Search this that is not placed in the relation of having and yes of the being, therefore, not wanting to invest of the European roupagem, finishes as the man mixes being at the same time what attentive to defend and what renega. Somebody that, second (FERRAZ 2002, P. 1004); ' ' Total unprovided of it identifies what it properly, needs, according to Nietzsche, of fancies of multiple disguises to occult its feira how much to aplacar its desperation, its proper 11 absence of ' ' prprios' ' ' ' thus reflecting the Macunama in the attempt to know all of culture to know itself exactly thus constructing to its &#039 to it; ' prprio' '. Therefore what in Nietzsche if it presents as caricature, exaggerating what already it exists, in the case? European culture? , in Macunama if it presents for parody for exaggerating a culture supposedly Brazilian, however derived from the Europe, in the intention to project the proposal, possible to exist? the Brazilian culture? Leaving then of the understanding of that the parody if presents as one of the constituent elements of the text in Macunama she is necessary finds it. Task not very difficult if to take as control point one of its characteristics more perceivable as, second (HUTCHEON 1985, P.

48) ' ' transconstextualizao and inversion, repetition with difference' ' what it can more easily be understood as the use of one determined text for another author who of it if possesses differentiated it he rewrites it. It is clearly that the terms transcontetualizao and inversion deepen more the understanding of the parody, but to this if it will return more ahead, for the moment is enough what it can semantically happen of these two terms; repetition and difference. One is overcome for example the first paragraph of Macunama, (ANDRADE 2000, P. 13) ' ' In the deep one of the virgin weeds was born Macunama' ' overlapping it parallel to the text of Iracema, Alencar ' ' In the way of the virgin bush was born Iracema' ' the same phrase repeated with the difference marked in the two terms, that if present as a followed common substantive of an adjective.


Being these (aboriginal peoples) incorporated to the civilization (modern society), they go losing its cultural peculiarities, through aculturao process. It is what one observes in a research ordered for UNESCO to anthropologist Darcy Ribeiro regarding the indians and whites in Brazil? where 87 aboriginal groups had left to exist, between 1900 and 1957. Moacir (mestization) and its descent had grown and if they had multiplied in such a way, that today he is not more the husband (Martim/colonizador) that ‘ ‘ mata’ ‘ the wife (Iracema), but also Moacir (the son) she succeeded that it in matricide. We leave of being colony, but she will be that we leave of being aculturados? How many if they do not leave to lead for mercantilistas literatures that dictate the form as if it must speak or even though to be dressed; what we eat is what really we desire? Where they are our roots? They had still made it and they continue making with/as the indians? Certainly between meeting and failures in meeting we look a way for rightnesss and searchs of our identity. If it does not have to forget that the literature produced in Brazil possesss paper of prominence in the culture of the country.

International Festival

One of assediados letristas becomes of the time and is successful with Edu Wolf the Festival of the Record of 1967, with the song ' ' Ponteio' '. Again in partnership with Gil it composes ' ' Soy Loco for You, Amrica' ' , and it integrates the historical record ' ' Tropiclia' ' (68), to the side of Caetano, Gil, Mutants, The GAL Coast, Tone Z, Rogrio Duprat and Torquato Grandson. Still it makes partnerships with great names of music, as Jards Macal (in ' ' Gotham City' ' , vaiadssima in IV the International Festival of the Song of 1969), Fagner (in ' ' As if Fosse' ') Geraldo Azevedo (in ' ' It will be All For Todos' '). In 2000, &#039 composed the opera; ' King Brazil 500 Anos' ' to the side of Fernando Cerqueira and Golden Pablo. The city never left of being praised, however to exaltar its largeness however to state the impressions personal. It is this visual impact that constitua the first tradition if to form around the city. The relations of the diverse poets with the city go if modifying with elapsing of the time.

The poetry initially represents the nature, later starts to represent the city without no shame ahead, having in this new perspective a desire of the city for the aesthetic one. In the measure where we introduce modernity we lose the nature, after all, the city configures a new environment for the poet. Baudelaire is the poet who recognizes the new city and the man of multitudes, modernity for it is the possibility to transform into poetical everything that of artificial, grotesco and ugly. The Capinan poet inhabits the city and if it feels pertaining and incorporated. It is the typical man of the multitude, that circulates for the street, if transforming of this form into a common man.


The REALISM IN PORTUGAL AND BRAZIL 10.1.REALISMO IN PORTUGAL (1865-1890): It does not remain doubt of that the Realism in Portugal was born with the call Coimbr Question. In Lisbon the Romantic generation was commanded by Feliciano de Castilho, always faithful to the chain. In Coimbra a group if kept on to the Realism of Antero de Quental. The partisans of Antero de Quental, waited the chance to attack the partisans of Castilho. Each group defended its style. In l865 Castilho, in a psfcio, it placed in the Poem of the Youth of Pine Chagas, a small reference the Coimbra, affirming to lack &#039 to it; ' good common-sense and gosto' ' , nominally saying the names of Tefilo Braga and Antero de Quental. The fact is that Antero de Quental if found offended and was how much was enough to inflame a revolutionary ardor of the youth, that waited a moment to publish its ideals.

In reply the Castilho, Antero writes in aggressive terms in an open letter: ' ' Good common-sense and gosto' '. The question continued. The public lectures of l87l had been displayed and debated several tending questions to the definition of the lines of direction of new literature. The Realistic generation, also known for generation of l870, inaugurated in Portugal the primate of science and the Positivismo and accepted and spread out the revolutionary theories concerning history and of the culture. The time was crossed by 3 literary schools: The Realist, the Naturalist and the Parnasiana. In Portugal he did not have a clear separation between these three schools. The Realism in Portugal took care of more the designs of the social revolution and politics. 10.2.POESIA REALISTIC – POETS AND WORKMANSHIPS the poetry is pragmatic, serving the verse of combat weapon, of social reform and politics. The revolutionary direction was the characteristic trace of the Realistic poetry.