Academic literature on the topic 'Oralities and literacy'

The position of the love letter in the novel Di Bawah Lindungan Ka'bah by Hamka (1st/1938 print, 31st/2010 print) with the same film directed by Hanny J. Saputra (2011) is very different and shows the multimedia sensibility that keeps track meaning within the frame of space and time. Therefore, in studying it used the orality and literacy paradigm and vehicle transfer. The method used is comparative literature. As a result, letters that translate literacy become central in novels because letters are in the same position as novels in written or literary traditions, so that exploration of letters goes hand in hand with the objective conditions of the text and the articulation of supporting media in maximizing the message to be conveyed. Meanwhile, in transferring to films, letters metamorphose into devices with different functions and forms, because their position becomes melting with new media sensibilities that emphasize audio-visual, so that the mentality is built up in the nuances of oralities. Love letters in novels as a link between two people's feelings, while in film, it is only an ornament to accompany rides and adaptations from novels to films, and the awareness that is built is a mentality of freedom that depends on memory, so it is called the second or secondary orality.

Multicultural society today is much more than just ethnic diversity. It is important to recognize that heterogeneity is composed by a wide array of factors such as literacy, oralities and audiovisual and digital culture. This article argues that current technocultural transformations in communication can alter the persistent monopolic hierarchies of public expression and thought. These transformations in turn are allowing individuals and communities, especially in Latin America, to introduce everyday oral, sound and visual cultures into new languages and new writings that give substance to contemporary communicational ecosystems. Reconociendo que una sociedad multicultural hoy es mucho más que una mera diversidad étnica, una heterogeneidad compuesta por la cultura letrada, las oralidades, la cultura audiovisual y la digital, en este texto se sostiene que las actuales transformaciones tecnoculturales de la comunicación, al trastocar las aún persistentes jerarquías y monopolios de la expresión y el conocimiento, están posibilitando a los individuos y a las colectividades, sobre todo latinoamericanas, insertar sus cotidianas culturas orales, sonoras y visuales en los nuevos lenguajes y las nuevas escrituras que sustancian los ecosistemas comunicacionales contemporáneos.

From the Spoken Word to Video: Orality, Literacy, Mediated Orality, and the Amazigh (Berber) Cultural Production This article presents new directions in Tamazight/Berber artistic productions. The development of theatre, films and videos in Tamazight are set in the framework of the historical and literary background in the Maghreb and in the lands of Amazigh Diaspora. It also includes the interview with the video-maker and director Agouram Salout.

The cultural logic of postmodernity is encrusted with artistic layers and forms of oral art in their new horizons of usage and in their neo-oralities of performance within the pressures of cultural change and continuity arising from contemporary existence. The discursive and performative limits of oral art forms are dismantled due to the surging interface with the new media, such that transitional models and cross-cultural versions of the same artistic product are created. The pressures of urbanization, the mixed bag of hybridization and globalization, postmodern social pressures and values, and the strides made by science and technology have created neo-oralities, new horizons, and fresh or hybrid versions with which to interrogate Tiv oral artistic products in this digital age, opening up endless vistas and possibilities for oral products. This essay examines the new horizons, versions, and neo-oralities as they create synergy and meanings in the various media of technology. Also highlighted are the dismantled boundaries of the discipline and the discursive limits of oral artistic forms within the developmental trajectory of disciplines, artists, societies, and countries. Finally, a theoretical construct is called for to match the new trends, along with an appeal for greater research attention to be paid to this increasingly important interface with the pressures of change as they help shape culture and art forms.

The emergence of the printed Scriptures in the sixteenth century and the increased literacy that accompanied it, necessitated an epistemological shift from an oral to a textual paradigm. Flemish Anabaptist martyrs’ literature grants us a vivid picture of early literacy and its theological consequences. The overlapping nature of orality and textuality serves to clarify both Flemish Anabaptist theology and the religious origins of pluralism. This article briefly explores the epistemological shift produced by the invention of printing and the subsequent increase of literacy. Secondly it seeks to illustrate this shift and its consequences for theology by a brief exploration of Flemish Anabaptist literature and thought.

A primary goal of language arts educators is to help children develop their skill in composition. But as this research shows, to help all children become better composers, we must involve them in authentic oral, as well as written, composition.

In this article I analyse the criticism surrounding two songs from a well-known collection of oral prose narratives told by a San performer, transcribed by the white Afrikaans author Eugène Marais and published as Dwaalstories (Wandering tales) first in 1921 as magazine stories and then in 1927 as a book. The songs, “Die towenares” (The sorceress) and “Hart-van-die-dagbreek” (Heart-of-the-daybreak), both form part of the oral prose narrative “Die Reënbul” (The Rain Bull). Designating these lyrical texts as ‘songs’ is a conscious choice, considering that they have been interpreted as poems ever since Marais extracted them from the Dwaalstories and included them in his collected poems in 1925 and later collections. My argument is that these lyrical texts function in the same way in “Die Reënbul” as songs do in most oral prose narratives (or, folktales) from Africa. Their designation as poems hashowever resulted in attempts at analysis in which their oral origin is ignored, misunderstood, or undervalued. One such study is the text-immanent ‘structural analysis’ performed by Merwe Scholtz. I briefly critique a few other studies about (the songs in) “The Rain Bull”, finding that while they are more sophisticated than that of Scholtz, there are still significant inaccuracies. Though the scope of my article is limited, I also make the case for a context-driven interpretation of all the songs contained in the Dwaalstories.

Cette thèse a pour objectif de proposer une lecture ethnocritique du théâtre de Jean-Luc Lagarce. Il s’agit donc de relire les œuvres de cet écrivain sacralisé par la Comédie française et l’Institution dans une perspective ethnocritique qui croise poétique des textes littéraires et ethnologie du symbolique pour en étudier les cosmologies particulières. Pour ce faire, nous mettrons également en œuvre une approche rhétorique et stylistique afin d’en montrer leur singularité scripturale signifiée par l’hybridité générique constitutive de ses écrits et par une parole à la fois très oralisée et très littéraire, en un mot très « auralisée ». Nous nous arrêterons en particulier sur les dernières œuvres : Juste la fin du monde, Les Règles du savoir-vivre dans la société moderne, J’étais dans ma maison et j’attendais que la pluie vienne et Le Pays lointain au nom de leur valeur emblématique et testamentaire. La première partie de notre thèse se focalise sur les règles, rites et usages qui traversent les œuvres. La deuxième partie questionne les règles de vie du troisième groupe défini par Lagarce car à côté des vivants et des morts se trouvent ceux qui savent qu’ils vont mourir. Ces personnages morts-déjà qui peuplent ses œuvres sont des personnages liminaires caractérisés par une ponctuation et une typographie de l’entre-deux mondes : guillemets, parenthèses, tirets et italiques nous permettent d’explorer les marges du théâtre hétérotopique lagarcien. La troisième partie aborde les règles de la création dans ses dernières œuvres représentatives des procédés de réécriture et d’hybridation entre théâtre, roman et poésie. Nous faisons l’hypothèse qu’à l’approche de la mort, chaque œuvre est la dernière et accomplit un rite de passage, destiné à assurer à Lagarce la reconnaissance qu’il n’a pas eue de son vivant et la postérité littéraire par une œuvre-legenda destinée à ses lecteurs et qui a fini par rencontrer ses spectateurs
The purpose of this thesis is to propose an ethnocritical reading of the dramatic works of Jean-Luc Lagarce. It involves rereading the works of a writer consecrated by the Comédie Française and the Institution in an ethnocritical perspective which combines a poetics of literary texts with an ethnology of the symbolic in order to study the specific cosmologies present in the works. In order to do this, we propose to use a rhetorical and stylistic approach in order to illustrate the scriptural singularity demonstrated by the generic hybridity which is characteristic of his works and by forms of speech that are both highly “oralized” and very literary, in other words very “auralized”. We will pay particular attention to his last works: Juste la fin du monde, Les Règles du savoir-vivre dans la société moderne, J’étais dans ma maison et j’attendais que la pluie vienne et Le Pays lointain because of their emblematic and testamentary value. The first part of the thesis focuses on the rules, rituals and customs that are present in the works. The second part examines a third group of characters defined by Lagarce, as in addition to the living and the dead there are those who know they are going to die. These already-dead characters found in his works are liminary characters characterized by punctuation and typography that signifies a liminal space between two worlds: quotation marks, parentheses, dashes and italics invite us to explore the margins of the heterotopic theatre of Lagarce. The third part looks at the rules of creation in his final works that illustrate the processes of re-writing and hybridization between theatre, prose fiction and poetry. Our hypothesis is that as death drew closer, Lagarce saw each work as his last and each thus represents a rite of passage meant to insure that Lagarce will enjoy the recognition that he had not obtained while alive; each work is meant to guarantee his literary posterity through an “oeuvre-legenda” meant for his readers and that ended up by encountering spectators