As well as it affirmed Bruno Bettelheim, in its book the Psychoanalysis of the Contosde Fairies (1980: p.185), important reading for the subject in question: ' ' To reach mainly its comforting functions, its symbolic meanings e, above all, its interpersonal meanings, the story of fairies would have counted instead of to be read. If it is read, must serlido with an emotional envolvement in the estria and the child, with empatia peloque the estria can mean for it. To count is preferable to read porquepermite a greater flexibilidade.' ' (BETTELHEIM, Bruno. The Psychoanalysis of Stories of Fairies, Rio De Janeiro: Peace and Land, 1980) the truth is that, after the Industrial Revolution, crianapassa to exert a paper of bigger importance in the familiar structure. Julian Brown Royal Academy Schools brings even more insight to the discussion. With umaespecial attention to infancy and the free initiative and competition of the mundocapitalista, the necessity appears to invest in the infantile education for criaradultos prepared and capable to face this capitalist race.

Partirdisso, has necessity to take care of this demand to it with specific materials, making, then, to appear infantile Literature as literary sort. With the necessity of literary books and texts adequadospara the understanding and experience of world of the small readers, appears umnovo market for the children, originated of the classics for adults. By properly nohaver a reading destined to the teeny Brazilians, soluofoi to go of meeting with the tradition popular narrative, that is, obrasestrangeiras had been translated, adult stories had been adapted e, then, pertaining to school literary omaterial was recycled. In the workmanships associates to infancy, the European models in new dimension, if they open the doors for the new bibliographical target deconsumo, the children. Before the Frenchman Charles Perrault and the Germans, irmosGrimm, transcressem stories for the children, transforming them into literaturainfantil, many of known histories today as stories of fairies eramcontadas for adults and, today, they are disabled to come back to the original, so great form is its popularity between the children, young and adults of the mundointeiro.

In the truth, since that the world is world always had people with deficiency. But, nor always these people were considered members of the productive society, without rights and desolate they looked informal ways for its survival. I break up it leaves clearly that exactly with the difference between its brothers soldadinho reveals firm in its position, remaining itself integrated between the people. In a store of toys it had a cardboard box with twenty and five soldadinhos of lead, all iguaizinhos, therefore they had been made with the same mold. Payoneer often says this. But one of them was perneta: as it are the last one to be casting, lacked lead to complete to another leg. But soldadinho perneta soon learned to be in foot on the only leg and it did not make ugly to the side of the brothers.

(ANDERSEN, 2000, p.64) As well as all the literary composition, the story is surrounded of symbolic elements. The lead where the hero of the narrative was molded represents the beginning of the evolution and of the incorruptibilidade. It symbolizes But soldadinho perneta soon learned to be in foot on the only leg and it did not make ugly to the side of the brothers But is clearly that it does not go to want for husband to me, So elegant, so pretty.It must be a princess. I? Nor handle I am, living creature in a cardboard box. p.65). The author practically brings tona conflicts in all the story. The social differences are impregnated in century XIX in the Denmark, where the wars destruam the economy and increased the contrasts between the classrooms of minor purchasing power and the nobility. We notice that soldadinho admires the dancer for having something with it in common, lacks a leg to it, with this we perceive its situation of discomfort, without a leg, alone, but when it appears to the dancer it starts to fantasiar a possible world for its condition of deficiency.

In accord with that it was said, the romance the Tenement house portraies, faithful, the naturalistic peculiarities of the time of minute form, so that the readers can understand the told events as likely. thus, to emphasize that this approach of the truth nothing more is of what the clarification of some terms? determinismo, darwinismo, socialism, positivismo, objetivismo? so pertinent for the referring study to the Brazilian Naturalismo. 2 Theoretical Recital: Brazilian Realism the Realism in Brazil had its beginning in 1881 and not only used of a contrary language to the one of the Romantismo, as well as approached other more chocking subjects for the society that was in transistion. That period was so significant for the time that obtained to introduce another literary school, whose it was capable to exaggerate still more in the treatment of the objective and universal language, known for Naturalismo, which can be called by some authors as a exacerbado realism, or as it emphasizes Afrnio Coutinho (2004, P. 11): … Naturalismo, is a Realism the one that if adds certain elements distinguish that it and become inconfundvel its fisionomia in relation it. He is not only one I exaggerate or a simple strengthened form of the Realism, therefore that the term includes writers who do not confuse themselves with the realists.

E, in this direction, can be observed that the Tenement house (1890) is a workmanship that Alusio Azevedo published under bigger influence of romance L? Assommoir, of the writer mile Zola, who prescribes a scientific severity in the representation of the reality. Thus, the intention of the naturalistic method age to make a critical one to the society, and is therefore that the spaces presented in the romance detach the desvalidos ones of some etnias, whose they formed the main personage: the proper tenement house. An example can be seen in the following stretch: …

To have understanding during the reading, the world knowledge must be activated. It is subdivided in: structuralized knowledge (when commanded) and partial (it includes what it is previsible in the situations). This knowledge is called project. The project determines, in part, our expectations on the natural order of the things. The reading is not an act to decipher or to guess graphical signals, and yes an interlocution process, is the meeting with the author who if of the one for the written word. From there the importance of the reading search significaes consisting from the reading of many other texts, becoming deeper its understanding of books and the life. Reading does not consist the mere one to pass the eyes in the line. It goes beyond, is: technique is relation between reader and text; it demands intellectual acuidade, sensitivity, experience; it involves knowledge and understanding of the words chores, express ideas, association of meanings, election of ugly association.

Evaluation of what creation is read. It reads to learn it is necessary one criticizes and systematic, that only can be acquired through practises. For Oliveira (2000) the process to read implies in the decoding? to translate the signals graphical: inteleco – says respect to the meaning of what it was chore, interpretation? apprehension of the ideal in the relations between text and the context; application of the content. Literature, art of the writings, amongst all the possibilities of the reading, most pleasant and richer. Through it we make contact with distinct time, distinct universes, people whom if they had liberated of ' ' law of morte' ' , producing texts that still re-echo in sensitivity and in the intelligence of all those that if interest for the life and the human being. When the reader if transforms into active citizen, is a source of significaes and implications that go being discovered to each reading.

The Autoirnicos Narrators de Andres Sant? Anna and of Marcelo Mirisola ' '? I promise? (it promised, I tava there and heard). I heard, yes. Blota Jr Was padrinho.' ' Marcelo Mirisola In the Literature produced in the contemporaneidade more has a trend of narrators in first person who problematizam the reality where are inserted, or than this its narratives if they give to give one I beat in everything what it bothers to them, that them cause anger. After the reading of stories ' ' A varnish to be is enough feliz' ' , of Marcelo Mirisola and ' ' The Red Mattered one of No' ' , of Andres Sant? Anna, I noticed the disturbing quo are the repetitions of some expressions and the irony that of them emanate. In Sant? Anna, the images if disintegrate to the measure that the narrator, compulsory and meticulously reiterates, them in a chaotic and transbordante syntax of cynicism.

In this direction the narrator is subject and object of the disintegration, therefore the same, the time and the space if dilute in the dilvio of its rhetoric. In Mirisola, we have a narrator that he displays the life close of a couple of friends, its badone, its ' ' vidinha' ' aburguesada, however the proper narrator is a bad-character, face-of-wood that he needs much varnish to take advantage itself of that it criticizes. Peculiar characteristic to both the texts is the permanent presence of the irony in order to provide the desconstruo of the structures of being able. The irony serves to call the attention the readers for situations that many times pass unobserved, or even though, they are ignored had to the fact to be already so current and treated with naturalness for the public. Another important characteristic in stories is the ambiguity that drift of the expression resource irony.