15.1 Introduction 15.2 West African Oral and Written Traditions
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Friends, Enemies, and Fools: a Collection of Uyghur Proverbs by Michael Fiddler, Zhejiang Normal University
GIALens 2017 Volume 11, No. 3 Friends, enemies, and fools: A collection of Uyghur proverbs by Michael Fiddler, Zhejiang Normal University Erning körki saqal, sözning körki maqal. A beard is the beauty of a man; proverbs are the beauty of speech. Abstract: This article presents two groups of Uyghur proverbs on the topics of friendship and wisdom, to my knowledge only the second set of Uyghur proverbs published with English translation (after Mahmut & Smith-Finley 2016). It begins with a brief introduction of Uyghur language and culture, then a description of Uyghur proverb styles, then the two sets of proverbs, and finally a few concluding comments. Key words: Proverb, Uyghur, folly, wisdom, friend, enemy 1. Introduction Uyghur is spoken by about 10 million people, mostly in northwest China’s Xinjiang Uyghur Autonomous Region. It is a Turkic language, most closely related to Uzbek and Salar, but also sharing similarity with its neighbors Kazakh and Kyrgyz. The lexicon is composed of about 50% old Turkic roots, 40% relatively old borrowings from Arabic and Persian, and 6% from Russian and 2% from Mandarin (Nadzhip 1971; since then, the Russian and Mandarin borrowings have presumably seen a slight increase due to increased language contact, especially with Mandarin). The grammar is generally head-final, with default SOV clause structure, A-N noun phrases, and postpositions. Stress is typically word-final. Its phoneme inventory includes eight vowels and 24 consonants. The phonology includes vowel harmony in both roots and suffixes, which is sensitive to rounded/unrounded (labial harmony) and front/back (palatal harmony), consonant harmony across suffixes, which is sensitive to voiced/unvoiced and front/back distinctions; and frequent devoicing of high vowels (see Comrie 1997 and Hahn 1991 for details). -
Genres, and Media. 1 As Wolfgang Mieder Has Observed, I
II 16. "Is SeeingBelieving?" (Haase) - DONALD P. HAASE IS SEEING BELIEVING? PROVERBS AND THE Fll..M ADAPTATION OF A F.AIRY TALE I For several decadesnow, a growing number of interdisciplinary studies have investigated the use of the proverb in diverse contexts, genres, and media.1 As Wolfgang Mieder has observed, paremiologists have begun to move beyond mere historical studies of the proverb in traditional societies and folk fonDS, and "have become aware of the use and function of traditional proverbs in modem technological and sophisticated societies" ("Proverb in the Modem Age" 118). As a consequence,paremiology has beenenriched not only by studiesd1at investigate proverbs in traditional folk genres, such as the folk and fairy tale, but by "important studies of proverbs in modem literature, in psychologicaltesting, and in the various forms of massmedia such as newspapers,magazines, and advertisements" ( 118). One of the media in our technological society that has not been given much attention by paremiologists, however, is fllm.1 Perhaps this neglect is due to the medium's essentially visual technology, in which pictures speaklouder than words, which are, on the other hand, the essenceof the proverb. But the primary verbal nature of the prov- erb has not obscured the fact that it often has an implicit image con- tent as well, nor has it kept paremiologists from investigating the proverb's use in paintings. emblems, and other visual media such as advertisements.Moreover ~ as long as films contain spoken words imitating the speechof life, it is likely that proverbs will be present in cinema too. In what follows. -
Ngaraya: Women and Musical Mastery in Mali
Bulletin of SOAS, 70, 3 2007), 569±602. E School of Oriental and African Studies. Printed in the United Kingdom. Ngaraya: Women and musical mastery in Mali Lucy DuraÂn School of Oriental and African Studies [email protected] Abstract This article aims to contribute to an understanding of the evaluation of musical artistry in Africa, through Mali as a case study. The discussion focuses on the informal discourses of the occupational group of Mande artisan-musicians known as jeli pl. jeliw, jalilu), concerning the ideal of musical greatness, signified by the polysemic term ngaraya; while there is consensus about the ideal, there is much debate about who qualifies. Drawing on extensive interviews and fieldwork with leading jeliw over the past twenty years, it pays special attention to the views of and about Malian women singers, who since the 1980s have ± somewhat controversially, as explored here ± been the ``stars'' on the home scene. The article shows how local discourses challenge the widely accepted view that only men are the true masters ngaraw). Many women jeli singers jelimusow) have a special claim to ngaraya, and some also seek to position themselves within the canon, as they increasingly move into centre-stage of Malian popular culture. The importance of learning directly from senior master jeliw remains a core issue in the evaluation of ngaraya for both men and women, encapsulated in the phrase ``the true ngaraw are all at home''. Introduction An important part of any musical culture is the recognition of certain artists as being exceptional in some way. This article looks at the informal discourses of the occupational group of artisan-musicians known as jeli among the Mande peoples of West Africa, concerning the evaluation of musical greatness, known in core Mande languages as ngaraya. -
The Child and the Fairy Tale: the Psychological Perspective of Children’S Literature
International Journal of Languages, Literature and Linguistics, Vol. 2, No. 4, December 2016 The Child and the Fairy Tale: The Psychological Perspective of Children’s Literature Koutsompou Violetta-Eirini (Irene) given that their experience is more limited, since children fail Abstract—Once upon a time…Magic slippers, dwarfs, glass to understand some concepts because of their complexity. For coffins, witches who live in the woods, evil stepmothers and this reason, the expressions should be simpler, both in princesses with swan wings, popular stories we’ve all heard and language and format. The stories have an immediacy, much of we have all grown with, repeated time and time again. So, the the digressions are avoided and the relationship governing the main aim of this article is on the theoretical implications of fairy acting persons with the action is quite evident. The tales as well as the meaning and importance of fairy tales on the emotional development of the child. Fairy tales have immense relationships that govern the acting persons, whether these are psychological meaning for children of all ages. They talk to the acting or situational subjects or values are also more children, they guide and assist children in coming to grips with distinct. Children prefer the literal discourse more than adults, issues from real, everyday life. Here, there have been given while they are more receptive and prone to imaginary general information concerning the role and importance of fairy situations. Having found that there are distinctive features in tales in both pedagogical and psychological dimensions. books for children, Peter Hunt [2] concludes that textual Index Terms—Children, development, everyday issues, fairy features are unreliable. -
Datasheet – Ganda, the Last Griot
Datasheet – Ganda, the last griot Writer-Director : Ousmane Diagana Photography : Tarek Sami Sound : Adama Diarra Editing : François Vivier Co-production : Impluvium Productions, Melody TV With the support of Center for Cinema and Animated Image With the support of Procirep – Company of Producers and Angoa, the Department of Charente-Maritime and the New Aquitaine region in partnership with the CNC, Africadoc as part of the Lumière d’Afrique collections. Genre : Documentary feature Shooting location : France, Mauritania, Sénégal Year of production : 2018 Image format : HD, 16/9, couleur Sound : Stéréo Length : 63 minutes Languages : french, soninké Subtitles: french Screening format : DVD, Blue-Ray, Fichier ProRes or H264, DCP N° ISAN : 0000-0004-A48F-0000-2-0000-0000-V Synopsis : After the postcolonial socio-cultural upheaval in Africa, the griots caste has gradually become a caste of professional musicians. Ganda is an exception : he has remained in the pure tradition of the griots by perpetuating the transmission of the values of the Soninke society and the African collective memory. When he dies in 2009, it is the baobab that collapses, the memory of my society that may be extinguished. I decided to repeat the last Ganda’s trip from Paris where he died to Marena, near Kayes in Mali, where he is buried. His old friends will tell us his unique story and, by analysing the meaning of his words, we will understand the prominence of singing and music in the lives of Africans. Biography : Ousmane Diagana (Nouakchott, Mauritania). Young mauritanian author-director graduated in commerce techniques at the Mauritanian Private Institute of commercial techniques. -
Who Heard the Rhymes, and How: Shakespeare’S Dramaturgical Signals
Oral Tradition, 11/2 (1996): 190-221 Who Heard the Rhymes, and How: Shakespeare’s Dramaturgical Signals Burton Raffel The Audience “The many-headed multitude” was how, in 1601, a contemporary referred to the Shakespearian audience (Salgado 1975:22). “Amazed I stood,” wondered an anonymous versifier in 1609, “to see a crowd/ Of civil throats stretched out so lowd;/ (As at a new play) all the rooms/ Did swarm with gentles mix’d with grooms.”1 This wide-ranging appeal considerably antedated Shakespeare’s plays: though he very significantly shaped its later course, he profited from rather than created the solidly popular status of the Elizabethan and, above all, the London stage, for “London was where the players could perform in their own custom-built playhouses, week after week and year after year. In London there were regular venues, regular audiences, regular incomes.”2 The first playhouses had been built in 1576; at least two professional “playhouses were flourishing in 1577.”3 (Shakespeare was then a country lad of thirteen.) The urgency of clerical denunciations, then as now, provides particularly revealing evidence of the theater’s already well- established place in many Londoners’ hearts.4 1 Idem:29. Festivity was of course a far more important aspect of Elizabethan life. “The popular culture of Elizabethan England . is characterized first and foremost by its general commitment to a world of merriment” (Laroque 1991:33). 2 Gurr 1992:6. And, just as today, those who wielded political power took most seriously the ancillary economic benefits produced by London’s professional theaters. See Harrison 1956:112-14, for the authorities’ immensely positive reaction, when appealed to by the watermen who ferried playgoers back and forth across the Thames, and whose profitable employment was being interfered with. -
A Journal of African Studies
UCLA Ufahamu: A Journal of African Studies Title Jaliya in the Modern World: A Tribute to Banzoumana Sissoko and Massa Makan Diabaté Permalink https://escholarship.org/uc/item/5c99f1jp Journal Ufahamu: A Journal of African Studies, 17(1) ISSN 0041-5715 Author Keita, Cheick Mahamadou Cherif Publication Date 1988 DOI 10.5070/F7171016906 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Jaliya in the Modern World: A Tribute to Banzoumana Sissoko and Massa Makan Diabate by Cheick Mahamaclou ChWKeita The advent of colonization in the 19th century marked a decissive point in the encounter of Mandenka society with the West. With the defeat of Samoury Tourt, the last in the long line of great precolonial rulers, the French set out to transform the structure of Mandenka society by blurring the traditional distinctions established between the horon, the jon and the nyamaJuzla. By dispossessing the horon from the power they had exercised since the days of the Empire and by placing the state apparatus beyond the reach of the masses, the colonialists planled Ihe seeds of disintegration and self doubt, if not self- denial, in one of Africa's most elaboralely structured and proudesl societies. The radical changes which resulted from this encounler have forced the different components of Mandenka society to reassess Ihe value of traditions several centuries old in Ihe lighl of the new challenges of nation-building and economic development. In this paper, I have chosen to highlight some of the present problems and future prospects of the griot caste by concentrating on the lives of two of its most distinguished members in the Republic ofMali, the late Banzoumana Sissoko and the late Massa Makan Diabatc. -
Superstitions & Old Wives Tales
1 Superstitions & Old Wives Tales Selected from the web pages of Corsinet.com http://www.corsinet.com Provided to you free in PDF format by your friends at: The Activity Director’s Office Providing Online Resources for Activity Directors in Long Term Health Care Facilities http://www.theactivitydirectorsoffice.com 2 ACORN An acorn should be carried to bring luck and ensure a long life. An acorn at the window will keep lightning out AMBER Amber beads, worn as a necklace, can protect against illness or cure colds. AMBULANCE Seeing an ambulance is very unlucky unless you pinch your nose or hold your breath until you see a black or a brown dog. Touch your toes Touch your nose Never go in one of those Until you see a dog. APPLE Think of five or six names of boys or girls you might marry, As you twist the stem of an apple, recite the names until the stem comes off. You will marry the person whose name you were saying when the stem fell off. An apple a day Keeps the doctor away. If you cut an apple in half and count how many seeds are inside, you will also know how many children you will have. BABY To predict the sex of a baby: Suspend a wedding band held by a piece of thread over the palm of the pregnant girl. If the ring swings in an oval or circular motion the baby will be a girl. If the ring swings in a straight line the baby will be a boy. -
Anthropology and Folklore Studies in India: an Overview
International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2019): 7.583 Anthropology and Folklore Studies in India: An Overview Kundan Ghosh1, Pinaki Dey Mullick2 1Assistant Professor, Department of Anthropology, Mahishadal Girls‟ College, Rangibasan, Purba Medinipur, West Bengal, India 2Assistant Professor, Department of Anthropology, Haldia Government College, Haldia, Purba Medinipur, West Bengal, India Abstract: Anthropology has a long tradition of folklore studies. Anthropologist studied both the aspect of folklore i.e. life and lore. Folklore became a popular medium in anthropological studies and using emic approach researchers try to find out the inner meaning of different aspects of culture. This paper focused on the major approaches of the study of Anthropology and Folklore. It is an attempt to classify different phases of Anthropology of Folklore studies in India and understand the historical development of Anthropology of Folklore studies in India. It is observed that, both theoretical and methodological approaches were changed with the time and new branches are emerged with different dimensions. Keywords: Folklore, emic approach, lore, Anthropology of Folklore, culture. 1. Introduction closure term „folklore‟. Folklore includes both verbal and non-verbal forms. Oral literature, however, is usually Of the four branches of Anthropology, Cultural includes verbal folklore only and does not include games Anthropology is most closely associated with folklore and dances. Different cultures have different categories of (Bascom, 1953). The term folklore was coined by W. J. folk literature. Dundes is of the opinion that contemporary Thoms in the year 1846 and was used by him in the study of oral literature tends to see folklore as a reflection of magazine entitled The Athenaenum of London. -
Proverb Instruction in EFL Classrooms
Available online at www.ejal.eu http://dx.doi.org/10.32601/ejal.543781 EJAL Eurasian Journal of Applied Linguistics, 5(1), 57–88 Eurasian Journal of Applied Linguistics A Proverb Learned is a Proverb Earned: Proverb Instruction in EFL Classrooms Nilüfer Can Daşkına * , Çiler Hatipoğlu b† a Hacettepe University, Ankara 06800, Turkey b Middle East Technical University, Ankara 06800, Turkey Received 14 September 2018 Received in revised form 19 February 2019 Accepted 21 February 2019 APA Citation: Can-Daşkın, N., & Hatipoğlu, Ç. (2019). A proverb earned: proverb instruction in EFL classrooms. Eurasion Journal of Applied Linguistics, 5(1), 57–88. Doi: 10.32601/ejal.543781 Abstract This study aims to reveal the situation about proverb instruction in EFL classrooms by seeking future English teachers’ opinions. It is based on the argument that proverbs are an important part of cultural references, figurative, functional and formulaic language; thereby, they lend themselves well to enhancing communicative competence. This study investigates what EFL student-teachers think and feel about English proverb instruction, how they conceptualize proverbs, how they define their knowledge and use of English proverbs, and what they think about the extent to which their English teachers and coursebooks at high school taught English proverbs. In doing so, a questionnaire was designed and administered to freshman EFL student-teachers and semi-structured interviews were conducted with volunteers. The findings revealed that despite those student-teachers’ positive attitudes towards proverb instruction, they did not view their knowledge of English proverbs as well as the teaching of proverbs by their English teachers and coursebooks at high school sufficient enough. -
Bassekou Kouyate and Ngoni Ba
Thursday Evening, October 20, 2011, at 8:30 Bassekou Kouyate and Ngoni Ba Bassekou Kouyate , Ngoni Barou Kouyate , Ngoni Fousseyni Kouyate , Bass Ngoni Mousa Bah , Ngoni Ba Amy Sacko , Vocals Alou Coulibaly , Calabash Moussa Sissoko , Tamani and Yabara This performance is approximately 75 minutes long and will be performed without intermission. Target is proud to sponsor Target ® Free Thursdays at the David Rubenstein Atrium at Lincoln Center. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. David Rubenstein Atrium Please make certain your cellular phone, pager, or watch alarm is switched off. WhiteLightFestival.org 39 The White Light Festival is sponsored by Time Upcoming White Light Festival Events: Warner Inc. Friday Evening, October 21 , at 8:00, Additional support for the White Light Festival is in Avery Fisher Hall provided by The Fan Fox and Leslie R. Samuels London Symphony Orchestra Foundation, Inc. and Logicworks. Sir Colin Davis , Conductor Helena Juntunen , Soprano Endowment support is provided by the American Sarah Connolly , Mezzo-soprano Express Cultural Preservation Fund. Paul Groves , Tenor Matthew Rose , Bass MetLife is the National Sponsor of Lincoln Center . London Symphony Chorus BEETHOVEN: Missa solemnis First Republic Bank is the Official Sponsor of the Pre-concert lecture by Benjamin Sosland at 6:45 in Fashion Lincoln Center Online Experience. the Stanley H. Kaplan Penthouse Movado is an Official Sponsor of Lincoln Center . Saturday Morning, October 22, from 11:00 to 12:30, in the Stanley H. Kaplan Penthouse United Airlines is the Official Airline of Lincoln Center . Conversations: The Self John Schaefer , Moderator WABC-TV is the Official Broadcast Partner of Jennifer Koh , Violin Lincoln Center. -
West Africa Manual English
Manual Disclaimer The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru ments GmbH. Mac, macOS, GarageBand, Logic, iTunes and iPod are registered trademarks of Apple Inc., registered in the U.S. and other countries. Windows, Windows Vista and DirectSound are registered trademarks of Microsoft Corporation in the United States and/or other countries. All other trademarks are the property of their respective owners and use of them does not imply any affiliation with or endorsement by them. Document authored by: Adam Hanley Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Contact NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc. Schlesische Str. 29-30 6725 Sunset Boulevard D-10997 Berlin 5th Floor Germany Los Angeles, CA 90028 www.native-instruments.de USA www.native-instruments.com NATIVE INSTRUMENTS K.K. NATIVE INSTRUMENTS UK Limited YO Building 3F 18 Phipp Street Jingumae 6-7-15, Shibuya-ku, London EC2A 4NU Tokyo 150-0001 UK Japan www.native-instruments.co.uk www.native-instruments.co.jp NATIVE INSTRUMENTS FRANCE SARL SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 113 Rue Saint-Maur 5F, Shenzhen Zimao Center 75011 Paris 111 Taizi Road, Nanshan District, Shenzhen, Guangdong France China www.native-instruments.com www.native-instruments.com © NATIVE INSTRUMENTS GmbH, 2018.