Orientador: Maria Dolores Aybar Ramirez / Resumo: Ao nos decidirmos, inicialmente, por um levantamento arqueológico de mulheres escritoras árabes/muçulmanas para uma escolha posterior de obras que nos levassem a um maior conhecimento dessa literatura, deparamos com a escassez de traduções e publicações no Brasil, em comparação com o grande número existente em outros países, principalmente da Europa e da América do Norte. Acreditamos que isso se deva a maior presença dessas mulheres escritoras em tais continentes, gerando um fascínio pelo exótico, mas também um misto de atração e repulsão, sempre acompanhado de estereótipos, já enraizados pelo orientalismo. No Brasil, no entanto, salvo raras exceções, as editoras voltaram-se quase que exclusivamente para as autobiografias de mulheres que tecem duras críticas aos seus países de origem, às suas leis, à situação e normas de conduta para as mulheres, na maioria restritivas e opressoras, reafirmando uma imagem já impregnada de preconceitos. Vemos assim que a oferta de publicações em nosso país também nos impede uma visão mais abrangente e nos força a ratificar impressões essencialistas que em nada contribuem para o conhecimento e possível fruição da literatura produzida por essas mulheres, agora veladas, inclusive, por questões mercadológicas que camuflam e perpetuam as mesmas visões engessadas. Na tentativa de fugir desses relatos, sempre carregados de perseguição e dor, priorizamos para o nosso estudo o romance Meu nome é Salma, da autora jordaniano-britânica Fadia Faqir pois su... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: When deciding, initially, for an archaeological survey of Arab/Muslim women writers for a later choice of works which would lead us to a greater knowledge of this literature, we faced the scarcity of translations and publications in Brazil, in comparison with the large number which exists in other countries, mainly in Europe and North America. We believe that this is due to the greater presence of these women writers in such continents, creating a fascination with the exotic, but also a mixture of attraction and repulsion, always accompanied by stereotypes, already rooted by Orientalism. In Brazil, however, with a few rare exceptions, publishers turned almost exclusively to the autobiographies of women who harshly criticize their countries of origin, their laws, the situation and rules of conduct for women, most of which are restrictive and oppressive, reaffirming an image already steeped in prejudice. We thus see that the supply of publications in our country also prevents us from taking a more comprehensive view and forces us to ratify essentialist impressions which in no way contribute to the knowledge and possible enjoyment of the literature produced by these women, now veiled, by marketing issues which camouflage and perpetuate the same plastered visions. So as to escape these accounts, always laden with persecution and pain, we prioritized the novel My name is Salma, by the Jordanian-British author Fadia Faqir because her narrative, written in English, involves other di... (Complete abstract click electronic access below) / Mestre

This research work is a detailed feminist reading of the poetry of a selected group of Kurdish women poets which has been written in Sorani Kurdish. The poets come from two different locations, but are originally from Iraqi Kurdistan. A group of them live in the diaspora and the rest are home-based. Thus, it is the study of the Sorani-written poetry produced by Kurdish women poets locally and externally. The study chooses the time extending from 1990 to 2009 as its scope. There are clear reasons for the selection of this time as it stands for the most hectic period when Kurdish women’s poetry flourishes at a fast pace in southern Kurdistan. The study argues that the liberation of southern Kurdistan in 1991 from the overthrown Iraqi Ba’th regime plays a vital role in the productive reemergence of Kurdish women’s poetry after decades of silence and suppression being inflicted by the male-dominated Kurdish literature. Reliance on Anglo-American feminist criticism, Showalter’s gynocritics and some limited theories about the relation between gender and nationalism for the thematic analysis of the poetry of Kurdish women poets is another influential aspect of this study. The study justifies the importance of these theories for giving Kurdish women’s poetry the literary and social value it deserves and placing it within the larger repertoire of Kurdish literature. It is these theories that reveal the misjudgment and misapprehension of Kurdish women’s poetry by Kurdish male critics. Meanwhile, an extensive thematic analysis of the poetry of diasporic and home Kurdish women poets forms the core content of this work. The work studies the poetic texts of seventeen Kurdish women poets, seven from the diaspora, and ten from home. The themes to be focused on significantly represent the life realities of Kurdish women and the attitudes of Kurdish society towards their rights and existence. Through the exposition of the themes, this study aims to present a realistic picture of Kurdish women and urge for actions required to guarantee gender justice in southern Kurdistan. The themes symbolise a long-term war waged jointly by Kurdish women poets at home and in exile against the classic Kurdish patriarchy and its misogynistic laws. They reflect the injustice committed against women in a century when the respect of women’s rights have taken big steps forward elsewhere and should theoretically be ensured. The conclusion the study reaches is an emphasis on the overall condition of Kurdish women’s poetry and the challenges lying ahead of it. It indicates the level of progress Kurdish women’s poetry has made in southern Kurdistan and the role feminist criticism in unison with certain gender theories that criticise the link between women and nation can play in further developing this type of poetry. Moreover, a rather detailed comparison between the thematic structure and form of the poetry of diasporic and home Kurdish women poets is what enriches the conclusion. The influence of exile on diasporic Kurdish women poets and its relation to freedom of expression is also underlined and measured against opposite conditions back at home. Finally, the point where the poets of the two different localities converge is not omitted.

This essay is the result of a close-reading of the male protagonist’s narrative in Jean Rhys’s novel Wide Sargasso Sea (1966). His narrative was examined through an interpretive lens layered with a combination of several critical onsets that form the pillars of Elaine Showalter’s theory of a metaphysical female crescent outside of male consciousness. With a combination of gynocriticism, postcolonial feminism, cultural theory and psychoanalysis, this essay charted the inner expedition of the male protagonist as he travels to the Caribbean and marries his new wife. The findings showed how his inner journey takes him to the borderlands of his consciousness and language. On the other side of the border is the female crescent, the wild zone, where women and wilderness taunt him and hide from him in plain sight. Stretching himself to the limits of his conscious mind, the male protagonist Rochester loses his grip on reality and gets overwhelmed by feelings of fear and anger.