Camilo Principle

The interesting one is that the Camilo principle is refused in believing cartomantes and until jeers of Rita that made use of its services. Frequently foursquare has said that publicly. However, the anonymous letters and the ticket that it received from Vilela had left unsafe the point not to think two times to need the declaration of the cartomante? personage of great importance in the tram? of that being they everything would be well, nothing of badly would happen. Of this form, the desire is alienator in such way, that Camilo having belief in cartomantes is not apanhado for a moment of crendice and believes that goes to give all certainty. However, although the affirmation of the cartomante, the inevitable one happens: Rita is deceased and Camilo is the next one to be died for the friend, thus can be said that the guilt of Camilo after the violent act of Vilela is redeemed. Therefore, Rira and Camilo are stimulated by a desejante force and are condemned to die. 3? The desire as revenge in the personage vilela As we saw in the narrative, the objective of Rita and Camilo was to prevent that Vilela discovered the adultery one, however this objective is not reached, a time that it discovers the treason he punishes and it with the death of the loving ones, becoming the possible villain of the narrative. But after all, Vilela is taken why type of desire? We can think about the same desire lived deeply for loving Rita Camilo? For the psychoanalysis, the desire and the pulso are our differential in relation to the animal irrationals that are of pure instinct.

We human beings are moved by the desire, this, of purely psychic order. The citizen lives in state of constant excitement at a moment of pleasure and displeasure. In this in case that, Vilela is a desejante being, that the displeasure with more intensity lives, a time that is stimulated for that it judges to bring the satisfaction, since already it possibly distrusts of the treason, therefore Rita is imprisoned to the love of Camilo the point of more not thinking about the husband ' ' now the action of the person, the stubborn eyes of Rita, that looked many times of it, it consulted that them before making to marido' ' (239).

Brazil Literary

It is as if, through it, if it drew the face of the social time. Critical the literary one is interpretation searching to understand the literary composition, its mechanisms and procedures for ‘ ‘ to load the language of significado’ ‘ to conjugate ‘ ‘ all saberes’ ‘ in its proper universe only e, e, as consequncia, never can be neutral nor innocent. Exactly a critical academic, established in criteria of cientificidade, articulated for a language standard and objective, runs the risk to suffer of the credibility lack, in such a way theoretician as practical. Invariably if she confuses what he is scientific with that is mere technological. We could abiding in them by the critical historiografia of the literary one in Brazil, however our objective is not this.

We objectify here, through the dialogue with the reader, to reproduce some of the concerns on the work of the critical contemporary, scientific or not, spontaneous academicista or. As much literature was never produced as nowadays. We will dare to say that it has a bigger number of writers that reading, has seen the result of some ways of research indirect, as the vestibular contest, for example, or it visits to some sites in the Internet. we have as well as them in profusion (the writers), another phenomenon: the sprouting of the planto critics. Other people’s to the scientific aspects and manuals of critical the literary one, we have some approaches and commentaries on literary constructions. Nothing to oppose. It would so only be enough that these critics had certain discernment how much the aspects of the workmanship that are citizens to the critical one: Use of the language, the comparison between authors, the research of the sources, the estilstica analysis, the literary influence of the schools and movements, the used comment of the thematic one. The literary critic, whichever the institucional plan where if he places (journalistic academic or) becomes related with the literature, over all with that she is its contemporary, through a certain degree of blindness, or through a species of interested blindness that takes the critic to see solely what it wants or it can see, because its look is not innocent. in these circumstances, of – critical the partial one, that afeita to the vanities, to the interesseiro stimulaton, sponsorship, or for another one, that one where the disagreements if reveal, the epistemolgicas, social, moral oppositions, philosophical politics or. From there, to send regards: coherence, coherence and urbanity: ‘ ‘ Critical useful and the true one will be that one that, instead of shape its sentences for an interest, wants either the interest of the hatred, wants of the adulao or the affection, looks for to reproduce solely the judgments of its conscincia’ ‘.

Mary Jane

It was scared seeing a blond girl of dark eyeglasses with average so great hair the smooth, clear skin, incrivelmente red lips and one piercing in the ear. – You are the Peter? – it smiled. Peter looked at for the window of its room and perceived that it was raining. It found odd the fact of it to be using dark eyeglasses, but it invited it to enter. – Yes You are – Mary Jane. Saw I you in the reception of the hotel and me he seemed familiar, then I decided to know it sweats name.

Peter was confused. That type of maniac made this? But it seemed a normal person. – Good, Mary Jane I do not know you. excuse. It laughed and botou the hair behind the ear. – He is strange, said something me that I was pra to come here to speak with you Peter was very confused still, but to this it left it girl curious. It had a positive energy, it seemed happy. – Mary, because you not strap these dark eyeglasses? It is raining, and we are inside of the hotel.

– Not. it is that I have certain – it looked at pra low – an anomaly in the eye, let us say thus. – I do not import myself, I am not to judge – Peter bent the mouth in a smile and took off the eyeglasses of the face of it. It withdrew, scared. That age much conhecidncia, was strange. The eyes of it were of different colors, as of the Amy. However of it they were brown dark and the other age a esverdeado honey. Mary Jane lowered the head, disappointed. – I found that you age not to judge Peter was myth scared to say some thing. It was there that it perceived that the smile of it also remembered to the one of the Amy.