A poética da diáspora de Fádia Faqir, uma filha de Allah
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Data
2020-05-05
Autores
Gandra, Lucilea Ferreira Gandra [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Ao nos decidirmos, inicialmente, por um levantamento arqueológico de mulheres escritoras árabes/muçulmanas para uma escolha posterior de obras que nos levassem a um maior conhecimento dessa literatura, deparamos com a escassez de traduções e publicações no Brasil, em comparação com o grande número existente em outros países, principalmente da Europa e da América do Norte. Acreditamos que isso se deva a maior presença dessas mulheres escritoras em tais continentes, gerando um fascínio pelo exótico, mas também um misto de atração e repulsão, sempre acompanhado de estereótipos, já enraizados pelo orientalismo. No Brasil, no entanto, salvo raras exceções, as editoras voltaram-se quase que exclusivamente para as autobiografias de mulheres que tecem duras críticas aos seus países de origem, às suas leis, à situação e normas de conduta para as mulheres, na maioria restritivas e opressoras, reafirmando uma imagem já impregnada de preconceitos. Vemos assim que a oferta de publicações em nosso país também nos impede uma visão mais abrangente e nos força a ratificar impressões essencialistas que em nada contribuem para o conhecimento e possível fruição da literatura produzida por essas mulheres, agora veladas, inclusive, por questões mercadológicas que camuflam e perpetuam as mesmas visões engessadas. Na tentativa de fugir desses relatos, sempre carregados de perseguição e dor, priorizamos para o nosso estudo o romance Meu nome é Salma, da autora jordaniano-britânica Fadia Faqir pois sua narrativa, produzida em língua inglesa, envolve outros dilemas, característicos da literatura diaspórica. Paralelamente, por ser o intuito desta dissertação propor um primeiro mapeamento acadêmico no Brasil sobre a produção de autoras árabes/muçulmanas, outras obras entram em diálogo com a obra de Fadia Faqir, procurando identificar possíveis convergências entre elas, sem deixar de observar, naturalmente, a especificidade de cada obra. Partindo de uma perspectiva libertária e procurando verificar as maneiras pelas quais algumas mulheres empregam suas narrativas em transformações de paradigmas discursivos e escópicos que tentam apreender a mulher árabe/muçulmana, veremos também as obras Miragem da autora egípcio-americana Soheir Khashoggi e Vida dupla da autora saudita Rajaa Al-Sanea a fim de verificarmos, como delineado pela ginocrítica de Elaine Showalter, outros fatores que são determinantes literários tão significativos quanto o gênero, pois refletem aspectos culturais fixados nos textos de maneira indelével e suscitam questões fundamentais para a nossa compreensão. Pensamos que através deste exercício crítico que traz essas escritas à tona, poderemos dissipar os arraigados estereótipos e alcançar uma melhor compreensão do mundo islâmico e da mulher muçulmana, muitas vezes exilada, na confluência entre Ocidente e Oriente.
When deciding, initially, for an archaeological survey of Arab/Muslim women writers for a later choice of works which would lead us to a greater knowledge of this literature, we faced the scarcity of translations and publications in Brazil, in comparison with the large number which exists in other countries, mainly in Europe and North America. We believe that this is due to the greater presence of these women writers in such continents, creating a fascination with the exotic, but also a mixture of attraction and repulsion, always accompanied by stereotypes, already rooted by Orientalism. In Brazil, however, with a few rare exceptions, publishers turned almost exclusively to the autobiographies of women who harshly criticize their countries of origin, their laws, the situation and rules of conduct for women, most of which are restrictive and oppressive, reaffirming an image already steeped in prejudice. We thus see that the supply of publications in our country also prevents us from taking a more comprehensive view and forces us to ratify essentialist impressions which in no way contribute to the knowledge and possible enjoyment of the literature produced by these women, now veiled, by marketing issues which camouflage and perpetuate the same plastered visions. So as to escape these accounts, always laden with persecution and pain, we prioritized the novel My name is Salma, by the Jordanian-British author Fadia Faqir because her narrative, written in English, involves other dilemmas, such as those of diasporic literature. At the same time, as the aim of this dissertation is to propose a first academic mapping in Brazil on the production of Arab/Muslim authors, other works enter into dialogue with Fadia Faqir’s narrative, as we seek to identify possible convergences between them, while naturally observing the specificity of each work. Starting from a libertarian perspective and trying to verify by what means some women use their narratives to transform the discursive and scopophiliac paradigms which try to apprehend the Arab/Muslim woman, we will also be using the works Mirage by the Egyptian-American author Soheir Khashoggi and The girls of Riyadh by Saudi author Rajaa Al-Sanea in order to verify, as outlined by Elaine Showalter’s gynocritics, other factors that are literary determinants as significant as gender, for they reflect cultural aspects indelibly fixed in the texts and raise fundamental questions for our understanding. We assume that through this critical exercise which elicit these writings, we will be able to dispel ingrained stereotypes and to achieve a better understanding of the Islamic world and the Muslim woman, often in exile at the confluence between West and East.
When deciding, initially, for an archaeological survey of Arab/Muslim women writers for a later choice of works which would lead us to a greater knowledge of this literature, we faced the scarcity of translations and publications in Brazil, in comparison with the large number which exists in other countries, mainly in Europe and North America. We believe that this is due to the greater presence of these women writers in such continents, creating a fascination with the exotic, but also a mixture of attraction and repulsion, always accompanied by stereotypes, already rooted by Orientalism. In Brazil, however, with a few rare exceptions, publishers turned almost exclusively to the autobiographies of women who harshly criticize their countries of origin, their laws, the situation and rules of conduct for women, most of which are restrictive and oppressive, reaffirming an image already steeped in prejudice. We thus see that the supply of publications in our country also prevents us from taking a more comprehensive view and forces us to ratify essentialist impressions which in no way contribute to the knowledge and possible enjoyment of the literature produced by these women, now veiled, by marketing issues which camouflage and perpetuate the same plastered visions. So as to escape these accounts, always laden with persecution and pain, we prioritized the novel My name is Salma, by the Jordanian-British author Fadia Faqir because her narrative, written in English, involves other dilemmas, such as those of diasporic literature. At the same time, as the aim of this dissertation is to propose a first academic mapping in Brazil on the production of Arab/Muslim authors, other works enter into dialogue with Fadia Faqir’s narrative, as we seek to identify possible convergences between them, while naturally observing the specificity of each work. Starting from a libertarian perspective and trying to verify by what means some women use their narratives to transform the discursive and scopophiliac paradigms which try to apprehend the Arab/Muslim woman, we will also be using the works Mirage by the Egyptian-American author Soheir Khashoggi and The girls of Riyadh by Saudi author Rajaa Al-Sanea in order to verify, as outlined by Elaine Showalter’s gynocritics, other factors that are literary determinants as significant as gender, for they reflect cultural aspects indelibly fixed in the texts and raise fundamental questions for our understanding. We assume that through this critical exercise which elicit these writings, we will be able to dispel ingrained stereotypes and to achieve a better understanding of the Islamic world and the Muslim woman, often in exile at the confluence between West and East.
Descrição
Palavras-chave
Literatura de mulheres árabe/muçulmanas, Literatura diaspórica, Fádia Faqir, Ginocrítica, Literature of Arab/Muslim women, Diasporic literature, , Gynocriticism