Whether through dramas – series developed in South Korea -, K-Pop (Korean pop) songs or even through Korean books, this movement has expressed the need to know ...
According to the organization, the event came from a desire to discuss something that is on the rise in our country, such as books translated from Korean to Portuguese, through a different perspective. “This is the first time that an academic event in Portuguese has focused on this topic. Whether through dramas – series developed in South Korea -, K-Pop (Korean pop) songs or even through Korean books, this movement has expressed the need to know cultures beyond Western languages, and to understand that eastern countries are not all the same.
Reading literature encourages students to be more prudent, more reflective than judgmental and to find moral and aesthetic aspects.
It stands to reason that a literary work is capable of rendering students more dynamic due to its cathartic effect on the readers. The political approach taken by the government to the PKI members in its attempt to preserve Pancasila will only create historical revenge and hostility as it does away with humanitarian values. The two tools serve to energise the storyline which in turn results in more dramatic messages to the readers. This is particularly true as Pancasila is the product of history as well. Good readers attempt to catch the idea and narrative structure of a story through their understanding of the plot. While the former believes that truth is buttressed by religious tenets, the latter ascribes it to the dictates of conscience.
The 'crookednesse' of Richard III's back was presented by Shakespeare as an expression of his villiany while Quasismodo embodied saintly unworldliness.
Marek, the small boy at the centre of the story is “disfigured by birth, his spine hinged forward so that his little shoulder blades stuck out from his back” (Moshfegh herself suffered from scoliosis as a child, spending three years between the ages of nine and 12 in a brace). Rather than an offensive caricature, this Richard was a bad man with a bad back, using his physical difference to his advantage because he knows that the world thinks he’s crooked. If the lesson of Richard III is that a crooked man must have a crooked heart (to rework the nursery rhyme), Hugo’s story is one of not judging on appearances. But he is trusting, courageous and loving, especially when it comes to the object of his affections, the beautiful Esmeralda. She determined that the skeleton in the car park belonged to a man between the ages of 30 and 34, whose spine had a pronounced curvature, and whose head showed signs of two lethal injuries consistent with battle trauma. On stage he is usually portrayed with crutches, and a hump created through padded shoulders, but we know now that the Bard’s description of an “envious mountain on [his] back” in Henry VI, Part 3 can probably be put down to artistic licence, or prejudice, or both.