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Journal articles on the topic 'Oral poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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2

Sutton-Spence, Rachel. "Aspects of BSL poetry." Sign Language and Linguistics 3, no. 1 (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

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3

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

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4

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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5

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

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6

Alıyeva, Saltanat. "GAZI BURHANADDIN’S “DIVAN” AND ITS RESOURCES." Scientific Journal of Polonia University 58, no. 3 (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 X

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7

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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8

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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9

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

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10

A.Tjalau, Cutri, Ayu Cahya Awaliyah Adam, and Chaterina Puteri Doni. "An Analysis of Gorontalo and Arabic Oral Literature: A Contrastive Review to Identify Poetry Types." Assuthur: Jurnal Pendidikan Bahasa Arab 3, no. 2 (2024): 70–80. https://doi.org/10.58194/as.v3i2.1960.

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Oral literature is a form of literary work that originates from ancient societies, which still prioritize traditional values to shape individual character through messages passed down through generations. This study uses a library research method, a research approach that examines and analyzes books, literature, journals, notes, and relevant reports as research sources related to the issue being studied. The purpose of this article is specifically to detail the similarities and differences in the types of oral poetry in Gorontalo and Arabic. The results of this study show that both Gorontalo a

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11

Ikyer, Godwin Aondaofa. "Deep digital poetry: Interrogating Tiv oral poetry within postmodernity." Tydskrif vir Letterkunde 54, no. 1 (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 socie

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12

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

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13

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

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14

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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15

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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16

Mojalefa, M. J. "The verse-form of Northern Sotho oral poetry." Literator 23, no. 1 (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

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17

Lotman, Rebekka. "The Semiotics of New Era Poetry: Estonian Instagram and Rap Poetry." Studia Metrica et Poetica 8, no. 2 (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 d

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18

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 (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

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19

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 effec

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20

Tolasa, Megersa Regassa. "Females’ Voice through Oral Poetry among Limmuu Oromo, Ethiopia." Journal of Ethnic and Cultural Studies 4, no. 2 (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

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21

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 podi

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22

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

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23

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

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24

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

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25

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

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26

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

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27

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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28

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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29

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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30

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

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31

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 char

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32

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 (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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33

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 (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 lith

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34

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 (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 collabora

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35

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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36

Zulfa, Zulfa, Sewa Suraya Rahmat, and Sri Wahyuni Yanti. "The Role of Oral Tradition in Character Formation (Case Study of Mo'odulele Poems in Rawa Lopa, Southeast Sulawesi. Indonesia)." International Journal of Social Science and Human Research 08, no. 01 (2025): 625–31. https://doi.org/10.5281/zenodo.14759827.

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This article discusses the role of oral tradition in character formation, with a case study on Mo'odulele poetry in Rawa Lopa, Southeast Sulawesi. As a form of cultural communication that is passed down from generation to generation, oral tradition, especially Mo'odulele poetry, not only functions as entertainment, but also as a medium for transmitting moral and social values that shape the character of the community. Through the approach of cultural communication theory and social construction, this article analyzes how Mo'odulele poetry conveys moral messages such as honesty, honor, and resp

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37

Ahmad, Lalu Turjiman. "SISTEM ISNĀD HADĪTS DAN AWAL MULA PENGGUNAANNYA DALAM TRADISI PERIWAYATAN PUISI ARAB JAHILIYAH." ALQALAM 28, no. 1 (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 an

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38

Obike, Mercy Nyaboe, Catherine Muhoma, and Jane Bwonya. "Gender Identity in Gusii Nuptial Oral Poetry." East African Journal of Arts and Social Sciences 8, no. 2 (2025): 315–26. https://doi.org/10.37284/eajass.8.2.3089.

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This study delves into the construction and representation of gender identity within Gusii nuptial oral poetry, focusing on how cultural ideals of femininity and masculinity are conveyed through metaphors, imagery, and symbolic language. Rooted in East African oral traditions, the research employs Conceptual Metaphor Theory and feminist literary theory to critically analyze the intersection of culture and identity. Findings reveal that metaphors such as "sweet banana" and "fertile soil" encapsulate the Gusii community's perspectives on gender roles, highlighting the oral tradition's role in pr

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39

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 (1986): 118. http://dx.doi.org/10.2307/524014.

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40

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 t

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41

Cudak, Romuald. "Reanimacija poljske poezije." Jezik in slovstvo 62, no. 2-3 (2024): 37–45. http://dx.doi.org/10.4312/jis.62.2-3.37-45.

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The sketch outlines contemporary tendencies in Polish poetry, which can be subsumed under global trends connecting poetry with certain features of modern culture: iconicity and secondary orality. The author identifies three forms of the visualisation and oralisation of a poetic text: extreme exploitation of material components of print (visual poetry), forsaking the written word for telewriting and image (cyber poetry, video poetry), and a melancholic attempt to return to the oral word as the substance of poetry (slam poetry, rap). The author views these tendencies as an attempt to revitalise

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42

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

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43

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 commu

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44

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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46

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

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47

Okuyade, Ogaga. "Aesthetic Metamorphosis Oral Rhetoric in the Poetry of Tanure Ojaide." Matatu 40, no. 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 fro

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48

Kabuta, Ngo Semzara. "De Eigennaam en het “Zelflofdicht” in de Afrikaanse Orale Literatuur." Afrika Focus 17, no. 1-2 (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 th

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49

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

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50

Dawa, Jodi, Santje Iroth, and Elvie A. Sepang. "SASTRA LISAN RITUAL MA’BUGI’ DALAM ACARA MANGRARA TONGKONAN DI DESA PANGLEON LEMBANG TO’PAO KABUPATEN TANA TORAJA." SIWAYANG Journal: Publikasi Ilmiah Bidang Pariwisata, Kebudayaan, dan Antropologi 3, no. 1 (2024): 1–12. https://doi.org/10.54443/siwayang.v3i1.2063.

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The aim of this research is to describe the oral literature of the Ma'bugi' ritual in the Tongkonan mangrara event in Pangleon Lembang To'pao village, Tana Toraja district, including: 1) the form of poetry which is a symbol of joy for families celebrating thanksgiving. 2) What values are contained in Ma'bugi' as a joyous event for the Toraja people. 3) Implementation of literature learning in the Rambu' Tuka' ceremony. The research method used is descriptive method. The data sources used in this research were informants or perpetrators of the Ma'bugi' ceremony consisting of two people, one com

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