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Inventadas no pensamento, projetadas na escrita : aspectos de angélicas e/ou demoníacas personagens femininas
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Este trabalho pretende analisar criticamente certas personagens femininas figuradas a partir de um perfil bifronte ou multifacetado em romances da Literatura Brasileira, do Romantismo ao Modernismo, até a “geração de 30”. Assim, foi selecionado um corpus, restrito, mas representativo, de obras e personagens: Lucíola, em Lucíola (1862), e Til, em Til (1872), de José de Alencar; Lívia, em Ressurreição (1872), Helena, em Helena (1876), de Machado de Assis; Luzia-Homem, em Luzia-Homem (1903), de Domingos Olímpio; Guida, em Dona Guidinha do Poço (1892), de Manoel de Oliveira Paiva; Clara dos Anjos, em Clara dos Anjos (1922), de Lima Barreto; Mana Maria, em Mana Maria (1936), de António de Alcântara Machado; Luísa, em Caetés (1933), Madalena, em S. Bernardo (1934), e Marina, em Angústia (1936), de Graciliano Ramos. Com essa escolha pretende-se, igualmente, a partir do referido recorte, obter mais elementos para uma visão crítica e uma melhor compreensão da complexidade e da problemática de certos romances na Literatura Brasileira, por meio do exame do modo de representação dessas personagens femininas. Nos diversos capítulos da tese será analisado o modo como essas figuras femininas, opacas, notabilizam-se pela presença de uma dualidade e uma ambiguidade discrepante, e sobre elas incide uma série de transformações ao longo do enredo. Neste trabalho, original em sua reunião de textos e configuração de análise, pretendemos demonstrar também que tais figuras consistem, de certo modo, em um privilegiado espelho de uma mentalidade literária a ser formada (e deformada) – projeções de projetos literários. Pretendemos, por último evidenciar como a dualidade marcada e a idealização nuançada são os dois pontos chave que se conservam ao longo dessa história literária, não intactos, porém com a durabilidade suficiente de enraizamento a gerar figuras como se fossem paisagens colidentes.
This work aims to critically analyze certain female characters depicted with bifrontal or multifaceted profiles in Brazilian Literature novels, from Romanticism to Modernism, up to the “Generation of 1930.” Thus we selected a restricted but representative corpus of works and characters: Lucíola, in Lucíola (1862), and Til, in Til (1872), by José de Alencar; Lívia, in Ressurreição (1872), and Helena, in Helena (1876), by Machado de Assis; Luzia- Homem, in Luzia-Homem (1903), by Domingos Olímpio; Guida, in Dona Guidinha do Poço (1892), by Manoel de Oliveira Paiva; Clara dos Anjos, in Clara dos Anjos (1922), by Lima Barreto; Mana Maria, in Mana Maria (1936), by António de Alcântara Machado; Luísa, in Caetés (1933), Madalena, in S. Bernardo (1934), and Marina, in Angústia (1936), by Graciliano Ramos. With this selection, we also aim, through the chosen scope, to gather further elements to develop a critical view and a better understanding of the complexity and issues of certain novels in Brazilian Literature, by examining how these female characters are represented. In the various chapters of this thesis, the manner in which these opaque female figures stand out due to a remarkable duality and striking ambiguity will be analyzed, as well as the series of transformations they undergo throughout their plots. In this work, original in its collection of texts and analytical framework, we also intend to demonstrate that such characters, in a certain way, serve as a privileged mirror of a literary mentality being formed (and deformed) – projections of literary projects. Lastly, we finally aim to highlight how pronounced duality and nuanced idealization are the two key points that persist throughout this literary history; not intact, but with sufficient rooted durability and endurance to give rise to characters as if they were colliding landscapes.
This work aims to critically analyze certain female characters depicted with bifrontal or multifaceted profiles in Brazilian Literature novels, from Romanticism to Modernism, up to the “Generation of 1930.” Thus we selected a restricted but representative corpus of works and characters: Lucíola, in Lucíola (1862), and Til, in Til (1872), by José de Alencar; Lívia, in Ressurreição (1872), and Helena, in Helena (1876), by Machado de Assis; Luzia- Homem, in Luzia-Homem (1903), by Domingos Olímpio; Guida, in Dona Guidinha do Poço (1892), by Manoel de Oliveira Paiva; Clara dos Anjos, in Clara dos Anjos (1922), by Lima Barreto; Mana Maria, in Mana Maria (1936), by António de Alcântara Machado; Luísa, in Caetés (1933), Madalena, in S. Bernardo (1934), and Marina, in Angústia (1936), by Graciliano Ramos. With this selection, we also aim, through the chosen scope, to gather further elements to develop a critical view and a better understanding of the complexity and issues of certain novels in Brazilian Literature, by examining how these female characters are represented. In the various chapters of this thesis, the manner in which these opaque female figures stand out due to a remarkable duality and striking ambiguity will be analyzed, as well as the series of transformations they undergo throughout their plots. In this work, original in its collection of texts and analytical framework, we also intend to demonstrate that such characters, in a certain way, serve as a privileged mirror of a literary mentality being formed (and deformed) – projections of literary projects. Lastly, we finally aim to highlight how pronounced duality and nuanced idealization are the two key points that persist throughout this literary history; not intact, but with sufficient rooted durability and endurance to give rise to characters as if they were colliding landscapes.
Descrição
Doutor em Estudos Portugueses e Românicos no Ramo de Estudos de Literatura e de Cultura na especialidade de Estudos Brasileiros.