A (des)construção do silenciamento da voz feminina na narrativa performática de Fazes-me falta

• Autor(a) principal: Ventura, Telma Regina
• Data de Publicação: 2018
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://tede2.pucsp.br/handle/handle/21174
• topic: Pedrosa, Inês [1962- ] - Fazes-me falta - Crítica e interpretação; Narrativa (Retórica); Realismo na literatura; Pedrosa, Inês [1962- ] - Fazes-me falta - Criticism and interpretation; Narration (Rhetoric); Realism in literature; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIA

The present research aims to investigate the deconstruction of the feminine voice silencing in the contemporary Portuguese writer Inês Pedrosa’s novel Fazes-me Falta (2002). For this purpose, it is intended to undertake an analysis of the modes in which the literary formal components are constituted in order to engender a structure distinguished as a performative narrative. In the pedrosina’s performative narrative in analysis, the convergence of the literary strategies – such as the genological hybridity, the inter-artistic dialogue, the moving writing construction – are composed simultaneously and in combination with the plot, in an inter-artistical dialogue with the Galician-Portuguese troubadour-like medieval lyric, particularly with Troubadour love songs and the Troubadour friendship ones. Considering that Art constantly constitute a political action and Inês Pedrosa, in her both journalistic activity and career as an writer, lodges an active politic attitude in the Portuguese Society, it is observed that the resumption, on Perdrosa’s literary work, of the twelfth century literary structure which excluded the women’s voice produces meanings that denotes the social situation of the contemporary Portuguese women: even achieving social and political rights, women have still been subjected to the voice silencing, as long as their social voices and claims have not been incorporated on political actions. Therefore, the investigation is outlined into three chapters. The first chapter, entitled “The Performative Realism and the writing configurations in the Comtemporary Portuguese Literature”, presents the theoretical background of Linda Hutcheon, Erik Schollhammer and Marcos Siscar, supporting the Post-modernism aesthetics in a dialogue with the new realisms in Literature, and associated with Miguel Real and Álvaro Gomes produces the characterization of the literary performative realism in Portugal. The chapter 2, “Performative narrative: contemporary quests”, embraces the concepts related to the performative narrative, as established by Graciela Ravetti, as well as defines an historical overview of performative arts, taking Renato Cohen’s studies as reference. At last, the third chapter, “The Aesthetic-critical tracing of the Portuguese feminine voice silencing in the performative narrative of Fazes-me Falta”, outlines the construction elements of the corpus examined, characterized as a performative narrative – Giles Deleuze, Lúcia Castelo Branco, Graciela Ravetti and Mário Perniolla assemble the theoretical basis, elucidating the pedrosina’s novel literary formal particularities. Segismundo Spina and Natália Correia devise the aspects of the (in)existence of both poetic and authorship feminine voices in the Galician-Portuguese troubadour-like medieval lyric