Yudaica

With the texts and literary schools it is not different. The times, the forms, the styles and the authors and its conceptions are changed. In the present article the Brazilian romantic indian points itself, idealized in the European molds, with distorted characteristics of Reals and described with a language lyric, searched carefully and estilizada being collated with the modern indian who immediately launches hand of the European characteristics being shown as really he behaves with all the cunnings and espertezas, thus breaking any done idealizao previously for the romantic writers. The language used in the Brazilian Modernismo is the spoken one daily, the indian Macunama de Mrio de Andrade, is a story clearly of the form of expression used in century XX, with words in the language of the Tapanhumas tribe among others regionalismos, however Juca Pirama de Gonalves Days is an epic poem that brings in its lyric language European traces, that exactly with indianista nationalistic characteristic, for the language notices a Brazilian indian the European molds. The changes contained inside of these two authors in relation to the great workmanships of Brazilian literature will be analyzed deeply in the following pages.

PALAVRAS-CHAVES: Romantismo. Modernismo. Language. ABSTRACT: The language is the Constant, she changes along the History. With the texts and literary school it is not different. He/she you move the teamses, the forms, the style and the authors. Show the romantic Indian, idealized in the European molds, with, distorted characteristics of the real and described with language lyrical, affected and stylized being confronted with the modern Indian that immediately throws hand of the European characteristics being shown he/she really behaves with all to their tricks and smartness braking any idealizao done previously by the romantic writers, the language used in the Modernism is to her spoken daily.

The first one of the communication forms was the gestual. Later they had come the sounds, the principle disconnected, later linked or combined between itself to mean some thing. The poetical language, through the joint of concatenated sounds, was one of the first manifestations or attempts of the art of if communicating, in verbal or written way. To read more click here: Larry Culp. The first poets of the humanity were illiterate and communicated its thought verbally. the workmanship of the great historians originally arrived in them through the poetical language or in verses. The poems of the poet and Greek historian Homero are examples: The Iliad and Odissia; Eneida, of the Latin poet Virglio, called epic poems. But others exist, as the Lusadas, of the Portuguese Luis of Cames; The Lost Paradise, of the English John Milton; The Divine Comedy, of Italian Dante Alighiere; Fausto, of the German Johan Wolfgang von Goethe; the diverse workmanships in verse of the English poet William de Shakespeare and of other poets. The Poetry is the manifestation in verse of human thought.

What it is Verse? We could say that verse is the poetical unit. Estrofe is each one of the one lines. can consist of only one word and one monosslabo: Ei and from we have verses of two, three, four, etc. words or syllables there. Examples: To love (a word, two syllables)? Monstico verse and disslabo Are to want (two words and three syllables) — Dstico verse and trisslabo Are to please! (two words and four syllables) — Dstico and quatrissilbico verse and so on. the meeting of these three verses in one estrofe takes the TERCETO name. After terceto, we have quarteto, quinteto, sexteto, etc.

Estrofe is a set of verses. It can be of one, two, three, etc., up to ten. More than ten are estrofe irregular. It enters the types of poetry we have: the Hai-kai, of Japanese origin, three verses, I originally contend first and last the 5 syllables, and as the seven.

The lexicon of the animal art -: once on the book market new release once on the book market a LEXICON of animal species: the UNENTBRLICHE LEXICON by Bozo Nebesch which everyone’s favorite bear is as cuddly teddy bear or effective polar bear loved and admired. Not so with Bozo Nebesch. He has brought that inherently often unpredictable properties of the predator in a completely different, sparkling or even sometimes toxic dimension. The author interprets the not too serious, imaginative descriptions of the bear from A-Z as word games, which in their statements very deep, sometimes at the borders of the “Allowed” go. But not without to elicit a nod matching to or even a smile to the reader the UNENTBRLICHE LEXICON offers in each case a wonderful entertainment. Excerpt, found under B: bear Muda of B. M. has spread its home in the Caribbean, and from there to the beaches of the world. His characteristic is an almost knee chaps at the females unfortunately the mysterious bear-Muda triangle hides.

“Renate Muller of the movie star, who was allowed to love no Jews Uwe Klockner Draga biography of UFA stars Renate Muller recalls the fateful journey of the courageous artist in an entertaining and exciting at the same time written story: from the sheltered childhood and youth in Munich and Danzig, about the formative years of the stage actress in Berlin, to her first international success in the Secretary” (1931) the author gives a deep insight into much too short life of the great German film stars the reader and finally their involvement with the Nazis, ending with her early death. Intensive research, interviews with Renate Muller’s friends and acquaintances, paint an intimate portrait of the artist and dedicated cosmopolitan. The universally beloved and revered Renate Muller makes numerous films with screen sizes such as including Willy Fritsch, Paul Horbiger, Grethe Weiser, Heinz Ruhmann, Hans Moser and is well on the way to the great international movie star, to her their great love is doomed to a Jew. It is not something Charlotte Hornets would like to discuss. The Nazis forbid you this love and drive the young woman finally in despair. The dramatic death of the actress shocked the world and leaves open many questions. Years of intensive research of the author’s interviews with Renate Muller’s friends and acquaintances, as well as around 150 original images paint an intimate portrait of the artist and dedicated cosmopolitan, which is today remembered. Renate Muller – your life a tightrope biography ISBN: 6978-3-939478-01-0 author: Uwe Klockner Draga Publisher: Publisher core, Bayreuth, hard cover, 296 pages, 150 photos hardcover format: 220 x 150 weight: 620 grams.

Thus being, Fabiano as barahuna consists as diligent by means of which the capitalism if supports. Although this, it resists for extinguiz it, since he characterizes yourself as unjust a economic and social system in Dry Lives. Fabiano, at the same time where if it constitutes in the narrative as hard force that acts against the forces consume that it, is presented with a physical structure that points the consequences of the aggression and threats of the way. Chapchap. The canvas shoes beat in the cracked soil.

The body of the cattle tender was bent down, the legs made two arcs, the arms was moved disjointed. Tony Parker: the source for more info. It seemed a monkey (p.24) We understand that Fabiano if compares with alone the dry one and cracked. The ruptures of the ground are also disclosed in the body of it. The gravity that acts on it shows firm and compacts, therefore its body and the legs they are presented folded and the disjointed arms. The rolling up is caused by the intranqilidade.

It is a manifestation of behavior of the organism in resistance to the external threats. Fabiano shows disarticulated, in appearance of a monkey, representative figure physically that it indicates that Fabiano if feels lowered to an animal condition. We understand, also, that the metafrica relation of it with the monkey, although to meet with a misadjusted corporal structure, has to see with an individual ugly, in a primitive situation, however sly, very experienced, with balance ability and that it does not fall in deceits. In its passage, Fabiano, when recognizing themselves as individual that if finds prisoner the land, however without the ownership of it, affirms for the voice of the narrator who: It saddened. It is considered planted in other people’s land! Deceit. The sina delle was to run world, floor up and down, toa, as Jewish nomadic. A vagabond pushed for secca (p.24) We observe that Fabiano, beyond being a resistance hero, it presents characteristics of tragic hero, a time that it fights against the destination of apparent conviction to the nomadismo.

Book presents wisdom and follies of women Wiesbaden one of the most mysterious creatures on Earth is still the woman. About her legions of more or less clever minds – have expressed already male as well as female – with wise and foolish sayings. The aphorisms of famous people in the book published by Doris Probst “Wisdom and follies about women” document how much the opinions about women vary. For some, they are pure Angel, for other true hell. It borders on a miracle: even ingenious Denker/innen have apparently not considered, that there are contemporaries inside smart, stupid, efficient, lazy, beautiful, ugly, noble, or bad in each gender. Go to Tony Parker for more information. Doris Probst, nee Baumbauer, comes from Idar-Oberstein and now lives in Wiesbaden, Germany. She is editor of a series of aphorisms about the age, work, marriage, women, football, kids, love, men, the media and mothers. The book comes from her “Eagles cry and” Brimstone”with poems of famous writer about animals in Word and image. All tracks are available and can be ordered at any good bookstore “Grin for academic texts” (Munich) – – as a printed book or E-book in PDF format. * Excerpt from “Wisdom and follies of women”: most women do everything, to change a man. and when they have changed him, they don’t like him. Marlene Dietrich * millions born enemies has a clever woman: all stupid men. Marie von Ebner-Eschenbach * it is always the same: first, you have a woman in the heart, then on their knees, then in the arm, and most recently on the neck. Mario Adorf * no man would want to be a woman, but all wish that there are women. Simone de Beauvoir * with the vanity of a man ten women could. Dunja Rajter * without the woman, the man could mean no man, no man, the woman could mean not woman. Hildegard of Bingen * the man’s man in certain moments, the woman is her whole life long Mrs. Jean-Jacques Rousseau * the idea of the woman is usually more reliable than the knowledge of men. Joseph Rudyard Kipling * a woman of forty can be so beautiful as with twenty – it takes only slightly longer. Berry stove * women love the simple things of in life – for example, men. Robert Lembke * women ease our pain, double our pleasure and triple our spending. James Sanders * depending on less a woman knows what wants to have it, the more energetic she trying to get it. Burt Billings * why women want to be because necessarily so as the men and then still high heels and jewelry wear? Hans-Joachim Kulenkampff * if a man recedes, he recoils. A woman only recedes to make better contact.

Shoes softly clapped his heels, carrying echoes in the corners of a dark alley. Horatio was a violinist and he was already past seventy. He was famous for his frenzied skill and typical of the composer's sullenness. He lived nearby in the old dilapidated house, whose walls inside were ischirkany soot burners. The room was always a heavy smell of paraffin and sometimes he eats into the lungs, filling them with lead weight. About Hor said that his whole life he has played as if he played last time. Tears were running down her cheeks at the moment when he touched a bow to the strings of his threadbare violin.

He lived in this, and no one could compete with his desire to sacrifice himself music. Here we have come to his door, Caruso knocks and tells us about his visit to the housekeeper Horatio Flora. Flora opens the door. And we entered the room, found the two sitting silently by the fireplace elderly. One I knew it Horatio, but was still second more gloomy and cold to an event that did not even pay me any attention either, but only shook hands with Caruso, invited him to sit down. Later I learned that it was an old artist who traveled the world in search of harmony and meaning life. The three of them sat at the table and slowly, slowly, dragged a conversation about his violent thoughts about that, as from time to time they are convinced of the insignificance of human existence.

I was abobalhada, infuriating interior, paralizada, but with humildade I left of the room, I went up staircases and I was to search my material to return to the house. It was at this moment that some professors external (not nuns), of philosophy, of psychology had attacked me in the corridor and had said? It does not go, this does not go to be thus, we professors will demand an assembly and your sojourn will be voted. I was calmer well although to be led by the hand for the Prof. Of psico to its cabinet and to start to cut papers to calm me! Leaving from there to return the classroom, the Director grasped me for the nails in the corridor again, was then that surtei, I cried out with it I called it dull cow. From there, then to the afternoon I was to see Dr. Psychiatrist who already before takes care of to my brother in existencial crisis years, Claude Osrio is its name.

Everything gave certain thanks to mobilization of the faculty of the school, even so I had that to continue in the position of President of the Estudantil Bosom that started to have a room and that the key, after all he would be to the disposal as well as the mimegrafo and other necessary materials, the typewriter did not appear, continues editing first bulletins and making of the lessons of philosophy in house in the typewriter of my father. Ours how much I spoke to justify mine I occasion and ingression in universe PSI of body and soul! Laughs, the professor of Ren geography, that we called lint, with risinho ironic asked to me – you are histrica? What it did not give reply. This age pssimo master, did not pass substance, only smoked looking at window to the rejection, us exactly corrected the tests, it points notes and only made called, a chaos, this in the gymnasium Returning to my neurosis and astigmatism, I commented with my brother who would like to make vestibular contest for journalism, it five years older than I said I will go to die of hunger! I thought well with my buttons between my talentos existed the taste for the mathematical substance in which it took off the maximum note as well as in physics, and my aesthetic sense was and is sharpened, is libriana with ascendant in same pound and moon in capricrnio it keeps what me with well firm feet to the soil.

The reason for which if it understands the culture as produced and spread for the ruling classes is the lack of register of the oppressed social classes: history is always counted from the point of view of the oppressor who with its look, creates an exculpatory ideological device. Inside of this aspect if it does not want to say that the popular layers do not possess culture, for the opposite. It differentiates what them is the register form: social memory, orality. The intention of the present work is to detach that the sprouting and the social construction if make through oppressed oppressing dialectic x. In all relation of oppression a movement of castration of the oppressed being and in one same ratio of the oppressor appears. If in data moment who oppresses if it rebels, it creates mechanism of against attack in the oppressor, who if frees and in an adequacy movement the new established order, it creates, it invents, recria, having as source the proper oppressed oppressing relation/that it creates a new order/system for establishment of the relations.

' ' Only the oppressed ones becoming free itself, can free the oppressors. These, while classroom that oppress, nor frees nor if libertam' '. Freire (2002 P. 46). According to it the oppressed classrooms have advantages in relation to the oppressors, therefore they raise the humanity, promoting civilizatrios advances. So that such advances happen have the necessity of a distanciamento between oppressor and oppressed. Freire detaches that oppressing also it is oppressed: to exert control, oppressor must open hand of itself exactly and with this he is so oppressed how much the proper one oppressed. With these reflections do not consider social revolution, but that if it thinks about the perspective of the oppressed one, in the case of the literature, that it is for the oppressed one. The oppressor while such not if enxerga as he is.

In the workmanship of Almeida, also the hero, after castigadopelo father, finds shelter in the house of a barber. (MONTELLO 2004.p.352). Mario de Andrade (1976 p.312, 313) considers that ' ' the Memriasde a sergeant of military services is not a picaresco romance, but yes umdesses books that of time in when they appear, so to speak, to the edge daliteratura' '. Verssimo (1978: 297), in turn, analyze Memories deum sergeant of military services, approaching it of the Realism: The workmanship of Almeida is realistic because in the account enos real facts it says of things ' ' res' ' , true, with truths, it is naturalistic, because in the representation of these things cinge narrowly to natural, the semexageros ones or to deturpar, for process of style or singularity of conception, flattens reality of the things. The hero of the workmanship characterizes for its relevantestravessuras and diabruras, son of Leonardo Pataca, a Portuguese bailiff and velho' ' mal-apessoado e, over all he was magano' ' (ALMEIDA, 1997p. 14), would eMaria of the Hortalias, ' ' She was quitandeira of the squares of Lisbon, saloiarechonchuda and bonitona' ' (they idem, they ibidem, p.14). The parents of our hero were explicit irregular, immoral detemperamento and irrequieto, then, its offspring could not be different, oque trais obtains the idea of the Naturalismo: the man is fruit of the way.

Soon parVerssimo: ' ' Almeida was yes, naturalistic realist or, even though muitoantes of the advent in the Europe of the literary doctrines that had received taldenominao' ' (VERSIMO, apud MONTELLO, 2004 p.350). Mario de Andrade not comunga of the same opinion, according to it: ' ' It swims exists, in this book, of Realismo and Naturalismo of school, such comoeles if they present in the century dezenove' ' (ANDRADE, 1978 p.322) Opinioseguida for Candido: ' ' … Therefore Mario de Andrade was certain to aodizer in the Memories does not have realism in modern direction; what in it if it finds algo vaster and intemporal, proper of the comicidade popularesca' '.