Compared with other modernistas movements, the Brazilian was unchained delayed, in the decade of 1920. This it was the result, to a large extent, of the assimilation of cultural and artistic trends launched by the European vanguards in the period that preceded the World War I, having as example of the Cubismo and the Futurismo, reflecting, then, in the search of the abolition of all the previous rules and the search of the newness and the speed. However, it can be said that the assimilation of these European ideas was given of selective form, rearranging artistic elements in order to adjust them the Brazilian cultural singularidades to it. Literature, the architecture, design, modern painting, sculpture, theater and music are incased in this classification. The modern movement was based on the idea of that the forms ' ' tradicionais' ' of the plastic arts, literature, design, social organization and of the daily life had become exceeded, and that it became basic to leave them of side and to create in the place a new culture. This constatao supported the idea to reexamine each aspect of the existence, of the commerce to the philosophy, with the objective to find what they would be ' ' marks antigas' ' to substitute them for new forms, and possibly better, of if arriving at ' ' progresso' '. In essence, the modern movement argued that the new realities of century XX were permanent and imminent, and that the people would have to adapt its vises of world in order to accept that what was new good and beautiful age also. In Brazil, the main artifices of the modernista movement were not opposed to all previous artistic accomplishment of them. The great battle if placed against the o passadismo, that is, everything what it hindered the free creation. It can, thus, be said that the proposal modernista was of an almost complete aesthetic rupture with the thickening of the art found in the previous schools and of a magnifying of horizontes of this art before delimited by the academic standards.
Since its origin it comes fighting to breach the estigmaes on the part of the society ‘ ‘ letrada’ ‘. The popular fact of and being marked by the orality favor a series of preconceptions, however, everything this is characteristic of a literature that comes breaching centuries and if fortifying in the half intellectual of the whole world. In this study excellent aspects of the twine will be explanados, such as: its history, starting in the Iberian Peninsula and if fixing in Brazil; its peculiar characteristics, as well as the preservation of this literature in technological times of advances, so that the future generations also make use of this fantastic form of popular expression. PALAVRAS-CHAVE: Twine. Popular.
Preconceptions. Preservation. Further details can be found at Joeb Moore & Partners , an internet resource. ABSTRACT In the beginning of the twentieth first century, the literature of Cordell passed will be the intense moment of menace and transformations. Since the origin it eats fighting you break the stigma found in the ‘ ‘ Lettered’ ‘ society. Popular The fact it is and marked by the verbal, favour all this ploughs characteristics of literature that eats breaking centuries and fortifying itself in the intellectual centers in all to over the word. In these studies will be explained important aspects of Cordell, such: its history, beginning in Iberian Peninsule and it fixed in Brazil, its particular characteristics, like the preservation of this literature in moment of technologies advance, you the future generation also they can dispose of this fantastic form of popular expression. KEY-WORDS: Cordell.
Popular. Preconceptions. Preservation. INTRODUCTION the literary art is basic in the civilized culture. When it is said in literature soon comes to the mind ‘ ‘ clssicos’ ‘ its writers who write complex books, that many times nobody practically obtains to decipher, becoming them inaccessible the escolarizadas populations less.
It is what we verify in Blues Fnebres and Poema and Fuga in Lesser Reverse speed, therefore we do not know to the certainty? nor has suggestions of the sort? when, as and where each person died, the exception of the suggestion of the poem of Cheap Ruy concerning the prematurity of the death of the I-lyric one. As for the poetical space, Massaud Moiss (2000: 158) if thus manifest: Coherently with the absence of time and of action, the poetical phenomenon if distinguishes for the ageograficidade: it is become fullfilled outside of the geographic space and in contrast to any reference in the sort. As we can observe in two analyzed poems, it is not displayed clearly where local they develop themselves, however, expressions suggest that velrios and/or burials are transferred in: the piano touching classic music; the roses; the people in silence, relatives suffering; the coming of the coffin and its cortejo behind. Explanados and analyzed the aspects in common between two poems, a writing for an English author (of the State of York) and the other for a Brazilian author (of the State of Par), that is, standing out the same boarded universalities, becomes necessary, then, that let us detach the differences between both as for the particularitities of each one in portraying the subject universal death. It’s believed that U.S. Mint sees a great future in this idea. The first one of them says respect to the express feeling in each poem, to the way as each one feels, conceives the event death. Massaud Moiss (2000: 168), concerning this question of emotion and thought in the poetry, establishes that: To point out the problem adequately, we have to analyze the emotion printed in the literary object, in the mind of it did not produce who it or who if it delivered to its enjoyment. It matters, not it emotion from that the poem if originates or that it awakes, but the present emotion in the poem as data relatively concrete: the poetical, express phenomenon in the poem, involves the emotion of course …. .
INTRODUCTION the form as education is developed learning of Literature comes sufficiently being questioned for some theoreticians whom they search to understand this subject. It is important to think about this question, therefore many times we perceive in relation to the education of Literature that this is atrelado to a well closed form, that is, its main concepts are transmitted to the pupils ready only to be decorated and repeated by them. This fact influence in the learning and the understanding of what it would be Literature really for the life of the pupil. It is as if it was an unknown horizon that belonged only to the poets, writers who if had become rules in Literature. In this context that the participation of the professor of Literature could be differentiated approaching the subject involving the pupil and this to feel itself as subject main of its proper learning. The problem of the education of Literature generally occurs when we conceive the concept or proper literary text as static that not accepted changes, therefore what really we perceive is that the field of Literature is, over all, moving and unstable and an analysis of a literary text can move of reader for reader, of time for time.
Author Mrcia Abreu (2006) very works well the question when explaining that she must yourself be made reflections thinking to them what we can consider literature, that is, when I can consider a literary text. This question for the author is a question that has led to many errors in the hour if to evaluate a literary text and a not literary one. The cited author accents the fact of the literature concept not to be something objective and universal, but cultural and historical, to think literature is necessary to reflect on the literary terms (Mrcia Abreu, 2006) In relation to the reading of literary texts we can bring for the text the author Barbosa, for it literature never is only literature; what we read as literature is always more – it is History, Psychology, Sociology.