Navegando por Assunto "Patriarchy"

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Acesso aberto (Open Access)
A “despatriarcalização” da diferença sexual em Lacan: Paul B. Preciado e outras vozes
(Universidade Federal do Pará, 2024-07-19) SILVA, Mayara Tibúrcio Cavalcanti da; CHAVES, Ernani Pinheiro; http://lattes.cnpq.br/5741253213910825; https://orcid.org/0000-0002-8988-1910
Starting fro m the effects caused by Paul B. Preciado's speech in “Can the monster speak?”, this dissertation intends to focus on the voices addressed to Lacanian psychoanalysis, critical of sexual binarism and articulated with the decline of patriachal colonial model. In these discussions, the “epistemology of sexual difference” problematized by Preciado is central, in inescapable conjunction with Judith Butler. In addition to providing space for reviewing some readings of this psychoanalysis, we seek to promote the et hical commitment to listening new possibilities, which unite feminists, queers and psychoanalysts, in the proposal to deconstruct the sexual difference and to affirm other possibilities, without dependence on binaries, hierarchies, father or phallus.
Acesso aberto (Open Access)
A personagem Michele da série 3%: ambiguidades, patriacardo e branquitudes na construção do seu perfil
(Universidade Federal do Pará, 2024-05-29) SANTOS, Rayza Carolina Rosa dos; SARMENTO-PANTOJA, Carlos Augusto Nascimento; http://lattes.cnpq.br/3263239932031945; https://orcid.org/0000-0003-0552-4295
In 2008, the children's dystopia The Hunger Games by Suzanne Collins was released, a work that would influence a literary and audiovisual trend of dystopias produced for a mostly young audience, mostly starring women. And in cinema, more specifically, by white women. In this work, it is in this specific context that we analyze the protagonist Michele (Bianca Comparato), from the Brazilian series 3% (2016-2020). We analyzed the construction of its profile, highlighting the marks of patriarchal precepts and their relationships with the representation of resistance movements. The work was chosen because it was the first entirely Brazilian production by the streaming company Netflix and, consequently, because of its wide audience. The series is being studied from its production and launch context – with occasional comparisons with other dystopias and the female profiles of its protagonists – based on feminist gender theories, especially those of bell hooks (2019) and Audre Lorde (2019) and other contemporary authors. Finally, we analyze the work from the perspective of theoretical studies on whiteness and its mechanisms for maintaining power, by authors such as Linda Alcoff (2015), Cida Bento (2022), Lia Vainer (2012) and Françoise Vergès (2019) , because in this study it was possible to notice that audiovisual dystopias starring female and, mainly, white figures, have gained strength in recent years as a trend in productions made for large circulation and commercialization, being marked by representations of less radical resistance. Therefore, the work presented here will seek to highlight that despite the context of representation of resistance, the maintenance of certain aspects of the status quo is still noticeable in the narrative.
Acesso aberto (Open Access)
A roda-viva da corporalidade: vivências e ressignificações dos desejos em "A estória de Lélio e Lina"
(Universidade Federal do Pará, 2021-08-30) RAMOS, Pablo Rossini Pinho; LEAL, Izabela Guimarães Guerra; http://lattes.cnpq.br/2507019514021007
“A estória de Lélio e Lina”, a text originally part of the first volume of Corpo de baile (1956), by Guimarães Rosa (1908-1967), can be read as a narrative interspersed with imagery planes suggestive of the sexual experiences of the characters. Considering this, it is necessary to examine some of the various nuances correlated with corporality, which, in the novel, unfolds in eroticism, in the representation of black women (in which there is the set of sociocultural elements of male oppression over the female body) and in the exercise of sexuality itself. Thus, concerning the first topic mentioned above, as a form of unproductive expenditure, based on the arguments of Bataille (2016; 2017), it is intended to elucidate how occurs the systematic disruption of the interdicts and the violation of laws/taboos (transgression) in the ambiguous and tumultuous relationship between Lélio, the protagonist cowboy, and the young Sinhá-Linda, whose presence-absence permeates the past and present of the wandering backcountry man. Based on the concept of Patriarchy (FREYRE, 2006), this work discusses how some stereotypes associated with black women, such as immoral sex and prostitution, are interlaced in a hinterland full of significations represented in the sensual character Conceição (one of the ‘aunts’). If the intention is to denounce and counter conceptions forged by colonial and patriarchal heritages, contemporary feminist studies that somehow incite other debates around these historically silenced voices will also be opportune, such as bell hooks (2019). And finally, it is presented the theme of sexuality (FREUD, 2016), predisposed and re-enacted in behaviors, acts, and desires of the male and female tensioned in Lélio and his main interlocutor, Rosalina (Lina). Regarding the method followed in this dissertation, the postulates of Hans Robert Jauß (1994; 2002) in the Aesthetics of reception, especially those that deal with basic categories, such as reception, reading and aesthetic experience, are adopted to assist us to engender new investigation possibilities for the central hypothesis of this work: that we are facing particular forms of narration of sensory experiences and sexual activities. In addition to the first section, follow two textual sections, respectively, interpretation of the mentioned narrative and studies of critical reception that dealt with themes related to “A estória de Lélio e Lina”, such as eroticism (REBELLO, 2006; VALENTE, 2011) and tradition and modernity in the hinterland (ROCHA e SILVA, 2010).