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Corrêa, Cláudia Maria Fernandes. "Ecos da solidão: uma autobiografia de Maya Angelou." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-26082009-000822/.
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Este trabalho centra sua atenção sobre a construção identitária por meio da palavra escrita, refletindo sobre o passado por meio da narrativa autobiográfica I Know Why the Caged Bird Sings (1970) da escritora afro-americana Maya Angelou. Utilizamos a obra de Maya Angelou devido ao seu esforço pioneiro em confrontar abertamente seu passado e fazer de suas mazelas pessoais um meio catártico: descer aos infernos, ou à morte para retornar transformada.This work focuses its attention on the construction of identity by means of the written word using the autobiographical narrative I Know Why the Caged Bird Sings (1970) by the afroamerican writer Maya Angelou. We have utilized the work of Maya Angelou due to her pioneering efforts to openly confront her past and use her personal challenges as a cathartic means to descend to the hells or to death so that she could be transformed.
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Alsarhan, Jawaher. "Gender and Racial Empowerment in Selected Works of Maya Angelou." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2019. http://digitalcommons.auctr.edu/cauetds/162.
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This study examines Maya Angelou as a powerful African-American woman in the twentieth century who impacted generations of African Americans. Her biographies and selected works speak strongly and wisely about gender and racial empowerment. This empowerment was sown in her childhood and could be traced throughout her life. It is also a fact that seldom does the realization of one’s race and gender take place at such an early age as with Maya Angelou. She was highly marginalized not only in terms of gender but also in terms of race with acute consciousness.
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Jalal, Kamali Sima. "The caged bird sings on : the political voice of Maya Angelou's autobiographical oeuvre." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/78583/.
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Bartsch, Susanne. "The influence of male-female relationships on the self-development of Maya Angelou /." View online, 1988. http://repository.eiu.edu/theses/docs/32211998878769.pdf.
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Santos, Marcela Ernesto dos [UNESP]. "Mulher e negra: as memórias de Carolina Maria de Jesus e Maya Angelou." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/94065.
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A produção intelectual do feminismo questionou as representações e os papéis sociais de gênero e também contribuiu para a evolução de uma perspectiva crítica acerca das múltiplas opressões que assolam as mulheres. Entre as minorias femininas que despontaram nesse cenário de articulação, as mulheres negras, com sua escrita engajada e muitas vezes marcada pela autorrepresentação, buscam se inserir no espaço acadêmico e conquistar o reconhecimento de sua obra literária. Nesse sentido, este trabalho pretende fazer uma reflexão crítica sobre a narrativa de memórias das escritoras negras Carolina Maria de Jesus e Maya Angelou, em suas respectivas obras: Diário de Bitita e I Know Why the Caged Bird Sings. Para tanto, levantamos questões relevantes do enredo e enfocamos o trajeto singular das protagonistas negras rumo à conscientização de uma realidade construída em torno das desigualdades de poder. Deste modo, num primeiro momento, refletimos sobre a condição dos afrodescendentes e sublinhamos a situação da mulher negra durante e depois do período escravocrata. Na sequência tratamos da questão da literatura confessional direcionando seu enfoque para as formas diário e memória, a fim de evidenciar suas congruências e diferenças no universo confessional. Por fim, empreendemos um trabalho de análise das obras, em que salientamos pontos importantes e discutimos as trajetórias de cada personagem rumo à autoaceitação.
The intellectual production of feminism questioned the representations and social roles of gender and contributed to an evolution of a critical perspective towards the oppression suffered by women. Among the minorities that emerged in this scenery of articulation, the black women with an engaged writing, and also marked many times by self- representation try to put themselves in the academic space and have the recognition of their work as well. In this sense, this work intends to make a critical reflection about the memoirs of the black writers Carolina Maria de Jesus and Maya Angelou, in their respective books: Diário de Bitita and I Know Why the Caged Bird Sings. For that we raised questions concerning the plot and emphasize the black protagonists´ peculiar course towards awareness of a reality built around unequal powers. So, we first consider the black people condition and underline the black women situation before and during slavery time. Secondly, we talk about the confessional literature focalizing the diary and memoir forms in order to make evident their similarities and differences in the confessional universe. At last we attempt to a work of analysis of the books where we point out important items and discuss the characters´ course towards self-acceptance.
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Santos, Marcela Ernesto. "Mulher e negra : as memórias de Carolina Maria de Jesus e Maya Angelou /." Assis : [s.n.], 2009. http://hdl.handle.net/11449/94065.
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Orientador: Cleide Antonia RapucciBanca: Gizelda Melo do Nascimento
Banca: Altamir Botoso
Resumo: A produção intelectual do feminismo questionou as representações e os papéis sociais de gênero e também contribuiu para a evolução de uma perspectiva crítica acerca das múltiplas opressões que assolam as mulheres. Entre as minorias femininas que despontaram nesse cenário de articulação, as mulheres negras, com sua escrita engajada e muitas vezes marcada pela autorrepresentação, buscam se inserir no espaço acadêmico e conquistar o reconhecimento de sua obra literária. Nesse sentido, este trabalho pretende fazer uma reflexão crítica sobre a narrativa de memórias das escritoras negras Carolina Maria de Jesus e Maya Angelou, em suas respectivas obras: Diário de Bitita e I Know Why the Caged Bird Sings. Para tanto, levantamos questões relevantes do enredo e enfocamos o trajeto singular das protagonistas negras rumo à conscientização de uma realidade construída em torno das desigualdades de poder. Deste modo, num primeiro momento, refletimos sobre a condição dos afrodescendentes e sublinhamos a situação da mulher negra durante e depois do período escravocrata. Na sequência tratamos da questão da literatura confessional direcionando seu enfoque para as formas diário e memória, a fim de evidenciar suas congruências e diferenças no universo confessional. Por fim, empreendemos um trabalho de análise das obras, em que salientamos pontos importantes e discutimos as trajetórias de cada personagem rumo à autoaceitação
Abstract: The intellectual production of feminism questioned the representations and social roles of gender and contributed to an evolution of a critical perspective towards the oppression suffered by women. Among the minorities that emerged in this scenery of articulation, the black women with an engaged writing, and also marked many times by self- representation try to put themselves in the academic space and have the recognition of their work as well. In this sense, this work intends to make a critical reflection about the memoirs of the black writers Carolina Maria de Jesus and Maya Angelou, in their respective books: Diário de Bitita and I Know Why the Caged Bird Sings. For that we raised questions concerning the plot and emphasize the black protagonists' peculiar course towards awareness of a reality built around unequal powers. So, we first consider the black people condition and underline the black women situation before and during slavery time. Secondly, we talk about the confessional literature focalizing the diary and memoir forms in order to make evident their similarities and differences in the confessional universe. At last we attempt to a work of analysis of the books where we point out important items and discuss the characters' course towards selfacceptance
Mestre
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Micucci, Sonja. ""Blackness" och "Womanism" : Hur gestaltar Maya Angelous poesi den afroamerikanska språkkulturen samt kvinnan?" Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-177354.
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Silva, Monaliza Rios. "Maya Angelou e suas afroamericanidades: o ritmo autobiográfico de The Heart of a Woman." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6184.
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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.
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.
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Santos, Marcela Ernesto [UNESP]. "Resistindo à tempestade: a interseccionalidade de opressões nas obras de Carolina Maria e Maya Angelou." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/123321.
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000822828.pdf: 771544 bytes, checksum: 2e449eebea6e7538bb49de8d1679feb5 (MD5)Este trabalho, valendo-se da leitura das obras I know why the caged Bird sings(1969), Gather together in my name(1974), de Maya Angelou, Diário de Bitita(1982) e Quarto de Despejo(1960), de Carolina Maria de Jesus, tem por objetivo evidenciar a escrita autobiográfica como a forma de expressão que não apenas traz à baila relatos preciosos acerca das mazelas enfrentadas pelas personagens, mas também que sinaliza a tripla opressão vivida pelas mulheres negras. De fato a hierarquia de gênero, raça e classe direcionou as mulheres negras para a fronteira dos acontecimentos, forjando muitas vezes a verdade dos fatos, calando e subjugando as vozes afro-femininas. Nesse sentido, demonstraremos que a opressão por causa da raça, do gênero e da classe social influencia a própria condição existencial das autoras que, por meio de experiências traumáticas, têm suas identidades massacradas. Com o intuito de resgatar a identidade e a subjetividade perdida, Carolina Maria de Jesus e Maya Angelou escrevem e (re)constroem um eu que, mesmo fragmentado pelas vicissitudes da vida, é capaz de expressar seu grito por meio da escrita. Acima de tudo, a interseccionalidade de opressões torna-se a grande temática das obras em questão, e pode ser entendida como uma realidade social conflitiva e tensa, que se quer transformada
This thesis aims to take a reading of the works I know why the caged bird sings(1969),Gather together in my name(1974) by Maya Angelou, Bitita´s Diary(1982) and Child of the Dark(1982) by Carolina Maria de Jesus revealing autobiographical writing as a form of expression that not only brings up precious stories about the difficulties faced by characters but also signaling the triple oppression experienced by black women. In fact the hierarchy of gender, race and class black drove black women to the border of events, often forging true facts, subduing and silencing the afrofemales voices. Accordingly, we demonstrate that oppression due to race, gender and social class influence the existential condition of the authors who through traumatic experiences have massacred their own identities. In order to rescue the lost identity and subjectivity, Carolina Maria de Jesus and Maya Angelou write and (re) construct a self that even fragmented by the vicissitudes of life is able to express their scream through writing. Above all, the intersectionality of oppressions becomes the major theme of the works in question, and can be understood as a confrontational and tense social reality that is either transformed
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Santos, Marcela Ernesto. "Resistindo à tempestade : a interseccionalidade de opressões nas obras de Carolina Maria e Maya Angelou /." Assis, 2014. http://hdl.handle.net/11449/123321.
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Orientador: Cleide Antonia RapucciBanca: Kassandra da Silva Muniz
Banca: Jarbas Vargas Nascimento
Banca: Rubens Pereira dos Santos
Banca: Márcio Roberto Pereira
Resumo: Este trabalho, valendo-se da leitura das obras I know why the caged Bird sings(1969), Gather together in my name(1974), de Maya Angelou, Diário de Bitita(1982) e Quarto de Despejo(1960), de Carolina Maria de Jesus, tem por objetivo evidenciar a escrita autobiográfica como a forma de expressão que não apenas traz à baila relatos preciosos acerca das mazelas enfrentadas pelas personagens, mas também que sinaliza a tripla opressão vivida pelas mulheres negras. De fato a hierarquia de gênero, raça e classe direcionou as mulheres negras para a fronteira dos acontecimentos, forjando muitas vezes a verdade dos fatos, calando e subjugando as vozes afro-femininas. Nesse sentido, demonstraremos que a opressão por causa da raça, do gênero e da classe social influencia a própria condição existencial das autoras que, por meio de experiências traumáticas, têm suas identidades massacradas. Com o intuito de resgatar a identidade e a subjetividade perdida, Carolina Maria de Jesus e Maya Angelou escrevem e (re)constroem um eu que, mesmo fragmentado pelas vicissitudes da vida, é capaz de expressar seu grito por meio da escrita. Acima de tudo, a interseccionalidade de opressões torna-se a grande temática das obras em questão, e pode ser entendida como uma realidade social conflitiva e tensa, que se quer transformada
Abstract: This thesis aims to take a reading of the works I know why the caged bird sings(1969),Gather together in my name(1974) by Maya Angelou, Bitita's Diary(1982) and Child of the Dark(1982) by Carolina Maria de Jesus revealing autobiographical writing as a form of expression that not only brings up precious stories about the difficulties faced by characters but also signaling the triple oppression experienced by black women. In fact the hierarchy of gender, race and class black drove black women to the border of events, often forging true facts, subduing and silencing the afrofemales voices. Accordingly, we demonstrate that oppression due to race, gender and social class influence the existential condition of the authors who through traumatic experiences have massacred their own identities. In order to rescue the lost identity and subjectivity, Carolina Maria de Jesus and Maya Angelou write and (re) construct a self that even fragmented by the vicissitudes of life is able to express their scream through writing. Above all, the intersectionality of oppressions becomes the major theme of the works in question, and can be understood as a confrontational and tense social reality that is either transformed
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Söderlund, Veronica. "'Master of My Faith, Captain of My Soul' : Identity and Community in Toni Morrison's Beloved and Maya Angelou's I Know Why the Caged Bird Sings." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-23588.
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This essay is a close reading of the novels Beloved by Toni Morrison and I Know Why the Caged Bird Sings by Maya Angelou with the purpose of analyzing the impact and role of the African American community in two characters’ formation of self. The aim is to contrast and compare the two chosen characters’ experiences with their respective African American communities and discuss common ground, similarities and differences. A postcolonial approach is applied to the analysis by using concepts and theory from Fanon’s arguments on the psychological effects on the oppressed, Cohen’s description of diaspora communities and Bhabha’s notion of hybridization and culture.
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Castaneda, Alisha Priolo. "Hues, tresses, and dresses examining the relation of body image, hair, and clothes to female identity in Their eyes were watching God and I know why the caged bird sings /." Lynchburg, Va. : Liberty University, 2010. http://digitalcommons.liberty.edu.
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Silva, Fernanda Felisberto da. "Escrevivências na Diáspora:escritoras negras, produção editorial e suas escolhas afetivas, uma leitura de Carolina Maria de Jesus, Conceição Evaristo, Maya Angelou e Zora Neale Hurston." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5717.
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A pesquisa apresenta um inventário das obras literárias produzidas por romancistas negras afro-americanas e afro-brasileiras, publicadas no mercado editorial brasileiro. Investiga como autoras afro-americanas Maya Angelou e Zora Neale Hurston e as afro-brasileiras Carolina Maria de Jesus e Conceição Evaristo, representam em suas obras as suas escolhas afetivas. Examina as experiências individuais das autoras, analisa como o tema da afetividade é tratado em suas produções usando como eixo central o trabalho comparativo entre as autoras escolhidas e investiga sobre a relação de gênero, raça x autoria na construção de intelectuais negras, tendo como fio condutor a perspectiva comparatista na narrativa literáriaThe research summarizes the works of some African-American female writers published in Brazil, in Brazils editorial market, and compares them to some Afro-Brazilian female writers. It analyzes how authors Maya Angelou and Zora Neale Hurston, on the one hand, and Carolina Maria de Jesus and Conceição Evaristo, on the other, introduce their affective choices in their writings. It looks at each authors experiences and how affection as a subject is dealt with in their literary work. The author does so by using comparative literature theory and by exploring how gender and race influence authorship in the making of black female intellectuals
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Nichols, Dana J. "Y'all Go Out and Make Us Proud: The Commencement Address and the Southern Writer." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04242006-091038/.
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Thesis (Ph. D.)--Georgia State University, 2006.Thomas L. McHaney, Pearl A. McHaney, committee co-chairs; Matthew Roudane, committee member. Electronic text (170 p.) : digital, PDF file. Title from title screen. Description based on contents viewed July 3, 2007. Includes bibliographical references (p. 158-169).
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Anteryd, Linn. "African-American English i direkt anföring : Etta James självbiografi översatt till svenska – att anpassa översättningen efter en varietet som inte har någon motsvarighet på svenska." Thesis, Uppsala universitet, Institutionen för nordiska språk, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-260105.
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Detta examensarbete är indelat i tre delar. Examensarbetet består av en översättning av tre kapitel ur Etta James självbiografi Rage to survive: the Etta James story skriven av James och spökförfattaren David Ritz, samt ett kapitel om vilka textspecifika översättningsproblem som uppstod vid översättningen. Den tredje delen består av en djupanalys av hur varieteten African-American English (AAE) översatts i två andra verk, nämligen I know why the caged bird sings av Maya Angelou och The bluest eye av Toni Morrison där översättningarna av dessa verk jämförs med min översättning av Rage to survive: the Etta James story. Djupanalysens syfte är att undersöka hur många talspråksmarkörer som finns i de ovannämnda verken, samt hur många av dessa markörer är specifika för AAE. Dessutom används Englund Dimitrovas varietetsskala (2001). Detta för att undersöka huruvida måltexterna ligger på skalan i relation till källtexterna genom mängden talspråksmarkörer. Översättningen genomfördes med målet att ligga så nära källtextens stil som var möjligt med hänsyn till målspråkets grammatiska regler och förutsättningar. Detta för att kunna erbjuda den målspråklige läsaren en likvärdig effekt som läsaren av källtexten. För att uppfylla detta mål fick en del kompromisser göras.This thesis is divided into three main parts. It consists of a translation of three chapters from Etta James’ autobiography named Rage to survive: the Etta James story, written by James herself and ghost writer David Ritz. The thesis also features a part involving the issues that arose when I translated Rage to survive: the Etta James story and how I solved these issues. The third and final part consists of an analysis of how African-American English (AAE) has been translated in two other novels in the past, namely I know why the caged bird sings by Maya Angelou and Toni Morrison’s The bluest eye. I compare the translations of these two novels with my own translation of Rage to survive: the Etta James story in the analysis where I strive to gain insight into the norms for translating spoken varieties. The translation was carried out with the purpose of maintaining the stylistic and informal markers as intact as possible while at the same time adhering to the grammatical prerequisites of the target language (Swedish).
Översättningen är borttagen ur den publicerade versionen i fulltext i DiVA (denna version) på grund av upphovsrätten.
The translation has been removed from the published version of the essay in DiVA due to copyright.
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Risedal, Olsson Karin. "The Caged Bird’s Free Flight : Analyzing Intersectionality in Maya Angelou’s I Know Why the Caged Bird Sings with the Aim of Empowering Pupils in the EFL Classroom to Speak Out Against Inequality and Prejudice." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96422.
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The aim of this master’s thesis was to study the portrayal of discrimination that occurs because of multiple factors in Maya Angelou’s book I Know Why the Caged Bird Sings. The analysis has been conducted through the lens of Critical Race theory as the theory draws on the affiliation between race, racism and power. The main focal point of this essay was the intersectionality of race, gender and social class. The results of this study showed recurring events in which the characters in the book are marginalized. However, the study also showed the resilience and resistance the characters manifests in their exertion for an equal society. Additionally, this Master’s thesis addressed how the English as a Foreign Language classroom with the inclusion of Caged Bird and the usage of Critical Race pedagogy can start a development of fundamental values such as equality and gender roles whilst diminishing prejudice.
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Eley, Dikeita N. "Color (Sub)Conscious: African American Women, Authors, and the Color Line in Their Literature." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1486.
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Color (sub)Conscious explores the African American female's experience with colorism. Divided into three distinct sections. The first section is a literary analysis of such works as Toni Morrison's The Bluest Eye, Gloria Naylor's The Women of Brewster Place, Maya Angelou's I Know Why the Caged Bird Sings and Alice Walker's "If the Present Looks Like the Past, What Does the Future Look Like?" an essay from her collection In Search of Our Mothers' Gardens. The second section is a research project based on data gathered from 12 African American females willing to share their own experiences and insights on colorism. The final section is a creative non-fiction piece of the author's own personal pain growing up and living with the lasting effects of colorism.
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Graham, Joyce L. "Freeing Maya Angelou's Caged Bird." Diss., Virginia Tech, 1991. http://hdl.handle.net/10919/37239.
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This study involves a comprehensive examination of one book, Maya Angelou's autobiographical I Know Why Why the Caged Bird Sings, since it was first published in 1970. Recognized as an important literary work, the novel is used in many middle and secondary school classrooms throughout the united States. Additionally, the work often is challenged in public schools on the grounds of its sexual and/or racial content.
The purpose of this study included establishing the importance of I Know Why the Caged Bird Sings as a significant literary work; documenting how and why the book is used in schools; recording the censorship history of the book and preparing a case study as an example of how censorship complaints can arise and how they can be handled. Additionally, this dissertation includes the interview responses of the book's author to various issues dealt with in this study.
In this study, the researcher examined the reception of the book by reviewers at the time of publication and the literary criticism written about the book during the past twenty years. After examining the literary merits of the book, the researcher established the context in which the book came to be included in school classrooms. An historical account of the censorship challenges raised against the book is included. Finally, a case study is used as a point of reference to illustrate how a censorship challenge might come about when Maya Angelou's book is used in schools.Ph. D.
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Marchbanks, Jack R. "Pride and Protest in Letters and Song: Jazz Artists and Writers during the Civil RightsMovement, 1955-1965." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1522929258105629.
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Bentlin, Felix [Verfasser], Angela [Akademischer Betreuer] Million, Angela [Gutachter] Million, and Mara [Gutachter] Pinardi. "Die Berliner Stadterweiterung : Entwurf und Wandel des Bebauungsplans von 1862 / Felix Bentlin ; Gutachter: Angela Million, Mara Pinardi ; Betreuer: Angela Million." Berlin : Technische Universität Berlin, 2019. http://d-nb.info/1194059333/34.
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Contreras, López Catalina del Pilar. "Mapa de Recomendación de Uso de Ligantes Asfálticos Según Clasificación Superpave, Aplicado al Tramo entre Santiago y Los Angeles." Tesis, Universidad de Chile, 2007. http://www.repositorio.uchile.cl/handle/2250/104591.
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Vernoos, Omid [Verfasser], Darabi [Akademischer Betreuer] Javad, Angela [Gutachter] Million, and Mara [Gutachter] Pinardi. "The role of human metaphors on urban theories and practices / Omid Vernoos ; Gutachter: Angela Million, Mara Pinardi ; Betreuer: Darabi Javad." Berlin : Technische Universität Berlin, 2018. http://d-nb.info/1156272122/34.
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Robinson, Sally. "Engendering the subject : gender and self-representation in contemporary women's fiction /." Thesis, Connect to this title online; UW restricted, 1989. http://hdl.handle.net/1773/9433.
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Keith, Laura Helene. "A Pedagogical and Educational Examination of The First Month At The Piano by Mana-Zucca." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/318.
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The First Month at the Piano by Mana-Zucca, published in 1935, is a pioneering piano method to be taught by rote, supporting sound before sight learning theories, to the pre-school student. It differs from the Suzuki method in that The First Month at the Piano uses short, repetitive patterns, intrinsic to the Edwin Gordon Music Learning Theory. The First Month at the Piano has been compared to educational theories and has been found to follow Lev Vygotsky's theory of scaffolding and Jerome Bruner's principles of structure, readiness for learning, and motivation. The First Month at the Piano has been shown to provide a wide variety of sensory experiences for the pupil and establish a comfort and familiarity with the instrument. After completing the method, the pupil will have a solid aural foundation at the piano and will be fully prepared for primer level notation. It is a highly adaptable method and modified versions were made from the originals which would be of interest to today's teachers of pre-school piano students. Incorporation of interactive MIDI with electronic keyboards would enhance the students' learning experiences and be a direction to follow for future use of this method.
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Tinsley, Hettie. "Constructions of women in relation to the politics and ideals of androgyny in some of the works of Virginia Woolf, Doris Lessing, Joan Barfoot and Angela Carter /." Title page, summary and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09ARM/09armt592.pdf.
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Figari, Miguel Angel Almada. "A estratégia de produção no setor metal-mecânico : um estudo multicaso em Joinville/SC / Miguel Angel Almada Figari ; orientador, Jansen Maia del Corso." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2009. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=2084.
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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2009Bibliografia: f. 127-136
Nas últimas décadas o interesse de acadêmicos e empresários nos temas relacionados com a função de produção, de forma geral, e a estratégia de produção, em particular, desenvolveu-se tanto por uma perspectiva teórica como empírica, em função do reconhecim
In recent decades the interest of academicians and practitioners on matters related to the production function, in general, and production strategy, in particular, has developed both a theoretical and empirical perspective, based on the recognition of his
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Mayr, Felix [Verfasser], and Peter [Akademischer Betreuer] Angele. "Klinische Ergebnisse der intraligamentären Injektion von Platelet RichPlasma und Trephination zur Versorgung von vorderen Kreuzband Partialrupturen - Ein Vergleich zwischen intraligamentärer Injektion von Platelet Rich Plasma mit Trephination und Kreuzbandplastik / Felix Mayr ; Betreuer: Peter Angele." Regensburg : Universitätsbibliothek Regensburg, 2020. http://d-nb.info/1219301132/34.
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Kirkpatrick, Leah Marie. "Hidden kisses, walled gardens, and angel-kinder : a study of the Victorian and Edwardian conceptions of motherhood and childhood in Little Women, The Secret Garden, and Peter Pan /." Full-text of dissertation on the Internet (1.17 MB), 2009. http://www.lib.jmu.edu/general/etd/2009/Masters/Kirkpatrick_Leah/kirkpalm_masters_11-19-2009_01.pdf.
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Chen, Rui-Ching, and 陳瑞卿. ""The Mythic Text" of Phillis Wheatley, Harriet Jacobs, Zora Neale Hurston, and Maya Angelou." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/35862102893699914491.
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博士國立成功大學
外國語文學系碩博士班
95
Drawing from Holloway's figurative use of the“mythic text,”this dissertation examines the first-person narratives of Phillis Wheatley, Harriet Jacobs, Zora Neale Hurston, and Maya Angelou so as to discover how these four Afro-American women writers originate their varied mythic texts, synchronically and diachronically revising both one another and their male counterparts in their own times. With this theoretical approach, I find out that in Poems on Various Subjects Religious and Moral Wheatley originates her mythic text from the Puritan redemption myth, which is blended with the Puritan captivity narrative form, associates herself with her enslaved fellowmen, claims her African identity, and connects to her African communal past. Jacobs in Incidents in the Life of a Slave Girl originates her mythic text by subverting the Christian myth to strongly attack slavery and the hypocritical white Christian slaveholders. With her spiritual rebellion, she further revises the dominant theology, passive Christian womanhood and motherhood. Her memories of an ancestral voice partially empower her to successfully become a fugitive slave along with communal help and maternal love for her children. Hurston originates her mythic text from the black folkloric storytelling narrative and terms it the power of words, which she associates with her female ancestral voice. Through this power, in Dust Tracks on a Road she relates her personal history and retells the history of her Eatonville community. Although the community deprives her of this speaking voice on her mother's deathbed, in Mules and Men she returns to her Southern black rural community to search for a mother figure with conjuring power and to collect the folklore that she heard during her childhood. This homeward journey has her reclaim her past connection with her own ethnic cultural community. Angelou originates her mythic text from her black ethnic cultural roots and deliberately parallels her personal history with that of the grand Afro-American socio-political surroundings. Due to her self-consciousness and identity with her ancestors, family, and community, in I Know Why the Caged Bird Sings (1970) she invents her self and recreates the time when Afro-Americans still have to encounter institutionalized racial prejudice. Because she integrates her personal life with the communal history, she clearly connects her self-development with her ethnic community and thus expresses a communal voice. She relates her life after her homeward trip to Africa and eventually becomes an empowered black woman writer in A Song Flung Up to Heaven, in which she concludes the book with the first line of I Know Why the Caged Bird Sings. Overall, these four writers intertextually represent themselves in/against various contexts, while evolving their racial and gender selves during the varied phases of their lives. Through the memories of words, they are conscious of their collective self and clearly express their communal voice in their “mythic text.”
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Alves, Ana Margarida Fernandes Grácio de Almeida. "I know why the caged bird sings: uma experiência tradutória." Master's thesis, 2012. http://hdl.handle.net/10451/6971.
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Trabalho de projecto de mestrado, Estudos Ingleses e Americanos (Estudos de Tradução), Universidade de Lisboa, Faculdade de Letras, 2012O presente Projecto de Mestrado de Estudos Anglísticos, na área de Estudos de Tradução, tem por objectivo apresentar uma proposta de tradução comentada para português europeu de uma selecção de capítulos da narrativa autobiográfica I Know Why The Caged Bird Sings [1970] (2007) da escritora afro-americana Maya Angelou, nascida no Missouri em 1928. Este trabalho divide-se em três capítulos. No primeiro capítulo far-se-á uma breve abordagem do percurso pessoal e literário de Angelou, seguindo-se um enquadramento histórico-cultural do corpus escolhido, bem como uma caracterização do sujeito narrado e do sujeito da narração. Abordar-se-á ainda a questão do uso do poder da palavra na narrativa como mecanismo de reconstituição da memória. O segundo capítulo consiste na tradução comentada para português europeu do prólogo e dos capítulos 11, 12, 16 e 36 de I Know Why The Caged Bird Sings. Por último, o terceiro capítulo compreenderá, além de um relatório acerca dos problemas tradutórios encontrados no texto, uma breve análise comparativa entre a referida tradução e a tradução para português do Brasil (1996).
ABSTRACT: This MA Project in English and American Studies, specifically in the area of Translation Studies, consists in a commented translation into European Portuguese of selected chapters from I Know Why The Caged Bird Sings [1970] (2007), the first autobiographical volume by the African-American writer Maya Angelou, born in Missouri in 1928. The study is divided into three chapters. The first chapter provides an introduction into Maya Angelou’s life and work, as well as to the historical and cultural backdrop of the chosen corpus. It also points out how Angelou resorts to the power of narrative as a means to recover repressed or silenced memory. The second chapter consists in the commented translation into European Portuguese of the prologue and chapters 11, 12, 16 and 36 of I Know Why The Caged Bird Sings. Finally, the third chapter presents a report concerning the translation strategies chosen to solve the problems encountered along the translation process, as well as a brief and comparative analysis between the Portuguese translation and the Brazilian one (1996).
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Batz, Giovanni. "Expressions of Maya identity and culture in Los Angeles : coloniality of power, resistance, and cultural memory." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-08-1686.
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The migration of thousands of Guatemalan-Maya due to political violence and poverty since the 1970s led to the establishment of various diasporic communities throughout the United States. A frequent destination for the Maya is Los Angeles, California, where they are confronted with pressure to adapt within an environment that is predominately Latino/Hispanic. Maya identity expressed through the use of traje (Maya clothing), language, literature and spirituality is challenged by Euro-American culture such as western style of dress and the practice of English which discriminates against these customs. These conditions are more severe for Maya children who face the difficulties in preserving their heritage as a result of institutions such as public education which socializes them into US culture and history.
Despite the presence of many indigenous communities in Los Angeles, such as the Maya, Mixtecos and Zapotecs, indigenous identity is almost non-existent in many public spaces and institutions. Discrimination against the Maya by their compatriots and other Latinos coupled with high rates of undocumented immigration statuses have contributed to this invisibility. Some Maya parents view the lack of a strong indigenous identity among their children as problematic and the source of negative cultural qualities such as disrespect towards elders, violence, individualism and misbehavior.
In this study, I seek to examine Maya identity and culture in Los Angeles. What does it mean to identify as Maya in Los Angeles? What are the consequences of doing so? How do Maya immigrants respond to discrimination and what implications does discrimination have for the ethnic identity formation of their children? Why has Maya identity survived in some children of Maya and not in others? I found that while some Maya immigrants have assimilated into the Latino community in response to racism and fear of deportation, others have adopted strategies such as the use of marimba to preserve Maya identity which also serve to deal with a life of displacement and exile. Maya identity among children is highly influenced by factors such as the educational system, class and their parent’s willingness and ability to transmit Maya culture. Thus, while some children of Maya have been able to preserve and express their identity through various channels such as music and language, others may be unaware of, ashamed by or apathetic toward their indigenous roots and history.text
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Mika, Angela [Verfasser]. "Biochemische Charakterisierung und bioinformatische Sequenzanalyse plasmamembrangebundener Peroxidasen aus Maiswurzeln (Zea mays L.) / vorgelegt von Angela Mika." 2006. http://d-nb.info/978168984/34.
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"El cuerpo que se repite: el cuerpo en la narrativa nómade de Mayra Santos-Febres, Ena Lucía Portela y Ángela Hernández Núñez." Doctoral diss., 2015. http://hdl.handle.net/2286/R.I.29934.
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abstract: ABSTRACT
This dissertation focuses on the narrative fiction of three women writers from the Spanish-speaking Caribbean who have been publishing since the nineteen-nineties. The short stories and novels of Mayra Santos-Febres from Puerto Rico, Ena Lucía Portela from Cuba, and Ángela Hernández Núñez from the Dominican Republic, have been analyzed within a theoretical framework composed of Antonio Benítez Rojo and Édouard Glissant’s ideas about Caribbean cultural expression and Rosi Braidotti and Elizabeth Groz’s writings about the body in current feminist studies. In doing so this study has sought to demonstrate how contemporary Caribbean women writers employ a nomadic aesthetic that opens up a multitude of possibilities of meanings for bodies, and by extension subjects, that have traditionally been obscured by the Cartesian binary that separates the body from the mind. In spite of being culturally, sexually and racially specific bodies, the bodies that appear in the work of Santos-Febres, Portela and Hernández Núñez are in constant movement and metamorphoses. Therefore, special attention is paid to the ways in which these bodies are open to social completion making them favorable locations for negotiations of power, resistance to normative identities, and the production of new systems of knowledge that not only recognize the importance of the body but also acknowledge the value of the affects.
RESUMEN
Esta tesis trata la narrativa de tres escritoras del Caribe hispano-hablante que comenzaron a publicar a partir de los años noventa. Los cuentos y novelas de Mayra Santos-Febres de Puerto Rico, Ena Lucía Portela de Cuba, y Ángela Hernández Núñez de la República Dominicana, han sido analizados a través de un marco teórico compuesto de las ideas sobre la expresión cultural caribeña de Antonio Benítez Rojo y Édouard Glissant y los escritos sobre el cuerpo en los estudios feministas actuales de Rosi Braidotti y Elizabeth Grosz. Al hacerlo, este estudio se ha propuesto demostrar cómo las escritoras caribeñas contemporáneas emplean una estética nómade que abre las posibilidades de significado para los cuerpos y sujetos que han sido ocultados tras el binario cartesiano que separa el cuerpo de la mente. A pesar de ser cuerpos cultural, sexual y racialmente específicos, los cuerpos que aparecen en los textos de Santos-Febres, Portela y Hernández Núñez están en continuo movimiento y metamorfosis. Por lo tanto, se presta especial atención a los modos en los cuales estos cuerpos permanecen abiertos hacia la terminación social lo que los hace espacios propicios para las negociaciones de poder, la resistencia a las identidades normativas y la producción de nuevos sistemas epistemológicos que no solo reconocen la importancia del cuerpo sino que también el valor de los afectos.Dissertation/Thesis
Doctoral Dissertation Spanish 2015