Movimentos de identidades marginais em Ciranda de pedra, de Lygia Fagundes Telles, e Todos nós adorávamos caubóis, de Carol Bensimon

Abstract

This research has the aim to investigate in what ways the representation of historically marginalized subjects happens in literary works Ciranda de pedra (1954), by Lygia Fagundes Telles, and Todos nós adorávamos caubóis (2013), by Carol Bensimon. It is a thematic-formal content work since the aim is to analyze the hypothesis of a movement of female homosexual characters, from the margins to the center of the contemporary Brazilian novel structure. Considering it, first a discussion of structural issues of the romance narrative was carried out; Then, several theoretical and critical issues were discussed, regarding the concepts of identity, sexuality, gender identities (in the light of queer theory) and referring to the presence of female homosexuality in Brazilian literature and to a possible gay literature. We analyzed the discursive and formal strategies used in the construction of the identity images of the lesbian characters of the literary researches; who speaks (for them), what and from what place is spoken. The margin-center relation in the field of symbolic domination in the literary representation was problematized and its implications for the construction of the literary works meanings and world images and the subjects which they are constructing. They were pointed out, evidenced and analyzed, from the literary works of Telles and Bensimon, mechanisms which confront or perpetuate exclusion systems of social subjects in the symbolic universe of the literature. The investigation, concerning this topic, also deals with questions such as: What temporal differences in the conceptions of subject, identity and sexuality are evident in the two representations? What changes happen in the characters places of speech, in the work of 1954 and 2013, from their narratological categories, and what historical, social, cultural and literary implications do they result in? Finally, what it means, aesthetically and socially, the supposed marginal character movement to the romance narrative center and what conceptions and empirical changes this displacement may represent? It ends with the comparative analysis of the two literary works, evidencing the differences (and implications) between a literature of representation and another of subjectivation of the homosexual subject.