O imaginário, a morte e o feminino: representações irreais na obra literária tocantinense “O canto da carpideira”

Abstract

This investigation analyzes the novel “O Canto da Carpideira” by Tocantinense writer Lucelita Maria Alves from a perspective that addresses the relationship between literature, history and the imaginary. For that, the configuration of this dissertation is divided into three chapters, which aims to answer: “What are the relations of unreal constructions present in the imaginary, in the ritualistic mortuary processes, as well as for the construction of historical aspects of a stereotype intended for the feminine? ”? The first chapter deals with the conceptualization of the imaginary, defended by Maffesoli (1988,1998a / b, 2001,2005), in which the author points out the importance of the “unreal” elements present in all communities / groups in the construction of what is understood by reality. That means to include the notion of “emotional communities” and the general conception of religion. In dealing with the representation of “reality”, the second chapter goes on to analyze the importance of mortuary rituals as a practical way of consolidating the “truths” that groups build by affirming their identity. In that, there would be present the mythologies and symbolisms that would embody the “unreal” aspects originated in human relations about the understanding of oneself and nature. For that, this study is based on the conception of death and body from Morin (1970) and Rodrigues (1975; 2006). By taking into consideration the symbolisms created by the groups, the third chapter presents how the construction of a defined identity for the feminine develops; that through her, the community decides how women should be represented, and how they will be subordinated, including the sexualization of their bodies for the sake of the "sacred feminine." For that we will be based on the study of Ortner (1979), Gilligan (1982), Vainsencher (1987). We conclude, therefore, that to the extent that all human constructions, however real may be present, the meaning of existing things only make sense when they pass through the 'unreal', which eventually becomes a greater truth within the collective imagination, than the actual itself.