Journal articles: 'Oral poetry'

1

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

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

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

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

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

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The British Sign Language poetry of Dorothy Miles is a major contribution to the canon of BSL poetry. This paper considers her work as an example of “oral poetry”, in the tradition of other oral (i.e. unwritten poetry). Following definitions of oral poetry primarily from Finnegan (1977), I explore the degree to which Miles’ BSL work may be considered “oral” from the perspective of composition, transmission and performance, and linguistic structure. Although there are ways in which BSL poetry does share similarities with other spoken language “oral” poetry, the unique relationship between sign language and spoken language creates situations in which the BSL poetry is unlike either oral or written poetry.

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Scheub, Harold. "Oral Poetry and History." New Literary History 18, no. 3 (1987): 477. http://dx.doi.org/10.2307/469054.

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

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

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

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The sources of the XIV century Azerbaijani poet Qazi Burhanaddin's creativity are diverse and rich. These resources are mainly: 1. Oral folklore 2. Written all-Turkic poetry 3. Religious sources, Quran motifs 4. Sufistic philosophy Oral folk literature is defined as the main and primary source for the poet's creativity. As we investigate, it becomes clear that the work of Yunus Amre, one of the representatives of Turkish-language poetry, had a serious impact on the worldview of the poet. The reason for this is primarily Yunus Emre's creativity, including It is shown that the Sufism poetry of XIII,XIV centuries became widespread. The influence of the poet by Nizami Ganjavi's poetry was also emphasized. As well as his excellent religious education and the demands of the time, the motifs of the Qur'an also acted as a source for the poet's creativity. The question of reflection of the Sufism philosophy, which became the object of controversy in the artist's poetry for a long time, was also clarified. As a result, it has been proved by facts that Sufism philosophy plays the role of a source for the poet's creativity.

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Ikyer, Godwin Aondaofa. "Deep digital poetry: Interrogating Tiv oral poetry within postmodernity." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 196–210. http://dx.doi.org/10.17159/tvl.v.54i1.13.

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

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Han Kim. "Reading Ilias as Oral Poetry." Journal of Classic and English Renaissance Literature 22, no. 1 (June 2013): 5–46. http://dx.doi.org/10.17259/jcerl.2013.22.1.5.

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Adeiyongo, Akosu. "Aspects of TIV Oral Poetry." Journal of Black Studies 22, no. 1 (September 1991): 123–34. http://dx.doi.org/10.1177/002193479102200109.

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Nagy, Gregory. "Oral Poetics and Homeric Poetry." Oral Tradition 18, no. 1 (2003): 73–75. http://dx.doi.org/10.1353/ort.2004.0031.

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Niles, John D. "Understanding Beowulf: Oral Poetry Acts." Journal of American Folklore 106, no. 420 (1993): 131. http://dx.doi.org/10.2307/541965.

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Mojalefa, M. J. "The verse-form of Northern Sotho oral poetry." Literator 23, no. 1 (August 6, 2002): 85–96. http://dx.doi.org/10.4102/lit.v23i1.322.

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Although examples of certain Northern Sotho traditional oral genres have been collected over years, a study of verse-form in traditional initiation poetry has not yet been undertaken. This article will consider the way in which Northern Sotho traditional initiation poems are structured or arranged in verse-form. It will be attempted to indicate that traditional oral initiation poetry in Northern Sotho is not metrically defined (as in Western poetry) but that Northern Sotho oral poetry is also structured by its performance and by symmetrical boundaries and other techniques. The structure of the oral praise poem in verse-form as discussed in this article will show the way in which poetry material is organised according to Northern Sotho metrical (verse-form) principles.

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Lotman, Rebekka. "The Semiotics of New Era Poetry: Estonian Instagram and Rap Poetry." Studia Metrica et Poetica 8, no. 2 (December 31, 2021): 58–79. http://dx.doi.org/10.12697/smp.2021.8.2.04.

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Mikhail Gasparov concludes his monograph “A History of European Versification” with the recognition that in the development of particular verse forms in each tradition of poetry, there is a permanent interaction between two types of poetry: those of oral popular and bookish culture. The forms engendered by popular culture are assimilated by bookish culture, while those engendered by literary culture descend into popular culture (Gasparov 1996: 295). Here, folk poetry represents oral popular poetry, and literary poetry represents poetry published in books. Over the last decade, and especially during the last five years, the importance of lyrical poetry as an art form in Western culture has grown precisely due to the widespread distribution of both types of poetry – oral and written. Yet oral poetry is no longer marked by folklore, and the primary medium of the written poetry is no longer books – we can see that rap poetry and digital poetry, especially Instapoetry (Instagram poetry), are increasingly occupying a central position. However, bookish poetry is also rising, thanks to the latter. The growing popularity of both subgenres of poetry is associated with the emergence of new media: the platform of the first is audio and visual media (SoundCloud, Spotify, YouTube) and of the second is textual and visual media (at first Tumblr, now primarily Twitter, Instagram, and Facebook). This article examines attitudes and issues related to the emergence of this new era poetry and outlines its poetics from a semiotic perspective. The analysis focuses on Estonian Instagram poetry and rap, studying how these subtypes of poetry, which originate from English-speaking cultures, have emerged after a time gap in smaller literature and have changed the audience, the authors, and the meaning-making of poetry.

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Mekunda, Doreen. "The Interface of Oral Traditions and the Poetry of Nol Alembong." International Journal of Research and Innovation in Social Science VII, no. VIII (2023): 32–48. http://dx.doi.org/10.47772/ijriss.2023.7803.

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This research sets out to examine the relevance of oral traditions in literary imagination and the ways in which oral tradition has influenced Nol Alembong in his espousal of themes like peace, war, denunciation, resignation, nostalgia, revolt, hope, praise, kleptomania, imperialism, etc. in selected poems in Forest Echoes (2012), The Passing Wind (2013), and Green Call (2017). Selected poems were read, exploring the linguistic and aesthetic features in oral traditions and written poetry, and discussing the views raised by sociologists through stylistic analysis of a work of art. To this effect, post-colonial and eco-criticism were employed. The study reveals that Nol Alembong avails himself of the forms of oral tradition like legends, folktales proverbs, riddles, incantations, etc. as his poetic license, thus establishing cross-fertilization between oral traditions and written poetry. This emphasizes that the blending of traditional lore and written poetry is primordial in the remodeling of people and societies. The study reveals that there is a synthesis of written poetry and oral tradition, in which the magical aura of the oral is present in the written tradition. It further reveals that oral tradition and written poetry have enjoyed and still enjoy a healthy symbiotic relationship in human understanding. Oral tradition facilitates the elimination of anti-social and moral behaviour, as well as helps with social identity construction. The study concludes that despite the preponderance of modern forms of entertainment and education, there exists oral tradition; which is not only enjoyed for its form, but also for its dialectic appeal, which Alembong beautifully weaves into his poetry, thus indicting us to go back to it where morality resides for humanity to thrive.

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Regassa, Megersa, and Terefe Mitiku. "Orality in African Literary Works: An Interaction of Oromo Oral Literature with Written Poetry." Research in African Literatures 54, no. 3 (September 2024): 111–30. http://dx.doi.org/10.2979/ral.00019.

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ABSTRACT: This article deals with the interaction of Oromo's oral literature with written poetry. The main objective is to indicate the way different types of oral literature elements are adapted to written poetry. Data were collected through qualitative methods such as document analysis, interviews, and group discussions and were analyzed qualitatively. Types of Oromo oral literature like a proverb, oral narrative, oral poetry, and riddles are adapted into written poetry by different authors. The interaction forms a bridge between the oral literary culture and written literature enabling both to complimentarily develop Oromo literature. As Richard M. Dorson states, "Oral literature can and frequently does enter into written literature. A new generation of African novelists … strews the proverbs of their native languages throughout their fiction" (2). The intermixing of African orality and written literary works makes literature closer to culture and societal life. These connections sustain the life of oral literature in written literature, on the one hand, and enable written literature to aesthetically communicate the culture, history, norms, and beliefs of a group of people who share it.

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Tolasa, Megersa Regassa. "Females’ Voice through Oral Poetry among Limmuu Oromo, Ethiopia." Journal of Ethnic and Cultural Studies 4, no. 2 (December 29, 2017): 28. http://dx.doi.org/10.29333/ejecs/72.

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This article discusses about the role of Oromo oral poetry in helping girls[1] and women[2]to express their idea in their social life. It also aims to illustrate the talent of girls and women in creating and poeticizing oral poetry to display their opinion on social occurrences such as marriage ceremony, birth rite and at work place. During data collection, ethnographic methods such as observation, focus group discussions and semi-structured interview were employed. I interpreted data collected from the field through these methods. The analyzed data shows that oral poetry has a crucial role to help girls and women to express their idea in pre and post marriage respectively. Before marriage, it helps girls to display their feeling, thought and emotion concerning their future life and their friend’s social life. By using oral poetry, they advise their friends and show their devotion for each other. In post marriage, through oral poetry, women pray Waaqaa (Oromo God) for a woman who unable to bear child. The paper concludes that, oral poetry helps girls and women to express their opinion in every aspect of their life such as marriage, spiritual, and reproduction issues. Therefore, it helps them to make their voice heard in the community and enhances their creativity.[1] Is durba in Oromo and are unmarried virgin girl.[2] Is dubartii in Oromo and are married women.

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RODRÍGUEZ, EMILIO JORGE. "Oral Tradition and Recent Caribbean Poetry." Samuel Beckett Today / Aujourd'hui 12, no. 1 (December 8, 2002): 1–12. http://dx.doi.org/10.1163/18757405-90000114.

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William Johnson, John. "Orality, literacy, and Somali oral poetry." Journal of African Cultural Studies 18, no. 1 (June 2006): 119–36. http://dx.doi.org/10.1080/13696850600750350.

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Mvula, Enoch Timpunza. "Strategy in Ngoni Women's Oral Poetry." Critical Arts 5, no. 3 (January 1991): 1–37. http://dx.doi.org/10.1080/02560049185310021.

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Salleh, Muhammad Haji. "Oral elements in contemporary Indonesian poetry." Indonesia Circle. School of Oriental & African Studies. Newsletter 19, no. 54 (March 1991): 3–18. http://dx.doi.org/10.1080/03062849108729752.

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RODRÍGUEZ, EMILIO JORGE. "Oral Tradition and Recent Caribbean Poetry." Matatu 12, no. 1 (April 26, 1994): 1–12. http://dx.doi.org/10.1163/18757421-90000074.

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Hämäläinen, Niina. "Emotional Transpositions: Interpreting Oral Lyric Poetry." Folklore: Electronic Journal of Folklore 67 (April 2017): 171–98. http://dx.doi.org/10.7592/fejf2017.67.hamalainen.

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Haymes, Edward. "Oral Theory and Medieval German Poetry." Oral Tradition 18, no. 2 (2004): 258–60. http://dx.doi.org/10.1353/ort.2004.0066.

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Strashnov, Sergey L. "Sergey Yesenin and the oral poetry." Philological Sciences. Scientific Essays of Higher Education, no. 3 (May 2020): 78–85. http://dx.doi.org/10.20339/phs.3-20.078.

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Knight, Etheridge. "On the Oral Nature of Poetry." Black Scholar 19, no. 4-5 (July 1988): 92–96. http://dx.doi.org/10.1080/00064246.1988.11412887.

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Olugbemi-Gabriel, Olumide. "Orality, Literacy, Modernity and Modern African Poetry." Àgídìgbo: ABUAD Journal of the Humanities 1, no. 1 (2013): 43–55. http://dx.doi.org/10.53982/agidigbo.2013.0101.05-j.

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This paper attempts to locate and situate how Modem African Poetry turned the corner from a beginning encapsulated in poetic lines which are influenced and modeled after Western style and poets, to embracing forms of African oral traditions. The game changer for modern African poetry is p'Bitek's Song of Lawino which privileges his people's oral tradition forms as manifested in songs, proverbs and oral poetry oyer conventional western poetic forms. Osundare's Villages Voicesequally concretises the achievement of the modern African poet in using the hands of literacy to drag orality to the podium of modern poetic manifestations, The efforts of p'Bitek and Osundare are singled out for praise for their abilities to locate the critical interface between orality and literacy in a better understanding of the consequence of the fatal collision between African oral tradition and ",'estern education which births modern African poetry

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Martínez Fernández, José Enrique. "Oralidad y escritura: Poesía oral y poesía escrita." Estudios Humanísticos. Filología, no. 17 (December 15, 1995): 229. http://dx.doi.org/10.18002/ehf.v0i17.4114.

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<p>Buena parte de las peculiaridades de la poesía contemporánea tienen su origen en la tensión latente entre oralidad y escritura. La poesía actual se escribe para ser leída en soledad y en silencio; el sentido auditivo se ha cambiado por el visual y éste aboca a una cultura del silencio, a un acto privado y voluntario; pero en la poesía escrita actual perviven elementos de la oralidad primigenia, por lo que en este artículo se ponen en contraste la poesía oral y la poesía escrita con el fin de que puedan quedar iluminados alguno</p><p>A good proportion of the particular characteristics of contemporary poetry originate in the latent tension between oralcy and writing. Current poetry is written to be read alone and in silence; the sense of hearing has been exchanged for that of sight, and this leads to a culture of silence, to a private act of personal choice. However, some elements of the earlier oralcy do live on in present-day written poetry. Thus, this article contrasts oral poetry and written poetry with the intention of illuminating a number of the mechanisms typical of the latter</p>

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Yusupova, O. S., and Bekmuradova I. Z. "THE ROLE OF SYNTACTIC REPETITION IN ENSURING POETIC INDIVIDUALITY IN THE POETRY OF HALIMA AKHMEDOVA." American Journal Of Social Sciences And Humanity Research 03, no. 05 (May 1, 2023): 99–103. http://dx.doi.org/10.37547/ajsshr/volume03issue05-18.

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This article examines the features of repetition used in the poetry of Halima Akhmedova. The meanings emerging through them, the types of repetitions according to the place of use are analyzed. Repetition is considered as a stylistic tool, and it is emphasized that it performs the task of giving emotional color and poetic tone to language units that are the constituents of oral and written speech.

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Mitchell, Ken. "Canadian Cowboy Poetry and the Oral Tradition." Canadian Theatre Review 130 (March 2007): 83–88. http://dx.doi.org/10.3138/ctr.130.013.

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A cultural movement is sweeping the West like a prairie fire: cowboy poetry. In gatherings and festivals from Fort Qu’Appelle to Pincher Creek and Kamloops, from Maple Creek to Stony Plain (and beyond), equestrian versifiers are chanting the praises and woes of ranch culture as never before — in numbers unimaginable in the days before the gasoline engine brought the end of horsepower. In fact, cowboy poetry has become a truly popular phenomenon across Western North America.

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Maimane, K. C., and N. Mathonsi. "“TO BE OR NOT TO BE, THAT IS THE QUESTION”: THE CASE OF LITHOKO VS PRAISE POETRY." Southern African Journal for Folklore Studies 26, no. 2 (March 9, 2017): 12–23. http://dx.doi.org/10.25159/1016-8427/1890.

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For a long time, lithoko have been understood and so referred to as not just poetry but praise poetry. This is evidenced in some of the classical lithoko analysts such as Damane and Sanders (1974), and Kunene (1971) in their texts: Lithoko sotho Praise poems and Heroic Poetry of the Basotho respectively. The same perception still prevails in the eyes and minds of many modern and oral literature analysts even today. Hence the question this paper poses: whether lithoko are to be or not to be perceived as praise poetry. This paper therefore sets out to pursue this critical question regarding lithoko. In order to answer this question, the following aspects: definition, classification, functions and poetic aspects such as metre and rhyme of both lithoko and praise poetry are considered. It is observed that lithoko as a literary oral genre, are neither poetry nor praise poetry but lithoko, as praise is one of the many elements contained in lithoko.

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Foster, Deborah, Isidore Okpewho, Landeg White, and Tim Couzens. "The Heritage of African Poetry: An Anthropology of Oral and Written Poetry." African Studies Review 29, no. 4 (December 1986): 118. http://dx.doi.org/10.2307/524014.

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Onuoha, Onyekachi Peter. "Literary Heredity and Variation in Selected Facebook Poems of Veralyn Chinenye And Her Collaborative Authors." International Journal of Pedagogy, Innovation and New Technologies 5, no. 1 (June 30, 2018): 58–68. http://dx.doi.org/10.5604/01.3001.0012.2140.

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Facebook has become one of the mediums of creativity and criticism of works of art as a result of the nature of its blended writing. At the “completion” of a composition, Facebook poems maintain a certain degree of the static form, which is a characteristic of print literature. Facebook poetry coalesces the oral and print into a “new” form of poetry and extends the boundaries of oral and print literature. Using Bolter and Grusin concept of Remediation as a theoretical framework, this paper examines literary heredity and variation in selected Facebook poems of Veralyn Chinenye and her collaborative authors and participants. The paper further examines the characteristics and criticism of Facebook poetry and explicates the functionality of “Emoji”, “Comments”, “Share”, and intertextuality in the on-going creation and criticism of Facebook poetry that is different from the conventional perception and practice of literary creativity and criticism. Through the examples of poetry analysed in this paper, our findings show that digital literature is, to an extent, fluid and shares identical characteristics with oral literature in terms of artist and audience participation, occasion of performance

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Okuyade, Ogaga. "Aesthetic Metamorphosis Oral Rhetoric in the Poetry of Tanure Ojaide." Matatu 40, no. 1 (December 1, 2012): 33–50. http://dx.doi.org/10.1163/18757421-040001003.

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The writer's imaginative craft is usually inspired and shaped by the environment s/he hails from. This in turn gives room for constant communication between the creative mind and the immediate physical social world; the environment becomes a determinant of the writer's experiences. The influence of the Urhobo oral tradition on the poetic corpus of Tanure Ojaide is remarkable. The poet's cultural background occupies a looming space in his choices of generic style. Close examination of Ojaide's poetry reveals the exploration and appropriation of the orature of the Urhobo people, which ranges from myth, folksongs, proverbs, riddles, indigenous rhythms to folktales. Ojaide deploys orature to criticize contemporary ills as well as to locate solutions for Nigeria's socio-economic problems. The aim of this essay is essentially to demonstrate that orality accounts for the distinctiveness of Ojaide's writing. Also interrogate is the mingling of the oral and written in Ojaide's art. This approach will, it is hoped, open up what has been a restricted economy, through the inscribing of orature as a cardinal and integral constituent of the poet's art.

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Agajiye, Berhanu A. "Images of Amhara women in oral poetry." STUDIES IN AFRICAN LANGUAGES AND CULTURES, no. 54 (December 10, 2020): 163–80. http://dx.doi.org/10.32690/salc54.7.

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The objective of this article is to describe the thematic images of Amhara women in oral poetry. The study is based on field research conducted in rural areas of Western Gojjam and Awi Zone. The data was collected by observation, interview, and focus group discussion. For documentary evidence, twelve informants were selected with the use of a purposive sampling technique. The research method employed was ethnographic qualitative description. The result revealed that the images reflected through oral poems address women mainly as wives, their particular aspects refer to love, woman’s attitude towards marriage issues, divorce, and include general knowledge, understanding of the life and personages within women’s worldview. By the same token, oral poetry portrayed those women as inferior to men. Finally, the study recommended a further research on oral literature of Amhara region of Ethiopia.

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Ahmad, Lalu Turjiman. "SISTEM ISNĀD HADĪTS DAN AWAL MULA PENGGUNAANNYA DALAM TRADISI PERIWAYATAN PUISI ARAB JAHILIYAH." ALQALAM 28, no. 1 (April 29, 2011): 121. http://dx.doi.org/10.32678/alqalam.v28i1.536.

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It is ordinary that riwāyah (oral transmission) has been the main media in transmitting knowledge. Indeed, for the Arabs, the transmission system was used not only in transmitting hadits, but also in transmitting the history. In terms of the transmission of traditions, the transmitters were very strict in applying the rules of transmission. Hence, such an isnād system has a very important value in the history. Muslims in the past gave much attention to such an isnād system.The transmissions of poetry had been emerged before the transmissions did. Every poetry has the transmitters. They keep and guarantee the continuity of the poetry transmission. The relation between the poetry transmitters and their poetries is not different from that of the transmitters of hadits and their hadits. Key words: hadits, isnād, Jahiliyah poetry, oral transmission.

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Weiner, James F., and Giovanni M. G. Scoditti. "Kitawa Oral Poetry: An Example from Melanesia." Journal of the Royal Anthropological Institute 4, no. 4 (December 1998): 846. http://dx.doi.org/10.2307/3034888.

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Espino Relucé, Gonzalo. "Oral poetry of the Andes and Amazonia." Cuadernos Iberoamericanos, no. 4 (December 28, 2018): 26–37. http://dx.doi.org/10.46272/2409-3416-2018-4-26-37.

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In the essay I propose to give an account of an ancestral corpus, although new in its outline, since it involves the appearance of the indigenous as a subject of enunciation. I will stop at the abduction of writing as a new process and I propose to focus our attention on the word-voice that is not reduced to the wordletter steed. This does not require alphabetic writing, we find it in various forms and it allows us to express what a culture wants to transmit: I think of the kené [1], expressions of the Shipibo-conibo design or the payllay among the Quechua that explains that they want to communicate, amen of the still indecipherable quipus [2] Andean [3]. These same can be found in facial designs, without forgetting that the body itself is a form of language. The lecture that I will do implies the presence of several systems. I suggest that the current corpus of indigenous literatures accounts for an oral poetics that explains them, rooted in the updated memory of the ancestors and expressed in their activities (daily, traditional, rituals, cycles and seasonal periods, etc.). I support it in the people-culture pair that is based on history and accounts for a demonstration, whose historical reference will be the “long duration”. It is not reduced, therefore, to the candid writing/orality opposition, but to a dynamic relationship between word-voice, brand, sign or trace, body designs, etc. These poetics correspond to the domain of the word, so the orality of which we speak involves the continuity of an expression that writing does not always show in its linear capture, with respect to the autonomy and the confluence of the different forms that are produced in the event. True, they are accusing a new scenario that has to do with the modern abduction of writing. In the same sense, I will dwell on the logic of violence that embodied the presence of the old stranger (conqueror, Spanish or Portuguese) who now lives in that colonized mixture of our being. At the same time, it implies a look with respect to the European ego that constitutes the disseminator of modernity. Impossible to explain it, if we do not include in our agenda a reflection on territory and dispossession.

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Mason, Catharine. "Oral Poetry in the Foreign Language Classroom." Oral Tradition 18, no. 1 (2003): 127–29. http://dx.doi.org/10.1353/ort.2004.0029.

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Usher, Mark David. "The Reception of Homer as Oral Poetry." Oral Tradition 18, no. 1 (2003): 79–81. http://dx.doi.org/10.1353/ort.2004.0041.

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Purvis, Tristan Michael. "Speech rhythm in Akan oral praise poetry." Text & Talk - An Interdisciplinary Journal of Language, Discourse Communication Studies 29, no. 2 (January 2009): 201–18. http://dx.doi.org/10.1515/text.2009.009.

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Igbe, Deinmotei Erefaghe, and Patience Ayebaemi Zuokemefa. "Ịzọn Oral Poetry as Rituals: A Study of Olodiama Oral Tradition." Dawn Journal 12, no. 2 (July 8, 2023): 1646–64. http://dx.doi.org/10.56602/tdj/12.2.1646-1664.

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Dickie, June F. "The Importance of Literary Rhythm When Translating Psalms for Oral Performance (in Zulu)." Bible Translator 70, no. 1 (April 2019): 64–81. http://dx.doi.org/10.1177/2051677018824771.

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Poetry must be heard, and heard in a way that is pleasing and memorable. Much of the beauty and rhetorical power of poetry arises from prosody, that is, patterns of rhythm and sound. Rhythm is composed of four elements that work together to provide aesthetic and emotive strength. It is an important feature of both biblical and Zulu poetry, and thus the translator of psalms (translating into Zulu or any Bantu language) must pay attention to aural components of the source and receptor texts. A recent empirical study invited Zulu youth to participate in translating and performing three praise psalms. They learned the basics of Bible translation and poetics, including rhythm, and their translations show a sensitivity to Zulu poetry and music that makes them highly rhythmic and singable. The underlying understanding of “translating with rhythm” can be applied to other languages and is an essential element of translating biblical poetry.

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Kabuta, Ngo Semzara. "De Eigennaam en het “Zelflofdicht” in de Afrikaanse Orale Literatuur." Afrika Focus 17, no. 1-2 (February 11, 2001): 15–50. http://dx.doi.org/10.1163/2031356x-0170102003.

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The proper name and “selfpraise poetry” in the African oral literature There is a particular poetic genre in African oral literature, based on selfpraise. Selfpraise poetry is built on proper names and formulas, with the metaphor and hyperbole as central style figures. In this article, we situate the proper name inside African culture and show the link between the proper name and selfpraise. Furthermore, we try to grasp the meaning of praising oneself in African culture. The study relies essentially on Cilubà and Kilubà data, but references are made to other languages, in order to show that the genre is not limited to the Lubà oral literature. The first part concentrates on name giving and its meaning. The second part is an analysis of selfpraise poetry, with examples in different languages.

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Tuimebaev, Zh K., K. Zhanabayev, N. Zh Shaimerdenova, and U. A. Islyamova. "THE ROLE OF THE FORMULA COMPONENT IN THE ORGANIZATION OF STYLE AND GENRE OF ZHYRAU POETRY XV-XVIII CENTURIES." Tiltanym, no. 2 (June 30, 2023): 221–29. http://dx.doi.org/10.55491/2411-6076-2023-2-221-229.

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In this study, for the first time, the role of formula units in the organization of the style and genre of Kazakh zhyrau oral poetry of the XV–XVIII centuries is explored. The main goal of the paper is to study the poetic technique and formulary of zhyrau oral poetry, to identify and describe their connection with ancient historical and genetic sources: suggestion, magic and rhythmic incantations, as well as a description of their direct function – the organization of the style and genre of oral poetry. Formula-style units were studied for the first time on the material of the heroic poetry of zhyrau of the XV–XVIII centuries. For the first time in scholastic research, the Parry-Lord method of oral theory is also used, which attaches the most basic importance to formulas and poetic technique in the organization of the text.The historical-genetic and structural-semantic methods of studying the text were used, which made it possible to identify the patterns of emergence, development and functioning of the zhyrau art of the XV–XVIII centuries as traditional, but dominant, the types and functions of formulas and formula formations. The practical value of the paper lies in the further development of this method on the material of other carriers of the oral poetic culture of the Kazakh people, in writing the monograph ―Poetic Word in Myth, Rite and Ritual‖, dedicated to the oral poetic culture of the Kazakh people and prepared for publication within the Project of the Ministry of Education and Science of the Republic of Kazakhstan ―The study of the artistic-defining system, "formal stylistics" and grammar of zhyrau poetry of the XV–XVIII centuries. Frequency Dictionary‖ (under the Program of Grant Financing of Scientific and Technical Projects for 2021–2023 by the Ministry of Science and Higher Education of the Republic of Kazakhstan), [ИРН AP09261377].

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Patrocínio, Paulo Roberto Tonani do. "Dois corpos, duas línguas e uma representação: notas sobre performances de Slam Poetry em línguas de sinais." Terceira Margem 26, no. 49 (August 7, 2022): 137–53. http://dx.doi.org/10.55702/3m.v26i49.53356.

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O presente artigo busca traçar uma análise crítica de performances poéticas de Slam Poetry produzidas a partir do diálogo entre língua de sinais e língua oral, assinadas por poetas surdos e ouvintes. A partir da leitura destas performances, nosso objetivo é discutir aspectos teóricos relacionados à constituição destes novos sujeitos da enunciação e, em especial, ao uso estético da língua de sinais para a produção de uma performance poética e a dimensão política desta intervenção. Além disso, nosso estudo igualmente investiga quais as imagens e as representações que são construídas pelos poetas surdos e ouvintes. As contribuições teóricas e críticas de Cibele Toledo Lucena, Bruno Abrahão e Roberta Estrela D’alva são acionadas para a compreensão do fenômeno do Slam Poetry e, em especial, das performances que reúne surdos e ouvintes.

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Qin, Cai, and Cheng Ta Seah. "Chinese Ethnic Minorities and their Oral Poetry: A Perspective from Ethnopoetics." Advances in Language and Literary Studies 12, no. 5 (October 31, 2021): 6. http://dx.doi.org/10.7575/aiac.alls.v.12n.5.p.6.

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Ethnopoetics involves in the conducting of translation experiments on oral poems of native ethnic groups, converting its relevant oral texts into written forms. The theory of ethnographic poetry begins in the 1970s and was translated and introduced to China in the early 21st century. However, most ethnic minorities in China do not have textual writings. Their oral creations from primitive society to modern society such as epics, long poems, narrative poems, ballads, and folk songs are mostly in form of oral poetry. The collection and translation of oral poems of ethnic minorities in China began in the late 1950s, that demarcated the beginning of ethnopoetics in China. In this article, the reasons behind the collection and translation of Chinese ethnic minority oral poems will be analysed. The restoration process of ethnopoetics and the connections between the collections and the translations, and the issues on whether translation is consistent to Chinese ethnic minority oral poems will also be further elaborated. The history of Chinese ethnic minorities oral poetry traces back to a long history and consists of a variety of themes and contents. Therefore, the restoration process of ethnopoetic research on the relationship between oral culture and written culture not only have gained the attention from the Chinese academic community, but also shown strong interests by the Western academic research community and worldwide.

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Visser, Marianna W., and Phillip Hayab John. "African Oral Poetry and Performance: a study of the spoken verse." Southern African Journal for Folklore Studies 27, no. 2 (February 8, 2018): 28–39. http://dx.doi.org/10.25159/1016-8427/2475.

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The article defines poetry and situates the genre within an African context, with justifications on why it relies on a performative enactment for the realisation of its full import. The focus is on the fact that much of what is characteristically categorised as “poetry” in African oral literature is intended to be performed in a musical setting, where the melodic and vocal components are mutually dependent on representation. The leading concern, therefore, is the observation that poetry in a traditional African society derives its classification from the perception of the society for which it is performed, and need not be limited to the Western construal or perspective. The article employs poetic verses from the Ham and Hausa of Nigeria, the Ewe and Akan of Ghana, the Ocoli of Uganda, and the Zulu of Southern Africa to exemplify the position that an enactment reveals the core of the communicative act in an orally-recited poetry.

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Journal articles on the topic 'Oral poetry'

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