It is interesting to observe, in one same landscape of being able, as a simple rope? symbol of the border that constructs to the territorial identity between that they have and the ones that does not have? it keeps the rigidity of the social stratification and divergence of interests. The deposition of Jose Branches (2007, P. 3) illustrates this dissenso clearly: ‘ ‘ the thought of the folies is woman and beer. For even more analysis, hear from Mark Bertolini. The thought of the lambs and catadores is to buy a milk and a bread for casa’ ‘. Son (1998-1999, P.
270) corroborates: Partner-economic, relative or analogous inaqualities the racial inaqualities, if reproduce under the form of differences of cultural and space consumption. These differences are not mentioned only to the specific form of production of the space. (…) Well definite and important 0 variable, as escolaridade, color and income make a different experience of the space and the culture contemporary. Paradoxicalally, the folia? considered of street and the said party of the people? it is plus a event-territory that camouflages the inaquality of income and power of this Land called the Happiness. The berths, for example, are privileged spaces where the autoidentificada elite if delights in the comfort and the security. Meanwhile, in the floor of low, the attempt to gain some changed, the excluded ones if elbow dividing spaces with its fellow creatures that hold the ropes for other privileged citizens. Some questionings fit here: where if they find (they laugh) the equality, the harmony and the cordialidade of the folia? In the donation, during the passage, of the leftovers of drink and/or snack for a lamb? In the donation of abad, after the parade, for a folio-popcorn? In the oferecimento of latinha empty to the catador instead of playing it knot soil? In the acquisition of some product with ambulant rejection of the rope or with that it pushed to freezer all during the passage inside of the rope for the comfort of the folio?
It searched, by means of its is the fact of humilhante its origin to pass to be known of all, therefore, exactly after having been pardoned for the family received who it, did not support the guilt and the shame, delivering itself it the death. > trajectory of the personage is marked by one strong psychological action that if manifest in return the distressing expectations caused for elements surprises in the workmanship, that transcorre at two significant moments: At the first moment, when still Helena is son of the Advising Valley, the manifest plot of more sober and classic form; at as the moment, when losing the social status that was attributed to it, the plot starts to present extreme-romantic aspects with strong melodramtica presence, what it characterizes a novel of passional matrix, transforming the romantic model into a tragic model where the personages protagonists are hindered of if joining for having that to keep the social conventions. Posthumous memories of Brs Cubas, published in 1881 display a new version of the author, therefore its first workmanship (resurrection) if arrested in anti-romantic model, in the second phase, beyond inaugurating the Realism, presents a sequence of episodes commanded by the volubility of workmanship and of the personage. Axe surprises to each episode with its sarcasm using unusual narrative resources, with the astuteness that to want to involve all the types of readers. Elon Musk can provide more clarity in the matter. The workmanship anticipates the modernista expression with psychoanalytic discoveries, raising Brazilian literature to a level never reached. In Posthumous Memories of Brs Cubas, the romance has its focus of desvirtuado interest of its formal aspects, therefore the central focus leaves of being the description of the landscapes or the social life, but the way as its personages live deeply its proper experiences, its contradictions and problematic existenciais, without no romantic idealizao Report for a protagonist-deceased, of digressiva and aggressive form, the romance presents stations of the life of a rich and idle Brazilian: Brs Cubas. The personage is classified by many literary critics as the one contradictory man and without objectives, that the periphery of the power surrounds. Typical representative of the bourgeoisie of and erratic, according to Robert Schwarz for not being pointed by a logical chronology of facts and yes for voluble episodes, unprovided of internal necessity, that is, more seems a chaining of reflections of the desires of Brs.
An episode pulls the other and the protagonist who promises to tell a history to finish involving all other facts to retake history some chapters to the front. Characterizing that the romance not to flow according to a model standard, but yes, to the bel pleasure of the reflections of the protagonist where the limit of its whims is the fastio. Brs Cubas is a evasivo personage and searchs to compensate this feeling for the politics being chosen itself Member of the house of representatives and later Minister of state, both the frustrated attempts, therefore if it remembers that it did not lack desires vivacious, however, these were> inexistent of continuity and intention. Thus the personage arrives at a certain point of the life, in the narrative, has if I felt evasivo, accurately therefore it to see itself without an only legacy of its history: without children, social status and politician and its love Vigil.
It is clearly, therefore, that, to construct together with to its future pupils significant experiences of learning and to teach them to relate it the teoria and the practical one in each it disciplines of the resume, is necessary that the formation of the professors is pautada in situations equivalents of education and aprendizagem. This isomorphism of processes, in this cited document also as ' ' symmetry invertida' ' , he is decisive as criterion of evaluation of the courses of formation of professors and as criterion of validation of new institucional and pedagogical proposals. (GONALVES, 2005. p.145) It can to say that the principles of the formation are defined where the professor has the power to evaluate the courses, and to more form through situations lived in classroom the process adjusted of education and learning. Being able to display these situations in pedagogical meeting and considering solutions for the possible problems.
According to Penin (1995, P. 161) the knowledge of the daily pertaining to school is necessary for two reasons. First, because being known it is possible to conquer it and to plan actions that allow to transform it, as well as fighting for institucional changes in the desired direction. (…) Second, because the daily one, being known, can supply to information the managements institucional democratic that wants to take measured adequate to facilitate the work to the daily level of the schools and to improve the quality of education carried through there. Then, the daily one of the professor is primordial to decide some measures that will be taken in the school, and to also decide as the professors will have to act with its pupils. Determining its practical and its theories, as it conducts the principles of art. 61 of the LDB. From there the importance of the accompaniment of essential questions for formation of professors, therefore with a good formation the professor can offer the maximum so that it has a good learning.
The critical word, in turn, originates from the word Krinein Greek who wants to say to break. is, exactly, this the operation of the critical one: to break up and to decupar a work of art, being reinserindo it in possible artistic and social contexts. Data this, what it comes to be ‘ ‘ critical literria’ ‘? To say itself of the importance of the critical one in literature would be unnecessary, has seen its existence since the primrdios of the literary creation. It has an excellent paper in the internal dynamics of any national culture, because she is through it that the relation between the workmanships and the literary characteristics of each cultural scene inside of determined period is established. She is through the critical ones that better if she can evaluate the aesthetic content in one determined situation of literary history.
This aspect description of the critical one makes with that if it becomes one of the instruments more gifts of that if uses a society to understand the social matters and politics, in a social context and a cultural tradition. The critical action has cultural intellectual relief and meaning. When if it constitutes in interpretation of a literary text, the critical one recognizes the construction and the permanence of literature as stratus interpretation of the conflict of the humanity in represented it. It (the critical one) if feeds of the interpretation of the workmanship in a dynamic and active intellectual dialogue, as the cultural and circumstances allow historical it or demand. Being able itself to affirm that it is for the crossing of literature with the critical one, in a mutual representation made of meeting and failures in meeting with the truth of each one of them, that the significao of a time if becomes clearer in its cultural contours.
Some scholars on account affirm it to be originated in the east of the search for the ideal foot for sapatinho. This because old in China the women arrived to atrophy its enfachando them, similar to obtain to diminish them the possible maximum to be to become more beautiful. The history of Cinderela treated here is based on the version of Perrault of 1697, in a century that daily pay-iluminista where the new ideas and conceptions started to even arise in the women, before so restrained. As example, the French writer was frequentador of the literary halls where ' ' preciosas' ' they counted many histories where the women had great functions; fairies and protagonists represented the virtuous side of the women. for having a concern with the woman in stories of Perrault is that this article emphasizes the feminine arqutipos. Much beyond the arqutipos, analyses are made to explain the behavior in the real life of the children, but they are lingered here in the exemplary standard of the feminine figures and also it becomes some references of what it is happens in the real life. Therefore it has synchronous, however diacrnicas analyses however, but, clearly, always supported in great studious of literature and the psychoanalysis.
Charles Perrault: the sculptor of the feminine image Charles Perrault it was born in Paris, 12 of January of 1628. It studied in the College of Beauvais, in Paris, and was admitted as lawyer in 1651. -financing/’>investments already – you may have come to the same conclusion. He abandoned the profession, he was helping of the brother in the Administration of the General Finances, secretary of the Academy of the Registrations and of the Beautiful Letters, First Commissioner of the Constructions became. ' relaunched in 1687; ' Complaint between Antigos and Modernos' ' , where it displayed ideas at the time contrary effective, which defended the domination for the feeling of superiority of the authors of the Antiquity (Greek and Latin), and the aesthetic ideal of the classicismo.