A presente tese pretende estabelecer as confluências entre romances de três autoras distintas. Partindo de um viés womanista, dois romances de cada escritora foram analisados e suas similaridades enfocadas, principalmente no que concerne ao tratamento dado às personagens femininas. A tese é composta de cinco capítulos. O primeiro lida com conceitos e temas subjacentes ao debate em torno das literaturas produzidas pelas chamadas minorias. Já o segundo, mergulha no universo literário de Conceição Evaristo, nossa autora afro-brasileira. O terceiro segmento aborda a literatura da afro-americana Toni Morrison. No quarto capítulo, enfocamos a obra da moçambicana Paulina Chiziane. A costura do texto é alinhavada no quinto capítulo, quando tecemos considerações finais sobre as semelhanças e particularidades de cada autora / The present thesis intends to establish the confluences between novels by three distinct authors. From a womanist perspective, two novels by each author were analyzed and their similarities were highlighted, especially concerning the treatment provided to the female characters. The thesis is made up of five chapters. The first one deals with concepts and themes underlying the debate about the literatures produced by the so-called minorities. The second chapter dives into the literary universe of our Afro-Brazilian writer, Conceição Evaristo. The third segment of the thesis focuses on the literature of the Afro-American Toni Morrison. The fourth sheds light on the works of the Mozambican Paulina Chiziane. The sewing of the text receives its finishing touches in the fifth chapter, where we elaborate final considerations on the similarities and peculiarities of each author

A presente tese pretende estabelecer as confluências entre romances de três autoras distintas. Partindo de um viés womanista, dois romances de cada escritora foram analisados e suas similaridades enfocadas, principalmente no que concerne ao tratamento dado às personagens femininas. A tese é composta de cinco capítulos. O primeiro lida com conceitos e temas subjacentes ao debate em torno das literaturas produzidas pelas chamadas minorias. Já o segundo, mergulha no universo literário de Conceição Evaristo, nossa autora afro-brasileira. O terceiro segmento aborda a literatura da afro-americana Toni Morrison. No quarto capítulo, enfocamos a obra da moçambicana Paulina Chiziane. A costura do texto é alinhavada no quinto capítulo, quando tecemos considerações finais sobre as semelhanças e particularidades de cada autora / The present thesis intends to establish the confluences between novels by three distinct authors. From a womanist perspective, two novels by each author were analyzed and their similarities were highlighted, especially concerning the treatment provided to the female characters. The thesis is made up of five chapters. The first one deals with concepts and themes underlying the debate about the literatures produced by the so-called minorities. The second chapter dives into the literary universe of our Afro-Brazilian writer, Conceição Evaristo. The third segment of the thesis focuses on the literature of the Afro-American Toni Morrison. The fourth sheds light on the works of the Mozambican Paulina Chiziane. The sewing of the text receives its finishing touches in the fifth chapter, where we elaborate final considerations on the similarities and peculiarities of each author

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / A presente dissertaÃÃo analisa a traduÃÃo do âwomanismoâ em The Color Purple (1982), da escritora Alice Walker, para o filme homÃnimo de 1985, dirigido por Steven Spielberg. O termo womanism, embora se refira tambÃm ao feminismo negro, diz respeito a um movimento que transcende o social; ele Ã, portanto, um movimento espiritual, comprometido com a sobrevivÃncia e o bem-estar de todas as pessoas, independente de raÃa, sexo, religiÃo, entre outros aspectos. O romance The Color Purple narra a histÃria de Celie, uma adolescente negra semiletrada, que escreve cartas a Deus, contando sobre sua vida. Por meio da amizade com outras mulheres e, consequentemente, da descoberta de novas formas de ser e sentir, a personagem tenta superar os traumas causados pela separaÃÃo da irmà e de seus filhos e pelos estupros fÃsicos e psicolÃgicos que sofreu. Nesta pesquisa, investigamos, especificamente, a reescritura de quatro personagens femininas â Celie, Nettie, Sofia e Shug â uma vez que as percebemos como as principais representantes do âwomanismoâ no romance. Partimos da hipÃtese de que alguns aspectos âwomanistasâ, tais como religiÃo e homossexualidade, foram suavizados na traduÃÃo, devido a questÃes contextuais, enquanto outros foram enfatizados porque se adequavam à poÃtica, tanto do diretor, quanto do cinema da dÃcada de oitenta. Como fundamentaÃÃo teÃrica, recorremos aos postulados de Even-Zohar (1990), sobre a teoria dos polissistemas, e aos pressupostos de Toury (2012), que entendem os estudos da traduÃÃo com Ãnfase no fator cultural, considerando a influÃncia que a cultura de chegada exerce sobre o processo tradutÃrio. Baseamo-nos tambÃm no conceito de reescritura, de Lefevere (2007), que enfatiza o carÃter histÃrico e cultural dos textos traduzidos. Sobre as questÃes de traduÃÃo de obras literÃrias para o cinema, empregamos os estudos de Cattrysse (1992), e as consideraÃÃes de autores, tais como Stam (2008; 2011) e Hutcheon (2013), que discutem sobre a relaÃÃo entre os dois sistemas de linguagem. Por fim, no que se refere ao âwomanismoâ, as reflexÃes de Maparyan (2012), bem como da prÃpria Walker (1983) sÃo fundamentais na conduÃÃo da anÃlise. Os resultados mostraram que as estratÃgias de suavizaÃÃo e Ãnfase na traduÃÃo dos traÃos âwomanistasâ das personagens femininas dizem respeito à poÃtica dos tradutores, bem como Ãs especificidades do sistema cinematogrÃfico. Por isso, na adaptaÃÃo, elas refletem muito mais a poÃtica do diretor e do cinema hollywoodiano dos anos oitenta, do que o âwomanismoâ observado na obra literÃria / The present dissertation analyses the translation of womanism in The Color Purple (1982), by Alice Walker, into its homonymous film adaptation in 1985, directed by Steven Spielberg. The term womanism, although it also refers to the black feminism, relates to a movement that transcends the social aspect; it is, therefore, a spiritual movement, committed to the survival and welfare of all people, independent on race, sex, religion, among others. The novel The Color Purple tells Celieâs story, a semi-illiterate black teenager who writes letters to God, telling situations about her life. Through friendship with other women and, consequently, the discovery of new ways of being and feeling, the character tries to overcome the trauma caused by the separation of her sister and her children, and the physical and psychological rapes she had suffered. In this research, we investigate, specifically, the rewriting of four female characters â Celie, Nettie, Sofia and Shug â since we perceive them as the main representative of womanism in the novel. Our hypothesis is that some womanist aspects, such as religion and homosexuality, were softened in the translation, due to contextual issues, whereas others were emphasized because they were adapted into both the poetics of the cinema of the 80âs, and of the director. As theoretical background, we take Even-Zoharâs postulates (1990), about the polysystem theory, and Touryâs assumptions (2012), which understand the studies of translation emphasizing the cultural factor, and considering the influence that the target culture has on the translation process. We also take Lefevereâs concept of rewriting (2007), which emphasizes the historical and cultural nature of the translated texts. Concerning the translation of literary works into the cinema, we use the studies by Cattrysse (1992), and the considerations of authors, such as Stam (2008; 2011) and Hutcheon (2013), who discuss the relationship between the two language systems. Finally, about womanism, the reflections by Maparyan (2012) and Walker (1983) are critical in conducting the analysis. The results showed that the strategies of softening and emphasis on the translation of the female charactersâ womanist traits concern the translatorsâ poetic, as well as the specificities of the cinematic system. Therefore, in the adaptation, they reflect much more the poetics of Hollywood cinema of the 80âs, and of the director, than the womanism observed in the literary work

The Emancipation of Celie: The Color Purple as a womanist Bildungsroman The purpose of this essay is to study The Color Purple as a Bildungsroman, focusing on the development of the protagonist, Celie. The Color Purple is related to both the traditional Bildungsroman and to the female Bildungsroman, but the essay shows that it can also be seen as a womanist Bildungsroman. Initially, Celie believes that being a woman inescapably means that she has to serve and obey men and she is oppressed by patriarchy. She is eventually introduced to another way of living by the strong female characters of Sofia and Shug who embrace her in a kind of sisterhood, which is vital for Celie as she has nothing else to help her liberate herself from the patriarchal values that keep her down. In conclusion, this essay shows how Celie has developed from being a young girl, forced to act in an adult way, into a woman who displays signs of all the criteria for having achieved a womanist development: she is grown up (not just acting as though she is), she is in charge of a business, a house and, in short, her life. She is serious, she has a universalist perspective, and most importantly, she loves. Furthermore, the essay highlights which characteristics of her development can be linked to the traditional and the female Bildungsroman and which characteristics can be seen as typical of a womanist Bildungsroman.

The Color Purple (1982) is a well-known feminist work of literature written by the ‘womanist’ Alice Walker. This analysis sought to analyse Walker’s novel in order to identify and discuss the criticism of patriarchal power relations in the novel. This was done by looking closely at the character of Celie and the characters around her, focusing on, especially, the female characters’ empowerment but also on how the male characters are liberated from patriarchy. The observations were then analysed through a filter based partly on feminist criticism and partly on psychoanalytic concepts adopted and interpreted by feminists. The relevant narrative and story arcs were also analysed through the lens of Walker’s brand of feminism called womanism to explore the importance of female bonding and sisterhood for gaining power and overcoming oppression. In the end, it was concluded that the novel displays an overt breakdown of patriarchy as a destructive force and provides the ideology of womanism as an alternative to the patriarchal ideology.

African American (AA) women have the highest rates of obesity and weight-related diseases of any other cultural group in the United States. The purpose of this study was to examine the relationship between acceptance of the Strong Black Woman (SBW) cultural construct and the following weight-related health factors: body mass index (BMI), high blood pressure, stroke, and diabetes mellitus (DM). The hypothesis was that a positive relationship exists between accepting the SBW persona and weight-related health factors. The theory of womanism was used to guide this study. Convenience sampling was used to recruit 127 AA women to participant in an online survey. Descriptive statistical analysis was performed on the demographics. Multiple regression analysis was conducted to evaluate the research questions. The affect and regulation subscale from the Strong Black Woman Cultural Construct Scale was used to measure mental and emotional strength. Willingness to ask for help was measured using the General Help Seeking questionnaire original version. The Emotional Eating Scale measured eating behaviors in response to anger, frustration, depression, and depressed mood. The Perceived Stress Scale measured perceived stress. The results of the analyses revealed that mental and emotional strength were significantly related to BMI and high blood pressure. There was no significant relationship found between mental and emotional strength and heart disease, stroke, and DM. This study could provide useful information for future weight management treatment for AA women. Positive social change is implied because understanding weight gain in this population may help to decrease the incidences of obesity and associated weight-related illnesses.

abstract: The world of speculative fiction infuses the soul with the hope of the imaginary. My dissertation examines Afrofuturistic liminal imaginary space and the ways it is experienced as life-giving spaces. The imaginary and the aesthetics it births are formularies for art forms that speak to the hope of a transformed future. Speculative fiction, although in the realm of the imaginary, is an enlivened approach to express in the present collective possibilities and hopes of the people within those very imagined futures. During the past three decades, particularly, Black speculative fiction has been increasingly at the core of the new cultural productions of literature, film, horror, comics, fantasy, and music which tell the story of African descendant people. Afrofuturism is an analytic for exploration of the liberative revisioning of Black humanity in the face of persistent practices of structural injustice. My project presents the phenomenological exploration of Black Speculative Thought (ST) as it comes alive through artistic liminal spaces of Afrofuturist comic and science fiction conventions. I argue that Black imaginary liminal spaces such as Comicon Culture offer respite, renewal, and locales for creative resistance to thwart persistent alienation and nihilism of Black humanity. Furthermore, it is within these spaces where intersubjective agency can be taken up as a countermeasure to the existential realities and dominant hegemonic existences of everyday life. I examine the process, events, and experience of Black imaginary as it comes alive as potentiated hope for alternative futures. My intention is to marshal the theoretical specters of Critical Afrofuturism, Africana Philosophy, and Womanist Thought in this task. / Dissertation/Thesis / Doctoral Dissertation Women and Gender Studies 2019

This research utilizes an Afrocentric, mixed method content analysis to examine the depiction of gender ideology and Black relationships in 21st century Black female lead television dramas. In doing so, this research will determine the prevalence of what this author theorizes as feminist propaganda. All institutions, including media, reflect the cultural orientation of the dominant culture, which in the United States is European. This important factor, coupled with various propaganda techniques, defines how the popularity of feminism has increased exponentially on television, specifically in televised dramas starring Black women. Feminism, at its root, is ideologically antithetical to African culture due to its Euro-western cultural underpinnings, anti-Blackness, and imperialistic behavior. With this understanding, the utilization of the discipline of Africology will emphasize and highlight the significance of culture in defining the nature of gender ideology on television. The author will provide an Afrocentric analysis of these cultural distinctions, questioning whether it is in the best interests of Black women, and humanity in general, to maintain white supremacist beliefs and values under the auspices of feminist propaganda. Utilizing Marquita Gammage’s Africana Womanist methodology, as constructed from Clenora Hudson-Weems’s theory of Africana Womanism, and functionalizing Valethia Watkins’ theory of compulsory feminism, this research interrogates the Eurocentric ideology perpetuated in Black female-lead television shows from an africological perspective. Research questions that will be explored in this study are: a) what is feminist propaganda and is it observable in Black female lead television shows? b) Are the relationships between Black women and men in Black female lead television shows overwhelmingly negative based on Afrocentric values and beliefs? and c) Are the platonic relationships of Black female leads in Black female lead television shows primarily non-African? While recent day Hollywood initiatives have claimed to push diverse representation in media, the increased portrayal of feminism on television still reflects the monopoly feminism has over preferred Western gender ideology. This research opens a dialogue for more culturally centered representations of gender ideology and interrogations of the portrayal of Black relationships in media. / African American Studies

No description available.

In my thesis, I examine Aminata Sow Fall's sixth novel Douceurs du bercail "The Sweetness of Home" through three lenses: race, gender, and nature. I analyze the way Sow Fall approaches each of these three areas in terms of paradox to emphasize her understanding of the complexity of these issues and her reluctance to outline them rigidly. Instead of putting forth hard opinions about how race, gender, or nature should be understood, Sow Fall exhibits a propensity to allow each area to remain complicated. I study why she allows racial, gendered, and environmental paradoxes to circulate around one another in her text rather than attempting to resolve them, concluding that she uses this strategy both as an organizing principle and as an invitation to her readers to question the extant theories surrounding these three issues. Sow Fall's use of language in all three areas signals an underlying fascination with the paradoxes inherent in each. In the chapter on race, I discuss the contrasting narrative styles Sow Fall uses to describe European airport officials versus the protagonist Asta's best friend, a French woman named Anne. Sow Fall's language is significant here because she contrasts two white Europeans, one characterized as systematic and cold, the other warm and open, respectively. I also discuss the way Sow Fall uses an informal and lethargic narrative voice to characterize a black secretary living in Senegal, further highlighting the disconnect between the two racial groups. In the chapter on feminism, I discuss a shift in Asta's language as she becomes more assertive. I also analyze the various aspects of femininity in Douceurs du bercail which have led some scholars to carry out feminist readings of the text, such as Asta's decision to leave her domineering and abusive husband, but recognize the more traditional aspects of the novel, such as Asta's marriage to Babou at Naatangué, as problematic to a purely feminist reading of the text. In the chapter on nature, I study Sow Fall's problematic use of Westernized language to describe the development of the untouched land of Naatangué into a lucrative farm. Throughout the chapters, I interpret Naatangué as the ultimate paradoxical space which is at once wrought with complicated language and conflicting ideals yet acts as a quasi-paradise where Asta and her friends balance the conflicting forces of tradition and modernity. Naatangué also acts as an organizing principle where all three areas of my study intersect.