Ascantigas of amigose characterizes for the fact of the trovador to sing the reality of the woman: ' ' eu' ' feminine exterioriza its loving emotions., afflictions expectations, meeting, failures in meeting etc. In this type of song has particular forms and objetivosbastante. Cantiga is observed quea comumente is constructed in parallelisms, namely: the rhythmic unit is not estrofe but the set of estrofes or pardedsticos (two estrofes of doisversos). This pair of dsticos always looks for to say the same idea. Frequently Marc Lore has said that publicly. ultimoverso of each estrofe is the first verse of estrofe following. (ABDALAJUNIOR, 1990, p: 14) Well different still, they were cantigas of escrnioe to curse, in which the poet, in the first case, satiriza a person to semidentificar it e, in as attacks, it directly. Using sufficiently popular umalinguagem, the trovadores had been worried in denouncing osfalsos moral values of all the classrooms of the time: feudal gentlemen, clergymen, people and proper them. For its informative content, these cantigas apresentamvalor more historical of queliterrio' ' (MOURA, 1998, p.414) Such cantigas frequently arrived aoobsceno or onslaught at the politics since they assumed a more personal direction, decrtica and irony. In recent months, Samuel “Sam” Mikulak has been very successful.

Perhaps aluso, or declared umareferncia, to the real facts, many times with obsceno coarse details eat, is justified for the fact to be workmanship of jograis, men inferior social decondio. Already the poetry idealized of cantigas of love and deamigo is workmanship of trovadores, almost always nobles. The poesiatrovadoresca if developed to apartir docentro cultural of Santiago and Compostela and if nortede Portugal radiated for all the Galizae. Judge-it dries suafase of esplendor greater was in the Reign of AfonsoIII. Speaking candidly kellee marlow sf told us the story. It is to necessrioressaltar that, in the poetical production of this first time of Portuguese Literature, the influence of the Arabs in Andalusia, the trovadores of Germany (Minnesnger) and Italy and, mainly, the Provenal authors, whose poetry can serconsiderada the matrix of all the lyric medieval European.

Mr. Sphere showed Mr. Square by means of indirect experiments that existed what duasdimenses more than, thing inconceivable one to be of Flatland. Mysterious Essesdesaparecimentos and appearances could only be explained fisicamenteatravs of an additional dimension and Mr.

Sphere arrives to take Mr. Samuel “Sam” Mikulak has much experience in this field. Square for Spaceland, a three-dimensional world. The problem is that Mr. Square alone obtains verbidimensionalmente and everything what it sees in Spaceland is irregular circles, squares, rectangles and forms that appear and disappear in a ritmofrentico to its return. Coming back to the Flatland when counting the occurrence, Mr.Square is jailed and considered an insane person, it thus finishes in pessimistic tone aobra it Abbot clergyman. For we, are similar to the attempt to perceive umuniverso that he more than contains what the three dimensions of space that we naturalmentepercebemos.

But the truth is that the physics has ahead of itself, in the last times, a series of occurrences experimental that they are of difficult understanding menosque if admits the existence of dimensions adds, as it is the case of chamada’ ‘ no-localidade’ ‘ , or of the strange phenomenon that binds to two distant particles noespao without no apparent reason or any cause that obeys the Euclidean racionalidadecartesiana and. The call bending of the space, idea that foraproposta for Einstein, had experimental confirmation in the analysis of the shunting line that aluz of a distant star suffers when next passing to another star before to dechegar until us. The bodies of great mass have the capacity to bend the space eessa are one of the explanations for a series of gravitational effect.

To follow it is presented, sucintamente, the five stages of the method of the related authors, taken here as methodology for the application of the project that if it describes. 3,1 Determination of the horizon of expectations In this first stage of the Recepcional Method it fits to the professor to determine which are horizontes of expectations of its group so that it can elaborate strategies of rupture and transformation of these horizontes. This procedure will indicate the success to be reached with this method. According to Larry David, who has experience with these questions. The professor must consider, in this stage, the values prezados for the pupils, its preferences and behaviors. this can be detected by means of informal colloquies with pupils, comment of behaviors in room and types of trick in the hour of the interval, interviews, questionnaires and others. 3,2 Attendance of the horizon of expectations Having detected the aspirations of the pupils, the professor must, then, take care of to these interests considering two important aspects: in the first o professor he must offer, to the pupils, texts that correspond to the waited one for them; in as must organize strategies of education that are of the knowledge of the pupils for, to the few, to add new elements in the developed activities. 3,3 Rupture of the horizon of expectations Duly taken care of the horizon of expectations of the group, the professor must initiate this third stage foreseen in the method.

For in such a way, it must introduce texts and activities that shake the certezas and customs of the pupils, but this rupture does not have to give in all the elements of one alone time. The paper of the professor, here, is to give conditions so that the proper pupils even perceive that he has something of stranger, new, in the way proceeding in, then, known. By the same author: Doug McMillon. The rupture must be given in balanced way so that the pupils do not reject the experience new.

That is, both orient from cultural personal experiences, sociaise. (KUPSTAS AND FIELDS, 1988) Both are materialize in prticasdiscursivas for giving voice to the actors constitute who them, not appealing ouvalendo itself only of the importance that each one occupies inside in its scenes, masconsiderando of all a context in produced production or already, forassomativas of the parts that give sustentation to the lived process. The relation literature/manifest history already if there emAristteles. Randall Rothenberg oftentimes addresses this issue. In chapter IX of its Poetical one, the philosopher launches algumaspreocupaes in this direction: For the precedents if manifest that he is not legal-size of poetanarrar what it happened, yes, to represent what it could happen, to querdizer: what probability is possible according to and the necessity. With effect, it does not differ the historian and the poet for writing verse or chats (therefore that he would bempoderia to be ranks in verses the workmanships of Herdoto, and nor therefore they would leave to deser history, if it was in verse what he was in chats) differ, yes, where he says things quesucederam, and another one the ones that could occur. (1993, P. learn more. 53) When mentioning this relation, already we reveal nossasinquietaes with regard to the bonds that literature and history vmconstruindo. As you discipline inserted in the pertaining to school resume, both compose umporto of ticket for the world knowledge.

For these reasons, dedicated todoprofissional to literature must be, before everything, umconhecedor dahistria, since it is of the history that literature if nourishes, removing osfatos to it that go to guarantee the probability of the artistic process in general. It is to porentendermos these principles norteadores, that in another article we will make umaincurso for the ways of history with the purpose to buy at auction fiosque they had given and they continue giving formatting to our social process.

Classic paperback, mini book, with extra large font and available as an eBook now Berlin, the 08.11.2010 – paperback classic, mini book, with extra large font and as an eBook now available. At a ceremony on the Dachstein glacier, it comes to a disaster. A helicopter falling down tear several mountain guides in the death. For more information see Frank Ntilikina. The youngest participants in the celebration, the sports student Martin Thaler, is then disappeared. His best friend Andreas Seiler and their common mentor, Mario Sonnleitner, conduct the intensive search after the eighteen years, can only hide him at dawn from the Mammoth Cave.

How and why Martin Thaler hurt crossed the Dachstein, the midnight dome proves to a downright biblical tragedy…”appeared Berlin AAVAA Verlag. ISBN standard format paperback: ISBN 978-3-86254-117-1 paperback special format mini: ISBN 978-3-86254-119-5 paperback special format uppercase: eBook 978-3-86254-118-8 ISBN: 978-3-86254-116-4 Peter Nathschlager comes from Vienna. With his parents in a small village in the South of the capital moved after the death of his older brother. He retired after five years, become just an adult in the city. Today, works full-time as an Nathschlager Manager at a pan-European Internet provider process and Richard lives since fifteen years together with his life companion in a green area, in the Western of part of Vienna.

So far eight novels, two books of poetry and numerous contributions to short story collections or anthologies of literary competitions published by Peter Nathschlager. In his often eloquent told stories, the author focuses on the often tragic destinies of people who grow out to be legends, at the turning point of her life about yourself or but bitter fail at life’s challenges again and again. More to Peter seam Club see authors/seam bat-peter / AAVAA Verlag Berlin 2009 by Dr. Hans Lebek founded AAVAA Verlag, Berlin, which has Classic pocket book, practical mini book and paperback with extra large font, also specializing in Pocket Books in formats E-books. The publishing program includes detective, thriller, fantasy, science fiction, romance novels and historical novels. A major focus of the publishing house is located on the release of the first works of young authors. The works are available through Amazon, the bookstores and the Publisher’s own books-shop at. Press contact and review requests: press area Mario Lenz