THE FEMINIST COMMITMENT IN THE WORK OF LUCIA EXTEBARRÍA

The author Lucía Etxebarría is in the fourth generation of "female voice" of Spanish literature of the post- war, as has pointed Alchazidu (2001), has as her main theme the women’s representation and reflection about their role in society. In the work of Lucía has, according to Fernández (2001), a feminist commitment that appears through the authorial voice, in the first-person narration and in the dialogues between characters. Besides this commitment to feminism, we can perceive common purposes with Queer Theory, thus, this paper aims to demonstrate commonalities between the work of LucíaEtxebarría and Queer Theory. For this we analyze two novels: Amor, prozac, curiosidad y dudas e Beatriz y los cuerposcelestes, and the storybook: Nosotrasque no somoscomolasdemás. We conclude the main objective of the Lucia’s work and Queer Theory are misplaced,outsiders, abnormal subject that do not adapt themselves to existing identities in society and look for identities in the margins. Furthermore, the author criticizes the standards of female and male, emphasizes sexuality as historical, cultural and social construction andalsogives your characters androgynous appearances to destabilize the body as "truth" of being.

THE INTERTEXTUALITY OF OPERA IN THE FICTION OF NELIDA PIÑON

This article examines how Nélida Piñon builds a feminist reader in the novel A força do destino (1978). This work highlights the role of the contemporary writer to read the classics from the post-modern and feminist places. Post-modern because it decentralizes the structural elements of the text, feminist because it opposes to any kind of women oppression. In this novel, the narrator reconstructs the trajectory of the characters Alvaro and Leonora, homonym protagonists of the opera by Giuseppe Verdi, based on her devotion by them, because of this, it becomes a passionate and original reporting. The narrative of Piñon is built from a parodist and irreverent place that updates the plot of Verdi. This is a metanarrative in which the narrator dialogues with her characters and reader. In this case, the reference to the opera by Verdi is, actually, the exploration of artistic and cultural archives in accordance with the interests of the narrator. Methodologically, this paper is guided by the exploitation of intertextuality present in this work and in gender studies to enhance the speaking place of the writer as a real part of contemporary feminist culture.

ATIRE EM SOFIA, THE WRITER SÔNIA COUTINHO: WRITING AND RESISTANCE IN THE LITERATURE OF FEMALE AUTHORSHIP

The literature on female authorship as a place for questions about the female, is one of the topics discussed in feminist theory and in this article will be reviewed by the trajectory of feminist thought in the contemporary context. This analysis will give from the novel Atire em Sofia (1989), the writer Sonia Coutinho. This perspective will be appointed after the rupture of the central character, Sophie, with tradition and with the subjugation of his body. The narrative discusses the status of women, which has always worked in phallocentric discourse, the signifier always referred to the meaning, signaling that it is time to reverse the situation and take over the deed to her sign her own story. To this end, we will use as a base, feminism, women and writing changes over the centuries that resulted in gender studies.

Adultery as possibility of to enunciate feminisms: Emma Bovary and Molly Bloom

This study presents a brief analysis of "Molly's Monologue", present in Ulysses, by James Joyce, seeking him embryos of a feminist discourse, by questioning the role of women in society, and possible relationships between the characters Molly and Emma Bovary , at the novel Madame Bovary, by Gustave Flaubert, as well the crucial role of reading for adultery of  these characters (we interpret this adultery as a way of questioning the female´s role in society).

A HISTÓRIA NA FICÇÃO DE JOSÉ SARAMAGO E MARIO VARGAS LLOSA: CONFLUÊNCIAS E DIVERGÊNCIAS

Este estudo tem por objetivo estabelecer a comparação da construção do discurso ficcional nos romances A história do cerco de Lisboa (1989) de José Saramago e El paraíso en la otra esquina (2003) de Mario Vargas Llosa, obras que dialogam diretamente com o discurso da história. Evidenciamos o procedimento da intertextualidade que ocorre entre estes discursos, possibilitando uma aproximação entre ficção e história. Na obra de Saramago podemos notar como o narrador explicita a construção tanto do discurso da ficção como do histórico, ao relatar a trajetória fictícia de Raimundo Silva. Já na obra de Vargas Llosa o diálogo com o discurso historiográfico ocorre na reconstrução da história de vida da feminista Flora Tristán (1803-1844) e de seu neto Paul Gauguin (1848-1903), famoso por suas pinturas consideradas exóticas. Apesar de Saramago e Vargas Llosa fazerem parte de cânones literários diferentes, é possível constatar uma confluência entre os autores na sua produção ficcional.