Banca de QUALIFICAÇÃO: PÂMELA CATARINA RIBEIRO SILVA

Uma banca de QUALIFICAÇÃO de MESTRADO foi cadastrada pelo programa.
STUDENT : PÂMELA CATARINA RIBEIRO SILVA
DATE: 30/09/2026
TIME: 11:00
LOCAL: Auditório 4 - Instituto Ágora
TITLE:

The Images of the Feminine in O Muro de Pedras, by Elisa Lispector: An Analysis from the Perspective of Gender Imagology

KEY WORDS:

Elisa Lispector; literary imagology; stream of consciousness; contemporary Brazilian literature; gender studies.

PAGES: 60
BIG AREA: Lingüística, Letras e Artes
AREA: Letras
SUMMARY:

Intimate Brazilian literature produced by women in the 1960s constitutes a fundamental aesthetic space for the manifestation of subjectivity and resistance to hegemonic gender discourses. The purpose of this dissertation is to understand how the narrative of O muro de pedras (1963), by Elisa Lispector, reflects the influence of the social environment on the constitution of the interiority and identity of the protagonist Marta through the aesthetic representation of her consciousness. It seeks to demonstrate that the stream of consciousness functions as a privileged enunciative locus, in which female imagotypes are mobilized and tensioned before being translated by patriarchal language. To achieve this objective, the research adopts a qualitative and bibliographical-interpretative approach, based on the reading of excerpts from the novel organized into three dimensions of the female condition: 1) desires, wants, and the search for autonomy; 2) motherhood and its demystification; and 3) marriage, relationships, and domestic space. The theoretical-methodological framework articulates the literary imagology of Daniel-Henri Pageaux (1995; 2004; 2011), Joep Leerssen (2007; 2016), Maria João Simões (2011; 2020), and Celeste Ribeiro de Sousa (2004; 2009; 2011) with the gender imagology of Ginette Verstraete (2007) and the theory of performativity and citationality of Judith Butler (1997; 2020). The study also integrates the hermeneutic level grounded in the cultural and feminist critique of Marilena Chaui (2000), Rita Terezinha Schmidt (2000; 2017), Lúcia Helena (1989), Mary Louise Pratt (1994; 1998), Maria Ângela D'Incao (2001), and Lúcia Osana Zolin (2009), alongside the formal level based on Julia Kristeva's semanalysis (1980; 1984), stream of consciousness studies by Robert Humphrey (1976) and Dorrit Cohn (1978), modern novel studies by Anatol Rosenfeld (1976; 1993), and Gérard Genette's narratology (1995). The results show that marital asymmetry, domestic confinement, and the pressures of compulsory motherhood do not stem from individual weaknesses, but portray the absorption of female subjectivity by the patriarchal structures of 1963 Brazil. It is observed that the oscillations of the interior monologue and the syntactic fractures reveal the protagonist's hesitation and suffering in the face of imposed norms. It concludes that the poetics of the stream of consciousness gives aesthetic materiality to repressed female subjectivity, acting as a counter-narrative that challenges the stability of traditional gender imagotypes in the pre-1964 sociocultural horizon.

COMMITTEE MEMBERS:
Interna - 1189557 - DANIELLE GRACE REGO DE ALMEIDA
Interna - 1543253 - KATIA AILY FRANCO DE CAMARGO
Externo à Instituição - FRANCISCO HUMBERLAN ARRUDA DE OLIVEIRA