Este trabalho examina o romance O último voo do flamingo, do escritor moçambicano Mia Couto, publicado pela primeira vez em 2000, em Portugal. Inicialmente apresentado como um enredo policial, o romance é narrado por um personagem que testemunhou os fatos: o tradutor de Tizangara, responsável por traduzir o diálogo entre a cultura eurocêntrica e as crenças míticas moçambicanas. A mediação cultural, a narração da história e os momentos em que o narrador/tradutor conta sua vida pressupõem um trânsito de pontos de vista que se estuda por meio das considerações dos pesquisadores Oscar Tacca e Gérard Genette. A ambivalência que é tanto causa quanto consequência dessa construção narrativa reflete a contrariedade em que vive a pequena vila moçambicana de Tizangara, cenário do romance. A partir da concepção de mito estabelecida por Mircea Eliade, verifica-se que a visão sagrada de mundo, característica de parte da história das tradições moçambicanas, é representada em O último voo do flamingo por antepassados, feiticeiros e homens mais velhos, os detentores de sabedoria nas crenças africanas. Diante disso, a corrupção, marca do poder dos governantes locais em Tizangara, ameaça a continuidade da vila, conduzindo a narrativa ao cenário apocalíptico proposto por Mia Couto enquanto uma forma de recomeço. Para compreender esse contraponto, considera-se o percurso histórico não só de Moçambique como também de Tizangara, uma metonímia do país africano. Como reflexo do complexo momento histórico por que passa aquele país, o ano de 1992 é escolhido para contar a história – primeiro ano de paz após décadas de guerra (de libertação e civil). Ainda que já liberto da colonização portuguesa desde 1975, Moçambique permanece colonizado, agora de forma distinta. Identificam-se também algumas das condições que contribuíram para o neocolonialismo com apoio bibliográfico proveniente sobretudo de Stuart Hall e Kwame Anthony Appiah. A apresentação histórica de Moçambique baseia-se nas diretrizes estabelecidas pelo historiador africano Joseph Ki-Zerbo. / This work examines the novel O último voo do flamingo, written by the Mozambican author Mia Couto, published for the first time in 2000, in Portugal. Initially presenting as a police plot, the novel is narrated by a character who witnessed the facts: the Tizangara‘s translator, responsible for translating the dialogue between Eurocentric culture and Mozambican‘s mythical beliefs. The cultural mediation, the story‘s narrative and the moments in which the narrator/translator tells his life presuppose a shift of points of view which are studied under considerations of the researchers Oscar Tacca and Gérard Genette. Ambivalence, which is both cause as well as consequence of this narrative construction, reflects the contrariety lived by the small Mozambican village of Tizangara, scenario of the novel. From the conception of myth established by Mircea Eliade, it is seen that the sacred worldview characteristic of part of Mozambican‘s historical traditions, is represented in O último voo do flamingo by ancestors, wizards and eldest men, the bearers of wisdom in African beliefs. Given that, corruption, as a sign of power of Tizangara‘s local governors, threatens continuity of life, leading the narrative to the apocalyptical scenario suggested by Mia Couto as a way of restart. To understand this contrast, it is considered not only the historical background of Mozambique as well as Tizangara, a metonym of the African country. Reflecting the complex historical moment in which that country is going through, the year of 1992 is chosen to tell the story – first year of peace after decades of war (emancipation and civil). Even though freed from Portuguese colonization since 1975, Mozambique remains colonized, in a different way now. We identify as well some of the conditions that contributed to neocolonialism with bibliographic support of Stuart Hall and Kwame Anthony Appiah. The historical presentation of Mozambique is based on guidelines established by the African historian Joseph Ki-Zerbo.

A observação dos procedimentos formais empregados por António Lobo Antunes em O esplendor de Portugal (1997) levou-nos a constatar a existência, no livro, de uma visão crítica muito peculiar e complexa a respeito da História do colonialismo português e do contexto pós--colonial em que Angola e Portugal inserem-se. Dessa forma, o objetivo de nossa dissertação de mestrado é elucidar a dinâmica social representada nO esplendor de Portugal e a condução que o desígnio autoral dá a essa representação. Nesse sentido, procuramos identificar as inter- -relações entre os elementos formais estruturadores da obra e aqueles que regem as dinâmicas sociais que nela figuram. Para alcançarmos tal objetivo, direcionamos nossos estudos a leituras de teoria e crítica literária pautados nas noções de redução estrutural e de interpretação dialética, que Antonio Candido propõe. Paralelamente, procedemos ao delineamento e à análise dos contextos históricos que envolvem o enredo do romance em questão, com ênfase à observação das dinâmicas dialéticas que se deram entre o desenvolvimento do capitalismo das grandes potências mundiais e o atraso econômico de Portugal, bem como ao modo como essas dinâmicas intervieram na constituição e na manutenção das formas sociais de base do colonialismo português na África. Depois desse embasamento teórico, efetuamos a análise literária de O esplendor de Portugal e constatamos que, nessa obra, a visão crítica sobre o colonialismo português em suas imbricações com as conjunturas políticas e econômicas mundiais assenta-se no cruzamento, dentro do romance, de diversas temporalidades, que se situam entre o fim do século XIX e o ano de 1995. É a partir do cruzamento dessas temporalidades que o desígnio autoral faz sobressaírem questões como os modos de exploração da força de trabalho angolana, a atuação do grande capital estrangeiro em Angola, o travamento das expectativas de expansão econômica dos colonos proprietários, subordinados que estavam ao Estado português e ao poderio do grande capital, a corresponsabilidade desses colonos na instituição e na generalização da violência que permeou as relações sociais na colônia e a influência que os interesses estrangeiros também tiveram na exploração de Angola, nos rumos da guerra colonial e na intensificação e ampliação dos conflitos existentes entre os movimentos nacionalistas angolanos. A principal conclusão a que chegamos, portanto, é a de que o pilar sobre o qual se assenta a construção de O esplendor de Portugal é a composição, subjacente à complexa rede narrativa do romance, de uma rede não menos complexa de relações causais entre as temporalidades abrangidas no livro, na qual se destacam as linhas de ruptura e de continuidade históricas que sustentam essa rede e que constroem a representação do presente catastrófico em que se situam os narradores. / The observation of formal procedures employed by António Lobo Antunes in O esplendor de Portugal (1997) took us to recognize the existence, in the book, a very peculiar and complex critical view about the History of portuguese colonialism and the post-colonial context in that Angola and Portugal are inserted. In this way, the purpose of our dissertation is to show the social dynamics represented in O esplendor de Portugal and the driving the authorial plan gives to this representation. Therefore, we look for to identify the relationships between the formal elements structures of the work and those that react the social dynamics that are listed. To achieve this purpose, we direct our studies to readings of literary theory and criticism based on the concepts of structural reduction and dialectical interpretation that Antonio Candido proposes. At the same time, we proceed to delineation and to analysis of the historical context to involve the plot of the novel in question, with emphasis to observation of dialectical dynamics that happened between the development of capitalism of the major world powers and the economic backwardness of Portugal, as well to how these dynamics intervened in the constitution and in the maintenance of basic social forms of portuguese colonialism in Africa. After this theoretical base, we did the literary analysis of O esplendor de Portugal and we found that, in this work, the critical view on portuguese colonialism in their impact, appear with the political and economic situations in the world are cross, into the novel, of different temporalities, which fall between the end of the 19TH century and the year of 1995. Is from crossing these temporalities that authorial intent does to protrude issues like operating modes of the angolan workforce, the performance of large foreign capital in Angola, the expectations of economic expansion of the colonists owners, subordinates who were the Portuguese State and the power of big capital, the co-responsibility of these settlers in the institution and in the widespread violence that pervaded the social relations in the colony and the influence that foreign interests also had on Angola exploration, in the direction of the colonial war and on intensification and expansion of the existing conflicts between the Angolan nationalist movements. The main conclusion that we reached, therefore, is that the pillar on which sits the creation of O esplendor de Portugal is the composition, underlying the complex net of romance narrative, not less complex of causal relationships between the temporalities covered in the book, in which the lines of rupture and historical continuity that underpin this network and that build the representation of the catastrophic present in which are situated the narrators.

Este trabalho examina o romance O último voo do flamingo, do escritor moçambicano Mia Couto, publicado pela primeira vez em 2000, em Portugal. Inicialmente apresentado como um enredo policial, o romance é narrado por um personagem que testemunhou os fatos: o tradutor de Tizangara, responsável por traduzir o diálogo entre a cultura eurocêntrica e as crenças míticas moçambicanas. A mediação cultural, a narração da história e os momentos em que o narrador/tradutor conta sua vida pressupõem um trânsito de pontos de vista que se estuda por meio das considerações dos pesquisadores Oscar Tacca e Gérard Genette. A ambivalência que é tanto causa quanto consequência dessa construção narrativa reflete a contrariedade em que vive a pequena vila moçambicana de Tizangara, cenário do romance. A partir da concepção de mito estabelecida por Mircea Eliade, verifica-se que a visão sagrada de mundo, característica de parte da história das tradições moçambicanas, é representada em O último voo do flamingo por antepassados, feiticeiros e homens mais velhos, os detentores de sabedoria nas crenças africanas. Diante disso, a corrupção, marca do poder dos governantes locais em Tizangara, ameaça a continuidade da vila, conduzindo a narrativa ao cenário apocalíptico proposto por Mia Couto enquanto uma forma de recomeço. Para compreender esse contraponto, considera-se o percurso histórico não só de Moçambique como também de Tizangara, uma metonímia do país africano. Como reflexo do complexo momento histórico por que passa aquele país, o ano de 1992 é escolhido para contar a história – primeiro ano de paz após décadas de guerra (de libertação e civil). Ainda que já liberto da colonização portuguesa desde 1975, Moçambique permanece colonizado, agora de forma distinta. Identificam-se também algumas das condições que contribuíram para o neocolonialismo com apoio bibliográfico proveniente sobretudo de Stuart Hall e Kwame Anthony Appiah. A apresentação histórica de Moçambique baseia-se nas diretrizes estabelecidas pelo historiador africano Joseph Ki-Zerbo. / This work examines the novel O último voo do flamingo, written by the Mozambican author Mia Couto, published for the first time in 2000, in Portugal. Initially presenting as a police plot, the novel is narrated by a character who witnessed the facts: the Tizangara‘s translator, responsible for translating the dialogue between Eurocentric culture and Mozambican‘s mythical beliefs. The cultural mediation, the story‘s narrative and the moments in which the narrator/translator tells his life presuppose a shift of points of view which are studied under considerations of the researchers Oscar Tacca and Gérard Genette. Ambivalence, which is both cause as well as consequence of this narrative construction, reflects the contrariety lived by the small Mozambican village of Tizangara, scenario of the novel. From the conception of myth established by Mircea Eliade, it is seen that the sacred worldview characteristic of part of Mozambican‘s historical traditions, is represented in O último voo do flamingo by ancestors, wizards and eldest men, the bearers of wisdom in African beliefs. Given that, corruption, as a sign of power of Tizangara‘s local governors, threatens continuity of life, leading the narrative to the apocalyptical scenario suggested by Mia Couto as a way of restart. To understand this contrast, it is considered not only the historical background of Mozambique as well as Tizangara, a metonym of the African country. Reflecting the complex historical moment in which that country is going through, the year of 1992 is chosen to tell the story – first year of peace after decades of war (emancipation and civil). Even though freed from Portuguese colonization since 1975, Mozambique remains colonized, in a different way now. We identify as well some of the conditions that contributed to neocolonialism with bibliographic support of Stuart Hall and Kwame Anthony Appiah. The historical presentation of Mozambique is based on guidelines established by the African historian Joseph Ki-Zerbo.

Made available in DSpace on 2016-12-23T14:34:09Z (GMT). No. of bitstreams: 1 Eloa Carvalho Pires.pdf: 962652 bytes, checksum: 3ce123871901151daa441f87132c3ec0 (MD5) Previous issue date: 2012-06-27 / By considering an approach which relates postcolonial studies and translation theories, this study questions the use of linguistic loans and foreignisms in Oswald de Andrade s poetic productions as translation acts and anti/postcolonial critique. The postcolonial categories presented by researchers as Edward Said, Homi Bhabha and Gayatri Spivak namely, the rupture of frontiers, difference as an enunciative category and temporality in the in-between space and questions on translation metaphors and untranslatability, in dialogue with the rich critique produced on Oswald de Andrade, stimulate the careful analysis of anthropophagy in the literary texts taken as our corpus: O Manifesto Antropófago (2011) and Memórias Sentimentais de João Miramar (2004). The result of the present research stresses the need for considering, within our current postcolonial debates, the anticipation of this anthropophagic reasoning, thus revealing a better understanding of important postcolonial aspects in Brazil / A partir de uma abordagem que relaciona os estudos pós-coloniais e as teorias da tradução, este trabalho indaga o uso dos empréstimos linguísticos e estrangeirismos na poética de Oswald de Andrade como atos de tradução e crítica anti/pós-colonial. Categorias pós-coloniais oriundas das pesquisas de Edward Said, Homi Bhabha e Gayatri Spivak como a ruptura das fronteiras, a diferença como categoria enunciativa e a temporalidade do entre-lugar e questões como as metáforas da tradução e a intraduzibilidade em diálogo com a ampla fortuna crítica produzida sobre Oswald de Andrade no país fomentam uma análise minuciosa do gesto antropofágico nos textos literários O Manifesto Antropófago (2011) e Memórias Sentimentais de João Miramar (2004), que servem como corpus para análise. O resultado do trabalho aponta para a necessidade de inventariarmos em nossos debates pós-coloniais atuais uma razão antropofágica que lhe antecede e que permite revelar aspectos importantes do pós-colonialismo no Brasil

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-03-23T13:30:11Z No. of bitstreams: 1 carlosalbertopavam.pdf: 1348489 bytes, checksum: 5e02a52ea66df47e2200680c9243f098 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T02:30:38Z (GMT) No. of bitstreams: 1 carlosalbertopavam.pdf: 1348489 bytes, checksum: 5e02a52ea66df47e2200680c9243f098 (MD5) / Made available in DSpace on 2016-04-24T02:30:38Z (GMT). No. of bitstreams: 1 carlosalbertopavam.pdf: 1348489 bytes, checksum: 5e02a52ea66df47e2200680c9243f098 (MD5) Previous issue date: 2013-02-28 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A proposta da dissertação é analisar as estruturas discursivas dos Jornais Folha de São Paulo e O Estado de São Paulo a fim de verificar a validade da hipótese segundo a qual a grande mídia brasileira interiorizou a imagem identitária estereotipada dos latino-americanos, no geral, e do brasileiro, em particular, engendrada pelos colonizadores europeus. Foi pesquisada a cobertura de três cúpulas do processo de integração da América Latina recorrendo aos fundamentos teóricos e metodológicos da análise de conteúdo. O trabalho parte de referenciais teóricos nos quais a identidade é entendida como um fenômeno narrativo que traduz a disputa por acesso privilegiado a bens simbólicos e materiais existentes em uma sociedade. E para a corrente pós-colonialista, o poder de narrar, ou de impedir que se formem e surjam outras narrativas, está no centro da luta pela hegemonia cultural. Os jornais, por reconstruírem a realidade, são palco privilegiado desse embate. A conclusão é que a elite que tem sua opinião publicada nos jornais brasileiros busca incorporar a identidade do antigo colonizador, assumindo a visão estereotipada deste, numa tentativa de apresentar-se como superior ao restante do povo latino-americano. / The purpose of the dissertation is to analyze the discursive structures of the Newspapers Folha de São Paulo and O Estado de São Paulo in order to check the validity of the hypothesis that the mainstream Brazilian media internalized the stereotypical identity image of Latin Americans in general, and Brazilians, in particular, engendered by European in the colonialism era. The work takes the publications in the papers of three summits of the process of Latin American integration using the theoretical and methodological content analysis. The theoretical part of the work assumes identity as a phenomenon that reflects the struggle for privileged access to material and symbolic goods existing in a society. And the post-colonial studies assert that the power to narrate, or to prevent others from forming and emerging narratives, are at the center of the struggle for cultural hegemony. Newspapers, for reconstructing reality, are privileged stage of this clash. The conclusion is that the elite that has its opinion published in Brazilian newspapers seeks to incorporate the identity of the former colonizer, assuming the stereotypical view of him, an attempt to present themselves as superior to the rest of the Latin American people.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2017-05-29T15:43:51Z No. of bitstreams: 1 guilhermeaugustodossantospovoa.pdf: 3716234 bytes, checksum: a6becfa2706586b0a06889e051c63560 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-29T19:50:26Z (GMT) No. of bitstreams: 1 guilhermeaugustodossantospovoa.pdf: 3716234 bytes, checksum: a6becfa2706586b0a06889e051c63560 (MD5) / Made available in DSpace on 2017-05-29T19:50:26Z (GMT). No. of bitstreams: 1 guilhermeaugustodossantospovoa.pdf: 3716234 bytes, checksum: a6becfa2706586b0a06889e051c63560 (MD5) Previous issue date: 2015-03-30 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A virada dos últimos anos trouxe novamente à superfície a perigosa, porém inevitável fragmentação dos territórios como conhecíamos. As guerras e invasões, bem como a crise econômica na Europa e nos Estados Unidos da América, acentuaram-nos a percepção de que, em um mundo onde a aceleração da realidade cria novas formas a cada dia, fronteiras nada mais são que imaginárias. Como consequência, isso não é só aplicado ao chão físico, mas também ao chão das ideias. Partindo desse cenário instável, nos focamos em dois objetos: um romance de Salman Rushdie, Luka e o Fogo da Vida (2010), e um jogo de videogame, Alice Madness: Returns (2011), de American McGee. O objetivo deste trabalho é, assim, analisar a constituição do sujeito traduzido sob dois pontos fundamentais: o da fluidez da linguagem e o das vozes do discurso. Como poderemos notar, esses pontos influenciarão tanto a formação dos autores e a criação de seus projetos artísticos quanto as discussões sobre a identidade cultural nas obras escolhidas. Essa formação, dotada de máscaras autorais, cria um efeito de irônica neutralização discursiva nessas produções. Sendo assim, elas se tornam essenciais para analisarmos a proposta pós-moderna da escrita de Rushdie e McGee: descentrada, plural e paradoxal. Dessa maneira, eles tornam-se os protagonistas dentro do palco que é a linguagem – produto de complexas relações imbuídas de poder. Através de uma mistura de histórias antigas e atuais, canonizadas ou não por instituições ou pelas sociedades, os autores migrantes fazem uma revisitação pós-moderna de diversos temas e histórias em textos que, enquanto híbridos, atravessam diversos códigos linguísticos, campos do saber e linguagens midiáticas. / The turn of the last years has once again brought about the dangerous though inevitable fragmentation of territories as we knew it. Wars and invasions, as well as the economic crisis in Europe and the United States of America, have emphasized our gaze upon the perception that in a world where the acceleration of reality creates new means every day borders are naught but imaginary. As a result, this is not only applied to the physical grounds, but also to the grounds of ideas. Paving our way from this unstable setting, we focus on two objects: a novel by Salman Rushdie, Luka and the Fire of Life (2010), and a video game, Alice Madness: Returns (2011), by American McGee. The aim of this thesis is thus to analyze the constitution of the translated subjects in two ultimate points: the fluidity of language and the voices of the discourse. As we may notice, these topics will influence both the formation of the authors and their artistic inventiveness as well as the discussion on the cultural identity in the chosen works. This formation, loaded with authorial masks, creates an effect of ironic discoursive neutralization in these productions. Therefore, they are essential for us to analyze the postmodern writing of Rushdie and McGee: de-centered, plural, and contradictory. Because of that, they become the protagonists on a stage, language – a product of complex relations embodied on power. Through a mixture of old and current stories – which may be canonized or not by institutions or companies – these migrant authors create a postmodern revival of various themes and stories in texts that are hybrid in their texture: crossing, thus, several language codes, fields of knowledge, and media languages.

No description available.

Cette thèse porte sur l’évolution des représentations de la diaspora antillaise en Grande-Bretagne depuis la deuxième moitié du vingtième siècle. La recherche se fonde sur l’hypothèse que le processus d’intégration est lié aux représentations. L’intégration ne peut se faire pleinement que lorsque les représentations négatives datant de l’époque coloniale sont complètement démantelées. Impuissante dans les années 1950 et 1960 face à l’hostilité de la population autochtone à son égard, la première génération de la diaspora antillaise en Grande-Bretagne ne pouvait que subir la discrimination raciale et les inégalités sociales dont elle fut victime. Cependant, dès la fin des années 1960, libérée du joug colonial britannique et se reconnaissant dans un discours de fierté noire venu des États-Unis, la diaspora antillaise se mobilisa, créant des associations de quartier et se donna de nouvelles représentations postcoloniales. Cette étude examine différentes stratégies déployées par une panoplie d’acteurs sociaux, politiques et culturels issus de la diaspora antillaise. L’évolution des représentations est certes bien amorcée, mais les résultats sont encore ambivalents. De nombreux travaux témoignent de la persistance d’un racisme institutionnel qui touche tout particulièrement les jeunes générations. L’éducation et les relations avec la police sont des domaines où des progrès sont encore à faire. Aux premières années du vingt-et-unième siècle, plus de soixante ans après son installation en Grande-Bretagne, la diaspora antillaise n’est toujours pas complètement intégrée à la société britannique. / This doctoral thesis focuses on the evolution of the social, political and cultural representations of the Caribbean diaspora in Great Britain since the second half of the twentieth century. It puts forward the hypothesis that integration is linked to representations and will only be successful when the negative representation of the colonial era is completely deconstructed. In the 1950s and 1960s, the members of the Caribbean diaspora were the passive victims of racial discrimination and social inequality. At the end of the 1960s, thanks to a growing political awareness and the emergence of Black self-help and protest groups encouraged by the U.S. Black Power movement, the diaspora began to weave its own new post-colonial social, political and cultural representations. Examples of the various strategies deployed to cast off detrimental colonial representations are analyzed. Representations have undoubtedly changed, but the results are mixed. Numerous reports indicate that institutional racism has not been eradicated from the British education system or from the police and that the younger generations are particularly vulnerable. At the beginning of the twenty-first century and after over sixty years of presence in the country, the Caribbean diaspora in Great Britain has still not achieved full integration.

This study focuses on Berni Searle’s art, in which she searches for alternative figurations of identity. For Searle, identity as a category seems insufficient, as it cannot account for individuals of mixed heritage. Searle’s body of work testifies to an attempt to position and locate herself and marginalised subjects within post-apartheid South Africa. History, tradition, culture, race and gender are pivotal to Searle’s visual examination of her body and her identity, as these inscribe the subject at both symbolic and physical levels. Identity was investigated within South African context and the contexts of various postcolonial, postmodern and feminist debates. Searle’s works were investigated revealing nomadic subjectivity, as philosophised about by Gilles Deleuze and theorised about by Rosi Braidotti. Nomadic subjectivity promotes the notion that identity is fluid and located in the interstitial spaces between dichotomies and various debates. The habitation of such liminal spaces in the interstices between binary oppositions and views relates to what Homi Bhabha has defined as the “third space” and the notion of hybridity. Searle constructs her identity by affixing disparate aspects of her self. This is a continuous process whereby the artist inserts and erases her body. Searle’s works are investigated by using the film as a format. In Cinema 1: the movement-image (1986) Deleuze outlined three core cinematic elements, namely the frame, shot and montage, which are employed in an attempt to investigate the various processes at work in Searle’s artistic production. In addition to this, these filmic components were considered for their conceptual implications both in terms of the medium of film and symbolically. The concept of time, as discussed in Cinema 2: the time-image (1989) was utilised to investigate the implications of time for the nomadic subject and the notion of memory. Copyright 2005, University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. Please cite as follows: Adendorff, A 2005, Nomadic figurations of identity on the work of Berni Searle, MA dissertation, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-12072005-161121 / > / Dissertation (M (Visual Studies))--University of Pretoria, 2006. / Visual Arts / unrestricted

Le XIXe siècle en Afrique noire était non seulement marqué par la l'initiative de la colonisation occidentale, mais aussi par la mission de christianisation. A partir de ce moment jusqu'à la fin de la Seconde Guerre Mondiale, l'identité africaine signifiée par un mode de vie particulier était définie en opposition aux valeurs chrétiennes. Il était donc impossible d'être chrétien et Africain en même temps. C'est ainsi que beaucoup d'Africains chrétiens s'occidentalisèrent et rejetèrent leurs coutumes considérées comme les œuvres du mal. Dans le contexte colonial, ceci était considéré comme normal.Après la Deuxième Guerre Mondiale, les intellectuels africains initièrent beaucoup de mouvements pour affirmer l'identité africaine: ce fut le commencement de l'émancipation culturelle et politique. Un de ces mouvements fut la Société Africaine de Culture, un mouvement intellectuel fondé par Alioune Diop et se situant dans le prolongement de Présence Africaine qui avait déjà rassemblé des intellectuels africains, antillais et européens. Alioune Diop devint alors le leader de l'émancipation culturelle de l'Afrique.En se consacrant à la figure d'Alioune Diop, la thèse souligne l'importance de la biographie intellectuelle, comme méthode de réflexion en histoire africaine. Elle y est présentée comme une approche qui permet de saisir des aspects qui peuvent échapper à l'intérêt accordé aux événements. Une autre caractéristique de cette réflexion est la place accordée à des archives non organisées et aux interviews dans un travail scientifique. La thèse soutient donc qu'il y a une dimension de l'engagement d'Alioune Diop qui, bien que moins connue, constitue une clé de compréhension de sa vie et de son œuvre. Cet intellectuel africain était en effet attentif à la religion et tout particulièrement au christianisme. Il considérait cette religion comme une réalité qui en Afrique pouvait soutenir le changement de nombreuses situations, pour permettre à ses peuples de trouver leur place dans le monde moderne. Ainsi, dans tous les événements qu'il organisa, la religion chrétienne eut une place particulière. Comme le combat d'Alioune Diop consistait à restaurer la dignité africaine au moyen de la culture, le catholicisme, en tant qu'une expression du christianisme alors portée par la culture occidentale essentiellement, avait une place importante dans ses réflexions. La thèse soutient que l'émancipation de l'identité africaine était aussi une émancipation du christianisme en contexte africain, et donc du catholicisme. Elle démontre que le catholicisme dans sa situation actuelle, comme religion africaine, est largement tributaire de l'engagement d'Alioune Diop et des intellectuels qu'il était parvenu à rassembler autour de lui. Cependant, dans le but de comprendre ceci, certaines questions apparaissent importantes: quel est l'exacte contribution d'Alioune Diop dans la correction des dérives de la rencontre entre identité africaine et catholicisme? Comment s'exprime cette rencontre dans un contexte postcolonial? Quels éléments donnent une signification à l'africanisation du catholicisme au XXe siècle? Toutes ces questions structurent l'orientation de ce travail et ouvrent à de nombreux aspects de l'identité africaine à travers d'importants événements comme les deux congrès des écrivains et artistes noirs (Paris et Rome), les deux festivals mondiaux des arts nègres (Dakar et Lagos), les colloques organisés par Alioune Diop avec d'autres intellectuels africains. Il y a aussi une mise en exergue de certaines questions en rapport avec la religion chrétienne: parmi elles, les plus importantes sont: l'œcuménisme, le dialogue entre les religions de l'Afrique en rapport avec la personnalité africaine et l'héritage colonial et postcolonial. / The 19th century in Sub-Saharan Africa was not only marked by the setting up of the European colonialism, but also by the Christian gospel preached in all the colonized territories. From this time until after the World War II, African identity which means the expression of the way of life of the Africans had been considered as an opposite to the Christian values. Clearly, it appeared impossible to be Christian and African at the same time. So, many African Christians had become Occidentalized and rejected their customs as the work of the devil. In a colonial context, this was considered as normal.After the World War II, African intellectuals initiated a lot of movements, in order to restore the African identity in all the issues concerning African peoples: this was the beginning of the emancipation, culturally and politically. One of the most important of those movements was African Society of Culture, an intellectual movement funded by Alioune Diop and situated onward of the movement “Présence Africaine” which had already gathered African, West Indian and European intellectuals. Alioune Diop became practically the leader of the African emancipation in the 20th century. The PhD dissertation, by focusing on the African intellectual Alioune Diop, emphasizes the importance of the biography, put in French “biographie intellectuelle”, as a method in African history. It is presented as a manner to study the African past in order to get to know this past in a way which appears different but very important to discover some details not covered through methods based on events. Another feature of this reflection is the capacity it gives to consider non organized archives and interviews in a scientific work.