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This article examines how Zeyā al-Din Barani may have imagined that contemporary audiences would consume his Tārikh-e Firuz Shāhi. Would it only be read visually or also read aloud (directed at the ear rather than the eye), and thus be received aurally, or would it even be performed in front of a larger audience? The plot and protagonists of Barani's story on Moʿezz al-Din Keyqobād present a tragedy that develops around a sultan doomed to fail. An examination of the set-up of Barani's narrative reveals that it contains numerous textual devices that would enable a storyteller to perform the story, using the text as a kind of tumār. As tragedies are written for the stage, not the study, these features of the text indicate that matters of orality, which are crucial for many genres of premodern Persianate courtly literature, are also relevant to the Tārikh-e Firuz Shāhi.

En el corpus filostrateo se reitera el mito troyano del héroe Memnón con variantes y reformulaciones en diferentes obras: Imágenes, Vida de Apolonio de Tiana y Heroico. La inclusión de relatos míticos ha sido considerada, frecuentemente, como un recurso repetitivo heredero de formas escolares y del gusto arcaizante y libresco de los pepaideuménoi. Este artículo propone un análisis trasversal de las referencias a Memnón en el corpus para demostrar cómo las variaciones al relato mítico son re-escrituras funcionales a una sophía helénica según el programa narrativo del sofista en cada obra. The Trojan myth of the hero Memnon is reiterated with variants and reformulations in different works of the Philostratean corpus: Images, Life of Apollonius of Tyana and Heroicus. The inclusion of mythical narrative has been often considered as a repetitive resource inheriting school forms and the archaic and bookish taste of the pepaideumenoi. This article proposes a transversal analysis of alluding to Memnon in the corpus to demonstrate that the variations of the mythical story are functional rewritings of a Hellenic sophia according to the sophist's narrative program in each work.

Ausgangspunkt des Beitrags ist ein doppelter: einerseits eine Erorterung der Frage des Zyklischen und Anti-Zyklischen und des Konfliktverhaltnisses von Totalitat und Fragment im Sinne von Hegel und Novalis, andererseits eine Uberlegung zur ›Stimmschrift‹ bei Novalis, demzufolge jedes Notat von Beethoven, wie die Skizzen und der fertiggestellte Partiturtext der ›Diabelli-Variationen‹ op. 120, immer Schrift sind und zugleich die Stimme des Autors verraten, womit Skripturalitat und Oralitat in eins gehen. Es geht also aus der Schrift ein oral-mimetischer Vorgang hervor, der als Subtext den gedruckten Text begleitet. Vergleichsweise wird dies auch bestimmend fur die aus der performativen Praxis von Eduard Steuermann hervorgegangenen Eintragungen in seinem Handexemplar der ›Diabelli-Variationen‹ und seinen analytischen Notizen zu diesem Werk, aus denen auch Konsequenzen fur seine klingende Interpretation gezogen werden. Fur Steuermann ist die Zeitproportion zwischen den einzelnen Variationen und dem raschen Walzerthema sowie zwischen den einzelnen Variationen zentral, und er sucht dabei einen weitgehend durchgehenden Puls, wie er auch fur die Ausgabe des op. 120 von Artur Schnabel und fur dessen Einspielung masgeblich war. Schlieslich wurde die proportionale Verkurzung der 16 Takte des Walzers auf acht bzw. vier Takte gerade in den Schluss-Variationen fur Steuermann von hochster Bedeutung, weil sie eine intrinsische Beschleunigung zur Folge haben. The starting point of this article is twofold. On the one hand, regarding the question of the cyclical and the anti-cyclical, the discussion explores the conflicting relationship between totality and fragment in the manner of Hegel and Novalis. On the other hand, it applies the concept of “voice writing” (Stimmschrift) in Novalis, according to which every notation by Beethoven, such as the sketches and the completed score of the “Diabelli Variations” Op. 120, are always writing and at the same time betraying the author’s voice, which means that scripturality and orality go hand in hand. An oral-mimetic process emerges from the writing, which accompanies the printed text as a subtext. In comparison, this is also decisive for the annotations in Eduard Steuermann’s handwritten copy of the “Diabelli Variations,” resulting from his performative practice, and his analytical notes on this work, from which one may draw implications for ahis interpretation in performance. For Steuermann, the proportion of time between the individual variations and the rapid waltz theme as well as between the individual variations is of central importance; in his reading, he looks for a largely continuous pulse, a concept which was also decisive for Artur Schnabel’s edition and recording of Op. 120. Finally, the proportional shortening of the sixteen measures of the waltz to eight or four measures, especially in the final variations, became extremely important for Steuermann, because they result in an intrinsic acceleration.

The motif of the coutume is very present in trouvère lyric; the reason is not only, as one might think, the didactic aspect inherent in the songs.Indeed, this motif which expresses itself in the words us, usage, cou(s)tume, coustumier, acou(s)tumance, works in close connection with a key lyric motif, that of the service d’amour.Coutume / usage maintain their technical meaning in the background, as the rhyme usage / hiretage proves, when the lover becomes the “fief of love” of his lady. The coutume moreover is valorized by its connection with the past, anchisours being paragons of Fine Amor. Finally the coutume of the trouvères, like that of Law, concerns orality, since in this poetry all love is speech.The use of true Love is to give value to the one who feels it. Thus develops a reflection on the feeling, its veracity, its authenticity: any negative effect, any failure of love can only be the result of the vil usage of the hostile world of the others, emblematized as losengiers. But if the fol usage is in fact that of the traitors, any disillusioned lover will be tempted to give in to male coustume, to habit, to the “par usage” which is nothing but an appearance. For both the coutume of speech and the coutume of love are fraught with more questions than certainties. Le motif de la coutume est bien présent dans la lyrique d’oïl, la raison n’en est pas seulement, comme on pourrrait le penser, l’aspect didactique inhérent aux chansons.En effet, ce motif qui trouve à s’exprimer par les mots us, usage, cou(s)tume, coustumier, acou(s)tumance, fonctionne en liaison étroite avec un motif clef de la lyrique, celui du service d’amour.Coutume et usage gardent alors en arrière-plan leur sens « technique », comme le prouve la rime usage/hiretage, quand l’amant devient le fief d’amour de sa dame. la coutume est en outre valorisée par le lien qu’elle entretient avec le passé, les anchisours étant des parangons de la Fine Amour. Enfin la coutume chez les trouvères, comme dans le Droit, relève de l’oralité, puisqu’en cette poésie tout amour est parole.L’usage de l’Amour vrai est de donner valeur à celui qui l’éprouve. Se développera donc une réflexion sur le sentiment, sa véracité, son authenticité : tout effet négatif, tout échec d’amour ne peuvent qu’être le résultat du vil usage du monde hostile des autres, emblématisés en losengiers. Mais si le fol usage est bien celui des traîtres, en tout amant désenchanté se glisse la tentation de s’abandonner à la male coustume, à l’habitude, le « par usage » qui n’est plus qu’apparence. Car la coutume de la parole comme la coutume de l’amour sont plus lourdes d’interrogations que de certitudes.

Nesse artigo analisarei algumas metáforas conceituais para a composição poética utilizadas por Píndaro em passagens de seus epinícios. Para tanto, utilizarei o arcabouço teórico da Linguística e da Poética Cognitiva, bem como dos Estudos da Oralidade a fim de argumentar que Píndaro conceitualiza a composição poética como uma atividade prática, oral e sem qualquer relação com a escrita enquanto meio de criação.

Neste artigo apresentamos comentários e reflexões referentes à tradução do conto “Passing”, presente na obra The Ways of White Folks (1934), de Langston Hughes (1902-1967). Serão analisadas características e definições do gênero epistolar (ALVES, 2015; KOHLRAUSCH, 2015; ROCHA, 2011; TIN, 2005) em relação à maneira como Hughes se apropria ou subverte esta estrutura tradicional em sua narrativa literária; consideramos também conceitos como Letra, a poeticidade do texto literário e as redes significantes (BERMAN, 2013; CHKLOVSKY, 1978 [1917]; PAGANINE, 2013); e, por fim, serão tecidos comentários com análises acerca da representação da oralidade no texto literário na relação linguagem falada e linguagem escrita (BAGNO, 2007; LUCCHESI, 2009).

espanolEl objetivo de este trabajo es dilucidar el grado de castellanizacion y la posible la pervivencia de rasgos autoctonos propios de la oralidad local asturiana a partir de un importante numero de documentos notariales asturianos del siglo XVII. El corpus esta constituido por documentos originales, manuscritos e ineditos que recogen relaciones de bienes materiales (testamentos, cartas de arras, inventarios, donaciones, etc.). EnglishThe objective of this article/paper is to clarify the degree of Castilianization and the possible survival of indigenous features typical of the local Asturian orality from a large number of seventeenth century Asturian notary documents. The corpus consistsof original, manuscripts and unpublished documents that collect relationships of material goods (wills, letters of arras, inventories, donations, etc.)

El término «poesía afrocolombiana» se refiere a un concepto en construcción para el que cada autor aporta su visión particular. En el presente artículo, establecemos un diálogo con tres autoras que comparten el lugar de enunciación de la mujer negra: María Teresa Ramírez (1944) en La noche de mi piel, María Elcina Valencia (1963) en Pentagrama de pasión y Nena Cantillo (1981) en Aquella noche con Winnie the Pooh. Para ello, trabajamos en torno a tres ejes: cuerpo, oralidad e identidad. Respecto al cuerpo, en los tres libros la mujer se asocia a la naturaleza, aunque varía mucho en la vinculación con el cuerpo masculino. La oralidad está muy presente en las tres obras, pero en diferentes formas: conexión con cantos ancestrales, con los sonidos de la naturaleza y con el habla coloquial de la urbe, respectivamente. En cuanto a la identidad, encontramos grandes diferencias entre la visión panafricanista de Ramírez, la ecosofía de Valencia y la apertura radical de Cantillo. En las conclusiones, discutimos la variedad de enfoques, las posibles causas y la riqueza que aportan para el concepto de «afrocolombianidad».

This article identifies Walter Hollenweger as the leading scholar of Pentecostal historiography. His contributions to an understanding of Pentecostal history are analyzed primarily through the lens...

El dilema del que estudia el arte africano, incluso sus influencias en las creaciones trasatlánticas, es el enfrentamiento a la imagen y todo lo que importa en la constitución del objeto o de los objetos. Es encomiable la labor de algunos artistas cubanos contemporáneos como José Bedia, que, en el conocimiento del poder de la palabra, se ubica en los orígenes africanos de la oralidad y crea una relación imagen-palabra que permite descubrir otras posibles realidades, que no son fáciles de ser atrapadas en la omnipresencia de la visualidad. Bedia se reconoce dentro de un espacio determinado por lo transcultural. Es, al decir de Orlando Hernández, que siendo Bedia: “Proveniente de una cultura, la cubana, acostumbrada a la reverencia y al maltrato en su diaria relación con los dioses no le resulta trabajoso […] continuar en el arte con esa misma familiaridad” (27). La relación de las palabras y las imágenes en la obra de José Bedia no están vinculadas únicamente con los problemas planteados sobre esto desde la postura eurocéntrica, sino también con el modo en el que se entiende esta relación, tanto en aquellas prácticas trasatlánticas de influencia africana como en las culturas nativas americanas.

espanolEl dia 1 de enero se celebra en Riofrio de Aliste (Zamora) una mascarada u “obisparra” denominada Los Carochos en la que intervienen once personajes, algunos enmascarados, de los que dos de ellos, los carochos o diablos, son los que dan nombre al conjunto mediante una sinecdoque. La accion pre-teatral, aunque en algunos momentos se puede hablar de teatro de participacion, es compleja, trepidante, bulliciosa y divertida y se desarrolla en las calles y en una plaza de la localidad convertidas en un escenario para la exaltacion ludica. Las acciones se intercalan con formulas, parlamentos y dialogos prestablecidos, pero no cerrados y con coplas, algunas del acervo folclorico clasico y otras nuevas cada ano. La fiesta declarada de Interes Turistico Regional desde 2002 es muy conocida y se difunde en las redes y en la prensa, escrita y digital. Analizaremos que espacio ocupa la oralidad frente a la plasticidad de las mascaras en el conjunto de los medios digitales. EnglishOn January 1, a masquerade or “obisparra” called Los Carochos is celebrated in Riofrio de Aliste (Zamora) in which eleven characters, some masked, of which two of them, the carochos or devils, are the ones that give name to the whole through a synecdoche. The pre-theatrical action, although in some moments you can talk about participation theater, it is complex, exciting, bustling and fun and takes place in the streets and in a town square converted into a stage for playful exaltation. The actions are interspersed with preset formulas, parliaments and dialogues, but not closed and with couplets, some of the classical folk heritage and new ones every year. The festival declared of Regional Tourist Interest since 2002 is well known and is disseminated in the networks and in the press, written and digital. We will analyze what space orality occupies against the plasticity of masks in all digital media.

Most if not all of André Scrima’s texts are responses to di!erent requests: academic or spiritual, public or private. Many of them issued from his speeches that di!erent interlocutors or auditors recorded and transcribed. He even confessed that he never produced a text as an “author” who autonomously deals with a subject. His creativity turned into discourse only in relationship with the other, solicited by the other, in front of the other. What function or meaning did André Scrima attribute to his orality, which incidentally he never failed to mention in the published version of his texts? “Event of speech” arising from profound meditation on spiritual matters? Detachment of a spiritual traveller from the position of “author” and its production? Model of sharing the spiritual knowledge? Perhaps a model of tradition? My paper tries to analyse these possibilities.

O Festival das Tribos Indigenas ou Festribal e um evento que ocorre anualmente na cidade de Juruti (Para), na Amazonia brasileira, e compreende a competicao entre as “tribos” Munduruku e Muirapinima. Concebem-se as festas amazonicas a partir de um tensionamento entre culturas, provenientes da colonizacao, resultando na dupla consciencia, efeito da ampla violencia. Este artigo buscou identificar nesse evento, modos de resistencia e a forma de expressao desse sentimento. Por meio do audiovisual, na Plataforma YouTube, fez-se uma analise semiotica da festa do ano 2019, e, cuja permanencia ocorre com base na oralidade, na contacao de historias, dos mitos, crencas e das festas vivenciadas por seus antepassados. Essa analise encontra abrigo na teoria da folkcomunicacao. Festival das Tribos; Dupla consciencia; Resistencia; Folkcomunicacao. The Festival of Indigenous Tribes or Festribal is an event that has been held annually since 1995 in the city of Juruti (Para), in the Brazilian Amazon, and comprises the competition between the “tribes” Munduruku and Muirapinima, competing in this manifestation of popular culture. The Amazon simultaneously synthesizes the uniqueness and complexity of a territory that in a very old time had an abundant scenario, inhabited by several human groups (tribes), in addition to, in modern times, adding brand and product. From the 16th century onwards, with the colonization and the arrival of the European, there was a tension between cultures that resulted in double consciousness, the effect of the widespread violence that was transmuted, being evident in popular festivals. With a focus on the cultural diversity of the region and the commercialization of its products, advertising created the “brand” Amazonia, at parties, music, dance, regional craftsmanship etc., and, based on the origin and projection of the party, this article sought to identify in the lyrics of the songs of the Festa dos tribos, in 2019, ways of resistance represented in this manifestation of popular culture and the way in which this feeling is expressed. From a qualitative approach and exploratory objective, a semiotic analysis of the event was carried out, through the audiovisual on the YouTube Platform - by the perception and apprehension of the feelings of these peoples. Although re-signified, the indigenous festivals have perpetuated based on orality, storytelling of their peoples, myths, beliefs and festivals experienced by their ancestors. This analysis finds shelter in the theory of folk communication. Festival of the Tribes; Double consciousness; Resistance; Folkcommunication. El Festival de Tribus Indigenas o Festribal es un evento que se realiza anualmente desde 1995 en la ciudad de Juruti (Para), en la Amazonia brasilena, y comprende la competencia entre las “tribus” Munduruku y Muirapinima, compitiendo en esta manifestacion de la cultura popular. La Amazonia sintetiza simultaneamente la singularidad y complejidad de un territorio que en tiempos muy antiguos tuvo un escenario abundante, habitado por varios grupos humanos (tribus), ademas de, en los tiempos modernos, sumar marca y producto. A partir del siglo XVI, con la colonizacion y la llegada de los europeos, se produjo una tension entre culturas que derivo en una doble conciencia, efecto de la violencia generalizada que se transmuto, manifestandose en las fiestas populares. Con un enfoque en la diversidad cultural de la region y la comercializacion de sus productos, la publicidad creo la “marca” Amazonia, en fiestas, musica, baile, artesania regional, etc., y en base al origen y proyeccion de la fiesta, esta El articulo busco identificar en la letra de las canciones de la Festa dos tribos, en 2019, las formas de resistencia representadas en esta manifestacion de la cultura popular y la forma en que se expresa este sentimiento. Desde un enfoque cualitativo y objetivo exploratorio, se realizo un analisis semiotico del evento, a traves del audiovisual en la Plataforma de YouTube - por la percepcion y aprehension de los sentimientos de estos pueblos. Aunque resignificadas, las fiestas indigenas se han perpetuado a partir de la oralidad, el relato de sus pueblos, los mitos, creencias y fiestas vividas por sus antepasados. Este analisis encuentra refugio en la teoria de la comunicacion popular. Festival de las Tribus; Doble conciencia; Resistencia; Comunicacion popular.

Lorraine Hansberry was placed under surveillance by the Federal Bureau of Investigation prior to A Raisin in the Sun’s Broadway debut in 1959. Totalling over a thousand pages of memos, reports, and letters of investigative analysis, Hansberry’s FBI file reveals that the bureau tracked her play for Communist sympathies but also, and more surprisingly, collected interviews in which she insisted that her occupation was not playwright but housewife. This essay returns to A Raisin in the Sun, which has often been seen to uphold conservative gender ideologies of the Cold War era, to explore how Hansberry depicted radical counter-surveillance against the state through housewife characters. While historians have discussed how Black domestic workers employed in white homes became politically involved, little has been done to document how Black women countered surveillance to protect their families in their own homes. Drawing from evidence found in Hansberry’s archive at the Schomburg Center, this article contextualizes A Raisin in the Sun among her unpublished writings and the play’s manuscript drafts to argue that Hansberry deliberately subverted discourses that viewed surveillance as a practice primarily affecting individuals and families within isolated domestic environments. I show that Hansberry turned to drama to portray surveillance as a communal experience, thereby shifting narratives of surveillance from those found within earlier twentieth-century fiction depicting lone male protagonists on the run from state oversight to a dramatic oral mode that insists on communal experience through direct communication between performers and audience.

"I will present some aspects regarding the issue of the translation into a third language or into a different idiom of some dramatic works written both in Romanian and in French by the bilingual and bicultural writer Matei Vişniec. I will attempt to clarify the nature of various linguistic, cultural, anthropological or other differences, expressed in the two linguistic versions of each of these plays. An examination of these differences requires, in my opinion, knowledge not only of the linguistic registers of the cultures the author belongs to, but also a careful reflection on the mode of transposing (translating) his bilingualism. In addition, this study will highlight the presence, in Romanian and in French, of a series of elements and phenomena emerging in self-translations, which allow analyzing the peculiarities of Vişniec’s corpus of dramatic texts as amounting to a poetics of the bilingualism."

In 1979 Mahasweta Devi had written and published a short story collection in Bengali language. Later, the short story collection had been translated into English by Ipsita Chanda and published in 1998 under the title of Bitter Soil. This paper studies two short stories from this collection of translation, which entitled as Little Ones and Salt respectively. Mahasweta Devi made tremendous contribution to literary, social and cultural studies in this country and she always believed that the real history is made by the ordinary people as she is also a political activist. Both these short stories represent the history of post independent India. Mahasweta Devi’s empirical research into oral history and haunting tales of exploitation and struggle as it lives in the cultures and reminiscences of tribal communities is highly relevant today.

This article relates an oral history research project conducted with the Italian members and ex members of the Tanztheater Wuppertal Pina Bausch. The creation and the use of oral sources is questioned as being the software working in the body-archive considered as the hardware of dance memory and its transmission. Pina Bausch's post-memory is regarded as the active dialogue and interaction between macro and micro memories emerging from the Tanztheater Wuppertal Pina Bausch dancers' bodies.

Zusammenfassung Fiktionale Texte, die Perspektivität über regional spezifische Sprechweise inszenieren, stellen den literarischen Übersetzer vor schier unüberwindliche Schwierigkeiten. Die im Kontinuum von (einseitigem) Dialog und Gedankenrede konstruierte Oralität bildet nicht nur ein Problem der Wiedergabe, sondern auch und vor allem der Perspektivität und der Identifikationsangebote für den impliziten Leser. Im Zieltext wird dies nicht nur in einer anderen Sprache sondern auch für einen anderen Leser zur besonderen Herausforderung, wenn die sprachliche Binarität des Translationsaktes durch eine dritte hybridisiert wird. Dies läßt sich anhand der komplexen Versprachlichung in Meu tio o Iauaretê (1961) von João Guimarães Rosa im Vergleich mit der deutschen Übersetzung Mein Onkel der Jaguar (1981) von Curt Meyer-Clason zeigen. Dabei wird u.a. auf die Kategorie des Nähesprechens (Ágel & Hennig) Bezug genommen sowie der selbstreflexive Prozess des Übersetzens, der sich in Nachwort und Glossar manifestiert, mitbedacht. Abstract Fictional texts which enact narrative perspective through regional specific speeches confront the literary translator with almost insuperable difficulties. The orality, constructed in the flux of unilateral dialogue and stream of conscience, is more than a problem of reproduction: the essential aspect is the perspective and the identification(s) offered to the implicit reader. In the target text this means a peculiar challenge, not only for a different language but also for a different reader, if a binary linguistic constellation is thwarted by a third language. This can be shown in the case of the hybrid linguistic situation in João Guimarães Rosa’s Meu tio o Iauaretê (1961) in comparison with its translation into German by Curt-Meyer Clason in Mein Onkel der Jaguar (1981). Our approach is guided by the category of speech of immediacy (Ágel & Hennig), taking also into account the translator’s self-reflexive process as manifest in epilogue and glossary.

Odzyskiwanie utraconego głosu: katartyczna proza Su Tonga i Yu Hua Rewolucja kulturalna pozostawiła w pamięci Chińczyków wyraźne blizny i wywarła głęboki wpływ na chińską literaturę, szczególnie na utwory napisane przez przedstawicieli pokolenia, które osobiście doświadczyło jej ekscesów. Yu Hua w powieści Żyć! oraz Kroniki sprzedawcy krwi i Su Tong w powieści Binu zmagają się z cierpieniem i traumami związanymi z chińską historią. Próbując przezwyciężyć traumę, czerpią oni z tradycji literatury oralnej w poszukiwaniu nowych, linearnych, spójnych, a czasem nawet optymistycznych narracji o przeszłych doświadczeniach zwykłych ludzi, którzy otrzymują szansę stworzenia własnych opowieści, przeciwstawiających się dominującemu dyskursowi historiograficznemu. Teoria oralności Waltera Onga oraz pojęcie kontrhistorii ukute przez Michela Foucaulta otwierają nowe możliwości dla badacza usiłującego przeanalizować i zrozumieć te utwory i ich katartyczne działanie. Uważna lektura powieści Su Tonga i Yu Hua każe również postawić pytanie o autentyczność prezentowanego w nich uleczenia z traumy i rozważyć ryzyko ich współudziału w tłumieniu traumatycznych wspomnień.

The present review evaluates orality marks translations in the british police novel The Cuckoo's Calling (2013), by Robert Galbraith, translated in Brazil by Ryta Vinagre, under the title O Chamado do Cuco (2013). To this end, a review is done about important theoretical aspects related to the language norm and oral variation as well as the literary representation of these forms of expression. Then, it will be analysed excerpts from the original and these excerpts will be compared to their respectives translations, and, specially, it will be evaluated the translations of orality marks. A presente resenha tem por objetivo avaliar a tradução de marcas de oralidade no romance policial britânico The Cuckoo’s Calling (2013), de Robert Galbraith, traduzido no Brasil por Ryta Vinagre, sob o título O Chamado do Cuco (2013). Para tanto, buscar-se-á realizar uma revisão acerca de importantes aspectos teóricos concernentes à noção de norma padrão, culta e variação oral, bem como à representação literária dessas formas de expressão. Em seguida, serão analisados excertos escolhidos do original da referida obra e comparados com as suas respectivas traduções, avaliando-se em especial o tratamento concedido às marcas de oralidade.

Resumen Las narraciones producidas en torno a acontecimientos violentos poseen características particulares, al mismo tiempo que están modeladas por la experiencia de quien relata. Al acudir a la historia oral como herramienta para entrevistar a sujetos protagonistas, se observa que la estructura cronológica, los eventos significativos y la funcionalidad que dan a la oralidad, son distintas entre sí. No obstante, su singularidad estará construida en función de la dimensión social y de los consensos y disensos que expresan hacia el discurso circulante colectivo. Este artículo tiene como objetivo analizar la narración de Sara Waitman, ex-detenida de la última dictadura cívico-militar argentina, cuya experiencia se encuentra inserta en contextos de violencia represiva, estructural y simbólica. Particularmente, se observará cómo su militancia política enlaza pasado y presente en un relato que, con la singularidad de la narración personal, posee comunalidades con otros relatos de este tipo. Abstract The narratives produced around violent events have particular characteristics, at the same time that they are shaped by the experience of the person who is narrating. When using oral history as a tool to interview protagonists, it is observed that the chronological structure, the significant events and the functionality that they give to orality are different from each other. However, its uniqueness will be built based on the social dimension, as well as the consensus and dissent they express towards a collective discourse. This paper aims to analyze the narration of Sara Waitman, former detainee of the last Argentinean civil-military dictatorship, whose experience is inserted in contexts of repressive, structural and symbolic violence. Particularly, we will observe how his political militancy links past and present in a narration that, with the uniqueness of a personal story, has communalities with other stories of this type.

Neste estudo apresentamos análises de três poemas do livro Negra Nua Crua, da poeta e slammer paulistana Mel Duarte. A temática em debate suscita reflexões quanto à urgência de se pensar a poesia falada/escrita num contexto marginal-periférico, enquanto uma prática de resistência e reexistência. Trata-se de uma pesquisa inserida no escopo dos estudos literários e dos estudos culturais, de modo que o percurso metodológico se funda no estabelecimento de uma hipótese de leitura, a qual conduz todo o processo analítico de interpretação e de manejo/constituição do referencial teórico. Partimos da hipótese segundo a qual dos corpos-vozes do eu-lírico-poético-político emanam questões do universo subjetivo da mulher negra em sua relação com o mundo, ruindo os estereótipos historicamente impostos. O corpus analítico inclui os poemas Não desiste!, Menina melanina e Negra Nua Crua. A base teórica perpassa os estudos de Bosi (1977:1996:2002), Candido (2006), Nascimento (2006:2019), hooks (2019), Dalcastagnè (2006), Toni C. (2006:2009), dentre outros. Nossas conclusões evidenciam que Mel Duarte representa um todo muito maior de jovens poetas trovadoras da contemporaneidade, mulheres negras que transformam narrativas invisibibilizadas em arte-sujeito, formando um quilombo urbano de oralidade e oralitura poética, griôs na escrevivência de suas/nossas reexistências.

This article explores the catechism in the Book of Common Prayer, shedding light on the emergence of instructional writing from oral instruction. The 1549 text evinces qualities of preliterate oral communication identified by Ong. By contrast, the 1604 addendum reveals a trend toward modern plain style, which is even more pronounced in the 1647 Westminster Shorter Catechism. The evidence indicates the oral features were useful to the text’s technical aims. What Ramist plain style gains in precision and objectivity comes at the cost of other useful features, such as reiteration, contextualization, and agonism, which (in Tannen's phrase) involve a greater relative focus on interpersonal involvement between speaker and auditor/ reader.

The article discusses the role of biography in the reception of archaic poetry in the classical period. As it is illustrated by a fragment of Critias (295W), in the fi fth century B.C. the archaic poetic traditions, previously transmitted orally through performance, began to be interpreted from a biographical perspective: fi rst-person statements were mostly associated with the poets themselves and treated as a source of biographical information; in other words, archaic poetry came to be seen as a kind of autobiography. Anecdotes about poets were used to interpret the same poems which had provided the basis for these false stories: as an interpretative tool, they simplifi ed old compositions, not always clear for the reader. Until the 1980s, classical philologists often relied on false testimonies from the classical and Hellenistic era, limited by their attachment to the biographical perspective.

Recibido: 01-05-2020 Aprobado: 29-05-2020 Este artículo es un acercamiento a la noción de oralidad a través de un análisis y lectura de la novela Los perros hambrientos, de Ciro Alegría, escritor peruano. Se argumenta, ante todo, con el trabajo de diversos críticos literarios que han hecho un abordaje de la obra narrativa de Alegría, también autor de La serpiente de oro y El mundo es ancho y ajeno. Es importante conocer, en el texto, la esencia de los efectos de esta oralidad presente en la literatura latinoamericana, y en especial, de la literatura peruana. Los perros hambrientos es una obra tejida alrededor del discurso oral y de los relatos de la comarca andina. Simón Robles, personaje y artífice de los cuentos orales, es el engrane en la construcción de esta obra alegriana publicada en Santiago de Chile, en 1938.

El objetivo de este estudio fue analizar cómo se evoca la oralidad ficcional en la novela Rosario Tijeras a través de la variación lingüística. Para ello, se analizó un corpus de veinte unidades fraseológicas presentes en la novela y su traducción al alemán. En esta novela negra, el autor recurrió a un lenguaje coloquial llamado parlache. Este artículo, por tanto, se pretenderá establecer cómo estas unidades fraseológicas típicas del parlache contribuyeron a la construcción de un diálogo hablado verosímil, además de determinar las divergencias de traducción y profundizar en la descripción de la variación lingüística a través de las unidades fraseológicas. The aim of this study was to analyse how fictive orality is evoked, through linguistic variation, in the novel Rosario Tijeras, through a corpus analysis of 20 phraseological units belonging to the novel and their German translation. In this thriller, Franco used a colloquial language called Parlache. Thus, this article will attempt to establish how these Parlache’s phraseological units contributed to the construction of a believable spoken dialogue and will also analyze translation divergences and the description of linguistic variation in literary translation.

The present paper analyses the multiform presence of elements and references to the world of writing in Sicilian oral tales collected between the second half of the 19th century and the very first years of the 20th, with the twofold aim of, firstly, underlining the complex relationship between orality and writing and, secondly, understanding the functions and characteristics attributed to writing by popular culture and its interpreters, at least in the context that has been examined in this research.

In Tyrant: Shakespeare on Power Stephen Greenblatt employs a presentist mode of reading when he highlights how certain aspects of the play resonate with the current US presidency. The book rekindle...

Walter Ong published Orality and Literacy: The Technologizing of the Word in 1982, synthesizing his career-long concern with the impact of the shift from orality to literacy on various cultures. Scholars of African American literary and cultural studies were coming to redefine their field around the terms orality and literacy at around the same time that Ong published his book; but where Ong stressed historical change or the fall from orality to literacy, African Americanists tended to accent their mutual mediation. This article explores the way that African Americanists, in stressing mediation, return orality and literacy to the concerns of Ong’s ostensible field: media studies.

Neste artigo, propõe-se a leitura comparativa entre alguns poemas de Domingos Caldas Barbosa, o pastor Lereno Selinuntino, e de Cláudio Manuel da Costa, de nome pastoril Glauceste Satúrnio, considerando que ambos pertenceram ao movimento literário do Arcadismo e quanto à estética, à temática e à erudição na voz os poetas pastores se assemelham quando deixam vazar o lirismo amoroso usando elementos bucólicos, característicos da poética árcade; entretanto, além da voz poética arcádica de Lereno, considera-se a voz que assume sua identidade negra e se distingue dos poetas árcades pela inovação no fazer poético marcado na fluidez do lirismo que passa a ser vazado na voz afro-brasileira, cantando a modinha e o lundu, ao trazerem expressões tanto da linguagem popular brasileira quanto marcas da oralidade africana.

Considera que a memória é responsável pela lembrança e transmissão de saberes concorrentes para a construção da cultura das sociedades. Destaca a contação de histórias e a cantoria de viola como manifestações que se utilizam da memória para se manterem vivas e difundirem a cultura (local) como propagação da própria prática das informações transmitidas por meio de seu fazer (versos e histórias). Questiona o que aproxima essas práticas culturais, como se identificam e se constroem na conjuntura local. Tem como objetivo elucidar o diálogo produzido e expresso a partir das relações entre tradição e oralidade, tendo a memória como demarcador da continuidade das gerações, uma forma de reafirmar os valores culturais na localidade do Cariri Cearense e a contribuição desta memória na construção de histórias individuais e coletivas. Realiza análise da literatura sobre o tema, considerando tanto a contação de histórias como a cantoria de viola fatores convergentes, em relação aos seus atores e suas obras, para a construção de um repositório de memórias de sua geração, seu povo, tornando-se elementos de representação e conexão da sociedade e suas facetas sociais, econômicas, políticas e culturais.

The existence of the cult to Luis Banchero Rossi —Peruvian businessman of the fish industry, who was murdered in 1972—, in the Angel cemetery, it demands the interest for its genesis, being that it is a religious cult to a secular character. The present text find that this is possible for two reasons: the violent death produce holiness; and the sacralization is not restricted to the limits of the institutionalized religion. Moreover, it proposes that, in the efficient, a factor that explains the cult is the book El caso Banchero (1973), of the journalist and writer Guillermo Thorndike. Furthermore, it practices an anthropological exegesis of it; and it evidences in this, mystified and messianic traits of the character, his life and his death; and they are understood like antecedents of the cult. Popular cults are disseminated fundamentally through of the orality, not by the written word; nevertheless, in this case the limits between the popular culture and the written text become blurred, which intermediary is the press. La existencia del culto en el cementerio El Ángel a Luis Banchero Rossi —empresario peruano de la industria de pescado, asesinado en 1972— exige el interés por su génesis, dado que es un culto religioso a un personaje secular. El presente texto halla que esto es posible por dos razones: la muerte violenta produce santidad, y la sacralización no se restringe a los límites de la religión institucionalizada. Además, plantea que, en lo eficiente, un factor que explica el culto lo constituye el libro El caso Banchero (1973), delperiodista y escritor Guillermo Thorndike. Además, practica una exégesis antropológica y evidencia rasgos mistificados y mesiánicos del personaje, su vida y su muerte, lo que se entiende como un antecedentedel culto. Los cultos populares se difunden en lo fundamental a través de la oralidad, no por la palabra escrita; sin embargo, en este caso se desdibujan los límites entre la cultura popular y el texto escrito, cuyo intermediario es la prensa.

“See-line Woman”, musical piece of American oral tradition, was registered in 1939, collected and reproduced in different oral performances, such as those by Leslie Feist (2007), and Nina Simone (1964). Taking as original the constant recording on the album Mississipi Goddam (1964), by Nina Simone, and evidencing the dubious sound and meaning that the recording of the lyrics, i.e. translation of orality, can highlight, I will address some problems related to the translation of song for performance when I come across an original that strains the lyrics of the recorded song differently from the other oralized versions of 1939 and 2007., “See-line Woman”, peça musical de tradição oral norte-americana, foi registrada em 1939, recolhida e reproduzida em diferentes performances orais, tais como as de Leslie Feist (2007), e Nina Simone (1964). Tomando como original a gravação constante no álbum Mississipi Goddam (1964), de Nina Simone, e evidenciando a dubiedade de som e sentido que o registro da letra – tradução da oralidade – pode evidenciar, abordarei alguns problemas atinentes à tradução de canção para performance quando me deparo com um original que tensiona a letra da canção registrada de maneira distinta às outras versões oralizadas de 1939 e de 2007.

From shipwright in Banyalbufar to President of Cuba. Mateu Mir Albertí Mateito : A biographical construction from oralityThe purpose of the study is to analyse a case of biographical creation based on orality. To do this, interviews have been used with seven witnesses through the programme on autonomous television of the Balearic Islands IB3, L’Hora D, entitled “Vox Populi”. The study is based on the modal classification and ethnopoetic genres proposed by Heda Jason in his Motif, type and genre 2000. Two narrative levels are analysed: the anecdotes and the story of personal experiences. The result of the application of this methodology leads to a biography, whose limits are never clear, which evidently creates affirmations, negations and contradictions in multiple directions. The result, therefore, leads to a story that is still unfinished today.

Orality as the origin of the narrative of Jesús MoncadaJesús Moncada’s narrative presents an oral substrate in the form of rumours, gossip, grudges or disputes that take place in the little village of Mequinensa, where everyone knows each other. Following the theories of Eric Havelock, Paul Zumthor, and Walter J. Ong, which identify in orality the source of any literary expression, we analyse the evolution of Maquinensan loud secrets and hidden truths into stories and how the skilful writer is able to turn simple anecdotes into great narrative plots. In this paper, several examples from short stories and novels are analysed, and the differences in the role of orality in each genre are described and examined. Furthermore, the role of casual conversation as an oral start-point of Moncada’s stories is highlighted.

This paper aims to develop a comparative study between Maria Velho da Costa’s Maina Mendes and Guimaraes Rosa’s “A terceira margem do rio”. In this essay, I seek to observe how the concepts of silence and testimony in both works evoke some questions about the composition of speeches, specially concerning the relationship between language and language suspension, orality and writing, prolongation and rupture, focusing mainly on the theme of family relationships. For this purpose, I will also refer to the work of David Le Breton on the polysemic character of silence, the studies of Tito Cardoso and Cunha on the rhetoric of the unspoken, as well as the concept of hidden dialogue by Mikhail Bakhtin.

O presente artigo discute, inicialmente, acerca do trabalho envolvendo atividades com oralidade no espaco escolar, fundamentando nossa reflexao em documentos oficiais como, os Parâmetros Curriculares Nacionais (1998) e teoricos como, Marcuschi (2010), Favero, Andrade e Aquino (2011) e Galembeck (1999). A partir dessa reflexao, pretendemos analisar os recursos de expressao da oralidade no genero discursivo tiras, conforme Ramos (2016) e Eguti (2001). Tendo em vista tais estudos, apresentaremos sugestoes de atividades com o intuito de serem aplicadas em aulas de Lingua Portuguesa, nos anos finais do Ensino Fundamental. The resources of orality expression in the comic strips discursive genre This paper initially discusses the work with orality activities at school, substantiated by official documents such as the Parâmetros Curriculares Nacionais (1998) and theoretical ones such as Marcuschi (2010); Favero, Andrade and Aquino (2014); Galembeck (1999). Based on this reflection , we aim to analyze the resources of orality expression in the comic strips discursive genre , according to Ramos (2016) and Eguti (2001) . In view of such studies, we will present suggestions of activities that could be done in Portuguese language classes of the final years of elementary school. DOI: 10.28998/2317-9945.2020n64p59-75

The article offers an initial reading of the poetic translation by Josely Vianna Baptista to the sacred chants of the Mbya-guarani from Cuaira, which present the Guarani cosmology. It also exams the translation by Haroldo de Campos of the scene of origin according to the Hebrew memory. Briefly, it will point out fortuitous approximations and eventual distancings between the mitopoetics and identify the translation project proposed by these two poets and translators. Above all, it will demonstrate the dialogue between the two productions through the founding word which, in its dialectical validity, creates worlds and establishes the earth, the humus, the man. It proposes a reflection on the role of language and orality for the Mbya and the Hebrews, in order to hear the construct of their nature. This article demonstrate how the reader has access to cultural events through the transculturation carried out by these poets.

Transcreation at Sermoes by Julio Bressane: Interactions of Literature, Paintings and Orality This article analyses some sequences of Sermoes: A Historia de Antonio Vieira, film by Julio Bressane released in 1989, discussing elements that repercute baroque’s vibration and vertigo, as well as opositions in filmaking style such as the presence of: sound and silence; overflow and emptiness etc. Intending to debate the transcreation process (CAMPOS, 1992) which makes Bressane’s film pass through literature and paintings, with an enphasize on oral poetry. The voice of Vieira with his prophecies and speechs leads the filmmaker to images offering a cartography of portuguese-brazilian litterature and culture.

O escritor francês Michel Butor (1926-2016) refletiu sobre a voz e os efeitos da vocalidade e da oralidade na tradução, enquanto criação literária, e na leitura enquanto performance. Para este presente ensaio, proponho um percurso de análise que se inicia com o livro sonoro Pensées à voix haute (BUTOR, 2017) e de sua relação com as teorias sobre a voz (Zumthor, 2018; Dolar, 2014; Cesarino, 2014; Cavarero, 2011; Meschonnic, 2006), passando pela técnica de registro sonoro e de tradução do escritor para a elaboração do poema “Manhattan invention” (BUTOR, 2008 [1962]; 2004), culminando na análise de seu livro para crianças Zoo (BUTOR, 2001) do ponto de vista da formação do leitor na infância e da performance da leitura em voz alta. Butor, analisado segundo os teóricos da voz, imprime na tradução e na leitura o que há de mais contemporâneo dentro dos estudos discursivos: a abertura às múltiplas vozes a partir da unicidade vocálica.

A literatura do Nordeste brasileiro tem grande influência da oralidade, obras dentre as quais figura Mentiras Grossas de Zé Rotinho (1977), do escritor piauiense João Nonon de Moura Fontes Ibiapina. Para Chiampi (2015), esses textos regionais compõe um tipo literatura na América latina, neste trabalho analisada como uma face do Realismo Maravilhoso. Estuda-se o conteúdo da memória popular à luz de Bachelard (2008), por meio de que se detectam a convivência com o espaço e os costumes do local, assim como Câmara Cascudo (2012), quando os contos revelam a história do povo latino-americano, visível no Folclore e na tradição popular.