Esta pesquisa tem por objetivo estudar os aspectos da tradição oral das narrativas em língua hakitía, falada por judeus brasileiros ascendentes de marroquinos residentes em Santarém, Pará. Seriam essas narrativas veículo de manutenção e divulgação da identidade étnica do grupo que a fala, de modo a possibilitar o estabelecimento e a paridade absoluta nas diferentes circunstâncias de mudança política e social à que se submetem? Em tese, são falantes linguisticamente diferenciados, pois a língua que falam no cotidiano é diferente da portuguesa brasileira e, aparentemente, têm o predomínio da Tradição Oral nas formas de transmissão cultural. A análise foi feita a partir de narrativas orais tomadas em trabalho de campo e interpretadas à luz das propostas de BRUNER (1991); LABOV (1997) e VANSINA (1982). Acrescida da proposição de cruzamento feita pelo autor da tese. / This research aims at studying features of the traditional oral narratives of the Hakitia language, spoken by Brazilian Jews of Maroccan origin living in Santarém, Pará, Brazil. Would those narratives be a means of maintaining and promoting the ethnic identity of the community that speaks the Hakitia language in order to reassure their cultural heritage and uniqueness amongst different circumstances of political and social changes to which they have been exposed? We verify that they are speakers linguistically differentiated, since their daily language is different from the Portuguese spoken in Brazil, and, apparently, they rely heavily on the Oral Tradition to hand on their culture. Firstly, the analysis was carried out based on oral narratives collected by means of field research, and interpreted in the light of theories formulated by BRUNER (1991); LABOV (1997); and VANSINA (1982). Secondly, the analysis was enriched by the contributions of the researcher of this thesis after carefully crossing the data and their theoretical underpinnings.

Nesta dissertação propomo-nos a fazer o levantamento toponímico das denominações da zona rural do município de São João Batista do Glória/MG, resgatando sua história social e a memória oral contida na toponímia da localidade. A pesquisa inicial foi realizada através do Mapa Rodoviário Municipal, elaborado em dezembro de 1999, em escala 1:50.000, que apresenta a zona rural do município de maneira bem detalhada, configurada por nove regiões e trinta e uma microrregiões, no qual identificamos 177 topônimos que representam, além das próprias regiões e microrregiões, as denominações da bacia hidrográfica, com seu rio, córregos, ribeirões e cachoeiras, além das serras e outros acidentes físicos e humanos, como as pontes e pousadas. Para completar o levantamento, fizemos pesquisa bibliográfica e de campo, onde procuramos investigar a motivação toponímica a partir da evolução históricosocial e de dados culturais que marcam a toponímia da região desde o século XVIII. Analisamos documentação cartográfica, documentos pessoais e do acervo cartorial. As informações obtidas em entrevistas realizadas com informantes, previamente selecionados, reforçaram a tradição oral como fonte preciosa para o resgate histórico e análise do comportamento lingüístico-toponímico do homem local. O presente trabalho está inserido no ATB Atlas Toponímico do Brasil Diversidade e Variedades Regionais (Dick, 1996) / In this dissertation we indented to do a toponymycal survey of rural area denominations of São João Batista do Glória city, MG, recovering its social history and oral memory contained in the locality toponymy. The initial research was done via municipal road map dated December 1999 using the scale 1:50.000 that shows the county in detail, composed by nine regions and thirty one micro regions, in which we identified 177 toponymies that represent, besides the own regions and micro regions, the denominations of the hydro basin, with its rivers, streams, brooks and waterfalls as well as hills and other physical irregurities and human modifications such as bridges and inns. To end up the survey, we have researched literature and conducted a field research as well in order to investigate the topomycal motivation of the social-historical evolution and of cultural data that mark the region topomyny since the 18th century. We analyzed cartographical documentation, personal documents and ones from cartorial acquis. The obtained information from interview held with speakers previously selected strengthened the oral tradition as precious source for historical recovery and analysis of toponymic-language behaviour of local people. This work is inserted in the ATB Atlas toponímico do Brasil - Diversidade e Variedades Regionais (Dick, 1996) (Brazil toponymic atlas Regional Diversities and Varierities)

O romance Les soleils des Indépendances, de Ahmadou Kourouma suscitou inúmeros estudos críticos desde sua publicação, em 1968, pelas Presses Universitaires du Canada. A despeito da orientação temática ou ideológica dos autores, o romance negro-africano reflete, freqüentemente, os conflitos gerados pela imposição da cultura européia. Os estudos relativos à primeira incursão de Kourouma na literatura apontam, em geral, a introdução de estruturas lógico-cognitivas do pensamento malinké na língua francesa como a efetiva inovação do autor, marcando assim, uma nova orientação na literatura africana. Propondo uma outra via de interpretação à tendência crítica de reforçar os conflitos entre as culturas africana e ocidental, a presente pesquisa tem por objetivo analisar as estruturas de ruptura estética e temática do romance a fim de mostrar como a passagem da tradição à modernidade leva o indivíduo a reorganização de sua identidade. As análises mostraram que, em contraposição à recusa de Fama, personagem principal, em negociar suas pertenças culturais, sua primeira esposa, Salimata, torna-se um exemplo da transculturação, integrando em sua vida quotidiana elementos da modernidade sem, contudo, renunciar ao ideal feminino tradicional. Além dessa composição binária, Papillon, em sua rápida e leve participação na trama, encarna, de maneira subliminar, um traço atribuído por Zygmunt Bauman à modernidade tardia, ou seja, a fluidez dos laços sociais e afetivos dos contatos breves. / The novel Les soleils des Indépendances, written by Ahmadou Kourouma engendered a number of criticism studies since its publication in 1968 by the Presses Universitaires du Canada. In spite of the authors\'s thematic or ideological orientation, the black African novel frequently reveals the conflicts generated by the imposed European culture. Most of the studies concerning the first published work of Kourouma underline the introduction of logicalcognitive structures of the Malinké thinking within the French language, representing an effective innovation from this author that marked a new orientation of the African literature. Proposing a new analysis for \"Les soleils des Indépendances\" to the criticism tendency that reinforce the conflicts between the African and Occidental cultures, the present research, evaluated the disrupture of aesthetic and thematic structures, showing how the route from tradition to modernity, takes the individual to re-organize its identity. This work also showed that, in contrast with the refusal of Fama, main character of the novel, to trade his cultural identification, his first wife, Salimata, becomes an example of transculturation, by integrating elements of modernity in her life, without renouncing, however, to the traditional feminine ideals. Besides this binary composition, Papillon, in his fast and shallow participation at the novel, incarnates, in a subliminal manner, an aspect attributed by Zygmunt Bauman to the post-modernity, i.e., the fluidity of the social and affective bonds, characteristics from the ephemeral relationships.

Memória da Cultura, textos constantes e textos excluídos pelo esquecimento. A memória do sonho como a primeira obra de ficção jamais criada pelo homem. O sonho enquanto embrião narrativo de fábulas. Cânones, mecanismos culturais de controle. A performance da palavra. A movência das narrativas orais. O projeto poético e a rede intersemiótica de criação. Inconsciente coletivo, matizes arquetípicos e o mar como metáfora da metáfora do manancial das fábulas imemoriais. / The memory of culture, constant texts versus excluded texts, fables doomed to be forgotten. Remembering dreams as the first work of fiction ever created by mankind. Dreaming as telling tales. Standards as cultural controlling devices. Words as performances. Travelling through oral folktales. Poets and their artistic approach to life, plus the intersemiotic net for art creation. Unconscious collective, archetypical blending of nuances and the sea as the universal metaphor of the everlasting source of long forgotten fables.

Made available in DSpace on 2016-04-27T19:30:36Z (GMT). No. of bitstreams: 1 Victor Martins de Souza.pdf: 14114209 bytes, checksum: b000d73d7ade4a48657730af000956ac (MD5) Previous issue date: 2012-05-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / We discuss the relation between Glauber Rocha and Sembene Ousmane s cinematographics and political projects considering images dialogues. The focus of our analysis is on the movies Der Leone have sept cabeças (1969-70), by Glauber, and Ceddo (1976), by Sembene. Using the technique of historians, these filmmakers problematized the present from the re-intepretation of the past. In Ceddo, Sembene reinvented traditions with the intention of questioning the history of his time, and denounced West African colonialism to be more sophisticated than previously imagined. In Der Leone have sept cabeças there exists different historical periods to question the present. In this process, the oral traditions have a preponderant role because they are used to critize the deformed European view concerning the Third World. Therefore, the relationship between the cinema of Glauber and Sembene enables us to gain a new perspective of their work, through the diasporic, tri-continental, and politically-cultural dialogue / Discutimos os projetos cinematográficos e políticos de Glauber Rocha e Sembene Ousmane à luz do diálogo em imagens. Assim, centramos nossa análise em dois filmes: Der Leone have sept cabeças (1969-70), de Glauber, e Ceddo (1976), de Sembene. À maneira dos historiadores, estes cineastas recorreram ao passado para problematizar o presente. Em Ceddo, Sembene reinventou tradições para questionar a história do seu tempo, mostrando aspectos mais sofisticados do colonialismo da África do Oeste. Em Der Leone have sept cabeças, há a convivência de tempos históricos distintos, nos quais o presente é posto em suspenso, portanto passível de questionamento. Neste processo, as tradições orais possuem papel preponderante, pois é a partir delas que é criticado o olhar enviesado do europeu em relação ao Terceiro Mundo . Assim, as afinidades aqui elencadas entre os cinemas de Glauber e Sembene permitem delinear novos olhares à filmografia de ambos, a partir de um diálogo diaspórico, tricontinental e político-cultural

Jusqu’au milieu du XXe siècle, la littérature kabyle fut essentiellement orale et s'exprimait principalement dans le genre poétique. Si les contes, les fables, les légendes et autres récits mythiques furent l'autre moyen par quoi les Kabyles exprimèrent leur génie, il reste que c’est la poésie qui fût la matrice de leur culture et le réceptacle de leur histoire. Plus qu’un art qui doit transfigurer le réel, la poésie kabyle a pour rôle de rendre ce réel, l’interpréter et le clarifier pour donner du sens aux événements historiques et politiques auxquels sont confrontés les hommes et les femmes de cette région. L’objet de notre recherche est de partir de la production poétique la plus ancienne telle qu’elle est arrivée à nous par les recueils de Adolphe Hanoteau (1867), Amar-Ou-Saïd Boulifa (1904), Belkacem Bensedira (1887), Jean Amrouche (1988) et la somme considérable établie par Mouloud Mammeri (1969, 1980, 1989) afin de scruter l’horizon culturel de la Kabylie et saisir, à travers l’étude les textes, l’homme dans son enracinement social et culturel. / Until the middle of the twentieth century, Kabyle literature was essentially oral and was mainly expressed in the poetic genre. If tales, fables, legends and other mythical narratives were another way by which the Kabyle people expressed their genius, it remains that poetry was the matrix of their culture and the receptacle of their history. The Kabyle poetry, more than an art that has to transfigure reality, has the role of rendering this reality, interpreting it and clarifying it to give meaning to the historical and political events.The object of our research is to start from the earliest poetic production as it came to us by the collections of Adolphe Hanoteau (1867), Amar-Ou-Saïd Boulifa (1904), Belkacem Bensedira (1887) Jean Amrouche (1988) and the considerable sum established by Mouloud Mammeri (1969, 1980, 1989) in order to examine the cultural horizon of Kabylia through the study of its oral poetry.

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Orientador: Rubens Pereira dos Santos / Banca: Gilberto Figueiredo Martins / Banca: Rosangela Costa Araújo / Resumo: Visa-se estudar as cantigas de Capoeira Angola e descobrir um pouco mais sobre seus mitos e ensinamentos que muitas vezes funcionam como instrumento de transmissão de uma tradição ancestral que resiste até hoje, que interage com a cultura e a oralidade brasileiras enriquecendo-as e, que diante dessa interação por meio de conhecimentos que são passados em situações múltiplas de comunicação forma novos capoeiristas angoleiros. Procura-se demonstrar como os cânticos da roda de capoeira denominados "ladainha", "corrido" e "louvação" podem ser analisados como parte da poesia oral afrobrasileira, pois de antemão já se sabe que os mesmos possuem forma e conteúdo essencialmente enraizados na arte poética. Tais cânticos são providos de ritmo, rimas, musicalidades, gestos, olhares e ambiguidades de vários tipos inerentes ao contexto da roda onde se desenvolve o discurso do canto, revelando uma dupla faceta uma poética e outra dinâmica do mesmo fenômeno. Ainda procura-se ilustrar parte da representação que a Capoeira Angola tem no mundo atualmente. Convém destacar a cotidiana relação que se estabelece com o seu universo por meio de treinamentos e trocas coletivas. Experiências de grandes mestres e mestras da Capoeira Angola contribuíram para o desenvolvimento deste trabalho, pois como aqui tratamos de um saber específico, inevitavelmente em muitas etapas debruçamo-nos diante de seus detentores para então se entender pequenos pedaços de sua magia, que como já se sabe de antemão, é simples, porém reflete sentidos profundos / Abstract: : The aim is to study the songs of Capoeira Angola and discover a little more about their myths and teachings which often act as instrument of transmission of an ancestral tradition that endures until today, that interacts with the Brazilian culture and orality and enriching them, interacting through knowledge that are passed in multiple situations of communication creating new players of capoeira angola. It seeks to demonstrate how the chants of wheel called "ladainha", "louvação" and "corridos" can be analyzed as part of the oral poetry: struggling, because beforehand is already known that they have the form and content essentially rooted in the poetic art. Such songs are fitted with pace, rhymes, gestures, looks and ambiguities of various types inherent in the context of the wheel where develops the chant speech, revealing a dual facet a poetic and other dynamics of the same phenomenon. It still seeks to illustrate part of the representation that Capoeira Angola has in the world today. Everyday should highlight the relationship that is established with his universe through collective exchanges and trainings. Experiences of grandmasters and master of Capoeira Angola contributed to the development of this work, because here we treat a specific knowledge, inevitably in many steps focusing on their holders to then understand small pieces of their magic, which as already known beforehand, is simple, but reflects deep meanings / Mestre

My practice is concerned with the activation of fragmentation, concealment and evasiveness as practical tools for surviving (the danger of visibility when positioned in the margins) while moving or engaging with oppressive power structures. The aforementioned appear in my practice as complete forms of erasure, adornment and costuming, in addition to language play. My thesis’ concern is the desire to speak the autobiographical in relation to generational trauma. Herein lives the voices of three generations of survivors.

This work is a linguistically based historical ethnography of the mammal species of the Flinders Ranges, South Australia, from pre-European times to the present day. The research was motivated by linguistic evidence in the Adnyamathanha people's language, Yura Ngawarla, for the recent existence of a number of mammals in the Flinders Ranges region. The work aims firstly to identify each species represented by those language terms and to discover the identity of other species also present in the past 200 years. Secondly, it aims to present an exhaustive ethnography of mammals for that region. This work is essentially cross-disciplinary, with research extending into the often overlapping fields of linguistics, anthropology, archaeology, applied science, historical zoology and history. Comparative linguistics, oral tradition, historical records, scientific data and sub-fossil material are used to identify the species present at European occupation and their role in traditional Aboriginal life, and in passing, to establish the former existence and distribution of those species throughout the region of the two South Australian gulfs. An inventory of extant and extinct Flinders Ranges species is established. Linguistic, ethnographic, zoological and historical data are used to estimate when species extinction occurred, and what may (or may not) have been the main factors involved. A significant outcome of this work is the documentation of a part of Aboriginal knowledge which itself was on the verge of extinction, and the affirmation of well attested Aboriginal oral tradition as an authentic 'authoritative source'. Conclusion: Prior to European occupation the Flinders Ranges had a rich mammalian fauna comprising around 60 native species. These played a significant part in Aboriginal people's diet, manufacturing industry and cultural and spiritual life. By the end of the first half century of European occupation or soon after around two thirds of the terrestrial species had vanished. The effect of these events on Aboriginal people's ability to survive in their own territory was devastating and irreversible.