Confidências: os ensaios críticos de Kate Chopin
Palavras-chave:
Kate Chopin, Crítica literária, Crítica cultural, FeminismoResumo
Entre os anos de 1894 e 1899, Kate Chopin (1850 – 1904), um dos principais nomes do realismo e do Feminismo estadunidenses, publicou sete breves ensaios críticos em jornais e periódicos, aos quais se pode acrescentar um rascunho intitulado “Confidences” e as duas primeiras entradas de Impressions, seu segundo diário, em um total de nove textos. Esses escritos revelam um refinado espírito crítico, um estilo de escrita franco e cortante, às vezes sarcasticamente impiedoso, e uma leitora contumaz, aspectos que seriam colocados em prática pela crítica feminista expressa nos contos e romances da autora. Apresentar e discutir brevemente tais ensaios são os objetivos deste estudo. Palavras-chave: Kate Chopin. Crítica literária e cultural. Feminismo.
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Referências
CHOPIN, Kate. As You Like It. In: SEYERSTED, Per (ed.). The Complete Works of Kate Chopin. Baton Rouge: Louisiana State University Press, 2006a, p. 706 – 720 (Southern Literary Studies).
_____. Confidences. In: SEYERSTED, Per (ed.). The Complete Works of Kate Chopin. Baton Rouge: Louisiana State University Press, 2006b, p. 700 – 702 (Southern Literary Studies).
_____. ―Crumbling Idols‖ by Hamlin Garland. In: SEYERSTED, Per (ed.). The Complete Works of Kate Chopin. Baton Rouge: Louisiana State University Press, 2006c, p. 693 – 694 (Southern Literary Studies).
_____. Emile Zola‘s ―Lourdes‖. In: SEYERSTED, Per (ed.). The Complete Works of Kate Chopin. Baton Rouge: Louisiana State University Press, 2006d, p. 697 – 699 (Southern Literary Studies).
_____. Impressions. 1894. In: SEYERSTED, Per; TOTH, Emily (ed.). A Kate Chopin Miscellany. Oslo; Natchitoches: Universitetsforlaget; Northwestern State University Press, 1979a, p. 89 – 99.
_____. In the Confidence of a Story-Writer. In: SEYERSTED, Per (ed.). The Complete Works of Kate Chopin. Baton Rouge: Louisiana State University Press, 2006e, p. 703 – 705 (Southern Literary Studies).
_____. On Certain Brisk, Bright Days. In: SEYERSTED, Per (ed.). The Complete Works of Kate Chopin. Baton Rouge (LA): Louisiana State University Press, 2006f, p. 721 – 723 (Southern Literary Studies).
_____. The Real Edwin Booth. In: SEYERSTED, Per (ed.). The Complete Works of Kate Chopin. Baton Rouge: Louisiana State University Press, 2006g, p. 695 – 696 (Southern Literary Studies).
_____. Statement on The Awakening. In: SEYERSTED, Per; TOTH, Emily (ed.). A Kate Chopin Miscellany. Oslo; Natchitoches: Universitetsforlaget; Northwestern State University Press, 1979b, p. 137.
_____. The Western Association of Writers. In: SEYERSTED, Per (ed.). The Complete Works of Kate Chopin. Baton Rouge: Louisiana State University Press, 2006h, p. 691 – 692 (Southern Literary Studies).
GILBERT, Sandra M.; GUBAR, Susan. The Madwoman in the Attic. The Woman Writer and the Nineteenth-Century Literary Imagination. 2. ed. New Haven; London: Yale University Press, 2000.
_____ (ed.). The Norton Anthology of Literature by Women. The Traditions in English. 2. ed. New York; London: W. W. Norton & Company, 1996.
FRIEDAN, Betty. Mística feminina. Trad. Áurea B. Weissenberg. Petrópolis, RJ: Vozes, 1971.
FROM THE CHICAGO TIMES-HERALD (JUNE 1, 1899). In: CHOPIN, Kate. The Awakening. Edited by Margo Culley. 2. ed. New York; London: W. W. Norton & Company, 1994, p. 166 (A Norton Critical Edition).
FROM THE PITTSBURGH LEADER (JULY 8, 1899). In: CHOPIN, Kate. The Awakening. Edited by Margo Culley. 2. ed. New York; London: W. W. Norton & Company, 1994, p. 170 – 172 (A Norton Critical Edition).
HEIDEGGER, Martin. A origem da obra de arte. Trad. Maria da Conceição Costa. Lisboa: Edições 70, 1990.
JOHNSON, Barbara. Writing. In: LENTRICCHIA, Frank; McLAUGHLIN, Thomas (ed.). Critical Terms for Literary Study. 2. ed. Chicago; London: The University of Chicago Press, 1995, p. 39 – 49.
MAY, John R. Local Color in The Awakening. The Southern Review, Baton Rouge: Louisiana State University, v. 6, n. 4, p. 1031 – 1040, Autumn 1970.
TOTH, Emily. Kate Chopin. New York: William Morrow, 1990.
