PhD, School of Literature and Language Studies, Faculty of Humanities, University of the Witwatersrand, 2011 / Whereas there is an accumulation of a large body of research in oral literature, it is mostly confined to what is considered as the “fabula” and “folk wisdom” (tsingano) genres. Such understanding of genre eschews oral history because it is designated as a “factual” genre and ceded to historians. Using material collected ethnographically among the Abanyole of Western Kenya, this study combines historical and literary methods to investigate the Nyole expression of ethnic identity through the oral historical narrative. The study shifts attention from the perceived mutual exclusiveness of factual and fictional genres by focusing on the processes of the constitution and narration, and the purpose of narration of akakhale (the past) by the Nyole to cast light on the methods of fashioning the Nyole historical and social imagination. Thus, the study suggests alternative methods of reading the oral historical narrative by highlighting the discursive processes and the predominance of language use in the production the texts of the Nyole past. Taking the notion of the past as the storehouse of a people’s idea of origin and ethnic identity as the point of departure, the study investigates how Abanyole talk about their ethnic identity. In the process the study shifts attention from the external dimensions, which have predominated discourses on ethnicity, to the internal processes or the intra-community dimensions of ethnicity. The thesis demonstrates that narration of the Nyole past is not meant to reproduce kernels of truth-as-it-was; the purpose which the narration process is deployed to serve, and the meaning of the narrative is unveiled by interrogating the Nyole social and historical contexts, and the dynamics of the immediate context of narration which include the narrator’s conscious selection in the process of integration of what should constitute the ideal community history. Hence, the thesis underscores the implications of the exclusive Nyole social structure, the uncertainty produced by population explosion and scarcity of land, the interpretation of the objective of ethnographer, the need to represent the past in an acceptable and non-threatening manner; and oral history as narrative to highlight how textuality and performativity are deployed to deal with issues of legitimacy and the desire to have a more inclusive definition of being Nyole. The thesis appropriates narrative as a socially symbolic act as a model to explicate the multiplicity and contradiction in the Nyole narrative of origin, and the uncertainty in the conception of belonging to the Nyole sub-group of the Luhya ethnic nation.

O que buscamos mapear nesta tese de doutorado é de que forma as narrativas hipertextuais estão mudando a democracia digital. Ao detectarmos tais mudanças, ocorridas nas narrativas mediadas por computador, com a elaboração de um experimento coletivo de trocas de narrativas, o Remix Narrativo, procuramos correlacionar algumas escrituras, sejam elas em formato texto (poesias, contos, folhetins, histórias cotidianas, urbanidades), formato imagético (fotografias, ilustrações, vídeos, recortes), formato sonoro ou formato comunitário, como listas de discussão e comunidade no Orkut. O participante pode alterar uma narrativa existente a partir do desenrolar da trama; alterar os personagens ou mudar de formato, ou seja, continuar o conto com inserção de imagem, áudio ou vídeo. A cada bloco temático é possível espiar, participar, modificar ou iniciar uma nova narrativa apropriando-se do formato existente ou escolhendo outro numa brincadeira entre formatos multimidiáticos. Com esse experimento, pretende-se apresentar uma reflexão conceitual acerca do processo de narrar, além de promover o questionamento sobre a morte do autor, já proposto por Barthes em 1967. O anônimo ganha poder de emergente. E a aventura segue um roteiro não-linear, bem aos moldes propostos por Borges. / What we intend to investigate in this doctorate thesis is how the hypertextual narratives are changing digital democracy. As we detect those changes, which happened through computer mediated narratives, we created a colective experiment to exchange narratives, called Narrative Remix. We intended to collect writing materials (be it poetry, short stories, day to day stories, urbanities), imagetic format (pictures, ilustrations, videos, paper clips), sound formats or community formats, such as forums and Orkut groups. The participant can alter an existing narrative as the story unfolds, change a character or change the format. That means, keep telling the story by inserting images, audio or video. Each thematic bloc allows the user to see, participate, change or start a new narrative by taking the pre-existent format or choosing another one, in a array of multimedia formats. With this experiment, the idea is to present a conceptual reflection about the narrative process, and to promote the questioning about the death of the author, already raised by Barthes in 1967. The anonimous gains the emergent power. And the adventure gains a non-linear sequence plot, in the terms proposed by Borges.

O que buscamos mapear nesta tese de doutorado é de que forma as narrativas hipertextuais estão mudando a democracia digital. Ao detectarmos tais mudanças, ocorridas nas narrativas mediadas por computador, com a elaboração de um experimento coletivo de trocas de narrativas, o Remix Narrativo, procuramos correlacionar algumas escrituras, sejam elas em formato texto (poesias, contos, folhetins, histórias cotidianas, urbanidades), formato imagético (fotografias, ilustrações, vídeos, recortes), formato sonoro ou formato comunitário, como listas de discussão e comunidade no Orkut. O participante pode alterar uma narrativa existente a partir do desenrolar da trama; alterar os personagens ou mudar de formato, ou seja, continuar o conto com inserção de imagem, áudio ou vídeo. A cada bloco temático é possível espiar, participar, modificar ou iniciar uma nova narrativa apropriando-se do formato existente ou escolhendo outro numa brincadeira entre formatos multimidiáticos. Com esse experimento, pretende-se apresentar uma reflexão conceitual acerca do processo de narrar, além de promover o questionamento sobre a morte do autor, já proposto por Barthes em 1967. O anônimo ganha poder de emergente. E a aventura segue um roteiro não-linear, bem aos moldes propostos por Borges. / What we intend to investigate in this doctorate thesis is how the hypertextual narratives are changing digital democracy. As we detect those changes, which happened through computer mediated narratives, we created a colective experiment to exchange narratives, called Narrative Remix. We intended to collect writing materials (be it poetry, short stories, day to day stories, urbanities), imagetic format (pictures, ilustrations, videos, paper clips), sound formats or community formats, such as forums and Orkut groups. The participant can alter an existing narrative as the story unfolds, change a character or change the format. That means, keep telling the story by inserting images, audio or video. Each thematic bloc allows the user to see, participate, change or start a new narrative by taking the pre-existent format or choosing another one, in a array of multimedia formats. With this experiment, the idea is to present a conceptual reflection about the narrative process, and to promote the questioning about the death of the author, already raised by Barthes in 1967. The anonimous gains the emergent power. And the adventure gains a non-linear sequence plot, in the terms proposed by Borges.

In this analytical research paper, the notions of narrator and narration in poetry are discussed in order to identify why the terminology in this particular genre is considered as problematic by most theorists. In its theoretical section, this paper focuses on Philippe Lejeune’s autobiographical and biographical pacts, and shows the limits of the two reading contracts in the poetical genre. Then, on the background of Brian McHale and Stefan Kjerkegaard’s works on segmentivity, this paper explains the narrative process that can be found in the visual form of poetry. Finally, discussing Brian McAllister and Marie-Laure Ryan’s works on narrativity, this study explains that a story is a mental image that the transposition to a media will transform in order to best represent according to its own limits. In its analytical part, and mirroring the theoretical part, this study focuses on identifying the narrator, the narrative process, as well as the degree of narrativity of four poems by David Diop, Charles Pennequin, Ilse Garnier and Pierre Garnier. Thoses poems, chosen on the ground that they are good representative examples of narrative poetry, lyric poetry and visual poetry, help test the theories in practice. The results show that in the narrative poem, although the identity of the narrator is hard to establish, the narrative process is clear and the degree of narrativity is high. In the lyric and visual poems on the other hand, even if the segmentivity theory helps ‘reconstruct’ the narration when linking words are missing, the difficulty to identify narrative events in the lyric poem and a story world in the case of the visual poetry makes the emergence of a story world, and in turn of a narrator, problematic.

En la presente investigación se propone observar cómo los homosexuales son representados en las películas peruanas en el género cinematográfico de drama. Para este planteamiento se basa en la premisa de analizar la narrativa del cine peruano con respecto a la creación de un personaje homosexual. En primer lugar, se observará cómo es el proceso evolutivo del personaje homosexual dentro de las películas escogidas. Lo segundo, que se identificará el contexto histórico donde se desarrolla la trama del personaje homosexual. Para lograr rescatar toda esta información durante la investigación se utilizará una técnica de recolección de datos que es el análisis de contenido, para ver las dimensiones que tiene un personaje homosexual. La herramienta escogida para esta investigación es la ficha de análisis en donde se transcribirá todo el análisis de contenido que se realizó de estas dos películas escogidas que son Av. Largo y Contracorriente, películas peruanas que han tocado el tema de la homosexualidad. / In this research it is proposed to observe how homosexuals are represented in Peruvian films in the cinematographic genre of drama. For this approach, it is based on the premise of analyzing the narrative of Peruvian cinema with respect to the creation of a homosexual character. In the first place, it will be observed how is the evolutionary process of the homosexual character within the chosen films. The second, that the historical context where the plot of the homosexual character is developed will be identified. In order to rescue all this information during the investigation, a data collection technique will be used, which is content analysis, to see the dimensions that a homosexual character has. The tool chosen for this research is the analysis sheet where all the content analysis that was made of these two chosen films, which are Av. Largo and Contracorriente, will be transcribed, Peruvian films that have touched on the issue of homosexuality. / Trabajo de investigación

The purpose of the study was to identify the gender-related themes from a cultural discourse in order to determine how gender is constructed in African society. The study specifically examines the Maragoli Folktale. The Maragoli people mainly inhabit the western part of Kenya and are a sub-tribe of the larger Luhyia community. The Luhyia community is the second largest community in Kenya. The study attempts to uncover how gender is constructed through the examination of dominant themes, characterization, images, symbols, formulaic patterns and formalities of composition and performance in the Maragoli folktales at the time of performance. Based on an eclectic conceptual framework, the study takes into consideration gender theories, feminist literary perspectives, psychoanalysis and discourse analysis paradigms to critically examine the tales as a semiotic system of signification grounded within an African social cultural milieu. The folktales are analysed as a symbolic and ideological discourse of signs encoded by the performer and decoded by the audience at the time of performance. The study therefore situates the tale firmly at the time of performance, taking into consideration the interaction between the performer and the audience in the dissemination and internalization of gender ideology. While establishing that patriarchal structures and values are transmitted through the tales, the study also reveals the methods and interventions that the mainly female performers advance as active agents in their struggle for space within the culture. Women are, therefore, perceived as active agents of change and the folktale as a site from which gender ideology is discussed, contested and subverted. The study is based on a corpus of twenty (20) folktales collected from the Maragoli country in Western Province of Kenya (See maps, Appendix B.) The English versions of the tales appear in appendix A. / English Studies / D. Litt. et Phil. (English)

Made available in DSpace on 2016-04-28T19:59:22Z (GMT). No. of bitstreams: 1 Maria Aparecida da Silva Santos.pdf: 412401 bytes, checksum: df5b9eb60c00bdef11eafb9a44038e45 (MD5) Previous issue date: 2010-05-18 / Secretaria da Educação do Estado de São Paulo / This dissertation is centered at the structural reading of the Mário de Andrade s anthology, CONTOS NOVOS and its discursive, discontinuous and innovated process of the literary tales genre. The chosen corpus is composed by the following stories: Vestida de Preto, O Peru de Natal and O Poço. These stories present specifics aims: To illustrate the geniality of the author about the enlargement of the limits of his esthetic scheme of the literary tales genre; the modern man and his alterity which comes from his identity; the questions about o fazer literário ; the transgression of literary language; the linguistics experiments; the Brazilian language assimilation and stylization; the textual performance of the storyteller, the character, and the reader, who is merged in hypertextual connections suggested by the main subject of the literary tales. Our hypothesis is very well demonstrated and supported by the subsequent authors and their theories: Mikhail Bakhtin, Julio Cortázar, Ricardo Piglia, Manual Bandeira, Edgar Allan Poe, Alfredo Bosi, Afrânio Coutinho, Massaud Moisés, André Jolles, Paul Zumthor, Pierre Lévy, and Wayne Booth, among other ones. It is also supported by Mário de Andrade s interview, as well as by his private letters and articles. This academic study exposes the subthemes as follows: The first chapter exibites an idea about the course, the structural features and the metamorphosis of the literary tales genre, including the oral tradition and even the modern literary writing. This chapter also lists the Brazilian tales writers, mainly Mário de Andrade, in the context of the modernism; his latest guidelines and connections, according to the non-linear logic, antecipating the structure of the modern novel. The second chapter describes the multifaceted narrative process, the storyteller and his many-sided expressions in CONTOS NOVOS: interconnections between first- person tales, which is showed by the storyteller-character relationship: from the oral to the written word. The third chapter demonstrates our focal hypothesis that says about the hypertext structure which is inside the multi-linear system of the CONTOS NOVOS; This chapter shows the importance of the memory and of the imaginary word in the construction of the narrative process and also shows all the experimental procedures of the storyteller-character, relating memory experience: interaction, alterity and identity are in the base of the new hypertextual content in a dramatic unit / O objetivo desta dissertação está centrado na leitura estrutural da antologia de Mário de Andrade, CONTOS NOVOS e seu processo discursivo descontínuo inovador do gênero conto. O corpus escolhido, os contos: Vestida de Preto, O Peru de Natal e O Poço apresenta objetivos específicos: evidenciar a genialidade do autor em relação à proposta estética de ampliação das fronteiras do gênero conto; a temática do homem moderno, e sua identidade a partir da alteridade; a preocupação com o fazer literário ; a transgressão da linguagem literária; os experimentos lingüísticos; a incorporação e a estilização da língua brasileira ; as performances do jogo textual do narrador, da personagem e do leitor imersivo em conexões hipertextuais sugeridas pelas matrizes dos contos. Esta é a nossa hipótese demonstrada e sustentada pela leitura de alguns teóricos e suas teorias: Mikhail Bakhtin, Julio Cortázar, Ricardo Piglia, Mário de Andrade, Manuel Bandeira, Edgar Allan Poe, Alfredo Bosi, Afrânio Coutinho, Massaud Moisés, André Jolles, Paul Zumthor, Pierre Lévy, Paul Ricoeur, Lúcia Santaella, Fernando Segolin, João Luiz Lafetá, Luis Costa Lima, Telê Ancona Lopez, Nádia Gotlib, Massaud Moisés, Anatol Rosenfeld, Wayne Booth, bem como os testemunhos do próprio Mário de Andrade, a partir de entrevistas, correspondências e artigos particulares do autor. O desenvolvimento dissertativo considerou as seguintes subtemáticas: Capítulo I apresenta o percurso, os traços estruturais e as metamorfoses do gênero do conto, desde a tradição oral até a escritura literária moderna, apontando os contistas brasileiros, em especial Mário de Andrade, no alvorecer do Modernismo brasileiro; suas novas diretrizes e conexões do conto sob o tratamento da lógica alinear, profetizando a estrutura do romance moderno. O capítulo II descreve o complexo processo narrativo, o narrador e suas máscaras presente em CONTOS NOVOS: interconexões entre os contos de primeira pessoa evidenciados no movimento do narrador-personagem em saltos discursivos: da oralidade à escrita. O capítulo III evidencia nossa hipótese central referente à presença da estrutura do hipertexto no sistema multilinear dos CONTOS NOVOS; a importância da memória e do imaginário no processo narrativo e os procedimentos experimentais do narradorpersonagem em trabalho de relato de experiência memorialística: interação, alteridade, identidade sob novas matrizes hipertextuais em uma única célula dramática

The purpose of the study was to identify the gender-related themes from a cultural discourse in order to determine how gender is constructed in African society. The study specifically examines the Maragoli Folktale. The Maragoli people mainly inhabit the western part of Kenya and are a sub-tribe of the larger Luhyia community. The Luhyia community is the second largest community in Kenya. The study attempts to uncover how gender is constructed through the examination of dominant themes, characterization, images, symbols, formulaic patterns and formalities of composition and performance in the Maragoli folktales at the time of performance. Based on an eclectic conceptual framework, the study takes into consideration gender theories, feminist literary perspectives, psychoanalysis and discourse analysis paradigms to critically examine the tales as a semiotic system of signification grounded within an African social cultural milieu. The folktales are analysed as a symbolic and ideological discourse of signs encoded by the performer and decoded by the audience at the time of performance. The study therefore situates the tale firmly at the time of performance, taking into consideration the interaction between the performer and the audience in the dissemination and internalization of gender ideology. While establishing that patriarchal structures and values are transmitted through the tales, the study also reveals the methods and interventions that the mainly female performers advance as active agents in their struggle for space within the culture. Women are, therefore, perceived as active agents of change and the folktale as a site from which gender ideology is discussed, contested and subverted. The study is based on a corpus of twenty (20) folktales collected from the Maragoli country in Western Province of Kenya (See maps, Appendix B.) The English versions of the tales appear in appendix A. / English Studies / D. Litt. et Phil. (English)