Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-07-29T12:56:40Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_MariaLuiza-BC.pdf: 938722 bytes, checksum: be7c46c2bd834496f171f32afa38dfc7 (MD5) / Made available in DSpace on 2016-07-29T12:56:40Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_MariaLuiza-BC.pdf: 938722 bytes, checksum: be7c46c2bd834496f171f32afa38dfc7 (MD5) Previous issue date: 2016-02-25 / CAPEs / Este trabalho consiste no estudo dos romances Slash (1985), da escritora okanagan Jeannette Armstrong, e Mean Spirit (1990), da chickasaw Linda Hogan, e busca examinar de que forma as autoras ficcionalizaram, nas suas obras, certos acontecimentos da história dos povos ameríndios no século XX, como os que envolveram a militância política que se fortaleceu a partir dos anos 60 na América do Norte e os assassinatos de membros da nação Osage na década de 1920. Para tanto, recorri ao conceito de metaficção historiográfica proposto por Linda Hutcheon (1988, 1989) e aos estudos em memória de Anh Hua (2005), Maurice Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) e Aleida Assmann (2011). Considerando as obras de Armstrong e Hogan como espaços de enunciação de uma resistência cultural que vai além dos limites tribais, optei por adotar uma perspectiva cosmopolita tal qual sustentada por Arnold Krupat (2002), e que se apoia nas teorias póscoloniais segundo Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony Appiah (1997) e Liane Schneider (2002, 2008). Ademais, foram de suma importância os diálogos com alguns nomes da crítica indígena como Graça Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) e Robert Warrior (2014). Intentei, assim, verificar como a resistência ameríndia toma corpo na escrita de Armstrong e Hogan, que constroem narrativas artisticamente complexas e de imensa relevância política. / This work consists of the study of Slash (1985), by Okanagan writer Jeannette Armstrong, and Mean Spirit (1990), by Chickasaw Linda Hogan, and it aims to examine the way in which the writers have fictionalized, in their books, certain events of the history of the American Indian peoples in the twentieth century, such as those concerning the militancy that gained strength in the 60s and the Osage murders that took place in the 20s. With that in mind, I have resorted to the concept of historiographic metafiction, proposed by Linda Hutcheon (1988, 1989) and to the memory studies by Anh Hua (2005), Maurice Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) and Aleida Assmann (2011). Considering the works of Armstrong and Hogan as sites of enunciation of a type of cultural resistance that goes beyond tribal limits, I have chosen to adopt a cosmopolitan perspective such as sustained by Arnold Krupat (2002) and which leans on the postcolonial theories by Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony Appiah (1997) and Liane Schneider (2002, 2008). Moreover, dialogues with the following authors of Native criticism were of the utmost importance: Graça Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) and Robert Warrior (2014). Thus, I have attempted to verify how the Amerindian resistance takes form in the writings of Armstrong and Hogan, who build narratives artistically complex and of an immense political relevance.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-08-03T13:52:33Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_MariaLuiza-BC.pdf: 938722 bytes, checksum: be7c46c2bd834496f171f32afa38dfc7 (MD5) / Made available in DSpace on 2016-08-03T13:52:33Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_MariaLuiza-BC.pdf: 938722 bytes, checksum: be7c46c2bd834496f171f32afa38dfc7 (MD5) Previous issue date: 2016-02-25 / CAPEs / Este trabalho consiste no estudo dos romances Slash (1985), da escritora okanagan Jeannette Armstrong, e Mean Spirit (1990), da chickasaw Linda Hogan, e busca examinar de que forma as autoras ficcionalizaram, nas suas obras, certos acontecimentos da história dos povos ameríndios no século XX, como os que envolveram a militância política que se fortaleceu a partir dos anos 60 na América do Norte e os assassinatos de membros da nação Osage na década de 1920. Para tanto, recorri ao conceito de metaficção historiográfica proposto por Linda Hutcheon (1988, 1989) e aos estudos em memória de Anh Hua (2005), Maurice Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) e Aleida Assmann (2011). Considerando as obras de Armstrong e Hogan como espaços de enunciação de uma resistência cultural que vai além dos limites tribais, optei por adotar uma perspectiva cosmopolita tal qual sustentada por Arnold Krupat (2002), e que se apoia nas teorias póscoloniais segundo Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony Appiah (1997) e Liane Schneider (2002, 2008). Ademais, foram de suma importância os diálogos com alguns nomes da crítica indígena como Graça Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) e Robert Warrior (2014). Intentei, assim, verificar como a resistência ameríndia toma corpo na escrita de Armstrong e Hogan, que constroem narrativas artisticamente complexas e de imensa relevância política. / This work consists of the study of Slash (1985), by Okanagan writer Jeannette Armstrong, and Mean Spirit (1990), by Chickasaw Linda Hogan, and it aims to examine the way in which the writers have fictionalized, in their books, certain events of the history of the American Indian peoples in the twentieth century, such as those concerning the militancy that gained strength in the 60s and the Osage murders that took place in the 20s. With that in mind, I have resorted to the concept of historiographic metafiction, proposed by Linda Hutcheon (1988, 1989) and to the memory studies by Anh Hua (2005), Maurice Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) and Aleida Assmann (2011). Considering the works of Armstrong and Hogan as sites of enunciation of a type of cultural resistance that goes beyond tribal limits, I have chosen to adopt a cosmopolitan perspective such as sustained by Arnold Krupat (2002) and which leans on the postcolonial theories by Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony Appiah (1997) and Liane Schneider (2002, 2008). Moreover, dialogues with the following authors of Native criticism were of the utmost importance: Graça Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) and Robert Warrior (2014). Thus, I have attempted to verify how the Amerindian resistance takes form in the writings of Armstrong and Hogan, who build narratives artistically complex and of an immense political relevance.