[pt] Esta pesquisa tem por objetivo conhecer o surgimento das afro-pastorais no Brasil a partir do desenvolvimento das Teologia(s) Negra(s). A partir do Vaticano II, o mundo caminhou em direção a novos caminhos para diversas áreas de conhecimento, dentre elas a Teologia. Devido às viragens epistêmicas ocorridas no século XX, percebe-se o surgimento de novidades teológicas, a contar da ambientação contextual em que o ser humano está inserido. Este impacto antropológico se encontra com a estrutura racial que o mundo ocidental cunhou para dominação de povos ditos primitivos e inferiores, gerando a narrativa racial e, consequentemente, o racismo. Ainda que seja negado, o racismo perpassa as comunidades religiosas e a Igreja não está imune a ele. Urgiu a necessidade de uma teologia, nascida em contexto diaspórico, que afetasse essas marcas seculares de opressão. A Teologia Negra encontra-se nesse lugar e percebe-se teologias negras emergentes em diversos solos continentais, que influenciam umas às outras, como um grande quilombo mundial. Este cuidado coletivo nasce pela gestação de pastorais que, numa perspectiva cristológica, compreendem a Revelação pelo rosto do Cristo negro. Seja nos séculos das colônias, seja no pós-abolição, as afro-pastorais são lugar de acolhida e entendimento das (inter)subjetividades negras, que se dá no encontro da pessoa negra com a sua própria negritude perpassada pela fé cristã. Conclui-se que o nascimento da Teologia Negra sistematizada verbalizou o que já era vivido há épocas anteriores no Brasil no que tange a afro-pastoral, potencializou o que foi criado após a sua organização sistemática e afetará a Igreja de forma futura, trazendo um novo olhar para o objeto da Revelação e produzindo uma pastoral cada vez mais horizontalizada e descentralizada da figura sacerdotal. / [en] This research aims to understand the emergence of Afro-pastoralists in Brazil from the development of Black Theology(ies). Since Vatican II, the world has moved towards new paths for different areas of knowledge, among them theology. Due to the epistemic changes that took place in the 20th century, the emergence of theological novelties can be seen, based on the contextual setting in which the human being is inserted. This anthropological impact meets the racial structure that the Western world coined for the domination of so-called primitive and inferior peoples, generating the racial narrative and, consequently, racism. Although it is denied, racism permeates religious communities and the Church is not immune to it. There was an urgent need for a theology, born in a diasporic context, that would affect these secular marks of oppression. Black Theology is in this place and it is possible to see black theologies emerging in several continental soils, which influence each other, like a great world quilombo. This collective care is born from the gestation of pastorals that, from a Christological perspective, understand the Revelation through the face of the black Christ. Whether in the centuries of the colonies or in the post-abolition period, Afro-pastorals are a place of acceptance and understanding of black (inter) subjectivities, which takes place in the encounter of the black person with his own blackness permeated by the Christian faith. It is concluded that the birth of systematized Black Theology verbalized what was already experienced in previous times in Brazil with regard to Afro-pastoralism, enhanced what was created after its systematic organization and will affect the Church in the future, bringing a new looking at the object of Revelation and producing an increasingly horizontalized and decentralized pastoral care of the priestly figure.

[pt] A presente pesquisa tem como objetivo analisar o trabalho de Carolina Maria de Jesus à luz de temas como: gênero, raça, arte e política, considerando sua posição incisiva entre casos isolados de escritoras do passado e a geração atual de artistas, ligada a movimentos de periferia e iniciativas da vertente brasileira do chamado feminismo negro. Explora-se o protagonismo da autora de Quarto de despejo, tanto na ampliação do campo da literatura quanto, com sua agudeza ao expor experiências vividas, levanta e discute questões econômico-políticas, com vistas a uma tomada de posição libertária. O trabalho se valerá de contrapontos entre a obra variada e complexa de Carolina e as intervenções de escritores e performers das periferias, nos anos 2000, diante das transformações no panorama cultural do presente, quando emergem, em especial, motivos de negritude e ancestralidade nas pautas do debate contemporâneo. / [es] La presente investigación tiene como objetivo analizar el trabajo de Carolina María de Jesús a la luz de temas como: género, raza, arte y política, considerando su posición incisiva entre casos aislados de escritoras del pasado y la generación actual de artistas, vinculados a movimientos e iniciativas periféricas del lado brasileño del llamado feminismo negro. Los trabajos de la autora de la obra Cuarto Despejo es explorado, tanto en la ampliación del campo de la literatura y, con su nitidez en exponer experiencias vividas, proponer y discutir cuestiones económico-políticas, teniendo en vista una posición libertaria. El trabajo utilizará contrapuntos entre el trabajo variado y complejo de Carolina y las intervenciones de escritores e intérpretes de las periferias en los años 2000, ante las transformaciones en el paisaje cultural del presente, cuando emergen, especialmente, motivos de negritud y ancestralidad en los patrones del debate contemporáneo.

L'esclavage constitue le chronotope de "Tituba" de M. Condé et de "Beloved" de T. Morrison. Il est un héritage paradigmatique dans les autres œuvres de ces auteures, ainsi que chez Alice Walker et Gisèle Pineau, déterminant les rapports raciaux contemporains. La fragmentation du corps esclave convoque le motif de la couture, entre tissage conteur, re-membrement du corps social, et reconfiguration d'une tâche traditionnellement féminine. La mise en exergue du pouvoir performatif des mots des maîtres rappelle l’historicité et la dimension politique de l'invention du racisme dans le régime plantocratique. L'exemple de la beauté féminine et de sa racialisation illustre l'intrication complexe de la construction du genre et de la race. Mais le récit du passé esclavagiste, s'il peut éclairer et expliquer le présent, n'est fait qu'au prix d'un combat douloureux contre divers processus de refoulements, individuels et collectifs. Si "Beloved" et "La couleur Pourpre" rappellent le rôle essentiel de la réminiscence, "Paradis", "Morne Câpresse" et "Heremakhonon" mettent en scène des hypertrophies mémorielles problématiques ou drolatiques. La critique de la prétention historienne à l'objectivité y participe d'une remise en cause globale de la scientificité et de l'héritage des Lumières. Les ambivalences de la postmémoire s'opposent à la sacralisation contemporaine de la littérature mémorielle ou testimoniale, et la hantise postcoloniale se donne à voir sous un jour nouveau, ironique. L'analyse des maternités dialectiques dans "Beloved", "Tituba" ou "Rosie Carpe" permet de réfléchir le lien entre narration de la nation, racialisation de la maternité et contrôle du corps des femmes. Une lecture des œuvres du corpus à l'aune du concept d'intersectionnalité permet d'envisager une déconstruction globale de la féminité libérée de l'injonction à la sexualité reproductive. Au croisement du pouvoir de donner la vie et de son refus, le personnage de la sage-femme est récurrent. Souvent accusée de sorcellerie, elle nourrit une mythologie féminine qui peut retourner le stigmate magique. Fruit de rivalités dans les champs médicaux et religieux, la figure de la sorcière chez Toni Morrison, Maryse Condé ou Marie NDiaye est une invention interculturelle dont la force performative et parodique ébranle les catégories littéraires. Issus du traumatisme de l'esclavage, les romans étudiés esquissent les contours d'utopies concrètes. Leur dimension totalitaire et séparatiste cependant se révèle dans le visage grimaçant de l'espérance eschatologie contemporaine : la secte. Si la projection dans le futur semble ainsi dérisoire, le retour en un espace premier, refuge utérin et remontée dans le temps, s'abîme dans l'impossibilité du retour en Afrique. La Négritude césairienne est ainsi mise à distance, tandis que les espoirs de la Créolité semblent battus en brèche par une littérature récusant l'utopie post-raciale. Les migrations contemporaines et les douleurs de la condition exilique sont narrées sans idéalisation de la mobilité, tandis que les stratégies narratives des auteures diffèrent, tout en se retrouvant dans un désir de révéler en même temps que de dépasser la ligne de couleur. / Slavery is the chronotope of "Tituba" by M. Condé and "Beloved" by T. Morrison. Slavery is a paradigmatic heritage in other novels by these authors, as well as in Alice Walker's and Gisèle Pineau's art ; it determines the contemporary racial relationships. The splitting up of the slave's body calls to mind the pattern of sewing, narrative weaving, re-membering of the social body, and reinventing a traditionally feminine work. The highlighting of performative power of the master's words reminds us the historicity and the politic aspect of the invention of racism in the plantation system. The example of women's beauty and its racialization illustrates the complicated co-construction of gender and race. The writing of past history of slavery points out and explains the present time, but it requires a painful fight against various processes of individual and collective repression. "Beloved" and "The Color Purple" remind us of the importance of rememory, while "Paradise", "Morne Câpresse" and "Heremakhonon" tell about memory in excess. The criticism of historian claim for objectivity belongs to a global questioning of science on the one hand, and of the heritage of Enlightenment on the other. The ambivalences of postmemory confront the contemporary sacralization of memorial and testimonial literature. Postcolonial haunting is seen in a nex light, quite ironic. The analysis of dialectic motherhood in "Beloved", "Tituba" or "Rosie Carpe" allows us to conceptualise the link between national storytelling, racialization of motherhood and political control of women's bodies. Reading and analysing the novels with the concept of intersectionality shows a global deconstruction of womanhood, freed from the stress of reproductive sexuality. At the crossroad of women's power to give birth and death, the midwife is a recurring character. The midwife is often accused of being a witch, and she belongs to a feminine mythology that can turn the stigma around. The witch is born from rivalry in both religious and medical fields. In Toni Morrison's, Maryse Condé's or Marie Ndiaye's novels, the witch is an intercultural invention ; her parodic and performative strength undermines literary categories. Born from the trauma of slavery, the novels outline the pattern of concrete utopias. The totalitarian and separatist aspect of these utopias appears in the grinning face of the contemporary eschatological hope: the sect. Therefore any hope of a better future seems to be ridiculous ; when the return to a primary space, turning back in time, is dying in the impossible way back to Africa. The "Négritude" of Aimé Césaire is dismissed, and so are the hopes of "Créolité", by a literature that rejects post-racial utopia. There is not any idealization of movement in these novels, which tell contemporary migrations and pains of exile condition. Although the narrative strategies are different, they all intend to expose and overcome the color line.

Made available in DSpace on 2016-12-08T16:52:08Z (GMT). No. of bitstreams: 1 Adriana.pdf: 3104026 bytes, checksum: 10980b22b618855e8ffb40a56abc6903 (MD5) Previous issue date: 2011-05-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research proposes a study of circumstances, principles, training and specificity in the work of black actors and actresses in collective theatrical troupes from the history of brazilian theater (BT) to group practices in contemporary Brazil. Were raised to the presence and experiences of black actors from the beginning of BT, the leading companies, as well as the experience of Black actors and actresses in the context of today's Group Theater. An axis of reflection in this study was to wonder whether the stereotype about blacks in the brazilian scene remains and how is the look that creates the black stereotype. The purpose was to raise questions about identity aspects of blackness conveyed from the theatrical practices and, therefore, propose a discussion about the brazilian theatrical practice as an art with references mainly european and north american. For this, this study sought an understanding of the boundaries between cultural identity and processes/procedures for the creation of the actor, trying to understand how is the relationship of the principles of the actor's work in confrontation with the culture and identity / Esta pesquisa propõe um estudo sobre circunstâncias, princípios, formação e a especificidade no trabalho de atores negros e atrizes negras nos coletivos teatrais desde as companhias teatrais da história do teatro brasileiro (TB) até práticas grupais no Brasil contemporâneo. Foram levantadas a presença e experiências de atores negros desde os primórdios do TB, primeiras companhias, bem como a experiência de atores e atrizes negros no contexto do Teatro de Grupo da atualidade. Um dos eixos de reflexão neste estudo foi pensar se o estereótipo sobre o negro na cena brasileira ainda persiste e como se dá o olhar que estereotipia o negro. O propósito foi levantar questionamentos sobre aspectos identitários da negritude veiculados a partir das práticas teatrais e, onseqüentemente, propor uma discussão sobre a prática teatral brasileira enquanto uma arte com referências fundamentalmente européias e norteamericanas. Para isso este estudo buscou uma compreensão das fronteiras entre identidade cultural e processos/procedimentos de criação do ator; procurando perceber como se dá a relação princípios do trabalho do ator em confronto com a cultura e identidade

L'identité constitue une des notions-clés des littératures africaines. Elle prend une résonance particulière chez Senghor et chez Ken Bugul ainsi que chez beaucoup d’écrivains sénégalais. Elle permet d’établir une passerelle épistémologique avec le corps. Ainsi, les discours sur le corps aident à comprendre les enjeux identitaires qui animent la tension dramatique des structures narratives. Par exemple chez Cheikh Hamidou Kane, le corps devient le motif d'une appréhension métaphysique de l'"esse". Dans les autobiographies de Ken Bugul, l’affirmation identitaire du Moi féminin relève tout simplement d’un caractère existentiel, surtout à un moment où les littératures sont marquées par les conflits de genres. Cependant, l’on convient que le débat sur l’identité et le corps a son importance dans le saisissement de la psychologie du personnage. Il a aussi son importance dans le conditionnement du sens, celui à travers lequel la société révèle ses vices tout comme ses vertus. C’est pourquoi d’ailleurs chez Sembène, Abasse Ndione, Sanou Lô, Marouba Fall, Seydi Sow ou encore El Hadji Momar Sambe, la résonance sociale du discours littéraire aide à rétablir les parcelles de sens auxquelles renvoie toute écriture du corps. Telle est l’ambition de cette thèse qui s’est voulue avant tout un échange comparatiste entre des textes dont la richesse est à rechercher dans leur proximité thématique. / Identity constitutes one of the fundamental themes of African literature. It takes on a resonance in the writing of Senghor and Ken Bugul as well as in the writing of many Senegalese writing. It allows the establishment of an epistemological footbridge with the body. Therefore, the discourses about the body help to understand what is at stake concerning identity which livens up the dramatic tension of the narrative structures. For example, in the work of Cheikh Hamidou Kane, the body becomes the motive for a metaphysical apprehension of the "esse". In Ken Bugul’s autobiographies, the affirmation of identity of the feminine "Me" refers to the existential condition, especially when the literatures show the conflicts of gender. However, we agree that the debate on identity and the body has its importance in the understanding in the psychology of the character. It also has its importance in the construction of meaning, through which society reveals its vices and virtues. Moreover, that is why in the works of Sembene, Abasse Ndione, Sanou Lô, Marouba Fall, Seydi Sow or still El Hadji Momar Sambe, the social implication of literary discourse fragments of meaning to which all writing about the body refers. The ambition of this thesis is to construct a comparative exchange between their richness of meaning.

Dans le sillage de la décolonisation, les récits colonialistes ont systématiquement été réécrits à partir de perspectives autochtones. Ce phénomène est appelé « The Empire writes back to the centre » - une tendance qui s'affirme dans la critique postcoloniale à la fin du XXe siècle. L'objectif de ces actes de réécriture est de lire des textes colonialistes d'une manière barthesienne à l'envers, de déconstruire les dogmes orientalistes et colonialistes, et éventuellement créer un dialogue où il était seulement un monologue. Tourner le texte colonial dedans/dehors et le relire à travers la lentille d'un code ultérieur permet le texte postcolonial de déverrouiller son précurseur colonial et le changer de l'intérieur. Dans ce cadre critique, Heart of Darkness (1899) de Joseph Conrad a été un texte particulièrement influent pour Chinua Achebe et V. S. Naipaul. Leurs romans Things Fall Apart (1958) et A Bend in the River (1979) peuvent être considérés comme une réécriture du roman de Conrad. Cependant, avant d'examiner leurs différentes stratégies de réécriture, il serait utile de les localiser dans la tradition postcoloniale de la réécriture. Alors que Achebe se démarque clairement comme la figure de proue du mouvement, le romancier trinidadien est difficile à catégoriser. Est-ce que Naipaul réécrit, de façon à critiquer, ou d'une manière d'adopter et de justifier, l’idéologie impériale? Comme pas toute réécriture est une forme de « writing back » en termes de critique anticoloniale, la position de Naipaul continue d'être considérée comme l’énigmatique entre-deux d'un «insider» devenu «outsider». Prenant acte de ses différentes perceptions critiques peut devenir un moyen de mettre en évidence de manière efficace la lecture erronée d’Achebe et le détournement de Naipaul du modèle Conradien, un moyen de fixer un cadre pour la conversation simulée cette thèse vise à créer entre les trois romanciers. / In the wake of decolonization, colonialist narratives have systematically been rewritten from indigenous perspectives. This phenomenon is referred to as “the Empire writes back to the centre” – a trend that asserted itself in late twentieth-century postcolonial criticism. The aim of such acts of writing back is to read colonialist texts in a Barthesian way inside-out or à l’envers, to deconstruct the Orientalist and colonialist dogmas, and eventually create a dialogue where there was only a monologue. Turning the colonial text inside-out and rereading it through the lens of a later code allows the postcolonial text to unlock the closures of its colonial precursor and change it from the inside. Under this critical scholarship, Joseph Conrad’s Heart of Darkness (1899) has been a particularly influential text for Chinua Achebe and V. S. Naipaul. Their novels Things Fall Apart (1958) and A Bend in the River (1979) can be seen as a rewriting of Conrad’s novella. However, before examining their different rewriting strategies, it would be fruitful to locate them within the postcolonial tradition of rewriting. While Achebe clearly stands as the leading figure of the movement, the Trinidadian novelist is, in fact, difficult to pigeonhole. Does Naipaul write back to, that is criticize, or does he rewrite, and in a way adopt and justify, imperial ideology? Since not all rewriting involves writing back in terms of anti-colonial critique, Naipaul’s position continues to be explored as the enigmatic in-betweenness and double-edgedness of an “insider” turned “outsider.” Taking cognizance of these different critical perceptions can become a way to effectively highlight Achebe’s “(mis)-reading” and Naipaul’s “(mis)-appropriation” of Conrad, a way to set the framework for the simulated conversation this thesis seeks to create between the three novelists.

[pt] Recentemente, a transição capilar vem sendo associada a um movimento consciente de valorização da negritude construída principalmente em função do alcance de grupos especializados em redes sociais. Reconhecendo o impacto do compartilhamento da experiência na construção da negritude enquanto identidade coletiva e política, esse trabalho se dedica a compreender que tipos de significados são construídos por cinco mulheres negras acerca das suas experiências particulares de transição capilar apartadas do ambiente virtual. A partir da interpretação de dados embasada pela Análise Crítica de Narrativas, a transição capilar é reportada como uma experiência majoritariamente estética. A técnica de embelezamento é valorizada na esfera privada e construída por meio de uma narrativa de superação individual como resultado de uma experiência de sofrimento que encontra valor e sentido na reconstrução da auto imagem. / [en] Recently, hair transition has been associated with a conscious movement to value blackness built mainly due to the reach of specialized groups in social networks. Recognizing the impact of shared experiences in the construction of blackness as a collective and political identity, this work is dedicated to understanding what types of meanings are constructed by five black women about their particular experiences of hair transition apart from the virtual environment. From the interpretation of the data based on Critical Narrative Analysis, hair transition is reported mostly as an aesthetic experience. The beauty technique is valued in the private scenario and built through a personal overcoming narrative as a result of an experience of suffering that finds value and meaning in the reconstruction of self-image.

[pt] Esta dissertação se propõe abordar o tema dedicado às relações raciais no Brasil, focando na construção de identidades negras em contextos acadêmicos, com ênfase nos Núcleos de Estudos Afro-Brasileiros (NEABs) e correlatos. O estudo se concentra no Núcleo de Estudos Afro-Brasileiros e Indígenas da Universidade Estadual do Norte Fluminense (NEABI UENF) e no Programa de Estudos e Debates dos Povos Africanos e Afro-americanos da Universidade do Estado do Rio de Janeiro (PROAFRO UERJ). Através da observação participante, procurou-se explorar a atuação desses grupos e sua influência sobre os integrantes. A partir de uma sociologia histórica, destaca-se o Movimento Negro como sujeito central na luta por reconhecimento e resgatam-se conceitos como negritude, pedagogia cívica, educação não-formal e demais pedagogias que se mostram no processo de formação dos sujeitos. Diante da relevância histórica dos núcleos e os diversos atravessamentos, conclui-se através de uma pesquisa qualitativa, que esses espaços fortalecem identidades negras, incentivando a participação política e, ainda, a permanência de estudantes negros na universidade, de forma a promover igualdade racial nesses ambientes, o que contribui para o aspecto da diversidade e representatividade acadêmica. / [en] This dissertation aims to address the topic dedicated to racial relations in Brazil, focusing on the construction of black identities in academic contexts, with an emphasis on Afro-Brazilian Studies Centers (NEABs) and related entities. The study centers on the Afro-Brazilian and Indigenous Studies Center at the State University of Northern Rio de Janeiro (NEABI UENF) and the Program of Studies and Debates of African and Afro-American Peoples at the State University of Rio de Janeiro (PROAFRO UERJ). Through participant observation, sought to explore the activities of these groups and their influence on their members. Employing historical sociology, I highlight the Black Movement as a central agent in the struggle for recognition and revisit concepts such as blackness, civic pedagogy, non-formal education, and other pedagogies evidenced in the process of individual formation. Given the historical significance of these centers and its various intersections, a qualitative inquiry concludes that these spaces strengthen black identities, encouraging political participation and also the retention of black students in universities, thus promoting racial equality in these environments, which contributes to the aspects of academic diversity and representation.

Es'kia Mphahlele's concept of African humanism was a seminal influence on Black Consciouness thought and provided the philosophical basis for a landmark body of South African criticism and aesthetics wilh roots in Africa. African humanism as a black ethos, combined with rich metaphoric speech, symbols, values and myths resurrected from the deep African past, afforded the author a powerful cultural weapon with which to criticize centuries of colonialism, racism, and state apartheid, related western industrial forces of economic exploitation and alienation. Moreover, the counterweights of African humanism and alienation in the dialogue of two selves -- one that is Western-educated and colonized and the other African -- contribute key elements of realism, vitality, humour, insight, cultural identity, and characterization to Mphahlele's most effective protest writing which, in turn, has helped to shape a black nationalist vision which has surprising relevance to South Africa in the 1990s. / English Studies / M.A. (English)

Text in Afrikaans / Afrikanisering en universiteitsonderwys: 'n histories-opvoedkundige deurskouing en evaluering In hierdie studie is 'n beskrywing van en verklaring vir die ontstaan, ontwikkeling en betekenis van die begrip afrikanisering gegee. Daar is bevind dat die begrip afrikanisering 'n emosiebelaaide en polities sensitiewe begrip is wat saam met verbandhoudende begrippe soos Afrika-persoonlikheid, Negritude, Afrosentrisme, Ethiopianisme, lokalisering en swartbewussyn 'n ge"integreerde deel vorm van die strewe om nie net politieke onafhanklikheid vir Afrika-kolonies en Afrikane te verkry en te handhaaf nie, maar om hierdie onafhanklikheid ook op sosio-ekonomiese en kulturele gebiede te verseker. Die standpunte van verskeie pleitbesorgers van afrikanisering is ontleed en na aanleiding daarvan is 'n vergelyking tussen vroeere afrikaniseringspogings in Brits Wes-Afrika en die in Suid-Afrika getref. Nadat 'n aantal implikasies van afrikanisering vir Suid-Afrikaanse universiteite aangedui is, is enkele toekomsperspektiewe rakende die afrikanisering van universiteite in Suid-Afrika geformuleer. / Africanisation and university education: an historical-educational explication and evaluation In this study a description of and explanation for the origin, development and meaning of the concept africanisation is given. It can be concluded that the concept africanisation is emotive and politically sensitive and together with related concepts such as African personality, Negritude, Afrocentrism, Ethiopianism, localisation and Black consciousness it forms an integrated part of the aspiration not only to gain and maintain political independence for African colonies and Africans, but also to secure this identity in the socio-economic and cultural fields. The views of various advocates/proponents of africanisation were analysed and based on this analysis a comparison between the earlier africanisation attempts in British West Africa and those in South Africa was drawn. After some implications of africanisation for South African universities were indicated, a number of future perspectives with regard to the africanisation of universities in South Africa were formulated. / Educational Studies / D. Ed. (Historiese Opvoedkunde)