Morrison, Angelou e Evaristo: mulheres negras e escrita revolucionária
Autor(a) principal: | |
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Data de Publicação: | 2021 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da UFPB |
Texto Completo: | https://repositorio.ufpb.br/jspui/handle/123456789/21268 |
Resumo: | This research has as its main objective to present, from a comparative, interdisciplinary and transnational approach, an analysis of three narratives: The bluest eye (Toni Morrison), I know why the caged bird sings (Maya Angelou) and Becos da memória (ConceiçãoEvaristo). In these three literary texts, I observe that women writing narratives in the important historical moments that take place in the United States and Brazil when the books are launched, innovate in their handling of themes and also when it comes to emerging resources they articulate in the narrative form. Some of these narratological elements would be the jazz aesthetic (SMALL- MCCARTHY, 1995), rememory (MORRISON, 2019) and escrevivência, or, the writing of the lived experience (EVARISTO, 2005; 2007). Thus, I consider the writing of these black women as revolutionary from both an artistic and a political standpoint. While the narratives in question offer accounts on matters that were also explored by the black feminist agenda (in the United States and in Brazil), black feminism denounces the virtual absence of a discussion around the intersectional condition that affects black women even in feminist circles (CRENSHAW, 1989). Owing to historical records and analysis, as well as sociological and political ones about the Black Power Movement, the Black Arts Movement and the Movimento Negro Unificado, I provide a reading of the literary texts of the three authors of this corpus in dialogue and criticism of the praxis and ideologies of these movements. The narratives contemplated in this research not only introduce new perspectives in the political and artistic arenas, but also reinstate discussions about the literary canon, which claimed to be universal, questioning its historical erasures. With the analysis I articulate in this dissertation, rooted in interdisciplinary discussions with concepts from Literature, History, Sociology and Political Science, I aim to expand the comprehension of the dimensions of the black aesthetics in the U.S. and Brazilian contexts, while also highlighting how black women writing literature bring new dimensions and legacies to the universe of writing, knowledge and art, having historically fought for their own participation both in the literary and in the political space. |
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Morrison, Angelou e Evaristo: mulheres negras e escrita revolucionáriaToni MorrisonMaya AngelouConceição EvaristoFeminismo negroEscrevivênciaInterseccionalidadeBlack feminismIntersectionalityFéminisme noirIntersectionnalitéCNPQ::LINGUISTICA, LETRAS E ARTES::LETRASThis research has as its main objective to present, from a comparative, interdisciplinary and transnational approach, an analysis of three narratives: The bluest eye (Toni Morrison), I know why the caged bird sings (Maya Angelou) and Becos da memória (ConceiçãoEvaristo). In these three literary texts, I observe that women writing narratives in the important historical moments that take place in the United States and Brazil when the books are launched, innovate in their handling of themes and also when it comes to emerging resources they articulate in the narrative form. Some of these narratological elements would be the jazz aesthetic (SMALL- MCCARTHY, 1995), rememory (MORRISON, 2019) and escrevivência, or, the writing of the lived experience (EVARISTO, 2005; 2007). Thus, I consider the writing of these black women as revolutionary from both an artistic and a political standpoint. While the narratives in question offer accounts on matters that were also explored by the black feminist agenda (in the United States and in Brazil), black feminism denounces the virtual absence of a discussion around the intersectional condition that affects black women even in feminist circles (CRENSHAW, 1989). Owing to historical records and analysis, as well as sociological and political ones about the Black Power Movement, the Black Arts Movement and the Movimento Negro Unificado, I provide a reading of the literary texts of the three authors of this corpus in dialogue and criticism of the praxis and ideologies of these movements. The narratives contemplated in this research not only introduce new perspectives in the political and artistic arenas, but also reinstate discussions about the literary canon, which claimed to be universal, questioning its historical erasures. With the analysis I articulate in this dissertation, rooted in interdisciplinary discussions with concepts from Literature, History, Sociology and Political Science, I aim to expand the comprehension of the dimensions of the black aesthetics in the U.S. and Brazilian contexts, while also highlighting how black women writing literature bring new dimensions and legacies to the universe of writing, knowledge and art, having historically fought for their own participation both in the literary and in the political space.RÉSUMÉ À l'aide d'une approche comparative, interdisciplinaire et transnationale, cette étude se donne pour objectif principal d’analyser trois récits, à savoir O olho mais azul (Toni Morrison), Eu seipor que o pássarocanta na gaiola (Maya Angelou) et Becos da memória (ConceiçãoEvaristo). Dans ces trois textes littéraires, je constate que les femmes noires, qui écrivent des récits pendant des moments historiques importants qui ont eu lieu aux États-Unis et au Brésil lors de la parution de ces ouvrages, innovent tant sur les thèmes abordés dans leurs écrits qu’en termes de ressources distinctes apportées à la forme narrative. Certains de ces éléments narratologiques seraient l'esthétique du jazz (SMALL-MCCARTHY, 1995), la remémoration (MORRISON, 2019) et l’« escrevivência » (écriture de l'expérience vécue) (EVARISTO, 2005; 2007). Je considère donc l'écriture de ces femmes noires comme révolutionnaire, tant d'un point de vue artistique que politique. Alors que les récits concernés évoquent des questions également franchies par l'agenda du féminisme noir (dans les contextes américain et brésilien), le féminisme noir témoigne une absence presque totale du débat concernant la condition intersectionnelle qui touche les femmes noires, même au sein du féminisme (CRENSHAW, 1989). En passant en revue des archives et des analyses historiques, sociologiques et politiques sur le Black Power Movement, le Black Arts Movementet le Movimento Negro Unificado(Mouvement Noir Unifié), je présente une lecture des textes littéraires de ces trois écrivaines axées sur le dialogue et le contrepoint avec la praxis et les conceptions de ces mouvements. Les récits de ce corpus présentent non seulement de nouvelles perspectives dans le domaine politique et artistique, en outre, ces récits relancent la discussion sur le canon littéraire supposé universel, tout en interrogeant ses effacements historiques. À partir de l'analyse de ces récits, qui sont ici reliés et ancrés dans des discussions interdisciplinaires basées sur les présupposés de la Littérature, de l'Histoire, de la Sociologie et des Sciences Politiques, on vise à élargir la compréhension des dimensions de l'esthétique noire dans les contextes américain et brésilien, et mettre en relief la façon dont des femmes noires qui écrivent de la littérature apportent de nouvelles dimensions et de nouveaux héritages à l'univers de l'écriture, du savoir et de l'art, ayant luttédepuis toujours pour leur participation aux domaines littéraire et politique.NenhumaEsta pesquisa tem como objetivo principal analisar, a partir de uma abordagem comparativa, interdisciplinar e transnacional as três narrativas O olho mais azul (Toni Morrison), Eu sei por que o pássaro canta na gaiola (Maya Angelou) e Becos da memória (Conceição Evaristo). Nestes três textos literários, observo que mulheres negras que escrevem narrativas nos importantes momentos históricos que se apresentam nos Estados Unidos e Brasil quando da publicação desses volumes,inovam tanto no que diz respeito aos temas que abordam em suas escritas, quanto no que se refere aos recursos distintos que trazem à forma narrativa. Alguns desses elementos narratológicos seriam a estética do jazz (SMALL-MCCARTHY, 1995), a rememória (MORRISON, 2019) e a escrevivência (EVARISTO, 2005; 2007). Considero, então, a escrita dessas mulheres negras como revolucionária, tanto do ponto de vista artístico quanto do político.Enquanto as narrativas em tela discorrem sobre questões também exploradas pela agenda do feminismo negro (no contexto estadunidense e no brasileiro), o feminismo negro aponta a quase total ausência de discussão quanto à condição interseccional que afeta as mulheres negras mesmo dentro do feminismo (CRENSHAW, 1989).Revisitando registros e análises históricas, sociológicas e políticas sobre o Black Power Movement, Black Arts Movement e o Movimento Negro Unificado, apresento uma leitura dos textos literários das três autoras enfocadas em diálogo e contraponto com a práxis e as concepções desses movimentos.As narrativas deste corpus não somente apresentam novas perspectivas no campo político e artístico, como reinstauram a discussão sobre o cânone literário supostamente universal, questionando seus históricos apagamentos. Com as análises das narrativas, que são aqui articuladas e embasadas em discussões interdisciplinares com pressupostos da Literatura, História, Sociologia e Ciência Política, pretende-se expandir uma compreensão das dimensões da estética negra tanto no contexto estadunidense como no brasileiro e destacar como mulheres negras que escrevem literatura trazem novas dimensões e legados ao universo da escrita, do conhecimento e da arte, tendo desde sempre lutado por sua participação tanto no campo literário como no político.Universidade Federal da ParaíbaBrasilLetrasPrograma de Pós-Graduação em LetrasUFPBSchneider, Lianehttp://lattes.cnpq.br/9622374398712500Araújo, Eliza de Souza Silva2021-10-28T14:34:47Z2021-06-142021-10-28T14:34:47Z2021-04-13info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesishttps://repositorio.ufpb.br/jspui/handle/123456789/21268porhttp://creativecommons.org/licenses/by-nd/3.0/br/info:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da UFPBinstname:Universidade Federal da Paraíba (UFPB)instacron:UFPB2022-08-09T17:27:28Zoai:repositorio.ufpb.br:123456789/21268Biblioteca Digital de Teses e Dissertaçõeshttps://repositorio.ufpb.br/PUBhttp://tede.biblioteca.ufpb.br:8080/oai/requestdiretoria@ufpb.br|| diretoria@ufpb.bropendoar:2022-08-09T17:27:28Biblioteca Digital de Teses e Dissertações da UFPB - Universidade Federal da Paraíba (UFPB)false |
dc.title.none.fl_str_mv |
Morrison, Angelou e Evaristo: mulheres negras e escrita revolucionária |
title |
Morrison, Angelou e Evaristo: mulheres negras e escrita revolucionária |
spellingShingle |
Morrison, Angelou e Evaristo: mulheres negras e escrita revolucionária Araújo, Eliza de Souza Silva Toni Morrison Maya Angelou Conceição Evaristo Feminismo negro Escrevivência Interseccionalidade Black feminism Intersectionality Féminisme noir Intersectionnalité CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
title_short |
Morrison, Angelou e Evaristo: mulheres negras e escrita revolucionária |
title_full |
Morrison, Angelou e Evaristo: mulheres negras e escrita revolucionária |
title_fullStr |
Morrison, Angelou e Evaristo: mulheres negras e escrita revolucionária |
title_full_unstemmed |
Morrison, Angelou e Evaristo: mulheres negras e escrita revolucionária |
title_sort |
Morrison, Angelou e Evaristo: mulheres negras e escrita revolucionária |
author |
Araújo, Eliza de Souza Silva |
author_facet |
Araújo, Eliza de Souza Silva |
author_role |
author |
dc.contributor.none.fl_str_mv |
Schneider, Liane http://lattes.cnpq.br/9622374398712500 |
dc.contributor.author.fl_str_mv |
Araújo, Eliza de Souza Silva |
dc.subject.por.fl_str_mv |
Toni Morrison Maya Angelou Conceição Evaristo Feminismo negro Escrevivência Interseccionalidade Black feminism Intersectionality Féminisme noir Intersectionnalité CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
topic |
Toni Morrison Maya Angelou Conceição Evaristo Feminismo negro Escrevivência Interseccionalidade Black feminism Intersectionality Féminisme noir Intersectionnalité CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
description |
This research has as its main objective to present, from a comparative, interdisciplinary and transnational approach, an analysis of three narratives: The bluest eye (Toni Morrison), I know why the caged bird sings (Maya Angelou) and Becos da memória (ConceiçãoEvaristo). In these three literary texts, I observe that women writing narratives in the important historical moments that take place in the United States and Brazil when the books are launched, innovate in their handling of themes and also when it comes to emerging resources they articulate in the narrative form. Some of these narratological elements would be the jazz aesthetic (SMALL- MCCARTHY, 1995), rememory (MORRISON, 2019) and escrevivência, or, the writing of the lived experience (EVARISTO, 2005; 2007). Thus, I consider the writing of these black women as revolutionary from both an artistic and a political standpoint. While the narratives in question offer accounts on matters that were also explored by the black feminist agenda (in the United States and in Brazil), black feminism denounces the virtual absence of a discussion around the intersectional condition that affects black women even in feminist circles (CRENSHAW, 1989). Owing to historical records and analysis, as well as sociological and political ones about the Black Power Movement, the Black Arts Movement and the Movimento Negro Unificado, I provide a reading of the literary texts of the three authors of this corpus in dialogue and criticism of the praxis and ideologies of these movements. The narratives contemplated in this research not only introduce new perspectives in the political and artistic arenas, but also reinstate discussions about the literary canon, which claimed to be universal, questioning its historical erasures. With the analysis I articulate in this dissertation, rooted in interdisciplinary discussions with concepts from Literature, History, Sociology and Political Science, I aim to expand the comprehension of the dimensions of the black aesthetics in the U.S. and Brazilian contexts, while also highlighting how black women writing literature bring new dimensions and legacies to the universe of writing, knowledge and art, having historically fought for their own participation both in the literary and in the political space. |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021-10-28T14:34:47Z 2021-06-14 2021-10-28T14:34:47Z 2021-04-13 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/doctoralThesis |
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doctoralThesis |
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publishedVersion |
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https://repositorio.ufpb.br/jspui/handle/123456789/21268 |
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https://repositorio.ufpb.br/jspui/handle/123456789/21268 |
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por |
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por |
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http://creativecommons.org/licenses/by-nd/3.0/br/ info:eu-repo/semantics/openAccess |
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http://creativecommons.org/licenses/by-nd/3.0/br/ |
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openAccess |
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Universidade Federal da Paraíba Brasil Letras Programa de Pós-Graduação em Letras UFPB |
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Universidade Federal da Paraíba Brasil Letras Programa de Pós-Graduação em Letras UFPB |
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reponame:Biblioteca Digital de Teses e Dissertações da UFPB instname:Universidade Federal da Paraíba (UFPB) instacron:UFPB |
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Universidade Federal da Paraíba (UFPB) |
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Biblioteca Digital de Teses e Dissertações da UFPB |
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Biblioteca Digital de Teses e Dissertações da UFPB |
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Biblioteca Digital de Teses e Dissertações da UFPB - Universidade Federal da Paraíba (UFPB) |
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