Thesis (Ph. D.)--University of Toronto, 2007. / Source: Dissertation Abstracts International, Volume: 69-06, Section: A, page.

Thesis (Ph.D.) -- University of Adelaide, School of History and Politics, Discipline of Politics, 2008. / Includes bibliography ( leaves 297-347) Also available in print form.

Thesis (Ph.D.)--Northwestern University, 2002. / Source: Dissertation Abstracts International, Volume: 63-11, Section: A, page: 4050. Adviser: Jonathon P. Glassman.

Thesis (M.A.)--University of Wyoming, 2007. / Title from PDF title page (viewed on Feb. 26, 2009). Includes bibliographical references (p. 133-137).

Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-24T14:04:18Z No. of bitstreams: 1 Dissert. Francisco Formigli.pdf: 769888 bytes, checksum: aa13f2abc5554e4ab7ef62411f85bef0 (MD5) / Made available in DSpace on 2013-05-24T14:04:18Z (GMT). No. of bitstreams: 1 Dissert. Francisco Formigli.pdf: 769888 bytes, checksum: aa13f2abc5554e4ab7ef62411f85bef0 (MD5) Previous issue date: 2002 / Os processos de comunicação, ou seja, de produção, circulação e consumo de informação, já podem ser observados nos fenômenos de interação dos organismos mais básicos da natureza. Estes processos seriam os mesmos que organizam a sociabilidade na cultura humana. No caso do movimento cultural surgido no Candeal, podemos observar cruzamentos e interações completamente análogos, indicando a presença dos mesmos processos, agora no nível bem mais complexo que aqueles identificados na natureza sem a cultura. O cruzamento de informações seriam registrados e processados em um plano sígnico, para atém do plano bioquímico (genético) da informação. Haveria, então, nos ensaios que notadamente na publicidade do Candy All Guetho Square uma busca de inocular signo de miscigenação em outros sistema sociais de significação, de modo a reproduzir e ampliar um determinado design subjetivo, isto é, um modo de ser no mundo e suas implicações nos processos de produção, circulação e consumo de informação. / Salvador

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Esta pesquisa propõe um estudo do romance A mulata (1896) de Carlos Malheiro Dias, focalizando a representação que a obra faz da questão racial no Brasil no final do século XIX, dentro de uma estética de cunho naturalista. A essa abordagem será conjugado o diálogo crítico-literário que o livro realizou com a intelectualidade brasileira e portuguesa daquele momento, o que gerou forte polêmica. Também será mantida no horizonte da análise a perspectiva antirrepublicana do autor. A mulata referendou um conjunto de preconceitos sobre a identidade nacional brasileira que fizeram escola em alguns setores de nossa intelectualidade e que se perpetuaram de forma explícita ou dissimulada por todo o século XX, preconceitos que elucidam muitos aspectos da maneira como os brasileiros se conceberam enquanto nação e como literariamente se autorrepresentaram. Apesar dessa conexão, a obra foi rejeitada pela intelectualidade brasileira, e é em busca dos motivos dessa rejeição que este trabalho se debruça. / My research deals with the novel A Mulata by Carlos Malheiros Dias, focusing on its use of naturalist aesthetics to represent the racial question in late-nineteenth-century Brazil. I also examine the controversial literary-critical dialogue Dias established with the Brazilian and Portuguese intellectual currents of his time. Taking the author\'s antirepublican ideals into account throughout, I argue that A Mulata features a set of preconceptions regarding Brazilian national identity that would gain followers in some sectors of Brazil\'s intelligentsia and which persisted explicitly or in more covert form into the twentieth century. These preconceptions explain many aspects of the way in wich Brazil conceived of itself as a nation and how it represented itself through literature. Despite this connection, A Mulata was rejected by the intellectual class of Brazil.

Esta pesquisa propõe um estudo do romance A mulata (1896) de Carlos Malheiro Dias, focalizando a representação que a obra faz da questão racial no Brasil no final do século XIX, dentro de uma estética de cunho naturalista. A essa abordagem será conjugado o diálogo crítico-literário que o livro realizou com a intelectualidade brasileira e portuguesa daquele momento, o que gerou forte polêmica. Também será mantida no horizonte da análise a perspectiva antirrepublicana do autor. A mulata referendou um conjunto de preconceitos sobre a identidade nacional brasileira que fizeram escola em alguns setores de nossa intelectualidade e que se perpetuaram de forma explícita ou dissimulada por todo o século XX, preconceitos que elucidam muitos aspectos da maneira como os brasileiros se conceberam enquanto nação e como literariamente se autorrepresentaram. Apesar dessa conexão, a obra foi rejeitada pela intelectualidade brasileira, e é em busca dos motivos dessa rejeição que este trabalho se debruça. / My research deals with the novel A Mulata by Carlos Malheiros Dias, focusing on its use of naturalist aesthetics to represent the racial question in late-nineteenth-century Brazil. I also examine the controversial literary-critical dialogue Dias established with the Brazilian and Portuguese intellectual currents of his time. Taking the author\'s antirepublican ideals into account throughout, I argue that A Mulata features a set of preconceptions regarding Brazilian national identity that would gain followers in some sectors of Brazil\'s intelligentsia and which persisted explicitly or in more covert form into the twentieth century. These preconceptions explain many aspects of the way in wich Brazil conceived of itself as a nation and how it represented itself through literature. Despite this connection, A Mulata was rejected by the intellectual class of Brazil.

This dissertation calls into question the critique that has depicted the Francophone literary movement known as Negritude as a sole vehicle of black essentialism. By looking at recently published anthologies, archival documents, and lesser-known texts from 1935 to 1966, I show that in addition to the discourse on a fixed ‘blackness’ engraved in the neologism ‘Negritude,’ there is another set of discourses that forces us to rethink the movement as a philosophy of becoming. In particular, this dissertation stages the year 1948, when Jean-Paul Sartre gave Negritude its fame with the publication of his influential essay “Black Orpheus,” as a pivot for the definition of the movement as well as its reception. Since 1948, most of the critical engagement with Negritude has happened either through a reading of Sartre’s essay or the limited corpus that was available at the time. I thus argue that, by reading a broader range of the poets of Negritude’s literary and cultural production, one gets a sense that their vindication of Blackness is not only an essentialized invocation of a romanticized past, it is also an imagined unity within an evolving postcoloniality. This dissertation covers three areas within which this constantly reimagined unity is staged, from the youthful local publications of Aimé Césaire and Léopold Sédar Senghor from 1935 to 1948, to their mature global interactions as statesmen in Dakar, Fort-de-France, Paris and Rome from 1948 to 1966. First, it looks at language and analyzes the relation of the poets to French. While the choice to adopt the idiom of the former colonizer has been criticized by merely every reader of Negritude, I show that they used French as a tool enabling violation, negotiating their relation to the metropole as well as other colonies. Second, it interrogates the often overlooked concept of métissage as common element for colonized subjects. With particular attention to problems of translation, I analyze how the poets used métissage as a political and ethical concept in order to reach to the African diaspora without referring to Europe as the unavoidable mediator. Third, it focuses on the First World Festival of Negro Arts held in Dakar in 1966 as instrument for political practice. By investigating extensive documentation on the Festival’s organization, especially the influential role and presence of the United States, I show that art was used as a political tool to stage postcolonial unity in an otherwise global and competitive diversity.

A tese tem por objetivo primordial observar a construção identitária de mestiças fidalgas nos romances Wide Sargasso Sea (1966), de Jean Rhys, True Women (1993), de Janice Windle, e Rosaura: a enjeitada (1883), de Bernardo Guimarães, considerando três fatores distintos: o multiculturalismo e a interracialização no século XIX; a tentativa de as protagonistas se passarem como caucasianas perante elites locais; a reprimida identificação das mestiças escravocratas com classes menos abastadas. Observam-se os pontos de convergência e divergência entre as obras estudadas, uma vez que o autor brasileiro discute a identidade como fator hereditário e nacional, enquanto as demais autoras a interpretam como construto cultural subjetivo. De modo geral, a pesquisa demonstra como estes autores resistem ao cientificismo que vislumbra o mestiço como ser degenerado, metabólica e ontologicamente desequilibrado, procurando advogar-lhe a imagem de modo distinto. Visto que Wide Sargasso Sea e True Women são releituras de obras oitocentistas, o trabalho também contempla relações intertextuais em dois vetores: o primeiro, voltado para relação entre hipertexto e hipotexto, e o segundo, voltado para a eventual relação entre Guimarães e as obras relidas por Rhys e Windle / At first hand, this thesis aims at observing the identitary construction of landowning multiracial women in Jean Rhyss Wide Sargasso Sea (1966), Janice Windles True Women (1993) and Bernardo Guimarãess Rosaura: a enjeitada (1883), considering three distinct aspects: the emphasis on Multiculturalism in novels concerning interracialization in the 19th century; the protagonists attempt to pass as Caucasians before local elites and their repressed identification with the culture from lower classes. In this realm, I highlight interceptive and disjointing points between Bernardo Guimarães and the other authors, once the former discusses identity as a hereditary and national factor, and the latter ones interpret it as a free-willing and cultural construct. On the whole, this research shows how these three authors resist an 18th and 19th-century scientific discursive formation which envisaged the mestizo as a degenerated creature, with metabolic and ontological unbalance, and how they strive to advocate the image of the miscegenated on the world very idiosyncratically. Considering that Wide Sargasso Sea and True Women are rereadings of 19th century novels, the thesis also encompasses intertextuality in two different manners: on the one hand, it focuses on the intrinsic relations between the hypertext and the hypotext; on the other hand, it points out the likely relation between Guimarães and the authors Rhys and Windle revisit