Kamala Das is one of the best-known contemporary Indian women writers, albeit largely for the controversy that her candid, confessional writing has sparked in the relatively traditional context of Indian academia. Since the publication of her first collection of poetry, Summer in Calcutta (1965), Das has been considered an important voice of her generation. Her provocative poems are known for their unflinchingly honest explorations of the self and female sexuality, urban life, and women’s roles in traditional Indian society. Critics have expressed a range of opinions on her work: some laud her boldness, compelling sincerity and striking originality, while others dismiss her work as sensationalist, limited in scope and unsophisticated. In this dissertation, issues of selfhood represented in the poetry of Kamala Das will be analysed with regard to various aspects of her identity, such as those of a housewife, a lover, an Indian, a female writer, and a confessional poet. Selected theories on identity formation posited by Erik Erikson and Norman Holland will be explored, as will relevant hypotheses on female identity by Nancy Chodorow and Judith Gardiner. I propose that selected aspects of these theories shed light on the themes, tones and subject matter of Das’s verse. Almost all of her poems are personal and are fuelled by an intense need for emotional fulfilment. I suggest that the poet’s search for love is central to her identity and I aim to show how this (largely unsuccessful) quest, as reflected in Das’ poems, stems from various expectations by and on her. The recurring theme of expectations and the resulting tones of despair (the ‘hopes and fears’) in her work will be traced and analysed. This research is valuable in that there has been little exploration into identity and expectations in Das’ work and there is almost no research on her emanating from Africa. Through close textual analysis I also aim to highlight how useful insights into identity formation and female writing can enable a more in-depth understanding of Das’s poetry. Both female identity and women’s writing are increasingly significant fields in academia today, and there has been a rise in autobiographical writing in recent years; thus this research will contribute to debates about these issues in contemporary poetry. A portfolio of my own creative writing will accompany the essay. Like Kamala Das, I am also a Malayalee woman (from the province of Kerala in India) and I identify with some of her concerns with regard to the roles of women. Although my writing is not confessional or as personal as Das’s, our shared experience of the socio-cultural expectations placed upon us (due to our gender and ethnic background) links this mini-dissertation to my poetry portfolio. / Dissertation (MA)--University of Pretoria, 2010. / English / unrestricted

Aborder le roman féminin sous l‟angle d‟un énoncé discursif nécessite raisonnablement que l‟on prenne en compte, le contexte social, culturel et linguistique de production, les stratégies d‟énonciation, le champ de signification et les instances réceptrices qui déterminent ce discours. L‟approche sociopragmatique nous autorise pour ce faire à cette lecture plurielle qui, selon nous, mène incontestablement à une lisibilité optimale des textes. D‟abord, en tant que communication, le roman féminin implique des techniques discursives basées sur un environnement culturel et linguistique qui influence incontestablement le fonctionnement des énoncés en ce qui concerne les activités de production. Ensuite, la particularité des discours que nous étudions c‟est leur langage multiforme fait de paroles, d‟actes à valeur énonciatives, et d‟autres types de manifestations communicatives. C‟est un langage allégorique par essence, fait de sous-entendus, de diverses tournures imagées et aussi de silences parlants qui permettent d‟exprimer sans vraiment dire. Cette mise en scène théâtralisée du discours confère à l‟expression romanesque féminine un statut artistique particulier où la langue s‟enrichit d‟« accessoires linguistiques » d‟origine ethnique, régionale ou nationale. Enfin, la réception elle-même est fonction d‟un ensemble d‟éléments nécessaires à sa réalisation à savoir un espace, un temps, une orientation de réception intentionnellement glissée par l‟auteur. Ces éléments mis ensemble correspondent à ce que Kleiber nomme la "mémoire discursive" de l‟énonciateur et les "savoirs partagés" entre l‟émetteur et le récepteur / Going into feminine novel in a discursive statement approach, it is necessary to consider the social, linguistic and cultural contexts of the production. The enouncing strategies, the meaning field and the rulling receiving that determine the speech, are also to be taken in account. The socio pragmatic approach allows us thus to the plural reading we consider to lead indisputably to an optimal legibility of the texts. Firstly, as communication, the feminine novel involves discursive techniques based on both cultural and linguistic contexts influencing incontestably the functioning of utterances concerning production activities. Then, the particularity of the speeches under our study is their multiform language made on lyrics, acts with enunciative values, and other sort of communicative expressions. It is essentially an allegorical language, with hidden meanings, different imagery turns and talking silences that allows expression without actually saying. This theatralized staging of the speech confers on the feminine roman expression a peculiar artistic status where the language enriches of "linguistic accessories" from national and ethnic origins. Finally, the reception itself is a function of a whole of elements required to its carrying out namely, defined space, defined time, and an orientation of reception intentionally glide by the author. These elements put together correspond to what Kleber calls the "discursive memory" of the "enunciator" and the" shared knowledges" between the issuer and the receiver

Esta pesquisa procura desenvolver uma leitura da produção literária de duas mulheres a russo-ucraniana naturalizada brasileira Clarice Lispector e a colombiana Marvel Moreno. Da primeira, foram selecionados contos publicados no volume Laços de família (1960). Da segunda, contos publicados no volume Oriane, tía Oriane (1980). Vale-se, para tanto, de metodologias do comparativismo e de teorias sobre a literatura feminina. E procura problematizar questões referentes a esse universo em que mulheres escrevem sobre o ser feminino, aí considerado num sistema que inclui experiências existenciais, relações sociais e que considera também o campo mais amplo da própria condição humana. Entre os vários aspectos estudados, considerou-se o modo como as autoras comparadas estruturam as personagens femininas, nos seus diversos estágios de desenvolvimento: enquanto crianças e adolescentes em formação, na sua primeira juventude como mulher, na vida de casada e no seu papel de mãe. A análise comparativista dos contos está fundamentada em alguns elementos considerados pela crítica feminista como determinantes do conjunto de obras produzidas por mulheres, ressaltando-se, dentre eles, o uso frequente do discurso indireto livre e da narração em primeira pessoa, recursos que, mediante a mobilização da lembrança do passado, da auto-análise e da auto-descoberta, colaboram para uma problematização da identidade feminina e do significado da existência. / This research aims to develop a reading of the literary work of two women russianucranian naturalized brazilian Clarice Lispector and Colombian Marvel Moreno. Significant stories of both authors were selected for this study; from the first, were chosen some stories published on volume entitled Laços de família (1960), and from the Colombian writer, some stories on volume Oriane, tía Oriane (1980). To do this, methodologies as comparatism and female literature theories are the principal theoretical elements. It also tries to problematize questions related to that universe within women write about female being, thought as a part of a system including being experiences, social relationships, and with regards to the wider field of human condition itself. Among the diverse aspects, the way both authors organize female characters on their different levels of growing was considered: from childhood, teenage years, the first youth as a woman and the life as a wife, until they assume their mother roles. Comparative analysis of the stories is supported by some elements that feminist critic consider as deciding factors to be inserted into the group of writings produced by women, and between them those whose relevancy rests on the frequent use of free indirect speech and first-person narrator; this sources, mediated by past memories, selfexamination and the self-discovery strengthen the complexity of female identity and the meaning of existence.

Submitted by Edineia Teixeira (edineia.teixeira@unioeste.br) on 2019-03-11T13:52:35Z No. of bitstreams: 2 Wilma_Rangel_2018.pdf: 7096956 bytes, checksum: c916d2887a982b136b1655e39bd953f2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2019-03-11T13:52:35Z (GMT). No. of bitstreams: 2 Wilma_Rangel_2018.pdf: 7096956 bytes, checksum: c916d2887a982b136b1655e39bd953f2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-11-29 / This dissertation proposes the analysis of the theme "the look and the literature" in the lyric and in the Latin American novel. We aim to present the writer Carmen Soler (1924- 1985), unknown in Brazil. Her lyrical female writing is the starting point of poetry in the Paraguayan literary context, as a poet and revolutionary in the dictatorship years. We present theoretical reflections and referrals that elucidate the approach of Comparative Literature, through a descriptive methodology. For this research, we have as corpus the work Poemas (1970), because it is the the only publication made by Soler while living, tracing a parallel with the Chilean Maria Luisa Bombal (1910-1980) in the novels A Última Névoa (1935) and A Amortalhada (1938). - considering what differs them and what approximates them, because even without having ever seen each other, however, they are moved by the love for writing. This study also aims to theorize the look and the literature, intercross the vision of the authors, the look that narrates in the works, offer this eye in the eyes of young women writers, allow the reader to see them, for every encounter is fascinating. The work has the context of the patriarchal society from 1930 to 1980, twentieth century. From a bibliographical point of view, the theoretical scope is anchored, especially, with Merleau-Ponty (2013), in his work O olhar e o espírito (Eye and mind); with Novaes, in his work O Olhar (1993); with Benjamin, in O narrador (The storyteller) (1994), in the poetry of Baudelaire, among others; Paraguayan Literature, by Miguel Àngel Fernandez (2011); and about Bombal, Kahmann (2010) Marcari (2013), Hosiasson (2013) and Figueiredo (2015). The memory, in Le Goff (1990), in addition to bibliographic support and images of Carmen Soler provided by the writer's family. / Esta dissertação propõe analisar a temática “o olhar e a literatura” na lírica e no romance latino-americano. Objetivamos apresentar a escritora Carmen Soler (1924- 1985), desconhecida em âmbito brasileiro. Sua escrita feminina lírica é o marco inicial da poesia no contexto literário paraguaio, como poeta e revolucionária nos anos da ditadura. Apresentamos reflexões teóricas e encaminhamentos que elucidam a abordagem da Literatura Comparada, por meio de uma metodologia comparativa em diversas e várias formas de arte, bem como suportes do olhar na tecnologia. Para esta pesquisa, tem-se como corpus a obra Poemas (1970), pois é a única publicação em vida de Carmen Soler, traçando um paralelo com a chilena Maria Luisa Bombal (1910- 1980) nos romances A última névoa (1935) e A Amortalhada (1938) - considerando o que as difere e o que as aproxima, e, mesmo sem nunca terem se visto, são próximos seus anseios movidos pelo amor à escrita. Este estudo também visa teorizar o olhar e a literatura, entrecruzar a visão das autoras com o escopo teórico, bem como com objetos da teoria literária, apoiada na música, pintura e tecnologia. O olhar que narra nas obras tende a oferecer esse olho no olho das jovens escritoras, permitir ao leitor vê-las, em um diálogo com obras históricas da literatura e arte, já que todo encontro é encantador. O trabalho tem o contexto da sociedade patriarcal de 1930 a 1980, século XX. De cunho bibliográfico, de análise comparativa, o escopo teórico se ancora, especialmente, em Merleau-Ponty (2013), em sua obra O olhar e o espírito; em Novaes, em sua obra O Olhar (1993); em Benjamin, em O Narrador (1994), nas obras de Baudelaire, o olhar flâneur que vê e defende o povo em O ar e os Sonhos (1990) e A água e os sonhos (1998), A memória, em Le Goff, História e Memória (1990). A Literatura paraguaia, por Miguel Àngel Fernandez (2011); e sobre Bombal, Kahmann (2010), Marcari (2013), Hosiasson (2013) e Figueiredo (2015). Além disso, há o apoio bibliográfico e de imagens de Carmen Soler cedidas pela família da escritora.

Made available in DSpace on 2014-12-17T15:07:05Z (GMT). No. of bitstreams: 1 JulianaBO.pdf: 374434 bytes, checksum: fea3b03580353cdb171a91a40b563959 (MD5) Previous issue date: 2006-12-14 / While looking to the body and finding it engraved by cultural, imaginary and power-related texts through a discourse embodied in itself, this research proposes a new vertiginous approach to it by analyzing the following works: Poesia completa II, more specifically, Educa??o sentimental, and Novas cartas portuguesas. Such transgressive and performatic works are from Maria Teresa Horta (1937-), Portuguese writer, who proposes a new education by a renewed language: a sentimental education spawned from the erotic element. Starting from the deconstruction of the view over the spoiled body and exposed in Novas cartas portuguesas, from the poetic texts in Educa??o sentimental, as well as in remaining ones in Poesia completa II, Horta disassembles and reassembles the body, giving a new meaning to the symbols that surround us and our experiences. Other than proposing to all, men and women, such new meaning of the behavior and current practices models, Horta s education allows, through a performance action, the construction of a stage for female identity, free from the phallic influence. A new identity, able to handle all holy and profane characteristics of women, discarding the chromatic lens of sin. Horta s poetry emerges as a new proposal of literary labor / Esta pesquisa, ao passo que olha para o corpo e o enxerga tatuado pelos textos da cultura, do imagin?rio e do poder, atrav?s de um discurso que se inscreve nele, vem propor uma vertigem do olhar sobre o mesmo atrav?s da an?lise das obras: Poesia completa II, especificamente, Educa??o sentimental, e Novas cartas portuguesas. Tais obras transgressoras e perform?ticas s?o de Maria Teresa Horta (1937-), escritora portuguesa, a qual vem propor, ao n?vel de uma linguagem renovada, uma educa??o outra: uma educa??o sentimental, a qual nasce do elemento er?tico. Partindo da desconstru??o do olhar sobre o corpo marcado e denunciado atrav?s de Novas cartas portuguesas, e dos textos po?ticos da obra Educa??o sentimental, bem como dos demais que v?m compor a obra Poesia completa II, Horta desmonta e remonta o corpo, re-significando a m?scara signal?tica a qual nos envolve e envolve as nossas viv?ncias. Al?m de propor a todos, homens e mulheres, tal re-significa??o dos modelos de comportamentos e pr?ticas vigentes, a educa??o horteana vem possibilitar, atrav?s da performance, a constru??o de um espa?o para a identidade feminina, livre da clausura do poder f?lico. Uma nova identidade a qual possa envolver todas as caracter?sticas sagradas e profanas da mulher, descartando a lente crom?tica do pecado. A po?tica horteana surge ent?o, como uma nova proposta do fazer liter?rio

Esta pesquisa procura desenvolver uma leitura da produção literária de duas mulheres a russo-ucraniana naturalizada brasileira Clarice Lispector e a colombiana Marvel Moreno. Da primeira, foram selecionados contos publicados no volume Laços de família (1960). Da segunda, contos publicados no volume Oriane, tía Oriane (1980). Vale-se, para tanto, de metodologias do comparativismo e de teorias sobre a literatura feminina. E procura problematizar questões referentes a esse universo em que mulheres escrevem sobre o ser feminino, aí considerado num sistema que inclui experiências existenciais, relações sociais e que considera também o campo mais amplo da própria condição humana. Entre os vários aspectos estudados, considerou-se o modo como as autoras comparadas estruturam as personagens femininas, nos seus diversos estágios de desenvolvimento: enquanto crianças e adolescentes em formação, na sua primeira juventude como mulher, na vida de casada e no seu papel de mãe. A análise comparativista dos contos está fundamentada em alguns elementos considerados pela crítica feminista como determinantes do conjunto de obras produzidas por mulheres, ressaltando-se, dentre eles, o uso frequente do discurso indireto livre e da narração em primeira pessoa, recursos que, mediante a mobilização da lembrança do passado, da auto-análise e da auto-descoberta, colaboram para uma problematização da identidade feminina e do significado da existência. / This research aims to develop a reading of the literary work of two women russianucranian naturalized brazilian Clarice Lispector and Colombian Marvel Moreno. Significant stories of both authors were selected for this study; from the first, were chosen some stories published on volume entitled Laços de família (1960), and from the Colombian writer, some stories on volume Oriane, tía Oriane (1980). To do this, methodologies as comparatism and female literature theories are the principal theoretical elements. It also tries to problematize questions related to that universe within women write about female being, thought as a part of a system including being experiences, social relationships, and with regards to the wider field of human condition itself. Among the diverse aspects, the way both authors organize female characters on their different levels of growing was considered: from childhood, teenage years, the first youth as a woman and the life as a wife, until they assume their mother roles. Comparative analysis of the stories is supported by some elements that feminist critic consider as deciding factors to be inserted into the group of writings produced by women, and between them those whose relevancy rests on the frequent use of free indirect speech and first-person narrator; this sources, mediated by past memories, selfexamination and the self-discovery strengthen the complexity of female identity and the meaning of existence.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-11-14T13:03:00Z No. of bitstreams: 2 Tese - Fabiana Souza Valadão de Castro Macena - 2017.pdf: 2259967 bytes, checksum: 3d008681167e95989cb690adde21ed1d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-11-16T10:10:21Z (GMT) No. of bitstreams: 2 Tese - Fabiana Souza Valadão de Castro Macena - 2017.pdf: 2259967 bytes, checksum: 3d008681167e95989cb690adde21ed1d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-11-16T10:10:21Z (GMT). No. of bitstreams: 2 Tese - Fabiana Souza Valadão de Castro Macena - 2017.pdf: 2259967 bytes, checksum: 3d008681167e95989cb690adde21ed1d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-11-08 / The present work has as objective to analyze the texts Quarto de Despejo (1960) and Onde estaes felicidade? (2014) by Carolina Maria de Jesus as also Perto do Coração Selvagem (1998) and Amor (1998) by Clarice Lispector. From the comparative studies of Tânia Carvalhal (2006), we try to establish a dialogue between these two authors and some of their texts, in order to consider how female participation in literary production interferes in the representation of women (Butler, 2017). The course of analysis includes the ethnic, social and cultural aspects that affect writing and, consequently, create points of dissonance between these two authors, while convergence stems from the possibility of a woman to represent herself. In the process of writing, women emerge the anxieties, conflicts and longings proper to their universe; this means the opportunity for the subaltern to represent himself and, in this sense, conscious of his voice, to be empowered (LÉON, 2001). Thus, it is hypothesized that women's writing will reverberate the social, cultural and ethnic conditions to which the woman was and is submitted, allowing a comparison that reflects on the path taken by this gender in the attempt to leave the periphery and goes forward the conquest of an “own roof" (WOOLF, 2004). If in the text of Clarice Lispector, the flow of consciousness and the existential dimension prevail, there being room for the expansion and evaluation of feelings such as love; in Carolina Maria de Jesus’ writing hatches the material aspect, represented in incipient necessities like children’s education, the lack of money and food that will culminate in the degradation of the individual without perspectives. In order to observe and contrast the writing of these two authors, it is necessary to recognize the ethnic elements studied by Regina Dalcastagnè (2012), to use the social and identity studies proposed by Stuart Hall (2015) and to analyze the cultural analyzes of Pierre Bourdieu (2012) and Simone de Beauvoir (1980), observing the influence of these markers in the writing process. The Claricean text enjoys the privilege that comes from an educated woman, admitted in the niche of the intellectuality, while the Carolinean production arises under the same marginalization suffered by the author. In short, through the analysis, it can be seen that the woman in the text of Clarice Lispector may not get rid of the social and cultural domination that has been pursuing her for centuries, however, she begins to have a small right over her body and to reflect about her desires. Although in more arid soil, it is in the same emancipatory sense that goes through Carolina Maria de Jesus, who, under the prejudice of being a woman, without a husband, with no schooling, money or professionalization, realizes the dream of becoming a writer and opens space for other voices, subalternized like hers, to be heard and considered in the social and literary space. / O presente trabalho tem como objetivo analisar os textos Quarto de Despejo (1960) e Onde estaes felicidade? (2014) de Carolina Maria de Jesus e Perto do Coração Selvagem (1998) e Amor (1998) de Clarice Lispector. A partir dos estudos comparados de Tânia Carvalhal (2006), procuramos estabelecer um diálogo entre essas duas autoras e alguns de seus textos, a fim de ponderar como a participação feminina na produção literária interfere na representação da mulher (BUTLER, 2017). O percurso de análise compreende os aspectos étnicos, sociais e culturais que repercutem na escrita e, consequentemente, criam pontos de dissonância entre essas duas autoras, enquanto a convergência decorre da possibilidade de uma mulher representar a si mesma. No processo de escritura, a mulher faz emergir as angústias, os conflitos e os anseios próprios de seu universo, isso significa a oportunidade de o subalterno se representar e, nesse sentido, consciente de sua voz, empoderar-se (LÉON, 2001). Assim, suscita-se a hipótese de que a escrita feminina irá reverberar as condições sociais, culturais e étnicas a que a mulher esteve e está submetida, possibilitando uma comparação que repercuta no caminho trilhado por esse gênero na tentativa de sair da periferia da submissão rumo à conquista de um “teto todo seu” (WOOLF, 2004). Se no texto de Clarice Lispector imperam o fluxo de consciência e a dimensão existencial, havendo espaço para a expansão e avaliação de sentimentos como o amor; na escrita de Carolina Maria de Jesus eclode o aspecto material, representado em necessidades incipientes como a criação dos filhos, a falta de dinheiro e comida que culminarão na degradação do indivíduo sem perspectivas. Para observar e contrapor a escrita dessas duas autoras, é preciso, portanto, reconhecer os elementos étnicos estudados por Regina Dalcastagnè (2012), recorrer aos estudos sociais e identitários propostos por Stuart Hall (2015) e perfilhar as análises culturais de Pierre Bourdieu (2012) e Simone de Beauvoir (1980), observando a influência desses marcadores no processo de escrita. O texto clariceano goza do privilégio que advém de uma mulher escolarizada e admitida no nicho da intelectualidade, enquanto a produção carolineana surge sob a mesma marginalização sofrida pela autora. Em suma, por meio das análises, percebe-se que a mulher no texto de Clarice Lispector pode não se livrar inteiramente da dominação social e cultural que por séculos a tem perseguido, contudo, começa a ter um pequeno direito sobre seu corpo e a refletir sobre seus desejos. Embora em solo mais árido, é no mesmo sentido emancipatório que caminha Carolina Maria de Jesus, a qual, sob o preconceito de ser mulher, sem marido, sem escolaridade, sem dinheiro nem profissionalização, realiza o sonho de se tornar escritora e abre espaço para que outras vozes, subalternizadas como a sua, sejam ouvidas e consideradas no espaço social e literário.

L'identité constitue une des notions-clés des littératures africaines. Elle prend une résonance particulière chez Senghor et chez Ken Bugul ainsi que chez beaucoup d’écrivains sénégalais. Elle permet d’établir une passerelle épistémologique avec le corps. Ainsi, les discours sur le corps aident à comprendre les enjeux identitaires qui animent la tension dramatique des structures narratives. Par exemple chez Cheikh Hamidou Kane, le corps devient le motif d'une appréhension métaphysique de l'"esse". Dans les autobiographies de Ken Bugul, l’affirmation identitaire du Moi féminin relève tout simplement d’un caractère existentiel, surtout à un moment où les littératures sont marquées par les conflits de genres. Cependant, l’on convient que le débat sur l’identité et le corps a son importance dans le saisissement de la psychologie du personnage. Il a aussi son importance dans le conditionnement du sens, celui à travers lequel la société révèle ses vices tout comme ses vertus. C’est pourquoi d’ailleurs chez Sembène, Abasse Ndione, Sanou Lô, Marouba Fall, Seydi Sow ou encore El Hadji Momar Sambe, la résonance sociale du discours littéraire aide à rétablir les parcelles de sens auxquelles renvoie toute écriture du corps. Telle est l’ambition de cette thèse qui s’est voulue avant tout un échange comparatiste entre des textes dont la richesse est à rechercher dans leur proximité thématique. / Identity constitutes one of the fundamental themes of African literature. It takes on a resonance in the writing of Senghor and Ken Bugul as well as in the writing of many Senegalese writing. It allows the establishment of an epistemological footbridge with the body. Therefore, the discourses about the body help to understand what is at stake concerning identity which livens up the dramatic tension of the narrative structures. For example, in the work of Cheikh Hamidou Kane, the body becomes the motive for a metaphysical apprehension of the "esse". In Ken Bugul’s autobiographies, the affirmation of identity of the feminine "Me" refers to the existential condition, especially when the literatures show the conflicts of gender. However, we agree that the debate on identity and the body has its importance in the understanding in the psychology of the character. It also has its importance in the construction of meaning, through which society reveals its vices and virtues. Moreover, that is why in the works of Sembene, Abasse Ndione, Sanou Lô, Marouba Fall, Seydi Sow or still El Hadji Momar Sambe, the social implication of literary discourse fragments of meaning to which all writing about the body refers. The ambition of this thesis is to construct a comparative exchange between their richness of meaning.

Ce projet de maîtrise portera sur le Journal intime (1984) de Nicole Brossard, une œuvre singulière et peu connue de cette autrice majeure de la littérature féministe québécoise. Dans Journal intime, deux mécanismes animent le texte : la construction d'un sujet féminin écrivant et l'édification d'une communauté d'écrivaines sororales autour de la diariste. En brossant un portrait historique et esthétique de « l'écriture au féminin » (Boisclair, 1984 ; Lamy, 1984 ; Smart, 1988), j'examinerai la façon dont Journal intime s'inscrit dans l'œuvre de Brossard et, plus largement, dans le paysage littéraire et féministe québécois. En m'appuyant sur des notions de la poétique des genres (Auger, 2017 ; Hébert, 1983) et sur l'histoire des pratiques du journal intime au féminin (Didier, 1976 ; Roey- Roux, 1983), j'étudierai la façon dont Brossard utilise ou détourne les codes génériques et les pratiques conventionnelles du genre diaristique pour se construire une identité de sujet féminin écrivant, afin de transmettre son expérience sensible du monde. Je m'intéresserai également, à partir des notions de liminarité (Biron, 2000) et de sororité (Delaume, 2019 ; Ledoux-Beaugrand, 2013) à la manière dont se constitue dans le Journal intime une communauté de créatrices, basée sur la solidarité littéraire, artistique et politique. Dans une visée féministe, Brossard inscrit sa pratique d'écriture dans ce que Lori Saint- Martin appelle le « métaféminisme », mouvement des années 1980 au Québec, particulièrement en littérature, qui se propose de « réécrire les métarécits patriarcaux » (Saint-Martin, 1992). J'avance l'hypothèse qu'en construisant une communauté de femmes et une filiation intellectuelle horizontale (Biron, 2000) plutôt que verticale, Brossard participe à la réécriture des métarécits patriarcaux de la société québécoise en y inscrivant un récit collectif féminin, voire féministe, à la fois individuel et collectif, ancré dans cette communauté intellectuelle féminine. Il s'agira de montrer comment, dans le journal de Brossard, l'individuel peut s'allier à la communauté, comment l'intime peut servir de tremplin vers le collectif et le social, afin de comprendre ce que cette ouverture implique pour le « féminin » et les « femmes » dans la société québécoise. / This master's thesis will focus on Nicole Brossard's Journal Intime (1984), a singular and little-known work by this major author of Quebec feminist literature. In Journal Intime, two mechanisms animate the text: the construction of a female subject and the building of a community of sororal writers around the diarist. By painting a historical and aesthetic portrait of “feminine writing” (Boisclair, 1984; Lamy, 1984; Smart, 1988), I will examine how Journal Intime fits into the work of Brossard and, more broadly, into the literary and feminist landscape of Quebec. Based on notions of genre poetics (Auger, 2017; Hébert, 1983) and on the history of feminine diary practices (Didier, 1976; Roey-Roux, 1983), I will study the way Brossard uses or diverts the generic codes and conventional practices of the diaristic genre to build an identity as a female subject writing, in order to transmit her sensitive experience of the world. I will also be interested, based on the notions of liminarity (Biron, 2000) and sisterhood (Delaume, 2019; Ledoux-Beaugrand, 2013), in the way in which a community of creators is constituted in the Journal Intime, based on literary, artistic and political solidarity. In a feminist perspective, Brossard inscribes her writing practice in what Lori Saint- Martin calls “metafeminism”, a movement of the 1980s in Quebec, particularly in literature, which proposes to “rewrite patriarchal meta-narratives” (Saint-Martin, 1992). I put forward the hypothesis that by building a community of women and a horizontal (Biron, 2000) rather than vertical intellectual filiation, Brossard participates in the rewriting of the patriarchal meta-narratives of Quebec society by inscribing a collective feminine, even a feminist narrative, both individual and collective, rooted in this female intellectual community. The aim will be to show how, in Brossard's Journal intime, how the individual can unite with the community, how the intimate can serve as a springboard towards the collective and the social, in order to understand what this openness implies for the “feminine” and “women” in Quebec society.