Portuguese Literature

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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&#039 Romance; ' – Massaud Moiss; ' ' The Naturalista&#039 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, …

Province

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In this environment, the neoclssica conception of art, conducted for the slight knowledge of example and virtue, could not make sensible. 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.