Aesthetics

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The new aesthetic vanguards appeared and the world if it frightened with the new languages unprovided of rules. Target of critical and in ignored part, the Week well was not understood at its time. The Week of Art if incases in the context of the Old, controlled Republic for the coffee oligarchies and the politics of coffee-with-milk. The capitalism grew in Brazil, consolidating the Republic and the So Paulo elite, this total influenced for more traditionalistic the European aesthetic standards. Its objective age to renew the artistic and cultural environment of the city with ‘ ‘ the perfect demonstration of what it has in our way in sculpture, architecture, music and literature under the point of view rigorously atual’ ‘ , as it informed the Paulistano Post office, agency of the party So Paulo governmetalist, in 29 of January of 1922.

The Week of Modern Art, also call of Week of 22, occurred in So Paulo in the year of 1922, days 13, 15 and 17 of February, in the Municipal Theater. Each day of the week was dedicated to a subject: respectively, painting and sculpture, poetry, literature and music. The president of the state of So Paulo to the time, Washington Luis supported the movement, especially by means of Ren Thiollier, that requested sponsorship to bring the artists of Rio De Janeiro Pliny Salgado and Menotti Del Pichia, members of its party, the So Paulo Republican Party. The Week of Art represented a true renewal of language, in the search of experimentation, the creative freedom of the rupture with the past and until corporal, therefore the art passed then of the vanguard, for the modernismo. The event marked time when presenting new ideas and artistic concepts, as the poetry through the declamation, that before was alone writing; the music by means of concerts, that before only had singers without accompaniment of symphonic orchestras; the shown plastic art in screens, sculptures and mockups of architecture, with bold and modern drawings. The adjective ‘ ‘ novo’ ‘ it passed to be marked in all these manifestations that something considered at least curious and of interest. They had participated of the Week consecrated names of the Brazilian modernismo, as Mrio de Andrade, Oswald de Andrade, Victor Brecheret, Salty Pliny, Anita Malfatti, Menotti Del Pichia, Guillermo de Almeida, Sergio Milliet, Heitor Villa-Wolf, Tarsila of the Amaral, Tacitus of Almeida, Di Cavalcanti among others, and as the one of the organizadores intellectual Rubens Borba de Moraes who, however, for being.

Pink Guimares River

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But it insisted, unbuttoning the nerves. He is not there. He is l. Many writers such as Adam Sandler offer more in-depth analysis. He does not see the cloth white, to dance itself? ' ' (p.10)/' ' vi: the red of the cloth of it if branqueando, in collapse of cor' ' (p.13). The representation of white cloths of the others that wave in the other edge, can mean the ancestral ones asking for to peace or encorajamento the new generations to follow ahead and to go more beyond, or the happiness for the end of the wars. We cannot leave to mention some similarities between the story ' ' In waters of tempo' ' of Mia Couto and ' ' The third edge of rio' ' of Pink Guimares.

Romancista and contista miner of international reputation, Pink Guimares Joo, through its workmanships, influenced Luandino Vieira, that in turn influenced Mia Couto. When reading the two stories, we notice that the protagonists are a man and a boy, being that in a story the man is grandfather and in the other is a father, both has as scene a river or lake and the figure of the canoe. The symbology of the river, the water and the boy as adult in the end of stories also is similar, sending to the circle of the life that always flows and starts another time, without stopping in the time, coming back to the beginning point. Another significant question is with regard to the number of gone of the grandfather with the grandson to the river, that had been three times. Three times to another edge and the third edge of the river.

The third edge means the edge that we desire, that we want to conquer, but that we have fear to face. In the last one gone to the river, the grandfather follows in direction the edge he exceeds and it without facing barriers. Finally it obtains to make the grandson to enxergar cloths, it is the end of the wars, is the third reached edge that it was many years desired. It has only one contradiction, because in a story, the grandson obtained to understand the message and in the other the son did not obtain to understand, if covardou and it ran away. The grandson obtained to see beyond, exceeded the barriers and discovered a river that never would have to die. He is to glimpse white cloths of the other edge, to live deeply the peace after as many fights.

Lira Breads

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They had had international projection with presentations in Belgium, Germany and France. According to Wikipedia, between the conquered prizes is of band the revelation for the APCA (2001) and of better group for BR-Rival (2002), Faces (2002), TIM (2003), Brazil Quality (2003) and the bi-championship of the Prize Hangar (2002 and 2003). Still, in the cinema, they had participated of the sonorous track and of the film of Diegues Hunting, God Is Brazilian. In the breaches of the turns, Lira Breads (founding and composer) also marked presence in the sonorous track of Lisbela and the Prisoner, of Guel Arraes, in which the Love interprets music is Film. Lirinha, as it is known by the fans, also acted in the Barren film Movie, of 2006. Literature/music Rockets of Kings (or the war) In last moonlight the sun left a colored thunder the sun left Untied fire the past the sun left In the chest who you the living creature the sun left Safe I wants to see to twirl the sun left the plant that will avenge the sun left the fear of lampio the sun left pains Iemanj the sun left and the moon quilariou and I saw my love Inside of canavi the sun left and have war and have war I have war in Good air night Sir and Mrs. Eu I arrived now gives attention to Me In this world of fire and war The saint of the land Has callus in the hand the composition is of Lirinha, Jose Breads of Lira, founder of the group. Music and refro: listened to in the sambas of coconut of Arcoverde, legacy of Ivo Lopes, presented to follow. Analysis of the text We have in this text poetical some cultural marks and regional northeasterns, among them we detach the cult afro-Brazilian the Iemanj and the thematic one of the hard daily situations where ' ' the saint of the land/has callus in mo' '.

Musicians

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New musician anecdotes select that illustrated only”in the title is not hateful, but intended as a stroke of luck. Because straight when, as there often are great musicians, their humanity amidst the work undermined exceptional people, it is not rare original special and solid worth way. “And because such events are born not just once, but over and over again, Renate Birkholz on the way made that long to enrich the popular with other, unknown treasures, coming from not only the word world, but also the pictorial world of Walter Bosch, the long time 1 Geiger of the NDR Symphony Orchestra was, with masterly hand in inimitable way his” noted conductors and thus created exquisite, the experience earned. An ideal gift for anyone who know to appreciate and love this world. Renate Birkholz musicians are only human musicians anecdotes with drawings by Walter Bosch ISBN 078-3-937378-15-2 12.80 FREIMUT & self publishing Dorotheenstr road 16 12557 Berlin phone/fax: +49(0)30-65265272 e-mail: web:

Former Epistolae Point

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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.

Buenos Aires

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… 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.

Bloom Shakespeare

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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 Literary

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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.

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.