[pt] O legado de Próspero: uma investigação do projeto narrativo de Ruy Duarte de Carvalho parte do estudo da peça de William Shakespeare intitulada A tempestade para verificar, segundo uma perspectiva pós-colonial, a abordagem da colonização nas narrativas do escritor angolano Ruy Duarte de Carvalho. Publicadas após a independência de Angola, nelas a experiência da colonização não se mostra como um processo plenamente findado, visto que suas marcas ecoam no presente. Assim, Próspero e Caliban (personagens da peça shakespeariana considerados, a partir da década de 1950, como respectivos símbolos do colonizador e do colonizado) e a simbologia da tempestade são aqui teoricamente retomados na tentativa de elucidar os novos impasses vivenciados após a descolonização angolana. Para se estabelecer a aproximação entre a peça de William Shakespeare e as narrativas de Ruy Duarte de Carvalho, levou-se em conta o diálogo teórico proposto pelo autor angolano ao nomear sua trilogia como Os Filhos de Próspero (aludindo ao processo de mestiçagem física e cultural advindo da colonização), bem como a recorrência temática da tempestade em sua criação artística. Nesta Tese, além das narrativas que compõem a trilogia Os filhos de Próspero – Os papeis do inglês (2000), As paisagens propícias (2005) e A terceira metade (2009) –, são também analisadas as obras Como se o mundo não tivesse leste (1977), Vou lá visitar pastores (1999) e Desmedida (2006). / [en] Prospers legacy: an investigation Ruy Duarte de Carvalhoss narrative Project analyses, upon a post colonial point of view, William Shakespeares play entitled The Tempest, to verify the colonization approach in the narratives of the Angolan writer Ruy Duarte de Carvalho. Published after the independence of Angola, these works dont show the colonization experience as a fully complete process since its traces reverberate in the present time. Thus, Prospero and Caliban (Shakespearean characters considered after the 1950s as respective symbols of the colonizer and the colonized) and the tempest symbology are theoretically discussed, in this research, to elucidate the new obstacles experienced after the Angolan decolonization. To establish the approach between Shakespeares play and Ruy Duarte de Carvalhoss narratives, the theoretical dialog proposed by the Angolan author naming his trilogy as Os filhos de Próspero (referring to the physical and cultural miscegenation process as a result of the colonization) was considered as well as the tempest thematic recurrence in his artistic creation. In this thesis, besides the narrations that set Os filhos de Próspero – Os papeis do inglês (2000), As paisagens propícias (2005) e A terceira metade (2009) –, Como se o mundo não tivesse leste (1977), Vou lá visitar pastores (1999) e Desmedida (2006) are also analyzed.

A formação deste trabalho tem como horizonte a comparação entre as obras Mayombe e Predadores do autor angolano Pepetela, principalmente no tocante a perspectiva nacional que está impressa em cada texto, todavia de maneiras diversas. A possibilidade de ler as obras de maneira muito próxima aos fenômenos históricos angolanos é aquilo que faz com que se projete sob os olhos a questão nacional que é tão cara à série literária angolana, principalmente caso se tenha em mente a formação do jovem país e a necessidade de construir a identidade. As obras em questão registram, em momentos diversos, esta construção e as nuances ideológicas no processo nacional, cada qual em uma época e quando olhadas uma em relação a outra, consegue-se depreender mais, primordialmente aquilo que está no âmbito ideológico da desconstrução e da perda de paradigmas, sejam eles políticos ou culturais. É o efeito da pós-modernidade que obriga a sociedade em questão a descobrir-se sem chão e sem certeza de nada, uma vez que não mais se pode falar de estado colonial, mas sim pós-colonial e, como tal, terra aberta a possibilidades, sejam elas propositivas ou niilistas com relação à formação nacional. Dessa maneira, para depreender mais que obviedades da relação dessas obras, deve-se ter em mente que as formações híbridas desse espaço obrigam o desapego teórico, caminhando na direção da colaboração entre as disciplinas de modo a captar significativamente algo deste contato. Assim, interrogar-se sobre as obras Mayombe e Predadores tanto no que toca nos pontos de contato quanto nos de repulsão é mais que exercício teórico, é questionar-se quanto à legitimidade do processo nacional que está subentendido nas duas obras. Pepetela, como uma espécie de demiurgo, registra aquilo que está fora do lugar, destoando a análise, e que aos poucos, apresenta como um acre sabor na boca de quem lê, aquilo em que se transformou o sonho de libertação angolana, justamente o antípoda do processo que se apossa e faz com que o capitalismo mais selvagem possível arrebate o sonho comunista de princípio, e que não mais é possível crer num Estado aos moldes do Ocidente do século XIX, mas simplesmente os frangalhos do mesmo. Entretanto, não se pode ler o contexto acima verificado de modo apenas negativo, uma vez que dele pode se verificar obras literárias complexas que não só dão conta da fotografia histórica, mas também de todo um trabalho de linguagem e de sentido que, para ser de fato apreciado, demanda o trabalho técnico hermenêutico de avanço e retrocesso, do micro ao macro, para que se produza algum conhecimento satisfatório a respeito das obras. / The formation of the horizon of this work is the comparison between the literary works of the author of Predadores and Mayombe, the Angolan writer Pepetela, specially at the perspective of Nation that is founded on each text, but in differently ways. The ability to read the works in very closely way to the Angolan historical phenomena is what makes this project closed to the national question, which is so relevant to the Angolan literary series, especially if you have in mind the formation of this young country and the need to build its own identity. The narratives in question express in different times this ideological construction and the variations in the national process, each one at the time, and when they are viewed one relation to another, it can be inferred more, primarily in what this ideological deconstruction and loss of paradigms whether political or cultural. It is the effect of post-modernity which requires the concerned company to find themselves without the ground and not sure of anything, since one can no longer speak of the colonial state, but post-colonial land and as such are open to possibilities they purposeful or nihilistic related to the nationally formation. Therefore, to remove more than superficialities of the relationship of these narratives we should keep in mind that the hybrid formations of this area require the detachment theory, moving toward the collaboration between disciplines in order to capture something significantly of the Contact. So ask yourself about the books Mayombe and Predators both in terms as the contact points as the points of repulsion is more than a theoretical exercise, question itself about the legitimacy of the national process that implied in the two works, makes Pepetela a kind of demiurge, whose records what is out of right place, diverging the analysis, and gradually presents as an acrid taste in the mouth of the reader, what it became the dream of Angola freedom, in the antithesis of the process which takes places and makes the most savage capitalism that destroyed the communist dream of beginning, and that is no longer possible to believe in a state along the lines of the West of the nineteenth century, but simply whats left of it. However, you cannot read the background above only for the negative way, because it can verify the complex literary works that not only realize in the historic photograph but also the work of language and meaning that to be truly appreciated by the reader it demands technical and hermeneutical work, from microspical to the macroscopical, to its bring a satisfactory knowledge about the works.

A presente dissertação tem por objetivo analisar elementos que constituem a nação argelina presentes num dos principais romances da literatura magrebina de língua francesa: Nedjma, do escritor argelino Kateb Yacine. A obra foi publicada em 1956, época caracterizada pelas tensões decorrentes do início da guerra de independência (1954-1962) que dividiam o país em dois, entre aqueles que preferiam uma Argélia francesa e aqueles que não renunciavam à luta por uma nação independente. As rupturas decorrentes da colonização francesa e as diversas invasões ao longo de sua história marcam a narrativa do romance, cuja análise demonstra que Nedjma vem à luz para afirmar a singularidade argelina. Afinal, sua escrita se faz nos interstícios do conflito entre duas culturas distintas e revela o engajamento político de Kateb. Para o desenvolvimento da análise interpretativa, este trabalho apoia-se em teorias que problematizam as consequências da colonização para os povos submetidos a esse regime. / The present dissertation aims to analyze the elements that constitute the Algerian nation presented in one of the founding novels of Maghrebian literature in French: Nedjma, by the Algerian writer Kateb Yacine. The work was published in 1956, which was a period characterized by the tensions resulting from the beginning of the war of independence (1954- 1962) that divided the country into two, between those who preferred a French Algeria and those who did not stop struggling for an independent nation. The ruptures resulting from French colonization and the various invasions throughout its history mark the narrative of the novel, which analysis point out that Nedjma comes to light to show the Algerian singularity. Moreover, this novel is written under the conflicts between two different cultures and reveals Kateb´s political engagement. On the development of interpretive analysis, this paper draws on theories on the consequences of colonization for the people under this regime.

Colonization adversely impacts the psychological health of the colonized. To heal psychologically, economically, and culturally and break chains of colonization in a post-colonial society, the colonized must be grounded in understanding and embrace of their cultural and historical heritage. This embrace and remembrance of the ancestors will inspire and create a spiritual and mental revolution. Prominent literary works from 16th to 20th century, such as Charles Chesnutt’s The Marrow of Tradition and "Dave’s Neckliss", William Shakespeare’s "The Tempest" and Aphra Behn’s Oroonoko, explore the psychological and cultural demise of people of African descent due to colonization and racial oppression. While these works give voice to spiritual leaders, ancestors, and bondaged individuals who strive to overcome and survive adverse circumstances Eurocentric society has imposed upon them, these texts also explore characters who kneel at the altar of White hegemony and embrace Whiteness as the Ark of God, even to the characters’ and their community’s safety and well-being. These I term Black Eurocentric Saviors, characters who sacrifice themselves and their community for safety and saving of Whites. Through application of French West Indian psychiatrist Frantz Fanon's theories of colonization which posits that imposed psychological domination of the colonized by Europeans cultivated the belief in White superiority and the subsequent desire for White approval and blessings by any means necessary, including worshipping Whiteness, betraying other persons of African descent, and/or willing to kill self or other Blacks for both the continued prosperity of White societies and gained prosperity for self. Chesnutt, Shakespeare, and Behn depict oppressed people who (un)consciously appear to embrace with open arms historical narratives and cultural traditions that relegate them to second-class citizens and are thus unable to nurture mythical origins and pride in their ancestral history and legacy. When they seek to conjure their African ancestors, they do so, not for their freedom or elevation, but for betterment of White society. Through the application of Fanon's theories on colonization to select literary works of Chesnutt, Shakespeare, and Behn's, this dissertation asserts that the diasporic African’s embrace of White superiority resulted and continues today in both real life and literature.

O trabalho analisa a construção da visualidade no filme Serras da Desordem (2006) de Andrea Tonacci. As questões que guiam a pesquisa cercam a construção da visualidade fílmica através da investigação da filmografia do diretor, seu histórico, seu repertório. Paralelamente, buscou-se também aproximar a pesquisa de uma abordagem do cinema como resultado de uma colaboração. Também é explorada uma certa produção do cinema contemporâneo que faz ressonância com Serras da Desordem. Assim, aproximamos a produção de Tonacci dos filmes do diretor Rithy Pahn, S-21:The Khmer Rouge Killing Machine (2003) e LImage Manquante (2013), e de Joshua Oppenheimer, The globalization tapes (2003) e The Act of Killing (2012). Em comum, os filmes apresentam uma posição de crítica pós-colonial, exploração das fronteiras cinematográficas, rememoração e reencenação do passado, entre outras características. Para realizar nossa análise utilizamos os conceitos e autores que trabalham a estética relacional, a crítica de arte através da psicanálise, as idéias do Tercer Cine, a análise fílmica contemporânea, o documentário como obra de arte contemporânea, e as discussões que cercam o realismo e o documentário. Por fim, apresentamos um ensaio fílmico de nosso autoria, que dialoga com os filmes analisados. / This work analises the building visual style of Andrea Tonaccis movie Serras da Desordem (2006). The guide lines of this research relates to the filmic visual construction and investigates the directors filmography, history and repertoire. Besides, pursued also approximate the research to an approach that watches cinema as a result of collaborations. Equally, is explored a certain contemporary cinema scene wich is related to Serras da Desordem. Therefore, we approximate Andrea Tonaccis film production to directors like Rithy Pahn, S-21: The Khmer Rouge Killing Machine (2003) and LImage Manquante (2013), and Joshua Oppenheimer, The globalization Tapes (2003) and The act of killing (2012). In common, the movies have a post-colonial criticism, the exploration of cinematographic borders, recollection and reenactment of the past. To build our analysis we made use of authors and concepts wich think relational aesthetics, art criticism, psychoanalysis, the ideas of Tercer Cine, the contemporary film analysis, documentary as contemporary art, and the discussions about realism and documentary. Finally, a film essay that dialogues with the analysed movies is presented by the author of this research.

O presente trabalho analisa o romance do escritor goês Francisco João da Costa (1859-1900), Jacob e Dulce scenas da vida indiana (1896), publicado em Goa, antiga colônia portuguesa na Índia. O principal foco da obra é criticar o comportamento colonial da elite goesa cristã, isto é, retratar de forma bastante ácida seus hábitos e costumes, denunciando sua imitação servil aos modelos europeus. O presente trabalho procura analisar a crítica ali presente, assim como situar o texto em meio a outras obras coloniais de referência para outras tradições literárias, nomeadamente a moçambicana e a marfinense. Finalmente, revela como a crítica produzida na altura do surgimento do livro acaba por colocar em diálogo o escritor goês com um escritor brasileiro, Visconde de Taunay, em cujo debate podemos constatar a densidade intelectual de Francisco João da Costa, assim como alinhá-lo a críticos do colonialismo como Frantz Fanon. / This works analyzes the novel Jacob e Dulce scenas da vida indiana (1896), written by the Goan author Francisco João da Costa (1859 1900) and published in Goa, a former Portuguese colony in India. Its main focus is to criticize the colonial behavior adopted by the Goan Christian elite, in other words, to render an acid portrayal of their habits and traditions exposing their servile imitation of European models. Therefore, our main focus is to study such views on Goan society and to place the novel among other colonial works that are representative to other literary traditions, namely the ones belonging to Mozambican and Ivorian literature. Finally, this investigation reveals how the criticism produced at the time the book was published generated a dialogue between the Goan writer with Visconde de Taunay. Due to this connection, we can determine João Francisco da Costas intellectual density and put him in a group that comprises Frantz Fanon as a critic of colonialism.

Cette thèse cherche à identifier les conditions de possibilité de modification des curricula au regard des pressions sociales. Pour cela, elle s’appuie sur un contenu d’enseignement précis : le fait colonial qui, entre les années 1980 et aujourd’hui, interroge de plus en plus le consensus national-républicain au fur et à mesure qu’il se connecte avec la question de l’immigration postcoloniale. Cette thèse s’appuie aussi sur un matériau empirique varié : des discours politiques et médiatiques construisant l’enseignement du fait colonial comme un problème public ; des archives de l’Éducation nationale, des rapports officiels, ainsi que des entretiens. Nos pistes de travail consistaient alors à identifier la configuration de réseaux d’acteurs susceptibles de procéder à une mise en compatibilité des questions scientifiquement et politiquement débattues avec les attendus du curriculum d’histoire, afin d’en faciliter la traduction. Il apparaît que chaque moment de débat mémoriel sur le passé colonial rejoue des tiraillements propres à l’école républicaine et à l’enseignement de l’histoire : la dialectique entre la pluralité culturelle et l’universalisme, celle entre l’égalité et l’identité, ou encore entre les logiques de reconnaissance et les logiques civiques. On trouve des injonctions de différents niveaux et parfois contradictoires, des décalages entre les agendas des débats publics et l’agenda scolaire, de sorte que la porosité entre les débats sociaux et les curricula d’histoire ne s’avère pas naturelle. / This thesis seeks to identify the conditions of possibility for variations and amendments in the curricula, given social pressures. For this purpose, it is founded on a precise content of teaching : the events of colonialism that, from the 1980’s to the Present, have questioned more and more the national and republican consensus, as it connects to the issue of post-colonial immigration.This thesis is also founded on firsthand empirical material : political and media discourses constructing the teaching of the events of colonialism as a public matter ; archives of National Education ; official reports ; and many interviews.Our lines of inquiry consisted then in identifying the establishment of networks of social actors likely to make compatible scientifically and politically debated issues with the expectations of the history curriculum, and to facilitate its translation.Our inquiry reveals that every occurrence of the memorial debate on the colonial past restages specific stinging and pulling in the republican school systen and in the teaching of history : the dialectic between cultural plurality and universalism, the one between equality and identity, or even the one between logics of acknowledgment and civic logics. Many injunctions are to be found, at different levels, sometimes contradictory, many discrepancies between the agendas of public debates and the timescale of school, so that the concordance between the social discourse and the history curricula does not turn out to be innate or natural.

Cette étude vise à analyser la question de l’identité culturelle dans un corpus dramatique de seize textes écrits en français et en anglais par des Kenyans à l’occasion du Kenya National Drama Festival (KNDF). Tenant compte de l’histoire coloniale et du contexte post-colonial du Kenya, il s’est agi de relever dans ce corpus les marqueurs de la post-colonialité, à y identifier les thèmes majeurs et les traits constructifs de l’identité culturelle kenyane et à y déterminer les particularités culturelles. Dans une optique comparatiste, l’étude s’appuie sur les théories aussi bien post-coloniales que du théâtre. Les concepts post-coloniaux touchant la question de l’identité à travers la langue, la culture et la représentation sont identifiés et analysés dans le contexte kenyan. Pour cette raison, l’on s’est appuyé sur les travaux d’Edward Saïd, d’Homi K. Bhabha, de Chinua Achebe et de Ngugi wa Thiong’o. L’étude révèle que la population kenyane se trouve face à une multiplicité de choix culturels résultant de l’expérience coloniale, de nouvelles pratiques liées à la globalisation ainsi que des complexités et des défis de la vie quotidienne du monde moderne. Le KNDF s’avère un dispositif de sensibilisation du public aux nouveautés, de dénonciation des maux sociétaux et de promotion de normes culturelles africaines. Il apparaît ici que le recours aux langues européennes n’empêche pas de représenter des réalités culturelles locales. Le Kenya fait ainsi preuve d’une mobilité culturelle qui se manifeste dans la progression du système traditionnel vers une disposition mondialisée. / This study analyszes the representation of cultural identity in sixteen drama texts written by Kenyans in English and in French for the Kenya National Drama Festival (KNDF). Considering the colonial history and the postcolonial context of Kenya, the task involved identifying the postcolonial markers within the texts, identifying major themes and traits constituting a Kenyan cultural identity and determining specific cultural identity. Using a comparative approach, the study draws from both postcolonial and theatre theories. The postcolonial concepts touching on identity through language, culture and representation are identified and analyzed in respect to the Kenyan context. For this reason, the study narrows down to the theoretical works of Edward Saïd, Homi K. Bhabha, Chinua Achebe and Ngũgĩ wa Thiong’o. The study reveals that the Kenyan population is faced with a multiplicity of cultural choices brought about by the colonization experience, the new practices associated with globalization, as well as the complexities and challenges of daily life. The KNDF proves to be an avenue for sensitizing the public on new phenomena, for denouncing societal ills and for promoting African traditional norms. It is apparent that the use of European languages does not hinder the representation of cultural reality of the local society. Kenya therefore attests to cultural mobility seen in the progression from the traditional system towards a more globalized disposition.

This dissertation chronicles the development of a series of plays, collectively referred to as The Arab Shakespeare Trilogy, from the perspective of their playwright Sulayman Al-Bassam. Together, The Al-Hamlet Summit (2002-2005), Richard III, An Arab Tragedy (2007-2009), and The Speaker's Progress (2011-2012) register the eruptive social, political, and cultural contexts of the Arab world during the first decade of the twenty-first century while negotiating the adaptation of Shakespeare's plays to a form thought-provoking and entertaining to audiences both within and outside the Middle East. The document outlines the inception of the project, which includes both personal and historical context, and provides more specific commentary on the production of each play individually. In addition to its focus on the specific impact of 9/11, and its global consequences, on the development of these dramatic works, it attends to topics including the technical and ideological challenges of linguistic and cultural translation, the adaptation of Shakespeare in Arabic theatre, the politics of art and drama in the Arab world, and the involvement of art in the shaping of the ethics of cross-cultural representation. Of particular interest are the linguistic conditions bearing upon the adaptation of English language texts into multi-lingual and cross- cultural works, the effects of the globalisation of politics and media, and the international touring life of the plays between the Arab region and wider world. The play texts of the Trilogy make up the second part of the document. The methodology of this dissertation deploys historical contextualisation, autobiographical memoir, literary analysis and creative improvisation. The play-texts are dramatic adaptations of specific Shakespeare texts to the Arab world.

No romance O Deus das Pequenas Coisas (1997) de Arundhati Roy, as transgressões são atitudes que se configuram como abundantes na narrativa, sendo realizadas em sua maioria pelos personagens marginalizados. A fim de obter uma compreensão mais profunda das razões que impulsionam tanto a narrativa quanto os personagens a cometer estas infrações, elas foram divididas em três níveis neste trabalho: pós-colonial, sociopolítico e afetivo. São aqui analisadas as transgressões dos personagens Velutha, Ammu, Estha, Rahel e Sophie. Os níveis das transgressões, suas motivações e os conceitos de trauma individual e cultural são colocados em contraponto para aprofundar a análise da narrativa do romance. No nível pós- colonial, são empregados conceitos de Panikkar (1969), Festino (2007), Forter (2014) e Outka (2011), enquanto Sztompka (2000, 2004), Alexander (2000) e Joseph (2010) permeiam o nível sociopolítico, finalizando o nível afetivo com Caruth (1995), Bose (1998) e Almeida (2002). A hipótese deste trabalho é de que Roy foca nas transgressões para, em primeiro lugar, criticar determinados elementos da sociedade indiana, e para provocar reações em seus leitores. Esta é sustentada através da citação de seus ensaios e discursos na análise do romance. / In The God of Small Things (1997), from Arundhati Roy, the transgressions are substantial throughout the narrative, as the majority of them are performed by marginalized characters. In order to comprehend more deeply the reasons which propel the narrative and the characters to such violations, they were divided into three levels in this work: post-colonial, socio-political and affective. The transgressions analyzed here are the ones performed by the characters Velutha, Ammu, Estha, Rahel and Sophie. The levels of the transgressions, their motivations and the concepts of individual and cultural trauma are all correlated so that the intentions of the narrative are elucidated. In the post-colonial level, the concepts of Panikkar (1969), Festino (2007), Forter (2014) and Outka (2011) are applied, whereas Sztompka (2000, 2004), Alexander (2000) and Joseph (2010) are used for the socio-political level; the affective level is observed with notions from Caruth (1995), Bose (1998) and Almeida (2002). The hypothesis of this work is that Roy focuses on the transgressions of minor characters not only to criticize particular elements from the Indian society but also to trigger the reaction of the readers. This is supported by her essays and speeches quoted along the analysis of the novel.