O Corpo Estranho: paródia e transgressão do feminino em O Efeito Urano, de Fernanda Young

Abstract

This research analyzes the novel O efeito Urano (2001), by Fernanda Young, a narrative that thematizes a (evil)dita story of love and eroticism, between two women: Cristiana and Helena. This author elects the middle finger as a metaphor, because it resembles a "dildo", functioning as an imitation of the male sexual organ, a supplement, a artifice, according to Paul Preciado, (2014), thus creating a countersexuality in his speech. The text is narrated in first person by Cristiana, who pulls through the memory and tells her game of manipulation of both the other characters and the reader. The narrative questions the binarism sex/gender, theoretically conceptualized by Judith Butler (2013), Paul Preciado (2014), Simone de Beauvoir (1980) and Luciana Borges (2013), among others. The female body is presented in its subjectivity, its eroticism, its desires, its struggle to free itself from the bonds of patriarchy, impositor of norms and rules for individuals and their bodies, in the exercise of their lives and their sexuality. Fernanda Young presents a new mode of production of this body and this discourse, creating a counterdiscourse, using parody and carnivalization: the first, calling on society to continue, transgression, opportunistic a dialogue between the past and the present, the modern and the postmodern, according to Linda Hutcheon (1991); the second promotes a reflection about the place that the masculine and the feminine occupy in society, and in this sense by the scheme of carnivalization the roles are exchanged or for a specific period of time the character-narrator acts with a perception more recognized as masculine. There is an inversion of values and exchange of roles of the characters: Guido is dethroned from his phallocentric power, reduced to the subaltern condition; his wife, Cristiana, ascends to her place with power and voice, holding the phallus in her hands. The subversion of the place of the feminine and the masculine occurs in this narrative similar to carnivalization, presented by Bakhtin (1981), as an attempt to break with social, cultural and religious normative institutions, as controllers of individuals, their bodies and their moral and sexual conducts. In this sense this thesis unveils the way the protagonist looks at her own body, how she interprets and describes it, as well as verifies her way of looking at another woman's body. Thus we analyze the characters and the construction that the author makes of these, perceiving a game between Cristiana and the other narrator who speaks paralylelamente to the narrator character. We also analyze how Cristiana constitutes herself as a hysterical character assuming herself in this way in her own narrative, demonstrating that her body is a foreign body and that it is enough for her.