As intertextualidades pós-coloniais do estupro em Sorry, de Gail Jones

Detalhes bibliográficos
Autor(a) principal: Sousa, Rafael Santos de
Data de Publicação: 2020
Tipo de documento: Dissertação
Idioma: por
Título da fonte: Repositório Institucional da UFS
Texto Completo: https://ri.ufs.br/jspui/handle/riufs/15114
Resumo: This thesis aims to analyse colonial violence, represented in the novel Sorry (2007), by the Australian writer Gail Jones, through a postcolonial perspective, that is, under an analytical view that seeks to revisit and comprehend the historical intertexts of colonization based not on the hegemonic position, but on the ones relegated to the social and geographical margins. This work is particularly centered on rapes commited by Nicholas Keene against his wife, Stella, and mainly to the ones he commits against the Aboriginal girls, Martha and Mary. Alongside such actions, other forms of violence perpetrated on indigenous people in Australia are hereby construed as the colonial rape, to wit, a set of sistematic violences applied against the tradicional population of a country invaded by imperialist ventures. At first, the colonial power discursive structures and the way the author metaphorizes and blurs them are observed through the construction of the characters and the narrative point of view. With this intention, valuable ideas of the postcolonial criticism were granted, such as: representativity and double subalternity, proposed by Gayatri Spivak; and in-betweenness and Third Space, articulated by Homi Bhabha. Forthwith, it is presented a discussion over the rape as an instrument of sistemic domination which can be identified under variable forms, but engenders in itself an urge to anihilate the other’s subjectivity and, foremost, over the representations of this act in the textual fabric, as suggested by Pierre Bourdieu and Lia Machado. Lastly, it is offered an analysis of aesthetic aspects of the novel, mainly, the ones concerned to the parodic and ironic references in Jone’s novel, based on the studies of postmodern narrative and intertextuality, presented by Linda Hutcheon and Tiphaine Samoyault. The Australian literary work analysed here recovers excerpts by William Shakespeare and the debate concerned to the Sorry Day, oficial date on which the Australian population celebrates the acknowledgement and apologizing for the oppression suffered by Aboriginal people. Thence, it is here supported the assumption about the author’s reinforcement of her commitment with a postmodern aesthetics of colonial past re-reading through the representation of rape, silence and the oppression of feminine characters in her novel.
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spelling Sousa, Rafael Santos deGomes, Carlos Magno2022-03-11T19:16:38Z2022-03-11T19:16:38Z2020-02-03SOUSA, Rafael Santos de. As intertextualidades pós-coloniais do estupro em Sorry, de Gail Jones. 2020. 125 f. Dissertação (Mestrado em Letras) - Universidade Federal de Sergipe, São Cristóvão, 2021.https://ri.ufs.br/jspui/handle/riufs/15114This thesis aims to analyse colonial violence, represented in the novel Sorry (2007), by the Australian writer Gail Jones, through a postcolonial perspective, that is, under an analytical view that seeks to revisit and comprehend the historical intertexts of colonization based not on the hegemonic position, but on the ones relegated to the social and geographical margins. This work is particularly centered on rapes commited by Nicholas Keene against his wife, Stella, and mainly to the ones he commits against the Aboriginal girls, Martha and Mary. Alongside such actions, other forms of violence perpetrated on indigenous people in Australia are hereby construed as the colonial rape, to wit, a set of sistematic violences applied against the tradicional population of a country invaded by imperialist ventures. At first, the colonial power discursive structures and the way the author metaphorizes and blurs them are observed through the construction of the characters and the narrative point of view. With this intention, valuable ideas of the postcolonial criticism were granted, such as: representativity and double subalternity, proposed by Gayatri Spivak; and in-betweenness and Third Space, articulated by Homi Bhabha. Forthwith, it is presented a discussion over the rape as an instrument of sistemic domination which can be identified under variable forms, but engenders in itself an urge to anihilate the other’s subjectivity and, foremost, over the representations of this act in the textual fabric, as suggested by Pierre Bourdieu and Lia Machado. Lastly, it is offered an analysis of aesthetic aspects of the novel, mainly, the ones concerned to the parodic and ironic references in Jone’s novel, based on the studies of postmodern narrative and intertextuality, presented by Linda Hutcheon and Tiphaine Samoyault. The Australian literary work analysed here recovers excerpts by William Shakespeare and the debate concerned to the Sorry Day, oficial date on which the Australian population celebrates the acknowledgement and apologizing for the oppression suffered by Aboriginal people. Thence, it is here supported the assumption about the author’s reinforcement of her commitment with a postmodern aesthetics of colonial past re-reading through the representation of rape, silence and the oppression of feminine characters in her novel.Esta dissertação tem o objetivo de analisar a violência colonial, representada no romance Sorry (2007), da escritora australiana Gail Jones, sob uma perspectiva póscolonialista, ou seja, sob uma ótica analítica que busca revisitar e compreender os intertextos históricos da colonização a partir não do olhar hegemônico, mas daqueles que foram relegados às margens sociais e geográficas. Particularmente, vamos nos deter nos casos dos estupros cometidos pelo personagem Nicholas Keene contra sua esposa, Stella e, especialmente, contra as garotas aborígenes Martha e Mary. Estes atos, somados às outras tantas formas de violência perpetradas contra os indivíduos indígenas da Austrália são por nós interpretados como o estupro colonial, isto é, um conjunto de violências sistematicamente aplicadas contra as populações tradicionais de países invadidos por empreitadas imperialistas. Inicialmente, analisamos as estruturas discursivas de poder colonial e de que maneira a autora as metaforiza e rasura, através da construção de seus personagens e da estrutura do foco narrativo. Com esse intuito, nos debruçamos sobre ideias caras à crítica pós-colonial como: representatividade e dupla subalternidade, propostas por Gayatri Chakravorty Spivak; e entre-lugar e Terceiro Espaço, articulados por Homi Bhabha. Em seguida, nos dedicamos a uma discussão sobre o estupro como uma ferramenta de dominação masculina sistêmica que se apresenta sob formas variáveis, dando ênfase à aniquilação do/a outro/a, conforme nos orienta Pierre Bourdieu e Lia Machado. Por fim, apresentamos uma análise de aspectos estéticos do romance, nos atentando, principalmente, às referências paródicas e irônicas da narrativa de Jones, tomando como base os estudos da narrativa pós-moderna e da intertextualidade, articulados por Linda Hutcheon e Tiphaine Samoyault. A obra australiana em análise retoma trechos de William Shakespeare e o debate concernente ao Sorry Day, dia oficial em que a população australiana reconhece e pede perdão pela opressão sofrida pelos povos aborígenes. Portanto, defendemos a hipótese de que ao apresentar o estupro, o silenciamento e a opressão sofridos pelas personagens femininas dessa obra, a autora reforça seu compromisso com uma estética pós-moderna de releitura do passado colonial.São CristóvãoporLiteratura australianaGail JonesInterpretação e críticaViolência na literaturaCrime sexualPós-modernismo (Literatura)Pós-colonialismoViolência sexualNarrativa pós-modernaPostcolonialismSexual violenceAustralian literaturePostmodern narrativeLINGUISTICA, LETRAS E ARTES::LETRASAs intertextualidades pós-coloniais do estupro em Sorry, de Gail Jonesinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisPós-Graduação em LetrasUniversidade Federal de Sergipereponame:Repositório Institucional da UFSinstname:Universidade Federal de Sergipe (UFS)instacron:UFSinfo:eu-repo/semantics/openAccessLICENSElicense.txtlicense.txttext/plain; charset=utf-81475https://ri.ufs.br/jspui/bitstream/riufs/15114/1/license.txt098cbbf65c2c15e1fb2e49c5d306a44cMD51ORIGINALRAFAEL_SANTOS_SOUSA.pdfRAFAEL_SANTOS_SOUSA.pdfapplication/pdf1101692https://ri.ufs.br/jspui/bitstream/riufs/15114/2/RAFAEL_SANTOS_SOUSA.pdf115b8f129d95d9ee1435d67b90018399MD52TEXTRAFAEL_SANTOS_SOUSA.pdf.txtRAFAEL_SANTOS_SOUSA.pdf.txtExtracted texttext/plain348099https://ri.ufs.br/jspui/bitstream/riufs/15114/3/RAFAEL_SANTOS_SOUSA.pdf.txtf7a9ef0489066f6089cd734102240ac0MD53THUMBNAILRAFAEL_SANTOS_SOUSA.pdf.jpgRAFAEL_SANTOS_SOUSA.pdf.jpgGenerated Thumbnailimage/jpeg1299https://ri.ufs.br/jspui/bitstream/riufs/15114/4/RAFAEL_SANTOS_SOUSA.pdf.jpg67764059fd3489d13560c75e12c169baMD54riufs/151142022-03-11 16:16:38.497oai:ufs.br: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Repositório InstitucionalPUBhttps://ri.ufs.br/oai/requestrepositorio@academico.ufs.bropendoar:2022-03-11T19:16:38Repositório Institucional da UFS - Universidade Federal de Sergipe (UFS)false
dc.title.pt_BR.fl_str_mv As intertextualidades pós-coloniais do estupro em Sorry, de Gail Jones
title As intertextualidades pós-coloniais do estupro em Sorry, de Gail Jones
spellingShingle As intertextualidades pós-coloniais do estupro em Sorry, de Gail Jones
Sousa, Rafael Santos de
Literatura australiana
Gail Jones
Interpretação e crítica
Violência na literatura
Crime sexual
Pós-modernismo (Literatura)
Pós-colonialismo
Violência sexual
Narrativa pós-moderna
Postcolonialism
Sexual violence
Australian literature
Postmodern narrative
LINGUISTICA, LETRAS E ARTES::LETRAS
title_short As intertextualidades pós-coloniais do estupro em Sorry, de Gail Jones
title_full As intertextualidades pós-coloniais do estupro em Sorry, de Gail Jones
title_fullStr As intertextualidades pós-coloniais do estupro em Sorry, de Gail Jones
title_full_unstemmed As intertextualidades pós-coloniais do estupro em Sorry, de Gail Jones
title_sort As intertextualidades pós-coloniais do estupro em Sorry, de Gail Jones
author Sousa, Rafael Santos de
author_facet Sousa, Rafael Santos de
author_role author
dc.contributor.author.fl_str_mv Sousa, Rafael Santos de
dc.contributor.advisor1.fl_str_mv Gomes, Carlos Magno
contributor_str_mv Gomes, Carlos Magno
dc.subject.por.fl_str_mv Literatura australiana
Gail Jones
Interpretação e crítica
Violência na literatura
Crime sexual
Pós-modernismo (Literatura)
Pós-colonialismo
Violência sexual
Narrativa pós-moderna
topic Literatura australiana
Gail Jones
Interpretação e crítica
Violência na literatura
Crime sexual
Pós-modernismo (Literatura)
Pós-colonialismo
Violência sexual
Narrativa pós-moderna
Postcolonialism
Sexual violence
Australian literature
Postmodern narrative
LINGUISTICA, LETRAS E ARTES::LETRAS
dc.subject.eng.fl_str_mv Postcolonialism
Sexual violence
Australian literature
Postmodern narrative
dc.subject.cnpq.fl_str_mv LINGUISTICA, LETRAS E ARTES::LETRAS
description This thesis aims to analyse colonial violence, represented in the novel Sorry (2007), by the Australian writer Gail Jones, through a postcolonial perspective, that is, under an analytical view that seeks to revisit and comprehend the historical intertexts of colonization based not on the hegemonic position, but on the ones relegated to the social and geographical margins. This work is particularly centered on rapes commited by Nicholas Keene against his wife, Stella, and mainly to the ones he commits against the Aboriginal girls, Martha and Mary. Alongside such actions, other forms of violence perpetrated on indigenous people in Australia are hereby construed as the colonial rape, to wit, a set of sistematic violences applied against the tradicional population of a country invaded by imperialist ventures. At first, the colonial power discursive structures and the way the author metaphorizes and blurs them are observed through the construction of the characters and the narrative point of view. With this intention, valuable ideas of the postcolonial criticism were granted, such as: representativity and double subalternity, proposed by Gayatri Spivak; and in-betweenness and Third Space, articulated by Homi Bhabha. Forthwith, it is presented a discussion over the rape as an instrument of sistemic domination which can be identified under variable forms, but engenders in itself an urge to anihilate the other’s subjectivity and, foremost, over the representations of this act in the textual fabric, as suggested by Pierre Bourdieu and Lia Machado. Lastly, it is offered an analysis of aesthetic aspects of the novel, mainly, the ones concerned to the parodic and ironic references in Jone’s novel, based on the studies of postmodern narrative and intertextuality, presented by Linda Hutcheon and Tiphaine Samoyault. The Australian literary work analysed here recovers excerpts by William Shakespeare and the debate concerned to the Sorry Day, oficial date on which the Australian population celebrates the acknowledgement and apologizing for the oppression suffered by Aboriginal people. Thence, it is here supported the assumption about the author’s reinforcement of her commitment with a postmodern aesthetics of colonial past re-reading through the representation of rape, silence and the oppression of feminine characters in her novel.
publishDate 2020
dc.date.issued.fl_str_mv 2020-02-03
dc.date.accessioned.fl_str_mv 2022-03-11T19:16:38Z
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dc.identifier.uri.fl_str_mv https://ri.ufs.br/jspui/handle/riufs/15114
identifier_str_mv SOUSA, Rafael Santos de. As intertextualidades pós-coloniais do estupro em Sorry, de Gail Jones. 2020. 125 f. Dissertação (Mestrado em Letras) - Universidade Federal de Sergipe, São Cristóvão, 2021.
url https://ri.ufs.br/jspui/handle/riufs/15114
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