Dissertations / Theses: 'Oral traditiion'

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Saponov, Mikhail. "Musical Historiography and Oral Tradition." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36659.

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Sinclair-Reynolds, Emma. "(Re)writing Pathways : Oral Tradition, Written Tradition, and Identity Construction in Kanaky/Nouvelle-Calédonie." Thesis, Nouvelle Calédonie, 2014. http://www.theses.fr/2014NCAL0066/document.

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Comment les traditions orales kanak pourraient-elles agir au-delà de leurs frontières habituelles et influencer les processus de construction identitaire dans la société néo-calédonienne contemporaine ? Notre travail explore les interactions entre la tradition orale kanak et la tradition écrite néocalédonienne, en examinant les textes de réécriture, ces lieux de rencontre entre traditions qui constituent un espace de patrimoine commun. Cette thèse retrace les chemins d’une histoire, Le Chef et le lézard (dont on trouve de multiples versions dans les différentes traditions orales kanak), dans la tradition écrite. Sont élucidés les contextes historiques, politiques et littéraires des processus de production de versions de l’histoire, afin de mettre en évidence les forces en oeuvre, et d’éclairer la manière dont les représentations qui y figurent pourraient participer aux processus de construction identitaire. Les outils conceptuels employés sont la « réécriture », la « vā » (l’espace relationnel océanien d’échange et de rencontre),ainsi que la littérature comme « outil de renforcement communautaire ». La contribution originale qu'apporte notre travail consiste en démontrant le degré et l’étendue de l’intégration d'une histoire kanak dans le polysystème littéraire néo-calédonien ; en soulignant le rôle actif joué par des acteurs kanak dans les processus de réécriture ; en créant une métaphore étendue géographique du paysage littéraire néo-calédonien ; en témoignant de la richesse des traditions orales et écrites de Kanaky/Nouvelle-Calédonie ; et en constituant une passerelle entre les chercheurs/lecteurs non-francophones et la littérature néo-calédonienne
How might Kanak oral traditions move beyond their usual boundaries and influence identity construction processes in contemporary New Caledonian society? This thesis explores the interactions between Kanak oral tradition and New Caledonian written tradition, by examining the (re)writings that are places of encounter between these traditions, and thus constitute a space of shared heritage. This study traces the pathways taken by a story, Le Chef et le lézard, (a number of versions of which are found in different Kanak oral traditions), as it moves into and within written tradition. The historical, political, and literary contexts of the (re)writing processes that produce versions of Le Chef et le lézard are elucidated, to demonstrate the forces at work and shed light on how the representations that figure in the (re)writings might participate in identity construction processes. The conceptual tools used in the study include: rewriting; vā (the relational space of exchange and encounter found throughout Oceania); and literature as a means of building community. The original contribution of this thesis has been to demonstrate the degree and the extent of the integration of a Kanak story into the New Caledonian literary polysystem; to highlight the active role played by Kanak actors in the rewriting process; to develop anextended geographic metaphor for the New Caledonian literary landscape; to bear witness to the richness of oral and written traditions in Kanaky/Nouvelle-Calédonie; and to create a bridge between non-Francophone researchers/readers and New Caledonian literature (oral and written)

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Cockell, James Edward. "Schenkerism and the Hungarian oral tradition." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0010/MQ34305.pdf.

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

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Zizz, John Thomas. "Oral communication and the psyche of an aural community, as seen in Acts 2:14-41." Johnson City, TN : Emmanuel School of Religion, 2008. http://dx.doi.org/10.2986/tren.062-0306.

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Zizz, John Thomas. "Oral communication and the psyche of an aural community, as seen in Acts 2:14-41." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p062-0306.

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Winger, Thomas M. "Orality as the key to understanding apostolic proclamation in the epistles." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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Seeger, Judith Leland. ""Count Claros" : study of a ballad tradition /." New York : Garland, 1990. http://catalogue.bnf.fr/ark:/12148/cb355343788.

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Henaut, Barry W. "Oral tradition and the Gospels : the problem of Mark 4 /." Sheffield : Sheffield Academic Press, 1993. http://catalogue.bnf.fr/ark:/12148/cb36666152f.

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Honig, Matthew. "The oral nature of the Bible." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Daskalopoulos, Anastasios A. "Homer, the manuscripts, and comparative oral traditions /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9953854.

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Sinarinzi, Jeanson. "La production du texte oral pastoral kiruundi." Toulouse 2, 1996. http://www.theses.fr/1996TOU20022.

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Puisque l'oralite africaine cede de plus en plus le terrain a la scripturalite, il est fort necessaire, pour garantir l'indispensable harmonie culturelle des peuples africains, que la litterature africaine ecrite, encore balbutiante au burundi, integre l'art verbal et les themes culturels traditionnels. Au sein de la parole-patrimoine kiruundi, les textes pastoraux sont particulierement menaces de disparition : le present travail se propose de rendre compte de l'art verbal grace auquel les diseurs les produisent. Cet objet d'etude original necessite la proposition d'une methodologie d'etude pluridisciplinaire. L'analyse sur le plan interne au texte permet d'identifier d'une part un procede de repetition assez omnipresent, et d'autre part un parcours generatif ordonne du contenu semantique. Les repetitions sont formulaires ou recourent a des mots-crochets; elles ont plus un but mnemotechnique qu'esthetique. La formule identifiee a l'ampleur de l'empan mnesique : elle se prete donc aux exigences du fonctionnement de la memoire a court terme. Elle se destabilise en des expressions formulaires qui se stabilisent a leur tour en d'autres formules. La repetition de memes syllabes dans des mots different s produit des mots-crochets facilitant le rappel en memoire a long terme. Le diseur est createur selon qu'il utilise des formules qu'il a lui-meme creees. Le contenu du texte est produit selon un parcours generatif parfaitement ordonne, complexifiant une categorie semique jusqu'au "jaillissement" d'un texte manifeste apparemment en desordre semantique. L'analyse sur le plan de l'interaction verbale revele l'absence d'une veritable interlocution : le texte resulte de la construction du seul diseur tel qu'il se pense et tel qu'il pense ses auditeurs. Une competence communicative particuliere, acquise grace a un apprentissage informel, est indispensable. L'indirection caracterise l'illocutoire dirige vers les humains
Since african orality is losing ground to writing, it is very necessary, in order to protect the essential cultural harmony of african peoples, that the written african literature (which is just new-born in burundi) integrate traditional oral art and cultural themes. Among oral texts of the kiruundi "patrimonial word", the pastoral texts are particularly being forgotten : the aim of this research is to find and explain the oral art that oral artists are using to produce them. On an internal plan of the text, the analysis identifies an omnipresent process of repetition and a regulated generative trajectory of the semantic contents. Repetitions are "formular" or use "double hook-words"; they are used more for mnemotechny than for aesthetic purposes. Since the formula we have identified has the length of a "mnemonic span", it is in accordance with the operating features of the short term memory. The formula changes into formular expressions, which will become new formulas, and so on. The repetition of the same syllables in different words produce "double hook-words" that facilitate reminding in long term memory. The oral artist is a creator if he uses his own formulas. The contents of a text is produced according to a regulated generative trajectory that complexify a semic category from which springs up a text that seems to be semantically desordered. On the plan of the speakers interaction, the analysis reveals the absence of a real interlocution : the text results from the construction by the only oral artist according to his mental representation of the participants. A special communicative competence is required; the apprenticeship is informal. The illocutionary turned towards humans is generally indirect

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Spasojevic, Darko I. "Ignatius and John a comparative study /." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Mournet, Terence C. "Oral tradition and literary dependency : variability and stability in the synoptic tradition and Q." Thesis, Durham University, 2003. http://etheses.dur.ac.uk/3688/.

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Despite the almost universal recognition that the Jesus tradition was, from its very beginning, oral tradition, scholars have continued to approach the question of Synoptic interrelationships from a strictly literary perspective. This study is an attempt to take seriously the Sitz im Leben within which the Synoptic Gospels were written, and to examine the possible role that oral tradition might have in determining, not only the scope of a Q text, but the way in which we envision the development of the Synoptic tradition. Previous attempts to take seriously the role of oral tradition in the formation of the Synoptic Gospels are examined, exposing the need for a much more careful analysis of the relationship between oral communication and written texts. Following such an analysis, it is suggested that solutions to the Synoptic Problem which do not take into serious account the possible influence of oral tradition in the process of Gospel composition must be deemed less than adequate. Seeking a way forward in the debate, we determined that a more thoroughly thought-through model of how oral communication functions is needed. It is proposed that the genre of folklore, while not replacing traditional literary designations, provides us with another interpretive framework through which we may gain new insight into the development of the Synoptic tradition. The folkloristic characteristics of variability and stability are discussed, followed by the presentation of recent work suggesting that these characteristics are prevalent in the Synoptic tradition. We suggest that recent studies on Q and the Synoptic Problem have not given adequate attention to the internal variability present within double tradition pericopes. A methodology is developed which will allow us to examine how the internal variability within selected double tradition pericopes might, to some extent, reflect the process of tradition transmission which preceded the tradition’s inclusion in a Gospel text. A selection of double tradition pericopes are examined, and the model of tradition transmission proposed by K. E. Bailey and J. D. G. Dunn is evaluated. The study concludes that there is a sufficient convergence of evidence to suggest that such a model is feasible for at least portions of the double tradition.

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Giannelos, Dimitrios. "Musique byzantine tradition orale et tradition écrite, XVIIIe-XXe siècles /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37605451k.

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Giannelos, Dimitrios. "Musique byzantine : tradition orale et tradition écrite (XVIIIe XXe siècles)." Paris 10, 1987. http://www.theses.fr/1987PA100075.

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Dans ce travail, une étude a triplé titre de la Musique Byzantine a été entreprise : 1) Etude paléographique de manuscrits et traités anciens, 2) Etude sur le terrain dans différentes régions de la Grèce sur des survivances aujourd’hui de l’ancienne tradition orale, 3) Etude sur l’évolution moderne de la Musique Byzantine. L’aspect principal de ce travail de recherche (la 1ere partie de l’étude) est de tracer les grandes lignes de divergence entre les chercheurs grecs. Mes propres recherches, du point de vue théorique, sont basées sur des ouvrages consacrés à la Musique Byzantine qui ont été publiés depuis un siècle et demi. Ainsi, je me penche surtout sur la « ligne traditionnelle » grecque et sur les travaux occidentaux. En deuxième partie, je procède à des comparaisons d’un seul chant qui existe dans tous les 8 modes de l’Otoechos ce qui me donne la possibilité d’observer toutes ses particularités d’exécution. A ce propos, j’ai demandé à tous mes informateurs de chanter à partir de la même partition. Parmi les 11 chantres recrutés, j’en ai retenu 6 en raison de leur différence de style : 2 venaient du Mont-Athos, un autre de la Thrace-orientale, un autre encore de la Salonique et les 2 derniers d’Athènes. Les enregistrements ont été transcrits sur portée et présentés sur des grands tableaux parallèlement avec des versions provenant de manuscrits anciens et d’ouvrages imprimés en notation byzantine. Ce procédé m’a paru bon en ce qu’il donne une idée plus ou moins précise du cheminement dans le temps du chant qui est l’objet de mon étude. La comparaison des deux parties (théorique et pratique) m’a permis de rendre clair deux points entre autres a)que les différences qui séparent les écoles de musique byzantine aujourd’hui en Grèce, ne sont pas aussi importantes et profondes qu’apparaissent à travers les discours et écrits théoriques des représentants de ces écoles ; b) la confusion sur laquelle reposent ces divergences.

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Yen, Ping-Chiu. "Chinese demon tales : meanings and parallels in oral tradition /." New York ; London : Garland publ, 1990. http://catalogue.bnf.fr/ark:/12148/cb37495321w.

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Allison, Christine. "Views of history and society in Yezidi oral tradition." Thesis, SOAS, University of London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362855.

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The Yezidis are a Kurdish-speaking religious minority living mainly in Northern Iraq. In the past their religion forbade literacy: thus their accounts of their history and their descriptions of their society ha ve been preserved orally. This thesis considers how the Yezidis use oral literature. or verbal art. to represent themselves and their past. It is based largely on fieldwork carried out in Northern Iraq. The theoretical perspective of this work combines elements of both literary and social studies by considering both text and social context. The genre of a tradition has major implications for its content; three genres considered in detail are lyrical song. prose narrative and extemporised lament. Yezidi discourse about the past stresses their distinctive identity and their endurance against adversity and persecution. This is reflected in the oral traditions. especially in the lyrical song. which is performed at festivals and is extremely popular; prose narratives of events predating the immediate past. on the other hand. are in decline. Most love songs and stories feature historical figures; the performance of lyrical love songs. many of which depict conflict between the wishes of the individual and the rules of a society where marriage is arranged. provides an outlet for the audience's own emotions. Laments are performed by women. Using traditional imagery. they are a vehicle for the expression of a variety of emotions by the performer. Their performance is a social duty and is likely to remain so. The texts included in this work comprise variants of two historical themes. Feriq Pa~a and DawLide Dawtid; variants of a theme of love, Derwe~e C E.,di. and examples of women's lament. both semi-professional and personal. Some of these were transcribed from material collected during fieldwork; all were translated for this thesis. An appendix lists performers and informants.

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Lahlou, Abdelhak. "Poésie orale kabyle ancienne. Histoire sociale, Mémoire orale et création poétique." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0113.

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Jusqu’au milieu du XXe siècle, la littérature kabyle fut essentiellement orale et s'exprimait principalement dans le genre poétique. Si les contes, les fables, les légendes et autres récits mythiques furent l'autre moyen par quoi les Kabyles exprimèrent leur génie, il reste que c’est la poésie qui fût la matrice de leur culture et le réceptacle de leur histoire. Plus qu’un art qui doit transfigurer le réel, la poésie kabyle a pour rôle de rendre ce réel, l’interpréter et le clarifier pour donner du sens aux événements historiques et politiques auxquels sont confrontés les hommes et les femmes de cette région. L’objet de notre recherche est de partir de la production poétique la plus ancienne telle qu’elle est arrivée à nous par les recueils de Adolphe Hanoteau (1867), Amar-Ou-Saïd Boulifa (1904), Belkacem Bensedira (1887), Jean Amrouche (1988) et la somme considérable établie par Mouloud Mammeri (1969, 1980, 1989) afin de scruter l’horizon culturel de la Kabylie et saisir, à travers l’étude les textes, l’homme dans son enracinement social et culturel
Until the middle of the twentieth century, Kabyle literature was essentially oral and was mainly expressed in the poetic genre. If tales, fables, legends and other mythical narratives were another way by which the Kabyle people expressed their genius, it remains that poetry was the matrix of their culture and the receptacle of their history. The Kabyle poetry, more than an art that has to transfigure reality, has the role of rendering this reality, interpreting it and clarifying it to give meaning to the historical and political events.The object of our research is to start from the earliest poetic production as it came to us by the collections of Adolphe Hanoteau (1867), Amar-Ou-Saïd Boulifa (1904), Belkacem Bensedira (1887) Jean Amrouche (1988) and the considerable sum established by Mouloud Mammeri (1969, 1980, 1989) in order to examine the cultural horizon of Kabylia through the study of its oral poetry

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Haouchine, Omar. "Ccna, une poésie féminine de Kabylie : complaintes, conflits et régulation sociale." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCF009.

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Ccna [ʃ:na], est une poésie féminine traditionnelle kabyle chantée publiquement lors des fêtes de mariages dans la région d’Ighil n Zekri de Tizi-Ouzou en Algérie. Elle traite essentiellement de la condition socio-affective de la composante féminine des communautés villageoises. Bien qu’elle s’apparente à d’autres types poétiques relevant de la tradition orale kabyle, cette poésie possède des spécificités propres et une originalité expressive, tant du point de vue de son contexte de performance que du point de vue des fonctions qu’elle assure au sein des sociétés productrices. En effet, les cérémonies de ccna donnent lieu à la production d’un espace virtuel de communication et de gestion des conflits qui mérite indéniablement une étude approfondie. Ce projet de recherche est construit autour d’un corpus traduit et annoté, son étude implique nécessairement une approche, à la fois proprement littéraire des textes et anthropologique (acteurs, conditions de création, diffusion et réception)
Ccna [ʃ:na], is a female traditional Kabylian poem sung publicly at weddings in the area of Ighil n Zekri in Tizi-Ouzou, Algeria. It mainly deals with women’s socio-emotional conditions in rural communities. Although it is similar to other poetic types in the kabylian oral tradition, this poetry has specificities and a meaningful originality, from the point of view of its performance context as well as from the functions it ensures within the producing societies. Indeed, ccna ceremonies lead to the creation of a virtual space of communication and conflict management that deserves an in-depth study. This research project is built around a corpus translated and annotated, its study necessarily implies an approach, both literary of the texts and anthropological (actors, conditions of the creation, dissemination and reception)

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Garin, Jyoti. "Le bhagat : une tradition orale sindhie." Paris, INALCO, 2005. http://www.theses.fr/2005INAL0015.

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Parfois classé sous la rubrique musique populaire, parfois sous la rubrique théâtre populaire, le bhagat est une forme de narration en langue sindhi attestée depuis 300 ou 400 ans au Sindh. L'objectif de l'étude est de textualiser, de traduire et de commenter le répertoire oral des narrateurs bhagat dans le cadre de "la performance". Le répertoire des bhagat a deux spécificités: il est original car il n'existe pas avant l'enquête et il est hétérodoxe (énoncés hindous et musulmans juxtaposés dans le répertoire). Les commentaires sur l'oralité, la performance aboutissent à une conclusion qui elle, porte sur la construction identitaire de la diaspora et le rapport aux religions. Le rôle du bhagat est de participer à une reconstruction identitaire des Sindhîs dans l'Inde contemporaine dont une des lignes de force est l'intégration de deux traditions religieuses : l'hindouisme et le soufisme. La tradition du bhagat ne relève ni du théâtre ni du chant populaire ; il s'agit plutôt d'un "genre intermédiaire", à cause des diverses formes de folklore sindhi, verbal et non verbal, mais aussi intermédiaire entre oral et écrit. Les éléments de mystique soufie sont indissociables de la tradition bhagat en tant que narration populaire. Contrairement aux autres formes indiennes populaires de narration comme le jatra ou burrakatha, célères pour leur force de propagande, le bhagat témoigne d'une grande fermentation religieuse et d'une grande tolérance. La thèse a défini cette forme de narration et a aussi montré les stratégies de séduction adoptée par ces narrateurs pour captiver l'attention du public sindhi
Sometimes classified under the heading "popular music", sometimes under "popular theatre", the bhagat is a form of narration in the Sindhi language attested since 300 or 400 years in Sindh. The aim of the study is to textualize, translate and comment the oral repertory of the bhagat narrators within the performance context. The repertory of the bhagat has two specificities: it is unique because it does not exist prior to this investigation, and it is heterodox (Hindu and Muslim accounts juxtaposed in the same repertory). Comments on orality and performance arrive at a conclusion which relates to the identity construction of the Diaspora and affinity with religions. The role of the bhagat is to participate in an identity-rebuilding process of the Sindhis in contemporary India. One of its most powerful key-idea is the integration of two religious traditions: Hinduism and Sufism. The bhagat tradition is neither linked to theatre nor popular music; instead, it is about an "intermediate genre", owing to the various Sindhi folklore forms, verbal and nonverbal, but also intermediate between the oral tradition and written literature. Mystical elements of Sufism are inseparable from the bhagat tradition as popular narration. Contrary to other Indian forms of popular narration, jatra or burrakatha for instance, famous for their power of propaganda, the bhagat testifies to a great religious fermentation and great tolerance. This thesis has defined the bhagat narration and also shown the alluring strategies adopted by the narrators to captivate the Sindhi audience

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Hadjadj, Belkacem. "Tradition orale et images en Algerie." Paris 10, 1987. http://www.theses.fr/1987PA100115.

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La tradition orale a toujours occupé une place importante dans la sphère culturelle algérienne et a profondément marqué le modèle de communication de cette société. Du fait de l'introduction et de l'utilisation première des moyens audiovisuels en Algérie par le colonisateur, il n'y a pas eu de "rencontre" entre eux et la tradition orale. Au contraire leur utilisation a pris forme en s'opposant et en niant tout ce qui pouvait caractériser la communauté autochtone. Depuis l'indépendance il n'y a pas eu de rupture critique et radicale avec le modèle colonial d'utilisation des media audio-visuels. Il serait urgent, tant qu'existent encore ça et là des enclaves culturelles traditionnelles, d'aller y faire confronter les moyens de communication audio-visuels avec le modèle de communication traditionnel base sur l'oralité
The oral tradition had always taken an important part in the Algerian cultural sphere, and has deeply marked the communication pattern of this society. There was no “meeting” between the oral tradition and the Audio-visual means since their introduction and primary use by the colonizer, in Algeria. On the contrary, their use has taken shape by opposing and denying all the typical native community. There has been no critical and radical breaking, since the independence, with the colonial pattern concerning the use of the Audio-Visual media. It would be urgent as long as the traditional and cultural enclaves exist, here and there, to confront the Audio-Visual means with the traditional communication model based on the orality

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Mahir, Zaid Numan. "Roots of oral tradition in the Arabian Nights an application of oral performance theory to the "Story of the King of China's Hunchback" /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4943.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 1, 2008) Includes bibliographical references.

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Lewis, Lynn C. "Towards an ethnography of voice in Amerafrican culture : an oral traditional register in four women's narratives /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9946273.

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Schmidt, Claire. "Sleeping toward Christianity the form and function of the Legend of the seven sleepers in medieval British oral tradition /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5645.

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Thesis (M.A.)--University of Missouri-Columbia, 2008.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 12, 2008) Includes bibliographical references.

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Xiong, Xong. "What does it mean to be "educated" from an oral culture : a study of traditional Hmong knowledge /." Connect to online version, 2009. http://minds.wisconsin.edu/handle/1793/38651.

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Clinton, Mary S. "Human development, life stages, aging, and gerotranscendence as related to the benefits and frameworks for reminiscence, life review, oral traditions and storytelling a review of the literature /." Online version, 1999. http://www.uwstout.edu/lib/thesis/1999/1999clintonm.pdf.

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Sterling, Shirley. "The grandmother stories : oral tradition and the transmission of culture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25168.pdf.

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Ramey, Peter A. "Studies in oral tradition history and prospects for the future /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5003.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 1, 2007) Includes bibliographical references.

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Thomas, Rosalind. "Studies in oral tradition and written record in classical Athens." Thesis, University College London (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314263.

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Garner, Lori Ann. "Oral tradition and genre in old and middle English poetry /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974631.

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Kamalkhan, Kalandar 1961. "The Swahili architecture of Lamu, Kenya : oral tradition and space." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115608.

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This dissertation is about the architecture of the Swahili peoples living along the eastern coast of Africa. Specifically, it explores the links and relationships between oral traditions, rituals and the built environment of the Waswahili (sing. Mswahili) or the 'people of the coast'. The 'ambiguous' and 'anomalous' identity of the Waswahili raises important questions on the definition and the understanding of Swahili architecture. To understand Swahili architecture, one must, first, understand the language and identity of the Waswahili. This dissertation makes use of new sources for the interpretation of the built environment of the Waswahili as depicted in the standing 18th century buildings in Lamu town, the oldest living town on the eastern coast of Kenya. Designated on UNESCO's World Heritage List, Lamu has a unique architecture that has often been misinterpreted and misunderstood, and such studies often lack authenticity. This dissertation is an attempt to bridge the gap between the identity and the built environment of the Waswahili and to portray Swahili architecture through oral discourse.

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Öryd, Helena. "Traditional Music in the Gambia : the role of traditional musicians in a society of change." Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-3075.

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The aim of this research is to find out more about traditional music in Gambian society, to get a wider view of the tradition and what is happening to traditional music in a modern society. Furthermore, I want to find out if the informers consider that the traditional music is fading away from the society and if, in that case, any actions are being taken to preserve the tradition. The research question is: How do the traditional masters in the Gambia consider the role of traditional musicians in a modern society?

The research method consists of making observations at Maali’s Music School and in the E.C.C.O cultural camps in Njawara and Berefet, and interviews with traditional masters of different tribes.

The results of the interviews show that the informers consider that the traditional music is ‘fading away’ from the society, that the role of traditional music in the society is changing and that there is no great support or protection for traditional music in the Gambia. Documentation of the music and interviews made by researchers from abroad often ends up in Europe and is seldom returned back to the informers. With regard to things that could be done to keep traditional music alive, the informers give the examples of building schools for teaching the tradition, teaching traditional songs in the ordinary schools and finding places for traditional masters to gather, where they can discuss, teach and play together.

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Schäffauer, Markus Klaus. "ScriptOralität in der argentinischen Literatur : Funktionswandel literarischer Oralität in Realismus, Avantgarde und Post-Avantgarde (1890-1960) /." Frankfurt am Main : Vervuert, 1998. http://catalogue.bnf.fr/ark:/12148/cb41041600b.

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Camara, Seydou. "La Tradition orale en question : conservation et transmission des traditions historiques au manden : le centre de Kela et l'histoire du Mininjan." Paris, EHESS, 1990. http://www.theses.fr/1990EHES0044.

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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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Jansen, Jan. "Épopée, histoire, société : le cas de Soundjata : Mali et Guinée /." Paris : Éd. Karthala, 2001. http://catalogue.bnf.fr/ark:/12148/cb37647646v.

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Doan, James E. "Cearbhall Ó Dálaigh : an Irish poet in romance and oral tradition /." New York : Garland publ, 1990. http://catalogue.bnf.fr/ark:/12148/cb377039284.

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Nhlangwini, Andrew Pandheni. "The ibali of Nongqawuse: translating the oral tradition into visual expression." Thesis, Port Elizabeth Technikon, 2003. http://hdl.handle.net/10948/237.

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The tribal life and the oral traditions of black South Africans have been marginalized. The consequence of the western civilization and the apartheid regime forced people to do away from their traditional heritage and culture; they adopted the western way of life. They buried their oral tradition and only a little has survived. To save the dying culture of the art of the oral tradition we need to go out and record and document the surviving oral tradition as soon as possible. Since the art of the oral tradition is an art form conducted by an artist, it may be possible to tell the ibali likaNongqawuse by means of visual imagery. Visual images can be read and be understood easily by the public because visual forms, sings, images can make up a language for both the literate as well as the illiterate.

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Cochran, David Maurice. "Revolutionary antislavery birth of an American prophetic tradition /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3331247.

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Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2008.
Title from PDF t.p. (viewed on Jul 23, 2009). Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4379. Adviser: John L. Lucaites.

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Gadzekpo, John Rex Amuzu. "Do duelo poético-satírico na gestão de conflitos sociais : um tríptico de gêneros africano, português e brasileiro." Poitiers, 2007. http://www.theses.fr/2007POIT5030.

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Cette étude explore la poésie satirique dialoguée et chantée en tant qu'instrument pour la gestion de conflits entre individus et groupes sociaux. Après un bref exposé sur les théories fondamentales de l'oralité et de la performance orale, ainsi que sur des questions plus spécifiques liées au rapport entre la performance orale et son enregistrement par l'écrit, au rôle de la traduction, à la théorie du jeu et aux concepts du dialogue et de la satire, nous présentons un triptyque comprenant le poème-chant "halô" africain, les "cantigas de escàrnio e maldizer" du Portugal médiéval et la "peleja" brésilienne. Un bref exposé d'histoire sociale précède l'analyse textuelle de chaque volet du triptyque ; une étude comparative s'interroge sur la question de l'obscène et du grossier, en les situant dans le contexte esthétique particulier de la joute poétique
This study focusses on the sung satirical poetic duel as a genre for conflict management, given its penchant for invective and criticism. Beginning with an overview of basic orality and performance theories, it proceeds through more specific issues concerning the relation between oral performance and its written record, the role of translation, the theory of game and the concepts of dialogue and satire, to a triptych comprising the African "halô" chant-poem, the medieval Portuguese "cantigas de escàrnio e maldizer", and the Brazilian "peleja". A brief account of social history precedes the textual analysis of samples of each poetic tradition, while a comparative chapter attempts a review of the question of obscenity and vulgarity within the specific context of the aesthetics of the satirical duel

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Zoghaib, Nathalie. "Le conte du Liban et sa transmission en contexte générique et socio-historique." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2013. http://tel.archives-ouvertes.fr/tel-01062181.

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L'objet de cette thèse est l'étude du conte libanais et sa transmission. Nous nous proposons donc d'étudier le conte de la tradition orale dans un espace géographique donné : le Liban. Nous nous intéressons à la transmission du conte ainsi qu'aux transmetteurs tout en tenant compte du contexte social, historique et géographique. Pour dresser cette étude, nous tentons de répondre à de nombreuses questions. D'abord, quelle place occupe le conte au Liban aujourd'hui et où et par qui est-il raconté ? Ensuite, en tenant compte des particularités du pays ainsi que de ses nombreuses communautés, nous nous demandons si l'on peut parler d'un corpus de contes du Liban ou s'il s'agit plutôt de corpora de contes communautaires. Par ailleurs, la question de la relation entre ce corpus libanais et le corpus plus large correspondant à l'ensemble régional se posera nécessairement. Peut-on ou non parler d'une spécificité libanaise ? Et si la réponse était affirmative, quelles seraient alors les caractéristiques de ce corpus que l'on pourrait qualifier de " spécifiquement libanaises " ?

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Neufeldt, Bradley. "Cultural confusions, oral/literary narrative negotiations in Tracks and Ravensong." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq22548.pdf.

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Seck, Mamarame. "The structure of Wolof Sufi oral narratives expanding the Labovian and Longacrean models to accommodate Wolof oral tradition /." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0024981.

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Lee, Peace Bakwon. "A Performance Analysis of Chaoxianzu Oral Traditions in Yanbian, China." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392300971.

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Yamamoto, Kumiko. "From storytelling to poetry : the oral background of the Persian epics." Thesis, SOAS, University of London, 2000. http://eprints.soas.ac.uk/29473/.

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

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Boukandou, Annie-Paule Dereu Mireille. "Esthétique du roman gabonais Réalisme et tradition orale /." Nancy : Université Nancy 2, 2005. http://cyberdoc.univ-nancy2.fr/htdocs/docs_ouvert/doc271/2005NAN21008.pdf.

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Carbo, Ronderos Guillermo. "La tambora : musique de tradition orale en Colombie." Paris 4, 1998. http://www.theses.fr/1997PA040298.

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La tambora est une musique de danse transmise oralement depuis plusieurs générations, dans certaines communautés de la dépression de Mompos dans la région de la caraïbe en Colombie. A partir des témoignages et d'enregistrements musicaux recueillis dans plusieurs villages riverains du fleuve Magdalena (altos del Rosario, Hatillo de loba, San Martin de loba, Talaigua viejo et Tamalameque), cette étude fait une analyse descriptive de cette tradition, telle qu'elle se pratique aujourd'hui dans la région. Cette thèse est divisée en quatre parties : la première traite des aspects généraux de la Colombie et des musiques de tradition orale dans la région de la caraïbe (principales formations orchestrales et leur caractère métis) ; la deuxième situe la tambora dans son contexte géographique et historique, traite sur les travaux sur le terrain, expose la problématique soulevée par le polysémie du terme "tambora" (fête, musique, danse, orchestre, instrument, rythme), donne un aperçu de la tambora d'hier et d'aujourd'hui (en soulignant le rôle de la neuvaine de noël à San Martin de loba et des "festivals de tambora" de la région), et décrit la tambora en tant que musique, danse, orchestre et instrument ; la troisième est consacrée à l'analyse tout d'abord de la facture instrumentale et des techniques de jeu, puis de la musique à partir de trente-neuf exemples musicaux et enfin de la danse à partir des images vidéo ; la quatrième est composée des annexes (textes traduits, liste et références des personnes interviewes), de la bibliographie commentée, de la discographie, des documentaires, du glossaire, ainsi que des index (six cartes, cinquante-quatre exemples, dix-huit figures, cent quarante-sept photographies, et dix-sept tableaux). Cette thèse comprend trois volumes : le premier, contient les deux premières parties ; le deuxième, les deux dernières parties, excepté les supports audio et audiovisuel qui se trouvent dans le troisième volume
Tambora is a dance music (orally transmitted, ever since several generations ago) of some communities of the Mompos depression in the Caribbean region of Colombia. This study makes a descriptive analysis of this tradition as it is practiced today in this region, from testimonies and musical recordings gathered in different villages (altos del Rosario, Hatillo de loba, San Martin de loba, Talaigua viejo and Tamalameque) located at the riverbanks of the Magdalena river. This thesis is divided into four parts : the first one treats general aspects of Colombia and the traditional music of the Caribbean (the most important types of ensembles, as well as their mixed character) ; the second part places tambora in its geographic and historic context, it deals with the field work, it exposes the problem of the different meanings of "tambora" (as a festivity, as a music, as a dance, as an ensemble, as an instrument, as a rhythm), and it takes a look at the tambora tradition of the past and present (and the role that have played Christmas novena in San Martin de loba and tambora festivals of the region) ; the third part analyses first of all the construction of instruments as well as their playing techniques, then the music from thirty-nine examples and finally the dance studied from video images ; the forth part contains the appendix (with translations, list of persons having been interviewed) the commented bibliography, the discography, the documentary sources, the glossary, as well as the index (concerning six maps, fifty-four examples, eighteen figures, one hundred and forty-seven photographs, and seventeen charts). This work is comprised of three volumes: the first one contains the first two parts, the second one the last two, and the third one the audio video supports

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Boukandou, Annie-Paule. "Esthétique du roman gabonais : réalisme et tradition orale." Nancy 2, 2005. http://docnum.univ-lorraine.fr/public/NANCY2/doc271/2005NAN21008.pdf.

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L'esthétique du roman gabonais est marquée par deux déterminations qui sont le réalisme et la tradition orale. Le réalisme se traduit dans la première partie, par une volonté d'ancrage géographique et culturel. Etudié à partir de la thématique du pouvoir, celui-ci est d'une part, le pouvoir politique, dont on parle dans le roman africain depuis la période des indépendances, et d'autre part, celui de la sorcellerie que l'on retrouve de façon récurrente dans ce roman. De même la réécriture de la tradition orale procède d'une écriture réaliste. Les auteurs peignent la vie au village, avec ses croyances et ses rituels. La question de la tradition orale dans le roman gabonais a conduit la deuxième partie de cette étude. Elément par lequel est déposé la sagesse, elle englobe la littérature orale et toutes les connaissances qui s'y rapportent ; transmises de bouche à oreille, d'un peuple sur son passé. La transposition de la tradition orale dans l'écriture est une réécriture de l'univers oral africain fait de croyances et de pratiques. Il y a d'un côté ce désir de véhiculer la tradition, de l'autre, celui de dénoncer les travers de la société moderne. Dans la troisième partie de notre étude, se signale à travers le lien entre le pouvoir politique et la sorcellerie, une remise en cause des pratiques traditionnelles dans la société moderne. L'écriture servant de moyen pour une critique de la société, certains auteurs, optent pour une dénonciation "masquée", utilisant des modèles d'écriture qui permettent une certaine "sécurité" et ce, à un moment où il n'est pas toujours très aisé de critiquer les agissements du pouvoir politique. D'autres s'emploient à la dénonciation à partir de la description de la réalité. La réhabiblitation de la société passe donc par la sagesse ancestrale, celle de la parole
The esthetic nature of the novel of Gabon is marked by two major influences : Realism and Oral tradition. Realism is firstly rooted in the geography and culture of the people. Looked at through the lens of "power" - we first see the influence of "political power" found in African literature since the period of independence in the 1960's, and from another angle that of "witchcraft" a recurrent theme in particular in Gabon novel. The recording of oral traditions is birthed from a place of "realism" with writers describing village life through the beliefs and rituals of the people. The place of "oral tradition" in the novel of Gabon is the second part of this study. "Oral tradition" encompasses all the rich wisdom of a people, transferred from ear to ear, from past generations through the ages. The transposition of "oral tradition" in the literature is a recording of the African oral universe made up of its beliefs and practices. There is from one side the desire to convey the traditions of a people, and from the other side, to expose the shortcoming of modern society. In the third part of this study, there is under-line through the ties between political power and witchcraft, a calling into question of traditional practices in modern society. Literature serves as a tool to analyse society, with some authors opting for a "hidden" denunciation through the use of writing styles, which offer a certain "security", especially during periods where it is not advisable to criticize the actions of political power. Others denounce through the depiction of "truth" or modern reality. The rehabilitation of society needs therefore to pass through the use of words that are forever a part of ancestral wisdom

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Rogers, Katherine, and Katherine Rogers. "Written Fragments of an Oral Tradition: "Re-Envisioning" the Seventeenth-Century Division Violin." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12433.

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Seventeenth-century division violin music is not considered part of the classical canon, but its background as a European art form may make it seem “too Western” for traditional ethnomusicological study. The purpose of this thesis is twofold: first, I outline the historical context, transmission, and performance practice of division violin playing in England during the sixteenth and seventeenth centuries. Also of interest to me is the way in which we, as musicologists, study oral tradition within the context of a musical culture that no longer exists today. After an exploration of the ideas of Milman Parry and Albert Lord, Walter Ong, Ruth Finnegan, and Slavica Ranković, I discuss the English division violin’s background and transition from a largely oral to a predominantly literate tradition. I demonstrate this change in transmission, composition, and performance practices through examining the second and sixth editions of John Playford’s The Division Violin (1684).

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Dissertations / Theses on the topic 'Oral traditiion'

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