As multifaces de Chica da Silva em três romances brasileiros

Abstract

The present work has as a research clipping three Brazilian historical novels: Chica que Manda(1966), by Agripa Vasconcelos, Xica da Silva(1976), by João Felício dos Santos and Chica da Silva -Romance de uma vida (2016), by Joyce Ribeiro.The focus of analysis will bethe construction of the character of each novel, confronting your similarities and discrepancies.In the character of Agripa Vasconcelos, Chica is described as a figure sadist, for being content with mistreating slaves and women who make her feel threatened in her love relationship with contractor João Fernandez. Already in the character of João Felício dos Santos, Chica appears more as a seductive woman, setting the figure of feme fatale. While in Joyce Ribeiro's novel, she is configured as a zealous wifeand loving mother, a woman of suffering life, who managed to find happiness during the historical period of slavery. Based on this assumption, the research proposes to divide in three different moments, in the first one will be done a historical survey of the role of black women in the society of the time and of Francisca's person, establishing how the female figure of African descent and ex-slave was socially seen. Thus, will be used bookishs as Gilberto Freyre, Mary Del Priore and Emília Viotti Costa.In a second step, will be done a theoretical literary survey to understand the construction of the fictional character of the historical novel through fictional character theorists, as Salvatore D‘onofrio, Antonio Candido and Beth Brait andwith theorists of historical romance, such as Gyorgy Lukács and Antônio R. Esteves.In a last moment, Will be done the analyzes of eachnovel separately, focusing on the construction of the character what portrays the historical person of Chica da Silva. And finally, comparative analyzes will be made between what was raised both in fictional works, as in historical works, in order to reveal the possible textual and extratextual elements that establish dialogue with the writings at the time of their productions.