This dissertation examines the imaginative ways in which three postcolonial writers overcome a fractured collective past by creating a double-voiced discourse narrative framework that allows them to envision a reality that might-have-been while acknowledging the presence of dominant discourses that are. Morrison, Condé, and Farah overlap contradictory forms in order to show that narrative boundaries are self-imposed, mythical, and arbitrary. Intersection among these differing narratives in each text creates dialogism--a balance between dominant and counter-discourse. Because the contrasting viewpoints of dominant and counter-discourse both have a historical perspective, Morrison, Condé, and Farah work to retain a delicate intertextual fabric in their novels--a fabric woven from several narratives to create a text that rests paradoxically on the task of revealing the narrative contradictions while also showing that they can't be completely separated from each other as the singular hegemonic voice argues.

Submitted by JOSÉ RADAMÉS BENEVIDES DE MELO null (radamesbenevides@hotmail.com) on 2017-06-19T03:23:07Z No. of bitstreams: 1 TESE - JOSÉ RADAMÉS BENEVIDES DE MELO Final.pdf: 2615521 bytes, checksum: 233b3ef29e09e466ce63b5e68e8095c4 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-06-19T14:43:46Z (GMT) No. of bitstreams: 1 melo_jrb_dr_arafcl.pdf: 2615521 bytes, checksum: 233b3ef29e09e466ce63b5e68e8095c4 (MD5) / Made available in DSpace on 2017-06-19T14:43:46Z (GMT). No. of bitstreams: 1 melo_jrb_dr_arafcl.pdf: 2615521 bytes, checksum: 233b3ef29e09e466ce63b5e68e8095c4 (MD5) Previous issue date: 2017-04-20 / Diário do hospício e O cemitério dos vivos são textos escritos por Lima Barreto durante sua segunda internação no Hospício Nacional de Alienados, e a partir dela, no Rio de Janeiro, entre 25 de dezembro de 1919 e 2 de fevereiro de 1920. O primeiro é tido como anotações para a elaboração do segundo, um romance inacabado, cujo processo de produção foi interrompido pela morte do autor (1/11/1922). O objetivo geral desta pesquisa é analisar a constituição de vozes sociais sobre a loucura e a psiquiatria – por meio das relações dialógicas, do discurso bivocal (polêmicas aberta e velada) e do autor – no diálogo entre Diário do hospício, O cemitério dos vivos, de Lima Barreto, outros enunciados e outras vozes sociais. Os objetivos específicos são: 1) identificar as vozes sociais com as quais dialoga Lima Barreto no processo de constituição dos enunciados que integram o corpus de pesquisa e descrever como se estabelece o diálogo entre esses enunciados limabarretianos; 2) examinar a bivocalidade polêmica no diálogo entre Diário do hospício e O cemitério dos vivos, no que diz respeito: i) à polêmica aberta estabelecida entre esses enunciados e os discursos da ciência psiquiátrica de sua época; e ii) à polêmica velada entre a fala limabarretiana e outras falas literárias do início do século XX; 3) perscrutar, ao compreendermos o autor como posição de autor, autor-criador/atividade de autor, autor puro e posicionamento de autor, os movimentos desses diálogos no processo de constituição autoral e das diversas vozes sociais sobre a loucura e a psiquiatria, no diálogo dos enunciados objetos deste estudo. Esta pesquisa está fundamentada nos pressupostos teórico-metodológicos propostos e desenvolvidos pelo Círculo de Bakhtin, Medviédev e Volochínov e nos desdobramentos teórico-metodológicos que a eles se coadunam. Os resultados mostram que a constituição das vozes sociais sobre a loucura e a psiquiatria no diálogo entre Diário do hospício, O cemitério dos vivos, outros enunciados e outras vozes sociais se dá por meio de alguns processos complexos como a autoria e a polêmica. Isso quer dizer que a constituição dessas vozes sociais é mediada pelo processo de autoria, cujas quatro dimensões (auto puro, autor criador, posição de autor e posicionamento autoral) exercem papel fundamental. Além disso, como a autoria, nesses enunciados, se dá de modo significativo por meio da bivocalidade polêmica, entende-se que as polêmicas aberta e velada são partes constitutivas do processo de formação dessas duas vozes sociais. Mas não é só isso, falar em autoria e em bivocalidade polêmica como processos constituidores de vozes sociais é tocar, necessariamente, na questão da atividade humana e de seus vínculos com a linguagem. A constituição dessas duas vozes mobiliza ainda duas esferas de criação ideológica, a literária e a psiquiátrica. Na relação com as esferas, o posicionamento de autor é construído num movimento direcionado para o interior da própria esfera literária e num movimento direcionado para uma outra esfera, a psiquiátrica. / Diário do hospício and O cemitério dos vivos are texts written by Lima Barreto during his second admission in Hospício Nacional de Alienados, , and from there respectively, in Rio de Janeiro, between December 25, 1919 and February 2, 1920. The first is taken as annotations to development of the second, an unfinished novel, whose production was interrupted by the death of the author (1/11/1922). The overall objective of this research is to analyze the constitution of social voices about madness and psychiatry – through dialogical relations, polemical double-voiced discourse and the author-creator – in the dialogue between Diário do hospício and O cemitério dos vivos, works of Lima Barreto. The specific objectives are: 1) identify the social voices with which Lima Barreto dialogues in the process of formation of statements that make up the corpus of this research and describe how the dialogue between these limabarretianos statements is established; 2) examine the polemical double-voiced in the dialogue between Diário do hospício and O cemitério dos vivos, regarding to: i) the open polemic established between these statements and speeches of psychiatric science of his day; and ii) the veiled polemic between limabarretiana speech and other literary discourse of the early twentieth century, through his utterances; 3) search, to understand the author as an author’s position, author-creator/ author’s activity, pure author and author’s positioning, the movements of these dialogues on process of authorial formation procedures and the different social voices about madness and psychiatry, in the dialogue utterances of objects of this study, other utterances and other social voices. This research is grounded in the theoretical and methodological principles proposed and developed by Circle of Bakhtin, Medvedev and Voloshinov and the theoretical and methodological developments regarding to them. The results show that the constitution of social voices about madness and psychiatry in the dialogue between Diário do hospício, O cemitério dos vivos, other utterances and other social voices occurs through some complex processes such as authorship and polemic. This means that the constitution of these social voices is mediated by the process of authorship, whose four dimensions (pure author, author-creater, author’s position and author’s positioning) play a fundamental role. Moreover, as authorship in these statements occurs in a significant way through polemical double-voiced discourse, it is understood that the open and veiled polemics are part of the process of formation of these two social voices. But it is not only this, to speak in authorship and in polemical double-voiced discourse as processes that constitute social voices is to touch, necessarily, on the question of human activity and its links with language. The constitution of these two voices still mobilizes two spheres of ideological creation, literary and psychiatric. In relation to the spheres, the author's positioning is constructed in a movement directed to the interior of the literary sphere itself and in a movement directed to another sphere, the psychiatric.

This thesis is initiated by the need for public dialogue between the church and the other. As a faith-praxis, public dialogue between the church and the other is a response to “binary opposition” or “dichotomy,” that is, the separation of faith and praxis, knowing and doing, private sphere and public sphere, Christian and non-Christian, text and context, educator and learner. As explored in Chapter 2, religion is presently characterized by privatization and does not provide an answer to the culture of separation in today’s society. Consequently, the ghettoized church behind the wall is confronted by a dual crisis—an internal crisis of identity and an external crisis of relevance. Therefore, to shape a dialogic relationship through public dialogue is an essential task of the public church, the so-called “go-to-all” church. To execute “public dialogue” as the commitment to “go-to-all” three actions are necessary: (1) going outside the wall of the church, (2) entering into dialogue with the “all,” and (3) making disciples, baptizing, and teaching the all. How will the church dialogue with the other? In view of these three actions, this thesis researches three main elements of public dialogue—(1) preparing a place/field for public dialogue, (2) formulating a new communicative pattern for public dialogue, and (3) exploring a medium for public dialogue. In order to achieve these elements of public dialogue, the patterns of public dialogue toward faith-praxis that the Korean church has shown historically in the public sphere were explored in Chapter 3. This thesis concerns an art-cultural pattern of public dialogue, particularly madanggŭk. Madanggŭk is a compound noun: madang (open place) + gŭk (theatre). Madanggŭk contains the three elements for public dialogue—(1) “field or place” for public dialogue; (2) a mode of theatre as a medium for public dialogue; and (3) the “communicability” peculiar to the madanggŭk. Through the practices of cultural public dialogue in the Korean theological domain and the minjung cultural movement centering on madanggŭk studied in Chapter 4, it is revealed that madanggŭk showed the four characteristics of mutual communication which are essential in formulating an alternative pattern of public dialogue: (1) rediscovery of the audience, (2) re-creation of traditional culture founded on festivity and a communal spirit, (3) their own stories and reality-reading, and (4) activity outside the theatrical world in order to meet the audience. However, madanggŭk also had the limitation of a binary opposition of social-directivity and artistic-directivity, tending toward social drama. Therefore, an alternative form of public dialogue to overcome this binary opposition was required. As an alternative with the purpose of shifting from monologism to dialogism, this thesis suggests “Trinity Madang Public Dialogue,” i.e. three models of madang public dialogue—Incarnational Public Dialogue, Critical Public Dialogue, and Festival Public Dialogue. The first model, Incarnational Public Dialogue, explores how to accept the other and the difference under the principles of otherness, unfinalizability and polyphony, proposing the culture of participative dialogue. The second model, Critical Public Dialogue, explores practical strategies for recognizing and criticizing the distorted communication and relationship of monologism, and for developing the audience’s competencies of understanding and criticism without merging into an authorial single voice, proposing the culture of criticism and transformation. The third model, Festival Public Dialogue, is suggested as a time-space for fulfilling both incarnational and critical principles and for the harmony of a rational and a sensuous nature, proposing the culture of laughter, play and the imagination. The principles of the three models should be fully realized in the Christian community before performing dialogic madang-theatre. When the Christian community preparing for this type of public dialogue is transformed into a “dialogic” community, it will promote madang public dialogue with the audience. The core of madang public dialogue lies in the formation of a dialogic relationship and a dialogic community, rather than in the performance itself. Therefore, in Chapter 6, The “Six Stages of Dialogic Praxis” through which the madang Christian community can be recreated effectively to form a dialogic community is projected. And, an “Incarnational-Dialogic Paradigm” is suggested as an alternative to a schooling-instructional paradigm of Christian education. / Thesis (PhD (Practical Theology))--University of Pretoria, 2006. / Practical Theology / unrestricted