O lugar onde nasce a dor: a mulher e o vazio em O peso do pássaro morto, de Aline Bei

Abstract

The present work aims to investigate the category of pain in the poetics of the writer Aline Bei (1987-), analyzing specifically how it fits into the author's debut novel, O peso do pássaro morto (2017). The research defends the thesis that pain, within the narrative, is indistinctly linked to the feminine and to the void. At first, we intend to reflect on the fourth wave of the feminist movement and its reverberations in contemporary Brazilian literature by female authors, insofar as this demarcation is constituted as the digital and physical context inhabited by the aforementioned author, as well as in the area of criticism. feminist literature. We also intend to demonstrate the pluralities of female voices in contemporary literature and their imbrications with regard to female pain, and the birth of some projects in favor of the appreciation of female/feminist literature in Brazil. To do so, we use the theoretical and critical foundations of Dalcastagnè (2012), Paredes (2020), Costa (2010), Biroli (2014), Martinez (2019 ; 2021), among others, and the literary contribution of Evaristo (2016), Dorrico (2019), Paim (2009) and Pantaleão (2020). In a second moment, we seek to outline the construction of Aline Bei's literary project, which has an aesthetic perspective based on the writing of pain, through empty spaces and silences, and an ideological perspective based on the expression of women's pain, crossed by questions from women's and feminist struggles and experiences. To this end, we use foundations from Steiner (1988), Paz (1982), Iser (1996 ; 1999), Figueiredo (2020), Wittgenstein (1999), Spinoza (2020), Cunha (2012) in dialogue with the author's first and second novels, as well as some of your tales. Finally, from Saffioti (1987 ; 2015), Sontag (2015), Lerner (2019), Bachelard (2001), Xavier (2012; 2021), among others, we intend to locate and demonstrate in detail the way in which, in O peso do pássaro morto (2017), the voids printed on the pages are interconnected and constitute the female experience of pain.