Nos livros de L. Frank Baum cuja ação se desenvolve na Terra de Oz, as personagens femininas aparecem nas mais diversas funções, de protagonista a vilã, de fada a bruxa, de princesa a general, entre outras, sejam elas humanas, feéricas ou animais, desdobrando-se em diversos papéis e, desse modo, reproduzindo alguns estereótipos e quebrando outros. Diante desse campo fértil, o presente trabalho investiga as formas de representação do feminino empregadas na série, cuja primeira e mais conhecida obra é O Maravilhoso Mágico de Oz. Para tanto, a principal teoria a ser utilizada será a semiótica de linha francesa, com o suporte dos estudos comparatistas e dos estudos de gênero. Averiguamos se os livros da série de Oz trazem inovação na forma de representar o feminino. Como na própria introdução do primeiro livro o autor declarava escrever um conto de fadas moderno, investigou-se ainda a aparente diversidade na forma de manifestar o feminino em relação a outros contos de fada, como os de Charles Perrault e os dos irmãos Grimm. / In L. Frank Baums Oz books, a wide range of roles are performed by female figures: leading character and villain, fairy and witch, princess and general, among others, be they human, fairy or animal, thus reproducing some stereotypes while subverting others. In the face of such a profitable field of study, this dissertation researches female representation throughout the series, whose most renowned book is The Wonderful Wizard of Oz. French semiotics is the main theory underlying our study, aided by gender studies and comparative literature studies. We also sought to ascertain whether the first four books in Baums Oz series innovate in terms of female representation. As the first Oz book introduction asserted it was the authors intention to write a modern fairytale, it was also explored in which ways Oz books represent female characters differently from other fairytales, such as those by Perrault and the Grimm brothers.

Nos livros de L. Frank Baum cuja ação se desenvolve na Terra de Oz, as personagens femininas aparecem nas mais diversas funções, de protagonista a vilã, de fada a bruxa, de princesa a general, entre outras, sejam elas humanas, feéricas ou animais, desdobrando-se em diversos papéis e, desse modo, reproduzindo alguns estereótipos e quebrando outros. Diante desse campo fértil, o presente trabalho investiga as formas de representação do feminino empregadas na série, cuja primeira e mais conhecida obra é O Maravilhoso Mágico de Oz. Para tanto, a principal teoria a ser utilizada será a semiótica de linha francesa, com o suporte dos estudos comparatistas e dos estudos de gênero. Averiguamos se os livros da série de Oz trazem inovação na forma de representar o feminino. Como na própria introdução do primeiro livro o autor declarava escrever um conto de fadas moderno, investigou-se ainda a aparente diversidade na forma de manifestar o feminino em relação a outros contos de fada, como os de Charles Perrault e os dos irmãos Grimm. / In L. Frank Baums Oz books, a wide range of roles are performed by female figures: leading character and villain, fairy and witch, princess and general, among others, be they human, fairy or animal, thus reproducing some stereotypes while subverting others. In the face of such a profitable field of study, this dissertation researches female representation throughout the series, whose most renowned book is The Wonderful Wizard of Oz. French semiotics is the main theory underlying our study, aided by gender studies and comparative literature studies. We also sought to ascertain whether the first four books in Baums Oz series innovate in terms of female representation. As the first Oz book introduction asserted it was the authors intention to write a modern fairytale, it was also explored in which ways Oz books represent female characters differently from other fairytales, such as those by Perrault and the Grimm brothers.

I argue that Guillermo Del Toro is a modern day storyteller, writing his film script as Ovid, The Grimms, or even Baum would pen their tales. I expand the idea of intertextuality to include not only conversations, thoughts, architecture, emotions, bodily activity, sounds, and innumerable other signifiers, but also analyzing the film "inter-imagically." By considering the film in this way it encourages a world conversation that can influence socio-political transformations in our world. I use the stories and images in myth, fairy tale and children's literature to support the importance of agency, agency in regard to finding your own voice, determining your own path and taking action by making choices that can ultimately result in transformations that are not only personal, but political ramifications in the world. In Echo and Narcissus, I explore issues surrounding the self-realization and loss of agency through Ofelia's refusal to follow someone else's path, allowing others to silence her voice or her potential. Using Little Red Riding Hood, I assert that Ofelia is the modern Little Red, refusing to take the path of her mother, defining her own way. Using The Wizard of Oz, I highlight the labyrinth of choice and the determination to return, restore or transform Ofelia's world. I further proclaim Del Toro is a master storyteller along the lines of Ovid, Grimm and Baum and that through his film, he inspires adults to get back in touch with the childhood disobedience and questioning in order to spark a world conversation that just may transform the world around us.