The central problem that this research seeks to engage is the non-implementation of an Afrocentric movement for African American economic advancement. A wealth of research has explored external and internal factors that cause inequalities in wealth among African Americans and their White counterparts, but there has yet to be an adequate program that addresses African American poverty. The lack of an Afrocentric program has contributed to the formation of African American communities plagued by economic challenges. Social factors such as structural racism, poor educational institutions, generational transfer of poverty, urban removal etc. has had devastating effects on African Americans' opportunities of accumulating wealth. While wealth alone will not solve all issues that face African Americans, addressing economics realities from a social, political, and historical perspective will assist with the current movement for African American economic empowerment and contribute to the economic dimension of the struggle for African liberation. In focusing on economics, this research seeks to contribute to African liberation by providing a detailed Afrocentric historiographical perspective, an empirical analysis of current economic realities, and a model for economic liberation. / African American Studies

Made available in DSpace on 2016-04-25T20:20:18Z (GMT). No. of bitstreams: 1 Gustavo Ferreira Simoes.pdf: 26632165 bytes, checksum: ab38215424bd678db9b9d98e6ea5409e (MD5) Previous issue date: 2011-06-08 / Fundação de Amparo a Pesquisa do Estado de São Paulo / The emergence of the author function in the 19th century, as pointed out by Michel Foucault, was characterized by the investment in organizing, affiliating and homogenizing the diffusion of discourses from previous centuries. The author signature has risen as an existence entitled with a different status from those that used the word ordinarily at the same time that it was identified as the possible danger to be fought. Considering Foucault s suggestions, I have followed Roberto Freire s writings, with no intent of explaining it, while articulating it with his life experiences since the liberation of DOPS s dungeons, in 1965, a year after the military coup of 1964, until the publication of his last writings in the end of the 20th century. Freire s writings update the exercise of social literature undertaken by some libertarians in the beginning of the 20th century in Brazil. However, his books are not inspired by the thought of the socalled classical anarchists, but by the practices that have emerged with the protests, particularly those connected to customs, triggered by the events of 1968. Freire, dissociating himself from the projects of revolution, began to value, in the 1970s, through his books and life, certain experiences with the body, in the present, associating it to an anarchist sensualization of the existence. The analysis of his journey since 1960 when he was an activist in Ação Popular and through his experiences with The Living Theater, Wilhem Reich and the anarchism in the 1980 and 1990 was possible given the distance he kept from the notion of author. Freire s writings have been developed in movement. Therefore, one cannot impose on it a unity or explanatory restrain. Freire has dangerously sailed with his literature in the late 20th century. The navigation, according to Michel Foucault, was a privileged metaphor to those immersed in an ethical and aesthetical life in the Hellenistic and Roman antiquity. By affirming this navigation, this existence, he moved like a libertarian pilot, like an anarchist pirate / A emergência da função autor , no século XIX, como salientou Michel Foucault, caracterizava-se pelo investimento em organizar, filiar e homogeinizar a dispersão dos discursos oriunda dos séculos anteriores. A assinatura do autor irrompia como existência que possuía um status distinto daqueles que utilizavam a palavra ordinariamente, ao mesmo tempo, em que era identificada como um possível perigo a ser combatido. Seguindo as sugestões de Foucault, observei a escrita de Roberto Freire visando não explicar mas acompanhá-la em seu movimento, articulando-a às experiências da vida de Freire, desde a liberação no porão do DOPS, em 1965, um ano após o golpe militar de 1964, até a publicação de seus últimos escritos no final do século XX. A escritura de Freire atualiza o exercício da literatura social empreendida por certos libertários do início do século XX, no Brasil. Entretanto, seus livros não são animados pela reflexão dos anarquistas considerados clássicos, mas pelas práticas que irromperam com as contestações, sobretudo as ligadas aos costumes, detonadas pelos acontecimentos de 1968. Afastando-se ao longo da vida dos projetos de revolução, Freire passou a valorizar a partir da década de 1970, em seus livros e na vida, certas experiências com o corpo, no presente, associando-as a uma sensualização anarquista da existência. A análise do percurso traçado por ele desde a década de 1960, quando ainda militava na Ação Popular, passando pela descoberta do Living Theater, Wilhem Reich e afirmação do anarquismo nas décadas de 1980 e 1990, foram possíveis precisamente por um afastamento da noção de autor. A escrita de Freire se desenhou em movimento. Portanto, não há como lhe impor uma unidade, um travão explicativo. Freire navegou, junto com sua literatura, durante a segunda metade do século XX, perigosamente. A navegação, segundo Michel Foucault, era metáfora privilegiada para aqueles que se ocupavam com a vida ética e esteticamente na antiguidade helenística e romana. Afirmando essa navegação, a existência, ele deslizou como um piloto libertário, um pirata anarquista

Made available in DSpace on 2016-04-26T14:53:11Z (GMT). No. of bitstreams: 1 Gustavo Ferreira Simoes.pdf: 26632165 bytes, checksum: ab38215424bd678db9b9d98e6ea5409e (MD5) Previous issue date: 2011-06-08 / Fundação de Amparo a Pesquisa do Estado de São Paulo / The emergence of the author function in the 19th century, as pointed out by Michel Foucault, was characterized by the investment in organizing, affiliating and homogenizing the diffusion of discourses from previous centuries. The author signature has risen as an existence entitled with a different status from those that used the word ordinarily at the same time that it was identified as the possible danger to be fought. Considering Foucault s suggestions, I have followed Roberto Freire s writings, with no intent of explaining it, while articulating it with his life experiences since the liberation of DOPS s dungeons, in 1965, a year after the military coup of 1964, until the publication of his last writings in the end of the 20th century. Freire s writings update the exercise of social literature undertaken by some libertarians in the beginning of the 20th century in Brazil. However, his books are not inspired by the thought of the socalled classical anarchists, but by the practices that have emerged with the protests, particularly those connected to customs, triggered by the events of 1968. Freire, dissociating himself from the projects of revolution, began to value, in the 1970s, through his books and life, certain experiences with the body, in the present, associating it to an anarchist sensualization of the existence. The analysis of his journey since 1960 when he was an activist in Ação Popular and through his experiences with The Living Theater, Wilhem Reich and the anarchism in the 1980 and 1990 was possible given the distance he kept from the notion of author. Freire s writings have been developed in movement. Therefore, one cannot impose on it a unity or explanatory restrain. Freire has dangerously sailed with his literature in the late 20th century. The navigation, according to Michel Foucault, was a privileged metaphor to those immersed in an ethical and aesthetical life in the Hellenistic and Roman antiquity. By affirming this navigation, this existence, he moved like a libertarian pilot, like an anarchist pirate / A emergência da função autor , no século XIX, como salientou Michel Foucault, caracterizava-se pelo investimento em organizar, filiar e homogeinizar a dispersão dos discursos oriunda dos séculos anteriores. A assinatura do autor irrompia como existência que possuía um status distinto daqueles que utilizavam a palavra ordinariamente, ao mesmo tempo, em que era identificada como um possível perigo a ser combatido. Seguindo as sugestões de Foucault, observei a escrita de Roberto Freire visando não explicar mas acompanhá-la em seu movimento, articulando-a às experiências da vida de Freire, desde a liberação no porão do DOPS, em 1965, um ano após o golpe militar de 1964, até a publicação de seus últimos escritos no final do século XX. A escritura de Freire atualiza o exercício da literatura social empreendida por certos libertários do início do século XX, no Brasil. Entretanto, seus livros não são animados pela reflexão dos anarquistas considerados clássicos, mas pelas práticas que irromperam com as contestações, sobretudo as ligadas aos costumes, detonadas pelos acontecimentos de 1968. Afastando-se ao longo da vida dos projetos de revolução, Freire passou a valorizar a partir da década de 1970, em seus livros e na vida, certas experiências com o corpo, no presente, associando-as a uma sensualização anarquista da existência. A análise do percurso traçado por ele desde a década de 1960, quando ainda militava na Ação Popular, passando pela descoberta do Living Theater, Wilhem Reich e afirmação do anarquismo nas décadas de 1980 e 1990, foram possíveis precisamente por um afastamento da noção de autor. A escrita de Freire se desenhou em movimento. Portanto, não há como lhe impor uma unidade, um travão explicativo. Freire navegou, junto com sua literatura, durante a segunda metade do século XX, perigosamente. A navegação, segundo Michel Foucault, era metáfora privilegiada para aqueles que se ocupavam com a vida ética e esteticamente na antiguidade helenística e romana. Afirmando essa navegação, a existência, ele deslizou como um piloto libertário, um pirata anarquista

Lars Ahlins’ Fromma mord (Pious murder) is an incredibly complex novel. Is it even possible to say what the deepest sense is about? Erik A Nielsen and Gunnar D. Hansson has presented reasonable interpretations in their analysis of Fromma mord. However, they have not necessarily right to all points, hence it is possible to draw other conclusions. When I chose to explore the characters' strategies to liberate their ties, a relationship between the novels’ micro- and macro level was revealed, that had not been presented previously. The two issues underlying the basis for this essay are: 1) What are the different solutions Lilly, Agnes, Evangeline, Aron and Brinkman seek to be liberated from their ties? 2) Who is liberated and why? The method used for this analysis is a hermeneutic close reading of the novel Fromma mord. The results found were that the characters who were able to assert their needs and get others to cooperate with their strategies - had the best chance of becoming free. However, the most important condition for becoming liberated was that they could offload the money that tied them to Brinkman. Arons’ death was the last step that made a new future possible for Agnes, Roland, Lilly and Sven. The struggle of the characters at the novels’ micro level, was linked to the struggle between God and the devil at the novels’ macro level, through the allegorical dimension of the characters Aron and Brinkman. The essence of the whole novel is that all men are prisoners and that there is a battle going on, where even God is involved risking His own life. / Lars Ahlins Fromma mord är en oerhört komplex och idérik roman. Går det ens att säga vad den djupast sett handlar om? Erik A Nielsen och Gunnar D Hansson har presenterat möjliga tolkningar i sina analyser av Fromma mord. Men de har inte nödvändigtvis rätt på alla punkter, det går också att dra andra slutsatser. När jag valde att undersöka karaktärernas strategier för att bli fria från sina bindningar så kunde jag se ett samband mellan romanens mikro – och makroplan som inte tidigare presenterats. De två frågeställningar som ligger till grund för denna C-uppsats är: 1) Vilka olika lösningar söker Lilly, Agnes, Evangeline, Aron och Brinkman för att befrias ur sin bundenhet? 2)Vilka blir befriade och varför? Den metod jag använde för min analys är en hermeneutisk närläsning av romanen Fromma mord. De resultat jag fann var att de karaktärer som kunde hävda sina behov och få andra att samarbeta med deras strategier - hade störst chans att bli fria. Men den viktigaste förutsättningen för befrielse, var att huvudkaraktären Aron tog på sig de andras bindningar och att hans död möjliggjorde de andras fortsatta liv. Den kamp karaktärerna utkämpar på romanens mikronivå, blir genom den allegoriska dimensionen av karaktärerna Aron och Brinkman, sammanlänkad med den kamp mellan Gud och Djävulen som pågår på romanens makronivå. Jag ser som romanens essens att alla människor är fångar och att det pågår en kamp där till och med Gud är indragen på liv och död.