As intermitências do Coração Selvagem: (sub)versões do feminino na prosa Clariciana

• Autor(a) principal: Oliveira, Rayssa Kelly Santos de
• Data de Publicação: 2020
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UFPB
• Texto Completo: https://repositorio.ufpb.br/jspui/handle/123456789/18408
• topic: Clarice Lispector; Feminino; Literatura; Crítica feminista; Feminine; Literature; Feminist critic; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS

Since the dawn of civilization, the question of social roles has been theorized in a complex and diversified way, in which falls upon discourses, sometimes nonconforming, origins from different sectors of society, which aply as institutions, universities, schools, among others. In regard to women, these devices generate, repeatedly, stigmas that are part of the utopia of fragility, cowardice and vulnerability. The performance in shattering and overturning this feminine built the dialogues that, perversely, authorized the masculine to fragment these subjects in their autonomy, signaling an inferior archetype. This distortion extends, therefore, to current times and, no less, to the arts. As this social panorama is literature written by Brazilian women that arises as a resistance to patriarchal designs and perpetuates a model of denunciation, which explores protagonisms that were once usurped. It is in this area that we deal with a writing by Clarice Lispector. The author's female universe permeates the depth of feelings and befalls the imposition of silencing, the voice is announced from the depths of souls to the outside of coexistence, reactivating a (non) belonging multiplicity. In her first novel, Near to the Wild Heart (1943), these nuances emerge shaping Joana's subjectivity. The novel deals with phases of the protagonist's life from the perspective of discovery and freedom, whose contours are still demarcated by the patriarchal family institution, and, consequently, by values that prioritize the religious context that, in turn, imputes to a woman to (re) know herself as a “good and dedicated wife”, including her wishes and interests. A narrative breaks with these precepts using the heroine as a representative of a transgressive trajectory. A crossing between being and becoming reveals a female to that challenges a discipline and dissipates a norm due to the copyright of its own instinct, transforming stability from impossibility into plural and feasible paths. To confirm with our analysis, we use the theoretical framework of Zolin (2009), Lins (2012), Beauvoir (1949/2009), Telles (2004), Louro (1997), Gotlib (2013) and Funck (2017), among others female to discuss the female subversion. In this way, we seek, within the Clarician novel, the faces of this on it's edge, which subverts and (de)constructs a whole instant.