After having observed what each writer cites on acategoria of the OBSERVING NARRATOR, we will see now what each one in says on oNARRADOR PERSONAGE to them. In if treating to narrative personage as already it was citadoanteriormente we will take as base the definition of D' Onofrio apud Pouillon () queafirma that ' ' it is through the point of view of the personage-narrator who conhecemoso that it is transferred in texto.' ' That is, so that the romance is in this category preciso that the personage is part of history. Thus, D' Onofrio points four types of narrative personage. Being they: Protagonist-Treat narrator to somebody that accumulates papelde subject of the articulation (narrative) and of citizen of the statement (history), ouseja, it counts history for lived it. Narrative Secondary-Treat Personage to a personage quenarra history, but, does not exert the protagonist paper. It presents the personages, being distinguished it the level of the articulation.
Witness-BE narrator that one that is present to only paranarrar the events, belonging to the plan of the speech. Dramatical narration exists a specific narrator, poistodos the personages, dialoguing functions as addressee of the message. However, Hook defines narrative personage in two, sendoo narrative witness and the protagonist. The first one, is classified not main comopersonagem, but, as somebody that tells the facts of which participoucomo mere spectator, however, as she is the central personage dosacontecimentos. Therefore, when analyzing the cited workmanship we perceive the presence deum narrative secondary personage being, this the participant of history, eatravs of it that the main personage is presented. ' ' I looked for, as costumo, the deep one of the car, in order ficarlivre of the monotonous colloquies of the receivers, that of ordinary has umaanedota always dull to count or a complaint to make on the bad state doscaminhos. I sing it already was busy for a mount of silks, that to deixouescapar a fast one to farfalhar, conchegando itself to give place to me.
One meets there, great part of the poetry of history: The construction of the reading, based on a complicity grada between father and son and the wire of the life of Liesel starts to be disentangled. The practical one adhered was of reading in the room, the bed, full dawn. Little light and silence, broken only for the voice of Hans deciphering the words of that stolen book. A diversion, ‘ ‘ extended for the calm of noite’ ‘. The book, ‘ ‘ a gust of vento’ ‘. 60 and Liesel felt the joy to know, which words liveed inside of that black layer with letters silverplated. Here we can cite that ‘ ‘ the reading is always one practical flesh-color in gestures, spaces, hbitos’ ‘ (CHERTIER, 1998), therefore the necessity to have an agreement of as to practise the reading, in the direction of that the recognition of that subject happens.
Let us remember that, although to be place of alfabetizar, the reading is not one practical pertaining to school, a person can learn to read without having IDO to the school. Liesel learned to read outside of the school and had contact with books, before frequenting it. It is more or less thus with good part of the people. What it lacks, effectively, is the Hans figure. It read for Liesel and after some time, he started to help it na written, in the house bilge. After each nightmare the lessons midnight happened. in a certain thursday close to the three of the afternoon, Hans and Liesel had started practical other of reading: ‘ ‘ Book, sandpaper of wall and lpis’ ‘. 63 When the time was good they went to the Amper to the afternoon. When the time was bad, was the bilge.
Thus the third verse of this taken off (it repaired that it is an saying) it does not mean more nothing. Here, we see a poet whom he reflects on the language, or, more necessarily, on the use that makes of the language in elaboration of the poem. The freedom to the level of the manifest language in the Periclitam poem the crickets, for the rupture that presents in relation to the literary traditionalism, where the poet if serves of the mood and the coloquial language. Its poetical subversive one appears in the use that O' Neill makes of place-common or cliches: I do not go to only pull therefore, the wire to its hank, the poet who verseja, ' ' more nada' ' , it exactly demonstrates thus a concern with the poetical creation. Sousa Days assevera that a poem ' ' it swims wants explicar' ' , however, the verses of O' ' Neill discloses, what ' ' for the ways of the poetry it only can be dito' ' , its conception of poetry, in which it invigorates the freedom, over all the freedom of the word.
The approach enters the workmanships of Murilo Mendes and Alexander O' Neill not if of only for the use of the Portuguese language as substance cousin, but, mainly, for the influence of the surrealista movement that makes with that the two have the freedom as its poetical horizon. As well as in O' Neill, the poem recurrence that sends the construction poetical, is very common in Murilo. Therefore, the great poem number is noticed (goal) with headings as dialtico Poem, After-poem, new Poem etc. Another poem whose heading already takes in them to think about the poetical work is Legal-size human being, of Poetry Freedom: HUMAN CRAFT the harps of the morning vibrate soft and rseas. The poet opens its archive? the world? goes removing of it joy and suffering So that all the things passing for its heart are readjusted in the unit.
I am the wait! Elliot disconnect the call. He was paralyzed. Because ray is that it had on the Mary? Not even it wise person. Mary, contentssima, were to think. Because it is that Elliot had on it to it? Soon it? There it leaves to calhar itself until I can have hypotheses with it! But it is better not to lie down rockets before the party! Mary prepares started it. It was to take bath, it was dressed and it arranged the hair. Elliot, did not have great concerns with and appearance. It took bath and it was dressed.
The hair of Elliot was curly and brilliant chestnut, as the chestnut of its eyes. Mary was high and its hair seemed gold wires. Its pretty green eyes illuminated the face of any person, less of Elliot. Not yet reason is known well! Charlotte was not nor very high nor very low. Its red hair covered the body of any person, mainly of Elliot. Its black eyes combined perfectly with the color of its hair.
At this moment, while Elliot was prepared to leave with Mary and vice versa, and in contrast, Charlotte, she continued sunk in its hurt, sad and continued without speaking for nobody. Not even it thought about what Elliot was to make. At this moment, the only thing that it was to think age a way of Elliot never to discover its secret. All its family necessarily had problems with relationships because of this secret, as the family of Elliot. It not it wanted plus this. It would have some way to decide this without disillusioning or destroying its family? Charllote completely was despaired. Now he had a choice between hands. Family or Elliot? Elliot or Family? Elliot was ready e, as it said, was to have the house of Mary. Elliot had a stranger sensation when seeing Mary.
Alencar, the author of the indianista nationalism, master in the discursodescritivo, why intent to the plastic images, creative of estratgiasestilsticas capable to unite the imaginary devaneio to the realistic document, he brought to the light the Trunk of the Ip, in 1871. Century XIX was a time historical deexploso; of one to know description and classifier, we pass to one tipode to know that it apprehended the events empirically. The concept of Histriarompia with natural history and associated the internal history to it of the beings. Latin NAmrica e, particularly in Brazil, the necessity to formulate umconceito of identity was the main task. An identity that oravinculava it the love to the native land, however love to the nature.
Par excellence, aliteratura was seen engaged in the mission to construct and to organize a projetonacional. Thus, it hugged causes and ideals capable to understand the sociedadebrasileira. Alencar, inserted in this cosmohistrico, treated to represent and to register regions, descreverhbitos and customs of sertanejo and the gaucho Brazilian, of the romantic love of the jovensMrio and Alice. But, to the side of the history of Mrio, heroic personage who nascee renasce in many tickets, and Alice, surrender instrument that in to herium the way of being renewed, we find Father Benedict (benedictus, particpio of the Latin verb benedicere that he means to praise, to bless, to say the good),> from there to be it ‘ ‘ Pai’ ‘ , rational and emotional wire of all the plot. The personage Father Benedict is the factual representation of the sagradoafricano that describes the deep linking between the man and the cosmos, whose material and concrete base. To live in the sacred one for the primitive peoples was equivalent viverna par excellence reality. The reactions of these peoples ahead of the nature eramcondicionadas by the culture.> land, fire, air, water that the Africans and aboriginals articulate its relation with the sacred one: ‘ ‘ Father Beneditodescera the rock for the track, that its steps during thirty years had dug, and arrived at the cut off trunk of one ip giant that long ago frondosona is risen edge of the Paraba.