Tag: literature

Medieval it is a term that if it originates from two words in Latin the first Med, wants to say, ' ' meio' ' the second Eval, wants to say ' ' idade' ' , literally, Age of the Way. Medieval literature can be described as the set of workmanships written in the Europe during the Average Age (that it encloses a thousand years of history enters the fall of the Roman Empire in 476 d.c until the beginning of the Florentine Renaissance in the end of century XV for 1453 return d.c.). Literature was composed at this time for religious writings and workmanships of anonymous authors. The field of study of Medieval Literature is complex, therefore it is initiated in the sacred writings and goes until more profane workmanships. Had to the long period of time and space to be studied it is difficult in simple language to characterize medieval literature, with item that characterize other periods. As the Baroque one for example, that it was a estilstico and philosophical period of the History of the society occidental person, with date of beginning in middle of the century XVI and end in middle of century XVIII. He possesss as characteristic the fervor religious and the sexiness of the Against-Reformation. Periodically speaking, the baroque Period, goes of 1580 the 1756. The term ' ' barroco' ' homnima happens of the Portuguese word that it means ' ' pearl imperfeita' ' , or for extension, false jewel. The word quickly was introduced in the languages French and Italian. With the Medieval period it is not possible to trace these characteristics since linguistics problems exist, and cultural therefore the workmanships had been written by authors of vary nationalities of the Europe, in vary languages, being that in the religious writings the Latin predominates. Examples of this cultural and linguistic diversity can be seen in two classic poems of Medieval Literature, the epic poem Beowulf written in the Anglo-Saxon language with job of the aliterao; ' ' aliterao is a language figure that consists of repeating sounds of identical or similar consonantais sounds in a verse or a phrase, especially the tonic syllables.

To love is the accomplishment of all the forces that in them take the ways always quenem want, after without loving is not possible to say that it is lived fully. Who would not love a rose that it does not know to stick, as not to enchant itself, the rose I possessed a perfume that makes to alucinar, owner of a kiss that never I kissed, a mouth that always I longed for, as not to want to touch its skin soft, that the dreams it invades, and it makes me to the night to transpirar, and in a surprise frenezi to wake up, for the remaining portion of the night in clearly being. It has, as not to love, what it is impossible to resist, the desire and the will, the courage and the truth that is difficult to accept, that it does not have nothing to make, that without loving, it does not have as to live. Love is emptiness in chest that needs to be filled, and is night that everything is more complicated, because it is when the mind takes in them to take a walk with gone and comings between the past and the gift, that makes in them to be delirious, with a so great love that nor the time hides, nor makes to erase. What it does not have missed error nor, different and is entrelassados, the love complete loving and loving enaltece the love. Both are faces of the same currency, illuminated for its beauty, protected for its smile, that the love stops, loving are basic, he is who it heats the body, it blows up the heart, it pacifies the soul and it condemns the spirit to suffer in disillusion. The so difficult love and loving to find and to conquer, so easy to lose, that good for loving it is to feel love correpondido. In this physics of the feelings, the real equation, where one plus equal one and to one only, two bodies, two hearts, one only destination, an infinite love, that nothing can change its destination.

To love is the accomplishment of all the forces that in them take the ways always quenem want, after without loving is not possible to say that it is lived fully. Who would not love a rose that it does not know to stick, as not to enchant itself, the rose I possessed a perfume that makes to alucinar, owner of a kiss that never I kissed, a mouth that always I longed for, as not to want to touch its skin soft, that the dreams it invades, and it makes me to the night to transpirar, and in a surprise frenezi to wake up, for the remaining portion of the night in clearly being. It has, as not to love, what it is impossible to resist, the desire and the will, the courage and the truth that is difficult to accept, that it does not have nothing to make, that without loving, it does not have as to live. Love is emptiness in chest that needs to be filled, and is night that everything is more complicated, because it is when the mind takes in them to take a walk with gone and comings between the past and the gift, that makes in them to be delirious, with a so great love that nor the time hides, nor makes to erase. What it does not have missed error nor, different and is entrelassados, the love complete loving and loving enaltece the love. Both are faces of the same currency, illuminated for its beauty, protected for its smile, that the love stops, loving are basic, he is who it heats the body, it blows up the heart, it pacifies the soul and it condemns the spirit to suffer in disillusion. The so difficult love and loving to find and to conquer, so easy to lose, that good for loving it is to feel love correpondido. In this physics of the feelings, the real equation, where one plus equal one and to one only, two bodies, two hearts, one only destination, an infinite love, that nothing can change its destination.

Mendes (2000) affirms that ' ' patience and honesty were, for the bourgeois noblemen and of the Old Regimen, the maximum virtues of mulher' ' (p.55). still: ' ' But it is evident also that, how much bigger the encantamento provoked for the work of art, more easy is the transmission of the ideology that gave origin. Therefore the social values of stories of fada.&#039 cannot be ignored; ' (p.45) Fairy: goddess, mother, master Already were said that the stepmother represents the part me of the mother. Then the fairy godmother of Cinderela is the arquetpica image of the mother with its good side. It has the paper to dress Cinderela to provide the happiness to it. The fairy fulfills this paper in the story of Perrault because the mother alone is cited in the start of the story. Bettelheim (2007) declares: ' ' In Good-looking Borralheira' ' , nothing it is said in them regarding the true mother, who is mentioned in the majority of histories of? Cinderela? ; is not a symbolic representation of the original mother who provides to the damaged son the ways to find its prince, but a fairy in form of tamareira.' ' (p.335) In the great literary halls ' ' preciosas' ' they believed that the fairies represented the feminine power in the society. The fairy godmother of ' ' Cinderela' ' also it seems to direct the life of the protagonist for a destination repleto of wealth and happiness, total different of its life in the house of the stepmother. The fairy seems to have three papers in history: goddess, mother and master. Goddess for having to be able (the belief of ' ' preciosas' '), mother for taking care of of Cinderela and master for guiding it knot certain way. Important to emphasize the paper of mother of the fairy. In the dialogue that has with Cinderela on the gone one to the ball, it she emphasizes: ' ' then, if to promise to be a good girl will make I it to go to baile' ' (Tatar, 2004-p.42).

Mendes (2000) affirms that ' ' patience and honesty were, for the bourgeois noblemen and of the Old Regimen, the maximum virtues of mulher' ' (p.55). still: ' ' But it is evident also that, how much bigger the encantamento provoked for the work of art, more easy is the transmission of the ideology that gave origin. Therefore the social values of stories of fada.&#039 cannot be ignored; ' (p.45) Fairy: goddess, mother, master Already were said that the stepmother represents the part me of the mother. Then the fairy godmother of Cinderela is the arquetpica image of the mother with its good side. It has the paper to dress Cinderela to provide the happiness to it. The fairy fulfills this paper in the story of Perrault because the mother alone is cited in the start of the story. Bettelheim (2007) declares: ' ' In Good-looking Borralheira' ' , nothing it is said in them regarding the true mother, who is mentioned in the majority of histories of? Cinderela? ; is not a symbolic representation of the original mother who provides to the damaged son the ways to find its prince, but a fairy in form of tamareira.' ' (p.335) In the great literary halls ' ' preciosas' ' they believed that the fairies represented the feminine power in the society. The fairy godmother of ' ' Cinderela' ' also it seems to direct the life of the protagonist for a destination repleto of wealth and happiness, total different of its life in the house of the stepmother. The fairy seems to have three papers in history: goddess, mother and master. Goddess for having to be able (the belief of ' ' preciosas' '), mother for taking care of of Cinderela and master for guiding it knot certain way. Important to emphasize the paper of mother of the fairy. In the dialogue that has with Cinderela on the gone one to the ball, it she emphasizes: ' ' then, if to promise to be a good girl will make I it to go to baile' ' (Tatar, 2004-p.42).

Mendes (2000) affirms that ' ' patience and honesty were, for the bourgeois noblemen and of the Old Regimen, the maximum virtues of mulher' ' (p.55). still: ' ' But it is evident also that, how much bigger the encantamento provoked for the work of art, more easy is the transmission of the ideology that gave origin. Therefore the social values of stories of fada.&#039 cannot be ignored; ' (p.45) Fairy: goddess, mother, master Already were said that the stepmother represents the part me of the mother. Then the fairy godmother of Cinderela is the arquetpica image of the mother with its good side. It has the paper to dress Cinderela to provide the happiness to it. The fairy fulfills this paper in the story of Perrault because the mother alone is cited in the start of the story. Bettelheim (2007) declares: ' ' In Good-looking Borralheira' ' , nothing it is said in them regarding the true mother, who is mentioned in the majority of histories of? Cinderela? ; is not a symbolic representation of the original mother who provides to the damaged son the ways to find its prince, but a fairy in form of tamareira.' ' (p.335) In the great literary halls ' ' preciosas' ' they believed that the fairies represented the feminine power in the society. The fairy godmother of ' ' Cinderela' ' also it seems to direct the life of the protagonist for a destination repleto of wealth and happiness, total different of its life in the house of the stepmother. The fairy seems to have three papers in history: goddess, mother and master. Goddess for having to be able (the belief of ' ' preciosas' '), mother for taking care of of Cinderela and master for guiding it knot certain way. Important to emphasize the paper of mother of the fairy. In the dialogue that has with Cinderela on the gone one to the ball, it she emphasizes: ' ' then, if to promise to be a good girl will make I it to go to baile' ' (Tatar, 2004-p.42).

We cannot leave to see in this fact the idea of the writing as crucial instrument to resist the esquecimento, since it is a way for which the men can perpetuate its memory and form its conscience. When bringing, in its narrative, a personage worried about the written register, Saramago disclose to its concern with history human being and the permanence of the memory before the esquecimento promoted for the barbarity. The old one of the black sales is a personage who, symbolically, represents that one that possesss wisdom and power of analysis, when reflecting regarding the blindness and of the installed chaos. Beyond the oldness, that accumulates it experience, the personage uses sales, loaded of significao, therefore, for being a blindness symbol, it is also a form to show that she is immune to the superficiality of the physical appearances. This makes with that it if interiorize, therefore its sales cover the emptiness in its face, left for the loss of an eye, as well as protect the personage of judgments based on the corporal aspect. This still more is strengthened by the fact of the old one of the black sales to suffer from cataract in the eye that remains to it. Old, blind of an eye and still cataract victim, the old one of the black sales is closed to the world corrupted for social masks and, even so victim of the white blindness, conserves conscience on the horror the one that it and the excessively blind ones are submitted. Bosi (1998, P. 60) makes the following commentary: A true test for the psicossocial hypothesis of the memory meets in the study of the souvenirs of the aged people. In them it is possible to verify a well developed social history: they already had crossed one definitive type of society, with marked and well known characteristics; they already had had equally reconhecveis pictures of familiar and cultural reference: at last, its current memory can be drawn on a defined cloth of deep more of what the memory of a young person, or exactly adult, who, in some way, still is absorbed in the fights and contradictions of a gift much more intensely requests that it of what an age person.

We cannot leave to see in this fact the idea of the writing as crucial instrument to resist the esquecimento, since it is a way for which the men can perpetuate its memory and form its conscience. When bringing, in its narrative, a personage worried about the written register, Saramago disclose to its concern with history human being and the permanence of the memory before the esquecimento promoted for the barbarity. The old one of the black sales is a personage who, symbolically, represents that one that possesss wisdom and power of analysis, when reflecting regarding the blindness and of the installed chaos. Beyond the oldness, that accumulates it experience, the personage uses sales, loaded of significao, therefore, for being a blindness symbol, it is also a form to show that she is immune to the superficiality of the physical appearances. This makes with that it if interiorize, therefore its sales cover the emptiness in its face, left for the loss of an eye, as well as protect the personage of judgments based on the corporal aspect. This still more is strengthened by the fact of the old one of the black sales to suffer from cataract in the eye that remains to it. Old, blind of an eye and still cataract victim, the old one of the black sales is closed to the world corrupted for social masks and, even so victim of the white blindness, conserves conscience on the horror the one that it and the excessively blind ones are submitted. Bosi (1998, P. 60) makes the following commentary: A true test for the psicossocial hypothesis of the memory meets in the study of the souvenirs of the aged people. In them it is possible to verify a well developed social history: they already had crossed one definitive type of society, with marked and well known characteristics; they already had had equally reconhecveis pictures of familiar and cultural reference: at last, its current memory can be drawn on a defined cloth of deep more of what the memory of a young person, or exactly adult, who, in some way, still is absorbed in the fights and contradictions of a gift much more intensely requests that it of what an age person.

' Jos' ' existencialista? The famous poem ' ' Jos' ' , of Drummond, already it was used to advantage as letter of popular song. Thanks to it, the expression ' ' now, Jose? ' ' if it popularized as synonymous of dead-end or brainstorming. Without none I exaggerate, we can speak here in existencialistas intentions, since ' ' Jos' ' (a mask under which the poet if hides) if he finds in a sufficiently conflituosa situation, similar to the situation-limit so common in the philosophy of the existence. Isolated in its cantinho of solitude and sadness, it if gives to a questioning on the direction of the existence human being, etc. Seno, sees. ' ' now, Jose? The party finished, the light erased, the people disappeared, the night cooled, and now, Jose? ' ' Something similar, by the way, we go to find in the personages of Franz Kafka, author who if became world-wide known for having bred extremely overwhelming literary types. Thus, the workmanships the Process and the Metamorphosis can be seen as existencialistas, in the measure where they are constructed having as deep cloth of a situation for there of esdrxula: the nonsense subjaz to all the told situations, exactly those of apparent normality. Everything this is fruit, possibly, of the constant readings that Kafka made of authors daily pay-existencialistas as Sren Kierkegaard and Dostoievski. In turn, it does not consist that Drummond had made readings of this type, although to have been contemporary of the great names of the existencialista movement: Heidegger, Sartre and Camus. However, all the great literature always has a great philosophy for backwards. Only to be in an example sufficiently known: The Divine Comedy, of Dante, had the thought of Toms de Aquino as cloth of deep. Recently, speaking to the Tropical electronic magazine, the Blessed philosopher the Prado Jr Detached that he is ' ' surprising the secular coincidence of the emergency of subjects, theoretical, practical and estilsticas choices between the two authors Drummond and Sartre, without if it can speak of influence ' '.

' Jos' ' existencialista? The famous poem ' ' Jos' ' , of Drummond, already it was used to advantage as letter of popular song. Thanks to it, the expression ' ' now, Jose? ' ' if it popularized as synonymous of dead-end or brainstorming. Without none I exaggerate, we can speak here in existencialistas intentions, since ' ' Jos' ' (a mask under which the poet if hides) if he finds in a sufficiently conflituosa situation, similar to the situation-limit so common in the philosophy of the existence. Isolated in its cantinho of solitude and sadness, it if gives to a questioning on the direction of the existence human being, etc. Seno, sees. ' ' now, Jose? The party finished, the light erased, the people disappeared, the night cooled, and now, Jose? ' ' Something similar, by the way, we go to find in the personages of Franz Kafka, author who if became world-wide known for having bred extremely overwhelming literary types. Thus, the workmanships the Process and the Metamorphosis can be seen as existencialistas, in the measure where they are constructed having as deep cloth of a situation for there of esdrxula: the nonsense subjaz to all the told situations, exactly those of apparent normality. Everything this is fruit, possibly, of the constant readings that Kafka made of authors daily pay-existencialistas as Sren Kierkegaard and Dostoievski. In turn, it does not consist that Drummond had made readings of this type, although to have been contemporary of the great names of the existencialista movement: Heidegger, Sartre and Camus. However, all the great literature always has a great philosophy for backwards. Only to be in an example sufficiently known: The Divine Comedy, of Dante, had the thought of Toms de Aquino as cloth of deep. Recently, speaking to the Tropical electronic magazine, the Blessed philosopher the Prado Jr Detached that he is ' ' surprising the secular coincidence of the emergency of subjects, theoretical, practical and estilsticas choices between the two authors Drummond and Sartre, without if it can speak of influence ' '.