My thesis consists of a commented translation of five selected short stories, including the title story of Thomas King’s One Good Story, That One, and a theoretical and contextual introduction. My commentary, beyond the explanation of my syntactic and vocabulary choices -which I will relate to King’s interfusional use of idiolect, which is to say his uniquely personal use of orality in writing-, discusses the use of irony and the Trickster as instruments of anticolonial resistance (based on King’s “Godzilla vs. Post-colonial”), with which King hopes to both challenge Western paradigms and raise awareness of Natives’ plight. King uses both of these strategies, interfusional dialect and the Trickster, not simply as postcolonial but rather as anticolonial instruments of discursive resistance (based on King’s “Godzilla vs. Post-colonial”), being in tune with King’s vision that postcolonialism is a concept which only lives in academia and in fact has no real basis in our current society, since we are still, in many ways, living in colonial times. King uses satire, first, to raise awareness of Natives’ physical and psychological plight to this very day, and second, to create a sense of accountability in these same people, to transform them by playfully making them aware of their unwitting complicity in this sordid affair. King's use of the Trickster Coyote as well is an important humorous element which also serves as an instrument of anticolonial discursive resistance and education, and whose mythological significance is crucial to the development of an alternate ideological structure, one which King establishes as a healthy counter-part to the Western religiously inspired one with its traditional Judaeo-christian dualism. When commenting on my translation, I note how King, with his use of the Trickster, satire and orality, contests the validity of Eurocentric paradigms with his literarily and orally established framework of modern Native mythologies and perspectives. With my translation, my aim was to reproduce King’s own translation of orality and traditional Native storytelling into writing, albeit with a slightly different use of dialect (closer to international French than Quebec French), since translating King's idiolect was no easy feat. And so, my main concern was to stay as true as possible to the original work, its gaps, repetitions, syntax and phatic (speech used as social function) use of language. In doing so, my goal was to once again foster the reader’s understanding of Natives and their plight, establishing an oral bond through the translation of King's orality between them and the translated work. Pertaining to the latter will be a discussion on how translation also ideally bridges the gap between cultures while expanding their horizons, just as King's modern, syncretic Native storytelling breathes new life into traditional spiritual practices and beliefs. However, as King warns us about stories, which can be not only healing but also harmful, translation can adversely widen that gap and harm intercultural relationships when improperly harnessed. When properly harnessed, however, translation re-enacts a narrative to launch it in a new language-culture (Benjamin in Venuti), in the same manner that Native storytelling (both traditional and modern) enacts a performative that not only preserves culture but recreates it anew. Hence my interest in discovering the links between the fashioning of a new world, full of promise, through narrative, and the refashioning of a narrated text through translation into a new language-culture. Translating the activism at work in King’s own telling of One Good Story, That One, I would further like to capture the ways in which King's modern Native storytelling and the bleak, satiric humour with which much of it is tinged, continues to combat neocolonialism to this day, even in this so-called postcolonial society. Eva Gruber's Humour in Contemporary Native North American Literature is an in-depth and informative work on this subject. I would like to elaborate on Gruber's statement that humour, more than just a coping strategy, as many would claim, is also, more importantly, especially to a non-Native audience, a Trojan horse of sorts: “Sneaking up on readers through shared laughter, humour can align their empathy with Native viewpoints, obscuring conflicts and hierarchies and triggering consensus and solidarity instead” (“Humour in Native Lit”, 118). As well, I take into account in the course of my translation how in presenting Western history and religion from a humorous angle, the author is exposing its fallacies in a tragi-comical context which blurs the boundaries between reality and myth, and thus alleviates the burden of colonialism upon his Native & non-Native readers, while also encouraging accountability. // Abstract : Mon mémoire consiste en une traduction commentée de cinq nouvelles, incluant la nouvelle titre, du recueil One Good Story, That One de Thomas King, ainsi qu'une introduction théorique et contextuelle. Mon commentaire, au delà de la justification de ma syntaxe et de mes choix de mots -que je relierai à l'utilisation d'un idiolecte interfusionnel de l'auteur, c'est-à-dire son usage personnalisé d'oralité dans son écriture- aborde l'usage d'ironie et du Trickster en tant qu'instruments de résistance anticoloniale (basé sur l'article « Godzilla vs. Postcolonial » de King), avec lesquels King espère contester les paradigmes occidentaux et contribuer à la reconnaissance du fardeau des Autochtones. King utilise ces deux éléments en tant qu'instruments discursifs de résistance anticolonialiste plutôt que postcoloniale, en accord avec son idée que le postcolonialisme est un concept qui n'existe que dans un contexte académique et non dans la réalité quotidienne de notre société, puisque nous vivons ultimement encore dans un contexte colonial. King utilise la satire premièrement pour contribuer à la reconnaissance du fardeau physique et psychique des Premières Nations jusqu'à ce jour, et deuxièmement, pour créer un sens de responsabilité chez ces même gens, pour les transformer en les rendant humoristiquement conscients malgré eux de leur complicité dans cette histoire sordide. L'usage de King du Coyote trickster est aussi un élément humoristique important qui est également un instrument discursif de résistance et d'éducation anticolonialiste, dont la signification mythologique est cruciale au développement d'une structure idéologique de rechange, qu'il établit en tant que saine contre-partie à celle inspirée par les religions occidentales, avec sa dichotomie traditionnelle judéo-chrétienne. Je commente sur le fait que King, avec son usage du Trickster, de la satire et de l'oralité, conteste la validité des paradigmes eurocentristes avec sa littérature oralisée portant sur les mythologies et perspectives autochtones modernes, qui exposent les problèmes de ces 8 paradigmes. Avec ma traduction, mon but est de reproduire la propre traduction de l'oralité des contes traditionnels autochtones de King dans un contexte littéraire, quoique avec un usage partiellement différent de dialecte (plus près du français international que de celui du Québec), puisque traduire l'idiolecte de King n'était pas une tâche aisée. Donc, ma principale priorité était de rester aussi fidèle que possible à l'original, à ses pauses, ses répétitions, sa syntaxe et son usage phatique de la langue (le langage en tant que fonction sociale). En ce faisant, mon but est encore une fois de donner une meilleure contextualisation aux lecteurs de la cause des Premières Nations, et d'établir une relation orale entre eux et la traduction. En relation à ce dernier aspect, je discute du fait que la traduction est aussi idéalement un pont entre les cultures qui sert également à élargir leurs horizons, comme les contes modernes, syncrétiques de King insufflent une vie nouvelle dans les croyances et pratiques spirituelles autochtones traditionnelles. Cependant, comme King nous met en garde contre les histoires, qui peuvent guérir mais aussi empoisonner, la traduction peut également élargir ce fossé et nuire aux relations interculturelles quand elle n'est pas adéquatement utilisée. Quand elle l'est, par contre, la traduction recrée une narration pour la relancer dans une autre culture langagière, de la même façon que les contes autochtones (traditionnels et modernes) recréent une performance qui non seulement préserve la culture mais la fait renaître. C'est pourquoi j'ai un tel intérêt dans la découverte des liens entre la création d'un monde nouveau, plein de possibilités, à travers la narration, et la nouvelle création d'un texte narré dans une nouvelle culture langagière à travers la traduction. À travers la discussion de l'activisme de King dans les nouvelles que j'ai traduites, je discute aussi des façons dont les contes modernes de King et leur humour noir et satirique continuent de 9 combattre le néocolonialisme jusqu'à ce jour, même dans notre société soi-disant postcoloniale. Le livre d'Eva Gruber, Humour in Contemporary Native North American Literature, est un ouvrage approfondi et très informatif à propos de ce sujet. Je voudrais élaborer partiellement sur l'affirmation de Gruber que l'humour, bien plus qu'une stratégie de survie comme plusieurs le croiraient, est aussi un cheval de Troie en quelque sorte, particulièrement pour un lectorat non-Autochtone : « S'approchant discrètement des lecteurs grâce au rire partagé, l'humour peut créer une empathie pour les points de vue autochtones, obscurant les conflits et les hiérarchies et déclenchant au lieu une solidarité et un consensus. » (« Humour in Contemporary Native Lit », 118, ma traduction). Je discute également de comment, en présentant l'histoire et la religion occidentale d'un point de vue humoristique, l'auteur expose ses faussetés dans un contexte tragi-comique qui estompe les barrières entre réalité et mythe, et ainsi réduit le fardeau du colonialisme sur les épaules de ses lecteurs autochtones et non-autochtones, tout en encourageant une prise de responsabilité.

Arradon est une commune littorale du sud de la Bretagne, située aux portes de Vannes. Le breton a été la langue de la quasi totalité de sa population jusqu’au XXe siècle. Les témoignages recueillis auprès de quelques bretonnants locaux montrent la vitalité de sa pratique jusqu’à la seconde guerre mondiale ; récits de vie, recueil de littérature orale (contes, chansons, comptines ...) et plus rares exemples d’utilisation à l’écrit l’attestent. Dès la fin de la première guerre mondiale cependant, se produit une rupture dans la transmission de la langue. Dès lors le clivage linguistique, auparavant sociologique, devient aussi générationnel. Le breton est connoté négativement : corrélé dès le début du siècle avec la pauvreté car les élites économiques sont francophones et avec l’ignorance car le français est la seule langue admise à l’école, il semble désormais lié au passé et à une civilisation paysanne traditionnelle qui disparaît Après la seconde guerre mondiale, seules les personnes âgées parlent breton et le bond démographique de la commune à partir de 1965 accentue encore cette marginalisation. À la fin du XXe siècle, le breton suscite un regain d’intérêt mais la distance entre le parler local et la norme standard ne favorise pas le lien entre anciens et nouveaux locuteurs, entre pratique populaire souvent confinée à l’oralité et pratique scolaire influencée par l’écrit. La mise en perspective historique et la confrontation de différents regards sur cette mutation linguistique permettent d’en analyser les causes et les processus, et aussi d’étendre la réflexion à la place des langues à l’heure de la mondialisation. / Arradon is a commune on the shore of south Brittany, located close to Vannes. Breton has been the language of quite its whole population right up the 20th century. Accounts from some native Breton speakers show how lively was its practice until the 2nd world war : in the daily life, through the oral culture (tales, songs, rhymes etc.) and more rarely in written uses. However, since the end of the 1st world war a break happened in the transmission of the language. Therefore the linguistic divide which was sociological became a divide between generations. Breton language had negative connotations : at the beginning of the century, associated with powerty because economic elites were French speakers and with ignorance because French was the only language allowed at school ; later, it seemed tied up to the past and the vanishing traditional rural civilization. After the 2nd world war, only old people can speak Breton and the demographic jump of the commune since 1965 increased their different being. At the end of the XXth century, Breton is getting more consideration in the public sphere but the gap between the local dialect and the standard makes difficult the links between popular practice often enclosed to oral uses and scholar practice influenced by the written norm. Historic context and comparison of different points of view on this linguistic major change let highlight its causes and process, and also think wider about the place of languages at globalization time.

This thesis will examine the representation, consequence and transformation of the idea of authorship in the work of James Joyce and suggest a way of re-addressing the contentious question of authorship. While postmodern criticism has emphasised the “revolutionary” cultural and political ramifications of Joyce’s response and the ways that his work has helped to deconstruct this question for modernity and postmodernity, this thesis will trace the ideas and ideologies, individuals and characters, historical, cultural and biographical circumstances that contributed to both the prominence and the hermeneutical consequence of the question of authorship in Joyce’s work. Highlighting Joyce’s awareness of and fascination with the multivalency of a question shaped by theological, historical, political, philosophical, philological, epistemological, methodological and hermeneutical ideas as well as literary representations, it will examine Joyce’s reformulation and response to this question through four pervasive models of authorship in his work: critic, philosopher, bard and theologian. While each chapter will make a distinction between these models in order to analyse their characteristics and significance, as a way of tracing not only the evolution of these models but also the complex network of interrelation that is established between these distinctive but also intertwining ideas of authorship, the thesis will be structured historically, biographically and “ergographically” (in Barthes’ definition of an ‘ergography’) as well as thematically. As a way of approaching the ideologically overdetermined concept of authorship, but also avoiding another postmodern “renaming” of this concept, these models will be proffered in order to examine the construction, fabrication and invention as well as the deconstruction of the idea of authorship and the representation of the role of the author in fiction, culture, society and history in the work of Joyce. The “drama” of authorship will be interpreted in terms of Joyce’s fictional and hermeneutic dramatisation of the role and idea of the author, but also in terms of the consequence of Joyce’s interest in and early idealisation of the genre of drama. This thesis will finally suggest that Joyce’s “failure” to become a dramatist and engagement with philosophical analyses of this genre contributed significantly to his deconstruction, reconstruction and dramatisation of the role and “exagmination” of the author. The thesis as a whole will delineate how each of these four models gradually becomes more distinctive but simultaneously also inextricable from a variegated template that is only methodologically divided into four parts; the four exegetes in Finnegans Wake inconspicuously multiply. The first three chapters will follow the attempt outlined in Joyce’s early draft of the Portrait ‘to liberate from the personalised lumps of matter that which is their individuating rhythm, the first or formal relation of their parts’- the growing self-consciousness of the artist’s understanding of his role(s) as an artist and of the idea(s) of authorship. In the last two chapters that will look at Ulysses and Finnegans Wake these four models will be more clearly differentiated although the growing theatricality in their portrayal and widening nexus of relations will complicate and indeed undermine the idea of a “model”.

The aim of the present study is to investigate how men and women in three Iranian Balochi dialects, Coastal Balochi, Koroshi Balochi and Sistani Balochi, refer to 3rd person participants in oral narratives of two genres: folktales and biographical tales. The stories that are analysed were recorded during several field trips to Iran and the approach used is that of Levinsohn (1994, 2015). The first part of the dissertation begins with an overview of the Balochi language and its dialects, including a brief presentation of its phonology, and then reviews previous studies of Balochi, before introducing the case system and types of alignment in the three dialects. Chapter 2 introduces the reader to the status of orality in the three dialects, before giving details about the corpus of texts that were analysed. Of particular note is the fact that each story in the corpus was told by both a man and a woman. Chapter 3 examines different approaches to the analysis of participant reference, before comparing those of Gundel et al. and Levinsohn in greater detail. The second part of the dissertation applies Levinsohn’s approach to texts in each of the three dialects in turn. Chapters 4–6 identify and analyse the different ways in which the participants in the stories are referred to when the subject remains the same and in three specific situations when the subject changes. This enables default encoding values to be established for each of the four situations. Motivations for over-encoding and, in some situations, under-encoding, are then identified. Chapters 7–9 investigate whether the gender of the storyteller (male versus female) and/or the genre of the story (folktale versus biographical tale) influence the way that the participants are referred to. This leads in chapter 10 to a gender- and genre-based comparison of participant reference across the present dialects. Conclusions are presented in chapter 11. In general, the participant reference strategy used was the same in all three dialects, regardless of the gender or the genre. The main exception involved reported conversations in Koroshi Balochi, where the additive enclitic ham was attached to the reference to a subject who responded in line with the contents of the speech reported in the previous sentence. Other variations appeared to depend on the degree to which the storyteller was proficient in his or her art. The dissertation concludes with four Appendices. Appendix A presents six texts that were interlinearised using the FLEx programme, while Appendix B consists of participant reference charts of the same texts following Levinsohn’s approach. Appendix C presents details of the case system and alignment for each of the three dialects. Finally, the chart in Appendix D compares the approaches of Levinsohn and of Gundel et al. to participant reference in a specific text. A CD with audio files of the six texts and some photos taken during fieldwork is also available.

Comment et pourquoi les médias de masse peuvent-ils contribuer à secourir et à interroger l’oralité propre aux sociétés africaines ? Pour répondre à cette interrogation, il conviendra à coup sûr d’effectuer une sorte d’état des lieux sur la parole et les actes de langages qui participent aux modes de communication et d’information. Le champ d’investigation privilégié concerne les pays du Sahel et de manière spécifique les populations Bwa du Mali. C’est dans cette aire géographique que nous chercherons à assurer l’hypothèse selon laquelle la radio participe à la conservation et à la valorisation du patrimoine immatériel ; elle constitue une des passerelles du développement social, culturel, économique et politique des pays africains et des publics qui la reçoivent. Il s’agit ainsi de mettre en lumière les manières dont les sociétés de tradition orale s’approprient les médias de médias. En prenant l’exemple des contes à la radio, on peut découvrir des modes d’appropriation spécifiques. À partir d’entretiens avec les conteurs-teuses, les acteurs des médias, la consultation des rapports de l’Unesco et de textes législatifs au Mali, des ouvrages en sciences de l’information et de la communication, mais également d’anthropologie, de linguistique, l’enjeu consiste à comprendre que davantage de communication médiatique peut aussi engendrer du commun entre les hommes. / How and why mass media can contribute to help and to question the orality that belongs to African societies? To answer this question, we are bound to carry out some sort of survey of speaking and language activities pertaining to modes of communication and information. The chosen field of investigation concerns the countries of Sahel, specifically the Bwa populations of Mali. It is in this geographical area that we try to check the hypothesis according to which the radio contributes to valorise and to save the oral, immaterial patrimony and constitutes one of the bridges of social, cultural, economic and political development of the African countries that receive it. The aim is to shed light on the ways in which mass media can invest societies characterised by oral tradition. Taking the example of tales which are told on the radio we can discover specific modes of appropriation. By interviewing storytellers, feeling of how media actors perform and questioning the way local radios work, by consulting reports from UNESCO and other associations, documents in information and communication sciences, but also anthropological and linguistic documents, it is at stake to understand that more media communication may lead to more common ground between human beings.

O presente trabalho é um giro performativo que decompõe as histórias de vida de um corpo-sujeito marcado pelo movimento de luta pela terra, as experiências nos campos de manifestações populares brasileiras, em especial Folias de Reis, Congadas e Umbandas e a reverberação desse jogo de saberes em cena. Buscou-se amparo numa investigação autoetnográfica em que se permitiu à experiência, uma pesquisa-experiência-processo, andante, dançante, errante tal qual as metáforas que se instituíram com base no próprio movimento da práxis mnemônica na criação performativa. A partir das memórias de um corpo decolonial, num movimento de revolver-se, enveredamo-nos num contexto de formação artística que perpassa decisivamente uma relação individual e coletiva. O caminho esteve repleto de lembranças e de esquecimentos e se propôs provisório, uma vez que este é um ponto de vista sobre o corpo, momentâneo e transitório. A escrita é uma textura que se envolve, entre voos e raízes, na própria ação de desenhar essas palavras-corpos. Enredamos em caminhos que se entroncaram em encruzilhadas - espaços do acontecimento -, nas quais os diálogos entre perspectivas e pensadores diversos estiveram em destaque. O que se desvela é um Corpo Mnemônico, atravessado por uma paisagem sociocultural e nas geografias de um lugar povoado por um imaginário festivo. Dessas geografias, a terra emergiu como imagem perene, tal qual a festa e o sentido de festividade agarrado nas memórias de festas performativas da cultura popular e da elaboração desses diálogos em obras artísticas, nas suas dimensões corporais, visuais e cênico-coreográficas. Tais produções vieram urdir a rede dessa poesia acadêmica, evidenciado o caráter da criação, enquanto produção de conhecimento, dos processos, enquanto lugares de profusão de saberes e da reverberação de um diálogo poético-ético-político que nos faz voltar os olhos para nosso território, dançar em nossos terreiros amparados pela terra que se impregna na sola de nossos pés. Por fim, alçamos voo numa prática performativa intitulada Guyrá Apó - Ave Raiz que expõe rastros da experiência artística como a própria epistemologia da cena. / The present work is a performative turn that decomposes the life stories of a body-subject marked by the movement of fighting for land, the experiences in the fields of Brazilian popular manifestations, especially Folias de Reis, Congadas and Umbandas, and the reverberation of this dynamic of knowledge on stage. The support of an auto-ethnographic investigation was sought, one that allowed an experience, a research-experience-process, wandering, errant as the metaphors that were instituted based on the movement itself of the mnemonic praxis in the performative creation. From the memories of a decolonial body, in a movement to revolve itself, we embark on a context of artistic formation that pervades decisively an individual and collective relationship. The path has been filled with memories and oblivion, and proposed as transient, since this is a point of view about the body; temporary and transitory. Writing is weaving that wraps itself, from flying to rooting, in the very act of designing these bodies-words. We entangle in pathways connected through crossroads - spaces of the events - in which dialogues between the different perspectives and thinkers have been on the spotlight. A Mnemonic Body, crossed by a socio-cultural landscape in the geographies of a place populated by a festive imaginary is unveiled. From such geographies, land emerged as a perennial image, exactly as the celebration and the sense of festivity clung to memories of performative festivals of the popular culture and the elaboration of these dialogues in artistic works, in their corporeal, visual and scenic-choreographic dimensions. Such productions came to weave the net of this academic poetry, emphasizing creation as means of producing knowledge, considering processes as places for its profusion, and also for the reverberation of a poetic-ethical-political dialogue that makes us look at our own territory, dance in our terreiros sheltered by the dirt that engrains to the soles of our feet. Finally, we begin flying in a performative practice entitled Guyrá Apó - Root Bird that exposes traces of the artistic experience as the epistemology of the scene itself.

[pt] Essa tese examina o texto dos primeiros filósofos gregos, em especial os textos em fragmentos de Xenófanes e Parmênides. Faz-se necessário destacar que se lidará com os textos porque é muito comum, dado o estado incompleto de seus ipissima verba, os estudiosos tentarem superar as dificuldades de interpretação a partir de fontes secundárias e de interpretações de autores tardios. Deste modo, acabam separando não apenas a forma e o conteúdo de suas mensagens, mas também alienando estas mensagens mesmas dos contextos específicos em que foram emitidas. Para superar estes problemas, abordaremos os fragmentos destes filósofos a partir de seus próprios contextos e das formas específicas de comunicação que utilizaram. Sob esta perspectiva, será demostrado que suas doutrinas procuravam antes depurar e aperfeiçoar a linguagem e a tradição em que estavam inseridos do que oferecer uma reflexão sistemática, ainda que incipiente, sobre os princípios básicos da realidade. / [en] This thesis examines the texts of the first greek philosophers, especially the Xenophanes and Parmenides fragments. It s necessary to say that we will deal with the texts because it s very common, in face of the incomplete state of their ipissima verba, that scholars try to overcome the difficulties by reading secundary fonts and by interpretations of late-period authors. In this way, they not only separate the form and the content of the philosophers messages, but also alienate the messages from the specific context in which they were formulated. To overcome these problems, we will examine the philosophers fragments by their own historical context and by their concrete and specifics ways of communication. Under this perspective, it will be demonstrated that their teachings was more ocupied with an efforce to depurate and to improve the language and the tradition in which they were inserted than with a systematic although incipient refletion concerning reality s first basic principles.

Alguns estudiosos já apontaram fórmulas nos resquícios da obra de Safo e Alceu. O estudo das expressões tradicionais em Homero deu origem, no século XX, às investigações oralistas da épica grega. Ao analisar as conjunções de nome e epíteto nas epopeias homéricas, Milman Parry viu na linguagem épica dicção tradicional e herdada, destinada a facilitar a composição dos cantos. Mais tarde, em contato com outras tradições poéticas, Parry sugeriu que esse caráter tradicional se devia à oralidade da poesia homérica. Seu discípulo Albert Lord e outros estudiosos expandiram suas conclusões, descrevendo o funcionamento das fórmulas e de outras unidades tradicionais, como temas narrativos e tipos de canção. Estudar semelhantes elementos na poesia lésbia é mais difícil, devido a seu estado fragmentário. No entanto, os poucos resquícios mostram consideráveis reiterações de fórmulas, temas e tipos de canto, o que, junto ao caráter herdado e especializado do dialeto, sugere uma dicção oral-tradicional lésbia independente. Ao mesmo tempo, os poetas eólicos partilham as mesmas unidades com outros poetas arcaicos (jônicos ou dóricos), o que aponta para a existência de linguagem poética tradicional pan-helênica, apesar das diferenças genéricas e regionais. Essa semelhança permite que se comparem o emprego de elementos tradicionais ao longo de toda produção arcaica (e mesmo clássica). Por muito tempo, a dicção tradicional da epopeia foi encarada principalmente do ponto de vista da composição, mas sobretudo as investigações de John Miles Foley mostraram que ela também é um recurso de significação, que condicionava a recepção das canções pela audiência (tão fluente nessa linguagem especializada quanto o poeta). Foley nomeia o fenômeno referencialidade tradicional. Também se pode identificar semelhante referencialidade tradicional na poesia lésbia. Quatro fragmentos de Safo (frr. 1, 16, 31 e o Poema dos Irmãos) prestam-se à investigação, por sua extensão. Compostos no mesmo metro (a estrofe sáfica), também permitem observar a relação entre tradição, significação e versificação na canção eólica. Os fragmentos acabam por demonstrar vários paralelos formulares e temáticos, tanto com composições lésbias como com a mélica em geral, a elegia, o iambo e a epopeia. As proximidades sugerem que também a referencialidade tradicional é pan-helênica e, por outro lado, que a abordagem comparativa, sob esse viés teórico, é útil para elucidação da composição e do sentido dos cantos. Também se mostrou que a métrica parece importante elemento de significação tradicional, havendo estreita relação entre as expectativas métricas e a estrutura dos fragmentos. / Some scholars have identified formulae in the poetic remains of Sappho and Alcaeus. In the 20th Century, the study of traditional expressions in Homer originated the oralist approach to Greek epic. Analysing noun-epithet clusters in the Homeric poems, Milman Parry characterized epic language as traditional, inherited diction, which enabled composition. Later, studying other traditional poetries, Parry linked the traditonal character of epic diction to its oral nature. His disciple Albert Lord and other scholars built on his conclusions, describing how formulae and other traditional unities (such as narrative themes and song patterns) work. Analysing similar elements in Lesbian is conditioned by its fragmentary state. However, the few remains contain several repeated formulae, themes and song patterns. Like the inherited and specialized dialect, this repetition suggests an autonomous oral-traditional Lesbian diction. At the same time, Aeolic poets share the same traditional units as other archaic poets (Ionian or Dorian). This points to the existence of a Panhellenic poetic language, despite generic and regional differences. These similarities allow comparing traditional elements throughout the whole surviving archaic (and even classic) output. For a long time, traditional diction was considered to be a means of composition. Nonetheless, mainly John Miles Foley\'s studies have shown that it is also a way of meaning, which frames the audience\'s reception (who were as fluent in this specialized language as the singer). Foley names this phenomenon traditional referentiality. One could also ask whether this expedient is to be found in Lesbian poetry. Given their extent, four fragments of Sappho (frr. 1, 16, 31 and \"The Brothers\' Poem\") are useful to this investigation. Composed in the same metre (the Sapphic stanza), they also provide a case for the study of the interaction of tradition, meaning and versifying in Aeolic song. The poems have numerous formulaic and thematic parallels to both Lesbian compostions and general Greek lyric, elegiac, iambic and epic poetry. Traditional referentiality seems to be Pan- Hellenic and comparative approaches under this theoretical point of view appear to be useful to explain the songs\' composition and meaning. It has also been shown that metre seems to be an important element in Aeolic traditional meaning production. There is a close relationship between metrical expectations and the fragments\' structure.

[pt] Os processos de transmissão de memórias e uso do espaço urbano associados à experiência da migração constituem a base do presente trabalho que dirige sua atenção para a Feira de São Cristóvão, observada a partir das memórias em circulação por meio de folhetos de cordel, depoimentos e acervos pessoais de cordelistas nordestinos em atividade na cidade do Rio de Janeiro entre a segunda metade do século passado e a primeira década deste século. Por se tratar de uma manifestação cultural distanciada dos códigos hegemônicos no Sudeste do Brasil e, por sua vez, chave para o grupo frequentador do espaço em pauta, as vozes do cordel e dos cordelistas revelam-se de grande valor para a discussão de questões relacionadas à migração, à ocupação do espaço por grupos minoritários, à transmissão de memórias e aos diálogos interculturais, temas que, com o avanço dos processos de globalização cultural e valorização dos patrimônios culturais tradicionais, vêm se afirmando tanto no debate público quanto no debate acadêmico. / [en] Processes of memories transmission and urban space use associated with migration experience form the basis of this study that directs its attention to Feira de São Cristóvão, observed from memories in circulation through cordel booklets, oral testimonials and document’s collections of cordelistas migrated from the northeast of Brazil to the city of Rio de Janeiro between the second half of the last century and the first decade of this century. Because it is a cultural manifestation distanced from the hegemonic codes in the southeast of Brazil and, in turn, key to the group that frequent the studied space, the voices of cordel and cordelistas are of great value to the discussion of migration issues, occupation of space by minority groups, transmission of memories and intercultural dialogue, themes that, with the advancement of cultural globalization processes and the value of traditional cultural heritage, have been stating as much in public as in academic debate.

O presente trabalho propõe contribuir para a compreensão do letramento, por nós concebido como um processo resultante das relações dinâmicas entre oralidade e escrita, porém atualmente perpassadas pelo uso das mídias às quais os alunos têm acesso. Assumimos o pressuposto de que as narrativas exercem papeis importantes na aprendizagem da leitura e da escrita de qualidade e que, nos dias atuais, elas são cada vez mais veiculadas por outros meios o cinema, a TV, os games. Partindo da hipótese de que essa coocorrência de narrativas em vários suportes interfere positiva ou negativamente no processo de letramento, nosso objetivo consistiu em analisar o desempenho de alunos participantes do projeto Desafios na oralidade, leitura e escrita, implicando suas preferências quanto às mídias contemporâneas. A partir da análise de testes de leitura feitos com duas turmas do terceiro ano do Ensino Fundamental, constatamos diferentes posicionamentos subjetivos dos leitores. Dessas turmas, escolhemos oito alunos meninos e meninas com baixo e alto desempenho nos testes , cotejando suas performances de leitura com suas produções escritas. Posteriormente, a partir de entrevistas, analisamos como esses alunos retomam na oralidade histórias recordadas de memória. Indagamos também sobre as mídias mais acessadas por essas crianças e observamos como se dá a coocorrência ou concorrência dessas preferências em relação aos modos de ler de cada aluno. Tivemos, então, como referência, um panorama multimodal de memória e expressão, que envolve e implica os conteúdos escolares. A partir daí, exploramos um cenário mais amplo: notamos, por um lado, como os produtos da indústria cultural são pregnantes e geralmente oferecem imaginários simplistas; por outro, observamos que as mídias podem constituir ferramentas quando se articulam com conteúdos culturais de qualidade, pois contribuem para a formação de ricos imaginários que ampliam o processo de letramento. A partir da heterogeneidade dos desempenhos observados, apontamos que a articulação entre conteúdos midiáticos e letramento escolar requer mediações. Em alguns casos observados na pesquisa, a mediação bem estruturada garantiu o sucesso da consolidação da leitura e da escrita dos alunos. Em outros casos, sem o mesmo sucesso, notamos certo esvanecimento da presença familiar. Nossa conclusão é que a propalada autonomia das crianças em seus intensos contatos com as mídias contemporâneas precisa ser questionada, que a intermediação da família e da escola ainda são imprescindíveis, sobretudo no campo da aprendizagem da leitura e da escrita, e que uma boa amarração entre conteúdos culturais de qualidade em diversos suportes contribui para o letramento. / The present work aims to contribute to the comprehension of literacy, understood by us as a process resulting from the dynamic relations between orality and writing, but currently pervaded by the use of the media to which students have access. We assume that narratives play an important role in aquiring quality reading and writing skills, and that today they are increasingly being broadcast by other media cinema, TV, games. Based on the hypothesis that this cooccurrence of narratives in various media interferes positively or negatively in the literacy process, our objective was to analyze the performance of students participating in the project Desafio in orality, reading and writing, implying their preferences regarding contemporary media. From the analysis of reading tests applied to two classes of the third year of an Elementary school, we found different subjective positions from the readers. Of those classes, we chose eight students boys and girls with low and high performances in the tests , comparing their reading performances with their written productions. Subsequently, based on interviews, we analyzed how those students orally retell stories recalled from memory. We also inquired about the media most accessed by those children and observed how that cooccurrence or competition of these preferences occur in relation to each students reading modes. We then had as reference a multimodal panorama of memory and expression, which involves and implies the school contents. We then explored a broader picture: it was noted, on the one hand, how the products of the cultural industry are pregnant and generally offer simplistic imaginaries; on the other hand, it was observed that media can work as a tool when articulated with quality cultural contents, since they contribute to the formation of rich imaginary that enlarge the literacy process. From the heterogeneity of the observed performances, we point out that the articulation between media contents and school literacy requires mediations. In some cases observed during research, well-structured mediation guaranteed success in consolidating students reading and writing skills. In other cases, without the same success, we noticed a certain fading in the familys presence. Our conclusion is that childrens autonomy in their intense contact with contemporary media needs to be questioned, the intermediation between family and school is still essential, especially in the field of reading and writing, and that a strong bond between quality cultural content from various media contributes to literacy.