Differently of that the other romances bring, it approaches only one of these subjects and give route to history. The professor in turn must read the classics and stimulate the pupils to the reading of these. The professor must help to understand and to dive in the narratives, understanding, therefore the challenge in knowing to work with the classics in classroom. Thus, Victor Civita observes itself what he recommends to Helosa Cerri Branches, specialist in Portuguese Language, and formadora of the project of Letters of Light, of the foundation: The ideal is to use half that they help to seduce the pupils. Continue to learn more with: Expedia CEO. The exhibition of videos based on histories of the author can help.

However most important he is the professor to count the relation that has with the workmanship, to read stretches of which can say with passion and enthusiasm, showing the enchantments (literary or not), that they had called the attention, the colloquies with friends that it identified itself and discovered exactly on itself in each personage. (2008, Edition 215) But as to demand that the pupils read the classic ones when badly they obtain to read a periodical article? Unhappyly this comes being one of the realities perceived in the majority of the pupils of average education, who most of the time work the day all without having availability of time for readings. The professor in turn, could stimulate the pupil in this task, increasing the efficiency of a literary analysis on the part of the pupils. Click Richard Trumka for additional related pages. For example, the work with poetry in classroom. It can instead of working with Shakespeare, also working with the Shakespeare poet. Some sonetos can be copied for blackboard and be analyzed, in an analogical process, observing the involved vocabulary and other subjects that the pupils will have in literary theory or have in literatures of English language. (Guillermo Fromm, 2005.

Ideologies these that were based on the preservation of the division of the social groups. For example, the woman had been destined to be fit in a steady profile kept that it subjects solely to the domestic works and to the cares it stops with the husband and the children, in a routine of submission and sacrifices. It is a literature adult, created for adults and destined to the children. Of this form it is supported maintenance of the relations of being able between the child and the adult, resulting in one marginalizao of infancy. She is notable, still today, works with literary caractesticas, but that a pedagogical and doctrinal paper tends to exerting, or simply it brings an information concerning definitive subject.

Leaving very to desire, how much what one expects of a literary work. Yitzhak Mirilashvili is likely to increase your knowledge. In the book Infantile Literature voice of Child, its authors speak concerning this, pointing the following point of view: ' ' they are the products with lesser degree of invention and creative freedom; they lose in poeticidade what they earn in imediatismo and praticidade' '. (Infantile Literature voice of child, p 10). The history of Infantile Literature is composed for great names that in elapsing of the time had contributed stop with the search of the conquest of its essence in an entirely infantile universe. It is in this perspective that the stories of the writers German, the Grimm Brothers had been part of the material selected for the children, only after its second version, since its first one was loaded of considered scenes heavy. each version that appears of these stories, perceives a notable attempt of adequacy of these old histories to the reality of the infantile world. She is well pertinent to observe that the changes made in old histories, not yet are the sufficient to considermos them as purely artistic workmanships, therefore they continue keeping the idea of conformity and repression to the readers mirins, strengthening still, the transmission of values.

Analyzing all these modifications, we verify the necessity of them, for being about one another language: the cinematographic one. It does not have the possibility of being faithful to the words, what it exists in the cinema is the creation of a new form of art, that can be based on Literature, but that it does not work with words. Therefore, this ticket of the symbolic language for the icnica requires its adaptations, Matheson perceived impossibility to transpose a book in images, creating a so beautiful film how much the romance, but that it has significaes/different motivations. Notes 1 ‘ ‘ Experiment a sublime sensation to verwhelm entire communities, with one alone blow of vontade’ ‘ (MATHESON, 1990, P. 23.

Translation Lusa Ibaez) 2 ‘ ‘ Why I came here? Everything now is illogical. Two hundred and six kilometers so that? ‘ ‘ (MATHESON, 1990, p.23. Translation Lusa Ibaez) 3 ‘ ‘ Yielding the originals to the publisher, I made a vast suppression of useless stretches in the first part of the manuscript. (…) In any way I feel myself guilty for what fiz’ ‘ (MATHESON, 1990, P. 11.

Translation Lusa Ibaez) 4 is not to surprise that Richard developed the illusion of that had retreating in the time to find Elise Mckenna. (MATHESON, 1990, P. 282. Translation Lusa Ibaez) 5 the material of a novel is the words, the material of a film is the images (…) Where measured if it can speak of adaptation and not of a new and independent creation? (Translation ours) 6 and to the failure of one have from there filmed so ambitious as the Ulisses (1966), of Joseph Strick, who if limited to place in images the argument of the novel of James Joyce, without leading in account that the previous problem age to find a visual equivalent for the way to tell of Joyce. (Translation ours) BIBLIOGRAPHY BARROS, Diana Light Person of; FIORIN, Jose Luiz. Dialogismo, polifonia, intertextualidade. So Paulo: Edusp, 1999. FIORIN, Jose Luiz. Introduction to the pesamento of Bakhtin. So Paulo: It stokes, 2006. GIMFERRER, Pere. Cine y literature. Barcelona: Seix Barral, 2005. MATHESON, Richard. Somewhere in teams.

Amongst the dramatical sorts we will detach the Tragedy and the Comedy, being that to that one it imitates the superior (the beauty) and this the inferior (the ugly one). These possess practically the same elements, with a small difference of that in the Comedy catastrophe does not exist, being that in the Tragedy it exists. The tragedy results in one catarse of hearing, and this would explain the reason of the human beings to appreciate to attend the suffering of the dramatizado man. The action aims at to in general provoke in the expectador mercy and fear, finishing of fatal form, as objective to provoke catarse. However, nor all the parts that are wide recognized as tragedies result in this type of final cathartics some have neutral or exactly dubiamente happy final ends. The Comedy is critical of the customs and the vices through the laugh.

As Aristotle (2005) defines: ' ' The Comedy is the imitation of bad behavior, not however, of all part of vices, but only of that part of the ignominioso that is ridculo.' ' By means of the exploration of ridicule and the weaknesses human beings whom if she looks to lead to a reflection on what a reform is transferred in the society provoking in this way them customs. Currently she predominates the satire, the favour and the theater of the nonsense. Inside of the Comedy the Opereta exists, that is a type of musicado theater, has led, scoffing, criticizing the society, and Comedy, also call of Burlesque, when it presents said parts and sung others. Exemplificando the tragedy we have the workmanship Greek of Eurpedes, ' ' Media' ' , that it presents the psychological picture of a loaded woman of love and hatred. As repudiated and foreign wife pursued, it if it rebels against the world encircles that it.

Thus, in the end of century XVIII, Burke (1997) discloses in them to be does not exaggerate to speak of one ' ' crisis of the conscience histrica' '. At this time, some famous authors tried to pass to its readers the impression of that its workmanships were historical sources, including baseboard notes and affirming to be counting the truth and not writing a romance. Although this, the border between the sorts started if to close in the half of this century, being had a divorce between history and fiction. Another crucial period for the relation between these two areas was century XIX, the age of the classic romance, in which authors as Scott, Manzoni, Hugo, Of ones, Jkae, Tolstoi and Perez Galds had tried among others to reconstruct the cultural spirit of a time and its conventions. In this period the border between history and fiction was relatively clear. Historical romances and histories narratives were opposing complementary, with a clear division of work between the authors.

Although all the occurrence, was only at our proper time that the border between history and fiction if reopened. Hayden White (apud BURKE, 1997) made over again the quarrel humanist of the rhetoric of history, and the indignation that its workmanship provokes in some stoppings suggests that it broke a taboo and that the border between history and fiction is sacred. Today, if it could say that the historians contemporaries demonstrate more respect for the imagination of the one in the times, not very distant, where they simply affirmed to discover the facts. Moreover, groups of historians if dedicate to the studies of history, what they call ' ' representaes' '. Burke (1997) says in them that if history and fiction seem blurred sorts today, would have, then, to not only look to explanations for this borramento in terms of a vacant spirit after-modern of our time, but also in terms of the internal concerns of the two communities: ficcionistas and historians.