De Blimunda a Maria de Magdala e Lilith: a singularização da configuração discursiva sobre o simulacro feminino no Projeto Literário Saramaguiano

Abstract

This study aims to analyze the euphoric discursive configuration of female performance inside the discourse of Saramago, considering as corpus the novels “Baltasar and Bimunda” (1982), “The gospel according to Jesus Christ” (1991) and “Caim” (2009) Considered a great exponent of the global literary scene, José de Sousa Saramago produced works marked by a persuasive act aimed at giving voice to those who are socially oppressed, amongst those, women. Thus, it is noticeable in his texts a thematic-figurative reconstruction that surrounds the female universe, making it so that the woman is no longer presented as a simulacrum of a secondary and passive subject but instead becomes a strong, independent, intelligent and empowered actor who seeks to break chains and social standards. In this way, by performing a brief recap of the theoretical foundations coming from Discursive Semiotics, based on Greimas (1975, 1976), Barros (1988, 1997), Bertrand (2003), Pietroforte (2008) and Fiorin (2016), it is observed that the euphoric female recurrence in Saramagos’s texts is fruit of a literary project of the author, who finds in Blimunda, Mary of Magdala and Lilith a feminine triad of actualization over a feminine simulacrum, thus resulting in the construction of a discursive configuration of feminine appreciation. Furthermore, our research notes that in Mary of Madgala and Lilith there is the synthesis of this discursive configuration, made possible, above all, by the parodic resource of intertextuality – Bakhtin (1992, 2004), Kristeva (1974), Barthes (2002), Fiorin (1994, 2011).