<p>This paper is a phenomenological approach to the field of performance art. It is aqualitative study based on observations and interviews. The aim is to understand how andwhy do artists use performance art. The empirical result shows that artists use performanceart to challenge what art is. The study explains how artists use performance art as a modeof communication, a communication based on using the voice in different modes. Throughusing an electronic filtered voice, the artists capture the audience's attention and at the sametime they challenge their own narrative and presence. Performance art is seen as a mode ofcommunication, which constitutes a social structure within communities. The study findsthat the artists generate an existential and political awareness for their audience.Keywords:</p>

This paper is a phenomenological approach to the field of performance art. It is aqualitative study based on observations and interviews. The aim is to understand how andwhy do artists use performance art. The empirical result shows that artists use performanceart to challenge what art is. The study explains how artists use performance art as a modeof communication, a communication based on using the voice in different modes. Throughusing an electronic filtered voice, the artists capture the audience's attention and at the sametime they challenge their own narrative and presence. Performance art is seen as a mode ofcommunication, which constitutes a social structure within communities. The study findsthat the artists generate an existential and political awareness for their audience.Keywords:

This paper is a phenomenological approach to the field of performance art. It is aqualitative study based on observations and interviews. The aim is to understand how and why do artists use performance art. The empirical result shows that artists use performance art to challenge what art is. The study explains how artists use performance art as a mode of communication, a communication based on using the voice in different modes. Through using an electronic filtered voice, the artists capture the audience's attention and at the same time they challenge their own narrative and presence. Performance art is seen as a mode ofcommunication, which constitutes a social structure within communities. The study finds that the artists generate an existential and political awareness for their audience.

The beloved songs of Egyptian singer Umm Kulthum exist today not only in collective memory, but as a vital part of the soundscape of contemporary Egyptian life and social discourse. The lyrics of Umm Kulthum's songs represent some of the best-known poetry of the Arab world, written in a range of styles by Egyptian and non-Egyptian poets. In this thesis I examine the intertwined nature of poetry and song through study of the [sung poems] of Umm Kulthum's musical films. Because sung poetry is often inseparable from its sounded performance, I draw on methodologies from musicology, linguistics, and poetics to explore the aesthetics of the [sung poems] through interactions of form, register, music, and meaning. The detailed study of these intersecting features contributes new insight into the role of performance in shaping language register and meaning. / text

Different labels have been used for marking the reciprocity in Swahili dialogue poetry, varying between the more neutral `malumbano´ or `kujibizana´ and the more marked `ukinzani´ or `mashindano´. By showing a sample from the Zanzibari newspaper Mwongozi (1956) of a poetic dialogue on wife-husband relationships, the paper argues that the poetical form and the strong language used are not a mere expression of what has been called `rivalry´, but instruments in expressing views and opinions that have been observed in other literary devices (mithali, misemo, vijembe) and their usage. At the same time it is demonstrated that different types of poems (tenzi, mashairi, nyimbo) and different styles (plain, metaphoric, riddle) are used side by side. The ambiguity, incompleteness and strength of the language that is used in this poetry, make it all possible to express views on sensitive issues in the society.

<p>The focus of the dissertation is on the performance of the yoiks, what the yoikers tell the audience and what the yoikers mean with their narratives. The results demonstrate that the verbal art of yoik includes both song and spoken messages. The analysis of the yoik tradition is couched within performance theory. The discussions of the performance give keys to understanding storytelling, oral history, verbal art and a means to recognize when a yoiksong, vuolle, begins or when it stops and why the performer yoiks its vuolle the way he or she does. I argue that an inside perspective in conjunction with performance theory, provides a highly fruitful method to research in yoik tradition. In order to understand the tacit knowledge in the performance, it has been highly relevant to discuss the seminal work by the Sami author Johan Turi and to compare his theories with Sami scholars like Israel Ruong, Nils Jernsletten and Harald Gaski.</p><p>In the 1900s there were three broader documentation projects of yoik tradition in Sweden. The first one was conducted in the 1910s by Karl Tirén, who used the phonograph and wax cylinders. In the 1940s the Institute of Language and Folklore (ULMA/SOFI) undertook a documentation project and in the 1950s the Swedish Radio did so too. Now, it was now possible, with the modern technology, to analyse the yoik tradition in new ways. It enables re-listening to the stories that was told and to see them in a context where the performers’ artistic skill, together with their social background and their relation to their audience is made visible.</p><p>It has been discussed if there was an epic yoik tradition in South Sami areas. One hypothesis says that epic yoik was found only in northern areas in close connection to Finnish culture. However, this study shows that there was an epic yoik tradition in southern Lapland and probably the last of these epic singers passed away in the 1960s. The yoikers presented here are all good representatives of an epic yoik tradition. Sara Maria Norsa, Nils Petter Svensson, Jonas Eriksson Steggo and Knut Sjaunja are my main informants in the archive material, where their performances are described with accuracy. This makes it possible to analyse the events they are participating in. They are all in fact telling their lives’ stories by describing reindeer herding.</p><p>This dissertation demonstrates the yoik tradition in its context, and I show that the vuolle has a structure where one can recognize when it begins and when it ends. The yoik tradition is not only music or song, the story that is told is equally important. The way of presenting a vuolle is also a part of the yoik tradition and one has to consider both the spoken and the sung messages in order to understand what the performer means. In short, yoik must be recognized as verbal art or storytelling.</p>

The focus of the dissertation is on the performance of the yoiks, what the yoikers tell the audience and what the yoikers mean with their narratives. The results demonstrate that the verbal art of yoik includes both song and spoken messages. The analysis of the yoik tradition is couched within performance theory. The discussions of the performance give keys to understanding storytelling, oral history, verbal art and a means to recognize when a yoiksong, vuolle, begins or when it stops and why the performer yoiks its vuolle the way he or she does. I argue that an inside perspective in conjunction with performance theory, provides a highly fruitful method to research in yoik tradition. In order to understand the tacit knowledge in the performance, it has been highly relevant to discuss the seminal work by the Sami author Johan Turi and to compare his theories with Sami scholars like Israel Ruong, Nils Jernsletten and Harald Gaski. In the 1900s there were three broader documentation projects of yoik tradition in Sweden. The first one was conducted in the 1910s by Karl Tirén, who used the phonograph and wax cylinders. In the 1940s the Institute of Language and Folklore (ULMA/SOFI) undertook a documentation project and in the 1950s the Swedish Radio did so too. Now, it was now possible, with the modern technology, to analyse the yoik tradition in new ways. It enables re-listening to the stories that was told and to see them in a context where the performers’ artistic skill, together with their social background and their relation to their audience is made visible. It has been discussed if there was an epic yoik tradition in South Sami areas. One hypothesis says that epic yoik was found only in northern areas in close connection to Finnish culture. However, this study shows that there was an epic yoik tradition in southern Lapland and probably the last of these epic singers passed away in the 1960s. The yoikers presented here are all good representatives of an epic yoik tradition. Sara Maria Norsa, Nils Petter Svensson, Jonas Eriksson Steggo and Knut Sjaunja are my main informants in the archive material, where their performances are described with accuracy. This makes it possible to analyse the events they are participating in. They are all in fact telling their lives’ stories by describing reindeer herding. This dissertation demonstrates the yoik tradition in its context, and I show that the vuolle has a structure where one can recognize when it begins and when it ends. The yoik tradition is not only music or song, the story that is told is equally important. The way of presenting a vuolle is also a part of the yoik tradition and one has to consider both the spoken and the sung messages in order to understand what the performer means. In short, yoik must be recognized as verbal art or storytelling.

Different labels have been used for marking the reciprocity in Swahili dialogue poetry, varying between the more neutral `malumbano´ or `kujibizana´ and the more marked `ukinzani´ or `mashindano´. By showing a sample from the Zanzibari newspaper Mwongozi (1956) of a poetic dialogue on wife-husband relationships, the paper argues that the poetical form and the strong language used are not a mere expression of what has been called `rivalry´, but instruments in expressing views and opinions that have been observed in other literary devices (mithali, misemo, vijembe) and their usage. At the same time it is demonstrated that different types of poems (tenzi, mashairi, nyimbo) and different styles (plain, metaphoric, riddle) are used side by side. The ambiguity, incompleteness and strength of the language that is used in this poetry, make it all possible to express views on sensitive issues in the society.

This study investigates how the book of Acts addresses certain local problems in Luke's community through a linguistic stylistic analysis that utilizes models of verbal art and intertextuality within a systemic-functional linguistic framework. This methodology is suited to demonstrate how Luke symbolically articulates a message to his audience through his stylistic patternings of language of the Jerusalem Council in Acts 15 and the texts with which it shares thematic content. The scheme of the study begins with the analysis of the Cornelius episode in Acts 10:1-11:18, continues with the Jerusalem Council in Acts 15:1- 29, and concludes with Paul's return to Jerusalem where he stands accused of forsaking the Law of Moses in Acts 21:17-26. Each of these episodes, sharing patterns of repetition, plays a role in the symbolic articulation of a message in the book of Acts. First, the Cornelius story establishes the legitimacy of table fellowship among Jewish and Gentile believers against opposing Jewish value positions regarding moral purity. Next, the Jerusalem Council in Acts 15 recapitulates the Cornelius episode but then further develops value orientations concerning social relations among Jewish and Gentile believers in the church, principally by means of the Apostolic Decree. Then, the repetition of the Apostolic Decree in Acts 21 clarifies its meaning according to different situational variables. The thesis of this study is that these patterns reveal contextual elements of a particular conflict the early church faced over the communal integration of Jewish and Gentile believers - namely, that Jews were susceptible to splitting off from multi-ethnic churches due to the pressures of a Jewish separationist ideology. The book of Acts subverts this ideology by means of the foregrounded patternings identified in this study. These patternings, which serve to identify foregrounded thematic formations, orient the reader to the proper heterglossic backdrop and reveal that Luke engages a particular Noahic tradition associated with the discursive practice of rewriting sacred scripture in Second Temple Jewish literature, not to align with its value orientations but to subvert it and thereby convince Jewish believers not to withdraw from the community of God.