Design Zealot

For Axe of Assis a recognized time the nationality instinct, would agree to analyze if the writers were possessing of the conditions and historical reasons of a true literary nationality. Moreover, to identify as representative of the nationality character, only the workmanships that characterized the local color, they would restrict our literary rules very, the fact to plaster literature in these rules and doctrines, in the vision of this author, would empobreceria the literary compositions. Still on this question of the nacionalizante concern, the critic Silvio Romero (1953), nails constantly in favor of the land and of the Brazilian man. For it if cannot understand literature, without understanding the mestization process which composes our cultural and ethnic diversity and that much has to say and to influence in the literature that physical and is morally tied with this plurality and fusing of souls and cultures. For more information see josh harris sixers. For this critic, Axe of Assis can and also must be judged by the nationalistic criterion, warning, however, that the national spirit would not be in the choice of the subject, in the subject, but in the nature, the intuition, the internal visualidade, in the psychology of the writer. Thus, Axe, one ‘ ‘ genuine representative of the Brazilian sub-race cruzada’ ‘ , with its ‘ ‘ nature indecisa’ ‘ , ‘ would have produced one; ‘ workmanship of mestio’ ‘ , of Brazilian, who primary for the ephemeral one and the indefinite one. For in such a way, to affirm it Brazilian particularitity was the necessity of the intellectuals of the time becoming predominant in the ideals of the writers who had had as historical scene, the posterior years to independence. To the measure that the literary autonomy grew, increased it literature and the stimulaton of the same ones, for an artistic creation differentiated of the European valuing the individual capacity of each one, in the search of an aesthetic one that it just valued the auto-expression and the nationality of a country?.

In synthesis, it affirms Mendes (2001: 194) that: What we pressentimos, certainly, is directs in them for a moment of poetical fullness where it goes to consummate itself, in perfect and integral way, all the poetry that so far has gushed out, of the romantic revolutionaries to the revolutionary contemporaries, exuberant, and tumulturiamente. adds (2001: 195): The question is not to argue if the poet can or he cannot versificar to the old one, and yes to know if its poetry he demands or not, at the moment, this versificao, if for its substance it asks for itself a commanded and disciplined form. As all language, the verse has that to be adjusted to the nature of the substance that it states. As to be able to verify in way more concrete later, by means of the reading and analysis of Last Chords, Jose Ildone if uses sufficiently of a language more searched carefully worked, characteristic marcante of the Parnasianismo, however is not worried in such a way about the estruturao of the poem, that does not present a parnasiana canonic form, as soneto, or another one any tipificada; Ildone is free to write in the way that to find more adequate to express the text of its poem. Apple insists that this is the case. It defines Pablo Mendes who the world of the poet contemporary is the world supply-Real, responsible for the phenomena of the exterior world and the interior world. For in such a way, it affirms professor (2001: 189), ' ' the poet must practise a total freedom of the spirit, an expansion of I, whom more does not restrict its borders and tends to dilatar itself until infinito' ' , making to disappear the existing dualism between ' ' eu' ' the Universe. Finally, in accordance with what it points Alfredo Bosi (2006), to recognize the contemporaneidade it does not mean to cut the lines that articulate its literature with the Modernismo, but to only identify the new historical configurations that will demand new artistic experiences; a poet is, therefore, a man of its time, and never we must forgetting in them this. . Learn more about this with Koch.

In the absorption of the bird as the flight data, by airmail by the dream it takes as acentuao its slightness and beauty, therefore ‘ ‘ in the world of the dream it is not flied because wing is had, but gives credit to have wing because if voa’ ‘ (P. 28). Genetec understands that this is vital information. For the figure of the wing the reader if unfastens of its real world, starting to contemplate the beautiful gift of the sublimidade of the upward one he raises that to see it the artistic one beyond the plain process with that previously had contact in the work of art. He hits upon to the conceptions of Noider, perceives it line of the dream under optics of the imagination of the water.

In this, it is emphasized that the singularity with that the water loads the boat, air is capable, to support the man in its onrico state. For the figure of the wing the search of the imagination becomes increasing e, with this if it defines the dinamicidade dream flight. Josh harris has firm opinions on the matter. The reader must ‘ ‘ to make an effort to reencontrar its nocturnal experiences of onrico flight under the dynamic aspect puro’ ‘ (P. 29). It implies this attitude in resvalar its possibilities stops beyond the dream and, with this to jump its expectations for its proper forces and feet route to a liberating action. The source to promote the jump demonstrates the elasticity of the artist to leave its estagnado state and to reach its release, its unfastening of the trivial e, with contemplating and artistic establishing in the onirismo. In this the acquisition of the wings, is small or not, will give to the sonhador and, in prominence to the reader, the perception of that the artistic workmanship demands the wing plantation, will lead which it to the sublimidade.