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Figurações do «rumor das saias de Elvira» no Universo de Eça de Queiroz : Amélia, Luísa e Maria Eduarda
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Eça de Queiroz é, indubitavelmente, uma das personalidades mais influentes na história da literatura portuguesa. Sobre ele podemos fazer as mais diversas leituras e interpretações, dado o riquíssimo e complexo legado que nos deixou. A sua obra transbordou os limites do tempo e chegou até nós envolta num manto de hodiernidade, como procuraremos demonstrar ao longo deste estudo. Pela sua mão somos apresentados a inúmeras personagens-tipo, por meio das quais o escritor procurou retratar a decadência que dominava a sociedade portuguesa do século XIX. A representação da mulher tem, em Eça, traços muito particulares, que nos transportam para um imaginário erótico muito pouco (ou nada) usual para a sociedade oitocentista. A religião e a educação impunham as regras e os padrões de conduta para a época, ainda que a segunda, influenciada, de certo modo, pelas estéticas literárias em voga (Romantismo e Ultrarromantismo), originasse, não raras vezes, comportamentos desafiadores da moral cristã e dos “bons costumes”. Não obstante, Eça não se coíbe de abordar a temática do erotismo, com pormenores tão meticulosos que muitos consideraram algumas das suas obras “impróprias”, especialmente para as senhoras. É precisamente no estudo de três das mais marcantes personagens femininas ecianas que este trabalho assenta: Amélia (O Crime do Padre Amaro), Luísa (O Primo Basílio) e Maria Eduarda (Os Maias). Procuraremos observar de que modo o eros, associado ao desejo, ao erotismo e à sexualidade, influencia as três mulheres, enquanto tentaremos identificar, também, que traços ou figurações do «rumor das saias de Elvira» nelas podemos encontrar.
Eça de Queiroz is undoubtedly one of the most influential figures in Portuguese literary history. His work admits a wide range of critical readings and interpretations, owing to the substantial and intricate legacy he bequeathed to us. His writing transcended the boundaries of time and reached the present imbued with a sense of contemporaneity, as this study seeks to demonstrate. Through his pen, readers are introduced to numerous archetypal characters, by means of which the writer depicts the decadence that dominated nineteenth-century Portuguese society. Eça’s representation of women is characterized by distinctive traits that transport the reader to an erotic imaginary highly unusual (if at all) in nineteenth-century society. Religion and education dictated the prevailing norms and standards of conduct for that period; however, the latter, influenced to some extent by the prevailing literary aesthetics of the time (Romanticism and Ultra-Romanticism), frequently engendered behaviours that challenged Christian morality and established notions of ‘good manners’. Nonetheless, Eça does not refrain from addressing the theme of eroticism with such meticulous detail that many considered some of his works ‘inappropriate’, particularly for female readerships. This study focuses precisely on the analysis of three of the most significant female characters in Eça’s fiction: Amélia (The Crime of Father Amaro), Luísa (Cousin Basílio) and Maria Eduarda (The Maias). We will seek to examine how eros, understood in relation to desire, eroticism and sexuality, influences the three women, while also attempting to identify any traces or figurations of the “rumour of Elvira’s skirts” in them.
Eça de Queiroz is undoubtedly one of the most influential figures in Portuguese literary history. His work admits a wide range of critical readings and interpretations, owing to the substantial and intricate legacy he bequeathed to us. His writing transcended the boundaries of time and reached the present imbued with a sense of contemporaneity, as this study seeks to demonstrate. Through his pen, readers are introduced to numerous archetypal characters, by means of which the writer depicts the decadence that dominated nineteenth-century Portuguese society. Eça’s representation of women is characterized by distinctive traits that transport the reader to an erotic imaginary highly unusual (if at all) in nineteenth-century society. Religion and education dictated the prevailing norms and standards of conduct for that period; however, the latter, influenced to some extent by the prevailing literary aesthetics of the time (Romanticism and Ultra-Romanticism), frequently engendered behaviours that challenged Christian morality and established notions of ‘good manners’. Nonetheless, Eça does not refrain from addressing the theme of eroticism with such meticulous detail that many considered some of his works ‘inappropriate’, particularly for female readerships. This study focuses precisely on the analysis of three of the most significant female characters in Eça’s fiction: Amélia (The Crime of Father Amaro), Luísa (Cousin Basílio) and Maria Eduarda (The Maias). We will seek to examine how eros, understood in relation to desire, eroticism and sexuality, influences the three women, while also attempting to identify any traces or figurations of the “rumour of Elvira’s skirts” in them.
Descrição
Tese de Mestrado em Estudos Portugueses Multidisciplinares, apresentada à Universidade Aberta
Palavras-chave
Eça de Queirós, 1845-1900 Realismo Eros Educação Religião Representação da mulher Realism Education Religion Representation of women