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Copyright of Escritos is the property of Escritos 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 explores how followers of Islamic traditions in the Anantnag district of Jammu and Kashmir, India, articulate their religious experiences within the context of various communication mediums. The primary aim is to examine how Islamic traditions in Anantnag uphold their relationship with diverse media symbols and formats, while exploring how individuals in this Muslim-majority region derive religious significance from their engagement with various media platforms. The paper aims to illuminate the processes associated with communicating Islamic traditions within the evolving context of media history in Anantnag. By employing in-depth interviews and a thorough review of existing literature, this paper argues that each media form holds a distinctive influence in shaping religious practices and discourses within the context of Anantnag. To understand how Muslims construct meaning through engagement with media of religious significance, this paper delves into narratives of self-identity, considering them as essential resources for illustrating the intersection of religious patterns and media landscapes in Anantnag. [ABSTRACT FROM AUTHOR]

Copyright of Literatura y Lingüística is the property of Universidad Catolica Cardenal Raul Silva Henriquez 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.)

The purpose of this paper is to carry out a pilot studio on the functioning of the different discourse markers (entonces, o sea, este, pues, etc.) that appear in the discourse of Peruvian speakers living in the city of Seville. Specifically, we propose to carry out a qualitative and quantitative analysis of the different values of discourse markers linked to the quotation marking function. To this end, we handle the 22 semi-directed interviews of Peruvian informants residing in the capital of Seville "with primary, secondary, and higher education" which constitute the Oral Corpus for the sociolinguistic study of Peruvian speakers in the city of Seville (PERUSEV). The general results indicate that discourse markers introducing direct speech are used to reproduce the own or other people's words, particularly in argumentative sequences. By social factors, these markers predominate in the discourse of second-generation informants with medium education, especially women, and in subjects who have been living in Seville for almost 15 years. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo 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.)

The oral performance of history has been common to many societies from Herodotus and the histories of Beowulf, to the griots of West Africa. The lecture in Western history emerged from these histories of orality, with its name showing the close connection in its origins to reading, and to the lecturer's expertise in that domain. From this starting point, lectures grew to be associated with frameworks of academic authority, as well as markers of community and shared academic, religious and civic identity. From the late eighteenth century onwards, the role of the historical lecture widened to involve public education, and was also later incorporated into political contestations by anticolonial orators such as Maya Angelou, Amílcar Cabral and Fidel Castro. In the twenty-first century, the rise of transnational technology has seen the increasing atomisation of the lecture into a space of performative and disembodied information. As technologies change, in the future the knowledge and thematic being explored in historical lectures may change. What is embraced may prove to be demonstration of mastery of the commercial technology involved in a lecture's delivery, as much as the exposition related to the lecture or reading from which knowledge and academic communities historically have built. [ABSTRACT FROM AUTHOR]

In the context of social taboos excluding bleeding women from church spaces, a Byzantine uterine amulet references the gospel story of the healing of the bleeding woman for those needing alternative means for aid. The word "and" begins its Greek inscription. This seemingly insignificant detail signals a resourceful and local application of authoritative tradition, rather than a rote or mistaken reproduction of the gospel text. The amulet's specific use of "and" contributes in multiple ways to the amulet's authority through its materiality, recitation, repetition, and embodiment. The amulet repackages the healing of the bleeding woman within its own text, images, and material, bringing new authority parallel to – and even in place of – church access. This essay explores the epigraphic grammatical peculiarity of beginning with "and" as an intentional, meaningful transformation of gospel rhetoric into power for the individual, with implications for a niche epigraphic tradition on this and other uterine amulets. [ABSTRACT FROM AUTHOR]

Copyright of Neophilologus is the property of Springer Nature 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.)

The idea of non-place or placeless places has enjoyed - and still enjoys, although its enunciation is softened - a wide recognition within the theoretical approach to the circumstance of the dormitory cities that nourish the metropolitan areas of large global cities. The purpose of this article lies in the foundation of a critical glance at this type of approach from a case study: that of Parla, an urban settlement inhabited by around 130,000 citizens and located twenty kilometres away from Madrid. We work on the analysis of the discourse held by a large group of neighbours who lend themselves to participate in the research. The memories and daily experiences of these people allow us to identify three milestones on which to articulate a shared story - although always provisionally - and to tag the physical space on which events unfold. The arrival, the conflict and the awakening of a progressive political and/or social commitment leads to the emergence of a certain feeling of identification with the lived place, inherent to its daily experience. Ultimately, the text aims to account for the complex relationship among History, Memory, and Space. [ABSTRACT FROM AUTHOR]

À partir des notions essentielles de trauma, de clivage et de l' Hilflosigkeit freudien, les auteurs de ce texte proposent une lecture psychanalytique de la toxicomanie en s'appuyant sur une situation clinique rencontrée en milieu spécialisé, un matériel vivant permettant de corroborer les données de la littérature qui, à elles seules, ne peuvent produire de conclusion satisfaisante. La réalisation de ce travail tient pour fil rouge l'hypothèse selon laquelle l'attrait de la toxicomanie permet la maintenance et la continuité d'une organisation Moïque essentiellement défaillante chez le sujet dépendant. From basic notions such as trauma, and so-called freudian Hilflosigkeit , the authors propose a psychoanalytical view of addiction based on a clinical situation, within an overview that would determine the validity of the datas, through a raw material which definitely comes to supply what literature already offers. The hypothesis that guides the whole study tackles substance abuse as a relevant means for the Self to face with reality in order to ensure balance through inner unconscious dynamics. [ABSTRACT FROM AUTHOR]

Copyright of Preschool & Primary Education / Proscholikī & Scholikī Ekpaideusī. is the property of Preschool & Primary Education 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 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.

This article considers how poetry features in Pasolini’s cinema. It argues that the manner in which Pasolini films poetry provides insight into his theory of an affinity between poetry and film, and into more general judgements concerning social reality. The article begins with an analysis of the final sequence of Salò (1975) where I argue that Ezra Pound’s poetry provides a soundtrack for the spectacle of torture in which the film’s libertines engage. Following this, I consider Pasolini’s 1965 text “The Cinema of Poetry” and use this text as a way of reading the role played by a copy of Rimbaud’s collected poems in Teorema (Theorem, 1968). I then move to consider the relationship between oral recitation and text in Il decameron (The Decameron, 1971) and Il fiore della mille e una notte (The Arabian Nights, 1974). In doing this, I argue that one can observe a shift across these films whereby poetry and orality move from being a foundational moment for reciprocal community to being a vehicle for an ambiguous and violent fate. The article then considers the conspicuous presence of reading and writing within Salò before ending with a consideration of one scene towards the end of the film in which Pasolini appears to invest a recitation of the Gospel with a disruptive force that is otherwise lacking in his final film.

This paper sets forth a quantitative analysis of expressions of epistemicity, a category covering the expression of commitment to the information transmitted, in a corpus of 25 threads extracted from British discussion forums. Epistemicity is divided into three categories: epistemic modality, evidentiality and factivity, each divided into subcategories. The results are analysed in contrast to comparable corpora of newspaper opinion articles and political speeches. The analysis uncovers significant differences in the expression of epistemicity in the three genres, in terms of both frequency and distribution across categories, the subcategory ‘cognitive attitude’ being a case in point. Epistemicity in the discussion forums is also proved to display features of orality and routinisation.

«Il semplice» hosts in its pages texts originated from records and transcriptions: these texts are autobiographical, mainly related to the life of naïfs painters active until few decades ago along the banks of the Po river. These improvised authors talk about themselves giving verbal shape to a very personal world but all still recognizable; the orality of their narrations meets with ease the forms of expression of the other voices of the periodical.

Like other tribal communities, the oral tradition forms an integral part of the communities of North East India. With the advent of the English missionaries and the introduction of the written script, the oral form was generally identified with the illiterate and even the uncivilized. However, orality is now perceived as an important link between the past and the present and a form of preserving community values through writing. Interestingly, for many writers of North East India, written literature introduced by colonialism has become an effective tool for reviving the oral tradition, thus further preserving the authenticity of tribal communities. Hence, writings from this region in recent years often engage with themes of orality in their narratives in order to reclaim their ethnic identity and retrieve their pre-colonial history and values. ‘Writing orality’, then, becomes an effective strategy in rebuilding tribal practices and values in the midst of westernization, advancement in digital technology, and capitalism in contemporary society. The paper aims to examine the interaction between orality and writing in Janice Pariat’s short story collection, Boats on Land (2013). It looks at how the stories in this collection disrupt the hierarchy of the textual over the spoken, a binary that Pariat believes is a colonial construct. The paper aims to show how the valorization of the Khasi oral tradition in the text challenges the pre-established dominance of written literature.

This essay is a meditative reflection on the critical, creative, and narrative labour involved in making the community “real” as a part of contemporary lived and temporal experiences of modernity. I analyse the crucial role that fiction plays in realising the community. Taking Amitav Ghosh’s provocation regarding the “derangement” of normative notions of realism as the starting point, this essay re-examines the place of orality in the contemporary African novel. Chief among its claims is that orality and realism are companionate terms. The deployment of oral forms provides a more expansive view of reality that is otherwise unavailable within capitalist conceptions of time and linear development. In the essay, I read Véronique Tadjo’s ‘Ebola’ novel In the Company of Men (English trans. 2021) as an invitation to the community in the wake of the devastation struck by deadly diseases such as Ebola and COVID-19. I argue that Tadjo organises a literary imagination of community and solidarity as the basis of a collective reckoning that is yet to come. In this sense, the book operates as a “portal,” fashioning both a cultural memory of collective survival (from human and nonhuman perspectives) and raising an urgent, anticipatory call for more expansive forms of imagination facing the future.

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.

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.

Diachronic pragmatics is a subfield of historical pragmatics. It studies the developments of patterns of language use across time. In the past, such investigations were based on written data, but recently new sources have become available that provide more direct access to the spoken language of the (mostly recent) past. This Virtual Special Issue combines four articles that provide new perspectives on the study of diachronic pragmatic changes of spoken English. They explore a range of data sources that have recently become available. They include recordings of presidential press conferences and of Prime Minister's Question Time, spontaneous interactions in natural settings (London-Lund Corpus) and fictional interactions produced for the movie screen (Movie Corpus). The timelines covered by these investigations range from one to about four generations. In this introduction, we position this Virtual Special Issue in the context of diachronic pragmatics. We briefly introduce some of the newly available data sources for the diachronic investigation of spoken English. We talk about the possible time depth of diachronic pragmatics and what this means for observing language change on the level of pragmatics, and finally we give an outline of the four papers in this Virtual Special Issue. • Diachronic pragmatics provides a framework for recent change of spoken English. • New resources offer fresh insights into diachronic developments of spoken English. • Diachronic change of pragmatic entities is observable within one or two generations. [ABSTRACT FROM AUTHOR]

This article investigates orality in academic presentations by speakers of German as L1 from the GeWiss corpus and compares them with interactional domains from the Research and Teaching Corpus Spoken German (FOLK). In addition, three oral phenomena in scientific lectures are analysed, namely deviations from standard orthographic phonation, the use of clitics and the use of modal particles. [ABSTRACT FROM AUTHOR]

Les soins entourant les nouveau-nés prématurés sont parfois lourds, ce qui peut altérer le développement de leur oralité. L'acquisition de l'autonomie alimentaire est souvent retardée et responsable d'une hospitalisation prolongée. Dans nos unités de néonatalogie, la prise en charge de l'oralité des nouveau-nés prématurés a été renforcée entre 2013 et 2016. Cette étude visait à évaluer l'efficacité des mesures mises en place. Nous avons réalisé une étude rétrospective avant (2012–2013) – après (2017–2018) renforcement de la prise en charge de l'oralité sur des nouveau-nés prématurés pris en charge dans nos unités de néonatologie. L'évaluation a porté sur l'âge à l'acquisition de l'autonomie alimentaire. Sur la période « avant », 77 nouveau-nés prématurés ont été étudiés, 90 sur la période « après ». Aucune différence significative entre les deux groupes n'a été retrouvée pour l'âge médian à l'autonomie alimentaire. Cependant, dans le sous-groupe des patients nés avant 32 SA, l'âge médian à l'autonomie alimentaire est significativement inférieur dans le groupe « après » : 35,5 SA contre 37,4 SA dans le groupe « avant » (p = 0,02), sans impact négatif sur la croissance. Les mesures de renforcement de la prise en charge de l'oralité n'ont pas eu d'impact sur l'ensemble de la cohorte des patients inclus. Cependant, ces mesures ont permis d'accélérer de façon significative l'acquisition d'une autonomie alimentaire chez les patients nés grands prématurés. Des études supplémentaires sont nécessaires pour évaluer l'impact de ces mesures à long terme, notamment chez les patients nés après 32 SA. The medical and nursing interventions provided to preterm newborns are often stressful or painful and can limit the development of their oral feeding skills. The transition to independent oral feeding is frequently delayed and leads to prolonged hospitalization. In our Neonatal Intensive Care Units, oral feeding care was reinforced between 2013 and 2016. This study aimed to assess the effectiveness of the measures put in place. We carried out a retrospective pre (2012–2013)-post (2017–2018) study on the effect of reinforced oral feeding care for preterm newborns discharged from our Neonatal Intensive care Unit. The evaluation focused on the age at the successful oral feeding. Seventy-seven preterm newborns were included between 2012 and 2013 in the no-intervention group and 90 were included between 2017 and 2018 in the intervention group. No significant difference was found in median corrected age at successful oral feeding between the two groups. However, it was significantly lower for patients born before 32 WA in the intervention group ("before": 37.4 WA; "after": 35.5 WA; P = 0.02), without slowing their growth. The measures to reinforce oral feeding care had no impact on the entire cohort of patients included. However, these measures have significantly accelerated the acquisition of successful oral feeding in patients born very preterm. Additional studies are needed to assess the impact of these long-term measures, especially in patients born after 32 weeks. [ABSTRACT FROM AUTHOR]

The educational institution where this research was carried out hosts a large number of indigenous migrant population from rural areas, so it was important to diagnose the development and application of linguistic awareness in high school children, in the research a qualitative approach was considered., descriptive, bibliographic and field, for the collection of data, which are analyzed and interpreted objectively, which as a result shows the lack of knowledge on the part of the teachers of playful and interactive methodological strategies focused on the initial and high school level. Therefore, the Methodological Strategies Guide to develop linguistic awareness is proposed as a proposal, which contributed greatly to the methodological knowledge of teachers, thus contributing to the institutional pedagogical approach and the exit profile of students, the results of the pretest and the posttest confirms that it was positive and had a socio-educational impact. [ABSTRACT FROM AUTHOR]

This article considers how poetry features in Pasolini's cinema. It argues that the manner in which Pasolini films poetry provides insight into his theory of an affinity between poetry and film, and into more general judgements concerning social reality. The article begins with an analysis of the final sequence of Salò (1975) where I argue that Ezra Pound's poetry provides a soundtrack for the spectacle of torture in which the film's libertines engage. Following this, I consider Pasolini's 1965 text "The Cinema of Poetry" and use this text as a way of reading the role played by a copy of Rimbaud's collected poems in Teorema (Theorem, 1968). I then move to consider the relationship between oral recitation and text in Il decameron (The Decameron, 1971) and Il fiore della mille e una notte (The Arabian Nights, 1974). In doing this, I argue that one can observe a shift across these films whereby poetry and orality move from being a foundational moment for reciprocal community to being a vehicle for an ambiguous and violent fate. The article then considers the conspicuous presence of reading and writing within Salò before ending with a consideration of one scene towards the end of the film in which Pasolini appears to invest a recitation of the Gospel with a disruptive force that is otherwise lacking in his final film. [ABSTRACT FROM AUTHOR]

Copyright of Mendive - Revista de Educacion is the property of Universidad de Pinar del Rio 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.)

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Copyright of Literature / Literatura is the property of Vilnius University 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 Lletres Asturianes is the property of Academia de la Llingua Asturiana 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.)

While podcasts as a storytelling media have exploded in popularity in the West since 2014, the uptake and consumption of this sonic new media was relatively slow in Africa until recently. This article explores amateur and start-up entrepreneurship podcasts that came to dominate the African mediascape during the medium's coming of age moment between 2014 and 2018. I extend Walter Ong's observation that broadcast and electronic media recreate the experience of oral performance, to show how the oral and aural dimensions of podcasting represent a set of approaches that can be described as new orality. This article also draws connections and distinctions between what I term the "dialogic schema" of African tech podcasts and "traditional" forms of narrative storytelling in African public cultures, as well as the emerging forms of mobile digital practices that, like podcasting, challenge easy distinctions between written and oral and literacy. [ABSTRACT FROM AUTHOR]

Farmers from Buçu (Augusto Corrêa, PA), while digging a hole in the farm, came across an artifact: pottery associated with bones. Curious, they headed to the University showing concerns on the place where they live and work. Particularities of this spontaneous report and the peculiar nature of their fortuitous finding led to this case study. Given the peremptorily transdisciplinary characteristic of this research, once it involves history, anthropology and archeology, and guided by the dialogue between different kinds of documents, such as orality, material culture and imagery sources, investigations on the mnemonic fragments about the past of that place, coming from testimonies of social agents, in comparison with analyzes of subjects' vivendi and operandi modi, are shown. It is important to note that the existing intercultural bricolage in knowledge's construction in the space is an indelible mark of interethnic character of belonging and identity as a community. [ABSTRACT FROM AUTHOR]

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In the past decade, Nagaland has witnessed a marked rise in publications of writings in English. The establishment of homegrown publishing houses have contributed significantly to this increase. This paper will attempt to historicize publishing in Nagaland and undertake a critical survey of published writings in English from Nagaland. Through these trajectories, I argue that a gendered tradition of orality has been transposed into writing and the notion that only Naga women are writing literature fails to account for the whole range of writings in English from Nagaland. Women writers insert themselves into this realm of public discourse through their literary works by negotiating both traditional patriarchal structures in which they are embedded as well as the demands of the world literary market. Creative writing is therefore, a space patriarchy “allows” them to engage the violence and trauma that characterized our neo-colonial encounter with the Indian state. The younger generation of writers, many of whom grew up after the ceasefire came into place, demonstrate either a desire to forget or display a new set of memories that seemingly circumvent the conflict and violence that characterized life before the 1990s. I examine self-publishing as a mode of mediating state censorship and the aesthetic demands of the world literary system. I argue that there is apathy on the part of national and international publishers toward representations of contemporary Naga experiences that deviate from or contravene cherished and commercially viable stereotypes of Nagas as exotic, festive natives; dangerous violent headhunters and/or insurgents. Naga writers who have successfully crossed over to the world literary market are ones who cater to these two aesthetic paradigms. In terms of subject matter and language, the current crop of emerging writers are questioning the canonical indoctrination of our colonial past as well as mainstream taste for conflict and magic realism cultivated as representative of Naga literature in English. New Naga writers are producing works that reject English (British) figures of speech and even sacrosanct rules of grammar, representing instead a colloquial Naga English that both disrupts and creates new narrative expectations. Finally, I contend that new Naga writers in English and Naga publishers are part of a emergent literary culture negotiating between insularity and a desire to demonstrate global cultural currency. [ABSTRACT FROM AUTHOR]

As a literature evolves it presents critical and historical challenges about how it is formed, what produces it, how it is received and what makes it ‘a literature.’ A literary history is invested with the responsibility of finding answers to such questions, organizing the emergence chronologically and establishing the manifestation of broad connecting compulsions, influences and themes that distinguish it. What would constitute a history for Northeast Anglophone literature that offers an overview and a map of the field, and captures all of those elements that have gone into its making? Would it help to integrate the oral, the traditional cultural, the historical and political and reveal conditions and compulsions of production and reception? This essay reflects on these issues through three sections: one, on general concerns with literary history writing and implications of such ideas for Northeast Anglophone literary history/ies; a second, on the three tropes of the title and their occurrence in the literature as a simultaneity of the written and the oral that this literary history must capture; and a third, on a frame for approaching the region as a precondition for writing such a literary history. [ABSTRACT FROM AUTHOR]

Copyright of Dilemas Contemporáneos: Educación, Política y Valores is the property of Dilemas Contemporaneos: Educacion, Politica y Valores 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 Estudios Politicos (01215167) is the property of Universidad de Antioquia 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.)

In New Testament scholarship, there is a division between practitioners of performance criticism and those who engage the sociology of reading and reading cultures in the ancient Mediterranean context. The former, as the name of their methodology implies, tend to emphasize the performative nature of engaging textual traditions and downplay the importance of the physical document in a performance event. The latter stress the importance of the physical text in a reading event. This article reaches across the division between performance and reading, suggesting that written manuscripts play different roles in different kinds of performance and reading events. It surveys primary source evidence of two types: one in which the physical text is absent from or de-emphasized in the performance event and another in which the document is explicitly present and figures prominently in the reading event. The article concludes by suggesting that performance critics ought to be more explicit about what role they imagine physical documents to have in hypothetical performance events and that those engaging the sociology of reading ought to be more attuned to the performative potential of communal reading events. [ABSTRACT FROM AUTHOR]

Toni Morrison represents the improvisations of life in the 1920s and posits her novel Jazz as a work that negotiates sound as a distinguishing characteristic of her writing genre. Many critics have described Morrison's approach as a Jazzthetic strategy and as such, her rhetorical move enables a renovation of traditional aspects of the novel to render life as complex as a jazz composition itself. This article analyzes Morison's methods and posits the use of jazz strategies to mimic the displacement, fragmentation, and strife experienced by African Americans during the Great Migration. This essay also intervenes in the debate between the relationship of language and music to examine the ways that Morrison oralizes fiction and engages in a form of cultural circularity, thereby asserting the authenticity of jazz alongside the tension of the Great Migration. Additionally, this essay explains the ways that Morrison makes clear the implications of migrant cultural expression in service of identity formation, suggesting that the micro-novels in the novel Jazz are contributors to a larger ensemble that functions epistemologically to render the African American experience as central to American identity. [ABSTRACT FROM AUTHOR]