the practical pertaining to school of literary literature illuminate investigations on some conditions of existence of literature, that is, literature is a theory that also occupies of the conditions of manifestations of sociocultural phenomena. From this knowledge, the notion of universality of literature discloses its character ideological. In this perspective, what if it can to understand for education of Literature in the schools, is that this is not the only agent, but its function is to initiate its pupils in the reading protocols according to which certain texts is literary and others not, and certain texts are more literary and the other less literary ones. Zilberman (1988) says the following one: ' ' If, then, instead of exclusively sponsoring inspired scripts of reading in this or that theory, the practical one of pertaining to school reading to center its reflection on the act concrete of reading in course in the space of classroom and on the interpretations that occur there (also the decurrent ones of scripts of activities), the pertaining to school literary reading can be become into one practical one of instauration of meanings and, with this, transform the study of literature into the inquiry and the critical experience of the social passage fulfilling for its texts, its theories, its leituras.' ' (P. 97). Zilberman author (1988) tells in this breaks up that, in the execution of this project, the school will earn, without doubt, a new density, when returning critically the image of literature that comes from official channels, engaged with the teach-learning, Ensino de Literatura. To practise the literary reading in the school wants to confirm a reflection in the true act to read, that it is to convert the reading into literary interpretation, transforming the study of literature into a investigativo process fulfilling the way of the text that is the social critical understanding. The literary reading would have more to be valued as half of the pupil to develop the creativity and the imagination in the interaction with texts that inaugurate possible worlds, established in the construction of the empirical reality.

More specifically, the question of the artistic autoconscincia as dominant. I.SOBRE the WORKMANSHIP Published in 1864, in the literary magazine Time, established for Dostoivski and its Mikhail brother, Memories of subsoil was written in the headboard of death of its first woman, in a situation of acute financial necessity. The romance in them brings a disenchanted man, employee of low the Russian bureaucracy, that deferred payment with the Aplon employee in a modest apartment in the subsoil of a building. Overwhelming and pessimistic, this man without name discloses in them, for its proper voice, an absolute disdain for the world its return and, at the same time where he chooses the solitude, he seems, at certain moments, to amargurar itself still more with it. Through this voice, of personage-narrator, who resounds to the force of paradoxes, it invests fierce everything and all against science and the superstition, the progress and the delay, the reason and desrazo-; but above all, it invests proper itself, the proper conscience, that if it affirms and if it denies itself exactly successively. 1.1. The Subsoil Memories of the Subsoil if divides in two parts. The first one, intitled of the Subsoil, is the teorizao of the ideas of the narrator/personage.

Displays it them as if it was dialoguing with the reader, assuming its reactions, foreseeing its commentaries. The speech is direct, owner of an acidity cultivated in fifteen years of auto-flagelamento. It is the relief of that of in such a way remoer in guilt for being what it is, it learned to feel pleasure in this. I am a sick man A bad man. An ackward man. I believe that I suffer from the liver. By the way, I do not understand nickel of my illness and I do not know, to the certainty, from what I am suffering. Me treatment and never I did not treat myself, even so it respects the medicine and the doctors.

At a time where tone was debom to falsify the reality to embelezar it, Manuel Antonio de Almeida pintaos its types and describes its scenes without the deformations of the Romantismo. (MONTELLO, Joshua. Manuel Antonio de Almeida.2004, P. 349). Before everything, however, osdois they were loved sincerely; the ideas of an illegitimate union disliked to them.

The love osinspirava well. (ALMEIDA, Manuel Antniode. Memories of a Sergeant of Milcias.2002, CAP. 25, P. 188). Manuel INTRODUCTION Antonio de Almeida was romancista, poet, cronista, teatral and translating critic.

Journalist still worked as funcionriopblico and. He wrote its only workmanship Memories of a Sergeant of Military services, as folhetim in the CorreioMercantil. In 1854 he only left the first edition in book. Memriasde a Sergeant of Military services (2002), is all a set of particularitities of the author, who develops ahistria under the optics of a different literary style to the one of the time. The workmanship seconfigura as a shunting line in the history of the Brazilian romance, therefore if different style, renewed lassos comoum, breaching with the romantic tradition. This period was marked for realismoantecipado of Manuel Antonio de Almeida, who describes its workmanship in disagreement comos standards of the time. Of humorstica intention, it has as characteristic asimplicidade of its personages, the job of expressions and fraseados popularese the simple and direct language. Characteristics typical of the Realism, that visavao individual and the society. The Realism is the consequence of the disillusion of the frentea man society, of this form the romantic subjetivismo was substituted peladescrio of the external reality. This article aims at a convincing classificaoliterria of the workmanship of Manuel Antonio de Almeida, since essetexto has caused controversial how much to be a romantic romance, as frequentemente classified. This study, it was made by means of the analysis dalinguagem, behaviors partners and style contained in fragmentos of the romancereferido one.

nor well amanhecia Partiu in a cold cloud With its zepelim silverplated In alliviated sigh It turned over side and tried until smiling But soon the day bordered and the city in cantoria did not leave it to sleep (Stretch of Geni Music and the Zepelim) In the songs of Brecht and Chico Buarque is perceived that this recurrence to the one occurs desagregadora force of the society: one has the Pirate and the Zepelim. also notices that the Aristotelian Catarse in addition occurs: the end of history keeps the tension in the spectator. The same in addition catarse in the releitura will be observed that Chico Buarque made of Medeia de Eurpedes. 3,3 Eurpedes? The writer of innovative character Eurpedes was author of workmanships sufficiently known as He mediates, Electra, Helena and others. He was born in the Macedonian in 484 A.C, Wrote 92 parts of theater, of which 19 exist currently.

Eurpedes was gotten passionate for the debate of ideas. The writer, in its workmanships, adopted a social vision that supported the equality of slaves and gentlemen, men and women, citizens and foreigners. Eurpedes faleceu in 406 a.c and its workmanships, although as much time, still is very current. The human being if coming across with internal and external conflicts, many of existing them until today, what cause great impact to the readers, which had the writer is observed in the workmanships of Eurpedes to use the realism and the feeling in its parts. In the tragedies of Eurpedes, the individuality is accented and the opposition between human being and the holy ghost more go being transfigurada in a interior to the proper agent, appearing each time as crisis or internal fight between destructive passions that drag the personage in contrary directions, making it responsible, in some measure, for its action. (CHAUI, Marilena. Introduction to the History of the Philosophy.