"Trilogia da tortura": mulheres e seus discursos nos romances de Heloneida Studart

• Ano de defesa: 2021
• Autor(a) principal: Madruga, Beatriz Mendes e
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal do Rio Grande do Norte; Brasil; UFRN; PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DA LINGUAGEM
• Palavras-chave em Português: Heloneida Studart; Trilogia da tortura; Ditadura; Literatura; Feminino
• Link de acesso: https://repositorio.ufrn.br/handle/123456789/45670

Between the 1970’s and 1980’s, writer and journalist Heloneida Studart published, among other works, three novels which she called “torture Trilogy”: O pardal é um pássaro azul (1975), O estandarte da agonia (1981), O torturador em romaria (1985). In these novels Studart tells of everyday lives against the backdrop of the Brazilian civil-military dictatorship. All three works grant protagonism to female figures; the first two are first-person narratives by the respective protagonists. The third book is narrated by a torturer who reminisces about different moments during the torture of political prisoners while planning a new present and future path for himself. The analysis of this trilogy made possible for us to point out different nuances around the female figures, which lead to an analysis mediated by two key guidelines: the discourses women say to one another through direct dialogue; and the female protagonist’s evolution throughout the plot. In order to support such analysis and to broaden our understanding, we resorted to the Bakhtin Circle’s theory with regards to methodological guidelines and concepts of discourse and language pertaining to Bakhtin (2015, 2016, 2017) and Medviédev (2012), mainly. In addition to Bakhtinian ideas, authors like Saffioti (2013, 2015), Butler (2017), Cisne (2012), hooks (2019), and Beauvoir (1980) support the analyses of such discourses and, above all, of the women characters. These analyses will be driven by detailing the plots in fortuitous, clarifying transcriptions. The conclusion of these analyses makes us notice two apparently opposite movements generated by the two key guidelines: direct speeches with conservative ideas whose direction is toward the stagnation of the female figure’s independence in society; and the evolution of female characters that shows the opposite path, the building up of independence, autonomy, and fearlessness. This apparent contradiction illustrates the female and feminist movement at that period and updates it, revealing the tension of discrepant forces that society still faces regarding female independence and women representations.