Made available in DSpace on 2017-07-10T18:56:07Z (GMT). No. of bitstreams: 1 ELENI_TA.pdf: 6379839 bytes, checksum: ffb41203b6dc361310a2403cf7d37b74 (MD5) Previous issue date: 2016-08-18 / The research presented here focuses on reflections and analyses about woman‟s image according to the literary works of Julia Lopes de Almeida. It aimed at recalling woman‟s image from the nineteenth century in transition to the twentieth one, based on the following works: the brides‟ book (1896), Ladies and maidens‟ book (1906) and The intruder (1908). They were written by Julia Lopes de Almeida to understand the present‟s relationship with memory and past, consequently perceive that a new look can print new features to this story. This is a bibliographic research that is supported by authors who treat image, literature, history, memory and fiction, such as Benjamin (1989; 1994), Yates (2007), Ginzburg (1999, 2001), Assmann (2011), Guattari and Rolnik (1986), Needell (1993), Thompson (1998) Gagnebin (2005), Le Goff (1996), White (2001), Burke (1992), Halbwachs (1990) and Stallybrass (2008). This research also had access to the author's personal collection. As an investigation result, we can assure that Julia Lopes narratives provided elements to capture the different images of a woman, which are present on social life regarding the transition from the nineteenth to the twentieth century: a housewife, a bourgeois woman, a professional woman, a mother and devoted wife, as well as the woman in the convent. It was observed that there is not a single image of woman, but all women, somehow, are free to play her own role although, at the same time, they are trapped in social conventions. It concerns about a woman that has been idealized by the author from her experiences, in interaction of her subjectivities with singularities, and also asa social impersonation of the period / A pesquisa ora apresentada focalizou-se em reflexões e análises acerca da imagem da mulher nas obras de Julia Lopes de Almeida. Buscou-se rememorar a imagem da mulher do século XIX, na transição para o século XX, nas obras Livro das noivas (1896), Livro das donas e donzelas (1906) e A intrusa (1908), de Julia Lopes de Almeida, a fim de compreender a relação do presente com a memória e com o passado, entendendo que um novo olhar pode imprimir novos traços para essa história. Trata-se de uma pesquisa de cunho bibliográfico que se ancorou nos autores que tratam da imagem, literatura, história, memória e da ficção, tais como Benjamin (1989; 1994), Yates (2007), Ginzburg (1999; 2001), Assmann (2011), Guattari e Rolnik (1986), Needell (1993), Thompson (1998), Gagnebin (2005), Le Goff (1996), White (2001), Burke (1992), além de Halbwachs (1990) e Stallybrass (2008). A pesquisa contou também com o acesso ao acervo pessoal da autora. Como resultado de investigação, podemos afirmar que as narrativas de Julia Lopes forneceram elementos para captarmos as diversas imagens de mulher, presentes na vida social do século XIX na passagem para o século XX: a mulher dona de casa, a mulher burguesa, a mulher profissional, a mulher mãe e esposa dedicada, a mulher no convento. Foi possível perceber que não há uma única imagem de mulher, porém, todas as mulheres, de alguma forma, são livres para desempenhar cada qual o seu papel e, ao mesmo tempo, presas em convenções sociais. Trata-se de uma mulher apresentada pela autora a partir de suas experiências e vivências, na interação de suas subjetividades com as singularidades, também como uma representação social do período.

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No. of bitstreams: 1 costruba_da_dr_assis.pdf: 3693870 bytes, checksum: 18a65596780ddb7ccf1e87709a5d2eef (MD5) Previous issue date: 2017-12-01 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O objetivo desta pesquisa é analisar a trajetória feminista de Júlia Lopes de Almeida no complexo cenário de luta pela emancipação da mulher, na virada do século XIX até o início da década de 1930. A escritora, não raro, foi caracterizada pela cordialidade e afabilidade de suas posturas, ao julgar pela sua atitude de não confronto ao status quo. Por pertencer a um grupo de mulheres letradas e ricas, na condição de filhas, esposas, mães de homens poderosos, que integravam altas esferas políticas, conquistou crescente aceitação e reconhecimento social, ensejo dedicado a alargar e tencionar os limites do feminino, radicalizando seu pensamento e atitudes de maneira progressiva. A trajetória de manifestações dessas mulheres de elite, entretanto, originou-se na década de 1830. No decorrer de tal século, de ações isoladas de diferentes protagonistas ou grupo de mulheres que reivindicaram o direito à instrução e ao trabalho, passou-se no século seguinte à criação de instituições que acarretaram, em meio a ações de um novo tipo de filantropia a um incipiente e organizado movimento feminista. Este contou com a liderança de figuras que marcaram a cena política e cultural do país. Neste cenário de luta pela independência, pelo trabalho, pelo divórcio e pelo sufrágio feminino, pode-se destacar a escritora Júlia Lopes de Almeida (1862-1934), que fazia parte de um grupo que se empenhou pelo ―progresso‖ da mulher brasileira. Cabe destacar, que outra vertente do movimento contava com mulheres de camadas sociais mais pobres, cuja educação ocorrera muitas vezes pelo autodidatismo, mas que também encontraram mecanismos para proporem suas pautas. Dessa forma, no que diz respeito ao suporte teórico-metodológico dessa pesquisa, de acordo com Joan W. Scott, essas mulheres sufragistas, as cidadãs paradoxais, podem ser interpretadas como arenas, tendo em vista os embates políticos e culturais que enfrentavam, bem como as múltiplas maneiras pelas quais essas mulheres se construíram como ―atores históricos‖. Além de Scott, Jean-François Sirinelli elucidou a importância de se verificar as estruturas elementares do microcosmo social, ambiente profícuo para analisar o movimento de ideias, a fermentação intelectual e o debate de profusões e convicções. Cumpre lembrar, ainda, que a escritora Júlia Lopes de Almeida, além do envolvimento na área intelectual, utilizou-se dessa profissão para promover eventos beneficentes, oportunidade que viajou o país com sua literatura e sua política de cuidados aos mais necessitados. Mais do que isso, na companhia de seu marido, o poeta Filinto de Almeida (1857-1945), Júlia Lopes realizou nas dependências do ―Salão Verde‖, espaço localizado na casa da família no bairro de Santa Tereza, eventos de caridade, encenação de peças teatrais autorais e concertos musicais. Em tal espaço também discutiu-se sobre as ideias e movimentos literários no Brasil, oportunidade em que a escritora divulgou suas ideias e valores sobre o papel das mulheres na sociedade brasileira. / The objective of this research is to analyze the feminist trajectory of Júlia Lopes de Almeida in the complex scenario of the struggle for the emancipation of women, in the turn of the nineteenth century until the beginning of the 1930s. The writer was often characterized by the cordiality and affability of their positions, judging by their attitude of non-confrontation with the status quo. Because they belonged to a group of literate and wealthy women, as daughters, wives, mothers of powerful men, who integrated high political spheres, they gained increasing acceptance and social recognition, an opportunity dedicated to extending and intending the limits of the feminine, radicalizing their thinking and attitudes in a progressive way. The trajectory of manifestations of these elite women, however, originated in the 1830s. In the course of that century, of isolated actions of different protagonists or group of women who demanded the right to education and to work, it happened in the century following the creation of institutions that entailed, in the midst of actions of a new type of philanthropy in which they were involved, in an incipient and organized feminist movement. This one counted on the leadership of figures who marked the political and cultural scene of the country. In this scenario of struggle for independence, work, divorce and female suffrage, we can highlight the writer Júlia Lopes de Almeida (1862-1934), who was part of a group that worked for the "progress" of Brazilian women. It should be noted that another aspect of the movement had women from the poorer social strata, whose education had often occurred through self-education, but also found mechanisms to propose their guidelines. Thus, with regard to the theoretical-methodological support of this research, according to Joan W. Scott, these suffragette women, the paradoxical citizens, can be interpreted as arenas, in view of the political and cultural struggles they faced, as well as the multiple ways in which these women have built themselves up as "historical actors." In addition to Scott, Jean-François Sirinelli elucidated the importance of verifying the elemental structures of the social microcosm, a profitable environment for analyzing the movement of ideas, intellectual ferment and the debate of profusion and conviction. It should also be remembered that the writer Júlia Lopes de Almeida, besides the involvement in the intellectual area, used this profession to promote charitable events, an opportunity that traveled the country with its literature and its care policy to those most in need. More than that, in the company of her husband, the poet Filinto de Almeida (1857- 1945), Júlia Lopes held in the dependencies of the "Green Room", space located in the family home in the neighborhood of Santa Tereza, charity events, staged theatrical plays, was the scene of musical concerts, discussions about ideas and literary movements in Brazil, as well as a favorable space for the writer to disseminate her ideas and values about the role of women in Brazilian society.

My dissertation, Feminine Subjectivity and Discourses of Modernity in Puerto Rico and Brazil (19th and 20th century), explores the construction of modern feminine subjectivities during the social, cultural and industrial modernization of Puerto Rico and Brazil throughout the 19th century. With this investigation I analyze, from the perspective of gender studies and recent analyses of modernity, the construction of the idea of "woman" that derived from marginal discourses focused on notions of progress. For this purpose, I will analyze the works of the following writers from Puerto Rico: Alejandro Tapia y Rivera (1826-1882) and Ana Roqué de Duprey (1853-1933), and from Brazil: Joaquim M. Machado de Assis (1839-1908) and Julia Lopes de Almeida (1862-1934). Studying these writers and their literary production, I will be able to contribute to current debates on how modernization generates new forms of feminine subjectivity. Moreover, these new forms rearrange and transform the process of modernization from a feminine perspective. This approach is essential to the understanding of the cultural production of the modern woman within one of the more complex periods of Latin America's history. In the first part of the dissertation, I explore the novels of Tapia y Rivera and Machado de Assis. These writers present different aspects of spiritualism regarding women. With the work of these two male intellectuals, I will focus on how spiritualism influences femininity while simultaneously participating in new economic forms. In the second part, with the novels of Roqué de Duprey and Lopes de Almeida, I study the dynamics between rural and urban zones and how this impacts the configuration of gender. As a result of these processes of modernization, a modern feminine subjectivity emerged, yet it was one that did not necessarily share the new social and cultural ideals of progress. On the contrary, this subjectivity combined traditional cultural patterns with new ones. This contradiction generates different visions of modernity than that proposed by intellectuals and politicians. This shows how, in Puerto Rico and Brazil, the role of women in modernity allows for new interpretations in this period of crisis and national changes. / text