Escrita de si e voz narrativa em Hospício é Deus e O sofredor do ver, de Maura Lopes Cançado

• Autor(a) principal: Parente, Renata Escarião
• Data de Publicação: 2021
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UFPB
• Texto Completo: https://repositorio.ufpb.br/jspui/handle/123456789/21128
• topic: Maura Lopes Cançado; Escrita de si; Escrita de mulheres; Voz narrativa; Literatura de urgência; Self-writing; Women writing; Narrative voice; Urgent literature; Escritura sobre sí misma; Escritura de mujeres; Literatura urgente; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS

The present research investigates the ways through which Maura Lopes Cançado, a Brazilian writer from Minas Gerais, constructs representantions of herself in fictional and non-fictional narratives she brings up in her diary, Hospício é Deus – Diário I (1965), and in some of her short stories, published in the book O sofredor do ver (1968). We focus mainly in the narrator/author/character voices as a way to discuss self-writing, women writing and the relation established between writings of the self and the literature of urgency, generally produced in extreme situations. Thus, our theoretical support comes from Foucault (1992), Arfuch (2010), Maciel (2009), Woodward (2000), Schmidt (2014), Klinger (2006) and Hidalgo (2008). In order to analyze the way the narrative voice is constructed in the Diary and in “Espiral ascendente”; “No quadrado de Joana”; “Introdução a Alda” e “Pavana”, our selected short stories, we make use of theoretical ideas by Lejeune (2008), Reis and Lopes (1988), Sarlo (2007), Wadi (2011), Engel (2006) and Porter (1990), pointing out some central themes in Cançado’s writing such as gender, memory, diagnosis and everyday life, identifiable in her Diary and in her fictional production as well. In order to approach her writing, we present a biographic profile of the author, exposing her trajectory in order to better locate the focus author. We infer that the feeling of rejection and inadequacy in Cançado, present in several passages of her narratives, might be attached to her possible schizophrenia but as well to her position as a very dissonant woman in terms of female role at those days. We also defend that her writing is a tool for survival and denouncement, not only for herself, but for women she came into contact with in those mental institutions, which became material for her narratives along her life.