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Eliana Pereira De Carvalho O COLONIALISMO EXTEMPORÂNEO

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Eliana Pereira De Carvalho O COLONIALISMO EXTEMPORÂNEO 0 UNIVERSIDADE DO ESTADO DO RIO GRANDE DO NORTE-UERN PRÓ-REITORIA DE PESQUISA E PÓS-GRADUAÇÃO-PROPEG CAMPUS AVANÇADO PROFª MARIA ELISA DE ALBUQUERQUE MAIA-CAMEAM DEPARTAMENTO DE LETRAS ESTRANGEIRAS - DLE PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS-PPGL CURSO DE MESTRADO E DOUTORADO ACADÊMICOS EM LETRAS Eliana Pereira de Carvalho O COLONIALISMO EXTEMPORÂNEO DE ANGOLA, AS RICAS DONAS, DE ISABEL VALADÃO PAU DOS FERROS-RN 2020 0 ELIANA PEREIRA DE CARVALHO O COLONIALISMO EXTEMPORÂNEO DE ANGOLA, AS RICAS DONAS, DE ISABEL VALADÃO Tese apresentada ao Programa de Pós-Graduação em Letras, da Universidade do Rio Grande do Norte, como requisito à obtenção do título de Doutor em Letras. Linha de Pesquisa: Texto Literário, Crítica e Cultura. Orientador: Prof. Dr. Sebastião Marques Cardoso PAU DOS FERROS-RN 2020 1 2 A tese “O colonialismo extemporâneo de Angola, as ricas- donas, de Isabel Valadão”, autoria de Eliana Pereira de Carvalho, foi submetida à Banca Examinadora, constituída pelo PPGL/UERN, como requisito parcial necessário à obtenção do grau de Doutor em Letras, outorgado pela Universidade do Estado do Rio Grande do Norte – UERN Tese defendida e aprovada em 21 de dezembro de 2020. BANCA EXAMINADORA Prof. Dr. Sebastião Marques Cardoso – UERN (Presidente) Prof. Dr. Sebastião Alves Teixeira Lopes – UFPI (1º Examinador) Prof. Dr. Douglas Rodrigues de Sousa – UEMA (2º Examinador) Profa. Dra. Maria Aparecida da Costa – UERN (3ª Examinador) Profa. Dra. Concísia Lopes dos Santos – UERN (4ª Examinador) Prof. Dr. Tito Matias Ferreira Júnior – IFRN (Suplente) Prof. Dr. Manoel Freire Rodrigues – UERN (Suplente) PAU DOS FERROS 2020 3 AGRADECIMENTOS Ao Programa de Pós-Graduação em Letras da UERN. À SEDUC-PI, pela liberação. Ao meu orientador, professor Sebastião Marques Cardoso, pela paciência em me atender, pelas dicas sempre pontuais e por ter me acolhido enquanto pesquisadora. Ao professor Sebastião Lopes, pelas colocações bastante pertinentes. À minha família: Marcos Antônio, Fabrício Delano e Welton, pelo amor, alicerce e incentivo fornecidos. Aos meus amigos felinos e caninos que dão um sentido maior a minha vida. Aos amigos da Pós-Graduação que me ajudaram de alguma forma durante o período em que fiquei em Pau dos Ferros-RN e que continuaram comigo. Em especial, Jonh Jefferson com o qual compartilhei confidências e rotas. Aos que conheci e não ficaram, mas deixaram suas marcas. A todos os que não citei, mas certamente estiveram presentes nesta jornada de minha vida. À vida e à liberdade, pois, ‘apesar de você, amanhã há de ser outro dia’. 4 À Weverton Guilherme Silva Bezerra (in memoriam) e Cleonice Oliveira (in memoriam). Vocês permanecerão vivos em nossas vidas. 5 Uma vez Uma vez caminhando pelas ruas Da minha cidade natal, Com o coração cheio de sonhos. Fui ao Mercado Velho de Floriano, Ao quiosque de dona Isabel Carneiro, Uma amiga antiga da minha rua, da minha casa. Eu era uma criança, tinha doze anos, E o coração quase a saltar pela boca, Com a minha aprovação No exame de admissão ao Ginásio, No Colégio Industrial São Francisco de Assis. Dona Isabel me abraçou e disse: ‘Este menino vai ser um grande homem, um doutor!’ O homem de bigode vendia joias de ouro, Num tabuleiro defronte, na esquina. O homem branco sorriu com desdém, Ele apontou para mim e disse: ‘Doutor, hein... Isso aí na minha terra é um rolo de fumo preto!’ Eu era criança, tinha doze anos E não me esqueci desse acontecimento.” (ELIO FERREIRA, 2014) 6 RESUMO Angola, as ricas-donas, de Isabel Valadão, publicado em 2014, narra o contexto angolano do século XIX. A autora portuguesa possui um interesse particular por Angola, cenário usual de seus romances e lugar onde morou grande parte de sua vida, entre 1951 a 1974. Neste período, que antecede a independência de Angola, o território era considerado província ultramarina de Portugal. Isabel Valadão se inicia na escrita muito tarde, impulsionada, talvez, por suas memórias e a paixão pela história. O primeiro romance é de 2011. Em 2012, ela publica o segundo, A sombra do imbondeiro: estórias e memórias de África, no qual narra o período em que viveu em Angola e o retorno a Portugal. Como escritora, ela se põe simultaneamente entre três tempos: o da escrita, o da memória e o do narrado. A fusão desses tempos fez com que a escritora ressuscitasse o colonialismo português em seus romances de uma forma apologética. Dentro de uma noção de colonialidade e de transmodernidade, o presente trabalho tem como objetivo analisar Angola, as ricas-donas (2014), de Isabel Valadão, como romance colonial, considerando que a autora ressuscita, em sua escrita, o colonialismo português, mas sem se afastar do conceito de colonialidade que o tempo da escrita do romance solicita, no sentido de refletir sobre as vítimas do mito da modernidade eurocêntrica e sobre a construção de uma alteridade que foi negada. Nessa perspectiva, os objetivos específicos são: a) Dialogar sobre os conceitos de transmodernidade e de colonialidade a partir de uma reconfiguração da modernidade enquanto origem e sistema- mundo, no intuito de preencher as lacunas entre a produção e o contexto do narrado no romance de Isabel Valadão; b) Analisar as duas vozes que se cruzam na narrativa, produzindo um só timbre, a da autora e a da narradora, para justificar a concepção eurocêntrica bastante presente na voz da narradora, a escrava Eufrozina, como se esta fosse um avatar da autora; c) Verificar os esquemas coloniais e escravocratas da narrativa dentro do mito da modernidade, como também abordar a elite crioula e o reinado das ‘donas’ no círculo econômico e racial da sociedade colonial de Luanda no século XIX. Com isso, foi possível verificarmos — por intermédio das representações literárias de Valadão, em Angola, as ricas-donas (2014) e A sombra do imbondeiro (2012) — como a percepção da modernidade da autora se aproxima das narrativas sacralizadas pelos arquivos públicos da história portuguesa sobre Angola e como o arquivo pessoal da autora, principalmente o da memória, reforça essa percepção. Embora o distanciamento entre o tempo da escrita e o tempo narrado tenha sido propício para uma reflexão sobre o mito da modernidade e a colonialidade de nossos tempos, a autora persistiu na feitura de um romance colonial, reforçando outros mitos, como o do colonialismo cordial e o da democracia racial ou do lusotropicalismo. O diálogo com o arquivo público da história portuguesa é constante, não havendo questionamentos sobre os erros cometidos por esta história, insistindo-se também na culpabilidade das vítimas. Palavras-chave: Angola, as ricas-donas. Colonialidade. Isabel Valadão. Romance Colonial. Transmodernidade. 7 ABSTRACT Isabel Valadão, in Angola, as ricas-donas, a novel published in 2014, narrates the 19th century angolan context. The Portuguese author has a particular interest in Angola, the usual setting for her novels and the place where she lived most of her life, between 1951 and 1974. In this period, which precedes Angola's independence, the territory was considered an overseas province of Portugal. Isabel Valadão starts writing very late, perhaps driven by her memories and passion for history. The first novel is from 2011. In 2012, she published the second, A sombra do imbondeiro: estórias e memórias de África, in which she recounts her period in Angola and her return to Portugal. As a writer, she puts herself simultaneously between three times: that of writing, that of memory and that of the narrated. The fusion of those times made the writer resurrect Portuguese colonialism in her novels in an apologetic way. Within a notion of coloniality and transmodernity, the present work aims to analyze Angola, as ricas-donas (2014), by Isabel Valadão, as a colonial novel, considering that the Portuguese colonialism represented in the author's novel does not depart from the concept of coloniality which the time of the novel's writing calls for, in order to reflect on the victims of the Eurocentric modernity myth and on the construction of a denied otherness. In this perspective, the specific objectives are: a) Dialogue about the concepts of transmodernity and coloniality based on a reconfiguration of modernity as origin and world-system, in order to fill the gaps between the time of the novel's writing and the context of Isabel Valadão's narrative; b) Analyze the two voices that intersect in the narrative, producing a single timbre, that of the author and that of the narrator, to justify the Eurocentric conception very present in the voice of the narrator, the slave Eufrozina, as if they were an avatar of the author; c) To verify the colonial and slave-making schemes of the narrative within the myth of modernity, as well as to approach the Creole elite and the 'donas' reign in the economic and racial circle of colonial society in Luanda in the 19th century. With that, it was possible to verify — through the literary representations of Valadão, in Angola, as ricas-donas (2014) and A sombra do imbondeiro (2012) — how the author's perception of modernity approaches the narratives sacralized by the public archives of Portuguese history about Angola and how the author's personal archive, especially that of memory, reinforces this perception. Although the distance between the time of writing and the time narrated was conducive to a reflection on the myth of modernity and the coloniality of our times, the author persisted in the making of a colonial novel, reinforcing other myths, that of cordial colonialism and racial democracy or lusotropicalism. The dialogue with the public archive of Portuguese history is constant, with no questions about the mistakes made by this story, insisting also on the guilt of the victims. Keywords: Angola, as ricas-donas. Coloniality. Isabel Valadão. Colonial Romance. Transmodernity. 8 RESUMEN Isabel Valadão, en el libro Angola, as ricas-donas, novela publicada en 2014, narra el contexto angoleño del siglo XIX.
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