Dissertations / Theses: 'Oral tradition'

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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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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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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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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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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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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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Pavlović, Aleksandar. "From traditional to transitional texts : Montenegrin oral tradition and Vuk Karadžić’s Narodne srpske pjesme." Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/14346/.

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This thesis analyses the influence of literate culture on the corpus of Montenegrin oral epic songs published in Vuk Karadžić’s edition of Narodne srpske pjesme from 1823 to 1833. The Introduction places the research in the scholarly context of the Parry-Lord theory of oral composition, later analyses of transitional texts that contain both oral traditional and literary characteristics, and recent interest in the entire process of transcription, edition and publication of songs belonging to the oral tradition. This is followed by an outline of facts relevant to the social and political history of Montenegro, its epic tradition and earliest textual representation. The first chapter discusses in detail the concepts of oral traditional, transitional and nontraditional texts and offers a synthetic theoretical framework for the analysis of transitional South Slavonic oral songs, based on their phraseology, style, outlook and contextual evidences about their documentation and singers. In the second chapter, this is followed by a textual analysis of five genuine oral traditional Montenegrin songs from Karadžić’s collection and a discussion of their style, themes and overall perspective. In the third chapter, two songs about contemporary Montenegrin battles from the collection are analysed and identified as proper transitional texts; they contain a number of literary elements and were influenced by the Montenegrin ruler Bishop Petar I, but also retain to some extent the characteristics of traditional oral songs. The final chapter identifies nontraditional elements in the four songs that Karadžić wrote down from a literate Montenegrin singer Đuro Milutinović Crnogorac. It is argued that these songs combine a traditional style and outlook with elements distinct from local oral tradition, which the singer had adopted during his education and under the influence of Bishop Petar. The main conclusion of the thesis is that the earliest publication of Montenegrin oral tradition already contained a number of features of literary origin; two out of eleven songs are proper transitional texts, and four others display the influence of literate culture. These texts and features did not originate in the local oral tradition; rather, they were introduced by a literate singer close to the political leadership and then incorporated in the collection of oral traditional songs during the process of its literary documentation and representation. By revealing the complex socio-political framework giving rise to the early-nineteenth century collections of South Slavonic oral songs, this thesis makes a contribution to current research in the textualisation of the oral tradition, and provides a consistent model for the analysis of transitional texts in oral studies.

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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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12

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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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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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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15

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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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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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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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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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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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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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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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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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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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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27

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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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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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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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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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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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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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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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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35

Sinarinzi, Jeanson. "La production du texte oral pastoral kiruúndi." Villeneuve d'Ascq : Presses universitaires du Septentrion, 1999. http://books.google.com/books?id=llOBAAAAMAAJ.

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36

Reea, Goenda. "Le comique dans la tradition orale et la littérature contemporaine tahitiennes - vision du rire, vision du monde." Thesis, Polynésie française, 2016. http://www.theses.fr/2016POLF0005.

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À Tahiti, il n’existe aucune recherche sur les « mots du rire » en langue tahitienne démontrant une manière de penser le monde. L’intérêt de cette étude est de révéler une réalité d’un point de vue interne ainsi que des processus inconscients qui régissent le rire de et dans la société tahitienne. Cette thèse a pour objectif de définir la spécificité du comique de la tradition orale et de la littérature contemporaine tahitiennes au travers des ’ūtē ’ārearea (chants comiques traditionnels) dans le cadre des fêtes culturelles du mois de juillet à Tahiti de 1986 à 2014 et de deux pièces de théâtre, Te pe’ape’a hau ’ore o Pāpā Pēnū ’e Māmā Rōrō de Maco Tevane (1972, rejouée en 2011), et E’ita ïa, de John Mairai (1989). En inscrivant cette analyse dans un cadre conceptuel et méthodologique sémiolinguistique et psychocritique, nous supposons qu’il est possible d’abstraire, par la superposition des textes du corpus de recherche, un substrat constitué d’invariants, qui concourent à la production du sens
In Tahiti, no research has been done about “comic words” in Tahitian language, demonstrating a way to consider the world. The relevance of this study is to reveal a reality in an internal point of view as well as unconscious processes which govern the laughter of and in the Tahitian society. The purpose of the present Thesis is to define the characteristics of Comic in the Tahitian oral tradition and contemporary literature, through the 'ūtē 'ārearea (traditional funny songs), in the context of July’s cultural celebrations in Tahiti, from 1986 to 2014, and through two plays, "Te pe'ape'a hau 'ore o Pāpā Pēnū 'e o Māmā Rōrō" by Maco Tevane (1972, played again in 2011) and “E'ita ïa” by John Mairai (1989). Placing this analysis into a conceptual and methodological as well as a semiolinguistical and psychocritical frameworks, makes us suppose that it is possible to abstract, by the superposition of the texts from the corpus of research, a substratum made of invariables, which contribute to the meaning of words

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Lacasse, Germain. "Le bonimenteur et le cinéma oral, le cinéma muet entre tradition et modernité." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26795.pdf.

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Simpkins, Maureen Ann. "After Delgamuukw, aboriginal oral tradition as evidence in aboriginal rights and title litigation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49813.pdf.

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Yoeli-Tlalim, Ronit. "Contemporary oral teachings of Kalacakra in exile : a dialogue between tradition and change." Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405408.

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Calabaza, Estefanita Lynne. "Through Pueblo Oral Tradition and Personal Narrative: Following the Santo Domingan 'Good Path'." Thesis, The University of Arizona, 2011. http://hdl.handle.net/10150/144374.

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This master's thesis is an autoethnography. According to Denzin and Lincoln, an autoethnograpic piece "works to hold self and culture together, albeit not in equilibrium or stasis," (207). This thesis, presented in story form, tells how I was educated into and came to follow the "Good Path" in becoming a member of Santo Domingo Pueblo, and more specifically, a contemporary Santo Domingan woman. My story is framed within a Puebloan paradigm of remembrance as articulated through oral tradition, narrative and text, and the social and natural environments of my Santo Domingan world. Through introspection and reflection on the narratives, I elicit what I believe to be the foundational core values of Santo Domingo culture. I identify and reference these core values as Breath, Corn, Hair, and Family. It is through my stories that I have also come to understand the strength and power of oral traditional narratives and teachings.

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Fledderus, France. "The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278129/.

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The musical and spiritual life of Mary Lou Williams (1910 - 1981) came together in her later years in the writing of Mary Lou's Mass. Being both Roman Catholic and a jazz pianist and composer, it was inevitable that Williams would be the first jazz composer to write a setting of the mass. The degree of success resulting from the combination of jazz and the traditional forms of Western art music has always been controversial. Because of Williams's personal faith and aesthetics of music, however, she had little choice but to attempt the union of jazz and liturgical worship. After a biography of Williams, discussed in the context of her musical aesthetics, this thesis investigates the elements of conventional mass settings and oral tradition found in Mary Lou's Mass.

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Bacon, Jasen. "The Digital Folklore Project: Tracking the Oral Tradition on the World Wide Web." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1398.

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I collected forty-two e-mail forwards over the course of four months, and from those I formulated a framework that adapts existing theory in collection and study of real-world folklore to the emerging folk communities that exist on the internet. Through this analysis I prove that the same genres of folklore that is routinely collected by folklorists have been adapted to fit the digital environment of the internet. I then use the framework that I lay out to perform a study of the e-mails themselves.

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Higgins, Rawinia R., and n/a. "He kupu tuku iho mo tenei reanga : Te ahua o te tuku korero." University of Otago. Te Tumu - School of Maori, Pacific and Indigenous Studies, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070524.121050.

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The primary objective of this thesis focuses on the nature of transmission of oral narratives, based on the relationship formed between the recipient and the source. It will be argued that based on the nature of the relationship between these people knowledge is passed on. It will highlight these relationships within a whanau context, especially the koroua and the mokopuna.

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Kennedy-Kwofie, Nana Afua. "Until lions learn to speak... placing the African oral tradition at the centre of power, knowledge, and media." Master's thesis, University of Cape Town, 2020. http://hdl.handle.net/11427/32494.

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The production of knowledge has become a matter of power rather than truth and can serve either serve as a tool of liberation or domination. This creative project seeks to explore the interaction of power, knowledge and media in Africa given its history with European colonialism. This period painted Africa as an uneducated and dark continent that had no history and no knowledge. This belief has led to assumptions about knowledge production which are embedded in racist conventions rather than the free and fair pursuit of complete knowledge. The processes of knowledge production are ranked in a hierarchy and in this system of classification, focus on the written word has dominated curriculums while other systems of knowledge production, specifically the oral tradition, have largely been undervalued and ignored. As such, what is a vibrant, complex and active tradition of African orality in the pursuit and preservation of knowledge has been relegated to the back rooms of academia and scholars are not allowed to access to a variety of methods that can be used to know and understand the world. In analysing the current climate of knowledge production and the role media plays in Africa one must examine several questions: How did the West become the centre of knowledge production? What value can be extracted from the African oral tradition in the pursuit of knowledge in the current system of knowledge production? What are the implications of this on Africans as producers of knowledge and Africa's media landscape? While this creative project does not answer these questions entirely, it opens conversations about how we understand and experience knowledge, media, and power in an African context. Guided by the frameworks of power and postcolonial theory and decolonisation, this creative project aims to offer a critical but open-ended analysis of the state of African knowledge production and media while centring the African oral tradition. This project also aims to begin the work of creating a collection of oral stories to highlight the wisdom and insight that comes from the African oral tradition and what it can offer. Ultimately, this project is a call to widen our epistemological landscapes by including African ways of knowing and media use.

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Pires, Ricardo Annanias. "A tradição oral africana e as raízes do jazz." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8137/tde-24112009-161055/.

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Este trabalho tem como objetivo estudar as peculiaridades da tradição oral africana e suas influências na criação do jazz. Os africanos, sendo um povo onde sua cultura tem como principal característica enfatizar o emprego da oralidade na transmissão do conhecimento, o faz de forma muito distinta aos padrões culturais europeus. Sob a ótica do povo africano, a palavra expressa de forma oral possui um grande valor, sendo atribuído à mesma, um nível de relevância tamanho que chega a ser vista como um elemento místico capaz de criar ou até mesmo destruir. Os africanos, presentes em solo americano, pela imposição da escravidão, fundiram seus elementos culturais à cultura européia, dando luz uma nova concepção musical, o jazz. O jazz desde sua criação até os dias atuais, passou e passa por diversas transformações. Estas transformações, mesmo que de forma implícita, contribuem para que o jazz esteja presente nas mais diversas manifestações culturais. O jazz não pode ser considerado apenas um gênero musical de origem americana. O jazz está presente em diversas partes do mundo, inclusive no Brasil, onde se torna renovado devido à riqueza e diversidade cultural deste país.
This work studies the peculiarities of the oral African tradition and his influences in the creation of the jazz. The Africans, being a people where his culture has like principal characteristic emphasizes the job of the orality in the transmission of the knowledge, it does it in the very different form to the cultural European standards. Under the optics of the African people, the definite word of oral form has a great value, when attributed to same, a so great level of relevance that comes being seen like a mystic element able to create or even to destroy. The Africans, presents in American ground, for the imposition of the slavery, fused his cultural elements to the European culture, giving there shines a new musical conception, the jazz. The jazz from his creation up to the current days, passed and it suffers several transformations. These transformations, even that in the implicit form, they contribute so that the jazz is present in more several cultural demonstrations. The jazz cannot be considered only a musical type of American origin. The jazz is present in several parts of the world, including in Brazil, where it becomes renewed due to the wealth and cultural diversity of this country.

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Stonier, Janet Elizabeth Thornhill. "Oral into written : an experiment in creating a text for African religion." Master's thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/16127.

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Bibliography: pages 105-113.
This study is a description, from the vantage point of a participant observer, of the development of a new, and probably unique, method of writing, teaching and learning about an oral tradition - a method which is grounded in ways of knowing, thinking and learning inherent in that tradition. It arose in the course of a co-operative venture - between two lecturers in African Religion and myself - to write a text for South African schools on African Religion (sometimes called African Traditional Religion). Wanting to be true to our subject within the obvious constraints, we endeavoured to write within an oral mode. The product, African Religion and Culture, Alive!, is a transcript of taped oral interchanges between the three authors within a simulated, dramatised format. The simulation provided the context for using the teaching and learning strategies employed in an oral tradition, but within a Western institution. We hoped in this way to mirror and mediate a situation in which many South African students find themselves: at the interface between a home underpinned by an oral tradition, and a school underpinned by a written tradition. In the book, knowledge is presented through myth, biographical and autobiographical stories, discussion, question, and comment. The choice of this mode of knowledge-presentation has been greatly influenced by the work of Karen McCarthy Brown. A further important requirement for us was to produce a text that would be acceptable to all the particular varieties of African religious practice. This need was met in a way that became the most important aspect of the method - the device of setting, as a core part of the work for students, a primary research component. Students are required to seek out traditional elders within their community and learn from them, as authorities on African religion and culture, the details of particular practice. This is a way of decentering the locus of control of knowledge and education, as well as of restoring respect for African Religion and preserving information in danger of being lost. The primary research component highlights fundamental issues relating to the 'ownership' of religion, knowledge, power, reality which are explored in the study. Also considered are the implications of writing about an oral mode while trying to preserve as much of the character of that mode - writing by means of speaking. Text as a metaphor provides a frame for examining the process and the product - in terms of text as document, as score, as performance, as intertextual event, and as monument and site of struggle. Suggestions are made for further research, both on the particular method of text-production under consideration, and also on the approach to teaching and learning about African Religion. Also considered is the relevance of this particular learning and teaching approach to the values inherent in the proposed new curriculum for education in South Africa.

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Crichton, Iain William. "Ghostwriting a tool for getting oral-urban church leaders in print /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Meyer, David Francis. "Computationally-assisted analysis of early Tahitian oral poetry." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5984.

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A computationally-assisted analysis was undertaken of Tahitian oral poetry transcribed in the early 19th century, with the aim of discovering its poetic organization. An automated pattern detection process attempted to recognize many of the organizational possibilities for poetry that have been documented in the literature, as well as be open to unanticipated varieties. Candidate patterns generated were subjected to several rounds of manual review. Some tasks that would have proved difficult to automate, such as the detection of semantic parallelism, were pursued fully manually. Two distinct varieties of meter were encountered: A syllabic counting meter based upon a colon line, and a much less common word stress counting meter based upon a colon line or a list item. The use of each meter was ubiquitous in the corpus, but somewhat sporadic. Word stress counting meter was typically applied to lists, and generally co-occurred with patterns of syllabic counting meter; perhaps in order to enhance metrical effect through an addition of rhythm. For both meters, counts were regulated by an external pattern, wherein they were observed to repeat, increment, form inverted structures, or group into alternating sequences. There appeared to be few limitations as to the possibilities for a pattern‟s starting count or length. Patterns were found to juxtapose freely, as well as alongside unpatterned counts. According to Nigel Fabb and Morris Halle, syllabic counting meter is only otherwise encountered in a style of Hebrew poetry from the Old Testament (Fabb and Halle 2008:268, 271, 283). Word stress counting meter may be unique to Tahitian poetry. The colon also functioned as poetic line for purposes of sound parallelism, which manifested itself in patterns of simple assonance, simple consonance, and complex patterns that combined simpler ones of assonance, consonance, and parallel strings of phonemes. Although sound patterns most often spanned lines, they were sometimes constrained to within a line. Occasionally, they were arranged into inverted structures, somewhat analogous to those noted for counting meter. Some sound patterns were contained within names and epithets, and perhaps served as recurring islands of parallelism. Syntactic parallelism was common, especially in the organization of lists. Occasionally, its application was suggestive of canonical parallelism. Items of syntactic frame lists were often arranged so as to assist patterns of counting meter. A syntactic frame‟s variable elements often belonged to a single semantic category for which there seemed to be no restriction, and which could represent any taxonomic level. There appeared to be complete freedom in regards to the arrangement of syntactic frame patterns, and it was common for several to follow one another in unbroken succession. There is evidence that some of the corpus poetry was memorized. Other evidence suggests that a capacity existed, and perhaps continues to exist, of poetic composition-in-performance.

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Preston, Susan M. "Meaning and representation, landscape in the oral tradition of the Eastern James Bay Cree." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0004/MQ43200.pdf.

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Scott, Patrick. "Talking tools : faces of Aboriginal oral tradition in contemporary society (a practice-led exploration)." Thesis, University of Dundee, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510619.

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Dissertations / Theses on the topic 'Oral tradition'

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