Canetas roubadas de Carolinas que r.existem

Abstract

This thesis aimed to reflect about the performative features of Carolina Maria de Jesus’ writing. At first, I raised questions about the invisibility over the black women experiences in Brazilian literature, analyzing its erasing strategies, as well as its consequences, based on Ribeiro (2017), Dalcastagnè (2014), Carneiro (2017), Akotirene (2018), Gagnebin (2006), Salgueiro (2012), Kilomba (2016), Derrida (1968, 1971 e 2003), Ranciére (2009), among others. Using deconstruction as a strategy, as proposed by Jacques Derrida, I intended to analyze, on Casa de alvenaria’s (1961) preface, the symbolic violence practiced on a space that should praise her author. By exploring the allegorical meanings on the short-film O papel e o mar (2010), by Luiz Antonio Pilar, I discuss performance based on Derrida (1988 e 1991) and Ravetti (2002). And, using the diver’s metaphor present there, I establish relations among Diário de Bitita (1986) written by Jesus, from two poetic imagery: “violation” and “the stealing of the pen”, on which we can draw connections with Becos da memória (2017), by Conceição Evaristo, Um buraco com meu nome (2018), by Jarid Arraes and in the feature film Preciosa (2009). The result of this comparison revealed, lastly, that the search for the author's place of speech, through the memory, like a Delleuze's rhizome (1985,1989,1990), trespasses the social spaces imposed to the black female experience in Brazilian literature, which, in turn, establishes itself as an institution that still seeks to legitimize only white male production