O (des)montar por um salto: para um percurso de ressignificação do conto de fada “Cinderela”

Abstract

The process of social construction of the subject is established very early, long before he understands that he is a part of it. Thus, fairy tales, when presented, will assist in the construction of identities, for in them we find a repetition of norms, which are maintained by tradition, favoring "patriarchal and reactionary notions of gender, ethnicity, behavior, and social class" (ZIPES, 2006, p. 2). In this sense, we realize that in these narratives there is a lack of representation of bodies. Feminist writers, seeking ways to rethink or resignify fairy tales, have proposed rewriting processes that avoided gender stereotypes and patriarchal ideologies. This work, starting from previous versions - Giambattista Basile, Charles Perrault and Jakob and Wilhelm Grimm (Brothers Grimm), as well as the animation of the Walt Disney Studios - performs a comparative study of five rewritings of Cinderella - Lee, When the Clock strikes (1983), Donoghue, The Tale of the Shoe (1997), Walker, Cinder-Helle (1996), Yolen, Cinder-Elephant (2000), Block, Glass (2000) -, based on the concepts of female identity, body and feminine impersonation. Thus, our theoretical approach focuses on concepts derived from gender studies, mainly Judith Butler's notion of performativity, and queer studies. The focus is, therefore, the representation of the female body in the figure of the protagonist, since we analyze the construction of the gender from the impersonation to the ball and the relations established with the father, the mother, the stepmother, the sisters, and the prince.