Relevant bibliographies by topics / Oral poetry / Dissertations / Theses
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Dissertations / Theses on the topic 'Oral poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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1

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 v
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2

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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3

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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4

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 experie
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5

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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6

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 comprehen
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7

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 physician
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8

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
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9

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 th
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10

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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11

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
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12

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 m
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13

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 n
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14

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 re
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15

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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16

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 experienc
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17

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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18

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
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19

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 Borsato<br>Resumo: 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 estru
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20

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.<br>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 influenc
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21

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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22

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 a
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23

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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24

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.<br>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. Co
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25

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 Superior<br>Este 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, he
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26

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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27

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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28

Tiozzo, Betty <1988&gt. "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 perfor
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29

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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Submitted by Larissa Fernanda Steinle (larissasteinle@gmail.com) on 2018-06-26T15:39:08Z No. of bitstreams: 1 dissertação biblioteca.pdf: 1409662 bytes, checksum: 247c80add8498b6bf36c094b82872350 (MD5)<br>Approved for entry into archive by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br) on 2018-06-26T19:36:02Z (GMT) No. of bitstreams: 1 steinle_lf_me_arafcl.pdf: 1377419 bytes, checksum: eaeceaa4158c353454d55af4c6529d45 (MD5)<br>Made available in DSpace on 2018-06-26T19:36:03Z (GMT). No. of bitstreams: 1 steinle_lf_me_arafcl.pdf: 1377419 bytes, checksum: eaeceaa4158c353454d55af4c65
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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.<br>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)<br>Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-08-04T19:18:30Z (GMT) No. of bitstreams: 1 2008_dis_dasilva.pdf: 515872 bytes, checksum: 3418
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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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32

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
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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 silencios
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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 homé
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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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Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2003-05-05Bitstream added on 2014-06-13T21:04:56Z : No. of bitstreams: 1 fernandes_fag_dr_assis.pdf: 1284451 bytes, checksum: cf6d97ecf9ce82a56850a7d557f3df33 (MD5)<br>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 com
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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&amp.

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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.<
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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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Made available in DSpace on 2016-04-28T19:58:42Z (GMT). No. of bitstreams: 1 Katia Pellicci Cembrone.pdf: 18447270 bytes, checksum: 121241adc401cae7b8a83434755a9686 (MD5) Previous issue date: 2011-10-07<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>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, chronologi
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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 Gilberto<br>Banca: Luiz Roberto Velloso Cairo<br>Banca: Mário César Silva Leite<br>Banca: Maria Lídia Lichtscheidl Maretti<br>Banca: Ivete Lara Camargos Walty<br>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 narrado
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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 se
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42

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 cé
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43

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 metodo
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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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<p>Cilj rada jeste, da se istraže frekventni simboli u već<br />objavljenim zbirkama romskog usmenog<br />stvarala&scaron;tva, kao i na novosakupljenom stvarala&scaron;tvu<br />sa teritorije AP Vojvodine koji imaju odreĎeno<br />značenje i ulogu u kulturnom miljeu Roma.<br />Analizom simbola, poku&scaron;aćemo da sagledamo sliku<br />sveta oblikovanu u ovoj poeziji kao i njeno<br />značenje.<br />Istraživanje koje smo sproveli, pokazalo je da bića,<br />pojave, pojmovi, odlike sveta i čoveka pored<br />osnovnog, mogu imati simboličko značenje, a na<br />njima se zasniva osobeno viĎenje sveta.
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45

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 epistem
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48

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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49

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.<br>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 pho
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50

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.

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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, esce
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