Vozes antigas ecoando nas escritas femininas: novas vozes das mulheres latino-americanas

Abstract

Throughout this thesis, we intend, with the analysis of poems by Colombian female poets who make up Coletivo Las Musas Cantan: Urabá, to find in their poetic textures, in their styles and, mainly in their themes, in the particularity of each one, the cracks and veins of escape of the Wild Woman. We seek to understand their searches for a collective space in which they can, through their written words, make themselves heard, create and publish their works in a medium in which only writings by male poets found fertile ground. We also seek to observe the return of the Wise Woman, the healer, the caregiver, the creative one, and the inventive one. To visualize the conquest for the right to re-inhabit the sacred lands, to heal wounds through written word, to travel ancestral paths, to revisit and purify their inner rivers. To carry out this understanding, we made a brief panoramic journey through the History of Colombia and Urabá, the region of origin of most of the writers. We also introduce the Coletivo and the muses that comprise it. Furthermore, we introduce the three guiding axes of our research, namely: traces/residues, memory, and ecofeminism, exemplifying them through the analysis of the poems. We also problematize the issue of being a woman, of the feminine, and of literature written by women, discussing themes present in the works of Musas de Urabá. We observe the poets discussing, in their poems, childhood, the return to oneself, the encounter with oneself, concerns about the environment, denunciations, the marks left by struggles, being and existing in a place, in a landscape-territory, their insertions in their family and collective environments. Their themes revolve around love, waiting, solitude, and encounters with the other and with themselves. We trace the flashes of the Wild Woman in their writings, allowing for new sowings, abundant harvests, and new occupations of their territories, promoting a fruitful encounter between the old and new voices of contemporary muse-poet-women, in a renewed and perpetual cycle. The theoretical critics cited, among others, are: Clarissa Pinkola Estés, Édouard Glissant, Pierre Nora, Maurice Halbwachs, Ivone Gebara, Antônio Bispo dos Santos, Ruth Silviano Brandão, Michel Collot, Arturo Escobar, Zygmunt Bauman, Alice Walker, Vandana Shiva, John Bradshaw, and bell hooks.