The reorientation of federal state policy on Canada's relation to Indigenous peoples that occurred in the years 1969-1974, although heralded as progressive, inaugurated not so much an age of liberation, restititution, and reconciliation as a bureaucratic and institutional framework for perpetuating settler-colonial processes of dispossession and assimilation. This was a period of intense struggle both within and without Indigenous politics, as activist dissidents to the increasing institutionalization of negotiation with the colonial state were branded as pathological and dangerous "Red Power" militants and phased out from mainstream political discourse. As they lived through the contradictions of these processes, three such militants turned to writing autobiographies that would become foundational influences upon the development of Indigenous literature in Canada: Maria Campbell's Halfbreed, Howard Adams's Prison of Grass, and Lee Maracle's Bobbi Lee: Indian Rebel. These autobiographies, which explicitly spoke to the writers' political and activist experiences and positions, occupy a complicated position in Indigenous literary history. Often relegated to a bygone moment of polemic, bitterness, and resentment, they have been more or less systematically misread or dismissed as works of literature by literary critics. This thesis proposes that considering these works in their formal and narrative specificity, as well as constituting a literary-critical and literary-historical end in itself given the dearth of scholarly attention paid to this period of Indigenous/Canadian history in general and these works in particular, can open up productive theoretical and critical insights into two ongoing disciplinary concerns: dismantling ongoing scholarly investments in colonial premises about and usages of narrative, subjectivity, and history; and envisaging possible relations between Indigenous literature(s) and literary study and anti-colonial political processes, especially processes of activism and movement-building toward decolonization.

This dissertation examines representations of the forest in Canadian and Brazilian literatures and cultural imaginaries in order to question utilitarian models of environmental use and discuss issues of deforestation in both countries. I argue that these models draw on aesthetic and narrative strategies that were consolidated through cultural myths about the Canadian woods and the Brazilian Amazon during the period of colonization and settlement which reified the wilderness and the jungle as uncultivated environments in need of being tamed, optimized, and civilized through consistent projects of land transformation and economic development. Furthermore, I argue that myths about the wilderness and the jungle founded a particular mode of knowing, interacting and existing in and against the environment based on the antagonism between humans and non-human nature which was imposed as universal and continues to shape current material practices in both countries. Despite the differences between the Canadian wilderness and the Brazilian jungle, similar patterns and problems are visible in the literatures of both countries because of their colonial histories and economic models based on the capitalist development of primary resources. Thus, by analyzing a variety of Canadian and Brazilian texts, my dissertation draws attention to the relations of power within which "the forest" was constructed in the Canadian and Brazilian national imaginaries, and which, in turn, were naturalized by particular representations of the wilderness and the jungle. In so doing, my project shows the centrality of Western-centric ideals of progress, culture, nature, and modernity in both countries, and how these concepts continue to inform current institutional policies and environmental debates about forestry management, deforestation, and conservation. I argue that by questioning utilitarian models of land management, writers like Brian Fawcett, Daphne Marlatt and Jeannette Armstrong in Canada as well as Márcio Souza, Regina Melo, and co-writers Bruce Albert and Davi Kopenawa in Brazil call for a critical reinterpretation of master narratives while also inviting alternative frameworks of knowledge that run against dominant economic, environmental, and ontological models. The Canadian wilderness and the Brazilian Amazon occupy a central role in the national literatures and cultural myths of these countries. Nevertheless, the idea of the wilderness and the jungle they reify is mostly symbolic and, as such, tends to obscure the material realities of these landscapes. In turn, the texts I analyze in this dissertation unveil a connection between the imaginary and actual forestry practices enacted by companies and governments to call for epistemic, ontological, and material changes on the ground. Put another way, these narratives mediate between real world issues and aesthetic form, and try to offer a discursive structure for acting upon current environmental, cultural, and economic crises. In their critique of the sustained exploitation of humans and non-humans in postcolonial nations like Canada and Brazil, the writers I examine in my project offer the seeds a theoretical (un)thinking that brings epistemology, ontology, nature, and politics to the forefront of discussions about the environment.

Okwire’shon:’a, or trees of the forest, guide the methodology and epistemology of my doctoral research. The Rotinonhsonni creation history tells us that all life is made from the clay of the earth (Mother Earth or First Woman), and therefore everything in Creation shares an origin in and a connection to the earth. Thus, Rotinonhsonni thoughtways understand trees to be part of an interconnected network of land-based knowledge that spans from time immemorial to the present. As extensions of First Woman, trees are literally my relations, my ancestors. While onkwehonwe (original peoples) have long been able to tap into the knowledge of the land (and many still do), colonialism has significantly disrupted our landed and place-based relationships and consequently our ability to read the land. This, in turn, disrupts the ability of onkwehonwe to live within the principles of Kayanerekowa. My dissertation explores, through juxtapositions of Rotinonhsonni oral histories, contemporary Indigenous literature, and a series of trees, the possibility of (re)learning to read and communicate with the land. Using a trans-Indigenous methodology, my project examines three branches of land-centered philosophy within Indigenous literature: enacting creation stories; spirit agency; and internalized ecological holism. By reading different Indigenous texts across from Rotinonhsonni epic teachings, my trans-Indigenous methodology affirms Indigenous alliances with the environment and with each other, their long-standing presence on and stewardship of the land, and the value and validity of knowledge that is ancestral, adaptive, and alive. I argue that by carrying forward land-centered knowledge contemporary Indigenous literature stimulates an awareness of the land and nonhuman societies as cognizant and in communication with us. Renewing relations and modes of relationality to the land in this way re-energizes Kayanerekowa, and has the potential to strengthen Indigenous efforts for self-determination, knowledge resurgence, land reclamation, and nation-to-nation alliances. / Thesis / Doctor of Philosophy (PhD) / This project demonstrates a cyclical process of reading between a small selection of contemporary Indigenous literatures, Indigenous oral histories and cosmologies, and a series of trees indigenous to Turtle Island. Tree-readings are attempted through three methods: aesthetic (metaphoric) interpretation; analysis through Indigenous oral histories; and, listening to the thoughts of the trees themselves. Each tree’s teachings are then bundled together as a framework for reading a work of Indigenous narrative art that demonstrates similar principles and emphases. The overall aim of this work is to model how landed processes of coming to know develop an awareness of the land and all nonhuman societies as alive, thinking, and possessing agency. In a Rotinonhsonni (Six Nations) context, this renewal of landed consciousness strengthens the principles of righteousness, reason, and power, which sustain the Kayanerekowa (Great Law of Peace).

Exile is not only an appropriate lens through which to view the ecological, social, and psychological destabilizations of the Anthropocene, but also as a state which can inspire the flexibility and creativity necessary to survive difficult times through ecologically-connected states of being. Examinations of literary alienation and responses to this condition in this project are confined to women’s exoplanetary science fiction which anticipates the experience of physical and emotional separation from planet Earth. In contextualizing experiences of exile from our planet of origin and the expressions of such in women’s science fiction literature, this project interrogates selected cultural movements in human relationships to the environment, separation from the environment, and resistances to that estrangement through the concept of exile. Chapter One considers the Western myth of the lost paradise and the ways in which the Garden of Eden has contributed to Western conceptions of environmental and human perfection and belonging and the persistent idea of working one’s way back to Eden. In contrast to this idea, I present analyses of James Tiptree Jr.’s A Momentary Taste of Being and Molly Gloss’s The Dazzle of Day, both of which illustrate that working toward perfection is an ultimately stagnating and often violent move. Chapter Two, mounting further challenges to the Western paradise and its reverberations through environmental discourse, frames science fiction’s initial acquiescence to narratives of colonization and later feminist rejection of these narratives. Analyzing the connections between colonial structures, the environment, and beings considered nonhuman or less-than-human in Ursula K. Le Guin’s The Word for World is Forest and Joan Slonczewski’s A Door Into Ocean, this chapter describes the psychological and emotional estrangements necessary to survive and resist colonization and its ecological destruction and contextualizes experiences of exile. Chapter Two argues that though exile is often a destructive process, it can form a basis with which to resist entrenched social structures. Finally, Chapter Three examines the ways in which Indigenous science fiction, working in a different historical and cultural context than that of the Western feminist texts discussed in the previous two chapters, emphasizes an experience of and approach to exilic destabilizations which centres on what Gerald Vizenor calls “survivance”—the survival of colonial genocide and resistance to further colonial impositions. While Lee Maracle’s “The Void” and Mari Kurisato’s “Imposter Syndrome” utilize exoplanetary distance from Earth’s ecosystems to illustrate modes of survivance, they also demonstrate the ways in which relations to the land are maintained through interrelational rather than hierarchical subjectivities, and demonstrate the resilience intrinsic to interconnected ecological systems. In sum, the estranged position of women’s exoplanetary science fiction emerges as critical of the hierarchical structures which have resulted in widespread ecological collapse, and imparts the perspective necessary not only to challenge those structures but also to survive their destabilizations. / Dissertation / Doctor of Philosophy (PhD)

Made available in DSpace on 2017-07-21T20:49:36Z (GMT). No. of bitstreams: 1 Silvely, Brandes.pdf: 1475137 bytes, checksum: d7f970eabead0b01c166c0d4237deca3 (MD5) Previous issue date: 2017-03-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In the past years, especially after the approval of the law 11.645/08 which made obligatory the discussions about African, indigenous and afro Brazilian culture and history in the schools throughout the country, the literature written by indigenous people in Portuguese, is gaining space on the shelves of libraries and bookstores around the country. Due to the unfamiliarity with this literature, to the prejudices related to indigenous productions and even the lack of resources and support from the book publishers to the indigenous writers, a broader acknowledgment of indigenous literature is not seen in academic discussions, and little has been worked in schools about this literature. Therefore, this master`s degree dissertation is, from the language studies of the Bakhtin circle, and the discussions about hybridity and interculturality, brought by Garcia Canclini (2015) and Janzen (2005), to reflect on this indigenous literature written in the Portuguese language as a literature which is fruit of intercultural dialogues and which reveals and promotes intercultural dialogues, considering that in the works of indigenous literature the relationships between indigenous and non-indigenous, between the modern and the traditional, are present. For such, are analyzed the dialogical relations, the presence of other enunciations, in the works O Saci Verdadeiro (2000) and Ajuda do saci (2006), from Olivio Jekupé, Metade cara, Metade Máscara (2004) from Eliane Potiguara, Sehaypóry, o livro sagrado do povo Saterê-Mawé (2007) from Yaguarê Yamã, and Todas as vezes que dissemos adeus (1994) from Kaka Werá Jecupé. These works are considered as practices of social literacy, as links in the chain of verbal communication. In conclusion, I was able to realize that indigenous literature is in relationship with other indigenous and non-indigenous enunciations and that in the literature, these enunciations are being responded and anticipated. I believe this view to the intercultural dialogues in the indigenous literature contributes to the teacher who intends to work indigenous history and culture looking to these intercultural relations starting from the contemporaneous indigenous voices. May also contribute so this literature gains more space in academic discussions. / Nos últimos anos, principalmente após a aprovação de lei 11.645/08, que tornou obrigatórias discussões sobre cultura e história africana, afro-brasileira e indígena nas escolas de todo o país, a literatura escrita por indígenas em língua portuguesa vem ganhando espaço nas prateleiras das bibliotecas e livrarias do país. Devido ao pouco conhecimento dessa literatura, aos preconceitos com relação às produções indígenas e até mesmo à falta de recursos e apoio de editoras por parte dos escritores indígenas, um maior reconhecimento da literatura indígena ainda não é percebido nas discussões acadêmicas e pouco se tem trabalhado com esta literatura nas escolas. Desta forma, a proposta desta dissertação de mestrado é, a partir dos Estudos da Linguagem do Círculo de Bakhtin e das discussões sobre hibridismo e interculturalidade trazidas por Garcia Canclini (2015) e Janzen (2005), refletir sobre a literatura indígena escrita em língua portuguesa como uma literatura que é fruto dos diálogos interculturais e que revela e promove o diálogo intercultural, uma vez que nas obras de literatura indígena as relações entre os indígenas e não indígenas, entre o moderno e o tradicional, estão presentes. Para tanto, são analisadas as relações dialógicas, a presença de enunciados outros, nas obras O saci verdadeiro (2000) e Ajuda do saci (2006), de Olívio Jekupé, Metade cara, Metade Máscara (2004), de Eliane Potiguara, Sehaypóry, o livro sagrado do povo Saterê-Mawé (2007), de Yaguarê Yamã e Todas as vezes que dissemos adeus (1994), de Kaka Werá Jecupé. Essas obras são pensadas como práticas sociais letradas, como elos na cadeia da comunicação verbal. Como resultados, pude perceber que a literatura indígena está em relação com outros enunciados indígenas e não indígenas e que nas obras estes enunciados estão sendo respondidos e antecipados. Acredito que este olhar para os diálogos interculturais na literatura indígena contribui com o professor que pretende trabalhar história e cultura indígena olhando para as relações interculturais a partir das vozes indígenas da contemporaneidade. Pode contribuir, também, para que esta literatura ganhe maior espaço nas discussões acadêmicas.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O propósito deste trabalho é analisar como se dá a ressignificação da memória nas obras Meu vô Apolinário: um mergulho no rio da (minha) memória e Você lembra, pai?, de Daniel Munduruku, buscando compreender em que medida intervém nas representações das identidades que buscam referendar-se na tradição e na ancestralidade. Munduruku é o escritor indígena de maior renome no cenário literário brasileiro da atualidade, com 45 obras publicadas, é representante de uma escrita indígena que, embora em estágios diferentes, vem conquistando espaço e sendo cada vez mais publicada no Brasil, abrindo um novo leque para culturas pouco representadas nas obras de ficção sob o ponto de vista do próprio indígena. A voz dantes silenciada pelo colonizador constitui-se, em esfera literária, na representação do que é ser indígena. Esse dizer-se se estabelece por meio da navegação no rio da memória, e busca na ancestralidade um norte que aponte aspectos culturais que possam sustentar um ideal identitário indígena, tendo a diferença como marca contrastante e constituinte. Ao olhar o passado para explicar o presente, as âncoras da embarcação literária são lançadas em determinados pontos, descontinuando o movimento nas águas da memória. Essas questões serão abordadas neste estudo de caráter essencialmente qualitativo, cujas bases estão fundamentadas na pesquisa interdisciplinar de referencial teórico sobre identidade-representação-memória, na qual foram envolvidos conhecimentos de Sociologia, Antropologia e Psicologia Social, situando-se na busca pela compreensão das influências do que é rememorado nas obras indígenas, e das representações sociais que predominam como marcas identitárias, ou como a própria identidade. / The purpose of this paper is to analyze how is the redefinition of memory in the Daniel Munduruku‟s works Meu vô Apolinário: um mergulho no rio da (minha) memória e Você lembra, pai?, seeking to understand the extent to which intervenes in the representations of identities that seek to ratify the tradition and ancestry. Munduruku is the most renowned Indian writer in the Brazilian literary scene today, with 45 published works, is representative of an indigenous writing that, although at different stages, is conquering space and increasingly being published in Brazil, opening up a new range for cultures underrepresented in fiction from the point of view of indigenous own. The voice silenced before the colonists constitutes, in the literary sphere, the representation of what is being indigenous. This tell if states by navigating the river of memory, and search in a North ancestry that point cultural aspects that can sustain an indigenous identity ideal, taking the difference as contrasting and constituent brand. When looking at the past to explain the present, the anchors of literary craft are launched at certain points, discontinuing the movement in the waters of memory. These issues will be addressed in this study essentially qualitative, whose foundations are based on the theoretical framework of interdisciplinary research on identity-memory-representation, in which were involved knowledge of Sociology, Anthropology and Social Psychology, standing in the quest for understanding the influences what is recollected in indigenous works, and social representations that dominate as identity marks, or the identity.

Os estudos que registram a Amazônia na passagem dos séculos XIX-XX representam um significativo material documental linguístico-antropológico, por sua motivação de registrar os costumes e os valores dos povos indígenas por meio da construção literária, nesta Língua Geral ou Nheengatu, à época deixando de ser a mais falada na região. Carregados de informações científicas, de espaço e de memória, esses textos influenciaram a partir de uma literatura de informação a construção de uma literatura nacional, que corroborou na constituição de uma intencional identidade brasileira. Literatura esta que amplia o universo dos ideais românticos e contribui para o entendimento de um processo de contato de forças e culturas diversas. Busca-se, assim, tratar esse registro documental a partir de questionamentos e comparações acerca do percurso e presentificação da memória, individual e coletiva, dessas sociedades indígenas, por meio dos mitos e narrativas com os ritos e toda sua simbologia do passado integrada à do presente que remetem tanto a diferentes esferas da verdade quanto a diversas concepções de tempo-espaço, e quanto à própria formação da identidade. As narrativas aqui representam esse ciclo em que rupturas e reconfigurações são interpretadas como a formação de uma nova humanidade, porém sem a descontinuidade da ancestralidade a partir da memória. Buscamos traçar um pouco de uma ruptura, a chegada da civilização e suas consequências, a povos milenares por meio de um arcabouço literário construído por intermediários, ou seja, autores que concretizaram a passagem de uma tradição, baseados quase completamente em fontes anteriores, produzindo pesquisas contemporâneas, manuais, dicionários que apresentavam informações dos saberes e cultura dos povos amazônicos. / The studies that register the Amazon in the transition from the 19th to the 20th century represent an expressive linguistic and anthropological material due to the intention of register the habits and values of the indigenous people by the literary construction in Língua Geral (General Language) or Nheengatu, that no longer was the most spoken language in the period. Loaded of memories, landscapes and scientific information, these texts have influenced the construction of a national literature, though the perspective of the literature of information, that corroborated the construction of Brazilian identity formation. This literature expands the universe of romantic ideals and contributes to the understanding of a contact process of various forces and cultures. Therefore, the intention of this documentary record through questions and comparisons about the course and presentification of memory, individual and collective, of indigenous societies, through the myths and narratives that reveal the rites and all symbolism of the past integrated to the present referring to different perspectives of true as to different conceptions of time and space, and the own identity formation. The narratives here represent this cycle where ruptures and reconfigurations are interpreted as the formation of a new humanity, but without the discontinuity of ancestry from memory. We search to draw a rupture, the arrival of civilization and its consequences, to the ancient people through a literary framework constructed by intermediaries, i.e. authors who realized the passage of a tradition, based almost entirely on ancient sources, producing research contemporary, manuals, dictionaries presenting information of the knowledge and culture from Amazon peoples.

Made available in DSpace on 2016-03-15T19:47:32Z (GMT). No. of bitstreams: 1 Marco Aurelio Navarro.pdf: 1414842 bytes, checksum: df1b997433aa9b64938c0157a520b15a (MD5) Previous issue date: 2014-02-13 / Fundo Mackenzie de Pesquisa / The Brazilian Indigenous Literature can be understood as an attempt at self realization in the face of centuries of colonization which left in the mind of the western society stereotypes which have disqualified the native culture. As a tool of resistance, the Indigenous Literature has been able to give visibility to minor ethnical groups in a national scope, thanks to the weariless work of indigenous authors who have fought for not letting their legends and myths become just folklore or something belonging to a distant past in the Brazilian History. Among them, Daniel Munduruku stands out as a significant leadership in this political and literary movement which developed at the end of the 20th century. His effort is to show readers the richness and wisdom of the indigenous culture in Brazil, so as they can better understand its importance for the ethnic formation of the country. Daniel Munduruku culturally hybrid goes from the village to the city, from the sacred to the profane, recognizes himself locally, however, does not deny the urgency to live with the Global Village, markedly technological and capitalist. Thus, this current work intends to present him as author with a postmodern identity, whose works mix various discursive genres, which makes them literally hybrid. For this, we have selected narratives which deal with recurring themes, like the ancestral memory (myths and legends), the personal memory, the indigenous religiosity and some works which show his critical posture in the face of postmodern times. / A Literatura Indígena brasileira pode ser entendida como um esforço de autoafirmação diante de séculos de colonização que deixaram no imaginário da sociedade ocidental estereótipos que desqualificaram a cultura nativa. Como instrumento de resistência, a Literatura Indígena tem conseguido dar visibilidade às minorias étnicas no âmbito nacional, graças ao trabalho incansável de autores indígenas que lutam para que suas lendas e mitos não sejam apenas folclore ou algo pertencente a um passado distante da História brasileira. Dentre eles, destaca-se Daniel Munduruku como uma liderança representativa nesse movimento político e literário que se desenvolveu a partir do final do século XX. Seu esforço é o de mostrar aos leitores a riqueza e a sabedoria da cultura indígena no Brasil, para que possam compreender melhor a sua importância para a formação do país. Daniel Munduruku culturalmente híbrido - transita entre a aldeia e a cidade, entre o sagrado e o profano, reconhece-se no local, mas sem negar a urgência de conviver com a Aldeia Global, marcadamente tecnológica e capitalista. Dessa forma, o presente trabalho pretende apresentá-lo como um autor de identidade pós-moderna, cuja obra mescla variados gêneros discursivos, o que a torna literariamente híbrida. Para tal, reunimos narrativas que tratam de temas recorrentes em sua obra, como a memória ancestral (os mitos e as lendas), a memória pessoal, a religiosidade indígena e algumas obras que mostram a sua postura crítica diante dos tempos pós-modernos.

Essa dissertação tem como objetivo analisar três livros de Lee Maracle, autora canadense de origem indígena, com base nas teorias autobiográficas, pós-coloniais e feministas, visitando brevemente a história canadense, para contextualizar a produção literária desta autora. A primeira publicação de Maracle ocorreu em 1975, com o lançamento de sua autobiografia Bobbi Lee Indian Rebel. Esta dissertação, entretanto, visa discutir a segunda edição desse livro, ampliada em 1990. A narrativa autobiográfica permite-nos conhecer as lutas, dificuldades e corrente situação dos povos indígenas canadenses, para que, no próximo momento possamos analisar a evolução da escrita de Maracle, na publicação de seus romances. Sundogs (1992) foi o primeiro romance da autora. Por meio de sua narradora em primeira pessoa, Marianne, Sundogs desdobra a trilha da jovem protagonista na busca de sua identidade indígena. O mais recente romance de Maracle, Daughters are Forever (2002), apresenta uma introdução mitológica da formação de Turtle Island, a América, baseada nas tradições orais indígenas. O romance narra a trajetória de Marilyn, uma assistente social, por volta de seus quarenta e cinco anos, que sofre pelo seu distanciamento de suas filhas, causado por sua própria maternidade inadequada. O nítido aperfeiçoamento das técnicas literárias ao longo dos anos, transforma Lee Maracle em uma das vozes de uma minoria oprimida que quebra o silêncio através da literatura indígena, denunciando a realidade de seu povo marginalizado há séculos / This dissertations objective is analyzing three books by Lee Maracle, First Nations Canadian author, based on postcolonial and feminist theories, briefly visiting the Canadian history, in order to contextualize Maracles literary production. Maracles first publication took place in 1975, with the release of her autobiography Bobbi Lee Indian Rebel. This dissertation, however, intends to discuss the second edition of this book, enlarged in 1990. The autobiographical narrative allows us to become familiar with the struggles, difficulties and actual situation of Canadian Indigenous peoples, which permits our subsequent analysis of the evolution of Maracles writing at the publication of her novels. Sundogs (1992) was the authors first novel. By the first-person narrator, Marianne, Sundogs unfolds the young protagonists search for her Indigenous identity. The latest novel by Maracle, Daughters are Forever (2002), presents a mythological introduction to the formation of Turtle Island, America, based on Native oral traditions. The novel narrates Marilyns trajectory, a mid-fifties social worker that suffers from her daughters distancing, due to her poor motherhood. The clear improvement of literary techniques along the years transforms Lee Maracle in one of the oppressed voices that breaks the silence through Indigenous literature, denouncing the reality of her, for centuries, marginalized people

Essa dissertação tem como objetivo analisar três livros de Lee Maracle, autora canadense de origem indígena, com base nas teorias autobiográficas, pós-coloniais e feministas, visitando brevemente a história canadense, para contextualizar a produção literária desta autora. A primeira publicação de Maracle ocorreu em 1975, com o lançamento de sua autobiografia Bobbi Lee Indian Rebel. Esta dissertação, entretanto, visa discutir a segunda edição desse livro, ampliada em 1990. A narrativa autobiográfica permite-nos conhecer as lutas, dificuldades e corrente situação dos povos indígenas canadenses, para que, no próximo momento possamos analisar a evolução da escrita de Maracle, na publicação de seus romances. Sundogs (1992) foi o primeiro romance da autora. Por meio de sua narradora em primeira pessoa, Marianne, Sundogs desdobra a trilha da jovem protagonista na busca de sua identidade indígena. O mais recente romance de Maracle, Daughters are Forever (2002), apresenta uma introdução mitológica da formação de Turtle Island, a América, baseada nas tradições orais indígenas. O romance narra a trajetória de Marilyn, uma assistente social, por volta de seus quarenta e cinco anos, que sofre pelo seu distanciamento de suas filhas, causado por sua própria maternidade inadequada. O nítido aperfeiçoamento das técnicas literárias ao longo dos anos, transforma Lee Maracle em uma das vozes de uma minoria oprimida que quebra o silêncio através da literatura indígena, denunciando a realidade de seu povo marginalizado há séculos / This dissertations objective is analyzing three books by Lee Maracle, First Nations Canadian author, based on postcolonial and feminist theories, briefly visiting the Canadian history, in order to contextualize Maracles literary production. Maracles first publication took place in 1975, with the release of her autobiography Bobbi Lee Indian Rebel. This dissertation, however, intends to discuss the second edition of this book, enlarged in 1990. The autobiographical narrative allows us to become familiar with the struggles, difficulties and actual situation of Canadian Indigenous peoples, which permits our subsequent analysis of the evolution of Maracles writing at the publication of her novels. Sundogs (1992) was the authors first novel. By the first-person narrator, Marianne, Sundogs unfolds the young protagonists search for her Indigenous identity. The latest novel by Maracle, Daughters are Forever (2002), presents a mythological introduction to the formation of Turtle Island, America, based on Native oral traditions. The novel narrates Marilyns trajectory, a mid-fifties social worker that suffers from her daughters distancing, due to her poor motherhood. The clear improvement of literary techniques along the years transforms Lee Maracle in one of the oppressed voices that breaks the silence through Indigenous literature, denouncing the reality of her, for centuries, marginalized people