This study is part of the research Knowledge Formation and Professional Development carried on at the Postgraduate Program in Education at UFSM. With this work, I tried to maintain a closer contact concerning the Representations and the Knowledge of some professionals of Education who work with young and adult students in schools funded by the City Hall administration of Santa Maria. Its objective was to search for a broader comprehension about those professionals way of teaching to be able to contribute in the production of knowledge regarding the formation of teachers. A qualitative approach involving the life histories of the three teachers who collaborated in the study was conducted. By activating their memories, they were able to tell about personal and professional former experiences. Semi-structured interviews distributed in three distinguishing moments were conducted. First, I tried to become more familiar with their life histories; in a second moment, I tried to understand their representations and knowledge, and then, after the transcriptions were finished, the interviews were available for the teachers to read and give their permission to use the material. Information in relation to the questions that guide the research was collected: What kind of representations about the EJA modality do the collaborative teachers have? In which direction are those teachers mobilizing their knowledge to work with young and adult students? Which knowledge do those teachers employ to conduct their work with young and adult students? To do so, some authors are used as references, among them: Castoriadis (1986), Tardif (2002), Nóvoa (1992), Morin (2002), Freire (1999). The interviews made possible to perceive the relevance about the teachers family and initial education contexts which became important factors in the choice of their careers and in their teaching practices. In the representations about EJA student, the research revealed that both the young and the adult student are considered excluded , either because they have not been at school during the adequate period of time, or because they have been distant from the educational context. That made them become shy in the classroom and certain oral and written difficulties could be observed. The young people who come from a regular teaching process are being considered leftovers , by the majority of teachers, and are placed in EJA because of lack of discipline or inadequacy . Therefore, they show little interest and persistence. The results are originated from the exclusion inside the school itself. The adult student, even though with more difficulty, return to school aware that they need the school to keep their jobs and ascend professionally, as well as to improve their living. In face of such problems, a continued formation of young and adult educators is of the uttermost need. A large amout of teachers who lacked the correct skills during their initial formation in order to know to deal with young and adult students from lower social classes, reveal heterogeneous conceptions and employ improper practices, that is, childish practices of a compensatory nature. As to the continued formation, two aspects can be seen: on one side, an institutionalized way characterized by individual practices which reproduce disconnected knowledge from the educational context; on the other side, a constitutive way developed in a collaborative manner among students, teachers and a pedagogical teamwork in an attempt of overcoming closed and ritualistic conceptions. Thus, trough this study, the necessity of articulating continued formation in schools, which can be oriented within a more sensitive knowledge observation and can move around in a daily basis was clearly observable. A collaborative work with integrated actions for the production of knowlege and for the acknowledgement of meaning to be aware of new forms of pertinent solidarity both for teachers and students constitute one possibility to a more adequate solution with regard to the proposed issues. / Este estudo insere-se na Linha de Pesquisa Formação Saberes e Desenvolvimento Profissional, vinculado ao Programa de Pós-Graduação em Educação da UFSM. Com o desenvolvimento deste trabalho, procurei aproximar-me, das Representações e Saberes dos Profissionais que atuam na Educação de Jovens e Adultos em Escolas Municipais de Santa Maria, no intuito de buscar maior compreensão sobre esta modalidade de ensino e contribuir na produção de conhecimentos sobre a formação de professores. O tratamento desse material foi conduzido por uma abordagem qualitativa envolvendo as histórias de vida de três professoras, que, ao acionarem os seus imaginários, permitiram a exposição de suas lembranças da vida pessoal e profissional. Utilizei entrevistas semi-estruturadas, as quais foram distribuídas em três momentos. Primeiro, busquei conhecer um pouco a história de vida anterior à profissão, num segundo momento, procurei trazer as representações e os saberes e, por último, após as transcrições, devolvi-lhes as entrevistas para leitura e consentimento para o uso desse material. Foram recolhidas informações com o objetivo de responder as questões que norteiam a pesquisa: Que representações acerca da modalidade EJA têm as professoras colaboradoras? Onde as professoras estão mobilizando os saberes para trabalhar com os alunos jovens e adultos? Que saberes as professoras mobilizam para realizar o seu trabalho na Educação de Jovens e Adultos? Para isso, utilizo como referência, alguns autores, entre eles: Castoriadis (1986), Tardif (2002), Nóvoa (1992), Morin (2002), Freire (1999). Nas narrativas das professoras percebi a importância do contexto familiar e da escolarização inicial como fator influente na escolha da profissão e nas práticas de ensino. Nas representações sobre aluno de EJA, a pesquisa revelou que tanto o jovem como o adulto, são considerados excluídos por não terem freqüentado a escola em tempo apropriado ou por se encontrarem há algum tempo distanciados do mundo letrado, demonstrando timidez e dificuldades de expressão, oral e escrita. Os jovens vindos do ensino regular estão sendo considerados pela maioria dos professores, como restos , sendo inseridos, assim, na EJA por indisciplina ou inadequação . Dessa forma, manifestam pouco interesse e persistência. Os efeitos se refletem, desta vez, com a exclusão dentro da escola. Os adultos, embora com mais dificuldades, voltam mais conscientes, pois precisam da escola para conservar ou ascender profissionalmente, assim como melhorar a própria qualidade de vida. Frente a essas questões impõe-se a formação inicial e contínua dos educadores de jovens e adultos. A grande maioria dos professores, os quais não foram contemplados nas suas formações iniciais com as especificidades para atender os jovens e adultos das classes populares, revelam uma heterogeneidade de concepções, incorporando, muitas vezes, práticas inadequadas, isto é, infantilizadas e de caráter compensatório. Quanto à formação contínua percebe-se a existência de dois aspectos: de um lado, um caminho instituído com práticas mais individualizadas, reprodutoras de saberes e desarticuladas de seus contextos educativos; de outro, num caminho instituinte , no qual há um conjunto de ações desenvolvidas a partir do trabalho colaborativo entre alunos, professores e equipe pedagógica, na tentativa de superação de concepções fechadas e ritualizadas. Assim, através desse estudo, evidencia-se a necessidade de articular as formações continuadas nas escolas, numa perspectiva orientada para a observação mais sensível dos saberes que se movem na realidade cotidiana. Um trabalho colaborativo de ações integradas, tanto na produção de conhecimentos, como na valorização de significados para reconhecer novas formas de solidariedade, mais pertinentes e inclusivas, tanto para os professores como para os alunos, constitui uma das possibilidades de solução adequada às questões propostas.

Ce projet de recherche souhaite démontrer qu’une nouvelle ère s’instaure (la postmodernité) où l’imaginaire initiatique réinvente une nouvelle forme de socialisation. Il s’agit de questionner les pratiques sociales liées à l’imaginaire initiatique (cosplay, japan expo, jeux en ligne), ainsi que l’impact provoqué dans la vie quotidienne des individus. En fait, on se demandera si l’imaginaire initiatique entraîne des changements de comportements, crée des habitus. Ce qu’il est nécessaire de souligner, c’est que l’homme postmoderne accède au domaine du sacré, entreprend une démarche initiatique, à partir de ce qu’il vit dans les mondes fictionnels. Cette manière d’être est tout à fait légitime, et s’apparente sans aucun doute à une nouvelle façon de vivre l’initiation des sociétés archaïques, l’essentiel étant de retrouver un sens magique du monde. Nous serons ainsi amener à interroger la fonction fantastique de l’imaginaire initiatique, c’est-à-dire sa capacité à ordonner symboliquement un sens authentique à l’existence sociale et permettre à l’individu de dépasser l’aspect tragique de la réalité opaque. / This research project would like to show that a new era is established (postmodernity) where initiatic imaginary reinvents a new form of socialization. It’s a matter of questioning social practices related to initiatic imaginary (cosplay, japan expo, plays on line), as well as the impact caused in the everyday life of individuals. In fact, we shall wonder whether the initiatic imaginary involves changes of behaviors, creates habitus. What it is necessary to underline, it is that the postmodern man reaches the field of sacred, takes an initiatic step, from what he lives in the fictional worlds. This way of being is completely legitimate, and is connected without any doubt with a new way of living archaic initiation, the main thing being to find a magic direction of the world. Thus we shall be brought to question fantastic function of initiatic imaginary, that is its capacity symbolically to order an authentic direction to social existence and to allow individual to overtake the tragic aspect of opaque reality.

À l’origine de cette recherche se trouve un débat taxinomique opposant deux points de vue différents sur l’œuvre et l’appartenance ethnique de l’écrivain Marie NDiaye. Sa filiation franco-sénégalaise et sa couleur de peau ont poussé certains critiques à intégrer ses écrits à la littérature noire francophone, alors que la romancière a principalement vécu en Europe et se dit modelée par la mentalité et la culture occidentales. Pourtant, dans ses deux derniers romans, l’Afrique est un élément essentiel de la diégèse. Notre curiosité a été suscitée par ces différents positionnements. Afin de trancher entre la fascination pour un endroit exotique auquel la romancière est souvent associée et une appartenance sans équivoque au champ littéraire de l’Afrique francophone, nous avons mené une étude sur trois niveaux. Le point de départ a été de relever les influences les plus marquantes qui ont façonné les œuvres de Marie NDiaye et de situer les romans du corpus dans une tradition littéraire évidente. La deuxième partie interroge les dimensions narrative et descriptive de Trois femmes puissantes et Ladivine afin de déceler des signes de métissage. Le dernier fil conducteur creuse les figures de l’imaginaire et relie les deux œuvres étudiées surtout aux mythes et aux symboles issus de l’Antiquité gréco-romaine et du catholicisme. Au terme de notre thèse, nous pensons avoir réussi un travail rigoureux dont les conclusions prouvent que la filiation littéraire de Marie NDiaye est du côté de la littérature française. / At the origin of this research is a taxonomic debate between two different views on the work and the ethnicity of the writer Marie NDiaye. Her Franco-Senegalese descent and skin color have determined some critics to integrate her works within the Francophone black literature, while the novelist lived mainly in Europe and said she was shaped by the Western mentality and culture. Yet in her last two novels, Africa is essential for the diegesis. Our curiosity was aroused by these different positions. To distinguish between the fascination for an exotic location to which the novelist is often associated and an unequivocal belonging to the literary field of Francophone Africa, we conducted a study on three levels. To distinguish between the fascination for an exotic location to which the novelist is often associated and an unequivocal belonging to the literary field of Francophone Africa, we conducted a study on three levels. The starting point was to meet the most important influences that have shaped the works of Marie NDiaye and to find the place of the novels of the corpus in an obvious literary tradition. The second part examines the narrative and descriptive dimensions of Three Strong Women and Ladivine in order to detect signs of miscegenation. The last thread studies the figures of the imaginary and connects the two works with myths and symbols derived from the Greco-Roman antiquity and the Catholicism. At the end of our thesis, we think we have achieved a rigorous work which proves that the literary lineage of Marie NDiaye is on the side of the French literature.

Le cinéma indien est structuré en plusieurs industries cinématographiques régionales autonomes, chacune s’appuyant sur des caractéristiques linguistiques et socioculturelles différentes. Ce contexte est traversé par des problématiques identitaires conflictuelles, dont celle du rapport au national. Le cinéma hindi (Bollywood) est souvent présenté comme le cinéma national en Inde, aux dépends des « autres » cinémas régionaux. Peut-on toutefois parler de cinéma « national » en Inde ? Nous avons voulu examiner cette question à travers l’étude d’une forme cinématographique émergente que nous avons définie comme « cinéma hatke ». Ce nouveau concept opératoire met en évidence la singularité de ce cinéma qui se présente comme un mouvement contre-hégémonique participant à la construction d’un point de vue alternatif sur la modernité indienne. Une méthodologie constructiviste et médiaculturelle permet d’interroger le cinéma hatke dans toute sa complexité. Cette recherche s’appuie sur une étude filmique d’un corpus de neuf films et une analyse des discours médiatisés des acteurs de la production en Inde. Une première partie développe un cheminement théorique et critique partant de la pensée de Gramsci jusqu’aux Cultural Studies indiennes pour questionner différents concepts au regard de notre objet de recherche (hégémonie/contre-hégémonie, culture populaire, cinéma national). Dans une deuxième partie, nous avons mené l’analyse de l'hégémonie du cinéma hindi, en tant que forme esthétique et en tant qu’industrie culturelle, à travers sa relation à l’imaginaire national dominant. Il s’agit ensuite d’étudier les multiples médiations (techniques, discursives, sociales et communicationnelles) contribuant à définir le cinéma indépendant comme un cinéma hatke, c'est-à-dire comme un espace de résistance au sein d'un espace culturel national et transnational. Une dernière partie porte plus spécifiquement sur une analyse filmique révélant la dimension contre-hégémonique de ce cinéma par rapport à Bollywood et aux instances de pouvoir. / The Indian film industry is divided in different regional film industries, based on different linguistics and sociocultural features. This specific context leads to conflicting identity issues, especially in relation to the national imaginary. Hindi cinema (Bollywood) is often seen as the national cinema of India. But can we actually talk about a “national” Indian cinema? We wanted to examine this issue through the emergence of a new independent cinema that we came to define as “hatke”. This new concept highlights the originality of this cinema that can be described as a counter-hegemonic cultural movement contributing to the configuration of an alternative point of view on Indian modernity. A constructivist and mediacultural approach is developed to study the hatke cinema in its complexity and multidimensionality. This research comprises a film analysis of nine films and a discursive analysis of the mediated discourses of the actors of the film industry involved in the production of this cinema. A first part presents a theoretical and critical approach from the Gramscian theory to the Indian cultural studies. We have explored different concepts in regard to the object of enquiry: hegemony/counter-hegemony, popular culture, national cinema. In a second part, we have analysed the hegemonic construction of Hindi cinema, as a cultural form as well as a cultural industry, investigating its relation to the national imaginary. We also analyzed the multiple mediations (technical, discursive, social and communicational) contributing to the definition of an independent cinema as a hatke cinema that can be seen as a space of resistance in both a national and a transnational cultural space. A final part has more precisely analyzed the counter-hegemonic dimension of this cinema in relation to Bollywood and to the national imaginary.

Certains géologues s’accordent à dire que l’Holocène, l’ère géologique d’environ dix mille ans dans laquelle nous nous situons, a laissé sa place à l’Anthropocène, nouvelle couche géologique caractérisée par l’empreinte irréversible de l’activité humaine sur le monde. Cette hypothèse scientifique est corroborée par la crise environnementale qui frappe le monde contemporain et qui met désormais en doute les possibilités de survie de la planète et donc de l’humanité. Depuis quelques décennies, la culture nord-occidentale s’empare de cette réalité anxiogène en la représentant à travers des scénarios fictifs. Ces représentations, diverses et nombreuses, constituent un véritable imaginaire social de la crise environnementale. Cette étude se concentre sur cette représentation plus particulièrement en littérature. Il s’agit d’interroger, à travers l’analyse comparative de huit romans nord-occidentaux (de France, du Canada et des États-Unis), désignés comme des « fictions de l’Anthropocène », comment les œuvres fictives contemporaines participent de l’imaginaire social de la crise environnementale. Ces œuvres reprennent des motifs communs, comme la pollution ou le réchauffement climatique, mais proposent aussi d’explorer des ailleurs fictifs permettant d’imaginer des futurs possibles pour un monde en danger. Elles montrent ainsi en quoi la crise environnementale est fondamentalement liée à notre façon d’habiter le monde. C’est donc une crise de l’humain qui est dévoilée par ces fictions, lesquelles révèlent, à travers une écriture travaillée et un imaginaire puissant, l’intérêt d’une approche spécifiquement littéraire des récits sur notre survie à l’heure de l’Anthropocène. / Some geologists argue that the Holocene, our current geological epoch, has now been replaced by the Anthropocene, a new geological time characterized by the irreversible impact of human activity on Earth. This scientific hypothesis is substantiated in large part by the environmental crisis striking the contemporary world. The many ways our environment is declining force us to question the current chances for the planet, and thus humanity, to survive. In the last decades, many works within northern occidental culture have been reflecting this troubling reality through fictitious scenarios. This network of numerous and diverse representations participate in building a social “imaginary” (the French concept of “imaginaire”) of the environmental crisis.This study focuses on such representation in literature by comparing eight novels from France, Canada and the United States, deeming them as « fictions of the Anthropocene ». It investigates what, in fact, contemporary fictions contribute to the social imaginary of the environmental crisis. The works this study concentrates on use common themes such as pollution or global warming, but also elaborate fictitious scenarios which imagine possible futures for an endangered world. Such works depict how the environmental crisis is related to the way we, as humans, dwell in the world. Within this context, it becomes convincingly apparent that the current environmental crisis is profoundly affecting humans individually and collectively. The elaborate writing and the corresponding imaginary of these works confirm the relevance of literary narratives when considering the question of human survival in the Anthropocene.

La mythologie place l’homme face à la temporalité de l’existence. La littérature permet d’appréhender cette temporalité tout en la densifiant à travers l’art. Le motif récurrent du labyrinthe et la figure du Minotaure qui lui est indéfectiblement attachée dévoilent les liens inextricables de l’écriture, du mythe et de la lecture. Le roman de l’écrivain québécois Jean Barbe, paru en 2004 : Comment devenir un Monstre a réactualisé la figure du Minotaure et a maintenu ce fil d’Ariane jusque dans son dernier roman : Le Travail de l’huître, en développant ses deux facettes : monstruosité et labyrinthe. Cette remémoration littéraire des mythèmes Minotaure et Labyrinthe apparaît dans d’autres ouvrages québécois contemporains notamment depuis les années soixante. Elle révèle à la fois la plasticité formelle du mythe, car il se fait jour dans des ouvrages de styles littéraires différents, et dégage des constantes littéraires qui pourraient être liées spécifiquement au corpus québécois. Hubert Aquin et Gilbert La Rocque développent des écritures caractérisées par des mouvements labyrinthiques et des thématiques éclairant ce propos. D‘autres auteurs aux écritures différentes permettent d’essayer de démontrer la prégnance et l’adaptabilité de ce mythe tant du point de vue du signifiant que du signifié : R.Ducharme, G.Bessette, R.Lalonde, M.Tremblay, J. Renaud, Y.Thériault, complètent ainsi l’étude. Des auteurs féminins apportent un autre point de vue : Aude, M.C. Blais, A. Hébert, S. Jacob, G. Roy, avec les voix de la jeunesse : A. Dandurand, J. Hétu, M.H. Poitras. G. Soucy assure également la relève ainsi que J.F Beauchemin, Biz, Louis Hamelin et S.Trudel qui mettent en scène ce mythe de façon singulière et significative. La figure du Minotaure par la représentation concrète de son ambivalence peut-elle saisir les spécificités de la littérature québécoise contemporaine marquée par la fracture historique? Le labyrinthe, attaché indéfectiblement au Minotaure, tour à tour efface ou fait ressurgir le monstre innommable, l’invisible rejoint alors l’indicible. / Mythology brings human being to face the temporality of existence. Literature allows to grasp this temporality in making it dense through art. The recurrent motif of the Labyrinth and the Minotaur’s figure which is its indefectible tie reveal the inextricable bounds between writing, myth and reading. Quebecer author Jean Barbe’s novel 2004: Comment devenir un Monstre actualised the Minotaur’s figure and this Ariane’s thread was maintained until his last novel : Le Travail de l’huître, expanding its two sides : monstruosity and labyrinth. This literary remembrance of the mythemes Minotaur and Labyrinth becomes evident in other contemporaneous quebecer works especially since the sixties. It both reveals the formal plasticity of the myth, for it appears in novels from various literary styles, and show some literary constants which could specifically be linked to the quebecer corpus. Hubert Aquin and Gilbert La Rocque develop writings characterized by labyrinthine movements and themes shining a light on this topic. Other writers with different ways of writing allow to try and display the weight and adaptability of the myth both in the significans and the signification. R. Ducharme, G. Bessette, R. Lalonde, M. Tremblay, J. Renaud, Y. Thériault, complete the study in this manner. Feminine authors bring another point of vue : Aude, M.C. Blais, A. Hébert, S. Jacob, G. Roy, with the voices of youth : A. Dandurand, J. Hétu, M.H. Poitras. G. Soucy also succeed to them along with J.F Beauchemin, Biz, Louis Hamelin et S. Trudel who stage this myth in a singular and significant way. Can the Minotaur figure, through concrete representation of its own ambivalence, catch the specificities of a contemporary quebecer literature, branded by a historical split? The Labyrinth, indefectibly tied to the Minotaur, in turn vanishes or brings forth the nameless monster, the unutterable thus joining the invisible.

Avec la signature du Traité de Paris en 1951, l’unité européenne est passée du domaine des rêves à celui de la réalité. Des institutions communes ont été créées, ainsi qu’un droit communautaire qui a harmonisé les législations des États membres et une citoyenneté supranationale reconnue. Pourtant, pouvons-nous affirmer que la communauté européenne existe ? Celle-ci, n’exige-t-elle pas également l’existence d’une représentation commune qui rassemble des peuples qui ont parcouru leurs histoires au rythme des conflits ? Y a-t-il un sentiment de coappartenance en Europe ? Nous soutenons que l’objet politique non identifié qu’est l’Union Européenne ne peut faire l’objet d’une représentation que s’il n’assume son europeanité. En d’autres termes, l’existence d’une communauté politique européenne consolidée est ici conditionnée à la représentation de l’identité européenne, à l’existence d’un ensemble de références partagées et donc fédérateur des différences qui la constituent. Il s’agira de questionner, dans un premier moment, les relations entretenues par l’Europe avec le temps et l’espace. Ceux-ci permettront alors de dégager les traits caractéristiques de l’européanité à l’origine d’un style européen. Ce style européen sera ensuite associé à la construction politique, comme le contenu doit être associé à la forme. Ce sera alors le moment pour questionner les modèles politiques européens de façon à savoir enfin lequel parmi l’État-nation et l’Empire est le plus adéquat au style européen. / With the signature of the Treaty of Paris in 1951, european unity moved from the field of dreams to reality. Common institutions were created, as well as a community law that harmonised the laws of the member states and recognised supranational citizenship. However, can we say that the european community really exists? Doesn’t it also requires the existence of a common representation that brings together the people who have walked through their stories to the rhythm of conflicts? Is there a feeling of co-belonging in Europe? This thesis argues that the unidentified political object that is the European Union cannot be the object of representation if it does not assume its europeanity. In other words, the existence of a consolidated european political community is here conditional on the representation of european identity, that is, on the existence of a set of shared references that consequently unify the differences that make up the territory. Therefore, on a first approach, the relationships between Europe and the space-time dimensions are questioned. These will then allow us to bring out the characteristic features of europeanity that form an european style. This european style will then be associated with political construction, the same way that contents must be associated with form. This will then be the time to question the European political models so that we may know, between nation state or Empire, which is most appropriate to the european style.

Ce mémoire explore la dynamique mémorielle au sein de l’écriture. Dans la partie création, le personnage de Sam erre à l’intérieur de ses souvenirs à la recherche de sa sœur Lidie. Il s’agit d’une tentative vaine, toujours à recommencer puisque la mémoire, liée à la conscience, est sans cesse gauchie et subjective, incapable de redonner un passé objectif. La figure de Lidie se trouve ainsi être le point central inatteignable d’une circonvolution, le mouvement circulaire révélant la présence de la mémoire dans le corps du texte. La partie essai aborde la question de la liaison entre la mémoire et l’écriture dans Le Palace de Claude Simon. Reprenant l’idée du triple présent de Saint Augustin, le passé n’est alors possible que dans un présent du passé. Cette dynamique crée un mouvement circulaire ; le personnage parcourt ses souvenirs, mais il ne peut les investir que par la lorgnette d’un présent. Cela se traduit par un texte sans début ni fin, révolutionnaire, où le souvenir, plutôt qu’un retour dans le temps, fait avancer le texte et devient le temps présent de l’écriture. / This master explores the dynamism of the memory within writing. In the creation part, the character of Sam wanders in his memories, searching for his sister Lidie. It is a vain attempt, always to begin again since the memory, related to the consciousness, is unceasingly subjective and distorted, unable to give back an objective past. The figure of Lidie find to be the unattainable central point of a convolution, the cercle trajectory revealing the presence of the memory in the body of the text. The essay part discusses the question of the bond between the memory and the writing in Le Palace of Claude Simon. Taking up the idea of the triple present of St. Augustine, the past is then possible only in a present of the past, and this dynamism creates a circular motion while the character goes through his memories that he can only invest by the lens of a present. This reveals a text without any beginning or end, revolutionary, where the memory, rather than a return in time, is moving forward the text and becomes the present time of the writing.

This thesis aims to demonstrate how the processes of gentrification and displacement are interrelated processes that invent new ways of perpetuating anti- blackness in the U.S. I demonstrate this through an engagement with Christina Sharpe’s (2016) analysis of the imagery of the wake, the ship, the hold, and the weather as axis points that position Black life in the afterlife of slavery—how the conditions of slavery are ongoing today—presenting the racist encounters at Lake Merritt as illustrative examples. In her most recent book, In the Wake: On Blackness and Being, Sharpe (2016) deploys an interdisciplinary approach to critically theorize Black subjection and grief through a Black feminist framework, offering care, or what she terms “wake work” as an anecdote to state-sanctioned anti-black violence. She turns to poetry, film, historical archives, and intimate personal experiences to thoroughly articulate how the past is not passed; I reveal how capitalist logic simultaneously structures media representations of Black people in ways that distort what we signify— monstrosity, threat, and criminal are three examples of this distortion—and fix abstract space in hegemonic spatial imaginaries through privatization and commodification. Most importantly, I turn to art and expression—prominent examples being “BBQ’N While Black” and "The Black Spatial Imaginary" as a community response to BBQ Becky and serial displacement in Portland, Oregon respectively—as resistance and examples of place-making practices that Black people have been engaged in historically to articulate their self-hood, belonging, and beauty through Black love. I strive to undertake this work with intentionality and care, which necessitates an undisciplined approach as academic disciplines have historically deployed methodologies that construct narratives on Blackness that reproduce colonial and anti-black violence.

[pt] Esta dissertação faz uma análise da transposição da narrativa oral de pessoas da terceira idade para os desenhos infantis por um processo empírico onde observamos a produção de 453 desenhos de alunos em escolas municipais do Rio de Janeiro. Configurados a partir de histórias da infância dos idosos, esses desenhos foram objeto de estudo em relação à criatividade, à narratividade e à memória que possibilitaram a representação dos elementos dessas histórias. A idéia é averiguar a influência do tempo entre a escuta e o desenho, a interferência do processo de ensino e aprendizagem no espaço escolar e a relação do sujeito com os materiais desta transposição, levando em conta a cultura, o contexto e o nível de expertise dos sujeitos. / [en] This dissertation analyses the process of transposition of aged peoples oral narrative to childrens drawings, by an empirical work where we were able to analyse 453 drawings made by pupils from Rio de Janeiro schools.Inpired by the childhood stories of the aged collaborators, these drawings show narrative capacities, creative qualities and the memory of these stories. The intention is to understand time influences between the period listening to the stories and the transposed drawing. The interference of the teaching and learning process on the drawings, made in a school enviroment and, finally, the relation between the individual and the materials available for this transposition, taking into account the culture, the environment and the level of expertise.