Residualidade e imaginário sobre o grotesco feminino em cordéis de metamorfose

Abstract

In this thesis are investigated the metamorphosis string books in which the main character is a woman transformed into animal or other being. The objective is to examine how the feminine imaginary is organized and constructed in the corpus under analysis, in its residual aspects. The study develops according to the following order: first the analysis of the thematic of metamorphosis in the literature is carried out; then we study the grotesque that arose before and from transmutation; finally, an analysis of the grotesque of the metamorphosed female character is made. The first aspect is approached from a perspective centered on the metamorphosis of women in some literary works produced in Antiquity and Contemporaneity, and also in the reasons why this phenomenon happens. Then the grotesque is examined in the light of its main theorists (Victor Hugo, Mikhail Bakhtin and Wolfgang Kayser) and from confrontation with similar terms such as the unusual, the abnormal and the comic. In the last topic, the analysis gives us an account of the construction of the feminine imaginary presented in the metamorphosis string books, through studies on the transgression perpetrated by the female profiles, the symbology of the animal and the eroticized body of the woman. The string books part of this thesis corpus were written between the first half of the twentieth century and the first decade of the twenty-first century. The study is based on the Theory of Residuality systematized by Roberto Pontes and applied by researchers of the Group of Studies of literary and cultural residency - GERLIC, Poetry Insubmissa Afrobrasilusa (1999), Residuality within the reach of all (2015) and Residuality and Intertemporality (2017). This examination is also based on the theoretical foundations of feminine, body and eroticism elaborated by Georges Duby, Michelle Perrot, Jacques Le Goff, Valéria Fabrizi Pires and Octavio Paz. This work also shows the presence of residues of the feminine imaginary of distant and distinct epochs, especially the medieval, in the contemporary metamorphosis cordel. Based on the analysis carried out, it is concluded that from this new ways of thinking the feminine arise. The text also intends to emerge provocations around the questions raised leading the reader to see and understand the complexity of this issue as well as the constant need to bring it to the center of academic discussions. Thus, a new imaginary is constructed, made possible by the dialogue, sometimes not peaceful, of the crystallized residual present with the remnant past.