Archive for November 20, 2012

Literary Sorts

Literary sorts literary Sorts are those that possess the aesthetic and artistic purpose, where the writer have the freedom to create and to recriar. In the artistic sphere, the sorts if multiply or if they combine, and they suffer almost constant modifications. Being that, since the first attempts of classification made by Plato and Aristotle, in old Greece, literature has been organized for three basic sorts: the lyric one, epic and the dramatical one, corresponding each one of them to the expression of determined experience human being. Sort is the way for which the literary contents are organized in a form, for presenting similar structural characteristics. Lyric Sort Is about lyric manifestation of one I, an expression of its interior world, its emotions, ideas and impressions. It is a generally subjective text, with predominance of pronames and verbs in 1 person (I) that it explores the musicalidade of the words. The poetical forms used by the authors in the production of lyric texts are several, the most known are soneto, that it is a poem of fourteen verses, organized in two estrofes of four verses (quartetos) and two estrofes of three verses (tercetos), that it appeared in century XIII, in Italy.

It sees verses of a song of Herbert Viana: The bore I follow words and I search stars What it is that the world made Pra you to laugh Pra thus not to touch it. Good nor to see it As is that you can lose yourself of me You make in such a way cold, makes as much time That in my world something lost You control kisses In outdoors for the avenue and you always so distracted Passes and does not see, does not see (Paralamas of the Success. Long way. EMI, 2002.) Sort Epic In this sort has presence of narrator, that almost always counts a history that involves third, this implies in a distanciamento between the narrator and treat subject.

Brazilian Literature

Pablo Nunes, in its intitled assay paraense Literature exists? , it affirms that ' ' the expression paraense literature, beyond being bashful excessively, wounds the universality, basic principle to any manifestation that if desires artstica' ' that the literary production of paraenses authors cannot only be assigned as ' ' exotic, regional, incapable to spread out feelings universais' '. Nunes concludes claiming that, if we were to apply native-adjective denominations to each region, we would have a supraspalling of Brazilian Literature, opting, then, for the term Brazilian Literature of Amazonian expression. Pantoja, to its turn, in its assay does not exist a paraense literature? , it believes the opposite of Nunes exactly: Not if it can, on behalf of the universalizao desire, to suppress the regional one. The universal one does not exist without the particular one, the national one does not exist without the regional one, in way that, on behalf of the first one, if cannot ignore as. Pantoja defends, therefore, the nomenclature Literature Paraense in detriment of that brother-in-law for Nunes in virtue to believe that it is necessary to distinguish the universal one in some way, either it by means of the term brother-in-law for Nunes (Brazilian Literature of Amazonian expression) or for the proper name Paraense Literature, has seen that both distinguish universal when assigning Brazilian literature (she is not the Frenchman or the North American, for example) or paraense literature (she is not the inhabitant of the state of Rio de Janeiro or the maranhense, for example). Therefore, as attempt to cure this complaint, Jose Guillermo Fernandes it considers which is not the adjusted term more, but yes the method most appropriate to choose which would be optimum term. It affirms that it is necessary that let us take in consideration the alteridade and identity slight knowledge, therefore ' ' the identity brings the mark of a collective speech, that obliterates voices that are not fit in it, what it becomes the concept of identity one alteridade' ' (2005: 183).

The Society

This distinguishing boarding of the body by means of the religion implies a relation of control and being able, normatizada under the influence of partner-cultural context and politician, who establishes the acceptable social contours, so that let us have a vision so only naturalistic concerning what he means the homossexualidade (FOCAULT, 1988). To follow models, they are which will be, lead us it a painful freedom: the freedom of a continuous to create, to make responsible by itself, making of itself a molded workmanship, that hinder in them to create a life way that admits the plurality, a way that recrie of complete and autocrtica form, ways to sobrepujar any species of normatividade that is harmful to the exercise of the democracy and the freedom. The positioning of the religions in relation to the homossexualidade has been reason of many controversies and controversies in the society (BRASH, 1998). But, what we have that to have in consideration is that the studies had advanced in this direction and the homossexualidade is not considered an illness, as has years the age behind, the studies of the cultural anthropology point with respect to the understanding of the homossexualidade in the societies of adverse form, that is, it is part of the world that we know, therefore, she is seen in different ways in diverse cultures. What it exists of problematic in our society occidental person is that the bodies they are carrying of values, inculcados for gestures that become them the place of being able, gestures that if they transform into dominant cultural values and that they develop a system of exclusions based on literal readings of fundamentalist religious texts and that if they become the normative one to support the bases of the relations in the society. These questions are in slow maturation in our society, but the homossexualidade is a fact that if imposes and that it cannot be denied or be disrespected by the religion and the society in itself.