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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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Maahlamela, Tebogo David. "Sepedi oral poetry with reference to kiba traditional dance of South Africa." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/63209.
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Previous studies show that contrary to other African languages of fewer speakers, written poetry in Sepedi/Sesotho sa Leboa’s transition from oral to written did not only lag behind, its development was also slow, with less intense treatment. However, this scarcity is not of the actual oral material, but rather its documented version. Vast untreated material at various repositories such as the South African Broadcasting Corporation (SABC) library and the International Library of African Music (ILAM) are facing a risk of being lost due to limited resources and resourcefulness to digitalise them. Investigation of written poetry from 1906 to 2006 attests to the fact that in its written form, Sepedi/Sesotho sa Leboa poetry is still underdeveloped, dominated by “microwaved” collections aiming at nothing beyond meeting school prescription criteria. Calls have been made from the dominant South African poetry narrative that there are no innovative studies in the field of African languages, especially Sepedi/Sesotho sa Leboa. Musicological studies show that contemporary jazz artists have adopted and adapted kiba poetry into jazz music, which resulted into classics of all times. Intensive studies were conducted on such poetic kiba-influenced jazz, but the primary source remains a grey area. The analysis of selected kiba poems shows that kiba poetry is the richest poetic form in the Sepedi/Sesotho sa Leboa with its creative and artistic merit exceeds all other genres. The study further reveals that kiba poetry is the heart of Bapedi/Basotho ba Leboa spirituality, a heart without which some faith institutions will remain incomplete. Furthermore, kiba poetry embodies, among others, poetic genres rarely explored in the South African poetry milieu such as “sound poetry” and poetry of special metrical schemes, of dramatic and devotional essence. Scholarly attention is, therefore, recommended on this repertoire to explore the field beyond this preliminary study, so as to save as many kiba poems as possible, which will enrich the dwindling written poetry milieu. Literary excellence of the treated poems attests to the fact that the artistic wealth of kiba poetry is worthy of attention, and it has potential to transform not only the face of poetry in Sepedi/Sesotho sa Leboa, but of the entire South African poetry landscape.
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Kaschula, Russell H. "The transitional role of the Xhosa oral poet in contemporary South African society." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002085.
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This thesis outlines the changing role of the Xhosa imbongi in contemporary South African society. The changing socio-economic and political scenario in South Africa, and the way in which the imbongi is adapting in order to accommodate new pressures created by these changes, form an integral part of this thesis. The effects of education and increasing literacy on the tradition are outlined. The interaction between oral and written forms is explored in chapter 2. The role of the imbongi within the religious sphere is included in chapter 3. Xhosa preachers within the independent churches often make use of the styles and techniques associated with oral poetry. Iimbongi who are not necessarily preachers also operate within this context. The relationship between the Congress of South African Trade Unions, the African National Congress and iimbongi has also been researched and forms part of chapters 4, 5, and the epilogue. The modern imbongi is drawn towards powerful organisations offering alternative leadership to many of the traditional chiefs. In the epilogue collected poetry is analysed in the context of Mandela's visit to Transkei in April 1990. Interviews have been conducted with chiefs, iimbongi attached to chiefs as well as those attached to different organisations. Poetry has been collected and analysed. In chapter 5, three case studies of modern iimbongi are included. The problems facing these iimbongi in their different contexts, as well as the power bases from which they draw, are outlined. Finally, an alternative definition of the imbongi is offered in the conclusion
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Naddaf, Gerard. "Algunas reflexiones sobre la noción griega temprana de inspiración poética." Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/112947.
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El origen y significado de la inspiración poética” ha sido siempre objeto de considerable controversia. Lo que los críticos no preguntan muy a menudo es: ¿cuáles son las palabras o frases que los textos poéticos tempranos, previos al Período Clásico, usaron para expresar el genio poético o mousikē que nosotros asociamos con la inspiración en la poesía griega temprana? En este ensayo examino, en primer lugar y principalmente, tanto la terminología empleada por Homero y Hesíodo para expresar la experiencia poética, como el rol del aoidoso cantor/poeta en sus descripciones respectivas. Sostengo no solo que se confunden en Homero y Hesíodo las nociones físicas y figurativas de inspiración”, es decir, que no son diferenciadas por los poetas de manera consciente, sino que la poesía misma debe haber sido vista por Homero y Hesíodo como un don divino –de acuerdo a la voluntad de los dioses–. También sostengo que diversas etimologías y contextos sugieren fuertemente que un tipo de mania o posesión extática fue una parte importante del proceso poético temprano. El trabajo aquí presentado es una versión abreviada de un proyecto de investigación más amplio que busca examinar el origen y desarrollo de las actitudes pre-platónicas, platónicas y post-platónicas hacia la inspiración y la alegoría. --- Some Reflections on the Early Greek Notion of Poetic Inspiration”. The origin and meaning of poetic inspiration” has always been the subject of considerable controversy. What critics rarely ask are: what words or phrases did the early poetic texts use to express the poetic genius or mousikē we associate with inspiration in the early Greek poetry, and thus prior to the Classical period? In this paper, I examine first and foremost both the terminology employed by Homer and Hesiod to express the poetic experience and the role of the aoidos or singer/poet in their respective accounts. I argue that not only are the physical and figurative notions of inspiration” in Homer and Hesiod confused, that is, they are not consciously distinguished for the poets, but poetry itself for Homer and Hesiod must have been seen as a divine gift –as willed by the gods. I also argue that a number of etymologies and contexts strongly suggest that a type of mania or ecstatic possession was very much a part of the early poetic process. The work presented here is an abridged part of a larger research project that seeks to examine the origin and development of pre-Platonic, Platonic and postPlatonic attitudes toward inspiration and allegory.
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Mirante, Nicole. "Combined constraints in speech production : evidence from linguistic data, oral poetry, and cultural dynamics." Thesis, University of British Columbia, 2006. http://hdl.handle.net/2429/30956.
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This work describes a model of speech production based on the central role
exercised by a speaker's working memory. It is proposed that speakers make intensive
use of their working memory when planning, composing and uttering speech, and that a
speaker's working memory is guided in its composition processes by an array of co-occurring
cues, or constraints, which determine the selection of chunks of utterances in
memory. The constraints are: semantic activation, imagery (i.e. the activation of detailed
semantic, visual and spatial information), syntax, speech rhythm, prosody and sound
repetitions. Speakers are exposed to the perception of environmental information and to
others' speech, and these inputs determine the co-occurring activation and the selection
of mnemonic data according to the constraints outlined. Evidence for the model is drawn
from linguistic material, research on the cognitive psychology of oral literatures, and
studies in social psychology and cultural information transmission.
The model stems from criticism that I direct to the concept of language as it is
understood in modern linguistics. It will be shown that the assumptions on which current
theories of language rest are at odds with recent developments in philosophy and
communication studies. It will be argued that the proposed model is not only more
theoretically sound, but also more adequate to describe speech as it is produced by real
speakers.Arts, Faculty of
English, Department of
Graduate
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Bretz, Katherine Hazel-Louise. "Reviving the Nibelungenlied: A Study and Exploration of the Relationship between Medieval Literature and Music." Kent State University Honors College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1399300392.
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Deubel, Tara Flynn. "Between Homeland and Exile: Poetry, Memory, and Identity in Sahrawi Communities." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/146067.
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Sahrawi communities in the Western Saharan region of northwest Africa have experienced a series of radical shifts over the past century from decentralized nomadic tribal organization to colonial rule under the Spanish Sahara (1884-1975) and annexation by Morocco and Mauritania in 1975. The international dispute over the future of the Western Sahara remains unresolved between the Moroccan government that administers the territory and the Sahrawi opposition that seeks self-determination under the leadership of the Polisario Front. In this context, this dissertation explores the lived experience and social memory of Sahrawis affected by conflict, diaspora, and urbanization over the past thirty-five years by examining multivocal expressions of ethnic and gender identity, nationalism, and citizenship in personal narratives and oral poetry in Hassaniyya Arabic. Through modes of everyday speech and verbal performances, Sahrawis living in the undisputed region of Morocco and the disputed Western Sahara exhibit varying political allegiances linked to tribal and national affiliations and political economic factors. Pro-independence activists negotiate public and clandestine aspirations for an independent state with the realities of living under Moroccan administration while refugees in Algeria employ performance genres to appeal for political and humanitarian support in the international community and maintain communication in the Sahrawi diaspora. Intergenerational perspectives between Sahrawis born before and after the 1975 cleavage reveal key divergences between the older generation that retains an active memory of nomadic livelihoods and pre-national tribal organization, the middle generation affected by a massive shift to urban residence and compulsory postcolonial nationalism, and the younger generation raised primarily in urban environments and refugee camps. Across generations, Sahrawi women have retained a prominent role in maintaining tribal and family ties and serving as leaders in nationalist and social movements.
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Platte, Ryan. "Horses and horsemanship in the oral poetry of Ancient Greece and the Indo-European world /." Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/11480.
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Spelman, Henry Lawlor. "Pindar and his audiences." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:83184846-33cc-41bf-a7d0-8b1f1da5c57d.
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This thesis explores Pindar's relationship to his audiences. Part One demonstrates how his victory odes take into account an audience present at their premiere performance and also secondary audiences throughout space and time. It argues that getting the most out of the epinicians involves simultaneously assuming the perspectives of both their initial and subsequent audiences. Part Two describes how Pindar uses his audiences' knowledge of other lyric to situate his work both within an immanent poetic history and within a contemporary poetic culture. It sets out Pindar's vision of the literary world past and present and suggests how this framework shapes an audience's experience of his work. Part Three explains how Pindar's victory odes made lucid sense as linear unities to fifth-century Greeks imbued in the traditions of choral lyric. An annotated text shows how each sentence in the epinician corpus forms part of a coherent chain of rational discourse.
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Steinle, Larissa Fernanda. "Variações rítmicas e literatura de tradição oral na poesia de Manuel Bandeira /." Araraquara, 2018. http://hdl.handle.net/11449/154375.
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Orientador(a): Fabiane Renata BorsatoResumo: A pesquisa propõe o estudo da presença da cultura popular na poesia de Manuel Bandeira, por meio da análise do modo como ritmos de textos criados pelo imaginário popular são incorporados à poesia de autoria do poeta modernista. Sendo assim, partimos inicialmente do levantamento de poemas que evocam explicitamente a literatura popular de tradição oral para, em seguida, analisar os aspectos formais que constituem o nível rítmico dos poemas, visando a sempre estabelecer uma ligação entre aspectos rítmicos e semânticos, ao estudo não apenas da estrutura, mas da função exercida por ela no poema. Para tanto, utilizamos como fundamentação teórica as lições sobre ritmo e análise de poemas presentes em O estudo analítico do poema (2006), de Antonio Candido; os ensinamentos sobre fonologia, expressos por Roman Jakobson, em Seis lições sobre o som e o sentido (1977), dentre outros estudos. Sobre a obra do poeta, Manuel Bandeira, consultamos obras críticas como Humildade, paixão e morte (2009), de Davi Arrigucci Jr. e Manuel Bandeira: verso e reverso (1987), livro organizado por Telê Porto Ancona Lopes. O caráter popular da poesia de Bandeira é abordado por meio de diversos estudos e registros da cultura e da música populares brasileiras realizados por Mário de Andrade e de obras como Literatura oral no Brasil (1984), de Luis da Câmara Cascudo. Foram selecionados seis poemas, distribuídos em quatro livros do poeta, sendo que dentre eles encontramos diferentes tipos de composições popular... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research intends to study the presence of the popular culture in Manuel Bandeira's poetry, through the analysis of the manner in which the rhythms of the texts created by the popular imaginary are incorporated into the modernist author's works. Thus, we start by the selection of poems that explicitly evoked the popular literature of oral tradition to, in sequence, analyze the formal aspects that constitute the rhythmic level of the poems. In so doing, we seek to establish a connection between the rhythmic and the semantic aspects, in order to study, not only the structure, but also the role it plays in the poem. For this purpose, we use as theoretical basis the lessons about rhythm and poem analysis present in O estudo analítico do poema (2006), by Antonio Candido and the teachings about phonology expressed by Roman Jakobson in Seis lições sobre o som e o sentido (1977), among others. About Manuel Bandeira's works, we will consult critical works such as Humildade, paixão e morte (2009) by Davi Arrigucci Jr. and Manuel Bandeira: verso e reverso (1987), a book organized by Telê Porto Ancona Lopes. The popular aspect of Bandeira's poetry is approached through several studies and registers of Brazilian's popular culture and music by Mário de Andrade, works such as Literatura oral no Brasil (1984), by Luís da Camara Cascudo. We selected six poems distributed among four of the author's books, among which we find different kinds of popular compositions, like children's songs, lullabies, prayers, among others. Thereby, we hope to comprehend the role played by popular culture in Manuel Bandeira's works
Mestre
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Bokoda, Alfred Telelé. "The poetry of David Livingstone Phakamile Yali-Manisi." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/17400.
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Bibliography: pages 217-232.Yali-Manisi, a Xhosa writer, performs and writes traditional praise poetry (izibongo) and modern poems (isihobe) and can, therefore, be regarded as a bard because he also performs his poetry. One can safely place him in the interphase as he combines performance and writing. The influence of oral poems and other oral genres can be perceived in his works as some of his works are a product of performances which were recorded, transcribed and translated into English. The dissertation, among other things, examines the way in which Yali-Manisi's work has been influenced by such manipulations. In this study we examine lzibongo Zeenkosi ZamaXhosa, lmfazwe kaMianjeni, Yaphum'igqina and other individually recorded poems. His poetry is characterised by an interaction between tradition and innovation. The impact of traditional poetic canon on the poet, the way of exploiting traditional devices are the most outstanding characteristics concerning his poetry. His optimistic disposition towards the future of the South African political situation leaves one with the impression that he envisages an end to the Black-White political dichotomy. Yali-Manisi manipulates literary forms to articulate specific socio-political and cultural attitudes which are dominant among the majority of South Africans. His writings coincide with some of the major political changes in South Africa. In his recent works, he is explicit and protests against Apartheid structures especially in Transkei and Ciskei. In his earlier works he could not articulate the feelings of his people as an imbongi because of the fear of censorship and themes of protests had to be handled with extreme caution if one's manuscripts were to be published at all. He often alludes to national oppression of the majority by the minority and instigates the former to be politically conscious. In some instances (e.g. in his historical poems) he seeks to correct inaccuracies which are presented in history books. Thus showing the listener/reader another side of the coin. He displays very keen interest and deep knowledge of natural phenomena such as seasons of the year and the behaviour of animals during each period. Poems about historical figures are characterised by certain allusions which refer to realities and events in the life of the 'praised one' or his forefathers. This helps to shed light on the present situation. Although fictitious adaptations of genuine events have been done, an element of reality is still prevalent.
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Williams, David. "Beowulf the poet : a deconstruction of narratives." Thesis, Bangor University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367308.
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Mostert, Andre. "Developing a systematic model for the capturing and use of African oral poetry: the Bongani Sitole experience." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002154.
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Oral traditions and oral literature have long contributed to human communication. The advent of arguably the most important technology, the written word, altered human ability to create and develop. However, this development for all its potential and scope created one of the most insidious dichotomies. As the written word developed so too the oral word became devalued and pushed to the fringes of societal development. One of the unfortunate outcomes has been a focus on the nomenclatures associated with orality and oral tradition, which although of importance, has skewed where the focus could and should have been located, namely, how to support and maintain the oral word and its innate value to human society in the face of what has become rampant technological developments. It is now ironic that technology is creating a fecund environment for a rebirth of orality. The study aims to mobilize technauriture as a paradigm in order to further embed orality and oral traditions to coherently embrace this changing technological environment. The central tenet of the study is that in order to enhance the status of orality the innate value embodied in indigenous knowledge systems must be recognized. Using the work of Bongani Sitole, an oral poet, as a backdrop the study will demonstrate a basic model that can act as a foundation for the effective integration of orality into contemporary structures. This is based on work that I published in the Journal of African Contemporary Studies (2009). Given the obvious multi-disciplinary nature of the material the work covers a wide cross section of the debate, from questions of epistemology and knowledge in general in terms of oral traditions, through the consciousness and technical landscapes, via the experience with Sitole’s material to issues of copyright and ownership. This work has also been submitted for publication together with my supervisor as a co-author. The study intends to consolidate the technauriture debate and lay a solid foundation to support further study.
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Haubold, Johannes. "Homer's people : epic poetry and social formation /." Cambridge : Cambridge University, 2000. http://www.loc.gov/catdir/toc/cam023/99037676.html.
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Kozain, Rustum. "Contemporary english oral poetry by black poets in Great Britain and South Africa : a comparison between Linton Kwesi Johnson and Mzwakhe Mbuli." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/20139.
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Bibliography: pages 242-266.The general aims of this dissertation are: to study a form of literature traditionally disregarded by a text-bound academy; to argue that form is an important element in ideological analyses of the poetry under discussion; and, on the basis of this second aim, to argue for a comparative, rigorously critical approach to the poetry of Mzwakhe Mbuli. Previous evaluations of Mbuli's poetry are characterised by acclaim which, the author contends, is only possible because of under-researched criticism, representing a general trend in South African literary culture. Compared to Linton Kwesi Johnson's work, for instance, Mbuli's poetry does not emerge as the innovative and progressive art - in both content and form - it is claimed to be. Mbuli and his critics are thus read as a case study of a general trend. Johnson and Mbuli mainly perform their poetry with musical accompaniment and distribute it as sound-recording. This study's approach then differs from the approaches of general oral literature studies because influential writers on oral literature - specifically Walter J. Ong, Ruth Finnegan and Paul Zumthor - do not address the genre under investigation here. Nevertheless, their writings are explored in order to show why particularly Ong and Finnegan's approaches are inadequate. The author argues that using the orality of the poetry as an organising, theoretical principle is insufficient for the task at hand. On cue from Zumthor, this study suggests an approach through Cultural Studies and conceives of the subject matter as popular culture.
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Silva, Djanilson Amorim da. "Os Cocos no CearÃ: danÃa, mÃsica e poesia oral em Balbino e Iguape." Universidade Federal do CearÃ, 2008. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=19756.
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CoordenaÃÃo de AperfeiÃoamento de NÃvel SuperiorEste estudo procura interpretar como à vivenciada uma prÃtica cultural conhecida como âcocoâ pelas populaÃÃes que habitam pequenas comunidades de pescadores no litoral cearense. Principalmente nas localidades de Iguape e Balbino, pertencentes aos municÃpios de Aquiraz e Cascavel, respectivamente. à uma interpretaÃÃo antropolÃgica, com o intuito de entender nÃo apenas como a prÃtica do coco proporciona uma produÃÃo especÃfica de sujeitos sociais. Mas, seguindo uma via de mÃo dupla, como esses sujeitos experimentam e atualizam a brincadeira, herdada de seus antepassados, no atual contexto da especulaÃÃo imobiliÃria, da indÃstria do turismo e das polÃticas culturais. A danÃa, a mÃsica e a poesia oral presente nos cocos. Os instrumentos musicais, as vestes, os significados vividos na brincadeira. O coco como um elemento de articulaÃÃo social nÃo apenas entre os seus brincantes, mas tambÃm entre estes e o pÃblico urbano dos centros culturais. O trabalho apresenta uma reflexÃo sobre as relaÃÃes estabelecidas entre Estado e brincantes, por meio das PolÃticas Culturais, e o papel dos intermediÃrios (promotores de eventos) nesse processo.
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Quinn, Judy. "The eddic tradition : a study of the mode of transmission of eddic mythological poetry in the middle ages." Phd thesis, Department of English, 1990. http://hdl.handle.net/2123/8670.
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Csajkas, Peter Homer. "Die singulären Iterata der Ilias Bücher 11-15 /." München : Saur, 2002. http://catalog.hathitrust.org/api/volumes/oclc/49730920.html.
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Tiozzo, Betty <1988>. "Oral Poetry and Performance in Black Culture. The case of two contemporary artists: Tracie Morris and Jean “Binta” Breeze." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4696.
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Poetry is usually identified with the written text as if the oral form belonged to another kind of literature which is not considered as much important as the 'proper', academic poetry. However, oral poetry is widespread in different cultures nowadays, not only as the heritage of a past folkloristic tradition but as a new roaring form of art. Actually, Tracie Morris and Jean “Binta” Breeze are two clear examples of how the voice can be so effective in poetry and how two different genres, Sound Poetry and Dub Poetry, have so much to tell about black culture and the influence of sound and performance in the individual perception.
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Steinle, Larissa Fernanda [UNESP]. "Variações rítmicas e literatura de tradição oral na poesia de Manuel Bandeira." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154375.
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A pesquisa propõe o estudo da presença da cultura popular na poesia de Manuel Bandeira, por meio da análise do modo como ritmos de textos criados pelo imaginário popular são incorporados à poesia de autoria do poeta modernista. Sendo assim, partimos inicialmente do levantamento de poemas que evocam explicitamente a literatura popular de tradição oral para, em seguida, analisar os aspectos formais que constituem o nível rítmico dos poemas, visando a sempre estabelecer uma ligação entre aspectos rítmicos e semânticos, ao estudo não apenas da estrutura, mas da função exercida por ela no poema. Para tanto, utilizamos como fundamentação teórica as lições sobre ritmo e análise de poemas presentes em O estudo analítico do poema (2006), de Antonio Candido; os ensinamentos sobre fonologia, expressos por Roman Jakobson, em Seis lições sobre o som e o sentido (1977), dentre outros estudos. Sobre a obra do poeta, Manuel Bandeira, consultamos obras críticas como Humildade, paixão e morte (2009), de Davi Arrigucci Jr. e Manuel Bandeira: verso e reverso (1987), livro organizado por Telê Porto Ancona Lopes. O caráter popular da poesia de Bandeira é abordado por meio de diversos estudos e registros da cultura e da música populares brasileiras realizados por Mário de Andrade e de obras como Literatura oral no Brasil (1984), de Luis da Câmara Cascudo. Foram selecionados seis poemas, distribuídos em quatro livros do poeta, sendo que dentre eles encontramos diferentes tipos de composições populares, sendo elas cantigas infantis, acalantos e orações. Espera-se assim, compreender o papel da cultura popular na obra de Manuel Bandeira.
This research intends to study the presence of the popular culture in Manuel Bandeira’s poetry, through the analysis of the manner in which the rhythms of the texts created by the popular imaginary are incorporated into the modernist author’s works. Thus, we start by the selection of poems that explicitly evoked the popular literature of oral tradition to, in sequence, analyze the formal aspects that constitute the rhythmic level of the poems. In so doing, we seek to establish a connection between the rhythmic and the semantic aspects, in order to study, not only the structure, but also the role it plays in the poem. For this purpose, we use as theoretical basis the lessons about rhythm and poem analysis present in O estudo analítico do poema (2006), by Antonio Candido and the teachings about phonology expressed by Roman Jakobson in Seis lições sobre o som e o sentido (1977), among others. About Manuel Bandeira’s works, we will consult critical works such as Humildade, paixão e morte (2009) by Davi Arrigucci Jr. and Manuel Bandeira: verso e reverso (1987), a book organized by Telê Porto Ancona Lopes. The popular aspect of Bandeira’s poetry is approached through several studies and registers of Brazilian’s popular culture and music by Mário de Andrade, works such as Literatura oral no Brasil (1984), by Luís da Camara Cascudo. We selected six poems distributed among four of the author’s books, among which we find different kinds of popular compositions, like children’s songs, lullabies, prayers, among others. Thereby, we hope to comprehend the role played by popular culture in Manuel Bandeira’s works
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Silva, Djanilson Amorim da. "Os Cocos no Ceará: dança, música e poesia oral em Balbino e Iguape." reponame:Repositório Institucional da UFC, 2008. http://www.repositorio.ufc.br/handle/riufc/24564.
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SILVA, Djanilson Amorim da. Os Cocos no Ceará: dança, música e poesia oral em Balbino e Iguape. 2008. 112f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2008.Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-08-04T12:23:58Z No. of bitstreams: 1 2008_dis_dasilva.pdf: 515872 bytes, checksum: 3418c1eaa82ac270c0d54d730755ac97 (MD5)
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Este estudo procura interpretar como é vivenciada uma prática cultural conhecida como “coco” pelas populações que habitam pequenas comunidades de pescadores no litoral cearense. Principalmente nas localidades de Iguape e Balbino, pertencentes aos municípios de Aquiraz e Cascavel, respectivamente. É uma interpretação antropológica, com o intuito de entender não apenas como a prática do coco proporciona uma produção específica de sujeitos sociais. Mas, seguindo uma via de mão dupla, como esses sujeitos experimentam e atualizam a brincadeira, herdada de seus antepassados, no atual contexto da especulação imobiliária, da indústria do turismo e das políticas culturais. A dança, a música e a poesia oral presente nos cocos. Os instrumentos musicais, as vestes, os significados vividos na brincadeira. O coco como um elemento de articulação social não apenas entre os seus brincantes, mas também entre estes e o público urbano dos centros culturais. O trabalho apresenta uma reflexão sobre as relações estabelecidas entre Estado e brincantes, por meio das Políticas Culturais, e o papel dos intermediários (promotores de eventos) nesse processo.
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Kiguli, Susan Nalugwa. "Oral poetry and popular song in post-apartheid South Africa and post-civil war Uganda : a comparative study of contemporary performance." Thesis, University of Leeds, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411560.
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Oliveira, Edna dos Santos. "Devoção, tambor e canto: um estudo etnoliguístico da tradição oral de Mazagão Velho." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-22122015-101109/.
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Os cantos afro-amazônicos são uma forma de comunicação social que foi preservada no ecossistema cultural de Mazagão Velho, comunidade afrodescendente transplantada da África para a Amazônia no período colonial, cuja trajetória é marcada por contatos que têm início com a formação do entreposto português na África, em 1514. Em 1769, por decisão da coroa, a cidade-forte foi evacuada e transplantada para a Amazônia para reforço da ocupação e para o povoamento da região. Nosso objetivo neste trabalho consiste no estudo dos cantos produzidos em situações específicas: as festas religiosas realizadas ao longo do ano em Mazagão Velho. Com base nos aspectos como a forma, a transmissão e a circulação, bem como a função social que os referidos cantos exercem na comunidade, estamos admitindo que eles constituem poesia oral e se realizam em perfórmance. Dessa forma, buscamos compreender o fato poético em relação ao ecossistema cultural mazaganense, com base em referenciais teóricos da etnografia da fala e da linguística de contato. Considerando que essas práticas culturais são tributárias do processo de contato ocorrido na formação social da referida comunidade e no mesmo processo histórico foram difundidas pelo território amapaense, sendo representativas do conjunto das comunidades afrodescendentes situadas ao longo do território amapaense, estamos identificando-as como um dos traços culturais difundidos que favoreceram a constituição de uma área etnolinguística no Estado do Amapá.Afro-Amazonian songs are a form of communication which have been preserved in the cultural ecosystem of Mazagão Velho, an afro-descendant community transplanted from Africa to the Amazon during the colonial period, with a history marked by contact which began with the formation of the Portuguese trading post in Africa, 1514. In 1769, following decision of the Crown, the fortified city was evacuated and transplanted to the Amazon in order to reinforce the occupation and settlement of the region. Our objective in this work is to study the songs produced under a specific situation: the religious festivals held throughout the year in Mazagão Velho. Based on different aspects, such as shape, transmission and circulation, as well as the social role that these songs play in the community, we consider them to be oral poetry that takes place during performance. Therefore, we aim to understand the poetic fact that concerns the cultural ecosystem of Mazagão, based on the theories of the ethnography of speaking and contact linguistics. Considering that these cultural practices contributed to the contact process which occurred in the social formation of the community investigated as they were spread across the state of Amapá in the same historical process, being representative of the group of African-descendant communities in Amapá,we identify the songs as one of the most widespread cultural traits that favoured the establishment of an ethno-linguistic area in the state.
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Oliveira, Pedro Tomé de Castro. "Os Blues Poems de Langston Hughes: por uma tradução musicada." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-21072017-161649/.
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Se a tradução envolve leitura e reescrita, nós poderíamos questionar o modo como se lê antes de questionar o modo como se reescreve. A tradução de poesia parece continuamente lidar com problemas de ritmo, rima, sintaxe, sentido, registro linguístico. Mas e se o tradutor, entendendo a leitura como performance, recolocar tais questões sob a perspectiva de outra mídia, que possa libertá-lo das restrições da escrita? O pesquisador Peter Low (2003) provoca os tradutores de poesia a se questionarem se desejam que seus textos sejam vocalizados (recitados, musicados etc.), e não apenas lidos silenciosamente. Haveria, então, uma alteração funcional e, consequentemente, um texto de chegada com um skopos diferente (REISS e VERMEER, 1996). Trata-se de trabalhar com a força latente da voz no texto; com uma possibilidade de performance inscrita na mídia escrita: a vocalidade, como coloca Paul Zumthor (1993). O poeta negro estadunidense Langston Hughes (1902-67) escrevia poemas semelhantes a letras de blues e recitava seus versos no ato da criação, o que pode sugerir algo a respeito de um possível modo de ler, absorver e recriar sua poesia em outra língua. Nosso objetivo, portanto, é traduzir seus poemas de blues ao cantá-los e tocá-los no violão. As canções de blues resultantes, em português, estão registradas em CD que foi inserido como apêndice da tese. Nosso método consiste em musicá-los enquanto os traduzimos, pois a simultaneidade dos processos é precisamente aquilo que interfere nas escolhas linguísticas, influenciando aspectos de ritmo, sintaxe, sentido etc. Nossa hipótese envolve, então, a questão de como os modos de dizer da canção popular, numa dada língua-cultura, determinariam o resultado da tradução. Essa experimentação deve, segundo esperamos, contribuir para os Estudos da Tradução por redimensionar alguns aspectos do texto de acordo com a dinâmica da vocalização. Esses resultados são tanto acadêmicos, em termos da discussão sobre a própria tradução, quanto artísticos, como música de blues composta para o público brasileiro, apresentando Langston Hughes, relativamente pouco conhecido e traduzido no Brasil, na forma de um gênero musical que é amplamente disseminado por aqui.If translation involves reading and rewriting, we might question how we read a text before questioning the rewriting. Poetry translation seems to continually deal with problems of rhythm, rhyme, syntax, meaning, register. What if the translator understands reading as performance in order to reconceive all those issues within the perspective of another medium, which could free him from the constraints of writing? Researcher Peter Low (2003) suggests that poetry translators ask themselves whether they would like their texts to be recited, set to music etc., rather than just silently read. There would be, then, a functional alteration, and the target text would have a different skopos (REISS and VERMEER, 1996). We propose working with the latent force of the voice in the text; with a possibility of performance inscribed in the written medium: the vocality of Paul Zumthor (1993). The Afro-American poet Langston Hughes (1902-67) wrote poems very similar to blues lyrics and knowingly spoke (or even sung) his lines while creating them. That might suggest something about a way to read, absorb and recreate his poetry in another language. Our goal, therefore, is to translate his blues poems while singing and playing them on the guitar. The resulting blues songs in Portuguese are registered on a CD attached to this thesis. Our method is to set them to music while translating them, because the simultaneity of the processes is exactly what might interfere in the linguistic choices, influencing aspects of rhythm, meaning etc. Our hypothesis involves, then, the discussion of how the modes of expression of the popular song, in a given system of language-culture, would determine the results of the translation. That sort of experimentation will hopefully contribute to the Translation Studies by rearranging certain aspects of the text according to the dynamics of vocalization. These results are both academic, in terms of the discussion about translation itself; and artistic, as blues music composed for the Brazilian audience, presenting Langston Hughes, relatively unknown and non-translated in Brazil, in the form of a musical genre which is widely disseminated here.
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Peixoto, Renan Falcheti. "Técnica urbana ortogonal e teoria da poesia oral: de Mégara Hibleia a Túrio." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/71/71131/tde-24102017-135408/.
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distribuída em uma moldura interpretativa criada por duas cidades separadas em suas respectivas fundações mais ou menos três séculos. A pólis arcaica de Mégara Hibleia e a pólis clássica de Túrio oferecem as maiores referências da presente pesquisa, cuja intenção é analisar o fenômeno da organização ortogonal através da teoria da poesia oral como apresentada nos estudos comparativos de Milman Parry e Albert Lord. A pesquisa etnográfica de Parry e Lord no começo do século XX com bardos iugoslavos abriu todo um novo e inspirador campo de estudos no âmbito da composição e recepção dos poemas homéricos. Com tal perspectiva, se demonstrará nas páginas seguintes um método de planejamento sem que haja o desenho de planos. Um planejamento que utiliza como recurso de composição fórmulas aritméticas que definem as proporções entre os elementos do sistema. Iniciando o problema com as evidências literárias sobre Hipodamo de Mileto, coroado por uma corrente historiográfica como primus inventor do método urbano ortogonal, se descortinará uma tradição anônima secular derivada da prática de artífices que não escreveram uma linha a respeito de sua técnica. As fórmulas ortogonais constituem medidas co-dimensionadas entre os lados do lote da casa, do quarteirão e da largura das ruas cristalizados ao longo do tempo na escansão dos quarteirões. Tomando-se miras ópticas e alinhando cordas ao longo de estradas seria possível - como em um esquadro - iniciar dois vetores das fórmulas aritméticas então traduzidas em formas geométricas. Será argumentado na análise detalhada da forma de Mégara Hibleia contra a hipótese de que exista no período arcaico a concepção de um módulo abstrato e a priori. A cidade ortogonal arcaica não é um plano-mestre pensado como um conjunto que precede suas partes. O uso dos princípios da ortogonalidade ao longo do tempo, no entanto, contribuem para o surgimento de novas fórmulas de unidades maiores que em cidades como Túrio consignam dentro de sua área o agrupamento de um dado número de quarteirões. Isto é o indício de que a cidade ortogonal comensura-se então como um conjunto articulado de partes. Ao questionar a leitura moderna que, sob um paradigma literário, vê nos planos e desenhos de reconstituição da malha original das cidades ortogonais um produto de um exercício por excelência abstrato, mental e a priori, se discutirá, por consequência, a ontologia do artefato arqueológico, os fundamentos epistemológicos da arqueologia que, desde seu vir-a-ser como disciplina acadêmica, se ampara de uma série de ferramentas interpretativas herdadas da cosmologia moderna ocidental. O texto circulará, portanto, em vias interdisciplinares entre arqueologia, filologia, filosofia, sociologia, antropologia e história da arte.The Greek orthogonal technique, especially in the urban contexts of Sicily and south Italy (Magna Graecia), could be distributed in a interpretative frame created by the archaeological tale of two cities separated in its foundations more or less three hundred years. The Archaic polis of Megara Hyblaea and the Classical polis of Thurioi offer the two major references of the present research which intends to analyze the phenomenon of orthogonal organization through the oral poetry theory as presented in the comparative studies of Milman Parry and Albert Lord. The ethnographic research of Parry and Lord in the earlier twentieth century with Yugoslavian singers opens a new and inspiring field on the composition and reception of the Homeric poems. With this perspective, it will be demonstrate in the following pages a planning method without any design plans. A planning that uses as compositional resources arithmetical formulas that define the proportional dimensions between the elements of the system. Initiating the subject with the literary evidences about Hipodamus of Miletus, crowned by a historiographical current as primus inventor of the orthogonal method, will be uncovered the anonymous secular tradition derived from the practice of craftsmen who did not write a single word about their techniques. The orthogonal formulas constitute co-dimensioned measures between the sides of the house lot, the block and the width of streets crystallized over time in the scansion of the blocks. Taking optical sights and aligning ropes along roads would be possible - as in a square - to start two vectors from the arithmetical formulas then translated in geometrical forms. It will be argued in the detailed analysis of Megara Hyblaea\'s layout against the hypothesis that there is in the Archaic period a conception of an abstract and a priori module. The orthogonal Archaic city it is not a master plan thought as a set which precedes its parts. The continued use of the orthogonal principles over time, however, contribute to the emergence of new formulas of larger unities which in cities like Thurioi consigns inside its area the grouping of a given number of blocks. This is a sign of a notion then that the orthogonal city is co-measured from a set articulated of parts. By questioning the modern lecture which, under a literary paradigm, sees the reconstituted plans and drawings of an original orthogonal grid a byproduct of an abstract, mental and a priori exercise, it will be discussed, by consequence, the ontology of the archaeological artifact, the archaeology\'s epistemological fundaments that, since its becoming as an academic discipline, relies on a series of interpretative tools inherited from modern Western cosmology. It will be circulate, therefore, in interdisciplinary roads between archaeology, philology, philosophy, sociology, anthropology and art history.
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Fernandes, Frederico Augusto Garcia [UNESP]. "A voz em performance: uma abordagem sincrônica de narrativas e versos da cultura oral pantaneira." Universidade Estadual Paulista (UNESP), 2003. http://hdl.handle.net/11449/103697.
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fernandes_fag_dr_assis.pdf: 1284451 bytes, checksum: cf6d97ecf9ce82a56850a7d557f3df33 (MD5)Esta tese compreende um estudo da poesia oral pantaneira no momento de sua atualização, ou seja, durante a performance. Para tanto, ela se divide em três partes principais. Na primeira, com base em relatos de viagem, foram identificados embates discursivos entre o narrador e o viajante. A partir desses embates, foi demonstrado como, durante a performance, a presença do auditório exige do narrador uma postura frente àquilo que conta, ou seja, como ele cria uma identidade, que se manifesta pelo discurso da narrativa. Outro ponto discutido diz respeito ao registro da poesia oral pelo viajante, em que enfatizei como elementos ligados à performance foram ignorados e como a transcrição interfere na compreensão do texto oral. Na segunda parte, foram analisados os aspectos discursivos da narrativa oral. Constatei que o narrador cria uma autoridade (relação frente ao auditório) e autoria (atualização do texto que ouviu), pelas quais ele engendra um discurso identitário. A questão das variáveis e invariantes no texto oral foi estudada na terceira parte. Assim, detive-me no estudo das narrativas de enterro pantaneiras. Identifiquei elementos invariantes (origem, anunciação, marcação, provação, desenlace), que congregam algumas variáveis (tipos de origem, formas diferenciadas de anunciação, etc.). Além disso, as narrativas se reorganizam mudando de significado, como constatei com o protoconto, a explicativa, o logro e a descritiva. O último capítulo tratou da performance, em que foi analisada a manifestação da narrativa na performance e, também, alguns dos mecanismos que o narrador emprega para persuadir o seu auditório. Os estudos assim divididos visam a dar uma visão sincrônica da poesia oral, pois partem do texto oral em seu espaço de constituição, levando em conta a voz (identidade e ruído) do narrador.
This thesis contains an oral poetry study at the moment of its updating (sometimes subtractions are possible), that is to say, during the performance. For clarification's sake, it is divided in three main parts. In the first part, I identified the discoursive clashes between the narrator and the foreign traveler, based on travelers' reports. After that, it was demonstrated that the audience presence requires from the narrator, during the performance, an attitude about what he tells, i.e., an identity creation manifested by the narrative discourse. Another item is about the oral poetry recorded by the traveler. At this point, I emphasized that some performance features were ignored and that the transcription interferes in oral text comprehension. In the second part, the oral narrative discursive aspects were analyzed. I verified that the narrator creates an authority (the relationship face the audience) and an authorship (the listened text update) by which he engenders an identity discourse. The matter of variables and invariables was studied in the third part. Thus, I detained myself in the study of burial pantaneira narrative. I identified invariable elements (origin, annunciation, marking, probation, epilogue) that have some variables (kinds of origin, different forms of annunciation, etc.). Besides, the narratives reorganize themselves by changing their meanings such as the prototale, the explicative, the bluff and the descriptive, according to my verification. In the last chapter, I discussed the performance. I also analyzed the narrative manifestation in the performance and some of the narrator's mechanisms used to persuade his audience. Divided this way, the studies intend to make a synchronic approach of oral poetry, because they depart from oral text in its composition space taking into consideration the narrator's voice (identity and noise)
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Mpolweni, Nosisi Lynette. "The orality - literacy debate with special reference to selected work of S.E.K. Mqhayi." Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&.
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The focus of this thesis is on Xhosa oral and written poetry. The discussion in the thesis is based on the information from existing literature, the responses from the questionnaires and the interviews with some Xhosa iimbongi (person who sings praises) who have reflected on their personal experiences. In addition to this, S.E.K. Mqhayi is at the centre of discussion because as a prominent Xhosa imbongi he features in both the oral and the written world.
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Moura, Hernany Donato de. "O sertão de Patativa do Assaré." Universidade Federal de Sergipe, 2011. https://ri.ufs.br/handle/riufs/5839.
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The goal of this dissertation was to analyze the work here Cante cá que eu canto lá- Filosofia de um trovador nordestino (1978), Antônio Gonçalves da Silva, Patativa doAssaré.From the approach this work from the perspective of cultural theory have developed a historical-cultural andliterary, whichthe poet reveals the peculiar characteristics of Bakewell her wild through the indices of orality and the exercise of voice. We found that his poetry is developing in the course of the twentieth century where we can see how popular literature serves as a memory support,based on the exercise of voice.O objetivo da presente dissertação foi analisar a obra Cante cá que eu canto lá- Filosofia de um trovador nordestino (1978), de Antônio Gonçalves da Silva, o Patativa do Assaré. A partir da abordagem desta obra pelo viés da teoria cultural desenvolvemos um estudo histórico-cultural e literário, no qual o poeta do Assaré desvenda características peculiares do seu sertão através dos índices de oralidade e do exercício da voz. Verificamos que sua poesia se desenvolve no percurso do século XX, em que podemos constatar como a literatura popular serve como suporte para memória, tendo como base o exercício da voz.
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Cembrone, Kátia Pellicci. "Ode marítima: do atual ao inaugural a poesia como poiesis e performance." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/14678.
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This work aims to demonstrate the reason why Ode Marítima is considered the most important poem of the Sensacionism Moviment, created by Fernando Pessoa and Mário de Sá-Carneiro in the early twentieth-century, by establishing a connection between actual and original, modern and primitive, time and no-time dimensions, chronological time and mythical time. In order to do that, some of the theoretical frameworks used were: the studies of the rhythm structure of this ode, by José Augusto Seabra and Nicolás Extremera Tapia; the studies of oral poetry, developed by Paul Zumthor; Fernando Pessoa and Mário de Sá-Carneiro s writings about Sensacionism; Micea Eliade s studies about myth; and the philosophical view of man s way of life transformations according to Friedrich Nietzsche. In the first chapter, we intended to reflect on the transformations poetry has passed through the time in order to, in the next chapter, explain and justify the sensacionist proposal of a modern art that is based on sensation strength, and intends to touch the sensorial body of its receptor. Finally, we proceeded to an analytic reading of the corpus: the Ode Marítima. We concluded that the poem materializes the Sensacionism by proposing us a return to the origins of the poetry. Thus, Álvaro de Campos modern experiment is access to the archaic rituals rhythm: song, voice, dance, body pure sensation, pure poetry. Such an experiment gives us the possibility of a more conscious perception of the complex way of modern life
O objetivo deste trabalho é demonstrar por que Ode Marítima é considerada o poema expressão máxima do movimento sensacionista, idealizado por Fernando Pessoa e Mário de Sá-Carneiro, no início do século XX, estabelecendo uma relação entre o atual e o inaugural, o moderno e o arcaico, o tempo e o não-tempo, o tempo cronológico e o tempo mítico. Para tanto, alguns dos referenciais teóricos utilizados foram: os estudos realizados por José Augusto Seabra e Nicolás Extremera Tapia acerca da estruturação rítmica da ode; os estudos sobre a poesia oral, realizados por Paul Zumthor; os escritos sobre o Sensacionismo, deixados por Fernando Pessoa e Mário de Sá-Carneiro; os estudos do mitólogo Micea Eliade; e a leitura filosófica das transformações no modo de viver do homem, realizada por Friedrich Nietzsche. No primeiro capítulo, buscamos refletir sobre as transformações pelas quais passou o ser da poesia através dos tempos para, no capítulo seguinte, explicar e justificar a proposta sensacionista, de uma arte moderna que se baseia na força da sensação, que busca atingir o corpo sensorial do receptor. Finalmente, realizamos uma leitura analítica do corpus: a Ode Marítima. Concluímos que o poema materializa o Sensacionismo propondo-nos um retorno às origens da poesia. Assim, o experimento moderno de Álvaro de Campos é acesso ao ritmo dos rituais arcaicos: canto, voz, dança, corpo pura sensação, pura poesia. Tal experimento nos dá a possibilidade de uma nova percepção, mais consciente, da complexa forma de vida moderna
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Fernandes, Frederico Augusto Garcia. "A voz em performance : uma abordagem sincrônica de narrativas e versos da cultura oral pantaneira /." Assis : [s.n.], 2003. http://hdl.handle.net/11449/103697.
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Orientador: Irene Jeanete Lemos GilbertoBanca: Luiz Roberto Velloso Cairo
Banca: Mário César Silva Leite
Banca: Maria Lídia Lichtscheidl Maretti
Banca: Ivete Lara Camargos Walty
Resumo: Esta tese compreende um estudo da poesia oral pantaneira no momento de sua atualização, ou seja, durante a performance. Para tanto, ela se divide em três partes principais. Na primeira, com base em relatos de viagem, foram identificados embates discursivos entre o narrador e o viajante. A partir desses embates, foi demonstrado como, durante a performance, a presença do auditório exige do narrador uma postura frente àquilo que conta, ou seja, como ele cria uma identidade, que se manifesta pelo discurso da narrativa. Outro ponto discutido diz respeito ao registro da poesia oral pelo viajante, em que enfatizei como elementos ligados à performance foram ignorados e como a transcrição interfere na compreensão do texto oral. Na segunda parte, foram analisados os aspectos discursivos da narrativa oral. Constatei que o narrador cria uma "autoridade" (relação frente ao auditório) e "autoria" (atualização do texto que ouviu), pelas quais ele engendra um discurso identitário. A questão das variáveis e invariantes no texto oral foi estudada na terceira parte. Assim, detive-me no estudo das narrativas de enterro pantaneiras. Identifiquei elementos invariantes (origem, anunciação, marcação, provação, desenlace), que congregam algumas variáveis (tipos de origem, formas diferenciadas de anunciação, etc.). Além disso, as narrativas se reorganizam mudando de significado, como constatei com o protoconto, a explicativa, o logro e a descritiva. O último capítulo tratou da performance, em que foi analisada a manifestação da narrativa na performance e, também, alguns dos mecanismos que o narrador emprega para persuadir o seu auditório. Os estudos assim divididos visam a dar uma visão sincrônica da poesia oral, pois partem do texto oral em seu espaço de constituição, levando em conta a voz (identidade e ruído) do narrador.
Abstract: This thesis contains an oral poetry study at the moment of its updating (sometimes subtractions are possible), that is to say, during the performance. For clarification's sake, it is divided in three main parts. In the first part, I identified the discoursive clashes between the narrator and the foreign traveler, based on travelers' reports. After that, it was demonstrated that the audience presence requires from the narrator, during the performance, an attitude about what he tells, i.e., an identity creation manifested by the narrative discourse. Another item is about the oral poetry recorded by the traveler. At this point, I emphasized that some performance features were ignored and that the transcription interferes in oral text comprehension. In the second part, the oral narrative discursive aspects were analyzed. I verified that the narrator creates an "authority" (the relationship face the audience) and an "authorship" (the listened text update) by which he engenders an identity discourse. The matter of variables and invariables was studied in the third part. Thus, I detained myself in the study of burial "pantaneira" narrative. I identified invariable elements (origin, annunciation, marking, probation, epilogue) that have some variables (kinds of origin, different forms of annunciation, etc.). Besides, the narratives reorganize themselves by changing their meanings such as the prototale, the explicative, the bluff and the descriptive, according to my verification. In the last chapter, I discussed the performance. I also analyzed the narrative manifestation in the performance and some of the narrator's mechanisms used to persuade his audience. Divided this way, the studies intend to make a synchronic approach of oral poetry, because they depart from oral text in its composition space taking into consideration the narrator's voice (identity and noise)
Doutor
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Kabuta, N. S. "La formule et l'autopanégyrique dans les traditions orales africaines: étude structurelle." Doctoral thesis, Universite Libre de Bruxelles, 1995. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212519.
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McCrotty, Micah. "North of Ourselves: Identity and Place in Jim Wayne Miller’s Poetry." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3581.
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Jim Wayne Miller’s poetry examines how human history and topography join to create place. His work often incorporates images of land and ecology; it deliberately questions the delineation between place and self. This thesis explores how Miller presents images of water to describe the relationship between inhabitants and their location, both with the positive image of the spring and the negative image of the flood. Additionally, this thesis examines how the Brier, Miller’s most prominent persona character, grieves his separation from home and ultimately finds healing and reunification of the self through his return to the hills. In his poetry, Miller argues that an essential piece of people’s identity is linked with the land, and, through recognition of the importance of topography on the development of the self, individuals can foster a deeper sense of community through appreciation of their place.
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Haouchine, Omar. "Ccna, une poésie féminine de Kabylie : complaintes, conflits et régulation sociale." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCF009.
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Ccna [ʃ:na], est une poésie féminine traditionnelle kabyle chantée publiquement lors des fêtes de mariages dans la région d’Ighil n Zekri de Tizi-Ouzou en Algérie. Elle traite essentiellement de la condition socio-affective de la composante féminine des communautés villageoises. Bien qu’elle s’apparente à d’autres types poétiques relevant de la tradition orale kabyle, cette poésie possède des spécificités propres et une originalité expressive, tant du point de vue de son contexte de performance que du point de vue des fonctions qu’elle assure au sein des sociétés productrices. En effet, les cérémonies de ccna donnent lieu à la production d’un espace virtuel de communication et de gestion des conflits qui mérite indéniablement une étude approfondie. Ce projet de recherche est construit autour d’un corpus traduit et annoté, son étude implique nécessairement une approche, à la fois proprement littéraire des textes et anthropologique (acteurs, conditions de création, diffusion et réception)Ccna [ʃ:na], is a female traditional Kabylian poem sung publicly at weddings in the area of Ighil n Zekri in Tizi-Ouzou, Algeria. It mainly deals with women’s socio-emotional conditions in rural communities. Although it is similar to other poetic types in the kabylian oral tradition, this poetry has specificities and a meaningful originality, from the point of view of its performance context as well as from the functions it ensures within the producing societies. Indeed, ccna ceremonies lead to the creation of a virtual space of communication and conflict management that deserves an in-depth study. This research project is built around a corpus translated and annotated, its study necessarily implies an approach, both literary of the texts and anthropological (actors, conditions of the creation, dissemination and reception)
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Lunelli, Diego Conto. "Performance e religiosidade : ritmo, canto e poesia oral nos rituais de batuque e umbanda em Caxias do Sul/RS." reponame:Repositório Institucional da UCS, 2017. https://repositorio.ucs.br/handle/11338/3379.
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Esta dissertação trata das práticas poéticas e musicais das religiosidades afro-brasileiras na cidade de Caxias do Sul/RS, a Umbanda e o Batuque, a partir da perspectiva da performance e da vocalidade, baseada especialmente nas contribuições de Paul Zumthor (1915 - 1995). Para a elaboração da pesquisa foram realizados dois processos metodológicos. Inicialmente uma pesquisa bibliográfica para dar conta da observação de questões relativas à formação social da região estudada, formação das religiões brasileiras de matriz africana e da base conceitual sobre a poesia oral. O segundo processo metodológico foi de uma etnografia, desenvolvida em uma casa de religião afro-brasileira de Caxias do Sul, o Ile Axé de Ogum Onire, durante dois anos. Esta pesquisa teve um caráter investigativo inédito, pois são poucas as pesquisas existentes sobre religião que abordam a poesia oral e, ao mesmo tempo, inexistem pesquisas baseadas na performance segundo Zumthor que abordem as religiões afro-brasileiras praticadas no Rio Grande do Sul. Outros objetivos importantes deste trabalho foram observar as práticas ritualísticas a partir da perspectiva de região cultural, pois as religiões como práticas sociais tem particularidades importantes a serem observadas de acordo com o contexto no qual acontecem, e também observar as práticas musicais como marcas regionais, não só como particularidades do estado, mas também da região de Caxias do Sul. Ao final do processo de pesquisa foi possível perceber a presença constante, e especialmente a importância, da voz, do ritmo e da melodia na poesia oral dos rituais religiosos de matriz africana em Caxias do Sul. A poesia oral, como monumento significativo das práticas socioculturais de um grupo, é uma manifestação de resistência, ancestralidade, cultura, identidade e expressão das religiões afro-brasileiras.Submitted by Paula Leal (pffleal@ucs.br) on 2017-12-13T17:39:13Z No. of bitstreams: 1 Dissertacao Diego Conto Lunelli.pdf: 4415121 bytes, checksum: a60a6e5b369c1f33cf07eb71fbb70f72 (MD5)
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES.
This dissertation approaches the poetic an musical practice in the Afro-Brazilian religiosities practiced in the city of Caxias do Sul in Rio Grande do Sul, Umbanda and Batuque, from the perspective of the performance and vocality, theory based especially on Paul Zumthor (1915 - 1995). For the elaboration of this dissertation two methodological processes were used, initially a bibliographical research to observe questions related to the social formation of the studied region, formation of the Brazilian religions with African roots and the conceptual base on oral poetry. The second methodological process was an ethnography, developed in a Afro-Brazilian religion house of Caxias do Sul, called Ilê Axé de Ogun Onire, for two years. This research had an unprecedented investigative character, as far as we know there is a few researches on religion that studies oral poetry and, at the same time, performance research according to Zumthor (1997) does not refers to the Afro-Brazilian religions practiced in Rio Grande do Sul. Another important objective of this work were to observe ritualistic practices from the perspective of cultural region, since religions as social practices have important peculiarities to be observed according to the context in which they happened, and also to observe the musical practices as regional marks, also in the region of Caxias do Sul. At the end of the research process it was possible to see the constant presence, and especially the importance, of the voice, the rhythm and the melody in the oral poetry of religious rituals with African roots in Caxias do Sul. Oral poetry, as a significant monument of the sociocultural practices of a group is an expression of resistance, ancestry, culture, identity and expressivity of Afro-Brazilian religions.
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Marija, Aleksandrović. "Simboli romske usmene poezije –zastupljenost i značenje." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2015. http://www.cris.uns.ac.rs/record.jsf?recordId=95668&source=NDLTD&language=en.
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Cilj rada jeste, da se istraže frekventni simboli u već
objavljenim zbirkama romskog usmenog
stvaralaštva, kao i na novosakupljenom stvaralaštvu
sa teritorije AP Vojvodine koji imaju odreĎeno
značenje i ulogu u kulturnom miljeu Roma.
Analizom simbola, pokušaćemo da sagledamo sliku
sveta oblikovanu u ovoj poeziji kao i njeno
značenje.
Istraživanje koje smo sproveli, pokazalo je da bića,
pojave, pojmovi, odlike sveta i čoveka pored
osnovnog, mogu imati simboličko značenje, a na
njima se zasniva osobeno viĎenje sveta. Simboličku
vrednost imaju pojave vezane za čovekov život i
njegov opstanak, kao i čovekovo telo, biljke,
životinje i apstrakni predmeti. Pritom pre možemo
govoriti o mogućim simboličkim značenjima nego o
”pravim” simbolima. Ova značenja su, po pravilu,
ambivalentna, ista pojava ili biće mogu imati
pozitivno i negativno značenje. Simbolička značenja
u romskoj tradicionalnoj kulturi počivaju na
temeljnom vrednosnom sistemu kulture, ali
uglavnom nisu suštinski različita od onih koja se
formiraju u drugim tradicionalnim kulturama.
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Kelly, Stephen T. "Homeric correption and the metrical distinctions between speeches and narrative." New York : Garland, 1990. http://catalog.hathitrust.org/api/volumes/oclc/20823392.html.
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Iglesias, Recuero Silvia. "Oralidad, diálogo y contexto en la lírica tradicional /." Madrid : Visor Libros, 2002. http://www.gbv.de/dms/sub-hamburg/348130783.pdf.
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Jahn, Lívia Petry. "A literatura tradicional oral luso-brasileira : as cantigas e performaces dos ternos de reis herdadas dos açores e praticadas em Florianópolis, Santa Catarina, Brasil." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/117568.
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Esta tese tem por objetivo primordial trazer ao âmbito da Academia um saber popular, anônimo e folclórico, representado pelas cantigas de Ternos de Reis, pesquisadas em Florianópolis, Santa Catarina, Brasil, cuja origem remonta aos Açores, Portugal. Buscamos realizar neste trabalho uma exegese de tais cantigas a partir das noções de folclore (Cascudo), cultura popular (Burke), performance (Schechner, Zumthor), mitos (Kerényi, Campbell), arquétipos (Jung), festas religiosas (Bakhtin, Perez), poesia (Spina, Trevisan) e, por fim, a relação de tais instâncias com a voz dos subalternos e as epistemologias do Sul (Santos). Dessa maneira, tentamos abordar as cantigas de Ternos de Reis sob diversos aspectos e mostrar ao leitor atento a riqueza da cultura popular.This thesis aims to bring to the Academic world, a new and popular knowledge which main characteristics are the anonymous aspects of its feature and also its folkloric way of existence. This new knowledge is represented by the Christmas Chants brought to Brazil by the Azoreans (Portugal) and which remains in the Brazilian tradition and folklore, especially in the city of Florianópolis, Santa Catarina State, Brazil. The author tried to do an exegesis of such Christmas Chants, through the following theories and notions: folklore (Cascudo), Popular Culture (Burke), performance (Schechner, Zumthor), myths (Kerényi, Campbell), archetypes (Jung), religious feasts (Bakhtin, Perez), poetry (Spina, Trevisan) and at last what such theories have in common with the voice of subalterns and the epistemologies of the South (Santos). As so far, the author tried to show in this research and posterior analysis, the richness found in Popular Culture and Folkloric Christmas Chants.
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Goering, Christian Z. ""This ain't a ghetto class; this is a fine class!" : dramatic oral reading fluency activities in the social context of a ninth-grade classroom." Diss., Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/339.
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Dowling, Tessa. "The forms, functions and techniques of Xhosa humour." Doctoral thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/17456.
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Bibliography: pages 259-274.In this thesis I examine the way in which Xhosa speakers create humour, what forms (e.g. satire, irony, punning, parody) they favour in both oral and textual literature, and the genres in which these forms are delivered and executed. The functions of Xhosa humour, both during and after apartheid, are examined, as is its role in challenging, contesting and reaffirming traditional notions of society and culture. The particular techniques Xhosa comedians and comic writers use in order to elicit humour are explored with specific reference to the way in which the phonological complexity of this language is exploited for humorous effect. Oral literature sources include collections of praise poems, folktales and proverbs, while anecdotal humour is drawn from recent interviews conducted with domestic workers. My analysis of humour in literary texts initially focuses on the classic works of G.B. Sinxo and S.M. Burns-Ncamashe, and then goes on to refer to contemporary works such as those of P.T. Mtuze. The study on the techniques of Xhosa humour uses as its theoretical base Walter Nash's The language of humour (1985), while that on the functions of Xhosa humour owes much to the work of sociologists such as Michael Mulkay and Chris Powell and George E.C. Paton. The study reveals the fact that Xhosa oral humour is personal and playful - at times obscene - but can also be critical. In texts it explores the comedy of characters as well as the irony of socio-political realities. In both oral and textual discourses the phonology, morphology, syntax and semantics of Xhosa are exploited to create a humour which is richly patterned and finely crafted. In South Africa humour often served to liberate people from the oppressive atmosphere of apartheid. At the same time humour has always had a stabilizing role in Xhosa cultural life, providing a means of controlling deviants and misfits.
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Aluja, Roger. "Comentari referencial al cant XI de l'Odissea: Un estudi de l'estètica de la poesia oral a partir de la teoria de la referencialitat tradicional." Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/458997.
Full textAbstract:
En aquesta tesi doctoral es presenta un comentari estètic del cant 11 de l’Odissea a partir de la perspectiva de la referencialitat tradicional, que defensa que és en la mateixa tradició èpica— això és, en els elements tradicionals i en les connotacions immanents que cadascun d’ells tenen associades— on s’ha de cercar el punt de referència respecte del qual es construeix el joc al·lusiu, referencial, en les tradicions poètiques de naturalesa oral. Així, el comentari es basa en l’’estudi d’’un total de 126 elements tradicionals de diversa natura —expressions formulars, motius, escenes típiques, patrons narratius, etc.— presents en l’episodi de la Nekyia, a fi de conèixer-ne els valors immanents tradicionals, i estudiar el paper que aquestes connotacions tradicionals tenen en la composició i recepció estètiques de l’episodi. A nivell metodològic, segueix la proposta del comparatista nord-americà John Miles Foley, aplicada per l’estudiós Adrian Kelly en el seu comentari referencial del cant 8 de la Ilíada: 1) identificació i definició dels elements tradicionals del cant; 2) recollida dels passatges homèrics —i eventualment de la resta de poesia èpica grega d’època arcaica, això és dels Himnes homèrics i dels poemes del Cicle èpic— que presenten cadascun dels elements tradicionals; 3) anàlisi de l’element analitzat en tots i cadascun dels contextos en què apareix, per tal de conèixer el valor immanent que té en el si de la tradició èpica; i finalment 4) estudi dels efectes estètics que provoquen els valors immanents tradicionals en els respectius contextos que s’han pres en consideració, sobretot en les aparicions que té en l’episodi de la Nekyia.
El treball s’estructura en cinc grans blocs: introducció, text amb aparat referencial, lèxic d’elements tradicionals, comentari, i conclusions. En la introducció es presenta l’objecte de la investigació, s’exposa el seu marc teòric i metodològic —la teoria de la referencialitat tradicional—, es detallen els principis estètics de la poesia oral, es descriu la importància de la Nekyia en el poema de l’Odissea, i es donen les indicacions pertinents per poder comprendre I utilitzar el lèxic i el comentari referencials. El segon apartat el compon el text del cant 11 de l’Odissea acompanyat d’un aparat referencial que relaciona el text homèric amb les entrades del lèxic d’elements tradicionals, alhora que funciona com a guia per al comentari. El tercer apartat conté el lèxic referencial amb els elements tradicionals de l’episodi, amb entrades individuals per a cadascun d’ells (més d’un centenar, en total); les entrades consten, d’una banda, de la llista dels passatges de l’èpica grega d’època arcaica en què apareix l’element i, de l’altra, de l’anàlisi del seu valor immanent i del seu ús particular en els passatges analitzats. En el quart apartat, en forma de comentari, es presenten els resultats de la investigació aplicats a l’episodi de la Nekyia, posant en relació uns elements tradicionals amb els altres i observant l’ús que el poeta fa dels seus valors immanents i com aquest ús condiciona la recepció de l’episodi per part d’una audiència coneixedora de la xarxa referencial de la tradició. Finalment, el treball es tanca amb un apartat de conclusions, centrades en tres aspectes: en primer lloc, a propòsit del que l’estudi a partir d’aquesta teoria ens pot aportar respecte de qüestions com l’estructura, les funcions i els objectius de la Nekyia no només en el context dels Apòlegs sinó també nivell de l’Odissea; en segon lloc, respecte de la metodologia utilitzada, especialment en relació amb les dificultats que planteja l’estudi del valor referencial, immanent, dels elements tradicionals, així com algunes propostes per a superar-les; i en tercer i últim lloc, a l’entorn de la relació de la teoria de la referencialitat amb altres propostes teòriques que cerquen una resposta a les mateixes qüestions, com la interformularitat, la hipertextualitat o l’art al·lusiva. El treball es completa amb un apartat de referències bibliogràfiques i amb una sèrie d’índexs (d’elements i de passatges) que han de facilitar la consulta de la investigació.This doctoral thesis presents an aesthetic commentary on Odyssey 11 from the perspective of traditional referentiality. It is based on the study of 126 traditional elements of diverse nature —formular expressions, motifs, typical scenes, narrative patterns, etc.— attested in the episode, in order to know the traditional immanent values from each of them, and to study the role that traditional connotations play in the aesthetic composition and reception of this episode. It follows the methodological proposal of John Miles Foley, which was applied by Adrian Kelly in his referential commentary on Iliad 8: 1) identifying and defining the traditional elements; 2) collecting the Homeric passages —and eventually those of the Homeric Hymns or the Epic Cycle— containing each traditional element; 3) analysing the element in the contexts in which it is attested, in order to know its immanent value in the epic tradition; 4) studying the aesthetic effects caused by these traditional immanent values in their respective contexts. The results of the research are distributed in three chapters: in the referential lexicon, which contains the study of the traditional referentiality of the 126 elements; in the commentary on the song, in which the aesthetic reception that it had by its contemporary audience is reconstructed; and in the conclusions, which revolve about three aspects: the Nekyia episode, the methodology, and the theoretical perspective in which the research is framed. Regarding the first one, the research contributes to better explain the relation between this episode and the Apologoi, and its main goal: to praise Odysseus as a hero and as a singer, internally in order for the Phaeacian to accept escorting him to Ithaca, and externally to clean the hero’s image and to valorise the heroism he embodies; regarding the research methodology and theoretical frame, the research proves the methodological and theoretical validity of traditional referentiality, while proposing some methodological adjustments and contemplating the theoretical possibility of different kinds of allusivity coexisting in the Homeric poems.