The Invisible Blackness of Harryette Mullen's Poetry: Writing, Miscegenation, and What Remains to Be Seen

This essay addresses the poetics of Harryette Mullen, an awarded African-American female poet whose work questions the boundaries that shape the expectations for accessible intelligibility in African-American literature. Mullen’s poems skirt the edges of intelligibility by going beyond the expectations for a visible/intelligible form of language that would embrace the experience of blackness. I argue that writing in Mullen’s poetry works as process of miscegenation by playing on the illegibility of blackness, beyond a visible line of distinction between what is or should be considered part of blackness itself, which engages new forms of reflection on poetry as a politically meaningful tool for rethinking the role of the black (female) poet within the black diaspora.

O papel da tradução na construção da identidade da literatura afro-americana no Brasill

This paper discusses the role of translation in the construction of the identity of African-American literature in Brazil, by considering the relations between the Brazilian sociocultural context, infl uenced by biological and cultural miscegenation, and the particular way that the literary criticism represented by essays and translations of the Brazilian critic Sergio Milliet, published in between the 40’s and 60’s, approaches AfricanAmerican poetry, with special focus on Langston Hughes’ poems. In this paper, differences between Brazilian and American racial contexts are brought into light in regard to the discourses on miscegenation and race. It is discussed the extent to which Sergio Milliet developed a racialized identity for African-American poetry in his essays, which, however, was rebuilt through translation, in his anthology Obras Primas da Poesia Universal, with a less racialized perspective so that African-American aesthetics could sound less dissonant and regional and more inclined towards the principle of universality which characterizes the anthology composed of renowned foreign and Brazilian poets.

Mais ou menos negra? Questões de negritude, tradução e a poesia de Harryette Mullen

This paper addresses issues regarding my translation of selected poems by Harryette Mullen, a rising African-American contemporary poet, whose dense poetry works on the black oral tradition, the experimentalism of writing, the (African-American) pop music, in addition to delving into issues such as the representation of (black) female sexuality. One of the complex aspects of her poetry is the notion of miscegenation, conceived as an aesthetic argument and as a constitutive condition of the identity of multiracial Americans. This concept establishes a textuality that questions the accessible intelligibility generally expected from black American poetry, insofar as a mosaic of dissonant voices are brought to light in her text, which makes it difficult to categorize. In Brazil, especially among politically engaged Afro-Brazilians, there has been criticism towards the praise of miscegenation, since the latter has been considered to support of the myth of racial democracy. Building on these aspects, we investigate the extent to which it is a challenge to translate her poetry – based on miscegenation and hybridity as aesthetic constructs – especially when taking into account the discursive locus of readers identified with an Afro-Brazilian aesthetic, particularly critical of miscegenation. From the point of view of translation, we evaluate the extent to which her poetry could be read by the predominant cultural discourse in Brazil, inclined to favor miscegenation as an integral concept of national identity, as a seductively experimental poetry. In view of this, one wonders whether this perspective makes hers poetry “less black” for Afro-Brazilian literary standards.

A influência da raça nas relações de poder: uma análise sobre o município de Araraquara

Analyzing the Brazilian people's formation and its ethnic variety, the racial issue is marked by racism as a tendency of thought that gathers different human races. The miscegenation originated by the crossbreeding occurred widely among Brazil and carried with it a racial prejudice based on European theses about the population's whitening. Since the arrival of the black population to the country, in the condition of slave, their image is stuck to the stigma of inferiority in relation to white people, making it difficult to have a political influence and introduce themselves into the Brazilian dominant elite. We intent to bring the discussion about local power, coronelismo and patronage, trying to demonstrate how the dominant elite's power and resources allocation schemes, put aside the lower-class from the political scene which is even worse for the black population regarding the suffered racial prejudice. Assuming the matters described above, we argue around the insertion of the black people into the political scenario, taking the City of Araraquara -SP as target to analyze the conditions that prevents them from achieving high positions inside the public sector and develop the issue between representation, social inclusion and political participation

Avaliação comparativa da ancestralidade em mulheres com melasma facial: um estudo transversal

Pós-graduação em Patologia - FMB

Necessidades de tratamento odontológico entre nativos brasileiros da reserva indígena Umutina, Estado do Mato Grosso

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Análise de polimorfismos INDELs na identificação humana

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Território, Criminalidade e tráfico de drogas ilícitas em Montes Claros/MG

Urban violence, manifestly public and free, has changed the standard of sociability of townspeople. The city is an increasingly private space of hopes of reducing the risk of victimization, due to the fear of violence that separates and distances the classes in expectation of concealing this behavior. However, violence has many facets and, in one way or another, will always be present as a product of social friction. It is in the urban context and using drug trafficking as a backdrop that this work raises questions about the territorial violence in Montes Claros - MG. The objective was to analyze the dynamics of illicit drug trafficking from the concepts of territory, observing to what extent the appropriation of space contributes to the use of violence, especially in interpersonal disputes. Methodologically, it seeks from quantitative and qualitative techniques make the spatial distribution of criminal indicators, defining and creating hierarchy territories of violence in urban areas. From the qualitative approach seeks to organize and analyze data together to the Civil and Military Police, Brazilian Institute of Geography and Statistics -IBGE, João Pinheiro Foundation and the System of the Ministry of Health Mortality Information - SIM. The opportunity of miscegenation between the knowledge of the survey respondents and the official data has introduced qualitative part. The city of Montes Claros has been taken as an object of observation due to a set of conditions, which stood its medium size, your importance in the regional context and their socioeconomic disparities. The results point to the existence of multiple territoriality of violence involving the trafficking of illicit drugs in urban space. Territorial disputes by the traffickers have victimized people with socioeconomic characteristics and urban spatial origin similar. The dynamism of the established boundaries from the cohesion and / or rupture of the interests of those involved creates and destroys territories in the power struggle.

A Cultura Organizacional Frente ao Comportamento Homoafetivo

Tratar de cultura é fazer parte da evolução humana, pois esta é a realidade que direciona os caminhos para entender a mentalidade das pessoas numa trilogia que envolve, religião, ciência, sociedade e organização. Percebe-se quando o individuo torna-se mais culto diminui a intensidade em sua crença, mesmo assim jamais o homem poderá caminhar sem esses dois mundo, cientifico e religioso. Nisto a percepção sensitiva da existência humana, acontece mediante a razão universal pois o importante é a integração do ser para uma vida mais humanizada, desde a forma de pensar e agir podendo enfrentar desafios para adaptar-se ao meio em busca de seu momento prazeroso. Vivenciar a cultura é obter um resultado que envolva, diversidade, sedução, controle de dominação e encantos, incorporado a historia de um povo Nesta performance a racionalização e a superação dos preconceitos é percebido como fenômeno da capacidade criadora e inovadora, exercendo sua liberdade, fundamentada na manifestação do espírito, onde cultura e símbolos representam sentimento e auto definição. No Brasil a cultura é vista como estruturação da teoria racista, optada por prazeres fáceis, vícios, adultério, poligamia, machismo, autoritarismo e conformismo ocasionado por uma miscigenação que consolida os costumes do relativismo cultural, vinculado a uma cidadania grupal que preserva uma postura ética permeando desigualdades, ocasionando a aparecimento de novos sujeitos sociais. Negros, mulheres e homossexuais, fazendo parte dos fatores, psicológico, biológico, sociológico e culturais. / To deal with culture is to be part of the evolution human being, therefore this is the reality that directs the ways to understand the mentality of the people in a trilogy that involves, religion, science, society and organization. It is perceived when the individual becomes more cultured diminishes the intensity in its belief, exactly thus never the man will be able to walk without these two world, scientific and religious. In this the sensitive perception of the existence human being, happens by means of the universal reason therefore the important one is the integration of the being for a humanizada life more, since the form to think and to act being able to face challenges to adapt it the way in search of its pleasant moment. To live deeply the culture is to get a result that involves, diversity, seduction, control of domination and enchantments, incorporated the history of a people In this performance the rationalization and the overcoming of the preconceptions is perceived as phenomenon of the creative and innovative capacity, exerting its freedom, based on the manifestation of the spirit, where culture and symbols represent feeling and auto definition. In Brazil the culture is seen as estruturação of the racist theory, opted to easy pleasures, vices, adultery, polygamy, machismo, authoritarianism and conformism caused for a miscegenation that consolidates the customs of the cultural relativism, tied with a group citizenship that preserves an ethical position promoting inaqualities, causing the appearance of new social citizens. Blacks, women and homosexuals, being part of the factors, psychological, biological, sociological and cultural.

Da poética das lágrimas a uma poética do riso: de Aristóteles ao One-man show

Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas

A forma como elemento estruturante do espaço social

Dissertação para obtenção do grau de Mestre em Arquitectura, apresentada na Universidade de Lisboa - Faculdade de Arquitetura

Da poética das lágrimas a uma poética do riso: de Aristóteles ao One-man show

Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas