Niketche: a dança da recriação do amor poligâmico
The main issue investigated and documented by the reading of Niketche a story of polygamy (2004) written by Paulina Chiziane alludes to the analogies in the plural dialogue in the space of the perceptive and cultural experience that generate libertarian images of the female conscience in the Mozambi...
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| Tipo de recurso: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2008 |
| País: | Brasil |
| Institución: | Pontifícia Universidade Católica de São Paulo (PUC-SP) |
| Repositorio: | Repositório Institucional da PUC_SP |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.pucsp.br:handle/14848 |
| Acceso en línea: | https://tede2.pucsp.br/handle/handle/14848 |
| Access Level: | acceso abierto |
| Palabra clave: | Rito e oralidade Identidade feminina Romance contemporâneo Paulina Chiziane Chiziane, Paulina -- 1955- -- Niketche : uma historia de poligamia -- Critica e interpretacao Literatura mocambicana Oralidade na literatura Poligamia Mozambican literature Rite and orality Polygamy Feminine identity Contemporary novel CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::LITERATURA COMPARADA |
| Sumario: | The main issue investigated and documented by the reading of Niketche a story of polygamy (2004) written by Paulina Chiziane alludes to the analogies in the plural dialogue in the space of the perceptive and cultural experience that generate libertarian images of the female conscience in the Mozambican polygamous context. In the course of the intradiegetic narration in the first person, we describe polygamy in a state of dramatic language sustained by concepts of literary theory and recent studies carried out by researchers of African Literature such as Coelho (1993), Leite (1988, 2004), Chaves (2005), Soares (2006), Lobo (2007), Noa (1997), Rosario (1989) and Santilli (2003). Chapter I, The Mirror A Reflection of Dialogue between Feminine and Masculine Love, centralizes the orality and vocality in discourse from Zumthor (1993,2000) under the aspects of Mozambican tongue and language represented in the polydiscourse of the Niketche dance, supported by Baudrillard (1992), Bettelheim (1980), Bachelard (2002), Genette (1995), Eco (1989), Segolin (1999), Urbano (2000), Bonicci (2000), Todorov (1968), Derrida (2005), Barthes (2006), among others. In Chapter II, Discursive Confluences between Feminine Faces/Voices, we demonstrate the discursive convergencies of female and male characters under the polyphonic theory of Bakthin (2002) which allowed us to establish an image of women oriented by caricatural and ludicrous behavior in group performance, founded on the matriarchal system, yet guaranteed by Casimiro (2004) and Tsemo (1992). In Chapter III, In the Legends of Western Orality Africanness, warranted by Perrone-Moises (1978, 2000) and by researchers of the said African Literature, we speak of the I-narrators as esthetical results of a ritualized and up-dated plot of the symbolic past. Lastly, Niketche, a dance of recreation, expresses the transition of the written language and the language of orality giving them a transforming character through body language, the place of the performance of the new writing of the memory, of Western tradition, and the testimonial and biographic change of female voices in a renewed textual universe |
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