Sahrawi communities in the Western Saharan region of northwest Africa have experienced a series of radical shifts over the past century from decentralized nomadic tribal organization to colonial rule under the Spanish Sahara (1884-1975) and annexation by Morocco and Mauritania in 1975. The international dispute over the future of the Western Sahara remains unresolved between the Moroccan government that administers the territory and the Sahrawi opposition that seeks self-determination under the leadership of the Polisario Front. In this context, this dissertation explores the lived experience and social memory of Sahrawis affected by conflict, diaspora, and urbanization over the past thirty-five years by examining multivocal expressions of ethnic and gender identity, nationalism, and citizenship in personal narratives and oral poetry in Hassaniyya Arabic. Through modes of everyday speech and verbal performances, Sahrawis living in the undisputed region of Morocco and the disputed Western Sahara exhibit varying political allegiances linked to tribal and national affiliations and political economic factors. Pro-independence activists negotiate public and clandestine aspirations for an independent state with the realities of living under Moroccan administration while refugees in Algeria employ performance genres to appeal for political and humanitarian support in the international community and maintain communication in the Sahrawi diaspora. Intergenerational perspectives between Sahrawis born before and after the 1975 cleavage reveal key divergences between the older generation that retains an active memory of nomadic livelihoods and pre-national tribal organization, the middle generation affected by a massive shift to urban residence and compulsory postcolonial nationalism, and the younger generation raised primarily in urban environments and refugee camps. Across generations, Sahrawi women have retained a prominent role in maintaining tribal and family ties and serving as leaders in nationalist and social movements.

Magister Educationis - MEd / This study endeavoured to gauge the impact of globalization on the intergenerational diffusion of oral literature and its pedagogic role in Namibia. The study also sought to highlight the contribution of oral literature and its pedagogic value in addressing the aims and objectives of the Namibian education system in regard to the training of learners to acquire the skills, knowledge, attitudes and values needed for them to become effective and valuable members of society. The theoretical framework that underpins the study, the functionalist approach, foregrounds the functional values of social systems and structures. Oral heritage is seen as having various societal functions, pre-eminently that of moulding, educating and shaping young people to be functional members of the society (Finnegan, 1970). The aims of this study were pursued through a case study of two educational contexts in the Zambezi (formerly Caprivi) region of north-east Namibia. The inquiry in the formal educational setting was done in four schools, while that into the non-formal educational setting took place in four rural villages. The latter were crucial in the study in that they were home to research subjects who possessed valuable insights into the pedagogic role of oral literature as a form of community based education. The four schools were purposefully selected for offering Silozi, a lingua franca in Zambezi region, as a first language subject

Esta dissertação dedica-se ao estudo da persuasão nos discursos proferidos por Odisseu no canto XIV da Odisseia, levando em consideração a interação de três elementos:o orador, o auditório e a argumentação. É seu objetivo refletir sobre qual tese Odisseu busca compartilhar com seu público, Eumeu, e as estratégias de que se vale para atingir esse fim. / This dissertation is a study about the persuasion in Odysseus´ speeches in Odyssey XIV, observing three elements: the orator, the audience and the argumentation. My target is make a reflection about what idea Odysseus wants to share with his audience, Eumaios, and the strategies to do it.

Sá (2012, p. 23) considera que na cultura amazônica o mundo não foi criado de uma só vez, mas sim a partir de gêneses múltiplas, sonhos e contínuas metamorfoses. Este trabalho propõe um estudo das metamorfoses presentes em Poranduba amazonense (1890), de Barbosa Rodrigues, em que o autor coleta, transcreve e traduz relatos da literatura oral da Amazônia do século XIX. Discute-se incialmente algumas acepções do conceito de literatura para a defesa do estudo sobre literatura oral, da qual as porandubas fazem parte. São explorados também o uso de termos como mito, lenda e conto articulando as definições nem sempre consonantes de Câmara Cascudo (2006), Jolles (1972) e outros. A apresentação da Morfologia dos contos indígenas norte-americanos de Alan Dundes (1996), desenvolvida a partir dos trabalhos de Vladmir Propp e Keneth Pike, faz-se útil na medida em que será utilizada também como nosso aparato metodológico no estudo dos processos metamórficos em dezenove narrativas. O modelo de Dundes aplicado às narrativas estudadas mostra-se eficaz ao evidenciar que elas não são desprovidas de estrutura e organização. Contudo, argumenta-se que, para analisar as metamorfoses do nosso corpus, é proveitoso fazer uso da função F proppiana. Questionamos se, ao adaptar a morfologia de Propp, Dundes não a teria reduzido em demasia por supor os textos indígenas menos complexos. / Sá (2012, p. 23) considers that in the Amazon culture the world was not created all at once, but rather \"from multiple genesis, dreams and continuous metamorphosis\". This masters thesis proposes a study of metamorphoses present in Poranduba amazonense (1890), by Barbosa Rodrigues, in which the author collects, transcribes and translates reports of oral literature from the nineteenth-century Amazon. Initially, it discusses a few meanings of literature concept in defense of the study into oral literature, which porandubas belong to. Also is explored the use of terms such as myth, legend and folktale linking the definitions - not always consonants - of Cascudo (2006), Jolles (1972) and others. The presentation of \"The Morphology of North American Indian Folktales\", by Alan Dundes (1996), developed from the work of Vladimir Propp and Kenneth Pike, it is useful insofar as it will also be applied as methodological apparatus in the study of metamorphic processes in nineteen narratives. The Dundes model employed to the studied narratives proves itself effective by showing that they are not devoid of structure and organization. However, it is argued that, to analyze the metamorphoses of our corpus, is beneficial to make use of the Propps function F. Wonder whether, by adapting the morphology of Propp, Dundes would not have diminished it excessively for assuming the less complex indigenous texts.

O presente trabalho propõe-se a entender a conceituação, bem como as principais características, do mukashi-banashi japonês, gênero que no ocidente corresponde aos contos folclóricos, por meio da análise dos elementos que o constituem. Examinamos fatores históricos de origem e apogeu dos estudos de mukashi-banashi no Japão e também pesquisas do gênero no Brasil. Nosso objetivo foi realizar um levantamento da conceituação do mukashi-banashi, sobretudo com base nos trabalhos de pesquisadores japoneses, e, a partir disso, compreender de modo global a definição do gênero. Nossa análise das narrativas selecionadas como corpus foi realizada tendo em vista as características sistematizadas principalmente por Kôji Inada (2010), como keishikiku, progressão da narrativa e caracterização de personagens, entre outras / This study aims to understand the conceptualization, as well as the main characteristics, of the Japanese mukashi-banashi, a genre which in the West corresponds to the folktales, by analyzing the elements that constitute it. Through the historical factors analysis, it was examined the origin and the apogee of the mukashi-banashis studies in Japan and researches of this genre in Brazil. Our goal was to survey the conceptualization of mukashi-banashi mainly based on the work of Japanese researchers and, from that, to understand holistically the genres definition. Our analysis of the narratives selected as corpus was done in view of the characteristics systematized mainly by Kôji Inada (2010), such as keishikiku, narratives progression, and characters characterization, among others

For years, critics have used Black writers' interweaving of African-derived oral textual features and European written forms to reject the concept of the Great Divide between orality and writing in literacy studies. These critics primarily see the hybridized texts of writers of African descent as a model that assists in the complex union of writing and orality. My argument is that the integrationist model is not the only way, perhaps not even the most fruitful way, to read the hybridized texts of writers of African descent. I develop a reading of Anglophone African, African-Caribbean, and African-Canadian literature that sees the synthesis of orality and writing as an emergent discourse, free of the dogmatisms of textuality and of colonial literary standards, that contributes to the cultural and political aspirations of writers of African descent. In transcribing African-derived orality into writing, Black writers emphasize the ethnic component of their African identity, thereby decolonizing their literature. Consequently, the literature functions as locus or epitome of community-created culture and counter-colonial discourse, portraying the Black writer as a self-assertive community agent with the potential for forging a new historically informed identity. My introduction identifies the scope of the study, defining what constitutes African-derived oral textual features and outlining the critical theories that will be instrumental to my analysis. I also explain why I selected the writers Wole Soyinka (African), Edward Kamau Brathwaite, Louise Bennett (African-Caribbean), Lillian Allen, Marlene Nourbese Philip, and Clifton Joseph (African-Canadian) as examples of writers who have utilized orality in writing as political and cultural expression. Chapter One provides a background to pre-colonial African oral discourse. Chapters Two, Three, and Four respectively focus on Anglophone African, African Caribbean, and African Canadian poets' uses of orality in writing to reflect an eclectic cultural heritage. A brief conclusion follows these chapters. It reaffirms my primary thesis that the dynamic union of orality and writing in Anglophone African, African-Caribbean, and African-Canadian written poetry functions as the expression of a new kind of cultural and political discourse, in search of a new audience and a critical approach that requires both Africanist and European critical perspectives.

The 1990s saw a climax of literature representations in what Ong called the secondary orality, particularly in film, television, and radio; for instance, the film industry produced a number of adaptations of novels that had been accepted into the American literary canon, while television and radio marketed literature through book clubs and literary shows. All these literary productions mediated through film, radio, and television are referred to in this study as mediatized literature. The argument of this dissertation is that 1990s U.S. mediatized literature constitutes a post-modern re-enactment of the traditional oral literature that initially emerged on U.S. territory with pre-literate populations. In support of this thesis, chapter 1 presents the features of the oral traditions of four ethnic groups, while subsequent chapters feature an application of these characteristics, or variations thereof, to literary discourses from film, television, and radio. There is a structural correlation between the oral tradition of the four ethnic groups presented in chapter 1 -- Native-American, African-American, Hispanic, and Asian -- and some of the movie adaptations discussed in chapters 2 and 3 that are based on fiction representing the same ethnic groups (Beloved for the African-American mediatized literature, The Mambo Kings for the Hispanic one, etc.). While analyzing the features common to both the oral tradition and the mediatized literature, this study makes use of four variables (authorship, audience, literary product, and literary aesthetics) and of a complex critical apparatus that includes theories of the linguistic sign, the Bakhtinian dialogic system, the Jungian concept of the collective unconsciousness, Bolter's concept of remediation, etc. Throughout this dissertation, I will argue that, in spite of the Ongian condescension vis-á-vis oral cultural messages as inferior to the written ones, and contrary to Postmanian media apprehensions and Franzenian inertia toward mediatized literature, both oral and mediatized literary messages can be classified as literature, although they may not always follow traditional aesthetic parameters embraced by canonical written literature. Chapter 5 of this dissertation presents some of the major points of the current conversation related to the acceptance of mediatized literature and of the oral tradition into the category of literature and to the complex socio-economic and literary implications of the dissemination of literature through mass media.

Cette thèse s’est assigné, comme modalités de recherches de définir les modes spécifiques d’apparition et de fonctionnement de l’épique dans la chronique historique et les chants d’exaltation en l’honneur de l’empereur Bakari II, représenté comme le « découvreur » de l’Amérique avant Colomb. Le texte est une version bilingue composée d’une transcription en langue Mandenka et d’une traduction française. En chantant ses hauts faits, le griot fait l’éloge des qualités héroïques du personnage et la nature des émotions que son audace d’aller à l’assaut des vagues de l’océan Atlantique suscite. A un texte qui se présente sous une apparence simple, une intonation épique est de la sorte attribuée même si on peut le qualifier de « néo épopée ». Certes l’épique s’imposait au regard du choix d’une esthétique d’oralité qui permet de nouer « sans artifice » l’historique, l’héroïque et le merveilleux. On retrouve là, la définition du registre épique et du style noble qui lui est associé dans la rhétorique, et qu’emprunte effectivement l’œuvre. Tout d’abord, nous avons tenté de jeter un regard sur la fondation du Mande, des origines à l’avènement de Soundjata Keïta, fondateur de l’empire et sur la composition sociale et l’organisation politique de l’empire du Mali. Cette thèse confirme, à l’instar d’autres études ethnographiques, que la société mandingue médiévale est organisée autour de trois pôles fortement hiérarchisés, endogamiques et spécialisés: les horon, les nyamakala et les jon. Avant de transcrire en langue malinké, puis les traduire en français les chants-rythmes d’éloge de Fa Bukari, nous avons revisité le cycle épique de Maghan Soundjata qui s’accompagne de la chronique de l’empereur du Mali Aboubakari II. Pour conclure, nous avons abordé les propriétés stylistiques et sémantiques qui s’articulent autour de la figure du poète épique, de la poésie formulaire, de la parole épique, de la rythmique particulière de la parole épique, sans occulter les perspectives de recherches nombreuses qui s’ouvrent dans le champ de la littérature orale, en général et sur l’épopée de Bakari II, en particulier qui contient un pan entier de domaines à explorer.. / This thesis is assigned, as the terms and conditions of research to define specific modes of appearance and operation of the epic in the historical Chronicle and the songs of exaltation in honour of Emperor Bakari II, represented as the "discoverer" of America before Columbus. The text is a bilingual version consisting of a transcript in Mandinka language and a French translation. Singing its achievements, the griot is the praise of the heroic qualities of the character and nature of the emotions aroused by his daring to go to the onslaught of the waves of the Atlantic Ocean. A text that presents itself as a simple appearance, epic intonation is assigned to it even though it can be called 'neo epic’. Certainly the epic was necessary with regard to the choice of an aesthetic of orality that allows to establish 'unadorned' history, the heroic and wonderful deeds. We have here, the definition of epic registry and noble style associated with it in the rhetoric, which is followed by the work. First of all, we have tried to look on the Foundation of the Mande, from the origins to the advent of Sundiata Keita, founder of the empire and the social composition and the political organization of the Mali Empire. This thesis confirms, along with other ethnographic studies, that medieval Mandingo society is organized around three poles strongly hierarchical, endogamous and specialised: the horon, the nyamakala and the jon. Before transcribing malinke language, then translate them into French songs-rhythms of praise of Fa Bukari, we revisited Maghan Sundiata epic cycle which is accompanied by the Chronicle of the Emperor of Mali, Aboubakari II. To conclude, we discussed stylistic and semantic properties that revolve around the figure of the epic poet, poetry form, epic speech, the special rhythmic of epic speech, without concealing the prospects of many research that open in the field of oral literature, in general and the epic of Bakari II, in particular that contains an entire domain to explore.

Esta dissertação dedica-se ao estudo da persuasão nos discursos proferidos por Odisseu no canto XIV da Odisseia, levando em consideração a interação de três elementos:o orador, o auditório e a argumentação. É seu objetivo refletir sobre qual tese Odisseu busca compartilhar com seu público, Eumeu, e as estratégias de que se vale para atingir esse fim. / This dissertation is a study about the persuasion in Odysseus´ speeches in Odyssey XIV, observing three elements: the orator, the audience and the argumentation. My target is make a reflection about what idea Odysseus wants to share with his audience, Eumaios, and the strategies to do it.

O presente trabalho propõe-se a entender a conceituação, bem como as principais características, do mukashi-banashi japonês, gênero que no ocidente corresponde aos contos folclóricos, por meio da análise dos elementos que o constituem. Examinamos fatores históricos de origem e apogeu dos estudos de mukashi-banashi no Japão e também pesquisas do gênero no Brasil. Nosso objetivo foi realizar um levantamento da conceituação do mukashi-banashi, sobretudo com base nos trabalhos de pesquisadores japoneses, e, a partir disso, compreender de modo global a definição do gênero. Nossa análise das narrativas selecionadas como corpus foi realizada tendo em vista as características sistematizadas principalmente por Kôji Inada (2010), como keishikiku, progressão da narrativa e caracterização de personagens, entre outras / This study aims to understand the conceptualization, as well as the main characteristics, of the Japanese mukashi-banashi, a genre which in the West corresponds to the folktales, by analyzing the elements that constitute it. Through the historical factors analysis, it was examined the origin and the apogee of the mukashi-banashis studies in Japan and researches of this genre in Brazil. Our goal was to survey the conceptualization of mukashi-banashi mainly based on the work of Japanese researchers and, from that, to understand holistically the genres definition. Our analysis of the narratives selected as corpus was done in view of the characteristics systematized mainly by Kôji Inada (2010), such as keishikiku, narratives progression, and characters characterization, among others