Submitted by Giovanna Brasil (1154060@mackenzie.br) on 2017-09-27T20:53:03Z No. of bitstreams: 2 Carlos Vinícius da Silva Figueiredo.pdf: 3856031 bytes, checksum: 672d6da6ece85a2b6a650597d91b6c9f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2017-10-03T14:23:10Z (GMT) No. of bitstreams: 2 Carlos Vinícius da Silva Figueiredo.pdf: 3856031 bytes, checksum: 672d6da6ece85a2b6a650597d91b6c9f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-10-03T14:23:11Z (GMT). No. of bitstreams: 2 Carlos Vinícius da Silva Figueiredo.pdf: 3856031 bytes, checksum: 672d6da6ece85a2b6a650597d91b6c9f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-04 / Nowadays the cultural-historical and literary context of great productivity in the U.S. has intensively promoted immigrant literatures, identities in transit, which led to the creation of a work like Borderlands/La Frontera: the new mestiza (1987), by Gloria Evangelina Anzaldúa. Anzaldúa speaks about a label in particular, the Chicano literature, resulting from the cultural life of the border of Mexico - United States. Therefore, the main objective of this study is to analyze Borderlands/La Frontera in its 4th edition, celebrating its 25th anniversary, in the aspects of artistic creativity, sociocultural context and the representation of the subaltern in her narrative, as well as the design of the concept of "autohistoria" as representative of her life story, surpassing the limits of the biography, becoming the history of her own people. Complements the analysis of the corpus, the files from the collection “The Gloria Evangelina Anzaldúa Papers (1942-2004)”, deposited in Nettie Lee Benson Latin American library at the University of Texas in Austin, United States. Therefore, the methodology that supports this work involves theoretical reflections and critical studies about post-colonial studies, especially concerning the works of Ashcroft & Griffiths & Tiffin (2003), Spivak (1988), Beverley (2004) Santiago (2004), Bhabha (2000), Mignolo (2003, 2007), Hall (2008), Hawley (2001) and works of literary criticism about Anzaldúa, as Keating (2009), Cantú (2012), Fernandes (2011), Malvezzi (2010), Bowen (2010) and Torres (2001). In this way, the structure of this work involves the contextualization of the analysis of Borderlands/La Frontera, then, the relations between text vs. context, manuscripts vs. editing and publication of the work, deepening the mutual comparison of the anzalduan file and repertoire as a fundamental component for understanding the narrative Borderlands/La Frontera. Indeed, the work particularly contributes to the expansion of Anzaldúa’s reading in Brazil, covering aspects of Latin American theoretical discourse and critical analysis. / Na contemporaneidade, o contexto histórico-cultural e literário de grande produtividade nos Estados Unidos tem fomentado intensivamente as literaturas imigrantes, de identidades em trânsito, que proporcionou a criação de uma obra como Borderlands/La Frontera: the new mestiza (1987), de Gloria Evangelina Anzaldúa, envolvendo o surgimento de um rótulo em particular, como o de literatura chicana, resultante do solo cultural da fronteira México – Estados Unidos. Por conseguinte, o objetivo principal deste trabalho é analisar Borderlands/La Frontera em sua 4ª edição, comemorativa aos vinte e cinco anos de sua publicação, nos aspectos de criatividade artística, do contexto sociocultural e da representação tematizados em sua narrativa, bem como a concepção de “auto-história” enquanto representativo para a história de vida da escritora, ultrapassando os limites de sua biografia, tornando-se a história de seu próprio povo. Complementam o corpus de análise os arquivos da coleção The Gloria Evangelina Anzaldúa Papers (1942-2004), depositados na biblioteca Nettie Lee Benson da Universidade do Texas, em Austin, Estados Unidos. Para tanto, a metodologia que subsidia esta tese volta-se para as reflexões teórico-críticas acerca dos estudos pós-colonialistas, sobretudo as obras de Ashcroft & Griffiths & Tiffin (2003), Spivak (1988), Beverley (2004), Santiago (2004), Bhabha (2000), Mignolo (2003, 2007), Hall (2008), Hawley (2001) e ainda obras de exegese e fortuna crítica sobre Anzaldúa, como, Keating (2009), Cantú (2012), Fernandes (2011), Malvezzi (2010), Bowen (2010) e Torres (2001). Dessa forma, a operacionalização do trabalho contempla a contextualização da análise de Borderlands/La Frontera, seguida das relações de implicação entre texto vs. contexto, manuscritos vs. edição e publicação da obra, aprofundando no cotejamento do arquivo e repertório anzalduano como componente fundamental para compreensão da narrativa de Borderlands/La Frontera. Com efeito, o trabalho contribui particularmente para a ampliação da leitura de Anzaldúa no Brasil, contemplando aspectos de análise teórico-críticos do discurso latino-americano.

This thesis explores literary code-switching, i.e. multilingual aspects within a single speech, as a key polyphonic structural element in the selected works. First, it analyzes Gloria Anzaldúa's Borderlands: The New Mestiza = La Frontera (1987) as a work, where the author seeks to establish a literary tradition that would reflect the life in borderlands and the given community through a new language. Secondly, the language of photography and multilingual speech patterns in W. G. Sebald's The Emigrants (1992) are considered as vital elements of the authenticity play. The following chapter deals with Franz Kafka's short stories, where gestures form an essential part of, if not the whole stories, and determine the fragmentary nature of such writing. Finally, the importance of language of power, the discourse of social realism altogether with their emergence into private and intimate discussions through repetitions and variations is commented upon in Václav Havel's play The Garden Party (1963).