Relevant bibliographies by topics / Fictional orality

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Fictional orality'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Fictional orality.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Fictional orality"

1

Schäfer, Lea. "Outlawing orality: Western Yiddish reflexes in German fiction." Journal of Historical Sociolinguistics 4, no. 1 (March 26, 2018): 65–96. http://dx.doi.org/10.1515/jhsl-2016-0026.

Full text
Abstract:
AbstractThis study analyses how fictional languages can be influenced by natural languages exemplified by the use of Yiddish. It shows how a fictional language can be a data source for research on historical development of Western Yiddish (WY) and its sociolinguistic situation. In contrast to the varieties of Eastern Yiddish (EY), which are still spoken today, Western Yiddish was given up during the complex acculturation process of West-Ashkenazic Jewry during the nineteenth century. As a language driven by a pejorative view of language variations and by growing antisemitism, Yiddish found its way into German fiction, where it is still used in contemporary fiction as a means of characterising Jewish figures. This article presents the main results of a corpus study on 53 of such fictional texts from the eighteenth and nineteenth centuries. The Yiddish examples in Yiddish script will be primarily quoted in their original form and then be transliterated following the YIVO romanisation system (cf. Weinreich 1968). It will be shown that reflexes of spoken WY can be found in these imitations of Yiddish. This data can be used as secondary evidence of WY structures. Furthermore, the data gives an impression of the intensity of the language contact situation between German and Yiddish. In addition it gives insights into mechanisms of how German Jews were excluded from the German ideal of a Sprachnation.
APA, Harvard, Vancouver, ISO, and other styles
2

Baños1, Rocío. "Orality Markers in Spanish Native and Dubbed Sitcoms: Pretended Spontaneity and Prefabricated Orality." Meta 59, no. 2 (November 21, 2014): 406–35. http://dx.doi.org/10.7202/1027482ar.

Full text
Abstract:
This article reflects on the divergences between translated and non-translated texts, and the specificities of fictional dialogue in audiovisual texts. Research suggests that audiovisual dialogue consists of a combination of linguistic features used in speech and writing, and that both translators and scriptwriters should aim to achieve a balance of these features to create spontaneous-sounding dialogues. Working with an audiovisual corpus of domestic and dubbed sitcoms in Spanish (Siete Vidas and Friends respectively), the purpose of this article is to provide an overview of how Spanish dialogues are shaped from a linguistic point of view across all language levels, highlighting the trends identified in their production and their translation in order to compare them. The results reveal the complex relationship established between speech and writing in audiovisual texts, and disclose the resources used by translators and scriptwriters to carefully plan dialogues which sound credible. Findings also suggest that domestic audiovisual texts bear more resemblance to spontaneous conversation than dubbed texts.
APA, Harvard, Vancouver, ISO, and other styles
3

Haggett, George K. "Philip Venables and Ted Huffman, Denis & Katya, London, Southbank Centre, Purcell Room, 13–14 March 2020." Tempo 74, no. 294 (September 1, 2020): 85–86. http://dx.doi.org/10.1017/s0040298220000431.

Full text
Abstract:
Oral history is experiencing something of a heyday in the public imagination. The past ten years have seen a proliferation of podcasts – Sarah Koenig's Serial, Brian Reed's S-Town, Jon Ronson's The Butterfly Effect – which revolve around the testimony of ordinary people. Many of their fictional counterparts, most overtly Archive 81, hinge around the very practice of documenting, archiving and interpreting oral histories. BBC radio's oral history The Century Speaks (1999) was broadcast to an audience of millions. In the same year, radio historian Susan Douglas presciently called for a return to orality: ‘a mode of communication reliant on storytelling, listening, and group memory’. Common to these cultural products is a desire to capture a zeitgeist in a peculiarly direct and interpersonal way: through the intimacy of hearing a witness's own voice, oral history media eludes writing and embraces the subjectivity of the spoken and unscripted. To listen to somebody's testimony is to foster a distinctive relationship with them and their past, to receive it in their words and in some sense relive it on their terms.
APA, Harvard, Vancouver, ISO, and other styles
4

Haji Salleh, Muhammad. "Hang Tuah in the Sea of Oral Malay Narratives." Malay Literature 25, no. 2 (December 8, 2012): 121–58. http://dx.doi.org/10.37052/ml.25(2)no1.

Full text
Abstract:
Hang Tuah is a culture hero who defines both himself and the Malays, along with their feudal and universal values. Three forms of existences have been bestowed on him by the peoples of the Malay Archipelago, i. e. the historical, the fictional and the oral. This paper attempts to trace the oral presence of Hang Tuah which is more varied, colourful, and in effect, more developed than the other two. At present, in Sungai Duyung, Singkep, Riau, Malacca and many places in the Archipelago, there is a wealth of stories about him, his origins, exploits, comrades and death. Many stories of the Sea Sekanaq of West Singkep, Riau claim that he originated from amongst their people. In Bintan, however, where his family found a home, some other famous stories are told of how he met his four friends, and his early relationship with the Bendahara and the Raja of Bintan. Hang Tuah and his family moved to Malacca when the new state became an important and wealthy port. Here, the stories refer to the village of Sungai Duyong in Malacca, its famous well, and his so-called mausoleum in Tanjong Keling. Stories of his life and contribution to the state were composed over time, and are quite different from addition to those of the Sulalat al-Salatin and the Hikayat Hang Tuah. The stories are still being composed and spread through the internet, an instrument of what I call the tertiary orality. Keywords: Â Hang Tuah, Malay identity, feudal values, origins, orang laut
APA, Harvard, Vancouver, ISO, and other styles
5

James-Raoul, Danièle. "La voix et la lettre dans les romans arthuriens de la seconde moitié du XIIe siècle." Journal of the International Arthurian Society 8, no. 1 (September 1, 2020): 79–106. http://dx.doi.org/10.1515/jias-2020-0005.

Full text
Abstract:
AbstractThe perplexing question of the interrelations between hearing and sight looms large in the verse novel of the second half of the twelfth century, a newly promoted genre of literary fiction, no longer sung but written and intended for public reading in small circles, it seems, permanently shaped by the written word, yet brought to life by a fleeting voice. In what is commonly and sometimes abusively referred to as the Arthurian romance in verse of the second half of the twelfth century – the Arthurian part of Wace’s romance of Brut (in fact, a text between the chronicle and the romance in terms of style), the romances of Chrétien de Troyes, the romances of Tristan by Thomas and Béroul – the ‘soundtrack’ of the Arthurian literary world is poor: the human voice in particular, the sole focus of my study, is rarely mentioned, while discourse proliferates. For multiple reasons, above all because it is an acoustic phenomenon of physiological origin which is linked to breathing, the voice, as an undeniable vital force, seems to be stifled: this is what will be examined to start with. The paradoxes haunting the voice need to be addressed and assessed. In fact, it is as if vocality gave way to a rustle of words, both those of the characters and those of the narrative instances. A second step of the analysis will therefore consider how orality, patently obvious as it is, tends to mask the vocality of the text to draw attention to itself: if the voice, in its materiality, appears neglected, it is because it is henceforth subsumed under the spoken word. Yet, the voice is most saliently causing distinct stylistic traits or modes of writing which animate the jongleresque performance. The latter is having its heyday, since, at the turn of the thirteenth century, prose and the advent of silent reading would soon bring about a substantial change in the production and reception of fictional literary works: a third and last point will deal with how, until the book is to enjoy the prestige that the voice once possessed, the letter will not be that irreducibly separated from the very voice from which it originates. Far from being independent from each other, voice and letter converge in the same collaboration, that of the reading experience that allows us, to this day, to make these texts our own.
APA, Harvard, Vancouver, ISO, and other styles
6

Nicholson, Colin, and Penny Fielding. "Writing and Orality: Nationality, Culture, and Nineteenth-Century Scottish Fiction." Modern Language Review 93, no. 3 (July 1998): 798. http://dx.doi.org/10.2307/3736526.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Bellesia, Giovanna. "Voicing the World: Writing Orality in Contemporary Italian Fiction (review)." Italian Culture 24, no. 1 (2007): 244–47. http://dx.doi.org/10.1353/itc.2007.0002.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

McLAUGHLIN, MAIRI. "When Written is Spoken: Dislocation and the Oral Code." Journal of French Language Studies 21, no. 2 (July 20, 2010): 209–29. http://dx.doi.org/10.1017/s095926951000030x.

Full text
Abstract:
ABSTRACTThis article suggests a refinement of the link between dislocated constructions and the oral code. The research is based on an investigation of a mixed-medium corpus of contemporary French, including spoken language, journalistic prose and literary fiction. It is shown first that the form and function of dislocations vary according to the level of orality of the voice in which they are found: in particular, the intermediary nature of citations in newspaper articles is emphasised. It is then argued that the strict association of dislocation with the stylistic function of orality should be modified, since conveying orality does not always seem to be the primary motivation for dislocation.
APA, Harvard, Vancouver, ISO, and other styles
9

Antonucci, Clara. "Book Review: Voicing the Word. Writing Orality in Contemporary Italian Fiction." Forum Italicum: A Journal of Italian Studies 39, no. 2 (September 2005): 708–9. http://dx.doi.org/10.1177/001458580503900241.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Crawford, Robert. "Writing and Orality: Nationality, Culture, and Nineteenth-Century Scottish Fiction. Penny Fielding." Modern Philology 96, no. 3 (February 1999): 399–402. http://dx.doi.org/10.1086/492775.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Fictional orality"

1

Kavanagh, Kayla. "Translating Le coup de la girafe: A Register Analysis of Fictional Orality." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/38840.

Full text
Abstract:
This thesis examines fictional orality through the lens of register theory, and the application of these concepts in translation. Fictional orality is created by the intersection of two registers that are quite distinct in some languages and cultures: the more formal, written literary register, and the informal, spoken register. This results in an entirely new hybrid register, which seeks to balance the spontaneous, informal language of natural speech with the conventions of formal, written language. I aim to explore this hybrid register in my translation of Le coup de la girafe by Camille Bouchard. The story is told in a first-person, present-tense narration, so fictional orality is ubiquitous in the novella, and it is an excellent text to use for this purpose. In this thesis, I first lay out the theoretical framework for my translation by delving into register theory and fictional orality, and how these notions have been adapted to translation studies. Then, drawing on this framework, I discuss how I applied these concepts in my approach to the translation of Le coup de la girafe, using specific examples from the text. After this, I conclude by presenting the translation itself.
APA, Harvard, Vancouver, ISO, and other styles
2

Falbe, Sandra. "Fictional orality in the German television series "Türkisch für Anfänger" and its translations into Romance languages: the expression of emotionality." Doctoral thesis, Universitat Pompeu Fabra, 2015. http://hdl.handle.net/10803/348885.

Full text
Abstract:
El presente estudio se propone investigar el significado interpersonal del lenguaje y su papel en la cultura de los medios de comunicación actuales. Con este fin se examinará un corpus de textos audiovisuales formado por la comedia de situación alemana Türkisch für Anfänger y de sus traducciones a las lenguas románicas como el catalán y el francés. El análisis se basa en la transcripción multimodal de los primeros episodios de la sitcom, e incluye tanto la transcripción de los códigos verbales como de los paraverbales y no verbales (gestos, expresiones faciales, cinematografía, etc.). Para analizar el significado interpersonal en los diferentes niveles narrativos (extradiegético e intradiegético), el estudio parte de la teoría de la valoración, recientemente aplicada en los estudios de traducción.
The present study aims to explore the role of interpersonal layers of meaning in the current media culture of distance. With this aim in mind, we examine a corpus of audiovisual texts composed of the German sitcom Türkisch für Anfänger and its translations into Romance languages such as Catalan and French. The analysis is based on a multimodal transcript of the first episodes including not only the verbal context but also paraverbal, nonverbal (gestures, facial expressions, etc.) and shooting details. In order to explain the interpersonal layers on the extradiegetic and intradiegetic level of narration in film we draw on the theoretical framework of appraisal theory which in recent years has been applied to translation studies.
APA, Harvard, Vancouver, ISO, and other styles
3

Blanchemanche, Valérie. "Espace graphique et oralités vivaces : lecture ethnocritique des premiers romans de Marcel Aymé." Thesis, Université de Lorraine, 2019. http://www.theses.fr/2019LORR0222/document.

Full text
Abstract:
Cette étude propose de questionner les correspondances entre l’architecture apparente ou non des premiers romans de Marcel Aymé (1902-1967) et la présence des nombreux « faits d’oralité » à l’œuvre ou mis en œuvre. L’approche ethnocritique de ces récits permet de croiser une poétique du romanesque et une anthropologie du symbolique. Nous nous appuyons tout d’abord sur la théorie du « roman parlant » liée à l’entre-deux guerres, période même de l’arrivée de Marcel Aymé dans le champ littéraire. Nous cartographions ensuite la présence et la conscience de la raison graphique en observant les jeux et enjeux d’une écriture composite. En effet, nous percevons à la fois les échos intertextuels avec la littérature classique mais aussi un intérêt pour d’autres formes de langages littéraires et cinématographiques. L’attention particulière à la voix narrative, le recours au burlesque et à l’ironie participent à la compréhension des choix esthétiques du jeune romancier et au style culturel de ces romans. Au centre de cette analyse, les personnages sont interrogés dans leur quête d’identité et dans leurs façons d’être en prise avec des systèmes étatiques et sociaux qui se concrétisent en particulier dans l’état-civil. Le rapport à l’image et la puissance de la numératie complètent la dynamique complexe de cette recherche identitaire. Voix publiques ou privées, singulières ou collectives, sonnantes ou dissonantes se font entendre dans la narration et sont examinées alors comme témoins des tensions culturelles internes aux communautés représentées. Une dernière partie lit les belligérances et/ ou les coalescences de l’habitus littératien et des oralités vivaces telles qu’elles apparaissent dans les romans de notre corpus (Brûlebois, Aller retour, La Table-aux-Crevés). Cette étude se veut aussi ouverte sur le monde ayméen dans son ensemble, attentive aux passerelles entre toutes les publications de l’auteur des articles de presse aux pièces de théâtre
This study proposes to examine the relationship between the visible or non-visible structure of the first novels by Marcel Aymé (1902-1967) and the presence of numerous aspects of orality in the novels. An ethnocritical approach to these narratives makes it possible to combine a poetics of the novel with an anthropology of symbols. We base our study first of all on a theory of the “talking novel” (“roman parlant”) related to the period between the two world wars, which corresponds to the period when Marcel Aymé began publishing his work. Then we trace the presence and awareness of writing (as opposed to orality) through an examination of the stylistic effects of what could be called a composite form of writing and the role of these effects in the overall strategy of the author. In effect, we perceive intertextual echoes of the classics but also an interest in new forms of literary and cinematographic expression. The particular attention to narrative voice, but also the presence of the burlesque and of irony, are elements that help one to understand the aesthetic choices of the young author and the cultural style of his novels. In the central part of this analysis the characters are studied in the perspective of their search for identity and of their way of coming to terms with the public and social systems with which they are confronted through events involving their civil status (marriage, death, etc.). Their relationship with the image and power of numeracy is another important dimension of the complex dynamics of this search for identity. The voices that one hears in the narration, public or private, individual or collective, consensual or dissenting, are examined for the clues they yield concerning the cultural tensions present within the communities represented in the novels. The last part of the thesis examines the conflict and convergence between literacy as a “habitus” and the living traces of orality as they appear in the novels of the corpus (Brûlebois, Aller retour, La Table-aux-Crevés). This study also aims at being open to the world of Marcel Aymé as a whole and at being attentive to the interrelations between all the publications of the author, including his newspaper articles and his plays
APA, Harvard, Vancouver, ISO, and other styles
4

Parra, López Guillermo. "Disorderly speech in audiovisual fiction and its translation : portrayals of characters under the influence of alcohol and drugs." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/668236.

Full text
Abstract:
Much research has been conducted on language variation and marked speech in its various forms, such as dialects, registers, and styles. There is one variety, however, which seems to have been broadly overlooked in translation studies to date, and which I call disorderly speech. The concept arises from the need to account for a very particular, and unexplored, phenomenon which is widespread in audiovisual fiction: the effect of drugs or alcohol consumption on a character’s linguistic output. This thesis focuses on the analysis of English-language films and their dubbed and subtitled versions into Spanish. It uses a descriptive approach to identify and compare markers of disorderly speech at all linguistic levels in both the source texts and their translations. Since there is no specific theory for this phenomenon, it is addressed by combining different perspectives, such as fictional orality, language variation, style, and L3 and multilingualism.
Mucho se ha dicho sobre el lenguaje marcado en sus múltiples formas, como dialectos, registros o estilos, pero hay una variedad que se ha pasado por alto hasta ahora en los estudios de traducción, a la que denomino lenguaje alterado. Este concepto surge de la necesidad de explicar un fenómeno muy extendido en la ficción audiovisual: el efecto del consumo de drogas o alcohol en la producción lingüística de los personajes. Esta tesis se centra en el análisis de películas de habla inglesa y de sus versiones dobladas y subtituladas al español. Se sigue un enfoque descriptivo para identificar y comparar los marcadores del lenguaje alterado a todos los niveles lingüísticos, tanto en los textos de partida como en las traducciones. Dado que no existe una teoría específica para este fenómeno, se aborda combinando diferentes perspectivas, como la oralidad fingida, la variación lingüística, el estilo y la L3 y el multilingüismo.
Molt s’ha dit sobre el llenguatge marcat en les seves múltiples formes, com dialectes, registres o estils, però hi ha una varietat que s’ha passat per alt fins ara en els estudis de traducció, la qual denomino llenguatge alterat. Aquest concepte sorgeix de la necessitat d’explicar un fenomen molt estès en la ficció audiovisual: l’efecte del consum de drogues o alcohol en la producció lingüística dels personatges. Aquesta tesi se centra en l’anàlisi de pel·lícules de parla anglesa i de les seves versions doblades i subtitulades a l’espanyol. Se segueix un enfocament descriptiu per identificar i comparar els marcadors del llenguatge alterat a tots els nivells lingüístics, tant en els textos de partida com en les traduccions. Atès que no existeix una teoria específica per a aquest fenomen, s’aborda combinant diferent perspectives, com l’oralitat fingida, la variació lingüística, l’estil i l’L3 i el multilingüisme.
APA, Harvard, Vancouver, ISO, and other styles
5

Rustici, Chiara. "Brendan Behan : les enjeux de la mémoire entre écriture et oralité." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2013. http://tel.archives-ouvertes.fr/tel-00879873.

Full text
Abstract:
Cette thèse de doctorat présente l'œuvre de Brendan Behan, dans le but d'apporter une contribution à la recherche sur un auteur qui n'a pas encore reçu toute l'attention qu'il mérite. L'œuvre de B. Behan est une œuvre très hétérogène qui mélange genres et styles différents, écriture et oralité, texte et images. A travers l'étude des publications de l'auteur (roman, théâtre, récits enregistrés, productions radiophoniques, poésie, nouvelles et articles) ce travail montre l'importance du thème de la mémoire dans la littérature de l'auteur. Le titre de la thèse souligne les différents aspects de la mémoire qui sont ici considérés. Le terme de " mémoire " implique en effet plusieurs notions telles que la faculté de conserver ou de ramener à l'esprit le passé, l'acte du recouvrement et de la recherche dans la définition de l'identité de l'individu, ainsi que le devoir de conservation et de transmission de l'histoire et de la culture collectives. Du fait des difficultés que l'on peut rencontrer dans la définition du concept de mémoire, il faut bien sûr prendre en compte diverses approches (philosophique, psychologique, sociologique, anthropologique et linguistique). Le projet s'inscrit dans le domaine plus vaste de la littérature autobiographique irlandaise, et il espère apporter une contribution à ce domaine de recherche qui reste largement ouvert à l'investigation. Nous explorons particulièrement le rapport qui existe entre mémoire et imagination. Bien que nous puissions considérer que l'œuvre de l'auteur s'inscrit dans le mouvement littéraire réaliste irlandais des années 1930 et 1940, nous essayons surtout de montrer l'importance de l'élément fictif de l'écriture autobiographique. La littérature est pour Behan un instrument d'introspection à travers le souvenir et l'imagination. Raconter son histoire personnelle est pour Behan un moyen d'oublier l'expérience traumatique, individuelle et collective. En même temps, l'écriture permet à l'auteur d'assurer sa présence éternelle.
APA, Harvard, Vancouver, ISO, and other styles
6

Aubague, Mathilde. "Ambiguïtés du récit sério-comique de Rabelais à Fielding : formation du personnage, mystification du lecteur." Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL017.

Full text
Abstract:
Notre étude se propose d’analyser les enjeux et les formes de la représentation d’une figure d’auteur dans la fiction narrative comique du XVIe au XVIIIe siècle en Europe. Cette figure, extérieure à la diégèse ou appartenant au personnel narratif, exhibe un discours d’auteur, mime un dialogue avec le lecteur, instaurant une communication narrative fictive avec le lecteur. Cette communication apparaît paradoxale, elle représente une parole orale, problématique dans un texte écrit, et la présence réelle de l’auteur est insituable dans le texte, la figure auctoriale appartenant déjà à l’univers fictionnel. Le dialogue avec le lecteur repose sur une fiction de présence et sur un dispositif rhétorique séducteur dont les enjeux sont pragmatiques. Le récit est donné comme porteur d’enseignements. Il thématise une formation du héros souvent sujette à caution, dont le lecteur doit démêler les enjeux. La structure comique du récit et de l’énonciation contribue à une mystification du lecteur, appelé à interpréter un texte ludique, à la fois comique et sérieux, qui refuse de livrer son sens de façon univoque. Du XVIe au XVIIIe siècle se mettent en place, en relation avec leur contexte d’écriture, les formes d’un genre sério-comique, qui repose sur la parodie et le détournement des codes et des formes de la littérature contemporaine, sur l’instauration d’une attitude intellectuelle ironique et critique et d’une communication fictive avec le lecteur. Nous analyserons les formes de l’ambiguïté énonciative et narrative chez Rabelais, chez l’auteur anonyme du Lazarillo, chez Mateo Alemán, Cervantès, Charles Sorel, Grimmelshausen, Marivaux et Henry Fielding
Our study intends to analyse the stakes and forms of a figure of author’s representation in the comical narrative fiction in Europe from 16th to 18th century. Such figure, either external to the diegesis or belonging to the narrative characters, produces the speech of an author, mimes a dialogue and by doing so, establishes an imaginary narrative communication with the reader. This kind of communication seems paradoxical. It represents oral speech, which is problematic in a written text; the actual presence of the author cannot be placed within the text whereas the auctorial figure already belongs to the fictional world. The dialogue with the author is set on an imaginary presence and on a seducing rhetorical device with pragmatic stakes. Lessons are expected to be drawn from this narrative. It topicalizes the forming of the hero, which is often questionable, and it is up to the reader to untangle the stakes. The comical structure of the narrative and of the enunciation contributes toward a deception of the reader who is expected to give an interpretation of an entertaining text which is both comical and serious, and which refuses to deliver its meaning in a univocal way. From 16th to 18th century forms of a serio-comic gender are established within their writing context. They rely on parody and diversion of the forms and codes of contemporary literature, on the introduction of an ironic and critical intellectual attitude as well as an imaginary interaction with the reader. We will analyse the different forms of enunciative and narrative ambiguity in Rabelais, in the anonymous author of Lazarillo to Mateo Alemán, Cervantès, Charles Sorel, Grimmelshausen, Marivaux to Henry Fielding
APA, Harvard, Vancouver, ISO, and other styles
7

Herrera, Aliosha. "Histoire du cinéma thaï de 1945 à 1970 : l'ère des fictions populaires en 16mm." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA128.

Full text
Abstract:
Les années 1950 et 1960 apparaissent comme deux décennies d’intense effervescence dans le champ du cinéma thaï. L’adoption, à l’issue de la Seconde Guerre mondiale, du format 16mm par une nouvelle génération de cinéastes donna lieu à l’essor d’une production cinématographique très populaire dans le royaume. Alors que les comédies musicales réalisées par les fondateurs pionniers de la compagnie Phaphayon Siang Si Krung jusqu’en 1941 semblaient promettre la pérenne hégémonie d’un véritable « Hollywood du Siam », ces fictions joyeusement rhapsodiques, filmées avec des moyens de fortune et accompagnées en direct par la légendaire faconde de doubleurs professionnels, rencontrèrent un vaste public de Bangkok aux plus lointains villages de province, dans le cadre de projections en prolongement direct avec les spectacles mixtes d’antan. La disparition accidentelle, le 8 octobre 1970, de l’acteur Mit Chaibancha au cours du tournage d’Insi thong [« L’aigle d’or »] mit cependant un brusque terme à cette expérience, singulièrement tardive, de cinéma oral. La récente constitution d’un fonds d’archives à la Cinémathèque thaï a permis la mise à jour de riches vestiges de cette bien nommée « ère du 16mm ». Cette recherche se propose comme une première tentative historiographique pour exhumer ce patrimoine visuel, à la fois ancré dans la tradition dramatique siamoise et apparu dans le contexte d’une dictature militaire placée sous la complexe influence de son allié américain en ces années de Guerre Froide
The 1950s and 1960s appear as two decades of intense effervescence in the field of Thai cinema. In the immediate aftermath of the Second World War, the adoption of the 16mm format by a new generation of filmmakers gave rise to a very popular cinematic production in the kingdom. Whereas the musicals directed by the pioneer founders of the Phaphayon Siang Si Krung company until 1941 seemed to promise the perennial hegemony of a real ‘Hollywood of Siam’, these joyously rhapsodic fictions, filmed with makeshift means and accompanied live by the legendary loquaciousness of professional dubbers, encountered a broad public from Bangkok to the most remote provincial villages, within a screening framework stemming directly from earlier mixed shows. Nevertheless, the accidental disappearance of the actor Mit Chaibancha on the 8th of October 1970, during the shooting of Insi thong [« The golden eagle »], put an abrupt end to this singularly belated experience of oral cinema. The recent composition of an archival fund at the Thai Film Archive permitted the bringing to light of rich vestiges from this well-named ‘16mm era’. This research is a first historiographical attempt to exhume this visual patrimony, both embedded in the Siamese dramatic tradition and generated in the context of a military dictatorship that came under the complexe influence of its American ally during these Cold War years
APA, Harvard, Vancouver, ISO, and other styles
8

Lundmark, Aili. "Föränderligt och beständigt : En studie av Elsa Beskows berättarspråk." Licentiate thesis, Uppsala universitet, Institutionen för nordiska språk, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-252908.

Full text
Abstract:
This thesis is a study of the narrative language of Elsa Beskow, Sweden's most famous children's writer of the early twentieth century. The overall aim of the thesis is to contribute to the understanding of why Beskow's stories are still among the most popular children's books in Sweden, more than a hundred years after her literary debut. My investigation is a quantitative study of word-class distribution, various syntactic features, and readability in four picture-books and four other stories. To begin with, Beskow's language is compared to that of other texts written for young readers, including children's fiction, a contemporary reading-book, and popular comic strips. The results indicate that Beskow has something in common with all of these materials, especially with children's fiction. However, she also has her own style, which is different from the children's fiction I compare with. For example, her sentences are comparatively long and often begin with a conjunction. Moreover, Beskow uses many address phrases and interjectional phrases, and the initial clause-constituent is often some other clause element than the subject. Additionally, Beskow's narrative language is compared to conversational language and to formal prose. The results show that Beskow moves along the whole scale, from conversation to formal writing, depending on what aspect of her language use is considered. In some cases, her style even falls outside of the scale. For example, placing the subject in initial position is less common in Beskow's writing than in both conversation and formal writing. Finally, the variation between Beskow's texts is examined. The analysis shows, among other things, that the oral influences on Beskow's style increased during the five decades she wrote stories.
APA, Harvard, Vancouver, ISO, and other styles
9

Kaiste, Jaana. "Das eigensinnige Kind : Schrecken in pädagogischen Warnmärchen der Aufklärung und der Romantik." Doctoral thesis, Uppsala University, Department of Modern Languages, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-6023.

Full text
Abstract:

This dissertation deals with how didactic fiction and writers of child literature of the 18th and 19th centuries tried to strike terror into their young listeners to make them obedient to the social and moral norms of adults. Particular attention is devoted to texts where children themselves function as protagonists. Fairy-tales by the brothers Jacob and Wilhelm Grimm but also by Ludwig Bechstein and Charles Perrault are taken into consideration as are examples of child literature by Johann Baptist Strobl, a less famous didactic philanthropist at the end of the Enlightenment.

The theme of horror and intimidation is followed and analyzed with special regard to narrative techniques, but also to objectives of educational and socialisation processes. The dissertation argues that many of the recurring stereotypes and topoi in these horror stories for children can be traced back to popular superstition and other notions of an early preliterary and oral society.

APA, Harvard, Vancouver, ISO, and other styles
10

Kemp, Debbie. "Elements of orality in the short fiction of Bessie Head, Mtutuzeli Matshoba and Njabulo Ndebele." Thesis, 2014. http://hdl.handle.net/10210/9058.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Fictional orality"

1

Spunta, Marina. The facets of orality: Representations of orality in contempoary Italian fiction. Birmingham: University of Birmingham, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Fielding, Penny. Writing and orality: Nationality, culture, and nineteenth-century Scottish fiction. Oxford: Clarendon Press, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Julien, Eileen. African novels and the question of orality. Bloomington: Indiana University Press, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Julien, Eileen. African novels and the question of orality. Bloomington: Indiana University Press, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Rewriting the vernacular Mark Twain: The aesthetics and politics of orality in Samuel Clemens's fictions. Trier: Wissenschaftlicher, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Creation romanesque negro-africaine et ressources de la litterature orale. Paris, France: L'Harmattan, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Boustani, Carmen. Oralité et gestualité: La différence homme-femme dans le roman francophone. Paris: Karthala, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Oralité et gestualité: La différence homme-femme dans le roman francophone. Paris: Karthala, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Ahouli, Akila. Oralität in modernen Schriftkulturen: Untersuchungen zu afrikanischen und deutschsprachigen Erzähltexten. Frankfurt am Main: IKO - Verlag für Interkulturelle Kommunikation, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Scanlin's Law: Harlequin Historical - 283. Don Mills, Canada: Harlequin, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Fictional orality"

1

Gaunt, Simon. "Fictions of Orality in Troubadour Poetry." In Orality and Literacy in the Middle Ages, 119–38. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.usml-eb.3.4250.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Neill, Anna. "Orality, Print, and Evolution in the Just So Stories." In Human Evolution and Fantastic Victorian Fiction, 61–78. New York, NY : Routledge, 2021. |: Routledge, 2021. http://dx.doi.org/10.4324/9781003154181-4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

"Background and justification: research into fictional orality and its translation." In The Translation of Fictive Dialogue, 7–31. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401207805_002.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

"Fictional orality in romance novels: between linguistic reality and editorial requirements." In The Translation of Fictive Dialogue, 119–36. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401207805_009.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Leman, Peter. "Time Heals All Regimes: Temporality, Somali Oral Law, and the Illegality of African Dictatorships." In Singing the Law, 151–85. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621136.003.0005.

Full text
Abstract:
Chapter three examines the emergence of dictatorships in post-independence Africa. In his dictatorship-trilogy (1979-1983), Nuruddin Farah provides a fictional account of the state of emergency that was Siad Barre’s dictatorship in Somalia (1969-1991). Like Okot and Ngũgĩ, Farah also draws heavily on oral conventions, specifically those tied to Xeer, or Somali oral law. However, legalistic orature in Somalia is available not only to revolutionaries but to the dictator himself, who turns oral poetry to his purposes. Farah, therefore, asks: if orature can serve injustice as easily as justice, can it be effective in challenging dictatorial power? The presence of orality coincides once again with a temporal motif, punctuated at the end of each novel with formal open-endedness. In the context of Somalia’s legal history, this open-endedness provides a definite, though perplexing, solution to the problem of colonial/postcolonial crisis seen in previous chapters: as one of Farah’s characters observes, “time was ultimately a decider.” This suggests that however indefinite a dictator’s rule may seem to be, however indefinite the crisis, time will eventually outlive agents of injustice. Dictators will die. Regimes will pass on. And, hopefully, justice will prevail, even if in a “future beyond the future of a future.”
APA, Harvard, Vancouver, ISO, and other styles
6

"Orality and the Ethics of Telling." In Ethics and Aesthetics in Toni Morrison’s Fiction, 83–113. Brill | Rodopi, 2018. http://dx.doi.org/10.1163/9789004360044_006.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

"Between Orality and Literature: The Alida Folktale in Ellen Ombre’s Short Fiction “Fragments”." In Sonic Interventions, 211–38. Brill | Rodopi, 2007. http://dx.doi.org/10.1163/9789401205092_012.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Kinney, Clare R. "Clamorous Voices, Incontinent Fictions: Orality, Oratory, and Gender in William Baldwin's Beware the Cat." In Oral Traditions and Gender in Early Modern Literary Texts, 195–207. Routledge, 2017. http://dx.doi.org/10.4324/9781351152082-14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"Clamorous Voices, Incontinent Fictions: Orality, Oratory, and Gender in William Baldwin's Beware the Cat." In Oral Traditions and Gender in Early Modern Literary Texts, 221–34. Routledge, 2016. http://dx.doi.org/10.4324/9781315247625-25.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Leman, Peter. "Catching History by the Tail: Colonial Non-Fiction, Atavism, and the Crisis of Modernity in Kenya." In Singing the Law, 33–77. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621136.003.0002.

Full text
Abstract:
This chapter examines colonial responses to African oral jurisprudence as it interacted with laws that recast resistance to colonialism as evidence of an African crisis of modernity. The origins of this crisis discourse become clear in two trials that correspond to significant moments in colonial Kenya and in the evolution of legalistic orature’s challenge to colonial law. In Isak Dinesen’s Out of Africa (1937), a “traditional” Kikuyu court convenes to resolve a crisis that has disrupted Dinsen’s pastoral fantasy of Africa as a home for her aristocratic values. She attempts to control the court through a written contract but is frustrated as orature exposes the true crisis of modernity within colonialism. Similarly, Montagu Slater’s The Trial of Jomo Kenyatta (1955) emphasizes the tension between African orality and colonial literacy in the famous Emergency-era trial. Slater shows how orature challenged the meaning of written evidence and, like the court on Dinesen’s farm, exposed the crisis discourse as evidence of an ongoing crisis within colonialism itself. These trials enable necessary perspectives on the larger picture of law, orature, and literature in colonial East Africa.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Fictional orality' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography