Name: CAROLINE BARBOSA FARIA FERREIRA
Publication date: 11/11/2019
Advisor:
Name |
Role |
|---|---|
| PAULA REGINA SIEGA | Advisor * |
Examining board:
| Name |
Role |
|---|---|
| ESTER ABREU VIEIRA DE OLIVEIRA | Internal Examiner * |
| FABÍOLA SIMÃO PADILHA TREFZGER | Internal Alternate * |
| GILVAN VENTURA DA SILVA | External Examiner * |
| PAULA REGINA SIEGA | Advisor * |
Summary: According to Chartier (1990, p. 17), in different places and moments, a certain social reality is
constructed, thought and given to read differently. Representations of the social world are by
no means neutral discourses, but they do produce strategies and practices that tend to impose
authority in order to legitimize a reform project or justify their choices and conduct. The
literary text is not a mirror, cannot be read literally, but, by its likelihood, carries aspects of
the real world, presenting characteristics of the society it represents. Fiction, therefore, is not
the reverse of the real, but another way of grasping it. Therefore, this work aims to analyze
the representation of women in two comedies by Carlo Goldoni, XVIII century Italian
theatrologist. Goldoni's comedy makes a painting of everyday social paintings in Venice, in a
context of profound social transformations, and therefore can be used as a source of
knowledge of this society. Because there are many representations of women in the
Goldonian theater, we will analyze the character Mirandolina, from the play La locandiera
(1752), seductive woman, who manipulates the men around her, because all her pleasure was
to be served, desired and adored; and the character Betina of La putta onorata, a poor and
honorable young woman who struggles to preserve her chastity / reputation and to marry the
young man she loves.
