Contornos do Indizível: o estilo de Clarice Lispector - Fale - UFMG

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Em Tese, Belo Horizonte, v. 10, p. 16-21, dez. 2006 appropriation of binary oppositions and of the issue of the double, at different levels, is, therefore, constantly employed as a means of challenging the literary and historical myths of femininity in a patriarchal society. In Alias Grace, it is the paradoxical figure of a supposed madwoman, Grace Marks, who transgresses the borders of confinement imposed by the ideologies of power and directs the processes of production of meanings, as she takes the narrative of her story in her own hand. Hutcheon’s definition (61-77) of postmodernism — as an intricate and duplicitous term that is, nonetheless, concerned with challenging the master discourses of Western culture — is, thus, at the basis of Alias Grace’s appropriation of historical facts, which are subversively re-interpreted through the voice of a traditionally marginalized figure represented by the female protagonist. In this sense, I also argue that the unconventional and kaleidoscopic links, which blend apparently contradictory elements in Atwood’s novel, uncover the idea of history as a fictional construction and subverts conventions of literary and cultural discourses. 20 Notes ¹ The term “two solitudes,” also derived from the imperialist division of the country into the French and the English portions, became culturally consolidated with the publication of the eponymous novel written, in 1945, by Hugh MacLennan (1907-1990), who was determined to interpret the two antagonistic identities that formed Canada. MacLennan’s work excludes the first nations and the other sets of immigrants that populated the country in order to focus on the analysis of the evolution of the French and English groups, in Quebec and Ontario, while pointing towards a possible cordial unification of the two sides (Besner 1-5). Resumo O trabalho analisa o romance Alias Grace, de Margaret Atwood, com o objetivo de discutir as estratégias narrativas que interconectam os conceitos de história e ficção e criam um texto que, ao dar voz a uma personagem feminina, reescreve um episódio da história canadense e questiona os discursos tradicionais do século XIX. Palavras-chave: Pós-modernismo. Gêneros textuais e sexuais. Loucura feminina. Works Cited Atwood, Margaret. Alias Grace. London: Bloomsbury, 1996. Atwood, Margaret. “Ophelia Has a Lot to Answer for.” O. W. Toad. Ed. Margaret Atwood. 1997. . 10 Oct. 2002. Besner, Neil. “Two Solitudes Revisited: Canada under Postcolonial Eyes.” Unpublished essay, 2003. Herk, Aritha Van. “Canada.” Ed. Buck, Claire. The Bloomsbury Guide to Women’s Literature. New York: Prentice, 1992. 141-50. Hutcheon, Linda. The Canadian Postmodern: A Study of Contemporary English-Canadian Fiction. Toronto: Oxford UP, 1988. Disponível em http://www.letras.ufmg.br/poslit
Em Tese, Belo Horizonte, v. 10, p. 16-21, dez. 2006 Hutcheon, Linda. The Politics of Postmodernism. New York: Routledge, 1989. Kristeva, Julia. Desire in Language: A Semiotic Approach to Literature and Art. New York: Columbia UP, 1980. Macheski, Cecilia, ed. Quilt Stories. Lexington: Kentucky UP, 1994. Showalter, Elaine. The Female Malady: Women, Madness and English Culture, 1830-1980. New York: Penguin, 1985. Showalter, Elaine. Sister’s Choice: Tradition and Change in American Women’s Writing. Oxford: Clarendon, 1991. Wilson, Sharon Rose. “Quilting as Narrative Art: Metafictional Construction in Margaret Atwood’s Alias Grace.” Margaret Atwood´s Textual Assassinations: Recent Poetry and Fiction. Columbus, OH.: Ohio State UP, 2003. 121-34. Disponível em http://www.letras.ufmg.br/poslit 21
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Contornos do Indizível: o estilo de Clarice Lispector - Fale - UFMG

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