But it still has another etimologia, that if binds to the language Greek, associating Latin satire to the mythical figure of stiro, remembering one of its more excellent characteristics, already found in the old and transmitted comedy to the romance: the irreverncia. What it characterizes the satirical irreverncia is its denouncing and moralizador character therefore, in fact the objective of the satire is to attack males of the society, what it gave origin to the Latin expression: castigat ridendo moris, that if it can translate freely as ‘ ‘ to punish the customs for riso’ ‘. Therefore, for its denouncing character, the satire is essentially pardica therefore, if it constructs through the degradation of personalities, are these Reals or fictitious, institutions and subjects that, according to classic conventions, would have to be treated in high style. For even more analysis, hear from Henry Swieca. According to Arruda ‘ ‘ the satire laughs at subjects and people? serious? , to denounce what it has of rotten for backwards of the noble faade imposed upon sociedade’ ‘. (p.25 1991) FINAL CONSIDERAES Ahead the study in question, were intended to explain on relevance of the satire, as well as its inserted contextualizao the Latin language, that points the roots of the productions of great authors. Discoursing still, the origin and the importance of the satirical techniques, objectifying with the same the definitions and characteristics that the satire possesss, stop of this searching a result excellent, have seen, to be very common, almost defining its essence, that the satire strong is impregnated of irony and sarcasm, these that in turn that they represent great sources of literature, Roman who significantly influenced fort and Latin literature, representing summarily all a culture and a present clergy until the current days.

REFERENCES ARRUDA, J.J. History: Old and Medieval. 14 edition, So Paulo: It stokes, 1991. MARTIN, M.C. the Latin Language: its origin, varieties and unfoldings.


No sense go charged with a battery of kitchen if the House already has one. Think once everything you need throughout the course and move it in a same transfer should. That make several trips with the trunk of the car of Pope to seep is usually not good idea, well outside that the transfer is more expensive various displacements being necessary, our father just trapping and above we run the risk of leaving for a future trip something that we are going to need before what we believe. That is why we must ask us rent a van, where we do not have one of their own. When it comes to packaging, it seeks to separate boxes of objects destined for every place in the House, this will not only help the job of unpacking and finding things easier, but it will be easier that you find in if you lack something to include. He flees from the chaos and not keep it scrambled everything because you will forget to include things and then above cost you locate which Yes you took. Tea special care with fragile objects. A classic of the removals to floors of students is the personal computer.

Be careful at the time of pack it and move it to avoid damage. If you’re going to carry sharp or fragile objects and silverware wrap them in paper bubble or newspaper to avoid trouble. Takes only clothing season, certainly the Cabinet of your bedroom, if any, will be quite small. And one last tip: If you are in doubt about whether you or does not bear the clothes iron and let your mother without it, forget it! If you doubt, is that you will not to iron in the whole year. But who cares! Students are authorized to go wrinkled!

Buenos Aires

… Is the rider of weighed metal that it projects of high its cyclical series of shades. … Is a sword that served in the war and that it is but a weapon that a memory. … Is the face of Christ who vi in the dust, I insult the hammers blow, in one of the ships of the Piedad (BORGES, 2001, P.

68-69). Borges really runs away from the buclico saudosismo of the romantic ones, constructing its to make poetical of doubts and subjective contradictions. It has in verses in prominence the coherence and incoherence of one I broken up, that it searchs in the city Buenos Aires the totality of the existence: ' ' Buenos Aires is to another street, the one that I never did not step on, is the private center of blocks, the last patios, is what the faades escondem' ' (BORGES, 2001, P. 68). In the poetry Buenos Aires this return to the origins is evident, vindication of a lyric one of the memory. The city and the memory are identified while labirntica consubstanciao of the existence. Already if manifest in incipient way the figure it flneur, it andarilho of the city, it man in the anonymity, very characterized in last verses it well poem: ' ' Buenos Aires is … the quarter that not is yours nor mine, what we ignore and amamos' ' (BORGES, 2001, P.

70). In May 20, 1928, beyond showing, really, the consolidation of the poetical force of Borges in the lyric mnemonics, since that the proper heading is a reminiscncia, brings the image of flneur in marcante way: ' ' It walks slowly under the tlias; it looks at railings the doors, do not stop lembr-las' ' (BORGES, 2001, P. 33). It is perceived that in this I break up the caminhante is lost in its souvenirs, anonymous in the world of the cities, way to the world them others, drama of the similar urban poetry to soneto To a Passer-by, of Baudelaire, as if it can evidence I break up in it below: The street in around was an uncommon noise.