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Maria Araújo da Silva, « Dinâmicas de poder e insubordinação em “Danças húngaras de Brahms”, de Teresa Veiga », HAL-SHS : littérature, ID : 10.21747/21832242/litcomp39a9
In “Danças húngaras de Brahms”, second of the three short stories collected in Teresa Veiga's book As Enganadas (2003), whose plot is basically based on the relations between a widowed mother and her nineteen-year-old son, we are confronted, on the one hand, with a discourse that celebrates the pillars of patriarchy and reduces individuals to “docile bodies” (Foucault 1975) molded by regulatory and standardized practices and, on the other, with the representation of corporealities and performativities that intend to question gender dichotomies and rigid categorizations of identity and sexuality. The narrative presents identities that refer to subversion, difference, marginality, which seek to undo normative stances and discourses and challenge determinisms that condition the relations between individuals. The aim is todemonstrate that the tale is built around oppressive representations of sex, gender and identity and the attempt to overturn devices instituted to serve the differential and hierarchical patriarchy, opening spaces for transgression and resistance to various systems of power, in a markedly emancipatory and liberating perspective.