O trabalho e o trabalho imaterial das mulheres em Dom Casmurro: Capitu, Prima Justina e Dona Glória

Abstract

This paper aimed to analyze the intangible work of three characters from the novel of Dom Casmurro (1899), by Machado de Assis, Capitu, Prima Justina and Dona Glória, discussing the way in which they are conditioned at the same time that modifies, through of her immaterial intellectual work , social class and gender relations in the novel. A prior, we seach to break the paradigm of the iconic question as regards Capitu's fidelityand, in this way, we affirm that Machado's character is much more than the simple component of a controversy triad of loves and possible betrayals. We expose the way that Capitu modifies the entire surroundings permeated by her and changing the space of the co-participants of the composition, that occur in Rio de Janeiro at the end of the 19th century – the sharp of a clear duality between the man who orders and the woman who is ordered – a place for exposure between genders and their disparities separated by patriarchal. For this, we take as a contribution what says Carole Patemam (2020), Mary Del Priore (2020), Gerda Lerner (2019), Michelli de Perrot (2019) among others. We also analyze, how Capitu has been, during these 124 years, the object of research and studies, however, in the over majority, reading exclusively from a matrimonial perspective. Thereby, we seek to ensure that the character goes far beyond the concepts of seduction and partiality. Capitu can and should be dissected as an analysis of human behavior itself and, in the meantime, we can demystify patterns and archetypes stereotyped by partiality about nineteenthcentury women, conclusioning that the Capitu controversy goes far beyond what is implied. And it is through her immaterial work, in the articulation she establishes with other characters, including the other women in the plot, that the epic of the novel changes relationships. Therefore, we take as a basis what Marx (1985), Lazzarato (2001), Negri (2001), Hardy (2005) and Gorz (2005) claims, which ensure that immaterial work, in its subjectivity, is the first of all human production. Finally, we observe the path of movement and production of the co-protagonists throughout the plot and its results, thus modifying the intimate and social realm in which they are inserted, simultaneously unfasten the bonds woven by the hands of man, even in fiction or in reality.