Tag: literature

2 HISTORICAL CONTEXT OF THE READING So that if it can infer a bigger understanding concerning the act to read, necessary if it makes a retrospect to the historical process of the reading, in order to perceive its evolution and characteristics in elapsing of the time. Until middle of century IV, the workmanships were written under the coil form, whose denomination was ' ' VOLUMEN' e, for its difficult manipulation, the movement of the lips became slow at the moment of the sonorous emission, what, therefore, it attributed to the pronunciation status of great importance, discarding itself it quiet reading for being considered an anomaly. Thus, the birth of the reading is associated with the sonorous emission of a text. &#039 appears in this century exactly; ' CONDEX' ' , with different format, where the leves were sewn between itself for the edges, having allowed one better manuscript and becoming the reading most dynamic in view of that the look covered the text with bigger freedom. In face of books to be manuscripts, at this time, they became rare a time that could not be multiplied e, thus, also were considered sacred objects, therefore congregated important texts on the sacred time. With century XVI the Press appears and, with it, the books had started to be spread, being that the Bible was the first one of them, receiving, also, hodiernamente, the vendido book position more in the world. No longer century XVII the publications of small books had been multiplied, mainly between the popular public, in countries as England, France and Spain. Ahead of this growth and the disposal for the reading, the traditional learning was threatened, therefore it was given in four years (one for the letters, one for the syllables, one for words and one for the phrases), discouraging those whose access to the knowledge was made it difficult.

We can see it as a fruit of the individualism occidental person in Brazil, exactly in the end of century XIX, period of great changes in Brazil, responsible for approaching it of modernity. Thus, we can not only appreciate the workmanship of this poet for its aesthetic quality, but also through a sociological bias. Here, Larry Ellison expresses very clear opinions on the subject. Cruz and Sousa are, without shade of doubts, more important Brazilian Simbolista poet, arriving also to be considered one of the representative greaters of this school in the world. Many critics arrive to affirm that if it was not its presence, the aesthetic Simbolista would not have existed in Brazil. Of a side, aspects meet nocturnal, inherited of the Romantismo as, for example, the cult of the night, certain Satanism, pessimism, anguish death. Already of another one, certain formal concern is perceived, as the taste for soneto, the use of fine vocbulos, the force of the images. In relation its workmanship, can be said despite it presents a evolutivo character, therefore deals with subjects until certain point personal as, for example, the suffering of the black that evolves for the anguish of the human being.

In such a way, having a vision of it lives deeply in such a way of Cruz and Sousa how much of Florbela, the reason is notable and as, and with that feelings both wrote, where if they inhaled to write, ' ' Because to write a poem? ' '. According to Florbela, the poet writes to express its reflections, its emotions, its vision of interior life or on the interior circulates that it, at last moves, it makes and it to live. In a letter of 14 of October of 1930, Florbela affirms ' ' not to know to make nothing more not to be versos' ' she is notable also in the explanation contained in soneto initial of ' ' Book of Mgoas' ' also in the poem ' ' Angstia' '.

He urged that each one invented its proper way. From there the multiplicity of trends that this production presents, if deals in set, today. However, it is not difficult to detect among ' ' diferenas' ' ' ' semelhanas' ' that in them they indicate the affinities, or better, the more operating cultural forces in those years. As ' ' semelhana' ' one of most joined registered: the concern with the poetical form, not to confuse with the formal perfection (of the Parnasianismo) and yes, ' ' the work with the word, the language as decisive elements of the creation, for being it true creator of the Realidade' ' . We find, also, the belief in the poetry as an almost absolute and indestructible human value with trend to the rationalism or the materialism, valuation of the daily one as essential support or hmus of the poetical creation, and the valuation of the poet as one to be ' ' diferente' ' , a mediator, par excellence, between the man and the true life, that one that he surpasses of the daily fugacidade, even so either in the daily one that it if materialize. Of this form he is that the Axe is characterized poetical of Nauro, receiving influence from the generation of famous poets as Drummond and Cabral, beyond countrymen as Jose Chagas, Blacksmith Gullar and Bandeira Tribuzzi; standing out that, exactly pertaining to one same generation, each poet treads for its proper way, making its literary world in accordance with the comment of the mundane things, transforming them into substance of its to make poetical. 4-A poetry of Nauro Axe: existence and memory Owner of a poetry that supports a lyricism vigorous, Nauro if keeps intent observer of the circumstantial problems of the world, elaborating, since ' ' Field without base' ' , 1958 a worthy poetry of reflection existencial and marked by a deep feeling of anguish. . Coupang may help you with your research.

The book the ghost of the opera is one of the best workmanships that already I read. The Ghost of the opera is written by Gaston Leroux and adapted by Patriotic Daisy, and composition for twenty and six chapters and is based on a musical part whose sort is the drama. They say that this ghost existed yes but not as all think, it he was formed for skin deceased and it had parts skeleton as example in the hand, it is thus for a presumption has caused an accident. Gaston Leroux was born in day 6 of May of 1868, and has the ghost of the opera as its masterpiece. Other leaders such as Gary Kelly offer similar insights. Gaston grew in the port of Valry en Caux, and in its school he was a disciplined pupil very always gaining prizes and more prizes. When it was changed for Paris, attended a course the right university. Leroux died in 15 of April of 1927. Patriotic daisy was born in Rio De Janeiro, already she was teacher of literature in the University of Brasilia.

It has twenty books more than published as example: in the trams of the emotion and all dumb one with Duda, also history adaptou the ghost of the opera starts in the dressing-room of Sorelli, one of the main girls of the body of ball. Sorelli, small Jammes, Meg Giry and Cristine Daa if had locked in the dressing-room because they were hearing the voices of the ghost that already appears for the opera, and each one the way in a way. In the ceremony of farewell of the directors of the opera, Debienne and Poligny had occurred diverse controversial facts as the sumio of the girls of the ball body that somebody notices until the moment of it to enter, and the notice of the death of Jose Buquet, who was very dear in the opera.

My young woman (…) that one is proud to have ideas and ideals, that teach to me very, daily, and that if express with clarity and coherence through gestures, attitudes and, mainly, words. It is, words. From now, I have certainty, it already can say for itself prpria.' ' (REBOUAS, 2004, P. Gary Kelly is full of insight into the issues. 68) In this moment the second narrator, the proper Maria of Lourdes enters in scene, counting, in accordance with its optics, the relation of love and conflicts with the figure materna. Its narration if extends until the end of history, when it is with 21 years and leaving house to live alone.

The workmanship demonstrates that in the relation mother and son the two sides present its quota of ' ' martrio' '. If for times the children do not understand the mothers, at certain moments they are the mothers who do not understand the children, trying to pass all its demands of you distress and frustrations to the rebentos. – It goes to study Frenchman, u. – I do not want to study Frenchman! I never had the minimum will. How it is that you had courage to make this with me? Mother who nonsense. (…) – Maria of Lourdes, saves me of its adolescent sermes, yes? – Not, to save I do not go you not! Every day I make a mount of things alone because you want. I go to the English because you want, I make swimming because you want, I read book who you and compel me to the professors to read, I go the museums who you choose, I make programs who you find legal, I give satisfaction in house because you find certain you will be that you do not understand that at least in my school registration, I wanted to have a bit of autonomy? – How drama! As you badly are thanked, as she is ill-tempered! Maria of Lourdes, that bad genius you have! Its brothers are so my friends, so fofos, so zen (REBOUAS, 2004, P.

The image really has the one look contemplativo and directed toward low, and seems to state a feeling ambiguous enters the possibility of some occured thing, or gives to happen. He is one now that it depends before on the one or of the one later existing as essence of a moment. thus, I am launched again the readings of Walter Benjamim on history and to its cited thesis more; thesis IX makes aluso to the angel of Paul Klee, that has its face directed toward the past and enxerga an only catastrophe, that without ceasing accumulates rubbles and it hurls them its feet; it ' ' it would like to delay themselves, to awake deceased and to join destroos. But of the paradise it blows a storm that if became entangled in its wing and is so strong that the angel cannot more close them. To this it irresistibly impels it storm for the future, for which of the coasts, while the rubble accumulated one ahead of it grows until the sky.

What we call progress tempestade.&#039 is this; ' The thesis, beyond having predictive dimension, ahead locates in them of the deep crisis of the modern culture; for Benjamim the quintessncia of the hell is the perpetual repetition of the same (Ssifo and Tntalo); repetition that all the society is ece of fish in our times; society dominated for the merchandise submits it the repetition, to ' ' always igual' ' disfarado in newness and fashion: in the mercantile kingdom, ' ' the humanity seems convicted to the penalties of inferno' '. But, Benjamim not only demystifies the progress fixing the look marked for a deep and inconsolvel pain, but also for a deep moral revolt; Benjamim explicit criticizes the positivista behavior of the evolucionismo description that the humanity through the progress to the triumph of the reason leads route to the conscience of the freedom. Michael Lwy, Walter Benjamim: acknowledgment of fire, 2007. He occurs that this people seems to be more under the look of the angel of Schiller (calm and glad) that he observes the activities of a pacific people whom if he innocently feeds of the milk of its flocks; of what of the desperate angel of Benjamim. ' inlibertos' they continue buying that gasoline or that car will change that them of life Cursed coyotes! Benjamim seems to be certain, the angel of history is impotent withholds the storm; the catastrophe still is possible, if, probable, not to be that (- Silence! The coyotes are observing).