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)

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-04-03T13:13:04Z No. of bitstreams: 1 marlucealvesmarchiori.pdf: 654482 bytes, checksum: 1f5420b4d2b65148e0db7da609750e16 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-03T19:52:37Z (GMT) No. of bitstreams: 1 marlucealvesmarchiori.pdf: 654482 bytes, checksum: 1f5420b4d2b65148e0db7da609750e16 (MD5) / Made available in DSpace on 2018-04-03T19:52:37Z (GMT). No. of bitstreams: 1 marlucealvesmarchiori.pdf: 654482 bytes, checksum: 1f5420b4d2b65148e0db7da609750e16 (MD5) Previous issue date: 2014-04-04 / PROQUALI (UFJF) / Este estudo analisa o sentimento de luto e de melancolia como elementos temáticos na obra A noite escura e mais eu, de Lygia Fagundes Telles (2009). Nesta pesquisa, buscou-se identificar as representações da morte e da solidão em alguns contos dessa obra. A ficção narrativa dos contos escolhidos instiga o insólito, podendo perpassar pelos problemas sociais e individuais presentes na vida. A tensão das narrativas marca os jogos do destino associados à procura da percepção sobre morte e solidão. Este estudo objetiva, portanto, identificar, nesta produção literária, as questões psicológicas que envolvem o fenômeno do luto e da melancolia – enigmas da vida – que o ser humano busca desvendar. Os contos “Boa noite, Maria”, “A rosa verde” e “Uma branca sombra pálida”, selecionados para a pesquisa, revelam reflexões sobre a existência humana, característica marcante na obra de Lygia Fagundes Telles. A escritora parece retratar, nessa coletânea, por meio das personagens, elementos do cotidiano e que permitem ao leitor questionamentos existenciais e uma (re)organização da vida e dos valores da sociedade. Seus escritos focalizam momentos particulares da vida de alguns protagonistas, que, quando em momentos narrativos, uma dramática percepção da realidade ou revelações subjetivas se impõem à consciência. Tal processo arrasta as personagens à dor e à lucidez. A pesquisa permite ressaltar que o luto e a melancolia são fenômenos encobertos por uma nuvem de incertezas que requer um aprofundamento não em busca de certezas, mas, sim, em busca de compreensão ou, pelo menos, aceitação. Tentar decifrar os enigmas da vida com o olhar sobre as inseguranças humanas foi um desafio. / This study analyses bereavement and melancholia feeling as thematic elements in Lygia Fagundes Telles´s book, A noite escura e mais eu (2009). In this research, we sought to identify death and loneliness representations in some tales of this work. The narrative fiction of chosen tales instigates the unusual and may pervade the social and individual problems that are found in life. The narratives tension brands fortune games that are related to the perception about death and loneliness. This study aims therefore to identify, in this literary production, psychological issues surrounding bereavement and melancholy phenomenon - riddles of life – that the human being seeks to discover. The tales "Boa noite, Maria", "A rosa verde" and "Uma branca sombra pálida", selected for the study reveal reflections on human existence, remarkable feature in Lygia Fagundes Telles´ work. The writer seems to portray, in this collection, through the characters, everyday elements that allow the reader existential questioning and (re) organization of life and society values. Her writings focus on particular moments of life of certain actors who, when in narrative moments, a reality dramatic perception or subjective revelations are brought to consciousness. This process leads the characters to pain and lucidity. The research lets highlight that bereavement and melancholia phenomena are veiled in a cloud of uncertainty that require further development not searching for certainties, but rather in search of understanding, or at least acceptance. Trying to decipher the riddles of life with the look on human insecurities was a challenge.

While many riddles exist in the Anglo-Saxon Exeter Book containing female characters, both as actual human females and personified objects and aspects of nature, few scholars have discussed how the anthropomorphized “females” of the riddles challenge and broaden more conventional portrayals of what it meant to be “female” in Anglo-Saxon literature. True understanding of these riddles, however, comes only with this broader view of female, a view including a mixture of ferocity and nobility of purpose and character very reminiscent of the valkyrie (OE wælcyrige), a figure mentioned only slightly in Anglo-Saxon literature, but one who deserves more prominence, particularly when evaluating the riddles of the Exeter Book and two poems textually close to the riddles, The Wife's Lament and Wulf and Eadwacer, the only two poems with a female voice in the entire Old English corpus. Riddles represent culture from a unique angle. Because of their heavy dependence upon metaphor as a vehicle or disguise for the true subject of the riddle, the poet must employ a metaphor with similar characteristics to the true riddle subject, or the tenor of the riddle. As the riddle progresses, similarities between the vehicle and the tenor are listed for the reader. Within these similarities lie the common ground between the two objects, but the riddle changes course at some point and presents a characteristic the vehicle and tenor do not have in common, which creates a gap. This gap of similarities must be wide enough for the true solution to appear, but not so wide so that the reader cannot hope to solve the mental puzzle. Because many of the riddles of the Exeter Book involve women and portrayal of objects as “female,” it is important to analyze the use of “female” as a vehicle to see what similarities arise.

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.

The aim of this thesis is to create an ethnolinguistic analysis of two corpuses of Mongolian riddles (Lovor and Ölziikhutag 1990 and Ölziikhutag 2013). The work contains over one hundred riddles appended with translations and morpheme-to-morpheme glosses. The riddles are further analyzed on a phonetic level, including descriptions of specific sound patterns and alliterations, as well as their lexical and semantic properties. This complex analysis, in conjunction with findings gained in field research, renders possible the description of a specific language of Mongolian riddles, characterized by the frequent occurrence of borrowings, the presence of semantically and phonetically 'damaged' words, ideophones, metaphors and many specific cultural expressions. The language of Mongolian riddles also often skilfully exploits overt abstractions, allusions, and lexical and morphological ambiguities, in addition to other techniques which facilitate conceptual mapping and cognitive blending. This linguistic analysis makes possible a description of the various aspects of the worldview of Mongolian nomads concealed in these riddles, including the characteristic linking of the 'sacred and profane,' as well as the relationship of these riddles to mythology and religious ideas.

« Histoire et sagesse d’Aḥiqar l’Assyrien » est un texte d’exception puisqu’il plonge ses racines dans les temps lointains de la Mésopotamie antique. Son héros, Aḥiqar, est un Sage, un Ummānu, conseiller des rois d’Assyrie ; il fait l’objet d’une vile machination, ourdie par son neveu que le Sage avait pourtant élevé comme s’il était son propre fils ; après avoir frôlé la mort, Aḥiqar est réhabilité, puis envoyé en Egypte, afin d’affronter les énigmes et défis que le Pharaon a lancés contre son roi, tandis que son neveu est puni de mort. Notre corpus regroupe sept versions de « Histoire et sagesse d’Aḥiqar l’Assyrien », s’échelonnant de 500 avant notre ère jusqu’au XVIIIe siècle, et composées en araméen, syriaque, guèze, arabe et grec. Dans une comparaison menée en traduction française, à travers les versions dont nous disposons et au fil des différents épisodes du récit, nous étudierons tout d’abord la trajectoire dramatique de la vie d’Aḥiqar. Puis nous examinerons les énigmes et défis résolus par ce héros expert en langage face au Pharaon avant d’analyser les deux longues séries de maximes, d’abord éducatives puis punitives, qu’il administre à son neveu. Nous aborderons également les modalités du réemploi, ou comment l’histoire araméenne d’Aḥiqar a pu se trouver refonctionnalisée dans la Bible au « Livre de Tobie », dans la « Vie d’Ésope le Phrygien », célèbre fabuliste grec, et dans l’univers des « Mille et Une Nuits » avec le conte intitulé « Sinkarib et ses deux vizirs ». Enfin nous conclurons sur l’intérêt de cette grande figure de l’Ummānu ou conseiller du roi – héros ni guerrier ni saint mais homme de langage – pour l’histoire de la Rhétorique. / “History and wisdom Aḥiqar the Assyrian” is an exception text since its roots goes in the ancient times of ancient Mesopotamia. His hero, Ahiqar is a Sage, a Ummānu, advise the kings of Assyria, and he is the subject of a vile plot, hatched by his nephew that the Sage had yet raised as if he were her own son ; from the brink of death, Ahiqar is rehabilitated and sent to Egypt to confront the puzzles and the challenges that the Pharaoh launched against his king, while his nephew is punished by death. Our text corpus has seven versions of “History and wisdom Ahiqar the Assyrian,” ranging from 500 BC until the eighteenth century, and composed in Aramaic, in Syriac, in Ge’ez, in Arabic and in Greek. In a comparison conducted in French translation, through the versions we have and all along the different episodes of the story, we first study the dramatic trajectory of life Ahiqar. We then examine the puzzles and challenges addressed by this expert hero of language against Pharaoh before analyzing the two long series of maxims, first educational and punitive, that it administers to his nephew. We also discuss the terms of re-use, or how the history of Aramaic Ahiqar could be re-used, with more or less success, in the Bible, the “Book of Tobit” in the “Life of Aesop the Phrygian” famous Greek fabulist, and the world of “Arabian Nights” with the tale entitled “Sinkarib and two viziers.” Finally, we conclude on the interest of this great figure of Ummānu or advise the king - nor a warrior hero, nor a saint hero, but a language man - for the history of rhetoric.

This dissertation examines the relationship between wisdom and identity in Old English and Old Norse-Icelandic literature. At present, the study of medieval wisdom is largely tangential to the study of proverbs and maxims. This dissertation makes wisdom its primary object of study; it sees wisdom not just as a literary category, but also as a cultural discourse found in texts not usually included in the wisdom canon. I therefore examine both wisdom literature and wisdom in literature. The central characteristic of wisdom, I argue, is its liminality. The biblical question “Where is wisdom to be found?” is difficult to answer because of wisdom’s in-between-ness: it is ever between individuals, communities, and times (Job 28:12 Douay-Rheims). As a liminal discourse, wisdom both grounds and problematizes identity in Old English and Old Norse-Icelandic literature. After a preliminary chapter that defines key terms such as “wisdom” and “wisdom literature,” I examine heroic wisdom in three characters who are defined by their wise traits and skills and yet who are ultimately betrayed by wisdom to death or exile. The implications of this problematic relation to wisdom are then examined in the next chapter, which analyzes the composition of wisdom in proverb poems. Like the wise hero, the poets represented in these poems blend their own voices with the voice of community, demonstrating that identity is open and therefore in need of constant revision. Next I examine how the liminality of wisdom is embodied in the figure of the wise monster, who negatively marks the boundaries of society and its desires. This then leads to a study of the reception of wisdom in chapter six, which focuses on instruction poems. Like narratives of wise monsters, these texts present lore as the nostalgic remnant of a tradition that defines identity, in this case the identity of a community. However, nostalgia assumes loss, and these texts also reveal an underlying fear that wisdom, the basis of the community’s identity, will be forgotten. Whether communal or individual, identity in this literature is both formed and threatened by liminal wisdom. / Thesis (Ph.D, English) -- Queen's University, 2014-05-08 15:35:46.885

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The thesis describes the use of stories and metaphors in pastoral counseling with orphans and vulnerable children (future: OVC) affected by HIV and AIDS in Mbeya.. It is a narrative approach study which examines and explores stories and other metaphors for the children’s resilience. A narrative approach helps pastoral counselors to use stories and metaphors such as life stories, proverbs, biblical narratives, plays, art, songs, riddles, poems, symbols and images for the healing and coping mechanism with OVC. The OVC in the midst of challenges of HIV and AIDS crisis can find a healing and coping mechanism in Mbeya. A narrative approach with the use of stories and metaphors in pastoral counseling and in practical theology can be used and applied in responding to issues surrounding the OVC. It is an approach that can help the OVC find their resilience and grow into a more meaningful life, the life of wholeness. Methodologically, case studies, focus groups and interviews have been used to collect the data which was analyzed and interpreted in detail to reach the objectives of the study. I explored and discussed in detail the use of narratives, stories, and metaphors in case studies and focus groups with OVC in Mbeya. Finally, an integrative narrative model was established to build up a practical method for practical theology and counseling in dealing with the challenges which the OVC are facing. The model came as a result of the analysis and interpretation of the case studies, focus groups and interviews conducted in the field research. It describes a life cycle of a person, the events and experiences one passes through, which will ultimately help a person to grow and mature to become whole or an integrative being. / Practical Theology / D. Th. (Practical Theology, Specialisation Pastoral Therapy)

The thesis describes the use of stories and metaphors in pastoral counseling with orphans and vulnerable children (future: OVC) affected by HIV and AIDS in Mbeya.. It is a narrative approach study which examines and explores stories and other metaphors for the children’s resilience. A narrative approach helps pastoral counselors to use stories and metaphors such as life stories, proverbs, biblical narratives, plays, art, songs, riddles, poems, symbols and images for the healing and coping mechanism with OVC. The OVC in the midst of challenges of HIV and AIDS crisis can find a healing and coping mechanism in Mbeya. A narrative approach with the use of stories and metaphors in pastoral counseling and in practical theology can be used and applied in responding to issues surrounding the OVC. It is an approach that can help the OVC find their resilience and grow into a more meaningful life, the life of wholeness. Methodologically, case studies, focus groups and interviews have been used to collect the data which was analyzed and interpreted in detail to reach the objectives of the study. I explored and discussed in detail the use of narratives, stories, and metaphors in case studies and focus groups with OVC in Mbeya. Finally, an integrative narrative model was established to build up a practical method for practical theology and counseling in dealing with the challenges which the OVC are facing. The model came as a result of the analysis and interpretation of the case studies, focus groups and interviews conducted in the field research. It describes a life cycle of a person, the events and experiences one passes through, which will ultimately help a person to grow and mature to become whole or an integrative being. / Philosophy, Practical and Systematic Theology / D. Th. (Practical Theology, Specialisation Pastoral Therapy)