This work will consist of an analysis of the book The Three Halves of Ino Moxo and other wizards of the Amazon (Tres mitades de Ino Moxo y otros brujos amazónicos) written by the Peruvian writer César Calvo. It will mainly focus on the author's attempt to understand the different and wrongfully underestimated spiritual world of the Amazonian Indians. Firstly, it will briefly introduce the author and mention the situation in Peruvian literature of the time. It will then look at the context in Latin American literature and will point out the common aspects of the book with novels of the jungle, with indigenist literature, and with the novels of magic realism and marvelous real. The core of the work will lie in the interpretation of the text. It will try to answer the question on the genre of the book and will then define its composition. Of particular importance will be the chapter on style, which will analyse in details the lyrical character of this prose. It will give evidence of the frequent use of poetic figures in the book by presenting examples thereof. It will look at the way of creating time and space. The thematic analysis will capture particular topics from the viewpoint of the world of the Amazonian Indians by looking at the conception of its typical characters. The work will lead to an...

Orientador: Luiz Roberto Velloso Cairo / Banca: Pedro Brum Santos / Banca: Eduardo de Faria Coutinho / Banca: Tânia Regina de Luca / Banca: Márcio Roberto Pereira / Resumo: Esta tese tem como objetivo apresentar o romancista José de Alencar como o fundador do romance americano no Brasil, lendo seus romances, prefácios e notas que deixou às suas narrativas, pelo viés de um olhar americano. Desta maneira, o conceito de americanidade possibilitará uma leitura da obra alencariana no âmbito das negociações identitárias. Para tanto, conceitos que estão sob a capa da americanidade como entre-lugar, casa-grande e senzala, tropicalismo, transculturação, indigenismo, serão analisados nos romances de Alencar, pois estes conceitos se cruzam na construção de um discurso que tenta reinventar e explicar a América continuamente. Ao debater estes temas, postular-se-á a figura do romancista como aquele que primeiro defendeu, no Brasil, a construção de um romance das Américas, que propôs narrar a lenta gestação do povo americano no seu projeto de literatura. Alencar também foi o primeiro a se auto-definir como americano publicamente no jornal O Globo. O sentimento de americanidade em Alencar poderá ser verificado nos diálogos estabelecidos, por seus romances, com outros romancistas e escritores do continente. Todos pensando na construção da identidade americana em seus textos. Assim, Domingo Faustino Sarmiento, José Hernández, Juan León Mera, Clorinda Matto de Turner, Jorge Icaza e Ciro Alegría, serão vistos em contraponto com a produção romanesca de Alencar. Todos estes autores privilegiando o espaço americano como seu lugar de enunciação na defesa de uma produção cultural própria do continente americano, da qual seus romances, ensaios e poemas são portadores. Portanto, a tese propõe um trabalho de comparatismo literário interamericano, que tem como centro de discussões a própria América nos seus mais diversos cruzamentos... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis aims at presenting the novelist José de Alencar as the founder of the american novel in the Brazil, reading his novels, prefaces and notes that he left in his narratives, on the bias at an american look. In this way, the concept of americanism will make possible the reading of Alencar‟s books in the ambit of the identity negotiations. For this proposal, concepts that are under the cover of americanism as in-between, The Masters and The Slaves, tropicalism, transculturation, indigenism will be analysed in Alencar‟s novels, because these concepts cross themselves in the construction of a discourse that tries to re-invent and to explain America continuously. At debating these themes, we will postulate that the figure of the novelist as the one who first defended, in Brazil, the construction of a novel of Américas, that proposed to tell the slow gestation of the american people in his literature project. Alencar also was the first to auto-define himself as american publicaly in the newspaper O Globo. The americanism feeling in Alencar will be verified in dialogues established, by his novels, with other novelists and writers of the continent. All of them are thinking of a construction of american identity in their texts. So, Domingo Faustino Sarmineto, José Hernández, Juan León Mera, Clorinda Matto de Turner, Jorge Icaza and Ciro Alegria will be seen in counterpoint with Alencar‟s romanesque production. All of these authors privilege the american space as the place of enunciation in the defense of an own cultural production of the american continent, from which his novels, essays, and poems are porters. Therefore, this thesis porposes a work of literary comparativism, which has as a center of discussions the own America in its... (Complete abstract click electronic access below) / Doutor

Les premiers discours sur l’art en Haïti ont été envisagés à partir de la question de l’autre. Il s’agissait de savoir comment la littérature aiderait à définir une identité haïtienne. Ce travail interroge la littérature et la peinture sur la problématique de l’autre, l’autre du dedans, où l’altérité se joue entre les membres d’une même société. Les productions artistiques et culturelles populaires sont analysées à travers le prisme de l’art naïf qui est à la base de la réflexion sur le rapport entre littérature et peinture. Dans un premier temps, les représentations du monde rural par le mouvement indigéniste sont explorées dans les discours littéraires et picturaux, afin de voir si la pratique a su répondre aux objectifs théoriques énoncés par les penseurs du mouvement. Dans un second temps, le dialogue entre la littérature et peinture est traité à partir de plusieurs points de vue : culturel, social, esthétique, en nous appuyant sur les romans suivants, La contrainte de l’inachevé d’Anthony Phelps, L’Énigme du retour de Dany Laferrière et Yanvalou pour Charly de Lyonel Trouillot. Tandis qu’en peinture nos analyses se réfèrent aux toiles de André Normil, Wilson Bigaud, Wilbert Laurent ou Pétion Savain, entre autres. / The first writings on art in Haiti were based on the questioning of otherness - the aim was to know how literature could help define a Haitian identity. This dissertation uses literature and painting to explore this issue of otherness – an otherness inside, in which otherness lies between the members of a same society. The popular artistic and cultural productions are analyzed through the perspective of Naïve Art which gives birth to this reflection on the interaction between literature and painting. The representations of the rural world by the indigenous movement are first explored in literary and pictorial works, in order to see if practice could match the theoretical objectives established by the thinkers of the movement. The dialogue between literature and painting is then explored through several perspectives – cultural, social, esthetic ones, while studying the following novels, La contrainte de l’inachevé by Anthony Phelps, L’Énigme du retour by Dany Laferrière and Yanvalou pour Charly by Lyonel Trouillot. In painting, our analyses notably refer to the works of André Normil, Wilson Bigaud, Wilbert Laurent or Pétion Savain among others.

Submitted by Carlos Benítez Trinidad (carlos.bt.86@gmail.com) on 2017-04-25T19:10:22Z No. of bitstreams: 1 tese carlos benitez.pdf: 4376102 bytes, checksum: 1e916c5e1518bd44883afcd4e7bd520b (MD5) / Approved for entry into archive by Maria Auxiliadora da Silva Lopes (silopes@ufba.br) on 2017-05-03T14:56:02Z (GMT) No. of bitstreams: 1 tese carlos benitez.pdf: 4376102 bytes, checksum: 1e916c5e1518bd44883afcd4e7bd520b (MD5) / Made available in DSpace on 2017-05-03T14:56:03Z (GMT). No. of bitstreams: 1 tese carlos benitez.pdf: 4376102 bytes, checksum: 1e916c5e1518bd44883afcd4e7bd520b (MD5) / CAPES / Esta pesquisa é um estudo documental do construto sócio-cultural “índio” no imaginário e na ideologia da sociedade e do poder brasileiro, durante a ditadura civil-militar que começou em 1964 e teve seu final em 1985. O objetivo é individualizar os componentes epistemológicos e dos grupos de significantes que compõem a rica polissemia do objeto de estudo: o índio imaginário. Se tem tido em conta a diversidade dos atores que compõem o sujeito de estudo, desde os militares, o indigenismo oficial, a legislação, os habitantes da fronteira, a opinião pública, acadêmicos, sertanistas e religiosos. O índio mostra-se nesta pesquisa como um potente gerador de símbolos das mais diversas naturezas, mas sempre com a intencionalidade de supor um espelho invertido e oposto à própria sociedade/poder nacional. A categoria colonial que lhe deu vida, segue presente na sua proposta como um exotismo enfrentado ao projeto civilizador da Modernidade que anseia Brasil como Estado-nação e também como sociedade ocidental. Ao mesmo tempo, se apresenta também como um poderoso teatro de símbolos onde se (des)encontram a ideologia militar e sua oposição. Todo isso dentro do esforço que Brasil experimenta por achar sua própria narrativa e lhe dar uma posição frente aos desafios que gera o mundo contemporâneo, que no caso brasileiro, acha sua conjuntura chave durante a ditadura civil-militar. Esta pesquisa é puramente documental tendo como referencia teórica o pensamento “decolonial”, a historia sócio-cultural, a interdisciplinaridade, a multirreferencialidade e a complexidade. A documentação analisada esta dividida em três categorias: a oficial gerada pelo Estado e seu aparelho burocrático e legislativo; o material criado pelas instituições não necessariamente ligadas ao Estado como a Igreja Católica, movimentos sociais e ONGs; e a produção cultural/intelectual que percorre desde a imprensa da época, material audiovisual, literatura culta e popular assim como o produzido pelos acadêmicos, missionários, políticos, ativistas, lideranças/movimentos indígenas, etc. Os resultados obtidos demonstram a fortíssima relação que mantêm Brasil com sua mais característica e passional alteridade, e como sua situação de ambivalência da fé de como o país tropical tem procurado incessantemente se interpretar a se mesmo a partir de se olhar nesse espelho que era o índio. Tendo como resultado final, o revesti-lo necessariamente do papel de oposição ontológica a partir de sua “bestialização”, naturalização e “folclorização”. / RESUMEN Esta investigación es un estudio documental del constructo socio-cultural “indio” en el imaginario y la ideología de la sociedad y el poder brasileño, durante la dictadura civil-militar que comenzó en 1964 y tuvo su fin en 1985. El objetivo es individualizar los componentes epistemológicos y los grupos de significantes que componen la rica polisemia del objeto de estudio: el indio imaginado. Se han tenido en cuenta la diversidad de actores que componen el sujeto de estudio, desde los militares, el indigenismo oficial, la legislación, los habitantes de la frontera, la opinión pública, académicos, sertanistas y religiosos. El indio se muestra en esta investigación como un potente generador de símbolos de las más diversas naturalezas, pero siempre con la intencionalidad de suponer un espejo invertido y oposicional a la propia sociedad/poder nacional. La categoría colonial que le dio vida, sigue presente en su propuesta como un exotismo enfrentando al proyecto civilizador de la Modernidad que anhela Brasil como Estado-nación y también como sociedad occidental. Al mismo tiempo, se presenta también como un poderoso teatro de símbolos donde se (des)encuentran la ideología militar y su oposición. Todo ello inmerso en el esfuerzo que Brasil experimenta por encontrar su propia narrativa y darle un encaje frente a los desafíos que genera el mundo contemporáneo, que en el caso brasileño, encuentra su coyuntura clave durante la dictadura-civil militar. Esta investigación es puramente documental teniendo como referencia teórica el pensamiento “decolonial”, la historia socio-cultural, la interdisciplinariedad, la multirreferencialidad y la complejidad. La documentación analizada está dividida en tres categorías: la oficial generada por el Estado y su aparato burocrático y legislativo; el material generado por instituciones no necesariamente ligadas al Estado como es la Iglesia Católica, movimientos sociales y ONGs; y la producción cultural/intelectual que recorre desde la prensa de la época, material audiovisual, literatura culta y popular así como lo producido por académicos, misioneros, políticos, activistas, líderes/movimientos indígenas, etc. Los resultados obtenidos demuestran la fuertísima relación que mantiene Brasil con su más característica y pasional otredad, y como su situación de ambivalencia da fe de cómo el país tropical ha buscado incesantemente interpretarse a sí mismo a partir de mirarse en ese espejo que era el indio. Dando como resultado final, el revestirlo necesariamente del rol de oposición ontológica a partir de su bestialización, naturalización y “folclorización” / ABSTRACT This research is a documentary study of the socio-cultural construct “indio” in the imaginary and the ideology of Brazilian society and power, during the civil-military dictatorship that began in 1964 and ended in 1985. The objective is to individualize the epistemological components and the groups of signifiers that make up the rich polysemy of the object of study: the imagined “indio”. It has taken into account the diversity of actors that make up the subject of study, from the army, official indigenism, legislation, border people, public opinion, academics, sertanists and religious. The “indio” is shown in this research as a powerful generator of symbols of the most diverse natures, but always with the intention of assuming an inverted mirror and opposed to the national society/power itself. The colonial category that gave life to it, is still present in its proposal as an exoticism that face the civilizing project of Modernity that longs for Brazil as a nation-state and also as a Western society. At the same time, it also presents itself as a powerful theater of symbols where the military ideology and its opposition meet. All this is immersed in the effort that Brazil is experimenting to find its own narrative and give it a fit in front of the challenges that the contemporary world generates, which in the Brazilian case, finds its key juncture during the civil-military dictatorship. This research is purely documentary having as theoretical reference the "decolonial" thought, the socio-cultural history, the interdisciplinarity, the multi-referentiality and the complexity. The documentation analyzed is divided into three categories: the official sources generated by the State and its bureaucratic and legislative apparatus; the material generated by institutions not necessarily linked to the State such as the Catholic Church, social movements and NGOs; and cultural/intellectual production that travels from the press of the time, audio-visual material, cultured and popular literature as well as produced by academics, missionaries, politicians, activists, indigenous leaders/movements, etc. The results obtained demonstrate the very strong relationship that Brazil maintains with its most characteristic and passionate otherness, and as its ambivalence situation testifies to how the tropical country has sought incessantly to interpret itself from looking at itself in that mirror that was the “indio”. With the final result, it is necessarily covered by the ontological opposition from its “bestialization”, naturalization and “folklorization”.

Made available in DSpace on 2014-06-11T19:32:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-11-18Bitstream added on 2014-06-13T19:22:25Z : No. of bitstreams: 1 candido_wr_dr_assis.pdf: 948503 bytes, checksum: 069368fad1bda8dad2918c9bb1a88de3 (MD5) / Esta tese tem como objetivo apresentar o romancista José de Alencar como o fundador do romance americano no Brasil, lendo seus romances, prefácios e notas que deixou às suas narrativas, pelo viés de um olhar americano. Desta maneira, o conceito de americanidade possibilitará uma leitura da obra alencariana no âmbito das negociações identitárias. Para tanto, conceitos que estão sob a capa da americanidade como entre-lugar, casa-grande e senzala, tropicalismo, transculturação, indigenismo, serão analisados nos romances de Alencar, pois estes conceitos se cruzam na construção de um discurso que tenta reinventar e explicar a América continuamente. Ao debater estes temas, postular-se-á a figura do romancista como aquele que primeiro defendeu, no Brasil, a construção de um romance das Américas, que propôs narrar a lenta gestação do povo americano no seu projeto de literatura. Alencar também foi o primeiro a se auto-definir como americano publicamente no jornal O Globo. O sentimento de americanidade em Alencar poderá ser verificado nos diálogos estabelecidos, por seus romances, com outros romancistas e escritores do continente. Todos pensando na construção da identidade americana em seus textos. Assim, Domingo Faustino Sarmiento, José Hernández, Juan León Mera, Clorinda Matto de Turner, Jorge Icaza e Ciro Alegría, serão vistos em contraponto com a produção romanesca de Alencar. Todos estes autores privilegiando o espaço americano como seu lugar de enunciação na defesa de uma produção cultural própria do continente americano, da qual seus romances, ensaios e poemas são portadores. Portanto, a tese propõe um trabalho de comparatismo literário interamericano, que tem como centro de discussões a própria América nos seus mais diversos cruzamentos... / This thesis aims at presenting the novelist José de Alencar as the founder of the american novel in the Brazil, reading his novels, prefaces and notes that he left in his narratives, on the bias at an american look. In this way, the concept of americanism will make possible the reading of Alencar‟s books in the ambit of the identity negotiations. For this proposal, concepts that are under the cover of americanism as in-between, The Masters and The Slaves, tropicalism, transculturation, indigenism will be analysed in Alencar‟s novels, because these concepts cross themselves in the construction of a discourse that tries to re-invent and to explain America continuously. At debating these themes, we will postulate that the figure of the novelist as the one who first defended, in Brazil, the construction of a novel of Américas, that proposed to tell the slow gestation of the american people in his literature project. Alencar also was the first to auto-define himself as american publicaly in the newspaper O Globo. The americanism feeling in Alencar will be verified in dialogues established, by his novels, with other novelists and writers of the continent. All of them are thinking of a construction of american identity in their texts. So, Domingo Faustino Sarmineto, José Hernández, Juan León Mera, Clorinda Matto de Turner, Jorge Icaza and Ciro Alegria will be seen in counterpoint with Alencar‟s romanesque production. All of these authors privilege the american space as the place of enunciation in the defense of an own cultural production of the american continent, from which his novels, essays, and poems are porters. Therefore, this thesis porposes a work of literary comparativism, which has as a center of discussions the own America in its... (Complete abstract click electronic access below)

Les courants migratoires outre-atlantiques à la charnière du XIXe et du XXe siècle consolidèrent la représentation de la nation argentine comme « un pays d’immigration ». Mais, derrière l’assimilation réussie de centaines de milliers d’étrangers se cache un complexe rapport entre la nation et la diversité qui compose sa population. Nous avons placé au coeur de notre recherche l’étude de l’ethnicité en Argentine et son rapport avec la nation et les phénomènes migratoires internes et externes. Les élites du XIXe siècle mirent en place des politiques de population qui visaient l’édification d’une société homogène, blanche et d’origine européenne. Celles-ci provoquèrent un « processus d’effacement » de l’ethnicité argentine qui fut achevé durant le XXe siècle avec l’avènement du péronisme. Ce ne fut qu’au cours des gouvernements de Carlos Menem durant les années 1990 que l’ethnicité subit une nouvelle fois de profondes transformations, notamment à cause de la montée de la xénophobie ciblant les immigrants limitrophes. Notre recherche propose une étude de l’évolution du rapport entre le péronisme et l’ethnicité. Pour ce faire, nous avons choisi de suivre l’approche barthienne de l’ethnicité et de placer au centre de notre analyse le concept de frontière ethnique. Notre recherche s’achève avec l’analyse d’entretiens semi-dirigés effectués lors d’un travail de terrain réalisé auprès de la communauté bolivienne à Buenos Aires. Nous tenterons de montrer que les changements de l’ethnicité durant les années 1990 sont à mettre en rapport avec la désarticulation des identités politiques traditionnelles et le rétrécissement de la citoyenneté qui caractérisèrent cette période. / Migratory movements across the Atlantic at the turn of the nineteenth and twentieth centuries consolidated the representation of the Argentine nation as "a country of immigration". But behind the successful assimilation of hundreds of thousands of foreigners, lies a complex relationship between the nation and the diversity that makes up its population. We have placed at the heart of our research the study of ethnicity in Argentina and its relationship with the nation and internal and external migratory phenomena. The nineteenth-century elites set up population policies aiming at building a homogeneous, white and european origin for the society. These policies provoked a "process of erasing" argentinian ethnicity which was completed during the 20th century with the advent of peronism. It was only during the governments of Carlos Menem during the 1990s that ethnicity underwent profound changes, notably because of the rise of xenophobia targeting neighboring immigrants. Our research proposes a study of the evolution of the relationship between Peronism and ethnicity. To do this, we chose to follow the Barthian approach to ethnicity and to place the concept of ethnic frontier at the center of our analysis. Our research ends with the analysis of semi-directed interviews accomplished during a field work carried out with the Bolivian community in Buenos Aires. We will try to show that the changes in ethnicity during the 1990s are related to the phenomenon of disarticulation of traditional political identities and shrinking citizenship that characterized this period.

Au début du 20e siècle, période de gestation de l’indigénisme, nait un art pictural indigéniste en Haïti. Cette peinture est dite haïtienne. Des peintres s’attèleront à représenter la réalité locale pour fonder cette peinture. La caractéristique de cet art est d’être ethniciste, c’est à dire qu’il se réfère à l’histoire, à la géographie, au folklore d’Haïti, etc. À partir de 1950- 1960, chez Jean-René Jérôme et Jacques Gabriel nous identifions l’abandon de la peinture ethniciste qui se traduit par l’introduction de nouveaux thèmes et une forte référence à la subjectivité. Nous cherchons à montrer dans ce mémoire que ces deux peintres abandonnent l’indigénisme en mettant en place la créolisation de leur langage visuel et une esthétique nouvelle, celle de la rencontre, à partir des actes d’appropriation, de citations et de bricolage. / At the beginning of the 20th century, gestation period of indigenism, an indigenous pictorial art emerges in Haiti. This art is said to be Haitian. Various painters will strive to depict the local reality in order to create this painting. This art’s characteristics are to be ethnic, meaning that it refers to Haitian history, geography and folklore, etc. From the 1950’s-1960’s era it seems that Jean -René Jérôme and Jacques Gabriel abandoned the ethnic base painting. That is reflected by the introduction of new themes and a strong reference to subjectivity. Our aim is to show that these two painters abandon the indigenist approach to replace it with a creolization of visual languages and a new aesthetic, one of the encounter, based on acts of appropriation, citations and redesigning (‘’bricolage’’).

The general objective of this study is to lay out the bases for an assessment of the impact of foreign and local investment on indigenous people in East Africa. For this purpose it will explore the current and systematic practice of violations of human rights as against the obligation of states to promote and to protect human rights and to guarantee effective remedies for victims in cases where those rights have been violated under the international human rights law jurisprudence in an African context. Reveals how State sponsored investments in Maasai traditional land, particularly creation of national parks, game reserves and game controlled areas have changed the way of life of the Maasai as a “people” aggravating their marginalization. / Thesis (LLM (Human Rights and Democratisation in Africa))--University of Pretoria, 2007. / Dissertation submitted to the Faculty of Law University of Pretoria, in partial fulfilment of the requirements for the degree Masters of Law (LLM in Human Rights and Democratisation in Africa). Prepared under the supervision of Dr Lorite Alejandro of the Department of Law, American University - Cairo Egypt. / http://www.chr.up.ac.za/ / Centre for Human Rights / LLM

The diploma thesis deals with the political strategy of the former Bolivian President Evo Morales (2006-2019). After successfully running in the 2005 presidential election, he became the first Bolivian president of Indian descent. Many authors believe that during the three election periods that Morales served in the country, there was a reversal in his political strategy, after he deviated from his original agenda of indigenous nature and began to pursue a tough extractivist policy focused on the development model of the state. The paper explores key concepts such as Indigenism, Indianism, and Katarismo and their development and influence in Bolivia. The work also tries to define the term developmentalism (development theory), which is of fundamental importance in the study of this issue. Closer attention is also paid to the personality of Evo Morales and his political activity. Based on both primary and secondary sources, we tried to define and explain the political turnaround that was to take place. The work deals with four key areas of Morales policy, the role of gas extraction, the president's relationship with exports, building infrastructure, and the autonomy of Native American movements. Based on the analysis of these areas, we examine whether there has been a political turnaround, which...

Reflection of the Indigenous World in the 20th Century Latin American Essay PhDr. Lucie Núñez Tayupanta Abstract This dissertation focuses on the study of essayistic works which reflect the presence of indigenous world and its cultural traditions in Latin America. The aim of this work is to answer the question of how Latin-American essayists consider the contribution of the indigenous heritage to the creation of national identity. Furthermore, the work aims to point out the differences in approach of the essayists and to emphasize specific elements of this process in their works. At the beginning, the thesis deals with the theoretical definition of the genre of essay which is primarily based on studies of Spanish and Latin-American critics. The main part is devoted to the analysis of six essayistic works where three different approaches to the relationship between cultures are evident. The harmonic conception is present in the work of the Mexican writer Alfonso Reyes. Reyes finds common features between the original (pre- Columbian) and the contemporary culture and observes a blending of these two units. In the case of Reyes' text, we can see an effort to find a harmony in the fusion of cultures, the European and indigenous tradition. In the second approach, the dramatic, there can be found two views....