By José Lins do Rego

About the writer (from Goodreads):

José Lins do Rego Cavalcanti (July three, 1901 in Pilar Paraíba - September 12, 1957 in Rio de Janeiro) used to be a Brazilian novelist such a lot identified for his semi-autobiographical "sugarcane cycle." those novels have been the foundation of movies that had distribution within the English conversing international. in addition to Graciliano Ramos and Jorge Amado he stands as one of many maximum regionalist writers of Brazil. in keeping with Otto Maria Carpeaux (Brazilian literary critic), José Lins used to be "the final of the tale tellers". His first novel, Menino de Engenho ("Boy from the plantation"), used to be released with hassle, yet quickly it obtained praised by means of the critics.

Sobre o livro:

Histórias da velha Totônia é o terceiro livro de José Lins do Rego a ganhar novo projeto gráfico. O escritor paraibano dedica este obra aos meninos de todo Brasil, que como ele em sua infância adoram histórias de heróis e vilões. A temática dos contos é a tradicional luta entre o bem e o mal representados por personagens de caráter monolítico.

“Quisera que todos eles (os meninos) me ouvissem com a ansiedade e o prazer com que european escutava a velha Totônia do meu engenho”, disse José Lins do Rego.

O livro resgata a tradição dos contos orais europeus, como O macaco mágico, que tem traços do Gato de Botas, ao apresentar um personagem persuasivo. Pele de asno fala do amor de um rei por sua filha, mas apresenta um ultimate pouco convencional e demonstra a importância da gratidão. O sargento verde também apresenta elementos da tradição oral europeia, com uma velhinha pobre sendo ajudada pela princesa.

São histórias que já nasceram como clássicos e atravessam gerações por conta da ambientação brasileira e a saborosa linguagem coloquial impregnada de regionalismos.

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Extra info for Histórias da Velha Totônia (21th Edition)

Sample text

What is the power of Pantalone when set against the global rule of finance capital that governs through logarithmic functions and is able to bankrupt entire nations overnight? What is the power of Dottore’s knowledge when set against technological proliferation, media bombardment or electronic social networks? And what is the power of Capitano against computer driven drones that rain terror from the sky and can enforce submission of whole populations? Today, the old masters are themselves the servants of a vast mechanic process, each desperately seeking to be a reliable cog in an inanimate wheel.

Their interest was in utilizing the Commedia to provoke a comic critique of existing power relationships: against war, against racism, fascism, sexism and capitalism itself. The form of Commedia was valuable in that it was structured by social formations of real power relationships between masters and servants. However, attempts to utilize an antique art form in a modern context are fraught with anachronistic dangers and in less capable hands could quickly become naïve and even cartoonish, unwittingly distorting the animating spirit of the sixteenth century.

As Ginnazzo Manetti wrote in 1452, “All that surrounds us is our own work, the work of men… seeing such marvels we understand that we can create even better, more beautiful, more refined, more perfect things than hitherto…” (Manetti 1452). 11 S CO T T M cG E HE E Moreover, man himself was the result of this creative process. He therefore took man as creature of indeterminate image… saying to his creation, …constrained by no limits, in accordance with thine free will, in whose hand we have placed thee, shall ordain for thyself the limits of thy nature… so that with freedom of choice and with honor, as though the maker and molder of thyself, thou mayest fashion thyself in whatever shape thou shalt prefer.

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