Adalgisa Nery e as questões políticas de seu tempo (1905- 1980)

Abstract

Based on the trajectory of Adalgisa Nery (1905-1980), our study intends to verify the acting of this woman through the gender relations. Adalgisa exercised wide intellectual and political performances since the years 1930. The marriage with the modernist painter Ismael Nery (1900-1934) provided her entrance in the intellectual universe, as well as the building of a decisive network of sociability in her itinerary. After the death of Ismael Nery, she married in 1940 the boss of the censorship department of Getúlio Vargas dictatorship, Lourival Fontes. In that context, Adalgisa Nery executed important role in the relationships between the intellectuals and the Estado Novo. In 1954, the year of president Getúlio Vargas s suicide, when she had already finished her second marriage, Adalgisa started her career in the newspaper Última Hora. She published, for near 10 years, a column named Retrato sem Retoque , which became very popular. She wrote about economy and politics focusing national and international themes. With a hard nationalist speech, using her peculiar language, Adalgisa Nery attacked political and public personalities. Due to this, she cultivated many enemies. With her work in the journalism Adalgisa was elected, by Partido Socialista Brasileiro (PSB), deputy of Guanabara, a new State created after the change of Brazilian s federal capital to Brasília, in 1960. In 1963, Adalgisa went to the Partido Trabalhista Brasileiro (PTB). In the press and in the institutional politics she allied, gradually, to the left political forces during the period before April 1964, when started a military dictatorship in Brazil. In this political situation she stopped to write her column. With the imposition of only two political parties in Brazil, Adalgisa Nery went to Movimento Democrático Brasileiro (MDB). In 1969 she lost her political rights by the military regime, but she continued her literary career, which she never abandoned during all her activities. This woman acted in activities traditionally considered as masculine, where she participated with agility, conquering respect and recognition. On the same hand, if she transgressed on the practice way, Adalgisa assimilated the speeches of roles and postures destined to each gender.