literature

It was for the small island, it did not know figure human being beyond its father and Caliban until the event of the storm. Its father was submissa. He seems to be pretty, therefore Fernando if surprises to the look for it and soon he gets passionate yourself. Miranda taught Caliban to speak (what it shows its humanity). – GONALO, an old and honest council member. The island of the Ingenuous power, devaneia very, dreams of an ideal society.

Varinha of Prosperous Gonalo is preaching of the moral and the drama. He is faithful and honest and at the same time ingenuous and ridicule. – CALIBAN, wild and disforme slave. The island of the power Represents the slavery. It establishes a relation gotten passionate and cruel with the prince.

It wants to recoup the freedom through curses conspiracies. It leaves to arise the irrationality. Varinha of Prosperous Caliban is son of Sicorax, old queen of the island. It is fruit of the loves of its mother and the devil. More information is housed here: Brad Pitt. After the death of its mother, loses its reign as well as Prosperous loses its ducado and is dominated by Prosperous. Shakespeare? s Caliban- cultural history the model to make Caliban comes from some sources. One of strongest is considered by the authors as the English wild man. It had commentators that they had said that an only archetype would be the American indian, but this is little probable, because many stories existed that indians describe nor a little similar to Caliban: he was ugly, deformed and monstrous, what he was never used to characterize American indians. A common characteristic on the interpretation of Caliban is that it was essentially human, but with grotesca appearance. The attempts to associate it monsters are frustrated because its description sample that it had form and facultieses human beings. Shakespeare did not want to represent none group or person in special, but a generic desregramento in the society and the nature.

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’ ‘.

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.