1,721,009 research outputs found
Maria meu amor… Uma leitura d’<em>A Monja de Lisboa</em> de Agustina Bessa-Luís [Elektronisk resurs]
No full textÉ por considerar que a obra A Monja de Lisboa de Agustina Bessa Luís tem um lugar seminal para a compreensão do conjunto da produção historiográfica da autora, que proponho desenvolver uma reflexão à volta do género biográfico, atentando, mais precisamente, nas implicações do acto de biografar e no seu impacto na imagem do sujeito biografado. As reflexões à volta da identidade de género trazidas pelo método metabiográfico definido por Dhúill, servirá para mostrar como a autora procura questionar as “narrativas de género” oferecidas pelos textos biográficos que ela reinveste para as desconstruir e dar um novo rosto à personagem histórica, Maria da Visitação. As I consider the work A Monja de Lisboa by Agustina Bessa Luís has a seminal place for the understanding of the whole historiographical production of this author, I propose to develop a reflection around the biographical genre, paying especial attention to the implications of the act of biographing and its impact on the image of the biographee. The reflections related to gender identity brought by the metabiographical method defined by Dhúill, will be used to show how the author seeks to question the “gender narratives” offered by the biographical texts she reinvests in her work to deconstruct them and be able to draw a new face for the historical figure, Maria da Visitação.</p
Agustina Bessa-Luís’s Historical Fiction
No full textLorsqu’Agustina Bessa-Luís (1922-) réécrit l’Histoire elle est guidée par la volonté de dénoncer l’absence des femmes dans l’historiographie traditionnelle. Notre lecture envisage la réinscription des femmes dans l’Histoire portugaise, ceci à travers le prisme de la « déconstruction » de son discours. C’est à travers une remise en question de l’objectivité historique, par la subjectivité et la multiplicité des points de vue, ainsi que par un travail intertextuel sur les textes sources révélant qu’ils sont des constructions, que les romans deviennent des métafictions historiographiques postmodernes. Elles élaborent à travers la parodie et l’ambivalence une Histoire carnavalesque, dessinant une image peu commune du Portugal. Ensuite, la romancière oppose à la vision officielle, une histoire au féminin, ceci pour documenter l’expérience et l’identité des femmes dans leurs multiplicités. La question de la mémoire et des jalons inhérents à la condition des femmes révèle un processus de construction identitaire dégageant deux modes d’inscription féminins dans l’Histoire, l’un autorisé, l’autre transgressif. Puis, le principe de la domination masculine est remis en cause à travers la question de la virilité comme un impossible modèle à atteindre. Dans les romans de l’écrivaine, les hommes deviennent des figures ambigües, représentant le désordre et la ruine dans la société hégémonique. Fuyants mais réconciliés, ils reformulent la masculinité et signent la mort du patriarcat. Enfin, sont examinés les derniers fondements régissant la relation homme/femme : la question l’hétérosexualité obligatoire et celle du couple. L’auteure montre la fin de l’altérité radicale entre l’Autre et l’Un, provoquant une ressemblance entre les sexes et remettant en cause la notion même de couple. Ainsi, si elle a démontré au long de son oeuvre que l’on peut être femme et homme de diverses manières, elle soulignera aussi que dans le couple l’union est impossible.When Agustina Bessa-Luís rewrites History she is guided by the will to show the absence of women in History. Our reading will show the reintroduction of women in Portuguese History through the “descontruction” of its discourse. It’s through questioning the historic objectivity, by the variety of points of view and by an intertextual work with written sources, which reveal that they are human constructions, that the novels become postmodern historiographics metafictions. They elaborate through parody and ambivalence en carnival History, giving a different picture of Portugal. Then the novelist contrasts the official History with a Herstory in order to document the feminine experience and identity in all their multiplicities. The question of memory and phases that are inseparable from woman conditions, reveals a process of identical construction, which gives a report of two ways of feminine inscription into History, one authorize, the other transgressive. Then the principle of masculine domination is questioned through the matter of virility as an impossible model to attain. The men become ambiguous figures, who represent the disorder and decay of society. Fleing but reconciled they reform the masculinity and sign the death of patriarchate. Finally, the last foundations that govern the relation the relation between men and women, and the question of obligatory heterosexuality and the couple, are examined. The writer shows the end of radical otherness between the Other and the One which provokes a resemblance between sexes and questions the notion of the couple. Thus, if the author has shown in her novels, that we can be a man and a woman in different ways, she also shows that in a couple the union is impossible
A Quinta Essência de Agustina Bessa-Luís : la saveur aigre-douce de Macao
No full textIn the narrative A Quinta Essência Agustina Bessa-Luís proposes an original reading of the Portuguese postcolonial History, by reinvesting the topics of the intercultural relation and the meeting with the Other. In fact, in the troubled context of April 1974, the character of Jose Carlos Pessanha expatriates towards the East, more precisely towards Macao, one of the last Eastern colonies of the Portuguese colonial Empire. However, the characteristic of this tour of rediscovery of the East is that it makes the destiny of a character in search of himself coincide with the questioning of a country still looking for its own identity. Thus, in this voyage backwards into the Luso-Eastern History, the Author draws the portrait of a Nation-Empire split between the desire of incarnating this “genetic superiority of the Occident” and the fascination for the culture of the Other, symbolizing an “excess of otherness” (B. of Sousa Santos) in the Portuguese identity. Macao, will be the territory of an “entre-deux” and an intercultural circulation, as well as an emblematic ground to the expression of the “ambivalent and hybrid” position (colonizing/colonized) of Portugal in the Occident. As a consequence, the uncomfortable “non-inscription” (J. Gil) and the “nomadism” (Deleuze/Guattari) which characterizes José Carlos Pessanha, would be a reflection of yesterday’s and today’s Lusitanian epopee
A Quinta Essência de Agustina Bessa-Luís : la saveur aigre-douce de Macao [Elektronisk resurs]
No full textIn the narrative A Quinta Essência Agustina Bessa-Luís proposes an original reading of the Portuguese postcolonial History, by reinvesting the topics of the intercultural relation and the meeting with the Other. In fact, in the troubled context of April 1974, the character of Jose Carlos Pessanha expatriates towards the East, more precisely towards Macao, one of the last Eastern colonies of the Portuguese colonial Empire. However, the characteristic of this tour of rediscovery of the East is that it makes the destiny of a character in search of himself coincide with the questioning of a country still looking for its own identity. Thus, in this voyage backwards into the Luso-Eastern History, the Author draws the portrait of a Nation-Empire split between the desire of incarnating this “genetic superiority of the Occident” and the fascination for the culture of the Other, symbolizing an “excess of otherness” (B. of Sousa Santos) in the Portuguese identity. Macao, will be the territory of an “entre-deux” and an intercultural circulation, as well as an emblematic ground to the expression of the “ambivalent and hybrid” position (colonizing/colonized) of Portugal in the Occident. As a consequence, the uncomfortable “non-inscription” (J. Gil) and the “nomadism” (Deleuze/Guattari) which characterizes José Carlos Pessanha, would be a reflection of yesterday’s and today’s Lusitanian epopee.</p
Questions de genre au Portugal : le cas d’Agustina Bessa-Luís
No full textNous nous proposons d’analyser l’impact des questions de genre et des études sur les femmes dans le monde académique portugais et, notamment, dans la littérature portugaise, ceci en nous penchant sur le cas particulier de l’écrivaine : Agustina Bessa-Luís. Nous tenterons de démontrer combien, encore aujourd’hui, les questions soulevées par la théorie du genre ou, plus précisément, par le féminin-féminisme, sont encore frappées par une forme de « doxa culturelle » au Portugal
Questions de genre au Portugal : le cas d'Agustina Bessa-Luís
No full textInternational audienceNous nous proposons d'analyser l'impact des questions de genre et des études sur les femmes dans le monde académique portugais et, notamment, dans la littérature portugaise, ceci en nous penchant sur le cas particulier de l'écrivaine : Agustina Bessa-Luís. Nous tenterons de démontrer combien, encore aujourd'hui, les questions soulevées par la théorie du genre ou, plus précisément, par le féminin-féminisme, sont encore frappées par une forme de « doxa culturelle » au Portugal. Mots-clés : féminisme, genre, littérature portugaise, doxa culturelle Resumo: Propomo-nos aqui analisar o impacto das questões de género e dos estudos sobre as mulheres no mundo académico português e, em particular, na literatura portuguesa, examinando o caso particular da escritora Agustina Bessa Luís. Tentaremos mostrar o quanto, ainda hoje, as questões levantadas pela teoria do género ou, mais precisamente, pelo feminino-feminismo, ainda sofrem de uma forma de «doxa cultural» em Portugal.Propomo-nos aqui analisar o impacto das questões de género e dos estudos sobre as mulheres no mundo académico português e, em particular, na literatura portuguesa, examinando o caso particular da escritora Agustina Bessa Luís. Tentaremos mostrar o quanto, ainda hoje, as questões levantadas pela teoria do género ou, mais precisamente, pelo feminino-feminismo, ainda sofrem de uma forma de «doxa cultural» em Portugal
A "Outra História" de Agustina Bessa-Luís
No full textA escrita de Agustina Bessa-Luís está profundamente marcada pelo “trabalho intertextual”, uma forma de “contestação das grandes narrativas” ligada à “condição pós-moderna do saber” (Lyotard). Assim, a contínua relação de leitura/des-leitura crítica, ambivalente e paródica patente nos seus romances historiográficos, revela certos “conflitos de memória” (Pomian), denunciando ao mesmo tempo uma visão da História como “política do passado” (Hutcheon) “situada do lado da doxa” (Veyne) e cujo discurso reproduz uma ideologia do “mesmo”. Estes elementos constituem a base do questionamento e da “desconstrução” (Derrida) da imagem da Nação que nos propomos analisar na nossa comunicação
Três mulheres com máscara de ferro de Agustina Bessa-Luís: feminismo e subversão [Elektronisk resurs]
No full textPropomo-nos analisar, à luz das teorias de género e Queer, um texto inédito de Agustina Bessa-Luís intitulado Três mulheres com máscara de ferro. A particularidade deste curto texto, sem indicação de género, reside no facto da autora retomar três personagens femininas emblemáticas da sua obra, Quina, Ema e Fanny, transformadas nas estátuas das três graças da Antiguidade, e que, ao retirarem as máscaras e retomarem vida, instauram um diálogo a três. O nosso propósito será mostrar em que medida este texto marca uma manifestação clara, por parte da autora, de um “feminismo subversivo” – problematizando os papéis de género e ultrapassando, a esse nível, o que Isabel Pires de Lima considera ser “cristalizações do feminino”.</p
Mário de Sá Carneiro et les autres au féminin [Elektronisk resurs]
No full textNous nous proposons d’étudier la représentation des femmes dans les poésies réunies dans Poemas Completos et dans le recueil de nouvelles Céu em fogo de Mário de Sá Carneiro, ceci afin de démontrer que les figures du féminin qui s’y inscrivent font écho à l’évolution de la condition féminine surgissant dans les espaces intellectuels et artistiques parisiens de l’époque. En effet, bien que l’œuvre de l’auteur soit fortement marquée par une écriture liée à un « éternel féminin », dont Eve et Salomé seraient les principaux stéréotypes, nous nous demanderons si l’expression récurrente d’une sensualité et d’un érotisme féminins, exacerbés et transgressifs, ne s’accordent pas avec un tournant essentiel pour la condition féminine du début du XXe siècle et dont les prémisses sont annoncés par les œuvres de Valentine de Saint-Point : Manifeste de la femme futuriste et Manifeste futuriste de la luxure.</p
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