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This article deals with Eugen Gomringer’s ideograms and their translations. It points out that there is no loss of meaning in the different versions in German, French, English, and Spanish. That Gomringer succeeds in this is examined primarily through Gomringer’s medial games between white space, black letters, orality, and writing. An attempt is made to establish that Gomringer’s linguistic reduction offers the prospect of a form of transnational communication in which it is not necessary to master all the prevailing linguistic norms. Instead, it is for the audience to fill in the empty space themselves, and to discover silence and secrecy there.

This paper aims at broadening the scope of what the term ‘formula’ encompasses by studying a written context of formulaic applications and their complex connections to ritual performance. More specifically, it examines the interplay between the oral and the written in the language of the late Shang 商 (ca. 1230–1046 BC) oracle bone inscriptions (OBI). Drawing on the study on ‘formulaicity’ by Wray and Perkins, I propose a definition of formulae based on the OBI evidence and identify the structure-based formulaic types as found in the divinatory records. I then discuss the functions that formulae perform in the divinatory record. I suggest that formulae should be considered a scribal device, a set of stock phrases and technical words used by the scribes to record divination results. They formed a toolkit which was meant to facilitate the composition of written records on hard media. The writing act occurred after (and separately from) the oral divinatory act. Therefore, the oral and written coexisted but were independent from each other within the context of divinatory performance.

Substantial textual variation found across manuscripts of a Demotic Egyptian novella, The prebend of Amun, bears upon closer examination the features of mouvance, a kind of textual impermanence found in written versions of literature for which performance contexts are not only ongoing but are constitutive of their very textual shape. Alongside this mouvance, manuscripts of this work also maintain a high level of similarity and coherence down to the phrasal and word level. I argue that this unique combination of sameness and mouvance points to the desire of performers who possessed libretto-like copies of The prebend of Amun to tweak their texts in order to match their understanding of this work of prose fiction.

Death, especially death which comes through disease, is often a hard subject that the human mind wishes to bury deep in the unconscious. The lack of ease with impending death eventually finds expression in everyday discourse. In this paper I look at performance of Covid-19 discourse through humour in a short episode of everyday orality of a Luo community in Uyoma, Siaya, in Kenya. The performance of the everyday language is textualized to display the aesthetics of contextual language through coinage, jokes, and puns, which manifest as humorous responses to an otherwise dire situation. From the feminising of the disease as Acory Nyar China, literally translated as “the petite Cory from China”, to the symbolic naming of aspects of the Covid-19 protocols and verbal jokes about the same, there is an inherent, deliberate attempt to literally laugh in the face of death. The identified aspects of language are treated as metaphorical masks, even as the mask as an object also becomes a metaphor. I employ discourse analysis, which treats language as living social phenomena capable of change, growth, expansion, and adaptation for contextual spatial and temporal expressions.

To what extent do verbal arts contribute to the imposition of worldviews, and indeed to the redrawing of boundaries? I chose to address this question through a performance recital to commemorate a historical event, recorded during a festival organized by a cultural association with the aim of defending the Bwa minority in Mali. The event took place in San in December 2001 and was intended to prepare for the centenary of what is commonly known as the “Bwa revolt”, a resistance movement that took place during the First World War. The study of the recital invites one to question the part of identity reconstruction expressed in this commemoration of the revolt. In this article I argue that the vision of the revolt’s history such as it is proposed in this performance has the effect of inventing boundaries, even though it is a call to integrate into a larger whole. It highlights what can be understood as a paradoxical injunction. Indeed, the public is called to ‘be part of’ a country, while claiming as specific to the Bwa of Mali an event that belongs to the history of a whole region not only populated by the Bwa, and that goes far beyond the borders of what Mali is today. In this performance, one thus witnesses an ethnicization that is built on a rewriting of history, an ethnicization that is also remarkable in the comments exchanged on the commemoration of the revolt on social networks. This article is organized into three points. Firstly, the context of this anti-colonial war and the way it is claimed here as part of the construction of Bwa identity are explored from the very first words. Next, it is shown that the ethnicization manifested in this performance has long-standing political and scientific foundations. Finally, this paradoxical injunction addressed to Malian Bwa to be part of the nation while focusing on their own identity is discussed in a context where identity claims are reinforced by the importance taken by social networks on the internet.

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ABSTRACT: This article aims to highlight the manifestation of literary orality in the novel "Hizya" by Maissa Bey, which seeks to explore issues related to feminine expression and identity. These questions form the foundation of the narrative journey that exhausts its narrative and discursive strategy of cultural heritage and collective memory. We will demonstrate the importance of oral tradition in women's writing, through which social issues become apparent. The goal is to analyze the characteristics of literary orality as a process of rhetorical, aesthetic, and stylistic renewal specific to subversion. It involves extracting traces of transgression within female writing that breaks with the norms of the text and the context. The struggle of female characters fuels the transgressive aspect of the fiction and prompts us to question the discourse governed by the denunciation and advocacy of women's rights within a predominantly patriarchal society. RÉSUMÉ : Le présent article a pour ambition de mettre l’accent sur la manifestation de l’oralité littéraire dans le roman « Hizya » de Maissa Bey, qui se propose d’étudier une problématique relative à l’expression féminine et à l’identité. Ces questions désignent le socle du cheminement narratif qui épuise sa stratégie narrative et discursive du patrimoine culturel et de la mémoire collective. Nous allons démontrer l’importance de la tradition orale dans l’écriture féminine à travers laquelle transparait des questions d’ordre social. Il s’agit d’analyser les caractéristiques de l’oralité littéraire comme procédé de renouvellement rhétorique, esthétique et stylistique propre à la subversion. Il est question d’extraire les traces de la transgression au sein de l’écriture féminine en rupture avec les normes du texte et du hors-texte. Le combat des personnages féminins alimente l’aspect transgressif de la fiction et nous pousse à questionner le discours régit par la dénonciation et la revendication des droits de la femme, au sein de la société à prédominance patriarcale.

In this paper we deal with linguistic and cultural otherness, as shown in the Italian translation of the French graphic novel L’Arabe du futur, by Riad Sattouf, an autobiographical saga taking place between France, Libya and Syria. Differences between comics and graphic novel are not clear-cut, the latter being above all an editorial label. Orality, cultural references and variational aspects are more and more studied, within the translation of graphic novel. Our analysis tries to shed light on some phenomena related to linguistic and cultural contact, as well as on their translation: the orality of non-Francophone speakers, diatopic variaiton, realia, brand names, multilingualism and its representations, code-mixing.

Copyright of Akofena is the property of Universite Felix Houphouet Boigny and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper deals with research on oral poetry in the early 20th century and more specifically on Jean Paulhan (1884-1968) and his work on traditional popular poetry in Madagascar; the linguistic anthropology developed by Marcel Jousse (1886-1961); and Milman Parry (1902-1935) who carried out research on the formulaic composition of Homeric poems. These three analyses were directed or partly inspired by Antoine Meillet (1866-1936). They are one of the tangible manifestations of Meillet’s ambition to foster dialogue between linguistics and ethnography. Examining these three studies sheds light on their own specificities, as well as on what brings them together in the common objective of describing or theorizing poetic orality. Meillet, in particular, contributed to these three projects through his teachings and his reviews published in the Bulletin de la Société de linguistique de Paris. Moreover, the assessment of Meillet’s contribution to the emergence of the “formula” concept which takes shape along these works is all the more important that it is to become the cornerstone of oralist theories.

For the first time since its inception, the European Research Council Advanced Grant has awarded an Italian musicological research project, whose principal investigator belongs to the L-ART/07 disciplinary area. Its goal is to reconsider the relationship between poetry and music in a functional perspective, through a systematic examination of the lauda repertoire, from its origins to the early 16th century. This article illustrates the features and peculiarities of this research initiative, in the hope that the recent award may provide new lifeblood for the study of medieval music, which has been increasingly underrepresented and neglected in Italy, and encourage greater attention to European resources within the general field.

This article presents the special issue of Martor journal that problematizes the complex relationship between the written and the oral in the production of meaning that defines “traditions,” community and group relations, in different contexts of change (post-communism, migration, the use of hypermedia, storytelling and so on). It approaches the new ways orality is found in contemporary societies, but also open avenues for methodological discussions in ethnological research regarding the phenomenon of orality in contemporary societies, dominated by history and written texts.

This article sets out to study the records and testimonies created during the First World War in order to understand this important historical moment in the existence of Romanian rural communities. Many of the testimonies of Romanian soldiers capture the shift from oral culture and oral language to writing and written culture. Writing, which the soldiers had yet to fully internalize, was one of the few possibilities available to them on the war front to maintain alive the connection with their families and to leave a trace about the exceptional times they were living. These written accounts, which do not always observe the rules of correct writing, make apparent and available to us today a deep layer of oral culture that had until then been orally transmitted from generation to generation. Romanian soldiers from Transylvania were best known for writing home messages in verse, which they composed on the spot, using memorized set structures and phrases from the shared folklore repertoire circulating at the time in the village world. Privates coming from the Kingdom of Romania also made verses in their letters or journal entries, but it was less common. They would sometimes insert in their notes orally transmitted moral stories or parables, as well as other forms and pieces of the peasant oral culture to which they belonged. Some of these testimonies can present real challenges in terms of understanding the writing but also the semantics of some of the words. While familiarized with letters, writing, and reading, their authors had only a rudimentary knowledge of spelling and punctuation rules. To be able to discern the meanings of these writings today, one needs to first understand the complex circumstances that produced them.

Before the 1930s, the peoples who inhabited the Amur region located in Eastern Russia transmitted traditional information only orally within their groups. That accumulated knowledge was a fundamental cornerstone for their mental world and mainly reflected the social processes that had been unfolding in the large river valley. The Three Suns Nanai cosmogony legend, which tells the story of the three suns that melted and scorched the Earth, is a good example for understanding the local history. The basic myth is split into several actions, forming independent subplots with separate characters and their behaviors. The branched storyline of the legend confirms the specific migratory processes that used to take place within the Amur territory. The new communities embedded their family stories into the Three Suns common myth. In that way, the migrators harmonized their lives with their world model, i.e., with the mythical universe seen as the otherworld where shamans sent only righteous human souls. Since the 1930s, with the spread of written language, the Amur natives have developed a new culture code which was created not by the older generation who still followed the oral tradition, but by the literate persons among them. Their entire folklore heritage was given a different conceptual design and began to be understood within world history. The local archaeological artefacts dating back to the third millennium BC were interpreted through the mythic narrative. Thanks to this discovery, a Russian-language simplified version of the legend was created which was accessible to a wide audience. Nowadays we witness the emergence of a new mythical history originating from this written version. Linking the legend to the archaeological sites makes the Lower Amur peoples’ history significantly older. According to modern understanding, the local history begins not with mythical events, but with a reconstructed picture of ancient social life embedded in the Earth’s topography and chronology.

Starting with the second half of the twentieth century, a number of graves from Bellu Catholic Cemetery in Bucharest became the stage of a ritual. The allegedly miraculous graves achieved fame due to different and, in some cases, random characteristics. Many people (most of them Greek-Orthodox, not Catholics) come to perform this ritual to have their wishes fulfilled. As an important part of the ritual built around these graves, its performers are leaving written notes on them, containing their wishes. The notes are often handwritten on different pieces of paper (notebook pages or even receipts), although they may also be typed on a computer and printed. In rare cases, the performers leave notes written on the back of printed photos. My research consisted in observing the ritual, talking with a small number of people who performed it, and, most importantly, analyzing the notes left by the graves. All the performers I interviewed were women, and most of them (with one exception) strongly disapproved of the practice of leaving notes. Nevertheless, judging by the great number of pieces of paper I found by the “miraculous” graves every time I went to Bellu Catholic Cemetery, this practice seems to be general and deemed to be effective. The paper I propose is, therefore, focusing on the analysis of those notes. The way they are handwritten or typewritten, as well as how their content offers valuable insight into the performers’ social identity, religious affiliation, and level of education, as they contain specific formulae, spelling errors, and professional or personal wishes. The “secondary orality” (Zumthor 1972) involved in these texts is an important element of the “vernacular religion” horizon (Primiano 1995) to which the performers of the ritual obviously belong.

The cultural life of Olympos, a village on the island of Karpathos in Greece, is organized around sung poetic improvisation. From the time when a majority of the villagers were illiterate to the present, this ritual performance has shifted without changing its nature from “primary orality” to “mixed orality,” which coexists today with “mediated orality,” and is characterized by three main types of transmission. First, this performance is still being transmitted via oral memory since men are able to remember improvised couplets, in particular so as to avoid singing and hearing the same couplet twice. However, it is mainly the women attending the performances who memorize verses, which they can later play back, thus acting like an oral archive. Next, a written memory has developed in addition to this oral memory because some of the women have recorded the memorized verses in notebooks. Further, the emergence of local newspapers has led women to publish couplets in the community life sections. Under their influence, men also began to publish verses in these newspapers, but especially via the new media. Finally, recording technologies have made it possible to broadcast performances without losing their oral dimension. As a result, many recordings made by the villagers are exchanged via social media or broadcast on local digital radios to make them available to Greek emigrants, and in the process become archived. Despite the discrete presence of writing, Olympos oral poetry therefore remains rooted in Olympos’s social life as the community continues to perceive it as a functional form.

In this article the author summarizes some conclusions drawn following her field research on narration and identity. Language itself is approached language itself as a guardian of ideas, structuring society, using humor as an integrative barrier. It is introduced the term identification narrative as crucial for understanding the self in the context of the community. The author briefly describes the cases of a popular local story that changed local oral practices and of a less popular local story that preserved local oral practices. She analyzes the natural transformations of local stories compared to their translations into the “language” of virtual communication. The author research the impact of new forms of communication on local cultures and how the narrative of the desired identity comes to replace the traditional social narrative of the self.

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Although the history of modernity has engendered an episteme of the representations of the practices in the sciences and the arts and of our ordinary ways of relating to the world, ethnographic research on landscape representation has remained limited. The concrete, ordinary situation of the human body as it acts on, perceives the landscape, and verbalises its perception of it would allow us to account for the complexity of local uses, common knowledge and the practices of symbolisation often involved in the elaboration of our relationship with the perceived object. We can thus study the practice of actors in the poetic domain from a new perspective. Highlighting, in the same way as practised in ethnomethodology, the conversational dimension of the processes in the production of meaning that ordinarily structures practical action. We will raise the following questions : Does the poetic experience of places not rest on a substratum of communicative resources common to all social actors ? How does a referential domain specific to poetic activity nevertheless emerge from the ordinary resources of oral conversation ? What is required of a poem for it to be able to say something about a relationship with the landscape ?

This article will try to delve into the particularities of the process of Christianization of slaves in New Granada at the beginning of the 17th century and its significance. At the beginning of the 17th century, the largest number of ships, mainly Portuguese, arrived at the port of Cartagena, bringing black slaves from Africa. The poor health conditions in which slaves arrived raised a great desire for their conversion to Christianity, added to the fact that the most of them spent short time in the port. This urgency in the salvation of the souls of the slaves recently arrived in port led to raise several exceptions in baptism, which we will try to analyze, exposed by the Jesuit Alonso de Sandoval in his book De Instaurata Aethiopum Salute published in 1627 and carried out by Pedro Claver, since his final arrival in Cartagena in 1615. We will make special emphasis on the exceptions that were exposed and defended before the Roman Catholic Church, which were the rename, the use of several interpreters of diverse African languages, permanently, and at the same time throughout the Christianization process, in addition to orality, repetition and memorization as the only means of transmitting this religious knowledge.

Jacques Derrida and Souleymane Bachir Diagne : Translation as Betrayal Traditional Western thought finds its rise from logocentrism. The latter establishes a link of identity between the word and the thing. The resulting translation is a reflection of accuracy. It is this approach that Derrida deconstructs. The deconstructive scheme requires that there is no addressee and therefore “must be translated”. As a consequence, the translator will never exhaust a work. There will always be emptiness and lack. The translation is always unfaithful. It is neither a neutral reception nor a simple reproduction of a text. Nor is it the original restitution of meaning. To translate a work is to mourn its originality. For Derrida, translation is “an operation intended to ensure its survival as a work”. This survival of the work “lives more and better, above its author”. It is this survival that makes the translator a traitor because the meaning crumbles in the semantic transfer. Obviously, meaning is never transmitted in the same way. He still suffers betrayal. The latter makes translation an event. The event is erased, because it only happens by repeating itself and altering itself. This approach is the foundation of Souleymane Bachir Diagne’s thinking. For him, translation is celebrating plurality; it is “in a way imagining a happy Babel”. By drawing on African anthropology, by analyzing orality and the implications of its transcription, Souleymane Bachir Diagne believes that the fidelity of the translation comes from its betrayal. We cannot have a pure translation. This logic breaks completely with nationalism. The translation “contributes to the task of realizing humanity, and even better: it identifies with it”. Against the “clash of civilizations”, translation as betrayal establishes a “dialogue of cultures”. The Senegalese thinker thus thinks that it is thanks to translation that one can “say in one’s own language, the culture of the other”. Translation is “the ability to take all languages together and think about what their coexistence might mean”. This is where the Monolingualism of other by Jacques Derrida takes on its importance. This work is part of a deconstruction of language as a property and no doubt as a natural home. “I only have one language and this is not mine, my own language is a language that cannot be assimilated to me. My language, the only one I can hear myself speaking, is the language of the other”. Therefore, no pure language. This one suffers the effect of contamination. Therefore, for Bachir Diagne, the act of translating “finds two languages, two cultures’’. To translate is therefore to betray the origin and linguistic purity.

Scriptural Variations and Algerian Tales ABSTRACT: In order to preserve the Algerian cultural heritage, the popular stories told are transcribed in the mother tongue and sometimes in another language. This complex operation, which requires the transition from oral to written, has given rise to several versions. The transcriber-translator is faced with cultural, linguistic and stylistic challenges. It is interesting to note to what extent this has been respected in the different versions? Because, in the specific case of the conservation of this popular culture, it is imperative to keep the cultural soul expressed through this collective imagination. This article examines this particular treatment suffered by the oral corpus by taking concrete examples from the Algerian oral tradition, in Arabic or Amazigh, and preserved in writing in the French language. We will try to examine and determine the basic requirements of this fixation in writing in a comparative approach of oral and written versions. RÉSUMÉ : Dans le souci de conserver le patrimoine culturel algérien, les récits populaires contés sont transcrits dans la langue maternelle et parfois dans une autre langue. Cette opération complexe qui nécessite le passage de l’oral à l’écrit a donné naissance à plusieurs versions. Le transcripteur-traducteur est mis face à des défis d’ordre culturel, linguistique, et stylistique. Il est intéressant de relever dans quelle mesure celui-ci a été respecté dans les différentes versions ? Car, dans le cas précis de la conservation de cette culture populaire, il est impératif de garder l’âme culturelle exprimée à travers cet imaginaire collectif. Cet article examine ce traitement particulier que subit le corpus oral en prenant des exemples concrets issus de la tradition orale algérienne, en arabe ou amazigh, et conservés par l’écrit en langue française. Nous essayerons d’examiner et de déterminer les exigences de base de cette fixation par l’écrit dans une démarche comparatiste des versions orales et écrites.

Immigration is a relatively recent phenomenon in Spain and the voices of first-generation immigrants or their descendants did not make themselves heard until the beginning of the 21st century. Born in the Moroccan Rif, Najat el Hachmi, has been living in Vic, a city located in the Province of Barcelona, since she was eight years old. Her first novel, L’últim patriarca, written in Calalan, was published in 2008. Through the portrait of the father, an authoritarian patriarch, and the memories of his daughter, sometimes painful, sometimes humorous, we perceive the radical change of lifestyle that exile implies, the uprooting that ensues, along with an integration process which finally results in the symbiosis between the narrator’s two cultures.

As a result of the codification of Hungarian civil procedure, the first modern code of civil procedure was enacted in 1911. It was characterised by the principles of orality, immediacy, and publicity. An important question of the legislation was to decide to which extent should the parties be allowed to propose new allegations and proofs in the second instance proceedings. Furthermore, the legislative reforms of the interwar period amended the regulation of the appeal as well. The study examines these questions with the help of the primary sources of the era.

If we accept that a poetic text becomes a poem at the precise moment when the aesthetic relationship between this text and someone who receives it is established, we can then ask a seemingly simple question: where do we find this “poem”? Is it confined to the space of the page, where it meets the eye, or does it rather occur in the time of its diction? The aim of this article is not to decide in favour of one or the other of these answers, but to consider the generally implicit links between the material ways in which texts are transmitted and the very idea of poetry or literature. A few historical examples of the relationship between orality and writing are used here to prepare the ground for the questioning of more recent practices: those triggered by the emergence of sound recording at the beginning of the 20th century. When an author fixes a sonorous variant of a poem that he has also published on paper, how can we consider the relationship between these two states of the text? Does one of the two prevail over the other? According to what criteria? If such questions invite us to reconsider the strongly graphocentric paradigm that predominates in our cultural field, my aim, however, is not to downgrade the written word in favour of a supposedly rediscovered orality. The answers I have outlined tend towards the idea of the constitutive duality of the poem, of an “amphibious poetry”.

Copyright of Akofena is the property of Universite Felix Houphouet Boigny and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cahiers de Littérature Orale is the property of INALCO: Institut National des Langues et Civilisations Orientales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cahiers de Littérature Orale is the property of INALCO: Institut National des Langues et Civilisations Orientales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cahiers de Littérature Orale is the property of INALCO: Institut National des Langues et Civilisations Orientales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergies Italie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract (Deutsch) In diesem Beitrag werden datengestützte Sprachprofile präsentiert, die in einem interdisziplinären Mehrmethodenansatz erarbeitet wurden. Zudem werden ein mehrstufiges Profilbildungsmodell und ein Sprachanalyseraster vorgeschlagen, die jeweils neu entwickelt wurden. Derart datengestützte Profile für das gesprochene Albanisch, die als Grundlage für die Entwicklung von niveaudifferenziertem Sprachmaterial dienen, fehlten bisher. Ohne einen Anspruch auf Vollständigkeit zu erheben, trägt der vorliegende Artikel mit seiner Profilbildung und der Entwicklung eines dazu passenden Modells und Rasters zur Schließung einer Forschungslücke bei. Die als Anfänger, Semifortgeschritten und Fortgeschritten bezeichneten Profile wurden mit Hilfe von Interview- und Fragebogendaten Albanischsprechender der dritten Generation (G3) in Deutschland und der Schweiz erarbeitet (n=40). Sie dienen als empirische Grundlage für die Entwicklung von Sprachmaterial in verschiedenen Kompetenzstufen. Beim Profil Anfänger sind die geringen lexikalischen und normabweichenden morphosyntaktischen Fähigkeiten charakteristisch. Im Unterschied dazu stellen der wenig komplexe Alltagswortschatz und die geringe Wortbildungsfähigkeit ein wichtiges Merkmal des Profils Semifortgeschritten dar. Typisch für dieses Profil sind zudem die Gedankensprünge und Wiederholungen beim Versuch, Gesprächsinhalte metasprachlich zu erläutern. Im Profil Fortgeschritten kennzeichnen sich die Sprechenden durch einen variierenden Wortschatz sowie ihre morphosyntaktische und pragmatische Kompetenz. Sie bilden komplexere parataktisch-hypotaktische Sätze und gebrauchen verschiedene Wortarten und Wortbildungsformen. Die weitgehend normgerechte Einsetzung von Verbflexion, Kasus, Genus, Tempus und Pronomina sticht ebenfalls hervor. Abstract (English) This paper presents data-based language profiles that have been developed in an interdisciplinary multi-method approach. It also proposes the use of a multilevel profiling model and a language analysis grid that have been newly developed. Such data-based profiles for spoken Albanian, which serve as a basis for the development of level-differentiated language material, have been lacking until now. Without claiming to be exhaustive, the present article contributes to filling a research gap with its profiling and the development of a matching model and grid. The profiles, described as beginner, semi-advanced and advanced, were developed with the help of interviews and questionnaire data from third-generation Albanian speakers (G3) in Germany and Switzerland (n=40). They serve as an empirical basis for the development of language material at different levels of proficiency. The beginner profile is characterised by low lexical and norm deviating morphosyntactic abilities. In contrast, the less complex everyday vocabulary and the low word formation development represent important features of the semi-advanced profile. Typical of this profile are also the mental leaps and repetitions by the speakers while attempting to explain conversational content in metalinguistic terms. In the profile advanced, the speakers are characterised by a varying vocabulary as well as their morphosyntactic and pragmatic competence. They form more complex paratactic-hypotactic sentences and use different types of words and forms of word formation. The largely standardised use of verb inflection, case, gender, tense and pronouns also stands out.

Based on the “Portraits of reading in Brazil” by the Institute Pró-Livro, the relations between orality, scripturality and visuality in Brazilian culture are discussed. We approach the issue of digital reading in the light of initial researches presented by Wolf (2019) and make an assumption of a post-literary culture in formation in Brazil that needs protection for the preservation and development of reading and imagination skills.

This article examines, in the Italian version of a vaudeville by G. Feydeau, several problems of restitution and translation of orality effects. The analysis distinguishes between orality, as the representation of speech in the written line, and oralisation, as the vocal realisation of this line on stage, both in French and in Italian. Orality is evaluated in the written code, whereas oralisation is judged in relation to the oral norm; it will be seen that strong infringements of the written code do not automatically imply a significant variation in oralisation in relation to standard speech. We will therefore study how the Italian version renders the numerous exclamation marks, how it translates certain phonospoken markers, whether it transposes the characters' articulatory failures and how discourse markers are treated. In the face of these different points, a general tendency emerges: the translation significantly attenuates the characters' enunciation and reduces the presence of affects. In the Italian version, the immediate pathos is less prominent in the characters' speech, while Feydeau's orality serves to dynamise the model of worldly conversation while reproducing it.

By analysing Dreyfus... (1990) by J.-C. Grumberg and its Italian translation, we will show that the markers of orality have a double discursive purpose in this play: constructing individual identities of characters and showing scenic dynamics of enunciative proximity. We will also show that these phenomena are not transposed equivalently in translation, which is even more marked when the discursive procedures present obvious cultural anchors. In fact, like the majority of J.-C. Grumberg’s plays, Dreyfus..., places Jewish identity at the centre of its dramaturgy. The article first presents the theoretical framework in which our reflection takes place, focusing on orality in the literary text and also on J.-C. Grumberg’s dramaturgy from an identity perspective. The second part is based on the analysis of orality markers in the French version of the play and in its translation. These are first studied in their idiolectal function, and then they are studied as intersubjective and situational markers.

The play French Town (1994), by Franco-Ontarian playwright Michel Ouellette, presents a large number of lexical and oral structures typical of the French spoken in Ontario and seeks to describe the linguistic practices of Franco-Ontarians in a realistic way. What strategies should be implemented to overcome the constraints related to translation? How to translate in Italian the same identity, subversive and aesthetic functions that the Franco-Ontarian conveys in the play? Should a translation of a Franco-Ontarian literary work, in terms of language-culture, offer something Franco-Ontarian to Italian readers? These are the questions this contribution attempts to answer.

In this article, a comparative analysis of the play Cendrillon, by Joël Pommerat, and its Italian translation, Cenerentola, is carried out to study the rendering in the target language of some typical features of spontaneous oral which are characteristic of the play. The transfer of these traits from French to Italian comes up against the asymmetries inherent to the two languages, as the diaphasic variation is less clearly marked in Italian.

In the context of prematurity, invasive care can interrupt recognition of the oral sphere as a source of pleasure, substituting positive in utero experiences with others of pain and passivity. A unique approach to care in the neonatal unit helps to support parents and baby during this period. However, if medical care can be reduced, what happens when the baby returns home, and when he or she discovers how to eat? How can the gastrostomic baby take part in the family meal? We'll take a look at Basile (born prematurely with a rare ENT pathology) and his family, to see how, at the age of 2, he can carve out a place for himself within his family, particularly with his brothers, including his twin, who has a different background., (Copyright © 2024 Elsevier Masson SAS. All rights reserved.)

This paper looks at two poets, Alice Oswald and Kae Tempest, whose works are largely influenced by oral performance and exist on a plurality of media that are made easily accessible by the Internet. It posits that all actualisations of the poem – whether in a poetry book, a recording, a video, or a live performance – are equally important and must be studied in contrast to one another as part of the poetry collection. The latter term is therefore defined as the gathering of all the actualisations of the poem and their relationships. It then examines the poetics of hybridity that such intermedia poems produce and the plural poetic experience they create. It considers the poems in the light of Henry Jenkins’s concept of “convergence culture,” before suggesting that cette convergence is related to the emergence of a poetic community – i.e. a community produced by the oral poem and its plural versions, which is mirrored by the poem itself. Finally, it suggests that such interest in the community may provide a fruitful way of grouping together and comparing works in the diverse field of contemporary British poetry.

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This paper tries to synthesise the evolution and specificity of Latin mythology. Its primitive forms were mostly rural, with minor indigenous deities, and consisted mainly of ritual for practical purposes (invoking protection for agricultural crops, wars and family). An absorption of the rich Greek and Oriental mythological corpus followed. In the imperial age, in Rome, “there are so many gods that it is easier to meet one than it is to find a man” (Petronius Arbiter). A large part of this heterogeneous and complex corpus was inherited by the European Romanic and non-Romanic peoples. All around, written culture has copiously fed on traditional unwritten mythology.

This paper describes the interplay between orality and inclusive English as a Foreign Language Teaching (in the primary classroom), with reference to the Italian context. Inclusive teaching is here understood as a teacher’s ability to provide environments ensuring every pupil equal access to the English language. In the first part of the paper, a case is made for the need to implement the use of aural and oral communication in the EFL classroom, both in terms of letting children listen to the sounds of the new language (thus fostering comprehension skills) and enabling them to copy the teacher’s sounds and words, or even express what they might already know. The second part of the paper focusses on the learner, and in particular on immigrant children who are trying to master the local language (Italian), native children who might have different levels of access to the foreign language outside school, depending on their socio-economic status, and children with specific learning difficulty. Finally, the paper briefly discusses the implications, both for in-service teachers and for university student teachers, of the implementation (and increase) of classroom orality.

Popular culture has been moving towards a role closely linked to the tradition of the written language through the rise of social media. This article turns to interdisciplinary analyses with a particular focus on language and literary areas, with which the aim is to address Twitter as a discursive and plural space. Therefore, the current text is focused on Twitter as an ongoing conversation with an oral-written hybrid component. This circumstance influences the type of literary and creative productions, as well as the impact of the 21st century pop-culture that inhabits its servers. Through an approach to memes, as the epitome of our current text-visual cultural, and their footprint on Twitter, this article approaches pop-culture and proposes a vindication from the Humanities of the online public communication space. In doing so, the article proposes the need to address this space not only from the synchronous approach that brings digitality and digital studies, but from the perspective of a greater scholarly tradition. RESUMEN: La cultura popular ha ido avanzando hacia un papel vinculado fuertemente con la tradición escrita a través del auge de las redes sociales. Para este artículo, recurrimos a análisis interdisciplinares, con especial atención a los ámbitos lingüísticos y literarios, con los que abordar Twitter como espacio discursivo y plural. Por tanto, centramos el artículo en Twitter desde el punto de vista de una conversación en marcha y su componente híbrido oral-escrito. Esta circunstancia influye en el tipo de producciones literarias y creativas, así como en el impacto de la cultura popular del siglo XXI que habita sus servidores. Mediante una aproximación a los memes, como epítome de nuestra cultura texto visual, y su huella en Twitter, abordamos la cultura popular y proponemos una reivindicación desde las Humanidades del espacio de comunicación público en la red. Con ello, proponemos la necesidad de abordar este espacio no solo desde el abordaje sincrónico que conlleva la digitalidad y los estudios digitales, sino desde la perspectiva de una tradición académica mayor.

This article presents the account of the struggle of the Vila Autódromo community – located in the Barra da Tijuca neighborhood of Rio de Janeiro, Brazil – in their opposition to the City Hall’s policy to remove the slums in the context of the 2016 Olympic Games. The grass-roots organization of the community culminated in the construction of the Evictions Museum in 2016, established to fight for the right to housing and for the preservation and communication of the community’s memory.

The cultural life of Olympos, a village on the island of Karpathos in Greece, is organized around sung poetic improvisation. From the time when a majority of the villagers were illiterate to the present, this ritual performance has shifted without changing its nature from "primary orality" to "mixed orality," which coexists today with "mediated orality," and is characterized by three main types of transmission. First, this performance is still being transmitted via oral memory since men are able to remember improvised couplets, in particular so as to avoid singing and hearing the same couplet twice. However, it is mainly the women attending the performances who memorize verses, which they can later play back, thus acting like an oral archive. Next, a written memory has developed in addition to this oral memory because some of the women have recorded the memorized verses in notebooks. Further, the emergence of local newspapers has led women to publish couplets in the community life sections. Under their influence, men also began to publish verses in these newspapers, but especially via the new media. Finally, recording technologies have made it possible to broadcast performances without losing their oral dimension. As a result, many recordings made by the villagers are exchanged via social media or broadcast on local digital radios to make them available to Greek emigrants, and in the process become archived. Despite the discrete presence of writing, Olympos oral poetry therefore remains rooted in Olympos's social life as the community continues to perceive it as a functional form. [ABSTRACT FROM AUTHOR]

The French poet Valérie Rouzeau's work can be considered an example of writing beyond the text thanks to its "extensive" speech and its versatile rhythm, whether sung, played or danced. Both collective and interactive, Rouzeau's poetry sinks into experience and goes off the beaten paths. This article aims not to separate what engages the body and the language for some remarks and analyses as close as possible to the linguistic, artistic and social practices by which Rouzeau's living poems are promoted. [ABSTRACT FROM AUTHOR]

The tradition of the huapango arribeño that is performed in the Sierra Gorda of Querétaro and Guanajuato, and in the Zona Media of San Luis Potosí, is reflected in the celebration of festival rituals of a musical-poetic nature, both civil and religious, where the glosa blends the coplaand the décima. The tradition is governed by a series of rules of traditional and oral nature, among which the «reglamento» (rules) and the «compromiso» (commitment) stand out. This article investigates the legal, linguistic and literary nature of these norms; their interaction with other norms of an external character to the festival; their influence, both in the performance or festive ritual —especially in the topada—, and in the poetic creation. Using ethnographic (interviews and recordings of festivals) and bibliographic sources, the aim is to elucidate the role these norms played in the conservation and transformation of tradition. / La tradición del huapango arribeño que se lleva a cabo en la Sierra Gorda de Querétaro y Guanajuato, y en la Zona Media de San Luis Potosí, se revela en la celebración de rituales festivos de carácter músico-poético, tanto civiles como religiosos, en donde la glosa conjuga la copla y la décima. La tradición se rige bajo la influencia de una serie de normas de carácter consuetudinario y oral, entre las cuales destacan el «reglamento» y el «compromiso». El presente artículo indaga en torno a la naturaleza jurídica, lingüística y literaria de dicha normatividad; su interacción con otras normas de carácter externo a la fiesta; su influencia, tanto en la performance o ritual festivo —especialmente en la topada—, como en la creación poética. A partir de fuentes etnográficas (entrevistas y grabaciones de fiestas) y bibliográficas, el objetivo es dilucidar el papel que juega dicha normatividad en la conservación y transformación de la tradición.

This paper explores the nexus between Translation Studies and Oral History on Romanian communism. As such, it aims to map out the challenges posed by the translation of historical interviews from Romanian into English. More specifically, inspired by Portelli’s theoretical framework, the paper illustrates the orality of transcribed historical accounts by bringing into focus their rich imagery. To instantiate the case, relevant data have been extracted from two main books on the era: Memorial of pain: darkness and light, by Hossu Longin, 2013 and The Survivors: testimonies from Romanian communist prison, by Anca & Raul Ştef,2014.

Before the 19th century, well-knownly, the documentation in France of technical terms of many trades is really poor. This applies a fortiori to Occitan as non-national language. Luckily, two scientific treaties of the end of the 18th century dealing with the words of the “catalan” forge are an exception to this. The present article analyzes several lexical units not yet considered by galloroman lexicography, especially those concerning the construction and function of the sledge. One will understand that there existed an elaborated Occitan (and exclusively Occitan) terminology being highly productive in matters of word-formation (by suffixation), borrowing sometimes its words (by metaphor) from the domain of the human body. A certain quantity of these words has been integrated in the corpus of the Littré and Larousse series, appearing there – almost always erroneously – as French words, partly until the middle of the 20th century.

Une saison en enfer is a confession that draws much of its strength and impetuosity from the resources of orality (written orality). After a brief history of the Spanish translations of Une saison en enfer, this study proposes to raise some translational problems related to the oralising dimension of Rimbaud’s text from a tonal, lexical, syntactic, and pragmatic point of view.