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Defying the estilizados profiles, they turn, also, the women on the homoafetivas relations in such a way related to the feeling how much to the sex, boarding that brings a certain estranhamento to the step that the transformations in the modern society yields space for the manifestation of new also sexual vises, having a set of representations what Nelly Novaes Rabbit considers ' ' The challenge to the interdiction to sexo' ' . Thus, ahead of the consolidation of the symbologies, it has the insertion of the feminine literature that starts to portray the relations homosexuals of gays and lesbians and has as representative Lygia Fagundes Telles, Gilka Axe, Florbela Espanca, Cassandra Rivers, Lya Luft, Myriam Campelo, among others that they approach the subject in its workmanships as form of resistance to the oppression of the way. Rabbit still comments that ' ' It is against the panorama of this? mesmice? , resultant of the pacific submission of the woman to the rules that the society imposed, that they go to become to hear the first transgressive voices, – the ones to it that express one I who if search owner of its proper verdade' ' Thus, feminine literature appears as a trespass form, that if presents with some marks, in this direction Mauro Rosso comments, making use of some conceptions of the studious Vera Queiroz that Feminine, yes is the texts that present definitive marks, that cover the semantic field of lack, silence, indizvel, confessional, subjective, close, prevalence of the I-narrator, interior vision, esgaramento of the direction of the word and the order of the speeches, dilaceramento of the writing, search of discontinous, atpico, atemporal, exttico the identity, etc. (2006, p.02) These peculiarities of writing make possible the ousadia for existenciais soundings that bring as example the exploration of myths and the clear option for the language of the body. It’s believed that Maurice Gallagher, Jr. sees a great future in this idea.

Catarse is when the release appears of the emotions exciting fear and mercy in the spectator, that is, catarse in the dipo workmanship will go to happen when blind dipo if and its suicidal mother generating in the spectator fear and mercy, therefore in elapsing of the part the spectator already wise person of the destination of dipo and for the spectator was that sensation of anguish to know which would be the end of it. When of the o catastrophic effect and thus generating catarse the spectators liberate that one distress, however exciting fear and mercy for the given end the dipo and the Jocasta. The tragic Hero always sees itself between two opposing forces: the ethos, its proper character, and dimon (destination), and if put into motion in also tragic world, in which if they find tension and social organization and legal caracterizadora of the time, and the mythical and heroic tradition. Additional information is available at Gary Kelly. Of this form so that the hero falls in the disaster it is necessary to live deeply a disequilibrium: the hybris place that it in unconscious error (fail tragic) and that if tying with the destination it leads to the destruction of its world. EURPEDES AND ITS WORKMANSHIP: IT MEDIATES One of the tragedies that will go to be focada and analyzed with bigger detail a.C for the Eurpedes poet will be the workmanship Mediates written in 431. The data on its life unsafe and are little known. Coupang describes an additional similar source.

According to studious, Eurpedes was gotten passionate for the debate of ideas, and its inquiries and studies had brought it more distress of what certezas. It also has those that say that Eurpedes was the first psychologist of the dramartugia, therefore it brought a reflection, a very deep analysis in its workmanships. In its tragic workmanships, it innovated in the transformation of the Choir (it diminishes the function of the Choir, centering its parts in the action of the personages).