archives@tulane.edu / In my thesis entitled “Deslocamentos na narrative contemporânea brasileira de autoria feminina” I argue that the novels and films that make up the corpus of this study break with essentialized constructions about female identities. In general, the works gathered here give prominence to female characters, their family, and their experiences, shifting modes of representation endorsed both by a literary and cinematographic tradition, and by practices of representation in the mass media. Heterogeneous among themselves, the novels and films selected here create symbolic territories where the subjectivity of women—be they black, white, indigenous, Jewish, daughters of political dissidents, or domestic servants—is valued and made visible in a multiplicity of representations and discourses.
My dissertation contains an introduction, four chapters, and a conclusion. The first chapter analyzes how Elvira Vigna’s novel Deixei ele lá e vim (2006) explores contemporary paradigms of transsexuality and homo-affectivity, exposing the arbitrariness of gender roles. The second chapter analyzes Conceição Evaristo’s novel Becos da memória (2006). In this chapter I investigate how the narrator constructs her identity through a quest for the memories of her people, and by doing so she also challenges representations of black women and the fa-vela in literature and popular culture. In the third chapter I analyze the strategies used in the identity construction of indigenous women by the writer Eliane Potiguara in Metade cara, metade máscara (2004). The fourth chapter focuses on the authorial and autobiographical doc-umentaries directed by Sandra Kogut’s Um passaporte húngaro (2001), Petra Costa’s Elena (2014), and Maria Clara Escobar’s Os dias com ele (2012). In this chapter I investigate how the meaning of women’s bodies on-screen is changed through auto-representation and reflex-ivity. In this chapter I also analyze two long features, Anna Muylaerte’s Que horas ela volta? (2015) and Daniela Thomas and Walter Salles’ Linha de passe (2008), and how their main characters (housekeepers and their offspring) negotiate, and occupy spaces traditionally not al-lowed to them.
My dissertation contributes to scholarly debates on authority and authorization pertaining to female authors and filmmakers in Brazil. It highlights how this group of artists reformulated long-established perceptions of representation and participation in the industry, while revealing new narratives with the power to influence signifying practices in contemporary Brazilian culture. / 1 / Angela Moura Rodriguez Mooney
| Identifer | oai:union.ndltd.org:TULANE/oai:http://digitallibrary.tulane.edu/:tulane_119740 |
| Date | January 2020 |
| Contributors | Mooney, Angela Moura Rodriguez (author), Atencio, Rebecca (Thesis advisor), School of Liberal Arts Spanish and Portuguese (Degree granting institution) |
| Publisher | Tulane University |
| Source Sets | Tulane University |
| Language | English |
| Detected Language | English |
| Type | Text |
| Format | electronic, pages: 212 |
| Rights | No embargo, Copyright is in accordance with U.S. Copyright law. |
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