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Maya Angelou E Suas Afroamericanidades: O Ritmo Autobiográfico De the Heart of a Woman

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Maya Angelou E Suas Afroamericanidades: O Ritmo Autobiográfico De the Heart of a Woman UNIVERSIDADE FEDERAL DA PARAÍBA CENTRO DE CIÊNCIAS HUMANAS, LETRAS E ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS MONALIZA RIOS SILVA MAYA ANGELOU E SUAS AFROAMERICANIDADES: O RITMO AUTOBIOGRÁFICO DE THE HEART OF A WOMAN João Pessoa – PB Novembro de 2011. S586m Silva, Monaliza Rios. Maya Angelou e suas afroamericanidades: o ritmo autobiográfico de The Heart of a Woman / Monaliza Rios Silva.—João Pessoa, 2011. 148f. : il. Orientadora: Ana Cristina Marinho Lúcio Dissertação (Mestrado) – UFPB/CCHLA 1. Angelou, Maya – crítica e interpretação. 2. Literatura e Cultura. 3. Identidade. 4. Subjetividade. 5. Autobiografia. UFPB/BC CDU: 82(043) Àquelas mulheres que, no mar da solidão, erguem-se e se põem à prova da tempestade, sabendo bem o rumo que irão tomar. Em especial lembrança, ora nítida ora borrada, de Clarice Barbosa (in memoriam) e Maria Leoneida Rios (in memoriam). AGRADECIMENTOS Às Forças Soberanas, quaisquer que sejam as suas designações, pela FORÇA de Keep it up e pelos insights. Aos meus pais, Odécio e Mércia, pela paciência e Amor incondicionais. Aos meus irmãos, Odécio Jr. e Luiz e à minha irmã, Caroliny, pelo pacto eterno de cumplicidade, amor e união. Às minhas sobrinhas, Ma. Clara, Ma. Isabel e Ma. Cecília, as minhas três Marias transcendentais, pela ternura do olhar e pela lembrança de que “tudo vale a pena, se a alma não é pequena”. Às minhas amadas avós Maria Carmelita (in memoriam), pela eterna lembrança da doçura e da força vital; e Maria Nazaré, pela espera. Ao meu avô Manoel Jacinto (in memoriam), transmito minha eterna gratidão por ter me ensinado, por intermédio de meu pai, toda a abrangência das palavras RESPEITO, DIGNIDADE e TRABALHO. À vovó Mirtes Lopes e ao vovô Luiz Gonzaga, pelo amor à leitura, à educação e às ARTES. À Hellen Farysa, pelo apoio, carinho, amor e paciência neste momento difícil e importante da minha vida. A ela, dedico a minha profunda solidão, Amor e RESPEITO. À minha orientadora, Profª. Drª. Ana Marinho, pela grande paciência, presteza e, acima de tudo, por ter me apoiado nesta orientação. À minha Mãe e eterna orientadora, Profª. Drª. Abuêndia Padilha, que acreditou em mim antes que eu acreditasse em mim mesma e me mostrou os caminhos a percorrer na Vida, na Luz e na Academia. À UFPE, que me formou e me possibilitou conhecer meus grandes mestres: Drª. Lucila Nogueira, Dr. Esman Dias, Dr. José Rodrigues e Dr. Roland Walter. A ela e a eles, credito minha formação e meu amor à Literatura. Aos meus irmãos e irmãs de alma e astros: Lucas Morais, Bruno Piffardini, Milena Wanderley, Girlene Pessoa, Priscila Milanez, Janaína Kirschner, Cristiane Lemos, Michelângela Melo e Manuela Marinho. Na certeza de que sempre os/as reconheço; até a eternidade para nos reunirmos. Aos meus amigos e às minhas amigas muito amados/as: José Carlos Freire, Enéas Rezende, Elizabeth Camelo, Fabiana Gomes, Deborah Albuquerque, Saulo Novaes, Artur Malheiros, Márcio Barros, Nádja Milanez, Daniel Milanez (in memoriam), Antonieta Kirschner, Katarina Negromonte, Jacques Henri, Patrícia Alves, Claudia Brady, Sandra Santos, Fátima Luna (in memoriam), Johnny Martins e Ivan Pitta (in memoriam). Entrego a eles e a elas os meus momentos de aflição e dúvidas, pois neles eu os vi sempre presentes, apesar da distância geográfica. Entrego, também, meu amor e minha fidelidade. Às amigas Alecsandra Moreira, Amanda Marques e Rute Vieira pela essencial ajuda neste trabalho e orientações preciosas; a elas, meu carinho, amor e respeito. À Mariane Telles, ao Jailto Filho, à Luciana Meira Dantas, à Luciany Santos, ao Fábio Pessoa, ao Severino Alves e ao André Pedro pelo carinho, apoio e respeito com que têm me tratado. A elas e a eles, agradeço meus melhores dias em João Pessoa. À Marisa Tayra Teruya, conversas mudas e sons etéreos que abafaram a minha solidão; minha eterna admiração. Ao Prof. Ms. Fábio Vieira, à Profª. Drª. Rosângela Neres, ao Prof. Ms. João Paulo Fernandes pelas longas conversas edificantes e ritmos de prosa e poesia; meu carinho e respeito. À amiga Sandra Johnson, sem a qual eu nunca teria conhecido Maya Angelou, pelas longas e proveitosas conversas very far away from home. À Profª. Drª. Liane Schneider, pela atenção com que me tratou. Presto a ela meu respeito e admiração. À UFPB, pela formação junto a professores(as), como: Drª. Zélia Bora, Drª. Socorro Barbosa, Drª. Wiebke Röben, Dr. Arturo Gouveia, Drª. Nadilza Moreira e Drª. Fabiana Sena. À Profª. Drª. Genilda Azerêdo, à Profª. Drª. Ana Cláudia Gualberto e à Profª. Drª. Sueli Liebig pelo olhar imprescindível na minha qualificação. Ao CAPES/REUNI, pelo apoio financeiro durante a pesquisa. À Profª. Ms. Mariana Pérez, pela grande força e apoio na pesquisa e na monitoria do REUNI. A todos e a todas que, direta e indiretamente, participaram na realização deste trabalho. “ […] Well, I hear the music, close my eyes, feel the rhythm, wrap around, take a hold of my heart. […] Take your passion and make it happen. Pictures come alive, you can dance right through your life”. […] Bem, eu escuto a música, fecho os olhos, sinto o ritmo, eu rodopio, dou um tempo ao meu coração. [...] Pegue a sua paixão e faça as coisas acontecerem. As fotografias tomam vida, você pode dançar por toda a sua vida. Irene Cara, 1983 (Soundtrack of Flashdance, 1983). “Men themselves have wondered What they see in me. They try so much But they can't touch My inner mystery. […] Phenomenal woman, That's me.” Os homens têm se perguntado O que eles veem em mim. Por mais que tentem Nunca poderão alcançar Meu mistério mais profundo. [...] Uma mulher fenomenal É o que sou. Maya Angelou, 1995. RESUMO Esta pesquisa tem o objetivo de investigar a autobiografia The Heart of a Woman (1981), de Maya Angelou, escrita sob a discursividade do testemunho. Ao se utilizar das discussões sobre a identidade cultural (HALL, 2006) e da pós-modernidade líquida (BAUMAN, 2001), espera-se demonstrar a multiplicidade identitária de Maya Angelou imersa em suas marcas de subjetividade. Cabendo, ainda, a égide da escrita de si e das histórias de vida, teóricos como Foucault (1992) e Bourdieu (1996) problematizam a questão da ilusão de se escrever gêneros autobiográficos sob o viés da referencialidade. A partir dos conceitos de autobiografias de testemunho de autores como Nara Araújo (1994), George Yúdice (1992), Joanne Braxton (1989) e Lyman Hagen (1997), percebe-se que a autobiografia mencionada se estabelece na discursividade do testemunho em crônicas, sob a vertente da escrita de mulher negra que imprime um registro memorialístico no texto. Ademais, observa-se em The Heart of a Woman uma estética de narrativa que dialoga com a musicalidade. Desta forma, busca-se em autores como Steven Paul Scher (1992) e Solange de Oliveira (2002) uma abordagem metodológica de investigação de modo a demonstrar esta narrativa de ritmos, através da textualidade e do uso de elementos estilísticos da língua. PALAVRAS-CHAVE: Identidade. Subjetividade. Autobiografia. Testemunho. Ritmo. The Heart of a Woman. ABSTRACT This study aims at investigating the autobiography The Heart of a Woman (1981), by Maya Angelou, written under the discoursive strategies of a testimonial. One considers the discussions of both cultural identity (HALL, 2006), and liquid post-modernity (BAUMAN, 2001) in order to demonstrate the multiple identity of Maya Angelou, who is immersed into subjectivity. One also refers to both self-writing, and life stories statements presented by Foucault (1992), and Bourdieu (1996). Such authors discuss the quests of illusion upon writing autobiographical genres, once that they are not referred to referential point of views. Starting from concepts of autobiographies in the testimonial format, presented by authors, such as: Nara Araújo (1994), George Yúdice (1992), Joanne Braxton (1989), and Lyman Hagen (1997), one perceives that the autobiography herein referred to lies on discoursive strategies of chronicled testimonials, which is under the perspective of black women writing. These testimonials certify a register of memories in the text. Moreover, one observes a narrative aesthetics which dialogues with terms of music, for instance, rhythm, in The Heart of a Woman. On being so, one searches for a methodological approach which meets the aims before mentioned in authors, such as: Steven Paul Scher (1992), and Solange de Oliveira (2002) due to this rhythmic narrative. To do so, one uses elements of both textuality, and stilystics in language. KEYWORDS: Identity. Subjectivity. Autobiography. Testimonial. Rhythm. The Heart of a Woman. LISTA DE FIGURAS Figura 01 98 Figura 02 98 Figura 03 98 SUMÁRIO INTRODUÇÃO 12 1. Maya Angelou na Pós-Modernidade Líquida: 17 Subjetividades na Escrita 1.1. Maya Angelou e suas marcas de subjetividades 23 1.2. As identidades políticas em Maya Angelou: uma 39 abordagem do Black Feminism no seu discurso 1.3. As afroamericanidades de Maya Angelou 51 2. Maya Angelou e o Testemunho em Crônicas: os Segredos 61 e os Silêncios da Memória Autobiográfica 2.1. Autobiografia: segredos, silêncios e negociações nas 67 memórias de Maya Angelou 2.2. O testemunho em crônica autobiográfica de The Heart 84 of a Woman 3. As Batidas de um Coração que se Recorda: o Ritmo de 95 The Heart of a Woman 3.1. The Heart of a Woman e as referências musicais: ♪ uma 102 narrativa de ritmos ♫ 3.2. A heart to remember 115 CONSIDERAÇÕES FINAIS 123 REFERÊNCIAS 128 P á g i n a | 12 INTRODUÇÃO Era uma manhã de terça-feira quando eu peguei o CDU-Boa Viagem- Caxangá me dirigindo à UFPE. Ao chegar à sala, percebi que não analisaríamos Thoreau ou Walt Whitman, veríamos o século XX, sob outra cor, sob outro gênero. Nas idas e vindas da minha enfadada lida de professora, eu me deparei com um universo de resistência e convite de I need to keep on going.
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