Todos temos dores de crescimento. É algo inevitável que nos persegue há gerações e que tormenta uns mais que outros. Não se trata de uma obra sobre dor física, mas sobre todo o processo que é o ato de crescer. Desde noites sufocantes no silêncio de uma casa vazia e deambulações interiores entre a vida e a morte, a quatro olhos que se fitam no escuro de um quarto, embebidos numa ignorante felicidade momentânea. Não é propriamente um livro de amor, mas sim de perda e (re)descoberta. E de vida, muita vida.
"Digression is a crucial motif in literary narratives. It features as a key characteristic of fictional works from Cervantes and Sterne, to Proust, Joyce and Calvino. Moving away from a linear narrative and following a path of associations reflects how we think and speak. Yet an author's inability to stick to the point has often been seen to detract from a work of literature, somehow weakening it. This wide-ranging and timely volume seeks to celebrate narrative digressions and move towards a theoretical framework for studying the meanderings of literary texts as a useful and valuable aspect of literature. Essays discussing some of the possibilities for approaching narrative digression from a theoretical perspective are complemented with focused studies of European and American authors. As a whole, the book offers a broad and varied view of textual wanderings."
"Uirapuru" tece um conto poético, inspirado nas lendas amazônicas do Uirapuru e do Muiraquitã, onde o amor transcende as fronteiras do possível. Na imensidão da floresta, duas almas predestinadas se encontram: Anahí, a filha da lua, e Quaraçá, a filha do sol, cujos destinos são unidos por uma conexão profunda e inquebráves. Entre melodias que ecoam sob a copa das árvores e amuletos que guardam segredos ancestrais, elas percorrem caminhos de reencontros e transformação sob o brilho da lua cheia.
This manual is the first comprehensive account of Brazilian Portuguese linguistics written in English, offering not only linguists but also historians and social scientists new insights gained from the intensive research carried out over the last decades on the linguistic reality of this vast territory. In the 20 overview chapters, internationally renowned experts give detailed yet concise information on a wide range of language-internal as well as external synchronic and diachronic topics. Most of this information is the fruit of large-scale language documentation and description projects, such as the project on the linguistic norm of educated speakers (NURC), the project “Grammar of spoken Portuguese”, and the project “Towards a History of Brazilian Portuguese” (PHPB), among others. Further chapters of high contemporary interest and relevance include the study of linguistic policies and psycholinguistics. The manual offers theoretical insights of general interest, not least since many chapters present the linguistic data in the light of a combination of formal, functional, generative and sociolinguistic approaches. This rather unique feature of the volume is achieved by the double authorship of some of the relevant chapters, thus bringing together and synthesizing different perspectives.
Joan Roís de Corella is one of the most renowned authors of fifteenth-century Catalan literature. His Story of Leander and Hero uses a well-known Vergilian and Ovidian motif of unremitting love that turns into tragedy. Corella retells the story adding to it a great dose of suspense and pathos and recasts it in the fashion of sentimental prose, a genre famous at the time and a clear precedent of the great narrative genre to flourish during the Renaissance in the Iberian Peninsula and Europe: the novel.
As segundas dez histórias do mestre dos romances eróticos de Vitaly Mushkin foram publicadas. O segundo difere dos dez primeiros não porque é pior, ou seja, ocupa o segundo lugar. E o que está escrito depois. Todos os trabalhos do autor são organizados em ordem cronológica, como eles são escritos. Portanto, o segundo dez em qualidade pode ser melhor que o primeiro. Claro, isso é para você julgar, querido leitor.
