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.

Este trabalho trata da trajetória de um intelectual e político do Níger, uma das colônias da então chamada África Ocidental Francesa, ao longo do século XX. Interessado pelas culturas de povos que compunham aquela região do continente, Boubou Hama trabalhou arduamente pela coleta e salvaguarda de costumes e tradições de modo a preservar e divulgar aquele arcabouço cultural. A partir da aproximação de algumas de suas obras escritas, buscamos investigar seus projetos político-intelectuais e relacioná-los à produção de uma coletânea em especial, intitulada Contes et légendes du Niger [Contos e lendas do Níger]. Tanto durante o período colonial quanto após a independência nigerina, que se deu em 1960, Boubou Hama procurou fazer com que a África conhecesse seus próprios valores e concepções de mundo. Para ele, a preservação da cultura compunha um passo chave para o que idealizava em relação ao futuro do Níger e do continente africano como um todo. / This thesis broaches the trajectory of a Nigerien intellectual and politician throughout the 20th century. Boubou Hama was a man deeply interested in the cultures of West African peoples. He worked hard to collect and safeguard costumes and traditions, so that the African past and present culture could be kept alive. Through the reading of some of his books, I aim to investigate his political-intellectual projects and relate them to one piece in particular, entitled Contes et légendes du Niger [Tales and legends of Niger]. During French colonial rule, as well as after Nigerien independence (1960), Boubou Hama channelized his struggle and actions to the spread of knowledge about African values and worldviews. For him, the preservation of culture was a key step in the plan he envisaged for Nigers future and for Africa as a whole.

Este trabalho trata da trajetória de um intelectual e político do Níger, uma das colônias da então chamada África Ocidental Francesa, ao longo do século XX. Interessado pelas culturas de povos que compunham aquela região do continente, Boubou Hama trabalhou arduamente pela coleta e salvaguarda de costumes e tradições de modo a preservar e divulgar aquele arcabouço cultural. A partir da aproximação de algumas de suas obras escritas, buscamos investigar seus projetos político-intelectuais e relacioná-los à produção de uma coletânea em especial, intitulada Contes et légendes du Niger [Contos e lendas do Níger]. Tanto durante o período colonial quanto após a independência nigerina, que se deu em 1960, Boubou Hama procurou fazer com que a África conhecesse seus próprios valores e concepções de mundo. Para ele, a preservação da cultura compunha um passo chave para o que idealizava em relação ao futuro do Níger e do continente africano como um todo. / This thesis broaches the trajectory of a Nigerien intellectual and politician throughout the 20th century. Boubou Hama was a man deeply interested in the cultures of West African peoples. He worked hard to collect and safeguard costumes and traditions, so that the African past and present culture could be kept alive. Through the reading of some of his books, I aim to investigate his political-intellectual projects and relate them to one piece in particular, entitled Contes et légendes du Niger [Tales and legends of Niger]. During French colonial rule, as well as after Nigerien independence (1960), Boubou Hama channelized his struggle and actions to the spread of knowledge about African values and worldviews. For him, the preservation of culture was a key step in the plan he envisaged for Nigers future and for Africa as a whole.

This thesis examines three genres of the oral heritage of the Neo-Aramaic-speaking Jewish community of Zakho, Kurdistan: the proverb, the enriched biblical narrative, and the folktale. During the past three decades, there has been a renewed interest in research on Neo-Aramaic, and a substantial growth of research in the field has been seen. However, the contemporary study of Neo-Aramaic has been focused almost exclusively on linguistic description and analysis. Content-based aspects of the study of the language and its cultures have received very little attention. This thesis is a first step towards filling this gap. The introduction to the thesis provides background information about the Jewish community of Zakho and about the Neo-Aramaic subgroup to which the Jewish Zakho dialect belongs, North-Eastern Neo-Aramaic (NENA). It then gives a brief review of relevant aspects of the study of folklore, before providing a description of the database of audio recordings upon which this thesis is based. The first chapter presents several approaches to the study of the proverb (paremiology). It is argued that an important component for the understanding and analysis of proverbs, one that is often overlooked, is the context of each proverb. The second chapter analyses an example of the genre of enriched biblical narrative through the lens of a concept taken from the field of thematology: the motifeme - a small meaning-bearing contextual-structural unit of the narrative. It demonstrates the non-linear historical development of the sequence of motifemes in the narrative analysed here, a feature which is particularly typical of Jewish narratives. The folktale is a genre central to the formation and maintenance of the Jewish Zakho communal identity, and the third chapter contains a detailed analysis of one particular folktale. The folktale chosen for analysis in this chapter features a cross-culturally uncommon motif: the motif of magical gender transformation. The NENA materials contained in this thesis are transcribed and translated into English. They are drawn from a database of recordings of members of the Zakho community living now mainly in Jerusalem, and were collected in the course of fieldwork undertaken by the author.

Made available in DSpace on 2015-05-14T12:39:30Z (GMT). No. of bitstreams: 1 ArquivoTotal.pdf: 7122104 bytes, checksum: 4ed303fae9f362bd294ee74baffd8ace (MD5) Previous issue date: 2011-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study aims to record and study the memory of Repente Singing in São José do Egito-PE The Immortal Cradle of Poetry, a town in the microregion Valley of Pajeú. The singing was discussed in the context of oral literature, removing it from the involucre of folk literature, conventionally taken as the basis for categorizing this art of northeast repente. A critical theoretical route has been traced about Memory, Orality and Identity and also about the origin, the context, the singer and modality of the singing universe. Thereafter, the memory and poetry of São José do Egito have been analyzed through the speeches and poems collected in the interviews. As a result, we realized how much poetry, not just the improvised one, but also the bancada one, is respected and admired in the region, revealing cultural values and identity of the people. It has been found out a variation in many memorized verses. This proves the direct influence of orality, which does not mean that these texts are to be taxed as folklore or without poetic value. On the contrary, it reveals the existence of the poetic vein, the reciter himself, he feels no difficulty in modifying the verses, instead, creates new verses, which justifies a view of poetry in traditionalization. Thus, there is an oral poetic collection in the city which persists in the memory of that people that quite often is transformed by the reciter. Finally, we understand that in São José do Egito, poetry is a kind of "their daily bread", allowing the creation of a new way of treatment among citizens that is the term poet. / Este trabalho tem como objetivo registrar e estudar a memória da Cantoria de Repente em São José do Egito-PE O Berço Imortal da Poesia, cidade situada na microrregião do Vale do Pajeú. Foi discutida a cantoria no contexto da literatura oral, retirando-a do invólucro da literatura folclórica, convencionalmente adotada como base para categorizar essa arte do repente nordestino. Foi traçado um percurso teórico crítico sobre Memória, Oralidade e Identidade e também sobre a origem, o contexto, o cantador e modalidades do universo da cantoria. A partir daí, foi analisada a memória e produção poética de São José do Egito, através dos discursos e versos colhidos nas entrevistas. Como resultado, percebemos o quanto a poesia, não apenas a de improviso, como também a de bancada, é respeitada e admirada naquela região, revelando valores culturais e identitários do povo. Descobriu-se, ainda, variação em muitos versos memorizados. Isso comprova a influência direta da oralidade, o que não significa que esses textos devam ser taxados como folclóricos ou sem valor poético. Muito pelo contrário, isso revela a existência da veia poética, no próprio declamador, que não sente dificuldade em modificar os versos, ao contrário, cria novos versos, o que justifica uma poesia em vista de tradicionalização. Existe, assim, na cidade um acervo poético oral que persiste na memória daquele povo e muitas vezes é transformado pelo fazer do declamador. Por fim, compreendemos que em São José do Egito, a poesia é uma espécie de Pão nosso de cada dia , permitindo a criação de uma nova forma de tratamento entre os concidadãos que é o termo poeta.

Made available in DSpace on 2014-12-17T15:07:10Z (GMT). No. of bitstreams: 1 ValdirMS_DISSERT.pdf: 1165784 bytes, checksum: e09c8ae650aaf09bf77116ad1c4e2f7f (MD5) Previous issue date: 2014-01-28 / This current study consists in an analysis of the work Contos de enganar a morte (2004), of the novelist, illustrator and researcher of popular culture Ricardo Azevedo, aiming to highlight aspects and elements present in this work which show the update and the permanence of traditional popular narratives, widespread by orality, especially those collected by the Lu?s da C?mara Cascudo in Literatura oral no Brasil (1984), linked to the category of the Cycle of the Death and Tales of the Deceived Demon. It is argued that the symbolic, playful, humor and aspects of orality, evident in these narratives are cultural possessions own of a popular tradition that diffuses, is updated and maintained by the memory of handmade anonymous narrators (BENJAMIN, 1994), poets and brazilian singers of cordel, holders of the traditional knowledge not established, but polyphonic, dialogical and democratic in essence (BAKHTIN, 1996). Still, alongside the people who know and counts the stories of Trancoso and Fairies, the tale, as a written literary genre, has allowed to maintain outstanding the same subjects successively renewed, enabling the resistance of popular narrative tradition and understanding and appreciation of popular orality (ZUMTHOR, 1993; 2000) and of the updates performed in the contemporarity (CANDIDO, 1976), without losing sight of the singularity and autonomy of the literary work / O presente estudo consiste em an?lise comparativa objetivando ressaltar a atualiza??o e a perman?ncia entre narrativas populares tradicionais, pr?prias da tradi??o oral, em especial as coligidas por Lu?s da C?mara Cascudo, em Literatura oral no Brasil (1984), vinculadas ? categoria dos Contos de Dem?nio Logrado e do Ciclo da Morte, e os Contos de enganar a morte (2004), do ficcionista, ilustrador e pesquisador de cultura popular Ricardo Azevedo. Nesta obra, tra?os e motivos recorrentes nas narrativas orais est?o vivos e duradouros, evidenciando a perman?ncia das narrativas tradicionais, difundidas na Idade M?dia (SARAIVA, 1996; DUBY, 1988; 1990), atualizadas na contemporaneidade especialmente pelo g?nero liter?rio conto. Defende-se que o car?ter simb?lico, l?dico e o humor inerentes a essas narrativas orais (ZUMTHOR, 1993; BURKE, 2010) s?o bens culturais pr?prios de uma tradi??o popular que se difunde, se atualiza e se mant?m pela mem?ria (BOSI, 2006; BRANDAO, 2008) de narradores artesanais an?nimos (BENJAMIN, 1994), poetas e cantores de cordel (FERREIRA, 1979) ainda existentes nos rec?nditos dos sert?es brasileiros, detentores de um saber tradicional n?o institu?do, mas polif?nico, dial?gico e democr?tico em ess?ncia (COELHO, 1991, 2003; TURCHI, 2004; BAKHTIN, 1996). Boa parte dessas narrativas que t?m se tornado cl?ssicos catalogados como Literatura Infantil s?o maravilhas nascidas na boca do povo e muito ap?s ? que se popularizaram em adapta??es do mercado liter?rio (COELHO, 1991; BENJAMIN, 1994). Al?m disso, ao lado do povo que sabe e ainda conta est?rias de Trancoso e de Fadas, o g?nero liter?rio conto tem podido manter em circula??o os mesmos assuntos sucessivamente renovados (CASCUDO, 1984), possibilitando o resgate da narrativa oral tradicional, bem como a compreens?o e valoriza??o tanto da tradi??o popular oral quanto da renova??o imposta por nosso tempo, perenizando-se a concep??o est?tica filtrada por elementos sociais sincr?nicos e diacr?nicos (C?NDIDO, 1976), sem perder de vista a singularidade e a autonomia da obra liter?ria

Qu’elle soit concrète ou symbolique, la souillure, dont témoignent certaines vieilles femmes, est le résultat d’une assignation familiale, sociale et historique. Une force de vie particulière leur a fait assumer la place de l’Autre, provoquant un phénomène d’attraction collective. Voir cette vieille femme, la sentir, la toucher, la rencontrer dans son lieu et l’écouter s’inscrit dans l’ordre des expériences initiatiques que la société de Progrès ne ritualise plus, mais que le quotidien préserve en réponse à une nécessité intime, mythique et collective. Par miroitements, ces femmes ont incarné les multiples facettes du personnage de la vieille dans la littérature orale où s’imposent l’éthique et la quête de dignité. Raconter « les affaires du pays », dans le Morvan du XXe et du XXIe siècles, en parlant patois et en évoquant avec précaution la Vieille Femme construit un îlot de résistance au récit dominant, un espace collectif de libération et en même temps un dérivatif permettant d’accepter l’Histoire. / Whether real or symbolic, the stained image displayed by some unclean old women is the result of a historic, social and family-set assignment. The singular strength of character shown by these women has placed them in the position of being perceived as 'the Other', bringing about a phenomenon of group attraction. Seeing the old woman, sensing her smell, touching her, meeting her at her home and listening to her: these are experiences like rites of passage, that modern society does not provide anymore. But these experiences are still present in our everyday life as a response to an intimate, mythical and societal need. Like a mirror, these women have embodied the multiple aspects of the ‘old woman’, as a character found in oral literature where ethics and the search for dignity are essential. Talking about "local matters", in Morvan of 20th -21st, speaking in regional language (patois) and in gentle terms about these old women so different from ourselves, creates a platform of resistance against dominant references and constitutes a collective way to feel free and a helpful diversion to be able to accept History.

Spoken Word poetry in South Africa is understood as a genre of poetry which encompasses elements of textuality, musicality and performance, and is currently produced and frequented predominantly by a young, black public, according to Molebatsi and D’Abdon (2007). By means of ethnography, content analysis, and interviews with thirteen poets, this study demonstrates that the genre is used for expressing the life experiences of artists and their communities (Sole, 2008), as well as narrating social ills and concerns, including political, religious and other social experiences. In this sense, it is argued that Spoken Word may be termed as being a contemporary form of liberation politics (Judge, 1993) that is employed to serve a social function beyond directly political aims. This is made visible through the narratives, styles and identifications that distinguish members of this movement. This study provides a description of the scene in Pretoria and Johannesburg, drawing out various features of the movement. The social and political significance of the movement is presented by emphasising the poets’ perspectives on the Spoken Word movement, and engaging in a thematic content analysis of poems under the themes race and politics, gender and sexuality, and religion. International literature is engaged to demonstrate differences and similarities between South Africa’s Spoken Word scene and that of the USA by consulting works of scholars such as Weber (1999), Bruce & Davis (2000) and Hoffman (2001). It is demonstrated that similar to the genre in the USA, South African Spoken Word stresses performance to be an important distinguisher of this type of poetry. Also, in both contexts this art form has links to identity politics of previously marginalized groups. The study presents a similar finding to D’Abdon’s (2014) argument that the narratives presented in the post-apartheid Spoken Word movement greatly reflect Black Consciousness ideology, yet also importantly stresses that the movement also presents discontinuities with this discourse, allowing for a much broader array of narrative to permeate the performance poetry scene. This study makes an additional contribution to the existing literature through its key findings. Firstly, the study argues that although there has been a significant increase of women into the scene, Spoken Word remains a gendered space. Secondly, this study demonstrates that narratives produced by this movement contribute to experiences of community, but also play an exclusionary role to certain groups. Finally, the study illustrates that poets of the present day Spoken Word scene have begun a move towards commercialisation of the art form, subsequently also aiming for the valuation of African literature. In essence, it is argued that the present day Spoken Word poetry movement has great social and cultural value, and presents great potential of being a vehicle through which political and social consciousness can be both created and sustained. Key words: Spoken Word, poetry, South Africa, oral literature, slam, open mic, post-apartheid, literature, narratives, Black Consciousness, politics, social change, art, liberation poetry, liberation politics, culture, hip-hop, conscious art, resistant political art / Dissertation (MSocSci)--University of Pretoria, 2015. / Sociology / Unrestricted

This study explores two ancient approaches to spirituality, together with the cultural contexts in which they developed. Spirituality is a popular concept today among people of widely differing religious traditions, and among those who espouse no religious tradition. Spirituality defines the way in which people relate to what concerns them ultimately, and ways in which this concern is manifested in their daily lives. This popular interest has resulted in the rise of spirituality as an academic discipline. An in-depth study of Celtic and African Spirituality is presented in this study. Celtic Spirituality dates from the fifth century CE onwards, whereas African Spirituality predates written history. Few examples of African Spirituality are recorded in writing before the twentieth century, although some have existed for centuries in oral form. Many Celtic poems, and other examples of traditional oral literature were collected and recorded in writing by medieval monks, and thus preserved for later generations in writing. Both Celtic and African Spiritualities have a healthy, integrated approach to the material world and to the spiritual world. They acknowledge a constant interaction between the two realms, and do not dismiss or devalue either the physical or the spiritual. Art and oral literature also play an important role in enabling communication and expression of ideas. Power and powerlessness emerges as a dominant theme in African thought and spirituality, especially where African peoples perceive themselves to be powerless politically or economically. Areas of relevance of Celtic and African Spiritualities to the life of the church today are identified and discussed, such as ecological spirituality; oral and symbolic communication; the role of women in church and society; and the theme of power. These are areas from which the world-wide church has much to learn from both Celtic and African Spiritualities. The findings of this study are then discussed in terms of their relevance and helpfulness to church and society. Insights from Celtic and African spiritualities should be used in the future to deepen devotional life of individual Christians and of congregations, and ideas such as ecological responsibility and recognition of the value and gifts of women should permeate the teaching and practice of the church in the future. / Religious Studies & Arabic Studies / D. Th.(Religious Studies & Arabic Studies)

While over the years stakeholders such as publishers and academics have taken a keen interest in research into writing and publishing, they have been less concerned about research into indigenous children‟s literature. In this thesis a comprehensive examination of children‟s literature in the indigenous African languages of South Africa and in Zulu in particular, is presented. Qualitative research methods have been applied, using questionnaires and interviews to gain first-hand knowledge of problems and possible solutions to the dearth of original children‟s literature in the indigenous languages. The data obtained in this regard has proved invaluable to the researcher and, hopefully, will be so to others in the future. Oral folktales narrated before the influence of the missionaries qualify as children‟s literature. The transition from the oral performance of these folktales to the reading of written children‟s texts is discussed in detail. This is achieved by considering the milieu, themes, content, functions and values of this children‟s literature. The discussion of imilolozelo (lullabies) and izilandelo/izidlaliso (game songs) presents the genre of children‟s traditional oral poetry as a form of performance based not only on narrative but also on songs and/or chants interspersed with rhythmical movements to relay their message. Zulu school readers as modern literature for children are also examined by tracing their background and the development of original Zulu children‟s written literature since it was first recorded by the missionaries. Contents and themes of these early readers, dating from the 1800s, are examined and compared with a series of graded readers published in 1962 by C.L.S. Nyembezi. The sixth chapter of the thesis investigates Zulu children‟s picture books as contemporary literature. Various types of picture books and their functions are discussed. Research findings point to an urgent need for the training of African authors in the writing of age-appropriate books in indigenous African languages. Lastly, the study proves that it is feasible to regard traditional oral and modern indigenous texts as children‟s literature. / D. Litt. et Phil. (African Languages)