Suchergebnisse

The writer's imaginative craft is usually inspired and shaped by the environment s/he hails from. This in turn gives room for constant communication between the creative mind and the immediate physical social world; the environment becomes a determinant of the writer's experiences. The influence of the Urhobo oral tradition on the poetic corpus of Tanure Ojaide is remarkable. The poet's cultural background occupies a looming space in his choices of generic style. Close examination of Ojaide's poetry reveals the exploration and appropriation of the orature of the Urhobo people, which ranges from myth, folksongs, proverbs, riddles, indigenous rhythms to folktales. Ojaide deploys orature to criticize contemporary ills as well as to locate solutions for Nigeria's socio-economic problems. The aim of this essay is essentially to demonstrate that orality accounts for the distinctiveness of Ojaide's writing. Also interrogate is the mingling of the oral and written in Ojaide's art. This approach will, it is hoped, open up what has been a restricted economy, through the inscribing of orature as a cardinal and integral constituent of the poet's art.

The place and function of Oral poetry in contemporary Quebec as well as the narrow relationship between poetic expression and political commitment are the key issues underlying this doctoral thesis. The Nuits de la poésie are an outstanding observatory of specificities and evolutions of poetry life in Quebec over the last forty years. The first edition in 1970 stands out as the birth of an authentic tradition which establishes a close link between the Oral, the poetic public expression and the statement of national existence.The first part of this thesis presents the conditions of the emergence of this seminal event and studies the historical, linguistics and political context, which saw the birth of a specifically Quebec culture. The second part is devoted to the first edition of the Nuit de la poésie. It focuses on practical and theoretical issues related to the analysis of the document film, the only witness of this edition. It also focuses on the issues related to the registration of oral performance on a mechanical support as well on printed books. The third part examines the repetition of the event. It then analyses continuity and thematic and aesthetic evolutions in Quebec poetry from 1980 to 2010 and even more contemporary and globalized manifestations as those of slam poetry.Through the four several editions of the Nuits de la poésie and of extending events, emerges the face of a country that is particularly linked to poetic word and practice. The 1970s are those of defense and illustration of the literary and poetic Quebec. The 1980s saw the advent of female voices and the beginning of an aesthetic diversification, while the 1990s point out the emergence of an identity more open to migrant cultures. The non-repetition of the event in 2000 is less a sign of a slowdown than a result of the development of poetic genre in Quebec and its dissemination on a wider scale for wider audiences. Concerning the edition of 2010, it is presented as a tribute to the national practice of poetry and illustrates the ...

The place and function of Oral poetry in contemporary Quebec as well as the narrow relationship between poetic expression and political commitment are the key issues underlying this doctoral thesis. The Nuits de la poésie are an outstanding observatory of specificities and evolutions of poetry life in Quebec over the last forty years. The first edition in 1970 stands out as the birth of an authentic tradition which establishes a close link between the Oral, the poetic public expression and the statement of national existence.The first part of this thesis presents the conditions of the emergence of this seminal event and studies the historical, linguistics and political context, which saw the birth of a specifically Quebec culture. The second part is devoted to the first edition of the Nuit de la poésie. It focuses on practical and theoretical issues related to the analysis of the document film, the only witness of this edition. It also focuses on the issues related to the registration of oral performance on a mechanical support as well on printed books. The third part examines the repetition of the event. It then analyses continuity and thematic and aesthetic evolutions in Quebec poetry from 1980 to 2010 and even more contemporary and globalized manifestations as those of slam poetry.Through the four several editions of the Nuits de la poésie and of extending events, emerges the face of a country that is particularly linked to poetic word and practice. The 1970s are those of defense and illustration of the literary and poetic Quebec. The 1980s saw the advent of female voices and the beginning of an aesthetic diversification, while the 1990s point out the emergence of an identity more open to migrant cultures. The non-repetition of the event in 2000 is less a sign of a slowdown than a result of the development of poetic genre in Quebec and its dissemination on a wider scale for wider audiences. Concerning the edition of 2010, it is presented as a tribute to the national practice of poetry and illustrates the extreme vitality and importance of poetry in Quebec society. ; La place de l'oralité dans le patrimoine québécois et la particularité du lien qui unit expression poétique et revendication politique dans le Québec contemporain constituent les questions essentielles qui sous-tendent ce travail. Les Nuits de la poésie offrent un remarquable observatoire de la place, des spécificités et des évolutions de la poésie vivante au Québec au cours des quarante dernières années. La première édition en 1970 s'est affirmée comme l'acte de naissance d'une authentique tradition établissant un lien étroit entre oralité, expression poétique et affirmation politique et nationale.La première partie de cette thèse présente et analyse les conditions d'émergence de cet événement fondateur à partir de l'étude du contexte historique, politique et linguistique qui a vu la naissance d'une culture spécifiquement québécoise. La deuxième partie est consacrée à l'étude de la Nuit de la poésie 1970. Elle s'attache aux questions théoriques liées à l'analyse du document filmique, seul témoin de cette édition et support concret sur lequel s'appuie cette étude. Elle met également l'accent sur les questions formelles liées à l'inscription de l'oralité sur un support mécanique ou écrit. La troisième partie étudie la réitération de l'événement. Elle observe ensuite la continuité et les évolutions thématiques et esthétiques qu'a connues la poésie québécoise de 1980 à 2010 et jusqu'aux manifestations plus contemporaines et mondialisées que constituent les scènes de slam.Au gré des éditions de La Nuit de la poésie et des manifestations qui la prolongent, se dessine le visage d'un pays qui s'est particulièrement affirmé à travers la prise de parole poétique. Les années 1970 sont bien celles de la revendication et de l'illustration du fait littéraire et poétique québécois. Les années 1980 ont consacré l'avènement des voix féminines et le début d'une diversification des esthétiques poétiques alors que la décennie 1990 a vu l'émergence d'une identité plus métissée, plus ouverte au monde et faisant place à la parole des cultures migrantes. La non-réitération de l'événement en 2000 est moins le signe d'un essoufflement que la conséquence de l'essor du genre poétique au Québec et de sa diffusion sur une plus vaste échelle et face à des publics élargis. Quant à l'édition de 2010, elle se présente comme un hommage à cette pratique publique de la poésie et illustre son extrême vitalité et son importance dans la société québécoise.

This is a study in oral poetic composition. It examines how oral poets compose their recitations. Specifically, it is a study of the recitations of 17 separate master poets from the Island of Rote recorded over a period of 50 years. Each of these poets offers his version of what is culturally considered to be the 'same' ritual chant. These compositions are examined in detail and their oral formulae are carefully compared to one another. Professor James J. Fox is an anthropologist who carried out his doctoral field research on the Island of Rote in eastern Indonesia in 1965–66. In 1965, he began recording the oral traditions of the island and developed a close association with numerous oral poets on the island. After many subsequent visits, in 2006, he began a nine-year project that brought groups of oral poets to Bali for week-long recording sessions. Recitations gathered over a period of 50 years are the basis for this book.

This wide-ranging study of language and cultural change in fourteenth-century England argues that the influence of oral tradition is much more important to the advance of literacy than previously supposed. In contrast to the view of orality and literacy as opposing forces, the book maintains that the power of language consists in displacement, the capacity of one channel of language to take the place of the other, to make the source disappear into the copy. Appreciating the interplay between oral and written language makes possible for the first time a way of understanding the high literate ac

The Naqab Bedouin have faced—historically and today—various Israeli settler-colonial practices and discourses aimed at erasing their status as natives of the land. Israeli representations of the Naqab Bedouin often stereotype them as roaming nomads without any links (and consequently rights) to the land or to other Palestinian communities. Naqab Bedouin women's oral and embodied traditions constitute an important challenge to such settler-colonial representations. Women's songs, oral poetry and performances contain important historical counter-narratives, and they also function as embodied systems of learning, teaching, storing, and, to a certain extent, transmitting this community's indigenous memories, knowledges and ways of being.

What can texts - both written and oral - tell us about the societies that produce them? How are texts constituted in different cultures, and how do they shape societies and individuals? How can we understand the people who compose them? Drawing on examples from Africa and other countries, this original study sets out to answer these questions, by exploring textuality from a variety of angles. Topics covered include the importance of genre, the ways in which oral genres transcend the here-and-now, and the complex relationship between texts and the material world. Barber considers the ways in which personhood is evoked, both in oral poetry and in written diaries and letters, discusses the audience's role in creating the meaning of texts, and shows textual creativity to be a universal human capacity expressed in myriad forms. Engaging and thought-provoking, this book will be welcomed by anyone interested in anthropology, literature and cultural studies

COMING FROM DEEPLY ROOTED ORAL AND LITERARY TRADITIONS IN AMERICA, ASIAN AMERICAN AND PACIFIC RIM COMMUNITIES, THE FIRST COLLECTION OF POET CATHY SONG ATTRACTED IMMEDIATE ATTENTION. HER WORK REFLECTS THE EXPERIENCE OF WOMEN IN TRADITIONAL AND CONTEMPORARY CULTURES; IT EXAMINES AN EAST-WEST HERITAGE. HER POETRY CONFIGURES THE STATE OF AMERICAN LITERATURE TODAY, A STATE INVIGORATED BY CULTURAL INFUSION. SONG IS A HIGHLY VISUAL POET; HER USE OF METAPHOR AND MUSIC REVEALS HER AS A CONSUMMATE CRAFTSWOMAN.

Russell Simmons Presents Def Poetryis a cable phenomenon bringing the art of performance poetry into the homes of millions of television viewers. Performance poetry is present for a new generation to appreciate. This research focuses on how the African oral element of nommo is present in Russell Simmons Presents Def Poetry. This research seeks to uncover how the concept of nommo is manifested in Def Poetryand how the use of nommo becomes an effective element in this genre. Using an Afrocentric rhetorical analysis, the characteristics of nommo studied were rhythm, soundin' out, repetition, stylin', lyrical quality, improvisation, historical perspective, indirection, call and response, and mythication.