The study discusses selected Shona novels‟ depiction of the theme of protest in the post-independence era in Zimbabwe. The ideas that these novels generate on protest are examined in the context of socio-political and socio-cultural issues in post-independent Zimbabwe. The study is an investigation of the extent to which protest literature is indispensable in the struggle of African people to liberate themselves from imperialist servitude. Novels on socio-political protest show how the government has failed to deliver on most of its promises because of neocolonialism and corruption. Novels on socio-cultural protest show how cultural innovations in post-independence Zimbabwe brought problems .The study comes to the conclusion that for literature to be reliable and useful to society it is not enough to highlight weaknesses in criticizing, but it should go beyond that and offer constructive and corrective criticism. This shows that protest literature is a vital tool for social transformation in Zimbabwe. / African languages / M.A. (African languages)

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L’étude conceptualise la symbolique du Sud en tant qu’espace identitaire construit par une idéologie politique et une esthétique. Les cartes géographiques inversées (1936, 1943) de Joaquín Torres García (Uruguay) sont une prise de position politique qui affirme le pouvoir d’énonciation des artistes latino-américains de façon indépendante aux centres culturels européens. Sa théorie, l’« Universalisme Constructif », propose un nouvel art pour l’Amérique latine, combinant l’éthique artistique précolombienne et l’abstraction moderniste. Dans la nouvelle « Le Sud » (1953) et l’essai « L’écrivain argentin et la tradition » (1951), Jorge Luis Borges (Argentine) redéfinit la littérature latino américaine, marginalisée et périphérique, en tant que littérature qui a droit à toute la culture occidentale. Il rejette une culture qui ne serait que nationaliste. Le diptyque de Fernando Solanas (Argentine) formé des films Sud (1985) et Tangos, l’exil de Gardel (1988) est étudié à partir de son manifeste « Vers un Tiers- Cinéma » (1969), coécrit avec Octavio Getino. Dans le diptyque, le Sud est un espace de dénonciation des censures de la dictature et de l’impérialisme, mais aussi un espace de rénovation culturelle et identitaire. Dans son cinéma, Solanas utilise un produit culturel régional, le tango, comme outil de dénonciation politique. Tout au long de l’étude, on utilise des notions de Michel Foucault, (hétérotopie) et de Walter Mignolo (le centre amovible) pour approfondir le sens de l’espace Sud. / This study conceptualizes the symbolism of the South as an identity space built by a political ideology and a local aesthetics. The Uruguay artist Joaquín Torres García’s inverted maps (1936, 1943) are a political stand that asserts the enunciative power of Latin American artists who create independently of the European cultural centers. His theory of “Constructive Universalism" proposes a new art for Latin America, for the South, and originating in the South, by combining pre-Colombian artistic ethics and modernist abstraction. In the short story "The South" (1953) and the essay "The Argentine writer and the tradition" (1951), the Argentine writer Jorge Luis Borges redefines South American literature, marginalized and peripheral, as a literature that is entitled to all aspects of the Western culture. By doing so, he rejects a culture that would only be nationalist. We analyze Argentine filmmaker Fernando Solanas’ cinematic diptych, which includes the films South (1985) and Tangos, the Exile of Gardel (1988) in dialogue with the manifesto "Towards a Thrid Cinema" (1969), co-written with Octavio Getino. The South is seen as a space for the denunciation of the censorships imposed by the dictatorship and imperialism, but also as a space for the renovation of culture and identity. In the two movies, Solanas uses a regional cultural product, the tango, as tool of political denunciation. Throughout the study, we use Michel Foucault's notion of “heterotopia” and Walter Mignolo’s concept of the “moveable center” to explore South’s multiple meanings. / Esta memoria conceptualiza la simbólica del Sur como un espacio identitario construido por una ideología política y una estética. Los mapas geográficos inversos de (1936, 1943) de Joaquín Torres García (Uruguay) son una postura política que afirma el poder de enunciación de los artistas latinoamericanos de modo independiente con respecto a los centros culturales europeos. Su teoría, el Universalismo Constructivo, propone un nuevo arte para América Latina que combina la ética artística precolombina y la abstracción modernista. En el cuento “El Sur” (1953), y el ensayo “El escritor argentino y la tradición” (1951), Jorge Luis Borges (Argentina) vuelve a definir la literatura latinoamericana, marginada y periférica, como una literatura que tiene derecho a toda la cultura occidental. Rechaza una cultura que sólo sería nacionalista. Estudiamos el díptico de Fernando Solanas (Argentina), constituido por las películas Sur (1985) y Tangos, el exilio de Gardel (1988) a partir del manifiesto “Hacia un Tercer Cine” (1969), co-escrito con Octavio Getino. En el díptico, el Sur es un espacio de denuncia de las censuras de la dictadura y del imperialismo, pero también un espacio de renovación cultural e identitaria. En su cine, Solanas utiliza un producto cultural regional, el tango, como instrumento de denuncia política. A lo largo del estudio, utilizamos nociones de Michel Foucault, (heterotopía) y de Walter Mignolo (movilidad del centro) para ahondar en el significado del espacio Sur.

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Este empenho dissertativo objetiva apresentar elementos etnográficos e de análise etnológica e antropológica acerca de substâncias cosmopolíticas e de espaço a respeito de interlocutores kaingang no Sul do Brasil Meridional. A partir de uma etnografia de "pontos-fronteiras", as percepções contemplam também uma reflexão quanto a elementos diacríticos não-indígenas presente na conjuntura das situações de contato entre kaingang e não-kaingang, ou não-indígenas. Esses elementos referem-se, principalmente, às constituições de horizontes imaginativos não-indígenas etnocidas a partir de perspectivas neocoloniais. A partir deste modelo narrativo, buscou-se mapear as espacialidades e territorialidades de uma ambiência kaingang entre elementos de uma guerra relacional e de agências cosmopolíticas no limiar de "mundos kaingang" e "mundos não-kaingang", ou "não-indígenas". / This dissertation aims to show ethnographic elements as well as ethnological and anthropological analysis about spatial and cosmopolitics substances concerning to kaingang speakers in the South of Southern Brazil (Brasil Meridional). Starting from ethnography of "frontiers-points", these perceptions also contemplates a reflection as regards of diacritics non-indigenous elements presents in the contact standings situations between kaingangs and non-kaingangs, or non-indigenous. These elements concerns, principally, about the constitutions of ethnocide non-indigenous imaginative horizons since neocolonial perspectives. This narrative model is looking to map the spatialities and territorialities of one environmence kaingangs between elements of one symbolic war and of cosmopolitics agencies in the threshold of "kaingangs worlds" and "non-kaingang worlds", or "non-indigenous".

The study discusses selected Shona novels‟ depiction of the theme of protest in the post-independence era in Zimbabwe. The ideas that these novels generate on protest are examined in the context of socio-political and socio-cultural issues in post-independent Zimbabwe. The study is an investigation of the extent to which protest literature is indispensable in the struggle of African people to liberate themselves from imperialist servitude. Novels on socio-political protest show how the government has failed to deliver on most of its promises because of neocolonialism and corruption. Novels on socio-cultural protest show how cultural innovations in post-independence Zimbabwe brought problems .The study comes to the conclusion that for literature to be reliable and useful to society it is not enough to highlight weaknesses in criticizing, but it should go beyond that and offer constructive and corrective criticism. This shows that protest literature is a vital tool for social transformation in Zimbabwe. / African languages / M.A. (African languages)

Este empenho dissertativo objetiva apresentar elementos etnográficos e de análise etnológica e antropológica acerca de substâncias cosmopolíticas e de espaço a respeito de interlocutores kaingang no Sul do Brasil Meridional. A partir de uma etnografia de "pontos-fronteiras", as percepções contemplam também uma reflexão quanto a elementos diacríticos não-indígenas presente na conjuntura das situações de contato entre kaingang e não-kaingang, ou não-indígenas. Esses elementos referem-se, principalmente, às constituições de horizontes imaginativos não-indígenas etnocidas a partir de perspectivas neocoloniais. A partir deste modelo narrativo, buscou-se mapear as espacialidades e territorialidades de uma ambiência kaingang entre elementos de uma guerra relacional e de agências cosmopolíticas no limiar de "mundos kaingang" e "mundos não-kaingang", ou "não-indígenas". / This dissertation aims to show ethnographic elements as well as ethnological and anthropological analysis about spatial and cosmopolitics substances concerning to kaingang speakers in the South of Southern Brazil (Brasil Meridional). Starting from ethnography of "frontiers-points", these perceptions also contemplates a reflection as regards of diacritics non-indigenous elements presents in the contact standings situations between kaingangs and non-kaingangs, or non-indigenous. These elements concerns, principally, about the constitutions of ethnocide non-indigenous imaginative horizons since neocolonial perspectives. This narrative model is looking to map the spatialities and territorialities of one environmence kaingangs between elements of one symbolic war and of cosmopolitics agencies in the threshold of "kaingangs worlds" and "non-kaingang worlds", or "non-indigenous".

Este empenho dissertativo objetiva apresentar elementos etnográficos e de análise etnológica e antropológica acerca de substâncias cosmopolíticas e de espaço a respeito de interlocutores kaingang no Sul do Brasil Meridional. A partir de uma etnografia de "pontos-fronteiras", as percepções contemplam também uma reflexão quanto a elementos diacríticos não-indígenas presente na conjuntura das situações de contato entre kaingang e não-kaingang, ou não-indígenas. Esses elementos referem-se, principalmente, às constituições de horizontes imaginativos não-indígenas etnocidas a partir de perspectivas neocoloniais. A partir deste modelo narrativo, buscou-se mapear as espacialidades e territorialidades de uma ambiência kaingang entre elementos de uma guerra relacional e de agências cosmopolíticas no limiar de "mundos kaingang" e "mundos não-kaingang", ou "não-indígenas". / This dissertation aims to show ethnographic elements as well as ethnological and anthropological analysis about spatial and cosmopolitics substances concerning to kaingang speakers in the South of Southern Brazil (Brasil Meridional). Starting from ethnography of "frontiers-points", these perceptions also contemplates a reflection as regards of diacritics non-indigenous elements presents in the contact standings situations between kaingangs and non-kaingangs, or non-indigenous. These elements concerns, principally, about the constitutions of ethnocide non-indigenous imaginative horizons since neocolonial perspectives. This narrative model is looking to map the spatialities and territorialities of one environmence kaingangs between elements of one symbolic war and of cosmopolitics agencies in the threshold of "kaingangs worlds" and "non-kaingang worlds", or "non-indigenous".

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.