We choose this poem, because it has in it a language that is not only one instrument, a way of if expressing, but a species of revelation, of descortnio of the importance of the water and the relation of it with the man and the nature. She is one commanded language that it passes, first, for the physical and chemical aspects of the water, it lards for the linking of them with the material world, ‘ ‘ the machine ‘ ‘ , finishes making relation with a daily reality beginning reading it, that is the reality of the frozen water of the water fervente. This denotativa language regarding the water is that one that allows in them to come back to the conception of science as factual truth that can be surveyed. From analyses of these factual truths, we arrive, then, to an analysis of last estrofe of the poem. The language, now, much more intuitiva of what the first one, has the function of comover, awaking the reader for a counterpoint to the properties and the functions of the water, or same, to its hidrolgico cycle: the counterpoint of the tragedies human beings. One notices that, propositalmente, for the semiologia, the proper verbal time if modifies of the three first estrofes for last estrofe with the intention of awaking the reader for the change of the language and to mark the exaggeration between the scientific truths that can be surveyed and the poetical truths that cannot be surveyed as science, but also they are truths, because they have reasons they justify that them. As an example, we examine the potential of the poem in a perspective to interdisciplinar. It is important to stand out here that not yet we are exemplificando the intertextualidade as nuance to interdisciplinar, but are composing an explanation on what we understand regarding what it is a text and on a conception of nuance to interdisciplinar it on the basis of.

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Marie

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