven by the play. Consequently, the young playwright’s invented language offers a counterpoint to contemporary cynicism and imposes a rich language conscious of its history.

No description available.

Cette thèse se présente comme une enquête : elle constate tout d’abord l’existence, sur les scènes contemporaines (XXe-XXIe siècles), de personnages de bonimenteurs et d’une référence récurrente à un art du bonimenteur. Que charrie cet imaginaire ? Comment s’est constituée cette figure fictive, qui s’ancre néanmoins dans une histoire concrète ? En quoi les particularités du dispositif oral du boniment ont-elles pu contribuer à la pérenniser ? Notre recherche s’est organisée selon une double enquête historique : sur ce qui a constitué, au XIXe siècle, l’art du boniment, et sur l’entrée du boniment dans la fiction, notamment grâce à une artification partielle datant elle aussi du XIXe siècle. L'examen de la transition entre une fonction théâtrale précisément située dans le temps et une fonction dramatique active sur les scènes et les écrans modernes met au jour les spécificités du bonimenteur, qui, du fait de sa position entre salle et scène et entre son et image, semble créer un geste théâtral particulier.Cette enquête nous conduit ainsi à voir dans le bonimenteur une figure qui interroge le rapport du théâtre à l’oralité et à son histoire. Qui pourrait incarner en somme une autre image du théâtre, reposant sur la force d’un oral performé. / This thesis was written as an investigation. It first focuses on the presence on contemporary stages (20th and 21st centuries) of characters commonly known as bonimenteurs and the recurrent reference to the art of boniment. What does this imaginary world convey? How was this fictional figure constructed and how is it rooted in a tangible history? And how have certain specific oral codes used in boniment contributed to its historical durability? Our research was developed around a dual historical investigation. It examines what constituted the art of boniment throughout the 19th century, while also considering the introduction of boniment into fiction, due in part to a partial shift into an art form also observed in the 19th century. The study of the transition between a theatrical function precisely defined in a historical timeline and an active dramatic function on stage and modern screens highlights the specificities of the bonimenteur. Thanks to his or her position between room and stage, sound and image, the bonimenteur seems to create a specific dramatic gesture.This work also leads us to consider the bonimenteur as a figure questioning theatre’s relationship with orality and its history, which may embody another representation of theater based on the power of orality as performance.

Esta dissertação apresenta dados e discussões oriundos de uma experiência coletiva de pesquisa cujo objetivo maior consistiu em articular as bases curriculares da alfabetização no ensino fundamental de nove anos. A partir da transição histórica e política ocorrida pela Lei 11.274/1996, na qual o ensino fundamental passou a ter um ano a mais de duração e a receber as crianças que anteriormente eram atendidas na educação infantil, uma nova configuração se fez necessária. Demonstramos ao longo do trabalho a necessidade de: 1. Um plano que considere as transições (seja entre anos ou entre ciclos) e que sustente as continuidades; 2. Assumir, a partir do ano de ingresso no ensino fundamental, a perspectiva do regime de ciclo, definindo responsabilidades, objetivos e estratégias articuladas a partir de um trabalho em equipe; 3. Aprofundar conhecimentos que permitam considerar os aspectos mais subjetivos da relação educativa, considerando sempre a infância em seu encantamento lúdico; 4. Estabelecer uma relação dinâmica e produtiva entre oralidade e escrita, entre língua e literatura; 5. Dar maior precisão ao manejo da heterogeneidade desde a série de ingresso enfatizando o acompanhamento de singularidades e diferenças como forma de resolver o problema dos desníveis em alfabetização. A perspectiva teórica parte da articulação de várias áreas e temas do conhecimento: a história da escrita; pesquisa sobre oralidade ou cultura oral em tensão com a escrita; a psicanálise e a educação. Pretendemos, a partir das experiências e reflexões apresentadas nesse trabalho, contribuir para as políticas públicas enfatizando a grande relevância do ensino da escrita e da leitura nas séries iniciais do ensino fundamental. Ao longo dessas experiências, constatamos que, para formar leitores e escritores de bom nível na escola pública brasileira, precisamos de um modelo de trabalho coletivo mais complexo, capaz de exercer um manejo pedagógico detalhado, e ampliamos nossa consciência de que nossas buscas metodológicas, nossas experiências e nossos esforços coletivos em torno da heterogeneidade, apesar de consistentes e relevantes, só poderão ser sustentados a partir de uma reorganização do trabalho escolar que insista em fazer da alfabetização e da leitura uma verdadeira prioridade. / This dissertation presents data and discussions originated from a collective research experience whose main objective was to articulate the basis of the alphabetization curriculum in the nine grades elementary education. From the historical and political transition brought by Law 11.274/1996, in which the elementary school came to have one more year in its duration and began receiving children who were previously attended in kindergarten, a new configuration was needed. We have demonstrated throughout the work the need to: 1. Implement a plan that considers the transitions (either between grades or between cycles) and sustain the continuities; 2. Assume, from the year of entry into elementary school, the perspective of the cycle regime, defining responsibilities, goals and strategies articulated within a team effort; 3. Deepen the knowledge that allow us to consider the most subjective aspects of the education, always taking into considerations the childhood in its ludic enchantment; 4. Establish a dynamic and productive relationship between orality and literacy, between language and literature; 5. Give greater accuracy to the management of heterogeneity starting from the entry grade, emphasizing the tracking of singularities and differences as a way to solve the problem of gaps in literacy. The theoretical perspective comes from the articulation of several areas and themes of knowledge: history of writing; research on orality or oral culture in tension with writing; psychoanalysis and education. We intend, from the experiences and reflections presented in this work, contribute to public policies emphasizing the great importance of writing and reading instruction in the early grades of elementary school. Throughout these experiments, we found that, to form readers and writers of good level in Brazilian public schools, we need a more complex collective working model, able to exercise a detailed pedagogical handling, and increase our awareness that our methodological pursuits, our experiences and our collective efforts around the heterogeneity, although consistent and relevant, can only be sustained from a reorganization of the work in school which insists on making literacy and reading a real priority.

Ce travail interroge les relations entre langue écrite et langue orale et les effets de la représentation de l’oralité et du dialecte dans l’écriture littéraire. Plus spécifiquement, il établit un cadre théorique d’analyse stylistique permettant de faire émerger la poétique du parler populaire dans l’œuvre de Barrytown de Roddy Doyle. Cette étude s’articule autour de trois chapitres. Les deux premiers sont à visée théorique, et ont pour objectif de mettre en place les outils stylistiques, linguistiques et littéraires à partir desquels l’étude du corpus est abordée. Ainsi, après un retour diachronique et synchronique sur les rapports qu’entretiennent les deux media de communication orale et écrite, nous établissons un cadre d’analyse stylistique de la représentation de l’oralité et du dialecte dans la littérature. Nous étudions ensuite cette problématique plus spécifiquement dans le contexte irlandais, puisque la littérature et la culture irlandaises sont marquées par un la tradition orale. Cela nous conduit à une description détaillée du dialecte anglais-irlandais sous l’angle de la grammaire, du lexique et de l’accent. Nous abordons enfin les effets de la représentation de l’oralité et de l’irlandité dans l’œuvre barrytownienne de Roddy Doyle et faisons émerger la poétique du parler populaire qui l’anime. / This study focuses on the relations between spoken and written language and on the effects created by the representation of orality and dialect in literary writing. More specifically, it proposes a theoretical framework of stylistic analysis which allows for the study of the poetics of popular language in Roddy Doyle’s Barrytown novels. This study is divided into three chapters. The first two chapters aim to define the stylistic, linguistic and literary tools that are used in the third chapter in order to carry out the corpus analysis. This study starts with a diachronic and a synchronic overview of the relationship between the oral and written media of communication. A workable framework for the stylistic analysis of the representation of orality and dialect in literature is then established. The second chapter considers this issue in an Irish context. Indeed, a strong oral tradition has always been present in Ireland and its impact is still felt in literature and culture. The linguistic situation in Ireland is studied from the point of view of grammar, lexicon and accent. Finally, the third chapter applies the framework previously presented and explores the effects created by the representation of orality and Irishness in Roddy Doyle’s Barrytown novels. It finally exposes the poetics of popular language.