“O que está escrito comigo ficará guardado”?: práticas e representações de leitura, de escrita e de assistir a filmes em dois diários íntimos femininos (1945-1946)

Abstract

This research is situated epistemologically in the field of History of Writing Culture. Since the development of studies of the New Cultural History, which provided different approaches of written records on the margins of official history, it became possible to give a voice to the documentary sources of internal and/or private forum. In the 1980s, a strong boost to the emergence of handwritten documentary sources took place; since then, personal diaries started being highlighted. Coherent with this perspective of study we outlined our overall research aim: to analyze the representations of the practices of reading, writing and watching movies (attending movie theaters) in two personal female dairies, dated 1945 and 1946, which constitute the corpus of this research and whose author is Dilza Maria Peixoto Ferreira da Silva. From that aim of greater reach, we established the following specific objectives: 1) to examine the comments recorded by the author on the books that she read, the texts she wrote and the films she watched through textual-discursive indexes related to practical reading, writing and watching representations and 2) understand the representations of reader and writer (author) built in her working practice through the explanation of the mechanisms of textual and discursive processes. The analysis of representations is based on an interdisciplinary theoretical and methodological perspective, which includes the confluence between the studies: i) Castillo Gómez (2003), Chartier (2010, 1990), Pesavento (2008), Ginzburg (2012) and Barros (2004), in order to relate the History of Writing Culture, practices, representations and evidential paradigm; ii) Petrucci (1999), Castillo Gómez and Sáez (1999, 1994) and Castillo Gómez (2003) to reflect upon the relations between Paleography and History of Writing Culture; iii) Bakhtin (2011; 1988) and Orlandi (2008; 1996; 1988), as the discursive conception of language, the notion of gender discourse and representations of authorship and reading; iv) Leleu (1952), Forthegill (1974), Girard (1986), Gannett (1992), Allan (1996), Didier (1996), Freixas (1996), Alberca (2000) Bastos (2000), Hébrard (2000), Muzart (2000), Oliveira (2002), Gomes (2004), Blanchot (2005), Lejeune (2008), Henrique (2008), Barcellos (2009), Cunha (2009, 2007, 2005, 2000) and Carletto (2012) as for the intimate and/or personal diary. As a result of the research, we can point to: 1) what, who, how, when, where, why, she used to read and the impressions that the reading practice aroused in herself; 2) diary is a discursive genre whose specificities are the dating and a peculiar form of dialogue (self-aimed text in which the author writes to him/herself) that has its own memory (objective and historical), which opposes the subjectivist approaches of the intimate diary; 3) the process of dialogue in the diaries of Dilza Maria consists of a set of representations (images of herself as an author, reader and character); 4) these images are constituted by an ideology of literacy (knowing how to read and write), be always fashionable and connected to the latest news, “be modern”; 5) analysis explained the relationship between daily writing and institutions such as School, Family and Church and some speeches that are constitutive them.