Academic literature on the topic 'POETICA ORALE'
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Journal articles on the topic "POETICA ORALE"
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Lucia, Carmela. "I “suoni dei sensi” e le partiture sonore nella lingua di scena del teatro di Ruggero Cappuccio." Forum Italicum: A Journal of Italian Studies 52, no. 2 (April 24, 2018): 648–66. http://dx.doi.org/10.1177/0014585818757730.
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Obiettivo del saggio è presentare una prima analisi della lingua del teatro di Ruggero Cappuccio, autore multanime e poliedrico, considerato una delle voci più originali della drammaturgia contemporanea, non solo dell’area napoletana. Oggetto della ricerca sono due opere pubblicate Shakespea Re di Napoli (2002) e Le ultime sette parole di Caravaggio (2012), con un copione inedito, intitolato Circus Don Chisciotte (2017). Le scelte formali, fortemente ancorate alla dialettalità del napoletano, ma anche del siciliano e, con minore frequenza, del veneziano, si affrancano dalla koinè regionale del napoletano, perché superano la diglossia italiano-dialetto della drammaturgia di Eduardo, per dare corpo a una lingua di scena poetica, lontana dal realismo mimetico, resa attraverso un raffinato e originale mlange verbale carico di sonorità, con un ben consolidato livello di scelte pluristilistiche. La rilevanza attribuita alla phoné, reinventata in un’entitè reificata e palpabile, o caratterizzata da una grottesca materialità, dà luogo a partiture sonore e a una scrittura votata all’adibizione di misure poetiche e strutture melodiche, a una “lingua di scena”, fatta soprattutto di intarsi e parallelismi fonici, con prevalenza di couplingassonantici, per l’interferenza di registri tonali dissonanti e per l’esaltazione del patrimonio orale delle koinai regionali del repertorio italiano, spesso accostate all’inglese e allo spagnolo.
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Scotti Jurić, Rita, and Lorena Lazarić. "TRADUZIONE E TRADIZIONE. ALCUNE RIFLESSIONI SULLA POESIA DI DANIEL NAČINOVIĆ." Folia linguistica et litteraria XI, no. 30 (2020): 175–93. http://dx.doi.org/10.31902/fll.30.2020.11.
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C’è una differenza sostanziale tra chi si esprime con la lingua standard e chi lo fa in dialetto. Gli studi sulla traduzione della poesia dialettale sono pochi e le prospettive teoriche denunciano per lo più difficoltà implicite in una tale operazione, ma non forniscono modelli operativi soddisfacenti. La domanda che ci si pone è se sia corretto tradurre la poesia ciacava nel dialetto istroveneto o lo si debba fare in italiano standard. Nel saggio si discuteranno le peculiarità della scrittura poetica dialettale di Daniel Načinović: l'espressività della lingua orale legata alla concretezza e all’immediatezza, l'uso frequente di immagini e paragoni, di suoni onomatopeici, di forme allocutive e di modi di dire. In particolare si analizzeranno le tecniche traduttive che permetteranno di recuperare quell'orizzonte antropologico che può essere testimoniato non solo dal ciacavo che lo esprime, ma anche dall'istroveneto che questo mondo lo conosce e lo vive.
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Calderón Quindós, M. Teresa. "Blending as a theoretical tool for poetic analysis." Annual Review of Cognitive Linguistics 3 (October 31, 2005): 269–99. http://dx.doi.org/10.1075/arcl.3.14cal.
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The relation between Linguistics and Poetics has often been a controversial issue in Poetic Studies. With the advent of Cognitive Linguistics and its open disposition to consider any kind of discourse as interesting enough samples of human thought — and human thought being discovered to be of a figurative nature — doors have been widely opened to poetry. Despite the firm reluctance of some Literary sectors to move beyond traditional Poetics, the works by E. Semino, P. Stockwell, Gavins & Steen and M. Freeman are clear confirmation of the modern tendency to incorporate CL findings into poetic analysis. The present paper explores this relation once again. Based on the “unity-in-variety” aesthetic principle, it analyses the way Blending Theory provides the necessary resources to consider any single piece of the poem in the integration network. The paper also offers a systematic methodology — illustrated with a brief analysis of Seamus Heaney’s “Oracle” — which intends to make a contribution to the discipline of Poetics mainly in the educational field.
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Nagy, Gregory. "Oral Poetics and Homeric Poetry." Oral Tradition 18, no. 1 (2003): 73–75. http://dx.doi.org/10.1353/ort.2004.0031.
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Janssen, Niek. "A Gemstone of Many Complexions." Mnemosyne 68, no. 6 (December 4, 2015): 956–74. http://dx.doi.org/10.1163/1568525x-12341763.
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The Orphic Lithica is often considered an incoherent hodge-podge of teachings on magical stones. This paper, however, argues that the polyphony of voices (human, semi-divine, and divine), as well as the amalgam of various subtypes of the hexametric super-genre (didactic epic, narrative epic, bucolic, hymn, oracle), contribute to the ultimate goal of the Lithica: to overwhelm the reader with authorities for the hermetic truth that the poem preaches. The poem further accomplishes this by appealing to the poetic tradition, so as to make the subject matter more recognizable and enjoyable to the audience.
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Pagán Cánovas, Cristóbal, and Mihailo Antović. "Formulaic creativity: Oral poetics and cognitive grammar." Language & Communication 47 (March 2016): 66–74. http://dx.doi.org/10.1016/j.langcom.2015.12.001.
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Litvak, Lily, and Diego Catalan. "Arte poetica del romancero oral. Parte 2a. Memoria, invencion, artificio." Hispanic Review 68, no. 1 (2000): 78. http://dx.doi.org/10.2307/474359.
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Danchinova, M. D. "Dream poetics in oral prose of the Buryats." BSU Bulletin 2 (2016): 231–38. http://dx.doi.org/10.18101/1994-0866-2016-2-231-238.
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Bredehoft, Thomas A. "Writing the Oral Tradition: Oral Poetics and Literate Culture in Medieval England (Poetics of Orality and Literacy). Mark C. Amodio." Speculum 81, no. 2 (April 2006): 470–71. http://dx.doi.org/10.1017/s0038713400002694.
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Kleut, Marija, and Ljiljana Pešikan-Ljuštanović. "Uskoks of Senj: Reality and oral poetic fiction." Kultura, no. 174-175 (2022): 93–112. http://dx.doi.org/10.5937/kultura2275093k.
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The paper examines Uskok poems, especially those dedicated to the Uskoks of Senj, primarily from the point of view of the relationship between epic poems and history. The people of Senj worked from 1537 to 1617, fighting as paid soldiers or volunteers on the side of the Austrian Monarchy, but also going on campaigns on their own, fighting almost to the same extent with the Turkish invaders and the Christians from the wider region. In contrast to the relatively short period of eight decades of their historical presence, the people of Senj have survived in the oral epics in a very wide Balkan area over a long period of time covering a wide anachronistic field. The paper presents an assumption that the Uskoks of Senj were a warrior-patriarchal world, one that has created and spread oral epics. There were many events in their real lives that were themed in the oral epics. In addition, those who jumped from the mainland to the Austrian territory and settled in Senj probably carried some songs/ poems in their spiritual baggage, primarily those about Hajduks. And they were ready to create new ones. Thus, the first known records are proof that the early poetic narrative was suitable for depicting the Uskoks of Senj, and then that it survived in time and space. In certain interpretations, to which the second part of the work is dedicated, it is shown on the basis of anthological examples of poems, how the mythical, ritual and the historical intersect in the poetics of oral epic poetry; how the anachronistic field of a particular poem is formed, whether it is about gathering "power and dominance" in wedding processions, about concentrating heroes around certain events, personalities or spaces important for national history, or about opposing worthy opponents, and how it affects the aesthetic values and meanings that are shaped in the poems; how different genre features intertwine in such poems (epic and epic-lyric poetry, for example); and form complex and witty, full of twists novelistic plots. All this contributes to the meaning of the epic story: it seems that the past of one's own community is brought into a meaningful, paradigmatic order, which can serve as a basis for future actions.
Dissertations / Theses on the topic "POETICA ORALE"
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TAMPLENIZZA, CECILIA. "DO CANTO AO GESTO, DO CORPO AO TEXTO: DIALOGOS COM O GRUPPO DE COPOEIRA ANGOLA PELOURINHO." Doctoral thesis, Università degli Studi di Milano-Bicocca, 2017. http://hdl.handle.net/10281/180895.
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Essa tese é o resultado de uma pesquisa etnográfica realizada junto às atividades do Grupo de Capoeira Angola Pelourinho – GCAP – em Salvador (Bahia/Brasil) e em Cremona (Itália). Trata-se de narrativa centrada em experiência autoral nômade, que se fez oportunidade para investigar os processos culturais, artísticos, bem como as dinâmicas politíco-sociais que obras, marcadas por várias autorias, do final do século XIX aos dias atuais, trazem sobre a capoeira, com mudança de seu estatuto: de prática criminalizada (e sempre posta à margem) à Patrimônio Imaterial da Humanidade. Crítico em relação a esse projeto de institucionalização, o GCAP, orientado pelo Mestre Moraes (Pedro Moraes Trindade), vem desenvolvendo um projeto, interessado em compreender, no contexto atual, narrações orais e corporais, levando adiante princípios e práticas que distinguem essa arte em sua complexidade. Como transmitida no GCAP, a capoeira angola sugere um pensamento de entre-lugar, estimulando a constante busca por outras verdades, ancorado num aprendizado sem ponto final. Para ressaltar essa perspectiva, a narrativa de minha experiência etnográfica não tratou de aspectos meramente visíveis da capoeira – materialização que, pessoas com seus corpos, fazem da capoeira -, mas de como sua prática estimula emoções, interesses e conhecimentos. Minha experiência, em diálogo com outros integrantes do GCAP e suas produções, trouxe à tona a existência de uma tradição poética da capoeira angola, que chamei de poética mandinga, ressaltando sua ancestralidade africana. Essa poética envolve as diversas partes do ritual da capoeira - textuais-corporais-musicais-relacionais – e permite entender a capoeira angola como uma ambiência comunicacional, artístico e expressiva, divulgada e atualizada no encontro entre diferentes culturas.Questa tesi è il risultato di una ricerca etnografica condotta frequentando le attività del Grupo de Capoeira Angola Pelourinho - GCAP - a Salvador (Bahia/Brasile) e a Cremona (Italia). É una narrativa centrata in un’esperienza d’autore nomade, che è diventata l'occasione per indagare i processi culturali e artistici, così come le dinamiche politiche e sociali che l’operato di diversi attori, della fine del XIX secolo ad oggi, ha prodotto sulla capoeira, cambiando il suo status: da pratica criminalizzata (e sempre marginalizzata) a simbolo del Patrimonio Immateriale dell'Umanità. Critico nei confronti di questo progetto di istituzionalizzazione, il GCAP, orientato da Mestre Moraes, Pedro Moraes Trindade, sviluppa un progetto interessato a comprendere, nel contesto attuale, narrazioni orali e corporali, portando avanti principi e pratiche che contraddistinguono quest’arte nella loro complessità. Como trasmessa nel GCAP, la capoeira angola suggerisce un pensiero del intermezzo (in-between), stimolando la costante ricerca di altre verità, ancorato in un processo di apprendimento privo di punto finale. Per sottolineare questo aspetto, la narrazione della mia esperienza etnografica non ha affrontato solo gli aspetti visibili della capoeira - materializzazione che le persone con i loro corpi fanno della capoeira -, ma di come questa pratica stimola emozioni, interessi e conoscenze. La mia esperienza, in dialogo con gli altri membri del GCAP e le sue produzioni, ha fatto emergere anche l'esistenza di una tradizione poetica della Capoeira Angola, che ho chiamato poetica mandinga, sottolineando la sua ascendenza africana. É importante accentuare che, dal XX secolo, questa manifestazione poetica ha iniziato ad essere registrata, sviluppando una conseguente produzione discografica accessibile a persone provenienti da diverse parti del mondo.
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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 culturelUntil 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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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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Trexler, Adam. "Modernist poetics and New Age political philosophy : A.R. Orage, Ezra Pound and T.S. Eliot." Thesis, Queen Mary, University of London, 2006. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1756.
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This dissertation argues that the political, philosophical, and aesthetic theories developed in The New Age, edited by A. R. Orage, provided a crucial foundation for modernist poetry. By situating the modernist aesthetics of Ezra Pound, Wyndham Lewis, and T. S. Eliot in tenris of the complex scene of 19 10s and early 1920s London radicalism, this study develops historically local theoretical terms to read modernist poetry and also suggests the continued relevance of modernist political questions when viewed frorri this perspective. The first chapter analyzes Orage's early political and theosophical writings, demonstrating how these sources informed the journal's interconnected concerns with print culture, radical politics and literature. The second chapter analyzes Ezra Pound's entr6e into the NeIv Age scene in late 1911, situating the criticism and poetry of I Gather the Limbs of Osiris as an important ideological contribution to The New Age's Guild Socialism movement. The third chapter argues that Wyndham Lewis and Ezra Pound's Vorticist movement was organized as a radical mode of production along New Age lines and that Vorticism's aesthetic products are politically positioned against capitalist production. The fourth and fifth chapters trace The New Age's engagement with orthodox economic theory and Pound and Eliot's interest in radical economics, particularly as they connected to epistemology, money and representation, value, corporate organization, consumption and scarcity. In the final chapter, this analysis of Social Credit is used to arguet.h at the developmento f The Cawos and The WasteL aiid are fundamentally connected to the New Age's radical economic epistemology. As a whole, this dissertationa rguest hat the idiosyncratic political theory of T11eN ew Age shaped the production and consumption of crucial modernist poetic strategies.
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Rodgers, Sarah Anne. "From Memnon to Gangnam : a diachronic study of the interaction of technology with oral, written and music-based poetries." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6347.
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Since the advent of capture technologies poets have advanced, through their experimental practice, an expanded understanding of what constitutes a text to incorporate not only its content, but also its construction. Reframed by morphological and mechanical perspectives, our changing relationship with sound and image was constituent to a cumulative process of artistic abstraction that would, in time, come to define modernity. By highlighting the importance of technologies such as telegraphy and electricity in the conception of poetry as a connecting force, of photography and cinema in the recalibration of our perceptions of subject and object, and of gramophony, radio, television and computing technologies as key agents in a process of naturalization regarding the relationship between poetry and its audience, this thesis will attempt to illustrate the progression of technology-led abstraction in oral, written and music based poetries from the beginning of the industrial age to the present day. Our relationship with the communication technologies we invent has become increasingly interwoven with the epistemological structures such mechanisms advance. This thesis will propose that as a consequence, the ways we organise and remediate texts, sounds and images into new, creative contexts that utilize the mass communication technologies and distribution networks of our modern experience positions electronic music, rap, digital memes and other interdisciplinary modes of digital expression as significant poetic forms. Our day-to-day engagement with diverse media allows us to reconfigure all our manifestations of self and any examination of mass media's impact on poetic expression must likewise constitute a reading of both literary and popular materials. To this end, this thesis will consider the progressive technologization of our engagement with oral, written and music-based poetries that media technologies facilitate within the context of the praxis of prominent poets, their literary theories and those of the literary movements they endorsed.
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Guedes, Maria Helena de Sousa. "Round the kitchen table: the poetic work of Joy Harjo." Master's thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/11944.
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Mestrado em Línguas, Literaturas e CulturasThis dissertation aims to explore the human and cultural heritage of North American Indigenous communities, through the example of the poetry of Joy Harjo, in order to increase understanding and respect for the diversity of life supported by the sharing Mother, the Earth. In the attempt to ponder a pluri-dimensional viewing of the world, an approach will be developed in the context of American Indian cultural expression, particularly the contemporary poetry of Joy Harjo, of Muskogee-Creek descent, who suggests a dialectics of spirituality to help human beings in the search for responses to issues and dilemmas both of American Indians and the global multicultural human community. In this process, she focuses on the dynamics of interrelationships combined with personal and collective activism. By sharing ideas and attitudes as well, everyone can learn how to cultivate and educate an awareness of responsibility towards dignifying and valuing diversity. To sum up, in accordance with the crucial role of literature in the evolution of human interrelationships with less social tension and fewer conflicts, by cultivating the dialectics of spirituality articulated by Harjo, human beings can share life in harmony and justice at the same time as we maintain a balanced coexistence with other elements and beings. This dissertation is composed of an introduction and theoretical contextualization of the theme in Part I, an interpretative study of Joy Harjo’s poetry in Part II, and the conclusion in Part III.
O presente trabalho propõe-se aprofundar o conhecimento do património humano e cultural das comunidades Indígenas Norte-Americanas, por intermédio do exemplo da poesia de Joy Harjo, para melhor compreender e respeitar a diversidade da vida gerada pela Mãe em comum, a Terra. Ao procurar refletir sobre uma visão pluridimensional do mundo, será desenvolvida uma abordagem no contexto de expressão cultural Índia Americana, ou Ameríndia, particularmente a poesia contemporânea de Joy Harjo. A poetisa de ascendência Muskogee-Creek sugere que, pela dialética de espiritualidade, os seres humanos encontrem caminhos para resolver questões e dilemas das comunidades Índias Americanas e da comunidade humana multicultural global. Seguindo este processo, vai dar relevância à dinâmica das interrelações que inclui intervenção pessoal e coletiva. Na partilha de ideias e, também, de atitudes, as pessoas podem conhecer como cultivar e educar uma consciência de responsabilidade pela dignificação e valorização da diversidade. Finalmente, concordando que a literatura tem um papel crucial no desenvolvimento de interrelações humanas com menos tensão e menos conflitos sociais, pondo em prática a cultura dialética de espiritualidade exposta por Joy Harjo, a humanidade pode viver em comum com harmonia e justiça, em equilíbrio com todos os outros elementos e seres vivos que existem à nossa volta. Esta dissertação é composta por uma contextualização teórica do tema e introdução, a Parte I, um estudo interpretativo da poesia de Joy Harjo, a Parte II, e pela conclusão, a Parte III.
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Gerber, Edward. "The scriptural tale in the Fourth Gospel : with particular reference to the prologue and a syncretic (oral and written) poetics." Thesis, University of Wales Trinity Saint David, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683084.
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Graziato, Vânia Perrotti Pires. "Cerâmica Kadiwéu - Processos, transformações, traduções: uma leitura do percurso da cerâmica Kadiwéu do século XIX ao XXI." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-29042009-110819/.
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O presente trabalho, resultado do contato com sociedades da Reserva Indígena Kadiwéu, localizada no Pantanal Sul-mato-grossense, verifica a cerâmica ali produzida pelas índias, no período compreendido entre o final do século XIX e a atualidade. A investigação focaliza o processo de produção, os padrões ornamentais, a forma e a função dos objetos, além dos materiais e técnicas utilizados. A cerâmica Kadiwéu difere, atualmente, das demais produções brasileiras principalmente pela ornamentação, marcada por grafismos e cores muito peculiares. Essa produção sofreu, durante o período ao qual a pesquisa se ateve, transformações significativas no que se refere aos padrões e técnicas ornamentais, possivelmente devido à fixação dos índios próximo a Serra da Bodoquena, que oferece grande variedade de matérias-primas, incorporadas às produções correntes. Foram utilizadas como referência para esta pesquisa duas importantes coleções etnográficas: a de Guido Boggiani, que esteve entre os Kadiwéu em 1892 e 1897 e se encontra, sobretudo, em museus da Itália e a coleção recolhida por Darcy Ribeiro na década de 1940, período em que conviveu com eles. Essas coleções diferem muito da produção atual, conforme verificação feita durante os anos 2000 e 2005. A aproximação aos processos de produção, das formas, cores e padrões, impressos na cerâmica Kadiwéu, possibilitou a compreensão da real dimensão das inúmeras possibilidades de exploração do barro transformado pelo fogo, propondo, então, uma tradução poética dessa observação. São de essencial importância a apresentação desse percurso, a verificação e o registro dos processos de produção atuais, usados pelas mulheres índias para preparar, modelar e submeter o barro à ação mágica e transformadora do fogo. A tradução poética aqui delineada nasceu desse encontro, que provocou reflexões manifestadas por dois conceitos: persistência e tradição oral.This work, resulting from contact with Reserva Indígena Kadiwéu (Kadiweu Indian Reserve) societies, located in South Mato Grosso state marsh region (Pantanal), focuses on pottery made by female Indians between late XIXth century and today. Besides material and techniques used, the investigation focuses on objects production process, ornamental patterns, form, and function. Nowadays, Kadiweu pottery differs from other Brazilian natives production mainly in ornamentation, marked by distinctive graphisms and colors. During the period researched, this productions patterns and ornamental techniques have significantly changed, possibly due to the settlement of that native group near Bodoquena Range, where they find a variety of raw material, incorporated to their current production. Two important ethnographic collections were used as a reference for this research: that of Guido Boggiani (who visited the Kadiweu Indians in 1892 and 1897), now specially found at Italian museums, and that accumulated by Darcy Ribeiro in the last century 40s, when he lived with them. These collections differ a lot from current production, as verified in 2000 and 2005. Approaching production processes, forms, colors and patterns imprinted in Kadiweu pottery provided comprehension of the actual dimension of the numberless possibilities of fire-transformed clay exploitation, leading then to a poetic translation of this observation. Of essential importance are presenting this trajectory, checking and registering present production processes used by female Kadiweu Indians in preparing, modelling and subjecting clay to the magic and transforming action of fire. The poetic translation here outlined was born from this meeting, which caused reflections manifested through two concepts: persistence and oral tradition.
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Naddaf, Gerard. "Algunas reflexiones sobre la noción griega temprana de inspiración poética." Pontificia Universidad Católica del Perú - Departamento de Humanidades, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/112947.
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El origen y significado de la inspiración poética” ha sido siempre objeto de considerable controversia. Lo que los críticos no preguntan muy a menudo es: ¿cuáles son las palabras o frases que los textos poéticos tempranos, previos al Período Clásico, usaron para expresar el genio poético o mousikē que nosotros asociamos con la inspiración en la poesía griega temprana? En este ensayo examino, en primer lugar y principalmente, tanto la terminología empleada por Homero y Hesíodo para expresar la experiencia poética, como el rol del aoidoso cantor/poeta en sus descripciones respectivas. Sostengo no solo que se confunden en Homero y Hesíodo las nociones físicas y figurativas de inspiración”, es decir, que no son diferenciadas por los poetas de manera consciente, sino que la poesía misma debe haber sido vista por Homero y Hesíodo como un don divino –de acuerdo a la voluntad de los dioses–. También sostengo que diversas etimologías y contextos sugieren fuertemente que un tipo de mania o posesión extática fue una parte importante del proceso poético temprano. El trabajo aquí presentado es una versión abreviada de un proyecto de investigación más amplio que busca examinar el origen y desarrollo de las actitudes pre-platónicas, platónicas y post-platónicas hacia la inspiración y la alegoría. --- Some Reflections on the Early Greek Notion of Poetic Inspiration”. The origin and meaning of poetic inspiration” has always been the subject of considerable controversy. What critics rarely ask are: what words or phrases did the early poetic texts use to express the poetic genius or mousikē we associate with inspiration in the early Greek poetry, and thus prior to the Classical period? In this paper, I examine first and foremost both the terminology employed by Homer and Hesiod to express the poetic experience and the role of the aoidos or singer/poet in their respective accounts. I argue that not only are the physical and figurative notions of inspiration” in Homer and Hesiod confused, that is, they are not consciously distinguished for the poets, but poetry itself for Homer and Hesiod must have been seen as a divine gift –as willed by the gods. I also argue that a number of etymologies and contexts strongly suggest that a type of mania or ecstatic possession was very much a part of the early poetic process. The work presented here is an abridged part of a larger research project that seeks to examine the origin and development of pre-Platonic, Platonic and postPlatonic attitudes toward inspiration and allegory.
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Almeida, Adriana Soares de. "A Melopoética do sertão do Moxotó : uma análise da poesia oral do Cordel do Fogo Encantado." Pós-Graduação em Letras, 2013. https://ri.ufs.br/handle/riufs/5749.
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This dissertation aims to investigate the relations between music and literature in songs that make the work of the pernambucano group Cordel do Fogo Encantado in order to understand the meanings of these interartistics compositions and how they reinvent the crystallized traditions about the image of the Brazilian backland. Therefore, we chose a corpus consisting of seven songs by Cordel do Fogo Encantado (Profecia, Profecia Final, Chover, A Matadeira, Pedra e Bala,Vou saquear a tua feira e Morte e Vida Stanley), chosen not only for their intersection between literature and music, since the whole work of this group has such intersection, but for their expression of the Brazilian backland, the place of origin of the group. Several implications of this approach appeared and to answer them we followed the
pioneering work of Steven Paul Scher, who under the name Melopoetic (melos = singing + poetic) includes studies of musical-literary comparativism, seeking connections between the arts. Along the ideas of this author, the notion of Cultural Melopoetic present in the works of Solange Ribeiro de Oliveira, also served as basis. Furthermore, we consider appropriate the dialogue between melopoetic and the concept of oral poetry developed by medievalist Paul Zumthor, comprising the study of orality not only in literature, but in different manifestations in which the voice is the driving force, as well as his idea of performance coupled with the work of Ruth Finnegan under the same topic. The work of Cordel do Fogo Encantado, uniting the afro indigenous music in the backland of Moxotó to the sound of violas and rhythms of popular folklore was increased of literature to portray the backland where tradition and
modernity are intertwined, creating a peculiar work. The analytical process sought to demonstrate how the presence of literature and music manifests itself in the songs worked and how this connection is responsible for transcreate a hybrid backland that insists on reinventing itselfEsta dissertação se propôs a investigar as relações entre música e literatura nas canções que compõem a obra do grupo pernambucano Cordel do Fogo Encantado de forma a compreender os sentidos destas composições interartísticas e como elas reinventam as tradições cristalizadas sobre a imagem do sertão. Para tanto elegemos um corpus composto por sete canções do Cordel do Fogo Encantado (Profecia, Chover, Profecia Final, A Matadeira, Pedra e Bala,Vou saquear a tua feira e Morte e Vida Stanley), escolhidas não apenas por sua intersecção entre literatura e música, visto que toda a obra do grupo apresenta tal relação, mas sim por sua expressão do sertão, lugar de origem do grupo. Várias implicações surgiram desta abordagem e para respondê-las nos valemos do trabalho pioneiro de Steven Paul Scher, que sob a denominação de Melopoética (melos = canto + poética) abarca os estudos de comparativismo musical-literário, buscando as conexões entre as artes. Junto às ideias deste autor, a noção de Melopoética Cultural presente nas obras de Solange Ribeiro de Oliveira, também nos serviu de base. Além disso, consideramos pertinente o diálogo entre a melopoética e o conceito de poesia oral desenvolvido pelo medievalista Paul Zumthor que compreende o estudo da oralidade não apenas na literatura, mas nas diversas manifestações em que a voz é a força motriz, bem como a sua ideia de performance aliada aos trabalhos de Ruth Finnegan sobre o mesmo tema. A obra do Cordel do Fogo Encantado, unindo a música afro-indígena do sertão do Moxotó à cantoria de viola e aos ritmos do folclore popular foi acrescida da literatura para retratar um sertão em que tradição e modernidade estão imbricadas, criando uma obra peculiar. O processo analítico por nós utilizado buscou demonstrar como se manifesta nas canções trabalhadas a presença da literatura e da música e como esta conexão é responsável pela transcriação de um sertão híbrido que teima em se reinventar
Books on the topic "POETICA ORALE"
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Poetic rhythm: Structure and performance : an empirical study in cognitive poetics. Brighton [England]: Sussex Academic Press, 2012.
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Tsur, Reuven. Poetic rhythm: Structure and performance : an empirical study in cognitive poetics. Berne: Peter Lang, 1998.
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Mark, Amodio, and Miller Sarah Gray, eds. Oral poetics in Middle English poetry. New York: Garland Pub., 1994.
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Costa, Gabriele. Sulla preistoria della tradizione poetica italica. Firenze: L.S. Olschki, 2000.
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Writing the oral tradition: Oral poetics and literate culture in medieval England. Notre Dame, Ind: University of Notre Dame Press, 2004.
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Oracle figures. Keene, NY: Ausable Press, 2003.
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Oracle bones. London: Anvil Press Poetry, 2001.
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Turkic oral epic poetry: Tradition, forms, poetic structure. New York: Garland, 1992.
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The automatic oracle. Oxford: Oxford University Press, 1987.
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Aloni, Antonio. Cantare glorie di eroi: Comunicazione e performance poetica nella Grecia arcaica. Torino: Scriptorium, 1998.
Find full textBook chapters on the topic "POETICA ORALE"
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Gejin, Chao. "Oral poetics and the Oral Formulaic Theory." In Oral Epic Traditions in China and Beyond, 79–85. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003258001-9.
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Gejin, Chao. "Oral poetics and Chinese epic research." In Oral Epic Traditions in China and Beyond, 91–95. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003258001-11.
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Ólason, Vésteinn. "The Poetic Edda: Literature or Folklore?" In Along the Oral-Written Continuum, 227–52. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.usml-eb.3.4284.
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Thorvaldsen, Bernt Øyvind. "The Poetic Curse and Its Relatives." In Along the Oral-Written Continuum, 253–67. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.usml-eb.3.4285.
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Ojaide, Tanure. "Revisiting an African Oral Poetic Performance: Udje Today." In Indigeneity, Globalization, and African Literature, 237–53. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137560032_17.
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Biondi, Francesca. "Varianti epiche di tradizione orale ed esegesi antica dei poemi omerici." In Poeti in Agone, 435–50. Turnhout: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.gifbib-eb.5.115176.
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Verbaal, Wim. "Oleum de saxo durissimo: Bernard of Clairvaux’s Poetics of Silence." In Understanding Monastic Practices of Oral Communication, 319–35. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.usml-eb.3.4968.
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Ojaide, Tanure. "Michel Foucault and the Urhobo Udje oral poetic tradition." In Literature and Culture in Global Africa, 19–33. New York, NY : Routledge, 2018. | Series: Global Africa ; 4: Routledge, 2017. http://dx.doi.org/10.4324/9781315177700-3.
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Morcillo, Aurora G. "Introduction. Space and Time or the Poetics of Oral History." In Historische Geschlechterforschung, 17–40. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839452578-003.
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Salmon, Laura. "Melancholic Humor, Skepticism and Reflective Nostalgia. Igor’ Guberman’s Poetics of Paradox." In Biblioteca di Studi Slavistici, 107–47. Florence: Firenze University Press, 2015. http://dx.doi.org/10.36253/978-88-6655-822-4.06.
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The poetry of Israeli émigré Igor' Guberman, comprising thousands of quatrains (‘gariki’), represents a hybrid genre at the junction of Jewish aphoristic tradition, Russian oral folklore, and classical Russian poetry. The theme of toska, which is central to the gariki, may be sharply distinguished from the ‘restorative nostalgia’ theorized by Svetlana Boym (2001): Guberman's toska is a thoughtful, melancholic, and paradoxical feeling. It expresses a particular variety of skepticism that characterizes the paradoxical humor of the Ashkenazi, the purpose of which is not to ridicule others' shortcomings, but to gently make fun of the sadness and painful absurdity that impermeates human existence. Such melancholic and paradoxical humor permits Guberman to look at life, at himself, even at God, with an indulgent ‘smile of reason’ that is absolutely devoid of arrogance. A subtle melancholic and deep skeptic, Guberman "laughs through his tears", for this is what Russian-Jewish tradition teaches, a lesson that has penetrated deeply and more generally into Russian literature: when the soul is beset by excessive sadness, its has recourse only to laughter.
Conference papers on the topic "POETICA ORALE"
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Suvajdžić, Boško. "NARODNA KNjIŽEVNOST I IDENTITETSKE PROMENE U SRPSKOJ KNjIŽEVNOSTI." In IDENTITETSKE promene: srpski jezik i književnost u doba tranzicije. University of Kragujevac, Faculty of Edaucatin in Jagodina, 2022. http://dx.doi.org/10.46793/zip21.107s.
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New approaches to oral literature in teaching bring to the fore the questions of classification and terminology, the phenomenon of authorship, the process of composing and tradition, the complexity of reception, the specificities of oral genres and their poetics. The terms ’oral formula’ and ’formulativity’ also stand out in these approaches as some of the most important elements of oral poetic grammar. In all of these researches focused on poetics, the identitary character of Serbian oral literature as “our classic, one and true” (Vasko Popa) should not be neglected, nor its specific roles in teaching and education: aesthetic, ethical, epistemological, cultural, educational functions.
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Meyer, David. "A computationally-assisted procedure for discovering poetic organization within oral tradition." In Proceedings of the 2nd Workshop on the Use of Computational Methods in the Study of Endangered Languages. Stroudsburg, PA, USA: Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/w17-0113.
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Dugarov, B. S. "GESERIADA: THE BURYAT ORAL POETIC MONUMENT AND THE CENTRAL ASIAN EPIC TRADITION." In The Epic of Geser — the spiritual heritage of the peoples of Central Asia. BSC SB RAS, 2020. http://dx.doi.org/10.31554/978-5-7925-0594-0-2020-3-6.
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Piotrovsky, Dmitry D. "THE RHYME AND THE FORMULA IN POPULAR FAROESE POETRY." In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.26.
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The main means which organizes the verse in popular Faroese poetry is end rhyme. In four-line stanzas the rhyme connects the second and the fourth lines, in two-line ones both present lines. The Faroese rhyme is not strict. It is enough only to repeat the stressed vowel, the consonant following after might vary. The part of the word which follows the stressed vowel may undergo significant changes. The masculine ending sometimes rhymes with the feminine one. Even the stressed vowel might vary to some extent. The Faroese rhyme is often trivial. The ballads on the Faroese Isles were oral. So, some special formula technique was applied for their transition. The means of the formula technique are formulas and repetitions. The formulas are metrically conditioned reproducible word groups having the length of one line, meanwhile the repetitions are metrically non-conditioned sequences of different length. The formulas and repetitions, as well as they perform the same function of the building material for the oral poetic text, also possess the same structure. They both are composed from permanent end variable parts. In repetitions their entwinement takes different forms. They may follow one another, usually first comes the permanent part then the variable one. The permanent part sometimes occupies the second half of one stanza and then the first half of the following stanza. The permanent end variable parts might cross one another. In this case the permanent part occupies unpair lines and the variable part occupies pair ones. The distribution of these parts of both formulas and repetitions is tied to the rhyming places of the verse. The rhyming word is usually located in the variable part but sometimes it is found in the permanent part. This one more time proves that there is no impenetrable boundary between formulas and repetitions. Refs 8.
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Jesus, Vanessa. "La poética artística como herramienta de acción política para la promoción del afecto: Una acción poetico-afectiva en territorios afectados de la Cuenca del Rio Doce." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10331.
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Todas las personas son poderosas. Pero a menudo en el curso de una catástrofe, estos potenciales se olvidan o se pierden. Creo en la práctica artística como un elemento poderoso de restauración afectiva, un elemento básico de transformación social, especialmente en comunidades en crisis, vulnerabilidad y / o invisibilidad, como consecuencia de guerras, desigualdad social o catástrofes / delitos ambientales. Como resultado del delito / desastre socioambiental de Río Doce, ocurrido el 5 de noviembre de 2015, con la ruptura de una represa de 62 millones de metros cúbicos de relaves de una empresa minera multinacional en el estado de Minas Gerais. Comparto la experiencia de la práctica de la creación artística con algunas de las comunidades afectadas a lo largo de la cuenca del Río Doce, entre los estados de Espirito Santo y Minas Gerais - Brasil. Una práctica artística que tiene la intención de promover la empatía y el afecto a través de las escuchas afectivas con el Rio Doce, con la idea de una regeneración afectiva, que permite que los afectados se sientan parte del mundo nuevamente. La práctica comenzó con las experiencias y la interacción con las comunidades en el marco del Regenera Rio Doce Festival en 2017 en Linhares-ES Regencia, del II Encuentro de Ancestros de Areal en 2018, y con base en las metodologías de documentación y de la historia oral del Museo de la Persona. São Paulo, Brasil. Este articulo tiene el objetivo de compartir las metodologías y los resultados de las practicas artísticas realizadas en las comunidades afectadas en la Cuenca del Rio Doce. Y proponer diálogos sobre otros tipos de practicas para la promoción de afecto y empatia.
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Ouellet, Chantal, Amal Boultif, and Pierre Jonas Romain. "OUTCOMES OF SLAM WRITING WORKSHOPS FOR HAITIAN STUDENTS AT THE END OF ELEMENTARY SCHOOL." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v2end052.
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"In Haiti, the success rate in elementary school remains very low and the majority of teachers do not have sufficient knowledge of effective pedagogical approaches to writing which leads to demotivation and a low sense of effectiveness as scriptwriters among students. We chose slam as a genre of contemporary and urban poetry (Vorger, 2011) and the workshop device to work on slam poetic writing (Troia, Lin, Cohen and Monroe, 2011), ideal to improve students' writing skills, motivation and sense of effectiveness. The research took place in two primary schools in Port-au-Prince against the backdrop of a socio-political crisis. Twelve facilitators (10 women and 2 men), trained in advance, facilitated the workshops in 13 sessions of 90 minutes each. A total of 61 students aged 12-13 participated in the after-school writing workshops (26 boys and 38 girls). Students completed a questionnaire on their motivation and sense of writing skills before and after the program. A corpus of 41 texts of claimed poetry written by students is the subject of a thematic and linguistic analysis. The results indicate that students benefit from their writing and oral expression skills, self-confidence and empowerment, and that their texts demonstrate a high degree of linguistic creativity and thematic richness. The positive results are consistent with those obtained in other socio-cultural contexts (Patmanathan, 2014) regarding the impact of the writing workshops. They contribute to new knowledge about slam poetry as an appropriate literary genre for young people, even at the end of primary school."
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Decandia, Lidia. "Percorsi e terre di mezzo: dai cammini degli antenati ai luoghi dell'incontro e della festa contemporanei: il museo mater di Mamoiada." In International Conference Virtual City and Territory. Roma: Centre de Política de Sòl i Valoracions, 2014. http://dx.doi.org/10.5821/ctv.7975.
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Il saggio intende raccontare l’esperienza svolta insieme a Studio Azzurro nella progettazione
del Museo di archeologia e del territorio di Mamoiada. In questa esperienza attraverso l’uso di
strumenti multimediali e interattivi si è lavorato per costruire non un luogo contemplativo, ma
una vera e propria centrale “centrale di produzione di conoscenza memoriale e immaginativa”.
Nel raccontare alcuni aspetti della storia di questo territorio, per individuare una possibile chiave
interpretativa, siamo partiti dalle peculiarità di questo contesto e in particolare dal suo essere
terra di confine e di frontiera, e in quanto tale, anche luogo di incontro e di scambio. Questa
particolare identità di confine è diventata la chiave per rileggere la presenza di particolari luoghi
"sacri" preistorici e contemporanei che popolano questo contesto.
Si è scelto di narrare questo peculiare aspetto della storia del territorio utilizzando fonti
documentarie e orali, messe insieme non con un andamento lineare e continuo, ma lavorando
piuttosto, attraverso immagini poetiche e metaforiche per frammenti, montaggi, accostamenti
delicati che, nel rompere ogni associazione sistematica, si richiamano l'un l'altro, più attraverso
analogie che sequenze logiche. Abbiamo pensato di costruire un percorso che diventasse
capace di mostrare più che di dire, di far lavorare l'immaginazione attraverso l'accostamento
inusuale tra epoche differenti, tra l'arcaico e il contemporaneo; di aprire domande e di mettere
sul tavolo questioni insolute anziché costruire teorie da difendere.
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San Cristóbal, Úrsula. "Cuerpo, límites y autobiografía: Una aproximación a lo sonoro en la obra de Marina Abramović." In II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Valencia: Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.12845.
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Los elementos sonoros son una constante en el trabajo de Marina Abramović. No obstante, su presencia ha sido objeto de escuetos comentarios en la bibliografía especializada. Los pocos textos que se refieren al tema, abordan principalmente su obra temprana de la década de 1970. Autoras como Iles (1995) y Biesenbach (2010), solo se refieren al sonido como temporalidad en las instalaciones y performances realizadas en Belgrado. LaBelle (2006-2014) y Hegarty por su parte, se refieren de manera muy breve al uso de la voz en piezas de video performance como Freeing The Voice y Art Must Be Beautiful, sin aportar mayor información contextual al respecto. Pocos escritos abordan obras posteriores. Richards (2010) menciona la presencia de canciones populares en las obras de la década de 1990, pero las referencias suelen ser tan imprecisas que en ocasiones resulta imposible determinar qué músicas fueron empleadas. A la fecha no se ha realizado ningún estudio en profundidad sobre lo sonoro en la obra de Abramović. Cómo se relacionan el sonido, la escucha y el cuerpo, y qué rol cumple la música en el desarrollo conceptual de sus acciones, constituyen interrogantes aún por explorar. En esta ponencia intento ofrecer una panorámica general sobre el rol de lo sonoro en la obra en solitario de Marina Abramović. A través de un análisis comparado entre la serie Rhythm (1973-74) y las performances Delusional (1994) y Balkan Baroque (1997), intento poner en evidencia el paso del sonido a la música que opera en la artista y cómo ello llega a influir en su concepción de la performance. Bibliografía básica: Biesenbach, Klaus. 2010. «Marina Abramović. The Artist is present. The artist was present. The artist will be present». En Marina Abramović: The Artist is Present, 12-21. New York: Museum of Modern Art. ———. 2016. «The Fundamentals of Endurance: Marina Abramović on How She Learned to Refuse the Body’s Limits and Make Immortal Art». Artspace. 2016. Hegarty, Paul. 2015. Rumour and Radiation: Sound in Video Art. London & New York: Bloomsbury Publishing. Iles, Chrissie. 1995. «Cleaning The Mirror». En Marina Abramović: Objects, Performance, Video, Sound, 21-34. Oxford: Museum of Modern Art Oxford. LaBelle, Brandon. 2006. Background noise : perspectives on sound art. Continuum International. ———. 2014. Lexicon of the mouth : poetics and politics of voice and the oral imaginary. New York & London: Bloomsbury. Richards, Mary. 2010. Marina Abramović. New York: Rouletdge.