Name: MARISTELA RODRIGUES LOPES
Publication date: 31/07/2023
Examining board:
Name |
Role |
|---|---|
| ELIANE TEREZINHA DO AMARAL CAMPELLO | Examinador Externo |
| JOAO CLAUDIO ARENDT | Examinador Interno |
| MARIA MIRTIS CASER | Presidente |
| MICHELE FREIRE SCHIFFLER | Examinador Interno |
| RICARDO OLIVEIRA DE FREITAS | Examinador Externo |
Summary: From the 1960s onwards, driven by feminist criticism, literature produced by women has
achieved greater visibility in literary studies, which have recovered the legacy of those authors
who are outside the canon. This is the case of Carmen da Silva (1919-1985) and Patrícia Galvão
(1910-1962), whose novels are the object of this thesis, which investigates the representation
of the pariah. Initially, based on the thinking of Flora Tristan (2000; 2015) and Eleni Varikas
(1989; 2014; 2015), the political and aesthetic aspects of this category are discussed, in order
to insert the authors in the field of this discussion. Afterwards, memory, in its performative
character, is considered as a political space of the pariah, which will result in the finding that
memoricide can occur both in the political sphere and in the literary field. Furthermore, the
performativity of the narratives under analysis is also verified. The contributions of Graciela
Ravetti (2002), Diana Taylor (2002), Márcio Seligmann-Silva (2003), Fernando Báez (2010),
Roland Walter (2013), Nelson Werneck Sodré (2010), Jaime Ginzburg (2017), Eurídice
Figueiredo (2017; 2020), among others. Finally, the pariah is investigated in the novels Parque
Industrial (1933), by Patrícia Galvão, Sangue sem Dono (1964) and Fuga em Setembro (1973),
and in the novel “Dalva na rua mar” (1965), by Carmen da Silva. Silva, having as main
theoretical guideline Mikhail Bakhtin (2002; 2006; 2015), with emphasis on the concepts of
heterodiscourse and dialogism. Thus, this thesis results in the defense of the idea that the pariah
has, in the novelistic genre, the privileged locus for her representation and resistance
