Cahiers de littérature orale est mis à disposition selon les termes de la Licence Creative Commons Attribution -Pas d'Utilisation Commerciale 4.0 International. Interview: Katell Morand"The juxtaposition of contrasting grammatical concepts may be compared with the so-called 'dynamic cutting' in film montage, a type of cutting, which, e.g, in Spottiswoode's definition, uses the juxtaposition of contrasting shots or sequences to generate in the mind of the spectator ideas that these shots or sequences by themselves do not carry." Roman Jakobson 1 K.M: 2 The poetics of place has been a central theme in your work since the 1970s. After years of doing fieldwork in Bosavi, Papua New Guinea, you introduced in 1993 in your influential essay "Waterfalls of song" the concept of "acoustemology, " or sound as a way of knowing, 3 and you analyzed in fine detail the linguistic and poetic features of the Bosavi acoustemology. As a way of introducing the French translation of this essay, I would like to focus on the poetic performances of the Bosavi people: what they tell of a way of being in the world, and how you have chosen to translate and represent them through texts,

No abstract

How can we study a music which is not meant to be listened to ? This paper looks into the musical practice of the West Gojjam's Amhara shepherds. Alone with their cows, far from their villages, they play the flute, sing and remember other musical events which occured in their own past. This paper studies the relationships between the different musical genres, the associated representations, the features of the shepherds's memories, and the latters' positions in the village society, and tries to comprehend what it means to « have tïzïta ».

No abstract

Cet article porte sur la pratique dite privée du chant chez les paysans Amhara du Goğğam, en Éthiopie. Il se penche sur ce qu’il se passe dans les interstices de la vie sociale, lorsque fêtes et commémorations sont passées et que les individus se retrouvent seuls avec eux-mêmes : que chantent-ils, pourquoi, et quel est le statut énonciatif de ces performances sans public ? L’analyse des discours et des poèmes chantés est combinée à une ethnographie de la sphère privée pour saisir la place de ces chants dans l’univers musical des Amhara. Dialogues imaginés et sans cesse réinterprétés, ils n’existent, on le comprend, que par référence à un monde social dont la solitude ne peut être l’échappatoire.