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By Clarice Lispector

Aprendizaje o El libro de los placeres, publicado por primera vez en 1969, despertó l. a. polémica entre los críticos, que aún hoy debaten sus posibles interpretaciones. Este es el relato de cómo el amor se forja en dos seres: a través de un arduo desnudamiento interno los protagonistas van recuperando su identidad hasta alcanzar l. a. renovación very important en l. a. mutua entrega. A su ejercicio introspectivo opone l. a. autora su propia búsqueda formal, el intento de superar los límites del estilo amalgamando forma y fondo en una prosa rebosante de imágenes que desarman al lector con su verdad hiriente. Su lectura ofrece a quien los angeles emprende el desafío de seguir paso a paso ese ahondamiento, ese despojarse de todos los bagajes para iniciar un definitivo aprendizaje de l. a. existencia.

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After acknowledging that he has already gone back to Lycurgus and Numa, he now asks whom he should pair with Romulus, whose life he has recently written. His choice is Theseus. " Page 3 targets represented two extremities of the same spectrum of fabrication. The fiction and mendacity that Celsus wished to expose in his True Discourse were nothing less than the Christian representation of the life and death of Jesus Christ. "2 Celsus knew of course all the pagan parallels to the resurrection, but he considered them no less fiction than the story of Jesus itself.

It is even possible that Martial made fun of his contemporary, master of so many different forms and styles. For at about this time Martial wrote a pungent epigram complaining of verses that were being illicitly circulated under his name, although he judged them far below the 54. P. Lond. 274. For discussion of the Tefnut Romance, see R. M. Rattenbury in New Chapters in the History of Greek Literature, Third Series, ed. J. U. Powell (1933), pp. 226-30. 55. Photius, Biblioth. 146b [190], p. 51, l.

29 That word was, as we have seen in Sextus, the standard expression for fictions in Greek of this period, and it was also closely associated with dramatic works for the theater as well as with prose narratives. Drama as we know it was, of course, another traditional area of literary fabrication, but the conventions of the stage and the verse in which the plays were written made them less easily assimilated to narrative history. Yet the scenes, dénouements, and emotional excitements of the two genres could be remarkably similar.

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