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Leonardo

Another divergent point of the romance of Almeida is the high teorcmico, that points with respect to the comedy on the contrary of the tragedy, one of the marks doRealismo.A comicidade is explicit in first I capitulate, where omomento is told where the parents of Leonardo if find. Leonardo dasHortalias Pataca and Maria: ‘ ‘ Leonardo dissimulated that it passed distracted for next to it e, with oferrado lesbian, seated a brave to it pisadela in the foot direito’ ‘ (ALMEIDA, 1997, P. 14). This trend appears another time in chapter the same, noepisdio of the party of ceremony of baptism of Leonardo son: Leonardo, urged for Mrs., was decided to breach the partelrica of the amusement.

One sat down in a stool in isolated place of the room, etomou a viola. It made a beautiful comic effect to see it in tarjes of the craft, decasaca, shimstock and espadim, folloied with monotonous zumzum in the ropes doinstrumento the native garganteado one of one modinha. David Delrahim, Los Angeles CA: the source for more info. (they idem, they ibidem, p.15) In this I break up, perceives the comic effect, even though pelaintruso of the narrator: ‘ ‘ cmico’ made a beautiful effect; ‘ … Intrusodemonstra another shunting line in the workmanship of Almeida, this technique would be very usadatempos later for a great realistic author: Axe of Assis. The school romantic it is characterized, among others things, peloapego to the religion, the faith on the reason: ‘ ‘ It is the faith that commands the espritoromntico. It is not the bread only that it satisfies the romantic one; idealist, inhaling aoutro world, believes esprito’ ‘ (MONTELLO, 2004 p.9). EntretantoAlmeida created a protagonist who repudiated the related questions religio: It has however a thing saddens that it in the way of everything: Omenino has for the prayer, and in general for everything when it says respect to the religion, a determined aversion; it is not capable to make the beauty-signal of the left for adireita, to always far it of the right for the left …

Importance Of Sleep

Khalil Gibran: In the heart of every winter, spring live a vibrant and behind every night is a smiling dawn Johann Wolfgang von Goethe: The night is half of life and the better half In the sun where you live and why we do not visit at night? yen that place gets the day when it comes to an end at six in the evening? And where the rainbow begins and ends? And those stars live in a dark cave and sleep all day to decorate the sky at night? And who takes the trouble to plant trees everywhere in trupillo if anyone anywhere was seen depositing a seed in the rows of dusty, dry sand? And who came with God in heaven and as it does to keep it off the hearth of his house when the wind blows stronger coming from the place where the boats became figures of men whose face has only one eye? And most disturbing and recurring question of all: and what time you sleep at night? The questions were made during recess at school where we began our high school and had fantastic responses, beautiful, creative, let us not convinced but very happy for as long as we share and at that age where time is a clock control of our lives but a timbre noisy but friendly by which we announced that classes end and we could go home by a bushy path lined with weeds and thorns Dying to which divi-divi trees had thrown their arms to restart its cycle and again lined green. Quintero Alfonso Perez, one of our regular coterie of that time has been given the task of finding answers and the question has begun favorite who were children at the time those in which the chalk was the main element of education and the board was on a stage is quite similar to the scaffold where the days were executed rather frequent in that studied the lesson. Alfonso's efforts begin to produce the first results and they are entered in a book entitled, precisely, a The night sleeps Dia, a beautiful collection of twenty stories in which she captures her immense joy of living, his unwavering desire to return to the happy days of childhood and its intention firm to give freedom to the charm, imagination and metaphor as a way to build the foundations of a society united by the sound of drums collected in a further meeting at the bottom of the forest where an old sand truck pulled into the center of the city where they were built at least two dozen buildings. If we are to believe the author, as indeed I believe him, a the night is up early – when it gets dark, and begins to open a casket of silver stored in their pockets: Like everything in nature, the night has its encantoa The night he sleeps by day, but the book can be read at any time. Anyone who takes into his hands begin a journey where there will always be a Oeun silver casket has thousand and ten thousand stars wonders .

Rutto Alejandro Martinez is a renowned Colombian journalist and scholar whose articles are published on websites, newspapers and magazines in several countries. He was recently awarded the journalism prize CERREJa THE "N on the Internet modaidad. It is often invited to seminars and conferences in various cities. Contact him through mail and visit your page.

The Author

HANSON, 1992) in texts Jewish-Christians, in the delay-old period, constitutes one of the forms most radical of construction of the ficcional narration. In the measure where it tells Unusual, between the crisis and the newness, the text of Apocalypse becomes one metaphor (Cf. RICOEUR, 1986; VILLAVERDE, 2004:101 – 109 and 119-128; KAELIN apud HAHN, 1999:161 – 190) of chaos and the indizvel time , operacionalizado in the language of the cosmos that if (auto) ficcionaliza for the narration of impossible. A world (text) that is born (symbol) and if undoes models, and that, with effect, they remake the reality that they interpret (KAELIN apud HAHN, 1999:173). This communication, therefore, enrolls in the narrative scene contemporary of the suspension and catastrophic (the Cf. OLINTO, 2002), in the context of the new chances of the imaginary miditico offered by the crisis of the religious extremism in way to the new sensibilidades archaic it, it myth and it time (Cf. ZIZEK, 2003). The magnifying of ficcionalidade in literature contemporary, a trip between language-codes (Cf.

VANNI, 1997:31 – 60) of old contexts (CF. Perrin, 1974:1 – 15) make possible the one construction reader-author of the disaster and the interruption, for metaforizao . (Cf. LPEZ apud BOSSETTI, 2005:443 – 458), the author insists on> effect, since the fundamentalist fury to the revolutionary utopias (Cf. DOS SANTOS, 2004:133 – 156; DOBRORUKA, 2004). The fabric apocalyptic is image and states an action that recria krnos : Or bien encore le temps est-il rgnerable pair joins catastrophe (grifo is ours) periodique et joins nouvelle cration.

Literature Education

To understand the importance of literature and its functions becomes necessary to appraise literature. Since concepts attributed in the literary theory, it is possible to understand that it does not have as to separate it of the life of the man, since, this if constructs from the universe of the proper man, reproducing of illustrative form, human aspects. As Moiss illustrates (1997, P. 25), ‘ ‘ … synthetically, and of one forms as if it vulgarized the Aristotelian thought: literature is ‘ imitao’ (mimese) of realidade.’ ‘ By means of this first concept, we perceive that, since the antiquity, literature if interlaces the life of the man because the same one if carries through in a parallel universe to its. On the concept of Moiss literature (1997, P.

27) it still standes out: Admitting literature as for-reality, it remains to examine the way as the reality parallel if organizes. The world for-Real where the text if constitutes is latent: the text does not contain it, – it evokes; it does not lock up it, – it suggests it; it is not the universe for Real, – but the signal that point and the substance forms that it. The universe for-Real not this in the text, what it would be to confuse with this while object, but in a space that the text produces with the complicity of the reader. From the reading of a literary composition it has, inevitably, an interchange of the information apprehended with the lived and real experience. This relation processes for the intuition of this reader, which will receive the text according to its subjectivity. We perceive, then, that one of the characteristics of the literature becomes that it ampler it is the possibility of some interpretations in one same text.

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