Thèses sur le sujet « Andi Folk literature »
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Bellew, Sheilah Marie. « Integrating folk literature into a meaning center curriculum ». CSUSB ScholarWorks, 1992. https://scholarworks.lib.csusb.edu/etd-project/709.
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Strain, Catherine Benson. « Folk Medicine in Southern Appalachian Fiction ». Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etd/720.
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The region of Southern Appalachia, long known for its colorful storytellers, is also rich in folk medical lore and practice. In their Appalachian novels, Lucy Furman, Emma Bell Miles, Mildred Haun, Catherine Marshall, Harriette Arnow, Lee Smith, and Charles Frazier, feature folk medicine prominently in their narratives. The novels studied, set against the backdrop of the rise of official medicine, are divided into three major time periods that correspond to important chapters in the history of American medicine: the 1890s through the 1930s; the 1940s through the 1960s; and the 1970s through the present. The study of folk medicine, a sub-specialty of the academic discipline of folklore, gains significance with the current rise in distrust of official medicine and a return to medical folkways of our past. The authors studied here have performed an ethnological role in collecting and preserving with great care and authenticity many of the Appalachian regionÆs folk medical beliefs and practices.
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譚達先 et Tat-sin Tam. « Folk literature and the Zaju (Northern drama) of the YuanDynasty, 1279-1368 ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31232395.
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何倬榮 et Cheuk-wing Ho. « Engendering children : from folk tales to fairy tales ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227363.
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Williams, Shawn Lamar. « "The people's champion" : folk heroism and the oral artistry of Muhammad Ali ». DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2000. http://digitalcommons.auctr.edu/dissertations/460.
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Long after a career that was as much marred by criticism as marked by accomplishment, Muhammad Au receives considerable public acclaim for his athletic accomplishments and his humanitarianism. However, no scholarly attention has been given to this man as a literary force who, through the power of his word, impacted the consciousness of this nation and world. This dissertation examines Ali as an artist operating within the context of African and African American oral literary traditions and will explore the impact of his oratory on the sociopolitical consciousness of this country. The analysis of the oral literature of Muhammad Ali, which consists of his lectures, interviews, and poetry, will involve an assessment of those aspects that make it a manifestation of the verbal culture of Africa and African America. Moreover, the study illustrates the degree to which the rhetoric and verse reflects both African-American national consciousness (i.e., black nationalism) and African folkloric tradition. In his creation of himself Ali utilizes traditional African and African American mythoforms like the trickster, the Badman, and the culture hero. In this respect, Muhammad Ali is the only athlete to emerge as an Afrocentric cultural hero. This subject encompasses matter of literature, African American studies, speech communications, and popular culture.
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Mora, Pablo. « An encounter between Andean folktale values and biblical values ». Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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Christiansen, Anna P. « The Underground Gang : Cyclist Group Identity as Expressed Throughout Folk Art, Folk Events, Narratives, and Community Spaces ». DigitalCommons@USU, 2015. https://digitalcommons.usu.edu/etd/4467.
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This thesis is a study of the “underground” cycling community in Ogden, Utah. Countercultural cycling micro-communities exist across the United States, if not the world, but have not yet been thoroughly studied by folklorists. This research establishes a foundational understanding of the nature of underground cycling culture, particularly in relation to identity. Using folkloric definitions of identity and subculture as my foundation, I examine four different facets of cyclist activities: folk art, folk events, narratives, and the community’s use of space. These four facets provide a variety of lenses through with to examine actualized, expressive cyclist behavior. Each facet also illustrates the different levels (personal, community, and global) at which identity is performed.
The most personal performances of cyclist identity are through the folk art of modified bicycles. Modifications tend to reflect the personality of the cyclist, and consequently a bicycle comes to hold much symbolism for the cyclist. The communitylevel studies consisted of examining group events where I observed how the group interacted with itself. The performance and participation in activities are what constitutes an actual cycling community, rather than a series of individual cyclists.
The examination of narratives moves outward to contextualize the cycling microcommunity within the larger Ogden community. This chapter explores the role of conflict, illustrates how cyclists think of themselves, and illustrates how cyclists define themselves in opposition to motorists.
The community spaces examination looks at the use of physical space versus digital space. These spaces illustrate how the community behaves amongst itself versus how the community behaves amongst the larger, online, Utah cycling community. The physical space reflected the creativity and utilitarian needs of the group. The restrictive digital spaces manage to be expressive through images and language. Internal group conflict occurs more often online, however, due to infractions of implicit group etiquette, possibly as a symptom of a less personal form of interaction.
The marginalized, cyclist identity seemed to hold the greatest rewards at the more intimate, personal levels. Moving outward towards broader community-level contests, cyclist identity seems to become a source of conflict.
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Kim, Christine. « Munui (문의) : Modern Adaptations of Korean Folk and Fairy Tales ». Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1911.
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Mortensen, Camilla Henriette. « Healing the handless maiden : women's (counter) narrative and the recuperation of agency / ». view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3061959.
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Thesis (Ph. D.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 227-239). Also available for download via the World Wide Web; free to University of Oregon users.
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Vane, Jake D. « Prayer, Sacrifice, and Service : Themes in the Mormon Folk Narrative Tradition ». DigitalCommons@USU, 2012. https://digitalcommons.usu.edu/etd/1272.
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The purpose of this study was to increase understanding of the Mormon folk group. Specifically, I aimed to analyze the Mormon folk narratives that center on three core values of Mormonism: prayer, sacrifice, and service. This project was an introductory approach, pointing the field of Mormon folk studies toward the study of these three narrative types. As these themes are central to Mormonism, my purpose was to offer more insight and understanding about Latter-day Saints. Looking at these stories, I examined the ways in which Latter-day Saints believe and practice the doctrinal principles that undergird these themes. Furthermore, I discussed the manner in which and the purposes for which Latter-day Saints share these narratives. I analyzed each of the three narrative types in terms of their history, context, structure and patterns, performance qualities and functions, and meaning. This study examined narratives that I collected from various places in Utah. The stories that I collected through interviews formed the foundation of my study. Additionally, I obtained stories by observing storytelling events and conversing interpersonally and in small groups with Latter-day Saints. In order to obtain a larger sampling, I collected some stories from LDS published works. I ended up compiling at least thirty stories for each narrative type. The results of the study included a greater understanding of how prayer, sacrifice, and service operate in Latter-day Saint life. Answered-prayer narratives were found to be a critical aspect of Mormon supernatural belief, as Latter-day Saints seek to involve God in everyday life. Narratives of sacrifice revealed the various ways in which Mormons seek to give up valued activities and interests in order to draw closer to God. Furthermore, service narratives exposed how Latter-day Saints commit themselves to service upon joining the Church and subsequently participate in a multitude of various service opportunities. My analysis of these three narrative types demonstrated essential aspects of what it means to be Mormon.
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Williams, Heidi Jean. « The One Man Crew : The Creating and Sustaining of a Master Folk Artist ». DigitalCommons@USU, 2014. https://digitalcommons.usu.edu/etd/3849.
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Folk art is the art of everyday life. Framing homes can be artistic when done with a degree of exemplary expertise. Jerry Saville is a master folk artist because of his special skills and techniques exhibited in his trade of carpentry. This research provides a glimpse into a carpenter’s life to discover what creates and sustains a master carpenter. Through desire, drive, dedication (time/practice), life experience/opportunity (apprenticeship), purpose, and a community of support, Jerry Saville became a master folk artist.
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Carpenter, Damian A. « Lead Belly, Woody Guthrie, Bob Dylan and American Folk Outlaw Performance ». Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/1472484428.
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With its appeal predicated upon what civilized society rejects, there has always been something hidden in plain sight when it comes to the outlaw figure as cultural myth. Damian A. Carpenter traverses the unsettled outlaw territory that is simultaneously a part of and apart from settled American society by examining outlaw myth, performance, and perception over time. Since the late nineteenth century, the outlaw voice has been most prominent in folk performance, the result being a cultural persona invested in an outlaw tradition that conflates the historic, folkloric, and social in a cultural act. Focusing on the works and guises of Lead Belly, Woody Guthrie, and Bob Dylan, Carpenter goes beyond the outlaw figure’s heroic associations and expands on its historical (Jesse James, Billy the Kid), folk (John Henry, Stagolee), and social (tramps, hoboes) forms. He argues that all three performers represent a culturally disruptive force, whether it be the bad outlaw Lead Belly represented to an urban bourgeoisie audience, the good outlaw Guthrie shaped to reflect the social concerns of marginalized people, or the honest outlaw Dylan offered audiences who responded to him as a promoter of clear-sighted self-evaluation. As Carpenter shows, the outlaw and the law as located in society are interdependent in terms of definition. His study provides an in-depth look at the outlaw figure’s self-reflexive commentary and critique of both the performer and society that reflects the times in which they played their outlaw roles.https://dc.etsu.edu/etsu_books/1158/thumbnail.jpg
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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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Cooper, Jessica. « The Roles of Women, Animals, and Nature in Traditional Japanese and Western Folk Tales Carry Over into Modern Japanese and Western Culture ». Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/166.
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The roles of women, animals, and nature in traditional Japanese and Western folk tales continue to be parallel to the roles of women, animals, and nature in modern Japanese and Western Culture. This is a result of the values and morals that are encapsulated within these folk tales.
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Sutton, Matthew D. « The Young, Clean-Cut America : The Hootenanny, Revisited ». Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2365.
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Brandt, Kristen Clark. « Cultural and Narrative Shifts of Nineteenth Century Children's Literature in Hawthorne's Wonder Book for Girls and Boys ». TopSCHOLAR®, 2018. https://digitalcommons.wku.edu/theses/3083.
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Both folklorists and literary critics have been drawn to Nathaniel Hawthorne’s body of work because of his distinctive style and incorporation of folk motifs. Such motif-spotting presents no challenge in Hawthorne’s juvenile literature like his retellings from Greek mythology in Wonder Book for Girls and Boys; however, contemporary folklore redirects the focus of this scholarship to “how particular literary uses of folklore fit into a larger, more fundamental concept of what folklore is and how and what folklore communicates” (de Caro & Jordan 2015:15). Hawthorne’s work interacts with other forms of cultural expression in the nineteenth century such as dominant cultural narratives and artwork to transform the classical narratives in Wonder Book for Girls and Boys into narratives that reflect customs in conversational discourse and childrearing practice.
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Mpolweni, Nosisi Lynette. « The orality - literacy debate with special reference to selected work of S.E.K. Mqhayi ». Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&.
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The focus of this thesis is on Xhosa oral and written poetry. The discussion in the thesis is based on the information from existing literature, the responses from the questionnaires and the interviews with some Xhosa iimbongi (person who sings praises) who have reflected on their personal experiences. In addition to this, S.E.K. Mqhayi is at the centre of discussion because as a prominent Xhosa imbongi he features in both the oral and the written world.
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Dowling, Tessa. « The forms, functions and techniques of Xhosa humour ». Doctoral thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/17456.
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Bibliography: pages 259-274.In this thesis I examine the way in which Xhosa speakers create humour, what forms (e.g. satire, irony, punning, parody) they favour in both oral and textual literature, and the genres in which these forms are delivered and executed. The functions of Xhosa humour, both during and after apartheid, are examined, as is its role in challenging, contesting and reaffirming traditional notions of society and culture. The particular techniques Xhosa comedians and comic writers use in order to elicit humour are explored with specific reference to the way in which the phonological complexity of this language is exploited for humorous effect. Oral literature sources include collections of praise poems, folktales and proverbs, while anecdotal humour is drawn from recent interviews conducted with domestic workers. My analysis of humour in literary texts initially focuses on the classic works of G.B. Sinxo and S.M. Burns-Ncamashe, and then goes on to refer to contemporary works such as those of P.T. Mtuze. The study on the techniques of Xhosa humour uses as its theoretical base Walter Nash's The language of humour (1985), while that on the functions of Xhosa humour owes much to the work of sociologists such as Michael Mulkay and Chris Powell and George E.C. Paton. The study reveals the fact that Xhosa oral humour is personal and playful - at times obscene - but can also be critical. In texts it explores the comedy of characters as well as the irony of socio-political realities. In both oral and textual discourses the phonology, morphology, syntax and semantics of Xhosa are exploited to create a humour which is richly patterned and finely crafted. In South Africa humour often served to liberate people from the oppressive atmosphere of apartheid. At the same time humour has always had a stabilizing role in Xhosa cultural life, providing a means of controlling deviants and misfits.
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Gröndahl, Satu. « Den ofullkomliga traditionen bilden av Ingermanlands kvinnliga runotradition / ». Uppsala : Stockholm : AUU ; Distributed by Almqvist & ; Wiksell International, 1997. http://catalog.hathitrust.org/api/volumes/oclc/36499319.html.
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Reiss, Nicole S. (Nicole Susanne). « Universal fairy tales and folktales : a cross-cultural analysis of the animal suitor motif in the Grimm's fairy tales and in the North American Indian folktales ». Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24103.
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The primary objective of this M. A. thesis is to correct some false assumptions found in both older and more recent secondary literature on North American Indian narratives. Many folklorists base their folktale criteria on terms of cultural differences instead of similarities which results in an ethnocentric point of view that holds the Grimms' Kinder- und Hausmarchen as a standard against which all other folktale collections falls short. If we want to strive for a world view that will embrace all types of literature, while respecting the individuality of each culture, then we must focus on the essential similarities among world literatures and not the differences. The purpose of using another culture as a comparison, such as that of the North American Indians, is to question the ethnocentric definitions of folktales and fairy tales which have often been too rigid. Perhaps those cultural values exhibited by North American Indian folktales could prove to be beneficial to the world's multi-cultural society, in that these values could enrich and rejuvenate some Western values, such as respect for animals and the environment. These values may offer solutions to urgent contemporary world problems. Through a comparative analysis of the animal suitor motif found in the Grimms' fairy tales and North American Indian folktales, I hope to call attention to the stark cross-cultural similarities in universal folklore and to bring to light the multiplicity of cultural values which are deeply rooted in fairy tales and folklores around the world.
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Paringatai, Karyn Ailsa, et n/a. « Poia mai taku poi : Unearthing the knowledge of the past : a critical review of written literature on the poi in New Zealand and the Pacific ». University of Otago. Te Tumu - School of Maori, Pacific and Indigenous Studies, 2005. http://adt.otago.ac.nz./public/adt-NZDU20070430.110817.
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The primary objective of this thesis is to review literature written about poi in order to construct an historical overview of poi from pre-contact Maori society until the 1920s. The mythological and Polynesian origins of poi, traditional and contemporary materials and methods used to make poi, early travellers, explorers, and settlers accounts of poi and two case studies on the use of poi in the Taranaki and Te Arawa areas will be included in this thesis. The information will be used to show the changes in poi that have occured since Maori and European arrival to New Zealand until the 1920s.
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Burton, Thomas G., Jack Schrader et Ambrose Manning. « Ray Hicks and other Beech Mountain Folks ». Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu_books/60.
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Thomas Burton, Jack Schrader, and Ambrose Manning of East Tennessee State University began documenting the Appalachian region in the 1960s. Together they came to know many mountain people now recognized as Appalachian Masters. In this DVD we are introduced to Ray Hicks along with his family and friends from Beech Mountain, North Carolina. Thomas Burton serves as our guide. Included are two Burton/Schrader films in their entirety: A film about Ray Hicks and another about Buna Presnell Hicks and Bertha Hubbard Baird, along with video excerpts of Stanley Hicks and Hattie Presnell recorded by Burton and Manning. Please be aware that the film quality of the remastered excerpts reminds us of a time before the digital age.https://dc.etsu.edu/etsu_books/1095/thumbnail.jpg
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Renner, Jasmine R. « You Cannot Chase Two Antelopes at The Same Time ». Digital Commons @ East Tennessee State University, 2013. http://amzn.com/1490461604.
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"You Cannot Chase Two Antelopes at the Same Time" will teach your child(ren) the invaluable lesson of determination and focus. This heart-warming story about the courage and determination of a little boy and his sister who set out to chase two antelopes unsuccessfully, extracts in a vivid illustrative style, the important character trait of determination and focus. The little boy and girl set out to accomplish an impossible task and try different approaches, but to no avail. They finally figured out that in life some pursuits are too delicate to focus on multiple things at the same time. The vivid imagery of antelopes and their incredible sense of swiftness will thrill, entertain and motivate your children.https://dc.etsu.edu/etsu_books/1080/thumbnail.jpg
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Chagas, Mirian Santos. « Tradição popular na literatura infantil e juvenil : leituras do Bumba-meu-boi maranhense ». Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19245.
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Mirian Santos Chagas.pdf: 2091097 bytes, checksum: a41f7dbb0e8313256d7b733263b950d2 (MD5)Made available in DSpace on 2016-10-28T08:56:33Z (GMT). No. of bitstreams: 1 Mirian Santos Chagas.pdf: 2091097 bytes, checksum: a41f7dbb0e8313256d7b733263b950d2 (MD5) Previous issue date: 2016-08-29
This dissertation aims to map, describe and interpretate how Bumba-meu-boi, a manifestation of popular culture, is configured in Children and Young Adult Literature. Concerning to mapping, the research found in Brazilian editorial market fifteen Children and Young Adult Literature books about Bumba-meu-boi as main theme. When describing the group of books, it was clearly perceived that it could be divided in two subgroups: one subgroup formed by books intended to preserve the traditional auto and one subgroup formed by books that choose to update the auto, both aiming the maintenance and the dissemination of Bumba-meu-boi. In the third throughput of the research, the aesthetic and literary interpretations of the books have been made, aiming to observe the way literature for children and young adult configures literarily this party from popular tradition. For this purpose, Stela Barbieri’s Bumba-meu-boi (2014) has been analyzed at great lenght as an exemple of the group of conservation of tradition; and Carmen Lúcia Campos’ A festa do boi (2007) has been analysed at great lenght as representantive of the dimension of the updating. The selection of these books takes into account that both of them have the Bumba-meu-boi matraca’s ox from State of Maranhão as a reference, also known as accent of the lowlands and of the island. The issues that encircle the confluence between Children and Young Adult Literature and popular tradition dialogue with the studies conducted by Peter Burke, Teresa Colomer, Peter Hunt, and Regina Zilberman. The thinking about Bumba-meu-boi is due, mostly, to the work of Luís da Câmara Cascudo, Mário de Andrade, Maria Laura Cavalcanti, Américo Azevedo, José Ribamar Sousa dos Reis, Luciana Gonçalves de Carvalho, amongst others. The corpus analysis, taking into account the aesthetic assembly formed by illustration and text, has been based on researches conducted by Walter Benjamin, Paul Zumthor, Néstor Garcia Canclini, Maria José Gordo Palo, Maria Rosa Duarte de Oliveira, and Sophie Van Der Linder . The main result of this research is the awareness of that both throughputs (auto’s conservation and updating) that pervade the representation of Bumba-meu-boi in Children and Young Adult Literature are complementary and brought together to preserve and disseminate tradition, mantaining the link between new generation and ancestry through Children and Young Adult Literature
Esta dissertação tem como objetivo mapear, descrever e interpretar o modo como o Bumba-meu-boi, manifestação da cultura popular, está configurado na Literatura Infantil e Juvenil. No que diz respeito ao mapeamento, a pesquisa levantou, no mercado editorial brasileiro, quinze títulos de Literatura Infantil e Juvenil tendo o Bumba-meu-boi como tema central. Ao efetuar a descrição, percebeu-se que o conjunto poderia ser dividido em dois grupos: um reunindo os livros dedicados à preservação do auto tradicional e outro formado por obras que elegem a atualização do auto, ambos buscando a preservação e a divulgação do Bumba-meu-boi. No terceiro movimento da pesquisa, fez-se a interpretação literária e estética das obras, objetivando observar o modo como a literatura voltada para crianças e jovens configura literariamente essa festa da tradição popular. Para tanto, realizamos a análise em profundidade dos livros Bumba-meu-boi (2014), de Stela Barbieri, como exemplar do grupo da conservação da tradição; e A festa do Boi (2007), de Carmen Lucia Campos, como representante da vertente da atualização. A seleção dessas obras leva em consideração que ambas têm como referência o Bumba-meu-boi boi de matraca do Estado do Maranhão, também conhecido como sotaque da baixada e da ilha. As questões que circundam o encontro entre a Literatura Infantil e Juvenil e a tradição popular dialogam com os estudos de Peter Burke, Teresa Colomer, Peter Hunt e Regina Zilberman. As reflexões sobre o Bumba-meu-boi são devedoras, principalmente, da obra de Luís da Câmara Cascudo, Mário de Andrade, Maria Laura Cavalcanti, Américo Azevedo, José Ribamar Sousa dos Reis, Luciana Gonçalves de Carvalho, entre outros. A análise do corpus, levando em consideração o conjunto estético formado por texto e imagem, seguiu as pesquisas de Walter Benjamin, Paul Zumthor, Néstor Garcia Canclini, Maria José Gordo Palo, Maria Rosa Duarte de Oliveira e, Sophie Van Der Linder. O principal resultado da pesquisa é a percepção de que os dois movimentos (conservação e atualização do auto) que permeiam a representação do Bumba-meu-boi na Literatura Infantil e Juvenil são complementares e convergem para as ações de preservar e divulgar a tradição, mantendo o elo entre as novas gerações e a ancestralidade por meio da Literatura Infantil e Juvenil
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Ahlstone, Daisy M. « Thylacine Dreams : The Vernacular Resurrection of an Extinct Marsupial ». DigitalCommons@USU, 2019. https://digitalcommons.usu.edu/etd/7563.
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This thesis explores the folk resurrection of the thylacine through artwork and symbolic interaction. The thylacine, better known as the Tasmanian tiger, is a marsupial that suffered a government-sanctioned massacre leading to its extinction in 1936. The thylacine’s status as a hidden animal has inspired what folklorists call “ostensive practice”; people not only actively seek out the thylacine in the wilderness of Tasmania today and share their sightings online, but they have also incorporated the thylacine as a symbol of hope and perseverance into various forms of folk art.
There have been upwards of five thousand documented sightings of the thylacine since its extinction. This documentation can take the form of amateur or phone-recorded films, or sightings described in interviews for local news agencies. Some people have even found alleged biological remains of the thylacine and have described hearing its unique call. In addition to these types of legend-tripping activities, the thylacine is also represented in a variety of folk-art forms, including digital, painted, and hand-drawn artwork, written fiction, fiber arts, and costuming. This content is shared widely across the internet.
Keeping the thylacine alive through the creation of folk art and legend-tripping search parties helps thylacine enthusiasts cope with the guilt for having lost an ecologically important animal due directly to ignorance and financial gain. If the thylacine is resurrected, whether literally or figuratively, people can symbolically undo some of the damage they have caused the natural world. Thus, the vernacular resurrection of the thylacine, understood through a folklorist lens, offers a model for comparing some of the vernacular ways that people are presently dealing with the general loss of wildlife due to climate change.
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Stamper, Randall Lawrence. « Gonna Spread the News all Around : Early, African-American Popular Song as Spoken Newspaper ». VCU Scholars Compass, 2006. http://hdl.handle.net/10156/2136.
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Kongs, Veronica Louise. « Graduate band conducting recital : lesson plans and theoretical/historical analysis of literature ». Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/365.
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Cochran, Kimberly Giles. « "Ah Ain't Brought Home a Thing but Mahself" : Cultural and Folk Heroism in Zora Neale Hurston's Their Eyes Were Watching God and Ellen Douglas' Can't Quit You, Baby ». Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/64.
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In scholarship discussing Zora Neale Hurston’s Their Eyes Were Watching God, Janie’s self-realization is central to her identity, and many scholars view and discuss her as a cultural hero. But her success is conditional on circumstance rather than composition of character, a fact this essay explores through a careful comparison between Janie and Tweet, a character from Ellen Douglas’ Can’t Quit You, Baby; specifically, while Janie ultimately succeeds in her world—even while confronting gender oppression—she improbably avoids the additional, crippling subjugation of racial prejudice that Tweet endures. Through this and a discussion of definitions and Hurston’s work as a folklorist/writer, I attempt to show that Janie can be more effectively described as a folk hero, a title that: (1) accurately identifies her functions in her fictional society and in literary fiction and (2) satisfies Hurston’s goals in the novel while also accurately reflecting Janie’s journey to self fulfillment.
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Mostert, Andre. « Developing a systematic model for the capturing and use of African oral poetry : the Bongani Sitole experience ». Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002154.
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Oral traditions and oral literature have long contributed to human communication. The advent of arguably the most important technology, the written word, altered human ability to create and develop. However, this development for all its potential and scope created one of the most insidious dichotomies. As the written word developed so too the oral word became devalued and pushed to the fringes of societal development. One of the unfortunate outcomes has been a focus on the nomenclatures associated with orality and oral tradition, which although of importance, has skewed where the focus could and should have been located, namely, how to support and maintain the oral word and its innate value to human society in the face of what has become rampant technological developments. It is now ironic that technology is creating a fecund environment for a rebirth of orality. The study aims to mobilize technauriture as a paradigm in order to further embed orality and oral traditions to coherently embrace this changing technological environment. The central tenet of the study is that in order to enhance the status of orality the innate value embodied in indigenous knowledge systems must be recognized. Using the work of Bongani Sitole, an oral poet, as a backdrop the study will demonstrate a basic model that can act as a foundation for the effective integration of orality into contemporary structures. This is based on work that I published in the Journal of African Contemporary Studies (2009). Given the obvious multi-disciplinary nature of the material the work covers a wide cross section of the debate, from questions of epistemology and knowledge in general in terms of oral traditions, through the consciousness and technical landscapes, via the experience with Sitole’s material to issues of copyright and ownership. This work has also been submitted for publication together with my supervisor as a co-author. The study intends to consolidate the technauriture debate and lay a solid foundation to support further study.
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Gibbs, Levi Samuel. « Beyond the Western Pass : Emotions and Songs of Separation in Northern China ». The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248745393.
Texte intégral
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Kyser, Tiffany S. « Folked, Funked, Punked : How Feminist Performance Poetry Creates Havens for Activism and Change ». Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.
Texte intégralRésumé :
Thesis (M.A.)--Indiana University, 2010.Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
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Bokoda, Alfred Telelé. « The poetry of David Livingstone Phakamile Yali-Manisi ». Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/17400.
Texte intégralRésumé :
Bibliography: pages 217-232.Yali-Manisi, a Xhosa writer, performs and writes traditional praise poetry (izibongo) and modern poems (isihobe) and can, therefore, be regarded as a bard because he also performs his poetry. One can safely place him in the interphase as he combines performance and writing. The influence of oral poems and other oral genres can be perceived in his works as some of his works are a product of performances which were recorded, transcribed and translated into English. The dissertation, among other things, examines the way in which Yali-Manisi's work has been influenced by such manipulations. In this study we examine lzibongo Zeenkosi ZamaXhosa, lmfazwe kaMianjeni, Yaphum'igqina and other individually recorded poems. His poetry is characterised by an interaction between tradition and innovation. The impact of traditional poetic canon on the poet, the way of exploiting traditional devices are the most outstanding characteristics concerning his poetry. His optimistic disposition towards the future of the South African political situation leaves one with the impression that he envisages an end to the Black-White political dichotomy. Yali-Manisi manipulates literary forms to articulate specific socio-political and cultural attitudes which are dominant among the majority of South Africans. His writings coincide with some of the major political changes in South Africa. In his recent works, he is explicit and protests against Apartheid structures especially in Transkei and Ciskei. In his earlier works he could not articulate the feelings of his people as an imbongi because of the fear of censorship and themes of protests had to be handled with extreme caution if one's manuscripts were to be published at all. He often alludes to national oppression of the majority by the minority and instigates the former to be politically conscious. In some instances (e.g. in his historical poems) he seeks to correct inaccuracies which are presented in history books. Thus showing the listener/reader another side of the coin. He displays very keen interest and deep knowledge of natural phenomena such as seasons of the year and the behaviour of animals during each period. Poems about historical figures are characterised by certain allusions which refer to realities and events in the life of the 'praised one' or his forefathers. This helps to shed light on the present situation. Although fictitious adaptations of genuine events have been done, an element of reality is still prevalent.
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Pooley, William George. « 'Misery in the moorlands' : lived bodies in the Landes de Gascogne, 1870-1914 ». Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:aacf3b35-fc90-4a75-a24b-5193bc8f6c5e.
Texte intégralRésumé :
This thesis explores the embodied experiences of the rural population in nineteenth-century France. The prevailing historiography has treated rural bodily culture as a cultural survival swept away by ‘modernisation’ in the nineteenth century. By turning to the lives and words of rural labourers and artisans from the Landes de Gascogne, the thesis questions this account, instead showing ways that popular cultures of the body were flexible traditions, adapted by individuals to meet new needs. It does so through a close focus on the stories, songs, and other oral traditions collected by Félix Arnaudin (1844-1921) in the Grande-Lande between around 1870 and 1914. The thesis focuses on the lives of a few of Arnaudin’s 759 folklore informants, showing both how their bodily experiences were changing during this period, and how songs and stories were creative interventions, designed to shape bodily possibilities from below. The thesis draws attention to the surprising shape of rural experiences of the body, which focused on body parts such as the legs and skin for reasons specific to everyday life, while largely ignoring issues that historians might have assumed would be important, such as religion. It argues that the ordinary men and women who performed stories and sang songs were active agents in constructing their own bodies in response to material conditions of physical illness and disability, as well as a changing environment, changing class relations, or changing sexual norms in the Grande-Lande. The thesis presents an emotional and experiential view of rural bodies with a sensitivity to the different experiences of men and women, young and old, poorer and richer, but emphasizes that the body must be seen in the round, as a unifying concern that links together issues of social class, environmental change, sexual relations, work, disability, and religion.
34
Westum, Asbjörg. « Ris, skäver och skärva : Folklig kategorisering av några barnsjukdomar ur ett kognitivt semantiskt perspektiv ». Doctoral thesis, Umeå universitet, Litteraturvetenskap och nordiska språk, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-51634.
Texte intégralRésumé :
In Swedish dialects we find the terms ris,skäver and skärva referring to illnesses in children. The words are also parts of various compounds which refer to variants of the illnesses. The terms are linguistic expressions denoting two folk categories of illnesses, RIS and SKÄVER/SKÄRVA. These categories are investigated from a cognitive semantic perspective. The cognitive perspective argues that we organize our understanding of reality by using Idealized Cognitive Models (ICM) based on our physical, mental and emotional experiences of the world. The aim is twofold: to demonstrate the bases on which an experienced illness is placed in a certain category, and to show how a folk conception of illness is reflected in the word formation strategies. The word formation strategies emanate from notions of characteristic symptoms, and from notions of causes of illnesses. Both categories, RIS and SKÄVER/SKÄRVA, are based on a number of ICM's. The category RIS is a radial structure, which means that the category is held together although its members have no structural criteria in common. The category SKÄVER/SKÄRVA is a concentrating structure, meaning that all members share all structural criteria. There is a strong connection between word formation strategies and the structures of the categories. Terms related to symptoms refer to members of a category which are part of a radial structure, while terms related to causes refer to members of a category which are part of a concentrating structure. This can be explained by two of the basic assumptions of cognitive semantics: semantic content is structred and symbolized overtly on the surface form of a language and categories are conventional, based on cultural assumptions about the world.digitalisering@umu
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Forsberg, Jacob. « “It ain’t the melodies that’re important man, it’s the words” : Dylan’s use of figurative language in The Times They Are A-Changin’ and Highway 61 Revisited ». Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-41174.
Texte intégralRésumé :
This essay compares the figurative language of Bob Dylan’s albums The Times They Are A-Changin’ (1964) and Highway 61 Revisited (1965), with a focus on how Dylan remained engaged with societal injustices and human rights as he switched from acoustic to fronting a rock ‘n’ roll band. The essay argues that Dylan kept his critical stance on social issues, and that the poet’s usage of figurative language became more expressive and complex in the later album. In the earlier album Dylan’s critique, as seen in his use of figurative language, is presented in a more obvious manner in comparison to Highway 61 Revisited, where the figurative language is more vivid, and with a more embedded critical stance.Uppsatsen jämför det figurativa språket i Bob Dylans skivor The Times They Are A-Changin’ (1964) och Highway 61 Revisited (1965), med ett fokus på hur Dylan fortsatte vara engagerad inom samhällsfrågor och mänskliga rättigheter när han gick över från akustisk solomusik till att leda ett rockband. Uppsatsen argumenterar för att Dylan behöll sin kritiska syn på samhällsfrågor, och att poetens användning av figurativt språk blev mer expressivt och komplext i det senare albumet. I det tidigare albumet är Dylans kritik, som den framstår i hans användning av figurativt språk, presenterad mer direkt i jämförelse med Highway 61 Revisited, där det figurativa språket är mer levande och innehåller en mer förtäckt kritik.
36
Perez, Roy. « Off the hyphen : race consciousness in Du Bois and U.S. Latina/o cultural theory ». Honors in the Major Thesis, University of Central Florida, 2003. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/414.
Texte intégralRésumé :
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English Literature
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Sérane, Alice. « Éléments du fantastique dans l’oeuvre durassienne : deux exemples : L’Amant et La Pluie d’été ». Thesis, Högskolan Dalarna, Franska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-34345.
Texte intégralRésumé :
Le but de ce mémoire est d’analyser deux oeuvres de Marguerite Duras : L’Amant et La Pluie d’été. L’étude est effectuée avec l’aide des éléments d’un genre littéraire précis : le fantastique. Ce mémoire examine les conditions pour qu’une oeuvre puisse appartenir à ce genre littéraire ; il en liste les critères, et étudie comment ces derniers sont en partie applicables à ces deux oeuvres. Le mémoire examine les prérequis pour qu’une oeuvre soit considérée comme fantastique, ainsi que les éléments qui placent une oeuvre à la limite de divers genres, tels que le conte, le merveilleux ou encore le réalisme magique. Une analyse des stratégies narratives employées pour persuader le lecteur à hésiter entre le réel et l’irréel est ici appliquée à L’Amant et La Pluie d’été, ainsi qu’une mise en avant des éléments qui peuvent faire entrer ces oeuvres dans la catégorie du fantastique. Les deux oeuvres sont ensuite étudiées séparément. Des personnages sont analysés, ainsi que les lieux, le temps et les actions. La technique narrative, avec la frontière floue entre rêve, retours en arrière et souvenirs, participe du genre fantastique. Les personnages phares, ainsi que des objets classiques du registre du fantastique, peuvent participer eux aussi de cette classification. Bien que les deux oeuvres ne soient pas explicitement classifiées par l’auteur comme appartenant au genre fantastique, il en émane une certaine atmosphère qui permet de mettre en avant des éléments qui contribuent au genre étudié, mais aussi au mode merveilleux, du réalisme merveilleux ou encore du conte.The aim of this study is to analyze two works by Marguerite Duras: The lover and Summer rain. The study is carried out using elements of a specific literary genre: the fantastic (le fantastique). This study presents the elements needed for a work to belong to this literary genre; it lists the criteria, and studies how they partially are applicable to these two works. The conditions for a work to be considered fantastic, as well as the elements that place a work at the border of various genres, such as the folk tale, the marvelous (le merveilleux) or even the magic realism. This text presents an analysis of the narrative strategies, showing how the reader is led to doubt what is real and what is not. This study investigates The lover and Summer rain. It also highlights the elements that classify a book in the fantastic category. The two works are then studied separately. The characters are analyzed, as well as the setting, the time and the plot. The narrative technique, with the blurry borders between dreams, flashbacks and memories, belongs to the fantastic genre (le fantastique). The most important fictional4characters, as well as classic objects, can also contribute to the classification of the texts in the fantastic genre. Although the two works are not precisely classified by the author as belonging to the fantastic genre, a certain atmosphere created by Duras makes it possible to highlight elements that contribute to the genre studied, but also to the folk tale or the magic realism.
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Owen, Ceri. « Vaughan Williams, song, and the idea of 'Englishness' ». Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:117f2c64-3b63-43aa-9dd3-15a7ce2f9339.
Texte intégralRésumé :
It is now broadly accepted that Vaughan Williams's music betrays a more complex relation to national influences than has traditionally been assumed. It is argued in this thesis that despite the trends towards revisionism that have characterized recent work, Vaughan Williams's interest in and engagement with English folk materials and cultures remains only partially understood. Offering contextual interpretation of materials newly available in the field, my work takes as its point of departure the critical neglect surrounding Vaughan Williams's contradictory compositional debut, in which he denounced the value of folk song in English art music in an article published alongside his song 'Linden Lea', subtitled 'A Dorset Folk Song'. Reconstructing the under-documented years of the composer's early career, it is demonstrated that Vaughan Williams's subsequent 'conversion' and lifelong attachment to folk song emerged as part of a broader concern with the intelligible and participatory quality of song and its performance by the human voice. As such, it is argued that the ways in which this composer theorized an idea of 'song' illuminate a powerful perspective from which to re-consider the propositions of his project for a national music. Locating Vaughan Williams's writings within contemporaneous cultural ideas and practices surrounding 'song', 'voice', and 'Englishness', this work brings such contexts into dialogue with readings of various of the composer's works, composed both before and after the First World War. It is demonstrated in this way that the rehabilitation of Vaughan Williams's music and reputation profitably proceeds by reconstructing a complex dialogue between his writings; between various cultural ideas and practices of English music; between the reception of his works by contemporaneous critics; and crucially, by considering the propositions of his music as explored through analysis. Ultimately, this thesis contends that Vaughan Williams's music often betrays a complex and self-conscious performance of cultural ideas of national identity, negotiating an optimistic or otherwise ambivalent relationship to an English musical tradition that is constructed and referenced through a particular idea of song.
39
Kaschula, Russell H. « Oral literature in Africa ». 2013. http://hdl.handle.net/10962/59355.
Texte intégralRésumé :
I have in my possession a first edition, hard copy of Ruth Finnegan’s quintessential work, Oral Literature in Africa. It has a yellow cover, preserved by a plastic sheathe, it is a little frayed around the edges and has that old, musty library smell about it. I love and treasure this book. It is dedicated by Professor Finnegan ‘[t]o all my teachers’. Professor Finnegan is indeed one of my teachers. I properly met Ruth Finnegan at the second International Society for Oral Literature (ISOLA) conference in 1998, which I hosted at the University of Cape Town. She gave a keynote address which included reference to her seminal work and the future of oral literary studies. She has continually influenced our work as researchers following in her footsteps: Isidore Okpewho, Harold Scheub, Abiola Irele, Graham Furniss, Elizabeth Gunner, Karin Barber, Isobel Hofmeyr, John Foley, Olayibi Yai, Edgard Sienaert, Brian Street, Noverino Canonici, Mark Turin, Daniela Merolla, Jan Jansen, Jeff Opland, and many others; some younger, some older, some living, some departed, scholars influenced by this great and humble intellectual and her body of work.
40
Magwaza, Thenjiwe S. C. « Orality and its cultural expression in some Zulu traditional ceremonies ». Thesis, 1993. http://hdl.handle.net/10413/6172.
Texte intégral
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Goussias, Giannoula. « Heroes and heroic life in the Iliad and Akritic folk-song ». Thesis, 1992. http://hdl.handle.net/2440/115948.
Texte intégral
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Treffry-Goatley, Lisa Anne. « A critical literacy and narrative analysis of African Storybook folktales for early reading ». Thesis, 2017. http://hdl.handle.net/10539/23002.
Texte intégralRésumé :
Thesis (M.A. (Applied Language and Literacy Education))--University of the Witwatersrand, Faculty of Humanities, 2017This study critically analyses a set of folktales from the African Storybook website, which is an open licence digital publishing platform supporting early reading in Africa (www.africanstorybook.org). The selected folktales were mostly written by educators and librarians working in the African Storybook project pilot sites. The folktales were illustrated and published as indigenous African language and English storybooks during 2014 to 2015. The analysis is centrally concerned with the settings in which the folktales take place (with a distinction made between space, place and time), and the age and gender associated with central characters. The analytical tools used and the perspectives applied are drawn predominantly from post-colonial studies, African feminism, critical literacy, broad folktale scholarship, and theory from local – as opposed to global – childhoods. The analysis is interested in the conventions of the folktale genre, as it is constructed in the narratives by the writers. The three central findings with regards to the settings of folktales are as follows: (i) 90% of the folktales are set in rural environments in or near villages or small settlements. The somewhat idealised villages and settlements appear to have been relatively untouched by modern communications and infrastructure, and represent a “nostalgic, imagined past”. (ii) The study found that 75% of the folktales are set in the remote past, indexical of the folktale genre’s oral roots. (iii) Supernatural characters, objects and events occur in nearly 75% of the folktales. This suggests a possible interpretive space of intersecting temporalities and dimensions of existence, as well as possibilities for imaginative problem-solving. In addition, it raises challenging questions about the limits of human agency. The study also found that the ASb folktales, perhaps somewhat unsurprisingly for a genre that tends to employ archetypes and stereotypes, seemingly offer no characterisation outside of heteronormative family roles. But despite the heteronormativity and narrowly-defined family roles, especially for women characters, the folktales also present other positions for female gendered characters, and by extension for girl child readers – courageous, interesting, clever and unconventional female characters are in no shortage in these narrative populations. The findings suggest that the ASb folktales provide a range of identity positions for both girls and boys in African contexts, and my study reflects on how educators might navigate this complex territory. In particular, the findings point to how teachers and other adult caregivers might balance the moral and cultural lessons in folktales with the need for children to imagine and construct different worlds and positions for themselves.
MT2017
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Van, Aardt Anna Jacomina Susanna. « Une exploration de la morphologie du conte africain francophone ». Thesis, 2014. http://hdl.handle.net/10210/10872.
Texte intégral
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Johnson, Simone Lisa. « Defining the migrant experience : an analysis of the poetry and performance of a contemporary southern African genre ». Thesis, 2001. http://hdl.handle.net/10413/3014.
Texte intégralRésumé :
This dissertation focuses on the migrant performance genre isicathamiya, a genre which was popular amongst migrant workers in KwaZulu-Natal and Gauteng in the nineteen thirties and forties. It explores contemporary isicathamiya and asks whether there have been paradigmatic shifts in its content in post-apartheid South African society. By way of introduction, the origins and development as well as some of the themes and features of isicathamiya are highlighted. Hereafter scholarly accounts of migrant
performance genres are discussed in conjunction with the cultural re-orientation of migrants in urban centers. The introduction is intended to contextualise the genre by alluding to the politics and aesthetics of isicathamiya performances. Leading on from the introduction, the first chapter of this body of research is a reflection upon the characteristics of oral literature; from the point of view of a literary scholar, I also discuss the problems of interpretation I experienced in this study of mediated isicathamiya lyrics. I propose that isicathamiya performances and texts are elements of
oral literature and begin to define them as such. My intention in chapter two is to explore how local performances have influenced global culture. I ask if oral literature from South Africa has contributed to the global market. I ask what Ladysmith Black Mambazo, the internationally acclaimed isicathamiya choir, has invested in "First World culture" and suggest that there is in existence a transcultural flow of energy between the "so-called centre" and "so-called periphery". In chapter three I suggest that the local and global are in a state of dialogue. I hope to establish a dialogue between local isicathamiya choirs and Ladysmith Black Mambazo. In essence, Ladysmith Black Mambazo has exported a musical form that has its foundations in KwaZulu-Natal and Gauteng. This chapter takes readers back to the source of the genre. I take into consideration Veit Erimann's scholarly studies of isicathamiya in Nightsong: Performance, Power and Practice in South Africa. Focus falls
upon the paradigm of rural/ urban migration in isicathamiya song and the importance of "home" in sustaining migrants in the city. The notion of "homeliness" as a trope in isicathamiya performances is discussed. By extension, in chapter four, I ask whether the notion of "home" emphasized by Veit Erlmann is of significance in contemporary isicathamiya performance. Consequently, I adopt a comparative approach and set out to identify the changes and continuities in contemporary isicathamiya performances in response to transformations within postapartheid society. I ask why isicathamiya is significant in post-apartheid South African society. What is its importance for personal and collective identity? What is being articulated within contemporary performances? Does isicathamiya provide a cultural
space, a forum in which public debate (regarding leaders, policies and concerns) can be staged? Most importantly, is the thematic paradigm between the rural and urban world still visible in contemporary isicathamiya? Is contemporary isicathamiya still grounded on the notion of "homeliness", or have new thematic paradigms emerged in contemporary isicathamiya performances? I propose that South Africa in the present, is itself the site of multiple cultures and fragmented histories. The country and its people are searching for a new unitary meaning in the post-apartheid era. My argument is that isicathamiya texts are elements of postcolonial and post-apartheid literature. I suggest that language, through isicathamiya performance, can show a way back into reinterpreting the past and stitching together a
different present. Isicathamiya texts give hints of journeys and point to identities, shared histories and cultural landscapes. Isicathamiya makes possible the sharing of knowledge and knowledge systems, and is an opportunity to hear un-erased histories and un-silenced voices.Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.
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Mitts, Smith Debra. « What is a wolf : the construction of social, cultural, and scientific knowledge in children's books / ». 2007. 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:3269982.
Texte intégralRésumé :
Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007.Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2707. Adviser: Elizabeth Hearne. Includes bibliographical references (leaves 411-442) Available on microfilm from Pro Quest Information and Learning.
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Maake, Nhlanhla Paul. « Trends in the formalist criticism of Western poetry and African oral poetry : a comparative analysis of selected case studies ». Thesis, 1994. http://hdl.handle.net/10500/17266.
Texte intégralRésumé :
This thesis sets off from an a priori hypothetical position that the universality
of certain language features, particularly poetic expression, provides an opportunity
for syncretism in the reading, analysis, explication, and interpretation of African
literature, specifically oral poetry, our teleological point being the formulation of a
syncretic approach.
In the first chapter we undertake an overview of the debate which has been
ensuing among 'African' critics in the search of an 'African' poetics. We proceed, in
the second and third chapters, to undertake a study of two 'Western' schools of
thought, namely Formalist-Structuralism and New Criticism, with a view to setting
the critical theories and practice of some major protagonists of these schools of
thought against sample readings of African oral poetry. In the fourth and fifth
chapters we proceed to select and analyse some of the most prominent critics of
African oral poetry, and undertake detailed case studies of their critical assumptions
and practice, in retrospective comparison with the theoretical paradigms and practical
readings dealt with in chapters two and three.
In the sixth and final chapter we assess the syncretic approach suggested,
together with its implications for the future research and teaching of African oral
poetry. Our findings suggest that the case studies of critiques of African oral poetry
reveal certain shortcomings which might have been strengthened by a perspicacious
awareness of Formalist-Structuralist and New Critical methodology.
From this postpriori perspective we suggest a syncretic approach which, in its
sensitivity to the idiosyncratic features of African languages, will at the same time
acknowledge, adopt and adapt sophisticated poetical analyses which have been
developed by Western poetics. Our findings also suggest specific ways in which
Western standards could be evaluated with a considerable degree of exactitude. We
conclude by, inter alia, opening directions of research which could advance the
debate towards an African poetics beyond doctrinaire wrangle, so that progress can
be made through further close studies of other schools of thought and theories in
order to assess their applicability and/or adaptability to African poetry and other
genres.Afrikaans and Theory of Literature
D. Litt et Phil (Theory of Literature)
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Khuzwayo, Anthony S'busiso. « Ukuvezwa komlando ezibongweni zamakhosi amabili akwazulu, uDingane nomPande ». Thesis, 2007. http://hdl.handle.net/10413/1631.
Texte intégralRésumé :
This research is entitled "The historical representation of the praise-poetry of
the two Zulu kings, Dingane and Mpande." In this study the researcher is
trying to explore the ways in which history is portrayed in these two above
mentioned kings. This is done firstly by looking particularly at their historical
outlooks and secondly by looking at their praises. In traditional Zulu society,
every Royal king has to possess praises. Therefore the praises basically contain
historical events.
The analysis of the findings reveals that king praises contain largely of the heroic
deeds, body features and characteristics of the kings. Based on this statement it
therefore stands to reason that the king praises cannot be considered merely as
a complete history of the Zulu kings. The data collection was carried out through
interviews and through reading books for each king.
It must be noted that the king praises are only performed by a bard/imbongi. The
king praises serve as a mirror that detects how the king live and perform the
duties of the nation.Thesis (M.A)-University of KwaZulu-Natal, 2007.
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Canonici, Noverino Noemio. « C.L.S. Nyembezi's use of traditional Zulu folktales in his Igoda series of school readers ». Thesis, 1985. http://hdl.handle.net/10413/6253.
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Mowatt, Robert. « Popular performance : youth, identity and tradition in KwaZulu-Natal : the work of a selection of Isicathamiya choirs in Emkhambathini ». Thesis, 2005. http://hdl.handle.net/10413/1858.
Texte intégralRésumé :
In recent years there has been an increasing interest in the study of African popular arts and performance genres. In this study, I will focus on isicathamiya, a South African musical performance genre, and in particular the attempt of its practitioners to create new identities and a new sense of self through their own interpretation of the genre. This study will concentrate on the 'isicathamiya youth' in the semi-rural community of Emkhambathini (located about 30 kilometres east of Pietermaritzburg) and their strategies of self-definition in the New South Africa. Isicathamiya has strong roots in migrant labour and this has been the main focal point around which many researchers have concentrated. However, recent years have seen a movement of isicathamiya concentrated within rural and semi-rural communities such as Emkhambathini. The performers in these areas have a unique interpretation of the genre and use it to communicate their thoughts and identities to a diverse audience made up of young and old. In this study I will be looking at the 'isicathamiya youth' within three broad categories, the re-invention of tradition, the re-interpretation of the genre, and issues of masculinities. Each of these categories accounts for the three chapters within this study and serves to give a broad yet in-depth study of the 'new wave' of isicathamiya performers. The first chapter, entitled 'Traditional Re-invention', will deal with issues relating to the project of traditional 'redefinition' which the 'isicathamiya youth' are pursuing in Emkhambathini. I will show that tradition is not a stagnant concept, but is in fact ever-changing over time and place, a concept that does not carry one definition over an entire community. Through various song texts and frames of analysis I will attempt fto show how tradition is being used to further the construction of positive identities within Emkhambathini and give youth a place in Zulu tradition and in a multi-layered modernity. The second chapter will deal with how the 'isicathamiya youth' raise and stretch the boundaries of the genre in relation to a number of concepts. These concepts include topics of performance, women and popular memory and serve to give a broader view as to what the 'isicathamiya youth' are trying to achieve, namely a new positive self identity that seeks to empower the youth in the New South Africa. The last chapter will look at issues of masculinity and how the youth use different strategies to regain the masculine identities of their fathers and grandfathers and maintain patriarchal authority. Issues looked at within this chapter will include men's role within society and their perceptions of women.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.
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Ndlovu, Nokuthula Pretty. « Lucwaningo Ngesakhiwo Emidlalweni Yemoya Lemibili Lekhetsiwe YeSiswati : Ngefeta Wena nalotsi Hawu Babe ». Diss., 2018. http://hdl.handle.net/11602/1237.
Texte intégralRésumé :
MA (ISiswati)Sikhungo i-MER Mathivha Setilwimi Temdzabu, Buciko Nemasiko Inyuvesi yaseVenda
Lolu lucwaningo lolutsintsa sakhiwo semidlalo yemoya yeSiswati lelandzelako: Ngifela Wena nalotsi, Hawu babe. Umgudvu wesisekelo selucwaningo ugcila esihlokweni, singeniso, kukhuphuka nekwehla kwemdlalo kuye kufinyelelwe esiphetfweni semdlalo. Tincenye letibalulekile temdlalo kuba kudlaleka, tetsameli, inkhundla nebadlali. Kuvetwa kwebalingisi kukhonjiswa kubuye kuhlelwe ngekwetinhlobo netindlela labavetwe ngato. Kulemidlalo kulindzeleke kutsi tetsameli tilingisele bunjalo nesimo semphilo lapho kuboniswana, kwabelwana ngelwati etimeni nasetindzaweni letehlukene. Kuchunyanwa ngemagama, tento, nekulingisa. Tigameko temdlalo tesekelwe yingcoco yeluchumano lecuketse lokutsintsa liphimbo: imisho, kuphindza nekulingisa lokuletsa inchazelo yemagama. Luhlatiyo lukhombisa lwati, buhle belukhetfomagama, libintanamisho, silulumagama nenkhulumobuciko yebalingisi. Kudlaleka nekufundzeka kwemidlalo kusisekelo sayo. Luhlatiyo lwebunjalombhalo lwesekelwe imfundziso-njulalwati nesenekamcabango.
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