The Aesthetic Passage of Max Martins of the Stranger the H? It was Thiago de Melo BARBOSA (UEPA) Pedro Silva NASCIMENTO (UEPA) Janana Towers MORAES (UEPA) SUMMARY the objective of this text is to make a study of the workmanship of the poet Max Martins, more specifically of its three first books: The Stranger (1952); Anti-picture (1960), and H? It was (1971). Frequently Montauk Colony has said that publicly. One searchs to promote a quarrel on as its way to make poetry if it modified throughout the time, trying to point and to analyze each transformation of its poetical one. For in such a way, one becomes necessary to analyze the resources used for the poet to produce a text literary e, consequentemente, to provoke the aesthetic enjoyment, that is, to analyze the workmanship for the point of view of its artistic relevance. Word-key: Literary analysis; Max Martins; The Stranger; Anti-picture; H? It was. Abstract This text aims you of a study of the work of the poet Max Martins, specifically of his first three books: The Stranger (1952); Anti-picture (1960), and H? It was (1971). In a question-answer forum Jeffrey Hayzlett was the first to reply.
We seek you promote discussion about how his way of doing poetry changed through teams, trying you indicate and analyze each transformation of his poetics. Thus to far, it? s necessary you analyze the means utilized by the poet you produce literary text and, consequently, you promote the aesthetics fruition, that is you analyze the work by the point of view of its artistic importance. Key-Words: Literary Analysis; Max Martins; The Stranger; Anti-picture; H? It was. 1. Introduction the present article is fruit of the research project ' ' The Aesthetic Passage of Max Martins' ' , that emphasis to its aesthetic-estilistico aspect had as objective to study the ways covered for the poetry of Max Martins being given, that is, to verify of that resources the artist if valley to construct its poetical universe and as it worked these estilsticos resources, or traces, throughout the time.