O milagre das mulheres em Mar morto : uma leitura das personagens femininas precursoras da transgressão de gênero e raça na obra de Jorge Amado.

Abstract

This tesis aims to investigate the construction of female characters in Mar morto (1936) as precursors of the great heroine who transgress oppressive and reductive premises in relation to gender and race in Jorge Amado’s work. To do this, we divided the research into three stages. Firstly, we discuss the main concept related to the figuration of the feminine in its intersections with the categories of race and class based on the ideas of thinkers such as Ângela Davis (2016; 2018), bell hooks (2009; 2018), Carla Cristina Garcia (2011), Lélia Gonzalez (2020), Patrícia Hill Collins (2000, 2016, 2021), Sherry Ortner (1979), Simone de Beauvoir (1967, 1970) e Sueli Carneiro (2003, 2008. 2011, 2020). Next, we revisit the discussion of the critical fortune of Jorge Amado's work in relation to the female characters of previous works - O país do Carnaval (1931), Cacau (1933), Suor (1934) and Jubiabá (1935) - and those subsequent to Mar morto - Capitães de areia (1936), Gabriela, cravo e canela (1958); Dona Flor e seus dois maridos (1967), Tereza Batista, cansada de guerra (1972) e Tieta do Agreste (1977).Among the studies relevant to carrying out this stage, we highlight those by Eduardo Assis Duarte (1997, 2009), David Brookshaw (1983), Fábio Lucas (1997) and Sudha Swarnakar (1998, 2015).In the third chapter, the subversion marks of the characters Dulce, Lívia, Rosa Palmeirão and Esmeralda in Mar Morto are analyzed. Recognizing that the four have different experiences of being a woman, we created two categories: occupied bodies and bodies that occupy spaces. The contributions of bell hooks (2010, 2013, 2018, 2019), Elódia Xavier (2021), Joan Tronto (1997), Lélia Gonzalez (2020) and Simone de Beauvoir (1967, 1970) were significant for this analysis.Finally, we observe how the subversive traits of these characters are intensified in the great heroines.