| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 1.89 MB | Adobe PDF |
Authors
Advisor(s)
Abstract(s)
Na década de 1990 surgiu um certo tipo de ficção escrita sobretudo por mulheres e para mulheres, que inundou o mercado livreiro. O êxito deste tipo de ficção entre o público leitor foi tal que os críticos não puderam ignorá-la, chamando a atenção para a sua falta de qualidade literária bem como para a pobreza da sua linguagem. Este tipo de ficção, porém, não reclama para si o estatuto de literatura. O seu objectivo principal é entreter. Falo da chick lit, cujas referências mais conhecidas são o romance Bridget Jones’s Diary, de Helen Fielding, e Sex and The City, de Candace Bushnell. Falo também da literatura light que, como procurarei demonstrar, é a variante portuguesa da chick lit. Esta nova ficção de mulheres não é, contudo, literatura legitimada, canónica. É paraliteratura.
Assim, são dois os objectivos principais da minha tese. Em primeiro lugar, procurarei demonstrar que a designação paraliteratura é a mais adequada para referir toda uma produção ficcional que não é considerada literatura legitimada, quer pela crítica literária, quer pelos meios académicos. Para tal, abordarei algumas das designações mais utilizadas para referir este tipo de literatura, como “literatura popular”, “literatura de massas”, “literatura kitsch” ou “literatura marginal”, entre outras, tentando explicitar o que está subjacente à utilização destas designações. Abordarei, de igual modo, algumas das condições que propiciaram o aparecimento deste tipo de literatura. Por fim, com base sobretudo em estudos de especialistas franceses, tentarei responder à seguinte questão: o que é a paraliteratura? Na resposta, delinearei aquilo a que Couégnas chama o “modelo paraliterário”. Dito por outras palavras, tentarei explicitar as características próprias do texto paraliterário.
Em segundo lugar, procurarei demonstrar que a literatura light é a variante portuguesa da chick lit. Assim, começarei por abordar a definição de chick lit, um tipo de ficção para mulheres que deriva do romance de amor, mas num contexto pós-feminista. Tal implica uma abordagem do romance de amor, bem como uma reflexão acerca do conceito de pós-feminismo. Este conceito, complexo, convoca as noções de antifeminismo mas, também, a de feminismo de terceira vaga. Isto é, convoca a ideia de descontinuidade em relação ao feminismo, mas, também, a ideia de continuidade através de uma nova vaga de feminismo. Para atingir este objectivo, apoiar-me-ei em ensaios de estudiosas sobretudo da área dos Estudos de Mulheres e dos Estudos Culturais e procederei a uma leitura de algumas das obras de referência da chick lit anglo-americana. Em Portugal, a produção teórica sobre a literatura light é escassa. Miguel Real é o autor que mais tem contribuído para fazer o enquadramento deste tipo de literatura, sobretudo em dois estudos sobre o romance português contemporâneo, nos quais, a propósito da literatura light, desenvolve o conceito de Realismo Urbano Total e o de Realismo de Tipo Jornalístico. Depois, no domínio da ficção, centrar-me-ei essencialmente na leitura de alguns romances emblemáticos da autoria de Margarida Rebelo Pinto, a escritora portuguesa de referência deste género paraliterário, bem como no romance de Manuela Gonzaga Meu Único Grande Amor: Casei-me. Este romance, que dialoga com o universo ficcional de Rebelo Pinto, apresenta, como tentarei provar, uma definição de literatura light, validando, deste modo, o género.
In the 1990s, a certain kind of fiction appeared mainly written by women for women, flooding the publishing market. The success of this kind of fiction among readers was such that it could not be ignored by the critics, who pointed out its lack of literary status and bad grammar. This kind of fiction however doesn‟t claim to be literature. It aims mainly at entertaining. I am speaking about chick lit, whose main references are Helen Fielding‟s Bridget Jones’s Diary and Candace Bushnell‟s Sex and The City. I am also speaking about light literature, which is, as I argue, the Portuguese version of chick lit. This new kind of women‟s fiction however is not legitimate or canonical literature. It is paraliterature. The scope of my thesis is thus twofold. Firstly, I will try to demonstrate that the term paraliterature is the most adequate to designate the fictional production which is not regarded as legitimate literature by literary critics and scholars. In order to do so, I will approach some of the terms more often used to refer to this kind of literature, such as “popular literature”, “mass literature”, “kitsch literature” or “marginal literature”, among others. By doing so, I will try to point out what explains the use of these terms. I will also speak about some of the circumstances which led to the appearance of this kind of literature. Finally, based on the studies of some French scholars, I will try to answer the following question: what is paraliterature? By giving the answer I will sketch some lines of Couègnas‟s “paraliterary model”. In other words, I will try to clarify the characteristics of the paraliteraty text. Secondly, I will try to prove that light literature is the Portuguese version of chick lit. Thus I will first focus on the definition of chick lit as the post-feminist rewriting of the romance novel. This implies an approach to the romance novel, as well as a reflection on post-feminism. This complex concept is connected with the notions of antifeminism and third wave feminism, since it can be seen both as a discontinuity and a continuity in relation to feminism. In order to achieve this goal, I will focus on essays by some scholars in the field of Women‟s Studies and Cultural Studies. I will also analyse some reference chick lit novels by Anglo-American writers. In Portugal, there is a lack of studies about light literature. Miguel Real is the author who has contributed more to the understanding of this kind of literature, particularly in his two essays about contemporary Portuguese literature, in which he develops the concepts of “Total Urban Realism” and “Journalistic Realism” to speak about light literature. Then as far as fiction is concerned, I will focus mainly on some reference novels by Margarida Rebelo Pinto, the writer who introduced this paraliterary genre in Portugal. I will also analyse the novel Meu Único Grande Amor: Casei-me, by Manuela Gonzaga, since it dialogues with Rebelo Pinto‟s novels and conveys, as I will try to prove, a definition of light literature, thus validating the genre.
In the 1990s, a certain kind of fiction appeared mainly written by women for women, flooding the publishing market. The success of this kind of fiction among readers was such that it could not be ignored by the critics, who pointed out its lack of literary status and bad grammar. This kind of fiction however doesn‟t claim to be literature. It aims mainly at entertaining. I am speaking about chick lit, whose main references are Helen Fielding‟s Bridget Jones’s Diary and Candace Bushnell‟s Sex and The City. I am also speaking about light literature, which is, as I argue, the Portuguese version of chick lit. This new kind of women‟s fiction however is not legitimate or canonical literature. It is paraliterature. The scope of my thesis is thus twofold. Firstly, I will try to demonstrate that the term paraliterature is the most adequate to designate the fictional production which is not regarded as legitimate literature by literary critics and scholars. In order to do so, I will approach some of the terms more often used to refer to this kind of literature, such as “popular literature”, “mass literature”, “kitsch literature” or “marginal literature”, among others. By doing so, I will try to point out what explains the use of these terms. I will also speak about some of the circumstances which led to the appearance of this kind of literature. Finally, based on the studies of some French scholars, I will try to answer the following question: what is paraliterature? By giving the answer I will sketch some lines of Couègnas‟s “paraliterary model”. In other words, I will try to clarify the characteristics of the paraliteraty text. Secondly, I will try to prove that light literature is the Portuguese version of chick lit. Thus I will first focus on the definition of chick lit as the post-feminist rewriting of the romance novel. This implies an approach to the romance novel, as well as a reflection on post-feminism. This complex concept is connected with the notions of antifeminism and third wave feminism, since it can be seen both as a discontinuity and a continuity in relation to feminism. In order to achieve this goal, I will focus on essays by some scholars in the field of Women‟s Studies and Cultural Studies. I will also analyse some reference chick lit novels by Anglo-American writers. In Portugal, there is a lack of studies about light literature. Miguel Real is the author who has contributed more to the understanding of this kind of literature, particularly in his two essays about contemporary Portuguese literature, in which he develops the concepts of “Total Urban Realism” and “Journalistic Realism” to speak about light literature. Then as far as fiction is concerned, I will focus mainly on some reference novels by Margarida Rebelo Pinto, the writer who introduced this paraliterary genre in Portugal. I will also analyse the novel Meu Único Grande Amor: Casei-me, by Manuela Gonzaga, since it dialogues with Rebelo Pinto‟s novels and conveys, as I will try to prove, a definition of light literature, thus validating the genre.
Description
Keywords
Cânone literário Literatura popular Literatura marginal Massas Paraliteratura Romance de amor Amor romântico Chick lit Amor confluente Relacionamento puro Pós-feminismo Literatura light Geração de 90 Realismo urbano total Realismo de tipo jornalístico