A VISIBILIDADE DA MULHER SUBALTERNA. ANAHY DE LAS MISIONES: A MONARCA DAS COXILHAS

• Autor(a) principal: Hauer, Roseneia do Rocio Prestes
• Data de Publicação: 2016
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UEPG
• Texto Completo: http://tede2.uepg.br/jspui/handle/prefix/415
• topic: mulher; subalternidade; cinema; gênero e identidade; woman; subalternity; cinema; gender; identity; CNPQ::LINGUISTICA, LETRAS E ARTES::LINGUISTICA

In the classic eighteenth-century narratives, which ones represent Farrapos’ War, the protagonism stands for phallocentric discourse. In a very sensitive and deeply way, the movie Anahy de las misiones (1997), unlike the classics, addresses the marginalized and subaltern woman issues, giving her the center and the voice of narrative. The director Sérgio Silva, director/actor, launches another look about Farroupilha Revollution and in this essay we intend to discuss what were these strategies which modified the discourse and brought as featured, in the work, the marginalized woman, subaltern, understanding the objectives of authorial and resumption films. It also intends to set up the effects this war brought for those women and the consequences for them and also for their people. Because for Weinhardt (2004), it is impossible to pass ten years of war only with great deeds. This essay justifies itself towards the fact that subaltern woman needs a higher power intervention to speak and to be heard. It also justifies itself because of the necessity of discussing about Gender issues, which is already constitute as a social emergency; and also for the help in comprehension of our diverse and intricate Brazilian society. To follow with the objectives we extract dialogues and scenes of Anahy and articulate it with historians, sociologists and philosophers studies, besides the Gender Theory – Butler, Scott, Lamas – literary and cinematographic. Furthermore, we will approach Derridean questions about deconstruction, for, “neglecting this inversion phase means forgetting the conflictual and subordinating structure of opposition.” (DERRIDA, 2001, p.48). The movie, released in 1997, it is part of the Resumption’s cinema decade, in which the greatest objective is to leverage national identity’s questions and its complex formation.