Ruptura histórica e abordagem criativa: uma cartografia de identidades nativas

Abstract

This dissertation intends to expand the unfolding of an identity cartography and remapping of the self through the self-writings of Indigenous women. Indigenous literatures deepen the questioning of hegemonic discourses, denouncing historical ruptures and reinscribing identities and redesigning cartographies of belonging. As a partial understanding of history is inevitable, the literature of Indigenous peoples can function as a strong mechanism for repositioning margins, questioning the limits of space and place and (re)constructing Indigenous identities and heritage. As a creative and mnemonic space, arts and literature allow Indigenous writers to (re)create new worlds where a (re)rooting of their Native identities is possible. Thus, the works of two Indigenous authors from different nations of Turtle Island, that is the North region of Abya Yala (continent known as America), stand out in the redesign of geographies of themselves: Bloodlines: Odyssey of a Native Daughter (1998[1993]), by Janet Campbell Hale, Coeur d'Alene/Schitsu'umsh, from the northern part of what is now Idaho, on Turtle Island (United States); and Heart Berries: A Memoir (2018), by Terese Marie Mailhot, Nlaka’pamux, from the Seabird Island Band, in Turtle Island (Canada). This dissertation unfolds the fillings of the historical rupture through the self-history written by Indigenous women of Abya Yala (American continent), building a dialogue between the authors and the researcher, in a theoretical and creative writing dialogue, proposing new research methodologies for the decolonization of bodies, minds and territories. This critical Indigenous qualitative research with a bibliographical approach and borderland methodology, composed as a lyrical essay, proposes to analyze the primary works proposed with a comparative approach and those of cultural, decolonial and critical Indigenous studies. Dealing with the historical, cultural, and transcultural contexts of both productions, with approaches from literary theory, anthropology, and sociology. The problematization is based on a theoretical framework that includes but is not restricted to Tuhiwai Smith (2012 [1999]), Graúna (2013), Justice (2018), among others