O presente artigo analisa a obra A Gorda (2016) da escritora portuguesa Isabela Figueiredo. Proponho que a narrativa em causa questiona – e, em última instância, subverte – a ideia do corpo feminino enquanto objeto de consumo decretada por uma sociedade na qual a aparência física constitui um dos marcadores identitários fundamentais do sujeito. Defendo igualmente que A Gorda expõe uma sociedade ocidental que, ao ser predominantemente gordofóbica, sentencia o corpo gordo da mulher ao que apelido de corpo-fracasso. Por fim, advogo que o romance analisado se revela um marco incontornável da literatura portuguesa contemporânea, na medida em que alerta o leitor no sentido de uma valorização do indivíduo para além dos estereótipos (castradores) de beleza vigentes, contribuindo assim para uma disrupção da ordem hegemónica patriarcal, em particular das suas narrativas (violentas) sobre o corpo gordo da mulher.
Saramago's work was masterful in evoking and/or provoking the past and its crystallized discourses, with The Gospel According to Jesus Christ (1991) being a notable example. In this article, I propose to revisit this Saramago’s novel in order to argue that the work in question mobilizes a profanation of biblical figures at the lexical level. More specifically, and in the light of the Agambenian concept of profanation (2007), I argue that the narrator and the characters, through their lexical choices, set in motion a process of restoring certain words to a use that until then was denied to them not only by the weaving of the canonical gospels as well as by the historically constructed readings of these same texts, which, ultimately, contributes to a profanation of biblical figures.
In this article, I contend that Ev(it)a, the protagonist of Lídia Jorge's A costa dos murmúrios, embodies Homi Bhabha's concept of "third space". I argue that Ev(it)a represents the liminal space (and, therefore, hybrid, ambivalent) which lies at the intersection of the colonized and the colonizer's discourses. As such, this character presents herself as a space that refuses both the fixity of the colonial discourse and the normativity of the phallocentric discourse, thus projecting herself as a renovating space, one that constructs new positions.
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