Tesi sul tema "Traditions orales"
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Kabuta, N. S. "La formule et l'autopanégyrique dans les traditions orales africaines: étude structurelle". Doctoral thesis, Universite Libre de Bruxelles, 1995. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212519.
Koffi, Léon. "Traditions orales et formes d'expression litteraire : etude comparative de trois poemes africains d'expression francaise". Université Marc Bloch (Strasbourg) (1971-2008), 1986. http://www.theses.fr/1986STR20015.
This research paper has aimed at drawing a comparison between the ways of literary expression in traditionally oral works and the the ones of french speaking black african poetry in three poems quand s'envolent les grues couronnees by pacere titinga, fer de lance by zadi zaourou, and d'eclairs et de foudres by j. M. Adiaffi. My thesis has been divided into four parts. The first one, focused on various definitions of how to set out the subject, has poited out such concepts as tradition and oral literature within the framework of african studies and introduced the traditional as well as the french speaking african poets backgound. The second part has dealt with structure and revealed structural as well as stylistic similarities between both types of works at least in broad outline, the structural similarity being the result of various factors such as a compound circuit of speech, aesthetic and mnemonic requirements. On the topic of beat, the third part has pointed out an instance of rhythmical tone structure in what are traditonally spoken literary works and dealt with the notion of tom-tom beat witthin french speaking blac african poetry. Studying imagery and symbolism in the last chapters has meant working out the structure of metaphor and symbol and showing how different they are from "homothese" on the one hand and on the other interpreting metaphor in french poems according to african cultures. The fourth part has shown in a variety of ways how to integrate traditionally written texts within african poetry
Koffi, Léon. "Traditions orales et formes d'expression littéraire étude comparative de trois poèmes africains d'expression française". Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375987765.
Bellil, Rachid. "Traditions orales, mémoire collective et rapport au passé chez les Zénètes du Gourara (Sahara algérien)". Paris, INALCO, 1994. http://www.theses.fr/1994INAL0014.
Tangara, Mamadou. "Les secrets de l'histoire et du mythe dans l'épopée du Kaabu d'après les traditions orales mandingues". Limoges, 2007. http://www.theses.fr/2007LIMO2019.
Guemona, Djimet. "La paléo-métallurgie dans la région du Guéra (centre du Tchad) : inventaire des sites et essai de caractérisation des traditions sidérurgiques". Electronic Thesis or Diss., Toulouse 2, 2020. http://www.theses.fr/2020TOU20084.
Located in the south-east of the Lake Chad basin, the Guéra region has so far not benefited from any archaeological research work. However, this region has a rich metallurgical heritage. Combining oral information and archaeological data, this study is a contribution to the history of ancient iron production. To this end, we seek to determine the technical, economic and human impacts of this activity. In order to conduct this study properly, our questions focused on the identity of the metallurgists who worked iron in this region, their migration paths and their settlement in the Guéra. We also tried to describe and characterize the smelting techniques that were used, to quantify the volume of metallurgical waste, and to date the metallurgy of iron in the Guéra
Diawara, Mamadou. "La dimension sociale et politique des traditions orales du royaume de jaara (mali) du xve au milieu du xixe siecle". Paris, EHESS, 1985. http://www.theses.fr/1985EHESA004.
Mouanda, Merril Rosthand. "Valorisation du patrimoine des peuples autochtones du Congo Brazzaville : proposition d’un centre d’interprétation pour la promotion des traditions orales de l’ethnie Aka". Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/30749.
Mezop, Temgoua Alice Lucie. "Archéologie, traditions orales et ethnographie au nord du Cameroun: histoire du peuplement de la région du Faro durant le dernier millénaire". Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209940.
Dans ce travail, j’apporte par le biais d'une approche historique et comparative des éléments susceptible d’expliquer, d’une part la complexité qui caractérise le peuplement du Faro et, d’autre part, la façon dont le peuplement de cette région a évolué au cours du dernier millénaire. Il est également question de faire progresser la réflexion méthodologique, en évaluant la façon dont les modèles obtenus par l’archéologie peuvent être confrontés avec ceux qui se basent sur les traditions orales, les éléments de la culture matérielle actuelle et la linguistique.
L’étude des traditions orales a permis de classer par ordre chronologique les éléments historiques importants et d’établir une histoire du peuplement durant ces derniers siècles. Elle confirme qu’il est possible de reconnaître des racines remontant au delà du 19ème siècle à la plupart des groupes qui peuplent encore la région aujourd’hui, ainsi que de nombreuses ruptures dans l’histoire du peuplement du Faro. Contrairement aux travaux antérieurs, la plus importante de ces fractures date du début du 19ème siècle, avec l’occupation des conquérants foulbé, qui ont provoqué l’insécurité généralisée, la division de la région en deux et les plus importantes déportations de populations des plaines vers les montagnes refuges.
L’approche archéologique a permis d’établir la première séquence chrono-culturelle du Faro au cours du dernier millénaire. Si la présence d’un peuplement ancien dans la plaine était envisagée, l’étude archéologique apporte la preuve que des communautés humaines vivent dans le Faro depuis environ 1000 ans. A partir du 15ème siècle, des modifications surviennent. Celles-ci se manifestent surtout par l’apparition d’une nouvelle poterie ornée au Blepharis sp. Lorsque l’on compare la carte de distribution des sites associés à cette céramique, au trajet suivi par les Bata, qui remontent le cours du Faro en implantant des villages et à l’aire d’extension des langues tchadiques au Faro, il semble plausible que de nouvelles populations occupent la région vers le milieu du dernier millénaire de notre ère. Pour le 19ème siècle bien documenté par les traditions orales, les données archéologiques viennent renforcer l’idée d’une profonde rupture durant cette période.
En abordant l’histoire du peuplement du Faro, il était nécessaire d’examiner le concept de l’ethnicité comme il est classiquement employé dans la région. D’une manière générale, l’étude conforte l’idée qu’il est très difficile d’aborder la profondeur historique des identités des groupes actuels.
La confrontation entre les faits des cultures vivantes et les résultats archéologiques a permis d’évaluer les potentialités de raisonnements historique et comparatif. On ne peut que constater, dans cet exemple concret, le grand intérêt qu’il y a à fonder la reconstitution du passé sur de multiples sources.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Silva, Edivania Alexandre da. "“O mundo está as avessas”: relações, tensões e enfrentamentos religiosos nos folhetos de Leandro Gomes de Barros – Recife (1900-1920)". Programa de Pós- Graduação em História da UFBA, 2007. http://www.repositorio.ufba.br/ri/handle/ri/11254.
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Os folhetos populares começaram a ser impressos e divulgados no final do século XIX, tornando-se suporte de relações sociais e uma importante mídia de comunicação difundida pelo Nordeste brasileiro. Através de suas narrativas, é possível desvelar tensões culturais advindas de diferentes sujeitos que, originários de tradições orais, não letradas, manifestavam e registravam posições, valores, enfrentamentos e tradições através das poesias ali presentes. Nesse trabalho, examinamos o processo de formação e difusão de práticas culturais religiosas católicas, nas duas primeiras décadas do século XX, na cidade do Recife, principalmente a partir dos enfrentamentos empreendidos pelo poeta paraibano Leandro Gomes de Barros, um dos maiores autores da literatura de folhetos nordestina, possivelmente o primeiro a unir o advento das gráficas à impressão de narrativas. Ele é, sem sombra de dúvidas, sujeito de importância ímpar para o presente trabalho, pois, a partir de sua produção, retiramos materiais essenciais para entender aspectos da cidade e religiosidade ali presentes. A partir dos posicionamentos contundentes e incisivos desse poeta, partimos para outras fontes e desvelamos tradições, relações e tensões estabelecidas entre sujeitos de diferentes posições sociais, dando a ver aspectos da produção de um segmento da população muitas vezes excluído e invisibilizado pela historiografia.
Salvador
Obsieh, Moussa Souleiman. "L'oralité dans la littérature de la Corne de l'Afrique : traditions orales, formes et mythologies de la littérature pastorale, marques de l'oralité dans la littérature". Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL016/document.
The Horn of Africa has a traditional oral literature which is rich and varied as the rest of the continent, starting from pastoral mythology to poetry, legend and storytelling. But with the social upheaval which occurred with the arrival of European settlers and the introduction of writing, the chain of transmission of the oral tradition is threatened. Many Europeans have sought to describe the habits and customs of these people. Whereas on the other hand, the writers from the Horn of Africa are often inspired by giving it (orality) and a new way of doing it. The following research work strives to reflect traditional forms of orality and their impact on modern literature
Moussa, Souleiman Obsieh. "L'oralité dans la littérature de la Corne de l'Afrique : traditions orales, formes et mythologies de la littérature pastorale, marques de l'oralité dans la littérature". Phd thesis, Université de Bourgogne, 2012. http://tel.archives-ouvertes.fr/tel-00796155.
Gonnin, Gilbert. "Rapports entre Mandé et peuples forestiers et préforestiers de l'ouest de la côte d'Ivoire à travers les traditions orales Tura : (milieu du 17e siècle début 20e siècle)". Paris 1, 1986. http://www.theses.fr/1986PA010520.
Gonnin, Gilbert. "Rapports entre Mandé et peuples forestiers et préforestiers de l'ouest de la Côte d'Ivoire à travers les traditions orales tura milieu du XVIIe siècle-début XXe siècle". Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375979634.
Sy, Bayal. "Le jânis : approche textuelle d'un genre de la littérature orale mauritanienne". Paris 10, 2003. http://www.theses.fr/2003PA100131.
Usener, Knut. "Beobachtungen zum Verhältnis der Odyssee zur Ilias /". Tübingen : G. Narr, 1990. http://catalogue.bnf.fr/ark:/12148/cb35516371x.
Seeger, Judith Leland. ""Count Claros" : study of a ballad tradition /". New York : Garland, 1990. http://catalogue.bnf.fr/ark:/12148/cb355343788.
Yamamoto, Kumiko. "The oral background of Persian Epics : storytelling and poetry /". Leiden : Brill, 2003. http://catalogue.bnf.fr/ark:/12148/cb38998044f.
Peypoudat, Françoise. "La formulette de tradition orale et ses modes d'appropriation par l'enfant en milieux scolaires ordinaire et spécialisé". Bordeaux 2, 1994. http://www.theses.fr/1994BOR21009.
Referring to the analysis of the semantic, phonematic and rythmic scheme of the "formulette" from oral tradition on the one hand and to its ways of appropriation by the child in ordinary schools and specialized schools on the other hand, this thesis supports the idea of an interdeoendance between the transmission of the "formulette", its use and the appropriation of the knowledge. The use of this "formulette" characterized by the ability of reproducing the childhood rhythm, is easily recognized in the situation of ploufage" and, in fact, it is the result of several successive acts of appropriation. It links the body, the voice, the rhythm and depends on the qualify of the support given by the mother to her child. Consequently, the study of these differences noted between the ordinary schools and the specialized ones shows that the use or not of the "ploufage" situation is connected not only to the child’s mental organization but moreover to his school results. To be more precise, this thesis has actually helped to show the mental running of a child in both affective and cognitive notions showing the importance of its conflicts dealing with his own emotional experience in the cognitive area
Camara, Seydou. "La Tradition orale en question : conservation et transmission des traditions historiques au manden : le centre de Kela et l'histoire du Mininjan". Paris, EHESS, 1990. http://www.theses.fr/1990EHES0044.
Giannelos, Dimitrios. "Musique byzantine : tradition orale et tradition écrite (XVIIIe XXe siècles)". Paris 10, 1987. http://www.theses.fr/1987PA100075.
Giannelos, Dimitrios. "Musique byzantine tradition orale et tradition écrite, XVIIIe-XXe siècles /". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37605451k.
Reea, Goenda. "Le comique dans la tradition orale et la littérature contemporaine tahitiennes - vision du rire, vision du monde". Thesis, Polynésie française, 2016. http://www.theses.fr/2016POLF0005.
In Tahiti, no research has been done about “comic words” in Tahitian language, demonstrating a way to consider the world. The relevance of this study is to reveal a reality in an internal point of view as well as unconscious processes which govern the laughter of and in the Tahitian society. The purpose of the present Thesis is to define the characteristics of Comic in the Tahitian oral tradition and contemporary literature, through the 'ūtē 'ārearea (traditional funny songs), in the context of July’s cultural celebrations in Tahiti, from 1986 to 2014, and through two plays, "Te pe'ape'a hau 'ore o Pāpā Pēnū 'e o Māmā Rōrō" by Maco Tevane (1972, played again in 2011) and “E'ita ïa” by John Mairai (1989). Placing this analysis into a conceptual and methodological as well as a semiolinguistical and psychocritical frameworks, makes us suppose that it is possible to abstract, by the superposition of the texts from the corpus of research, a substratum made of invariables, which contribute to the meaning of words
Garin, Jyoti. "Le bhagat : une tradition orale sindhie". Paris, INALCO, 2005. http://www.theses.fr/2005INAL0015.
Sometimes classified under the heading "popular music", sometimes under "popular theatre", the bhagat is a form of narration in the Sindhi language attested since 300 or 400 years in Sindh. The aim of the study is to textualize, translate and comment the oral repertory of the bhagat narrators within the performance context. The repertory of the bhagat has two specificities: it is unique because it does not exist prior to this investigation, and it is heterodox (Hindu and Muslim accounts juxtaposed in the same repertory). Comments on orality and performance arrive at a conclusion which relates to the identity construction of the Diaspora and affinity with religions. The role of the bhagat is to participate in an identity-rebuilding process of the Sindhis in contemporary India. One of its most powerful key-idea is the integration of two religious traditions: Hinduism and Sufism. The bhagat tradition is neither linked to theatre nor popular music; instead, it is about an "intermediate genre", owing to the various Sindhi folklore forms, verbal and nonverbal, but also intermediate between the oral tradition and written literature. Mystical elements of Sufism are inseparable from the bhagat tradition as popular narration. Contrary to other Indian forms of popular narration, jatra or burrakatha for instance, famous for their power of propaganda, the bhagat testifies to a great religious fermentation and great tolerance. This thesis has defined the bhagat narration and also shown the alluring strategies adopted by the narrators to captivate the Sindhi audience
Hadjadj, Belkacem. "Tradition orale et images en Algerie". Paris 10, 1987. http://www.theses.fr/1987PA100115.
The oral tradition had always taken an important part in the Algerian cultural sphere, and has deeply marked the communication pattern of this society. There was no “meeting” between the oral tradition and the Audio-visual means since their introduction and primary use by the colonizer, in Algeria. On the contrary, their use has taken shape by opposing and denying all the typical native community. There has been no critical and radical breaking, since the independence, with the colonial pattern concerning the use of the Audio-Visual media. It would be urgent as long as the traditional and cultural enclaves exist, here and there, to confront the Audio-Visual means with the traditional communication model based on the orality
Sinclair-Reynolds, Emma. "(Re)writing Pathways : Oral Tradition, Written Tradition, and Identity Construction in Kanaky/Nouvelle-Calédonie". Thesis, Nouvelle Calédonie, 2014. http://www.theses.fr/2014NCAL0066/document.
How might Kanak oral traditions move beyond their usual boundaries and influence identity construction processes in contemporary New Caledonian society? This thesis explores the interactions between Kanak oral tradition and New Caledonian written tradition, by examining the (re)writings that are places of encounter between these traditions, and thus constitute a space of shared heritage. This study traces the pathways taken by a story, Le Chef et le lézard, (a number of versions of which are found in different Kanak oral traditions), as it moves into and within written tradition. The historical, political, and literary contexts of the (re)writing processes that produce versions of Le Chef et le lézard are elucidated, to demonstrate the forces at work and shed light on how the representations that figure in the (re)writings might participate in identity construction processes. The conceptual tools used in the study include: rewriting; vā (the relational space of exchange and encounter found throughout Oceania); and literature as a means of building community. The original contribution of this thesis has been to demonstrate the degree and the extent of the integration of a Kanak story into the New Caledonian literary polysystem; to highlight the active role played by Kanak actors in the rewriting process; to develop anextended geographic metaphor for the New Caledonian literary landscape; to bear witness to the richness of oral and written traditions in Kanaky/Nouvelle-Calédonie; and to create a bridge between non-Francophone researchers/readers and New Caledonian literature (oral and written)
Pavlović, Aleksandar. "From traditional to transitional texts : Montenegrin oral tradition and Vuk Karadžić’s Narodne srpske pjesme". Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/14346/.
Schäffauer, Markus Klaus. "ScriptOralität in der argentinischen Literatur : Funktionswandel literarischer Oralität in Realismus, Avantgarde und Post-Avantgarde (1890-1960) /". Frankfurt am Main : Vervuert, 1998. http://catalogue.bnf.fr/ark:/12148/cb41041600b.
Ruiz, Caballero Antonio. "Polifonías de tradición oral en el Pacífico Mexicano: el repertorio para Cuaresma y Semana Santa en la comunidad nahua de Santa María de Ostula". Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/673203.
Esta investigación aborda el repertorio, hasta ahora desconocido, de cantos multipartes o polifonías orales en Santa María de Ostula, una comunidad de etnia nahua en Michoacán, al occidente de México. Analiza específicamente el repertorio para Cuaresma y Semana Santa en dos vertientes: el canto litúrgico en latín, ejecutado exclusivamente por cantores que fungen como los principales especialistas rituales en la comunidad; y el canto en castellano ejecutado o encabezado por esos mismos cantores pero también de manera colectiva por la mayoría católica de la comunidad. El trabajo aporta elementos históricos y de contexto sociocultural que permiten comprender quiénes introdujeron tales prácticas de carácter europeo en la región y cómo fue que arraigaron en la vida ritual de un grupo con una cosmovisión y características particulares. Además de esos aspectos históricos, sociales y culturales, analiza desde las perspectivas émica y ética el repertorio para establecer sus características principales: cantos a dos y –en el pasado– tres partes ejecutados en contextos religiosos, en latín y en castellano (con otra parte del repertorio tambien en lengua náhuatl), en su gran mayoría sin acompañamiento instrumental; caracterizados musicalmente por una lógica modal y por una flexibilidad rítmica principalmente salmódica, aspectos que coinciden con otras manifestaciones multipartes que han sido estudiadas en la Europa mediterránea. Asimismo señala elementos musicales y rituales específicos que singularizan las prácticas ostulenses frente a aquellas tradiciones multipartes.
This research addresses the hitherto ignored repertoire of multipart singing or vocal polyphonies in Santa María de Ostula, a Nahua ethnic community located in Michoacán, in the west part of Mexico. It specifically analyses Lent and Holy Week repertoire in two aspects: liturgical chant in Latin exclusively performed by chanters who serve as the main ritual specialists of the community. And the chant in Castilian led by those same chanters as well as in a collectively way by the Catholic majority of the community. The research provides historical and sociocultural elements that allow to comprehend who introduced those European practices in the area. As well as how they took root in the ritual life of a group with a unique worldview and features. In addition to those historical and sociocultural aspects, it analyses the repertoire from an emic and ethic perspectives in order to establish its main characteristics: chants in two –and in the past– three parts performed in religious contexts both in Latin and in Castilian (with another part of the repertoire sung in Nahuatl language) mostly without instrumental accompaniment. Chants musically characterized by a modal process and by a rhythmic flexibility in the psalm tone, elements that coincide with other multipart manifestations that have been studied in Mediterranean Europe. It also points out specific musical and ritual elements that distinguish the practices of the community from those traditional multivocal chants.
Universitat Autònoma de Barcelona. Programa de Doctorat en Història de l'Art i Musicologia
Lahlou, Abdelhak. "Poésie orale kabyle ancienne. Histoire sociale, Mémoire orale et création poétique". Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0113.
Until 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
Henaut, Barry W. "Oral tradition and the Gospels : the problem of Mark 4 /". Sheffield : Sheffield Academic Press, 1993. http://catalogue.bnf.fr/ark:/12148/cb36666152f.
Jansen, Jan. "Épopée, histoire, société : le cas de Soundjata : Mali et Guinée /". Paris : Éd. Karthala, 2001. http://catalogue.bnf.fr/ark:/12148/cb37647646v.
Gadzekpo, John Rex Amuzu. "Do duelo poético-satírico na gestão de conflitos sociais : um tríptico de gêneros africano, português e brasileiro". Poitiers, 2007. http://www.theses.fr/2007POIT5030.
This study focusses on the sung satirical poetic duel as a genre for conflict management, given its penchant for invective and criticism. Beginning with an overview of basic orality and performance theories, it proceeds through more specific issues concerning the relation between oral performance and its written record, the role of translation, the theory of game and the concepts of dialogue and satire, to a triptych comprising the African "halô" chant-poem, the medieval Portuguese "cantigas de escàrnio e maldizer", and the Brazilian "peleja". A brief account of social history precedes the textual analysis of samples of each poetic tradition, while a comparative chapter attempts a review of the question of obscenity and vulgarity within the specific context of the aesthetics of the satirical duel
Saldana, Perez Joel Angel, e Perez Joel Angel Saldana. "Remedios de mi tierra: An Oral History Project on the Changes and Continuity of the Traditional Healing Knowledge and Practices of a Mexican Immigrant Mother from Guanajuato, Mexico". Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625695.
Boukandou, Annie-Paule. "Esthétique du roman gabonais : réalisme et tradition orale". Nancy 2, 2005. http://docnum.univ-lorraine.fr/public/NANCY2/doc271/2005NAN21008.pdf.
The esthetic nature of the novel of Gabon is marked by two major influences : Realism and Oral tradition. Realism is firstly rooted in the geography and culture of the people. Looked at through the lens of "power" - we first see the influence of "political power" found in African literature since the period of independence in the 1960's, and from another angle that of "witchcraft" a recurrent theme in particular in Gabon novel. The recording of oral traditions is birthed from a place of "realism" with writers describing village life through the beliefs and rituals of the people. The place of "oral tradition" in the novel of Gabon is the second part of this study. "Oral tradition" encompasses all the rich wisdom of a people, transferred from ear to ear, from past generations through the ages. The transposition of "oral tradition" in the literature is a recording of the African oral universe made up of its beliefs and practices. There is from one side the desire to convey the traditions of a people, and from the other side, to expose the shortcoming of modern society. In the third part of this study, there is under-line through the ties between political power and witchcraft, a calling into question of traditional practices in modern society. Literature serves as a tool to analyse society, with some authors opting for a "hidden" denunciation through the use of writing styles, which offer a certain "security", especially during periods where it is not advisable to criticize the actions of political power. Others denounce through the depiction of "truth" or modern reality. The rehabilitation of society needs therefore to pass through the use of words that are forever a part of ancestral wisdom
Boukandou, Annie-Paule Dereu Mireille. "Esthétique du roman gabonais Réalisme et tradition orale /". Nancy : Université Nancy 2, 2005. http://cyberdoc.univ-nancy2.fr/htdocs/docs_ouvert/doc271/2005NAN21008.pdf.
Carbo, Ronderos Guillermo. "La tambora : musique de tradition orale en Colombie". Paris 4, 1998. http://www.theses.fr/1997PA040298.
Tambora is a dance music (orally transmitted, ever since several generations ago) of some communities of the Mompos depression in the Caribbean region of Colombia. This study makes a descriptive analysis of this tradition as it is practiced today in this region, from testimonies and musical recordings gathered in different villages (altos del Rosario, Hatillo de loba, San Martin de loba, Talaigua viejo and Tamalameque) located at the riverbanks of the Magdalena river. This thesis is divided into four parts : the first one treats general aspects of Colombia and the traditional music of the Caribbean (the most important types of ensembles, as well as their mixed character) ; the second part places tambora in its geographic and historic context, it deals with the field work, it exposes the problem of the different meanings of "tambora" (as a festivity, as a music, as a dance, as an ensemble, as an instrument, as a rhythm), and it takes a look at the tambora tradition of the past and present (and the role that have played Christmas novena in San Martin de loba and tambora festivals of the region) ; the third part analyses first of all the construction of instruments as well as their playing techniques, then the music from thirty-nine examples and finally the dance studied from video images ; the forth part contains the appendix (with translations, list of persons having been interviewed) the commented bibliography, the discography, the documentary sources, the glossary, as well as the index (concerning six maps, fifty-four examples, eighteen figures, one hundred and forty-seven photographs, and seventeen charts). This work is comprised of three volumes: the first one contains the first two parts, the second one the last two, and the third one the audio video supports
Ramel, Jean-Louis. "Permanence et mutations de la tradition orale en Provence". Aix-Marseille 1, 1995. http://www.theses.fr/1995AIX10020.
Busine, Aude. "Paroles d'Apollon: essai de contextualisation des pratiques et traditions oraculaires du IIe au VIe siècle". Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211364.
Rakotoarison, Angelot-Louis-Richard, e Andrianampoinimerina. "Les "Kabary" politiques d'Andrianampoinimerina : interprétation d'une tradition orale malgache du point de vue de la langue et du style". Paris 7, 1991. http://www.theses.fr/1991PA070018.
Our thesis is a study of the political "kabary" of andrianampoinimerina (1787-1818) an oral malagasy tradition collected by father callet (1822-1885) between 1860 and 1870 and it aims at interpreting language and style items in the texts of "tantara ny andriana eto madagascar" that picture these "kabary" graphically. The survey is divided into four parts. In the first part we try and make out the linguistic aspects of the graphic transcription of the "kabary" of andrianampoinimerina. In the second part, we analyze the syntactic aspects of the language they spoke in imerina at the turn of the 19th century from a morphological point of view. In the third part, we study th sociological and political vocabulary in use in the andrianampoinimerina period. Lastly, the fourth part is dedicated to an analysis of traditional oral communication through the "kabary" of andrianampoinimerina. Thanks to statistics data we have been able to make out the differences between oral and written communication
Yen, Ping-Chiu. "Chinese demon tales : meanings and parallels in oral tradition /". New York ; London : Garland publ, 1990. http://catalogue.bnf.fr/ark:/12148/cb37495321w.
Haouchine, Omar. "Ccna, une poésie féminine de Kabylie : complaintes, conflits et régulation sociale". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCF009.
Ccna [ʃ:na], is a female traditional Kabylian poem sung publicly at weddings in the area of Ighil n Zekri in Tizi-Ouzou, Algeria. It mainly deals with women’s socio-emotional conditions in rural communities. Although it is similar to other poetic types in the kabylian oral tradition, this poetry has specificities and a meaningful originality, from the point of view of its performance context as well as from the functions it ensures within the producing societies. Indeed, ccna ceremonies lead to the creation of a virtual space of communication and conflict management that deserves an in-depth study. This research project is built around a corpus translated and annotated, its study necessarily implies an approach, both literary of the texts and anthropological (actors, conditions of the creation, dissemination and reception)
Chiu, Chia-Ping. ""Un singulier mariage" : le cycle du fiancé animal dans les versions orales chinoises et françaises de deux grands contes de tradition orale (ATU 425, ATU 433)". Paris 7, 2010. http://www.theses.fr/2010PA070065.
The tales "Beauty and Beast" and "The snake-prince" broadly circulated both in Europe and Asia take up the topic of the "animal fiancé cycle" which constitutes the main subject of this research. On one hand, the object of our research aims to study the theme of the "animal fiancé" through variant forms in the cultures of countries as different as France and China and on the other hand, to analyses the underlying symbolic structure. The protagonists, all single, seek the congenial soul in their initiatory quest. However, the common dream of a "fine marriage" is not only influenced but also imposed by the social institutions and traditions of each culture. This fantasy emerges as a personal desire but also as a bounder duty set by a community. How can we account for the condition of the hero who strives to become fully human or the heroine's plight? She proves curious, courageous, sympathetic, but doomed to endure a sting of hardships and punishments before becoming a "true wife". The hero and heroine face separate duties, functions and obstacles to overcome in their progress to initiation. Each achieves self-fulfilment in matrimony which entails destiny as well as social status. This study tries to understand more clearly this beautiful narrative belonging to oral tradition record, show its multiple forms, its transmission in time and space, and bring out its symbolic and sociological content
Jean-Louis, Marie-Paule. "La Tradition orale guyanaise : universalité et spécificité du conte créole". Aix-Marseille 1, 1987. http://www.theses.fr/1987AIX10088.
This research is concerned with the oral tradition from french guyana, and focuses more particularly on problems related to the universal character of these tales, as opposed to their uniqueness. The oral documents collected in french guyana are subjected to a typologic treatment along the lines set down by aarne-thompson. A comparison between this corpus and other tales from the indian ocean, or from the caribean regions shows the points of convergence and or divergence between the tales of both these zones, from the point of view of their oral nature. This sets off their specificities as well as their universality
Bourehla, Hedia. "La tradition orale, source d'inspiration à la création cinématographique arabe". Paris 1, 1997. http://www.theses.fr/1997PA010604.
The oral tradition is a mode of traditional way of communication that has played a key role as a vehicle of the knowledge transmission in the arabo-islamic culture. The advent of the Islam and its expansion has led to a major change from an "oral type culture" to a "visual type culture" based mainly on written documents, and image figuration, thus, dispite the religion opposition to the image reproduction. Among the many representation modes that had appeared at that time, calligraphy, which became a new artistic way of writing, the miniature, the painting, the shadow theater, the western theater and in general arts of the image ether fixed or in movement, were from the most important artistic changes. Those new communication moves had evolved as major ways of communication, the oral tradition which had been the unique vehicle for the collective memory storage has to adapt effectively itself to remain as a source of inspiration for artists and creators. One of the most obvious new adaptation mode of the oral tradition that had appeared, the audiovisual creation was one from the most significant. But the audiovisual creation faced many problems mainly because it was a technique imported from foreigner countries. Many trials of the safeguard of the oral tradition have been carried out by several producers and film makers from the oral world the cinema and the television indeed way and do represent the best way to preserve the basic elements of the oral tradition. However the transition from an oral tradition to an image representation tradition (i. E. Cinematographic account) will necessarly lead to a change in the langage form. The analysis of some films made directors form the arab culture, and inspired from earther oral traditio, illustrates the different attitude of the arab film directors towards the inherited patrimony which varies from one to another depending on this moral and intellectual standards in life. Nevertheless, and despite the difficulties faced by the arab oral tradition in integrating completly transmission mode (i. E, cinema), the oral account can without doubt generate new narrative forms in the arab cinema and can be one of the most significant source of its authenticity
Ameziane, Amar. "Tradition et renouvellement dans la littérature kabyle". Paris, INALCO, 2008. http://www.theses.fr/2008INAL0028.
Saponov, Mikhail. "Musical Historiography and Oral Tradition". Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36659.
Daskalopoulos, Anastasios A. "Homer, the manuscripts, and comparative oral traditions /". free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9953854.
Mbonde, Mouangue Auguste. "L'épopée duala de Jeki la Njambe' A Inono : textes et contexte". Paris 4, 2004. http://www.theses.fr/2004PA040113.
Hijou, Mohamed. "Approche ethno-sémiotique de contes populaires marocains : exemple de Béni Messara". Toulouse 2, 1988. http://www.theses.fr/1988TOU20074.
In this study, it is question of a bi-dimensionnal approach of popular moroccan tales : one semiotic dimension concerns the meaning, seen from the perspective of the tale itself; and the other ethnological which joins the first in order to situate this tradition of orality in its socio-cultural context, necessary for the understanding of every artistic production. These two aspects, presented separately in theory, are not separated in reality. In fact, in the narrative and discursive analysis carried out, ethnological elements come to support this or that aspect of the meaning