Affectionate Nicknames Data

Affectionate nicknames data for the couple All couple nor initiated the relationship well already soon go creating a nickname one for the other. Most common between all it is love, that finish capsizing, mor, mozinho, I, morzo, etc. comes others There, as: , passion, wanted well (a), pretty (a), fofo (a), and its derivatives. As the history of each one goes happening you live deeply, them and the bobeiras of each couple the thing goes being more preoccupying. (Similarly see: John Stankey). They start if to call for names animals and food: Mine docinho, my chocolate, mine quindinzinho, mine moranguinho, my good looking one, my urso, mine ogrinho, mine ursinho, and for goes there. With passing of the years, in accordance with moment of each couple, the nicknames can exchange, passing to a more affectionate level. The callings start to be: whale, estrupcio, banana, soft cow, bunda, hen, jaca (of avesso), boiled must, partner (a), the master, the house man there (subentende that it has there of is). The worse one of everything is when the feeling finished and the spouse continues to cry out the other for the nickname original. (A valuable related resource: Paul Ostling).

The woman arrives at the police station of polices and says: I came to register the complaint: it fulled me to the love of you cover in the face. The man goes to the lawyer and detached of the material things he speaks: The doctor knows that I fought very and the good does not know of all the goods that I have. We go separating in them and it is not the good well to want to take half of my good. My son is calm, its well and its goods go to be in (mine) good hands (rsrsrsrsrsr). Another hour the nature if charges to make the person jus to the name.

Mine fofa is that fight. The woman sets the baraco greater why she called it to the husband fat person, when it fattened mseros 30 kg in the 10 married years of. Also the nature makes the woman to say that baita lie. The face was bald, created callus in the belly, had fallen teeth and it conclama: it comes my pretty one here! It also has the unforgivable coincidences. The woman whispers in the love hemp: Ours! Passion you this each better time. The face if calls Pablo Passion and the husband Luiz Carlos. Below nickname. Alive the name. My name is Enias.

David Harvey

The rupture of the agreement of Bretton Woods is a strong example of the dematerialization of the money, played in a floating market. Walt Disney Co. wanted to know more. To adapt to this fugacidade of the money the merchandises they had acquired daily functions each time, becoming the market of little estimative the sociocultural exclusiveness. The bombing of products allows the consumer to live diverse realities from simulacros inspired by the identities of the museums. The fiction after-modernista is extremely plural and not objective the coherence; we could now reflect the creation of the myth of the only global culture. You may find that Paul Ostling can contribute to your knowledge. This is world where the individual possesss diverse options of escape, however, the simulacros, the ways, need profit potentiality to get global acceptance. Now it starts if to become perceivable an alteration of sides in the context that demonstrates trend will to the predominance of the identification space.

Harvey, however, does not present an argument of which if it can extract an alteration of the compression clearly time-space for an aiming in the identity. We can notice, yes, a conservadorismo in the ideology of ' ' ser' ' , more pleasant to the market, and, in opposition, ' ' to come ser' ' that it nails the construction of the space and of identity in function of the capital. At this moment it is possible to notice the return of estetizada geopolitics as acalmador of spirits in the conflict with the manipulation of identities, however the relation of the scene of the politics with the scene of the market in the final decades of century XX is very confused. Harvey leaves only the speculation of the possibility of the reinforcing of the historical materialistic interpretation for the analysis of the compression time-space, pressured for the accumulation of capital of reduced time-of-turn. In chapter 18, David Harvey uses the cinema, that appeared in the context of first the great impulse of cultural modernismo e, amongst all the artistic forms, perhaps has the capacity most robust of dealing with instructive way of interlaced subjects it space and it time.