Abstract The period of South Africa’s political transition in the late 1980s and 1990s also saw a number of interesting developments in the field of cultural production, especially within the province of literature. A number of literary scholars, critics of all realms, writers, some enthusiasts and adventurers all showed interest in the direction of literature after the repressive years of apartheid. The dominant academic question at the time centred on the possible transition in the thematic and formalistic dimension of the literature of the new South Africa. Scholars and cultural commentators that include Es’kia Mphahlele, Njabulo Ndebele, Albie Sachs, Guy Butler, Elleke Boehmer, Michael Chapman, Mbulelo Mzamane, Andries Walter Oliphant, amongst others, all contributed immensely in the debates that attempted to define the possible direction of the literature after apartheid. This research is concerned with the developments in the Post-Apartheid South African Novels of English expression. Its focus is on how temporal mobility has impacted on cultural production especially as witnessed in the many transformations in the field of literature, particularly the novel as a genre. Using the tropes of memory, violence, and otherness, it examines the novels of writers as varying as André Brink, J.M. Coetzee, Zakes Mda, Zoë Wicomb, and Jo-Anne Richards. At the level of form, the fantastical and the confessional modes of narration are discussed as significant manifestations of the post-apartheid narratives using the novels of André Brink and Jo-Anne Richards respectively. It suggests that, among other things, the post-apartheid novels of English expression are marked by some interesting thematic blocs that include the fascination with land, the artistic display of remorse through the confessional mode, the rekindling of memory and its representation in narrative, the peculiar interest in violence and alterity, the continuing reportage of the urban space and the implications of urbanity on the ordinary citizenry, the recourse to gangsterism, miscegenation and the dilemma of a humankind confined to the psychological spaces of the interstices. Efforts were made in this research to avoid the ‘intellectual apartheid’ often associated with the hermeneutic engagements of the literati previously devoted to South Africa’s literary scholarship. It is for this reason that a more elaborate introductory chapter highlights aspects of the contributions of novelists and scholars that include Nadine Gordimer, Mongane Wally Serote, Lewis Nkosi, Njabulo Ndebele, and the ‘emergent’ ones such as Phaswane Mpe, K. Sello Duiker, Pamela Jooste, among others. An important dimension to this study is that it situates the Post-Apartheid narratives not only within relevant historical contexts, but also develops its argument by drawing immensely from the intellectual culture dominant in South Africa before, during, and after the notorious era of racial separatism. It concludes on the suggestive note that South African writers and literary scholars should attempt to demonstrate a more rigorous interest in locating the creative points of convergence between the aesthetic and social ideals.

Hoje eu vou morrer para nascer de novo. E como escrever histórias que existem em voz alta e que nunca quiseram estar nesta dissertação? Escrevo aqui uma dramaturgia a partir da alteridade, transformo o texto de um outro pela minha autoria. Procuro, assim, problematizar os usos de um discurso alheio ao escritor, como fundamento para o teatro. Para tanto, apresento três ações artísticas que realizei, Consulta, Fim da Fila e Jogo do Gênero, que são o motor para se pensar como a apropriação do real pode culminar na construção de um texto, processo que chamo de rubricagem. A presença física do dramaturgo em diálogo com o outro possibilita a construção de uma dramaturgia situada em campos expandidos do teatro, evidencia a performatividade do gesto, tanto no processo quanto na obra, e permite pensar caminhos da dramaturgia a partir da aproximação a alguém desconhecido. / Today I will die in order to be reborn. How to write spoken-word stories that never wanted to appear in this thesis? I describe here a dramaturgy of alterity, transforming the text of another into my own words. I thus seek to problematize the uses of a discourse foreign to the author as a foundation for theater. Therefore, I present three performances I have realized-- Consulta, Fim da Fila, and Jogo do Gênero--which drive my consideration about how the appropriation of the real can culminate in the construction of a text, a process I term rubricagem-- rubrication. The physical presence of the playwright in dialogue with another enables the construction of a text set in expanded domains of theatre, demonstrating the gesture\'s performativity--both in the process and final piece--and allowing us to conceive a dramaturgy that emanates from the approximation of someone unknown.

Hoje eu vou morrer para nascer de novo. E como escrever histórias que existem em voz alta e que nunca quiseram estar nesta dissertação? Escrevo aqui uma dramaturgia a partir da alteridade, transformo o texto de um outro pela minha autoria. Procuro, assim, problematizar os usos de um discurso alheio ao escritor, como fundamento para o teatro. Para tanto, apresento três ações artísticas que realizei, Consulta, Fim da Fila e Jogo do Gênero, que são o motor para se pensar como a apropriação do real pode culminar na construção de um texto, processo que chamo de rubricagem. A presença física do dramaturgo em diálogo com o outro possibilita a construção de uma dramaturgia situada em campos expandidos do teatro, evidencia a performatividade do gesto, tanto no processo quanto na obra, e permite pensar caminhos da dramaturgia a partir da aproximação a alguém desconhecido. / Today I will die in order to be reborn. How to write spoken-word stories that never wanted to appear in this thesis? I describe here a dramaturgy of alterity, transforming the text of another into my own words. I thus seek to problematize the uses of a discourse foreign to the author as a foundation for theater. Therefore, I present three performances I have realized-- Consulta, Fim da Fila, and Jogo do Gênero--which drive my consideration about how the appropriation of the real can culminate in the construction of a text, a process I term rubricagem-- rubrication. The physical presence of the playwright in dialogue with another enables the construction of a text set in expanded domains of theatre, demonstrating the gesture\'s performativity--both in the process and final piece--and allowing us to conceive a dramaturgy that emanates from the approximation of someone unknown.

Au travers de la thèse j’interroge l’instance de Surmoi en insistant sur son aspect processuel. Le processus surmoïque est constant et très complexe. Ce travail dynamique et topique du Surmoi est lié avec le travail économique de constellation des énonces catégoriques surmoïques qui encadrent et réorganise le mouvement psychique. La constellation des énoncés surmoïques comme une sorte de langage interne est construit dans le lien intersubjectif entre des sujets. L’énoncé c’est un message transmis par l’autre. L’autre apparait comme ancien l’énonciateur qui a laissé des traces dans la réalité psychique et aussi comme celui qui énonce et qui existe dans la réalité actuelle. Je propose l’hypothèse du Surmoi comme la modalité de passage entre le sujet et la culture sous angle des énonces surmoïques venu de l’autre dans les liens par le biais du processus d’identification multiple, ce que construit de la toile de Surmoi multiple. Le Surmoi multiple permet de dépasser la problématique de la paradoxalité et de l’ambuiguité du Surmoi et permet de voir sa double inscription, pulsionnelle et culturelle à la fois. L’autre qui est inscrit dans son environnement groupal prolonge mon hypothèse à ce qui se passe entre le sujet et le groupe est véhiculé dans l’espace psychique interne du Surmoi ce que je montre au travers de la clinique des sujets en malêtre et en crise et avec une fragilité identitaire. Je tente une réflexion sur la capacité contenante de l’institution, représentée par un groupe social institué (le groupe des soignants, le groupe des éducateurs, des professeurs) qui sont placés dans une référence culturelle donnée. Je propose de voir le groupe comme espace potentiel constituant la groupalité interne du Surmoi comme une toile signifiant. Le Surmoi multiple est à la frontière psychique et il est aussi la forme potentielle entre ce qui est intrapsychique et intersubjective. La fonction de l’autre à travers ses énoncés liés au contexte d’énonciation, est un fil rouge. La thèse tente de montrer que l’énoncé de l’autre organise une scène fournissant une forme potentielle comme une des traces multiples et surmoïques de l’autre chez un autre. La consciance morale – le sens interne qui guide est situé dans le Surmoi autant que la moralité et la culture interiorisé. Les lois sociales et la métacadre permettant de „vivre ensemble” fondent la condition humaine d’un sujet dans l’intitution. La clinique montre que les sujets qui souffrent déposent leur malêtre dans le groupe, qui s’organise comme une scène. Quand la culture portée par ce groupe possède les principes donnant un dispositif opérant, le cadre acquiert aussi une fonction contenante. Le lien entre le sujet et autrui est vu comme un échange d’une scène à une autre scène, ce qui convoque la figure de l’intrus et de l’étranger. Dans la rencontre avec le sujet il s’agit de transformer l’intrus en étranger familier. Par conséquent la quête du lien d’altérité est mise en question. / Through this thesis I question the Superego instance, emphasising its processing aspect. The Superego process is constant and very complex. The dynamic and topical work of the Superego is linked with the categorical, economic work of togetherness of statements that frame and reorganise the psychological movement. The togetherness of Superego statement as a sort of internal language is built in the inter subjective link between persons. The statement is a message transmitted by the ‹ Other ›. The Other appears as the former speaker who has left traces in the psychic reality of the person and also exists and sets the current reality. I propose the hypothesis of the Superego as a transfer mode between the person and his surroundings culture in terms of Superego statements passed from the ‹ other › within the bounds of multiple identifications. A process that builds the canvas of a multiple Superego. Multiple Superego overcomes the problem of paradoxical and ambiguity of simple Superego and demonstrates its double registrar, both drive and cultural. The Other one, registered in his group environment prolongs my hypothesis of what happens between the person and his group carried in the internal psychic space of the Superego. I demonstrate this with clinical cases, the persons with fragile identity in identity crisis. I try to reflect on the restraining capacity of the Institution , represented by an establish social group (eg the caregiver group, the educator group, the teachers) which is placed in a given cultural reference. I propose to see the group as a potential element (space) that will look into the multiple Superego as a workable canvas. Multiple superego is as the psychological border and it is also the potential form between what is intrapsychic and intersubjective.The mental capacity and the function of the other one through his speaking statements related to his surrounding context is a red string of this thesis. The thesis attempts to show that the speaking statement the other one arrange both groupal and psychic space like an scene providing in potential possibility in a multiple traces of superego of the other in another.The moral consciance - the internal sense which guide is located in the Superego as much as internalized morality and culture. Social laws and meta-framework for "living together" based the human condition of each person in intitution. The clinic case shows the suffering person who deposit their pain and ilness on the group, which get organized as a psychic scene. When the culture carried by this group has the principles giving an operating device, the framework also acquires a containing function. The relationship between two persons or person and the others is seen as an exchange from one psychic scene to another, which is associated with problematic of un intruder and un uncanny. In this case the encounter consiste to transform the intruder in familiar uncanny. Away the quest of otherness (alterity) is in question.

Made available in DSpace on 2016-04-25T19:20:48Z (GMT). No. of bitstreams: 1 Lourenco Stelio Rega.pdf: 10930790 bytes, checksum: 726653474fce7e8d52524be11def05f6 (MD5) Previous issue date: 2007-08-27 / For a long time the History of the Church in Latin America was written following the canons of positivist History, privileging the institution, power, politics, colonization and as a collateral effect, the intentional oppression towards the original people of the hidden land, which through this form of writing History was forgotten, became anonymous, without the right of becoming the source, to also be counted as the builder of the historic facts. Furthermore, the History of the church was built from a eurocentric perception; this included the Latin American church that figured as an appendix in the History compendia. It would be necessary to provoke a revolution in the writing of History, doing it from the bottom , from the basement to the attic , starting from the forgotten people, instead of starting from the institution, from the Church. Thus the present thesis aims to demonstrate that the historical work of Enrique Dussel was constructed upon another History of the Church in Latin America, built upon the Other forgotten one by the Church, the other poor one, but also oppressed, being therefore a History written by the otherness (alterity) of the person and not by the Institution. A History starting from the Other, for the Other and by the Other. An Alter-History (Otherness-History). This Enterprise of Dussel was concretized with the creation of the Commission for the Studies of the History of the Church in Latin America Comisión para Estudios de la Historia de la Iglesia en América Latina (CEHILA), directed continuously by him for 20 years and which was the object of his interchange in effecting the operating foundations of the other History of the Church in Latin America / Por muito tempo a História da Igreja na América Latina foi escrita sob os cânones da História positivista, privilegiando a instituição, o poder, a política, a colonização e, como efeito colateral, a opressão intencionada ao povo originário da terra encoberta , que, nesta forma de escrever a História, foi esquecido, ficou anônimo, sem o direito de ser fonte, de ser contado também como construtor de fatos históricos. Além disso, a História da Igreja era construída desde uma óptica eurocêntrica, isso incluía a Igreja latino-americana, que contava como um apêndice nos compêndios de História. Seria preciso provocar uma revolução na escrita da História, escrevendo-a de baixo , do porão ao sótão , à partir do povo esquecido, em vez de partir da instituição, da Igreja. Sendo assim, a presente tese tem como objetivo demonstrar que a obra histórica de Enrique Dussel se constituiu numa outra História da Igreja na América Latina construída a partir do Outro esquecido pela Igreja, o Outro pobre, mas também oprimido, sendo, portanto, uma História escrita a partir da alteridade, da pessoa e não a partir da instituição. Uma História escrita a partir do Outro, para o Outro e pelo Outro. Uma Alter-História. Este empreendimento de Dussel foi concretizado com a criação da Comisión para Estudios de la Historia de la Iglesia en América Latina (CEHILA), por ele dirigida por 20 anos seguidos e que foi objeto de sua interlocução na efetivação e construção dos fundamentos operativos da outra História da Igreja na América Latina

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