“Se eu não escrever eu sufoco”: escrita feminina de Lindanor Celina

• Ano de defesa: 2024
• Autor(a) principal: Souza, Paula Fernanda Pinheiro
• Orientador(a): Rodrigues, Raquel Terezinha
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de São Carlos; Câmpus São Carlos
• Programa de Pós-Graduação: Programa de Pós-Graduação em Estudos de Literatura - PPGLit
• Palavras-chave em Português: Lindanor Celina; Escrita feminina; Mulheres amazônidas; Feminismos plurais
• Palavras-chave em Inglês: Male writing; Amazonian women; Plural feminisms
• Palavras-chave em Espanhol: Escritura femenina; Mujeres amazónicas; Feminismos plurales
• Área do conhecimento CNPq: LINGUISTICA, LETRAS E ARTES::LETRAS::LITERATURA BRASILEIRA
• Link de acesso: https://repositorio.ufscar.br/handle/20.500.14289/20904

This text analyzes the female writing of Lindanor Celina (1917-2003) in the works "Menina que vem de Itaiara" (1963), "Estradas do tempo-foi" (1971), and "Eram seis assinalados" (1994). Through a reading methodologically proposed by Schwarz (2006), we understand that the trilogy narrates much more than the formation of the character Irene in the 1930s and 1940s and the gender issues that we women share. Moving to a third level of reading, we find that the novels depict critical traces of the non-homogeneity of being a woman and, consequently, in women's struggles, especially regarding issues neglected to this day by so-called universal feminism, namely the different forms of oppression that a woman can suffer due to her female condition linked to intersections such as class, race, sexual orientation, geopolitics, among other aspects, as highlighted by feminist intellectuals like bell hooks (2019), Lélia Gonzalez (2020), Maria Lugones (2020), and others. Lindanor Celina's female writing, by portraying gender issues experienced by a diversity of women: poor (white and black), black, homosexual, and riverside women, allows for reflection on the mistaken idea that the feminist struggle occurred singularly, as it highlights how women did not walk side by side in the fight against patriarchy; after all, as Gonzalez (2020) reminds us, while white women fought for education, the right to vote, and work outside the home, black women took care of the homes and children of bourgeois women. By weaving her literary aesthetics from the standpoint of an Amazonian woman, geographically marginalized from the south, southeast, and central-west of the country, and by creating characters that depict gender problems unique to non-privileged groups, Lindanor Celina's writing presents its plural feminist power, as it does not succumb to colonialist tendencies that attempt to silence strategically marginalized voices.