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Brazilian Twine Academy

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Introduction the Brazilian culture mainly has musical characteristics accented, with come rhythms of the African culture, people enslaved and brought for Brazilian lands for the Portuguese, as it detaches the Marli teacher Oliveira de Carvalho, in lecture pronounced in the Unifig, during the Day of Letters 2008. Brazilian Popular Music, is considered one of the richer cultural productions of century XX, being currently exportation product, representing our Country with legitimacy. In Literature, this musicalidade can be appreciated in the Twine productions, where the artists, many poets of the improvisation, speak of the adventures of national heroes, as Lampio, they count histories of the people, the reality, the sufferings and the daily joys. These poets of group of benches or cabinet, as he detaches the presentation of the Brazilian Twine Academy, were people of the people, who if presented in the fairs, showing its vision of the events, by means of the repentes, verbal tradition of recite. Today, as he detaches Joo Gomes de S, this type of literature left of being popular, starting to have metric, style and inserting themselves in the academies of letters and the national artistic productions.

According to Ita-Cultural Encyclopedia, the weakness of the popular fairs in the northeast interior and the reinforcement of the medias of mass had made with that most of the traditional public of the twine if exhausted or lost the interest for it. Meanwhile, the wave of academic studies initiated in the decade of 1970 despertou the interest of the middle class for this literature. The proper expression ' ' literature of cordel' ' , of Iberian origin and that it circulated almost that exclusively in the erudite circles, it was only popularized at this time, when the proper producers of the twine literature had started to use it in place of ' ' folhetos' ' , that it is as they traditionally mentioned it. .

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Simply Put – The Own Rhetoric Of Success

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How to win people to use rhetoric and convince Paroli offer large mouths, have the laughs on his side and appear weighty matter what it costs teach us modern rhetoric Popes. Everywhere, rhetorical tricks, quick wit techniques are marketed and convey a sense of verbal security and sovereignty. And the reality: platitudes, stilted phrases that we immediately expose. Simply with his new book”Oliver Gross doing something virtually unheard of again. He breaks with the usual methods, tricks, and tools and replacing them with common sense, reason, and the value orientation of the individual. In short: He connects what others separate. The best friend we talk differently.

Just authentic – we even speak. And in the profession or in important situations? Pontificating, schnorkelhaft, as if we were free of ourselves another -. The price we pay for it, is however highly. Everyone knows the situation, that he what says his counterpart,. There is a certain mistrust. Because we have learned – quite unconsciously – the interplay of what and how it is said, in conjunction with the overall appearance to assess and we notice it immediately: you can be never a good of others. Oliver Gross shows you in this book, that the speech, receives its value character and intention of the speaker by its own language, credibility and authenticity. Without manipulation, memorized phrases and rhetorical tricks we reach even our listeners.

He shows us clear and practice-oriented manner, how to find our own way based of our own. This book provides valuable knowledge on how to profitably and authentically engage our own rhetoric. No matter whether in the sales pitch, in a negotiation or a lecture. The reader learns how he can easily master the four tasks of rhetoric, can master easily very rhetoric of four abandoned the he > how he awakens the desire to listen, he wakes, listen to the lust > how he is understood and pictorial language uses, he has made, language pictorial and is understood > how audience better and more sustainable reserve said, can, and keep sustainable better hip listeners > what to do, so that the audience takes what is said and implements, which he said putting listeners, accepts and so must do > why rhetoric is more than just a speech, keep the rhetoric, to a speech only as is, more > how he uses the rhetoric as the school of thought, rhetoric the he as uses, thinking of the school > life be sustainable as rhetoric and successfully change kann.rhetorik and can. successfully transform live be > Oliver Gross just like you said people to win with rhetoric and convince if suddenly everyone listens to and understands 2008 112 pages 1st Edition BusinessVillage, ill. Illustrations ISBN 978-3938358-74-0 21.80 now at Amazon ordering!

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Gildemar Bridges

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The author who to say that each one of our fears has a reason of being. that many fears perhaps can finish in the instant where we decide to take a route certain in life. She is necessary to have a north, to have objectives so that the life if does not become direction empty. In stories of the two authors we perceive that the personages do not possess clear objectives of life. They are apticos, without route, interest for nothing. In ' ' a smile is Little para..com it is same the name of it? ' ' Gildemar Bridges wants to question the solitude in set. It is an excellent story to be read and analyzed with the intention to perceive the history of a man who exactly being in a party if feels solitary. In this context we perceive that the solitude possesss on characteristics to the interior world of each person.

is not enough to possess an agitated exterior if it exempts of the solitude. Perhaps this is the difference between stories. While Abreu (2005) speaks of alone solitude, with tdio, melancholy and pain, Bridges (2008) discourse concerning a solitude in set. Something that is strange of if to understand, because somebody is only felt, being folloied, in collective? In the story of Abreu (2005) the personage did not want to leave house, insisted on to take refuge itself in its home, to the step that in Bridges (2008) the protagonist wanted to leave, was to a party, talked with a young woman, it was in a public place. The Lui personage ran away from its problems through drugs and cigarette, no longer story of Bridges (2008) the youngster if the cigarette smoke said avesso and until it hesitated in being close to somebody that smoked. They are two stories that approach the solitude with differentiated aspects, with personages of different personalities, different contexts but with a subject in common.