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Politically grappling with history is a constructive act, one that relies on context, structure, and agency, and is also directed at the forging of cultural coherence. In light of the growing transnationalization of commemoration practices, political actors not only rely on national past but also appeal to historical foreign events in political domestic speech. This research focuses on Israel as a case study for theoretical expansion of the political encounter with history and the experience of alterity. Qualitative analysis of Israeli political rhetoric since the 2000s demonstrates how Israeli prime ministers primarily rely on domestic collective memories; when used, events of others are intended to create a sense of shared experience through comparison. 'Importation for comparison' is thus the apparatus reflecting how Israeli prime ministers comply with current needs put forth by internal and external challenges in a globalized world. Contributing to the ongoing discussion regarding the nature of identity, this research underlines how referencing to events from abroad is one of the prominent ways in which national self is evaluated, discussed, and negotiated, thus providing a better understanding of how Israeli society imagines itself in relation to others. [ABSTRACT FROM AUTHOR]

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Copyright of Imaginaires is the property of Universitaires de Reims 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 Human Sciences Journal / Revue des Sciences Humaines is the property of Universite des Freres Mentouri Constantine 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 decline of metanarratives has led contemporary individuals to reconsider their connection with the world and to delve into their past to navigate the uncertainties of the present. Many modern fictional works witness a resurgence of memory and a pursuit of ancestry. These elements act as foundational pillars for authors, facilitating both personal and collective identity reconstruction. This article delves into a comparative analysis of the writing styles of two contemporary authors, Patrick Modiano and Anaïs Barbeau-Lavalette in Dora Bruder and La femme qui fuit. Their narratives serve as commemorative spaces, aiding in the recollection of the past. What narrative techniques do Modiano and Barbeau-Lavalette utilize to convert fiction into a channel for constructing memory? What are the underlying objectives of their efforts to preserve memory? How do these two novels fit within the tendency of filiation narrative? These are the primary questions we seek to explore. The analysis of these novels shows that the writing of the story of filiation largely contributes, through the detour towards the family past, inscribed in collective history, to relieving identity troubles [ABSTRACT FROM AUTHOR]

Copyright of Revista Crítica de Ciências Sociais is the property of Centro de Estudos Sociais 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 Journal of Social & Political Psychology is the property of Leibniz Institute for Psychology (ZPID) 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.)

Post-industrial communities across the world are transitioning from industrial economies and identities to an uncertain future. Their successful transitions depend on communities' abilities to navigate change and maintain a quality of life, or their community's resilience. Previous scholarship offers resources and capabilities that facilitate or inhibit community resilience such as leadership, social capital, and information. However, collective memory is not well integrated within the community resilience literature. Drawing on data from interviews with 33 community leaders in the town of Anaconda, Montana, we illuminate the impact of collective memory on community resilience. The Anaconda Smelter Stack stands out as a specific landmark and prominent feature of the built environment that perpetuates particular collective memories in Anaconda. We find that collective memory is an integral part of community resilience, where memories can aid in a community's recovery and rebuilding or constrain thinking and divide viewpoints. We argue that ignoring collective memory's connections to resilience can undermine efforts to face changes in these communities. [ABSTRACT FROM AUTHOR]

This article reviews and synthesizes 10 free-recall studies on collective memory carried out in Latin America, Europe, and Palestine. Results show the high prevalence of the topics of politics, collective violence and warfare, but around 50% of recalled events were appraised as positives, disconfirming a negative bias in collective memory. However, in Palestine most of the events were entirely or partially negative, reflecting country's conflictual situation. The analyzed studies confirm a partial socio-centrism: in Latin America and Palestine most events were national. A meta-analysis confirms a generational effect in 24/100 historical events. Negative historical events were related to low social wellbeing in Palestine. Results are discussed in the framework of collective memory processes and social representations of history. [ABSTRACT FROM AUTHOR]

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Copyright of Ileti-s-im is the property of Universite Galatasaray, Faculty of Communication 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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In both Menexenus and Panathenaicus the narrative frame includes a dialogue between a master and one of his disciples. In both cases, this narrative device allows the author to comment on his own speech. Nevertheless, these two texts appear to be very enigmatic in the eyes of the reader, who wonders about the real thoughts of Plato and Isocrates while examining the characters’ statements celebrating the Athenian glories. By analyzing the historical exempla, the essay aims to investigate the author’s role in re-elaborating the rhetorical tradition and transmitting memory, thus scrutinizing the possibilities and the limits of rhetoric in relating the past.

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Copyright of Biologie Aujourd'hui is the property of EDP Sciences 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 Biologie Aujourd'hui is the property of EDP Sciences 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 Biologie Aujourd'hui is the property of EDP Sciences 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 Biologie Aujourd'hui is the property of EDP Sciences 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 combination of individual and collective experiences makes it possible to build the cultural memory of a city. In the perception of cultural memory, cities come alive with their monuments, historical events and traditional flavors. Cultural memory that focuses on historic places and local tastes performs an important function in the process of urban identity. In order to better understand the perception of cultural memory of Sivas, it is necessary to draw attention also to individual or collective memory which focuses on memories. Individual memory develops a concept of recall from involuntary memories in the memory of the individual, and collective memory develops it in a group or community. Individuality and collectivity represent memories and support cultural memory. The beings or objects that we remember define the content of our memories. Memory renews memories of the past and helps form cultural memory. Senses such as taste, smell, hearing, touch and sight ensure the continuity of the traditions of Sivas. Individual memory is sensitive, while collective memory is left to the credibility of witnesses who join a group. The memory of a city cannot be linked to the individual or to society, and cultural values must be taken into account. There is an understanding of memory based on the customs and traditions of this city. According to Ricoeur, memories of the customs and traditions of a city are a mirror of cultural memory. Our work based on the cultural memory of Paul Ricoeur, will be justified by the historical places, by the thermal springs, by the traditional flavors and by Aşık Veysel, who is one of the cultural values of Sivas. In this article, we will try to find an answer to these problems. "What are the elements that make the cultural memory of a city permanent?" And "Is it necessary to protect the cultural heritage?" To analyze the perception of Sivas' cultural memory, we will follow a method that goes from general to specific. Our work will consist of two main parts. In the first part of this work, we will talk about historic places and traditional flavors that reflect the cultural memory of Sivas. We will explain how individual memory becomes collective memory. In the second part, we will talk about Aşık Veysel, who is one of the most famous Anatolian bards of Turkey. Through the popular Anatolian poems of Veysel, we will explain how individual memory and collective memory become the cultural memory of Sivas. [ABSTRACT FROM AUTHOR]

Copyright of Revue d'Histoire Moderne & Contemporaine is the property of Societe d'Histoire Moderne et Contemporaine 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.)

Cet article rend compte de la présence du motif du jardin d’Éden et de sa signification dans deux romans d’Antonio Muñoz Molina, Beatus ille (1986) et La noche de los tiempos (2009). Il propose une approche descriptive qui répertorie les occurrences de ce motif et ses ramifications – la rencontre amoureuse, la métaphore de l’île et du refuge, l’expulsion et l’exil – avant de proposer une interprétation idéologique de cette poétique qui montre que ce motif s’inscrit dans des structures narratives polarisées autour de la triade paradis/expulsion/exil qui font écho à la mémoire dominante du passé récent de l’Espagne contemporaine qui fait de la Transition un moment de réconciliation et de rédemption collective.

Cet article propose une réflexion sur le matériau mémoriel et son emploi dans le processus poétique centraméricain des dernières décennies, période de violences extrêmes dans la région ; il analyse également quelques pratiques spécifiques de la mémoire poétique dans l’isthme. Partant de l’étude d’un poème de Francisco Morales Santos (Guatemala, 1940), Madre, nosotros también somos historia (1988), l’article aborde, dans un premier temps, quelques moments clés de la reconstruction de la mémoire historique dans la poésie centraméricaine et, dans un deuxième temps, la récupération de la mémoire des victimes de la violence d’État.

This article presents findings from a critical discourse analysis of House of Commons debates about the Independent Assessment Process (IAP), an out-of-court compensatory adjudication process intended to resolve claims of sexual and physical abuse that occurred at Indian Residential Schools and one of five key elements of the Indian Residential School Settlement Agreement. Our analysis is guided by the question: What do elected officials' discussions about the IAP reveal about the implementation of compensatory transitional justice mechanisms in settler colonial states, and about colonial relations (specifically attempts at reconciliation) more generally? Our study focuses on debates that took place between 2004 and 2019. We explored elected officials' framing of both Survivors and the Canadian State in their discussions about the IAP. Our analysis reveals the limited reach of dialogue based in a partisan and antagonistic context and supports those scholars who assert that transitional justice is incompatible with reconciliation and decolonization. By way of contributing to the larger interdisciplinary study entitled Reconciling Perspectives and Building Public Memory: Learning from the Independent Assessment Process, of which this article is part, we reflect on what our findings mean not only for public memory but also for studying the IAP moving forward. [ABSTRACT FROM AUTHOR]

Parmi les nombreux slogans et termes descriptifs concernant les jeunes instruits, celui de « jeunesse sans regret » occupe une place bien particulière. D'une part, il s'agit de l'un des premiers slogans, et de l'un des plus connus, sur les jeunes instruits, celui-ci étant même devenu un symbole culturel de la Chine des années 1990; d'autre part, son association initiale avec les jeunes instruits et sa popularité reflètent en réalité moins une coïncidence qu'une complicité entre la narration populaire et celle de l'État. Cet article analyse ainsi en profondeur l'ensemble des sujets liés au slogan de « jeunesse sans regret »: le contexte social et les raisons politiques de son émergence, le processus ayant mené à sa popularité, sa signification réelle et les malentendus courants qui l'entourent, ainsi que les fonctions sociales, culturelles et politiques cachées derrière sa popularité. [ABSTRACT FROM AUTHOR]

Les petites communautés juives de sept villages qui composent actuellement la commune rurale de Vad - Bogata de Jos, Bogata de sus, calna, cetan, Vad et Valea groților - comme toutes les communautés juives du Nord-ouest de roumanie, c'est-à-dire la Transylvanie de Nord, la région où se trouve cette commune, ont été brutalement frappées pendant l'holo - causte. comme l'auteur a déjà montré dans une étude concernant le village Bogata de sus, publiée en 2020, les atrocités de l'holocauste ont marqué la mémoire collective d'un village de la commune et les mémoires individuelles des paysans de ce village. La recherche qui suit a continué et élargi cette étude par la mise en évidence des modalités par lesquelles l'holocauste et les victimes locales de l'holocauste sont toujours présentes dans la mémoire des habitants de tous les villages de la commune de Vad, ainsi que par l'analyse des modalités par lesquelles les autorités et les institutions publiques de Vad de l'après-guerre jusqu'à présent se sont impliquées dans les actions destinées à maintenir et à cultiver la mémoire des victimes locales de l'holocauste. [ABSTRACT FROM AUTHOR]

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Copyright of SYMPOSIUM CULTURE@KULTUR is the property of Sciendo 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.)

Le théâtre de Juan Mayorga se présente comme un théâtre éminemment éthique et politique. Le dramaturge y propose une mise en scène qui place le spectateur face aux pièges et à la complexité d’une situation historique donnée, réelle (Himmelweg) ou fictive (El jardín quemado), afin que la réflexion autour du passé puisse servir l’analyse du présent. Ce faisant, le dispositif métahistorique devient une arme de subversion politique de tout discours historiographique, officiel ou non, ainsi qu’un support de réinterprétation du passé. El jardín quemado apparaît ainsi comme le reflet des luttes idéologiques autour d’une mémoire collective et d’une identité nationale.

Dans ce travail sur la mémoire, nous partons de l’hypothèse que cette dernière est fragmentée, partielle et éclatée dans l’ensemble du champ social et culturel. Les champs disciplinaires académiques – et les objets qu’ils définissent – rendent parfois invisible cette fragmentation et tendent à observer la mémoire au moment où elle émerge comme un discours déjà constitué dans la presse, le discours politique ou juridique. Dans l’article qui suit, nous développons une analyse du discours mémoriel sous-jacent et fragmenté dans la création vidéoludique espagnole. Une fois établie la dimension « locale » de cet objet souvent assimilé à la culture globalisée, nous verrons comment la forme vidéoludique modélise le conflit, use de l’Histoire et produit, à son échelle, des fragments particuliers de mémoire.

Our aim was to study how, according to the operative concept of "postmemory" defined by Marianne Hirsch, Anne Sinclair, by crossing the family memory and the historical investigation, shed light on one of the unknown aspects of the persecution under the Occupation in France: the "roundup of the notables" and their confinement in the camp of Compiègne nearby Paris. With this story, A. Sinclair continued, after having previously paid tribute to her maternal grand-father in 21, rue La Boétie, her aim to retrace the family memory which suffered from the persecutions against the Jews during the Occupation in France. Her paternal grandfather, Léonce Schwartz, was one of the 743 French Jews arrested in December 1941. All were detained in the Compiègne camp, under German administration: a real Nazi concentration camp from which the first convoy of deportees left from France for Auschwitz in March 1942. In this personal story at the beginning, Anne Sinclair, by reconstituting the coexistence in this camp of assimilated bourgeois and foreign Jews, gave voice and presence to the disappeared, and her personal investigation became gradually a work of collective memory. In our analysis, our first step was to outline, shortly and precisely, the concept of filial narrative and postmemory whose we applied further in our work. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal of Film Studies is the property of University of Toronto Press 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 article proposes an inquiry into the contributions and possible applications of Freud’s work to the study of collective memory. Through a theoretical and critical revision of this author’s work, this article emphasizes his developments and contributions to this topic, underlining its questionings. The article will conclude by observing the existence of a theoretical corpus, aimed to analyze the collective memory, which can be distinguished within the Freudian work and applied in the research of specific social contexts. [ABSTRACT FROM AUTHOR]

Copyright of Francosphères is the property of Liverpool University Press / Journals 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 Memory, History, Forgetting, Ricœur does not provide us with a clear definition of collective memory. In this article, we will try to show how it could nevertheless be described, based on the same text, as the capacity for recognition, by way of reciprocal attribution, memories that are engraved in temporal spaces and are shared with our neighbors and, through them, with strangers. To verify this hypothesis, we will analyse Ricœur’s reflection on architecture as public memory’s engraving into space, presented for the first time in the text “Architecture et narrativité.” Lastly, we will consider imagination and bodily memory, i.e. habit emanating from the act of inhabiting, as the conditions of possibility for the crystallization of memories in shared places.

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial 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 Revue de Synthèse is the property of Brill Academic Publishers 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 article treats the classification of a writer in French language as either ‘Francophone’ or ‘French’, which is traditionally seen as a question of status, where the francophone stamp is seen as a mark of marginalization within the literary field. The starting point is the question whether the fact that an author shares a collective memory, as defined by Maurice Halbwachs, based on the experience of a specific ethnical group is likely to have an influence on him or her being perceived as a francophone rather than a French writer. If this is the case, what traces will a shared collective memory leave in a text, which might mark the writer as the Francophone ‘Other’, or to the contrary, as a national French writer? The issue is discussed using the example of two contemporary French novels, 'La Maquisarde' (2014) by the French writer Nora Hamdi, and 'La Femme sans sépulture' (2002) by the Algerian francophone writer Assia Djebar. The two novels feature a similar story and are both set in the context of the Algerian War. The argument of the article is that the theme of a novel is not the only factor likely to convey an image of its author as French or francophone, but that the literary enunciation and the narrative strategy are equally important. L’article traite du classement d’un écrivain de langue française en tant que ‹ francophone › ou ‹ français ›. Loin d’être neutre, la distinction est traditionnellement vue comme un marquage où l’étiquette francophone implique une marginalisation dans le champ littéraire. Notre point de départ est la question de savoir si le fait de partager une mémoire collective, dans le sens de Maurice Halbwachs, ancrée dans un groupe ethnique spécifique est apte à influencer le classement de l’auteur dans l’une ou l’autre catégorie. Le cas échéant, quelles sont les traces d’une mémoire collective dans un texte ? La question sera abordée à travers les exemples de 'La Maquisarde' (2014) de l’écrivaine française Nora Hamdi, et de 'La Femme sans sépulture' (2002) de l’Algérienne francophone Assia Djebar. Les deux romans contemporains de langue française traitent un thème similaire d’un destin de femme dans la Guerre d’Algérie. La thèse de l’article est que les choix de stratégie narrative et d’énonciation littéraire, autant que la thématique, sont capables d’influencer le classement de l’écrivain en tant qu’‹ Autre › francophone ou Français.

The article traces colonial violence in the independence of Morocco. It mentions hirak movement in the country which is based on the general socio-economic and political situation in Morocco, along with the specific collective historical experience of the people of the Rif. It also mentions the case of Mohcine Fikri is indeed part of a long history of violence exercised by the Moroccan monarchy against the Riffian population.

The article presents a gendered survey of street names in the capital of Europe, Brussels, and depicts the constraints and challenges to make women more visible in the city. After the comprehensive counting of street names and the study of women's figures honored which reveals an abyssal imbalance between women and men's names of Brussels' streets, the article examines the practices and strategies of municipal representatives to feminize street names and to do justice to the memory of women. The paper reveals, on the one hand, regulations and urban morphology constraints existing to increase the number of female names. On the other hand, it shows the policy of municipal representatives and the political role played by feminist organizations in the fight against invisibility of minority groups in urban areas. [ABSTRACT FROM AUTHOR]

In line with works on the social uses of reading (Mauger & Poliak 1998), particularly on the reading of "salvation," but also with the analytical philosophy hypothesis of an ethical function of literature, this article proposes to study the social uses of testimonial literature through the case of the critical reception by ordinary readers of the book of Philippe Lançon Le Lambeau (Gallimard, 2018—translated into English as Disturbance: Surviving Charlie Hebdo), in which the author, a survivor, recounts the January 7, 2015 terrorist attack on the newspaper Charlie Hebdo and his slow reconstruction. The analysis of the two hundred seventy-four reviews left on the Babelio social network shows that testimonial literature can be used for memorial, moral, and therapeutic functions: it allows readers to imagine the experience of the victims and to develop empathy towards them, to take a leaf from them, as in a hagiographical reading, and to appropriate a collective memory, but also to relive the experience of the attack, to remember it in order to construct the memory of it, to experience it emotionally by engaging one's own body to overcome it through the mediation of art and to transform the painful experience into a spiritual exercise. [ABSTRACT FROM AUTHOR]

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This text focuses on the decline of the traditional conceptions of historical unity which, in different ways, encouraged the philosophies of history, as well as the ideologies that this generated, in the modern period. As a result of the comprehension of the limits of historical understanding which has emerged in an atmosphere of rapid change, the dislocation and discontinuity of the 20th century, the decline of the traditional concepts of historical unity through time have highlighted a new vision of human temporal finitude. According to the idea proposed here, the general interest in collective memory that has appeared in the last few decades is tightly linked with this new temporal perspective. In a current context in which mutation and discontinuity have undermined the long-term vision of the philosophy of history and previous ideologies, the concept of collective memory has become an essential prism through which the possibility of social cohesion over time is refracted. There where the contemporary concern about collective memory is stimulated by a search for group cohesion in the midst of changing collective perspectives, its temporal horizon has been frequently characterized by an immersion in the present or a «presentism». Nevertheless, beyond this limited perspective, lies a new outlook on collective memory and the limited scope of human historical comprehension which allows an emphasis on more complex and more qualified contemporary temporal orientations, which are those this article attempts to highlight. [ABSTRACT FROM AUTHOR]

Copyright of Revista Crítica de Ciências Sociais is the property of Centro de Estudos Sociais 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 article aims to analyze the relationship between history and fiction in Amin Maalouf's novels. Fascinated by history and literature, the Franco-Lebanese writer, tries, in several of his works, to combine history and romance and to make real and fictitious characters coexist in one universe. However, far from being limited to a simple transcription of history, Amin Maalouf has set himself the audacious goal of shedding light on the other side of history, as it was seen and lived on the "other side"; and at the same time he tries to revive the memory of certain figures forgotten or even denigrated by the official historiography. Thus, by rediscovering and reinterpreting history from a new perspective, Amin Maalouf aspires to understand the present and to build bridges between the two shores of the Mediterranean, between the North and the South, and between the East and the West. [ABSTRACT FROM AUTHOR]

This article seeks to contribute theoretically and methodologically to the oral language teaching in the classrooms, specifically in the Colombian high school in what has been called everyday life metaphors. For this purpose, we start with some theoretical considerations about orality as performance and as an oral text; besides, metaphor is defined from the cognitive linguistic. Later, some procedures on everyday life metaphors are exposed, which, for this case, have a strong identity in orality. The paper finishes with the conclusions on the teaching of orality and its metaphors. We highlight that orality -understood as performance or oral text- is another dimension of the knowledge that should not be evaluated from the literate culture. [ABSTRACT FROM AUTHOR]

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