This thesis is entirely dedicated to all the Gouro people of the Ivory Coast whose language has no standard written form. The products of this study are a proposed work in progress for a standardized written form of the Gouro language, and the documentation of the Gouro.
Defining the terrain
Translating the Gouro narratives into English presents a particular challenge that must be addressed in light of the typical Gouro Oral-Style1 idiosyncrasies. In the Gouro way of thinking, there is actually no clear-cut division between 'real'.
Aim of the Thesis
It is very urgent to document the world view of an ancient tradition like the Gouro. By explaining the Gouro worldview analytically, this study invites the understanding of Gouro knowledge systems, and.
Motivation for the study
The scope of this thesis
Other oral genres, such as riddles, proverbs, hymns, songs, could also highlight interpretations and analyzes of the Gourian worldview. In doing so, I intend to explain Gouro's ways of looking at the reality around him, as presented in the story in question.
Limitations of the thesis
Rosellini (1976) on the history of the Ivory Coast and the history of the Gouro people. Version of the Gouro Bible (1979), to create a form of writing for Gouro.
THE IVORY COAST
People and populations
The Akan group therefore settled in the south and the central eastern part of the country is affiliated with the Akan group of Ghana. The Gouro settlement in the mid-western region of Côte d'Ivoire is the result of long-distance migrations.
I LIBERIA II
The Gouro belief system and values
The dead are buried in the earth and remain connected to the practices of the world. Land is therefore a central factor in the economic and social organization of the Gouro people.
Theoretical framework
- Jousse's concept of human expression
- Jousse's mode exp ression
- The Law of Mimism
- The Law of Rhythmism
- The Metourgeman-sunergos
The bodily-manual way of expression is the expression of human emotions through the movement of the body and hands. While phonemimism is the sound imitation of an object, Jousse calls movement imitation "kinemism". Jousse understands that rhythm is the drive of "energy" that translates into "action" in the cosmos and gives life.
In other words, biological memory which is the storage room of the microscopic testes is composed of. The Gouro stories are performed physically (through gestures), which can be seen and interpreted (visually), and through listening (heard) to the voice (oral) of the performer. The role I play in the current research work is comparable to that of the 'Metourgeman sunergos'.
The insider's perspective of interpretation and analysis of the tales
The real laboratory is a laboratory of self-observation, so called because it is difficult to see oneself. Regarding cross-linguistic knowledge, I am educated in the Western tradition in both French and English. After having the tapes in my possession, I listened to them many times, then selected ten from the recording for the purpose of this study.
For the purpose of this research study, I have limited the selection to ten fairy tales because the study uses a descriptive, interpretive and analytical and comparative approach to Gouro fairy tale telling. Considering all these aspects of the study, it would be too fruitful to expand the number beyond ten. Their selection was inspired by the various themes they develop that take into account the daily lifestyle of the Gouro people.
Writing down the Gouro tales for the first time in Gouro: A methodological approach of an oral-literate level of translation
- The Rhythmo-stylistic analysis
To do this I first had to critically read the Gouro version of the holy book. This device is also used in writing the Gouro version of the Bible. The Gouro has a strong voice pronunciation, Gb, which is the combination of the guttural 'G' and the bi-Iabial 'B'.
Another example is the Gouro nasals, which are not evident in the English pronunciation. As far as this study is concerned, setting aside the performance of the Gouro narrative is a significant step in the body of interpretations under consideration. As SUCh, it is necessary to delineate the vocal determination of the characters in the story in a form as a prelude to the story.
Method for an inter-lingual translation: from Gouro to English
- The Gouro tale telling process
Invaluable to the current research orientation is finding a feasible path to a practical representation of Gouro language dynamics in writing. He himself is part of the audience in the sense that they all belong to the same world. In fact, chants are as important in Gouro story telling as they are an essential vehicle for the memory of a story.
The crowd's response, e jie, meaning 'it's passed', matches the Gouro. Basically, the plot responds to the why, what and how of the culture-based perceptions. During a performance, songs are sung and danced to the delight of the audience.
The Gouro tale structure
This can be equated with the moral of classical Greek drama that originated in the festivals of the nature god Dionysus in the 5th century BC. The festival celebrating Dionysus, the fertility god, developed into a social satire in the form of tragoidia, Tragedy. In other words, they construct a moral statement in the characters of their stories in the good and bad plans of others.
The tricksters most often present in the Gouro tales are the ji Clin kwan or the nimble wise fox" and the Colo ton or the Colo "spider" who constantly tricks large and dangerous animals such as the elephant, the panther and other fierce creatures. other case, the protagonist increases his powers with tricks, but is punished and dies when the trick is discovered. The characters actually involved in the story, the 'actants' (Greimas 1970, term similar to Propp's 'dramatis persona') operate at the narrative depth structure.
Internal structure of the Gouro tale
The narrative device presents the narrator as a character witness to all the events of the story. A Beautiful Woman : She was given to Fox by Humans to replace the so-called 'God's dead wife. The main feature of the Gouro concept of Bali is the manifestation of the interconnectedness of all things in creation.
The end of the chain summons a dead woman, through whom Fox gets another living woman. The idea that dead people are part of the living world in the Gouro cosmos can thus be explained by this story. The Gour belief in this regard is to the effect that all the elements of the earth are corruptible at 'his' will and that he is the beginning and end of all.
Gouro lore and lesson of this tale
In terms of mating, history shows one element always being killed by another element: Chicken is killed by goats, goat is killed by cows, cow is killed by humans, man is killed by death. Another type of conflict relationship in this narrative is intellectual conflict; that's when Fox, a small animal, outsmarts the others by using tricks. Fox's intellectual dominance is aimed at satisfying a divine order and is therefore subject to Ca Zan Bali's will.
It is that divine order which without objection recommends the replacement of each element whenever an element kills another element. For example, Bali says: 'His chicken, which was killed by goats, must be given a goat as compensation. Leo: He is the host of all animals as he invites them to gather in his estate.
English reader-friendly version of tale two: Lion's bloody feast
34;I learned to count by His Majesty's beautiful face and by his good intentions," said Clever Fox. In Gouro, the expression ji 'clln kwanen means the 'Clever Fox', or simply kwanen, 'Fox', with whom a The clever social character is compared in real life, so the naive Gazelle who opens the bloody party is opposed to the clever Fox who closes it.
Where the other animals start fearfully, 'Clever Fox' starts coolly, using a trick: 'Clever Fox started calmly: the very first thing provokes anger'. If a 'soldier' in stories is in fact not just a soldier, but a 'brave soldier'; not 'princess', but a 'beautiful princess', not 'Fox' but 'clever Fox', simply because characters of important actions must be granted a strong identity and exhibited under their higher ideal forms. If "clever Fox" is held back until the last moment to intervene, it is to give the audience a chance to fully appreciate the intelligence with which he lets Lion down in his plan to kill him.
Psychodynamic features
But Leo himself will learn to count from his 'beautiful one-eyed face' and from his diabolical intent when a totally opposing character, clever Fox, tempts him with an unexpected way of counting. Even if it's a final intervention that's flawed because it only comes when all the animals are dead and doesn't benefit the animal community, it's still a useful gimmick in that it teaches the audience a lesson. In that way, Leo and Fox depict the omnipresence of dangers in life, and therefore members must provide solutions like Fox to survive.
Rhythmo-stylistic analysis
- Step one: the rhythmic balancing of the tale text
Step two: propositional level of repetition: at this level I have marked the formulaic patterns of the propositions in the pit gammas with the same color to show the occurrence of repetition at that level. Repetition of the nickname );clin' of'clever', in step six (in red color) which appears in pitgamas and 39 significantly introduces Fox who is kept last of the list in the count. For a Gouro audience, the psychodynamics of the repetition of this moniker lies in the fact that it heralds Fox's ultimate victory over Lion.
Repetition of clamp-wordsyelyi in step four in red to show the sequential recall of the episodes of the killing of Lion. The clichés in particular establish a narrative logic between the claims and thus translate the dynamics of the story's plot. As such, the feeble-mindedness of the opening character, Gazelle, contrasts with the prowess of the party-ending character, Fox.
