<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0807-8967</journal-id>
<journal-title><![CDATA[Revista Diacrítica]]></journal-title>
<abbrev-journal-title><![CDATA[Diacrítica]]></abbrev-journal-title>
<issn>0807-8967</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos Humanísticos da Universidade do Minho]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0807-89672024000200212</article-id>
<article-id pub-id-type="doi">10.21814/diacritica.5623</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[ENTRE A IMPOSSIBILIDADE DE NOMEAR E A ARTE DA SUGESTÃO. O DITO E O NÃO-DITO NO CONTO &#8220;A CHINA FICA AO LADO&#8221; DE MARIA ONDINA BRAGA]]></article-title>
<article-title xml:lang="en"><![CDATA[BETWEEN THE IMPOSSIBILITY TO NAME AND THE ART OF SUGGESTION. THE SAID AND THE UNSAID IN THE SHORT STORY &#8220;A CHINA FICA AO LADO&#8221; BY MARIA ONDINA BRAGA]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Almeida]]></surname>
<given-names><![CDATA[Andreia]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade NOVA de Lisboa Faculdade de Ciências Sociais e Humanas Instituto de Estudos de Literatura e Tradição]]></institution>
<addr-line><![CDATA[Lisboa ]]></addr-line>
<country>Portugal</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>08</month>
<year>2024</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>08</month>
<year>2024</year>
</pub-date>
<volume>38</volume>
<numero>2</numero>
<fpage>212</fpage>
<lpage>223</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S0807-89672024000200212&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S0807-89672024000200212&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S0807-89672024000200212&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo No conto &#8220;A China fica ao lado&#8221;, publicado em 1968, Maria Ondina Braga narra a história de uma mulher anónima, exilada, que procura um médico para realizar um aborto. A narrativa incide sobre uma prática proibida tanto em Macau, onde se passa a história, como em Portugal, até 2007. Neste ensaio, interessa-nos analisar a forma como este tema é abordado pela autora. É feita uma análise das estratégias utilizadas pela autora para narrar um acontecimento traumático na vida de uma mulher, sem o nomear, recorrendo ao que Regina Louro chamou a &#8216;arte da sugestão&#8217;. Reflete-se e criam-se hipóteses explicativas para a escolha da autora de usar as estratégias identificadas como forma de narrar. Para concluir, recorre-se à crítica feminista para questionar se a arte de narrar da autora, que se manteve para lá do 25 de Abril de 1974, contribui para a invisibilidade das mulheres, das suas vivências e violências que sofrem, ou se, pelo contrário, constitui uma forma de dar visibilidade a essas situações.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract In the short story &#8220;A China fica ao lado&#8221;, published in 1968, Maria Ondina Braga tells the story of an anonymous, exiled woman who seeks a doctor to perform an abortion. The narrative focuses on a practice prohibited both in Macau, where the story takes place, and in Portugal, until 2007. In this essay, we are interested in analyzing the way in which the author approaches this topic. We analyze the strategies used by the author to narrate a traumatic event in a woman's life, without naming it, using what Regina Louro called the 'art of suggestion'. We reflect about and create explanatory hypotheses for the author's choice to use the strategies we identified as a way of narrating. To conclude, we use feminist criticism to question whether the author's art of narration, which continued beyond the 25th of April 1974, contributes to the invisibility of women, their experiences, and the violence they suffer, or whether it constitutes a way of giving visibility to these situations.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[Não-nomeado]]></kwd>
<kwd lng="pt"><![CDATA[Não-dito]]></kwd>
<kwd lng="pt"><![CDATA[Arte da sugestão]]></kwd>
<kwd lng="pt"><![CDATA[Aborto]]></kwd>
<kwd lng="pt"><![CDATA[Maria Ondina Braga.]]></kwd>
<kwd lng="en"><![CDATA[Unnamed]]></kwd>
<kwd lng="en"><![CDATA[Unsaid]]></kwd>
<kwd lng="en"><![CDATA[Art of suggestion]]></kwd>
<kwd lng="en"><![CDATA[Abortion]]></kwd>
<kwd lng="en"><![CDATA[Maria Ondina Braga.]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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