Females bodies in Mata doce and A casa de 365 janelas
DOI:
https://doi.org/10.22478/ufpb.1516-1536.2024v26n2.72280Keywords:
Luciany Aparecida, Deolinda Saraiva, Bodies and resistances, Women, Afro-Brazilian LiteratureAbstract
Cultural studies, discussions on gender issues, and feminist criticism have considerably changed theoretical approaches to fictional narratives. Gender-based violence, which has resurfaced, resuming sexist concepts arising from patriarchy, continues to generate physical and psychological consequences and deaths, especially for black, poor, indigenous people and other groups considered minorities. Based on this, we turn our attention to novelists who, in their writing, redefine the authorial role, exploring themes that make us rethink historical moments, spaces, and memories, aspects that lead to new dimensions and expansion of the literary canon. The objective is to analyze the novels Mata Doce (2023), by Luciany Aparecida, and A casa de 365 janelas (2020), by Deolinda Saraiva. We justify the choice of these because they bring characters who represent resistance to oppressive systems. By working with these fictional narratives and their importance for Afro-Brazilian Literature, we bring to light voices that, for centuries, were silenced in bodies that suffered various forms of oppression and prejudice. Thus, through literary art, we discuss practices and conditions that perpetuate violence against various subordinated communities. These are narratives from which one can reflect on a long period of enslavement-slavery of black people, in which these people were denied their time and voice. Therefore, observing female bodies and their resistance leads us to bring to the scene this contemporary writing in which subjects are given voice.
Downloads
References
APARECIDA, Luciany. Mata doce. Rio de Janeiro: Alfaguara, 2023.
APARECIDA, Luciany. Entrevista ao jornal Estado de Minas. https://www.em.com.br/app/noticia/pensar/2023/10/28/interna_pensar,1583289/autora-de-mata-doce-o-brasil-esta-fazendo-analise.shtml.
APARECIDA, Luciany. Ruth Ducaso não existe. 24 jan. 2021. Instagram: luciany Aparecida. Disponível em: https://www.instagram.com/p/CKclF9JlsuQ/?img_index=1. Acesso em: 24 nov. 2023.
DUARTE, Eduardo de Assis. Literatura e afrodescendência. In: Revista Literafro. Belo Horizonte: UFMG, http://www.letras.ufmg.br/literafro/arquivos/artigos/teoricos-conceituais/ArtigoEduardo3literaturaeafrodescendencia.pdf.
GOELLNER, Silvana Vilodre. A educação dos corpos, dos gêneros e das sexualidades e o reconhecimento da diversidade. Cadernos de Formação RBCE, p. 71-83, mar. 2010. Disponível em http://revista.cbce.org.br/index.php/cadernos/article/view/984/556.
GOMES, Camile Loyane. Uma força descomunal: a escrita da resistência em Mata doce. Disponível em <http://www.letras.ufmg.br/literafro/resenhas/ficcao/1846-luciany-aparecida-mata-doce>.
GROSZ, Elizabeth. Corpos reconfigurados. Cadernos Pagu, Campinas, SP, n. 14, p. 45–86, 2015. Disponível em: https://periodicos.sbu.unicamp.br/ojs/index.php/cadpagu/article/view/8635340. Acesso em: 4 jul. 2024.
LOBO, Luíza. Auto retrato de uma pioneira abolicionista. In: Crítica sem juízo. Rio de Janeiro: Francisco Alves, 1993.
TORRES, José William Craveiro; PONTES, Roberto. Resíduos clássicos no Rito Iniciático do Cavaleiro Medieval. In: MONGELLI, Lênia Márcia. (Org.). De cavaleiros e cavalarias: por terras de Europa e Américas. São Paulo: Humanitas, 2012, p. 233-246.
MEDEIROS, Aldinida. Mulheres no romance histórico contemporâneo português. Curitiba: Appris, 2019.
SARAIVA, Deo. A casa de 365 janelas. 2. ed. Rio de Janeiro - Valença: Edição da Autora, 2020.
SOUTO, Stéfane. Aquilombar-se: insurgências negras na gestão cultural contemporânea. Metamorfose, v. 4, n. 4, p. 133-144, jun. 2020.
VIEIRA, Cristina da Costa. A construção da personagem romanesca: processos definidores. Lisboa: Colibri, 2008.
Downloads
Published
Versions
- 2025-05-30 (3)
- 2025-04-19 (2)
- 2025-04-19 (1)
How to Cite
Issue
Section
License
Copyright (c) 2025 Aldinida Medeiros

This work is licensed under a Creative Commons Attribution 4.0 International License.



