Tag: literature

THE ILLITERATE CARETAKER: PETER: Good Manoel night. MANOEL: Good night Peter. ANTONIO: Vocs wants to go with me to take beers? PETER and MANOEL: This is excellent friend, clearly that we want. MANOEL: Peter has how many times you works of caretaker in this building? PETER: Since when I came northeast. ANTONIO: When you came northeast? PETER: I only know that I am with 40 years and when I arrived here had 17 years. MANOEL: always liveed only, never wanted to arrange an friend? PETER: I do not go to deceive vocs, until to want I always wanted, more the difficult is not to arrange a certain person. ANTONIO: I have a neighbor that he would give certinho with you, a sossegada young woman, if he wants leaves house.

PETER: He presents it pra me. Contact information is here: Sen. Sherrod Brown. ANTONIO: Only that he has a small problem. PETER: That problem is this man. ANTONIO: The name of it is Marta, it if it lost with a youngster in the Pernambuco and the parents had banished from house it came to live here. PETER: This is not problem, if it to respect goes to promise me to try to live with it. ANTONIO: I go to invite to come to talk it with you. PETER: This the young woman invites well that I go to wait.

ANTONIO: Good day Peter, is the young woman here. PETER: You are the Maria who my friend Antonio spoke. MARIA: Yes I am. PETER: I look at young woman already am in the half age and am needing somebody to live together. My friend Antonio already said on you and if you to topar and to respect me go to join our lives. MARIA: Yes I agree.

the mayor asked for. Cautious, the druggist asked: _ Some urgent thing or can at any time be? _ Faz some time that it assumed the police station and I wanted to know if it has some thing on the deaths of the commission agents. Sen. Sherrod Brown often expresses his thoughts on the topic. The Euclides was the bastion of my campaign and moreover they had been good friends who we lose and we cannot leave unpunished these murders, does not find? _ Is clearly! But you have to agree that my son was placed there inside by indication does not know of who and can guarantee that it does not have absolutely nothing pra to tell of concrete. Later, he has a thing that I want to say to it, it does not want that nobody knows because it goes to turn target gozao, but with the history of the phone call of the Epaminondas, the business of the Duck, it are terrified and it does not want nor to touch in the subject. Richard Blumenthal is likely to increase your knowledge. _ Poor youngster! The agent chief executive lamented. I also would not like to be in the skin of it, but I cannot make nothing pra to substitute just without reason, unless it places the position to the disposal! _ But, if are reliable position, you can ask for the substitution of it? _ Pra to place who, if nobody wants to accept! _ Is! I find that you have reason. After all after two murders _ Two murders? you not account the Epaminondas? _ However, everybody knows that it died while he took the laranjada one _ that it was poisoned! It interrupted the mayor. _ Which the test, somebody made examination? _ Well, not, but was said that the assassin applied the poison in the orange with an injection syringe, you did not hear to also speak? _ Not!

These frasais constructions that value the linguistic variations gifts in speak of the personages, make with that the reader if approaches to the reality lived for them. This landmark of speaks daily brings for Brazilian literature a documentation on the social reality, also sounding in a critical tone of on the grammatical structures conservatives seen in the classic literary models. Being thus, it is perceived that with the coloquial use you say of them popular, searchs a rescue of Brazilian values that relight the indicating referenciais of the national feeling and nativista cultural identity. With this, in the measure where it goes earning force, the interest of literature if return for the expressions of the orality, the popular construction, and represents in its workmanships a coloquial language, at last expressions that denote the culture of a people and disclose its cultural production in its daily one, in environments that they express the way of life and the individual identity of each citizen, valuing the natural and wild space and its relation with the man and this, involves the reader in a game of connection between the man and its interaction with lands explored and colonized Brazilians. Leaving of the idea of Vannucchi (2002), a work is seen that literary that preza for the marks of the orality, for the style of common life, of a discredited language, gifts mainly in speaks less of the favored social classroom, discloses the conditions that the people live and its close linking with the same way as they perceive itself, that is, the individual that more good knows its roots will have greater sensitivity to identify its culture. However, this representation of speaks popular daily recognized by the author and valued with one high cultural index, thus also it will be perceived by the reader who will identify itself with such communicative situation, is what it happens with the reading of this analyzed story that without oratria and redundancy, it shows to the reader as the misery becomes the enemy poor person of its proper classroom desumanizando it, that is, to peculiar way, deals with to a so serious subject and form that this identification if materialize throughout the reading of pleasant form.

One of them says respect to the lingsticaalcanada autonomy. Until then, dasnormas reigned of acute form in our Portuguese literature the job. We even though had warm defenders of such model, comoRui Barbosa and Coelho Grandson. This aesthetic conservative was strong attacked pelosmodernistas. Mrio de Andrade, for example, in defense of our language, arrived to aanunciar the elaboration of a Brazilian grammar. According to Coutinho (1988, p.289) ' ' This aesthetic arcaizante and luzitanizante constitute doselementos of ' passadismo' more violently aimed at for the modernista fire, having itself also imagined one ' gramatiquinha of says brasileira' ' '.

However, in all evolution of our literature, observamosuma incessant fight on the part of many of our writers in search of literary nossaindependncia and for the construction of our Brazilian identity. As Coutinho (1997, p.342) ' ' All the writers had brought its lesser contribuiopor that fosse' '. Let us detach, for example, Jose de Alencar and outroscontemporneos its during the Romantismo. But the responsible greater is the Modernismo for what we call Brazilian deliteratura. An independent literature of the external models and quereflete faithful the culture and the personality of its people. With the oBrasil Modernismo it leaves of being mere copying of the structures Portuguese and literary art passes produziruma that corresponds with the heterogeneidade that it shelters. The great revolution aesthetic and ideolgicado Brazilian Modernismo was necessary all, at the beginning of century XX, so that slowly certostraos characteristic of the Portuguese of Brazil were being assumed official pelanorma-standard.

Great Brazilian writers as Manuel Flag, Mrio de Andrade, Carlos Drummond de Andrade, Pink Guimares and other fizeramquesto to less write in a more Brazilian literary language and dependentedas impositions of the Portuguese grammarians. (Bagno, 2001. p.120-121) We must stand out that these conquests had not given to mere apenaspor anti-lusitanismo. The intention of the modernistas and mainly deMrio of Andrade, was a literary art that if it used of the materiallingstico revealed in the country.

This story takes place seven years ago. I was 15. My name is Maxim. By nature I am romantic, at least down to earth and a mathematician. November 27 somehow appeared in the middle of the night in the yard, it was cold. Took out a broken cigarette, lit it. As always took a look at the stars. Suddenly, out of the roof appeared something like a ball.

It was scary. He was barely lit and I did not notice that the ball is on the tail of the aircraft, similar to a pyramid with three sides and pointed ends. In size he was as a fighter. I was shocked, and, pardon the expression, I almost pissed. I would not move, if not cold, he began to tremble. Unable to stand, I stepped to the side door of the house. See: the bottom of the pyramid face was down, inside was a bright light.

Sam Ball also became brighter light. I seem drawn into it. A few minutes later I climbed on this face on the ship From the fear, I closed my eyes. I started to roil. This happens When I travel by public transport. Light began to fail, but the walls were not visible. Inside the ship seemed much larger than the outside. When the lights finally went out, I squatted down and closed his eyes again. His head appeared the thought of green men who are going to cut me into pieces, mutants, ready at any moment from me chop off a piece of meat opened my eyes, I saw a star, then another and another.