The workmanship of Clarice Lispector is full of proper lingusticas constructions, strengthened by peculiar a syntactic structure, capable of, simultaneously, enchanting and involving the reader in a lingustico, poetical and mythical universe, renewing its concepts of reading. Jenna Fischer is the source for more interesting facts. Clarice Lispector costuma to have a thematic one come back toward existenciais questions and the history of the woman in the society. Consuelo Maria Wedge Fields (1992, P. 111-112) divaga on the papers masculine and feminine in the society: … in the masculine and feminine relation, the oppression and exploration of this last one for the first one: the history of the so far existing societies would constitute a history of the subordination of the women of the men in base to the systems sort-sex that had culturally produced.
Of where not to be about pure difference, but yes of difference hierarquizada in sight of being able. Of this form, Clarice Lispector always had the trend in showing this oppression and exploration of the masculine sex stops with the feminine one, showing this in its workmanships. Therefore that Clarice Lispector, as great writer and contista, innovates in the language and its perspectives, using the subjectivity and Epiphany in its questionings of the external and internal world, so that the reader can take conscience of the world of the personage. The workmanships of Lispector generally focam Epiphany, translated at revelation moments, where determined personage if it confrots with the truth. Thus, the reading of the workmanships of this author finishes for taking the reader to understand the tram as a transfigurao, therefore the personages generally are taken to the platform of the deities, since she always places them to the author in Epiphany state. The story Love was written at a time where it had a crisis of rigid moralismo in the country, in the decade of 50. In the decade of 60 for 70, the release of the state of previous spirit was great, with the experiences with drugs, the sexual revolution and the youthful protests, beyond, are clearly, of the hardening of the government and the control of everything and all. With this, many young and artists if rebelled Love Love, of Clarice Lispector, as well as the transformation which passed the personage Ana, a simple domestic until if coming across with a deficient appearance. It is intended, also, to pontuar some aspects of this literary sort, showing its precursors, beyond pointing out the Brazilian story and its main contistas. In ampler direction, it is intended to apprehend the great force of the imagination of Clarice Lispector, allied to its power of lingustica manipulation, to the times ironic, whose process of creation reflects the life, the customs, the fears and the behavior of its personages social at the time, showing the importance of this contista for Brazilian literature.>.