Banca de QUALIFICAÇÃO: JOSENILDES DA CONCEICAO FREITAS

THE DYNAMIC PRINCIPLE OF EXU IN THE AMEFRICAN NARRATIVE OF FEMALE AUTHORITY: REYITA SENCILLAMENTE (1997)
E UM DEFEITO DE COR (2006)

Reyita sencillamente; Um defeito de cor;

In this text, I intend to present a comparative study between the Reyita novels Sencilamente: testimonio de una negra cubana nonagenaria (1997), by the Afro-Cuban writer Daisy Rubiera Castillo, and Um defeito de cor (2006), by Afro-Brazilian writer Ana Maria Gonçalves, in which the narrative of memories attests to the permanence of African cosmoperceptions on the American continent, as Leda Maria Martins (2021) points out. In both narratives I identify a modus operandi that Edmilson Pereira (2017) recognizes in Afro-Brazilian literature. diasporic, which is based on the attributes of Exu, an entity of continuous tension, ruptures, instabilities and restitution. In the analytical corpus, continuities, intersections and/or intersections, as well as tensions and ruptures refer to the "logic of change and permanence that sustains the Yoruba discursive process” (PEREIRA, 2017, p. 216) and matches with a discursive conception derived from Èsú (SODRÉ, 2021), or from Echu-Elegguá, as understands Souza Hernández (1998), "dynamic and expanding principle of everything that exists", as Juana Elbein dos Santos (2012, p. 141) further emphasizes, as the narratives mentioned are show how this discursive place that, "like Exu himself, encompasses the possibilities, the becoming of discourse, of the subject and of the world” (PEREIRA, 2017, p. 115). In them, unlike of Western sequential and/or linear temporality, we observe a time that is processed in circular, back-and-forth movements, which refer to the image of the okotó, an ossified snail also associated with Exu and whose movement projects a “constant and proportional growth”, a “circumference open to infinity” (SANTOS, 2020, p. 143). Would this be the curvy time and spiraling that Leda Maria Martins identifies in black artistic manifestations in the Americas, which reactivates and updates the action, which is “similar and diverse” because it is always ‘transcreated’, as highlights the author (2002, p. 85). In the textuality of the aforementioned works, a series of meanings converge towards a “universe of meaning” that “requires knowledge of codes, also cultural, which inform them” (MARTINS, 2021a, p. 38). Therefore, in the analytical corpus, I identify ways of reporting memory that, as Henrique Freitas (2016, p. 95) will say, demand "an intelligibility about the aesthetics that permeates the literary work" of African and Afro-descendant women in the diaspora, and is linked to the social, pedagogical, formal, political, cultural and religious aspects of these populations.