The Magali

In 1970, he gained a magazine proper and he started to be main personage. In infancy possua characteristic proper, as to be baixinha, buckteeth, gordinha, always used one vestidinho red and not possua fingers in the feet. Mnica faces the boys with a super force and has one coelhinho blue (called Sanso), which used to beat in the boys. Autodenominava ‘ ‘ the owner of rua’ ‘ was known for being a strong and determined girl? factor that printed a mark in the personage, therefore, at a time where the woman was bred to serve, the Mnica appeared to represent a type of woman (girl) more independent.

(HISTORY, 2009). When adolescent, although to continue meiga, glad and a little dentucinha, already possua the same characteristics and if did not show lean and consumista; its wardrobes moved very, although not to have changed its predilection for red clothes. Still it is leader of the street, not only for its expressive character, but for the cativante and true personality, revealing a safe and mature girl. Romantic incorrigible, still it has one ‘ ‘ quedinha’ ‘ for Onion. (HISTORY, 2009). The Magali also was a personage based on a son of the Maurcio de Sousa; it enchanted the public with its temperament tranquilo, with one jeitinho all meigo, but with a uncontrolled appetite? its favourite fruit was the watermelon. She was always an elegant, feminine girl and friend. It never fought with the Mnica. Characteristics that had prevailed in its adolescence. She continues gulosa, but now it takes care of itself, is worried about the feeding and practises sports.

Week Society

MODERNISMO In the first decades of century XX, Brazil was in the way of modernity, the country passed for serious transformations, So Paulo met in increasing industrial development, the foreign immigrants arrived at the great metropolis bringing man power qualified cockroach and, what it generated the acceleration in the urbanization and the modernization, exactly that in many precarious points, becoming it an icon of Brazilian progress. Deep modifications had happened in the society, the politics and the economy they had caused a great change in the arts and the culture of the young artists of the time. Of a side the oligarchy, the other the kept out of society layer and without being able, this inaquality made to appear strikes and revolutions. Ahead to these revolutions in the most distinct social spheres, Mrio de Andrade, the Pope of the Brazilian modernismo, appraises this movement in its speech that much revolutionized the effective society at the time, in the conference ' ' The Modernista&#039 Movement; ' , in 1942: ' ' Revealed especially for the art, but also spotting with violence the social customs and politicians, the modernista movement was prenunciador, the preparador and for many parts the creator of a state of national spirit. The transformation of the world with the gradual weakness of the great empires, with practical European of new ideals politicians, the rapidity of the transports and a thousand one other international causes, the internal progressos of the technique and the education, imposed the creation of a irreverncia spirit and remodelling of national intelligence. This was the modernista movement, of that the Week of Modern Art was being brave collective principal' '. (Mrio de Andrade, 1942) All this context of acceleration of modernity, with ideas come from the Europe and the United States, the proliferation of the thoughts of the surrealismo, dadasmo and the cubismo, had as art in form of manifesto, young artists in contact with the changes in the foreign arts coadunam all with the feeling of rupture with the past one of the arts in Brazil, appears thus the Brazilian Modernismo, that has its estopim the Week of Modern Art of 1922 in So Paulo, where congregated the artists and some activities proposals for they, as poem reading, exposition of arts plastic and dances. .