I.E.P.

VIRGEN DE GUADALUPE NIVEL SECUNDARIA DE MENORES CICLO VII BIMESTRE IV

LITERATURA

Educamos con valores humanos A los estudiantes: Por ser la lectura uno de los vehculos ms eficaces de la cultura, leer obras literarias constituyen un testimonio de seres humanos que no slo nos proporciona el goce espiritual y entretenimiento, sino que implica otros beneficios : ampla el baga e cultural, enriquece el espritu , refina la sensibilidad humana y artstica, incrementa el l!"ico , me ora la ortografa, y desarrolla las capacidades de concentracin , ra#onamiento , refle"in, apreciacin$ Por eso se dice que %a %iteratura es una rica cantera de la cual podemos e"traer conocimientos valiosos para el ser humano en general y sobre el pasado y presente de la sociedad y cultura y que nos puede ayudar a solucionar nuestros problemas$ En la actualidad, nuestra Institucin Educativa quiere conocer la intencin del creador o artista de la obra literaria al lector y el lector sacar el m"imo provecho de valores que servir para actuar en nuestro conte"to social y a la ve# crear el hbito de la lectura A fin de familiari#ar la obra literaria con el estudiante, se ha programado fragmentos de lecturas de autores seleccionados &A'&( )E %A %iteratura espa*ola como +niversal, que presentan mensa es trascendentales en la vida humana desarrollndose en clase con una metodologa adecuada de la comprensin, creatividad y apreciacin crtica$ Por otro lado se refuer#a con un Plan ,clico de lecturas de ocho (bras al a*o, distribuy!ndose dos obras por -imestre Acad!mico, as mismo, recortes de peridicos de actualidad . editoriales, artculos, creaciones, historietas, noticias sociales/ , adaptndose al siguiente sistema metodolgico: A/ Anlisis comprensivo -/ 0dentificacin de las ideas principales y secundarias ,/ Anlisis le"icolgico y estilstico )/ (rtografa E/ 1edaccin 2/ ,apacidad de sntesis . res3menes/ 4/ Apreciacin crtica 5/ &ema para debate . Adaptado a la realidad/ P%A' ,6,%0,( A'+A% )E (-1A7 %0&E1A10A7 .8er 4rado/ -09E7&1E (bra literaria Autor El ,antar de 9o ,id: Annimo ;ida retirada: .</ ,oplas a la muerte de su Padre el 9aestre de .</ 2ray %uis de %en .=/ 7antiago )on 1odrigo 9anrique: .=/$ >orge 9anrique 0 Para anali#ar y recitar$ Platero y ?o: >uan 1amn >im!ne# &radiciones peruanas: 1icardo Palma 00 %a vida es sue*o: Pedro ,aldern de la -arca -odas de sangre: 2ederico 4arca %orca 000 1imas y %eyendas: 4ustavo Adolfo -!cquer >uventud en !"tasis .</ ,arlos ,uauth!moc 7nche# 0; ,1('(41A9A )E &1A-A>( )E %A7 (-1A7 )E% &E1,E1 -09E7&1E Autor (bra literaria ,ronograma de traba o 4ustavo Adolfo -!cquer 1imas y leyendas (ctubre ,arlos ,uauth!moc 7$ >uventud en !"tasis: .</ 'oviembre IMPORTANTE: a/ %as obras programadas de cada bimestre deben leerse en casa y en las horas de clase anali#ar y comentar de acuerdo a la metodologa planteada$ b/ El )ocente elaborar la ho a de prctica correspondiente para ser entregado al alumno$ c/ Al final de la obra literaria se har una evaluacin general$ d/ El &ema del debate, ser de actualidad$

se

Quien lee obras literarias vive, siente y

es!ierta "on un #un o nuevo

El Profesor$

C CO ON NT TE EN NIID DO OS S
IV BIMESTE p$ GUA < @ << DE APRENDIZAJE GUA DE APRENDIZAJE VII -UNIDAD $ DEL %& DE OCTUBRE AL %' DE DICIEMBRE ()**'

35 35

%ectura$ %iteratura Espa*ola$@ >uan 1amn >im!ne#$ El 9odernismo y la 4eneracin del AB$ 9iguel de +namuno@ (bra literario$ Autoevaluacin$

GUA DE APRENDIZAJE GUA DE APRENDIZAJE p$ <= @ =A

VII -UNIDAD

43 43

El ;anguardismo$@2ederico 4arca %orca$ (bra literaria$ 1afael Alberti$ (bra po!tica$ ,amilo >os! ,ela$ (bra narrativa$

GUA DE APRENDIZAJE GUA DE APRENDIZAJE VIII -UNIDAD

54 54

Ernest 5emingCay 9iller$@(bra narrativa$ El vie o y el mar: El &eatro ,ontemporneo$@ -ertolt -rech $ (bra teatral$ Autoevaluacin$

+U,A DE A-RENDI.A/E N0 %&

5ta unidad TEMA: Voces creativas espaolas. CONTEN !O :

1975-2008

%ectura$ %iteratura Espa*ola$@ >uan 1amn >im!ne#$ El 9odernismo y la 4eneracin del AB$ 9iguel de +namuno@ (bra literario$ Autoevaluacin$

MOTIVACIN %E,&+1A AMOR 'o has muerto, no$ 1enaces, ,omo las rosas, en cada primavera$ ,mo la vida tienes &us ho as secasD &ienes tu nieve, como %a vida$$$ 9as tu tierra, Amor, est sembrada )e profundas promesas, Eue han de cumplirse aun en el mismo (lvido FEn vano es que no quierasG %a brisa dulce, torna un da al almaD +na noche de estrellas ba as, amorD a los sentidos, ,astos como la ve# primera FPues eres puro, eres eternoG A tu presencia, vuelven por el a#ul, en blanco bando, tiernas palomas que cremos muertas , $$$ Abres la sola flor con nuevas ho as$$$ )oras la inmortal lu# con lenguas nuevas$$$ FEres eterno , amor, como la primavera G$

HA qui!n pertenece este poemaI : JJJJJJJJJJJJJJJJ,orriente %iteraria: JJJJJJJJJ H,ul es el tema del poema amorI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ E"trae dos comparaciones que ms te ha agradado JJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ HPor qu! I $JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ DESARRO O HEu! es el modernismoI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ HEu! caractersticas presentaI JJJJJJJJJJJJJJJJJ$$$$$$$JJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJ JJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJ JJJJJ JJJJJJJJJJJJJJJJJJJ$JJJJJJ

1epresentantes : JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ HEu! se entiende por 4eneracin del ABI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ ,aractersticas: JJJJJJJJJJJJJJJJJJ$$$JJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJ 1epresentantes :
E MODERNISMO 9 A :ENERACIN DE %#

$Primer movimiento literario que naci en 5ispanoam!rica$$Primera e"presin literaria de originalidad e independencia -UAN RAMN -IM7NE8 respecto a los modelos europeos$ E( Anda(u) Universa(* 1epresent una ,16&0,A A% 1(9A'&0,079( ? A% 1EA%079($ $ 7us caractersticas son: a/ Preocupacin por la forma e"presiva$ b/ Es rtmica y musical$ !" ##" $ " %&#' c/ Predomina la elegancia, e"quisite# y el E( anda(u) universa(* refinamiento$ d/ E"teriori#a el sentido sensual y 'aci en Andaluca en < BB<$ Estudi en un colegio esuita sensitivo$ e/ 5ay alusin metafrica$ de 7evilla y en < A<K escribi )iario de un poeta reci!n f/ &emtica novedosa y e"tica$ casado:$ -uscaba el aislamiento y la soledad$ 1epresentantes : >os! 9art .cubano/, %a guerra civil espa*ola lo oblig a emigrar a Am!rica$ En 1ub!n )aro .nicaragPense / , Amado <ALM, se consagra internacionalmente al obtener el 'ervo . 9!"ico/, %eopoldo %ugones Premio 'obel$ . Argentina/, >os! 7antos ,hocano En <A<M, se casa con Nenobia ,amprub . traductora de . Per3/ $ 1abrindanat &agore/ 9uri en <ALB en Puerto 1ico$ 7us restos fueron :ENERACIN DE %# trasladados a Espa*a e inhumados en Palos de 9oguer$ E( M/dernis4/ , estuvo representado en 7u creacin m"ima es OPlatero y yoO, hermosa prosa Espa*a por la 4eneracin del AB$ 9ovimiento de artistas e intelectuales que po!tica .< A<M/$ En esta obra nos presenta hechos y afrontaron una !poca crucial: Espa*a an!cdotas ocurridas a !l y su borriquillo, teniendo como haba perdido sus 3ltimas colonias fondo la vida de su pueblo$ %a ternura y melancola que . ,uba@2ilipinas/ y haba sido derrotado fluye en su Platero, nos va conmoviendo hasta la en las Antillas por EE$++$ identificacin humana $ Caracter1sticas : a/ Acentuado espritu crtico y renovador$ (tras producciones son: +Eternidades+, +-ardines b/ 0ntenso amor a la patria e (e.an/s+, + E(e01as 2uras+, +3a(adas de 2ri4avera+, identificacin con la ra#a$ +Me(anc/(1a+, +S/net/s es2iritua(es+, A(4as de c/ 0nquietud por el pasado histrico y el vi/(eta* Diari/ de un 2/eta reci5n casad/*, porvenir que debe edificarse$ E(e01as inter4edias*, Est1/*, Es2a6/(es de tres d/ 7u pensamiento se nutre de filsofos alemanes$ Re2resentantes: @ 9iguel de +namuno$ @ Antonio 9achado @ >uan 1amn >im!ne#

4und/s*, Nu;es*, Ri4as*, 3e((e)a*, E( M/dernis4/*,*Piedra < cie(/*,*2/(1tica 2/5tica*= %a obra de >uan 1amn >im!ne# ha e ercido gran influencia sobre la poesa espa*ola contempornea$ 0nfluy notoriamente en escritores como Pedro 7alinas, 4arca %orca y 1afael Alberti$ Predominan los valores musicales, el colorido y el sentimiento nostlgico$

%E,&+1A: -UE:OS DE ANOC>ECER* ,uando, en el crep3sculo del pueblo, Platero y yo entramos, ateridos, por la oscuridad morada de la calle a miserable que da al ro seco, los ni*os pobres uegan a asustarse,

fingi!ndose mendigos$ +no se echa un saco a la cabe#a, otro dice que no ve, otro se hace el co o, $$$ )espu!s, en ese brusco cambiar de la infancia, como llevan unos #apatos y un vestido, y como sus madres, ellas sabrn cmo, les han dado algo de comer, se creen unos prncipes$ @9i pare ti! un rel e plata$ @ ? er mo un cabayo$ @? er mo , una e copeta$ 1elo que levantar a la madrugada, escopeta que no matar el hambre, caballo que llevar a la miseria$$$

El corro, luego$ Entre tanta negrura, una vi*a forastera, que habla de otro modo, la sobrina del P aro ;erde, con vo# d!bil, hilo de cristal acuoso en la sombra, canta entonadamente, cual una princesa$ ?o soy laaaa viudita )el ,onde de (r!eee$$$ F $$$s, sG F,antad, so*ad, ni*os pobresG Pronto, al amanecer vuestra adolescencia, la primavera os asustar , como un mendigo, enmascarada de invierno $ Q ;amos Platero$$$ ACTIVIDAD <$@Escribe el antnimo de cada palabra : casto :JJJJJJJJJJJ plcido : JJJJJJJJJJ aterido :JJJJJJJJJ corro : JJJJ$$ nostalgia : JJJJJJJJJ fingir : JJJJJJJJJJJ miseria : JJJJJJJJJ acuoso : JJJ$$ =$@0nterpreta y comenta la siguiente e"presin e"trada de >uegos del anochecer: $ 1elo que levantar a la madrugada , escopeta que no matar el hambre, caballo que llevar a la miseria$$$: : JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ 8$@ 7e*ala caractersticas y estilo de la poesa y prosa de >uan 1amn >im!ne#$ ,ita prrafos para demostrar$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

PLATERO Y YO
Autor: JJJJJJJJJJJJ JJJJJJJJJ A*o de Publicacin: JJJJJJJJJJJJJ ,orriente literaria: JJJJJJJJJJJJJJJJJJJJ Rpoca literaria: JJJJJJJJJJJJJJJJJJJJJJ

Persona es: JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ$$ 4!nero %iterario: JJJJJJJJJJJJJJJ HPor qu! es una prosa po!ticaI JJJJJJJJJJJJJJ A14+9E'&(: JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ COMPRO3ACIN= %ee detenidamente en silencio el poema en prosa: ?@N:E US? 9ira, Platero ,que de rosas caen por todas partes: rosas a#ules, rosa blancas, sin color $$$ $ )irase que el cielo se deshace en rosas$ 9ira cmo se me llenan de rosas la frente, los hombros, las manos , $$$ Hqu! har! yo con tantas rosasI$ H7abes t3, qui#s, de dnde es esta blanda flora, que yo no s! de dnde es, que enternece, cada da, el paisa e y lo de a dulcemente rosado, blanco y celeste Q ms rosas, ms rosas @ , como un cuadro de 2ray Ang!lico, el que pintaba la gloria de rodillaI )e las siete galeras del paraso, se creyera que tiran rosas a la tierra$ ,ual en una nevada tibia y colorida, se quedaban las rosas en la torre, en el te ado, en los rboles$ 9ira: &odo lo fuerte se hace, con su adorno, delicado$ 9ira rosa, ms rosas, ms rosas, $$$ Parece, Platero, mientras suena el Sngelus, que esta vida nuestra pierde su fuer#a cotidiana, y que queda otra fuer#a adentro, ms altiva, ms constante y ms pura ,hace que todo, como en surtidores de gracia, suba alas estrellas, que se enciendan ya entre las rosas$$$ 9s rosas$$$ &us o os, que t3 no lo ves , Platero, y que al#as mansamente al cielo, con dos bellas rosas$

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Cancin de Inviern/: @HEu! temporada del a*o esI : JJJJJJJJJJJJJJJJ @Entonces H,mo es el medio ambienteI$$$$$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJ$$$$$$$$$$$$$$$$$$$ H%os p aros cantan en primavera o en inviernoI JJJJJJJJJJJJJJJ @ H1ealmente estn cantando o slo ocurre en la imaginacin del poetaI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ @E( 2/e4a H,mo es la rosaI HEs bellaI $$$$$$$$$$ si una obra es acabada, hermosa, HPodemos tocarla, cambiarla, manipularlaI $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$HEu! sugiere el poetaI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

MIGUEL DE UNAMUNO
!" #AB $ " %CA' 9iguel de +namuno y >ugo naci en -ilbao en < BMU$ 7us estudios de 2ilosofa y %etras lo dotaron de un gran conocimiento humanstico y cultural$ 7e dedic a la ense*an#a en la +niversidad de 7alamanca y lleg a ser 1ector en < AV<$ &rece a*os despu!s es destituido del cargo por sus ideas polticas contrarias a la monarqua$ 2ue un crtico severo de la dictadura de Primo de 1ivera, por lo cual fue desterrado en <A=U a 2uerteventura .islas ,anarias/$ &iempo despu!s se traslad a 2rancia$ ,uando en < A8<, triunfa el sistema republicano, vuelve al 1ectorado$ All permanece hasta la guerra civil espa*ola .<A8M/$ +namuno lucha al lado de su pueblo$ 5ace famoso su grito OF;iva la vidaGO, que lo difundi para contrarrestar al OF;iva la muerteGO, lema de los partidarios del dictador 2ranco$ En < A8M, muri en 7alamanca$ ,ultiv el ensayo, la novela, la poesa, el periodismo y el drama$ )estac ms en el ensayo, a trav!s del cual aport mucho al pensamiento espa*ol contemporneo$ +no de los temas que trata es el de la ra#n y la fe$ Entre sus principales obras tenemos: a/ ENSA9OS=-+)el sentimiento trgico de la vidaO, O%a agona del cristianismoO, O%a vida de )on Eui ote y 7anchoO, OAdentroO En torno al casticismo:, Por tierras de Portugal y Espa*a:$ b/ NOVE AS$@ OPa# en la guerraO, OAmor y PedagogaO, OEl espe o de la muerteO, O'ieblaO, %a ta &ula:, Abel 7nche# c/ POESDAS=@ OPoesasO, O1osario de sonetos lricosO, OEl ,risto de ;elsque#O, O,ancioneroO 1ecuerdos de ni*e# y mocedad:, &eresa:, Andan#as y visiones espa*olas: 2edra:$ ectura AN@ ISIS 9 COMPRO3ACIN ?ADENTROE N/ te creas 4Fs, ni 4en/s, ni i0ua( Gue /tr/ cua(Guiera que no somos los hombres cantidades$ ,ada cual es 3nico e insustituibleD en serlo a conciencia, pon tu principal empe*o$$$ 'o te importe el n3mero de los que te rodeen, que todo verdadero beneficio que hagas a un solo hombre, a todos se lo hacesD se lo haces al 5ombre$ 4anar tu eficacia en intensidad lo que en e"tensin pierda$ as ;uenas /;ras .a4Fs descansanH 2asan de un/s es21ritus a /tr/s, reposando un momento en cada uno de ellos, para restaurarse y recobrar sus fuer#as$ Aspira a recibir de la sociedad todo, sin encadenarte a ella y a darte a ella por entero$ Pero ahora, por lo pronto al menos, te lo repito, sal de ese cotarro y busca a la naturale#a, que tambi!n es sociedad tanto como lo es la sociedad 'aturale#a$ &3 mismo, en ti mismo, eres sociedad, como que, de serlo cada uno, brota la que as llamamos y que encamina a personali#arse, porque nadie da lo que no tiene$ 'o quieras influir sobre el ambiente ni eso que llaman se*alar rumbos a la sociedad$ %as necesidades de cada uno son las ms universales, porque son las de todos$ ,oge a cada uno, si puedes, por separado, y

a solas en su camarn, e inqui!talo por dentro, porque quien no conoci la inquietud ams conocer el descanso$ 7! confesor ms que predicador$ ,omuncate con el alma de cada uno y no con la colectividad$ S5 seri/= (eva seriedad, s/(e4ne seriedad a tu vida , aunque te digan los paganos que eso es ensombrecerla, que la haces sombra y deprimente$ &oma la vida en serio sin de arte emborrachar por ellaD s! su due*o y no su esclavo, porque tu vida pasa y t3 quedars$ ? no hagas caso a los paganos que te digan que t3 pasas y la vida queda$$$ (tra ve# ms: ahora corre al campo, y vuelve luego a sociedad para vivir en ellaD pero de ella despegado, desmundani#ado$ E( Gue Iu<e de( 4und/ si0ue de( 4und/ esc(av/ , porque lo lleva en sD s! due*o de !l, 3nico modo de comulgar con tus hermanos en humanidad$ Vive c/n (/s de4Fs, sin sin0u(ari)arte, porque toda singulari#acin e"terior, en ve# de preservarla, ahoga a la interna$ ;ive como todos, siente como t3 mismo, y as comulgarn todos contigo$ 5a# lo que todos hagan, poniendo al hacerlo todo tu espritu en ello, y ser cuanto hagas original, por muy com3n que sea$ S(/ en (a s/ciedad te enc/ntrarFs a ti 4is4/H si te ais(as de e((a n/ darFs 4Fs Gue c/n un Jantas4a de tu verdader/ su.et/ 2r/2i/= 7lo en la sociedad adquieres sentido, pero despegado de ella, nada$ 9e dices en tu carta que si hasta ahora ha sido tu divisa FadelanteG, de hoy en ms ser FarribaG )e a eso de adelante y atrs, arriba y aba o, a progresistas y retrgrados, ascendentes y descendentes, que se mueven en el espacio e"terior tan slo, y busca el otro, tu mbito interior, el ideal, el de tu alma, 2orce ea por meter en ella al universo entero, que es la me or manera de derramarte en !l$ En ve# de decir, pues, FadelanteG, o FarribaG, di: ?adentr/E Rec/nc5ntrate 2ara irradiar , de a llenarte para que rebases luego, conservando el manantial$ 1ecgete en ti mismo para me or darte a los dems todo entero e indiviso$ O)oy cuanto tengoO, dice el generosoD doy cuanto valgo, dice el santoD di t3 tambi!n con !l, y al darte: +D/< c/n4i0/ e( univers/ enter/+ $ Para ello tienes que hacerte universo, buscndolo dentro de ti$ FAdentroG VOCA3U ARIO, AN@ ISIS 9 COMENTARIO </ HEu! significa la 4eneracin del AB para Espa*aI =/ Escribe un sinnimo de cada palabra: cotarro W JJJJJJJJJJJJJJ$ retrgrado W JJJJJJJJJJJJJJ$ l3gubre W JJJJJJJJJJJJJJ$ pagano W JJJJJJJJJJJJJJ$ coetneo W JJJJJJJJJJJJJJ$ deprimir W JJJJJJJJJJJJJJ$ 8/ 0nterpreta las siguientes e"presiones: Eui!n no conoci la inquietud ams conocer el descanso:$ JJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJ El que huye del mundo sigue del mundo esclavo:$ JJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJ Jtienes que hacerte universo, buscndolo dentro de ti:$ JJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJ %as buenas obras ams descansanD pasan de unos espritus a otros:$ JJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJ$$ Jtu vida pasa y t3 quedars:$ JJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJ U/ 7e*ala tres ideas principales del fragmento ledo$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ L/ &ranscribe el prrafo que ms te ha impresionado$ ,om!ntalo$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ ,(9E'&A10(: JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJ$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJ AUTOEVA UACIN: <$@El 9odernismo reacciona contra el : a/ 7imbolismo, 1ealismo$ b/ 1omanticismo y 1ealismo

c/ %a %iteratura ,lsica$ d/ El 'eoclasicismo$ e/ El E"istencialismo$ =$@H,mo reaccionan los representantes de la 4eneracin del AB ante la situacin de Espa*aI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJ 8$@,reador del 9odernismo: a/ >uan 1amn >im!ne#$ b/ Antonio 9achado c/ 1ub!n )aro d/ 7hopenahuer e/ Po -aro a$ U$@7on obras de >uan 1amn >im!ne#$ a/ b/ c/ d/ e/ %os adelfos: >uan de ma*ana: 'iebla: El ,risto de ;elsque#: Adentro: Poesas: 9elancola: 7onetos espirituales: Pa# en la guerra: El espe o de la muerte:

<V$@Escribe correctamente las palabras: @ ,oncenso : JJJJJJJJJJJJJJJJJJJJJJ @ bervigracia :JJJJJJJJJJJJJJJJJJJJJ @ posesivo: JJJJJJJJJJJJJJJJJJJJJJJ @ ec#ehomo : JJJJJJJJJJJJJJJJJJJJJ @ #al#ero : JJJJJJJJJJJJJJJJJJ JJ @pre@universitario: JJJJJJJJJJJJJJJJJJ <<$@7on representantes de la 4eneracin del AB : JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJ

L$@ H)e qu! trata Platero y yo:I JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ M$@HPor qu! le llaman a >$ 1$ >im!ne# El andalu# universal:I JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJ$J K$@HEu! obra no escribi 9iguel de +namunoI a/ %a agona del cristianismo: b/ 1osario de 7onetos lricos: c/ ,ancionero: d/ Eternidades: e/ Amor y Pedagoga: B$@HEu! significa la e"presin : &oma la vida en serio sin de arte emborrachar por ella:I JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJ$$$ A$@HEu! diferencia creativa presentan >1$ >im!ne# y 9iguel de +namunoI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJ$J

<$@0nsprate y construye un poema donde muestres las emociones y sentimientos de tu vida : JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJ =$@Escribe$ Piensa y refle"iona $ HEu! es la sociedad dnde vivesI HEu! encuentras en ellaI H,mo desearas vivir en tu sociedadI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ P1S,&0,A ,A%020,A)A 'X V<$ <$@'o es representante de la Ygeneracin del AB : a/ >os! 9art b/ Antonio 9achado c/ >uan 1amn >im!ne# d/ 1amn ;alle 0ncln e/ 9iguel de +namuno$ =$@ El 9odernismo representa una crtica al : a/ realismo T 'eoclasicismo b/ 1omanticismo T 1ealismo c/ ,lasicismo T ,ostumbrismo d/ 7imbolismo T 1ealismo e/ &odas$ 8$@ 7on representantes del 9odernismo : a/ Antonio 9achado@ ;alle 0ncln b/ %eopoldo %ugones T 9iguel de +namuno c/ Amado 'ervo @ >os! santos ,hocano d/ PZo -aro a @ >uan 1amn >im!ne# e/ '$A,$ U$@ 0nterpreta el poema de >uan 1amn >im!ne# : F 'o la toques ya ms ,[ que as es la rosaG: JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ L$@H Por qu! la obra Platero y yo: de >uan 1amn >im!ne# , es una prosa po!ticaI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ M$@ 7on novelas escrita por 9iguel +namuno : a/ El ,risto de ;elsque# b/ &eresa Amor y Pedagoga d/ El espe o de la muerte e/ c y d son ciertos $ de c/

,rZtico , ensayista, novelista espa*ol, 7e dedic a la ense*an#a, lleg a ser 1ector de la +niversidad de 7alamanca y fue destituido del cargo por sus ideas opuestas a la monarqua $ 5a ce famoso su grito:;iva la vida: $ +no de los temas que trata es la ra#n y la fe $ a/ 9iguel de ,ervantes 7aavedra b/ &irso de 9olina c/ >uan ramn >Aim!ne# d/ 2ederico 4arca %orca e/ 9iguel de +namuno$ <V$@ +na de ellas no es ensayo de +namuno : a/ %a vida de don Eui ote y 7ancho: b/:)el sentimiento trgico de la vida:$ c/:2edra: d/ Por tierras de Portugal y Espa*a: $ e/ Adentro:$ <<$@H En cul de las obras don >$1amn >im!ne# tiene como fondo el pueblo de 9oguer y sus an!cdotas con un borriquilloI a/ Espa*oles de tres mundos:$ -/ -aladas de primavera:$ ,/ >ardines le anos: d/ Platero y yo: e/ Eternidades: <=$@ 'o es caracterstica de la generacin del AB : a/ 5ay alusin metafrica b/ Espritu crtico y renovador c/ El pasado debe edificarse d/ 0ntenso amor a la patria e/ Pensamiento de filsofos alemanes$

K$@ 0nterpreta las frases de 9iguel de +namuno en su obra Adentro:$ a/:'o te creas ni ms, ni menos, ni igual que otro cualquiera: JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

b/:;ive con los dems, sin singulari#arte:$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ B$@ Escribe correctamente las palabras: a/ crucifi"in:JJJJJJb/adeherencia: JJJJJ c/ occiso: JJJJJJd/ vivir: JJJJJJJ$$JJ A$@FEui!n es el biografiadoI

KEC>A DE REVISIN KIRMA PROKESOR KIRMA PADRE KAMI IA DE

===== L========L MNN#

O3SERVACIONES JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

DE DE

+U,A DE A-RENDI.A/E N0 %1
7ma unidad TEMA :"a l#rica $ la %arrativa Co%te&por)%eo CONTEN !O : e% el &'%(o

1975- 2008

El ;anguardismo$@2ederico 4arca %orca$ (bra literaria$ 1afael Alberti$ Autoevaluacin$ (bra po!tica$ ,amilo >os! ,ela$ (bra narrativa$

MOTIVACIN HEu! es el teatroIJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ$$$$$$$$$$$$$$$$$JJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ H)ebido a qu! circunstancias surgeI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ En nuestra cultura$ H,undo apareci el teatroI Hdebido a qu! hechosIJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ HEn qu! radica el humanismo del teatroI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ H&e ense*an o dan mensa es las representaciones teatralesI JJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

KEDERICO :ARCDA ORCA 7e denomina as , a un con unto de poetas KEDERICO :ARCDA ORCA cuya obra empie#a a conocerse ese a*o hasta alcan#ar su consagracin antes de <A8M$ !" #%# $ " %CA' 7e caracteri#a por: $1ebelda e inconformidad 'aci en 4ranada .Espa*a/ en < BAB$ Estudi )erecho, $hay influencia del vanguardismo 2ilosofa y %etras en la +niversidad de 4ranada$ )esde $5ay una vocacin de cambio$ <A<B, vivi los inviernos en 9adrid, en la residencia de $5ace una poesa surrealista, despu!s con estudiantes, donde animaba el ambiente literario con %uis temas folclrico con lengua e bello y culto$ -u*uel, 7alvador )al, 1afael Alberti y otros$ $%os grandes temas son: el amor, la usticia, el destino humano, la muerte y a En < A8=, a poco tiempo de instalada la 1ep3blica, funda la veces, la pasin poltica y la emocin compa*a teatral universitaria O%a -arracaO, con la cual religiosa$ Re2resentantes: difunde el teatro clsico y moderno por los diversos pueblos $ 2ederico 4arca %orca$ de Espa*a$ $ Pedro 7alinas$ $ 4erardo )iego $ Es detenido por los franquistas .contrarios al sistema $ >orge 4uill!n$ republicano/ y fusilado en 4ranada, el <A de agosto de < $ 1afael Alberti $ ;icente Ale"andre $ )maso Alonso $ %uis ,ernuda y $ 9iguel 5ernnde#

GRUPO POTICO DEL 27

A8M$ As se convirti, a los 8B a*os, en un mrtir de la 4uerra ,ivil Espa*ola$ 4arca %orca es el poeta de la imagen fresca y original, del verso musical y lleno de luces interiores que brota con graciosa espontaneidad de su cora#n$ &ambi!n destac en teatro$

Sus 2rinci2a(es /;ras s/nH

POESOAS=- O1omancero gitanoO, OPoema del cante ondoO, OPrimeras cancionesO Poeta de 'ueva ?or\:, %ibro de poemas: , 0mpresiones y paisa es: $ TEATRO=@O9ariana PinedaO, O-odas de sangreO, O?ermaO, O%a casa de -ernarda AlbaO %a #apatera prodigiosa:, )o*a 1osita la soltera:, ,on sus obras teatrales, 4arca %orca reivindica el aut!ntico sentido del drama$ 1ecrea un estilo e"presado en una temtica com3n al hombre, con dilogos animados y amenos$ 3ODAS DE SAN:RE Ar0u4ent/$ Este drama nos muestra una situacin intensa de pasiones y sentimientos e"acerbados en una boda afectada por a*oran#as del pasado$ 1esulta que %eonardo, antiguo amor de la novia, asiste invitado al matrimonio, El reencuentro conmueve a ambos y deciden huir a caballo$ %a ausencia de la novia motiva sorpresa y angustia entre los familiares$ ,uando se percatan de la fuga, el novio emprende tena# persecucin hasta alcan#arlos$ En el enfrentamiento, los dos rivales pierden la vida$ %a novia retorna y se encara con la suegra$ %os reproches y pesares llenan la escena final$ ACTIVIDAD Act/ Se0und/: Cuadr/ II= .%a accin transcurre en plena boda$ %a novia e"teriori#a su malestar, el novio se muestra inquieto y %eonardo est al acecho/$ %lega el novio y muy despacio abra#a a la novia por detrs$ 'ovia$ 'ovio$ 'ovia$ 'ovio$ .,on gran sobresalto$/ FEuitaG H&e asustas de mI FAyG HEras t3I HEui!n iba a serI .Pausa$/ &u padre o yo$ carrera$ .7e va la mu er inquieta$ 7ale la criada$/ ,riada$ H'o andis satisfechos de tanto saludoI 'ovio$ ?a estoy deseando que esto acabe$ %a novia est un poco cansada$ ,riada$ HEu! es eso, ni*aI 'ovia$ F&engo como un golpe en las sienesG ,riada: +na novia de estos montes debe ser fuerte$ .Al novio$/ &3 eres el 3nico que la puede curar, porque tuya es$ .7ale corriendo$/ 'ovio$ .Abra#ndola$/ ;amos un rato al baile$ .%a besa$/ 'ovia$ .Angustiada$/ 'o$ Euisiera echarme en la cama un rato$ 'ovio$ ?o te har! compa*a$ 'ovia$ F'uncaG H,on toda la gente aquI HEu! diranI )! ame sosegar un momento$ 'ovio$ F%o que quierasG FPero no est!s as por la nocheG 'ovia$ .En la puerta$/A la noche estar! me or, 'ovio$ FEu! es lo que yo quieroG .Aparece la madre$/ .Al rato de haber ingresado la madre del novio, aparece el padre de la novia$/

'ovia$ FEs verdadG 'ovio$ Ahora que tu padre te hubiera abra#ado ms blando$ 'ovia$ .7ombra$/ F,laroG 'ovio$ Porque es vie o$ .%a abra#a fuerte@ mente de un modo un poco brusco$/ 'ovia$ .7eca$/ F)! ameG 'ovio$ HPor qu!I .%a de a$/ 'ovia$ Pues$$$ la gente$ Pueden vernos$ .;uelve a cru#ar al fondo la criada, que no mira a los novios$/ 'ovio$ H? qu!I ya es sagrado$ 'ovia$ 7, pero d! ame$$$ %uego$ 'ovio$ HEu! tienesI FEsts como asustadaG 'ovia$ 'o tengo nada$ 'o te vayas$ .7ale la mu er de %eonardo$/ 9u er$ 'o quiero interrumpir$$$ 'ovio$ )ime$ 9u er$ HPas por aqu mi maridoI 'ovio$ 'o$ 9u er$ Es que no lo encuentro, y el caballo no est tampoco en el establo$ 'ovio$ .Alegre$/ )ebe estar dndole una

Padre$ .Entrando$/ H? mi hi aI 'ovio$ Est dentro$ 9uchacha < $F;engan los novios, que vamos a bailar la ruedaG 9o#o <$ .Al novio$/ &3 la vas a dirigir$ Padre$ .7aliendo$/ FAqu no estG 'ovio$ H'oI Padre$ )ebe haber salido a la baranda$ 'ovio$ F;oy a verG .Entra$ 7e oye alga#ara y guitarras$/ 9uchacha <$ F?a han empe#adoG .7ale$/ 'ovio$ .7aliendo$/ 'o est$ 9adre$ .0nquieta$/ H'oI Padre$ H? dnde pudo haber idoI ,riada$ .Entrando$/ H? la ni*a, dnde estI 9adre$ .7eria$/ 'o lo sabemos$ .7ale el novio, entran tres invitados$/ Padre$ .)ramtico$/ Pero H'o est en el baileI ,riada$ En el baile no est, Padre$ .,on arranque$/ 5ay mucha gente$ F9iradG ,riada$ F?a he miradoG Padre$ .&rgico$/ HPues dnde estI 'ovio$ .Entrando$/ 'ada$ En ning3n sitio$ 9adre$ .Al padre$/ HEu! es estoI H)nde est tu hi aI .Entra la mu er de %eonardo$/ 9u er$ F5an huidoG F5an huidoG Ella y %eonardo$ En el caballo$ F0ban abra#ados, como una e"halacinG Padre$ F'o es verdadG F9i hi a, noG 9adre$ F&u hi a, sG Planta de mala madre, y !l, tambi!n !l$ FPero ya es la mu er de mi hi oG 'ovio$ .Entrando$/ F;amos detrsG HEui!n tiene un caballoI 9adre$ HEui!n tiene un caballo ahora mismo, qui!n tiene un caballoI Eu! le dar! todo lo que tengo, mis o os y hasta mi lengua$$$ ;o#$ Aqu hay uno$ 9adre$ .Al hi o$/ FAndaG F)etrsG .7ale con dos mo#os$/ 'o$ 'o vayas$ Esa gente mata pronto y bien$$$ FPero s, corre, y yo detrsG Padre$ 'o ser ella$ Eui# se haya tirado al al ibe$ 9adre$ Al agua se tiran las honradas, las limpias$ FEsa, noG Pero ya es mu er de mi hi o$ )os bandos$ Aqu hay dos bandos$ .Entran todos$/ 9i familia y la tuya$ 7alid todos de aqu$ %impiarse el polvo de los #apatos$ ;amos a ayudar a mi hi o$ .%a gente se separa en dos grupos$/ Porque !l tiene genteD que son sus primos del mar y todos los que llegan de tierra adentro$ F2uera de aquG Por todos los caminos$ 5a llegado otra ve# la hora de la sangre$ )os bandos$ &3 con el tuyo y yo con el mo$ FAtrsG FAtrsG

KIN DE ACTO SE:UNDO ROMANCE SON@M3U O ;erde que te quiero verde$ ;erde viento, verde ramas$ El barco sobre la mar$ ? el caballo en la monta*a ,on la sombra en la cintura Ella sue*a en su baranda ;erde carne, pelo verde, ,on o os de fra plata$ ;erde que te quiero verde$ -a o la luna gitana, %as cosas la estn mirando ? ella no puede mirarlas$ ;erde que te quiero verde, 4randes estrellas de escarcha ;ienen con el pe# de sombra Eue abre el camino del alba$ %a higuera frota su viento ,on la li a de sus ramas ? el monte, gato gardu*o, Eri#a sus pitas agrias$ Pero HEui!n vendrI y HPor dndeI Ella sigue en su baranda, ;erde carne , pelo verde, so*ando en la mar amarga @,ompadre, quiero cambiar mi caballo por su casa, mi montura por su espe o, mi cuchillp por su manta$ ,ompadre, vengo sangrando, )esde los puertos de ,abra$ @7i yo pudiera mocito, este trato se cerraba$ Pero yo ya no soy yo 'i mi casa es mi casa$ @,ompadre quiero morir decentemente en mi cama$ )e acero, si puede ser, ,on las sbanas de 5olanda$ H'o ves la herida que tengo desde el pecho a la gargantaI @&rescientas rosas morenas lleva tu pechera blanca$ &u sangre re#uma y huele Alrededor de tu fa a$ Pero yo ya no soy yo 'i mi casa es ya mi casa$ @)e adme subir al menor hasta la altas barandasD F)e adme subirG )e adme hasta las verdes barandas barandales de la luna por donde retumba el agua$ ?a saben los dos compadres 5acia las altas barandas$ )e ando un rastro de sangre$ )e ando un rastro de lgrimas$ &emblando en los te ados 2arolillos de ho alata$ 9il panderos de cristal 5eran la madrugada$ ;erde que te quiero verde, ;erde viento, verde ramas, %os dos compadres subieron$ El largo viento de aba En la boca un raro gusto )e hiel, de menta y de albahaca @F,ompadreGH)nde est , dime dnde est tu ni*a amargaI @F,untas veces te esperG F,untas veces te esperar$ ,ara fresca, negro pelo, En esta verde barandaG $$$

COMPRO3ACIN AN@ ISIS 9 COMENTARIO </ H,ual es el tema y qu! persona es intervienen en O1omance sonmbuloOI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ @HEu! historia se narra en el poemaI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ =/ E"trae y e"plica algunas figuras literarias de la poesa mencionada$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ 8/ H,ul es el momento ms dramtico de la obra teatral O-odas de sangreOI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ U/ H,on qu! persona e te identificas msI E"plica tus ra#ones JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ L/ H,ul es el mensa e de la obraI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

RAKAE A 3ERTI
!" %NM $ " %%%' 'aci en ,di# .Espa*a/ en < AV=$ En mar#o de < A=V, con motivo de la muerte de su padre, escribi sus primeros versos$ As naci su pasin por la poesa$ 'o hi#o estudios en la +niversidad$ 2ue autodidacta$ En < A=U, gana el Premio 'acional de %iteratura con O9arinero en tierraO, su primer libro de poemas$ ;ive con intensidad el advenimiento de la 1ep3blica en < A8<$ Pocos a*os despu!s, la 4uerra ,ivil le causara gran dolor$ (bligado, inicia su e"ilio en < A8A por 0talia, 2rancia y Argentina$ En < AB8, le fue otorgado en Espa*a el distinguido Premio ,ervantes$ 7us temas son populares y estn inspirados en la tradicin espa*ola$ 7u estilo personalsimo revela una sensibilidad po!tica que sabe vincular el goce artstico con la condicin y emocin humanas$ 7u actividad pictrica le permiti enriquecer su poesa con elementos visuales y apasionada imaginacin$ Sus 2rinci2a(es 2/e4ari/s s/n: O9arinero en tierraO .< A=U/, %a amanteO .< A=L/, OEl alba del alhelO .< A=M/, O,al y cantoO .<A=K/, OPleamarO .<AUU/, OPoemas del destierro y de la esperaO .< AKK/$

ectura SI MI VO8 MURIERA EN TIERRA 7i mi vo# muriera en tierra %levadla al nivel del mar ? de adla en la rivera %levadla al nivel del mar ? nombradla capitana )e un blanco ba el de guerra$ con la insignia marinera: 7obre el cora#n un ancla ? sobre el ancla una estrella ? sobre la estrella el viento ? sobre el viento la velaG .)e 9arinero en tierra: /

F(h mi vo# condecorada

DEKENSA DE MADRID, DEKENSA DE CATA UPA= 9adrid, cora#n de Espa*a, late con pulsos de fiebre$ 7i ayer la sangre le herva, hoy con ms calor le hierve$ ?a nunca podr dormirse, porque si 9adrid se duerme, querr despertarse un da y el alba no vendr a verle$ 'o olvides, 9adrid, la guerraD ams olvides que enfrente los o os del enemigo te echa miradas de muerte$ 1ondan por tu cielo halcones que precipitarse quieren sobre tus ro os te ados, tus calles, tu brava gente$ 9adrid: que nunca se diga, nunca se publique o piense que en el cora#n de Espa*a la sangre se volvi nieve$ 2uentes de valor y hombra las guardas t3 donde siempre$ Atroces ros de asombro han de correr de esas fuentes$ Eue cada barrio a su hora, si esa mal hora viniere @hora que no vendr@, sea ms que la pla#a ms fuerte$ %os hombres, como castillosD igual que almenas, sus frentes, grandes murallas sus bra#os, puertas que nadie penetre$ Euien al cora#n de Espa*a quiera asomarse, que llegue$ FProntoG 9adrid est le os$ 9adrid sabe defenderse con u*as, con pies, con codos, con empu ones, con dientes, pan#a arriba, arisco, recto, duro, al pie del agua verde del &a o, en 'avalperal, en 7igPen#a, en donde suenen bolas y balas que busquen helar su sangre caliente$ 9adrid, cora#n de Espa*a, que es la tierra, dentro tiene, si se le escarba, un gran hoyo, profundo, grande, imponente, como un barranco que aguarda$$$ 7lo en !l cabe la muerte$ .)e OEl poeta en la calleO/$

ACTIVIDAD AN@ ISIS 9 COMENTARIO </ H)e qu! manera influye en la vida de 1afael Alberti la muerte de su padreI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ$$$$$$ =/ HEu! sentimientos s! e"presan en el poema O7i mi vo# muriera en tierraOI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ 8/ H,ul es la connotacin o mensa e del poema O)efensa de 9adrid, )efensa de ,atalu*aI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ U/ H,mo es la m!trica y la rima en las poesas antologa#asI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

CAMI O -OS7 CE A
Premio Nbel de Li er! "r! e# $%&% !" %"A - Q' 'aci en %a ,oru*a .Espa*a/ en < A<M$ Es periodista y novelista$ )esde muy oven se dedic a la %iteratura$ Actualmente, es uno de los escritores ms populares y discutidos de la posguerra franquista$ Es miembro de la 1eal Academia de la %engua, a partir de < ALK$ 7u produccin literaria se caracteri#a por su t!cnica sobria y simplicidad de estilo$ &iene predileccin por los aspectos crueles y morbosos de la vida$ Es crtico de las realidades y actitudes tradicionales de su pas, as como contrario a los tab3es de la sociedad de su tiempo$ Este tratamiento temtico es conocido como Oel tremendismoO en Espa*a$ 5a obtenido el Premio 'acional de %iteratura .<ABU/, Premio Prncipe de Asturias de las %etras .<ABK/, Premio 'obel de %iteratura .< ABA/$

Entre sus principales obras tenemos: O%a familia de Pascual )uarteO, OPabelln de reposoO, O;ia e a la AlcarriaO, O%a colmenaO, O%a catiraO, O(ficio de tinieblasO, O%a cru# de 7an Andr!sO .'ovela/D O9ara 7abinaO, OEl carro de henoO .&eatro/$

ectura A KAMI IA DE PASCUA DUARTE Ar0u4ent/$ Pascual )uarte relata su triste vida desde la crcel$ 7u relato es una sucesin de hechos graves y tristes que le ocurren: problemas por su hermana 1osario, muerte de sus hi os y otros hechos que agudi#an su dolor$ -usca tranquilidad via ando a otras ciudades y a su regreso se entera de la traicin de su esposa con su peor enemigo, al cual da muerte y es encarcelado$ Es liberado a los tres a*os y se vuelve a casar con la oven Esperan#a$ 7u madre recha#a esta relacin y le hace problemas$ El desamor y las maldades de su madre hacen que Pascual, en un arrebato de clera le d! muerte$ Por ello es encarcelado y luego e ecutado$ .Presentamos el pasa e en el cual Pascual y Esperan#a se comprometen amorosamente, gracias a la intervencin de 1osario$/ %a 1osario fue a verme en cuanto se enter de mi vuelta$ @Ayer supe que habas vuelto$ F'o sabes lo que me alegr!G F,mo me gustaba or sus palabrasG @7, lo s!, 1osarioD me lo figuro$ F?o tambi!n estaba deseando volverte a verG Pregunt!, por preguntar algo, al rato: @H,mo fue de marcharte otra ve#I @?a ves$ @H&an apurada andabasI

@-astante$ @H? no pudiste esperarI @'o quise$ Puso bronca la vo#$ @'o me dio la gana de pasar ms calamidades$$$ 9e lo e"plicabaD la pobre bastante haba pasado ya$ @'o hablemos de eso, Pascual$ %a 1osario se sonrea con su sonrisa de siempre, esa sonrisa triste y como abatida que tienen todos los desgraciados de buen fondo$ @Pasemos a otra cosa$$$ H7abes que te tengo buscada una noviaI @HA mI @7$ @H+na noviaI @7, hombre$ HPor qu!I H&e e"tra*aI @'o$$$ Parece raro$ HEui!n me ha de quererI @,ualquiera$ H( es que no te quiero yoI %a confesin de cari*o de mi hermana, aunque ya la saba, me agradabaD su preocupacin por buscarme novia, tambi!n$ F9ire usted que es ocurrenciaG @H? quien esI @%a sobrina de la se*ora Engracia$ @H%a Esperan#aI @7$ @F4uapa mo#aG @Eue te quiere desde antes de que te casases$ @F-ien callado se lo tenaG @Eu! quieres, Fcada una es como esG @H? t3, qu! le has dichoI @'adaD que alguna ve# habras de volver$ @? he vuelto$$$ @F4racias a )iosG %a novia que 1osario me tena preparada, en verdad era una hermosa mu er$ 'o era del tipo de %ola, sino ms bien al contrario, algo as como un t!rmino medio entre ella y la mu er del Est!ve#, incluso algo parecida en el tipo ]fi ndose bien] al de mi hermana$ Andara por los treinta o treinta y dos a*os$ Era muy religiosa y como dada a la mstica, cosa rara por aquellas tierras$ ;iva en el cerro con su ta, la se*ora Engracia, hermanastra de su difunto padre, por haberse quedado hu!rfana de ambas partes a3n muy tierna, y como era de natural consentidora y algo tmida, ams nadie pudiera decir que con nadie la hubiera visto u odo discutir, y mucho menos con su ta, a la que tena un gran respeto$ Era aseada como pocas, y cuando, al poco tiempo de entonces, lleg a ser mi mu er @mi segunda mu er@, tal orden hubo de implantar en mi casa que en multitud de detalles nadie la hubiera reconocido$ %a primera ve#, entonces, que me la ech! a la cara, la cosa no de de ser violenta para los dosD los dos sabamos lo que nos bamos a decir, los dos nos mirbamos a hurtadillas como para espiar los movimientos del otro$ Estbamos solos, pero era igualD solos llevbamos una hora y cada ve# era ms difcil empe#ar a hablar$ 2ue ella quien rompi el fuego: @;ienes ms gordo$ @Puede$$$ @? de semblante ms claro$ @Eso dicen$$$ ?o haca esfuer#os en mi interior por mostrarme amable y decidor, pero no lo conseguaD estaba como entontecido, como aplastado por un peso que me ahogaba, pero del que guardo recuerdo como una de las impresiones ms agradables de mi vida$ @H,mo es aquel terrenoI @9alo$

Ella estaba como pensativa$ FEui!n sabe lo que pensaraG @H&e acordaste mucho de %olaI @A veces$ HPor qu! mentirI ,omo estaba todo el da pensando, me acordaba de todos$ F5asta del Estirado, ya vesG %a Esperan#a estaba levemente plida$ @9e alegro de que hayas vuelto$ @7, Esperan#a, yo tambi!n me alegro de que me hayas esperado$ @H)e que te haya esperadoI @7D Ho es que no me esperabasI @HEui!n te lo di oI @F?a vesG F&odo se sabeG %e temblaba la vo# y su temblor no falt nada para que me lo contagiase$ @H2ue la 1osarioI @7$ HEu! ves de maloI @'ada$ %as lgrimas le asomaron a los o os$ @HEu! habrs pensado de mI @HEu! queras que pensaseI F'adaG 9e acerqu! lentamente y la bes! en las manos$ Ella se de aba besar$ @Estoy tan libre como t3, Esperan#a$

COMPRO3ACIN AN@ ISIS 9 COMENTARIO </ HEu! persona es intervienen en el fragmento ledoI HEu! vnculos hay entre ellosI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ =/ H,mo era la relacin entre los hermanos )uarteI 2undamenta tu opinin$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

8/ ,aracteri#a a Esperan#a$ HEu! opinas de ellaI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ U/ 7e*ala algunas caractersticas de estilo, basndote en la lectura$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ M/ HEu! opinin te merece la vida de Pascual )uarteI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ AUTOEVA UACIN= <$@HEui!nes pertenecen a la 4eneracin del =KI JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ =$@Por qu! se les ha dominado vanguardismo y qu! corrientes literarias aparecenI JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ 8$HEu! obra 4arca %orcaI no escribi 2ederico a/ ?erma: b/ %a casa -ernarda Alva: 'iebla: d/ ,al y canto: e/ 1omancero gitano: c/

U$@H,ul es el mensa e de -odas de sangreI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ$$$$$$$$$$$$$ $$$$$$$$JJJJJJJJJJJJJJJJJ L$@HEn cul de las oraciones va incluida la proposicin subordinadaI a/ 9i amigo toca la flauta y escribe a mquina$ b/ Abr la puerta sin embargo no entr$ c/ El televisor que compraste se malogr$ d/ )eseo ingresar pero no me alcan#a el dinero$ e/ &iene la vida comprada $

M$@1elaciona las obras con sus autores: <$@%a colmena: .$$$$$$/ 9iguel de +namuno =$@Pleamar: .JJ$ / ,amilo >os! ,ela 8$@9ariana Pineda:.JJ/ 1afael Alberti U$@El ,risto de ;elsque# .J/ 2ederico 4arca %$ K$@HEn cul de las oraciones hay (r$ 7ub$ sustantivaI a/ 1esult in3til que insistiera$ b/ Entr un hombre a quien desconocamos$ c/ &raba o en donde me necesiten$ d/ 'o lleg por que se enferm$ e/ ,uando quieres hermanito$ B$@Escribe en el par!ntesis Hqu! clase de oracin subordinada tiene cada oracinI a/ ;olver! cuando lo crea conveniente$ .JJJJJJJJJJJJJJJJJ$$$$$$$/ b/ El m!dico le recomendaba que se tranquili#ara$ .JJJJJJJJJJJJJJJJJ$$$$$$$/ c/ Proclamaron al equipo que campeon$ .JJJJJJJJJJJJJJJJJJJJ/ d/ El escenario despeda luces que deslumbraba$ .JJJJJJJJJJJJJJJJ$$$$$$$$$/ A$@HEui!n es el biografiadoI 'aci en ,di#$ En < A=U gana el premio 'acional de %iteratura con 9arinero en tierra:$7us temas son populares y estn inspirados en la tradicin espa*ola$ 7u actividad pictrica le permiti enriquecer su poesa con elementos visuales y apasionada imaginacin: a/ 2ederico 4arca %orca$ b/ 9iguel de +namuno$ c/ >uan 1amn >im!ne#$ d/ ,amilo >os! ,ela $ e/ '$A$ <V$@HEu! mensa e podramos e"traer de la lectura %a familia de Pascual )uarte:I JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJ

<<$@El protagonista de la novela %a metamorfosis a/ Pascual )uarte b/ %eonardo c/ 4regorio 7amsa$ d/ Platero e/ Pavel ;lsov$

es:

<=$@HEu! aconse aba el padre a su hi o Pascual para que estuviera en la escuelaI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJ <8$@H)nde hay oracin subordinada adverbialI a/ )i o buenas palabras para todos$ b/ )ormimos donde nos indicaste$ c/ )ebemos leer las obras que son notables$ d/ El libro que compr! tiene hermosos relatos$ e/ '$A$ <U$@H,ul es el e e central de la obra de 2$ ^af\aI a/ %a situacin crtica del hombre$ b/ %a preocupacin por lo absurdo de la vida y la situacin trgica del hombre$ c/ %a desgracia vivencial$ d/ %a falta de comprensin en la vida humana$ e/ El fin del hombre$ <L$@4anadpr del Premio 'bel de %iteratura en <ABA$ a/ 2ederico 4arca %orca$ b/ Ernest 5emingCay$ c/ ,amilo >os! ,ela d/ 1afael Alberti e/ 9iguel 5ernnde#$ <M$$@7ustituye el sustantivo en negrita, por una sub$ 7ustantiva$ a/ E"iga nuestra asistencia puntual JJJJJJJJJJJJJJJJJJJJJJJ b/ Ped mi tras(ad/ a la capital$ JJJJJJJJJJJJJJJJJJJJJJJ c/ ;io el cI/Gue de los dos autos$ JJJJJJJJJJJJJJJJJJJJJJJ

<K$@1empla#a la or$ 7ub$ 7ustantiva por un sustantivo$ a/ %e disgustaba que estuvi!ramos presente$ JJJJJJJJJJJJJJJJJJJJJJJ b / )eseaban Gue triunJaras$ JJJJJJJJJJJJJJJJJJJJJJJ c/ 7u conducta motiv Gue (/ eR2u(saran= JJJJJJJJJJJJJJJJJJJJJJJ <B$@7ustituye la or$ 7ub$ Ad etiva por un ad etivo$ a/ %os comerciantes que venden al por mayor, obtienen grandes beneficios$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

b/ Es una ni*a que llora mucho$ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJ c/ %as gallinas que ponen muchos huevos son ms lucrativas$ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJ$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJ <A$@7ustituye la or$ 7ubadverbial por un adverbio$ a/ 5a#lo como te pare#ca me or$ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJ$$ b/ ;olver! cuando lo crea conveniente$ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJ$$JJJ c/ ,omieron cuanto quisieron$ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJ$JJJ =V$@2ormando oraciones compuestas: a/ 5an llegado muchos turistas$ Ellos son europeos$ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJ$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ b/ %os amigos son pocos$ En ellos debemos confiar$ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJ c/ Por fin se gradu su sobrino$ Por !l hi#o muchos sacrificios$ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJ$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

ESTENSIN <$@Escribe un te"to narrativo con las siguientes palabras: 5(9-1E 70',E1(@ -(')A)@ 5E19A'( T 70E9P1E@ 7(70E4(@ E_&1A`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on tu creatividad y construye un dilogo donde los participantes den solucin un problema sobre un aspecto vivencial$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ P1S,&0,A ,A%020,A)A 'X V= <$@ ,ompleta : de la obra -odas de sangre: a/ Autor : JJJJJJJJJJJJJJJJJJJJJJJ b/ 4!nero %iterario : JJJJJJJJJJJJJJJJJ Especie : JJJJJJJJJJJJJJJJJJJJ$JJJ d/ ,orriente %iteraria : JJJJJJJJJJJJJJJ e/ Persona es : JJJJJJJJJJJJJJJJJJJJ f/ Apreciacin crtica : JJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ =$@7on caractersticas de la 4eneracin del =K : a/ Amor intenso a la Patria$ b/ 0nfluencia del vanguardismo c/ ;ocacin de cambio d/ &iene temas como el amor, usticia muerte, pasin$ e/ &odas menos a$ 8$@HEui!n es el biografiadoI 'aci en ,di# , 2ue autodidacta y gana el Premio 'acional de %iteratura con su poemario 9arinero en tierra: $ 7us temas son populares y estn inspirados en la tradicin espa*ola$ 7u actividad pictrica, le permiti embellecer su poesa:$ a/ 2ederico 4arca %orca b/ >uan 1amn >im!ne# c/ 4erardo )iego d/ ,amilo >os! cela e/ 1afael Alberti U$@ Escribe en el par!ntesis si la oracin es coordinada o subordinada$ a/ F ;ia as a Ecuador o te quedasI .JJJJJJJJJJJJ/ -/ regresar cuando quiera $ .JJJJJJJJJJJ/ c/ 9e esperas donde acordamos $ . JJJJJJJ/ d/ %o vend porque necesita el dinero$ . $JJJJJJJJJJ/ L$@ 0ndica que oracin es subordinada ad etiva$ a/ Ellos desean que t3 seas feli#$ compuesta

b/ %os ni*os que fueron seleccionados via aron$ c/ Enci!rralo donde yo te lo indiqu!$ d/ %a ropa que tra o tu ta es linda$ M$@ 4anador del Premio 'bel de %iteratura en <ABA $ a/ 9iguel de +namuno b/ Ernest hemingCay c/ >uan ramn >im!ne# d/ ,amilo >os! ,ela e/ 1afael Alberti$ K$@ 'o es obra de ,amilo >os! ,ela : a/ %a ,ru# de 7an Andr!s b/ Amor y Pedagoga c/ Eternidades d/ 7lo es cierto b y c e/ %a ,olmena$ B$@ relaciona la oracin compuesta subordinada : 0/ 7ustantiva 00/ Ad etiva 000/ Adverbial a/ ,uando llegue mi hermano, me avisas$ b/ Ella es la chica que lee mucho c/ %as personas que act3an con sinceridad, ganan mucho$ </ 0b,00a 000c =/ 00a , 0 b , 000 c 8/ 0 b , 00 c, 000 a U/ 7on ciertas = y 8 L/ 000a ,00b 0 c A$@ 7i mi vo# muriera tierra[ llevadla al nivel del mar[ ? de adla en la rivera [ llevadla al nivel del mar [ ? nombrarla capitana [ de un blanco ba el de guerra [ J a/ Autor de de los versos : JJJJJJJJJJJJ b/ 'ombre del poema : JJJJJJJJJJJJJJJ

<V$@ 7on representantes de la generacin del =K : a/ 4erardo )iego T 9iguel 5ernnde# b/ >orge 4uill!n T ;icente Alei"andre c/ )maso Alonso T %uis ,ernuda d/ 4arca %orca T Pedro salinas e/ &odos $ <<$@ F,ul de ellas es oracin compuesta subordinada adverbialI a/ %o que tu contaste es cierto$ b/ ,on el rosal que tena espinas me pinch!$ c/ )onde t3 quieras podemos conversar d/ El da de mi cumplea*os, vistame e/ El que ves los das ,semanas y meses tiene tu foto$

<=$@ 1elaciona, autor y obra : a/ El proceso . / >uan 1$ >im!ne# b/ %a catira . / 2$ 4arca %orca c/ Pleamar . / 2$ ^af\a d/ ?erma . / ,amilo >os! ,ela e/ Almas de violeta . / 1afael Alberti$

KEC>A DE REVISIN KIRMA DE PROKESOR

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O3SERVACIONES JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

KIRMA DE PADRE DE KAMI IA

+U,A DE A-RENDI.A/E N0 %2
8va unidad TEMA: "a creaci*% literaria p'e(e ca&+iar el &'%(o. CONTEN !O :

1975

- 2007

Ernest 5emingCay 9iller$@(bra narrativa$ El vie o y el mar: El &eatro ,ontemporneo$@ -ertolt -rech $ (bra teatral$ Autoevaluacin$

TEMA MOTIVADOR )ialogo con mis compa*eros obras literarias que leo$ ,onversacin acerca de la %iteratura ,ontempornea 7iglo __$ HEu! cambios se producenI $ HEu! eclosiones sociales aparecen en esta !pocaI JJJJJJJJJJJJJJJJJJJJJJJ$$JJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ $ HEui!nes son sus principales representantesI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ DESARRO O

ERNEST >EMIN:TA9 MI

ER

!" #%# $ " %A"' C/nsiderad/ c/4/ e( re2resentante de (a :eneracin 2erdida* 'ovelista norteamericano, nacido en < BAB$ 7u padre fue m!dico, quien se suicid en <A=A$ 2ue un hombre de carcter reacio, sin embargo imbuido de grandes conocimientos por su sistema didctico$ ;ivi su adolescencia en los bosques de 9ichigan $ Periodista, combatiente de la primera 4uerra 9undial, bohemio empedernido, trotamundos$ Permaneci e"patriado en Europa y vivi un tiempo en ,uba$ Es un maestro del relato corto$ 7us obras estn llenas de fuer#a, aventuras, accin y contienen algunas refle"iones sobre la condicin humana y el destino del hombre$ 0nfluy en la narrativa y el periodismo de Am!rica y Europa$ Entre sus novelas destacan OAdis a las armasO, O9uerte en la tardeO, O%a quinta columnaO, OPor qui!n doblan las campanasO, En nuestros tiempos:, &ener y no tener:, %as nieves del ^iliman aro:, 9s all del ro:, El sol tambi!n sale:, 5ombres sin mu eres:, &orrente de primavera:, ;erdes colinas del Sfrica: , Pars era una fiesta: , OEl vie o y el marO$ Esta : 3ltima lo hace acreedor al Pre4i/ N;e( de iteratura en "%&B= 9uri en en 0daho, .Estados +nidos/, en < AM<$ E VIE-O 9 E MAR* Ar0u4ent/$ 7antiago, vie o pescador cubano, en una de sus travesas mar adentro, coge, despu!s de una tena# lucha, un pe# enorme, cuya dimensin es dos pies ms largo que el bote$ El vie o amarra el pe# a su barca y feli# inicia el retorno$ 7in embargo, los tiburones estn al acecho$ 7antiago intenta in3tilmente, con sus 3ltimas fuer#as, ahuyentarlos$ Al final, llega al puerto slo con la cabe#a y una larga espina del pescado$ ACTIVIDAD ectura= .7antiago, el pescador, se esfuer#a arduamente en asegurar la captura del enorme pe#$/

@FEue pe#G @di o@$ %o lleva atravesado en la boca y se est yendo con !l$ O%uego virar y se lo tragarO, pens$ 'o di o esto porque saba que cuando uno dice una buena cosa posiblemente no sucede$ 7aba que !ste era un pe# enorme y se lo imagin ale ndose en la tiniebla con el bonito atravesado en la boca$ %uego el peso fue en aumento, y el vie o le dio ms sedal$ Acentu la presin del ndice y el pulgar por un momento y el peso fue en aumento$ ? el sedal descenda verticalmente$ @%o ha cogido di o@$ Ahora de ar! que se lo coma a su gusto$ )e que el sedal se desli#ara entre sus dedos mientras ba aba la mano i#quierda y amarraba el e"tremo suelto de los dos rollos de reserva al la#o de los rollos de reserva del otro sedal$ @,ome un poquito ms @di o@$ ,ome bien$ O,metelo de modo que la punta del an#uelo penetre en tu cora#n y te mate@ pens@$ 7ube sin cuidado y d! ame clavarte el arpn$ -ueno$ HEsts listoI H%levas suficiente tiempo a la mesaIO @FAhoraG @di o en vo# alta y tir fuerte con ambas manosD gan un metro de sedalD luego tir de nuevo, y de nuevo, balanceando cada bra#o y girando sobre s mismo$ 'o sucedi nada$ El pe# segua, simplemente, ale ndose lentamente y el vie o no poda levantarlo una pulgada$ 7u sedal era fuerteD era cordel cataln y nuevo, de este a*o, hecho para peces pesados$ El vie o segua su etndolo, afincndose contra el banco e inclinndose hacia atrs$ El bote empe# a moverse lentamente haca el noroeste$ El pe# segua movi!ndose sin cesar y via aban ahora lentamente en el agua tranquila$ %os otros cebos estaban todava en el agua, pero no haba nada que hacer$ 7u et el sedal contra su espalda y observ su sesgo en el aguaD el bote segua movi!ndose ininterrumpidamente hacia el noroeste$ OEsto lo matar @pens el vie o@$ Alguna ve# tendr que parar$O Pero cuatro horas despu!s el pe# segua tirando, llevando el bote a remolque, y el vie o estaba todava slidamente afincado, con el sedal atravesado a la espalda$ El vie o tena todava dos tragos de agua en la botella y se tom la mitad de uno despu!s de haber comido los camarones$ El bote navegaba bien, considerando los inconvenientes, y el vie o gobernaba con la ca*a del timn ba o el bra#o$ Poda ver al pe# y no tena ms que mirar a sus manos y sentir el contacto de su espalda con la popa para saber que esto haba sucedido realmente y que no era un sue*o$ Ahora saba que el pe# iba ah y que sus manos y su espalda no eran un sue*o$ O%as manos curan rpidamente @pens@$ %as he desangrado, pero el agua salada las curarO$ 'avegaban bien y el vie o empap las manos en el agua salada y trat de mantener la mente clara$ El vie o miraba al pe# constantemente para cerciorarse de que era cierto$ Pas una hora antes de que le acometiera el primer tiburn$ El tiburn no era un accidente$ 5aba surgido de la profundidad, cuando la nube oscura de la sangre se haba formado y dispersado en el mar a una milla de profundidad$ 5aba surgido tan rpidamente y tan sin cuidado que rompi la superficie del agua a#ul y apareci al sol$ %uego se hundi de nuevo en el mar y capt el rastro y empe# a nadar siguiendo el curso del bote y el pe#$ A veces perda el rastro$ Pero lo captaba de nuevo, aunque slo fuera por asomo, y se precipitaba rpidamente y fieramente en su persecucin$ Era un tiburn 9a\o muy grande, hecho para nadar tan rpidamente como el ms rpido pe# en el mar y todo en !l era hermoso, menos sus mandbulas$ ,uando el vie o lo vio venir, se dio cuenta de que era un tiburn que no tena ning3n miedo y que hara e"actamente lo que quisiera$ Prepar el arpn y su et el cabo mientras vea venir al tiburn$ El cabo era corto, pues le faltaba el tro#o que !l haba cortado para amarrar el pe#$

El vie o tena ahora la cabe#a despe ada y en buen estado y estaba lleno de decisin, pero no abrigaba mucha esperan#a$ Ech una mirada al gran pe# mientras vea acercarse el tiburn$ &al parece un sue*o, pens$ 'o puedo impedir que me ataque, pero acaso pueda arponearlo$ )entuso, pens$ F9aldita sea tu madreG El tiburn se acerc velo#mente por la popa y cuando atac al pe# el vie o vio su boca abierta y sus e"tra*os o os y el ta eante chasquido de los dientes al entrarle a la carne ustamente sobre la cola$ %a cabe#a del tiburn estaba fuera del agua y su lomo vena asomando y el vie o poda or el ruido que haca al desgarrar la piel y la carne del gran pe# cuando clav el arpn en la cabe#a del tiburn$ %e peg con sus manos pulposas y ensangrentadas, empu ando el arpn con toda su fuer#a$ %e peg sin esperan#a, pero con resolucin y furia$ El tiburn se volc y el vie o vio que no haba vida en sus o osD luego el tiburn volvi a volcarse, se envolvi en dos la#os de cuerda$ El vie o se dio cuenta de que estaba muerto, pero el tiburn no quera aceptarlo$ %uego batiendo el agua con la cola, el tiburn surc el agua como una lancha de motor$ El agua era blanca en el punto donde bata su cola y las tres cuartas partes de su cuerpo sobresalan del agua cuando el cabo se puso en tensin, retembl y luego se rompi$ El tiburn se qued un rato tranquilamente en la superficie y el vie o se par a mirarlo$ %uego el tiburn empe# a hundirse lentamente$ COMPRO3ACIN AN@ ISIS 9 COMENTARIO </ H,ul es el escenario o ambiente del relatoI )escrbelo$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ =/ HEui!n es el protagonista del cuentoI ,aracter#alo$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ 8/ H,uales el pasa e ms emocionante del fragmento ledoI ,om!ntalo$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ U/ El autor relata Hen primera o tercera personaI ,ita un prrafo que lo demuestre$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ L/ HEu! importancia tiene la actividad pesquera en un pasI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ MOTIVACIN En el 7 __ el TEATRO es de ideas por tanto cuestiona este distanciamiento y plantea la comunicacin entre autores y espectadores $ )e acuerdo a esta nueva orientacin por e emplo, , se permite interrupciones de los actores en plena escena, para dirigirse al p3blico$ -ertolt -rech cuyas primeras obras tiene un carcter e"presionista , es el iniciador de esta importante renovacin teatral$ REPRESENTANTES: @ Albert ,amus . fr$ / , @ 2ederico 4arca %orca .Esp$/ , @ -ertolt -rech .Al$ / , @ -ernard 7haC . 0ng$/, @%uigui Pirandello . it$ / , @ Arthur 9iller . EE$++$ / , @ 7$ -ec\ett . 0r$ / , @ E$ 0onesco . rum$ / $ @H,rees qu! el teatro es un arte humanoI JJJJJHPor qu!I JJJJJJJJJJJJJJJJJJJJJJJJJJJ @H&iene trascendencia socialIJJJJJJH,moI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

DESARRO

3ERTO T 3REC>T 3ERTO T 3REC>T

!" #%# $ " %&A' 4ran dramaturgo alemn, m"imo representante del teatro europeo$ 'aci en Ausburgo .Alemania/ en <BAB$ -ertolt -recht, por su tendencia mar"ista, emigr de la Alemania na#i y se estableci en )inamarca$ El teatro brechtiano rompe con los cnones del teatro tradicional: lengua e directo y popular, participacin del espectador, temas de dimensin !pica, irona custica, afn didctico, refle"in crtica, sentido po!tico y tierno$ 7us teoras tuvieron gran influencia en la concepcin del teatro contemporneo$ Entre sus /;ras tene4/s: + a 2era de d/s centav/s+, +Madre c/ra.e < sus Ii./s+, E( c1rcu(/ de ti)a caucasian/*, E( se6/r Punti((a < su criad/ Matti*, Terr/r < 4iseria de( Tercer ReicI*, a 2era de cuatr/ centav/s*, /s Jusi(6es de (a Sra= Carrar, a vida de :a(i(e/ :a(i(ei , Ucu(/* , E( a(4a ;uena de SecIuFn* ,Santa -uana de (/s 4atader/s* , 3aa(* , etc = = 9uri en -erln en < ALM$, MADRE CORA-E* Ar0u4ent/$ 9adre ,ora e es una mu er sacrificada que tiene tres hi os: Eilif, ,atalina y 1equesn$ Ella se gana la vida vendiendo alimentos y ropa en una carreta ambulante$ En la guerra entre catlicos y protestantes, pierde a sus tres hi os$ A pesar de esta tragedia, la desdichada anciana contin3a traba ando$ Estos hechos ocurren en 7uecia, Polonia y Alemania durante la primera mitad del siglo _;00$ ACTIVIDAD ectura .PA1&0,0PA,0a' )E %(7 A%+9'(7/$ .Presentamos el pasa e en que 9adre ,ora e, a trav!s de la muchacha 0vette, intenta el soborno para que no fusilen a su hi o 1equesn$/ Ivette .vuelve unto a 9adre ,ora e$/ 9i amigo me aconse a que cierre trato con usted$ 2rmeme un recibo y no se olvide de anotar que, pasada dos semanas, si no me ha devuelto el dinero, la carreta y todo el contenido sern mos$ ;oy a hacer el inventaro en seguida y despu!s le traigo los doscientos florines$ .Al coronel$/ ;uelve al campamento, estar! contigo dentro de un rato$ &engo que hacer la lista, no sea que luego falte algo$ .-esa al coronel$ Este se marcha y ella sube a la carreta$/ Madre C/ra.e= 0vette, !ste no es momento de revisar la carreta$ 9e prometiste que hablaras con el sargento por mi 1equesn, no hay un minuto que perder$ 9e han dicho que le formarn corte marcial inmediatamente$ Ivette$ )! eme que cuente por lo menos las camisas de hilo$ Madre C/ra.e .tirndole de la falda hasta que la obliga a ba ar de la carreta$/ F,hupasangreG HEuieres la muerte de 1equesnI (ye, no se te ocurra decirles qui!n da la plataD diles que es tu amante, en nombre de )ios, pues si no nos colgarn a todos por haberlo encubierto$ Ivette$ ,it! al tuerto en el bosque$ ?a debe estar all$ E( ca2e((Fn$ 'o vayas a ofrecerle los doscientos florines de entrada$ ,on ciento cincuenta ser suficiente$ Madre C/ra.e= )game, Hes suyo el dineroI 9!tase en sus asuntos$ Eu!dese tranquilo que no le faltar su sopa de cebolla$ ;amos, corre y no te andes con regateos que le va en esto la vida$

Empu a a 0vette y !sta se marcha$ E( ca2e((Fn= 'o quise entrometerme, pero Hde qu! vamos a vivirI ? usted tiene que ver por su hi a, que no puede ganarse la vida$

Madre C/ra.e= 7e olvida de la ca a del regimiento, peda#o de tonto$ Espero que, por lo menos, el regimiento le pagar sus gastos a 1equesn$ E( ca2e((Fn= H,ree usted que la muchacha sabr darse ma*aI Madre C/ra.e= 7e imaginar que si suelta los doscientos florines por algo ser$ Euiere quedarse con mi carreta$ %e tiene ganas y qui!n sabe si podr seguir engatusando al coronel por mucho tiempo$ En fin, creo que lo soltarn$ 4racias a )ios, todava se los puede comprar$ %a vanalidad de los hombres es, como la caridad de )ios, nuestra 3nica tabla de salvacin$ 9ientras e"ista habr sentencias clementes y hasta los inocentes tendrn probabilidades de salir indultados del tribunal$ Ivette .vuelve sin aliento$/ Aceptan por doscientos florines$ Pero no hay que perder ni un minuto$ )entro de un rato el 1equesn ya no estar en sus manos$ %o me or ser que vaya en seguida con el tuerto a ver a mi coronel$ 1equesn confes que tena la ca a, cuando le aplicaron el tormento$ 5ay que darla por perdida$ H?, voy a pedirle el dinero a mi coronelI Madre C/ra.e= H7e perdi la ca aI ? ahora Hcmo voy a recuperar mis doscientos florinesI Ivette$ FAhG F,onque pensaba sacarlos de la ca a para reembolsrmelosG F%inda manera de atraparmeG Pero no se haga ilusiones, si quiere salvar a 1equesn tendr que pagar$ H( prefiere que plante todo, para que usted pueda quedarse con la carretaI

Madre C/ra.e= FEsto s que no lo haba previstoG 'o trates de acorralarme, ya tendrs tu carreta$ 'o puedo soltar as noms los doscientos florinesD de todos modos, podas haber regateado$ ;e a decirles que estoy dispuesta a dar ciento veinte florines, ni un c!ntimo ms$ ?a con eso pierdo la carreta$ Ivette$ 'o van a querer$ El tuerto tiene mucha prisa$ Est tan nervioso que el o o se le va para todos lados$ H'o le parece me or dar los doscientos florines sin discutirI Madre C/ra.e .)esesperada$/ 'o puedo$ 5e traba ado treinta a*os$ %a muchacha tiene veinticinco y todava est sin marido$ +na carga ms sobre mis hombros$ 'o insistas, s! lo que hago$ )iles que ciento veinte o nada$ Ivette$ F,omo quieraG .%impian en silencio$ )e pronto, ,atalina rompe en sollo#os y se refugia en la carreta$/ Ivette .vuelve corriendo$/ 'o quieren$ 7e lo advert$ El tuerto quera de ar todo sin efecto$ )i o que ya era demasiado tarde y que de un momento a otro se oiran los tambores del pelotn de e ecucin$ (frec ciento cincuenta pero no se le movi ni un pelo$ A duras penas consegu que esperara hasta mi regreso$ Madre C/ra.e= )ile que doy los doscientos florines, corre .0vette sale corriendo, los dems se quedan sentados, en silencio$/ ,reo que regate! ms de la cuenta$ .A lo le os se oye un redoble de tambores$ 9adre ,ora e permanece sentada$ (scurece$ ,allan los tambores$ Aclara$ 9adre ,ora e no se ha movido de su lugar$/ Ivette .aparece, muy plida$/ HEst contentaI ,on tanto regateo logr lo que quera, quedarse con la carreta$ ? a !l le metieron once balas en el cuerpo$ Pero les o decir que estn seguros de que la ca a est aqu, que todos ustedes estn confabulados con 1equesn, ;an a traerlo para ver si se traicionan al verlo$ ? en ese caso, Fay de ustedesG %os fusilan a todos$ 9e vienen siguiendo, ya estn advertidos$ HEuiere que me lleve a ,atalinaI .9adre ,ora e sacude la cabe#a$/ H7abeI &al ve# no haya odo los tambores o no haya comprendido$

Madre C/ra.e= 7abe$ ;e a buscarla$ .,atalina permanece al lado de su madre$ Entran dos soldados transportando unas angarillas donde hay un cuerpo cubierto con una manta$ )e an las angarillas en el suelo$/ E( sar0ent/= 'o sabemos qui!n es este hombre ni cmo se llama$ Pero tenemos que anotarlo todo para que todo est! en regla$ 2 ate si lo reconoces$ .1etira la manta$/ H%o reconocesI .9adre ,ora e sacude la cabe#a$/ H'oI H'unca lo habas visto antes de que comiera aquI .9adre ,ora e vuelve a sacudir la cabe#a$/ F%l!venseloD F? trenlo a la fosa com3nG 7e lo llevan$ COMPRO3ACIN AN@ ISIS 9 COMENTARIO </ HEn qu! lugar y conte"to histrico se desarrollan los hechosI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ =/ ,aracteri#a, en sus aspectos ms importantes a 9adre ,ora e$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ 8/ HEui!n es 0vette y qu! rol desempe*a en la obraI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ U/ HEu! simboli#a la posibilidad de sobornar a los soldadosI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ COMUNICACIN ESCRITA= TA CREACIN DE UN TESTO ITERARIO= F'7P01A17EG )ar rienda suelta a la imaginacin, sensibilidad y e"presin$ Apliquemos nuestros conocimientos de teora literaria$ &ema .social , cultural o educativo/ )0'S90,A$ Procedimiento$ <$@2orman grupos de cinco alumnos$ =$@%luvia de ideas $4enerar versos con el tema elegido$ 8$@Estructurar y dar forma al te"to literario$ U$@leer el te"to en vo# alta para someterlo a correcciones$ L$@0ntercambiar ideas y redactar finalmente el te"to$ M$@%eer en el aula el te"to producido y escuchar las opiniones de tus compa*eros y del profesor$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$JJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$JJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$JJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$JJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$JJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$JJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$JJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJ$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$JJJJJJJJJJJJJJJJJJJJJJJJJJ ER DE CREATIVIDAD=

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AUTOEVA UACIN= <$@7on obras de Ernest 5emingCay: JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ =$@El tema central de la obra El vie o y el mar: es: a/ %as aventuras de un vie o pescador$ b/ %a afirmacin de la vida frente al destino de la muerte$ c/ El pe# y el vie o$ d/ +n canto a la individualidad$ e/ 7olamente b y d $ 8$@ 7on representantes del teatro del 7$__: a/ 2ran# ^af\a y Ernest 5emingCay$ b/ E$ 0onesco 0 ,amilo >os! ,ela$ c/ %uigui Pirandello y -$ 7haC$ d/ Alberto ,amus y 9"imo 4or\i$ e/ '$ A$ U$@ HEn qu! radica el humanismo del teatroI JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ L$@,onstruye una te"to con las palabra: sedal, mar, pe#, sol , arpn, bote, olas, tiburn, vie o, fuer#as$ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJ M$@Escribe veinte palabras que presenten h: intermedia: puede indicar hiato o diptongo: JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJ K$@HEu! aspectos positivos y negativos puede manifestar una imagenI Positivos JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJ 'egativos JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJ B$@HEui!n es el biografiadoI )ramaturgo Alemn, una de sus obras es apera de dos centavos:$1ompe con lo tradicional a trav!s de un lengua e directo y popular y hace participar al espectador$ 9uere en -erln en <ALM:$ a/ 9"imo 4or\i $ b/ 2ran# ^af\a$ c/ 2ederico 4arca %orca$ d/ -ernard 7haC$ e/ %uigui Pirandello$ A$@)a tu opinin: H,rees que los padres deben participar de los ideales de sus hi osI HPor qu!I JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJ <V$@Pon tu creatividad y ha# una descripcin de la importancia de la pesca en tu puerto chimbotano$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJ <<$@'ombre de la obra: +n vie o pescador desde hace BU das no pesca nada$ +n buen muchacho lo alienta y as una ve# se hace al mar $ Pesca un enorme pe# espada, logr matarlo y en el trayecto lucha con unos tiburones y solamente llega con el esqueleto:

.$$/ )e que el sedal se desli#ara entre sus dedos$ .$$/ El vie o tena todava dos tragos de agua en la botella$

<U$@Escribe .v/ si la proposicin es verdadera falsa$ a/ %a madre: es obra de ;$ 5ugo $ b/ 9adre ,ora e:, es una obra narrativa$ .$$$$/ .$$$/

.2/ si es

a/ 2ran# ^af\a$ b/ ;ictor 5ugo$ c/ -ernard 7haC$ d/ Ernest 5emingCay$ e/ 9"imo 4or\i$ <=$@0nterpreta la e"presin: +n hombre puede ser destruido, pero no derrotado: JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJ$$

c/ %a prensa es el medio sofisticada del momento $

de comunicacin masiva ms .$$$/

d/ 4anador del Premio 'bel de %iteratura en <ALU es E$ 5emingCay$ .J/ e/ 9adre ,ora e , lucha por los ideales de libertad y usticia $ .$$$/ <L$@Aplica toda tu fuer#a creativa y trata de construir una peque*a obra teatral$ %os persona es puedes imaginarlo$ El tema lo puedes tomar de tu medio social y vivencias$ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

<8$@)entro del par!ntesis con n3meros escribe el orden secuencial de los hechos$ .$$/ El tiburn se volc y el vie o vio que no haba vida en sus o os$ .$$/ FEu! pe#G@ di o@ lo lleva atravesado en la boca y se est yendo con !l$ .$$/ A veces peda el rastro, pero lo captaba de nuevo$ <M$@ %a participacin en una obra teatral es importante para ti$ HEu! tema te gustara representarI 7ubryalo .social, econmico, familiar, poltico, pobre#a, vicios de sociedad/ HPor qu!I JJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJ HEu! mensa e daras a tus amigosI JJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJ$JJ <K$@&e presento veinte palabras: ,onstruye un te"to narrativo$ &rata que haya coherencia en el enlace de las ideas$ ;ia e @ problema T desamor @ verme @ esperar@ hu!rfana@ consentidora@ ta @ lleg @ solos T esfuer#o T

7emblante @ terreno @ malo @ nada @ libre @ alegro @ hermoso @ hermana @ esperan#a $ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ P1S,&0,A ,A%020,A)A 'X V8 <$@Ernest 5emingCay, gana el Premio 'bel en : a/ < ALM b/ <ALA c/ <ALU d/ < AMV e/ <AM< =$@ 'acionalidad de los representantes del teatro 9undial:

a/Albert ,amus : JJJJJJb/ 2ederico 4arca %orca: JJJJJJJJc/-ertold -rech: JJJJJJJ d/ Arthur 9iller: JJJJJJJ e/ E$ 0onesco: JJJJJJJJJf/ %uigui Pirandello: JJJJJJJJ

B$@ 5ombres sin mu eres , es obra de : a/ %uigui Pirandello b/ Albert ,mus c/ Ernest hemingCay d/ -ertold brecha e/ E$ 0onesco A$@ 7on persona es de la obra 9adre ,ora e: JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ <V$@Escribe el autor de las obras : a/ la vida de 4lileo 4alilei: : JJJJJJJJJJJJ b/ El sol tambi!n sale: : JJJJJJJJJJJJJJJ c/ la familia de Pascual )uarte: : JJJJJJJJJ d/:,al y canto: : JJJJJJJJJJJJJJJJJJJJ

8$@ FEu! obra no escribi -ertolt -rechtI a/ %a bpera de cuatro centavos: b/ -aal c/ %3pulo d/ El 7e*or Puntilla y su criado 9ati e/ 9s all del ro U$@ ,ompleta : El teatro brechtiano ,rompe con los cnones del teatro JJJJJJ, usa un lengua e directo y JJJJJJJJJJ,hace participar al JJJJJJJJ y sus temas son de dimensin !pica$ a/ 9oderno @ sarcstico@ espectador b/ tradicional @ popular @ espectador c/ Antiguo @ crtico @ hombre d/ ,ontemporneo T preciso @escenario e/ '$A$ L$@ FEu! simboli#a 9adre ,ora e en la obraI JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ

M$@)e la lectura presentada .fragmento/ el vie o y el mar: , ha# la secuencia correcta $+sa los n3meros del uno al cinco$ JJJ 'o sucedi nada , el pe# segua simplemente ale ndose$ JJJ FEu! pe#G )i o T ahora de ar! que se lo coma a gusto$ JJJ A veces perda el rastro, pero lo captaba de nuevo$ JJJ El tiburn se volc y el vie o vio que no haba vida en sus o os$ JJJ El vie o tena todava dos tragos de agua en la botella$ K$@ Persona e principal de la obra El vie o y el mar: : a/ Pedro b/ 1oberto c/ Eusebio d/ santiago e/ 7antisteban