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Conto A moça tecelã, by Marina Colasanti: analysis and interpretation

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A moça tecelã This is the story of the Italian-Brazilian writer Marina Colasanti (1937-) who was published in 2003.

A narrative became very well known and traced as the protagonist of a woman who has her own life, materializing her own deserts and building a new reality for herself.

A bela history presents a different context from what has been expected of women and can be used as an educational resource to deal with grammatical and interpretive content in the classroom.

It is still not dark, like the ouvisse or the sun behind the beiradas da noite. And she logo she sat-se ao tear.

Linha clara, to eat or day. Delicate traço cor da light, that ela ia passing between the stretched fios, enquanto la fora a claridade da manhã unhave or horizon.

Depois lãs mais vivas, quentes lãs iam tecendo hour by hour, long carpet that never ends.

It was forte demais or sun, and not a garden hanging as petals, a girl placed in the large lançadeira fios cinzentos do algodão plus mat. In brief, in the penumbra traced by the nuvens, it escolhia um fio de prata, which in long pontos was embroidered on or covered. Light, a chuva vinha complimentá-la à janela.

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But I know for many days or wind and cold, brigavam with folhas and scare you, it is enough for a young man to have his beautiful golden fios, so that the sun turns to calm nature.

Assim, playing lançadeira from one side to another and hitting the great pentes do tear for front and back, to moça passava the seus days.

Nothing was missing. Na hour da fome she tecia a cute peixe, taking care of scales. E eis que o peixe estava na table, ready to be eaten. It sits vinha, soft was a lã cor de leite that entremeava or mat. E à noite, depois de launching seu fio de scuridão, she slept peacefully.

Tecer was tudo or that she fazia. Tecer was tudo or that she wanted to do.

But tecendo and tecendo, the own trouxe or time that she felt sozinha, and for the first time she thought about how a husband would be good next to her.

She didn't wait for the next day. As a whim of tentative a piece never known, she began to entertain not as the cores and as the cores that the company will give. In a few years his desire for her appeared, feathered chapéu, bearded face, squashed body, engraxed toe. She was just finishing her last meal or the last time I put on two sapatos, when she was batting à porta.

Nem needed to open. Or boy put a hand in a maçaneta, a shot or a feather chapéu, and I was entering his life.

That noite, dejected no shoulder, gave a girl thought of us beautiful filhos that she would have to increase even more to her happiness.

And happy foi, for some time. But I know or homem I have thought about filhos, the logo is outlined. Because she may be uncovered or able to tear it up, but she thought there would be all the things that she could give him.

- Uma casa melhor é necessária - he said he for a mulher. And it seemed fair, now it was me two. She demanded that he escolhesse as more beautiful lãs cor de tijolo, green leaves for the batters, and pressa for home to happen.

Sooner to home, já não lhe seemsu enough.

- So that you are home, can we have a palácio? - She asked. She wanted to answer her immediately, she ordered him to take a stone pit with an immediate attack.

Days and days, weeks and months worked for a girl with boobs and ports, patios and scapes, and rooms and little. There was no light falling, and there was no time for shading or sun. A noite chegava, e ela não tinha tempo para arrematar o dia. She was sad and sad, when she stopped batting the pentes accompanying her or the rhythm of the lançadeira.

Final o palácio ficou soon. And among so many comfortable, or husband escorted for the e seu tear or highest quarter of highest tower.

- É so that no one knew about the mat - ele disse. And before locking a porta à chave, he warned: - There are so bad. Two cavalos are not seen!

We will rest tecia a woman, the caprices of the husband, enchendo or palace of luxos, the coffers of clothes, the rooms of servants. Tecer was tudo or that she fazia. Tecer was tudo or that she wanted to do.

In fact, the own trouxe or tempo in which his sadness seems to be higher than or palácio with all of his treasures. And for the first time he thought about how it would be good to be sozinha de novo.

She just waited for it to get dark. He got up when his husband was sleeping, dreaming of new demands. And barefoot, for no fazer barulho, he climbed to the longa scada of the tower, he felt ao tear.

This time she did not need to escort Linha Nenhuma. He continued to launch the game in the opposite direction, and playing fast from one side to the other, she began to play the game. She has made you dig, as carriages, as stark, as gardens. Depois desteceu os servants e o palácio e all the wonders that continue.

And he again he moved to his little house and sorriu for the garden além da janela.

A noite ended up when or husband stranhando a hard bed agreed, and, scared, olhou em volta. She has no time to get up. She was disfaced or unhappy with two sapatos, and I saw her feet of her disappearing, supplying the legs. Quick, or nothing rises to the body hair, she took or plump hair, or feathered chapéu.

So, as it was seen in the sun, a moça escolheu uma linha clara. I was going to wander among the fios, a delicate trace of light, which always repeated on the edge of the horizon.

COLASANTI, Marina: Contemporary Brazilian Contos. São Paulo: Modern, 1991.

A moça tecelã trace a bela narrative on the desejos and feminine autonomy. With an atmosphere of fade count, the author manages to transmit a message about a very particular universe that refers, above all, to the women.

A personagem de Colasanti is a mulher who, through serious embroidery, ou seja, de sua I looked creative, happens to materialize serious anseios. Also, this is a metaphor to show how we can also be responsible for the creation of our world and personal realization.

A girl has a new reality for herself, inserted in her life, a companion who, at first, is loving and agreeable. Meanwhile, as tempo, or homem becomes selfish, demanding a dedication and surrender além de suas forças. We can interpret this passage as an analogy to relationships in which a woman does so much to please or share that she needs to feed her own desires, she loses the role of "dedicated wife" and deixa de olhar for herself, entering a spiral of frustration and unhappiness.

Além disso, I do not count, or companheiro becomes aggressive, keeping moça numa clausura ao prendê-la em uma torre, é o que chamamos de abusive relationship. A tower is symbolic, there are many ways to block the freedom of a woman.

Marina Colasanti offers us então com um happy ending, showing a woman who manages to address an unfavorable situation in which she is and decides to "undo" that laço, esse no, essa amorous tecitura. Assim, she leaves her partner and volta às suas origins, rescuing internal seu lar and genuine creativity.

Marina Colasanti is a renowned writer who was born in 1937 in Eritreia, a small country located in the northeast of Africa. Ainda grew up, she saw a family for Brazil.

She was trained in plastic arts and working as a journalist, translator, as well as working on television programs and advertising.

In literature, it developed poetry, stories, chronicles and romances, also writing for children and young people, winning important awards and recognition from critics and the public.

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