Memórias Póstumas de Brás Cubas. Clássicos da Literatura / Literature Classics
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Esta coleção traz grandes clássicos da literatura brasileira, adaptados em linguagem simples e adequada ao público infanto-juvenil. É uma excelente ferramenta escolar e até de preparação para concursos, como o vestibular. Traz ainda um suplemento pedagógico ao final de cada livro, que visa testar o entendimento do leitor sobre os textos.
Esta obra de Machado de Assis é um divisor de águas em sua carreira, pois é vista como introdutória do Realismo. Ocorre que ela foge do aspecto formal até então usado nos textos românticos, trazendo, outrossim, um conteúdo ousado, contado sob o ponto de vista de um defunto, Brás Cubas. Ele faz um balanço de sua vida, desde a infância, de modo sarcástico e irônico, sem nenhum sinal do romantismo com que os leitores da época - 1880 - estavam habituados.
This book by Machado de Assis is a watershed in his career, as it is seen as the introduction of Realism. The novel moves away from the formal aspect used in romantic texts until then, bringing something different; daring content told from the point of view of a dead man, Brás Cubas. He takes stock of his life, from infancy, in a sarcastic and ironic way, with no sign of the romanticism with which the readers of the day - 1880 - were accustomed. … Joaquim Maria Machado de Assis (1839 - 1908) Son of a mixed-race Brazilian and a Portuguese woman from the island of Açores, Machado de Assis was born and died in Rio de Janeiro. He married a well educated Portuguese lady, although his own time in school had been brief. His first work was the poem Ela (Her), published in the magazine Marmota Fluminense, in 1855. He was a typographer’s apprentice, and editor, as well as writing articles for contemporary newspapers. He worked in many ways as a public servant. The high point of his existence, however, was the mandate from the first president of the Academia Brasileira de Letras (Brazilian Academy of Literature), in 1897. Machado de Assis’ works are divided into two distinct parts: the first, romantic, with a preference for prose and romanesque novels; and the second, with the realist prose. While in the first phase the author is not held by formality, in the second he maintains a sense of parnassianism, observing formal style.