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’ ‘.