La présente thèse en création littéraire comporte deux parties. La première est un recueil de poésie divisé entre les deux types de poésies orales que nous avons étudiés : le spoken word poetry et le slam de poésie. À travers cette expérience de création, notre objectif était de montrer les différences entre les deux styles ainsi que leur courbe évolutive. Pour y arriver, nous avons pris comme point de départ un poème dans le style plus traditionnel de la poésie. À partir de ce texte « sacrifié » (selon la méthode mise en place durant les soirées de Slam), nous avons donc organisé les poèmes en suivant notre adaptation aux exigences du slam de poésie et du spoken word poetry. À travers ce travail, nous avons aussi dressé un plan thématique pour compléter l’organisation du recueil. La seconde partie est composée de deux chapitres. Le premier est une étude théorique sur les différences entre les deux styles de poésie : il serait alors question de l’évolution progressive d’une poésie orale vers une autre en plus des orientations prises par chacune au fil des années. Comme genre littéraire, le spoken word, qui reste plus près des sources, est beaucoup plus libre que le Slam, qui s’implante dans le milieu actuel avec ses thèmes et doit suivre les règles rigides de la compétition. Le deuxième chapitre est un retour réflexif sur ma propre création à partir des notions vues au premier chapitre. Il explique en profondeur l’organisation de mon recueil de même que le plan thématique de ses deux parties.

When hearing speech, listeners begin recognizing words before reaching the end of the word. Therefore, early sounds impact spoken word recognition before sounds later in the word. In languages like English, most morphophonological alternations affect the ends of words, but in some languages, morphophonology can alter the early sounds of a word. Scottish Gaelic, an endangered language, has a pattern of 'initial consonant mutation' that changes initial consonants: Pog 'kiss' begins with [ph], but phog 'kissed' begins with [f]. This raises questions both of how listeners process words that might begin with a mutated consonant during spoken word recognition, and how listeners relate the mutated and unmutated forms to each other in the lexicon. We present three experiments to investigate these questions. A priming experiment shows that native speakers link the mutated and unmutated forms in the lexicon. A gating experiment shows that Gaelic listeners usually do not consider mutated forms as candidates during lexical recognition until there is enough evidence to force that interpretation. However, a phonetic identification experiment confirms that listeners can identify the mutated sounds correctly. Together, these experiments contribute to our understanding of how speakers represent and process a language with morphophonological alternations at word onset.

The primary claim of this dissertation is that children and adults process language in the same manner, meaning that when children are acquiring their first language what they are truly doing is perfecting their language processing abilities. Language acquisition and processing both start from the same place. Both work to find patterns in the signal that will, eventually, be paired with meaning. This dissertation argues that differences in how children and adults accomplish these tasks are one of degree and not kind. To show this, three experiments tested how adults and children responded to a conflict between the lexical and prosodic parse of an utterance. The participants’ response to this conflict reveals information about where they are in the language acquisition process. In these experiments, prosody was used to disambiguate phrases that can be interpreted either as a list of two items (e.g., fruit, salad) or as a single compound item (e.g., fruit-salad). Prosody was also made to conflict with the lexical parse of an utterance. When the word cactus is said with List Prosody two non-words /kæk/ and /tʌs/ result. When the words nail and key are said with Compound Prosody, the non-word nailkey is created. By exploiting the overlap between the prosodic system and the lexical system, it is possible to evaluate how language is being processed. The results show that adults tend to parse utterances based on the lexical content, and ignore ambiguities created by a conflict between the prosodic and the lexical interpretation of the phrase. In contrast, children tend to respond based on the prosody, making increasing use of the lexical content as they mature. When the same items are tested with abstract shapes rather than representational images, adults make greater use of prosody. This suggests that visual input plays a role in spoken word processing. The dissertation also proposes a modified model of spoken word recognition that accounts for the difference seen between the adults and the children, and for the effect of visual content. This model integrates phonetic details, prosodic content, lexical knowledge, visual content, and pragmatic understanding during spoken word recognition.

As a major project, this work studies the spoken word genre as a response to, and interpretation of, oppression and examine my own spoken word performance through the lens of narratology, narrative-making and auto-ethnography. This project is composed of two parts: a full-length spoken word performance and a curatorial analysis of this performance. While attempting to re-enact the trauma of oppression, this performance dually recognizes the impossibility within the task. Maurice Blanchot writes in The Writing of the Disaster, “The disaster, unexperienced. It is what escapes the very possibility of experience- it is the limit of writing. This must be repeated: the disaster de- scribes.” This project aims to perform the places of de-scription. In poems detailing experiences of trauma, racism, misogyny, and relationships, this spoken word performance will offer an account of the subject for whom the act of narration is subversive. In this, the performance is self-aware and self-reflective; it communicates experiences for which the language to describe such experiences is either unavailable or nonexistent. The continuous theme of ‘home’ is maintained throughout the performance- how its absence marks the absence of the oppressed subject, how its absence implies the absence of language for the subject, and how spoken word can begin the outlining of a narrative, a foundation, for the subject. My accompanying curatorial paper will examine similar themes. As spoken word is an art form deeply linked to activism, my paper will begin with an analysis of how this art has taken place, what its role has been in community development, and how it continues to function as a teaching tool. My paper argues that spoken word is instrumental in tying learning to voice; by offering young people a medium that both gives them a forum to voice the issues directly impacting their lives, while giving them a means of developing skills in language, presentation and communicating ideas effectively, spoken word acts as a unique and important teaching tool. / Thesis (Master, Cultural Studies) -- Queen's University, 2014-01-07 02:07:39.286

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Thesis (MDram)--Stellenbosch University, 2012 / ENGLISH ABSTRACT: Poetry performance as a universal phenomenon is a performing art form. The aim of this study is to explore the diverse nature of this art form. The different types are investigated according to their nature and the reasons provided as motivation for the way in which these types are presented. This study focuses on the following types: poetry found in ritual, poetry readings, poetry recitals, poetry as part of word art (woordkuns), sung poetry, the verse drama and drama’s based on poetry. Under each of these categories relevant examples of each type are discussed. A background study which is primarily focused on a brief overview of the history of poetry performance in relation to its origin and development serves as an introduction and foundation for the study. Hereupon the different types of poetry performances, with relevant and contemporary variations as examples, are being compared to each other with the aim to elucidate the main similarities as well as differences between these examples. As part of the research of poetry performance, a practical project exploring the specific nature of dramas based on poetry was executed. This drama, called Ontslape, shares various comparisons as well as differences with other examples of contemporary drama’s based on poetry. It also shares similarities with word art (woordkuns). Although it is possible to distinguish between certain types of poetry performance, it however also appears that some types overlap in more than one way and therefore the conclusion can be made that poetry performance as a phenomenon consists of various possibilities. / AFRIKAANSE OPSOMMING: Poësie performance as universiële verskynsel is ‘n uitvoerende kunsvorm. In hierdie studie word die diversiteit van die kunsvorm ondersoek. Die onderskeie tipes word ondersoek na aanleiding van die aard en doel van die aanbieding. Die studie fokus op die volgende tipes: poësie in rituele verband, poësie in voorlesing, poësie en voordrag, poësie as deel van woordkuns, poësie in sangvorm, die versdrama en poësie gebasseerde drama’s. Onder elk van hierdie afdelings word relevante voorbeelde van elke tipe breedvoerig bespreek. ‘n Agtergrondstudie wat hoofsaaklik fokus op ‘n historiese oorsig met betrekking tot die oorsprong en ontwikkeling van poësie performance dien as basis vir en inleiding tot die studie. Hierop word onderskeie tipes poësie performance met relevante en kontemporêre voorbeelde en variasies belig met die doel om die ooreenkomste en verskille tussen tipes en voorbeelde uit te lig. As deel van die verkenning van poësie performances is ‘n praktiese projek uitgevoer wat by nader ondersoek ‘n voorbeeld van ‘n poësie gebasseerde drama is. Hierdie drama, getiteld Ontslape, toon verskille en ooreenkomste met ander kontemporêre poësie gebasseerde drama’s. Dit toon ook ooreenkomste met woordkuns. Alhoewel sekere tipes poësie performances duidelik van ander geskei kan word, blyk dit dus dat sekere tipes met mekaar oorvleuel en daar word dus gevolglik tot die konklusie gekom dat poësie performance as verskynsel oor ‘n legio aantal moontlikhede beskik.

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Syftet med denna studie är att analysera spoken word texter för att undersöka vardagsproblem i dagens svenska förorter och vetenskapliggöra de sociala kontexterna till de olika vardagsverkligheterna som beskrivs i texterna. Vidare syfte är även att se vilken betydelse poesi och spoken word kan ha för människor i utsatta områden, samt på vilket sätt kan spoken word öka dessa människors känslor av delaktighet och erkännande. För att uppnå syfte har det genomförts narrativ metod för tolkandet av sju spoken word texter. Vid tolkning av texterna har det använts en intersektionell analys. Även en intervju har genomförts för att få djupare förståelse för studiens bakgrund. Analysen av empirin kommer att ha sin teoretiska utgångspunkt i begreppet vardagsverklighet och de olika strukturerna som formar ramarna till de olika vardagsverkligheterna. Mikropolitiska aktiviteter kommer även att analyseras som ett sätt att göra motstånd i det vardagliga livet, och för att förstå motstånd i relation till makt så har denna studie utgått ifrån Foucaults maktperspektiv. Resultatet visar att poeternas vardagsverkligheter präglas av postkoloniala samhällsstrukturer och att de jämnt bemöter fördomar från det övriga samhället. Intersektionell analys på maktstrukturer blir användbar då det visar sig att tjejerna inte känner sig hörda och sedda i förort som för killar symboliserar trygghet. Spoken word ökar inte bara självreflektion och känslan av empowerment men kan även bli ett sätt att göra motstånd mot dessa strukturer och visa en motbild till den bilden av förorter som resten av samhället har.

This degree project essay examines the literary culture phenomenon known as poetry slam, a competitive format for performance poetry, with the purpose of discussing whether poetry slam could contribute to upper secondary school Swedish teaching or not. The essay consists of two parts, one where poetry slam is presented and one where poetry slam is discussed from a didactic perspective. In the first part, a brief history of poetry slam and its origins in the U.S. is presented, followed by a discussion of the ideology within the slam movement. Furthermore, the set of rules that regulate poetry slams are presented and finally the first part of the essay is ended with a discussion of poetry slam as a poetic genre of its own. The second part starts by presenting and discussing the concept of aesthetic learning processes and how poetry slam might enable such processes. Poetry slam is then related to the Swedish subject syllabus for upper secondary school in order to analyse whether there is any rationale for poetry slam in Swedish teaching or not. Furthermore, poetry slam is related to literacy development, first by discussing creative writing and then by discussing oral performance. The results of the analysis shows that poetry slam is foremost motivated in Swedish teaching as a literary historical content, partly as an opportunity to work with oral performance, and also to cultivate students’ linguistic subjectivity. Poetry slam could possibly enable aesthetic learning processes, although it may be questioned whether poetry slam qualifies as an artistic community professional enough to provide artistic working methods. The very concept of a school poetry slam could also be seen as a contradiction, when considering the slam movement’s self image of counter culture, as schools themselves could be interpreted as dominant literary establishments. Possible pitfalls related to poetry slam in Swedish teaching are the competitive format’s effect on students socio-emotional safety and the scoring system that may be hazardous for students’ linguistic subjectivity. Also, poetry slam may not meet the curricular demands on rhetoric performances which are mandatory in the upper secondary school Swedish courses, and thus questions may be raised if oral poetic performances can be prioritised at the expense of oral rhetoric performances. Moreover, the free, creative space provided to students within creative writing processes puts high demands on the teacher balancing students’ creative freedom, in order to possibly articulate hidden knowledge, with making sure that students do not spend time procrastinating.