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In this thesis Antjie Krog’s ‘transformation trilogy’ consisting of three nonfiction texts, Country of My Skull (1998), A Change of Tongue (2003) and Begging to Be Black (2009) is analysed with specific focus on conceptions of identity in the trilogy. This is done from numerous angles, namely a postcolonial approach to the trilogy, an analysis of Krog’s exploration of an ‘African worldview’, an in-depth inquiry into Krog’s preoccupation with ‘race’ and the assertion that Krog is essentially asking the National Question. The overarching approach that is followed in the thesis is to read all three texts of the trilogy in conjunction with each other and to highlight examples of repetition, progression and/or change with regard to the issues that have been identified. The translated nature as well as the form and content of the transformation trilogy are singled out as important signposts for the interpretation of the trilogy. Several instruments are identified that will be used in analysing the texts, including the importance of questioning, the concept of gesturing as articulated by Terry Eagleton, and Krog’s pedagogical attitude. The trilogy is situated within postcolonial theory: the importance of postcolonial theory in general and whiteness studies specifically for the study of the trilogy is highlighted. Krog’s explicit and implicit references to colonialism and postcolonialism in the trilogy are discussed as an important postcolonial gesture. Another meaningful gesture is Krog’s exploration of what can be termed an ‘African worldview’. This exploration takes place through her incorporation of African orality in the trilogy, and through her extensive enquiry into African humanism. Her use of the term ubuntu is examined, as well as her explicit interaction with formal African philosophy. It is averred that Krog’s focus on an ‘African worldview’ necessitates a thorough investigation into the role of ‘race’ in the trilogy. The place that is given to ‘whiteness’ and ‘blackness’ in the trilogy is analysed in part by engaging with whiteness studies. The conclusion in reached that the concept of complicity is essential for correctly interpreting Krog’s preoccupation with ‘race’, and the way that her trilogy engages with international discourses on restitution is equally important. Finally all the above issues come together when it is stated that Krog is essentially asking the National Question: to whom does South Africa belong? Can ‘white’ people belong to the South African nation? Krog’s conceptions of identity are evaluated in this context and identity-as-becoming is identified as a central concept emerging in the course of the trilogy. / In hierdie proefskrif word Antjie Krog se ‘transformasie-trilogie’ bestaande uit drie niefiksie tekste, Country of My Skull (1998), A Change of Tongue (2003) en Begging to Be Black (2009) ondersoek met spesifieke fokus op konsepsies van identiteit in die trilogie. Dit vind vanuit verskeie invalshoeke plaas, naamlik ’n postkoloniale benadering tot die trilogie, ’n analise van Krog se verkenning van ’n ‘Afrikawêreldbeeld’, ’n indringende ondersoek na Krog se preokkupasie met ‘ras’, en die bewering dat Krog die Nasionale Vraagstuk betrek. Die oorkoepelende benadering wat in die proefskrif gevolg word, is om al drie tekste van die trilogie saam te lees en voorbeelde van herhaling, progressie en/of verandering ten opsigte van die geïdentifiseerde kwessies aan te toon. Die vertaalde aard asook die vorm en inhoud van die transformasie-trilogie word as belangrike rigtingswysers vir die interpretasie van die trilogie belig. Enkele instrumente word geïdentifiseer met behulp waarvan die tekste telkens ontleed word, insluitende die belangrikheid van vraagstelling, die konsep van gebare wat van Terry Eagleton ontleen is, en Krog se pedagogiese ingesteldheid. ’n Postkoloniale situering van die trilogie vind plaas waarin die belangrikheid van die teorie van postkoloniale studies in die breë en witheidstudies in besonder ten opsigte van die trilogie kortliks uitgelig word. Die wyses waarop Krog eksplisiet na kolonialisme en postkolonialisme verwys, word as ’n veelseggende postkoloniale gebaar bespreek. ’n Verdere belangrike gebaar is Krog se verkenning van wat as ’n ‘Afrikawêreldbeeld’ omskryf kan word. Hierdie verkenning vind plaas deur haar inkorporasie van Afrika-oraliteit in die trilogie, en deur haar uitgebreide ondersoek na Afrikahumanisme. Krog se gebruikmaking van die term ubuntu geniet aandag, asook haar eksplisiete interaksie met formele Afrikafilosofie. Daar word beweer dat Krog se fokus op ’n ‘Afrikawêreldbeeld’ ’n deeglike ondersoek na die plek van ‘ras’ in die trilogie noop. Die plek van ‘witheid’ en ‘swartheid’ in die trilogie word ontleed deur onder andere met witheidstudies in gesprek te tree. Uiteindelik word beweer dat die konsep van medepligtigheid noodsaaklik is om Krog se preokkupasie met ‘ras’ na behore te interpreteer, en daarmee saam is dit belangrik dat Krog deelneem aan internasionale diskoerse oor restitusie. Uiteindelik val al die genoemde kwessies saam wanneer beweer word dat Krog in wese die Nasionale Vraagstuk opper: aan wie behoort Suid-Afrika? Mag ‘wit’ mense tot die ‘Suid-Afrikaanse nasie’ behoort? Krog se konsepsies van identiteit word binne hierdie konteks beoordeel en identiteit-as-wordingproses word as ’n belangrike konsep geïdentifiseer. / Thesis (DLitt)--University of Pretoria, 2014. / tm2015 / Afrikaans / DLitt / Unrestricted

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This project aims to explore the affective experiences of Black mothering within an anti-black context by analyzing podcast episodes. The project is organized by examining a) socio-historical constructions of race and gender which influenced Black motherhood and mothering experiences during chattel slavery, b) how those meanings have informed contemporary social constructions around Black mothering in opposition to normative mothering and motherhood–defined as white, cisgender, and middle class and c) the ways affect appears in Black mothering strategies today in a country that many argue continues to devalue Black lives The following questions ground this project: 1) How do social constructions around normative motherhood as a raced, gendered, and classed institution continue to impact Black women's mothering experiences, and 2) How do Black mothers narrate their mothering experiences, including their affective experiences of mothering within the U.S.? To capture Black mothers' sentiments around mothering, I used purposive sampling to select 33 podcasts from mothering blogs and a content platform that compiled lists of recommended podcasts of Black mothers speaking on mothering and other related topics. I analyzed the dialogue in 15 episodes of Black mother's reported experiences. I arranged the findings under three categories of affect: the affect of surrender and survival, the affect of agency, and the affect of community which is reflected in the conceptual framework of liberatory parenting. / Master of Science / For my thesis, I investigated how Black mothers parent within the U.S. and explored the feelings that shaped their mothering experiences. In this project, mothering is defined as the actions and strategies. Black women used to navigate raising children within an anti-black society. I first examined the ways chattel slavery influenced mothering for Black women and, from this, informed the social constructions that currently exist around Black mothers. These social constructions created centered on the experiences of white, cisgender, middle-class women, which were defined as normative motherhood and mothering. I argue that the social-historical context surrounding Black motherhood and mothering impacts how it is shown contemporarily. I listened to the voices of Black mothers describing their experiences with mothering from podcasts. I drew from their responses and developed a conceptual framework called "Liberatory Parenting" that represents the feelings that come up for Black mothers, which includes survival and surrender, agency, and community.

Thesis advisor: Andrew L. Prevot / This dissertation addresses two critical areas of scholarship on Howard Thurman. Firstly, it aims to clarify Thurman’s theological anthropology, a facet often overshadowed by a focus on his ecclesiology and nonviolent social ethics. While existing treatments of Thurman’s anthropology are typically biographical and limited to his mystical consciousness, this project integrates insights from various aspects of Thurman’s work to offer a comprehensive account of his theological anthropology. Secondly, the dissertation critically examines the violence in Thurman’s historical context and the nuanced choice between violent and nonviolent resistance. Emphasizing Thurman’s nonviolent message directed at those who saw armed resistance as morally plausible, the study places Thurman in dialogue with contemporaries and subsequent Black scholars, elucidating how Christian nonviolent resistance contributes to an anthropology aligned with the imperative to resist all forms of oppression. The methodology involves correlating the revelatory responses of rebellious Black individuals with God’s revelation. Chapters also delve into Thurman’s theological anthropology and non-Chalcedonian Christology. The dissertation concludes by encouraging a nuanced integration of Thurman’s views into the Black Lives Matter Movement through a reflection on the parables of Jesus. / Thesis (PhD) — Boston College, 2024. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

<p>From tendencies to reduce the Underground Railroad to the imperative "follow the north star" to the iconic images of Ruby Bridges' 1960 "step forward" on the stairs of William Frantz Elementary School, America prefers to picture freedom as an upwardly mobile development. This preoccupation with the subtractive and linear force of development makes it hard to hear the palpable steps of so many truant children marching in the Movement and renders illegible the nonlinear movements of minors in the Underground. Yet a black fugitive hugging a tree, a white boy walking alone in a field, or even pieces of a discarded raft floating downstream like remnants of child's play are constitutive gestures of the Underground's networks of care and escape. Responding to 19th-century Americanists and cultural studies scholars' important illumination of the child as central to national narratives of development and freedom, "Minor Moves" reads major literary narratives not for the child and development but for the fugitive trace of minor and growth.</p><p> </p><p>In four chapters, I trace the physical gestures of Nathaniel Hawthorne's Pearl, Harriet Beecher Stowe's Topsy, Harriet Wilson's Frado, and Mark Twain's Huck against the historical backdrop of the Fugitive Slave Act and the passing of the first compulsory education bills that made truancy illegal. I ask how, within a discourse of independence that fails to imagine any serious movements in the minor, we might understand the depictions of moving children as interrupting a U.S. preoccupation with normative development and recognize in them the emergence of an alternative imaginary. To attend to the movement of the minor is to attend to what the discursive order of a development-centered imaginary deems inconsequential and what its grammar can render only as mistakes. Engaging the insights of performance studies, I regard what these narratives depict as childish missteps (Topsy's spins, Frado's climbing the roof) as dances that trouble the narrative's discursive order. At the same time, drawing upon the observations of black studies and literary theory, I take note of the pressure these "minor moves" put on the literal grammar of the text (Stowe's run-on sentences and Hawthorne's shaky subject-verb agreements). I regard these ungrammatical moves as poetic ruptures from which emerges an alternative and prior force of the imaginary at work in these narratives--a force I call "growth." </p><p>Reading these "minor moves" holds open the possibility of thinking about a generative association between blackness and childishness, one that neither supports racist ideas of biological inferiority nor mandates in the name of political uplift the subsequent repudiation of childishness. I argue that recognizing the fugitive force of growth indicated in the interplay between the conceptual and grammatical disjunctures of these minor moves opens a deeper understanding of agency and dependency that exceeds notions of arrested development and social death. For once we interrupt the desire to picture development (which is to say the desire to picture), dependency is no longer a state (of social death or arrested development) of what does not belong, but rather it is what Édouard Glissant might have called a "departure" (from "be[ing] a single being"). Topsy's hard-to-see pick-pocketing and Pearl's running amok with brown men in the market are not moves out of dependency but indeed social turns (a dance) by way of dependency. Dependent, moving and ungrammatical, the growth evidenced in these childish ruptures enables different stories about slavery, freedom, and childishness--ones that do not necessitate a repudiation of childishness in the name of freedom, but recognize in such minor moves a fugitive way out.</p> / Dissertation

Afro-Latinas, Latinas of African descent, exist at the intersections of culture, race, gender, and class, and this position informs how we experience our world. This unique experiential perspective is present when we decide to attend college. It was the goal of this research project to explore the post-secondary educational experiences of Afro-Latinas. One particular group of Afro-Latinas was the subject of the research project: Afro-Boricua women. The unique relationship that Puerto Rico has with the United States provided a backdrop for these women’s college going experiences. It provided a historical framework of colonialism and racialization that occurred both on the island and stateside. Critical Race Theory was utilized as an analytical tool with which to interrogate the outcomes of intersections of this relationship. The experiences of the Afro-Boricuas were captured through narratives, in the form of conversations that gave way to testimonios that captured the thematic lives of the women. Through the use of Sociocultural Theory, the researcher incorporated qualitative research approaches including narrative inquiry to address the question: What are the experiences of college-educated Afro-Boricua women? The results of these conversations were then analyzed using a Critical Race Theory framework in order to investigate the role of race and how it manifested in the lives of women who live within a conflicting racial understanding of what “one drop” means. The conversations resulted in testimonios[1] that added complexity to the narratives of other Latin@[2]and Afro-Latina voices speaking of their college experiences as well as their experiences in general. [1] All Spanish language words will be noted in italics with a translation in parenthesis. [2] The moniker “@” will be used as an inclusive symbol representing both male and female references inherent in the term Latin@.

A pesquisa teve como objetivo principal analisar, por meio de seus próprios discursos, os processos de construção de identidade negra de jovens do Ensino Fundamental II de uma escola pública da periferia da cidade de São Paulo. O estudo de caso foi a técnica de pesquisa adotada e os procedimentos metodológicos se inseriram na pesquisa participante. O quadro teórico sobre o qual se assentou a pesquisa teve como base a Educomunicação, as práticas do Digital Storytelling, os estudos de linguagem empreendidos por Bakhtin, a Análise de Discurso (de linha francesa) e os conceitos relacionados ao \"ser negro\" no contexto sociocultural brasileiro. A pesquisa de campo contou com a realização de oficinas educomunicativas com um grupo de jovens de uma mesma sala de aula, capacitando-os para a criação de vídeos tendo como base suas histórias de vida, que constituíram parte fundamental do corpus da pesquisa. Para além do trabalho com as habilidades técnicas, o projeto contou com rodas de discussão a respeito do conceito de identidade em suas dimensões sociais e individuais. Cabe ressaltar que também foram objeto de análise as estratégias educomunicativas empregadas pela pesquisadora e os discursos dos alunos registrados ao longo do desenvolvimento da pesquisa. Para a elaboração da narrativa audiovisual, foram utilizados os procedimentos do Digital Storytelling e, dessa forma, pôde-se observar a produção de sentidos identitários individuais e sociais, na medida em que esta coloca em marcha um processo em que os sujeitos - os alunos - constituem-se como autores de suas próprias histórias. Os resultados da pesquisa indicam que, ao se constituírem como instância enunciadora, tais sujeitos dão início a um processo de conscientização em relação a si mesmos e ao grupo social, o que se torna possível graças ao distanciamento propiciado pelo ato de se autonarrar. Deve-se enfatizar que esse processo de construção identitária, de reconhecimento de si-mesmo, ganha corpo por meio da alteridade (Bakhtin), que pode propiciar a aquisição da consciência social de si mesmo e, assim, do \"ser negro\" na sociedade brasileira. Ademais, ressalta-se a importância da abordagem educomunicativa no processo conduzido junto aos jovens, pois se entende que o mesmo foi motivador da criação de um ecossistema comunicativo, necessário para que a pesquisadora - ali atuando como mediadora - e os sujeitos pesquisados ultrapassassem possíveis barreiras da relação professor-aluno para que, libertos, pudessem falar de si mesmos e de suas experiências, tendo, inclusive, os seus relatos digitalizados. / The research aimed to analyze, through their own speeches, the processes of identity construction of young black students of a public school in the outskirts of São Paulo. The case study was the research technique used and the methodological procedures were inserted in the participant research. The theoretical framework on which sat the research was based on Educommunication, the practices of Digital Storytelling, the language studies undertaken by Bakhtin, Discourse Analysis (French line) and the concepts related to \"being black\" in the Brazilian sociocultural context. The field research included educommunicative workshops with a group of young people in the same classroom, enabling them to create videos based on their life stories, which were an essential part of the research corpus. In addition to working with the technical skills, the project had discussion groups about the concept of identity in its social and individual aspects. Note that also have been considered educommunicative strategies employed by the researcher and the speeches of the students registered during the development of the research. For the preparation of audiovisual narrative, were used the procedures of Digital Storytelling and thus it could be observed the production of individual senses of identity and social living, to the extent that this puts in motion a process in which the subjects - students - constitute themselves as authors of their own stories. The survey results indicate that, when constituted as an enunciative instance, these individuals initiate a process of awareness about themselves and the social group, which is possible thanks to the distance afforded by the act of narrating yourself. It should also be noted that this process of identity construction, the recognition of self, takes shape through the idea of otherness (Bakhtin), which can provide the acquisition of social consciousness of itself and thus of \"being black\" in Brazilian society. Moreover, it emphasizes the importance of the process approach educommunication proposal led to the youth, because we understand that it was motivating the creation of the so-called communicative ecosystem, necessary for the researcher - there acting as a mediator - and the subjects surveyed exceeded potential barriers in teacher-student relationship so that freedmen could talk about themselves and their experiences, and even having their reports digitalized.

Made available in DSpace on 2016-04-28T19:33:59Z (GMT). No. of bitstreams: 1 Rosangela Aparecida Ribeiro Carreira.pdf: 6485540 bytes, checksum: a40977db62f221c022e808acbd551404 (MD5) Previous issue date: 2015-08-31 / The present study is inserted into French Discourse Analysis theoretical and methodological approach and aims to analyze and understand discourse strategies present in Vencidos e Degenerados , a novel by José Nascimento Moraes, which is an important part of the discourse of blackness that emanates from enunciation scenes. It also aims to evaluate the role of paratopia in the testimony and documental proxemics characterization. It is important subject, since the paratopia related to literary discourse as well as the discourse of blackness are issues still little explored academically, serving as general category for analysis in the literary context and of the black condition in Brazilian history. Our hypothesis is that the ideal of blackness presented in literary discourse embodied in testimony and documentary because it is constructed and legitimized from paratopies and atopies displacement intertwined with discursive historicity. We also assume that the testimony and documentary discourse presents this displacement movement to legitimize a discourse or an ideal that constitutes a kind of "stylistic or semiotic design" of testimonial speech, which we call discursive proxemics . In order to achieve our goals, we have mainly used as theoretical support the studies by Discourse Analysis from Maingueneau (2010, 2008a, 2008b, 2008c, 2007, 2006, 2001, 2000, 1996, 1992 and 1983), Charraudeau (2004, 2005 and 2012) and Foucault (1992, 2004, 2005a and 2005b). We have also used concepts of Literary Theory, Philosophy, Sociology and Anthropology extracted from Lucáks (2000), Bakhtin (2003), Benjamin (1985), De Marco (2004), Seligman -Silva (2006) and Bosi (1995), Fernandes (2006, 2008 and 2005-6), Munanga (2004, 2006, 2007 and 2009), Hall (2013), Fanon (2008), and Bhabha (1998). All of them have been taken as elements for understanding the discursive testimonial aspect and to support our vision of the socio-historical conditions of production. We have proved our hypothesis that the documentary evidence is given of paratopic shape and we have also extended the analysis of this category to other possibilities we call paratopies: authorship, aphasic, investigative, documentary, testimonial and testimonial-documentary / Este trabalho insere-se nos princípios teórico-metodológicos da Análise do Discurso de linha Francesa com o objetivo de analisar e compreender as estratégias discursivas presentes em Vencidos e Degenerados de José do Nascimento Moraes que compõem o discurso da negritude que emana das cenas de enunciação e avaliar o papel da paratopia, numa possível definição ou caracterização proxêmica testemunho-documental. Trata-se de tema relevante, uma vez que a paratopia relacionada ao discurso literário, bem como o discurso da negritude, são temas ainda pouco explorados academicamente, servindo como categorias para análises gerais no âmbito literário e para análise da condição do negro na História do Brasil. Partimos da hipótese de que o ideal de negritude que se apresenta no discurso literário consubstancia-se em testemunho-documental porque se constrói e é legitimado, a partir do deslocamento de paratopias e atopias entrelaçadas com a historicidade discursiva, supomos que o discurso testemunho-documental se apresenta nesse movimento de deslocamento para legitimação de um discurso ou de um ideal, que configura uma espécie de desenho estilístico ou semiótico do discurso testemunhal, que chamaremos de proxêmica discursiva. Para nosso estudo, utilizamos como respaldo teórico, principalmente, os estudos da Análise do Discurso de Maingueneau (2010, 2008a, 2008b, 2008c, 2007, 2006, 2001, 2000, 1996, 1992 e 1983), Charaudeau (2004, 2005 e 2012) e Foucault (1992, 2004, 2005a e 2005b), utilizamos conceitos da Teoria Literária, da Filosofia, Sociologia e Antropologia extraídos de Lucáks (2000), Bakthin (2003), Benjamin (1985) , de De Marco (2004), Seligman-Silva (2006) e Bosi (1995), Fernandes (2006, 2008 e 2005-6), Munanga (2004, 2006, 2007 e 2009), Hall (2013), Fanon (2008) e Bhabha (1998) como elementos para análise do aspecto testemunhal discursivo e para respaldar nosso olhar para as condições sócio-históricas de produção. Comprovamos nossa hipótese de que o testemunho documental se dá de forma paratópica e ampliamos a análise dessa categoria em outras possibilidades que chamamos de paratopia: autoral, afásica, investigativa, documental, testemunhal e testemunho-documental

Nos últimos trinta anos observa-se uma abertura gradativa de espaços para cantores e cantoras de Rap e Funk nos grandes meios de comunicação em massa. Percebe-se, também, conforme essas culturas musicais extrapolaram os limites de circulação do seu lugar de origem, a periferia, um aumento do interesse de jovens e intelectuais oriundos da classe média. Principalmente depois do fenômeno de projeção dos Racionais MC\'s, ocorrido nos últimos vinte anos. E, atualmente, com o sucesso de Criolo, Rael, Emicida, Rincón Sapiência, Baco Exú do Blues, Raffa Moreira, Coruja BC1, Rico Dalasam, Karol Conka, entre outras e outros. Quais interesses, conflitos e perspectivas estão em jogo nessa movimentação? Rastreando a construção e transformação da originalidade artística de Athalyba-Man, um dos primeiros artistas de Rap nacional a assinar contrato com gravadora multinacional, o referente trabalho busca compreender como se deu a formação e a introdução da cultura musical Rap no mercado fonográfico hegemônico, assim como sua difusão, conflitos e perspectivas. / In the last thirty years, there has been opening of spaces for Rap and Funk singers in the mass media. It is also perceived, as these musical cultures extrapolated the limits of circulation from their places of origin, the periphery, an increase in the interest of young and intellectuals coming from the middle class. Mainly, after the gradual phenomenon of projection of the Racionais MC\'s, occurred in the last twenty years. And now, with the success of Criolo, Rael, Emicida, Rincón Sapiência, Baco Exú do Blues, MV Bill, Raffa Moreira, Coruja BC1, Rico Dalasam, Karol Conka, among others. What interests, conflicts and perspectives are at stake in this movement? Tracking the construction and transformation of Athalyba-Man\'s artistic originality, one of the first national Rap artists to sign a contract with a multinational record company, the aim is to understand how the making of and introduction of rap music culture in the hegemonic phonographic market took place, as well as its diffusion, conflicts and perspectives.