Submitted by Mariana Dornelles Vargas (marianadv) on 2015-05-21T17:34:03Z No. of bitstreams: 1 producao_sujeito.pdf: 2509073 bytes, checksum: 7ee7f4e0154b78e56f870d94d81e1a1b (MD5) / Made available in DSpace on 2015-05-21T17:34:03Z (GMT). No. of bitstreams: 1 producao_sujeito.pdf: 2509073 bytes, checksum: 7ee7f4e0154b78e56f870d94d81e1a1b (MD5) Previous issue date: 2012-02-17 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação de mestrado teve como objetivo entender como se constitui o sujeito negro em Venâncio Aires - RS, a partir da análise das relações de poder e dos discursos que são colocados em circulação neste município pelo jornal Folha do Mate, de 1970 até 2010. Elementos como a visibilidade do afro-descendente e a política cultural desenvolvida por alguns sujeitos negros serviram como mobilizadores para problematizar os efeitos das verdades que vão além dos sujeitos deste espaço. Orientada pela perspectiva Pós-Estruturalista e as teorizações propostas por Michel Foucault, essa pesquisa utilizou o Jornal Folha do Mate como materialidade investigativa. Depois de realizar as análises do jornal, foi possível identificar três discursos que são tomados como verdades, a citar: o discurso da comunidade, o discurso politicamente correto e o discurso da diversidade étnico-racial. Assim, concluiu-se que o regime de verdades que circula em Venâncio Aires toma a diferença como necessária e a materializa por meio da valorização da diversidade e do exercício da tolerância. Em outras palavras, concede espaços de visibilidade ao negro e celebra a sua diferença, mas dificulta ou impede que se desenvolvam práticas interculturais no município, especialmente na Educação. / This masters degree dissertation had the purpose to understand how the black subject is composed in Venâncio Aires city - RS, based in the analysis of power relation and the speeches brought out by the local newspaper Folha do Mate, from 1970 to 2010. Traces such as the visibility of the African descendant and the cultural guidelines wrote by a few black subjects supplied persuasion to question the effects of the truths that go beyond of the people from this space. Headed for the poststructuralist perspective and theorizing proposed by Michel Foucault, this research took as a palpable investigative data the newspaper called Folha do Mate. After making the analysis of the data it was possible to identify three discourses that are taken as truths, quoted here: the community discourse, the politically correct discourse and the ethnic and racial diversity discourse. Therefore, it is said that the regime of truths that goes around in Venâncio Aires takes the difference as necessary and emerges it through the value given to diversity and the exercise of tolerance. In other words, it concedes places of visibility to the black people and celebrates their difference, but breaks or stops the development of intercultural practices in the Venâncio Aires, especially in Education.

本篇論文主要呈現非裔劇作家奧古斯特˙威爾森在《鋼琴課》劇中，如何藉由書寫黑人經驗來解構被白人扭曲的黑人歷史，從而建構真實的黑人歷史。威爾森在此劇中透過三個重要的議題：黑人的遷徙、奴隸制度、以及藍調，來探究舊有的和新開發的黑人認同。為了進一步說明劇作家在黑人主體上的看法，史都華˙霍爾（Stuart Hall）的後現代認同觀念便可作為此研究的大前提：主體並不是由個別的、單一的認同所組成，而是同時由數個認同所構成。理論部分，史都華˙霍爾對文化認同與漂泊離散（diaspora）的概念、保羅˙吉爾羅伊（Paul Gilroy）對漂泊離散、奴隸制度、與黑人音樂的闡述、米歇˙傅柯（Michel Foucault）的對抗記憶（counter-memory）與歷史的觀念以及法蘭茲˙法農（Frantz Fanon）的後殖民理論均被運用來閱讀《鋼琴課》這一劇。 本論文共分為五個章節。第一章提供劇作家、劇本、以及理論架構的一般介紹。第二章處理黑人漂泊離散認同（diasporic identity）的議題，而此認同展現於黑人的遷徙經驗上。劇中男主角威利男孩（Boy Willie）最後決定要返回南方的家，他的決心使他有別於待在北方的其他黑人。第三章透過審視鋼琴與鬼的意義與功用，著重在黑人種族認同（racial identity）的討論上。威利男孩與白人鬼的爭鬥突顯威爾森對黑人自主權的重視。第四章探索藍調跟文化認同（cultural identity）的關連性。劇中女主角柏妮斯（Berniece）藉由彈奏鋼琴來召喚祖靈，此不僅幫助她與過去作連結，並使她得到一個正面的自我確認形象。第五章是結論，總結威爾森在此劇中所展現的新的黑人認同。 / This thesis attempts to show how August Wilson deconstructs the white distortion of black history and constructs an authentic black history by writing about the black experience in The Piano Lesson. Wilson explores the old and the new black identities from three significant issues of migration, slavery, and the blues respectively in the play. In order to further explicate the playwright’s arguments on the black subject, Stuart Hall’s idea of postmodern identity serves as a major premise: the subject is composed not of a single, unitary, but of several identities at the same time. Stuart Hall’s idea about cultural identity and diaspora, Paul Gilroy’s elaboration on diaspora, slavery, and black music, Michel Foucault’s theory of counter-memory and the concept of history, and Frantz Fanon’s postcolonial argument are applied to the reading of The Piano Lesson. The thesis consists of five chapters. Chapter One provides a general introduction to the playwright, the play, and the theoretical framework. Chapter Two deals with the issue of black diasporic identity, which is demonstrated in black migration. Boy Willie’s final decision to return home in the South distinguishes him from those who stay in the North. Chapter Three centers on the discussion of black racial identity by scrutinizing the meaning and function of the piano and the ghosts. Boy Willie’s fighting with the white ghost foregrounds Wilson’s concern over black autonomy. Chapter Four explores the relationship between the blues and cultural identity. Berniece’s invocation to her ancestors through playing the piano helps her connect with the past and gain a positive image of self-recognition. Chapter Five is the conclusion which sums up the manifestation of Wilson’s construction of new black identities in the play.