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Before the origin of writing, oral literature was used by many African families to pass down values and impart knowledge and good morals from one generation to the other and to pass knowledge from one generation to the other. However, modern families hardly see value in narrating these folktales to their children as they claim that they have no time to narrate stories. This paper aimed to demonstrate the relevance and significance of Tselane le Dimo folktale in the current space and time. The study was guided by a functionalism theory which postulates that society is more than the sum of its parts; rather, each aspect of it works for the stability of the whole. The study is descriptive, and a qualitative approach was employed. Content analysis methods and secondary sources in the form of books and articles were used as data collection methods. The findings of this paper indicated that narrating folktales is still necessary and Tselane le Dimo folktale is still relevant in the current space and time, to the younger generation. This paper concluded that modern African families should get back to their roots and narrate stories to their children to impart knowledge, values, and morals to them.

Copyright of Álabe is the property of Alabe 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.)

Purpose: Apart from negative environmental consequences, modern animal husbandry has also created unfortunate moral consequences. Studies show that the relationship between humans and domestic animals in the past was based on a moralistic spiritual background, and although humans kept domestic animals for their edible and non-edible consumption, the relationship between them has never been degraded to the existing level. In folk literature, there has been a very sentimental view of livestock. Although some cases suggest that they are derived from the official literature, there are many cases that show a very clear difference between the two. Metaphors in which friends are likened to deer and gazelles are familiar in Persian literature; But in folk literature, this case is rare, and the metaphor of romantic beauty is used from domestic animals. Method and Research: In their descriptive and analytical study, using documentary sources, the authors have addressed the issue of romantic metaphors in the oral literature of the native regions of Iran with the aim of understanding the place of animals in the native culture of Iran, and have focused their attention on the case example of Kerman district in the early 13th century. In a qualitative study, 383 local songs from the mentioned region were selected and analyzed from a specific source. Findings and Conclusions: The result of this point is that in Iranian culture, despite all the problems that nature has raised in front of man, animals, especially animals that live with him, have had a spiritual and spiritual place. [ABSTRACT FROM AUTHOR]

This research has a significant contribution to the understanding of changes in the oral literary practices of the Dayak Kanayatn and their impact on their social identity. A qualitative research method was employed to collect data through the interpretation of semiotic texts of Dayak Kanayatn oral literature. The importance of this research lies in addressing the influence of contemporary cultural issues, including social media and urbanization, which have shifted the interest of the younger generation from traditional oral literature to modern forms of entertainment. However, the gap that this research aims to address is the imbalance between the younger generation’s interest in traditional oral literature and the influence of contemporary culture, which tends to lean towards modern entertainment forms. The research aims to highlight the challenges of maintaining oral literary practices in the era of globalization and continuous modernization. Research findings also reveal that oral literary practices remain crucial in preserving the social identity of the Dayak Kanayatn. Despite facing challenges, this community continues to strive to preserve their oral literature through various initiatives such as cultural education in local schools and literary festivals. Thus, this research provides in-depth insights into social and cultural identity among the Dayak Kanayatn and their efforts to preserve and strengthen their social identity through the heritage of oral literature. The study underscores the importance of preserving Dayak local culture amidst the ongoing trends of globalization and modernization. By highlighting this gap, the research offers a better understanding of how the Dayak Kanayatn community can overcome these challenges to preserve their cultural heritage.

The Moken are a sea-nomadic population living in the Mergui Archipelago, where they remained out of the reach of the state while developing clientelist relationships with dominant societies over several centuries. Starting in the mid-twentieth century, economic development and Burmese colonization of the islands led the Moken to face major transformations of their territory and way of life. This article takes a long-term approach to understanding Moken resilience by examining their oral literature, rituals and mobility developed in connection to the populations they live alongside. It shows that the Moken have maintained a core nomadic identity that enabled them to develop clientelist relationships throughout successive historical eras. [ABSTRACT FROM AUTHOR]

The Melawi Malay community has a rich tradition of medicine using oral literature in the form of mantras, passed down through generations. These medicine mantras incorporate elements of beautiful sound and reflect the ecological, customary, and cultural values of the Malay people. This research aims to unveil the sound patterns and describe the symbolism of the triadic ecological elements, namely nature, nurture, and culture. To achieve this, purposive sampling was employed to select key informants, with Su Usnah, a traditional healer from Bina Karya, Melawi, being a crucial source. Through interviews and field notes, six relevant data sets were extracted from a pool of 15 available medicine mantras for analysis. Using a qualitative descriptive approach, this research utilized stylistic protocols to categorize the data according to existing sound patterns and employed ecocriticism guidelines to reveal the presence of ecological elements within the Melawi Malay medicine mantras. The primary findings of this research disclose the existence of four sound patterns in these mantras: assonance, alliteration, consonance, and rhyme. The ecocritical perspective reveals that each mantra contains ecological elements, including nature, such as flora and natural elements; nurture, reflecting the relationship between nature and society, and human connections; and culture, as manifested in customary practices. This study deepens our understanding of the sound patterns and ecological elements present in these mantras, with the hope that further research, through exploration of mantras in the Melawi Regency, can contribute to the continuous conservation and promotion of oral literature. Enriching the global understanding of mantras from linguistic, literary, and ecological perspectives is vital in practising traditional medicine in Melawi and other regions in West Kalimantan.

With the growing prevalence of audiobooks and the growth of the recorded spoken-word industry worldwide, this article highlights the ways in which sound studies scholars and literary critics alike can reconsider the importance of the "talking book" as a key form of oral literature. In this article, we explore the audiobooks of Zora Neale Hurston's Barracoon and Yaa Gyasi's Homegoing – two key pieces of Black Atlantic literature in which the aesthetics of oral literature are deeply embedded and come alive as forms of new orality. We offer a method of "close listening", drawing on the tactics of reading in sonic literary studies, and suggest through engagement with the work of scholars such as Ato Quayson, Tsitsi Jaji and others an interdiscursive approach toward "binaural" voices in African and Afrodescendant cultural production. [ABSTRACT FROM AUTHOR]

Coffee dominates into the sphere of association and social life. The presence of coffee shops in recent years is also one of the factors of the phenomenon of drinking coffee, such as the form of campaigns that affect the mindset of social communities. The research method used to research Coffee Mantras in Gayo land is the Qualitative descriptive method. This research involves various types of disciplines, both from humanitarian, social, or natural sciences. There are several theories about the origin of the Gayo Tribe. Local people believe that the name Gayo comes from the word pegayon which means a source of clear water where sacred fish and crabs are located. One version says the origin of the Gayo Tribe is related to the Linge Kingdom which was founded around 416 Hijri or 1025 AD. As a result of the excavation of these ancient sites, prehistoric human skeletons were found. After scientific research, the human skeleton found, ranging in age from 3,580 to 4,400 years. Mantra Kopi in the point of view of the Gayo people, is a form of oral literature that will never be abandoned. They believe that with coffee that is spelled or chanted will bring good things. [ABSTRACT FROM AUTHOR]

Mantra is an oral tradition that is believed to have mystical powers that can generate forces beyond human comprehension, such as the dhanyang mageri omah mantra practiced in Pagak Hamlet, Cengkok Village, Ngronggot Subdistrict, Nganjuk Regency. The dhanyang Mantra mageri omah is an oral tradition with mystical power, employed to protect homes with the assistance of supernatural beings khown as dhanyang. This research aims to analyze the phonological, morphology, syntax, and function aspects of the Dhanyang Mantra. This study's phonological, morphological, and syntactic analysis was conducted using a descriptive-qualitative approach and observation, interview, and documentation techniques. Findings reveal that the Dhanyang Mantra demonstrates a harmonious blend of phonological elements (such as alliteration, assonance, and imperfect rhyme), morphological (such as free and bound morpheme), and syntactic structures (types of sentences), adhering to principles of structural analysis. Functionally, the dhanyang mantra serves as a conduit for communication with supernatural entities and as an intermediary connecting humans, God, the Prophet Muhammad, and dhanyang spirits. The religious and cultural significance embedded within the dhanyang mantra reinforces the belief of Pagak Hamlet's inhabitants in the protective capabilities of dhanyang. This research contributes to comprehending and preserving cultural heritage and indigenous wisdom within local religious practices.

AbstractThe Court of kings and dynasties were manifestation of ceremonial customs and occasions which pertain to the roots of literature and history of their nations. Consequently, culture and civilization of our antecedents influenced creation of their descendants' culture in sequential and continual way. Narration and storytelling, known as a notable position at the Court of Emperors and Kings and as constituents of literal customs of the court, have revived and rejuvenated the ancient tradition of oral literature. Regarding such a position, it could be said that some of the authors believe that commencement of the first period of storytelling in Iran returns to The Achaemenid Empire and Kianian Dynasty, but some others believe that it comes from The Gusans of the Parthian Empire. In following periods, since Samanid Dynasty until Ghaznavid Empire, the role of narration and storytelling was played by Zoroastrian Clerics and the mates – servants and maids – as well as reading epics. Servants or maids were to learn and acquire an agglomeration of literal issues and skills such as poems, reciting, eloquence and performance.During The Ilkhanate Era (the Mughals Dynasty), Iranian stories became more religious due to bitterness of Mughal Attacks. At the Court of Safavid Dynasty, narration and storytelling reach its peak of prosperity and then the Court of Qajar gave this position a new lease of live, titled "Reciter". This current research has tried to investigate and study this position and its evolutions their ceremonial customs at the court of Iranian Kings.

This study aims to analyze the relevance and feasibility of Warahan's teaching materials in developing character education values for language classes. This study used a qualitative approach with content analysis methods. The data was taken from the warahan literature, still developing in the Jabung Lampung community, with as many as seven warahan stories. Data were collected through observation and interviews with seven community leaders, traditional leaders, and ten language teachers at secondary schools in Jabung regarding their understanding of warahan oral literature. Data analysis techniques included (1) problem formulation, (2) selection or categorization of data sources, (3) elaboration of data categories based on operational definitions, (4) reliability checking, (5) data analysis, research, reports, and evaluation of research results. From the results of data analysis, it is concluded that written and oral literature is appropriate for use as teaching material in language classes and is relevant to current conditions in developing character education values that the government has set. Of the seven warahan stories analyzed, three main values were found in character education: religious, social, and humanist values (humanity). Of the three main character education values, 17 were found, including religious, sacrifice, polytheistic, mutual respect, trust, patience, lack of sympathy, courage, unyielding, and careless values. Value of Pride, Value of Caring, Value of Not Caring, Value of Cooperation, Value of Honesty, Value of Responsibility, and Value of Innovation and Creativity.

Music is an indispensable tool of cultural transmission. Considering the vast nature of oral traditions, of which indigenous music is encapsulated, many studies on Nigerian indigenous music have concentrated on Jùjú, Ìjálá, Dadakúàdà, Ẹ̀sà, and Àpàlà. However, much research still needs to be done on Gospel Àpàlà, a variant of Traditional Àpàlà which was popularised by Hárúnà Ìshọ̀lá and Àyìnlá Ọmọwúrà, noted for its highly proverbial folklore, blended with percussive instruments of which dùndún drum and ṣẹ̀kẹ̀rẹ̀ play leading roles to give aesthetic appeal. In this research, therefore, I investigate and document Gospel Àpàlà as it translates from traditional Àpàlà into praise and worship of God, in order to identify and describe its unique style and communicative functions, especially in these changing times of modernisation and globalisation. Drawing on systemic functional linguistics and sociology of literature, in this article I provide an analysis and interpretation of six Àpàlà Gospel songs from three Àpàlà Gospel artistes: Ṣadé Ọ̀ṣọbà, Yọ̀mí Ọlábísí, and Boiz Ọlọ́run. I portray the relevance of Àpàlà music both in Christian worship and events and gathering. Themes in Àpàlà Gospel include praises, thanksgiving and adoration to God, salvation/acknowledging Jesus, God’s greatness and miracles, forgiveness, unity, holiness, heaven, love among brethren, commitment, and dedication to God’s work. My findings reveal, among others, that Gospel Àpàlà music encapsulates indigenous knowledge contained in oral literature. I identify stylistic devices such as repetition, rhetorical question, personification, loan words, code-mixing/code-switching, and proverbs which garnish the metamorphosed music and conclude that Àpàlà has metamorphosed from traditional Àpàlà into Gospel Christian worship.

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This article explores the marginalized status of Visayan literature in the Philippines, comprising of literary texts written in languages like Hiligaynon, Kinaray-a, Akeanon, Cebuano, and Waray. Despite their rich heritage, these languages are sidelined by English and Filipino in academia and official contexts, a result of the national language policy favouring English as the official language and Tagalog as the basis for the national language. This policy persists through constitutional revisions, making English and Filipino the primary mediums of instruction. The author, born in Iloilo and a language and literature teacher proficient in multiple languages from the Visayas, provides a personal perspective on rediscovering Visayan literature, emphasizing shared oral traditions and localized aspects of Visayan regional literary output. Despite challenges, Visayan language writing is resurging, supported by educational institutions and creative writing workshops, aiming to elevate Visayan literature and regional languages to the national stage, asserting their place in Filipino culture. [ABSTRACT FROM AUTHOR]

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This paper identifies the relationship between nature and human beings in a corpus of Boyacá rural legends. Firstable, this work approaches the concept of legend and its characteristics; then, the corpus is analyzed from ecocritical postulates to find the common factors between environment and human being that allows its subsequent categorization in: nature protective beings and nature as an active subject. Finally, it is concluded that nature is not only a central part of the legends, but a vital part of the Boyacá peasant identity; therefore, nature influences by its cultural value towards the promotion of ecological awareness. [ABSTRACT FROM AUTHOR]

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Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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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This article presents a study of the timpani drum beats and the akarima drummer among the Dagomba of Ghana, using analysis of audio and video recordings of drumming sessions and interviews with the drummers. Borrowed from the Asantes in the eighteenth century, the timpani transmits limited, oft-repeated messages in Akan, a language that neither the drummer nor his Dagomba patrons understand. In spite of this, the timpani is an integral part of Dagomba culture and rituals. In addition to transmitting messages with the drum, the akarima guards the tradition and cultural heritage, and reinforces Dagomba values and cultural ethos. As a guardian of tradition, the akarima resists innovation of the practices associated with the use of the drum. As a constructor of realities, he creates knowledge and values from the praises of chiefs, imparts them to his patrons and actively moulds their lives to conform to these values. The article argues that, far from being a deficiency, the use of the drum to transmit messages in a language not comprehensible to the people contributes significantly to the success of the akarima, who functions as imparter of values to his listeners. [ABSTRACT FROM AUTHOR]

Italian translation of Gorodskoi fol’klor: Lektsiia dlia studentov-zaochnikov by Aleksandr Belousov

This article provides an analysis of two Bakhtiari poems from linguistic and literary perspectives – one by Bahman Alaeddin (šaʋ čārdah ‘Fourteenth Night’) and another one, in praise of Bahman Alaeddin, by Feyzollah Taheri‑Ardali (tā laʋte ġazalxun‑e kon-i bāz be āʋāz ‘As You Open Your Lyrical Lips to the Song’). For this purpose, we first transcribe the two poems in the Bakhtiari orthography proposed by Anonby and Asadi (2018). We then present an English translation as well as an interlinearized Persian translation of these two texts. This is followed by a linguistic analysis of the two poems with a focus on phonological and grammatical structures. Since Bakhtiari is an internally diverse language, our analysis has highlighted the linguistic differences between the two poems. From a literary perspective, we explore salient features such as poetic imagery and analyze stylistic devices in the poems

This article discusses the relationship between folklore originating from Central Kalimantan and the natural surroundings. Taking the object of two folklores entitled “Legenda Batu Bagaung” and “Dohong dan Tingang”. The article will question how the influence of this folklore in Central Kalimantan. The theory used is the ecocriticism theory by Endraswara. This theory examines how the narrative in the story will be relevant to the living environment in the area where the folklores originate. This article also uses ecocriticism as a method. Through this method, the author will discuss the relationship between folklore in Central Kalimantan and the natural surroundings. From the question and theory presented, the writer concludes that “Legenda Batu Bagaung” and “Dohong dan Tingang” as folklores have a position as a reminder for people to always protect their nature. In addition, these folklores are also considered to have no influence at all on the local community where the narrative of reminders to protect nature is ultimately ignored.

Approximately sixty lyrical songs were inscribed into the Folklore Archive of the National Museum during the field research in Brcko conducted by Bosnian writer and folklorist Alija Nametak as an employee of the Institute for Folklore Research in 1956, including a ballad about a mother who sacrificed her son to save her brother's life. This moving ballad has been inscribed at least twice more in Bosnia's north, and two variants of this song were recorded in Derventa - they are included in a large collection made by Smajl Bradaric and kept in the National Museum of BiH's Folklore Archive. The National Museum and the BiH Slavic Committee collaborated to publish this collection (Bradari 2018). The mentioned ballad was also discussed in Munib Maglajlic's 1985 study "Muslim Oral Ballads," in the section entitled Conflict in the Family, indicating its importance, but also a solid number of variants throughout Bosnia (Maglajlić 2018). The variants presented here, however, were not the subjects of Maglajlić's analyses, even though he found as many as nine versions of this ballad from various sources for his study. This paper will use the method of three-variant ballad promotion to see the oral poet from Bosnia's north in action. It will try to show and highlight the poetic achievements of the "northern" variants. The poetic shaping of key motifs will be considered in each recorded variant, and the difference between them will be established. Methods of interpretation and analysis will be used.

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Oral folk literature is an indispensable part of the intangible cultural heritage of the Oroqen people. In recent years, the protection and inheritance of Oroqen folk oral literature have achieved some results, but they are still facing challenges due to the extremely small population of this ethnic group and the dying of the ethnic language. This article focuses on the intangible cultural heritage of Oroqen folk oral literature and puts forward sustainable and specific suggestions on its protection and inheritance by summarizing useful experience and analyzing practical difficulties found in previous research on national mythology, folk songs and national rap. [ABSTRACT FROM AUTHOR]

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Copyright of Tradition Oral Literature / Boletín de Literatura Oral is the property of Boletin de Literatura Oral 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 provides an analysis of two Bakhtiari poems from linguistic and literary perspectives - one by Bahman Alaeddin (šaʋ čārdah 'Fourteenth Night') and another one, in praise of Bahman Alaeddin, by Feyzollah Taheri-Ardali (tā laʋte ġazalxun-e kon-i bāz be āʋāz 'As You Open Your Lyrical Lips to the Song'). For this purpose, we first transcribe the two poems in the Bakhtiari orthography proposed by Anonby and Asadi (2018). We then present an English translation as well as an interlinearized Persian translation of these two texts. This is followed by a linguistic analysis of the two poems with a focus on phonological and grammatical structures. Since Bakhtiari is an internally diverse language, our analysis has highlighted the linguistic differences between the two poems. From a literary perspective, we explore salient features such as poetic imagery and analyze stylistic devices in the poems. [ABSTRACT FROM AUTHOR]

The epic «Jangar» is an important type of folklore that was invented in the 15th century among the nearby peoples and spread among the entire Mongols. Dao’s beautiful country is a place that is full of happiness for the four seasons. Jangar’s origin, his glory, his subjects, his heroes, and their horses are clearly mentioned. Each hero is capable of charm and character, and it is important for future generations to understand «Jangar». This epic is essential for the transmission of culture and tradition. «Bogd noyon Jangar Shar Gerel khaanyg dailsan buleg» occupies a special place.

Folklore is an integral part of every nation’s literature, with a remarkable diversity in type and inclusion. A large part of this literature includes tales, legends, myths, songs, ballads, adages, riddles, and versified games transmitted orally from generation to generation over the centuries. All-important literary genres can be seen in folklore. One of these literary genres is Pastoral literature, which has been specially addressed by western scholars yet a new subject for analysis in the folk literature of the Iranian people with its various languages and dialects. Pastoral literature includes creative works presenting rural life and its landscapes in an ideal way for the audience. In this research, the authors studied the Pastoral literature of the rural areas of Khavmirabad district of Mariwan city based on the lifestyle, particular geographical region, rich language and culture, and literature of the Kurds. The study aimed to provide a background for more familiarity with Pastoral literature and examine its status in Kurdish oral literature, more specifically in Kurdish folk literature. The study results showed that ordinary people had created Pastoral literature in their lives and social failures, regrets, and desires. Research data was collected through library and field studies, and the descriptive-analytical method was adopted.

In this essay I explore how my reading of Homer has shaped my novels, The Broken River Tent (2018) and The Wanderers (2021). I reflect on the making of Nguni literature in relation to oral histories and stories. Engaging debates about language and colonialism, in conversation with writers such as James Joyce and Ngugi wa Thiong'o, I argue that it is possible for someone with a good grasp of isiXhosa as a living language and culture to transfer it through other languages. This essay offers a passionate argument for a reading of the classics for wonderfully strange affinities. [ABSTRACT FROM AUTHOR]

This paper begins with the contention that scholars of African oral literature have exhibited a 'best avoided' approach towards formula, the most important aspect of the oral-formulaic theory of Milman Parry and Albert B. Lord. It argues that, even in this century, the dominant approaches to the study of African folklore have been performance, Marxism, formalism, structuralism, feminism and functionalism. Therefore, building on the meager literature on formula, this article investigates its occurrence in traditional Ịjọ poetry, particularly in the praise chants of Chief Adolphus Munamuna. It points out that the formula density is high in the bard's praise poems. This article also notes that formulas are useful and necessary to the Ịjọ bard because they enable him to compose his poems rapidly in the course of performance. [ABSTRACT FROM AUTHOR]

The play of formulas is a new theory designed to explain the manner in which discourses (Suttas, Sūtras) were composed in the early Buddhist tradition, focusing at present mainly on the Dīgha- and Majjhima- Nikāyas (the collections of the Buddha's Long and Middle-length discourses). This theory combats the commonly accepted views that texts are mainly an attempt to record and preserve the Buddha's teachings and life events, and that the best way to understand their history is to compare parallel versions of them. By identifying the creative, mainly the literary, vectors alive in the shaping of the texts, the theory explains how discourses are the products of formulas, which themselves are the primary texts of early Buddhism. Formulas combine in order to produce meaningful textual patterns, with little account of historical context and with much interest in aesthetic appeal and emotive potency. Formulas connect according to set narrative designs, in which different types of audiences are represented not only through unique formulas, but also with their specific narrative trajectories and complementing doctrinal emphases. It is not that the early authors were not at all interested in safeguarding the tradition. It is only that there was much more going on, and that thinking about the texts in this way misses their entertaining faces and ignores their beauty. These probably tell us more about what the early discourses actually were for the people that first produced and studied them than dry philosophical doctrine. [ABSTRACT FROM AUTHOR]