Considered one of the foremost exponent prose writers of the "tropical belle époque", and in spite of the literary genre in which she has earned reputation, Júlia Lopes de Almeida (1862-1934) has revealed herself as a writer of an undeniable artistic versatility. Thus, her explorations on the Dramatic Arts seem to be an unequivocal example: besides the published works A Herança (1909) and Teatro (1917), the writer has left around a dozen unpublished and unstaged dramaturgical texts, all of them available as handwritten and/or typed manuscripts, in her private archives, which have been maintained by Claudio Lopes de Almeida, her grandson. Bearing in mind the extension of her legacy, and considering the liaisons between art and gender/sex, this article pursues to analyze the dramaturgical text entitled "O Caminho do Bem". Our purpose is to contribute not only to the critical fortune of the writer, but also to those studies which have been dedicating themselves to paving the overshadowed gaps still inscribed in the field of the Brazilian literary historiography.
Júlia Lopes de Almeida; Unpublished Manuscripts; Brazilian Literature; Dramatic Arts; Gender
