Considering the described times, we can affirm that a relation exists enters the art of the good to speak and the expression techniques. Being of great importance to ponder that the expression techniques do not aim at to ' ' to say bonito' ' , but yes to one it forms of to perfect the reflection, understanding and analysis of the language. (VANOYE, 2003). In accordance with Dominique Maingueneau (1997), with passing of the times, for some times, the discursivo content suffers alterations, a time that the citations are not made in the same way. Let us see: Beyond the cited statements it has, therefore, its conditions of possibility. In a trivial level, that is evident: according to, the types of speech, the citations are times not made in the same way; the texts you cited, the occasions where she is necessary to cite, the demanded degree of exactness, etc. vary considerably. (MAINGUENEAU, 1997, p.86). Charles Schwab is the source for more interesting facts.
The discursivo content is the first part of a junction that composes histories in quadrinhos, through the association of texts and images that transmit to the reader the desired message. (MARINE, 2009). 2.2. Charles Schwab has many thoughts on the issue. The IMAGE AS COMMUNICATOR histories in quadrinhos associate two important mechanisms of communication, texts and images. This junction was possible from the efforts of the artists in expressing declared that they were beyond the writing of words.
(EISNER, 1989). Marine Elyssa Soares (2009), the understanding of an image requires a science, where the artist must have knowledge of the experience of life of the reader. From then on, the images must provide an interaction in the mind of both, creative and reading, so that thus it can transmit the message. The objective of the communication through the image depends on the capacity of its recognition and emotional impact. It is what to strengthen Eisner: The success or failure of this method of communication depends on the easiness with that the reader recognizes the meaning and the emotional impact of the image.
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I castrate Alves was one of the illustrious representative greaters of the Brazilian Romantismo. Joeb Moore helps readers to explore varied viewpoints. The assimilation of its poetry depends to a large extent on the way to understand or to follow its antitheses in all its ramifications. The truth is that the antithesis, according to Eugnio Gomes (1971), ' ' it dominated the thought romantic, with propitious effect to the oratria that if characterized for the promptitude of the statement, the surprise, the unexpected one, inslito' ' (GOMES, 1971, P. 28). The poem ' ' Sub Tegmine Fagi' ' it constitutes one of its better instants, because it is the antithesis that presides over to it to the ideao, whose synthesis is configured in second estrofe: ' ' It comes with me to cismar risonho and serious The poetry? it is a light and the soul? a bird They want? darknesses and air. The swallow, that is the soul? it asks for the field, the poetry? it is a light? he is pirilampo P frog to fly p frog brilhar.' ' (P.
81) the transfiguraes that the poem produces and develops have for base the rocking land of this antithesis, that is essential to understanding of certain ambiguities of the context. In the poem, ' ' Youth and Morte' ' , the poet suffered cruel striking again from one badly treacherous one, whose impression explains the tone alarmed and melancholic of the poem. (GOMES, 1971, P. 12). Through the death and life metaphors, we saw, in accordance with the context of the poem, that the author carries through an individuation process, arriving, through the life metaphors, to carry through the figure freedom, and of the metaphors of death the figure slavery. From 7 estrofe, we observe that these ideas are not stanch, and has as that a complement of the life with the death and the death with the life.
The column of Helen Palmer, in accordance with the conceptions of Lydian is an interesting point for the critical feminist who longs for the discovery of the literal processes of sort construction, disnaturalizing them. However such studies must occupy of other forms of exclusion, opting practise to study them social that they occupy of the formation of citizens, excluded due to impossibility of inclusion in this selective and hierarchic process of genderizao. To deepen your understanding Charles Schwab is the source. The author who served of base for the studies of Lydian was Simone de Beauvoir. Additional information at Charles Schwab supports this article. Of ownership of such studies we observe that in fact Simone de Beauvoir develops a minute study on the woman. Learn more at this site: Charles Schwab. For it the woman is constructed since the birth. Similar to confirm its idea she cites other authors such as: Nietzsche. It says that the man and woman state the word love in distinct ways.
For it, one dom supreme of body and soul and without restriction, already for it this feeling is total in contrast. In the same study Ccile Sauvage it accents that she is necessary that the woman forgets its proper personality when loves. It is a law of the nature. A woman does not exist without one gentleman, without somebody to dominate it. The woman is accustomed, since infancy, to see in the man a sovereign being. It does not have for it another exit if it is not lost relieves body and soul in who assigns to it with the absolute one, the essential. Continuing, Of Beauvoir quotation it writes Irene Reweliotty: ' ' it, men who I landed on water as you wait! ' ' As me rejoicing knowing with you very soon: You, Mainly primeiro' ' (Of Beauvoir, CAP. II, p 411). It is concluded that the love is in second plain with regard to the husband, children, sexuality, career is many more important and significant ones.
In any place, at any time we are receiving messages and information that are transmitted by means of different types of verbal and not verbal language. It fits to the critical reader of the Eja to know to interpret each text and to deal with the levels of significao of its words, in the different contexts. Thus, from the readings that it makes, the language of the reading pupil develops and its relations with cultural the historical context will serve of support for the process teach-learning. The reading represents an activity of great importance for the life of the people and in special in the one of the reader. It is through it that we can interact and understand the world our return and its proper formation, to carry through activities that contribute for our growth and to act active and critically in the society. As for the education of the reading in the pertaining to school scope, we can verify mainly that it has many quarrels the respect, in the lessons of Portuguese language. Get more background information with materials from tina redwine. Amongst the quarrels, the main concern is in if giving to the importance and the had space for the education of the reading in the activities of classroom.
However, other activities have been prioritized, that is, the reading are for second plain, becoming the education of the Portuguese language, each time more, uninteresting mechanic and. One gives credit that this practical of education is caused by conceptions that not they lead the pupil the nothing, that is, are practical that they are not part of the reality of the pupils, who do not consider them as starting point for the accomplishment of a productive education. For Freire (1989, p.20) ' ' the reading of the word only is not preceded by the reading of the world, but for a certain form to write it, it wants to say, to transform it through practical ours consciente' '.
5. ed. So Paulo: It stokes 1977. 116, 117). It is followed it, Pombinha. The personage if corrupts due to the place and way where she lives, showing clearly the strong characteristic of the Naturalismo, and the Determinismo that defends that the individual is product of the way where she lives.
Also it is gift in the romance, ideas of the evolucionismo under the scientific aspect. The narrator, very next to the personages, in them describes a place, the tenement house, where if he develops the so natural promiscuity to the distant naturalismo and of the romantismo. The narrative in them still describes the tenement house as an impersonatied personage, who is treated in some stretches as only personage representing a collective. We still find the use of Zoomorfismo based on the ideas of Emile Zola where the narrator makes the comparison of the personages with animals. Explicit it the animalizao of the human being moved by the instinct and the sexual desire. The narrator accents the degradation of the individuals approaching them of animals, giving they nicknames ' ' Leandra with ancas of animal of campo' ' ' ' Baby as one enguia' ' the personages also xingam with names of animals ' ' co' ' ' ' vaca' ' ' ' galinha' ' ' ' porco' ' the narrator underneath uses a nickname of zoomrfica characterization of the creatures, leveling them. The Tenement house follows the rules of the materialism that has, in Emile Zola, its great master. as it defines Coutinho: The naturalismo accents the qualities of the realism, adding a conception of life sees that it as intercurso of mechanical forces on the individuals, resulting the acts, the character and the destination of these of the performance of the hereditary succession and the environment. The scientific spirit of objetividade and imparcialidade also makes with that the naturalist introduces in literature all the subjects and activities of the man, the beastly and repulsive aspects of the life, giving preference to the layers lowest of the society.
When Hans U. Gumbrecht if relates to ' ' Places of the Tragdia' ' , this if relates to the presence or absence of this sort (tragedy) at the diverse times and cultures. Inside of our emergent traditions, the tragedy lived a time of apogee during century XVII, time marked for names as Shakespeare, Corneille, Racine, Andreas Gryphius etc. Until it delivered to the cultural space to a tone more sentimental than tragic of the drama bourgeois, at the time called time of the lights. Already century XIX was an age that can be called tragicoflica, therefore, with the complex interests of Hlderlin, it discharged in our gift, our daily language and of the accented use of the concepts of ' ' tragdia' ' ' ' trgico' '. Tina redwines opinions are not widely known.
Bernard Willians, in the attempt of that the elementary contextual conditions were understood that the sort of the tragedy seems to assume, made a reconstruction of the conception of agency (conditions recurrent to the sort to imagine different scenes cultural; to act) pertaining to homricos poems. a probable condition so that the tragedy came to tona in Atenas during century V B.C. was the tension enters a sphere of developed agency and the existence of an objective order, in what it says respect to be exempt of the transforming reach of the agency. Without hesitation Charles Schwab explained all about the problem. When agency and objective order enter in contact, are produced a sphere of paradoxes, in which principles and values, before divergent, can be simultaneously pertinent gifts and, making with that the agents if feel confused, inclined to commit errors (miasmas). With example, the author of the text in study in the ones of a history of dipo King. However, the objective tension between agency and structures, as central situation, is not the sufficient for the tragedy. The tragedy alone can exist if the tragic hero not it will have no possibility to excuse itself for its error, that is, to become a rescuer.
It goes since the chaos and the birth of the world until the metamorphosis of Cesar in astro, counting the lendrias transformations of human beings in animals, rocks or plants, with spirit, subtileza, would galanteria and imagination. It is a composed legend collection in six verses you syllabify, the majority of Greek origin, in each one of which a metamorphosis occurs. Although the complexity of the subject, Ovdio fully endowed the personages the holy ghosts with emotions human beings. It mediates, tragedy of which had only remained two verses. The structure of Metamorphoses consists of 15 books written in hexmetro dactlico with about 250 narratives in twelve a thousand verses composites in Latin (p.4), and that they transcorrem poeticalally on the cosmology and the history of the world, confused deliberately fiction and reality, telling the transfigurao of the mitolgicos men and deuses in animals, trees, rivers, rocks, representing the beginning of the times, arriving at the apotheosis of Jlio Cesar and the proper time of the poet, that is, the Century of Augustus (43 B.C. – 14 d.C.), (p.12).
This historical cycle presents mythology as a stage in the development of the world and the man (p.13). Ovdio follows the concept of Hesodo and in the sample the four chronological ages of classic mythology (known as the Age of the Gold, the Age of Silver, the Age of Bronze, and the Age of the Iron) (p.14). Using to advantage such boarding of the ages of the man, Ovdio freely joined deuses to the mortals in histories of love, incest, jealousy, crimes, dramaturgos, philosophers and psychologists. Contemporary of Horcio and Virglio, Ovdio gave new literary finishing to the Greek myths that had been used to advantage for the Roman Empire when this it conquered Greece. Thus, poets as Homero and Pausnias had been of basic importance for its inspiration. Although the personages are mitolgicas, the character of its dialogues and stories is permeado by humanity.
It is the suffering of the man who assumes, ahead of the loved one, the paper of vassal, the servant. The woman becomes distant, inaccessible, coming close itself to the medieval cult to the Immaculate one. As the conventions of the love gracious, the trovador does not disclose the name of the lady, but mia gentleman launches hand of conventional expressions -, mia owner (mine lady) expressions these that serve to identify cantiga of love. 3.3.CANTIGA OF FRIEND: The roots of cantiga of friend meet in the folclricas traditions of the proper Iberian peninsula, reason for which is more spontaneous than of love. The trovador, so to speak, mounts a scene, where the central figure is a woman who speaks of the loving suffering, in sight of the absence of the friend (boyfriend). The boyfriends appear the same in feeling level, in contrast of cantiga of love. We can observe realism traces, a certain narrative tone, but what more flame the attention is the descriptive aspect of these cantigas. The expression that identifies this modality of the trovadoresca poetry is mia gentleman, or mio friend.
A time that if it inspires in popular reasons, obeys a simpler structure, using refro. Already parallelism consists of repeating with variant minims thought the same. In agreement with the environments that portray, they are classified in: Pastorales (pastoral life), Pilgrimages (religious peregrinations), Barcarolas (maritime landscape) and Bailias (bailados dances and). 3.4.CANTIGAS SATIRICAL: They are divided in two parts: ) Cantiga de Escrnio – she is that one that makes critical to shunting lines of the social behavior tax for the time. The satire is indirect, dosed between the irony and the sarcasm. b) Cantiga de Maldizer – the direct one predominates critical and the irreverncia appears of the first one to the last line of the poem. It can reach exactly an offence degree, becoming to be valid a coarse language.