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This study aims to analyze the aspect of national and cultural identity in the works of the contemporary Angolan writer José Eduardo Agualusa. This master‛s thesis contains a brief introduction to the history of Angola, the processes of shaping society and an introduction to Agualusa and his literary works. In addition to that ideas of postcolonial thinking and literary tendencies in postmodern times are discussed, which influenced the works of this writer. Furthermore, aspects of cultural identity and related views on human and historical memory are investigated. An analysis of selected works, demonstrates Agualusa's criticism concerning the political situation in Angola and his technique of using different concepts of Angolan identity. Keywords: Angola, Agualusa, identity, nationalism, literature, postcolonialism

This dissertation stands at the intersection between human rights, contemporary postcolonial literature, and medieval folkloric texts, specifically the One Thousand and One Nights, also known as the Nights, by an unknown author. The Nights was first translated to French by Antoine Galland, when it appeared as a series from 1704 to 1715. This was followed by subsequent English translations and other translations into many other languages. Today, the Nights continues to captivate the world’s literary imagination. The dissertation focuses on selected popular textual and visual human rights narratives published from 1994 to 2014. These narratives are by celebrated human rights artists and authors from different parts of the globe: they are both non-Western and Western, but all have spent a significant portion of their personal lives and careers preoccupied by rights and social justice issues, both locally and universally. I focus on the following texts: Dreams of Trespass: Tales of A Harem Girlhood (1994) by Moroccan author and feminist Fatima Mernissi; Women Without Men (2009) by the exiled Iranian artist and director Shirin Neshat; Women Without Men by exiled and celebrated Iranian novelist called Shahrnush Parispur; Habibi (2011) by novelist Craig Thompson; and The Dream of Shahrazad (2014) by Emmy-Award-winning South African documentary film maker/director François Verster. The varied texts tackle human rights issues such as colonization, wars, human trafficking, rape, violence, torture, women’s subjection, environmental justice; freedom of speech and movement; forms of classism; and racism. I attempt to explore how and why these works are employing the Nights’ narrative model, as well as its formal and aesthetic aspects, to enable modern human rights narratives. While the direct connection to the Nights is obvious, I also trace obscure references to the Nights’ stories, genres, and themes. I focus on how “The Story of King Shahryar and Shahrazad” and its plot about storytelling to heal and save lives interplays with a modern sense of rights issues such as violence, genocide, trauma, healing, and legal appeals for justice. I offer a reading of the Nights’ stories referenced in each work to theorize why human rights artists and authors include them directly or obscurely within their narratives. I conclude that these stories from the Nights were chosen for their themes of social justice, discrimination, trauma, torture, judicial discourse, and feminist empowerment. I also conclude that contemporary human rights artists and authors incorporate elements from the Nights in intertextual ways that enable them to construct currently applicable allegories of human rights advocacy.

Esta dissertação apresenta como a criação de personagens realizada pelo escritor guianense Wilson Harris em The Sleepers of Roraima (1970) ressoa com premissas da ideia de diferença existente em cosmologias ameríndias. Para traçar uma relação entre esses planos, o trabalho foca na corporalidade e na perspectiva, tópicos fundamentais do americanismo tropical, articulando-os aos processos de singularização de personagens narrados na trilogia de novelas de Harris. Destaca-se como modos de individuação de povos nativos da região repercutem com as dinâmicas que compõem os seres ficcionais da obra. Essas dinâmicas, mediadas por aspectos pré-individuais irredutíveis a uma morfologia de personificações fisiologicamente discreta, participam da focalização das novelas, de modo que esta funciona como eixo de proliferação de perspectivas. Assim, o narrador se afasta do princípio de identidade como medida régia da personificação, convergindo com a replicação diferenciante própria de práticas de muitas ontologias ameríndias. O estudo mostra que as personagens analisadas também não são finalizadas por contornos intelectuais ou psicológicos, mas variam relacionalmente à medida que atualizam pontos de vista desdobrados por recursos narrativos como oxímoros e paralelismos. Tais procedimentos textuais dirigem provocações de Harris contra o determinismo mimético do realismo, por meio de linhas de encontro entre dilemáticas barrocas, bricolagens surrealistas e a noção ameríndia de diferença. A partir desta análise literária, a dissertação esboça contribuições para o aprofundamento de uma reciprocidade de perspectivas entre a etnologia americanista, a filosofia da diferença e os estudos literários, considerando possíveis rendimentos dessa simetrização para o questionamento de antípodas modernos tais como natureza/cultura, indivíduo/sociedade e nós/outros. / This dissertation presents how the way the Guyanese writer Wilson Harris creates characters in The Sleepers of Roraima (1970) resonates with premises of the idea of difference existing in indigenous cosmologies of lowland South America. In order to outline a relation between these planes, the work focuses on corporeality and perspective, two themes that are key to americanist ethnology, linking them to the processes of singularization of characters narrated in Harriss trilogy of novellas. More precisely, this research highlights how modes of individuation of the native peoples of the region reverberate in the dynamics that make up the fictional beings in his work. These dynamics, mediated by pre-individual aspects which are irreducible to a morphology of physiologically distinct embodiments, take part in the focalization of the novellas, producing an axis of proliferation of perspectives. Thus, the narrator turns away from the principle of identity as the common denominator of personification, converging with the differentiating replication that characterizes practices within many Amerindian ontologies. This study shows that the analyzed characters are not defined by intellectual or psychological boundaries, but vary relationally as they actualize points of views unfolded by narrative features such as oxymorons and parallelisms. Such textual procedures are directed against the determinism of mimetic realism, through lines of imbrication between baroque dilemmas, surrealist bricolages and the Amerindian notion of difference. As from this literary analysis, this dissertation outlines contributions to deepening a reciprocity of perspectives between Americanist ethnology, the philosophy of difference and literary studies, benefiting from this symmetrization as a point of entry for interrogating modern antipodes such as nature/culture, individual/society and we/others.

Esta dissertação apresenta como a criação de personagens realizada pelo escritor guianense Wilson Harris em The Sleepers of Roraima (1970) ressoa com premissas da ideia de diferença existente em cosmologias ameríndias. Para traçar uma relação entre esses planos, o trabalho foca na corporalidade e na perspectiva, tópicos fundamentais do americanismo tropical, articulando-os aos processos de singularização de personagens narrados na trilogia de novelas de Harris. Destaca-se como modos de individuação de povos nativos da região repercutem com as dinâmicas que compõem os seres ficcionais da obra. Essas dinâmicas, mediadas por aspectos pré-individuais irredutíveis a uma morfologia de personificações fisiologicamente discreta, participam da focalização das novelas, de modo que esta funciona como eixo de proliferação de perspectivas. Assim, o narrador se afasta do princípio de identidade como medida régia da personificação, convergindo com a replicação diferenciante própria de práticas de muitas ontologias ameríndias. O estudo mostra que as personagens analisadas também não são finalizadas por contornos intelectuais ou psicológicos, mas variam relacionalmente à medida que atualizam pontos de vista desdobrados por recursos narrativos como oxímoros e paralelismos. Tais procedimentos textuais dirigem provocações de Harris contra o determinismo mimético do realismo, por meio de linhas de encontro entre dilemáticas barrocas, bricolagens surrealistas e a noção ameríndia de diferença. A partir desta análise literária, a dissertação esboça contribuições para o aprofundamento de uma reciprocidade de perspectivas entre a etnologia americanista, a filosofia da diferença e os estudos literários, considerando possíveis rendimentos dessa simetrização para o questionamento de antípodas modernos tais como natureza/cultura, indivíduo/sociedade e nós/outros. / This dissertation presents how the way the Guyanese writer Wilson Harris creates characters in The Sleepers of Roraima (1970) resonates with premises of the idea of difference existing in indigenous cosmologies of lowland South America. In order to outline a relation between these planes, the work focuses on corporeality and perspective, two themes that are key to americanist ethnology, linking them to the processes of singularization of characters narrated in Harriss trilogy of novellas. More precisely, this research highlights how modes of individuation of the native peoples of the region reverberate in the dynamics that make up the fictional beings in his work. These dynamics, mediated by pre-individual aspects which are irreducible to a morphology of physiologically distinct embodiments, take part in the focalization of the novellas, producing an axis of proliferation of perspectives. Thus, the narrator turns away from the principle of identity as the common denominator of personification, converging with the differentiating replication that characterizes practices within many Amerindian ontologies. This study shows that the analyzed characters are not defined by intellectual or psychological boundaries, but vary relationally as they actualize points of views unfolded by narrative features such as oxymorons and parallelisms. Such textual procedures are directed against the determinism of mimetic realism, through lines of imbrication between baroque dilemmas, surrealist bricolages and the Amerindian notion of difference. As from this literary analysis, this dissertation outlines contributions to deepening a reciprocity of perspectives between Americanist ethnology, the philosophy of difference and literary studies, benefiting from this symmetrization as a point of entry for interrogating modern antipodes such as nature/culture, individual/society and we/others.

ABSTRACT A COMPARATIVE ANALYSIS OF SENSE OF BELONGING AS A PART OF IDENTITY OF THE COLONIZER AND THE COLONIZED IN THE GRASS IS SINGING AND MY PLACE Cansu G&ouml / ktan M.A., in English Literature Supervisor: Assist. Prof. Dr. Margaret S&ouml / nmez May 2010, 205 pages This thesis investigates how two loosely autobiographical works unveil the effects of colonization on their major characters in terms of their identities and senses of belonging. The Grass Is Singing by Doris Lessing, a second-generation member of the colonizer, and My Place by Sally Morgan, a third-generation hybrid Australian Aborigine, are selected because both novels essentially deal with colonial issues by depicting their major characters in a process of maturation within a colonial and post-colonial framework, the former using a semi-autobiographical narrative tone and the latter using an Aboriginal version of autobiography, which integrates oral tradition and storytelling. These two books reveal that a sense of identity is closely related to a sense of belonging and that both are fundamentally affected by the colonial situation. The effects of a sense of identity and a sense of belonging, which boil down to the demise or survival of the individual, interacts with family and society, physical environment, and race issues that the thesis investigates by dedicating a chapter to each. The method used in this point-by-point comparative analysis is to approach the issues of sense of belonging and identity in a colonial context with a close reading of the two works, to find out what the texts say for themselves regarding the effect of family and society, environment, and race as depicted in The Grass Is Singing and My Place. The theoretical background that is most relevant to this study is post-colonial literary theory, although here it is taken as secondary to the close reading that is the thesis&rsquo / s primary approach to these works. Keywords: Doris Lessing The Grass Is Singing, Sally Morgan My Place, Colonial and Post-colonial Literature

This thesis explores the issues of representation and identity through an examination of the writings of Thomas King and Mudrooroo. The particular focus of the dissertation is on the similar yet distinctive ways these authors explore past and present possibilities for representing Indigenous peoples in fiction. This discussion has a largely Canadian-Australian cross-cultural comparison because of the national milieux in which each author writes. The research question, then, addresses the authors' common approaches to Indigenous, colonial and postcolonial themes and the similar textual attitudes to the act of representation of identity in writing. In order to explore these ideas the chapters in the thesis do not each focus on a particular author or even on a specific text. Each chapter examines the writings of both authors comparatively, and reads the novels of both Thomas King and Mudrooroo thematically. The themes unifying each chapter occur in four major movements. Firstly, the Preface and Chapter One are primarily concerned with the methodology of the thesis. This methodology can be summarised as a combination of general postcolonial assumptions about the impact of colonial texts on representations of Indigenous peoples; ideas of reading practice coming from North American and Australian Indigenous writing communities and cultural studies theories on race. A movement in argument then occurs in Chapters Two and Three, which focus upon how the authors interact with colonising narratives from the past. Chapter Four shifts from this focus on past images and explores how the authors commonly re-imagine the present. In Chapters Five and Six the dissertation progresses from charting the authors' common responses to colonising narratives -- past and present -- and engages in the writings in terms of the authors' explications of Indigenous themes and their celebrations of Indigenous presence. These chapters analyse the ways in which King and Mudrooroo similarly re-envisage narrative process, time and space. Overall, the thesis is not interested in authorisations of Thomas King and Mudrooroo as 'Indigenous writers'. Rather, it argues that these authors on either side of the world use very similar techniques to reject previous representations of Indigenous people, and, importantly, attempt to change the meaning of and approach to representation. In so doing this thesis finds that the novels of both authors respond to colonising semiotic fields, as well as reducing the importance of such fields by incorporating them within a larger framework of repeated and multiple evocations of Indigenous identity. The writings of both Thomas King and Mudrooroo share a selfconscious textuality. The same tales and emblems are repeated within each author's entire oeuvre in order to reinforce their thematic trope of re-presentation as a constantly evolving process. Finally, the thesis concludes that a significant common effect of this similar approach to re-presentation is an emphasis on the community over the individual, and a community that can be best described as pan-Indigenous rather than specific.

VIEIRA, Lílian Cavalcanti Fernandes. Omeros: vozes de identidade e cultura em Derek Walcott. 2012. 154f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-03-12T17:29:18Z No. of bitstreams: 1 2012-TESE-LCFVIEIRA.pdf: 1359253 bytes, checksum: 01a1295b5eea11cc0a9f6cecb0c1f126 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-03-13T13:45:30Z (GMT) No. of bitstreams: 1 2012-TESE-LCFVIEIRA.pdf: 1359253 bytes, checksum: 01a1295b5eea11cc0a9f6cecb0c1f126 (MD5) / Made available in DSpace on 2014-03-13T13:45:30Z (GMT). No. of bitstreams: 1 2012-TESE-LCFVIEIRA.pdf: 1359253 bytes, checksum: 01a1295b5eea11cc0a9f6cecb0c1f126 (MD5) Previous issue date: 2012 / The main purpose of this work is to analyze the thematic identity and culture of African basis through the work OMEROS written by the afro Caribbean writer and Literature Nobel Prize winner (1992), Derek Walcott. His work allows the focus to issues like the discussion of concepts such as identity and culture as political acts and artifacts of a good education, the affirmation of the process of black consciousness and the recovery of the enslaved one as the subject of a social history through post-colonial literature. The knowledge and study of this literature can contribute a great deal to the intellectual formation of educators as well as it may open paths to areas of philosophy of Brazilian education through the deepening in the culture of African basis during the Diaspora serving as a contribution to cultural diversity. / Este trabalho tem como objetivo investigar e analisar a questão da identidade e cultura de matriz africana por meio da obra do autor afro-caribenho e Prêmio Nobel de Literatura em 1992, Derek Walcott, cuja obra ainda não encontra no Brasil um estudo e divulgação adequados. Com essa proposta, estamos cooperando com a lei no. 10.639/03 para a afirmação do processo de consciência negra por meio da busca de um processo identitário que permeia os escritos do autor, analisando o entre-lugar do discurso do poeta e suas possíveis influências na produção de identidade e cultura no Brasil. Parte-se do pressuposto da pertinência de se fazer uma reflexão sobre identidade e cultura como atos políticos, ao divulgar e expor a riqueza cultural afro ou afrodescendente sob uma nova ótica, recuperando o escravizado como sujeito de uma história social, mostrando a infâmia do escravismo e reforçando as ações afirmativas no contexto brasileiro. O conhecimento e o estudo dessa literatura identitária pode contribuir tanto para a formação de educadores como abrir caminhos para as áreas de filosofia da educação brasileira pelo aprofundamento na cultura de base africana na diáspora, servindo de aporte às diversidades culturais.

Submitted by Jordan (jordanbiblio@gmail.com) on 2017-02-15T15:21:05Z No. of bitstreams: 1 DISS_2015_Beatriz Marucci.pdf: 727532 bytes, checksum: 831b4bec1b1ec06f6feefe03daf3bca0 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-02-16T10:30:56Z (GMT) No. of bitstreams: 1 DISS_2015_Beatriz Marucci.pdf: 727532 bytes, checksum: 831b4bec1b1ec06f6feefe03daf3bca0 (MD5) / Made available in DSpace on 2017-02-16T10:30:56Z (GMT). No. of bitstreams: 1 DISS_2015_Beatriz Marucci.pdf: 727532 bytes, checksum: 831b4bec1b1ec06f6feefe03daf3bca0 (MD5) Previous issue date: 2015-06-12 / CAPES / O atual cenário da literatura pós-colonial é extremamente diversificado, com vários exemplos de renomados escritores africanos, canadenses, indianos, latino-americanos, australianos, todos buscando representar e muitas vezes questionar sua identidade cultural. A lista de autores que apresentam as influências negativas ou positivas que a sua cultura sofreu e sofre através do processo de colonização até os dias atuais é incomensurável, entretanto, a literatura australiana se apresenta como um instigante objeto de pesquisa para os estudos pós-coloniais devido a sua singularidade. O escritor aborígene australiano Mudrooroo, por exemplo, nos contempla com o romance Wild cat falling (1965), em que pela primeira vez na história da literatura australiana a minoria aborígene é representada no papel de protagonista. As experiências selecionadas pelo autor para a representação da condição aborígene na Austrália contemporânea envolvem a exclusão social e a criminalidade, mas também a busca por uma afirmação de identidade. O objetivo deste trabalho é analisar a construção da identidade aborígene nesse romance, realizada, em grande parte, através de choques entre o protagonista, que se reconhece como pertencente a essa etnia, e os brancos com os quais convive na Austrália atual. Ainda que essas relações conflituosas se apresentem como um eco da antiga situação colonial, alguns essencialismos são desconstruídos em busca de uma convivência transformada. O tema da jornada de busca aos valores ancestrais, sobretudo através do fenômeno do Dreamtime, em torno do qual toda a narrativa se constrói, sinaliza o fato de que a cultura é “uma fonte de identidade”, suscitando “recentes retornos a ela e à tradição” (SAID, 2011, p. 12). Porém, Mudrooroo representa esse retorno, dando ênfase aos processos de hibridismo e tradução cultural pelos quais seu personagem passa. O resultado é que o personagem se sente mais revigorado e reconciliado com sua herança cultural ao final da narrativa, estando pronto para enfrentar melhor o que tem pela frente. / The current scenario of post-colonial literature is extremely diverse, with several examples of famous African, Canadian, Indian, Latin-American, Australian writers, all seeking to represent and often question their cultural identity. The list of authors who feature the negative or positive influences that their cultures suffered and suffer through the process of colonization to the present day is immeasurable, however, Australian literature is an exciting object for postcolonial studies due to its uniqueness. Australian Aboriginal writer Mudrooroo, for example, presents us with Wild cat falling (1965), a novel in which for the first time in the history of Australian literature the Aboriginal minority is represented as protagonist. The experiences selected by the author to represent the Aboriginal condition in contemporary Australia involve social exclusion and crime, but also the search for an identity. The objective of this study is to analyze the construction of Aboriginal identity in this novel, given largely by clashes between the protagonist, who recognizes himself as belonging to this ethnic group, and the whites with whom he lives in Australia today. Although these conflicting relationships are presented as an echo of the old colonial situation, some essentialisms are deconstructed in search of a transformed coexistence. The theme of the journey in search for ancestral values, especially through the Dreamtime phenomenon, around which the entire narrative is built, signals the fact that culture is “a source of identity,” raising “recent returns to it and to tradition” (SAID, 2011, p. 12). But Mudrooroo portrays this return by focusing on the processes of hybridity and cultural translation his protagonist goes through. The result is that the character feels more reinvigorated and reconciled with his cultural heritage at the end of the narrative, being ready to face what is going to happen to him next.

nÃo hà / Este trabalho tem como objetivo investigar e analisar a questÃo da identidade e cultura de matriz africana por meio da obra do autor afro-caribenho e PrÃmio Nobel de Literatura em 1992, Derek Walcott, cuja obra ainda nÃo encontra no Brasil um estudo e divulgaÃÃo adequados. Com essa proposta, estamos cooperando com a lei no. 10.639/03 para a afirmaÃÃo do processo de consciÃncia negra por meio da busca de um processo identitÃrio que permeia os escritos do autor, analisando o entre-lugar do discurso do poeta e suas possÃveis influÃncias na produÃÃo de identidade e cultura no Brasil. Parte-se do pressuposto da pertinÃncia de se fazer uma reflexÃo sobre identidade e cultura como atos polÃticos, ao divulgar e expor a riqueza cultural afro ou afrodescendente sob uma nova Ãtica, recuperando o escravizado como sujeito de uma histÃria social, mostrando a infÃmia do escravismo e reforÃando as aÃÃes afirmativas no contexto brasileiro. O conhecimento e o estudo dessa literatura identitÃria pode contribuir tanto para a formaÃÃo de educadores como abrir caminhos para as Ãreas de filosofia da educaÃÃo brasileira pelo aprofundamento na cultura de base africana na diÃspora, servindo de aporte Ãs diversidades culturais. / The main purpose of this work is to analyze the thematic identity and culture of African basis through the work OMEROS written by the afro Caribbean writer and Literature Nobel Prize winner (1992), Derek Walcott. His work allows the focus to issues like the discussion of concepts such as identity and culture as political acts and artifacts of a good education, the affirmation of the process of black consciousness and the recovery of the enslaved one as the subject of a social history through post-colonial literature. The knowledge and study of this literature can contribute a great deal to the intellectual formation of educators as well as it may open paths to areas of philosophy of Brazilian education through the deepening in the culture of African basis during the Diaspora serving as a contribution to cultural diversity.