La nature et la rythmique des évolutions des pratiques artistiques en Guadeloupe, Jamaïque et Haïti, pays caribéens aux mêmes bases historico-culturelles, dès le XVIIIe siècle, démontrent une singularité dynamique portée par le concept de reconfiguration. Du règne de l’académisme européen aux balbutiements de l’imitation des autochtones caribéens descendants d’esclaves et exclus de l’art érigé en privilège de castes, jusqu’à la rupture épistémologique opérée à partir des années vingt, sous l’influence des mouvements nationalistes, anticoloniaux développés dans la Caraïbe et renforcés à l’extérieur par les capitales occidentales, New York, Paris, Madrid. Les principes idéologiques progressistes incarnés et réinvesties par Price Mars, Alain Leroy Locke, Marcus Garvey, Aimé Césaire renversent les valeurs académiques et déclenchent l’irruption de la subalternité dans l’art caribéen. Ces procédures de reconfigurations s’illustrent dans les continuelles ruptures au XXe siècle jusqu’à aujourd’hui et sont à l’origine des mouvements Indigénisme, Primitivisme, Intuitivisme développés avec le concours plus ou moins marqué d’étrangers. Ses multiples visages qui se dessinent à travers une succession de métamorphoses, d’adaptations et de reconfigurations à chaque fois renouvelées dans la variance des représentations et des contextes lui confèrent une dimension épique. A chaque étape de cette épopée, les artistes caribéens actualisent leurs pratiques traversées par un balancement lancinant entre l’ancrage que procure la réacquisition des références matricielles Africaines et Caribéennes et ouverture au monde. En dépit des écarts évidents entre les trois pays, des valeurs communes d’échanges démocratiques portées par les termes, Koudmen, Coumbite et Lyannaj sont retranscrites par tous, en engageant la réalité d’une géostratégie de l’art suggérée par les notions de multilatéralisme et de multipolarité. L’envers de cette stratégie de la convergence humaniste de l’art se fonde dramatiquement sur les disfonctionnements psychiques hérités de l’histoire qui trouvent leurs expressions dans les concepts de double conscience et de conscience marassa. Ces nouvelles modalités d’appréhension du monde sont les symboles de l’écartèlement entre des aspirations contradictoires et sont révélatrices d’une face contrariée de la reconfiguration de l’art. Ces procédures de transferts d’influences culturelles interpellent sur les limites qu’elles circonscrivent et incitent à l’interrogation sur la capacité de l’art caribéen à se projeter au-delà des gestes systématiques de retraitement, de recyclage et d’importation afin de générer une approche plastique intégrale, autonome, moins dépendante de la gestion d’influences et de modes ? / The nature and rhythm of the evolution of artistic practices in Guadeloupe, Jamaica and Haiti, Caribbean countries with the same historical-cultural bases, as soon as the 18th century, show a dynamic singularity which is driven by the concept of reconfiguring. From the reign of the European academicism to the infancy of imitation of the Caribbean natives-descendants of slaves and excluded from art erected in caste privilege, up to the epistemological rupture operated from the 20s under the influence of the nationalist and anti-colonial movements which were developed in the Caribbean and which were strengthened on the outside by the Western capitals, New York, Paris, Madrid. Progressive ideological principles embodied and reinvested by Price Mars, Alain Locke, Marcus Garvey, Aimé Césaire, overturn academic values and trigger the emergence of the subalternity in Caribbean art. These reconfiguration procedures are illustrated in the continual breaks in the twentieth century until today and are the source of Nativism movements, Primitivism, Intuitivism, developed with the more or less marked help of foreigners. Its multiple faces that emerge through a series of metamorphoses, adaptations and reconfigurations, each time renewed in the variance of representations and contexts give it an epic dimension. At each stage of this epic, Caribbean artists update their practices crossed by a nagging swinging between the anchoring provided by the reacquisition of the African and Caribbean references and openness to the world. Despite the obvious differences between the three countries, common values of democratic exchanges carried by the words, Koudmen, Coumbite and Lyannaj are transcribed by all, by engaging the reality of a geostrategy of art suggested by the concepts of multilateralism and multipolarity. The other side of this strategy of humanistic convergence of art is dramatically based on the psychic dysfunctions inherited from history, which find their expressions in the concepts of double consciousness and Marasa Consciousness. These new methods of apprehension of the world are the symbols of the quartering between contradictory aspirations and are indicative of an upset face of the reconfiguration of art. These cultural influences transfer procedures challenge the limits they circumscribe and encourage the questioning on the ability of Caribbean art to project beyond the systematic actions of reprocessing, recycling and import, in order to generate an autonomous integral plastic approach, less dependent on the management of influences and modes.

This research aims to discuss the woman condition on the capitalist system which has the patriarchal model of society as one of his foundations as well as analyzing how this question is bonded to the fight for society s transformation. Therefore, the reflection proposes to situate the woman question inside the context of the class struggle, opting for analyzing, not in the perspective of the feminist conceptions, but of the Philosophy of Praxis of Antonio Gramsci. This option is justified considering that the philosopher, despite of his ambiguous thought regarding the woman condition, introduces in his Prison Works a relevant reflection concerning the theme. Such reflection points the origins of the peculiar feminine subalternity, which prolongs itself in the capitalism, and the necessity of forming a new feminine personality as a part of the intellectual and moral reform constructed by organic intellectuals of the working class , with the purpose of overcoming the burgess hegemony, in order to build one nuova civiltà. Therefore, we will look forward to investigate this philosopher s demand for the development of a new feminine personality, in order to comprehend if, by his categories, it is possible to think about the emancipation and the liberation of the women in the context of capitalism or if it is anticipated a limited role for woman on this process, which she would simply had to adequate herself to the claims of the working class, submitting again herself to a pedagogic relation with men, without having an action room to overcome the peculiar obstacles for his gender in search of her autonomy. / Esta pesquisa busca discutir a condição da mulher no sistema capitalista que tem o modelo patriarcal de sociedade como um de seus alicerces e analisar como esta questão se vincula à luta pela transformação da sociedade. Por isso, a reflexão propõe situar a questão da mulher no contexto das lutas de classes, optando por analisá-la, não na perspectiva das concepções feministas, mas da filosofia da práxis de Antonio Gramsci. Essa opção se justifica porque o filósofo, a despeito de seu pensamento ambíguo em relação à condição feminina, apresenta nas Obras do cárcere uma reflexão relevante sobre o tema. Tal reflexão aponta a origem da peculiar subalternidade feminina, que se perpetua no capitalismo, e a necessidade de se formar uma nova personalidade feminina como parte da reforma intelectual e moral realizada pelos intelectuais orgânicos da classe trabalhadora , com o objetivo de superar a hegemonia burguesa, para se construir uma nuova civiltà. Dessa forma, buscar-se-á investigar essa demanda do filósofo pela formação de uma nova personalidade feminina, para compreender se, por meio de suas categorias, é possível pensar na emancipação e na libertação da mulher no contexto do capitalismo, ou se é prevista uma função limitada para a mulher neste processo, em que ela teria simplesmente que se adequar às reivindicações da classe trabalhadora, submetendo-se novamente a uma relação pedagógica com o homem, sem ter espaço de ação para superar os obstáculos peculiares ao seu sexo em busca de sua autonomia. / Mestre em Filosofia

This dissertation proposes to investigate the (in)visibility of the female authorship in the string literature, historically understood as “poetic of men", and discuss tendencies and deadlocks on the building of the gender, analysing in what way these female voices of contemporary string literature put in the spotlight the woman in her poems. Therefore , we elected a corpus formed by three booklets O que é ser mulher?, by Salete Maria, A mulher e sua trilha, by Rosário Pinto and Saias no cordel, by Dalinha Catunda, chosen by criteria of poetic quality, by discusssing processes of (de)construction of the woman in society and by the relation to its authors with the Academy, institution to keep the memory and that contributed to the consolidation of string literature in the national scenery. In the first chapter, we discussed the concepts of literature and culture, and we distinguished historic aspects of string literature. In the second chapter, we stress the acting of string literature women who are skillful in the art of making up stanzas. As for the third chapter, we have discussed issues of gender when we study proposed poems for analysis. In general, this work tries to contribute with a greater difusion of the study of popular culture and the rescue of female voices of string literature, invisible and aphonic socially made, suggesting the opening of possibilities in an effort of reflexion of places of talk in society. / Esta dissertação se propõe a investigar a (in)visibilidade da autoria feminina na literatura de cordel, historicamente compreendida como “poética de homens”, e discutir tendências e impasses na construção do gênero, analisando de que modo essas vozes femininas do cordel contemporâneo põem em cena a mulher em seus poemas. Para tanto, elegemos um corpus composto por três folhetos O que é ser mulher?, de Salete Maria, A mulher e sua trilha, de Rosário Pinto e Saias no cordel, de Dalinha Catunda, escolhidos pelo critério da qualidade poética, por discutirem processos de (des)construção da mulher na sociedade e pela relação de suas autoras com a Academia, instituição de guarda da memória e que contribuiu com a consolidação do cordel no cenário nacional. No primeiro capítulo, discutimos os conceitos de literatura e cultura, e destacamos aspectos históricos do cordel. No segundo capítulo, salientamos a atuação de mulheres cordelistas que se mostraram hábeis na arte de compor versos. Já no terceiro capítulo, discutimos questões de gênero ao estudarmos os poemas propostos para análise. De modo geral, este trabalho tenta contribuir para maior difusão do estudo da cultura popular e o resgate das vozes femininas do cordel, socialmente feitas invisíveis e afônicas, propondo a abertura de possibilidades, num esforço de reflexão dos lugares de fala da sociedade.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-02-15T13:51:02Z No. of bitstreams: 1 deniseaparecidadonascimento.pdf: 1593620 bytes, checksum: 9a839e9d5281f5659087ad7f6f60e58e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-02-26T12:23:36Z (GMT) No. of bitstreams: 1 deniseaparecidadonascimento.pdf: 1593620 bytes, checksum: 9a839e9d5281f5659087ad7f6f60e58e (MD5) / Made available in DSpace on 2016-02-26T12:23:36Z (GMT). No. of bitstreams: 1 deniseaparecidadonascimento.pdf: 1593620 bytes, checksum: 9a839e9d5281f5659087ad7f6f60e58e (MD5) Previous issue date: 2014-05-06 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Espaço, lugar, território, mobilidade e deslocamento são, entre outros, termos marcantes da contemporaneidade que melhor descrevem a complexa relação entre homem e o meio em que vive. Deslocar sugere um movimento físico, e também emocional através de diferentes espaços geográficos, muitas vezes completamente estranhos, em que o sujeito necessita buscar diferentes estratégias de conciliação. As turbulências vividas nesses processos de (des) pertencer passam inevitavelmente pela noção do espaçamento. O presente trabalho investiga os múltiplos espaços vividos pelo sujeito contemporâneo. Nesses espaços múltiplos, torna-se interessante desvelar a relação conflituosa entre o “eu”, o “outro” e o lugar de “ocupação” desses sujeitos, além das questões relacionadas à alteridade e subalternidade relacionadas ao indivíduo marginalizado, principalmente a mulher negra. Nossa abordagem parte da leitura dos romances Ponciá Vicêncio (2003) e Becos da Memória (2006) de Conceição Evaristo; e A cor da ternura (1998), e o livro de contos: Leite do Peito (2001) de Geni Guimarães. Defendemos a ideia de que tais escritoras ocupam um espaço onde produzem textos que mexem com sentimentos inerentes ao ser humano, tocando a todos de maneira universal. / Space, place, territory, mobility and displacement are, among others, striking contemporary terms that best describe the complex relationship between subject and the environment in which they lives. To displace suggests a physical movement, and also emotional through different geographical areas, often completely strangers, in which the subject needs to seek different conciliation strategies. The turbulences experienced these processes of non belonging inevitably pass through the notion of spacing. The present work investigates the multiple spaces experienced by contemporary subject. These multiple spaces becomes interesting to uncover the conflicting relationship between the “I”, the "other” and the place of “occupation" of these subjects, in addition to issues relating alterity and subalternity marginalized individuals, especially black women. Our approach from the reading of novels Ponciá Vicêncio (2003) and Becos da Memória (2006) of Conceição Evaristo; and A Cor da Ternura (1998), and the book of short stories: Leite do Peito (2001) of Geni Guimarães. We defend idea that writers occupy such a space where writers produce texts that touch feelings inherent to the human being, touching all universal way.

Submitted by Neusa Fagundes (neusa.fagundes@unioeste.br) on 2018-08-13T20:06:17Z No. of bitstreams: 2 Cleonice_Lopes-Flois.pdf: 1512768 bytes, checksum: 52933c9e28ebec6c35d76d851736a2d1 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-08-13T20:06:17Z (GMT). No. of bitstreams: 2 Cleonice_Lopes-Flois.pdf: 1512768 bytes, checksum: 52933c9e28ebec6c35d76d851736a2d1 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation approaches the identity displacements in the narratives Mulheres de Cinzas (2015) by the Mozambican author Mia Couto and Americanah (2014) by the Nigerian author Chimamanda Ngozi Adichie. Those post-colonial African literary works are analyzed by the comparative studies bias and aim to reflect about the subject and, specially, the female subject starting at the approach of subalternity, otherness and resistance. To analyze literary works such as Mulheres de Cinzas and Americanah, which inquiry and subvert hegemonic discourses, justify itself for being a point to access knowledge and change of mentality, contributing to end the danger of a single story, as Chimamanda Adichie stated. The reading of Adichie and Couto provides the access to the discourse of resistance and recognition of cultural differences and plural identity processes, because it enables the reader to be in touch with confrontations capable of producing identitary and cultural displacements through the most critical reading of the literary text, as proposed by comparative studies. The ways of narrating of Adichie and Couto present traces of resistance that are essential to the subversion of hegemonic discourses bringing up conceptual standards that go beyond cultural belonging, as traditionally imagined. By means of resistance of the characters, the double writing that permeates Adichie and Couto writing reveal itself by bringing up a reconceptualization of culture incorporated in a sense of ambivalence, which deterritorialization generates by generating hybrid cultures. That multiple writing instrumentalizes the language used by the authors, in order to make it a power tool. To give theoretical support to the literary analysis of the works and reflect on the themes contained in this study, I seek support in Stuart Hall (1996, 2001, 2008), Frantz Fanon (1979, 2008), Homi Bhabha (2005), Gayatri Spivak (1997), Ana Mafalda Leite (2003, 2012), Carmen Lucia Tindó Ribeiro Secco (2000), Walter Mignolo (2003), Michelle Perrot (2007, 2003), Anibal Quijano (1999, 2003), Nestor Garcia Canclini Thomas Bonnici (2000, 2011), William Edward Burghardt Du Bois (1989), Paul Gilroy (2003), Tomaz Tadeu Silva (2003), Gilles Deleuze; Félix Guattari (1995, 1996), Roland Barthes (1975, 1978, 1999, 2004, 2004a, 2005) among others. / Esta dissertação tem como tema o estudo dos deslocamentos identitários nas narrativas Mulheres de Cinzas (2015) do escritor moçambicano Mia Couto e Americanah (2014) da escritora nigeriana Chimamanda Ngozi Adichie. Estas obras da literatura africana pós-colonial são analisadas pelo viés dos estudos comparados e objetivam refletir sobre o sujeito e, especificamente, o sujeito feminino a partir da abordagem da subalternidade, da outridade e da resistência. Analisar obras literárias como Mulheres de Cinzas e Americanah, que questionam e subvertem discursos hegemônicos, se justifica por ser mais uma forma de acesso ao conhecimento e à mudança de mentalidade, o que contribui no combate aos perigos da história única, termo utilizado por Chimamanda Adichie. A leitura de Adichie e Couto e suas obras propicia o acesso ao discurso de resistência e reconhecimento de diferenças culturais e de processos identitários plurais, pois possibilita para o leitor enfrentamentos capazes de produzir deslocamentos identitários e culturais por meio da leitura mais crítica do texto literário, da maneira que propõem os estudos comparados. Os modos de narrar de Adichie e Couto apresentam traços de resistência essenciais para a subversão dos discursos hegemônicos de modo a trazer à tona padrões conceituais que vão além do pertencimento cultural como tradicionalmente imaginado. Por meio da resistência das personagens das obras, a escritura dupla que permeia a escrita de Adichie e Couto se mostra trazendo uma reconceitualização da cultura incorporada a um sentimento de ambivalência, que a desterritorialização gera engendrando culturas híbridas. Essa escritura múltipla instrumentaliza a linguagem utilizada pela autora e pelo autor, de modo a torná-la ferramenta de poder. Para dar suporte teórico à analise literária das obras e refletir sobre as temáticas contidas neste estudo, busquei respaldo em Stuart Hall (1996, 2001, 2008), Frantz Fanon (1979, 2008), Homi Bhabha (2005), Gayatri Spivak (1985, 2014), Ana Mafalda Leite (2003, 2012), Carmen Lucia Tindó Ribeiro Secco (2000), Walter Mignolo (2003), Michelle Perrot (2007, 2003), Anibal Quijano (1999, 2003), Nestor Garcia Canclini (1997), Thomas Bonnici (2000, 2011), William Edward Burghardt Du Bois (1989), Paul Gilroy (2003), Tomaz Tadeu Silva (2003), Gilles Deleuze; Félix Guattari (1995a, 1995b, 1996), Roland Barthes (1975, 1978, 1999, 2004, 2004a, 2005) entre outros.

Dans une société médiatique on ne peut pas définir l’intellectuel comme une personne qui simplement travaille avec les lettres; on doit le définir plutôt comme une personne qui utilise d’autres moyens de communication en cherchant la meilleure façon de critiquer la société. En regardant la problématique de la définition de l’intellectuel dans la société médiatique on étudie dans ce mémoire les films Rodrigo D. No futuro et La Vendedora de Rosas réalisés dans les bidonvilles de Medellin par le directeur colombien Víctor Gaviria. Dans les films on peut voir la vie de jeunes garçons et des enfants pour qui la réalité est faite de drogue et de pauvreté. L’étude s’étend sur trois chapitres : Dans le premier on examine l’ensemble socio-historique dans lequel les films ont été réalisés et aussi on examine le concept de « sicariato » qui a été utilisé dans des études scientifiques et des romans. Le second chapitre porte sur la problématique de la définition de l’intellectuel et sur le processus de création de Víctor Gaviria, appelé « Voluntad Realista ». Dans le troisième chapitre on examine le manifeste écrit par Víctor Gaviria « Las Latas en el fondo del río » dans le contexte historique du troisième cinéma latino-americain, dont les cinéastes ont écrit des manifestes semblables. / In a media society, we cannot define the intellectuals as a person who works only with letters. We should instead define the intellectual as one who uses different forms of communication or different media to better criticize society. Following existing definitions of the intellectual in a media society, we study in this thesis the films Rodrigo D. No futuro and La Vendedora de Rosas that were made in the shantytowns of Medellin by Colombian filmmaker Víctor Gaviria. In these films we can see the lives of teenagers and kids who live in a poor and violent society. This study is divided into three chapters. The first chapter surveys the socio-historic moments in which the films were made and looks at the concept of “sicariato” that has been used in academic studies and novels. In the second chapter we look at the problematic of the definition of the intellectual and at Víctor Gaviria’s creative process called “Voluntad Realista”. In the last chapter we study Gaviria’s manifesto “Las latas en el fondo del rio” in the historical context of Latin America’s ‘Third Cinema’, whose filmmakers wrote similar manifestos. / En una sociedad mediática no podemos definir al intelectual como una persona que se dedica simplemente a trabajar con las letras. Debemos definir al intelectual como una persona que utiliza otros medios de comunicación para buscar la mejor forma de criticar a la sociedad. Mirando la problemática de la definición del intelectual en una sociedad mediática hemos estudiado en esta memoria los largometrajes Rodrigo D. No Futuro (1990) y La Vendedora de Rosas (1999), que fueron producidos en las comunas de Medellín por el cineasta colombiano Víctor Gaviria. Estos largometrajes muestran las vivencias de jóvenes y niños que habitan en una realidad violenta llena de droga y pobreza. Nuestra investigación se articula en tres capítulos: el primero enfoca el momento socio-histórico en que las películas fueron filmadas, para luego examinar el concepto del “sicariato” que ha sido utilizado en estudios científicos y obras literarias. El segundo capítulo se adentra en la problemática de la definición del intelectual y en el proceso creador de Víctor Gaviria que llama la “Voluntad Realista”. En el tercer capítulo estudiamos el manifiesto escrito por Víctor Gaviria “Las latas en el fondo del río” en el contexto histórico del tercer cine, cuyos cineastas produjeron manifiestos similares.

Dans une société médiatique on ne peut pas définir l’intellectuel comme une personne qui simplement travaille avec les lettres; on doit le définir plutôt comme une personne qui utilise d’autres moyens de communication en cherchant la meilleure façon de critiquer la société. En regardant la problématique de la définition de l’intellectuel dans la société médiatique on étudie dans ce mémoire les films Rodrigo D. No futuro et La Vendedora de Rosas réalisés dans les bidonvilles de Medellin par le directeur colombien Víctor Gaviria. Dans les films on peut voir la vie de jeunes garçons et des enfants pour qui la réalité est faite de drogue et de pauvreté. L’étude s’étend sur trois chapitres : Dans le premier on examine l’ensemble socio-historique dans lequel les films ont été réalisés et aussi on examine le concept de « sicariato » qui a été utilisé dans des études scientifiques et des romans. Le second chapitre porte sur la problématique de la définition de l’intellectuel et sur le processus de création de Víctor Gaviria, appelé « Voluntad Realista ». Dans le troisième chapitre on examine le manifeste écrit par Víctor Gaviria « Las Latas en el fondo del río » dans le contexte historique du troisième cinéma latino-americain, dont les cinéastes ont écrit des manifestes semblables. / In a media society, we cannot define the intellectuals as a person who works only with letters. We should instead define the intellectual as one who uses different forms of communication or different media to better criticize society. Following existing definitions of the intellectual in a media society, we study in this thesis the films Rodrigo D. No futuro and La Vendedora de Rosas that were made in the shantytowns of Medellin by Colombian filmmaker Víctor Gaviria. In these films we can see the lives of teenagers and kids who live in a poor and violent society. This study is divided into three chapters. The first chapter surveys the socio-historic moments in which the films were made and looks at the concept of “sicariato” that has been used in academic studies and novels. In the second chapter we look at the problematic of the definition of the intellectual and at Víctor Gaviria’s creative process called “Voluntad Realista”. In the last chapter we study Gaviria’s manifesto “Las latas en el fondo del rio” in the historical context of Latin America’s ‘Third Cinema’, whose filmmakers wrote similar manifestos. / En una sociedad mediática no podemos definir al intelectual como una persona que se dedica simplemente a trabajar con las letras. Debemos definir al intelectual como una persona que utiliza otros medios de comunicación para buscar la mejor forma de criticar a la sociedad. Mirando la problemática de la definición del intelectual en una sociedad mediática hemos estudiado en esta memoria los largometrajes Rodrigo D. No Futuro (1990) y La Vendedora de Rosas (1999), que fueron producidos en las comunas de Medellín por el cineasta colombiano Víctor Gaviria. Estos largometrajes muestran las vivencias de jóvenes y niños que habitan en una realidad violenta llena de droga y pobreza. Nuestra investigación se articula en tres capítulos: el primero enfoca el momento socio-histórico en que las películas fueron filmadas, para luego examinar el concepto del “sicariato” que ha sido utilizado en estudios científicos y obras literarias. El segundo capítulo se adentra en la problemática de la definición del intelectual y en el proceso creador de Víctor Gaviria que llama la “Voluntad Realista”. En el tercer capítulo estudiamos el manifiesto escrito por Víctor Gaviria “Las latas en el fondo del río” en el contexto histórico del tercer cine, cuyos cineastas produjeron manifiestos similares.

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.

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This study investigates two central research problems. These are: What are the healing practices of Aeta women? What are the implications of the healing practices of Aeta women in the academic discourse? This inquiry is important for the following reasons: (a) it focuses a reconsidered gaze and empirical lens on the healing practices of Aeta women healers as well as the lessons, insights and perspectives which may have been previously missed; (b) my research attempts not to be 'neutral' but instead be an exercise in participatory action research and as such hopefully brings a new space of decolonization by documenting Aeta women healers’ contributions in the political and academic arena; and (c) it is an original contribution to postcolonial, anti-colonial and Indigenous feminist theories particularly through its demonstration the utility of these theories in understanding the health of Indigenous peoples and global health. There are 12 Aeta women healers who participated in the Talking Circle. This study is significant in grounding both the theory and the methodology while comparatively evaluating claims calibrated against the benchmark of the actual narratives of Aeta women healers. These evaluations subsequently categorized my findings into three themes: namely, identity, agency and representation. This work is also important in illustrating the Indigenous communities’ commonalities on resistance, accommodation, evolution and devolution of social institutions and leadership through empirical example. The work also sheds light on how the members of our Circle and their communities’ experiences with outsider intrusion and imposed changes intentionally structured to dominate them as Indigenous people altered our participants and their communities. Though the reactions of the Aeta were and are unique in this adaptive process they join a growing comparative scholarly discussion on how contexts for colonization were the same or different. This thesis therefore joins a growing comparative educational literature on the contextual variations among global experiences with colonization. This is important since Indigenous Peoples' experiences are almost always portrayed as unique or “exotic”. I can now understand through comparison that many of the processes from military to pedagogical impositions bore striking similarities across various colonial, geographical and cultural locations.