Abstract:
O presente ensaio analisa a duplicidade do sujeito indígena nos romances Maíra (1976), de Darcy Ribeiro, e Kiss of the Fur Queen (1998), de Tomson Highway. Apesar de oriundos de perspectivas e espaços geográficos diversos, os romances
apresentam o contato com a cultura branca no contexto das missões religiosas. Tal
experiência resulta na configuração de um eu duplo dividido entre a cultura indígena e a
branca, representado pelos nomes das personagens: Avá/Isaías em Maíra,
Champion/Jeremiah e Dancer/Gabriel em Kiss of the Fur Queen. Os conceitos de
tradução cultural e hibridismo, de Homi K. Bhabha, e de adaptação cultural, de Gundula
Wilke e Lynn Mario T. M. de Souza, iluminam a análise dos romances.
This work analyzes the doubleness of the indigenous subject in Maíra (1976), by Darcy Ribeiro, and Kiss of the Fur Queen (1998), by Tomson Highway. Although the novels emerge from diverse geographical spaces and perspectives, both acknowledge the indigenous contact with white culture in the context of Catholic missions. Such an experience produces a double self, which is divided between indigenous and white cultures and is represented in the novels by the characters’ names: Avá/Isaías in Maíra, Champion/Jeremiah and Dancer/Gabriel in Kiss of the Fur Queen. Homi K. Bhabha’s concepts of cultural translation and hybridity, and the concepts of cultural adaptation developed by Gundula Wilke and Lynn Mario T. M. de Souza are the background for the critical analysis.
