Canto de evocação das yabás para o feminino preto nos contos: “Olhos d’água”, “Luamanda” e “Ayoluwa, a alegria do nosso povo” na obra Olhos D’água, de Conceição Evaristo

Abstract

This dissertation aims to analyze the evocation of the female part of the Orixas pantheon in three short stories by the writer Conceição Evaristo, present in the work Olhos D'água. In addition, addressing issues related to the black female and the importance of the Yabas for these fictions. When researching such literary bodies, it was essential to study the perspective of the body of black women in society, traced through verisimilitude (likelihood) as well as the discursive formation and identity of the characters conceived by a literary woman who breaks the barriers of silencing and imputed hypersexualization to the black race from the beginning of colonization. Such marks on bodies, such as those that Conceição Evaristo builds and deconstructs are part of a project to revive memory and history that the European colonizer tried to erase and, despite the themes treated by the writer have a hard realist bias, the way she conceives her writings it allows us to understand mimetic subjects as songs and poems from the daily lives of other real women, in a way that only Afro-Diasporic Literature would be able to formulate. It is art reconfigured through a cruel past on the certainties and uncertainties of the present, in favor of a future of self-recognition and dignity. As references for this research in addition to the author herself, we use names such as: Prandi (2005), Mello (2005), Fanon (2008), bell hooks (2014), Kilomba (2019), Audre Lorde (2019), Patricia Hill Collins and Sirma Birges (2020), Mãe Flávia Pinto (2021).