Incursões em escrita de mulheres: representações da pária em Carmen da Silva e Patrícia Galvão

Abstract

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.