The article considers a reiteration on the importance of knowing literature for the intellectual development of the reader, essentially, the infantile one, having as main focus the workmanship This is pirate thing, of Wander author Antunes. PALAVRAS-CHAVE literature, formation of the reader, discoveries He would not be new to say that knowing literature becomes the reader more each brought up to date time and chemical preparation to face all the existing incognito in the world. that is through the reading, of the experience of the personages and in the significance of the history that the reader enriches its knowledge and becomes prepared to unmask the human behavior. The reading of ‘ ‘ This is thing of Pirata’ ‘ certainly if it becomes important for the formation of the infantile reader, a time that the absorption made for the reader of the workmanship is of great relevance. The reader enters in the imaginary world of sininho and its group to save an admired city, Cuiab, of the claws of a maldoso, full pirate me the intention. Wander Antunes knew to explore very well history, to sharpen the sensitivity of all the infantile readers, or adults, after all, the adults also enchant themselves with this fabuloso world, the infantile one. The adult is the way so that the small ones if interest for the done world they, is through the adult who the infantile reader starts to know the workmanships. Fanny Abramovich (2008, p17.) displays that it is hearing histories that if can feel (also) emotions important, as the sadness, the anger, the irritation, well-being, the fear, the joy, the terror, the unreliability, the tranquillity, that is, to deeply live everything that the narrative provokes to reads who it. Leaving of this estimated, we perceive that the reader of ‘ ‘ This is Thing of Pirata’ ‘ if it sees in all the sensations explored for Abramovich.
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). 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.
With the three requested procedures: acceptance of what it is difficult, to love the solitude and following the ways of silence, Rilke shows the Kappus that the moment of pain is of the growth. Then it asks for that to its ' ' aluno' ' he is calm, because it would be felt guided, exactly in way to a serious storm, exactly in the center it chaos or the eye of an emotional hurricane. Rilke explains: ' ' But everything this does not have to desorientar it. What one becomes necessary, it is however, this: solitude, a great interior solitude. To enter exactly in itself, not to find nobody during hours? here it is what if it must know alcanar' ' (p.48-49, paragraph 01). The author justifies in the next segment the pparently steep way to the solitude, to comfort the being, enternece the abandonment of the sounds and asks for to patience the Franz. He rewards it for Kappus, to if collecting to this solitude, would be of harmonic restoration e, moreover, to conceive of itself for itself the privilege of being set free of the fear of such nip: Therefore it is so important to be alone and intent when it is sad. The andino and pparently immovable moment where our future enters in us, is much more next to the life of what that one other, sonorous and accidental, where it supervenes in them as if he arrived of it are. The more we will be quiet, patient and you deliver our hurt, in such a way deeper and imperturbvel the newness enters in us, as much conquers better it, in such a way plus it our destination will become, and when in one day later to come that is, when to leave us to arrive at others we sentizemos it familiar and prxima’ ‘ (P.