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Journal articles on the topic 'Orature'

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Published: 4 June 2021
Last updated: 19 February 2022

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1

F. Fiona Moolla. "When Orature Becomes Literature:." Comparative Literature Studies 49, no. 3 (2012): 434. http://dx.doi.org/10.5325/complitstudies.49.3.0434.

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2

Knowles-Borishade, Adetokunbo F. "Paradigm for Classical African Orature." Journal of Black Studies 21, no. 4 (June 1991): 488–500. http://dx.doi.org/10.1177/002193479102100408.

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3

Lahaye, Tito. "Recitative Literature or Guaraní Orature." Bible Translator 54, no. 4 (October 2003): 401–7. http://dx.doi.org/10.1177/026009430305400401.

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4

Horn, Peter. "Orature, Literature and the Media." Journal of Literary Studies 10, no. 1 (March 1994): 75–85. http://dx.doi.org/10.1080/02564719408530066.

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5

Adéèkó, Adélékè. "Theory and Practice in African Orature." Research in African Literatures 30, no. 2 (June 1999): 222–27. http://dx.doi.org/10.2979/ral.1999.30.2.222.

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6

Liebhaber, Sam. "Acoustic spectrum analysis of Mahri orature." Brill’s Journal of Afroasiatic Languages and Linguistics 9, no. 1-2 (2017): 106–18. http://dx.doi.org/10.1163/18776930-00901012.

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The question of the metrical organization of Arabian vernacular orature has historically been defined by two approaches: one holds that its metrical system is based on patterned beats of stress, while the other proposes regular alternations of long and short vowels. In this article, I describe some preliminary experiments in using a digital method to derive visual spectrograms of the same lines of Mahri poetry performed in two different modes: chanting and recitation. Given the discrepancy in results between the two, my findings suggest that the organizational rhythm of bedouin vernacular poetry is contingent on performance and is not intrinsic to the poetic text itself. The results further cast suspicion on the salience of vocalic quantity or syllabic quality as the prime determinants of Bedouin vernacular prosody.
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Adeeko, Adeleke. "Theory and Practice in African Orature." Research in African Literatures 30, no. 2 (1999): 222–27. http://dx.doi.org/10.1353/ral.2005.0055.

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8

Miller, Christopher L. "The Slave's Rebellion: Literature, History, Orature." Slavery & Abolition 28, no. 2 (August 2007): 289. http://dx.doi.org/10.1080/01440390701428063.

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9

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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10

Stanforth, Sherry Cook. "Orature and Whole Vision in Seven Arrows." MELUS 21, no. 2 (1996): 107. http://dx.doi.org/10.2307/467953.

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Azodo, Ada Uzoamaka. "African Women's Literature: Orature and Intertextuality (review)." Research in African Literatures 33, no. 1 (2002): 187–89. http://dx.doi.org/10.1353/ral.2002.0007.

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12

Owomoyela, Oyekan. "The Slave's Rebellion: Fiction, History, Orature (review)." Research in African Literatures 37, no. 4 (2006): 238–39. http://dx.doi.org/10.1353/ral.2006.0098.

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13

Thiong'o, Ngũgĩ Wa. "Notes towards a Performance Theory of Orature." Performance Research 12, no. 3 (November 30, 2007): 4–7. http://dx.doi.org/10.1080/13528160701771253.

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14

Gueye, Khadidiatou. "The Slave's Rebellion: Fiction, History, Orature (review)." Comparative Literature Studies 44, no. 3 (2007): 324–26. http://dx.doi.org/10.1353/cls.2007.0059.

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15

Azuonye, Chukwuma, and Ambrose Adikamkwu Monye. "Proverbs in African Orature: The Aniocha-Igbo Experience." International Journal of African Historical Studies 32, no. 2/3 (1999): 538. http://dx.doi.org/10.2307/220420.

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16

Akoma, Chiji. "Proverbs in African Orature, by Ambrose Adikamkwu Monye." Research in African Literatures 42, no. 1 (March 2011): 187–88. http://dx.doi.org/10.2979/ral.2011.42.1.187.

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17

Ajibade, George Olusola. "Same-Sex Relationships in Yorùbá Culture and Orature." Journal of Homosexuality 60, no. 7 (July 2013): 965–83. http://dx.doi.org/10.1080/00918369.2013.774876.

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18

Roper, Jonathan. "English Orature, English Literature: the Case of Charms." Folklore: Electronic Journal of Folklore 24 (2003): 50–61. http://dx.doi.org/10.7592/fejf2003.24.engcharm.

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19

Tajudeen, Opoola Bolanle, and Kadiri Razak Aare. "Deploying Orature to Meet the Challenges of Unemployment in Nigeria." International Journal of Education and Literacy Studies 7, no. 2 (April 30, 2019): 144. http://dx.doi.org/10.7575/aiac.ijels.v.7n.2p.144.

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Nigeria in the last three decades has had to grapple with the perennial problem of unemployment. This is not uncommon among developing nations considering the legacy bequeathed by the colonial masters. The widespread exploitation and misadventure in the African continent, defective political structure and the political elites that continued the exploitative tendencies of their masters remain a sad commentary. It is on this premise that this study intends to interrogate the problem of unemployment from within. The literary theory is pluriversalism while the teaching learning theory adopted was the behaviouralist approach. A noteworthy realisation is that Orature is the verbal artistic product that encapsulates the sensibility and knowledge production of the African world view that shows that native intelligence can positively contribute to national development. The study concludes that Orature, if properly deployed could be a plausible solution to unemployment particularly among the Yoruba youths in Nigeria.
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20

Dibaba, Assefa Tefera. "Oromo Orature: An Ecopoetic Approach, Theory and Practice (Oromia/Ethiopia, Northeast Africa)." Humanities 9, no. 2 (March 31, 2020): 28. http://dx.doi.org/10.3390/h9020028.

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Using available empirical data of Oromo Orature, particularly folksongs, obtained from the field through interview and observation in Oromia, central Ethiopia, in 2009 and 2010, and other sources in print, this study has two objectives to tackle. First, reflecting upon the questions of a native model of origin narratives in relation to ecology, this study examines some examples of Oromo ecopoetics to determine: (a) how ecology and creative process conspire in the production of folksongs and performance, and (b) how the veil of nature hidden in the opacity of songs is revealed through the rites of creative process and performance as the human and ecological realms intersect. When put in relation to ecology, I theorize, the ecocultural creative act and process go beyond the mundane life activities to determine the people’s use (of nature), perceptions, and implications. Second, damages to the ecology are, I posit, damages to ecoculture. Drawing on the notion of ecological archetypes, thus, the study makes an attempt to find a common ground between the idea of recurrent ecological motifs in Oromo orature and the people’s ecological identity. The findings show that the political and social attitudes the Oromo songs embody are critical of authorities and the injustices authorities inflict on peoples and the environment they live in. For the folksinger, singing folksongs is a form of life, and through performance, both the performance and the song sustain the test of time. In its language, critique, imagination, and cultural referents, Oromo Orature is a voice of the people who rely on traditional agricultural life close to nature along with facing challenges of the dominating religious, political and scientific cultures.
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21

Ngongkum, Eunice. "Urban orature and resistance: The case of Donny Elwood." Tydskrif vir Letterkunde 54, no. 2 (September 4, 2017): 61–73. http://dx.doi.org/10.17159/2309-9070/tvl.v.54i2.1229.

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From their very origins, contemporary African artistic creations have been works of resistance. Born from the struggle against colonialism, these works continued in this trajectory when independence failed to deliver on the aspiration of the masses. Today's artists follow in the footsteps of their predecessors; resisting all forms of social injustice, economic inequality and political oppression that bedevil the post-independence arena. Using resistance aesthetics as critical tool of analysis, this paper seeks to examine the concept of resistance in the music of Donny Elwood. It aims at showing that urban orature, to which category Elwood's music belongs, is one of those sites in the postcolonial context where the struggle for liberation from all forms of oppression is continuously waged. The paper argues that, with its emphasis on sense and rhythm, and not dance, Elwood's music effectively communicates the artist's protest against socio-political contradictions in the postcolonial space while sensitizing the masses on the need for change. The discursive perspectives in his art reside in the interface between social interactions in the urban milieu and urban orature (witnessed in the blend of musical varieties, instruments and message). These effectively register his social commitment as an urban artist.
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22

Na'Allah, Abdul-Rasheed. "Interpretation of African Orature: Oral Specificity and Literary Analysis." Alif: Journal of Comparative Poetics, no. 17 (1997): 125. http://dx.doi.org/10.2307/521610.

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23

DeFrantz, Thomas F. "Bone-Breaking, Black Social Dance, and Queer Corporeal Orature." Black Scholar 46, no. 1 (January 2, 2016): 66–74. http://dx.doi.org/10.1080/00064246.2015.1119624.

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24

Steel, Catherine. "IV The Orator's Education." New Surveys in the Classics 36 (2006): 63–77. http://dx.doi.org/10.1017/s0017383506000210.

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The order of chapters in this book may seem paradoxical: the finished orator is considered before the processes by which he reached that state are examined. The order is indeed back-to-front from the perspective of an individual orator's trajectory, whose training must inevitably precede his activity. But in the wider context of an attempt to understand the nature of oratorical training in the Roman world it makes sense to move from the practising orator back to the embryonic form, since the expectations and norms imposed on the fully fledged orator are the foundations which support the system of oratorical education. This observation does not imply any necessary confidence that Roman oratorical education was designed for the creation of orators who met the criteria for and defused the anxieties about oratory which I discussed in the previous chapter. And even if the material which a modern audience can access did suggest that Roman oratorical education was indeed good at producing Roman orators, there is of course no guarantee that actual practice in classrooms across the Empire bore any relation to these writings or displayed any competence at its task. But an awareness of the practice of oratory can usefully inform analysis of how orators were trained.
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25

Servan-Schreiber, Catherine. "Folklore/littérature/orature : frontières et cloisonnements dans l’histoire littéraire indienne." Revue de littérature comparée 356, no. 4 (2015): 447. http://dx.doi.org/10.3917/rlc.356.0447.

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26

Akoma. "Proverbs in African Orature, by Ambrose Adikamkwu Monye." Research in African Literatures 42, no. 1 (2011): 187. http://dx.doi.org/10.2979/reseafrilite.2011.42.1.187.

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27

Wittenberg, Hermann. "The Boer and the Jackal: Satire and resistance in Khoi orature." Multilingual Margins: A journal of multilingualism from the periphery 1, no. 1 (November 6, 2018): 75. http://dx.doi.org/10.14426/mm.v1i1.24.

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Bushman narratives have been the subject of a large volume of scholarly and popularstudies, particularly publications that have engaged with the Bleek and Lloyd archive.Khoi story-telling has attracted much less attention. This paper looks a number of lesserknown Khoi narratives, collected by Thomas Baines and Leonhard Schultze. Despitecommonalities in the respective oral traditions, Khoi folklore appears more open todiscursive modes of satire, mockery and ridicule, features which are not readily foundin Bushman story telling. A number of Khoi narratives that feature the trickster figureof the jackal are presented and analysed as discursive engagements with historicalrealities and political forces that impinged on indigenous societies. It is argued thatKhoi orature was able to mock and subvert settler dominance by making imaginativeuse of animal proxies such as the jackal. This capacity for satire in Khoi oral cultureallowed it to resist colonial violence on a discursive level, a strategy that was much lesspronounced in Bushman narration.
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28

Wittenberg, Hermann. "The boer and the jackal: satire and resistance in Khoi orature." Critical Arts 28, no. 4 (July 4, 2014): 593–609. http://dx.doi.org/10.1080/02560046.2014.929218.

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29

Alehegne, Mersha. "Orature on Literature: the Case of Abba Gärima and His Gospel." Aethiopica 19 (October 2, 2017): 52–60. http://dx.doi.org/10.15460/aethiopica.19.1.1127.

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This paper presents oral narratives told about Abuna Gärima, one of the so called Nine Saints, and his evangelical mission in northern Ethiopia. The narratives presented in the paper discuss different issues: where and how did he write his Gospel, which is believed to be the first Ethiopic Gospel, and the oldest known manuscript in the literary culture of the country; the different miracles the Saint performed during his years of service at the monas­tery; and how he is commemorated in the people’s popular songs and qǝne, a unique style of Gǝʿǝz poetry. These narratives were collected through oral interviews made with individuals who relate themselves to the monastery which is believed to have been founded by the Saint.
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30

James, Cynthia. "From Orature to Literature in Jamaican and Trinidadian Children's Folk Traditions." Children's Literature Association Quarterly 30, no. 2 (2005): 164–78. http://dx.doi.org/10.1353/chq.2005.0025.

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31

Mnenuka, Angelus. "Online Performance of Swahili Orature: The Need for a New Category?" Eastern African Literary and Cultural Studies 5, no. 3-4 (October 2, 2019): 274–97. http://dx.doi.org/10.1080/23277408.2019.1685752.

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32

Lavatori, Gerard. "Alienation or empowerment? Reading, writing, and orature in God’s Bits of Wood." Neohelicon 41, no. 1 (May 2, 2013): 175–84. http://dx.doi.org/10.1007/s11059-013-0195-8.

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33

Ignatov, Anatoli. "African Orature as Ecophilosophy: Tuning in to the Voices of the Land." GeoHumanities 2, no. 1 (January 2, 2016): 76–91. http://dx.doi.org/10.1080/2373566x.2016.1166977.

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34

Jegede, O. B. "Women, Power and Subversion in Orature: A Palace Performance in Yorubaland, Nigeria." Journal of Gender Studies 15, no. 3 (November 2006): 253–66. http://dx.doi.org/10.1080/09589230600862000.

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35

Porter, Laurence M. "Lost in Translation: From Orature to Literature in the West African Folktale." Symposium: A Quarterly Journal in Modern Literatures 49, no. 3 (September 1995): 229–39. http://dx.doi.org/10.1080/00397709.1995.10113498.

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36

KAHYANA, DANSON SYLVESTER. "The Potential Role of Orature in Fighting the Spread of HIV/AIDS." Matatu 42, no. 1 (2013): 159–71. http://dx.doi.org/10.1163/9789401210584_010.

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37

FASHINA, NELSON O. "Lit-Orature Development, World Peace, and the Challenges of Literary Theory/Criticism." Matatu 39, no. 1 (2011): 41–56. http://dx.doi.org/10.1163/9789401200745_004.

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38

Uwajeh, P. N. "Orature in literature: Myths as structural elements in Achebe'sAnthills of the Savannah." Neohelicon 19, no. 1 (March 1992): 297–306. http://dx.doi.org/10.1007/bf02028624.

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39

Mabana, Kahiudi Claver. "Léopold S. Senghor, Birago Diop et Chinua Achebe: Maîtres de la parole." Matatu 33, no. 1 (June 1, 2006): 223–40. http://dx.doi.org/10.1163/18757421-033001031.

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Léopold Sédar Senghor (1906–2001), Birago Diop (1906–1989) and Chinua Achebe (1931–) were among the first African intellectuals to make their fellow Africans aware of the riches of their oral literature and proud of their cultural treasures. The two francophone writers from Senegal were major figures of the Négritude movement, while the anglophone Nigerian became famous with , the best-known African novel of the last century. The aim of this essay is to show the importance of the impact of African orature in the creative writing of African authors despite the ostensible differences in their colonial linguistic backgrounds.
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40

Toll, Shannon. "Weaving a Transnational Narrative: Yellow Woman and Orature in Almanac of the Dead." American Indian Culture and Research Journal 39, no. 1 (January 1, 2015): 65–82. http://dx.doi.org/10.17953/aicr.39.1.k06496021qr4016h.

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This article identifies parallels between Leslie Marmon Silko's Storyteller and Almanac of the Dead, focusing on the recurrence of Yellow Woman, a figure of Keresan orature. Yellow Woman embodies female sensuality and its potential to incite social or structural change within communities, and I argue that in Almanac, Silko employs textual reinterpretations of Yellow Woman to demonstrate the importance of cross-cultural, indigenous-led movements toward decolonization. Finally, I compare Almanac to the current Idle No More movement, noting their similarities as vast transnational, transindigenous, and even transracial campaigns that model beneficial Native and non-Native ally relationships within the struggle against colonial oppression.
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41

Ngaboh-Smart, Francis. "Truth and fiction: Or, orature and witnessing in Ishmael Beah’sA Long Way Gone." Journal of Postcolonial Writing 53, no. 5 (March 5, 2017): 543–54. http://dx.doi.org/10.1080/17449855.2016.1273252.

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42

Daniel Banks. "From Homer to Hip Hop: Orature and Griots, Ancient and Present." Classical World 103, no. 2 (2010): 238–45. http://dx.doi.org/10.1353/clw.0.0159.

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43

Hodgson, Louise. "‘A FADED REFLECTION OF THE GRACCHI’: ETHICS, ELOQUENCE AND THE PROBLEM OF SULPICIUS IN CICERO'S DE ORATORE." Classical Quarterly 67, no. 1 (March 16, 2017): 163–81. http://dx.doi.org/10.1017/s000983881700012x.

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This paper is as much about a particular depiction of the tribune P. Sulpicius Rufus as it is about Cicero's De Oratore, a dialogue regularly called upon by historians to give evidence on the 90s b.c. and the characters who take part in the conversation it depicts. My main focus is literary: I will argue that, given what we know about the historical Sulpicius, Cicero's choice of Sulpicius for a prominent minor role in De Oratore drives the tragic historical framework that undercuts the optimism expressed within the dialogue by the main protagonist L. Licinius Crassus for the civic value of oratory. The Rhetorica ad Herennium illustrates a certain type of allegory with the statement ‘as if one should call Drusus a “faded reflection of the Gracchi”’. In De Oratore, Drusus’ friend and successor Sulpicius functions as a reflection of the Gracchi and his eloquence reinforces the problem posed by such orators as the notoriously eloquent Gaius Gracchus for any such grand claims about the civic value of oratory. By examining Cicero's use of relatively recent history, we therefore discover that De Oratore is significantly more pessimistic than it may at first seem. This pessimism, however, has important implications for historians, since expanding our understanding of De Oratore as a literary construct should encourage historians to be significantly more cautious about using the text as a historical source. As Görler points out with regard to Crassus’ swansong at De or. 3.4–5, although ‘a naive reader of Oratorum Romanorum Fragmenta could be left with the impression that some sentences are quite well attested’, most of the fragments of Crassus’ speech can actually be traced back to De Oratore. Likewise, a significant proportion of the standard elements in Sulpicius’ backstory go back to De Oratore and become a great deal less convincing once we accept De Oratore as a sustained fictional account featuring people who were neither as politically ‘safe’ nor as intellectually united as Cicero would have them be. My secondary focus in this paper is therefore on the broader lessons to be drawn from Sulpicius’ role in De Oratore. I will begin by outlining the historical context of the dialogue, which was written in the mid 50s but is set in 91, a few weeks before the natural death of Crassus, one of its two protagonists. Next, I will discuss the dialogue's literary context, specifically the Platonic allusions Cicero embeds within the text. These allusions encourage us to treat De Oratore’s historical framework carefully, if not sceptically, and I will outline the ‘off notes’ struck by references to the Gracchi and by the presentation of Crassus and Antonius before examining the problem Sulpicius poses for a straightforwardly optimistic reading of De Oratore. I will conclude by considering first the literary implications for De Oratore of accepting that Sulpicius is a deliberately problematic character and then the historical implications of taking a sceptical approach towards De Oratore as an historical source for our picture of Sulpicius.
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44

Steel, Catherine. "III The Practising Orator." New Surveys in the Classics 36 (2006): 45–61. http://dx.doi.org/10.1017/s0017383506000209.

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We have already seen how public speaking was central, during the Republican period, to the operation of the Roman state; and how, despite radical political change between Republic and Empire, oratory retained its position as a key skill for the politically active elite. The importance of oratory made it, in turn, both the vehicle of and the focus for sustained critiques of the behaviour and values of Rome in general and the elite in particular. In this chapter I turn to the figure of the orator and consider how the expectations concerning his behaviour are set up. Technical works on rhetoric, anecdotes about individual orators and surviving oratorical texts can supplement surviving texts of speeches in the task of establishing what the Romans thought their speakers should do and be and how they criticised those who failed to meet these criteria.
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45

Lwanda, John. "Poets, culture and orature: A reappraisal of the Malawi political public sphere, 1953–2006." Journal of Contemporary African Studies 26, no. 1 (January 2008): 71–101. http://dx.doi.org/10.1080/02589000701782661.

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46

Lema, Emmanuel P. "The Journey Motif and The Re-Reading of Ngugi Wa Thiong’o: Devil on the Cross, Matigari and Wizard of the Crow, a Gikuyu Trilogy." Utafiti 13, no. 2 (March 18, 2018): 173–91. http://dx.doi.org/10.1163/26836408-01302010.

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This essay employs the journey motif to re-read three novels by Ngugi wa Thiong’o: Devil on the Cross, Matigari and Wizard of the Crow. It is argued here that these three novels form Ngugi’s era of Gikuyu fiction; they are chosen to represent his celebrated decision to freely tap from Gikuyu orature. Ngugi’s use of indigenous language in these novels bridges the historical and chronological gaps separating the three narratives; they constitute a trilogy that retells Ngugi’s parable about postcolonial Kenya and Independent Africa more generally. By exploring the different physical, metaphorical and psychological journeys that permeate the atmosphere of all three novels, this interpretation enhances their value in light of Ngugi’s broader political and social agenda.
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47

Payne, M. W. "Akiwowo, Orature and Divination: Approaches to the Construction of an Emic Sociological Paradigm of Society." Sociological Analysis 53, no. 2 (1992): 175. http://dx.doi.org/10.2307/3711122.

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48

Onuekwusi, Jasper A. "Tradition, creativity and the individual talent in the performance of selected forms of African Orature." Neohelicon 24, no. 1 (March 1997): 335–45. http://dx.doi.org/10.1007/bf02572995.

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49

Kondala, Shadreck. "Didactic Titles in Literature: A Look at Selected Zambian-Language Literary Works." Journal of Law and Social Sciences 3, no. 1 (September 30, 2020): 101–14. http://dx.doi.org/10.53974/unza.jlss.3.1.448.

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This paper is a descriptive exploration of selected titles of Zambianlanguage literary works that contain in them didactic aspects, that is, forms of general advisory statements and proverbs/sayings as actual titles of the particular books. It demonstrates that the use of proverbial titles makes these works of fiction more concerned with didacticism rather than entertainment. This moralistic disposition which apparently seems to be a trademark of many authors in Zambian languages is a manifestation of the influence of traditional African orature in general and Zambian oral cultures in particular which places emphasis on the teaching of moral values in storytelling. This paper is guided by two literary theoretical approaches namely: the sociological approach which posits that literature should act as a mirror of society as well as to provide solutions for the society; and the ethical approach especially the idea that art should be morally sound.
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50

Owomoyela, Oyekan. "BOOK REVIEW: Ad�l�k� Ad��k�. THE SLAVE'S REBELLION: FICTION, HISTORY, ORATURE. Bloomington: Indiana UP, 2005." Research in African Literatures 37, no. 4 (December 2006): 238–39. http://dx.doi.org/10.2979/ral.2006.37.4.238.

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