Au Maroc, le théâtre comme la situation de la femme n’ont cessé d’évoluer parallèlement, et ce depuis l’indépendance. Alors que pendant le protectorat, le théâtre était un moyen d’expression politique à même de traduire des aspirations nationalistes, il est devenu par la suite un moyen d’expression artistique auquel les hommes de théâtre de l'époque ont voulu donner une identité marocaine en s’inspirant du patrimoine populaire. Va leur succéder une nouvelle génération, consciente des faiblesses du théâtre marocain et des attentes du public. Elle va essayer de bâtir les assises d’une nouvelle écriture et donner un nouvel essor à la pratique théâtrale. Les femmes, quant à elles, et ce, dés les années 50, ont bénéficié de l’accès à l’instruction publique et par là au domaine professionnel. Grâce au travail inlassable du mouvement associatif mené en grande partie par des femmes, notamment dans les années 80, et enfin, par la réforme de 2004 de la Moudawana, la condition féminine a connu de grandes avancées. En conséquence, le statut des femmes a commencé à changer ainsi que leur image sociale. En partant de ces changements socio-politiques et en analysant différentes pièces de théâtre, nous avons essayé d’interroger l’évolution de l’image de la femme. Nous constatons ainsi que la représentation des femmes change selon les styles d’écritures et les époques. Au fil du temps, la palette des rôles féminins s’est diversifiée. Les personnages féminins occupent les premiers rôles, ils sont plus complexes et plus poétiques. Ils sortent du silence et prennent la parole, une parole souvent politique. / In Morocco, the theater and the condition of women have never ceased to evolve side by side, from the independence onwards. While during the Protectorate, theater was a mean to express political views allowing to reveal the nationalist aspirations and question the moroccan identity. It later became a vehicle of artistic expression for theater makers who wanted to give it a native identity by drawing from the popular heritage. They were followed by a new generation of playwrights and directors, aware of the limitations of moroccan theater and of the audience's expectations. They tried to set the ground for a new writing approach and enabled further developments for theater practice. In the 1950's, women gained access to public education and thus to qualified work. Owing a lot to the tireless efforts of numerous associations often led by women, especially in the 1980’s, and because of the 2004 reform of the "Moudawana ", the condition of women has moved forward in Morocco. As a result, the status of women and their social image has started to change. By considering the social and economic changes and by analyzing different plays, we have tried to question the image of women. We also point out that the representation of women varies according to the era and to the style of writing. As a result, as time passes, the choices and range of feminine roles in the theater have become wider and more diversified. The feminine characters are now seen in major roles which are more complex and more poetic. Women, in both public and theatrical life, have taken “the floor” to speak... often politically.

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.