Sombras da liberdade: a história de Luisa Carnés, a sinsombrero silenciada
This research is dedicated to reconstructing the trajectory of Luisa Carnés (1905-1964), a Madrid writer little known in Brazil, who slowly recovers her literary space, that has been erased from the Spanish narrative for more than seventy years. Her works are inscribed in time through a space that i...
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| Tipo de recurso: | tesis doctoral |
| Estado: | Versión publicada |
| Fecha de publicación: | 2023 |
| País: | Brasil |
| Institución: | Universidade Federal de Santa Maria (UFSM) |
| Repositorio: | Manancial - Repositório Digital da UFSM |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.ufsm.br:1/28618 |
| Acceso en línea: | http://repositorio.ufsm.br/handle/1/28618 |
| Access Level: | acceso abierto |
| Palabra clave: | Luisa Carnés Autobiografia Biografia Arquivo biográfico Generación del 27– Sinsombrerismo Archivo biográfico Generación del 27 – Sinsombrerismo Autobiography Biographical Biographical archive Generation of’ 27 – Sinsombrerismo CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
| Sumario: | This research is dedicated to reconstructing the trajectory of Luisa Carnés (1905-1964), a Madrid writer little known in Brazil, who slowly recovers her literary space, that has been erased from the Spanish narrative for more than seventy years. Her works are inscribed in time through a space that involves autobiographical narratives, a characteristic preserved by the female writers of the period as a way of showing the vision of facts and History through their own lives. Our objective is to delimit, in two of her works, Natacha (1930) and Tea Rooms: mujeres obreras (1934), the narrative voice that tells her life experience and, for that, moves between strategies linked to the (auto)biography in order delineate the trajectory of Carnés from her narrative proposal. The autobiographical and biographical data that permeate the analyzed works will be presented through her reports, identifying what the writer points out through them, as well as through short stories and novels. By bringing to this work, dedicated to the work of Luisa Carnés, postulations that propose a definition of autobiography as described by Philippe Lejeune (1975), I asked myself about the traditional conception of autobiography and the redimensioned biographical space within the narrative category as proposed by Leonor Arfuch (2010). When I created an archive of (auto)biographical memories of this silenced writer, who published only three books before the Spanish Civil War and two in exile, in Mexico, we observed that the fictional writing of the identity of the “I” in the Carnesian work can be a biographical or autobiographical fact understood by the displaced “I” in the text. Luisa Carnés, when writing her autobiography, makes use of a gender ideology, even though it denied, at the time, the category of history to the female script of a woman’ life. In this way, I seek to fill gaps in her life and her literary legacy that have not yet been revealed by conceiving the first biography of this writer in Brazil, based on the traces she left in her texts collected by me in the two countries where she lived. |
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