��FRICA(S), MO��AMBICANIDADE, MIA COUTO: uma varanda para o ��ndico

Always seen by others eyes, unknown of the languages and other "realities" that constitute, the Africa, specially Mozambique, now (re)invent itself, palimpsestly, in narratives of your griots, narrators and/or storytellers. Our thesis intend, by the review of novel Under the frangipani, to demonstrate that the mozambican writer Mia Couto intends to participate the (re)construction of a devasted nation by war and conflicts, based on belief that the role writer "is to create requisites of a more african thought, to the assessment of your place and your time won't be done from categories created by others" (COUTO, 2005). At first, we show how the mozambican literary system consists itself; then, the insertion of coutian narrative against the prevalence tradition and, also, by the analysis of the constituent elements of the chosen novel, the way how made piece of resistance to reification, objectification of the individuald in the contemporary world , your writing will be present in this sharing of the sensitive. Besides Mia Couto, in our work we'll counting on the lessons of Candido, Noa, Hernandez, Adorno, Paz, Fonseca, Secco, among others studious of african narrative and, specially, Mozambique narrative

0 retrato e a moldura : mem��ria e oralidade em cada homem �� uma ra��a

En este trabajo se ha realizado un an��lisis de cuatro cuentos de Mia Couto (2005) pertenecientes al libro Cada homem �� uma ra��a: O embondeiro que sonhava p��ssaros ; A princesa russa ; O pescador cego y A lenda da noiva e do forasteiro . El estudio, bajo la perspectiva de memoria y oralidad, mantiene en foco la observaci��n sobre la transformaci��n de los componentes de la realidad sociocultural e hist��rica de Mozambique en elementos de ficci��n literaria. Ese recorrido esclarece, en parte, la unidad org��nica que constituye la obra y que gira en torno de los elementos de la tradici��n, la memoria y la oralidad. Este punto es un importante marcador de diferencias, pues las sociedades escritas han dado menos importancia a lo que es transmitido oralmente, dejando lo que es tradici��n en un segundo plano. Se trata de una comprensi��n que acab�� por provocar la distorsi��n del pensamiento sobre lo que es tradici��n oral, algo que no se resume a leyendas, cuentos de hadas, folclores y danzas. De esta manera ha de considerarse a la memoria inscripta en cada s��mbolo como algo que justifica al ser y que lo identifica como individuo poseedor de una historia colectiva