Its last workmanships had been chose to them Sad (Tristia), reflections and hurts of the exile, In final verses of the Tristia, III: 7, 51-52, the poet reaffirms the inabalvel belief in immortality of its name, reached through its poetical workmanship. Cnscio to have fulfilled the mission of an inspired poet, emphasizes that while to last the name of Rome, it has to last of the poet, and Epistles of the Point (Former Epistolae Point), unconsciousness protests. In the elegaca coletnea TRISTIA, book composed cincos (libelli), one of the workmanships written in the deportation (relegatio), in Tmis, Ovdio in discloses its misfortunes, its fears and its hope to them in the clemency of the friend and August Emperor. The poet describes in pathetic style its experiences, its sentimentalismo and the expression of pain after the rupture and the separation, not only of the URBS, but, mainly, of its familiar ones and the friends. Former EPISTULAE POINT? amongst others, we can evidence the split enters two times in the life of the poet. Previous and an other subsequent to the banishment for an inhospitable place, surrounded of Barbarians. In the first one, it is the vivacity, youth, and the mundane life of Rome; at as the moment, they are the oldness and the death it to perpassar the soul to each day that passes in Tmis to the wait of the clemency of Augustus who, during a period, felt to be possible. With passing of the time, forgotten and relegated to its prpr it will gar.
io destination, cnscio of its future, perceives that this pardon will not arrive. With the death of the August Emperor and the ascent to the throne of Tibrio, the hope of the clemency becomes impossible. Falece the Ovdio poet in year 18, without having again placed its feet in Rome; but its metric feet had returned Rome together with its workmanship, assigned for the poet as ' ' infelix cure, libelli' ' (v.
… Is the rider of weighed metal that it projects of high its cyclical series of shades. … Is a sword that served in the war and that it is but a weapon that a memory. …
Is the face of Christ who vi in the dust, I insult the hammers blow, in one of the ships of the Piedad (BORGES, 2001, P. 68-69). Borges really runs away from the buclico saudosismo of the romantic ones, constructing its to make poetical of doubts and subjective contradictions. It has in verses in prominence the coherence and incoherence of one I broken up, that it searchs in the city Buenos Aires the totality of the existence: ' ' Buenos Aires is to another street, the one that I never did not step on, is the private center of blocks, the last patios, is what the faades escondem' ' (BORGES, 2001, P. 68). In the poetry Buenos Aires this return to the origins is evident, vindication of a lyric one of the memory.
The city and the memory are identified while labirntica consubstanciao of the existence. Already if manifest in incipient way the figure it flneur, it andarilho of the city, it man in the anonymity, very characterized in last verses it well poem: ' ' Buenos Aires is … the quarter that is not yours nor mine, what we ignore and amamos' ' (BORGES, 2001, P. 70). In May 20, 1928, beyond showing, really, the consolidation of the poetical force of Borges in the lyric mnemonics, since that the proper heading is a reminiscncia, brings the image of flneur in marcante way: ' ' It walks slowly under the tlias; it looks at railings the doors, do not stop lembr-las' ' (BORGES, 2001, P. 33). It is perceived that in this I break up the caminhante is lost in its souvenirs, anonymous in the world of the cities, way to the world them others, drama of the similar urban poetry to soneto To a Passer-by, of Baudelaire, as if it can evidence I break up in it below: The street in around was an uncommon noise.
The Shakesperiana tragedy is basically anthropocentric, whose manifest human act as the main reason of the catastrophe, since she is basically on between the action and the consequncia of its personages. In the tragedy of Shakespeare, they are the acts of the personages whom its personality discloses, in influence which them causing a effect its decisions, that cause the proper tragedy (BRADLEY, 2009). Choice of this subject if materialize due power of autotransformao of personages tragic of Shakespeare and its multiple perspective that becomes them free artists of itself exactly, what it means that they are free to command its decisions and to make changes, as salient Bloom (2001). In this expectation, this research if justifies for presenting an analysis of the tragic personages of Shakespeare, who have the power to prevent the tragedy, however they do not make them due to the innumerable errors that commit as reflected of its personalities (BRADLEY, 2009)..
The answers had been varied, where each citizen answered two atosque executes in classroom. Citizen 1, looks for to say a little doenredo of the workmanship and makes some questions after the reading. interessante, this determination that citizen 1 possesss, in the possibility of the production of different meanings in virtudede a deliberated work, that creates the paradiferentes convergences of the text receptive disposals. In sight of this, is to precisoconsiderar the cultural luggage that each reader possesss, thus comovarias experiences that go to consider different interpretations. Citizen 2, looks for to show that literature possesss one ligaocom the history of the humanity. Cndido (2002, P.
77), says the funohumanizadora of literature, that is, on the capacity that it temde to confirm the humanity of the man. Confirma in the measure in quemostra histories based on the humanity. One another reply of it, o fact to ask for that the pupils write texts portraying suashistrias, that they will always have a little of imagination. As afirmCndido (2002, P. 81): Table 4 – Which the biggest difficulty that you find to paratrabalhar with the literary texts? Difficulties for literary trabalhartextos Suj The lack of taste for reading 1 50 the lack of time for you argue readings In accordance with the dosalunos lack of understanding when reading 50 literary texts 2 TOTAL 2 100 table 4, the encontradaspelos difficulties professors to if working the literary texts, are many, mainly related the pupils, who are pointed comculpados for almost all the problems. Citizen 1, considers comouma of the difficulties, the lack of the taste for the reading, that is a casopreocupante not only related to the literary texts, but to todasas you discipline Martins (2006, P. 95) regarding the taste pelaleitura says that: Ratificamos to be necessary to diversify asatividades directed to the reading, to stimulate the pupil to read without, necessarily, being evaluated, leaving to feel itself it exempts in escolhade its proper texts.
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. 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.
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 emissaries hear some opinions revealed for the people who, disorderedly, try to become to hear, creating a climate of doubt and unreliability, in total misunderstanding. But ancio of the Advice if raises and asks for the word. It places with clarity its opinion and supports with firmness that the leader ancio is previously informed of that occurrence, promised for the beings of the space since that ' ' the men who beat asas' ' they had left for other destinations. Demonstrating to absolute certainty it affirms that the Warriors of the Rainbow had come to bring great contributions for the moral and intellectual advance of all the peoples. A new age of progress if initiated for the civilization and all the Human beings would have of widely being benefited. As some people still revealed to unbelievers, stimulating the division and feeding the quarrel of inopportune arguments, another ancio if raises e, after to get the silence of the majority, tries to become to hear.
It remembers to that the old leader did not have its history and of its ancestor sculptured in the wood of the forecourt of the temple, therefore mysteriously appears next to the source of the oracle accurately after a storm as that one that had finished to witness. When interpellated it alleges to have come walking, but it did not make look like fatigue and its vestments were droughts. It had the glad fisionomia and a limpid and penetrating look that attracts and arrested the attention of that they heard speech to it or they contemplated embevecidos its semblante afvel. It did not carry a weapon for its defense and it did not demonstrate to have hunger, exactly alleging to have undertaken a long day. It did not declare of where it came or to where if it directed, it was only in the population, conquering the affection and the confidence of all and alando it the leadership of the people with the wisdom and the balance spiritual that demonstrated to possess.
This project has as objective to analyze the story, the face, of the workmanship the man of two heads, of Almeida Fisher, that has as main personage a doctor and narrator, who express much love for its son, but that it is felt incompreendido by the commentaries of the people in relation its life. It is a history that tells the thought of this personage, a half thought that confused and that involves the reader through the mystery and that is only unmasked to the end of the reading. This project contains important comments regarding literature, which its importance, and what it influences in our lives through the importncias of the text in question, and that it will be able to serve as source of study for interest of other students. 1,1 JUSTIFICATION the story, the face, of Almeida Fisher, is a workmanship that has one weight tragic for if dealing with the envolvement of a child, is interesting and emotive, but at the same time dreadful, is what it calls more attention and it surprises the reader, becoming the intriguing workmanship. The narrative if initiates with the thought of the doctor, inquiring that it understands nobody it and that all are judging to it, tells of as if feels in the environment where is, it perceives the friagem of the brutais gratings separate that it of all, the people say that it is lying and he does not say ‘ ‘ thing with coisa’ ‘ , but it answers that it can believe its reality and not the one of the others.
This assay has as objective to study oprimeiro of these poems, considering in it two aspects: first, the hybrid suanatureza (Literature and Theater), specifically the case of the AUTO one; second, the relation that if establishes between this form or sort and the engajamentopoltico-social one of the poet. For the elaboration of this assay, one appealed to aosseguintes critics and historians: Alcides Villaa (2003), Alfredo Bosi (1994), Carlos Rasp (2001), Luiz Coast Rasp (1995), Georg Lukcs (1978), Jean-Paul Sartre (2004), Pricles Eugnio Da Silva Branches (2001) and MassaudMoiss (2003). Death and Severina life more popular workmanship of JooCabral are an Auto one of Christmas of the pernambucano folklore. Its line narrative seguedois movements that appear in the heading: ' ' Morte' ' ' ' vida' ' , noprimeiro movement has the passage of Severino personage protagonist, who seguedo hinterland for Recife in face of the economic and social oppression, Severino has afora collective of a typical personage, represents the retirante northeastern. Jno according to movement, of ' ' vida' ' , the author calls the attention for aconfiana in the man and its capacity to decide problems. The look is main the half one of a poet to catch realidadeque surrounds. This exactly to look at also catches the perpetual newness of the things. ParJoo Cabral de Melo Grandson poetical making is reached through the logic, doraciocnio, of the reason, eliminating itself superficial emotions, is one rupture totalcom the sentimentalismo, its poetry reflects the problems of the world and the serhumano.
The workmanship denotes objetividade in what it refers to raw and the cruelrealidade northeastern, developing itself in some cases in direction to queextrapola the Real, the surrealismo. In the thematic level, the writer discloses to great concern comsua people: the retirantes northeasterns. Severino is a sofredor man, eleinsiste, it leaves. Moreover, the Severino name is common between osnordestinos, reason that the author took to explore it as adjective mentioning itself vida of the northeastern, of the retirante (the death is severina, the life is severina), symbolizing the suffering while still alive and death of the severinos.