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).. Perhaps check out Sela Ward for more information.
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. Filed under: Gina Bonati. 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.
The immersed oppressed one in the context takes care of to this order and in this oppressed oppressing game x both do not bring the conscience of itself, but it finishes that oppressing and oppressed they live shade one of the other, therefore to exert control, must yourself be opened hand of itself exactly and finishes yourself for being so oppressed how much that he is being oppressed. When the oppressed ones only obtain to become free themselves saw of it of the oppressors, leaving its mooring cables, reverse speed-creating and constructing its history, it can free its oppressors and make the civilization to walk. Until century XVII the impulse was seen as passive, today the civilizatrio impulse is understood as constructed from challenges; Freire (2002) says regarding the feeling of some social classrooms of incompletude and inacabamento, is the impulse that promotes advances, that of form here exactly distorted, therefore in the truth the oppressed one wants to occupy the place of oppressor. So that a literature is understood as of and with the oppressed one, it has that to be contextualizada, next to the difficulties and necessities of the oppressed ones well. When literature is for or on the oppressed one, it is distant and it cannot inside be considered of the subject of the oppression. Freire was a master in the writing on the oppressed one, it considered that the oppressed one if respects if Liberte of mooring cables of the oppressor who constructs to its identity respecting its peculiarities. Quotation three forms to react of the oppressed one in relation to the oppression: It naturalizes: it reads the world with the eyes of the oppressor; Fatalismo: it sees the differences, but if it conforms with it; Liberator: she sees the differences and she fights for a dignity space; Inside of these three forms of reaction, it brings the reflection of that stops having impulse must have oppressed.
I studied! I read! I wrote! I passed! Nor I was so badly thus. Of this point in ahead, I made a great cleanness of> tequiniques gave to place for juridiques, wise person more not to write without starting for: Exmo. Mr. Dr. Judge of where it wants that he is . Not obstante to the frustrations of day-by-day, caused for the carried through desire not to obtain to write something, in mine vidinha went everything very well, until I came across myself with my first test for public competition.
This exactly, led for the wave of the instability that we live, for the unemployment and total lack of stimulaton to continue in alone career leaves in search of the public service. I started to study with tenacity the substances of Right, after all they were sufficiently including and they would have bigger weight, I relegated the Portuguese not for antipatia, but yes, in reason of the priorities that defended in my strategy worried spherically deceived when I came across with the test of Portuguese simply I did not find the answers, everything me excessively seemed strange and at the same time certinho. The used texts for the interpretation questions enviably were well written, Carlos Drummond de Andrade, who until then admired in such a way left, me rightened with its poetry, seemed that I went to sink in the chair felt, me as a true idiot ahead of that test; the writing then, nothing of came good me to the head, only Exmo. Mr. Dr. Judge.. In this day I perceived that I do not know Portuguese, I do not know to write, I do not know to read, I am total illiterate e, worse, everything that I had studied until then I was not valid me you are welcome. I confess that> I can!
The hair was golden, delicately falling in waves until the way them coasts. The girl low seemed a fairy, extremely lean, with small feies. The hair was of an intense, short black color, picotado and unweaving for all the directions. … Fiquei looking at because its faces, so different, so similar, were complete, arrasadora and inhuman pretty.
They were faces that did not expect to perhaps see not to be in the brilliant pages of a fashion magazine. Or painted for one old master as the face of an angel. It was difficult to decide the who prettiest age? perhaps blond the perfect one, or the hair boy color of bronze.' ' (MEYER, 2008, p.19) the stretch above is the first visualization of the Cullen family with whom the reader of the workmanships enters in contact. The descriptions of the author are idealizadamente perfect, taking in consideration not only the mythical classic beauty of vampires in general, but mainly references the styles of beauty of the current time, where the book was written. From this moment, to each time that the Cullen is of some form cited? in special Edward? it is rare that it does not have mentions to the beauty, wealth, education, transport or good taste of this nucleus of personages.
Edward Cullen receives more adjective positives in three pages from the first book of the Saga, Twilight, from what some personages in other workmanships receive all in the book. ' ' It is the Edward. It is pretty, is clearly, but tempo.' does not lose its; ' (MEYER, 2008, p.21). Throughout history, one perceives that not only its beauty if detaches, but also its sense of mood, its musical taste, education, force and courage. Edward perfect and is idealized even though in its condition of vampire: where the classic myth dies painful when entering in contact with the light of the sun, the species of Edward only shines, with a effect that Swan describes as ' ' a mirage, pretty excessively to be real? ' ' (MEYER, 2008, p.196).
Recurrent introduction problematic between terminolgicas questions and of literary nomenclatures perpassa remote times and remains in the universe contemporary. The current complaint that interests in them here more says respect to the constant shock with regard to the adjusted denomination to the type of literature manufactured in Amaznia and/or in the State of Par, since what is questioned it is the starting point to determine the nomenclature: if it must be left of the place or the universal one.
Theoreticians as Silvano Santiago (apud Fernandes, 2005: 180) affirm that it is necessary to find ‘ ‘ between-lugar’ ‘ of our speech, that is, to find the break-even point between universal and the place; in the words of Jose Guillermo Fernandes, ‘ ‘ … game fluente that it breaks of the colonizadora and etnocntrica universality for the truth of the universality universal’ ‘ (2005: 181). N? other terms, most adequate and proportional to meet the nomenclature most adequate of a local literature, it leaves without it excluded of most universal, are to search a term that displays the identity regional, but, simultaneously, it makes the correlation with the national one. Intending to contemplate such aspects, Pablo Nunes (apud Fernandes, 2005: 181) and Pantoja (2005: 182) had been disclosed how much to the related adjusted terminology more to the literary studies of the Amazonian workmanships.
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. Additional information is available at Gina Bonati. 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.
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.
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.