Narrativas-trans-aborteiras: o aborto desde uma perspectiva trans e uma aproximação cuir/queer

Abstract

This thesis is composed of a series of essays that aim to think about abortion beyond the body that gestates. From a transmutation of languages, knowledge, bodies and practices, it analyzes narratives that overflow the meanings attributed to abortion to amplify perspectives of approaches, and compose others with the potential to disarticulate heterocisnormative meanings in relation to practice. Divided into four major sections, it seeks to understand which semantic regimes operate in relation to abortion, linked to gender and sexuality; critically analyze narratives that put in tension definitions assumed about the subject of political agency in this debate, and explore the production of meaning that overflows these definitions, with the creation of other abortion languages and aesthetics. With epistemological subsidies from trans and care/queer studies, trans-abortion-narratives point out crooked and deviant paths to think about abortion beyond the body that gestates and listen to a multiplicity of experiences and memories in a broader sense. From an exercise of negotiation of meanings, adequacy and coherence between theoretical-epistemological subsidies and our interests and research possibilities, we approach topics such as the role of psychology (area of knowledge where this research is inserted) in the production of regimes of truth, as well as the possible connections to approach other ways of feeling and thinking about the practice of abortion. Through a review of the scientific literature on pregnancy and abortion of trans men, we problematize the meanings attributed to the concept of “inclusion”, in dialogue with the “Manual de Servicios de Aborto de Aborto Trans-inclusives: Políticas y Prácticas” (Radi & Elichiry, 2021). With a critical analysis of fragments of the play “El homosexual o la diffiad de expresarse” (2004), whose original French title is “L’ homosexuel ou la difficulté de s’exprimer” (1971), by the French-Argentine artist Copi, we think of a trans-abortion aesthetic, challenging it from the operations of failure, profane artistic practices and the ways of making children. In common, we have that all theoretical sections were built, to some extent, with the help of a logbook, which constituted an important tool for recording the fragments that dialogue with the analyzed narratives.