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1978, Okike: An African Journal of New Writing, Enugu, Nigeria: Okike Magazine, →ISSN, →OCLC, page 1:
The decolonization of the African mind and imaginagion is a job that must be done. It is a job that requires that our perceptions, our imaginations, and our literary devices be fertilized by the past literatures and oratures of the Pan-African world, and by the literatures and oratures of other lands besides Europe.
1990, Leteipa Ole Sunkuli, Simon Okumba Miruka, “Introduction”, in A Dictionary of Oral Literature, Nairobi, Kenya, Kampala, Uganda: East African Educational Publishers, published 2008, →ISBN, page ix:
As it were, Literature is often seen as a branch of Language Arts. Orature is a branch of Literature and hence inevitably falls within Language especially in as far as Language is basically oral. […] Inevitably, a good stock of the words within Orature are taken from written Literature. The text hopes to establish the interrelationship of these branches of Literature and through definition to show the specific application of these terms in Orature.
1992, Gay Wilentz, Binding Cultures: Black Women Writers in Africa and the Diaspora (Blacks in the Diaspora), Bloomington, Ind.: Indiana University Press, →ISBN:
In the chapter on Aidoo, I note that certain genres of the orature, particularly the dilemma tales, have unresolved endings which call for community response; this is evident in the ending of Song as well.
1997, Jace Weaver, “Native American Literatures and Communitism”, in That the People Might Live: Native American Literatures and Native American Community, New York, N.Y.: Oxford University Press, →ISBN, page 23:
There is much at work in this discussion of canon and orature. As a starting point, it is worth noting that the academic discipline of English developed in the colonial era, and it should be equally patent that Eurocentric attempts to define a canon since the 19th century have been "less a statement of the superiority of the Western tradition than a vital, active instrument of Western hegemony." Limiting consideration or admission to the canon to orature is a way of continuing colonialism. It once again keeps American Indians from entering the 20th century and denies to Native literary artists who choose other media any legitimate or "authentic" Native identity.
2012, Mareike Neuhaus, “What’s in a Frame?: The Significance of Relational World Bundles in Louise Bernice Halfe’s Blue Marrow”, in Susan Gingell, Wendy Roy, editors, Listening Up, Writing Down, and Looking Beyond: Interfaces of the Oral, Written, and Visual, Waterloo, Ont.: Wilfrid Laurier University Press, →ISBN, page 221:
Blue Marrow by the Cree poet Louise Bernice Halfe has an intriguing textual history. […] Of the changes made to the revised edition, the completely rewritten narrative frame is particularly interesting, especially given the relevance of opening and closing frames in Aboriginal oratures and in oral traditions around the world more generally[…].
2015 April, Akíntúndé Akínyẹmí, “Introduction”, in Orature and Yorùbá Riddles, New York, N.Y.: Palgrave Macmillan, →ISBN, page 1:
This book takes readers into the hitherto unexplored undercurrents of one of the so-called minor genres of African orature—riddles.
This bishop was ane wyse and godlie man, and answered the king in this maner, as after follows, saying, “Sir, I beseech your Grace, that ye take a little meat to refresh you, and I will passe to my orature and pray to God for you, and the commonwealth of this realme and cuntrie.[”]
1793, [Robert Henryson], “[Troilus & Creseide.] Testament of Faire Creseide.”, in The Poetical Works of Geoffrey Chaucer, [...] To which is Prefixed the Life of the Author, Edinburgh: Printed by Mundell and Son,, →OCLC; republished in Robert Anderson, editor, A Complete Edition of the Poets of Great Britain, volume I (Containing Chaucer, Surrey, Wyatt & Sackville), London: Printed for Iohn & Arthur Arch,; and for Bell & Bradfute & I. Mundell & Co., 1795, →OCLC, page 409:
Yet nertheleſſe within mine orature / I ſtode, whan Titan had his bemis bright / Withdrawin doun, and ſcylid undir cure, / And faire Venus the beaute of the night, / Upraiſe, and ſette unto the weſte ful right […]
The author [of the poem Testament of Faire Creseide, Robert Henryson] has conceived in a very poetical manner his description of the season in which he supposes himself to have written this dolorous tragedy. The sun was in Aries; his setting was ushered in with furious storms of hail; the cold was biting and intense; and the poet sat in a solitary little building which he calls his "orature." [footnote: oratory.]
Translations
small room or chapel used for prayer and worship, or for private study — see oratory
, Oxford, Oxfordshire: Oxford University Press, June 2004; “orature”, in Lexico, Dictionary.com; Oxford University Press, 2019–2022.
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