The form as education is developed learning of Literature comes sufficiently being questioned for some theoreticians whom they search to understand this subject. It is important to think about this question, therefore many times we perceive in relation to the education of Literature that this is atrelado to a well closed form, that is, its main concepts are transmitted to the pupils ready only to be decorated and repeated by them. This fact influence in the learning and the understanding of what it would be Literature really for the life of the pupil. It is as if it was an unknown horizon that belonged only to the poets, writers who if had become rules in Literature. In this context that the participation of the professor of Literature could be differentiated approaching the subject involving the pupil and this to feel itself as subject main of its proper learning. The problem of the education of Literature generally occurs when we conceive the concept or proper literary text as static that not accepted changes, therefore what really we perceive is that the field of Literature is, over all, moving and unstable and an analysis of a literary text can move of reader for reader, of time for time. Author Mrcia Abreu (2006) very works well the question when explaining that she must yourself be made reflections thinking to them what we can consider literature, that is, when I can consider a literary text. This question for the author is a question that has led to many errors in the hour if to evaluate a literary text and a not literary one. The cited author accents the fact of the literature concept not to be something objective and universal, but cultural and historical, to think literature is necessary to reflect on the literary terms (Mrcia Abreu, 2006) In relation to the reading of literary texts we can bring for the text the author Barbosa, for it literature never is only literature; what we read as literature is always more – it is History, Psychology, Sociology.

This ficcional organization, in form of election, when removing the elements chosen of its half one, ficcionaliza. They start to be an instance of the ficcional structure. They imitate iseriana of the elements that characterize processes of election of the Real in sight of usual ficcional metamorphosis (Cf. ISER, 2002:962). 2. The election (mechanism of trespass of the references) implies in the possibility to configure the scienter of a fictitious text: As act to dissimulate, the election makes possible to learn the scienter of a text. Therefore it makes with that definitive systems of felt of the world of the life if convert into fields of reference of the text and these, in turn, in the interpretation of the context (ISER, 2002, 966). Thus, reality selected by the author corresponds to a new form of reconstitution of literary world and not of the simple reference to the one around the author: the intentional object of the text, that must its accomplishment to the irrealizao of the realities that are enclosed in the text introduced world in the text, how much responsible projects for the organization of the personages and its action.

3. The election, while expression of the scienter of the author allows to understand it us as a structure of transistion between the Real, imaginary and the present time, that is tried in the reading act, as the operation of the imaginary one in the real space. The election is for the extraliteral elements, as well as the combination for the intratextuais elements. Both, being acts to dissimulate. It creates a ficcional reality when expanding the Real, and to to irrealizar it, carries through it, bringing up to date it, through the imaginary one. 4. nature impossible existence : The fiction thus exists only in the language, much even so this impossible existence conquanto indispensable either constituted in a way such to take by loan of the language to be reality character, so that it does not create an analogous one for the representabilidade of what it does not fit in the language (Cf.

It rhymes it has soul linking with the rhythm. It can be appreciated but she is not felt when she appears randomly in verses. Optimum aesthetic effect of rhymes is to appear where if it waits inside of a certain rhythm. Invervalo leaves an aesthetic emptiness a time that one estrofe can finish with two rhymes followed by two pauses in estrofe following. I present a project of signals here representing the sound of rhymes and silence.

The asterisk goes to represent a sound repeated in the end of the verse that is it rhymes when it of its effect of echo of the sound of another verse end. The positive signal goes to represent the sound it rhymes where it starts, the preparation of rhymes, the sound that later will be repeated in the end of another verse. The negative signal goes to represent verses without rhymes as this project: – Verse without rhymes + Preparation of rhymes * rhymes It TWILIGHT SERTANEJO? Carlos Aires When the sun in ocidente- Vai losing its claro+ – the night low the curtain, – Black of escurido*+ In a twilight majestoso+ – Becoming prazeroso* more the dusk in the Serto*+ great Cause us emoo* This moment reverso+ – When the poets if inhale Bringing for its verso*+ pure Beauty and constante+ – Of each point brilhante* That it appears in universo*+ In the inspiration is imerso* Quiet and soturno+ – When seeing for it brings of the hill At a moment taciturno*+ When in the pantry of mata+ – the moon of the color of prata* Exibe the brightness noturno*+ Pra I inhabit who it is diurno* Already is if aquietando+ – While the sad owl Of the o its shout agourando*+ Already meets agasalhada+ – In the patio, all boiada* Well calm ruminando* … Observo the Serranias+ – With fenomenais rochedos+ – Valleys hillsides lajedos* brandos Winds, breezes frias* Beautiful pretty nights dias* In this fantastic paisagens+ – I receive mensagens*+ In this pure air Here that respiro+ – God Ahead helps and I inspiro* of these imagens* me Looking at of these mirantes+ – Inebrio me with beleza+ – That offers natureza* Vejo places distantes*+ Or scenes hilariantes* Passing for these trilhas+ – Sighting rivers, ilhas*+ This everything me consiste+ – In knowing that God existe* Between as much maravilhas* Seeing these rocks gigantes+ – Of forms arredondadas+ – Nor I calculate toneladas* For being exorbitantes*+ Abysses estonteantes* Is seen in steep ladeiras+ – Rising and corredeiras*+ Forming mananciais+ – Appearing of these canais* Streams and cachoeiras* Daqui is inebriante+ – To contemplate for of sol+ – the dawn arrebol* the twilight alucinante*+ Is very emocionante* Ouvir in the nights serenas+ – sonorous cantilenas* Come of the birds noturnas+ – In the hours more taciturnas* Gives to the virtuosos cenas* Beyond the appreciation that if makes of an adequate or vast vocabulary in, for example, acrstico and in the aliterao it rhymes, provides it in certain poems the meldico pleasure.

In this ticket, the voice that it tells inserts in the context the word ‘ ‘ Alpha and Omega (of the gr. I begin and end). ‘ ‘ The all moment this voice contextualiza tickets of the bible. The bible is the biggest literary book that the humanity already knew and also is spread out. On the basis of what he says (AXE in the article God of Caim: The Representation of the Man, p.2) the Biblical reference is a constant in the ficcional text of Ricardo Dicke. Without being dogmtico, this if also must, for the universality status that the workmanship of it has, because Biblical text being one of the most read and known world-wide, the reference makes deep the plan longed for the writer In this profusion of thoughts the narrator says on all the beings forgotten the land? It would be an analysis of the soul human being? The poet Kabira Astharte Flox, personage who interacts with the narrator onisciente would be somebody with deep knowledge and that he is to reflect on the exitncia human being? It would be the reason? All the reading of this workmanship takes the reader to question on what the narrator is speaking and this inquiridora position takes the reader to a reflection.

This reflection makes of this reader an associate of the alive wheel such which is the workmanship of Dicke. The art she is not only aesthetic. It goes moreover, explains the reason of the existence human being, is what she becomes it Real although ‘ ‘ if to be silent before verdade.’ ‘ (BLANCHOT, 1987, P. 215). The workmanship perpassa the regional one and implies in taking care of to a universal necessity. It moves with the emotion of each individual To if to become an active reader, who participates of this estria, we will be able to share our feelings, despite of ilusria form since we are interacting with the workmanship and not with another fellow creature, however this is not excellent when looking under the prism of the dimension that the narrator reaches.

It would not have mass during one week and the city hall had the national flag the half wood in homage to the Colonel and its wife. – Cowards! A so good person! – the priest complained of. Passed one week the church he came back to function, with a mass of seventh day in great style. Gift all the local authorities and until representatives of the governor had appeared. When finishing the mass, all had left. Suddenly a boy passes for the door of the church, crying out, with the periodical of the capital under the arm: – ' ' Z is alive! Z is alive! ' ' – Me of the one periodical of this there, boy! – the priest, worried said.

The priest turned over for the faithful, that were astonished and it read: – Z CONTINUES ALIVE AND THE COMMANDER OF THE ARMY IS DEMORALIZED! – Thus not of! – a man said fat person. – How he is that he can? He comes a journalist of the capital and Z interview, inside of my city! – the Mayor said, irado- Vou to order to search the Army to look this outlaw and to kill it of a time for all! I go to ask for to the Governor to close this periodical and to arrest the journalist who interviewed Z. – It is this same! The doctor has reason! – baixinho said one. Suddenly he appears a man mounted in a horse and wanting to speak with the Mayor. The Mayor was to its meeting. The man jumped of the horse and started to speak: – Its Mayor. I have the bad news for giving to it. – It says soon and it takes off this horse from there, because it is sin to cagar in the door of the church! – It is the following one: that Z attacked the Village Rock and killed the Colonel and its wife, Mr.

Ahead of this, he would not be forcible to say that with Anti-Picture, Max Martins initiates its incursion for the call ' ' Concreta&#039 poetry; ' e, we advance, never plus it will abandon such experiences, exactly that never if it has really filiado to this literary movement. Really, Max Martins never said ' ' poet concreto' ' , however, almost impossible not to recognize in its poems positions widely divulged, teorizadas and defended for the concretistas of the decade of 1950, such as: ' ' the words in this poetry act as objects autnomos.' ' , ' ' the concrete poems would be characterized for one irreversible optics-sonorous estruturao and funcional' ' , ' ' the poem is form and content of itself exactly, the poem is. the idea-emotion is integrant part of the form, vice-versa' ' ' ' the poetical nucleus is rank in evidence not more for the successive and linear chaining of verses, but for a balance and reception system between any parts of poema' '. (All the fragmentos had been removed of the book ' ' Theory of the Concrete Poetry: critical and manifest texts 1950-1960' ') This ' ' position concreta' ' of which we speak in the previous paragraph, it can be found, for intent eyes, in the majority of the poems that compose Anti-Picture, becoming more evident in poems as ' ' Aprendiz' ' , ' ' Copacabana' ' , ' ' A&#039 subject; ' ' ' Variation of a&#039 subject; ' , over all because of it I appeal existing appearance in them. In ' ' Copacabana' ' , for example, it has a species of alternation between suggestive words of sea with suggestive words of sex, as in verses: ' ' in the green-sea-blue one sexos are spilled in areia' '. This game with a words will be happened again all during the poem, what it finishes for generating a similar movement to ' ' it goes-and-vem' ' of the waves of the sea.