Abstract
Este artigo problematiza que o vestuário não é uma mera escolha que um indivíduo faz; em vez disso, metoniza quase todos os aspectos da sua identidade. Por meio de uma análise crítica dos romancistas britânicos árabes de Fadia Faqir (2014) Willow Trees Don´t Weep e de Leila Aboulela (2010) Lyrics Alley, o artigo acentua o hábil emprego do vestuário nesses romances e destaca suas diferentes implicações. Também traz à luz a forte relação entre os personagens principais e a escolha da vestimenta. Além disso, este estudo baseia-se em diferentes teorias de vestuário como um assunto interdisciplinar em sociologia, psicologia e estudos culturais. O artigo cita evidências textuais que enfocam as diferentes implicações do vestuário e mostra como esses autores usaram a vestimenta para comentar deliberadamente questões sociais e políticas importantes em suas pátrias e/ou na diáspora. Além disso, concentra-se nesses episódios de indumentária para mostrar que a construção identitária dos personagens principais desses romances intrinsecamente se entrelaça às circunstâncias socioeconômicas, políticas, culturais, religiosas e psicológicas.
Highlights
This paper investigates how Arab British novelists Fadia Faqir’s (2014) Willow Trees Don’t Weep and Leila Aboulela’s (2010) Lyrics Alley skillfully employ dress in their novels and highlight its different psychological, sociopolitical and cultural implications
Faqir’s Willow Trees Don’t Weep and Aboulela’s Lyrics Alley provide a pyearramic picture of the main characters’ quotidian experiences which are highly influenced by the sociological, political, cultural, religious, and psychological circumstances and conditions. These experiences are vividly represented through the conscious choices of their dress. Through their dress, the main characters express their resistance to the oppressive social norms of their societies, voice out their aspirations and future, and declare their connectedness to or alienation from the societies they live in
Underscoring the use of dress, this paper has shown that Faqir and Aboulela have placed a great amount of attention on/to the sartorial selections of their characters in order to unearth some significant cues that reveal the tight relationship between the main characters and their dresses on one hand and the main characters of the different cultures where they find themselves
Summary
In this one pregnant subject of clothes, rightly understood, is included all that men have thought, dreamed, done, and been: the whole External Universe and what it holds is but Clothing; and the essence of all Science lies in the philosophy of clothes (Carlyle, 1904, p. 91, griffin of the author). According to Teufelsdröckh, every single aspect of the external universe is manifested in the clothes of individuals In this respect, dress is deemed as a useful communicative apparatus which provides significant clues of different facets of one’s personality and life. This paper claims that the authors intentionally employ dress in their works to point out aesthetic and thematic ends and to comment on the glocal sociological, political, and cultural circumstances in their homelands and/or in the diaspora. In this way, Faqir and Aboulela provide important clues about their main characters’ psychological and socio-political concerns which can be reasonably speculated through their dress. The ways in which Mahmoud Bey, Nabilah, Soraya, Ustaz Badr and other characters dress up speak volumes in this novel about their positions on the nationalist, cultural and socio-political conditions and circumstances of their country
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