نبذة مختصرة : Alice Ruiz's aesthetic project presents an approach in language that allows the understanding of a discourse centered on female protagonism. In this way, her poems, haiku, songs and comics provide a perception of women from the perspective of the body and sexuality. Through this approach, the reader not only apprehends the various aesthetic configurations, but also understands the struggle of women for spaces in society, which are usually dominated by men and by a predominantly sexist legal system. From this context, the purpose of this research focuses on an analytical reading of Alice Ruiz's writings based on stylistics and post-structuralist studies, as well as aiming to consolidate a methodological approach that provides a significant interaction between young readers and texts. poems in the classroom. To ensure the literary reading experience at school, we approach the reading strategies of Girotto and Souza (2012) and the didactic sequence of Solé (1998). As for the discursive context of the poet's texts, three theoretical categories related to patriarchy are highlighted: Foucault's concept of power (2014), Bourdieu's symbolic violence (2021) and Butler's gender inequalities (2019). With regard to the analytical reading of the poems, we appropriated the considerations of Pfeiffer (1966), Cohen (1975), Staiger (1975) and Hegel (1980). Reflections on the Aesthetics of Reception by Jauss (1979) and (1994), and the Theory of the Aesthetic Effect by Iser (1996) and (1999) grounded the theoretical approach to reader reception. Foucault (2014) contributed to the analytical basis of the themes that discuss the body and sexuality as forms of power. The methodological route for teaching poetry was based on the four (04) categories of metacognitive reading: previous knowledge, text-text connection, text-world and text-reader, inference and visualization, which favored the aesthetic experience with the composer's writings in the classroom, promoting the understanding of discussions around women, as well as the ...
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