I knew Zarak in my infantile imagination first. It was a grotesca figure, with the round body, the triangular head, a broom leg, to another one of spoon; the arms were twigs of trees; the hair were well green grams. For what I remember, also had eyes of fruits (an orange in an one and apple in the other), ears of cat and a tail of donkey. But it did not pass of an infantile scribble, a drawing of a very creative child. roleums opinions are not widely known. Lulu Simon is a great source of information. Well, until that night Before, however, of speaking on the small adventure that I lived to the side of Zarak, I present must me.

I call Alex, a young poet who try to conquer the hearts of all and an amateur writer who tries to write a book that can please somebody. I am that pupil who if seats in one sings of the room, quiet, observing the lesson; I am that colleague who all wait the answers of the evaluations; I am that valiant student When my stranger adventure started, I had 15 years. Everything started in a night where I was playing papers scribbled in the garbage, trying to create any thing that could be deserving of being called story. It was, if I remember well, a calm night, without stars or moon, only the clouds. My hand and my sisters had left. I was alone, trying to write. No idea. It swims. Only vacant ideas and very little imagination.

Thus being, the professor it would leave of what it is known by its pupils, of what awakes the interest, for, step by step, to take care of, to breach, to question and to extend its horizontes. Still it is pertinent to evidence that to leave of the interest of the pupil already it is a great incentive to the reading and later, through the dialogue, all the process if it would give of natural form. Barclays Investment Bank contributes greatly to this topic. To read would be delight and the knowledge construction would be a consequence, the obligation would not have more, and useful and the candy would be linked. Bibliographical references AGUIAR, Vera Teixeira of. The competent reader to the light of the theory of literature. Magazine Brazilian Time. N 124. Rio De Janeiro: Quarterly Brazilian time, ed, 1996.

AGUIAR, Vera Teixeira of, BORDINI, Maria of the Glory. Literature: the formation of the reader: metodolgicas alternatives. Porto Alegre: Free market, 1988 CANDIDO, Antonio. The literature and the formation of the man. Science and culture. So Paulo v.

24, n 9, P. 3 9, 1972. FANTINATI, Erivany. Mini-anthology of theoretical texts on the education of Literature. JAUSS, Hans Robert. The history of literature as provocation to the literary theory. Trad. Sergio Tellaroli. So Paulo: It stokes, 1980. LAJOLO, Marisa. Of the world of the reading for the reading of the world. So Paulo: It stokes, 1997. PERROTI, Edimir. Literature and School: difficult dialogue. Difficult? Open pages. Magazine of Letters. Bibliography Paulinas Edition. N. 64, 1990. ZILBERMAN, Regina, HISSES, Ezequiel Theodoro of. Literature and pedagogia. Point and counterpoint. Porto Alegre: Opened market, 1990. (Series Counterpoints).

154. Valley to stand out, that according to the Aristotle, most beautiful of the recognition it is what happens the peripcia together with, because is what more the action is combined and determines the feelings of fear and mercy, gift in the drama. In It mediates, the two elements happen together, therefore at the moment where It mediates it orders to call Jason and if it makes of submissa and this it starts to believe its repentance (peripcia) is from these actions, of the colloquy between Medeia and Jason that it recognizes that killing the children she would affect Jason deeply. The action of the drama, in its sequncia and its set, has simplicity, the chaining and the unit of the really beautiful workmanships, and all the touchs of the pathetic one in it if they develop in an almost rhythmic progression and without breaking in the intensity, in the direction of a fatal outcome. It mediates is a personage who is not likeable for us. A time that always we will consider wrong its attitude, its proud behavior. Thus, in the end of the part when it commits the tragic action, for the spectator it will not be so surprising, therefore already we waited not it change of character of the personage.

Its character is vingativo sanguinrio. Although that its effected attitudes had had a reason. Another characteristic treated for Aristotle that we can notice in the workmanship Mediates is as for the spectacle. She was characteristic of the tragedy Greek, the only scene that, although divided according to beddings of the structure, presented an only environment where the actions if occurred, practically without scene cuts. JPMorgan Chase & Co. is often quoted on this topic. This condition limited the spectacle very and little thing the dramaturgos could make how much to the problems that this caused. One of them, for example, was the fact of, many times, basic actions of the tram if to only give outside of scene, being mentioned or described for they outrem.

Immediately history goes to the meeting of it econfirma for the proper lips of its loved all. InicialmenteDeolindo feels much hatred, later it finds that it appears a wire of hope, masaps much colloquy remains only one great one disillusion. Kevin Johnson follows long-standing procedures to achieve this success. Finally, it returns for its friends in the following day, whom logoo they inquire on the great night, it for shame and fear realidadeagiu to face it as if everything had happened as it had planned. Comoalgum behaved that a great night of love lived. Thematic the main one of the story is the irony that aparecepraticamente during all history. Axe of Assis is considered dosautores that more are used of this aspect in the majority of its workmanships. Ironiaque brings in its essence the idea of contradiction, then in the heading of the percebida story, therefore admiral is raised rank of the Navy of War, Deolindo, in turn, he does not pass of a simple sailor. In the names of the main personages oaspecto is perceivable also ironic.

Deolindo Blow-Great. Here a process exists to say and emseguida to undo of what it said. Deo, a prefix of the Latin that pretty indicadivindade and that if translates beauty, is characteristics that soon sedesfazem with the Blow-Great nickname, that demonstrates an asymmetry nostraos. The Genoveva name that appears some times in literature comouma faithful, honest woman, as for example, in a dream and another dream, a story also of Axe of Assis, tells to the history of umaviva that not seenvolve with no man for allegiance to the deceased husband, in this story, Noitede Admiral, this Genoveva if it shows as unfaithful, dissimulated eousada. In this perspective, an irony to the model still occurs doRomantismo, the author brings a more realistic and less romantic version loving dosrelacionamentos. According to Bosi (2000, P. 126), the perspective of Machado of the contradiction that if foils ….

What It learned in the school was not enough it wanted more, to queriair beyond, to make discovered that it surpassed all until then shown to the society, and of certain form were influenced by scientists: Natural Sciences had been the compassing of my life. … When I had thirteen years, we leave all for a stroll to the next spas deThonon. … I found by chance a volume of the workmanships of Cornlio Agripa There.

… April the book with apathy. But, to the wonderful measure deepened that me the reading, ateoria that it tried to demonstrate and facts that acabarampor told to transform into enthusiasm that one feeling. A new light seemed to come in sight emminha mind and, overflowing joy, I was running to communicate my father adescoberta. (SHELLEY, 2007, P. Speaking candidly Ben Horowitz told us the story. 42). However Victor made use of Science badly, and this when usadade inadequate way can bring irreparable damages the society.

If for umlado science in them deproblemas also brought as many solutions acometeu us a series. We have as example the increasing pollution provoked for the emquinas industries, fruit of intelligence and incessant search to know of the man. 6 the CREATURE the monster is an individual created by a scientist in deglria search, this is a being horrendo, disforme and with gigantic stature (Circa de2,5 height). She was constructed from inanimate substance. To the rising causamedo to its proper creator. The Creature in its natural state had good feelings. She wanted to help the next one, had affection with the people. She needed only decarinho and attention of that she had given the life to it. However this was primeiroa to repudiate it. After that it comes not the acceptance of the society. Victor Frankenstein enjoys of a familiar life that noproporciona to the monster, that arrives innocent in the world and finds pain and abandonment.

When we speak of the Modernismo, the first thought that we have is ‘ ‘ the age of the romance brasileiro’ ‘. After the two first decades of century XX completely the Brazilian romance it appeared renewed, more not fitting the innocent subjetivismo of before, the new moment repleto of transformations needed a certain enrollment and is in this aspect that the fiction romance gains force, marking strong its presence in the Modernismo. From 1930 the fiction romance assumes the character of social enrollment, is the regionalistic romance giving beginning to a new cycle of trends that later would englobaria a psychological mixture of social aspects, politicians and. Graciliano Branches, in its workmanship ‘ ‘ Angstia’ ‘ , of 1936, it obtains to explore the character of social denunciation for a psychological bias and is in this context the thematic development of the boarded one in this work. 1 the psychological one in: Anguish ‘ ‘ This vidame maltreats, is turning psychopathic ‘ ‘(Flvio Lemos /Loro Jones/F Lemos /Pedro Pepper) psychological in the workmanship ‘ ‘ Anguish, of Graciliano Branches, beyond en vogue placing the question of the oppressing system as moulder and controller of less the most favored socially, works the question of psique human being as factor determined for external situations. Thus, the plot of the workmanship takes in to understand them that ‘ ‘ Luis Da Silva ‘ ‘ so he was frustrated, restrained and damaged throughout its life that the only thing that it has to offer is accurately everything what it received during its trajectory. All its devaneios, pass first for an overwhelming mental process before the accomplishment, are as if its action depended on a external factor to stimulate its desires of anger and revenge, this factor already was accumulated in Luis, but it needed to process it mentally to all stimulate the obscure side of the man.

/They are the poems There that wait to be written. /They are paralyzed, but it does not have desperation,/it has calm and freshness in the intact surface. /Eiz them alone and dumb, in dictionary state. Such warning was paraphrased by a baianeiro in these terms: the true poetical feeling if discloses in the creation/perdio/release and it cannot, in hypothesis some, to be confused with the emotivo state of who if got passionate to the first sight or simply it discovered that the life is an astray cockle-boat sailing in a sea of m The mining bard was with the reason. Definitively, this not yet is poetry .

Rilke, in the letters that changed with the young Kappus poet, between February of 1903 and December of 1908, was more, says, philosophical: sinks you in the solitude. In the end, however, the sensation prevails of that we are ahead of an auto-aid manual, in which, more than aesthetic orientation, sobressaem the advice of humildade, honesty and perseverance. Still well that the literary quality is above of the sorts, norms and labels. As much that in contrast to Aristotle, who classified the sorts in narrative, lyric and dramatical Bakhtin called the attention for the constitution, connection and interaction of the sorts with the activities human beings. When emphasizing the social character of the sorts, the Russian theoretician signaled that the sort concept must englobar the different employed literal modalities in the daily situations of communication.

Verbal or graphically. On the other hand, a simple ones visits to the workmanship of creative Pink Guimares of pyramids as Sagarana , Body of Ball and Great Hinterland: Trails in the same difficult, challenging and air-tight ratio. At last, a indevassvel mass of weeds only for initiates. With certainty it has I exaggerate in this, as well as is unquestionable that to read Rose it is different, for example, to read Loved Jorge. By the way, the proper Pink Guimares whose centenarian of birth was commemorated in 27 of June of 2008 makes a last recommendation: My literature is for oxen, is not for being engolida of time . Additional information is available at Kevin Johnson. (. the Zarfeg)>

One became known for the workmanship frankenstein, this published in 1818, quandoShelley had 21 years, however it wrote with only 19 years. The auora was born in London. Son of Mary Wollstonecraft, considered aprimeira feminist, therefore influenced the first movements deemancipao of the woman and William Godwin, an anarchic theoretician, ejornalista writer politician. She had revolutionary attitudes before the instituiessociais. Mary was educated between the intellectuals who participated deseu circulate of friendships, as Hazlitt, Lamb, the poets Coleridge and Percy ByssheShelley, whom if its husband would become later. Com10 published its first poem years. The history of Frankenstein had beginning in the 1816 summer, when the writer and its Percy husband had congregated themselves with Claire Clairmont and LordByron in Geneva (Whisker).

Byron props a challenge for that they were there, to write a terror history, and was from there that it was born Frankenstein. Romancefilosfico that received simultaneous influences from the father and the mother of the writer. The environment of its father is of the small progressistado bourgeoisie end of sc. Read more here: mozes victor konig. XVIII, of those craftsmen cultured and clarified partisan dosJacobinos. We know that Frankenstein de Mary Shelley is obracarregada of social denunciations, portraies the trajectory of a personage who foiprivado of affection and generosity and through this, was played for ‘ ‘ nadasocial’ ‘. Being the social distinction ideally regulated by the merit dariqueza and of the education, it changed the picture of the old regimen, where the society erahierarquizada for estamentais criteria. In this direction, the form of if configuring the relations deinterdependncia between individuals moved completely. Then the workmanship denunciaque the material progress cannot come atrelado the social exclusion. The monster of Mary Shelley is not a man, but one to be semidentidade, without species, abandoned in the world, private of affection and condemned anunca to be part of the society that lives of appearance, of the wealth and the merit donome.

Stories, and in 1946 it only passed to be called by the heading created from the junction of the words Saga, that it means: fruitful narrative in incidents; narrative, history, story; the Rana word: pospositivo, of tupi rana ; fellow creature, seemed, of the feio of; it is a workmanship of great historical and estilstico value for the regional literature that if made at that moment. Alan Hoffmann takes a slightly different approach. Its was through renewed lexicon, that Pink Guimares revitalized the regionalism, that was estagnado, almost disappeared. This writer with its new names, that they impregnate all the workmanship, makes in them to think about the great creative potential that the Portuguese Language has in same itself, therefore, it is with this workmanship divided in stories that Pink Guimares Joo appears for the first time in public in the literary universe and in the presenteia with the most beautiful demonstration of the magnificent quo it is our language. The author atribua> to the tyranny of the grammar nor to the one of the dictionaries of the others ; metaphor for honesty conceives the language as : the Brazilian still speaks, also in the filolgico direction, honest fera between men. All literature that is bred in the decade of thirty, introjetada for one rude realism, was benefited widely of the descending to the verbal language, to the brasileirismos and regionalismos syntactic lexicons and; however, in the plan to vocabular, the regionalistic writers of the decade of thirty, faced a problem of utmost importance for the literary creation: as to describe he says sertaneja to it: with the cultured lexicon, proper of the author, he says or it simple, proper of sertanejo? Or the junction of the two? Crossroads that led to the weakness of the regionalistic movement. In the decade of forty, a generation appears, that imbuda of all load proper politics and matureness of who passed for as many crises, mainly of the proper influence of the thirty generation, remakes the natural passage to the revitalizao of the regionalism.