Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-07-05Bitstream added on 2014-06-13T20:35:07Z : No. of bitstreams: 1 azevedo_cc_me_assis.pdf: 1000048 bytes, checksum: e139ece903eccd25566cd36fa1a96e7d (MD5) / Constitui objetivo principal deste trabalho a observação da presença feminina nos romances The Driver.s Seat e Symposium, da escritora escocesa Muriel Spark, como fator que possibilite traduzir a realidade das mulheres que buscam autonomia e que, conseqüentemente, ofereça uma relação entre esta atitude e as reações sociais que causam. Com base nos estudos que tratam de questões identitárias (dentro dos estudos de gênero, especificamente, a crítica feminista) será averiguada a recorrência de alguns temas. Dentre eles, destacam-se a morte, a loucura e o aparente controle da situação que, de alguma forma, revelam problemas, conflitos e aflições das personagens estudadas. No primeiro capítulo, situamos a autora com relação ao movimento das mulheres, com o objetivo de, ao contextualizá-la, ter uma melhor compreensão de sua obra. Assim, observam-se as características mais evidentes de seu trabalho com relação às práticas das mulheres em um plano global. Dentre as questões que marcam os estudos da escrita das mulheres, no segundo capítulo serão abordadas algumas linhas críticas que por ela se interessam e a diferenciam da escrita dos homens. A proposta da crítica centrada na mulher (ginocrítica) trata da diferença a partir da ênfase no corpo, na linguagem, na psique e na cultura das mulheres. À luz destas críticas, será realizada uma análise preliminar dos romances sparkianos. No terceiro capítulo, as questões de gênero passam a ser discutidas como fator de análise que prevêem diferenças internas ao grupo das mulheres, bem como semelhanças com trabalhos masculinos. Este aspecto do gênero ocasiona uma leitura não mais binária e hierarquizada de textos, mas que permita às diferenças tornarem-se fator de liberdade e autonomia. Finalmente, a contribuição da autora para a literatura e sua relação com o movimento das mulheres constitui objeto de breves comentários. / The main aim of this work is to observe the female presence in Muriel Spark.s novels The Driver.s Seat and Symposium as a factor that can translate the reality of women who look for autonomy and that also offers, as a result, a relation between this attitude and the social reactions they cause. Based on studies that deal with identity matters (within gender studies, specifically, the feminist criticism) the recurring use of certain themes will be verified. Among them we can point out death, madness and an apparent control on the situation which in some way reveal problems, conflicts and afflictions of the observed characters. In the first chapter, the author is placed within the women.s movement as a way to have a better comprehension of her work by putting her in a specific context. Then, her work.s most evident characteristics are observed in relation to women.s practices as a whole. Among those questions that mark women.s writing studies, in the second chapter will be mentioned some critical trends interested in those writings and which differentiate them from men.s writing. The proposal of the criticism centered in the woman (gynocritics) deals with the difference emphasizing the women.s body, language, psyche and culture. Based on these critics it will be made a preliminary analysis of Spark.s novels. In the third chapter, gender matters begin to be discussed as an analytic factor which foresees internal differences in women.s group as well as similarities to men.s works. This gender aspect causes a reading no longer binary and based on hierarchies, but one that allows the differences to become a factor of freedom and autonomy. Finally, the author.s contribution to Literature and her relation to the women.s movement will be subject to brief comments.

Les figures féminines dans l’oeuvre fictionnelle de Jean-Paul Sartre nous semblent se situer au croisement de toutes les ambivalences sartriennes, et pouvoir éclairer ses prises de position dans le contexte socio-historique. Ses figures féminines lui permettent fréquemment de condamner l’inauthenticité des marginaux, en illustrant les formes de l’aliénation ‘féminine’, dont les constituants représentatifs sont 'se séquestrer', 'se faire l’objet du regard', et 'jouer la comédie maniérée'. Mais ce mode d’exister de la ‘féminité’ est mobilisé moins pour la différence sexuelle que pour la hiérarchie sociale. En dépit de la transgression provocatrice de la limite entre les deux sexes, l’idée liée à la féminité et à la masculinité demeure intacte : il s’agirait d’une stratégie, d'une collusion avec ses lecteurs. Néanmoins, sur un plan symbolique, des expressions métaphoriques liées au ‘visqueux’ unissent le féminin à la nature proliférante, rejoignant ainsi le dualisme traditionnel. Face à ce ‘féminin’ qui offre l’occasion de se confronter à l’altérité, l’horreur et la fascination sont toujours liées : la tentation de fuir l'altérité cache d’autre part le rêve d’une symbiose avec elle. Cette symbiose prend la forme de la ‘fraternité incestueuse’ ; face à son échec, naît une intense exigence portée aux femmes, comme celle à l’égard de la mère ; enfin, l’auteur en vient à édifier la femme en tant que 'ni l’un ni l’autre'. Face à l’Autre-femme, l’homme sartrien fuit, mais se refuse à l'exclure tout à fait de son chemin : ce glissement incessant caractérise la représentation des figures féminines sartriennes. / The female figures in Jean-Paul Sartre’s fictional work can be seen as standing at a crossroads where all the forms of ambivalence in his work intersect, and thus illuminate his viewpoints in the context of social history. Sartre often uses his female figures to condemn the inauthenticity of marginal persons by showing the forms of ‘feminine’ alienation, represented by such expressions as ‘be sequestered,’ ‘become the object of the gaze’ and ‘play affected comedy.’ However, this mode of existence of femininity is summoned for social hierarchy rather than sexual difference. In spite of the provocative transgression of the border between the two sexes, the idea related to femininity and masculinity remains intact: it seems to be a strategy in collusion with his readers. Nevertheless, at a symbolic level, the metaphorical expressions related to ‘viscosity’ link the feminine to proliferating nature, thus connecting with traditional dualism. In front of the ‘feminine’ that offers an opportunity to confront otherness, fear and fascination always intertwine: in the desire to escape otherness is hidden a dream of symbiosis with it. This symbiosis takes the form of ‘incestuous fraternity’; its failure gives birth to an intense craving for women - like that for a mother. In the end, for the author, the woman becomes ‘neither one nor the other.’ Faced with ‘the Other-woman,’ the Sartrian man runs away, but also refuse to completely rule her out of his life: this constant shift is characteristic of the representation of female figures in Sartre’s work.

Orientador: Cleide Antonia Rapucci / Banca: Thomas Bonnici / Banca: Ana Maria Domingues de Oliveira / Resumo: Constitui objetivo principal deste trabalho a observação da presença feminina nos romances The Driver.s Seat e Symposium, da escritora escocesa Muriel Spark, como fator que possibilite traduzir a realidade das mulheres que buscam autonomia e que, conseqüentemente, ofereça uma relação entre esta atitude e as reações sociais que causam. Com base nos estudos que tratam de questões identitárias (dentro dos estudos de gênero, especificamente, a crítica feminista) será averiguada a recorrência de alguns temas. Dentre eles, destacam-se a morte, a loucura e o aparente controle da situação que, de alguma forma, revelam problemas, conflitos e aflições das personagens estudadas. No primeiro capítulo, situamos a autora com relação ao movimento das mulheres, com o objetivo de, ao contextualizá-la, ter uma melhor compreensão de sua obra. Assim, observam-se as características mais evidentes de seu trabalho com relação às práticas das mulheres em um plano global. Dentre as questões que marcam os estudos da escrita das mulheres, no segundo capítulo serão abordadas algumas linhas críticas que por ela se interessam e a diferenciam da escrita dos homens. A proposta da crítica centrada na mulher (ginocrítica) trata da diferença a partir da ênfase no corpo, na linguagem, na psique e na cultura das mulheres. À luz destas críticas, será realizada uma análise preliminar dos romances sparkianos. No terceiro capítulo, as questões de gênero passam a ser discutidas como fator de análise que prevêem diferenças internas ao grupo das mulheres, bem como semelhanças com trabalhos masculinos. Este aspecto do gênero ocasiona uma leitura não mais binária e hierarquizada de textos, mas que permita às diferenças tornarem-se fator de liberdade e autonomia. Finalmente, a contribuição da autora para a literatura e sua relação com o movimento das mulheres constitui objeto de breves comentários. / Abstract: The main aim of this work is to observe the female presence in Muriel Spark.s novels The Driver.s Seat and Symposium as a factor that can translate the reality of women who look for autonomy and that also offers, as a result, a relation between this attitude and the social reactions they cause. Based on studies that deal with identity matters (within gender studies, specifically, the feminist criticism) the recurring use of certain themes will be verified. Among them we can point out death, madness and an apparent control on the situation which in some way reveal problems, conflicts and afflictions of the observed characters. In the first chapter, the author is placed within the women.s movement as a way to have a better comprehension of her work by putting her in a specific context. Then, her work.s most evident characteristics are observed in relation to women.s practices as a whole. Among those questions that mark women.s writing studies, in the second chapter will be mentioned some critical trends interested in those writings and which differentiate them from men.s writing. The proposal of the criticism centered in the woman (gynocritics) deals with the difference emphasizing the women.s body, language, psyche and culture. Based on these critics it will be made a preliminary analysis of Spark.s novels. In the third chapter, gender matters begin to be discussed as an analytic factor which foresees internal differences in women.s group as well as similarities to men.s works. This gender aspect causes a reading no longer binary and based on hierarchies, but one that allows the differences to become a factor of freedom and autonomy. Finally, the author.s contribution to Literature and her relation to the women.s movement will be subject to brief comments. / Mestre

Dans l’Antiquité, en Grèce, la tragédie joue un rôle important dans la vie des Grecs. Il y avait des concours tragiques pendant des fêtes religieuses ; surtout, pendant les Grandes Dionysies, avait lieu le concours tragique le plus important. Beaucoup de dramaturges y participaient et trois grands tragiques ont émergé, dont Eschyle a été le premier dramaturge illustre et connu. Il s’inspirait des sources mythiques et des légendes antiques. Il posait les questions et présentait sur scène les problèmes que les Athéniens rencontraient. Il faisait réfléchir les citoyens athéniens par ses tragédies. Il a introduit de nombreux personnages féminins dans l’espace théâtral et leur a accordé des rôles importants. Cela ne correspondait pas à la situation réelle des femmes grecques de cette période-là. Les femmes grecques devaient rester toujours dans le gynécée, s’occuper des affaires à l’intérieur de la maison, être en charge du filage et du tissage, rester toujours silencieuses sans se mêler des affaires politiques et donner naissance aux enfants pour assurer le renouvellement des générations. En revanche, les figures féminines du monde créé par Eschyle quittent leur gynécée, voyagent, s’exposent devant le public, s’expriment à haute-voix, se mêlent des affaires politiques, refusent le mariage et la maternité ou montrent peu d’amour maternel envers leurs enfants. Mais pourquoi le dramaturge se décide-t-il à mettre sur scène de si nombreuses figures féminines qui ont un rôle important ? D’abord, il ne faut pas oublier que les personnages féminins sont joués par les acteurs masculins et que les chœurs féminins sont constitués de choreutes masculins ; par conséquent, les figures féminines sont créées par le dramaturge Eschyle. Il y a plusieurs raisons : la beauté scénique qui séduit l’attention de l’auditoire ; la nature de femme qui est à l’origine des maux humains et son irrationalité qui pousse le développement tragique ; et la faiblesse féminine qui entraîne le manque de contrôle et de maîtrise de soi et qui rend les figures féminines aptes à jouer le rôle que les personnages masculins ont du mal à interpréter. / In ancient Greece, the tragedy plays an important role in the lives of Greeks. There were tragic contests during the religious holidays. During the Great Dionysia, there was the most important tragedy contest. Many playwrights participated in it and there emerged three great tragedians, the first playwright, Aeschylus included. He was inspired by the mythical sources and ancient legends. He showed the problems met by the Athenians on stage through mythical characters. His tragedies made the Athenians think about the problems. He showed many female roles in theatrical space and put them in an important place, which didn't correspond to the real situation of the Greek women in that period. These Greek women had to remain still in the harem, take care of household affairs, charge the spinning and the weaving, always remain silent without meddling in political affairs and give birth to children for the family. In contrast, the female figures in the world created by Aeschylus leave their harem, travel, expose themselves to the public, express themselves loudly, get involved political affairs, refuse marriage and show little maternal love towards their children. But why the playwright decides to make the many female figures on stage play the important roles? First, we need to notice that the female characters are played by male actors and that the female choirs consist of male choruses, therefore, the female figures are created by the playwright Aeschylus. There are several reasons for this : the beauty in the scene attracted the attention of the audience; woman is the source of human evil ; irrationality of women drives the development of the tragedy ; and the weakness of women decides their lack of self-control and make them more suitable to play the roles that male characters struggle to interpret.

L'œuvre d’Amelia Rosselli entend se dessiner, au sein de la poésie lyrique italienne, comme expérience de subversion du processus de sublimation et de stylisation du corps féminin. A travers la traduction et l’analyse de poèmes choisis contenus dans les recueil Cantilena (1953), La Libellula (1958) et Variazioni belliche (1964), nous avons conduit une tentative d’exégèse critique des textes. L’analyse des poèmes se poursuit à travers une pratique dialogique avec le texte poétique, à partir d'un positionnement critique à l’intérieur du comparatisme féministe.En partant de l'idée pétrarquiste d'élimination et de suppression du corps des femmes nous avons démontré comment la tentative d’apaiser la portée potentiellement dangereuse de l’affection amoureuse a donné lieu au déni de la sensualité. Le langage de la douleur transfigurée se traduit dans une poétique du « dispositif sursensuel », un processus semblable à celui que Gilles Deleuze avait repéré dans la personnalité littéraire de Sacher-Masoch. Le processus de subversion qu’on vient d’évoquer est accompagné du bouleversement des rôles traditionnels au sein du canon poétique européen. Ces déconstructions conduiraient à un rejet du corps organique et au même temps à la révélation d’une subjectivité excentrique. La révision des modèles littéraires du canon passe également par le réécriture d'un ensemble de figures féminines du répertoire mythique et littéraire au sein de l’antiquité gréco-romaine, lesquelles, prélevées de l’imaginaire patriarcal, sont réinterprétées et à nouveau poétisées au sein d'un Sujet poétique qui cherche à faire parler la voix d’une poète femme. / Amelia Rosselli’s work took shape, within Italian lyric poetry, as an experience of subversion of the process of sublimation and of stylisation of the female body. Through the translation and the analysis of the content of poems chosen from the collections Cantilena (1953), La Libellula (1958) and Variazioni belliche (1964), I conducted a critical exegesis of the texts. I performed an analysis according to suggestions of a dialogical practice with the poetical text and with a female subjectivity often hidden, anchored to my critical investment inside feminist comparatism. From petrarchist idea of deletion and “suppression” of women’s body – deletion, of which Pasolini talked already in relation to the genesis of Italian poetry and its characterisation of the lyrical canon – I analysed how the attempt to ease the impact potentially dangerous of love affection has caused the denial of sensuality. The language of camouflaged sorrow is then established as a deliberated choice included in some poetics where it is not the statement that reveals, but the poetical word, which in its cryptic canonical measure, is able to make resonate beyond declarations. We can observe the deployment of a “sursensual device”, similar process to what Gilles Deleuze perceived in Sacher-Masoch's literary personality. The process of subversion does not seem a reconstitution of identity roles, but rather a deconstruction of the traditional model. The starting point for the analysis of those deconstructions is based on the hypothesis that the non-functionality of the desiring organisms (desiring subject and desired object) will lead to a reject of the organic and at the same time to a revelation of an eccentric subjectivity. The revision of the literary model of the canon lies in the hypothesis that a set of female figures of the mythical and literary repertoire in Greco-Roman antiquity are placed in the imaginary practice of Amelia Rosselli's poetical writing, with a view to incorporate the nature of the characters born and conceived inside and by the patriarchal imaginary and to form the body of a subject that aims at making them speak through the voice of a female poet.