Relevant bibliographies by topics / Oral poetry

Contents

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

Academic literature on the topic 'Oral poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Oral poetry"

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OPLAND, J., and J. A. Louw. "XHOSA ORAL POETRY." South African Journal of African Languages 5, sup1 (January 1985): 155–58. http://dx.doi.org/10.1080/02572117.1985.10586640.

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Somekh, S., Saad Abdallah Sowayan, Nabaṭi, and Nabati. "Nabaṭi Poetry: The Oral Poetry of Arabia." Journal of the American Oriental Society 108, no. 4 (October 1988): 666. http://dx.doi.org/10.2307/603174.

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Peters, Issa, and Saad Abdullah Sowayan. "Nabati Poetry: The Oral Poetry of Arabia." World Literature Today 60, no. 1 (1986): 170. http://dx.doi.org/10.2307/40141401.

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Webster, Sheila K., and Saad Abdullah Sowayan. "Nabati Poetry: The Oral Poetry of Arabia." Journal of American Folklore 99, no. 393 (July 1986): 331. http://dx.doi.org/10.2307/540817.

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Sutton-Spence, Rachel. "Aspects of BSL poetry." Sign Language and Linguistics 3, no. 1 (December 31, 2000): 79–100. http://dx.doi.org/10.1075/sll.3.1.05sut.

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The British Sign Language poetry of Dorothy Miles is a major contribution to the canon of BSL poetry. This paper considers her work as an example of “oral poetry”, in the tradition of other oral (i.e. unwritten poetry). Following definitions of oral poetry primarily from Finnegan (1977), I explore the degree to which Miles’ BSL work may be considered “oral” from the perspective of composition, transmission and performance, and linguistic structure. Although there are ways in which BSL poetry does share similarities with other spoken language “oral” poetry, the unique relationship between sign language and spoken language creates situations in which the BSL poetry is unlike either oral or written poetry.
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Scheub, Harold. "Oral Poetry and History." New Literary History 18, no. 3 (1987): 477. http://dx.doi.org/10.2307/469054.

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John Miles Foley. "Basque Oral Poetry Championship." Oral Tradition 22, no. 2 (2008): 3–11. http://dx.doi.org/10.1353/ort.0.0011.

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Mammeri, Mouloud, and Pierre Bourdieu. "Dialogue on oral poetry." Ethnography 5, no. 4 (December 2004): 511–51. http://dx.doi.org/10.1177/1466138104048827.

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Alıyeva, Saltanat. "GAZI BURHANADDIN’S “DIVAN” AND ITS RESOURCES." Scientific Journal of Polonia University 58, no. 3 (September 1, 2023): 15–22. http://dx.doi.org/10.23856/5802.

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The sources of the XIV century Azerbaijani poet Qazi Burhanaddin's creativity are diverse and rich. These resources are mainly: 1. Oral folklore 2. Written all-Turkic poetry 3. Religious sources, Quran motifs 4. Sufistic philosophy Oral folk literature is defined as the main and primary source for the poet's creativity. As we investigate, it becomes clear that the work of Yunus Amre, one of the representatives of Turkish-language poetry, had a serious impact on the worldview of the poet. The reason for this is primarily Yunus Emre's creativity, including It is shown that the Sufism poetry of XIII,XIV centuries became widespread. The influence of the poet by Nizami Ganjavi's poetry was also emphasized. As well as his excellent religious education and the demands of the time, the motifs of the Qur'an also acted as a source for the poet's creativity. The question of reflection of the Sufism philosophy, which became the object of controversy in the artist's poetry for a long time, was also clarified. As a result, it has been proved by facts that Sufism philosophy plays the role of a source for the poet's creativity.
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Ikyer, Godwin Aondaofa. "Deep digital poetry: Interrogating Tiv oral poetry within postmodernity." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 196–210. http://dx.doi.org/10.17159/tvl.v.54i1.13.

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Poetry is one of the most vibrant artistic forms for socio-economic and political reconstruction of society among the Tiv of North Central Nigeria. The poets fix themselves in the forefront of arousing and propagating cultural consciousness, exposing vices, extolling virtues and personalities with such attributes, mobilizing people for unity and development, ensuring progressive change, maintaining social order and cohesion, unmasking socio-economic contradictions of class and polity, expressing the unheard voices of the voiceless in society and charting out a direction for the future of society. By reflecting the jeers, fears, aspirations, visions and general character of the society, they occupy a popular place and position in the social structure of Tiv society and their poetry is reinvigorated, in the usual popular way, in the new sensibilities of the digital technology being they dynamic in thematic exploration, traditional or modern. This article presents an exploratory overview of Tiv poetry in its changing digital forms of "secondary orality" which not only preserve the material but transform its productive, aesthetic and performance bounds to unending digital spaces creating in the wake a new character, a special effect, a new transmitting and storage pattern and the commodification of an individual's creations. The paper finally locates digi-orature, this new way of interrogating oral poets and their creations, within the ambience of postmodernity capable of attracting audiences outside the Tiv linguistic and geographical space.
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Dissertations / Theses on the topic "Oral poetry"

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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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Yamamoto, Kumiko. "The oral background of Persian Epics : storytelling and poetry /." Leiden : Brill, 2003. http://catalogue.bnf.fr/ark:/12148/cb38998044f.

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Eva-Wood, Amy L. "Expanding the cognitive apprenticeship model : how a think-and-feel-aloud pedagogy influences poetry readers /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/7746.

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Demir, Aylin. "Oral Poetry And Weeping In The Case Of Dersimli Women." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612858/index.pdf.

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This thesis analyzes the issue of performing self in the genres of oral poetry and weeping, which are performed by Dersimli women in the course of their everyday life practices. This study focuses on the case of Dersim (Tunceli) which is located in the east part of Turkey where Zazaki-speaking and Kurdish-speaking Alevi people constitute the majority of the population. I deal with these performances as repetitive actions, occurring in the course of everyday life. I focus on the narratives in the songs and issues related to giving voice with respect to acceptability, respectability, and experience. The personal narratives or social issues presented with these genres include a range of topics like dissatisfaction about life, a deceased child, loneliness, poverty, forced migration from the villages in the mid 1990s, regret of a woman for her marriage and old love stories. I found that performing those genres as repetitive actions in the course of everyday life practices has an important role both in the construction and the positioning of self. This study deals with songs as processes rather than products. Finally, in these processes, performers express their experiences, emotions, and ideas which are not narrated or spoken, or have limited expression, in the social interaction of everyday life. Although weeping practices usually reproduce expected gender roles however, the saying/singing practices as a whole may create the possibility of agency and certain spaces for resistance and contribute to the visibility of women in the community.
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Garner, Lori Ann. "Oral tradition and genre in old and middle English poetry /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974631.

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Bailey, Jennifer Marie. "Reading poetry for improved adolescent oral fluency, comprehension, and self-perception." Thesis, Wichita State University, 2009. http://hdl.handle.net/10057/2439.

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This study was designed to explore the effects of oral fluency instruction and strategies on struggling adolescent readers’ prosody, comprehension and self-perception as readers. Additionally, this study sought to determine if relationships exist between performances in adolescent oral fluency and comprehension, prosody and comprehension, and oral fluency and reader self-perception. Prior to and immediately after the intervention, assessments were administered. Oral fluency was assessed with Rasinski’s (2004) oral reading multidimensional fluency scale. To determine students’ reading comprehension levels, the Brigance Comprehensive Inventory of Basic Skills reading comprehension subtest was used. Reader’s self-perception was measured with Henck and Melnick’s (1995) Reader Self Perception Survey. The study included eight high school students who were identified as struggling readers. During fifteen class sessions, the students participated in an intervention which used poetry and five oral fluency strategies: model, guided, repeated, paired, and performance reading. The analysis of pre and post tests revealed statistically significant improvements in comprehension, fluency, and reader self-perception. However, only fluency and comprehension gains indicate a statistically significant relationship.
Thesis (M.Ed.)--Wichita State University, College of Education, Dept. of Curriculum and Instruction
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Huang, Kai. "Oral Medicine: A Role for Spoken Word Poetry in Medical Education." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17295869.

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During my time at Harvard Medical School (HMS), I have been fortunate enough to be able to continue pursuing a unique passion of mine. Spoken word poetry is a passion that falls far from the traditional medical school curriculum. In this paper, however, I will argue that this need not be the case. I will argue that spoken word poetry has an important role to play in the education and professional development of physicians and other health care providers. First, I will present a brief history of spoken word poetry. My intent here is to orient my audience, composed mostly of academic physicians, to this rich and fascinating genre of performance art. Next, I will provide an overview of how poetry and other forms of creative writing are already being used to help train more well-rounded, humanistic physicians. I will describe how the inclusion of spoken word poetry in particular has the potential to enhance these initiatives in unique and powerful ways. Finally, I will present an original curriculum made up of four contiguous spoken word poetry workshops specifically geared towards medical students and physicians. This course will be designed in the spirit of month-long electives at my home institution and at many other medical schools. It is my hope that through this project, I might help academic physicians gain a greater appreciation for the unconventional art form that is spoken word poetry and for the role it might play in advancing our profession, our relationships to patients, and ultimately our patients’ outcomes.
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Yamamoto, Kumiko. "From storytelling to poetry : the oral background of the Persian epics." Thesis, SOAS, University of London, 2000. http://eprints.soas.ac.uk/29473/.

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The present work examines the role played by oral tradition in the evolution of the Persian (written) epic tradition, which virtually began with the Shadhname of Ferdowsi (ShNF). The text is also the culmination of a long development that stretches back into ancient times. In the process of transmission of narratives, both writing and oral tradition are assumed to have played a role. While Ferdowsi's written sources have been studied, the influence of oral tradition on his work remains largely unexplored. In order to explore oral influence on the ShNF, the thesis suggests a new approach. Based on formal characteristics of naqqali (the Persian storytelling tradition as it is known from later times), a set of criteria is proposed to demonstrate the extent to which a written text shows structures which could be explained as deriving from oral composition, here called "Oral Performance Model" (OPM). The OPM consists of formal and thematic criteria. The former consider whether a text can be divided into a sequence of instalments, and the latter examine how instalment divisions affect the thematic organisation of the story. By applying the OPM to the ShNF, it becomes clear that Ferdowsi used techniques associated with oral storytelling. Such findings on the ShNF throw new light on the later epics, which are not only influenced by the ShNF as a model but are also influenced by oral performance. To demonstrate this, the OPM is applied to the Garshaspname of Asadi (GN). While oral performance continues to influence the structure of the text, it is also clear that literary elements play a greater role in the GN than in the ShNF. Despite his literary ambitions, Asadi displays his implicit dependence on oral performance, which seems to have fundamentally shaped his perception and appreciabon of heroic stories.
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Willey, Stephen. "Bob Cobbing 1950-1978 : performance, poetry and the institution." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8307.

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Bob Cobbing (1920-2002) was a poet known for his performances and as an organiser of poetry events, as a participant in the British Poetry Revival, as a late-modernist and as a sound and concrete poet. This thesis seeks to reconfigure our view of Cobbing as a performer by considering his performances across a range of institutions to argue that this institutionalised nature was their defining aspect. It maps the transition from Cobbing’s defence of amateurism and localism in the 1950s to his self-definition as a professional poet in the mid 1960s and his attempt to professionalise poetry in the 1970s. This process was not uncontested: at each stage the idea of the poet and the reality of what it meant to live as a poet were at stake The first chapter considers Cobbing’s poems and visual artworks of the 1950s in the context of Hendon Arts Together, the suburban amateur arts organisation he ran for ten years, and it situates both in Britain’s postwar social and cultural welfare system. Chapter two analyses Cobbing’s transition from Finchley’s local art circles to his creative and organisational participation in London’s international counterculture, specifically the Destruction in Art Symposium (9-11 September 1966). Chapter three considers ABC in Sound in the context of the International Poetry Incarnation (11 June 1965) and analyses Cobbing’s emergence as a professional poet. Chapter four examines Cobbing’s tape-based poems of 1965-1970 and their associated visual scores in the context of audio technology, and the role they played in Cobbing’s professionalisation. The final chapter examines Cobbing’s performances at the Poetry Society (1968- 1978) in order to investigate the effects of subsidy and friendship on poetic performance.
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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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Books on the topic "Oral poetry"

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Sowayan, Saad Abdullah. Nabati poetry: The oral poetry of Arabia. Qatar: Doha, 1985.

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Mphahlele, Ezekiel. Poetry and humanism: Oral beginnings. Johannesburg: Witwatersrand University Press for the Institute for the Study of Man in Africa, 1986.

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Pullicino, Guzè Cassar. Maltese oral poetry and folk music. Msida (Malta): Malta university publishers, 1998.

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Catherine, Griefenow-Mewis, and Tamene Bitima, eds. Oromo oral poetry seen from within. Köln: R. Köppe, 2004.

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Mark, Amodio, and Miller Sarah Gray, eds. Oral poetics in Middle English poetry. New York: Garland Pub., 1994.

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Cassar-Pullicino, Joseph. Maltese oral poetry and folk music. Msida (Malta): Malta university publishers, 1998.

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Silvia, Castrillón, and Alekos ill, eds. Cúcuru mácara: Tradición oral. Bogotá, Colombia: Editorial Norma, 1987.

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Na’Allah, Abdul-Rasheed. Globalization, Oral Performance, and African Traditional Poetry. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75079-8.

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Scoditti, Giancarlo M. G. Kitawa oral poetry: An example from Melanesia. Canberra, Australia: Dept. of Linguistics, Research School of Pacific and Asian Studies, Australian National University, 1996.

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Dindān. Oral poetry and narratives from central Arabia. Leiden: Brill, 1994.

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Book chapters on the topic "Oral poetry"

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Gura, Timothy, Benjamin Powell, and Charlotte I. Lee. "Structure of Poetry." In Oral Interpretation, 283–308. 13th edition. | New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315108865-10.

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Gura, Timothy, Benjamin Powell, and Charlotte I. Lee. "Language of Poetry." In Oral Interpretation, 251–80. 13th edition. | New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315108865-9.

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Gejin, Chao. "Mongolian oral epic poetry." In Oral Epic Traditions in China and Beyond, 121–29. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003258001-16.

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Darah, Godini G. "Creativity and Performance in Oral Poetry." In The Palgrave Handbook of African Oral Traditions and Folklore, 3–49. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-55517-7_1.

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Na’Allah, Abdul-Rasheed. "Performance, poetry, and oral traditions overview." In Yoruba Oral Tradition in Islamic Nigeria, 13–22. New York: Routledge, 2019. | Series: Global Africa; 14: Routledge, 2019. http://dx.doi.org/10.4324/9780429295164-2.

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Na’Allah, Abdul-Rasheed. "Politics, partisanship, and traditional oral poetry." In Yoruba Oral Tradition in Islamic Nigeria, 69–95. New York: Routledge, 2019. | Series: Global Africa; 14: Routledge, 2019. http://dx.doi.org/10.4324/9780429295164-6.

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Chancayun Kin, Ernesto, Maria Esther Velasco Garcia, Martha Chanuk Chankin, and Marwilio Sanchez Gomez. "Oral History, Legends, Myths, Poetry, and Images." In International and Cultural Psychology, 205–31. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04822-8_7.

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Quinn, Judy. "Liquid Knowledge: Traditional Conceptualisations of Learning in Eddic Poetry." In Along the Oral-Written Continuum, 183–226. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.usml-eb.3.4283.

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Adu-Amankwah, David. "Oratory and Rhetoric: Praise Poetry." In The Palgrave Handbook of African Oral Traditions and Folklore, 297–316. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-55517-7_15.

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Owonibi, Sola, and Richard Bampoh-Addo. "Oral Tradition as Commitment in Modern African Poetry." In The Palgrave Handbook of African Oral Traditions and Folklore, 715–33. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-55517-7_35.

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Conference papers on the topic "Oral poetry"

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Khaninova, R. "FOLKLORE TRADITION OF GOOD WISHES (YORYAL) IN THE POETRY OF MIKHAIL KHONINOV." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3732.rus_lit_20-21/223-227.

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In the poetry of the classic Kalmyk literature of the twentieth century. Mikhail Khoninov (1919-1981) folklore tradition of the genre of good wishes (yoryal) was embodied in a number of poems and poems. The poet's good wishes are created both in the aspect of ritual poetry (yoryal for a newborn, yoryal for the house, yoryal for food, etc.) and in the aspect of modern reality (yoryal for the party, yoryal for the new year, yoryal for study, etc.). The folklore tradition of well-wishing, characteristic of Kalmyk poetry of the last century, on the one hand, demonstrated a synthesis of genres, on the other, the interaction of oral folk art and literature with the preservation of the national system of versification.
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Jamila, Eisar. "THE ROLE OF FOLKLORE IN BOBUR’S POETRY." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/azip1577.

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Folkloreis one of the standards that ensure the high quality of the artistic work, and this issue is ensured by being in close harmony with folk oral creativity in the work. In this article, Zahirad-Din Mukhammad Babur’s poetry is discussed in terms of his merits with folklore or to what extent he was influenced by the riches of folk folklore and used them creatively.
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Piotrovsky, Dmitry D. "THE RHYME AND THE FORMULA IN POPULAR FAROESE POETRY." In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.26.

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The main means which organizes the verse in popular Faroese poetry is end rhyme. In four-line stanzas the rhyme connects the second and the fourth lines, in two-line ones both present lines. The Faroese rhyme is not strict. It is enough only to repeat the stressed vowel, the consonant following after might vary. The part of the word which follows the stressed vowel may undergo significant changes. The masculine ending sometimes rhymes with the feminine one. Even the stressed vowel might vary to some extent. The Faroese rhyme is often trivial. The ballads on the Faroese Isles were oral. So, some special formula technique was applied for their transition. The means of the formula technique are formulas and repetitions. The formulas are metrically conditioned reproducible word groups having the length of one line, meanwhile the repetitions are metrically non-conditioned sequences of different length. The formulas and repetitions, as well as they perform the same function of the building material for the oral poetic text, also possess the same structure. They both are composed from permanent end variable parts. In repetitions their entwinement takes different forms. They may follow one another, usually first comes the permanent part then the variable one. The permanent part sometimes occupies the second half of one stanza and then the first half of the following stanza. The permanent end variable parts might cross one another. In this case the permanent part occupies unpair lines and the variable part occupies pair ones. The distribution of these parts of both formulas and repetitions is tied to the rhyming places of the verse. The rhyming word is usually located in the variable part but sometimes it is found in the permanent part. This one more time proves that there is no impenetrable boundary between formulas and repetitions. Refs 8.
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Ouellet, Chantal, Amal Boultif, and Pierre Jonas Romain. "OUTCOMES OF SLAM WRITING WORKSHOPS FOR HAITIAN STUDENTS AT THE END OF ELEMENTARY SCHOOL." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v2end052.

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"In Haiti, the success rate in elementary school remains very low and the majority of teachers do not have sufficient knowledge of effective pedagogical approaches to writing which leads to demotivation and a low sense of effectiveness as scriptwriters among students. We chose slam as a genre of contemporary and urban poetry (Vorger, 2011) and the workshop device to work on slam poetic writing (Troia, Lin, Cohen and Monroe, 2011), ideal to improve students' writing skills, motivation and sense of effectiveness. The research took place in two primary schools in Port-au-Prince against the backdrop of a socio-political crisis. Twelve facilitators (10 women and 2 men), trained in advance, facilitated the workshops in 13 sessions of 90 minutes each. A total of 61 students aged 12-13 participated in the after-school writing workshops (26 boys and 38 girls). Students completed a questionnaire on their motivation and sense of writing skills before and after the program. A corpus of 41 texts of claimed poetry written by students is the subject of a thematic and linguistic analysis. The results indicate that students benefit from their writing and oral expression skills, self-confidence and empowerment, and that their texts demonstrate a high degree of linguistic creativity and thematic richness. The positive results are consistent with those obtained in other socio-cultural contexts (Patmanathan, 2014) regarding the impact of the writing workshops. They contribute to new knowledge about slam poetry as an appropriate literary genre for young people, even at the end of primary school."
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Suvajdžić, Boško. "NARODNA KNjIŽEVNOST I IDENTITETSKE PROMENE U SRPSKOJ KNjIŽEVNOSTI." In IDENTITETSKE promene: srpski jezik i književnost u doba tranzicije. University of Kragujevac, Faculty of Edaucatin in Jagodina, 2022. http://dx.doi.org/10.46793/zip21.107s.

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New approaches to oral literature in teaching bring to the fore the questions of classification and terminology, the phenomenon of authorship, the process of composing and tradition, the complexity of reception, the specificities of oral genres and their poetics. The terms ’oral formula’ and ’formulativity’ also stand out in these approaches as some of the most important elements of oral poetic grammar. In all of these researches focused on poetics, the identitary character of Serbian oral literature as “our classic, one and true” (Vasko Popa) should not be neglected, nor its specific roles in teaching and education: aesthetic, ethical, epistemological, cultural, educational functions.
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Lee, Yuk Yee Karen, and Kin Yin Li. "THE LANDSCAPE OF ONE BREAST: EMPOWERING BREAST CANCER SURVIVORS THROUGH DEVELOPING A TRANSDISCIPLINARY INTERVENTION FRAMEWORK IN A JIANGMEN BREAST CANCER HOSPITAL IN CHINA." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact003.

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"Breast cancer is a major concern in women’s health in Mainland China. Literatures demonstrates that women with breast cancer (WBC) need to pay much effort into resisting stigma and the impact of treatment side-effects; they suffer from overwhelming consequences due to bodily disfigurement and all these experiences will be unbeneficial for their mental and sexual health. However, related studies in this area are rare in China. The objectives of this study are 1) To understand WBC’s treatment experiences, 2) To understand what kinds of support should be contained in a transdisciplinary intervention framework (TIP) for Chinese WBC through the lens that is sensitive to gender, societal, cultural and practical experience. In this study, the feminist participatory action research (FPAR) approach containing the four cyclical processes of action research was adopted. WBC’s stories were collected through oral history, group materials such as drawings, theme songs, poetry, handicraft, storytelling, and public speech content; research team members and peer counselors were involved in the development of the model. This study revealed that WBC faces difficulties returning to the job market and discrimination, oppression and gender stereotypes are commonly found in the whole treatment process. WBC suffered from structural stigma, public stigma, and self-stigma. The research findings revealed that forming a critical timeline for intervention is essential, including stage 1: Stage of suspected breast cancer (SS), stage 2: Stage of diagnosis (SD), stage 3: Stage of treatment and prognosis (ST), and stage 4: Stage of rehabilitation and integration (SRI). Risk factors for coping with breast cancer are treatment side effects, changes to body image, fear of being stigmatized both in social networks and the job market, and lack of personal care during hospitalization. Protective factors for coping with breast cancer are the support of health professionals, spouses, and peers with the same experience, enhancing coping strategies, and reduction of symptom distress; all these are crucial to enhance resistance when fighting breast cancer. Benefit finding is crucial for WBC to rebuild their self-respect and identity. Collaboration is essential between 1) Health and medical care, 2) Medical social work, 3) Peer counselor network, and 4) self-help organization to form the TIF for quality care. The research findings are crucial for China Health Bureau to develop medical social services through a lens that is sensitive to gender, societal, cultural, and practical experiences of breast cancer survivors and their families."
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Meyer, David. "A computationally-assisted procedure for discovering poetic organization within oral tradition." In Proceedings of the 2nd Workshop on the Use of Computational Methods in the Study of Endangered Languages. Stroudsburg, PA, USA: Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/w17-0113.

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Dugarov, B. S. "GESERIADA: THE BURYAT ORAL POETIC MONUMENT AND THE CENTRAL ASIAN EPIC TRADITION." In The Epic of Geser — the spiritual heritage of the peoples of Central Asia. BSC SB RAS, 2020. http://dx.doi.org/10.31554/978-5-7925-0594-0-2020-3-6.

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Félix, C., P. Barreiro, JA Rodrigues, I. Carina, R. Mendo, L. Maia, R. Kuttner-Magalhães, I. Pedroto, and C. Chagas. "PER-ORAL ENDOSCOPIC TUNNELING FOR RESTORATION OF THE ESOPHAGUS (POETRE) IN THE MANAGEMENT OF A 45MM COMPLETE ESOPHAGEAL OBSTRUCTION." In ESGE Days. © Georg Thieme Verlag KG, 2020. http://dx.doi.org/10.1055/s-0040-1704399.

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Silva, Dalmo de Oliveira Souza e. "Benedito Calixto: entre o acadêmico e os "primeiros ares" do moderno." In Encontro de História da Arte. Universidade Estadual de Campinas, 2018. http://dx.doi.org/10.20396/eha.13.2018.4351.

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Em 1846, o poeta Charles Baudelaire anunciou o interregno. Na política, o “juste milieu” (“o caminho do meio” ou o “caminho feliz”) relacionava-se à monarquia francesa de julho (1830-1848) que buscou o equilíbrio entre autocracia e anarquia. Já na arte, a tradição neoclássica estava, de fato, se esvaindo, e o seu contraponto, o romantismo ainda não era considerada a arte oficial. Nesse contexto, o “juste millieu” – designação empregada de 1830 até a década de 1920 – era a difusão de diferentes estilos intermediários que estavam entre uma estética defendida por acadêmicos tradicionalistas e as linguagens produzidas pelas vanguardas: em última instância, ora levando a um naturalismo classicizante ora a uma absorção acadêmica do romantismo e, posteriormente do impressionismo.
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