Abstract This article explores some phonological processes of Dí’ztè, a Zapotec language spoken in the Southern Highlands and Coast regions of Oaxaca, Mexico, from an oral text. The main goal of this paper is to show that phonological analysis based on an oral text offers a greater richness of processes than the phonological analyses based on diagnostic lists or carrier phrases. The oral text Liz mbol Wel comes from the Loxicha tradition and tells us the story of an indigenous family from Piedra del Sol, a community in Santo Domingo de Morelos, who lived in a very small house. After the arrival of new family members, Don Manuel’s wife makes the request to build a bigger house. Don Manuel agrees and asks for the support of the community to build his new house. In gratitude, he offers a meal with tortillas, mole and tepache. Based on this short oral text we analyze some phonological processes of the language.

Resumen Este trabajo explora algunos procesos fonológicos del dí’ztè, una lengua zapoteca hablada en la Sierra Sur y Costa del estado de Oaxaca, a partir de un texto oral. En esencia, este trabajo muestra que el análisis de un discurso en habla corrida ofrece una mayor riqueza de procesos fonológicos de los que ofrece un análisis basado en listas de palabras o palabras dentro de frases marco. El texto que analizamos -Liz mbol Wel- es de tradición oral xiche y narra la historia de una familia originaria de la comunidad de Piedra del Sol en Santo Domingo de Morelos que vivía en una casa muy pequeña. Ante la llegada de más miembros, la esposa de Don Manuel hace la petición de construir una casa más grande, Don Manuel accede y recurre al apoyo de la comunidad para construir su nueva casa. En agradecimiento, ofrece una comida con tortillas, mole de gallina y tepache. Basándonos en este texto oral corto, analizamos algunos procesos fonológicos de la lengua.

ABSTRACT In Mexico, in the Eastern Sierra of Hidalgo, as well as in other territories inhabited by indigenous groups, an intimate relationship with their territory and nature is observed, generating knowledge, ways of being and existing that are transmitted generationally through oral tradition and practice, embodied in various rituals. In the case of the Ñuhu (Otomi) and Ma’alh’ama’ (Tepehua) peoples of this region, the presence of various deities is noted, one of them being the "Siren," which is shared among both ethnic groups. Therefore, this document aims to primarily analyze the ecopolitical ontologies of the Ñuhu and Ma’alh’ama’ of the Eastern Sierra of Hidalgo through their customs (ritual practices), specifically those related to the Siren, which strengthen their relationship with their territory and nature. This analysis is made possible through semi-structured interviews, the systematization of shared experiences and narratives from nine farmers, and ethnographic work supported by participant observation. Finally, it is concluded that rituals to the Siren can be understood not only as sociocultural events but as historical assemblages between humans and non-humans, inherent to the existence and continuity of these indigenous groups as collective political subjects with their own rights over their nature, territory, and self-determination.

RESUMEN En México, en la Sierra Oriental Hidalguense, al igual que en otros territorios custodiados por grupos indígenas, se observa una relación íntima con su territorio y naturaleza, lo cual genera saberes, formas de ser y estar que se transmiten generacionalmente a través de la oralidad y la práctica, que se acuerpan en diferentes rituales. Para el caso de los Ñuhu (otomíes) y Ma’alh’ama’ (tepehuas) de este lugar, se observa la presencia de diversas deidades, una de ellas es la «Sirena», misma que comparten entre ambos grupos étnicos. Debido a lo anterior, el presente documento tiene como objetivo principal analizar las ontologías ecopolíticas de los Ñuhu y Ma’alh’ama’ de la Sierra Oriental Hidalguense a través de los costumbres1 (prácticas rituales), en concreto las relacionadas con la Sirena, las cuales fortalecen la relación con su territorio y naturaleza. Este análisis es posible a través de entrevistas semiestructuradas, de la sistematización de compartencias y narrativas de nueve campesinos, y del trabajo etnográfico, apoyado de la observación participante. Finalmente, se concluye que los rituales a la Sirena no solo pueden comprenderse como eventos socioculturales, sino como ensamblajes históricos entre humanos y no humanos, inherentes a la existencia y permanencia de estos grupos indígenas como sujetos políticos colectivos con derechos propios sobre su naturaleza, territorio y libre determinación.

Abstract The cultural formation of the Latin American continent amplifies, in all degrees and variants, the presence of voices, oral traditions and nature, whether combined with countless written series and genres or not. It is important to unfold the three levels of language in their interactions, constitutive of the cultural processes of Latin America and the Caribbean, which draw from the Ibero-Amerindian and Afro-Arabic crucibles. It is the interweaving of that layers that underpins a multiple Baroque style from the start. The Baroque presence in the continent cannot be understood without the intercultural turn in which oral traditions are nuanced, amidst the superabundance of mestizaje, with their acoustic series. From this conglomerate of marginal variants emerges what we have called a self-moving palimpsest archipelago, where the casual forms of the excessive peripheries do not fit within the linear and causal logical-interpretive schemes of Western tradition and reason, since, among other procedures, they radicalize the figures of metonymic proliferation and oxymoron. amplifies voices nature interactions Caribbean IberoAmerindian Ibero Amerindian AfroArabic Afro Arabic crucibles start nuanced mestizaje selfmoving self moving archipelago logicalinterpretive logical interpretive reason since procedures oxymoron

Resumen La formación cultural de Latinoamérica dilata, en todos los niveles y variantes, la presencia de la voz, de las oralidades y la naturaleza, mezcladas o no a las inúmeras series y géneros escritos. Es necesario desplegar los tres niveles de lenguaje, constitutivos de los procesos culturales en Latinoamérica y Caribe, en interacción, los cuales se alimentan de los mestizajes iberoamerindio y afroarábigo. Es el encadenamiento de las capas que fundamenta este Barroco múltiple desde un principio. No se puede comprender la presencia barroca en el continente sin la reversión intercultural en la cual las oralidades se matizan, en medio de la superabundancia del mestizaje, con las series acústicas. Desde esa acumulación de variantes marginales se diseña lo que hemos llamado de archipiélago en palimpsesto semoviente, lugar en el cual las formas casuales de las excesivas periferias no caben en los programas lógico-hermenéuticos lineales y causales de la tradición y razón occidentales, porque, junto a otros procesos, llevan al límite las figuras de la expansión metonímica y del oxímoron. dilata voz naturaleza escritos lenguaje Caribe interacción afroarábigo principio matizan mestizaje acústicas semoviente lógicohermenéuticos lógico hermenéuticos occidentales porque oxímoron

Resumo A formação cultural do continente latino-americano amplia, em todos os graus e variantes, a presença da voz, das oralidades e da natureza, combinadas ou não às inúmeras séries e gêneros escritos. É necessário desdobrar os três níveis de linguagem em suas interações, constitutivas dos processos culturais da América Latina e Caribe, que se alimentam dos crisóis ibero-ameríndio e afro-árabe. É o entrelaçamento das camadas que fundamenta um Barroco múltiplo de saída. Não se pode compreender a presença barroca no continente sem a reviravolta intercultural em que as oralidades se matizam, em meio à superabundância da mestiçagem, com as séries acústicas. A partir desse conglomerado de variantes marginais, desenha-se o que temos chamado de arquipélago em palimpsesto semovente, no qual as formas casuais das excessivas periferias não cabem dentro dos esquemas lógico-interpretativos lineares e causais da tradição e razão ocidentais, visto que, entre outros procedimentos, radicalizam as figuras da proliferação metonímica e do oxímoron. latinoamericano latino americano amplia voz natureza escritos interações Caribe iberoameríndio ibero ameríndio afroárabe. afroárabe afro árabe. árabe afro-árabe saída matizam mestiçagem acústicas marginais desenhase desenha semovente lógicointerpretativos lógico interpretativos ocidentais procedimentos oxímoron

Resumen: Después de un compendio histórico relativo a los lacandones actuales, se expone su concepción de los vestigios arqueológicos que abundan en su territorio. A continuación se presentan datos con respecto a los dioses de los lacandones del sur y de sus ideas acerca del alma y de la muerte, imprescindibles para entender los versos que canta el alma. El canto relata las diferentes fases por las que pasa el alma durante el proceso de fallecimiento en su transición entre el mundo humano y el mundo de los dioses. Siguen una descripción de las exequias lacandonas y una explicación del vocablo utilizado en el canto para designar el cuerpo de la persona. Al final se compara este canto con el “canto a un muerto” de los lacandones del norte.

Abstract: A summary of the historical background of the present-day Lacandon Maya is followed by an account of their worldview, with respect to the archaeological remains which are found all over their territory, and about the deities who inhabited them. Southern Lacandon beliefs about the soul and death are outlined in order to grasp the meaning of “the song of the dead person’s soul”, which tells of the different phases through which the soul passes during the process of dying, in its transition between the human world and the world of the deities. A description of Lacandon funerary rites is provided, as well as an explanation of the term used in the song to signify the body. Finally, this song is compared to “the song to a dead person”, which belongs to Northern Lacandon oral tradition.

Rebecca Roanhorse's short story Harvest appeared in the 2019 New Suns: A Collection of Stories by People of Color edited by Nisi Shawl. This story has received little to no critical attention. Roanhorse's story is marked by its recourse to the figure of Deer Woman, a supernatural being common to many stories from Native American oral tradition. In this article, I will explore how myth and the gothic are melded together within the narrative of this short story in what I term the 'mythogothic'. I will demonstrate how the mythogothic is integral to the founding of the shadow selves of the Native American protagonist Tansi. It is Roanhorse's depiction of Tansi and Deer Woman's killing spree that I will maintain challenges the founding myths of North American colonialism. CONTRIBUTION: This study contributes to scholarship on the work of author Rebecca Roanhorse and her employment of Native American oral tradition and myth as central to her narratives. It further provides a contribution to Gothic studies in the coining of the term the mythogothic as a tool with which to engage in a critical reading of narratives in which myth acts as a structuring device. Roanhorse's short story Harvest has received little scholarly attention and using a gothic theoretical approach in conjunction with Native American scholar Gerald Vizenor's trickster discourse allows for a fresh perspective and critical appreciation of the terror central to the story's subversion of American colonial myth.

The author is a pastor in the Reformed tradition, ministering in several peri-urban congregations in the northern provinces of South Africa. During coronavirus disease 2019 (COVID-19), she had to pastorally engage in several cases where women's sexuality was severely compromised. These comprise cases of women seeking abortions, needing medical help when giving birth or experiencing miscarriage, sexual demands, violence, abuse, and many more. These stories are told here in a way that calls for two methodological remarks. Firstly, the stories will be told unmediated, that is, without them being mediated through interpretation. These uninterpreted stories, then, will be told to speak for themselves through themes extracted from the stories. Secondly, changes have been made to guard individuals from being recognised in the stories. The stories show the increased vulnerability of women during COVID-19 who are already vulnerable because of poverty, limited access to medical and other supportive resources, and abuse. CONTRIBUTION: This article intends to make a unique contribution to the field of study by telling the stories of the increased vulnerability of women's sexuality during COVID-19 in an academic context. It aims to highlight women's plight and to what they were exposed to during COVID-19, and brings it to the attention of academic readers and others concerned

Resumen: En el presente trabajo se estudia el relato del Weya’weya, a partir de la caracterización y de la función que desempeña el personaje en las comunidades zoques. El análisis tiene como base distintas versiones del relato recogidas en Chiapas. Si bien el relato del Weya’weya ha pervivido en las narraciones orales con diferentes caracterizaciones, por lo general su función se mantiene estable, gracias a que el relato se ritualizó (y en ese sentido, adquirió fijeza) en la danza homónima. A grandes rasgos, puede decirse que representa una especie de héroe en quien recae los valores colectivos. Versión a versión, se ha intentado rescatar los distintos y complementarios elementos que encarna: de ser un ente sobrenatural relacionado con la de fertilidad y el mundo primitivo, en su “actualización” y “re-funcionalización” católica, en cierto modo, se convirtió en símbolo de fortaleza ascética, se transfiguró en San Juan Bautista.

Abstract: In the present paper the story of the Weya’weya is studied, based on the characterization and the role he plays in the zoque communities. The analysis is based on different versions of the story collected in Chiapas. Although the story has survived in oral narrations with different characterizations, in general its function remains, as far as possible, stable, thanks to the fact that the story was ritualized (and in that sense, acquired fixity) in the homonymous dance. Broadly speaking, it can be said that he represents a kind of hero on whom collective values fall. Therefore, version by version, an attempt has been made to rescue the different and complementary elements that it embodies: from being a supernatural entity related to fertility and the primitive world, in its “updating” and “re-functioning” catholic, in a way, it became as a symbol of ascetic strength, he was transfigured into Saint John the Baptist.

Resumen La investigación busca determinar las implicaciones de la memoria oral de la ciudad de Mira de la provincia del Carchi, Ecuador, en su sociedad actual. Se emplea un enfoque cualitativo, etnográfico al dialogar y convivir con la comunidad, con dos grupos de informantes, los usuarios del Programa de Apoyo para el Adulto Mayor, para conocer los aspectos originarios sobre la memoria oral de las leyendas de Mira y de un segundo grupo comprendido por estudiantes de los años superiores de los dos colegios de la ciudad, para tener el enfoque de la generación actual y poder contrastar dos puntos de vista. Como resultado, se observa que la nueva generación está al tanto de su memoria oral y con ello de sus leyendas y tradiciones, que en esencia no han cambiado con el pasar del tiempo; dichos coloquiales, costumbres, hábitos y comportamientos que fueron iniciados por generaciones anteriores. Se determina que es importante mantener viva la tradición y memoria, misma que se considera parte esencial de la sociedad mireña actual y una manera de proyectarse a un futuro inminente lleno de cambios permanentes. Se concluye que se puede determinar un punto inicial para generar nuevas alternativas de conservación y difusión de la memoria oral de un pueblo.

Abstract The research seeks to determine the implications of the oral memory of the city of Mira in the province of Carchi, Ecuador, in its current society. A qualitative, ethnographic approach is used to dialogue and coexist with the community, with two groups of informants, the users of the Support Program for the Elderly, to know the original aspects about the oral memory of the legends of Mira and a second group comprised by students of the superior years of the two schools of the city, to have the approach of the current generation and to be able to contrast two points of view. As a result, it is observed that the new generation is aware of its oral memory and with it its legends and traditions, which in essence have not changed over time; colloquial sayings, customs, habits and behaviors that were initiated by previous generations. It is determined that it is important to keep tradition and memory alive, which is considered an essential part of the current Mireño society and a way to project itself into an imminent future full of permanent changes. It is concluded that it is possible to determine an initial point to generate new alternatives for the conservation and diffusion of the oral memory of a town.

Abstract: Ruwan Bagaja by Nigerian writer Alhaji Abubakar Imam (1911-1981), was first published in 1934 and is considered a classic of modern Hausa literature. In his novel, Abubakar Imam takes up the popular theme of the mythical healing water of Bagaja, in a story that integrates themes from the Hausa oral tradition with elements derived from the Middle Eastern and European traditions. The Spanish translation of the novel’s opening chapter, “Alhaji in Search of the Water of Bagaja”, is presented here. Narrated in the first person, the text describes the first adventures of the protagonist, Alhaji Imam, outlining his history and psychology. The reader is immediately immersed in a world where friendship and deception, subordination and power, and the natural and supernatural are inevitably intertwined.

Resumen: Ruwan Bagaja, del escritor nigeriano Alhaji Abubakar Imam (1911-1981), fue publicado por primera vez en 1934 y es considerado un clásico de la literatura hausa moderna. En su novela, Abubakar Imam recupera el tema popular de la mítica agua curativa de Bagaja en una historia que integra motivos de la tradición oral hausa con elementos derivados de las tradiciones de Oriente Medio y europea. Se presenta aquí la traducción al español de “Alhaji a la búsqueda del agua de Bagaja”, el primer capítulo de la novela. Narrado en primera persona, el texto cuenta las primeras aventuras del protagonista, Alhaji Imam, y expone su historia y su psicología. El lector se ve inmediatamente proyectado a una dimensión en la que la amistad y el engaño, la subordinación y el poder, y lo natural y lo sobrenatural se entrecruzan sin solución de continuidad.

ABSTRACT This article investigates the presence of heterodiscourse in narratives of oral tradition. Therefore, the theoretical foundation is based on the Bakhtinian perspective, which understands the discourse, in the literary narratives, as marked by heterodiscursivity, evidencing a diversity of social voices that signal ways of understanding and points of view about the world. The analysis of the corpus, composed of two narratives from the oral tradition, points out, therefore, that the voices of the narrator, of the traditional storytellers and of the characters appear in constant dialogicity with the social voices, guided by axiologies, positions and evaluative centers of social, cultural and historical order. The study thus found ways of reflecting and refracting the events of existence, moral frameworks that guide them and the understanding of ways of being and acting in concrete situations of life in society, in line with the dialogic assumptions of the research. tradition Therefore perspective discourse heterodiscursivity world corpus out therefore narrator axiologies order existence society research

RESUMO Este artigo investiga a presença do heterodiscurso em narrativas da tradição oral. Para tanto, a fundamentação teórica baseia-se na perspectiva bakhtiniana, que compreende o discurso, nas narrativas literárias, como marcado pela heterodiscursividade, evidenciando uma diversidade de vozes sociais que sinalizam modos de compreensão e pontos de vista sobre o mundo. A análise do corpus, composto por duas narrativas da tradição oral, aponta, portanto, que as vozes do narrador, dos contadores tradicionais de histórias e das personagens aparecem em constante dialogicidade com as vozes sociais, orientadas por axiologias, posições e centros valorativos de ordem social, cultural e histórica. O estudo constatou, assim, formas de refletir e de refratar os acontecimentos da existência, quadros morais que os pautam e as compreensões dos modos de ser e de agir em situações concretas da vida em sociedade, em consonância com os pressupostos dialógicos da pesquisa. oral tanto baseiase baseia se bakhtiniana discurso literárias heterodiscursividade mundo corpus aponta portanto narrador axiologias social histórica constatou assim existência sociedade pesquisa

ABSTRACT The following article analyzes the centrality that rhythm acquires in the novel Toques de Son Colorá (2020) by the Colombian writer Adelaida Fernández Ochoa. The objective is to demonstrate that the relevance of this component arises linked to the oral tradition, which in turn is linked to the ancestral African roots present both in the biography of the author and throughout the American continent, so they permeate the entire narrative. Specifically, the relevance of the musical genre of salsa along with other Caribbean rhythms within the plot of the novel will be addressed as examples of the presence of that ancestral heritage in the contemporary context of the work. At the same time, this analysis will be guided mainly by the studies on this component developed by the Peruvian researcher Victoria Santa Cruz Gamarra, together with various Afro-centered theoretical proposals that address the concept of orality. We see that in this work this component arises twinned with that of writing, allowing with this to expand the investigations already carried out on Afrodescendants and their role in both Colombian and Latin American identity, considering the approaches obtained from the intersection between gender and race present in the novel.

RESUMEN En el siguiente artículo se analiza la centralidad que adquiere el ritmo, en la novela Toques de Son Colorá (2020) de la escritora colombiana Adelaida Fernández Ochoa. El objetivo es demostrar que la relevancia de dicho componente surge enlazada a la tradición oral, la que a su vez está vinculada a las raíces ancestrales africanas presentes tanto en la biografía de la autora como en todo el continente americano, por lo que permean toda la narración. En específico, se abordará la relevancia que adquiere el género musical de la salsa junto a otros ritmos caribeños dentro de la trama de la novela, en tanto ejemplos de la presencia de aquella herencia ancestral en el contexto contemporáneo de la obra. A la vez, este análisis será guiado principalmente por los estudios sobre dicho componente desarrollados por la investigadora peruana Victoria Santa Cruz Gamarra, unido ello a diversas propuestas teóricas afrocentradas que abordan el concepto de oralidad. Vemos que en dicha obra este componente surge hermanado con el de la escritura, permitiendo con esto ampliar las investigaciones ya realizadas sobre la afrodescendencia y su rol en la identidad tanto colombiana como latinoamericana, considerando las aproximaciones obtenidas desde la intersección entre género y raza presentes en la novela.

ABSTRACT Liliana Colanzi’s narrative raises the need to review the classic definition of the realist tradition and provides a new reconfiguration of several non-mimetic narrative models (science fiction/fantastic). In this article I propose to read part of his literature from this critical approach, which allows us to understand the historical processes of the most impoverished Latin American societies, by emphasizing stylistic resources that rest on said novelty and on their aesthetic sense of social effectiveness. The author’s narrative world, as will be seen, will be composed of stories collected from the “red note”, which she transforms into fantastic events; stories told from a tremendously vital oral tradition, which will lead to areas bordering on Science Fiction; and stories that are part of an “unofficial” and little-evidenced version, which appeal to constitute part of the most tragic and recent political narrative of several Latin American countries.

RESUMEN La narrativa de Liliana Colanzi plantea la necesidad de revisar la definición clásica de la tradición realista y aporta una nueva reconfiguración de varios modelos narrativos no miméticos (ciencia ficción/fantástico). En este artículo propongo leer parte de su literatura desde esta aproximación crítica, que nos posibilita entender los procesos históricos de las sociedades latinoamericanas más pauperizadas al hacer hincapié en recursos estilísticos que descansan en dicha novedad y en su sentido estético de efectividad social. El mundo narrativo de la autora, como se verá, estará compuesto por historias recogidas de la “nota roja”, que transforma en acontecimientos fantásticos; historias contadas desde una tradición oral tremendamente vital, que llevará a terrenos colindantes con la Ciencia Ficción; e historias que forman parte de una versión “no oficial” y poco evidenciada, que apelan a constituir parte de la narrativa política más trágica y reciente de varios países de América Latina.

Abstract The relationship between palm trees and communities is significant for the constitution of traditional territories and conservation of relevant ecosystems. The babassu palm, Attalea speciosa (Mart. ex Spreng.) has been called the “mother of the people” and has historically provided sustenance to quilombos in the common use lands where it occurs. But incessant privatization initiatives from the government and private endeavors threaten these socioeconomic and ecological processes within a land market that is not favorable to the quilombola tradition. This article analyzes the case of the Monte Alegre-Olho D’Água dos Grilos quilombo in the Mearim River Valley of Maranhão state, where collective lands are currently being illegally privatized. Quilombolas partnered with the authors in a research activity to inventory the trees in their territory; from the results of this inventory and information from oral memory about the vegetation we reflect on the conceptual motives for conserving babassu groves. The findings indicate that collective land tenure regularization is required but not sufficient to avoid the fragmentation of vegetation cover that hinders forest conservation. We conclude that land tenure rights (even though they are guaranteed by the constitution) will only be achieved if the government and society respect renewal of the tradition of common use by the quilombolas, as advocated by the revised ‘theory of managed commons’. ecosystems Mart. Mart (Mart Spreng. Spreng mother people occurs AlegreOlho Alegre Olho DÁgua D Água state privatized territory groves even quilombolas theory commons. commons . commons’

Resumo A relação entre palmeiras e comunidades é fator significativo para a constituição de territórios tradicionais e para a conservação de relevantes ecossistemas. Designada como ‘mãe do povo’, a palmeira babaçu – Attalea speciosa (Mart. ex Spreng.) – tem provido historicamente o sustento de quilombos em terras de uso comum, nas áreas de sua ocorrência. Porém, contínuos assédios governamentais e civis de privatização ameaçam tais processos socioeconômicos e ecológicos, sob um mercado de terras desfavorável à tradição quilombola. É analisado o caso do quilombo Monte Alegre-Olho D’Água dos Grilos, no vale do rio Mearim, Maranhão, atualmente sob processo ilegal de privatização de terras coletivas. Quilombolas, em parceria de pesquisa-ação com os autores, realizaram inventário da vegetação arbórea no seu território. Resultados desse inventário e dados da memória oral sobre a vegetação arbórea permitem refletir sobre bases conceituais para a conservação dos babaçuais. Os resultados indicam que a regularização fundiária na modalidade coletiva é necessária, mas não suficiente para evitar a fragmentação da cobertura vegetal prejudicial à conservação florestal. Conclui-se que os direitos territoriais reivindicados, embora garantidos constitucionalmente, só serão concretizados se Estado e sociedade respeitarem a renovação da tradição do uso comum pelos quilombolas, conforme preconizado na revisada ‘teoria dos comuns manejados’. ecossistemas mãe povo, povo , povo’ Mart. Mart (Mart Spreng. Spreng ocorrência Porém ecológicos quilombola AlegreOlho Alegre Olho DÁgua D Água Grilos Mearim Maranhão coletivas Quilombolas pesquisaação pesquisa ação autores território babaçuais necessária florestal Concluise Conclui reivindicados constitucionalmente quilombolas teoria manejados. manejados . manejados’

Abstract The aim of this study was to analyze the way in which translation mediates in the process of design and elaboration of materials based on Da Kresency/Don Crescencio, a story from the oral tradition of a Zapotec community, and its adaptation to a written script for the classroom of Zapotec as L2. This process was determined by the pedagogical objectives of the materials, the different types of knowledge of the agents involved in the task, such as language teaching, the local culture and tradition, as well as the source and target languages, which results into materials that can be used by language students who have different language proficiency levels. The analysis was done using the scheme of the constituents of the translational activity of Nord (2012). This allowed us to identify and visualize the translation process, the interventions of the people who elaborate the material in the text, their intentions, and purposes to produce it, as well as the dynamics that are established to give as a result the script in Zapotec as L2. It is concluded that translation and language didactics converge and support each other in productive ways that facilitate the elaboration of didactic material for the teaching of these languages. KresencyDon Kresency Don Crescencio community L2 L task languages levels 2012. 2012 . (2012) text intentions it 201 (2012 20 (201 2 (20 (2 (

Resumen El propósito de este artículo es analizar la forma en la que la traducción media en el proceso de diseño y elaboración del material basado en la historia Da Krescency/Don Crescencio, cuento de la tradición oral de una comunidad zapoteca, y su adaptación a un guion escrito para el aula de zapoteco como L2. Este proceso estuvo determinado por los objetivos pedagógicos del material, los conocimientos sobre enseñanza de idiomas y la cultura y tradición locales por parte de los involucrados, así como por las habilidades en zapoteco y español de estos, lo que dio como resultados materiales que pueden ser usados por estudiantes con diferentes niveles de dominio de la lengua. El análisis empleó el esquema de los constituyentes de la actividad traslativa de Nord (2012). Esto permitió identificar y visualizar el proceso de traducción, las intervenciones de las personas que elaboran el material en el texto, sus intenciones y propósitos para producirlo, así como las dinámicas que dan como resultado el guion en zapoteco como L2. Se concluye que la traducción y la didáctica de lenguas convergen apoyándose de forma productiva y facilitan la elaboración de material didáctico para la enseñanza de lenguas originarias. KrescencyDon Krescency Don Crescencio zapoteca L2 L involucrados estos lengua 2012. 2012 . (2012) texto producirlo originarias 201 (2012 20 (201 2 (20 (2 (

Abstract The constructions of the Northeastern people's imagination are part of the cultural heritage of the region which makes them become relevant sources of research. Cordel literature presents itself as a living production in the sociocultural context in which it operates. Woven by voices from the oral tradition, it constitutes popular art that interweaves reality and fiction in narratives that bring out archetypal images and symbols (JUNG, 2014), intrinsic to mythical creation. Given this, the study investigates the processes of narrative meaning and cultural plasticity raised by the cordel O Romance do Pavão Misterioso, a work by José Camelo de Melo Rezende (1885-1964) from Paraíba. Through a bibliographical and documentary research, of a qualitative nature, this paper started from the readings carried out in Rodrigues (2011) and Santos (2017) on cordel literature, transiting through cultural studies and oral tradition (ZUMTHOR, 1993), from a symbolic-anthropological perspective (DURAND, 2002; JUNG, 2014; 2016). Observing the synchronicity and diachronicity of this narrative and the metanalytic process of the cultural imaginary that weaves it, it is understood understands that the diegesis printed in the verses stems from a mythical-symbolic structure that occurred as a continuous process of updating a collective imaginary in a northeastern context. Through the phenomenon of cultural plasticity (RODRIGUES, 2011; 2017), the study verifies the maintenance of archetypal voices that cordel literature updates and reframes in the context of contemporary media narratives. peoples people s research operates JUNG (JUNG 2014, 2014 , 2014) creation Misterioso 18851964 1885 1964 (1885-1964 Paraíba nature 2011 (2011 2017 (2017 ZUMTHOR, ZUMTHOR (ZUMTHOR 1993, 1993 1993) symbolicanthropological symbolic anthropological DURAND, DURAND (DURAND 2002 2016. 2016 . 2016) mythicalsymbolic RODRIGUES, RODRIGUES (RODRIGUES 2017, 2017) 201 1885196 188 196 (1885-196 (201 199 200 20 188519 18 19 (1885-19 (20 2 18851 1 (1885-1 (2 (1885- ( (1885 (188 (18 (1

Resumo As construções do imaginário do povo nordestino fazem parte do acervo cultural da região, tornando-se relevantes fontes de pesquisas. A literatura de cordel se apresenta como produção viva no contexto sociocultural em que se insere. Tecida por vozes da tradição oral, constitui-se arte popular que entrecruza realidade e ficção em narrativas que fazem emergir imagens e símbolos arquetípicos (JUNG, 2014), intrínsecos à criação mítica. Diante disso, este estudo investiga os processos de significação narrativa e a plasticidade cultural suscitados pelo cordel O Romance do Pavão Misterioso, obra do paraibano José Camelo de Melo Rezende (1885-1964). Por meio de uma pesquisa bibliográfica e documental, de natureza qualitativa, o estudo partiu das leituras de Rodrigues (2011) e Santos (2017) sobre a literatura de cordel, bem como dos estudos culturais e de tradição oral (ZUMTHOR, 1993), por meio de um viés simbólico-antropológico (DURAND, 2002; JUNG, 2014, 2016). Observando a sincronicidade e diacronicidade dessa narrativa e o processo mitanalítico do imaginário cultural que a tece, compreende-se que a diegese impressa em seus versos dimana de uma estrutura mítico-simbólica que se deu como processo contínuo de atualização de um imaginário coletivo em contexto nordestino. Mediante o fenômeno da plasticidade cultural (RODRIGUES, 2011, 2017), o estudo constata a manutenção de vozes arquetípicas que a literatura de cordel atualiza e ressignifica no contexto de narrativas midiáticas contemporâneas. região tornandose tornando pesquisas insere constituise constitui JUNG (JUNG 2014 , 2014) mítica disso Misterioso 18851964. 18851964 1885 1964 . (1885-1964) documental qualitativa 2011 (2011 2017 (2017 ZUMTHOR, ZUMTHOR (ZUMTHOR 1993, 1993 1993) simbólicoantropológico simbólico antropológico DURAND, DURAND (DURAND 2002 2016. 2016 2016) tece compreendese compreende míticosimbólica mítico simbólica RODRIGUES, RODRIGUES (RODRIGUES 2017, 2017) contemporâneas 201 1885196 188 196 (1885-1964 (201 199 200 20 188519 18 19 (1885-196 (20 2 18851 1 (1885-19 (2 (1885-1 ( (1885- (1885 (188 (18 (1