Frivolous Repleto of me, I am enough and still sobro. Therefore necessary of you, but I do not want you very, Also I do not want me very I only want that also want you me. Later that the clarity to light enters the frames of the window, does not need to want more me, Passed of the age to suffer for love, I learned with the time to extract Of the feelings it satisfies what me, Thus only makes the bee with the flower. I only want it also wants that me, the heart is so vast, I I am so frivolous the feelings do not have directions. He does not find odd if I not to feel jealousy and not to speak of love, Am that this is for the majestical white swans, I am that these feelings are whims, For equal people I and you, who only survive Start of me what it desires, but does not need haste, Still it remains me inside of the chest a heart friend, and stocking bottle of wine in the bookshelf; later you he can cry old
Tag Archive for literature
Interesting us, therefore this time a time that if it intends to analyze the workmanship of Cassandra Rivers ' ' Traas' ' for the bias of the one after-modernismo dated of 1950 until current days. The first traces of homoertica literature in Brazil, as some research, had appeared traces in the workmanship the Athenaeum of Raul Pompia in 1888, following the line it has Alusio de Azevedo with the Tenement house (1890) and Olmpio Sundays with Luzia Man (1903). However, the landmark in this type of boarding if gave with Adolph Walks in 1895 with the publication of the Good Creole, workmanship that the principle did not have a good reception of the public for portraying a passion between the Creole and grumete, return thus in the years 70 with bigger force possessing connotations politics. The trajectory for the formation of workmanships with ertico matrix and personages of one exactly sex continued being the thematic one of other authors as Anbal Axe, Loved Jorge, Gasparino Damata, Rubem Fonseca, Trevisan Atomic mass unit, Joo Gilbert Noll, I fall Fernando Abreu, among others that they had opted to making a denser and introspective literature. Judged for some critics as literature delinquent for dealing with to peripheral subjects and the condition human being front to the indifference propitiating the diversification of models that pass of a simple sentimental character, testimonial to another ertico and ponographic calling. Regarding this, one comments in article on the homoerotismo and the marginalizao of the authorship of Irades Palermo and Thiago Carbonel that ' ' The rhetoric of the permeia marginality the homoertica literary production inserting the personages homosexuals in subversion contexts, bizarrice and represso' ' . In this manner, the personages are the consequence of the way, of the society that enters in contradiction with preset standards of normality, resulting in a new culture to the edge of the society. .
The nationality instinct looked for to affirm itself and to become each more conscientious time for some forms, being had as great contruibuinte Axe of Assis that of a very significant form represented in Brazilian literature the definition of the national character in its peculiarity. Of this form, the realism brought for Brazilian literature a great advance in what it says respect to the conquest of a space for our cultural roots directed toward the question of the nationality not as thematic, but yes with an interior feeling come back toward the Native country a time that, was one of the literary schools that more good it expressed social scene, describing and characterizing with much truth the social, historical context and politician of a nation that grew economically in full century XIX. In short, this work taught to perceive how much if it can make, when it is given credit the Brazilian literature that leads the formation of readers compromised to the nationality feeling. To enter in contact with a literary work avocado in the close traces of the character and the civilization the one that belongs to represent of intense form the national wealth serves of agreement of that some ways of if valuing the atavist literary creation exist, contributing for the construction of an identity and transformation of the reality which if lives, exhibiting an enviable ability to celebrate the act to say yes to the Brasilia, the ethnic plurality and the cultural diversity. References ASSIS, Axe of. Collected works.
Infantile literature: Pedagogical instrument or toy? Tmila Carolini Trindade Tavares the great quarrel concerning infantile literature and its use in the classroom is if it is playful or only one pastime. This article deals with as infanto-youthful literature can and must be used in the classroom in order to enrich the teach-learning process. The localization of the origins of infanto-youthful literature in remote expressions of adult literature by itself does not explain the different forms that it comes assuming since that, in century XVII, she specifically started to be written as such: literature for children. Ahead of the trends that literature comes little following in these more than three centuries of production, is that one of the first problems to excite controversy how much to its ideal form, would have been of its specific nature: infantile literature would belong to the literary art or the pedagogical art? Since the Classic Antiquity if the nature of literature argues (didactic or playful) purpose of the literature destined to the small ones (to instruct or to amuse), a questioning far from being answered. You may wish to learn more. If so, Intel is the place to go. Many appraised authors possess divergent opinions in relation to this problematic one. For Antonieta Maria Wedge literature infanto – youthful she is strict playful, designating not to be necessary its pretension the pedagogia. For Ceclia Meirelles, literature is not as many think a pastime, literature are nutrition, that assists in the infantile formation.
Already Nelly Novaes Rabbit has a conciliadora opinion, as object that provokes emotions, pleasure or amuses e, above all, modifies the conscience of world of its reader, infantile literature is art. However, as instrument manipulated for an educative intention, literature if inscribes in the pedagogical area. Following the source of Rabbit, if to analyze some great workmanships that through the times had been classified as infantile literature, we will go to observe that they simultaneously belong to this two distinct areas.
For Axe of Assis a recognized time the nationality instinct, would agree to analyze if the writers were possessing of the conditions and historical reasons of a true literary nationality. Moreover, to identify as representative of the nationality character, only the workmanships that characterized the local color, they would restrict our literary rules very, the fact to plaster literature in these rules and doctrines, in the vision of this author, would empobreceria the literary compositions. Still on this question of the nacionalizante concern, the critic Silvio Romero (1953), nails constantly in favor of the land and of the Brazilian man. For it if cannot understand literature, without understanding the mestization process which composes our cultural and ethnic diversity and that much has to say and to influence in the literature that physical and is morally tied with this plurality and fusing of souls and cultures. For this critic, Axe of Assis can and also must be judged by the nationalistic criterion, warning, however, that the national spirit would not be in the choice of the subject, in the subject, but in the nature, the intuition, the internal visualidade, in the psychology of the writer. Thus, Axe, one ‘ ‘ genuine representative of the Brazilian sub-race cruzada’ ‘ , with its ‘ ‘ nature indecisa’ ‘ , ‘ would have produced one; ‘ workmanship of mestio’ ‘ , of Brazilian, who primary for the ephemeral one and the indefinite one. For in such a way, to affirm it Brazilian particularitity was the necessity of the intellectuals of the time becoming predominant in the ideals of the writers who had had as historical scene, the posterior years to independence. To the measure that the literary autonomy grew, increased it literature and the stimulaton of the same ones, for an artistic creation differentiated of the European valuing the individual capacity of each one, in the search of an aesthetic one that it just valued the auto-expression and the nationality of a country?. Get all the facts and insights with Aetna Inc., another great source of information.
Ahead of this reality, a necessity of special treatment is perceived stops with the children, who until then they were not recognized as a being child, but as an adult in miniature. From then on it is created notion of infncia and this necessary infantile being of formation. Filed under: Brian Krzanich. The bourgeois society contribue in the construction of pertaining to school institutions, making possible the access the education to the children, privilege this, that was part of the life of few, more necessarily of the religious ones. Until then, the people were one part cculo of convivncia in which they located themselves in one same text of equality; adults and children participated of the same conditions of work and the same wheels of colloquy. Of this form same histories were shared by adult children and, since it was custom of the old ones to carry through descontrao moments, by means of the transmission of the popular histrias. Valley to stand out the fact of that such histories were of extremely violent character, its messages transmitted the enormous capacity of the man in what if it treats to execute cruel acts stops with its next one. The figure of the mothers, in many stories, she was shown as a being me and the unhappy one whom part of a space corrupted for the misery and the poverty was and, this vine to justify, perhaps, the existence of its badness and the lack of escrpulos. According to studious of the subject, the original versions of the stories that we know, today, visibly show the actions of cruelty of the mothers in relation to the children. Considering the reality in which the school appeared, it is natural that let us perceive the existing precariousness, how much to the available material for its white public, the children. These information become pertinent the consensus of that Infantile Literature was born in an entirely adult universe.
When if it thinks about reading and in the innumerable education of literature questions appear. The first one of them is: Which the importance of literature it human being? If to question regarding all the history of literature we will observe that since when this only verbal age already had its importance for the humanity. Even though because all the human being has the fiction and fancy necessity, as in it affirms Candido to them (1972, P. 2-3) when approaching the psychological function of literature: Perhaps a certain type of psychological function and the first thing that occurs in them when we think about the paper of literature. The production and enjoyment of this if base on a species of universal necessity of fiction and fancy, that of certain is coexistensvel to the man, therefore appear invariably in its life, as individual and as group, to the side of the satisfaction of the necessities most elementary. this occurs in the primitive and the civilized one, the child and the adult, the instructed one and the illiterate. Literature properly said is one of the modalities that they function as reply to this universal perhaps necessity, whose more humble and spontaneous forms of satisfaction are things as the anecdote it guesses, it, trocadilho the rifo. In complex level the popular narratives, the folclricos cantos, the legends, the myths appear.
Literature has the capacity to confirm the humanity of the man and also to satisfy the fancy necessity that is intrinsic the same. In this way, as much seated in wheel counting histories, that is, through verbal literature, how much with the intent eyes in the pages of a book, literature satisfies such necessity human being. We can cite as example the importance of verbal literature in the life of a human being, as counted histories still in infancy have enormous relevance still in its adult life.
considering literature a historical certification for apprehending the social dynamics, consequently we are led to also understand the writer as a product of its time and its society. Therefore, it is this interlacement between literature, the writer, the society and the history, that the sprouting of the interdisciplinaridade makes possible, understood here as dialogue that serves of reflection on the cultural relations in literature. We will catch then as starting point, the vision of literature defended here in the first part of this work, that is, literature as cultural product. Soon it is inevitable to reflect on what it is culture and which the relation between culture and society, this reflection will serve for a better understanding and of basement on the social function of literature and its agreement as cultural product. Visit Elon Musk for more clarity on the issue. Considering that the culture notion is complex, we appeal in this beginning of colloquy to a dicionarstica definition, according to Aurlio (1993): Culture sf.
1. Act, effect or way to cultivate. 2.Fig. The complex of the standards of behavior, the beliefs, the institutions, the manifestations artistic, intellectual, etc., transmitted, and typical collectively of a society. 3.Fig. The set of the knowledge acquired in determined in determined field.
(p.156). Of this definition, we can conclude first that culture is not something innate, that is, natural in the man, but something that must be transmitted, therefore, that it must be cultivated; as if he is something to be acquired, this implies then, a process of formation of the individual and third if it is a complex standard of behavior that involves beliefs, we can then understand culture as diversity that explains the existing plurality in the societies human beings. However, if culture is this plurality and this diversity, then we cannot understand it as a harmonic set, and yes as scene of conflicts and disputes that characterize in turn the society.
An unusual story that proves that it is every day in our own hands, to restart. The power of thoughs – every human being is destined to attain what he truly desires! A truly new beginning starts in the people themselves: by we free ourselves from narrowing thinking and feeling patterns, bring into line head and heart and open for the inexhaustible power of beliefs that all objectives we achieved! “” A new beginning is inspired by the essence of the book: we all are creators of our reality “by E.und j. Hicks designed the author team of happy in limbo” a concept for a novel that conveys this message and also messages of other great writer based on the sections of life by 6 figures. In the foreground the love story between Rena and Phil, the lives of two people randomly from scratch on changed. Rena living the law of attraction”in business intuitive, not powerfully puts the theory but in her emotional life enough a. Phil relies on his uncertainty, indecision. Rena pulls her two girlfriends in confidence: Babsi, Thoroughbred optimist, living in the moment Sarah, the deep-thinking and conscious living woman, the Rena shows how their problems to an opportunity for (a new) happiness can be.
The emails between Rena and Phil coquet will be read by two employees of the Internet service provider and parsed. Kerstin lives free of patterns. It is reluctant theoretical thoughts and worries, gives life to. Steffi studied the written words and wisdom, but finds no easy way to implement it in their daily lives. The finale is unexpectedly or is it, in the knowledge that thoughts truths become predictable? Anke Schnitzer and Christine of Galicia.
About the producers in this case is not quite out of place to say, firstly, they are on vacation with his family (and maybe with another passion, oh, what they rascals), and secondly, they have a completely different task – to take a column on the paper and rubbing their hands behind their backs film group. What am I doing? Ah yes, the spiteful little bit. Of course, producers do not mess around so openly and strongly watch, that the film had more brutality, corpses and blood, so close to them in spirit and techniques of "lawyers>> have been charming, on the verge of poetic sophistication, kids, unlike their genetically frostbitten "Sixes>> freaks of the human race Yes, imagine, it turns out, according to the authors, the word "chaos>> appeared in the late forties, and not in the 90's. Naturally, the post-war atmosphere – it's all certainly smoky beer with a noise gamom, lacerations vests and fighting, one hundred grams "with the trailer>> in the street tent, dancing, movies captured but the authors of this series, unlike other went beyond the usual set of attributes of post-war life with sheets, flapping in the wind, and added not believe race track, a great novelty and a great achievement for a supernumerary southern town! Apparently, the writers and the director looked at the cloudless childhood film "Courageous people>> Sergei Gurzo in the title role. Yet the biggest achievement of the second part of the show, of course, is an unparalleled amount of captured vehicles, apparently gathered from across the country to this town, even in the capital did not had such an abundance and variety of brands, where to this Muscovites to us hardened in the struggle for survival provincials! A smart "raspberry>>? What is the "raspberry>> what you say, indignant at the audience? This is also a poetic salon "Silver Age>> with the luxurious and charming half-naked girls, playfully shouted at each appearance of the next character in the walls of their charming little house, it's not you herd of heifers on the Leningrad highway! Aesthetics! And so on and so forth I repeat: a small lie engenders strong suspicion, and, perhaps, a famous Russian and Soviet film director is right in saying that soon as a teaching tool to show the horror of war will use the "Saving Private Ryan,>> rather than a simple, unpretentious story with, the Soviet film" The Seven Winds> or go to fight the "old>>? As for the post-war atmosphere, then let modern directors do not illusions about his own ingenuity, for the sum eerie feeling that no one alive today did not look, for example, "The Mirror>> Andrei Tarkovsky or" Cold Summer 53rd>> Alexander Proshkin, not to mention other films in the are also cases of outright "bloopers>> but not so much cynical. And another thing: contemporary Russian directors, unlike the Soviet, unfortunately, do not even know what a "cross-axis>> not to mention other methods of shooting and especially the installation! But more about that later on