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.

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)..

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, …

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.

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.

literature, script, theater, cantigas that ‘ ‘ Face-of-Bronze’ ‘ it can be read as transemitico and transgenrico text. For this analysis foramutilizados, over all, the concepts of transtextualidade, Gerard Genette; intersemitica detraduo, of Roman Jackobson; of transcriao, Haroldo deCampos. For the accomplishment of this comparative analysis between narrativa’ ‘ Face-of-Bronze’ ‘ a cinematographic script also was used, as base, the theory on scripts, of Doc Comparato, gift in books Script: etcnica art to write for cinema and television and Of> creation to the script. Nesseslivros, Comparato establishes differentiations between the literal sorts that seapresentam in the rosiano transemitico text, ' ' Face-of-Bronze' ': the narrative and oroteiro. In this study they had been also used, as base for the analysis, theories on the audiovisual sign, as Images of the Great Hinterland, ArlindoDaibert; The specular illusion: introduction to the photograph, of Arlindo Axe; Obvio and obtuso, of Roland Barthes. Finally, in what it says respect to ediode videos and films, of texts on techniques of filming and history docinema, of the television and the video, texts had been used as What it is cinema, of Jean-Claude Bernardet; Introduction to the cinema, of Jose Eustquio Romo; Cinematographic Alinguagem, of Marcel Martin; The process of creation in the cinema: research of audiovisuais language and structure, John Lawson; of the imaginary clssicoMquina and, Arlindo Axe.

Word-key: Pink Guimares; the duel, long-metragem colored. In this exactly year, Pablo Thiago also launches literary the Acriao video in Pink Guimares Joo who together with Of the hinterland aobeco of the Lapa, directed for> Maurice Capovilla in 1973, and the GuimaresRosa Joo, of 1968, will give to the bases for the videogrfico text of Fernando Sabino eDavid Snows, launched in 1975 for Well-you-Vi Films: the Veredasde set of documents Mines. Mining Cabaret, launched in 1980, was directed porCarlos. the P. Leather strap. Still in 1980, Helvcio Ratton directed a biography Pink deGuimares intitled Short Pink Joo, of approximately trezeminutos.