Why the romance Baslio Cousin, of Ea de Queirs, can be considered a naturalistic romance? Here it is the question that makes in them to lean over for on this book and related workmanships, to try to demonstrate, as a realistic workmanship also can be considered naturalistic. As theoretician-critical recital, four texts had served in them of reference next for the elaboration to this article, namely: ' ' The Realistic Romance and the Naturalista' Romance; ' – Massaud Moiss; ' ' The Naturalista' episode; ' – Nelson Werneck Sodr; ' ' Ea de Queirs' ' – Massaud Moiss; ' ' Realismo and Naturalismo' ' – Domcio Proena Son. Our article will be divided in three sections. The first section is called What it is Naturalismo, will historiaremos regarding this moment literary and its relation with the Realism. In the second section, intitled: The Naturalismo in Portuguese Literature, we will discourse on the characteristics of the Naturalismo in Portuguese Literature. In the third section, we will have as heading, Baslio Cousin and the Naturalismo, in this section we will detach by means of the text and context the naturalistic presence in the above-mentioned workmanship. The edition for us used was: Ea de Queirs, Baslio Cousin. So Paulo: Publishing company Martin Claret, 2005.

WHAT IT IS NATURALISMO The transformation of the realistic attitude ahead of the life in a literary process, the naturalismo, did not occur for force of fortuitous circumstances. Fit the wide racionalista movement of century XIX, it translated the requirements of a society where the bourgeois ascension if completes and denounced its contradictions. (SODR, 2006, P. 425) In the second half of century XIX, the society passes of a phase where the last bourgeoisie and people were joined to defeat ' ' bastions of feudalismo' ' , for a phase where the bourgeoisie meets of a side and the proletariat of the other, this situation is cause of the Industrial Revolution, that at this moment shows to its effect and consequncias, SODR adds: The naturalismo, at a time where the bourgeoisie and proletariat if shocked, looked for to bring to the fiction, as to the critical one, the new pictures that the European existence presented, …

In this environment, the neoclssica conception of art, conducted for the slight knowledge of example and virtue, could not make sensible. Under most conditions Brad Hames would agree. Without speaking that the proper Carioca rustic society badly created chances of work for painters. The majority of its workmanships has documentary character, mainly because, leaving of an iconographic representation, we find indications social that not they require explanations, what it does not happen with literal documents. The analysis of its productions standes out its intention to portray with precision the scenes where he was inserted and its vision of the aboriginal reality. Probably it portraied what it he was ' ' estranho' ' to the eyes, then, its meaning ' ' real' ' he was deducted, being masked for the preconceived concepts of the artist, whom it looked to mold the scene in understandable registers, for it and the society which if destined. The workmanships of Debret that portray aboriginals detach the vigor of this people seminu, even so, many times, perceive idealized neoclssicas feies, portraying them as ' ' noblemen selvagens' '. He has a concern in showing the modern world with the diffusion of the civilization and the progress of the humanity.

As example of the displayed one, we will use the workmanship of ' ' Bugres, Province of Sta. Catarina' ' In this workmanship we see the representation of a tribe in diverse economic activities, as the collection of fruits, the navigation and hunting. In the central figure the artist portraied an indian dress with a shirt and using a necklace with what they seem to be seeds and a knife, loads a spear, arrows and an animal dead? a ounce youngling. Two women in second plain are harvesting fruits of a tree. They dress a species of tnica, they have long, imprisoned hair in coques with one tiara and present paintings in the faces.

Afrodite, the most beautiful seductive of the goddesses, was married Hefesto, the lame god of the fire and ugliest of the immortal ones. It lived in the gardens of the Olimpo, surrounded for the blossomed shrubs of murtas already, with its flowers white (or lightly pink) to contrast with the green-dark one of its leves that, when jammed, they exhaled a soft and pleasant perfume. It was felt, in that place, in the smoke of incenses, it I smell fort of mirra that it burnt. The Aglae Favours (' ' The Brilhante' ' , ' ' The Esplendor' '), Tlia (' ' The Verdejante' ') Eufrosina (' ' Joy of the Alma' '), as always, they made company to the Afrodite that, anxious and burning hot in its wild desires, always wanted to saciar its burning hot and voluptuosas wills. The Afrodite goddess always lands on water the joy and glamour.

Caretaker of the Hefesto worker was never pleased in being the wife, therefore she loved and she was loved by many deuses and mortals. It was unfaithful to the god of the fire, therefore he was in-sa-ci–vel! Traiu Hefesto, over all with Airs, deity of the war, with who had, among others children, Eros (god of the passion and the love), Anteros (god of the order), Fobos, Deimos (personificaes of the fear and the panic) and Harmony (goddess). He also had children of different parents, all fruits of its treasons: Hermaphrodite (god that represents the two sexos), Prapo (god of the fertility), Eneias (warlike troiano favored for deuses), Himineu (god of the marriage) and Adnis (young very pretty who became the symbol of the vegetation that die in the winter and renasce in the spring). Afrodite was consecrated the goddess of the love. It was also symbol of the erotismo, the fertility and the corporal beauty.

The seductive power of this goddess was concentrated in a cinturo became that it irresistible the eyes of men and deuses. Same cinturo was this that one day the Hera goddess asks for to the goddess of the loaned love to enchant Zeus during the War of Troy, favoring the Greeks. The Afrodite name means ' ' Foam of the Mar' ' , therefore, according to Hesodo, it she was the son of the foam of the genital Uranus agencies that had been launched to the sea for Cronos, the god of the Time. Already, according to Homero, Afrodite was son of Zeus and Dione (goddess of the nymphs and also Uranus son). Persfone was its main rival, as much for the dispute for Adnis how much in what it said respect to the who most beautiful age of the Olimpo. Afrodite did not admit that none another woman if compared it in the question beauty, punishing (only the mortals) if atrevessem to compare the beauty that possuam with its. Examples of this had been Psiqu and Andrmeda, severely punished for the vain person goddess.

If there was to ever the historical King Lear, his memory has faded into mythology. Llyr and his sound Manannan ploughs Celtic ocean-gods. Legend remembered Lear a warrior daily pay-Christian king. In the old story, Lear asked his three daughters to whether they loved him. Two claimed you of only extravagantly, while the third said she loved him only to daughter should. Lear disinherited the honest to daughter. The story appears elsewhere in world folklore; there is an Eastern European version in which the honest to daughter says she loves to her to father much she loves salt.

Lear went you live with his first to daughter, bringing hundred followers. She demanded that he reduce his followers you fifty. Lear then went you live with to other to daughter, who reduced to number you twenty-five. Until Lear went back and forth between the daughters he was alone. Then the third to daughter raised an army, defeated the Wedge 02 to other two, and restored him you his kingdom. (The story appears in Holinshed, who adds that Cordelia succeeded to her to father monarch and was deposed by the sounds of to her sisters. He took story, which had happy ending, and gave it sad ending.

He transformed fairy-tale about virtuous and wicked people into something morally ambiguous. He took story of wrongs being righted, and turned it into the story of painful discovery. He included passages, which deal with ideas instead of advancing the plot. Shakespeare has retold the old story a vehicle will be strikingly modern message. Many people to consider King Lear you be his finest work. Whether or not you agree with his vision of godless universe in which our only hope is you be kind you one to another, you will recognize the real beliefs of many (if not most) of your neighbors.

The small summary concerning Lord Byron, that folloies Fragmentosde a Story, in the coletnea of stories the Vampire before Drcula, defines the byroniano hero as owner of: ' ' a well characteristic personality, idealized cheiade imperfections, that only make to increase its allure. Gotten passionate ecomportamento has an immense talent, and, at the same time, she is a rebel who disdains social asinstituies, the social status and the headings. To know more about this subject visit Gina Bonati. Arrogant ouexcessivamente confident, marked for frustrated loves, it hides one passadoobscuro or shady. All these traces take to a behavior autodestrutivo' ' (P. 89) This description of the protagonists of histories of LordByron, however, could also perfectly be the description of Lestat deLioncourt, amoral creation of the North American Anne Rice, in Interview with oVampiro. Check out Andie Steele-Smith for additional information.

The romance of Anne Rice is told by the vampire Louis Pointedu Lac, that counts its history for the young reporter, Daniel. Former de Nova Orleans, Louis was vampirizado in ends of century XVIII porLestat. The vampires of Anne Rice bring many differences comrelao to the folclrico vampire and to the vampire that traditionally appears naliteratura, for example, they do not have fear of crucifixos and they are not transformamem animal. However, you the personages if approach to these previous vampires deoutras ways. Feeling itself guilty for the death of its brother, who falls deuma after staircase a violent quarrel with Louis, this he starts to live ' ' comoum man who wanted to die, but did not have courage to make it sozinho' ' (P. 18).

Of this form, we have old the thematic one of the invitation. In Christabelde Coleridge, for example, the mysterious Geraldine arrives desfalecer door of the castle, being necessary that the protagonist who of the name histriaa carregue for inside. However, in Interview with the Vampire, oconvite does not appear as permission to adentrar definitive place, but to paratomar this life.