Relevant bibliographies by topics / Mende language. Oral tradition

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

Academic literature on the topic 'Mende language. Oral tradition'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Mende language. Oral tradition"

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Thomas, Karen Kartomi. "Cultural Survival, Continuance and the Oral Tradition: Mendu Theatre of the Riau Islands Province, Indonesia." International Journal of Creative and Arts Studies 2, no. 2 (December 18, 2015): 1. http://dx.doi.org/10.24821/ijcas.v2i2.1792.

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This article seeks to describe Mendu theatre that is performed in Sedanau, Natuna regency (kabupaten) of one of Indonesia’s newest provinces, the Riau Island. 1 Once popular at the turn of the 20 th century and in the 1970s and 1980s, there were local Mendu groups in every village of Natuna in parts of northern and eastern Bunguran island, and other smaller islands such as Sedanau, Pulau Tiga, Karempak, Midai, Siantan, and Anambas (K.S. Kartomi 1986; Illyassabli, 2013; Akib 2014). The oral tradition keeps a people’s culture alive across generations by performing episodes from memory. Mendu theatre episodes express and reinstate the cultural values of the Natuna people. Language, culture, customary laws and how the people think are transmitted orally through the arts and through the embodied knowledge of theatre performance practices.
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Jones, Adam. "Some Reflections on the Oral Traditions of the Galinhas Country, Sierra Leone." History in Africa 12 (1985): 151–65. http://dx.doi.org/10.2307/3171718.

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Whenever historians of Africa write: “According to tradition…”, they evade the crucial question of what kind of oral tradition they are referring to. The assumption that oral tradition is something more or less of the same nature throughout Africa, or indeed the world, still permeates many studies on African history; and even those who have themselves collected oral material seldom pause to consider how significant this material is or how it compares with that available in other areas.The majority of studies of oral tradition have been written by people who worked with fairly formal traditions; and those who, after reading such studies, go and work in societies where such traditions do not exist are often distressed and disappointed. There is therefore still a need for localized studies of oral tradition in different parts of Africa. As far as Sierra Leone is concerned, no work specifically devoted to the nature of oral tradition has been published, despite several valuable publications on the oral literature of the Limba and Mende. The notes that follow are intended to give a rough picture of the kind of oral material I obtained in a predominantly Mende-speaking area of Sierra Leone in 1977-78 (supplemented by a smaller number of interviews conducted in 1973-75, 1980, and 1984). My main interest was in the eighteenth and nineteenth century history of what I have called the Galinhas country, the southernmost corner of Sierra Leone.I conducted nearly all of my interviews through interpreters and did not use a tape recorder more than a very few times. This was partly because the amount of baggage I could carry on foot was limited, but also because I soon found that some informants were disturbed by the tape recorder, and because it was difficult to catch on tape the contributions of all the bystanders.
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Kuiper, Koenraad. "The Oral Tradition in Auction Speech." American Speech 67, no. 3 (1992): 279. http://dx.doi.org/10.2307/455565.

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Elliott, J. K., and Henry Wansbrough. "Jesus and the Oral Gospel Tradition." Novum Testamentum 35, no. 3 (July 1993): 306. http://dx.doi.org/10.2307/1561551.

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Armistead, S. G., and John Miles Foley. "Oral Tradition in Literature: Interpretation in Context." Hispanic Review 55, no. 3 (1987): 380. http://dx.doi.org/10.2307/473699.

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Tšiu, William Moruti. "Basotho clan praises (diboko) and oral tradition." South African Journal of African Languages 26, no. 2 (January 2006): 77–89. http://dx.doi.org/10.1080/02572117.2006.10587271.

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Cao, Deborah. "Strategies in Translating Oral History Between Chinese and English." Babel. Revue internationale de la traduction / International Journal of Translation 40, no. 3 (January 1, 1994): 137–45. http://dx.doi.org/10.1075/babel.40.3.03cao.

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L'article se penche sur les traductions en anglais et en chinois de la tradition orale en se référant plus particulièrement aux traductions en anglais de la tradition orale Chinoise, Beijingren, de Zhang Xinxin et Sang Ye, et à la traduction en chinois de la tradition orale anglaise, American Dreams, par Studs Turkel. Par ailleurs, l'article propose des stratégies permettant de traduire ce genre littéraire dans deux langues aussi éloignées l'une de l'autre que sont l'anglais et le chinois. Il défend la thèse que ce sont les aspects linguistiques et non linguistiques de la tradition orale qui doivent l'emporter sur toute autre considération pour déterminer la méthode de transfert et les stratégies de traduction à utiliser. Dans son étude, l'auteur identifie trois problématiques principales d'ordre linguistique et sociolinguistique, dignes de susciter l'intérêt du traducteur amené à traduire la tradition orale. Il s'agit de la syntaxe, de la lexicologie et de l'emploi des varietés linguistiques dans la traduction. L'article aborde le problème des différences entre la langue écrite et parlée, entre les dialectes et les registres en traduction. Il fait remarquer que ces problèmes son liés à l'énorme différence qu'il y a entre l'anglais et le chinois, aussi bien du point de vue linguistique que sociolinguistique, et aux aspects spécifiques de la tradition orale. L'auteur suggère des moyens pour rendre plus efficace la traduction de ce genre de textes. Il propose d'activer différentes astuces linguistiques aussi bien au niveau linguistique que sociolinguistique, en vue de ratteindre le style particulier de la tradition orale.
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Levitt, Marcus C. "Aksakov's Family Chronicle and the Oral Tradition." Slavic and East European Journal 32, no. 2 (1988): 198. http://dx.doi.org/10.2307/308887.

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Hummel, Martin. "Attribution in Romance: Reconstructing the oral and written tradition." Folia Linguistica Historica 34, no. 1 (January 2013): 1–42. http://dx.doi.org/10.1515/flih.2013.001.

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Patterson, Emma. "Oral Transmission: A Marriage of Music, Language, Tradition, and Culture." Musical Offerings 6, no. 1 (2015): 35–47. http://dx.doi.org/10.15385/jmo.2015.6.1.2.

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Dissertations / Theses on the topic "Mende language. Oral tradition"

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Tuchscherer, Konrad Timothy. "The #Kikakui' (Mende) syllabary and number writing system : descriptive, historical and ethnographic accounts of a West African tradition of writing." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1996. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.362981.

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Visor, Julia N. Neuleib Janice. "The impact of American black English oral tradition features on decontextualization skills in college writing." Normal, Ill. Illinois State University, 1987. http://wwwlib.umi.com/cr/ilstu/fullcit?p8806870.

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Thesis (D.A.)--Illinois State University, 1987.
Title from title page screen, viewed September 1, 2005. Dissertation Committee: Janice Neuleib (chair), Ron Fortune, Sandra Metts, Carmen Richardson, Maurice Scharton. Includes bibliographical references (leaves 207-216) and abstract. Also available in print.
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Daskalopoulos, Anastasios A. "Homer, the manuscripts, and comparative oral traditions /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9953854.

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Maciel, Carla Maria Ataíde Hawkins Bruce Wayne Kalter Susan. "Bantu oral narratives in the training of EFL teachers in Mozambique." Normal, Ill. : Illinois State University, 2007. http://proquest.umi.com/pqdweb?index=0&did=1390280981&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1202917314&clientId=43838.

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Thesis (Ph. D.)--Illinois State University, 2007.
Title from title page screen, viewed on February 13, 2008. Dissertation Committee: Bruce Hawkins, Susan Kalter (co-chairs), Kristin Dykstra. Includes bibliographical references (leaves 258-275) and abstract. Also available in print.
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Sinarinzi, Jeanson. "La production du texte oral pastoral kiruúndi." Villeneuve d'Ascq : Presses universitaires du Septentrion, 1999. http://books.google.com/books?id=llOBAAAAMAAJ.

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Duffin, Charles J. "Accents of tradition and the language of romance : a study in the relationship of popular oral tradition and literary culture in Scotland, 1700-1825." Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/5576/.

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As this study is concerned with the noetic process of a pre-literate, oral tradition in eighteenth century Scotland, we are obliged to address that mental economy through residual artifacts which survive in translation as products of a print driven, literary culture. As such, those artifacts have already been engaged to a literary process and, if they are to be subjected here to a further breach of cultural integrity, it is a minimum requirement that we attempt to respect the intellectual and psychological priorities which energise the traditional word. The central aims of the study are: to establish useful parameters of literary understanding for these residues, to assess the manner of translation through which the original materials were subjected to a literary process and to elucidate the nature of the literary product that they became, as well as that of the literary creativity which they inspired. With this in mind, our attention is directed initially toward the way in which a traditional text generates meaning for a contemporary, literary audience. The application of oral theory to Scottish traditional poetry and song, in chapter one, aims to propose a literary model of a particular tradition at a critical stage in its development. This model seeks to recognise both the conceptual underpinning of that process and the accumulative feedback that occurs when literary styles and politics infuse and regenerate within the process of transmission and translation to become embedded in the 'oral' artifacts of a culture in transition. In chapter two we look, in the editorial conflict between creative and conservative mediators, to identify the aesthetic circumstances of that tradition in a transitional culture so as to elucidate the nature of those artifacts as literary products. As a measure of how these competing forces pressurise traditional sources, we engage with the dynamic of cultural negotiation surrounding the authentication of traditional 'texts'. This focuses our attention on the status of the traditional aesthetic within the existing literary critique and the implications that aesthetic conflict held for original, imaginative writing.
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Meyer, David Francis. "Computationally-assisted analysis of early Tahitian oral poetry." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5984.

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A computationally-assisted analysis was undertaken of Tahitian oral poetry transcribed in the early 19th century, with the aim of discovering its poetic organization. An automated pattern detection process attempted to recognize many of the organizational possibilities for poetry that have been documented in the literature, as well as be open to unanticipated varieties. Candidate patterns generated were subjected to several rounds of manual review. Some tasks that would have proved difficult to automate, such as the detection of semantic parallelism, were pursued fully manually. Two distinct varieties of meter were encountered: A syllabic counting meter based upon a colon line, and a much less common word stress counting meter based upon a colon line or a list item. The use of each meter was ubiquitous in the corpus, but somewhat sporadic. Word stress counting meter was typically applied to lists, and generally co-occurred with patterns of syllabic counting meter; perhaps in order to enhance metrical effect through an addition of rhythm. For both meters, counts were regulated by an external pattern, wherein they were observed to repeat, increment, form inverted structures, or group into alternating sequences. There appeared to be few limitations as to the possibilities for a pattern‟s starting count or length. Patterns were found to juxtapose freely, as well as alongside unpatterned counts. According to Nigel Fabb and Morris Halle, syllabic counting meter is only otherwise encountered in a style of Hebrew poetry from the Old Testament (Fabb and Halle 2008:268, 271, 283). Word stress counting meter may be unique to Tahitian poetry. The colon also functioned as poetic line for purposes of sound parallelism, which manifested itself in patterns of simple assonance, simple consonance, and complex patterns that combined simpler ones of assonance, consonance, and parallel strings of phonemes. Although sound patterns most often spanned lines, they were sometimes constrained to within a line. Occasionally, they were arranged into inverted structures, somewhat analogous to those noted for counting meter. Some sound patterns were contained within names and epithets, and perhaps served as recurring islands of parallelism. Syntactic parallelism was common, especially in the organization of lists. Occasionally, its application was suggestive of canonical parallelism. Items of syntactic frame lists were often arranged so as to assist patterns of counting meter. A syntactic frame‟s variable elements often belonged to a single semantic category for which there seemed to be no restriction, and which could represent any taxonomic level. There appeared to be complete freedom in regards to the arrangement of syntactic frame patterns, and it was common for several to follow one another in unbroken succession. There is evidence that some of the corpus poetry was memorized. Other evidence suggests that a capacity existed, and perhaps continues to exist, of poetic composition-in-performance.
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Yahn, Carla Alves de Carvalho [UNESP]. "Versos, veredas e vadiação: uma viagem no mundo da Capoeira Angola." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/94073.

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Visa-se estudar as cantigas de Capoeira Angola e descobrir um pouco mais sobre seus mitos e ensinamentos que muitas vezes funcionam como instrumento de transmissão de uma tradição ancestral que resiste até hoje, que interage com a cultura e a oralidade brasileiras enriquecendo-as e, que diante dessa interação por meio de conhecimentos que são passados em situações múltiplas de comunicação forma novos capoeiristas angoleiros. Procura-se demonstrar como os cânticos da roda de capoeira denominados “ladainha”, “corrido” e “louvação” podem ser analisados como parte da poesia oral afrobrasileira, pois de antemão já se sabe que os mesmos possuem forma e conteúdo essencialmente enraizados na arte poética. Tais cânticos são providos de ritmo, rimas, musicalidades, gestos, olhares e ambiguidades de vários tipos inerentes ao contexto da roda onde se desenvolve o discurso do canto, revelando uma dupla faceta uma poética e outra dinâmica do mesmo fenômeno. Ainda procura-se ilustrar parte da representação que a Capoeira Angola tem no mundo atualmente. Convém destacar a cotidiana relação que se estabelece com o seu universo por meio de treinamentos e trocas coletivas. Experiências de grandes mestres e mestras da Capoeira Angola contribuíram para o desenvolvimento deste trabalho, pois como aqui tratamos de um saber específico, inevitavelmente em muitas etapas debruçamo-nos diante de seus detentores para então se entender pequenos pedaços de sua magia, que como já se sabe de antemão, é simples, porém reflete sentidos profundos
The aim is to study the songs of Capoeira Angola and discover a little more about their myths and teachings which often act as instrument of transmission of an ancestral tradition that endures until today, that interacts with the Brazilian culture and orality and enriching them, interacting through knowledge that are passed in multiple situations of communication creating new players of capoeira angola. It seeks to demonstrate how the chants of wheel called ladainha, louvação and corridos can be analyzed as part of the oral poetry: struggling, because beforehand is already known that they have the form and content essentially rooted in the poetic art. Such songs are fitted with pace, rhymes, gestures, looks and ambiguities of various types inherent in the context of the wheel where develops the chant speech, revealing a dual facet a poetic and other dynamics of the same phenomenon. It still seeks to illustrate part of the representation that Capoeira Angola has in the world today. Everyday should highlight the relationship that is established with his universe through collective exchanges and trainings. Experiences of grandmasters and master of Capoeira Angola contributed to the development of this work, because here we treat a specific knowledge, inevitably in many steps focusing on their holders to then understand small pieces of their magic, which as already known beforehand, is simple, but reflects deep meanings
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Atkinson, Yvonne Kay. "Rhetorical tropes from the black English oral tradition in the works of Toni Morrison." CSUSB ScholarWorks, 1995. https://scholarworks.lib.csusb.edu/etd-project/1041.

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Arredondo-Montoya, Celina Lynn. "Oral tradition in the classroom: The relationship between the use of culturally appropriate reading material and reading comprehension." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/999.

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This research project explores the relationship between the use of culturally sensitive reading material and reading comprehension among Spanish-speaking language minority students of elementary school age. Text includes Spanish and English transcriptions of stories.
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Books on the topic "Mende language. Oral tradition"

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Thomas, Rosalind. Oral tradition and written record in classical Athens. Cambridge: University of Cambridge Press, 1989.

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Oral tradition and written record in classical Athens. Cambridge: Cambridge University Press, 1989.

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J, Sienkewicz Thomas, ed. Oral cultures past and present: Rappin' and Homer. Oxford, UK: B. Blackwell, 1991.

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The power of the written tradition. Washington: Smithsonian Institution Press, 2000.

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Karozoutha: Annonce orale de la Bonne Nouvelle en araméen et évangiles gréco-latins. Paris: Médiaspaul, 1986.

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Even, Hovdhaugen, and Vonen Arnfinn Muruvik, eds. Kupu mai te tūtolu: Tokelau oral literature. Oslo: Scandinavian University Press, 1992.

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Obiechina, Emmanuel N. Language and theme: Essays on African literature. Washington, D.C: Howard University Press, 1990.

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Living language and dead reckoning: Navigating oral and written traditions. Vancouver: Ronsdale Press, 2006.

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Bulgaria) Mezhdunarodna nauchna konferent︠s︡ii︠a︡ "Problemi na ustnata komunikat︠s︡ii︠a︡" (9th 2011 Veliko Tŭrnovo. Problemi na ustnata komunikat︠s︡ii︠a︡: IX Mezhdunarodna nauchna konferent︠s︡ii︠a︡, 28-29 oktomvri 2011 g. Veliko Tŭrnovo: Universitetsko izdatelstvo "Sv. sv. Kiril i Metodiǐ", 2013.

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Natalia, Khanenko-Friesen, ed. Orality and literacy: Reflections across disciplines. Toronto: University of Toronto Press, 2010.

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Book chapters on the topic "Mende language. Oral tradition"

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Grove, Arnaq. "Space and structure in Greenlandic oral tradition." In Typological Studies in Language, 215–30. Amsterdam: John Benjamins Publishing Company, 2009. http://dx.doi.org/10.1075/tsl.86.14gro.

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"Spoken Hebrew Of The Late Second Temple Period According To Oral And Written Samaritan Tradition." In Conservatism and Innovation in the Hebrew Language of the Hellenistic Period, 175–91. BRILL, 2008. http://dx.doi.org/10.1163/ej.9789004164048.i-250.61.

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Levin, Yael. "Language and the Subject." In Joseph Conrad, 51–70. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864370.003.0003.

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The chapter focuses on Conrad’s scenes of suspension as sites for an investigation of language and its role in the creation of the modernist subject. Heart of Darkness, Lord Jim, and Victory are read as the serial restaging of an unsolicited encounter with the language of the other. These unwarranted interruptions contribute to an exploration of a particularly passive and fragmented subjectivity that relinquishes the agency and cohesion afforded the Cartesian cogito. The insistence on the oral tradition is thus read not as an attempt to resurrect speech within an essentially silent medium but as a dramatization of the role of language in the evolution of the modernist subject and the narrative that houses him. Those same experimental narrative techniques that are often associated with Conrad’s commitment to an inherently epistemological philosophical inquiry are attributed here to the author’s effort to chart the ontological coordinates of character and narration.
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Canny, Nicholas. "The Vernacular Alternatives Composed during the Age of Revolutions." In Imagining Ireland's Pasts, 199–220. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198808961.003.0007.

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Irish-language vernacular verse history proved adaptable throughout the eighteenth century to take account both of new reverses, and of opportunities presented by revolutionary developments in North America, in France, and in Ireland. The oral and the written records were interlinked because manuscript copyists aided memory. Themes from the Irish oral tradition also resurfaced in English-language print form or in political speeches by Daniel O’Connell. Similarly in the Protestant experience narratives composed in the seventeenth century by such as Temple entered into Protestant vernacular culture because they were regularly regurgitated in sermons. When Musgrave composed a Protestant narrative of the 1798 rebellion he could therefore allude to Catholic proclivity to rebel knowing that this was a trope in Protestant oral culture. Musgrave could also dovetail the occurrences of 1798 with Temple’s narrative on 1641 and thus make it comprehensible for his audience.
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"Cherokee Narratives." In Writing Appalachia, edited by Katherine Ledford and Theresa Lloyd, 3–9. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.003.0001.

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Native American oral literature, such as that of the Cherokee, is Appalachia’s earliest literary tradition. The Cherokee themselves date their arrival in southern Appalachia to several thousand years ago, and some Cherokee origination stories state that the people have always lived here. The Cherokee language is part of the Algonquian language family, which may explain the parallels between Cherokee creation accounts and those of the Iroquois and Ojibwe in the Northeast....
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Harris, Robin P. "Esteem for a Masterpiece." In Storytelling in Siberia. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041280.003.0004.

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Continuing the historical narrative, chapter 3 describes the post-Soviet saga of those who led Yakutia in a quest to bring olonkho back from being “forgotten.” Beginning with the stirrings of cultural revitalization in the early 1990s, the story continues in a gripping narrative of their race for a coveted prize—UNESCO’s recognition of olonkho as a Masterpiece of the Oral and Intangible Heritage of Humanity in 2005. In addition to describing changes in olonkho reception since the UNESCO award, including its transformation from an oral tradition to a literature-based art form, this chapter explores the genre’s connection to Sakha language revitalization and the role of youth in the revival of olonkho.
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Keith, Chris. "Introduction." In The Gospel as Manuscript, 1–14. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199384372.003.0001.

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The introduction situates the study within ancient and modern discussions about the relative value of oral and written language. It begins with Plato’s portrayal of a discussion between Socrates and Phaedrus and then shows how similar discussions about oral language occur in the works of the Apostle Paul, Papias, and contemporary New Testament scholars. These discussions approach the value of the written word on the basis of what it is not instead of what it is, what it cannot do instead of what it can. In contrast, this study will concentrate on what the written word contributes distinctly to the transmission process. The chapter ends by clarifying, in light of previous Gospels scholarship, that the book’s main question is not why Jesus followers textualized the Jesus tradition but what difference it made to its reception history.
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Stoicovy, Catherine E., and Matilda Naputi Rivera. "Digital Storytelling as a Culturally Responsive Instructional Strategy for Pacific Islanders in Guam and Micronesia." In Research Anthology on Culturally Responsive Teaching and Learning, 226–37. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-9026-3.ch014.

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This article explores the use of digital storytelling as a culturally responsive instructional strategy for Pacific Island students on the islands of Guam and Micronesia in the Western Pacific. A major feature of Pacific Island cultures is their orality; therefore, building on the oral tradition through digital storytelling might be one way to optimize language and literacy learning for Pacific Island students in Guam classrooms. The article also describes an accessible and easy-to-use model for digital storytelling using PowerPoint that teachers can use to implement digital storytelling in the classroom.
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Stoia, Nicholas. "“The Frog’s Courtship” and Other Sources." In Sweet Thing, 79–134. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190881979.003.0003.

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The stanzaic form of “The Frog’s Courtship” represents a second major branch in the lineage of the “Sweet Thing” scheme. Chapter 2 concerns its progress from Elizabethan England all the way to late nineteenth-century ragtime and early twentieth-century blues and country music. The stanzaic form appears in the United States by the early nineteenth century and then largely disappears from print until reemerging in several songs collected by folklorists in the early twentieth century, demonstrating its strong endurance in oral tradition. More often than “Captain Kidd,” this second stanzaic form appears in extensively abbreviated versions, reflecting its oral mode of transmission, which allows for more flexibility in length of bars. In early ragtime, the form unites with the harmonic language of contemporaneous popular music and acquires melodic and textual content that subsequently imbues early blues and country music as pervasive elements of the twentieth-century “Sweet Thing” scheme.
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Kilgore-Caradec, Jennifer. "“Twang the lyre and rattle the lexicon”." In Modernist Objects, 131–46. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979503.003.0008.

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This chapter offers a general survey of how harps and lyres were used as poetic instruments as well as how they were referenced in modernist poetry. Harps and lyres were foundational to poetic composition in the laments and praise songs King David played with a harp resembling a begena, just as poets of the Ur dynasty had done before him. The oral tradition of accompanying poems with music from a harp or lyre ranged widely geographically from the China of Confucius to the skolias or banquet songs of ancient Greece. Harps and lyres continued to be in common use by Europe’s medieval troubadours. The very objects, harps and lyres have come to signify poetic tradition itself. As such, both words have been significantly used in the long tradition of English language poetry, and they have also been involved in war and war poetry. This chapter provides poetic examples showing the presence of harps and lyres in modernist poems, including the masculine and feminine modernisms of Britain and the United States (Yeats, Eliot, Pound, Sitwell, H.D., Moore, Millay, Auden and MacNeice) as well as African American modernisms.
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Conference papers on the topic "Mende language. Oral tradition"

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Meigalia, E., and Y. Putra. "Minangkabau Oral Tradition Performer and Social Media Usage." In First International Conference on Advances in Education, Humanities, and Language, ICEL 2019, Malang, Indonesia, 23-24 March 2019. EAI, 2019. http://dx.doi.org/10.4108/eai.23-3-2019.2284882.

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Bitu, Yuliana Sesi, and R. Kunjana Rahardi. "The Inclusion of the Unity Values in Teda Oral Tradition Through Multicultural Education." In 4th International Conference on Language, Literature, Culture, and Education (ICOLLITE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.128.

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Anwar, Khairil, Ferdinal Ferdinal, and Rima Devi. "Ecological Wisdom Oral Tradition in West Sumatra Oil Palm Plantations as BIPA Material." In Proceedings of the 2nd Konferensi BIPA Tahunan by Postgraduate Program of Javanese Literature and Language Education in Collaboration with Association of Indonesian Language and Literature Lecturers, KEBIPAAN, 9 November, 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.9-11-2019.2295050.

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Affandi, Sonny, and E. Kosasih. "The Form of Culture in Oral Tradition of Traditional Ceremony in the Minangkabau Tribe." In Proceedings of the Second Conference on Language, Literature, Education, and Culture (ICOLLITE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icollite-18.2019.56.

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Helmon, Stefania, and R. Kunjana Rahardi. "Integration of Solidarity Values in the Torok Oral Tradition of the Manggarai Society Through Multicultural Education." In 4th International Conference on Language, Literature, Culture, and Education (ICOLLITE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.110.

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6

Hasanuddin, WS, Emidar, and Zulfadhli. "Social Function of Text of Oral Tradition of Lullaby Song Coastal Region of Minangkabau Collective in West Sumatra." In Ninth International Conference on Language and Arts (ICLA 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210325.019.

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Hasanuddin, WS, Emidar, and Zulfadhli. "Text of Oral Tradition of Lullaby Songs Mainland Region of the Minangkabau Collective: Format, Content, and Functions." In The 3rd International Conference on Language, Literature, and Education (ICLLE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201109.025.

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8

Wijanarti, Titik, Bani Sudardi, Mahendra Wijaya, and Sri Habsari. "The oral tradition of sansana bandar of Dayak Ngaju, Central Kalimantan: religious function and inheritance challenge in global era." In Proceedings of the Third International Seminar on Recent Language, Literature, and Local Culture Studies, BASA, 20-21 September 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296576.

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9

Menon, Indu V., and Shebin M.S. "Shamanic Rituals and the Survival of Endangered Tribal Languages: An Anthropological Study in Gaddika." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.10-4.

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Abstract:
In many ancient communities, particularly tribal communities, there exists a system of dialogue and conversation with and between supernatural beings and the supernatural world they inhabit, as well as their transmigration into a human’s body. The supernatural world is considered to be the realm of the gods, or of the spirits of ancestors, or of satanic evil spirits. A Shaman is suggested to summon, and communicate with, tribal or cult gods, while controling spirits, ancestors, animals and birds with afforded powers. Shamanic rituals have patent linguistic significance. In communities with a strong shamanic tradition, the shamans generally use traditional language, without altering their unique features. The songs used in these rituals are also in traditional tribal dialect. This study focuses on Gaddika, the shamanic ritual of the Rawla tribe, a tribal community in Kerala, and about songs contributing to the ritual. The study examines to what extent the Rawla dialect has been retained in its ‘original’ form, and the tribal myths that are woven into ritual language. The Rawla language belongs to the Dravidian family, and has been passed on in oral form only. In the Gaddika ritual, the original language is widely used and is central to the survival of the language. This study was conducted among the Rawla community, through observations during several Gaddika rituals, thus documenting the songs and ritual dialogues. As such, the study documented the language in its orginal form and structure, along with prominent myths passed on through generations. The study analyses this shamanic ritual and its verbal patterns. The study concludes with that shamanic discourses and magico-religious rituals have a vital role in the continuity and in the survival of the historical dialect,
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