Genres Of Oral Literature Research Articles

Metaphor as an Ideological-Conveying Process in Panegyrics: The Ifẹ̀ and Ò̩yó̩ Ethnic Groups of Yorùbá in Perspective

Panegyrics, as a genre of oral literature, play a significant role in the social, historical and political systems of the Yorùbá people. Through the recitation of praise songs, panegyric reciters often seek to create awareness about the hegemonic status of the individuals or entities being praised. However, the ideologies expressed through the use of metaphor in these panegyrics are usually subtle and covert, thereby enabling the subtle manipulation of the praised individual(s). To uncover the subtle ways metaphors are constructed in panegyrics to serve various purposes, including the maintenance of unequal power relations, this paper examines the use of metaphor as a strategic linguistic device for conveying ideological messages in the panegyrics of the Ifẹ̀ and Ò̩yó̩ ethnic groups within the broader Yorùbá cultural context. It therefore evaluates how metaphor is employed in Yorùbá panegyrics to communicate ideological content in Ifẹ̀ and Ò̩yó̩ panegyrics. By shedding light on the covert ways metaphors are constructed in the panegyrics, the paper offers insights into how language can be strategically employed to maintain and perpetuate unequal power structures within a society. It also highlights the versatility of metaphor as a rhetorical device, capable of conveying complex ideological messages in a subtle and aesthetically pleasing manner, as evident in the Yorùbá panegyric genre. Keywords: Metaphor, Discourse, Critical Discourse Analysis, Ideology and Panegyrics

Typology of Introductive Formulas in Kwakum Proverbs

Kwaèkuàm is a Bantu language of zone A according to Guthrie (1967: 496). It is listed A90. Its code is [463], Binam Bikoï (2012:141). Generally, when we want to produce a proverbial statement, the speaker does not surprise his audience. He prepares it using various introductory formulas. The same is true in the kwaèkuàm community. In doing so, our paper examines the formal introductory structures found in kwaèkuàm proverbs and which make it possible to delimit the “proverbial mold” and to identify a sentence as a proverb in a speech. Five hundred proverbs collected from ten speakers aged 50 and over constitute our corpus. From the categorization of the recurring motifs of the forms and rhythms of the proverbial saying, it emerges that the paremic initiation formulas are in the initial position of the proverbial sentence. The specificity of the proverbial statement is that it constitutes a “fixed” genre of oral literature. Moreover, this is what makes it recognized in a statement.

Debunking Stereotypes: Gendered Women’s Roles in Wedding Songs of the Nyiha of Mbozi in South-western Tanzania

Wedding songs, as a genre of oral literature, entertain, instruct, and spread cultural values such as civility, respect, and environmental conservations in different traditional societies, including the Nyiha of South-western Tanzania. Although these songs have attracted the attention of many scholars, many of the scholars have focused on their performative roles during wedding ceremonies and neglected the representation of gendered roles of women in these songs. In this regard, the cultural representation of social beliefs and attitudes towards married Nyiha women is a contested aspect which the present article investigates. Informed by African feminism, this article contextually analyses wedding songs using data obtained through observation, which entailed systematically selecting, watching, listening to, and recording songs. Subsequently, through close listening and reading of the transcribed songs, the article analysed the lyrics translated into English. The article found that Nyiha wedding songs situate married women in a position where they are obliged to serve their families and take care of their husbands throughout their marriage life irrespective of their age. On this account, the article argues that Nyiha wedding songs portray a woman as a provider, a role that she assumes from the first day of her marriage. The songs paint a married Nyiha woman as the only individual in the family who is accountable to ensure the survival if not success of the marriage institution.

일본의 구승문예 연구동향과 전망

This paper was written to share tasks with Korean oral literature researchers by summarizing the genre of old Seung Literature in Japan and introducing the genre that has recently attracted attention in Japan.
 Japanese and Korean oral literature genres do not differ very much. However, some genres are similar and have unique characteristics. Similar to Korean pansori, masquerade, and exorcism, "Katarimono" has been delivered in various and rich ways throughout Japan. However, since the early 20th century, the transmission has been cut off, from a significant number of branches, so it is difficult to assert that "Katarimono" is common literature. In addition, unlike Korean literature, which is rich in Chinese literature written by intellectuals, there is a difference in that oral literature was a major genre of Japanese literature. In other words, it is worth keeping in mind that the existence of oral literature in Japanese literature is significant.
 In recent Japanese oral literature, the genres that have attracted attention are ghost stories and disaster legends. The Japanese have painted strange beings in literature and painting works since ancient times, and even in modern times, rumors and legends of strange beings have been discussed among the population. Recently, the word "Yokai(specter)" has been used as a generic term encompassing all strange beings, and new characters have been born. Japanese people, regardless of age or gender, enjoy the world of monsters through various works such as novels, cartoons, animations, and game software. The ghost story is a genre of oral literature that remains alive in modern society. In addition, the value of disaster legends was re-examined in the wake of the 2011 Great East Japan Earthquake. In Japan, where natural disasters are frequent, legends related to disasters-that is, stories about avoiding disasters-are told in various places. As these stories were discovered, recorded, and published, the need to inherit future disaster legends was raised.
 Among recent trends in Japanese literature, researchers demonstrate interest in nature, which is a notable topic in the field of oral literature. Literary researchers are accumulating achievements in how the Japanese perceive nature and expressed it in literary works a topic that East Asian researchers belonging to the Chinese character culture should share and think about in the era of the climate crisis.

The Construction of Manhood through the Performance of the Bukusu Circumcision Songs

Songs are part and parcel of the lives of many African communities as they carry values, norms, customs and aspirations of the communities. The Bukusu community, just like any other Kenyan community which adhere to the traditional customs has songs that are used in various rituals. Among the many rituals performed in Bukusu community is the traditional male circumcision, a rich theatre which is always accompanied by live tunes. The performance of these circumcision songs does not happen in a vacuum, it takes place within specified contexts which give rise to meaning. The Bukusu circumcision songs are socially significant as they have serious implications on the society’s beliefs. These songs are cultural symbols used to construct manhood in the sense that the newly initiates transits from childhood to adulthood. Once they go through this process, they are expected to be responsible adults who observe righteousness. This necessitates a concerted effort to unearth the construction of manhood through the performance of the Bukusu circumcision songs. The paper employed participant observation, oral interviews and open ended questionnaires in collecting songs. In sampling of the songs, the paper employed purposive sampling technique. This paper employed hermeneutics theory in examining how manhood is constructed through the performance of the Bukusu circumcision songs. The overall purpose of this paper is to contribute towards the understanding of how the Bukusu perceive and construct manhood through the performance of the Bukusu circumcision songs which will eventually contribute new knowledge to songs as a genre of oral literature.

Estudio del refrán 'aunque la mona se vista de seda, mona se queda' desde la perspectiva paremiológica

With the aim of delving deeper into a genre of oral literature, the proverbs, this paper contains the study of the Spanish proverb Aunque la mona se vista de seda, mona se queda (the correspondence to You can't make a silk purse out of a sow’s ear ) from a paremiological perspective. After analysing the formal features of a proverb, its key idea is specified and its meaning is explained, to then find out what variants exist in lexicographical, paremiographical and literary sources, without forgetting the variants provided by oral sources. Afterwards, the semantic relations that this proverb establishes with other proverbs are dealt with, not only in terms of synonymy, but also in terms of antonymy and hyponymy. Finally, the identification of correspondences with paremias from other languages will allow us to have a better knowledge of the life of this proverb and to reach results of interest for the comparative study with other proverbs. Thus, this paper provides a method for analysing proverbs based on research conducted on the complex nature of proverbs.

Integrative Values of Folktales: Igbo Folktale Example

The indigenous language of a people is the most accepted medium of communication. It enshrines and translates the peoples’ life (culture) as domesticated in their norms, values and morals. Adopting the functional perspective to sociological studies, this paper aims at x-raying the values of folktales (Igbo Folktale), for the formation of well behaved, self- reliable, accommodating, responsible and responsive individuals for progress and harmonious communal existence. These virtues which form the bases for training in the society are encapsulated in the people’s folktales shared commonly at family and communal leisure times. Folktale as a genre of oral literature is built into written literature courses in schools. However, modernity, development and quest for greener pasture deny people of the opportunity to enjoy the leisure for cultural learning / training avenues. Schools are no longer performing the expected role. Hence, these cultural virtues are left hanging in the balance. This study therefore tends to illustrate the rich availability of the virtues necessary for national integration with the analysis of three Igbo folktales. Deductions from these folktales confirm the richness of societal values. It concludes by underlining the need for the reintroduction of indigenous language study and folktale in schools

The interpretation of loneliness in Uzbek and world proverbs

As being the oldest and most widely used genres of oral literature, proverbs are expressions of the ethical, spiritual, moral, and social expression of the people, which have been tested in centuries-old life experiences, and the wise conclusions of the people, which provide accurate and accurate solutions to life issues.

Suspense as a literary device in English literature

As being the oldest and most widely used genres of oral literature, proverbs are expressions of the ethical, spiritual, moral, and social expression of the people, which have been tested in centuries-old life experiences, and the wise conclusions of the people, which provide accurate and accurate solutions to life issues.

Suspense as a literary device in English literature

As being the oldest and most widely used genres of oral literature, proverbs are expressions of the ethical, spiritual, moral, and social expression of the people, which have been tested in centuries-old life experiences, and the wise conclusions of the people, which provide accurate and accurate solutions to life issues.

The interpretation of loneliness in Uzbek and world proverbs

As being the oldest and most widely used genres of oral literature, proverbs are expressions of the ethical, spiritual, moral, and social expression of the people, which have been tested in centuries-old life experiences, and the wise conclusions of the people, which provide accurate and accurate solutions to life issues.

Online Performance of Swahili Orature: The Need for a New Category?

ABSTRACTThis paper discusses the concept of the online performance of oral literature. The central argument advanced in this discussion arises out of the contemporary categorisation of literature, notably the distinction between oral and written literature based on their forms of presentation — that is oral versus written presentation. The invention of the Internet and the introduction of such technology into online enabled devices such as mobile phones and tablets, as well as the integration of various communication programmes, has enabled instantaneous written communications as well as non-instantaneous communication. This type of communication has instigated the emergence of a unique language whose features have no discernible cognates with either spoken or written language. Furthermore, besides the emergence of this unique language, some genres of oral literature, are regularly performed online in a unique way using the above-mentioned technologies as well as the unique linguistic features mentioned. The background research undertaken, and which underpins the discussion in this paper, was predicated on the theory of performance without necessarily denigrating the role and significance of the text in works of literature. The data on online riddle performance was collected and analysed and the results presented in this paper. By using online Swahili riddle performance; I propose the formation a new genre of literature that espouses the features of this type of communication.

Development as a Trigger for Development of Language of Epithet in Hausa Society

The paper maintains that epithet, a genre of oral literature, grows with the coming of new scientific and technological innovations in Hausa society. In proving that, after giving a working definition of the term, evidences have been forwarded to show certain epithets which are on new developments and which came to the said society. Further, a general view on how new epithets are created has also been advanced. The paper concludes that, new epithets are always being created to suit the social changes in Hausa society since development remains a close galaxy for epithet creators and users.

The form of contemporary Sesotho proverbs

There are newly coined contemporary Sesotho proverbs and traditional proverbs that have been altered to suit modernity. These proverbs are being used in everyday language by Basotho. However, the main challenge is to establish whether they have the same form as traditional proverbs. Proverbs have a fixed structure that distinguishes them from other genres of oral literature. This implies that a proverb almost always appears in the same form and for contemporary Sesotho proverbs to be considered as proverbs, they have to adhere to this fixed structure. However, it seems like newer research is showing that proverbs are being coined from time to time and the fixed form of proverbs is no longer regarded as important as it used to be in the past. This paper aimed to establish whether contemporary Sesotho proverbs qualify as proverbs as far as structure is concerned. A comparative approach between traditional proverbs and contemporary proverbs was followed.

Documentation and description of unheard voices: k'aʔanniʃe and ɗenke of the Ganjule

In documentary linguistics and related disciplines, documenting linguistic and cultural communicative practices of speech communities with little-known and unwritten languages involves, among other things, digital tools, collection, analysis, archiving, and dissemination of such assets as genres of oral literature which at times tend to be sources of data about indigenous domains of knowledge and skill of communities around the world. The Ganjule of south Ethiopia are a little-known community with a rich but highly endangered oral literature and unwritten language. The salvage of these assets of humanity is worth considering in this age of globalization, seeing that the gradual loss of genres of oral literature as a result of, for instance, socio-economic contact among nations, inevitably entails often irreversible loss of linguistic expressions that mirror cultural abstractions of members of a speech community. This article deals with the literary significance of k'aʔanniʃe and ɗenke of the Ganjule oral literature together with some sociolinguistic issues. The study draws on interdisciplinary qualitative research methods of data collection and analysis, and provides researchers with original research findings that pave the way for further study on Ganjule oral literature.

Rhythmic structures in French Sign Language (LSF) nursery rhymes

Research over the past three decades has brought attention to various ways in which linguistic structures are exploited to build poetic form in sign languages. These include recurring patterns of phonological elements (similar to rhyme, alliteration or assonance) that play a role in the structure of verses and strophes, as well as uses of metaphor and modifications of the form of signs that contribute to an overall fluidity of movement distinct from non-poetic signed discourse. In this paper we concentrate our attention on the role of rhythmic structure and the ways in which it interacts with syntactic structure to build poetic form. Our data consist of nursery rhymes, either original LSF creations or adaptations from French nursery rhymes, which were composed by Deaf adults and children. This type of poetry, as a genre of oral literature, is essentially performance-related and is highly variable in form. Despite the difference in modality (oral vs. gestural), LSF and French nursery rhymes show similar characteristics (repetition of phonological units, non-significant gesture, similar subject matter etc.), and rhythmic structure is central to their overall structure. This paper isolates rhythmic templates in LSF nursery rhymes via the analysis of accentual prosody (speed, intensity and manner of movement) and compares the nursery rhymes with an equivalent corpus of non-poetic performances. This research is relevant to the question of the universality of infant rhythmic structure and the importance of nursery rhymes in first language acquisition.

Visimu vya mukatikati—dilemma tales and ‘arithmetical puzzles’ collected among the Valuchazi

Dilemma tales are among some of the lesser known genres of oral literature in Africa. Working with taxonomies elicited from Luchazi—one of the languages of the so-called Ngangela cluster—dilemma tales are discussed on the basis of recordings and cinematographic documentation of narrative performances from eastern Angola and northwestern Zambia. In the oral literature of the Valuchazi use is sometimes made of explanatory visual symbols, or ideographs, drawn in the sand. This is exemplified by Chindamba Ngunga's dilemma tale, comprehensively transcribed and analysed in this article.

"I Went to Mombasa, There I Met an Old Woman..." Structure and Meaning in Swahili Riddles

RIDDLES ARE PUZZLES to be solved through riddle interaction and symbolic activity rather than through deliberation or analytical processes. Although those engaged in riddling activity pose riddles and offer possible solutions without recourse to explicit rules governing what constitutes a proper riddle or correct solution, riddling traditions exhibit consistencies of style, content, and performance that may be analyzed to yield a grammar of riddling interaction. In order to make sense out of riddles, as with any genre of oral literature, attention must be paid to the structure of its performance as well as the structure and function of its texts.

Introduction to a Fang oral art genre: Gabon and Cameroon mvet

Mvet is used, in the A 70 languages, both for a type of musical instrument and for the special genres of oral literature played or delivered to its accompaniment.As the name for a musical instrument mvet has been variously translated as ‘musical bow’, ‘cithar-harp’, ‘native guitar’, and so forth. It is, technically speaking, a chordophone with resonators. The commonest type consists basically of a dry ‘bamboo’ (Wes Kos name; in fact the stem of a palm frond, nnen zam, Raphia sp.) about four feet in length, an inch and a half in diameter, and slightly curved. The bark is slit, on the convex side, into four thin strips left attached at both ends, then raised on an indented wooden peg, set slightly off centre. These strings (minsam) are adjusted for tuning by bark or leather rings sliding along the stem. Calabashes are tied underneath as resonators, the biggest, central one being considered male, the others female.

A Genre of Oral Literature in Mongolia: The Addresses

A Genre of Oral Literature in Mongolia: The Addresses