thegoodfellas/blogset-br huggingface dataset:
Quando pulou sobre a maquina de lavar roupa e se sentou sobre o parapeito da janela para olhar a rua la embaixo Bertilia empalideceu de medo. Ela correu e o retirou daquele lugar perigoso.Voce quer morrer, Tea Cake? Voce esta no setimo andar e uma queda daqui e fatal, mesmo para um gato esperto como voce, ela disse. Queria ensinar-lhe que nunca devia sentar-se ali. Tea Cake nao aprendeu. Ele sempre retornava ao parapeito, atraido pelo casal de andorinhas que havia feito o ninho na caixa do ar condicionado posicionada mais acima. Quando voltaram a sala de estar Bento perguntou a Bertilia a respeito da reacao do marido a presenca de Tea Cake na familia.Ele esta se acostumando com o gato, e aprendeu muito sobre os felinos, ela disse. Bertilia contou que o marido aceitou Tea Cake por causa dela, mas ainda odiava gatos. Ele nao queria gatos no apartamento e havia jurado que a deixaria quando Tea Cake chegasse. Durante duas semanas ele se manteve beligerante em relacao a ela e ao gato. Recusou-se a falar com ela, a ajuda-la na cozinha, a dormir com ela, ou a beija-la, quando ia trabalhar. E mais, ele tratava mal o gato quando ela se ausentava. E o deixava sem agua, nem comida. Colocava Tea Cake no parapeito da janela. Pula, gato maldito, ele dizia. Desejava ve-lo cair e se esborrachar contra o calcamento la embaixo.Depois daquele periodo ele comecou a me manipular, ela disse. Ele enviava flores a esposa, comprava vestidos e planejava viagens a praia. Em retribuicao ela teria que renunciar a Tea Cake. Bertilia resistiu a tudo aquilo. Ela sabia que Tea cake seria sua ultima oportunidade de encontrar estabilidade emocional.Por fim, ele jogou sua ultima cartada. Acreditava realmente que a venceria. Meu marido me disse: nao da para confiar num gato, eles sao como os humanos. Fortalecida pela presenca de Tea Cake ela se manteve firme. De jeito nenhum, ela disse. Tea Cake e carinhoso, surpreendente e reconfortante. O marido, entao, se isolou no silencio. Bertilia esperou.Nas semanas que se seguiram, o marido mudou completamente. Hoje os dois se dao muito bem, ela disse. Bertilia contou ao jornalista como ela o ajudou o marido a aceitar Tea Cake. Depois de algum tempo, ele ja dava banho, alimentava e brincava com o gato. Pela manha, quando ela ia ao trabalho, o marido ficava em casa com Tea Cake. Ele costumava telefonar ao escritorio para contar-lhe o que o gato estava fazendo ou como estava se sentido. Ela o instruia a se dar bem com Tea Cake. Ele aprendeu rapidamente e melhor do que ela esperava.Agora, ele sabe mais do que eu sobre Tea Cake, Bertilia riu de alegria. Uma manha ele me telefonou e estava realmente preocupado. Tea Cake havia sofrido um acidente, Bertilia disse. Tea Cake havia tentado pegar as andorinhas no ninho dentro da caixa do ar condicionado. Ele saltou na direcao da caixa la em cima, errou o pulo, e se estatelou la embaixo na cobertura da garagem. Teve um grave ferimento na cabeca e quebrou costelas e
a bacia. O marido foi atraido pelo barulho e os miados de dor do bichano. Viu-o sofrendo la no primeiro andar. Ele o levou a doutora Bruckermann. Quando Bertilia chegou a clinica, a veterinaria estava preparando Tea Cake para a cirurgia. Me perdoa, querida, mas nao pude fazer nada, o marido disse a esposa e segurou-lhe as maos. Ele sofria com os ferimentos do gato. Voce me pediu para fechar a porta da lavacao, mas achei que o gato nao ousaria cacar as andorinhas. A cirurgia foi um sucesso, mas Tea Cake teve que permanecer na clinica mais algum tempo. Em casa, o marido garantiu a Bertilia que eles iam ter uma vida melhor quando Tea Cake voltasse para casa.Realmente tivemos, os tres, Bertilia disse. E o melhor e que Tea Cake e meu marido me ensinaram a confiar de novo nas pessoas. Ela encontrou a estabilidade emocional, finalmente.
the essay, Ariel is the individual who builds his own identity while he identifies, and establishes alliances, with the values of other cultures, external to his own. In the island, in Shakespeares play, Ariel adheres to Prosperos power as the only source of his freedom and emancipation. The dialogue that goes between him and Prospero illuminates the ties of submission that connects the islanders spirit to the foreigner usurper of the island: Ariel: All hail, great master, grave sir, hail: I comeTo answer thy best pleasure; bet to fly,To swim, to dive into the fire, to rideOn the curled clouds, [alighting and bowing] to thy Strong bidding taskAriel, and all his quality (SHAKESPEARE, 1994: p. 12).Later on, Ariel reminds Prospero of the agreement they make, by means of which Ariel will be given his freedom in reward for the work he did to the European. My liberty. I prithee (SHAKESPEARE, 1994: p.15), Ariel demands. When Prospero threatens Ariel, for the spirit reminds the master of the masters faithfulness to the mutual agreement they share, Ariels reaction is full obedience. Pardon, master. I will be correspondent to command, And do my spiriting gently (SHAKESPEARE, 1994: p. 17), Ariel promises complete obedience. Prospero regains his position as Duke of Milan, with Ariels full participations in the masters plot against his enemies. In the essay Ariel, Rodo (2004) examines the alliances that Ariel maintains with Prospero. In the Uruguayans article, Ariel represents the Latin American youth, who will make of the continent a transplanted image of the European ideals of morality, rationality, beauty and good taste. Taking the Greek civilization as his model of civilization, Rodo portrays Ariel as the best symbol of the social, political and cultural life that will lead Latin Americans in the 20th Century to develop progress and emancipation. Athens knows how to exalt both the ideal and the real, reason and instinct, the forces of the spirit and those of the body (RODO, 2006: p. 43), writes the Uruguayan.Rodo also argues that these Greek ideals of Athens, if, and when, effectively practiced by Latin Americans, will become the antidote against the US utilitarianism and material prosperity represented by Caliban, the monster-like creature of Shakespeares (1994) The Tempest. Therefore, in Rodos view, the challenge put before the new generations of the Latin Americans resides in the struggle between the ideal, associated with Ariel and Europe, and the utilitarian, related to Caliban and The United States. A civilization acquires its character not from a display of prosperity or material supremacy, but from the grandeur of thought and feeling possible within it (RODO, 2006: p. 60). Rodo suggests that if it is said that utilitarianism is the word for the spirit of the English, then the United States can be considered the embodiment of the word (RODO, 2006: p. 71).The result of Ariels campaign in the play and in the essay is similar: Prospero gives him freedom in The Tempest; Rodo offers him the status of the metaphor of reason and rationality in Latin America. As for Caliban, his end is the worst
Caliban proposes in Shakespeares play. Retamar does so in order to oppose his Caliban to both Rodos Ariel and Rodos ideas concerning the formation of leadership for a Twentieth-Century Latin America. While the Uruguayan intellectual proposes Ariel as the symbol of the leader that our continent needs, Retamar uses Caliban as a metaphor for Latin Americas nationalist leadership. Our symbol then is not Ariel, as Rodo thought, but rather Caliban (RETAMAR, 2005: p. 14), the Cuban author writes. He, then, justifies his refusal to take Ariel as the ideal symbol for an effective and challenging leadership in Latin America. He writes:This is something that we, the mestizo inhabitants of these same isles where Caliban lived, see with particular clarity: Prospero invaded the islands, killed our ancestors, enslaved Caliban, and taught him his language to make himself understood. What else can Caliban do but use that same language today he has no other to curse him, to wish that the red plague would fall on him. I know no other metaphor more expressive of our cultural situation, of our reality (RETAMAR, 2005: p. 14).With these words, discarding Ariel as the appropriate representation of our leadership, Retamar introduces Caliban as a more instigating model. He justifies his decision arguing that Ariel suggests that a 20th century Latin American leadership will mirror itself in the European models of elevated culture, civilization, beauty and rationality. Different from Ariel, Caliban symbolizes the Latin American native forces. Therefore, both the Uruguayan thinker and the Cuban author reject The United States as a possible leadership model in the continent. Retamar recognizes Rodos rejection of The United States, saying he was able to point with clarity to the greatest enemy of our culture in his time and in ours and that is enormously important (RETAMAR, 2005: p. 14), that is to say, Rodos essential position against North American penetration (RETAMAR, 2005: p. 15). Despite his decision to create an innovating metaphor for a new leadership in Latin America, Retamar does not reject the Ariel-like feelings we may keep inside ourselves, because our real enemy is not Ariel, but Prospero. He explains There is no real Ariel-Caliban polarity: both are slaves in the hands of Prospero, the foreign magician. But Caliban is the rude and unconquerable master of the island, while Ariel, a creature of the air, although also a child of the isle, is the intellectual as both Ponce and Cesaire have seen (RETAMAR, 2005: p. 16).Retamars words make the opposition between Caliban and Ariel a little bit more visible. This is not a difference that will not be overcome, when and if necessary. In fact, the two symbols complement or supplement each other. With Ariel and Caliban, Rodo and Retamar wish to offer the best picture of Latin America. The Uruguayan wishes to see developed in the continent an identity that finds its sources in the European culture, civilization, ideals, beauty and rationality. The Cuban believes that the continent is able to provide an indigenous leadership, due to its own cultural matrix. As a result, we do not need
alien models, because the native culture of our Latin America is all what we need. He explains thatThat culture like every living culture, especially at its dawn is on the move. It has, of course, its own distinguishing characteristics, even though it was born like every culture, although in this case in a particularly planetary way of a synthesis. An it does not limit itself in the least to a mere repetition of the elements that formed it (RETAMAR, 2003: p.83).He concludes: our culture is and can only be the child of revolution, of our multisecular rejection of all colonialisms (RETAMAR, 2005: p. 38). Esu-Like Behavior: Helper I have already suggested that, due to his naive alliance with the seductive forces of the European cultural values of physical and intellectual beauty, Ariel does not encompass the most interesting behavior a Latin American can assume. In Shakespeares (1994) The Tempest, Ariels identification with Prospero, the European who steals his island, limits his possibility of signification. In Rodos (2004) Ariel, Ariels embodiment of a Latin American type of leadership, wishing to replace the continental indigenous culture for the European civilization, debilitates his meaning and political chances. As he turns his backs to what is typical in the island and in Latin American continent, Ariel takes a route that moves him away from his own people.What about Caliban? Like Ariel, he cannot be taken as a sustainable model of interracial alliance for different reasons. In Shakespeares (1994) play, the kind of opposition he establishes to the presence of Prospero in the island places himself and Ariel in opposite sides. Likewise, in Retamars (2003) Caliban, Calibans experiences conflict with those of Ariels. Caliban fights to defend Latin American culture, symbolized in the cultural production of the Indian and the Negro, the indigenous people of the continent. Using his energies and intents to resist to any foreign participation in the construction of his own culture, Caliban deliberately distances himself from what is foreign and from what may contaminate his genuine roots. The extremist positions of both Ariels and Calibans cultural proposals are counter-balanced by Esu, who represents cultural duality and integration. His capability to fuse different cultures makes it possible for him to live in the crossroads, thus making room for unexpected ways of living. Having one foot on the divine realm and the other on the human world, Esu makes the gods and the humans to keep mutual conversation going on. In his book The Signifying Monkey, specially the first chapter named Esu-Elegbara and the Signifying Monkey, Gates (1988) describes Esu as a deity whose legs are of different lengths because he keeps one anchored in the realm of the gods while the other rests in this, our human world (GATES, 1988: p.6). Gates sees as strategically important Esus ability to connect different worlds, represented by the world of the gods and the world of the humans. He plays the role of the interpreter who interprets the will of the gods to man; who carries the desires of man to the gods (GATES, 1988: p. 6).His
as a bar separating understanding and truth (...) Esu dwells in this bar. Indeed, he, like indeterminacy , is the bar (...) We can say that Esu is the indeterminacy of the interpretation of writing, and his traditional dwelling place at the crossroads, for the critic, is the crossroads of understanding and truth (GATES, 1988: p. 25).In the cultural field, Esu needs a variable and moving cultural text in order to turn his mediation and interpretation into an intercultural metaphor. When this happens, the cultural text becomes open, similar to Esu who is also an open deity, who by knowing all the languages is able to make his mediation in many different ways. Gates argues that Esu carries in himself the principle of fluidity, of uncertainty, of indeterminacy even of ones inscribed fate (GATES, 1988; p. 28). Gates continues establishing Esus interpretative capacity, saying that the various figures of Esu provide endless, fascinating references to the critics role in interpretation and to the nature of interpretation itself (GATES, 1988: 29).Esus other crucial aspect as intercultural mediator, translator, interpreter, and critic is his capacity to represent wholeness, a whole which does not close, but opens. This is a round whole, whose two faces cover and show each other. The two faces are present in a process that allows one to succeed the other, but also permits that one becomes the other. This quality, important to the notion of interculturality, explains how those who encounter new cultures behave. That is, a person who shares different cultures follows a process of intercultural simultaneity. Living in a similar situation, Gates sees that Esu is a figure of doubled duality, of unreconciled opposites, living in harmony (GATES, 1988; p. 30).As a dialectical principle, Esus duality opens itself to a third element: the synthesis of the two previous aspects. That is, the encounter of ones culture with of the others culture cause a third culture to appear. Gates (1988) argues that the 3 represents synthesis (...) Esu, in other words, signifies the synthesis of the number three (GATES, 1988: p. 38), the element that results from the encounter of the two previous ones. For example, when a woman and a man get united they do that in order to give birth to a third element. Gates argues that this third element represents the transcendence of the binary opposition, of contradiction (GATES, 1988: p, 38). We can accept the idea that anybody who does not have an Esu in his body cannot exist, even to know that he is alive (GATES, 1988: p. 37). Both the ordinary human being and the intercultural actor must give room for his Esu to work with freedom, and help him with the development of interculturality. Gates explains how Esus help occurs:Esu, in other words, represents power in terms of agency of the will. But this ultimate power, of which even the will is a derivative, is the power of sheer plurality or multiplicity; the myths that account for his capacity to reproduce himself ad infinitum figure to the plurality of meanings that Esu
JOSE ENDOENCA MARTINSSere un buen fraile franciscano, Bendito le dijo a Hermann, su companero de futbol, algunos minutos antes del juego.Bendito siempre penso que se convertiria en un fraile franciscano. Fraile Brucckermann habia hecho con que las experiencias de San Francisco le encantaran. Con la madre y el padre habia aprendido a rezarle a la Nuestra Senora de Aparecida. Sobre todo queria ser un fraile y creia que estaba listo.En aquel noviembre, su primer ano en el seminario, dio pasos decisivos hacia el sacerdocio franciscano y todo parecia que caminaba de la manera como el lo habia planeado. Creia que habia aprendido a conciliar la vida religiosa y la mundana. Sin embargo, el futbol entro en su vida para competir con el sacerdocio.Un buen franciscano, sin duda, Bendito le repitio al amigo.El futbol ocupaba el centro de los intereses de los dos ninos y nada podia ser, al mismo tiempo, mas mundano y religioso que el futbol en ciertos dias en el seminario. Aquel dia era uno de ellos.La unica religiosidad realmente apreciada aqui es el futbol,Hermann dijo.Los dos conversaban cerca del arco de la cancha sin pasto. El otro equipo era de un colegio de la ciudad y jamas habia perdido siquiera un partido contra los franciscanos.Hermann, el capitan de los ninos franciscanos, sintio que podia cambiar aquello cuando le dio a Bendito una camisa del equipo. La tuya es la 10, Hermann le dijo a Bendito, que se la puso. Quien sabe, algun dia, tendremos un Pele franciscano Hermann hizo una broma y los dos se rieron. Estaban felices y aquel entusiasmo ayudo a que el equipo franciscano derrotara a los visitantes por la primera vez. Bendito habia decidido la victoria, haciendo tres goles. El fue cargado en los brazos de los companeros que lo condujeron hacia Fraile Gottmann, el Prefecto, que lo bendijo a el y a los otros jugadores tambien.La celebracion siguio durante la cena. Bendito oyo a Fraile Gottmann. El fraile elogio a los jugadores con un discurso a respecto de aquella demostracion de la excelencia y victoria franciscanas. El nino oyo su nombre pronunciado tres veces. Todos ovacionaron sus goles. Bendito, entonces, creyo haber entendido el aviso de Hermann de que futbol y religiosidad hacian parte de una misma busqueda por espiritualidad. En aquella conmocion, Bendito sintio que el futbol le daria el paraiso, pero podria destruir su sacerdocio.La popularidad de Bendito duro solo una semana. En las que se siguieron, antes de las vacaciones de verano, el futbol se transformo en una pesadilla. Preso en ella, Bendito no supo lo que hacer. Colmados de celos por el suceso del nino, algunos seminaristas empezaron a controlar los pasos de Bendito mas de cerca. Supervisionaban sus oraciones, estudios y disciplina, denunciaban sus errores, y criticaban su comportamiento deportivo y no permitieron que jugara futbol. Pele no juega para el equipo, solo juega para el, le dijeron a Fraile Gottmann. El piensa que es Pele, pero no es nada, nada, dijo Sonnermann, el peor enemigo de Bendito.Sin embargo, aquello no fue todo.Pele, Fraile Gottmann quiere verte en su
oficina, Hermann le dijo al amigo en el pasillo, una manana despues de la clase de Latin.Sientate, Pele, Fraile Gottmann le ordeno cuando el nino entro a la oficina. Puedo decirte Pele?Carajo, no. Me llamo Bendito. Quiero ser un franciscano y sere Fraile Bendito un dia. No soy Pele y jamas lo sere.Bendito estaba enojado. Los hechos de los dias anteriores lo habian afectado profundamente. El solo estaba reaccionando a la idolatria que se habia apoderado de todos, el futbol. Que pasa, hijo?. Debes tener orgullo de tu apodo. Cualquier uno de nosotros se sentiria honrado. Pele es nuestro genio.Pues yo no! Bendito dijo. Mire, Fraile, yo soy bueno en Literatura Inglesa, pero nadie me dice Shakespeare. Escribo buenos poemas tambien, pero usted jamas me ha dicho que soy Cruz e Sousa. Por que, por que no puedo ser Shakespeare, Cruz e Sousa, u otro escritor cualquiera? Por que un nino negro tiene que ser solo Pele? Pare de congelarme en este estereotipo racista suyo. Soy mas que apenas un jugador negro que juega bien al futbol. Yo no soy un buen estudiante, y un buen franciscano tambien? La reaccion de Bendito sorprendio al Fraile que se olvido porque habia llamado al nino. Calmate, hijo! Fraile Gottmann le dijo a Bendito. Recuerda la humildad de San Francisco! El siempre acepto sus sacrificios, todos, con humildad.Fraile Gottmann hizo una sena y Bendito salio de la oficina. En el pasillo algunos ninos lo aguardaban.Que es lo que el queria? Hermann le pregunto. No me lo dijo a mi. Solo tuvimos una aspera discusion, Bendito le explico. Cuidate! El hara algo.A la manana siguiente en la clase de Literatura Inglesa de Fraile Gottmann, paso lo que Hermann habia insinuado..Shakespeare, ven a buscar tu excelente prueba! El profesor dijo.Todos los alumnos se miraron, pero nadie se paro de su silla. Estaban curiosos preguntandose quien seria el Shakespeare entre ellos.Tu, Bendito, eres nuestro Shakespeare hoy, Fraile Gottmann le dijo al nino con ironia. Ven aca!Bendito obedecio, camino hacia el Fraile, tomo su prueba, y ya iba a volver a su silla.Aguarda, Shakespeare!Lo que el Fraile hizo entonces sorprendio a toda la clase. El cogio a Bendito con una mano y con la otra saco de un cajon una lata llena de talco blanco.Bendito, no tienes el color que debe tener un Shakespeare, pero voy a arreglar eso.El le echo el talco sobre la cabeza al alumno y se lo desparramo. El pelo negro de Bendito se hizo una sola ola blanca. Ahora tienes el color cierto, Shakespeare, el dijo. Sientate y no te olvides de la humildad de San Francisco!Fue humillante, pero Bendito refreno el llanto. Recordo las clases de Fraile Bruckermann a respecto del amor y la comprension franciscana. Shakespeare, sal de la clase y vete a la biblioteca! El fraile le ordeno. Estas prohibido de hablar con quien quiera que sea por tres dias.Bendito salio y todos podian jurar que vieron una aureola blanca revoloteando sobre la cabeza negra del nino.Bendito se vengo de la humillacion una semana despues, en la sesion mensual de cine
que Fraile Gottmann organizaba. Estaban viendo una pelicula de aventura y en el exacto momento en que Burt Lancaster besaba a Maureen OHara, una voz juvenil grito, fuerte y clara, en la oscuridad del salon: P-E-N-A-L. Todos se rieron nerviosamente, pero nadie podia decir quien se habia atrevido a pronunciar aquella herejia abominable. Avergonzado, Fraile Gottmann dejo el salon. Se les interrumpio la pelicula y se les prendio la luz. Los estudiantes se quedaron sentados. Querian saber lo que el Fraile iba a hacer.Dos dias pasaron y aun no habian punido a nadie cuando Bendito fue a la oficina de Fraile Gottmann. Creo que ud. sabe quien hizo aquello, Bendito le dijo al Fraile.Hizo que?Saboteo su sesion de cine.Si, lo se.Ahora, usted sabe que yo siempre contesto, Bendito le dijo al fraile y salio. En diciembre, se fue a pasar sus vacaciones con la familia, pero el sabia que el futuro de su sacerdocio estaba en las manos de Fraile Gottmann.