Pela análise comparativa dos romances Ventos do apocalipse (1999) e Niketche: uma história de poligamia (2004), da moçambicana Paulina Chiziane, esta dissertação discute as representações e o papel social da mulher em romances que se pautam na intensa força das relações sociais que informam a maneira de agir de homens e de mulheres em Moçambique. Mostramos como as mulheres especialmente as moçambicanas , antes personagens majoritariamente representadas por uma construção estético-literária masculina, alcançam na escrita feminina de Paulina uma representação da mulher sobre a mulher. Assim, procuramos consolidar um pensamento crítico em torno da hipótese de investigação pela qual se efetiva no espaço literário a desconstrução da subalternidade instituída para as mulheres e enraizada na ordem capitalista patriarcal. / Through a comparative analysis of the novels Ventos do apocalipse [Winds of the Apocalypse] (1999) and Niketche: uma história de poligamia [Niketche: A Story of Polygamy] (2004), by Mozambican writer Paulina Chiziane, the present dissertation discusses the representations and the social role of women in novels based on the intense strength of the social relations that guide the behavior of men and women in Mozambique. We shall show how women especially those from Mozambique characters who used to be mainly represented by a male aesthetic-literary construction, acquire, in Paulinas female writing, a womans representation of women. Thus, we attempt to consolidate a critical thinking to support the investigation hypothesis according to which the subalternity instituted for women and rooted in the patriarchic capitalist order is deconstructed in the literary space.

Pela análise comparativa dos romances Ventos do apocalipse (1999) e Niketche: uma história de poligamia (2004), da moçambicana Paulina Chiziane, esta dissertação discute as representações e o papel social da mulher em romances que se pautam na intensa força das relações sociais que informam a maneira de agir de homens e de mulheres em Moçambique. Mostramos como as mulheres especialmente as moçambicanas , antes personagens majoritariamente representadas por uma construção estético-literária masculina, alcançam na escrita feminina de Paulina uma representação da mulher sobre a mulher. Assim, procuramos consolidar um pensamento crítico em torno da hipótese de investigação pela qual se efetiva no espaço literário a desconstrução da subalternidade instituída para as mulheres e enraizada na ordem capitalista patriarcal. / Through a comparative analysis of the novels Ventos do apocalipse [Winds of the Apocalypse] (1999) and Niketche: uma história de poligamia [Niketche: A Story of Polygamy] (2004), by Mozambican writer Paulina Chiziane, the present dissertation discusses the representations and the social role of women in novels based on the intense strength of the social relations that guide the behavior of men and women in Mozambique. We shall show how women especially those from Mozambique characters who used to be mainly represented by a male aesthetic-literary construction, acquire, in Paulinas female writing, a womans representation of women. Thus, we attempt to consolidate a critical thinking to support the investigation hypothesis according to which the subalternity instituted for women and rooted in the patriarchic capitalist order is deconstructed in the literary space.

Les études sur Marguerite Duras (1914-1996) sont innombrables et abondantes en France, ainsi qu’en Chine. Le présent travail a dévoilé, à la lumière des méthodes empruntées à la littérature comparée, à l’analyse textuelle, à l’écriture féminine, et à l’autobiographie, comment l’œuvre de Marguerite Duras a été reçu dans le monde littéraire contemporain chinois, en dressant un bilan de la réception de l’œuvre durassienne par le biais de la traduction, par la réception de l’écriture féminine, et par le renouvellement de l’art narratif et de la technique créative dans le monde littéraire contemporain chinois. L’étude de la réception de l’œuvre durassienne en Chine à travers l’écriture romanesque de certains écrivains contemporains chinois qu’elle a influencés permet un regard particulier et une autre compréhension possible sur Marguerite Duras. / Studies on Marguerite Duras (1914-1996) in Both China and France are innumerable and abundant. By using the critical methods of literary comparison, textual analysis, feminism and autobiographical writing, etc, this thesis intends to make a survey of the reception of Duras in Chinese Contemporary literature, focusing on the aspects of translation studies, feminine writing, and narrative creativity. Meanwhile, studies on several Chinese writers deeply influenced by Duras can provide a unique perspective and different understanding to our research on this French writer.

Nombreuses sont les écrivaines en Iran et en France qui portent un regard critique sur leur société et profitent de leur statut d’auteure pour exiger l’égalité des droits pour toutes les femmes. Zoyâ Pirzâd et Annie Ernaux ont pour but de présenter les réalités sociales d’une époque, chacune à sa manière et avec un style adapté à des sociétés aussi différentes que la France et l’Iran. En jouant le rôle de témoins du passé et du présent, ces deux écrivaines abordent la réalité quotidienne de la femme dans sa vie intime, de la naissance à l’âge adulte, ainsi que son statut familial et sa vie sociale, et les menaces qui guettent la femme dans la société. À travers leurs œuvres respectives, les deux auteures présentent une émancipation féminine qui ne s’est pas réalisée au même moment ni de la même façon dans ces deux pays ; dans ces deux sociétés, la publication de livres par les femmes a été une entreprise difficile et conflictuelle, surtout par le passé : malgré certains acquis, les femmes iraniennes sont néanmoins encore loin de jouir des mêmes droits que les hommes – la maternité ayant longtemps été vue comme le seul rôle de la femme. Les écrivaines parlent en général des sujets acceptables dans la société où l’œuvre est produite, mais pour des questions controversées comme la sexualité féminine, elles sont obligées de transgresser les normes sociales qui pèsent sur la littérature, au risque des critiques les plus violentes. Certaines théoriciennes, comme Hélène Cixous et Béatrice Didier, affirment la spécificité de l’écriture féminine. Cette distinction de genre peut en effet montrer l’influence d’une tradition machiste ou une culture sexiste sur la littérature. Pourtant, quoique les œuvres d’Annie Ernaux et de Zoyâ Pirzâd ne semblent pas relever exclusivement de l’écriture féminine, cette distinction genrée peut valoriser les écrits des femmes qui ont toujours été marginalisées et minorées. / Many are the female writers, both in Iran and France, who look at society with a critical eye, and capitalize on their status as female authors to demand equality of rights for all women. Zoyâ Pirzâd and Annie Ernaux aim at presenting the social realities of an era, both in a way and in a style that are adapted to societies as different as Iranian and French ones. As witnesses of the past and the present, these two female writers tackle the issues of daily life reality for women, their intimacy, from birth to adult age, as well as their family status and social lives, along with all the threats that surround them in society. Through their respective works, the two authors present a process of feminine emancipation that has not taken place at the same time or in the same way in the two countries; both in France and in Iran, the publication of books by female writers has been a difficult and contentious enterprise, especially in the past. Despite some victories, women in Iran are far from enjoying the same rights as men, since maternity has been, for a long time, considered as the one and only role women can play in society. The two authors deal with subjects that are deemed acceptable in the society in which they write. However, from the moment they choose to handle more controversial issues, like female sexuality, they have to transgress the social norms established in literature, risking harsh criticism doing so. Such female writing theoreticians as Hélène Cixous and Béatrice Didier affirm the idea of the specificity of female writing. This difference in gender can in fact show the influence of a male chauvinist tradition or sexist culture on literature. Yet, for as much as Annie Ernaux’ and Zoyâ Pirzâd’s works do not apparently partake of the school of female writing, this difference in genres may help promoting the writings of those women who have always been marginalized and “minored”.

Orientador: Yllan de Mattos Oliveira / Resumo: A presente Dissertação tem em seu cerne os resultados da pesquisa em que cujo tema desenvolvido foi o da escrita renascentista feminina italiana no século XVI, em que nos embasamos nas obras poético-epistolares de duas mulheres homônimas, Veronica Gambara (1485 - 1550) e Veronica Franco (1546 - 1591). Nossas fontes foram as Terze Rime (1575), as Lettere Familiari a Diversi (1580) de Veronica Franco, as Rime de Veronica Gambara e suas Lettere. O ponto basilar que se faz presente na investigação é o de como ocorreram as construções linguísticas, o jogo de palavras, de cortesia (característica da arte cortesã), ou seja, como foram construídas as composições das obras. Tanto as poesias quanto as cartas eram pensadas por suas autoras com uma intencionalidade. As poetisas estiveram inseridas em um jogo cortesão. Portanto, investigamos as nuances existentes, encontradas nas obras e os contornos sociais pertinentes à época que nortearam a escrita das duas mulheres pesquisadas. / Abstract: The present Dissertation has at its heart the results of the research in which the theme developed was the Italian female Renaissance writing in the 16th century, which is based on the poetic-epistolary works of two homonymous women, Veronica Gambara (1485 - 1550) and Veronica Franco (1546 - 1591). Our sources were Terze Rime (1575), Veronica Franco's Lettere Familiari a Diversi (1580), Veronica Gambara's Rime and her Lettere. The basic point that is present in the investigation is how the linguistic constructions, the courtesy wordplay (characteristic of courtly art) occurred, that is, how the compositions of the works were constructed. Both poetry and letters were intended by their authors with intent. The poets were inserted in a courtier game. Therefore, we investigate the existing nuances found in the works and the social contours pertinent to the time that guided the writing of the two women surveyed. / Mestre

O presente trabalho tem como objetivo principal analisar a construção das personagens femininas na tetralogia napolitana Lamica geniale, de Elena Ferrante. Para tanto, situamos a obra dentro da tradição do Bildungsroman e da tradição realista, para que seja possível compreender a herança de Ferrante e seus modelos de criação. Utilizamos, principalmente, os estudos de Franco Moretti, que percorrem as origens e as contradições deste subgênero romanesco, e como a voz feminina da heroína de Ferrante está ligada à tradição, ao mesmo tempo em que demonstra as dificuldades da peregrinação e do destino femininos dentro do contexto italiano. A construção feminina se concentra principalmente na protagonista e narradora da obra, Elena Greco, e particularidades de seu ethos e narrativa, tanto no plano da expressão quanto no plano do conteúdo. Para compreender a construção de Lenù, utilizamos a noção de sujeito reflexivo e suas relações com outros sujeitos. Ainda, levamos em consideração a relação com a maternidade como ponto incômodo na obra, bem como a dificuldade das relações femininas construídas na tetralogia. / This work aims to analyze the female characters construction in the Neapolitan Novels Lamica genial, by Elena Ferrante. For that purpose, we locate the books inside the Bildungsromans tradition and the realist tradition to enable the understanding of Ferrantes heritage and creative models. We use, mainly, the studies of Franco Moretti, which describes the origins and the contradictions of this novels subgenre; how the female voice of Ferrantes heroine is connected to the tradition; and, simultaneously, by what means it demonstrates the difficulties of the female peregrination and destiny inside the Italian context. The female construction is essentially concentrated in the protagonist and narrator Elena Greco, the particularities of her ethos and narrative, either in the expression or in the content narrative level. To understand Lenùs construction, we use the notion of reflexive subject and their relations with other subjects. Furthermore, we take into account the relation established with maternity as a troubling point in the books, as well as the difficulties between female relationships that are constructed in the novels.

Since Chu T¡¦ien-wen was sixteen years old, she has been an important role in Taiwan literature. Chu T¡¦ien-wen has been influence by her parents and Zhang Ai-ling in Chinese literature for a long time. In the chinese ritual music cultur, she was educated under Hu Lan-cheng and became an author in the style of Zhang Qiang Hu Diao. Therefor, Chu T¡¦ien-wen and her sister Chu T'ien-hsin published San San magazine. However, after been through Nativist Literature Controversy and Hu Lan-cheng's death, she became a screenwriter for the movie, directed by Hou Hsiao-hsien and became one of the important participant of New Movie Movement in Taiwan. To face the problems of cross-srait relations and the visitions for the relatives, leading Chu T'ien-wen walk out military dependents' village and walk out San San and Grand View Garden, the style has also changed from San San ¢w¢w a young girl¡¦s fantasies style through growth theme of military dependents' village style and turned into the metropolis mature style. After Hu Lan-cheng passed away, Chu T'ien-wen swore to accomplish his unfinished ¡§ Woman Theory ¡¨ . To pass down the Female Writing of Woman Theory of Civilization, she decided to use ¡§ the Splendors of Fin de Siècle ¡¨ Notes of a Desolate Man and Words of a Witch. Hu Lan-cheng used to describe Chu T'ien-wen as a Japanese witch, and praised of the youth and beauty of her literature of art, which gives an inspiration to Chu T'ien-wen and to start a journey for witch. In ¡§ the Splendors of Fin de Siècle ¡¨ , giving Chu T¡¦ien-wen an advice as witch who predicted that patriarchal society were devastated. And in Notes of a Desolate Man that a desolate man who had feminine soul to offer Japanese witching dance for god. In Words of a Witch as witching word to fly from time and death that become unique to Chu T'ien-wen¡¦s Witched Writings.

Made available in DSpace on 2014-06-11T19:26:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-12-15Bitstream added on 2014-06-13T20:55:40Z : No. of bitstreams: 1 petit_s_me_sjrp.pdf: 777177 bytes, checksum: 885ffa67851a11c824a65e0cb50a7e69 (MD5) / See/Governo do Estado de São Paulo / O presente trabalho propõe o estudo da obra Os anjos (2000), da escritora portuguesa Teolinda Gersão, para focalizar a trajetória das personagens femininas que protagonizam o enredo e o conjunto de experiências epifânicas oriundas desse percurso, o que as direciona rumo a uma libertação identitária. Em vista disso, parte-se dos pressupostos teóricos da narrativa de aprendizagem também denominada Bildungsroman, a fim de se investigar como ocorre a sua inovação perante o histórico dessa modalidade na literatura portuguesa com enfoque no sujeito feminino. Nesse processo, constatam-se os elementos pertinentes do gênero em questão e, na análise da estrutura narrativa e das unidades temáticas presentes na obra, argumenta-se em torno da visão feminina, ou seja, do olhar das duas personagens-protagonistas na busca de uma adaptação ao mundo exterior sem que se privem da autoestima ou aceitem a imposição de valores socioculturais. Assim, neste trabalho, reflete-se também sobre o domínio da linguagem e a possibilidade da releitura do discurso persuasivo do outro como elementos agenciadores de desestruturação dos meandros ideológicos contidos na falácia social e descobertas epifânicas a serem decifradas no processo de autoconhecimento dessas personagens. / The following thesis proposes to study the novella The Angels (2000), by the Portuguese author Teolinda Gersão, in order to focus on the development of the protagonist female characters of the narrative and the set of epiphany experiences originated from such development, which lead them to their identity liberation. Starting on the theoretical basis of the “novel of formation”, also called Bildungsroman, the innovations in the genre of this Portuguese Literature mode are investigated, through the focus on the female subject. In this process, the elements of the genre are observed, as well as the analysis of the narrative structure and the theme units present in the novella. The feminine point of view is discussed, that is, the two main characters and their search for an adjustment to the world they are in, without the loss of their self-esteem, nor the acceptance of the impositions of social and cultural values. Furthermore, this thesis shall reflect about the language domination and the possibility of a re-reading of the persuasion discourse of the ‘other’ as elements that allow the destructuration of the ideological meanders belonging to the social fallacy, through the process of self-knowledge experienced by these characters.

Orientador: Maria Heloisa Martins Dias / Banca: Maria Lúcia Outeiro Fernandes / Banca: Susanna Busato / Resumo: O presente trabalho propõe o estudo da obra Os anjos (2000), da escritora portuguesa Teolinda Gersão, para focalizar a trajetória das personagens femininas que protagonizam o enredo e o conjunto de experiências epifânicas oriundas desse percurso, o que as direciona rumo a uma libertação identitária. Em vista disso, parte-se dos pressupostos teóricos da narrativa de aprendizagem também denominada Bildungsroman, a fim de se investigar como ocorre a sua inovação perante o histórico dessa modalidade na literatura portuguesa com enfoque no sujeito feminino. Nesse processo, constatam-se os elementos pertinentes do gênero em questão e, na análise da estrutura narrativa e das unidades temáticas presentes na obra, argumenta-se em torno da visão feminina, ou seja, do olhar das duas personagens-protagonistas na busca de uma adaptação ao mundo exterior sem que se privem da autoestima ou aceitem a imposição de valores socioculturais. Assim, neste trabalho, reflete-se também sobre o domínio da linguagem e a possibilidade da releitura do discurso persuasivo do outro como elementos agenciadores de desestruturação dos meandros ideológicos contidos na falácia social e descobertas epifânicas a serem decifradas no processo de autoconhecimento dessas personagens. / Abstract: The following thesis proposes to study the novella The Angels (2000), by the Portuguese author Teolinda Gersão, in order to focus on the development of the protagonist female characters of the narrative and the set of epiphany experiences originated from such development, which lead them to their identity liberation. Starting on the theoretical basis of the "novel of formation", also called Bildungsroman, the innovations in the genre of this Portuguese Literature mode are investigated, through the focus on the female subject. In this process, the elements of the genre are observed, as well as the analysis of the narrative structure and the theme units present in the novella. The feminine point of view is discussed, that is, the two main characters and their search for an adjustment to the world they are in, without the loss of their self-esteem, nor the acceptance of the impositions of social and cultural values. Furthermore, this thesis shall reflect about the language domination and the possibility of a re-reading of the persuasion discourse of the 'other' as elements that allow the destructuration of the ideological meanders belonging to the social fallacy, through the process of self-knowledge experienced by these characters. / Mestre

Made available in DSpace on 2017-07-10T18:55:43Z (GMT). No. of bitstreams: 1 Bruna Ribeiro.pdf: 854793 bytes, checksum: 718de717ed83a99d712d22780a1a7c44 (MD5) Previous issue date: 2014-02-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Due to the patriarchal structure established in the Latin American continent since the beginning of European colonization, the female was assigned the role of taking care of the home, husband and children, following the teachings of the Catholic Church. In this sense, this research aims to analyze comparatively three historical extraction narratives: Lucía Miranda (1860), by Eduarda Mansilla, reedited by María Rosa Lojo, Desmundo (1996), by Ana Miranda, and Inés del alma mía (2006), by Isabel Allende, in order to understand how the fictional text approaches or moves away from historical texts taken as official and what is the relevance of these novels, considering that they evidence the active participation of women from Europe in the period of colonization and conquest of the New World , even though they were considered, during this historic moment, inferior to men. In this way, fiction, carrying out its critical reading of the past, reveals the presence of captive, exiled and adventurous European women , whose participation in the conquest of America is largely omitted by hegemonic discourse of history, which seeks only to make evident the male participation in this process. Showing this active participation of women in history, through the hybrid genre of history and fiction, means to enable new perspectives on the Latin American past. This is a study of the basic type, characterized as bibliographic, which will be supported by Comparative Literature. Some of the authors to be used as theoretical support are Linda Hutcheon (1991), Lucía Guerra (2007), Fernández Álvarez (2002), Gilmei Francisco Fleck (2007, 2010), Borges Teixeira (2008), among others. It is sought to show, through this study, that the narratives of female authors, especially those produced in contemporary times, are very important in view of the quest for gender opportunities equality / Devido à estrutura patriarcalista instituída no continente latino-americano desde o início da colonização europeia, ao sexo feminino foi atribuído o papel de cuidar do lar, do marido e dos filhos, seguindo os ensinamentos da Igreja Católica. Nesse sentido, a presente pesquisa tem como objetivo analisar comparativamente três narrativas de extração histórica: Lucía Miranda (1860), de Eduarda Mansilla, reeditado por María Rosa Lojo, Desmundo (1996), de Ana Miranda, e Inés del alma mía (2006), de Isabel Allende, de modo a compreender em que medida o texto ficcional se aproxima ou se distancia de textos históricos tidos como oficiais e qual seria a relevância desses romances, tendo em vista o fato de que neles se evidencia a participação ativa de mulheres vindas da Europa no período de colonização e conquista das terras do Novo Mundo , mesmo sendo elas consideradas, durante esse momento histórico, inferiores aos homens. Dessa forma, a ficção, ao desenvolver uma leitura crítica do passado, revela a presença de cativas, degredadas e aventureiras mulheres europeias , cuja participação no processo de conquista da América é, em grande parte, omitida pelo discurso hegemônico da história, que busca, apenas, evidenciar a participação masculina nesse processo. Revelar essa participação ativa da mulher na história, por meio do gênero híbrido de história e ficção, significa possibilitar novos olhares sobre o passado latino- -americano. Trata-se de uma pesquisa básica, caracterizando-se por ser bibliográfica, que será amparada pela Literatura Comparada. Alguns dos autores a serem utilizados como aporte teórico são Linda Hutcheon (1991), Lucía Guerra (2007), Fernández Álvarez (2002), Gilmei Francisco Fleck (2007, 2010), Borges Teixeira (2008), entre outros. Busca-se mostrar, por meio desse estudo, que as narrativas de autoria feminina, principalmente as produzidas na contemporaneidade, são de extrema relevância tendo em vista a busca pela igualdade de oportunidades entre os gêneros