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 root of flicks that had distribution within the English conversing global. besides 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 trouble, yet quickly it obtained praised by way of the critics.
Sobre o livro:
Escrito em 1939, o livro conta a história de amor entre sueca e um nativo de uma fictícia cidade litorânea de Alagoas. O improvável romance é alvo de recriminações por parte da comunidade estrangeira e dos moradores do vilarejo, e acaba transformando a vida de todos.
Mais do que uma difícil história de amor, José Lins do Rêgo ilustra o deadlock político e econômico da época. A bela sueca representa o investimento estrangeiro no petróleo brasileiro e o nativo, o interesse nacional.
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Ed by Karl Richter et al. Munich 1985–98. Vol. 11/2. Pp. 164–166. This edition will be cited henceforth as MA with volume and page numbers. 28 Goethe reversed some of Schiller’s changes for the 1806 production, which was then repeated some twenty times at the Weimar theatre. On Iffland as Egmont see, for example, the comment of Genast concerning rehearsals for Egmont: “Goethe las den Egmont, und abgesehen davon, daß sein Vortrag etwas zu markiert war, habe ich nie den Egmont so darstellen sehen, wie er ihn las: Iffland stand weit hinter der Auffassung Goethes zurück”.
Düsseldorf – Zürich: Artemis & Winkler 2004. S. 140. 18 Christoph Wilhelm Hufeland: Makrobiotik oder die Kunst das menschliche Leben zu verlängern. 4. vermehrte Auflage. Berlin: Wittich 1805. S. 23. Die Lebenskraft wird auch “der Grundquell” genannt, “aus dem alle übrigen Kräfte der physischen, wenigstens organischen Welt fließen”. Sie sei es, “die alles hervorbringt, erhält, erneuert”. Allerdings ist sich Hufeland nicht darüber sicher, ob sie “eine eigene Materie oder eine Eigenschaft der Materie” sei.
91–131. 39 we compare the Hamburg and Mannheim repertoires is the decline in tragedy and the rise of the Drama (sometimes designated Familiendrama) or Schauspiel. 15 The majority of serious plays at Hamburg were translations from the French (forty-seven performances), with Voltaire the most-performed tragedian. German tragedies were played on thirty-four evenings, with Christian Felix Weisse the most-performed tragedian, his Romeo und Julie enjoying nine performances. One of the most successful plays at Mannheim in the early 1780s was Otto Freiherr von Gemmingen’s Der teutsche Hausvater, loosely modelled on Diderot’s Le Père de famille, which in German translation as Der Hausvater had been a great and continued success on the German stage in the 1760s and 1770s (it was performed twelve times at Hamburg and was second only in numbers of evenings to Minna von Barnhelm with fifteen).