Representações do feminino em La Locandiera e la Putta Onorata, de Carlo Goldoni

• Ano de defesa: 2019
• Autor(a) principal: Ferreira, Caroline Barbosa Faria
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal do Espírito Santo; BR; Doutorado em Letras; Centro de Ciências Humanas e Naturais; UFES; Programa de Pós-Graduação em Letras
• Palavras-chave em Português: Carlo Goldoni; Mulher; Representação; La locandiera; La putta onorata; Woman; Representation; subject.br-rjbn; Letras
• Link de acesso: http://repositorio.ufes.br/handle/10/13447

According to Chartier, in different places and moments, a certain social reality is constructed, thought and given to read differently. Representations of the social world are by no means neutral discourses, but they do produce strategies and practices that tend to impose authority in order to legitimize a reform project or justify their choices and conduct. The literary text is not a mirror, cannot be read literally, but, by its likelihood, carries aspects of the real world, presenting characteristics of the society it represents. Fiction, therefore, is not the reverse of the real, but another way of grasping it. Therefore, this work aims to analyze the representation of women in two comedies by Carlo Goldoni, XVIII century Italian theatrologist. Goldoni's comedy makes a painting of everyday social paintings in Venice, in a context of profound social transformations, and therefore can be used as a source of knowledge of this society. Because there are many representations of women in the Goldonian theater, we will analyze the character Mirandolina, from the play La locandiera (1752), seductive woman, who manipulates the men around her, because all her pleasure was to be served, desired and adored; and the character Betina of La putta onorata, a poor and honorable young woman who struggles to preserve her chastity / reputation and to marry the young man she loves