Spelling suggestions: "subject:"riddles"" "subject:"middles""
21 |
Bridging the gap finding a Valkyrie in a riddle /Culver, Jennifer. Upchurch, Robert, January 2007 (has links)
Thesis (M.A.)--University of North Texas, May, 2007. / Title from title page display. Includes bibliographical references.
|
22 |
Qinae the wax and gold of the Ethiopian Orthodox Church /Moore, Jacob Madison, January 2005 (has links)
Thesis (M.A.R.)--Emmanuel School of Religion, 2005. / Vita. Includes bibliographical references (leaves 59-63).
|
23 |
A survey of Zulu riddlesHadebe, Stanley Booysens 12 1900 (has links)
There are many words for the riddle in Zulu. It
is commonly called isiphicophicwano or
isiphicwaphicwano, imfumbe, impicabadala,
umgandeliso and inggayinggayi. The riddle is
described as an indoor game engaged in at night
and intended as a social pastime. Riddles are
found all over the world. They are common amongst
all the Bantu peoples living in the Republic of
South Africa and even outside the Republic of South
Africa. They have been collected all over Africa,
Europe, Asia and America. This is an attempt to
study Zulu riddles somewhat more than has been done .
Attention is paid to the statement of the riddle
called by Harries (1976, p.41) the precedent. He
calls the answer , the sequent. A collection of
Zulu riddles has been made which has been divided
into two sections. Riddles were collected from
Radio programmes, books, periodicals and from
people interviewed. The scientific approach to the
riddles follows different methods i.e. functional,
structural and activist method which concentrates
on the action involved in riddling.
Then the introductory formulae of riddles are
explained. The importance of performance and drama
during the riddling is elucidated. The place and
time of riddling is indicated in order to show the
value of riddles to society .
An analysis of riddles is made. Firstly, the
grammatical analysis is made, and secondly, a
structural analysis is undertaken. Under this
section it is found that the riddle has descriptive
elements which are also regarded as content
elements. It is also found that riddles are
non-oppositional and oppositional. Under
non-oppositional riddles there are literal and
metaphorical riddles. Oppositional riddles are
characterised by the occurrence of an opposition
between at least one pair of descriptive elements.
Then in antithetical oppositional riddles one of
the elements opposes the other by word or action .
In privational oppositional riddles one descriptive
element is a denial of logical or natural
attribute of the first . In casual oppositional
riddles the second element explicitly denies the
expected consequence. Stylistically, the riddles
show~ the use of ideophones which are an
idea-in-sound to express vividness and the
repetition of words . The technique of riddling i s
explained whereby an animal is replaced by an
object , a plant by a human being and vice versa and
so on.
And finally, the metaphor in riddles is analysed
and it is shown that riddles have versions and
that there are different riddles for the same
referent.
The riddles are then classified according to contents, structural analysis and their types.
Riddles are then regarded as a form of living
tradition and old and new types are shown .Riddles are then regarded as a form of living
tradition and old and new types are shown.
And in the conclusion the main findings from the
study of riddles are given.
At the end there is an appendix, a list of Zulu
riddles with their translations. / African Languages / M.A. (African Languages)
|
24 |
Riddling in the voices of others the Old English Exeter book riddles and a pedagogy of the anonymous /Lind, Carol A. Kim, Susan Marie. January 2007 (has links)
Thesis (Ph. D.)--Illinois State University, 2007. / Title from title page screen, viewed on March 11, 2008. Dissertation Committee: Susan M. Kim (chair), Susan M. Burt, K. Aaron Smith, Thomas Klein. Includes bibliographical references (leaves 318-326) and abstract. Also available in print.
|
25 |
Vitendawili vya Kiswahili: usambamba wake na dhima yake katika jamiiNgonyani, Deo 03 December 2012 (has links) (PDF)
Vitendawili vya Kiswahili, kama vitendawili katika lugha nyingine za Kibantu, na kwa hakika katika lugha nyingine za Kiafrika, ni mafumbo ambayo hutolewa kama kauli au swali linalotaka jibu (Gowlett 1979; Harries 1971, 1976; Okpewho 1992). Vitendawili katika Kiswahili ni sehemu muhimu sana ya michezo ya watoto. Katika jamii ambazo bado zinaishi maisha ya jadi, watoto hukaa pamoja jioni pengine wakiwa na dada zao, kaka zao, na binamu zao wakasimuliana hadithi na kutegana vitendawili. Makala hii inachunguza muundo wa visabiki vya vitendawili vya Kiswahili na kutokana na mchangamano wa muundo tunapendekeza kwamba vitendawili ni njia kuu ya kufundisha watoto ufasaha wa lugha. Ukichunguza usambamba katika vitendawili utaona changamoto kubwa hutolewa kwa mtegaji na wasikilizaji wake kutokana na usambamba ulioko katika sintaksia, fonolojia, kadhalika sitiari. Kama Scheub (2002:124) asemavyo: «Vitendawili ni modeli kwa ajili sanaa za lugha».
|
26 |
Enigmaticité et messianisme dans la "Divine Comédie" /Hein, Jean January 1992 (has links)
Th. Etat : Lettres : Lyon 3 : 1987.
|
27 |
Beastly spaces : geomorphism in the literary depiction of animalsPaddock, Alexandra Angharad January 2016 (has links)
In 2010, Simon Estok observed that, "the most immediate question ecocriticism can ask is about how our assumptions about animals affect the natural environment". In this thesis, I respond to this challenge by generating a sustained conversation between the hitherto surprisingly distinct fields of animal studies and ecocriticism. I do this by formulating a new critical concept, that of the geomorphic animal, which I use to show how literary representations of animals often expose the many complex ways in which they constitute space rather than simply inhabiting it. This, in turn, should make them central to future ecocritical readings. I focus on two periods, medieval and modern; the broad historical and generic scope of this thesis is intended to demonstrate the conceptual validity and robustness of geomorphic readings. Chapter One shows how concerns with death and symbiosis are expressed through the earth-bound activities of the geomorphic animals of the Exeter Book riddles. Chapter Two examines geomorphic whales in texts deriving from two related traditions: the Book of Jonah and the Physiologus. Chapters Three and Four focus on modern theatre, which affords distinctive ways of articulating the spatial implications of geomorphism. Chapter Three discusses the literary representation of museums and zoos in terms of the interpretative complexities generated by staging and spectacle. Chapter Four, focusing on mediation, discusses the interplay between animals, viewpoints and place in theatre, also taking into account particular issues arising from the adaptation of plays into films. This argument paves the way to addressing the geomorphic depiction of marginalised humans and human groups, suggesting the critical potential of geomorphism as a means of furthering feminist and post-colonialist aims.
|
28 |
Yanayoudhi kuyaona mafumbo na vijembe vya KiswahiliSheikh, Sauda 30 November 2012 (has links) (PDF)
In Swahili language proficiency is measured in terms of a speakers knowledge and use of methali (proverbs), misemo (sayings), mafumbo (riddles) and vijembe (sharp comments). The aim of the paper is to show the different uses of mafumbo and vijembe. Their meanings are at first sight hidden to the addressee, but understood in the context of their use. Mafumbo can be used as teasing, as circumscription for parts of the body of which it is taboo to speak of, as moral reprimands and warnings, and as a secret language between intimate partners or groups of people. Vijembe - `What cuts more than a knive? - the tongue´ - are used on kanga and in newspapers. An important feature of vijembe is that it always asks for an answer, therefore has a strong aspect of competition.
|
29 |
Vitendawili vya Kiswahili: usambamba wake na dhima yake katika jamiiNgonyani, Deo 03 December 2012 (has links)
Vitendawili vya Kiswahili, kama vitendawili katika lugha nyingine za Kibantu, na kwa hakika katika lugha nyingine za Kiafrika, ni mafumbo ambayo hutolewa kama kauli au swali linalotaka jibu (Gowlett 1979; Harries 1971, 1976; Okpewho 1992). Vitendawili katika Kiswahili ni sehemu muhimu sana ya michezo ya watoto. Katika jamii ambazo bado zinaishi maisha ya jadi, watoto hukaa pamoja jioni pengine wakiwa na dada zao, kaka zao, na binamu zao wakasimuliana hadithi na kutegana vitendawili. Makala hii inachunguza muundo wa visabiki vya vitendawili vya Kiswahili na kutokana na mchangamano wa muundo tunapendekeza kwamba vitendawili ni njia kuu ya kufundisha watoto ufasaha wa lugha. Ukichunguza usambamba katika vitendawili utaona changamoto kubwa hutolewa kwa mtegaji na wasikilizaji wake kutokana na usambamba ulioko katika sintaksia, fonolojia, kadhalika sitiari. Kama Scheub (2002:124) asemavyo: «Vitendawili ni modeli kwa ajili sanaa za lugha».
|
30 |
Volkspoësie : die bestaan en ontwikkeling van die begrip in Afrikaans, met besondere verwysing na die bydrae van N.P. Van Wyk Louw en D.J. OppermanVisagie, Jan Andries Gysbert 06 1900 (has links)
Summaries in Afrikaans and English / Die term "volkspoesie" is reeds in die agtiende eeu deur Johann
Gottfried Herder gebruik. Dit kom steeds in Europese tale soos
Nederlands en Dui ts voor en word oak in Afrikaans gebruik.
Belangstelling in die genre word in twee verskillende vakgebiede
aangetref: die volkskunde en die letterkunde.
Volkspoesie is poesie wat deur 'n individu geskep word, maar
soveel aanklank vind by die "gewone publiek" dat hulle dit as
11volksbesit 11 aanvaar en mondel ing oordra. Die oorspronklike
skepper raak dus vergete, die kunswerk bestaan anoniem voort en
variante ontstaan. Volkspoesie het verskeie verskyningsvorme
soos die volkslied( jie), die ballade, rympies en raaisels.
Eiesoortige kenmerke is: spontaneiteit, eenvoud, die irrasionele.
Alhoewel volkspoesie oor "landsgrense11 heen kan swerf, is
bepaalde vorme daarvan dikwels streekgebonde.
Nieteenstaande sy bevraagtekening van die term in die vyftigerjare
het N.P. van Wyk Louw dit ook self gebruik. Sy gedigreeks
11 Klipwerk uit Nuwe verse (1954) het 'n nuwe belangstelling in
volkspoesie gewek. Later het hy die reeks bestempel as 'n "soort
volkspoesie wat hy doelbewus wou skep: volksversagtige" gedigte,
gebind aan die digter se jeugwereld.
D.J. Opperman het in sy proefskrif van 1953 ook ender meer 'n
belangstelling in volkspoesie geopenbaar en in 1962 gewys op die
volkse in moderne Afrikaanse digkuns. Sy laaste digbundel,
Kamas uit 'n bamboesstok ( 1979), word as 'n volksboek met
volkspoesie-eienskappe aangebied.
Die vorm en eienskappe van volkspoesie vind neerslag in beide Van
Wyk Louw en Opperman se werk. Aanvanklik skryf Van Wyk Louw
heelwat volksversagtige gedigte en later gebruik hy ook
volksballade-eienskappe in sy ballades. Ook in Tristia (1962)
kom eienskappe van volksliedjies en rympies voor. Opperman
verwerk meermale bestaande volksliedjies en -rympies in sy poesie
en gebruik dit betekenisverruimend as verwysingsveld.
Die twee digters se belangstelling in volkspoesie het gelei tot
'n verdere ontginning van die "volkse" vers in Afrikaans, onder
andere deur digters soos Boerneef, Adam Small en Breyten Breytenbach.
Volkskundige navorsing deur P.W. Grobbelaar en andere het
in die moderne tyd ook die aandag op hierdie onderwerp gevestig.
In die tagtigerjare is mondelinge Afrikaanse poesie selfs deur
swartmense in hulle politieke stryd gebruik! / The term "folk-poetry" had already been used by Johann Gottfried
Herder in the eighteenth century. It has ever since prevailed
in European languages such as Dutch and German and is also found
in Afrikaans. Interest in this genre occurs in two different
fields of study: folklore and literature.
"Folk-poetry" is poetry created by the individual and accepted
by the "general public" to a large extent. Therefore it is
acknowledged as common property and passed on by word of mouth.
The original creator is thus forgotten, the work of art prevails
anonymously and different versions come into being. "Folkpoetry"
appears in a variety of forms: the folk-song( s), the
ballad, rhymes and riddles. Particular characteristics are:
spontaneousness, simplicity, the irrational. Although "folkpoetry"
may cross "national borders", some forms are often
regional.
Despite his questioning the term in the fifties, N.P. van Wyk
Louw used it himself. His poetry series "Klipwerk" from Nuwe
verse (1954) gave rise to a new interest in ''folk-poetry". He
afterwards labelled the series as "a kind of folk-poetry" which
he deliberately wanted to create: "folksy" poems, relating to the
world of the poet's youth.
In his 1953 thesis D.J. Opperman also showed amongst others an
interest in "folk-poetry" and in 1962 pointed out the "folksy"
identity in contemporary Afrikaans poetry. His last anthology,
Kamas uit 'n bamboesstok (1979), is presented as a folk book with
"folk-poetry" characteristics.
The form and characteristics of "folk-poetry" are embedded in
both Van Wyk Louw's and Opperman's work. Initially Van Wyk Louw
wrote quite a number of "folksy" poems and afterwards also used
folk-ballad characteristics in the ballads he wrote. Characteristics
of folk-songs and rhymes also occur in Tristia (1962).
Opperman adapts existing folk-songs and rhymes in his poetry and
uses it as framework to broaden the meaning.
These two poets' interest in "folk-poetry" resulted in further
exploration of the "folksy" verse in Afrikaans, among others by
poets like Boerneef, Adam Small and Breyten Breytenbach. Folk
research by P.W. Grobbelaar and others focused attention on this
subject. In the eighties even blacks used oral Afrikaans poetry
in their political struggle! / Afrikaans and Theory of Literature / D. Lit. et Phil. (Afrikaans)
|
Page generated in 0.1081 seconds