o diáloqo entre a literatura brasileira e a caboverdiana não se esgota nas décadas de 30 e 40. Este pode ser observado até a atualidade e com extensão para outras regiões brasileiras, além do Nordeste. A partir desta reflexão, este estudo tem como objetivo investigar, dentro do macrossistema literário de língua portuguesa e no âmbito das relações literárias contemporâneas entre Brasil e Cabo Verde, como se dá o diálogo entre as obras Os dois irmãos, de Germano Almeida, e Dois irmãos, de Milton Hatoum. lnvestiqará também como o espaço impacta o comportamento das personagens que, não raro, são movidas pelo contexto em que estão inseridas. Essas obras podem ser aproximadas, numa abordagem comparativa, por alguns fatores como a hibridez cultural, em virtude principalmente da emigração, a presença do mito da rivalidade entre irmãos, o drama familiar causado pelo adultério seguido da reparação sob o signo da vingança, a casa que se desfaz associada à ruína das personagens, a coerção imposta pelos valores da sociedade. / The dialogue between Brazilian and Cape Verdean literatures does not end up in the 1930s and 1940s. It can be observed until nowadays and with extension to other Brazilian regions beyond north-east. Based on this reflection, this study aims at investigating, inside the literary macro system of Portuguese language, and in the scope of contemporary literary relations between Brazil and Cape Verde, how the dialogue between Os dois irmãos, by Germano Almeida and Dois irmãos, by Milton Hatoum carries out. It will also investigate how the space affects the behavior of characters that, not rarely, are moved by the context which they are inserted in. These two works can be closed up in a comparative approach by some factors as cultural hybridization, mainly due to emigration, the presence of rivalry myth between brothers, the familiar drama caused by adultery followed by reparation under the flag of revenge, the house that ruins associated to the downfall of characters, the coercion imposed by society values.

As produções literárias de Orlanda Amarílis, Ivone Aida e Fátima Bettencourt, sob a forma de conto, constituem o objeto central dessa pesquisa e, a partir do corpus selecionado, buscamos identificar e compreender as opções de construção de personagens e de narração que definem, nas coletâneas Cais-do-Sodré té Salamansa, Vidas vividas e Semear em pó, respectivamente, representações sociais de gênero e características do Bildung (formação da personagem), com base numa hermenêutica do cotidiano cabo-verdiano no arquipélago e na diáspora. No primeiro capítulo, procuramos estabelecer um campo teórico, de largo espectro, que pudesse dar suporte às nossas ilações, para tanto aplicando os vários conceitos que orientaram a nossa visada sobre o objeto da pesquisa, como: entre-lugar, póscolonialismo, hermenêutica do cotidiano, diáspora, Bildungsroman feminino; em seguida passamos a uma incursão no contexto histórico, na biobibliografia das autoras e na conformação das coletâneas, pretendendo situar as obras para o nosso leitor. Iniciamos o processo de análise, logo na primeira parte do segundo capítulo, procedendo a uma investigação sobre os títulos dos contos e sua representação na diegese. Na segunda parte, buscamos investigar com mais detalhe os processos de estruturação das personagens, empreendidos pelas três escritoras, com vista a compreendermos os diversos modos de apreensão e representação do universo cabo-verdiano, especialmente o de vivências femininas de submissão, resistência e emancipação. O terceiro capítulo, que complementa o de panorâmica da construção das personagens, será dedicado a examinar, de forma sucinta, a atuação dos(as) narradores(as), que, em conjunto com as personagens, revelam a mundividência que as escritoras querem registrar na ficção, no intuito de introduzir uma ótica feminina e, por vezes, feminista, ao cânone literário cabo-verdiano, predominantemente masculino. O quarto capítulo foi dedicado a uma sistematização das conclusões. / The central object of this research is based on Orlanda Amarílis, Ivone Aida and Fátima Bettencourts short story production from the selected corpus, we attempted to identify and understand the choice for constructing characters and narration that define in the collections Cais-do-Sodré té Salamansa, Vidas vividas and Semear em pó, respectively, social representations of gender and characteristics of the Bildung (character formation), based on Cape Verdeans hermeneutics of everyday life both in the archipelago and in the diaspora. On the first chapter we tried to establish a broad theoretical field that could support our inferences, thus applying various concepts that oriented our look at the researched object, such as: in-betweenness, post-colonialism, hermeneutics of everyday life, diaspora, the female Bildungsroman. Then we moved to the historical context at the authors bio-bibliography and in the conformation of the collections with the intention to locate the works for our readers. We began the analysis process, on the first part of the second chapter, investigating the titles of the stories and their representation in the diegesis. On the second part, we researched in more detail the processes of structuring characters, undertaken by the three writers, in order to understand the different modes of apprehension and representation of the universe of Cape Verde, especially the experiences of female submission, resistance and emancipation. The third chapter, which complements the overview of the construction of the characters, will be devoted to examine briefly the action of narrators, which together with the characters reveal the worldviews that the writers want to register in fiction in order to introduce a feminine viewpoint and sometimes feminist literary canon to Cape Verde still predominantly masculine. The fourth chapter is devoted to classifying the findings.

[pt] A presente dissertação tem como objetivo realizar uma leitura estético-política da obra do diretor português Pedro Costa. Orientada pelas narrativas, pela mise-enscène e pelos modos de produção do cinema do realizador, ela pretende discorrer e tensionar questões acerca da colonialidade que perpassa Portugal e o continente europeu no século XXI. A partir desta obra que é enfocada nas Fontainhas, bairro lisboeta de emigrados cabo-verdianos que foi demolido pelo estado português, objetiva-se compreender o trabalho estético e político de dois filmes acompanharam este processo: No quarto da Vanda (2000) e Juventude em marcha (2006), além da realização posterior à demolição das Fontainhas: Cavalo Dinheiro (2014). Filmes que apontam para as fantasmagorias dos processos coloniais, buscando assim, trazer as suas personagens como agentes centrais dos procedimentos de fabulação do real de tais apontamentos. / [en] This dissertation aims to carry out an aesthetic-political reading of Portuguese film director Pedro Costa s work. Guided by the filmmaker s narratives, mise-enscène, and cinematic production style, the intention is to reflect on and stress questions related to coloniality that have penetrated Portugal and the European continent in the 21st century. With a body of work focussed on Fontainhas, a Lisbon neighborhood of Cape Verdean immigrants demolished by the Portuguese state, this study aims to understand the aesthetic and political work of two films that accompanied this process: In Vanda s Room (2000) and Colossal Youth (2006), in addition to the film completed after the demolition of Fontainhas: Horse Money (2014). These films point out the phantasmagorias of the colonial processes, seeking, as a result, to bring forth the characters as central agents in the fabling process of the real events noted.

This study investigates variable noun phrase number agreement (VNA) in two second language varieties of Portuguese, spoken in Maputo, Mozambique and in Mindelo, Cape Verde. Quantitative VARBRUL analysis is carried out based on recordings made in Maputo and Mindelo 2007 and 2008. Previous quantitative studies on VNA in varieties of Brazilian Portuguese (Guy, 1981; Lopes, 2001; Andrade, 2003) as well as on VNA in first and second language varieties of Portuguese from São Tomé (Baxter, 2004; Figueiredo, 2008, 2010) indicate contact between Portuguese and African languages as the main origin of this phenomenon. VNA in Brazilian Portuguese is, however, interpreted by Scherre (1988) and Naro & Scherre (1993, 2007) as the result of language internal drift. Varieties of Portuguese from Mozambique and Cape Verde are particularly interesting to contrast in order to investigate influences from African languages on VNA, as in Mozambique Bantu languages are first languages of the vast majority of Portuguese speakers, whereas in Cape Verde, practically all Portuguese speakers are first language speakers of Cape Verdean Creole, whose substrates are West African, and not Bantu, languages. Comparison is also made with previous studies from Brazil and São Tomé. The results of this study comment previously postulated explanations for VNA in Portuguese in various ways. The analysis of the variables onset age and age stratum indicates that VNA in the analyzed varieties is a phenomenon linked to the acquisition of Portuguese as a second language and/or language contact rather than the result of internal drift. The fact that all the compared varieties tend to mark plural on pre-head components contradicts Bantu transfer as an explanation for this pattern, and raises the need to also consider more general explanations based on language contact. The basic structural similarity between the compared varieties suggests the existence of a grammatical restructuring continuum.

This study investigates variable noun phrase number agreement (VNA) in two second language varieties of Portuguese, spoken in Maputo, Mozambique and in Mindelo, Cape Verde. Quantitative VARBRUL analysis is carried out based on recordings made in Maputo and Mindelo 2007 and 2008. Previous quantitative studies on VNA in varieties of Brazilian Portuguese (Guy, 1981; Lopes, 2001; Andrade, 2003) as well as on VNA in first and second language varieties of Portuguese from São Tomé (Baxter, 2004; Figueiredo, 2008, 2010) indicate contact between Portuguese and African languages as the main origin of this phenomenon. VNA in Brazilian Portuguese is, however, interpreted by Scherre (1988) and Naro & Scherre (1993, 2007) as the result of language internal drift. Varieties of Portuguese from Mozambique and Cape Verde are particularly interesting to contrast in order to investigate influences from African languages on VNA, as in Mozambique Bantu languages are first languages of the vast majority of Portuguese speakers, whereas in Cape Verde, practically all Portuguese speakers are first language speakers of Cape Verdean Creole, whose substrates are West African, and not Bantu, languages. Comparison is also made with previous studies from Brazil and São Tomé. The results of this study comment previously postulated explanations for VNA in Portuguese in various ways. The analysis of the variables onset age and age stratum indicates that VNA in the analyzed varieties is a phenomenon linked to the acquisition of Portuguese as a second language and/or language contact rather than the result of internal drift. The fact that all the compared varieties tend to mark plural on pre-head components contradicts Bantu transfer as an explanation for this pattern, and raises the need to also consider more general explanations based on language contact. The basic structural similarity between the compared varieties suggests the existence of a grammatical restructuring continuum.

This dissertation examines a recent work for flute and piano, Here Everything Shines, by a living composer, Charlotte Bray, including a study, analysis and performance guide. The composition was largely inspired by the late Cape Verdean singer Cesária Évora and her song Petit Pays. My research explores the influence of Évora's song on Here Everything Shines, including the melodic development, tonal center, style and freedom of her singing and the impact the song has on a performer's interpretation of Here Everything Shines. The study examines the text of the song, the emotions evoked and reflects on the compositional elements in Here Everything Shines. Originally written for flute and guitar and commissioned by Tom Kerstens for International Guitar Foundation, Here Everything Shines was published in 2015. Bray transcribed it for violin and piano at request of Darragh Morgan and Mary Dullea and subsequently for flute and piano at my request. This dissertation compares the three versions for flute and guitar, violin and piano, and flute and piano and examines the variations between flute and violin as well as guitar and piano parts. The performance guide includes the composer's input on both interpretation and implementation of her ideas throughout the work.