Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-09-26T15:57:51Z No. of bitstreams: 2 Dissertação - Camila Aparecida Virgílio Batista - 2017.pdf: 3369560 bytes, checksum: e1c6ab4432a9c56d4250a7ec21bd6e0c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Rejected by Luciana Ferreira (lucgeral@gmail.com), reason: Reveja as palavras chaves, há uma que todas iniciais estão em maiúsculas. Também, olhe o local na citação. on 2017-09-27T11:24:18Z (GMT) / Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-09-27T19:15:54Z No. of bitstreams: 2 Dissertação - Camila Aparecida Virgílio Batista - 2017.pdf: 3369560 bytes, checksum: e1c6ab4432a9c56d4250a7ec21bd6e0c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-10-02T14:17:39Z (GMT) No. of bitstreams: 2 Dissertação - Camila Aparecida Virgílio Batista - 2017.pdf: 3369560 bytes, checksum: e1c6ab4432a9c56d4250a7ec21bd6e0c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-10-02T14:17:39Z (GMT). No. of bitstreams: 2 Dissertação - Camila Aparecida Virgílio Batista - 2017.pdf: 3369560 bytes, checksum: e1c6ab4432a9c56d4250a7ec21bd6e0c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This objective work analyzes the construction of the grotesque under the female characters by the bias of the fantastic in the short stories “The Tiger's Bride”, “The Snow Child” and “The Werewolf” from the book The Bloody Chamber (1979) and the short stories “As flores”, “As sereias” and “A gaivota”, by A Friagem (1999) by the writer Augusta Faro. The grotesque revealed itself as an agent for the female characters to enter into a metamorphic process not only on a physical level, but also in the re-signification of language itself, becoming the means for them to question and transgress repressive marks and rules that have long been institutionalized. To reinforce in the analysis we pointed out some aspects: Metamorphosis / The Wild Side, Body Transgressor / Sexuality and Language. We observe how these elements characterized in the grotesque character of the personages and jointly in the communication between the narratives of Angela Carter and Augusta Faro. In order to look at this woman and grotesque relationship, and consecutively at the points of contact that approach the narratives of both writers, the nature of this study is adequate for the theoretical, descriptive, analytical and comparative revision. / Este trabalho objetiva analisar a construção do grotesco sob as personagens femininas pelo viés do fantástico nos contos “A Noiva do Tigre”, “A Garota da Neve” e “ O lobisomem” da escritora Angela Carter que estão no livro O quarto do Barba Azul (1979) e os contos “As Flores”, “As Sereias” e a “A Gaivota”, de A Friagem (1999) da escritora Augusta Faro. O grotesco revelou-se como um agente para que as personagens femininas adentrassem em um processo metamórfico não só a nível físico, mas também na ressignificação da própria linguagem, tornando-se o meio para elas questionarem e transgredirem marcas de repressão e regras que ficaram institucionalizadas há muito tempo. Para reforçar na análise apontamos alguns aspectos: Metamorfose/O Lado Selvagem, Corpo Transgressor/Sexualidade e a Linguagem. Observamos como esses elementos caracterizaram no caráter grotesco das personagens e conjuntamente na comunicação entre as narrativas de Angela Carter e Augusta Faro. Para se atentar nesta relação mulher e grotesco, e consecutivamente nos pontos de contato que aproximam as narrativas de ambas escritoras, a natureza desse estudo se adequa pela revisão teórica, descritiva, analítica e comparativa.

<p>This study concerns the complete oeuvre by the British author Helen Zahavi: Dirty Weekend (1991), True Romance (1994), and Donna and the Fatman (1998). Her novels are here read as a trilogy dealing with the dialectics of gender and violence in 20th century discourse, drawing on theories of how the construction of subjects is produced by power, of the relation between power and sexuality.</p><p>The heroines of Zahavi’s novels try their best to move about in a world where their freedom of movement is limited to their female identity. In Dirty Weekend the protagonist tries to shoot her way out, claiming revenge on every man that is forcing himself upon her. She gains some freedom of movement by refusing subordination, but does not really change the order of power. The protagonist in True Romance instead finds salvation in love of the master. She learns to love the man who keeps her as a sex slave in his apartment, and when confronted with the choice between the freedom by violent action and submission by passive acceptance, she chooses the latter. The protagonist in Donna and the Fatman manage to refuse both superiority and submission. She has a debt to settle with the gangster boss Henry, but in the end blows both herself and her opponent to pieces. I argue that by doing this, Donna breaks out of the order of language. </p><p>The order of power presented in Zahavi’s novels is a tyranneous dichotomy which cathegorize individuals as either victims or perpertrators. This construction is seemingly a natural order which we have to accept, but the actions of Zahavi’s last protagonist eventually proves it to be nothing but a mask, a lie. This lie is, in the words of one of Zahavi’s characters, a tenacious lie, and the only way to break out of the construction of power is to break out of the construction of the order of power. Thus the blowing up of both victim and perpertrator may enable a new world to be born.</p>

This study concerns the complete oeuvre by the British author Helen Zahavi: Dirty Weekend (1991), True Romance (1994), and Donna and the Fatman (1998). Her novels are here read as a trilogy dealing with the dialectics of gender and violence in 20th century discourse, drawing on theories of how the construction of subjects is produced by power, of the relation between power and sexuality. The heroines of Zahavi’s novels try their best to move about in a world where their freedom of movement is limited to their female identity. In Dirty Weekend the protagonist tries to shoot her way out, claiming revenge on every man that is forcing himself upon her. She gains some freedom of movement by refusing subordination, but does not really change the order of power. The protagonist in True Romance instead finds salvation in love of the master. She learns to love the man who keeps her as a sex slave in his apartment, and when confronted with the choice between the freedom by violent action and submission by passive acceptance, she chooses the latter. The protagonist in Donna and the Fatman manage to refuse both superiority and submission. She has a debt to settle with the gangster boss Henry, but in the end blows both herself and her opponent to pieces. I argue that by doing this, Donna breaks out of the order of language. The order of power presented in Zahavi’s novels is a tyranneous dichotomy which cathegorize individuals as either victims or perpertrators. This construction is seemingly a natural order which we have to accept, but the actions of Zahavi’s last protagonist eventually proves it to be nothing but a mask, a lie. This lie is, in the words of one of Zahavi’s characters, a tenacious lie, and the only way to break out of the construction of power is to break out of the construction of the order of power. Thus the blowing up of both victim and perpertrator may enable a new world to be born.

A repeated theme in the fiction of Angela Carter and Jeanette Winterson is the use of domestic space as a tool for defining socially acceptable versions of female sexuality. Four novels that crystallize this theme are the focus of this dissertation: Winterson??s Oranges Are Not the Only Fruit (1985) and Art and Lies (1994) and Carter??s The Magic Toyshop (1967) and Nights at the Circus (1984). Each chapter examines both authors?? treatments of a specific room in the house. Chapter II, "Parlor Games: Spatial Literacy in Formal Rooms," discusses how rooms used for formal occasions project a desirable public image of a family. More insidiously, however, the rooms protect the sexual order of the household, which often privileges male sexuality. Using the term spatial literacy to describe how characters interpret rooms, the chapter argues that characters with a high spatial literacy can detect not only the overt messages of these formal rooms, but also what underlies those messages. Chapter III, "Making Meals, Breaking Deals: Mothers, Daughters, and Kitchens," discusses the kitchen as the site of the production of domestic comfort. An analysis of who has primary responsibility for the production of comfort and whose comfort is privileged often reveals the power hierarchy of a given household. The chapter also examines the kitchen as a volatile space that can erupt with violence and the expression of repressed emotions and repressed sexuality. Finally, the kitchen is analyzed as a space of intimacy between mothers and daughters. Chapter IV, "Bedtime Stories: Assaulting Sexuality in the Bedroom," argues that the privacy of the adolescent bedroom is often disrupted by the surveillance of family members trying to control the sexual identity of the room??s occupant. The chapter also examines how social prescriptions encourage women to tolerate the interruption of their privacy. Each of the protagonists from these four novels has opportunities to learn about subverting the discursive constructions of domestic space, and several characters enact that subversion. This ability for subversion suggests the possibility for agency, a possibility that postmodernist thought often rejects, but one that Carter and Winterson allow.

The creative work, Black-Winged Angels, is a collection of nine re-written fairytales. The collection is divided into three sections: Maiden, Mother, Crone and the three stories in each section explore various aspects of these traditional periods in a woman's life. The tales are re-written, or 're-loaded', to offer alternative views of the tales of childhood, to examine other forces that may be at work inside the stories themselves, and the possible consequences of 'living' those tales differently. The exegesis examines the colonisation and reclamation of a range of fairy tales. It traces the historical shift from oral to literary fairy tale traditions, and the ensuing patriarchal rewriting of those fairytales. The exegesis then considers the writing of Angela Carter and Emma Donoghue (specifically The Bloody Chamber and Kissing the Witch, respectively), in terms of how their work in the fairytale genre has both succeeded in, and failed to, avoid a simple inversion of gender with their revisions of the colonised literary fairytales. The exegetical work has grown, in large part, out of the process of critical reflexivity to which I have subjected my creative work. I chose Angela Carter's and Emma Donoghue's works of revisionist fairytales to act as 'bookends' for my own work; Carter as a starting point for fairytale reclamation and Donoghue as a more recent incarnation of the fairytale revisionist. In reflecting on my own work, I often looked back at what these two authors had done, to guide me in the eternal writers' struggle of what to leave in, what to leave out, and where to take the tale.

Orientador: Cleide Antonia Rapucci / Banca: Altamir Botoso / Banca: Ana Maria Domingues de Oliveira / Resumo: A presente dissertação pretende realizar uma análise da representação feminina no romance da escritora inglesa Angela Carter intitulado The Magic Toyshop (1967), observando sua relação com os elementos presentes na obra. Tendo em vista a importância desta representação nas obras carterianas, este trabalho pretende elucidar como se realiza a construção das personagens femininas e da ambientação (uma vez que esta também vai contribuir para a representação dessas personagens) da obra referida. As informações colhidas têm o intuito de esclarecer aspectos como, por exemplo, o estilo da autora, frequentemente associado à literatura fantástica e ao pósmodernismo, dialoga com a ideologia presente na obra, a saber, a crítica ao modelo patriarcal de sociedade, o qual muitas vezes impunha estereótipos e certos papéis sociais às mulheres. Assim, ao mesmo tempo em que sua obra se aproxima do caráter fantástico, Angela Carter não dissocia sua escrita do tecido social, criando, assim, um estilo de escrita único. Verifica-se, dessa forma, que assim como suas personagens, a autora, através da subversão, busca seu próprio espaço na Literatura / Abstract: This dissertation intends to conduct an analysis of the female representation in Angela Carter's novel The Magic Toyshop (1967), observing its relation with the elements present in the book. Considering the importance of this representation in the writer's works, this dissertation aims to elucidate how the construction of female characters and the setting (since it will also contribute to the representation of these characters) of the referred narrative is done. The information obtained have the intention of clarifying certain aspects, such as the the dialogue between the author's style, frequently associated with fantasy literature and post-modernism, and the ideology present in the novel: the critique of the patriarchal model of society, which often imposed stereotypes and social roles for women. Thus, at the same time that her work approaches the fantastic features, Angela Carter doesn't dissociate her writing of the social context, creating an unique style of writing. One notices that, like her characters, the author seeks, through subversion, her own space in Literature / Mestre

Orientador: Cleide Antonia Rapucci / Banca: Antonio Roberto Esteves / Banca: Carla Alexandra Ferreira / Resumo: O presente trabalho apresenta uma análise do romance Noites no circo (1984), da autora inglesa Angela Carter, abordando principalmente a personagem central, Fevvers. No primeiro capítulo tratamos brevemente da vida e obra da autora, e também da fortuna crítica produzida sobre o romance. Ainda neste primeiro capítulo, procuramos analisar algumas das nomenclaturas ligadas à produção carteriana, como realismo mágico, pósmodernismo e feminismo, tendo como referência alguns estudos já realizados. No segundo capítulo, utilizamos teorias acerca da simbologia. O interesse é analisar alguns dos símbolos que aparecem no romance e são relevantes na leitura, pois deixam subentendidos alguns dos sentidos que a autora deseja transmitir. No terceiro capítulo, o interesse é demonstrar que nesta extensa narrativa de Angela Carter, as representações estão presentes e produzem o clima de espetáculo, fazendo do romance um verdadeiro circo / Abstract: The present work presents an analysis of the novel Nights at the circus (1984), by the English writer Angela Carter, above all approaching the main character, Fevvers. In the first chapter we briefly deal with the writer's life and work, and also with the critical works produced about the novel. Still in this chapter, we try to analyze some of the terminology related to Carter's production, such as magic realism, post-modernism and feminism, taking as reference studies already done. In the second chapter, we use theories about symbology. The interest is to analyze some of the symbols which appear in the novel and are important during the reading because they let implicit some of the meanings that the author wants to transmit. In the third chapter the interest is to demonstrate that in this long Carterian narrative the representations are present and produce the spectacle mood, turning the novel into a real circus / Mestre

When attempting to convey certain political or ideological agendas in literary texts maintaining specific writing strategies can work as a useful tool. From a feminist perspective the use of écriture feminine as a means of undermining patriarchy has been largely neglected as well as misunderstood by many feminists. However, as argued in this essay, écriture feminine is not only a useful tool for pursuing a feminist agenda, but is also something that needs to be discussed due to the many misunderstandings of it. Resting on the theoretical perspectives of Judith Butler, Hélène Cixous, Antonio Gramsci, Eve Kosofsky Sedgwick and Richard Slotkin this essay investigates Angela Carter’s short story “The Lady of the House of Love” in relation to écriture feminine by exploring how the text rejects patriarchy and its idea of the gender binary. In this short story Carter re-works the classic Sleeping Beauty fairy tale and provides us with a feminist’s version of it. The main thesis of this essay is therefore that Carter challenges the gender binary by de-victimizing “woman” and by engaging in a style of writing that overturns western culture’s definitions of “woman” Carter provides a version of Sleeping Beauty that radically differs from the hegemonic/patriarchal versions.

This thesis focuses on the comparison of two short stories by Angela Carter with the fairy tale on which they are based. It attempts to discern to what extent the author preserved the structure of the fairy tale, as viewed from a linguistic point of view, in her short stories. The thesis also suggests an interpretation of the motivation and effect of the divergences of the structure of the short stories from that of the fairy tale. The three texts are analysed from three points of view: thematic progressions, discourse subjects and cohesive chains, and cohesive ties. Attention is payed first to the description of the individual texts, and then to the comparison of the three texts. The comparison puts emphasis on the distinction between the shorts stories on one hand and the fairy tale on the other hand. The comparison shows that the structure of the fairy tale is to a large extent retained in the short stories, as they share characteristics on all the three levels of analysis. The short stories were found to differ from the fairy tale in two main respects, connected to each other, which influence the differences in their structure: the age of the intended reader, and the context and setting of the story.

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