Orientador: Sidney Barbosa / Coorientador: Ozíris Borges Filho / Banca: Tania Celestino de Macedo / Banca: Maria Lúcia Outeiro Fernandes / Resumo: O romance Um rio chamado tempo, uma casa chamada terra (2002), do autor moçambicano Antonio Emílio Leite Couto, comumente conhecido como Mia Couto, evidencia, por meio de uma ficção, uma proposta de revitalização, pela via do literário, da sociedade moçambicana. Nessa perspectiva, sua poética repousa em uma relação dialética que se funda, sobretudo, entre a permanência (representada ou registrada pela existência do bairro rural denominado Luar-do-Chão) e a ausência (cidade, espaço da narrativa dedicado ao desenvolvimento, progresso e conforto, mas também o da perda da memória tribal, dos sentimentos, etc.), ambas demarcadas pela espacialidade. O presente trabalho tem por finalidade demonstrar como algumas temáticas comuns às literaturas africanas aparecem representadas na espacialidade do universo diegético miacoutiano. Isso acontece sobretudo no que toca ao espaço da convivência das diferenças culturais, colaborando dessa maneira com uma melhor compreensão teórica desse importante aspecto essencial de toda narrativa ficcional. Em Um rio chamado tempo, uma casa chamada terra, o personagem Marianinho, protagonista e narrador da história, após anos estudando na cidade (moderna), retorna à sua ilha de origem, Luar-do-Chão (religiosa e mítica), por ocasião da morte de seu avô Dito Mariano, o patriarca da família. Ao sabor de um romance policial, muitas peripécias serão desveladas na trajetória de todos os personagens, configurando uma narrativa que prende a atenção do leitor de maneira marcante. A viagem empreendida por Mariano, quando deixa a cidade em que fora estudar as Letras para regressar à ilha de Luar-do-Chão, não diz respeito apenas a uma mudança de espaço geográfico, mas implica também numa mudança de sua condição humana e cultural e de sua visão... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The novel Um rio chamado tempo, uma casa chamada terra (2002), written by the Mozambican author Antonio Emílio Leite Couto, commonly known as Mia Couto, evidences through a fiction a revitalization proposal, through literary way, of Mozambican society. In this perspective its poetic rests in a dialetic relation that founds itself specially between the permanence (represented or registered by the rural neighborhood called Luar-do-Chão existence) and the absence (city, narrative space dedicated to the development, progress and comfort, but also the space of the tribal space loss, of the feelings loss, etc.), both flagged by spatiality. This report aims to show how some themes common to African literatures appear represented in the spatiality of Mia Couto's diegetic universe. This happens specially with regard to the cultural differences companionship space, collaborating this way with the better theoretical comprehension of this important essential aspect of all fictional narrative. In Um rio chamado tempo, uma casa chamada terra, the character Marianinho, the story protagonist and narrator, after years studying at the city (modern), returns to his birthplace island, Luar-do-Chão (religious and mystic), on the occasion of his grandfather's death, Dito Mariano, the family's patriarch. Tasting like a police novel many incidents will be uncovered on the all character's trajectory, configuring a narrative that holds the reader's attention in a remarkable way. The trip endeavor by Mariano, when he lefts the city in which he went to study the Arts to regress to the island Luar-do-Chão, does not concern only to a geographic space changing, but also implicates a changing in his human and cultural condition and worldview. It is what the city (capitalist, urban and progressive) had transformed him into. To the voyager hero... (Complete abstract click electronic access below) / Mestre

FEMRITE, the Ugandan Women Writers Association, was created in 1996, and over the last twenty years, it has become the largest and most successful women's writing group in East Africa and one of the most influential literary communities on the African continent. It has become an essential element of Ugandan literary society, and a large proportion of its writings reflect various forms of trauma, begging an engagement with trauma theories. I will argue that through strategies of narrative recuperation and the establishment of communities, FEMRITE has created avenues for women writers, their subjects, and their readers to engender healing from trauma. After discussing FEMRITE's social programs, such as interviewing war refugees or AIDS victims, I will analyze two texts by FEMRITE author Beatrice Lamwaka to demonstrate the manifestations of trauma and the ways it is narrated, as well as the way Lamwaka uses narrative and community in working through her own trauma. Through an analysis of its organizations and publications, I hope to show that FEMRITE represents a uniquely optimistic and socially persuasive approach to trauma and healing.

Made available in DSpace on 2014-06-11T19:26:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-04-15Bitstream added on 2014-06-13T19:14:18Z : No. of bitstreams: 1 daverni_rf_me_arafcl.pdf: 580462 bytes, checksum: 7546e70f7c197a613c8d8479a6f79f8f (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O romance Um rio chamado tempo, uma casa chamada terra (2002), do autor moçambicano Antonio Emílio Leite Couto, comumente conhecido como Mia Couto, evidencia, por meio de uma ficção, uma proposta de revitalização, pela via do literário, da sociedade moçambicana. Nessa perspectiva, sua poética repousa em uma relação dialética que se funda, sobretudo, entre a permanência (representada ou registrada pela existência do bairro rural denominado Luar-do-Chão) e a ausência (cidade, espaço da narrativa dedicado ao desenvolvimento, progresso e conforto, mas também o da perda da memória tribal, dos sentimentos, etc.), ambas demarcadas pela espacialidade. O presente trabalho tem por finalidade demonstrar como algumas temáticas comuns às literaturas africanas aparecem representadas na espacialidade do universo diegético miacoutiano. Isso acontece sobretudo no que toca ao espaço da convivência das diferenças culturais, colaborando dessa maneira com uma melhor compreensão teórica desse importante aspecto essencial de toda narrativa ficcional. Em Um rio chamado tempo, uma casa chamada terra, o personagem Marianinho, protagonista e narrador da história, após anos estudando na cidade (moderna), retorna à sua ilha de origem, Luar-do-Chão (religiosa e mítica), por ocasião da morte de seu avô Dito Mariano, o patriarca da família. Ao sabor de um romance policial, muitas peripécias serão desveladas na trajetória de todos os personagens, configurando uma narrativa que prende a atenção do leitor de maneira marcante. A viagem empreendida por Mariano, quando deixa a cidade em que fora estudar as Letras para regressar à ilha de Luar-do-Chão, não diz respeito apenas a uma mudança de espaço geográfico, mas implica também numa mudança de sua condição humana e cultural e de sua visão... / The novel Um rio chamado tempo, uma casa chamada terra (2002), written by the Mozambican author Antonio Emílio Leite Couto, commonly known as Mia Couto, evidences through a fiction a revitalization proposal, through literary way, of Mozambican society. In this perspective its poetic rests in a dialetic relation that founds itself specially between the permanence (represented or registered by the rural neighborhood called Luar-do-Chão existence) and the absence (city, narrative space dedicated to the development, progress and comfort, but also the space of the tribal space loss, of the feelings loss, etc.), both flagged by spatiality. This report aims to show how some themes common to African literatures appear represented in the spatiality of Mia Couto‘s diegetic universe. This happens specially with regard to the cultural differences companionship space, collaborating this way with the better theoretical comprehension of this important essential aspect of all fictional narrative. In Um rio chamado tempo, uma casa chamada terra, the character Marianinho, the story protagonist and narrator, after years studying at the city (modern), returns to his birthplace island, Luar-do-Chão (religious and mystic), on the occasion of his grandfather‘s death, Dito Mariano, the family‘s patriarch. Tasting like a police novel many incidents will be uncovered on the all character‘s trajectory, configuring a narrative that holds the reader‘s attention in a remarkable way. The trip endeavor by Mariano, when he lefts the city in which he went to study the Arts to regress to the island Luar-do-Chão, does not concern only to a geographic space changing, but also implicates a changing in his human and cultural condition and worldview. It is what the city (capitalist, urban and progressive) had transformed him into. To the voyager hero... (Complete abstract click electronic access below)

Made available in DSpace on 2015-09-25T12:21:12Z (GMT). No. of bitstreams: 1 PDF - Rafaella Cristina Alves Teotonio.pdf: 1120064 bytes, checksum: 8610114c507104938d9a457fd3e71e63 (MD5) Previous issue date: 2013-04-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In recent times, the African literature starts to shift from its previous nationalist function as to conceive modernity. The search for what Édouard Glissant (2005) discusses concerning a specific modernity is observed. This literature, when understanding how consuming is the attempt to conquer an identity proper to African nations, reflects the impossibility of return to a pre-colonial past and that the hibridity of its cultures is not only the result of the European colonization, but also an existing reality before the colonization. The current attempt is to search for a modernity that is not the homogenizing, imposed by the globalization, in which the identities form easily commerciable patterns and the minorities are subordinated. The specific modernity" that is searched for, starting with the communication of the African literature and its societies, is a modernity with rhizomatic that tries to give voice to subjects previously hidden. In this search, the feminine authorship shows a particularized movement introduced in contemporary African literature. Women, before and after the colonization were seen as subjects stigmatized and violated by patriarchy, establishing with the literary expression a relationship that reveals and has the need to talk about their conditions as a minority and the condition of of other minorities. This work proposes to study two contemporary African female writers in whose works one can read the search and problematization of the modernity of their nations. The study analyzes the works The seventh oath (2000), written by the Mozambican writer Paulina Chiziane and Purple hibiscus (2011), by the Nigerian, Chimamanda Ngozi Adichie. Using the comparative method, the works are analysed by examining the way the authors communicate literally, producing in their narratives, updates of the African values, previously held forth by writers of other generations. Both narratives establish debates that distance themselves from the anterior perspective of African literatures when creating a face for the nation, in an attempt to invent a specific identity for them, because the narratives in The seventh oath and Purple hibiscus show an African identity that tries not to be fixed, imobile ou unique, however it is different due to its diversity of identities that relate to each other in the contemporainity. / Na atualidade, as literaturas africanas se deslocam da antiga função nacionalista para conceber a modernidade. Observa-se a busca do que Édouard Glissant (2005) diz a respeito de uma modernidade própria . Essas literaturas, ao entenderem o desgaste produzido pela tentativa de conquistar uma identidade própria às nações africanas, refletem a impossibilidade de volta a um passado pré-colonial, e que a hibridez de suas culturas não é somente resultado do encontro com a colonização europeia, mas uma realidade existente antes da colonização. A atual tentativa é de buscar uma modernidade que não seja a homogeneizante, imposta pela globalização, em que as identidades formam padrões facilmente comercializados e as minorias são subalternizadas. A modernidade própria procurada, a partir da comunicação das literaturas africanas com suas sociedades, é uma modernidade com identidades rizomáticas que tenta dar voz a sujeitos antes ocultados. Nessa busca, a autoria feminina demonstra uma visão particularizada do movimento instaurado nas literaturas africanas contemporâneas. As mulheres, antes e depois da colonização foram vistas como sujeitos estigmatizados e violentados pelo patriarcalismo, estabelecendo com a expressão literária uma relação que revela e tem a necessidade de dizer sobre sua condição minoritária e sobre a condição de outras minorias. O trabalho propõe estudar obras de duas escritoras africanas contemporâneas em cujas obras se leem a busca e problematização da modernidade de suas nações. O estudo analisa as obras O sétimo juramento (2000), da escritora moçambicana Paulina Chiziane, e Hibisco roxo (2011), da escritora nigeriana Chimamanda Ngozi Adichie. Utilizando o método comparativo, realiza-se a análise das obras examinando o modo como as escritoras se comunicam literariamente, produzindo, em suas narrativas, atualizações dos valores africanos antes pregados por escritores de outras gerações. As narrativas de O sétimo juramento e Hibisco roxo mostram uma identidade africana que não se quer fixa, imóvel ou única, mas que se diferencia pela diversidade de identidades que se relacionam na contemporaneidade.

Trois phases se distinguent nettement lorsqu’on étudie la médiatisation du roman d’Afrique noire en France. Les premiers romanciers africains francophones suscitent, au cours des années 1950, l’engouement des journalistes métropolitains car ils incarnent - à leurs yeux - le succès de la « mission civilisatrice » de la France dans ses colonies. Cet intérêt s’émousse peu après les indépendances, survenues en 1960, au moment où la Guerre d’Algérie connaît ses derniers soubresauts. Pendant près de vingt ans, le roman africain souffre d’une faible visibilité médiatique dans l’Hexagone. Il est alors réservé à un public d’initiés. L’année 1980 marque, cependant, un tournant : la célèbre émission télévisuelle Apostrophes met en vedette, cette année là, « l’Afrique noire racontée par des romanciers ». Les œuvres littéraires de ce continent bénéficient depuis lors d’un regain d’attention, qui atteint son apogée la décennie suivante. Ainsi, l’écrivain togolais Kossi Efoui s’enthousiasme en 2002, dans le magazine Jeune Afrique, pour ce « boom des écrivains africains ». Mythe ou réalité ? Cette thèse entend explorer, d’une part, les conditions de la production romanesque africaine - soit sa création et son édition en France et en Afrique subsaharienne - et d’autre part, les modalités de sa réception par la presse écrite, la radio et la télévision françaises. Dans une perspective d’histoire culturelle, elle met en lumière un phénomène majeur de la seconde moitié du XXème siècle : l’introduction progressive du star-system dans les industries culturelles (celles du livre et des médias notamment) et ses répercussions sur les pratiques des différentes professions concernées, à savoir les écrivains, éditeurs, attachés de presse, critiques littéraires et journalistes. / The study of the media coverage of the black African novel in France reveals three distinct phases. In the 1950s, metropolitan journalists were full of enthusiasm for the first francophone African novelists, because they embodied - in the journalists’ eyes - the success of the French colonial “civilising mission”. This interest waned following the independences, around 1960, at the time when the Algerian war was in its final phases. Over a period of 20 years the African novel suffered from a lack of visibility in the French media. It became the preserve of a limited circle of connoisseurs. The year 1980 marked a turning point however: in this year the famous television programme Apostrophes turned the spotlight on « l’Afrique noire racontée par des romanciers » (“Black Africa as recounted by novelists”). Henceforth the literary works of this continent enjoyed renewed attention, which reached its apogee in the following decade. In 2003, the Togolese writer Kossi Efoui spoke enthusiastically of this “boom time for African writers” in the magazine Jeune Afrique. Was this a myth or reality? This thesis seeks to explore, first, the conditions of the literary production in Africa - both its creation and publication in France and sub-Saharan Africa - and second, its reception in the French printed press, on the radio and television. This cultural history sheds light on a major phenomenon of the second half of the 20th century: the progressive introduction of the cult of the celebrity in the cultural industries (the book and media notably) and its repercussions for the practices of the professions concerned, in other words writers, publishers, PR agents, literary critics and journalists.

The aim of this article is to analyse allegories in the first four novels of the Swahili-writing author Euphrase Kezilahabi who is one of the most renowned authors in contemporary Tanzania. This analysis will be based on allegory as it is defined in literary studies. What is aimed at with this study is a hermeneutical interpretative approach to the allegories found in Kezilahabi`s early novels which shall be based on as much contexts as available: text-context, intertextual context, cultural context, historical context, only to mention the most important (cf. Mohlig 1994: 257). The text-context or co-text, however, is considered as the most reliable basis of such a study.

Made available in DSpace on 2014-06-11T19:26:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2004Bitstream added on 2014-06-13T18:55:30Z : No. of bitstreams: 1 camargos_lp_me_assis.pdf: 4673468 bytes, checksum: a2488349043bee5773a7ec0e4a866ad0 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Indexação de textos de crítica e de criação literária das literaturas portuguesa e africanas de língua portuguesa publicadas no Suplemento Literário Minas Gerais (1966-1988), com o objetivo de: a) resgatar a memória das referidas literaturas; b) traçar o percurso do periódico Suplemento Literário Minas Gerais; c) indexar os textos das literaturas mencionadas; d) elaborar uma coletânea de textos integrais (impressa) de crítica e de criação literária com os textos referentes ao item c; e) criar um Banco de Dados informatizado (coletânea de textos integrais digitalizados, em formato PDF, com possibilidade de acesso por meio de fichas catalográficas) com os textos do item d. Por meio do contato com as fontes primárias, procedeu-se à indexação dos textos referentes às literaturas acima, tendo sido estes organizados em fichas catalográficas e em índices remissivos, em formato de quadros,observando-se os itens: cronologia de publicação, colaboradores, escritores e frequência. O produto da pesquisa democratizará e disponibilizará o acesso a periódicos brasileiros e a um número considerável de textos integrais digitalizados das literaturas portuguesa e africanas de língua portuguesa. / This is indexation of critical and literary texts of Portuguese literature and African literatures in Portuguese language published in Literary Supplement Minas Gerais (newspaper) (1966/1988) with the purpose of: a) keeping the memory of the mentioned literatures; b) reviewing the course of the Brazilian periodical Literary Supplement Minas Gerais; c) indexing the texts from those literatures mentioned above; d) making up a collecting the critical and literary texts mentioned in item c in an unabridged printed version; e) making up a Data Base (collected texts digitalized in full, in PDF format, with search access through a cataloguing cards. After contacting the primary sources, the indexation of Portuguese literature and African literatures in Portuguese language were done, as these texts were organized in cataloguing cards and reviewing indexes, in table format, watching the following items: publishing chronology, collaborators, critical articles, literary articles, writers and literary texts. The final product of the research - Data Base and collected texts - will democratize and enable the reading of a Brazilian periodical, the Literary Supplement Minas Gerais and a large number of digitalized unabridged texts in full from Portuguese literature and African literatures in Portuguese language.

As angolanas Alda Lara e Paula Tavares, a cabo-verdiana Vera Duarte, a moçambicana Noémia de Sousa e as são-tomenses Alda Espírito Santo e Conceição Lima são as escritoras que melhor representam a poesia de autoria feminina em seus respectivos países e, embora pertençam a contextos socioeconômicos e culturais bastante diferentes, suas obras se aproximam tanto pela abordagem temática, quanto pela existência de um projeto de construção social do sujeito feminino. Assim, embasamo-nos, teoricamente, nos estudos em especial os de Michel de Certeau (2005) e Maria Odila da Silva Leite Dias (1992; 1994; 1998) em torno da hermenêutica do cotidiano feminino, a fim de demonstrar a importância dos papéis informais, das experiências vividas e da resistência das mulheres no processo de formação de suas subjetividades. Recorremos, ainda, a relatórios baseados em recenseamentos e a diversos documentos elaborados por organismos internacionais, a exemplo da ONU e da UNESCO, para estabelecer os pontos de contato entre a situação das mulheres e os contextos históricos-sociais em que estão elas inscritas, ou seja, Angola, Cabo Verde, Moçambique e São Tomé e Príncipe. Finalmente, aliando os aspectos teóricos e os contextuais, analisamos poemas contidos nas obras iniciais de cada uma das já referidas autoras respectivamente, Poemas (1966), Ritos de passagem (1985), Amanhã amadrugada (1993), Sangue negro (2001), É nosso o solo sagrado da terra (1978) e O útero da casa (2004) e procuramos demonstrar que as mulheres, muitas vezes portadoras de uma voz quase silenciosa e marcada pelas miudezas do cotidiano, inscrevem suas marcas na sociedade e têm o poder de (trans)formá-la e de transformar-se, decorrendo daí o título de nossa tese, De missangas e catanas, alusivo à simbologia da resistência empreendida por elas em favor do afloramento de suas subjetividades e do registro de suas historicidades. / The Angolan Alda Lara and Paula Tavares, the Cape Verdean Vera Duarte, the Mozambican Noémia de Sousa and the Santomean Alda Espírito Santo and Conceição Lima are the writers who best represent the poetry authored by women in their respective countries and, although belonging to very distinct socioeconomic and cultural contexts, their works approach both thematically and as a project of social construction of the female subject. Therefore, our work is based specially in the studies of Michel de Certeau (2005) and Maria Odila da Silva Leite Dias (1992, 1994, 1998) concerning the hermeneutics of everyday life of women in order to demonstrate the importance of informal roles, the experiences of women and the resistance in the formation of their subjectivities. We also recall the reports based on different censuses and documents prepared by international bodies such as the United Nations and UNESCO to establish points of contact between the situation of women and the social-historical contexts in which they are inscribed: Angola, Cape Verde, Mozambique and São Tome and Principe. Finally, combining the theoretical and contextual aspects, we analyzed poems contained in the initiation works of each of the aforementioned authors respectively - Poemas (1966), Ritos de passagem (1985), Amanhã amadrugada (1993), Sangue negro (2001), É nosso o solo sagrado da terra (1978) and O útero da casa (2004) and we demonstrated that even though women often suffer from an almost silenced voice, marked by the offal of daily life, they inscribed their mark on society having the power of (trans)form it. Hence, this is the origin of the title of our thesis, Of beads and machetes which illustrates the symbols of resistance undertaken by the authors for the blossoming of their subjectivities and for the registering of their historicities.

L’institutionnalisation des études postcoloniales et l’essor récent du champ décolonial ont mis en évidence la reconnaissance dont bénéficient aujourd’hui les intellectuels issus d’anciens territoires colonisés. Parmi eux, Ngugi wa Thiong’o et Valentin-Yves Mudimbe sont des figures respectées dont les écrits, aussi bien théoriques que fictionnels, cherchent à résoudre les crises générées par l’expérience coloniale. Conscients que celle-ci ne s’est pas achevée avec la vague des indépendances, ils maintiennent éveillé dans leurs œuvres le désir utopique qu’elles avaient vu naître, celui de concevoir un monde nouveau où les relations entre les peuples et les individus seraient renégociées, et ce, malgré les désillusions de la période qui leur succéda. Pourtant, la survenue, en 1994, du génocide des Tutsi du Rwanda aurait bien pu symboliser l’échec de leurs entreprises de détachement épistémique avec la modernité occidentale. Celui-ci consistait en effet en la réitération, sur le continent africain, d’un crime semblable à celui qui avait poussé nombre d’intellectuels à vouloir rompre avec l’ordre dont la Shoah était la conséquence. Néanmoins, bien au contraire, les textes de Scholastique Mukasonga témoignent de la reprise de l’impératif formulé par Ngugi wa Thiong’o et Valentin-Yves Mudimbe, à savoir le besoin de parvenir à une décolonisation des subjectivités pour initier une renaissance africaine. L’étude de chacune de leurs trajectoires a pour ambition de montrer la complémentarité de ces deux processus dans leurs œuvres qui, séparément, ouvrent la voie à de multiples futurs possibles pour l’humanité. / The institutionalization of postcolonial studies and the recent development of decolonial studies have highlighted the recognition that intellectuals from former colonized territories enjoy today. Among them, Ngugi wa Thiong'o and Valentin-Yves Mudimbe are respected figures whose writings, both theoretical and fictional, seek to resolve the crises generated by the colonial experience. Aware that this did not end with the wave of independence, they kept alive in their works the utopian desire, that of conceiving a new world where relations between peoples and individuals would be renegotiated, despite the disappointments of the postcolonial regimes. However, the 1994 genocide of the Tutsis in Rwanda could well have symbolized the failure of their epistemic detachment efforts with Western modernity. This consisted in the repetition, on the African continent, of a crime similar to the one that had pushed many intellectuals to want to break with the order of which the Shoah was the consequence. On the contrary, Scholastique Mukasonga's texts bear witness to the repetition of the imperative formulated by Ngugi wa Thiong'o and Valentin-Yves Mudimbe, namely the need to achieve a decolonization of subjectivities to initiate an African renaissance. The study of each of their trajectories aims to show the complementarity of these two processes in their works which, separately, open the way to multiple possible futures for humanity.

Orientador: Rosane Gazolla Alves Feitosa / Banca: Tania Celestino de Macêdo / Banca: Álvaro Santos Simões Junior / Resumo: Indexação de textos de crítica e de criação literária das literaturas portuguesa e africanas de língua portuguesa publicadas no Suplemento Literário Minas Gerais (1966-1988), com o objetivo de: a) resgatar a memória das referidas literaturas; b) traçar o percurso do periódico Suplemento Literário Minas Gerais; c) indexar os textos das literaturas mencionadas; d) elaborar uma coletânea de textos integrais (impressa) de crítica e de criação literária com os textos referentes ao item c; e) criar um Banco de Dados informatizado (coletânea de textos integrais digitalizados, em formato PDF, com possibilidade de acesso por meio de fichas catalográficas) com os textos do item d. Por meio do contato com as fontes primárias, procedeu-se à indexação dos textos referentes às literaturas acima, tendo sido estes organizados em fichas catalográficas e em índices remissivos, em formato de quadros,observando-se os itens: cronologia de publicação, colaboradores, escritores e frequência. O produto da pesquisa democratizará e disponibilizará o acesso a periódicos brasileiros e a um número considerável de textos integrais digitalizados das literaturas portuguesa e africanas de língua portuguesa. / Abstract: This is indexation of critical and literary texts of Portuguese literature and African literatures in Portuguese language published in Literary Supplement Minas Gerais (newspaper) (1966/1988) with the purpose of: a) keeping the memory of the mentioned literatures; b) reviewing the course of the Brazilian periodical Literary Supplement Minas Gerais; c) indexing the texts from those literatures mentioned above; d) making up a collecting the critical and literary texts mentioned in item c in an unabridged printed version; e) making up a Data Base (collected texts digitalized in full, in PDF format, with search access through a cataloguing cards. After contacting the primary sources, the indexation of Portuguese literature and African literatures in Portuguese language were done, as these texts were organized in cataloguing cards and reviewing indexes, in table format, watching the following items: publishing chronology, collaborators, critical articles, literary articles, writers and literary texts. The final product of the research - Data Base and collected texts - will democratize and enable the reading of a Brazilian periodical, the Literary Supplement Minas Gerais and a large number of digitalized unabridged texts in full from Portuguese literature and African literatures in Portuguese language. / Mestre