The Origin and Remaining History (1735 the 1888) III? Denomination of City (1888) IV? Trajectory of a religious-profane experience, according to Church Catholic (1948 the 1994) 4.1. Baptismal Sink (1948) 4.2. The Sacrament of the Eucaristia and its Preparation (1956) 4.3. Trajectory and Advent of the Sacrament of Marriage (1967) V? Of the continuity of the studies to the full professional exercise in the teaching (1976 the 1994) VI – Trajectory of a religious-profane experience, according to Doctrine Esprita (1995 to the current life) VII? Evangelhoterapia Maria Helena Silva Magali Maria Hisses Dos Santos II? The Origin and Remaining History (period: the 1735 1824) religiosidade of a people in the burning hot faith to the Mother of Jesus? Ours Lady of the Purificao, inviolable Mother, who conceived the Son of God who if made Man stops saving in them? , she made to appear a pacata city of the interior of Sergipe. She has 500 years, history in the account more than, that appeared Brazil, for symbology de a Cruz of Jesus Christ.

‘ ‘ A great cross of paubrasil’ ‘ a cruise? it was raised, to signal the discovery of this so immense country, for the tamers of the time. Thus also, it appeared in 1735, our city, of inconfundvel beauty, distando the 67 (sixty and seven) kilometers of the capital of Sergipe? Aracaju. A cruise was risen and had constructed one capelinha, where the people was a refugee for the devotion of its preces, in the belief that they withheld Ours Lady of the Purificao, and thus, they had been appearing to the first houses. It is today the call city of Chapel. The Chapel so wanted of all the sergipanos. The city, in 1835, is transformed into Village, for the population growth, desmembrada, therefore, of Amaro Saint. In raised return of capelinha and a cruise, they had appeared to the first houses, in lands donated for the couple farmer Luiz of Andrade Pacheco and its Perpetual woman of Matos France.

To this multiplication of angles in narrativa' ' Face-of-Bronze' ' , we can send to the multiplicity of focosnarrativos of this rosiano text through the increase of the number of narrators, as Luiz observed Claude in the passage of the directions. (Cf.OLIVEIRA, 1991, P. 46) the sound, in ' ' Face-of-Bronze' ' , marked for the ecantoria viola of Joo Someone, the Amounts, the presented image pelonarrador of the story enriches. Jose Romo said that the sound, in the cinema, can intensify adramaticidade of the scene or deepen the psychological analysis. (ROMO, 1981, P.

82) Marcel Martin says that the sound increases the coefficient of authenticity of the image, allows the normal use of the word, the greater meant dramatical aosilncio, beyond making possible, through contrasts between the sound and the image, acriao of metaphors and symbols. The dialogues identify the personages. Through suasfalas, together with its figurino and maquiagem, we can fit them emdiferentes social groups. Music, while sonorous resource, can tantoprejudicar how much to enrich the scene. According to Romo, beyond following the sonorous image as deep, creating umaespcie of balance between the auditory and visual sensations, music acentuaos psychological moments. All well-taken care of it is little for not making of music, comode all the sonorous band, an explanation of the images, what perniciosopleonasmo would create one audio-appearance. (ROMO, 1981, P.

86) the dialogues of the story are, in its majority, dilogosrecortados. For the cinema, the television or the video these would dilogosapresentariam adaptation problems. According to Doc Comparato, this ocorreriaporque would demand much movement of the camera, whereas, for the theater, these dialogues would not present problems in the stage. On the basis of this study we can understand why stories como' ' Famigerado' ' , gift in the workmanship Other estrias, was adaptadoduas times, one for the cinema and another one for the video, and to also understand &#039 why anarrativa; ' Face-of-Bronze' ' , transemitico text that possesss a parteescrita under the script form, not yet has attracted the attention of cineastasou videomakers. I believe that this did not happen, until today, less for long dialogues that tire the spectator and cut dialogues of vriospersonagens, composing scenes that would demand greater movement of the camera. Although this, the story ‘ ‘ Face-of-Bronze’ ‘ it possesss imagtica umanarrativa extremely, as much for the images generated for us partirda reading of the story, how much in its formatting, repleta of words in destaqueque forms one; ‘ desenho’ ‘ in the page, as in the visual poetry or nosrascunhos of the writers, with its scribbles and erasures, as observed JulioCastaon Guimares in its assay; ‘ is a complex there that perpassa workmanships, and seusantecedentes, literary how much in such a way plastic. (GUIMARES. Some passages: texts and image in Arlindo Daibert, 1998 apud DAIBERT, Arlindo, 1998, p.24) Is for its visualidade that ‘ ‘ Face-of-Bronze’ ‘ to podeservir of example to the form as Michel Butor defined the writing, to relacionarpalavra and image, taking itself in consideration that the character of the graphical art is, over all, appearance: ‘ ‘ the writing is a particular case of desenho’ ‘. (BUTOR, Michel. Rpertoire III. Paris, Minuit, 1970 apudGUIMARES, 1998, P. 17) Abstract Analysis of the narrative> aguardandokinescopia. Available in: Access in: 13 abr. 2006. ROMO, Jose Eustquio. Introduction aocinema. Juiz De Fora: Center of Cultural Action, 1981.> ROSE, Guimares. Face-of-Bronze. In: NoUrubuquaqu, in the Pinhm (Body of ball). 9. ed. Rio De Janeiro: NovFronteira, 2001. P. 107-174. VIECILI. Who of the things: the demand of the word. Disponvelem: . Access in: 17 abr. 2007.