The broad aim of this study is to show, through a comparative and contrasting analysis of three thematically related texts - namely Peter Abrahams's Mine Boy; Alan Patan's Cry, the Beloved Country and Phyllis Altman's The Law of the Vultures - the ideologically mediated nature of the relationship between the 'real' history which constituted their context, and the representations of it in the historical realist form. An examination afthe texts' characters and events; political formulations, and formal devices reveals three very different representations of the same object. This diversity is significant in so far as it supports a Marxist conceptualisation of the [historical] realist text as a production of ideology as opposed to a portrayal of reality. The study considers the nature of the relationship between each text and ideology in terms of three aspects of this relationship: the 'objectively determinable' relation between history, ideology and text; the ideology of the text itself, and the mode of a text's insertion into an 'ideological sub-ensemble.' In relation to the modes of a text's insertion into an ideological sub-ensemble, my specific aim is to assess the extent to which each text actually challenges the political dispensation to which it was addressed. / Thesis (M.A.)-University of Natal, Durban, 2000.

Thesis (doctoral)--Universität Greifswald, 2001. / Includes bibliographical references (p. 269-292).

Thesis (doctoral)--Universität Greifswald, 2001. / Includes bibliographical references (p. 269-292).

Thesis (doctoral)--Paris III. / On cover: Poètes et poèmes contemporains Afrique-Antilles. Includes index. Bibliography: p. 185-193.

Canada's continued forgetfulness concerning slavery here, and the nation-state's attempts to record only Canada's role as a place of sanctuary for escaping African-Americans, is part of the story of absenting blackness from its history. Rinaldo Walcott The fact that people of African descent have had a presence in Canada for over four hundred years is not well known within the Canadian mainstream. The fact that slavery existed as an institution in Canada is another fact that is not well known. Within the Canadian mainstream writing of African-Canadian history, Blacks most often appear in historical narratives around the late-eighteenth and early-nineteenth centuries, as American fugitives or refugees—either as escaping slaves or British Loyalists. Through the representative writing of the "the Black refugee," Canada is often constructed as a "Promised Land," a sanctuary or safe haven for Blacks, a place of refuge and redemption that does not speak to the complex history of slavery that existed well before the American exodus. Many Black Canadian writers and scholars argue that there is a price to be paid for this kind of representation. First, the absence of people of African descent in Canadian historical narratives, prior to the coming o f the American refugees, ignores the long presence of Blacks in Canada and the contributions that Blacks have made in the development of Canada. Second, in focusing on the American Loyalists and refugee slaves, Canadian writers and historians often construct Black Canadians as a homogenous, genderless group, ignoring the diversity within Canada's Black population and, in particular, the concerns of Black women. Finally, the mainstream representation of Canada as a 'safe haven' proves problematic for any critical discussion of racism in contemporary Canadian society, for notions of "Canada the good" and "America the evil" that arose from those crossings North still penetrate the Canadian mainstream today. This autobiocritical exploration examines the representation of the haven and offers alternative readings to contemporary mainstream writings of African-Canadian history. In part one, I track the appearance of Black Canadians, over the past fifty years, from 1949 to 2001, in a survey of mainstream and scholarly texts. Using the results of this survey, which does not see the appearance of Blacks in Canada until 1977, I examine how mainstream texts might use the works of Black writers to offer more critical and complex histories of Black Canadians and, in particular, Black women. In part two, I take up an analysis of George Elliott Clarke's Beatrice Chancy. Seen as a counter-narrative to mainstream writings of African-Canadian history, Clarke's work, which takes up the subject of slavery in early-nineteenth century Nova Scotia, presents an/Other kind of Loyalist story, one with a Black woman at its centre. In this discussion I examine how Clarke's poetic work subverts the national narrative, as he speaks to the diversity within blackness and the complexities in defining racial identities. / Arts, Faculty of / English, Department of / Graduate

Orientador: Elide Rugai Bastos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / O exemplar do AEL pertence a Coleção CPDS / Made available in DSpace on 2018-08-18T01:22:02Z (GMT). No. of bitstreams: 1 Silva_MarioAugustoMedeirosda_D.pdf: 58291520 bytes, checksum: 0675a2ba5e45f38ef50f87a2b69e0364 (MD5) Previous issue date: 2011 / Resumo: Discute-se, centralmente, a produção recente de escritores auto identificados negros e periféricos, bem como seus livros, por vezes, relacionados às ideias de Literatura Negra e Periférica. Selecionaram-se, entre 1960 e 2000, Carolina Maria de Jesus (Quarto de Despejo, 1960; Casa de Alvenaria, 1961), Cadernos Negros (1978-2008), Paulo Lins (Cidade de Deus, 1997) e Ferréz (Capão Pecado, 2000). Autores e obras permitem aproximações acerca de suas trajetórias pessoais e literárias, aspectos das discussões empreendidas no sistema literário, bem como dos problemas envolvidos nas definições do que sejam Literatura Negra e Literatura Periférica. Também é possível discutir, através deles, aspectos da trajetória do ativismo político-cultural negro e periférico, analisado e, por certo tempo, muito relacionado com a própria história da Sociologia e Antropologia brasileiras. Assim, a negação de um lugar naturalizado, política e culturalmente, para o sujeito negro e periférico, através da Literatura, operou com ideias e problemas diversos, em diferentes momentos, nuclearmente questionando e propondo discussões sobre aspectos da desigualdade social no Brasil contemporâneo / Abstract: It's discussed the recent self identified black and peripherals authors production, as well theirs books, sometimes related to Black Literature and Peripheral Literature ideas. Were selected, between 1960 and 2000 Carolina Maria de Jesus (Child of the Dark, 1960; Casa de Alvenaria, 1961), Black Notebooks (1978-2008), Paulo Lins (City of God, 1997) e Ferréz (Capão Pecado, 2000). Authors and books allow approximations on theirs personal and literary trajectories, some aspects of the debates in the literary system, as well the problems on the Black and Peripheral Literature definitions. It's also possible argue, through them, aspects of black and peripheral political and cultural activism, analyzed and, by a time, closely related to Brazilian Sociology and Anthropology histories. Thus, the denial of a political and cultural naturalized place to black and peripheral subject, through Literature, worked with various ideas and problems, at differents moments, nuclear questioning and proposing discussions on issues of social inequality in modern Brazil / Doutorado / Pensamento Social Brasileiro / Doutor em Sociologia

This study explores the crisis of representation in black South African protest and ‘post’-apartheid literature. Conversant with the debates on the crisis of representation in black South African protest literature from the 1960s to the late 1980s, the dissertation proposes a re-reading of the ‘crisis’ by locating it in the black writer’s struggle for an aesthetic with which to express the existential crisis of blackness. I contend that not only protest but also contemporary or ‘post’-protest black South African literature exhibits a split or fractured mode of writing which is characterised by the displacement/unheimlichheid produced by colonialism and apartheid, as well as by the contentious nature of that which this literature endeavours to capture – the fraught identity of blackness. In my exploration of the split or double narratives of Mongane Serote’s To Every Birth Its Blood, K. Sello Duiker’s Thirteen Cents, and Kopano Matlwa’s Coconut, I examine the representation of blackness through the themes of violence, trauma, powerlessness, failure, and unhomeliness/unbelongingness – all of which suggest the lack of a solid foundation upon which to construct a stable black identity. This instability, I ultimately argue, suggests a move beyond an Afrocentric perspective on identity and traditional tropes of blackness towards a more processual, fluid, and permeable post-black politics.