Performatividade de gênero : a eu lírica na poesia escrita por mulheres

Abstract

This research aims to discuss the feminine poetic performances in a feminist perspective based on the gender performance (BUTLER, 2016), on the lesbian continuum (RICH, 2010) and on the feminine continuum. The research points out the necessity of a non-sexist language in literary criticism to question the idea of a universal human being inscribed into language by the masculine. From this argument the eu lírica is born. I propose that the eu lírica comes to be a literary instrument that highlights a female textual body inside poetry. The necessity of the eu lírica concept exists because in literary criticism it is possible to perceive an assumed identification between the empiric author and the eu lírico (WELLEK, WARREN, 1971; HAMBURGER, 1975; COUTINHO, 1976; PAZ, 1982; MOISÉS, 2012) that always obliterates the implications of an author’s gender for the lyrical voice. It is easy to become aware of the appeal of a supposedly universal poet figure, in Literary Criticism, tied to the masculine syntagma of the “eu lírico”, which would meed the subjective aspects of all human beings (COUTINHO, 1976). Nevertheless, feminist criticism (HOMANS, 1980; SCHMIDT, 1997; WIECHMANN, 2013; SAFIOTTI, 2015; DALCASTAGNÉ, 2017) highlights that this universal corresponds to a certain type of people, who are masculine (WITTIG, 1985). In the first chapter of this thesis I analyze how, in the Portuguese language, the usage of the masculine gender in language as a universal is justified and I point out that this usage of language is part of a phalogocentric and patriarcalist speech that erases the existence of the feminine voice. From this discussion on, I state the necessity of inserting the eu lírica voice as an enunciative voice that indicates the female specificity. In the second chapter, I discuss how feminine identities can be modified according to different feminist approaches and I decide that for this research being woman is a performance (BUTLER, 2016). This discussion leads to my thesis that the eu lírica is a concept that intends to reveal enunciative performances of women in poetry. Therefore, in the third chapter I analyze the discursive performances of the eu lírica in poems by Maria Teresa Horta, Joy Ladin and Mel Duarte from three central axes: a) eu lírica’s performances, b) eu lírica’s body, and c) eu lírica’s languages. Based on the analyses and discussions made throughout the research,. I consider that the implemantation of the eu lírica as an instrument of literary analysis is essential to change literary criticism in order to take into account women, the feminines and other authentic gender identities to the point of not homogenizing the experiences and enunciations of all minorities.