Mon mémoire de recherche porte sur les représentations sur scène des différents types de folie féminine se retrouvant dans les pièces Hamlet de William Shakespeare et The Changeling de Thomas Middleton et William Rowley. Ceci est principalement réalisé par la rencontre de notions comme le genre, le corps féminin et les espaces domestiques. Dans mon analyse, je me base sur les conceptions de la folie qui prévalaient durant la Renaissance, en tandem avec les connaissances actuelles sur les traumatismes et les troubles mentaux. J’ai considéré dans ce mémoire la folie des personnages, simulée ou réelle, comme des formes d’(in)capacité mentale. Ce mémoire offre donc un point de vue nouveau sur la perception de la détresse féminine au début de l’époque moderne. Divisé en deux chapitres, le premier traite des causes engendrant le passage de la psyché d’Ophélie d’un état de lucidité à un état de folie, en mettant l’accent sur l’effet de sa jeunesse sur sa santé mentale. Le second chapitre s’intéresse aux états mentaux d’Isabella et de Beatrice-Joanna, respectivement, à travers l’intégration de concepts comme les troubles mentaux forgés, le ravissement et les traumatismes. Il est à mentionner à propos de cette démarche que ces personnages brouillent les distinctions entre la lucidité et la folie. / My thesis examines the on-stage manifestations of the different types of female madness presented in William Shakespeare's Hamlet and Thomas Middleton and William Rowley’s The Changeling. This is mainly accomplished through the exploration of the interwoven relations between notions such as gender, the female body, and domestic spaces. In my analysis, I primarily draw on the Renaissance understanding of madness in tandem with modern trauma and disability theories. I read the madness of these characters, feigned and real, as forms of mental (dis)ability. This thesis thus offers novel insights on the perception of early modern female distraction. Divided into two chapters, the first deals with the causes engendering the metamorphosis of Ophelia’s psyche from a state of sanity into a state of madness, placing emphasis on the effect of her youth on her mental transition. The second explores Isabella and Beatrice-Joanna’s mental dispositions, respectively, through the incorporation of concepts such as dissembled disability, ravishment, and trauma. In this endeavor it is noteworthy that these characters blur the lines between sanity and madness.

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Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-10-10T16:27:35Z No. of bitstreams: 1 JOSEFA JOSIANA BEZERRA BRITO - DISSERTAÇÃO PPGH 2014..pdf: 1279324 bytes, checksum: 940afd7f4540c37d3bc965f8d3af787b (MD5) / Made available in DSpace on 2018-10-10T16:27:35Z (GMT). No. of bitstreams: 1 JOSEFA JOSIANA BEZERRA BRITO - DISSERTAÇÃO PPGH 2014..pdf: 1279324 bytes, checksum: 940afd7f4540c37d3bc965f8d3af787b (MD5) Previous issue date: 2014 / Este texto dissertativo tem como objetivo principal analisar os processos-crime de defloramento e sedução durante os anos de 1933 a 1954 analisando os discursos da justiça e da medicina como produtores de um modelo de norma a partir do corpo feminino. Ele também teve por foco avaliar como foi produzida uma ordem social disciplinar a partir dos discursos médicos sobre o corpo feminino no final do século XIX e seus efeitos no início do século XX; discutir o discurso jurídico sobre a honra e as relações de gênero nos discursos presentes nos processos-crime, problematizando as identidades femininas; registrar o embate entre o discurso jurídico e discurso cultural na construção da identidade cultural da mulher durante os processos crimes e analisar os discursos nos processos-crime sobre o corpo feminino, refletindo um modelo de normatização social. Para a construção desta dissertação foi utilizada como metodologia a perspectiva de análise do discurso sobre as narrativas presentes nos processos-crime. Para tanto, foram catalogados quatro processos nos quais foram selecionados por se apresentarem significativos para os questionamentos levantados e requererem, dessa forma, maior atenção. Nesse cenário, por meio dos relatos distintos de réus, vítimas, testemunhas e da justiça, elaboramos inferências que compõem o diálogo com as fontes bibliográficas. A análise trouxe importantes vestígios sobre a normatização social na vida das mulheres no período pesquisado e sobre as restrições a que estavam submetidas, evidenciando, nesses processos crime, que muitas não estavam dispostas a se submeter aos discursos moralizantes e disciplinadores. A dissertação está constituída de quatro capítulos nos quais está presente uma discussão com vários conceitos, dentre eles, o de gênero, corpo, sexualidade, norma e identidade. / This academic text aims to analyze the deflowering of criminal legal processes and seduction during the years 1933 to 1954 analyzing the discourses of justice and medicine as producers of a standard model from the female body. It also was to focus evaluate how a disciplinary social order was produced from the medical discourses on the female body in the late nineteenth century and its effects in the early twentieth century; discuss the legal discourse about honor and gender relations in the discourses present in criminal cases, questioning the female identities; register the clash between the legal discourse and cultural discourse in the construction of the cultural identity of the woman during the criminal legal processes, and analyze the discourses in criminal processes on the female body, reflecting a model of social regulation. For the construction of this dissertation it was used as methodology the discourse analysis perspective on these narratives in criminal processes. Thus, we cataloged four cases that were selected because they were considered meaningful to the questions raised and, for this reason, required more attention. In this scenario, through the different reports of defendants, victims, witnesses and justice, we made inferences that integrated the dialogue with the literature sources. The analysis provided important traces about the social norms on women's lives in the period surveyed and on the restrictions that they were submitted, showing, in these criminal cases, that many of them were not willing to submit to moralizing and disciplinary discourses. This dissertation is composed of four chapters in which it is present a discussion with several concepts, including gender, body, sexuality, identity and standard.

This essay explores and examines disgust in five literary figures and books based on scent, bodyfluids and abjection. Together with Julia Kristeva's Powers of Horror: An Essay on Abjection and Sara Ahmed's "The Performativity of Disgust" in The Cultural Politics of Emotion, I analyze these books, and my position as a researchsubject. The questions I ask are: What does disgust mean? How do the subject's boundaries shift when things penetrate the body? How are scents, body fluids and disgust expressed in relation to power and the female body? And what does it mean that I stick my reading experiences on the texts I read?   The analysis begins in Mare Kandre's novel Aliide, Aliide and how gaze, power and girlhood are made, as well as how abjection takes place in the intake of milk and larvae. Body in body and body against body are analyzed based on Aliide's disgust in the novel. I discuss how something growing inside is experienced as disgusting and frightening and connect it to the pregnant body and the fetus as abjection. In the second chapter of the analyze, it is Parfymen: berättelsen om en mördare by Patrick Süskind that focuses on the scent of the female body that Grenouille, the main character tries to extract and master. The gaze on the female body and the extraction of fragrance is in focus here and in Nekrofilen by Gabrielle Wittkop, Lucien's desire for the dead body is examined. The body fluids, such as the vomit that the bodies excrete can be read as limits to life and death. In the third and final analysis section, I read these books with affect. I reconnect to my introduction where Ulf Lundell's poems made me feel disgusted. I use Ahmed's concept of performativity to discuss how cannibalism - reading - eating body fluids are connected, and how writing about disgust, is a form om vomiting. I examine my own writing subject and what an affective reading does to literary studies and the research position. In conclusion, I discuss how the universal and the subjective making of disgust effect research.