Na corda bamba do cordel: representações e ressignificações do feminino na produção cordelística

• Ano de defesa: 2020
• Autor(a) principal: Nogueira, Ariadine Maria Lima
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Palavras-chave em Português: Cordel; Crítica Literária Feminista; Gênero
• Link de acesso: http://www.repositorio.ufc.br/handle/riufc/50929

The general objective of this research is to investigate how the woman was represented in Brazil’s cordel literature in the twentieth century, especially in the height of cordelistic production, and how this occurs in contemporaneity taking into account the historical and sociocultural transformations that modified the conditions of literary production and the authorship issue, seeking identify how the discourses which are produced by this instrument, reproduce, encourage and/or antagonize forms of repression extensively imposed on women by the patriarchy tradition. The analysis of the objects will be given in qualitative method — excluding, therefore, quantitative considerations regarding the cordelistic production — and basically from critical-literary, historical, philosophical and sociological assumptions that allow us to verify that substantial information on gender issues, present in these areas of knowledge, can be highlighted. The main corpus of the research was formed, in addition to those used for the theoretical foundation (which will provide, a priori, an analysis of biographical bias) by cordel booklets on which gender relations are latent: taking into account those edited in the peak of the cordelistic industry, and the writings in the contemporary times. We chose, as the most relevant authors for analysis of the cordel text, names such as Leandro Gomes de Barros and João Martins de Athayde — which represents the traditional phase of cordelistic production; and Salete Maria da Silva and Jarid Arraes for working with contemporary issues within this context. To these names were added analyzes of the works of other cordelistas, which are attuned to the themes exposed. It was concluded that the form of representation of women in the twine in the first half of the twentieth century and during the subsequent decades, until approximately 1990, the woman was nonetheless represented subject to a discourse riddled with strong patriarchal contours and therefore with strong traces of misogyny. Although it is true that women still continue to be misogynistically portrayed by cordeis in contemporary times, it has been realized that this fact, within the general context of the current cordelistic landscape, ends up losing strength due to, in particular, to the countless work of female cordelistas with a discourse diametrically opposed to this one, considering that the cordel has also been used as an instrument for claiming several feminist guidelines. We were able to observe, after the whole research process, that not only the position of the woman has been reframed, but also the cordel itself. These are changes of audience, supporters, a near threat of extinction, the resurgence: if there was before a fear that cordel literature would succumb to the pitfalls of time and change, today one can say: cordel lives! Like the woman herself, the booklets, in symbiosis with this, they have been reframed and continue to resist.