High and developed well for its age with model appearance, she was called for the people of The Filly. It started to dance in marriages and if to present in hotels of five stars, always folloied of the mother. It alfabetizou itself and learned to read, to write and to speak in English. She was married six times. The first time it was an arranged marriage when she had 14 years of age. It has three children: oldest already she is grown and married; Hanadi, second it is of its current husband and it studies Sciences Politics in the American University of Cairo, and new it is adopted. She had great repercursso of this adoption, therefore previously the child is adopted for Carioca Tahia. With the death of Tahia, the child, who still was a baby, was assumed by Fifi.

The child frequents the best school that uses the English in the Cairo. Fifi added that many had thought that it would stop to after dance the death of its mother (final of 2003). At this time it stopped to act in the seriado Idala' ee ya doosa. It says that he was very hard and that she needed to move away itself for a time of the world of the entertainment. Fifi Abdo stopped to dance in 2004. In the end of its career of dance it was considered the best one of ' ' three grandes' ' , together with Lucy and Dina. Fifi at the moment does not dance in parties and marriages, but it says that, while its conditions of the health to allow, always will dance in occasions special. Controversial personality Fifi has one strong personality, inside and outside of palco, which bequeathed to it reputation of stubborn. Detestada equally for millions that find its provocative and vulgar behavior, its work was considered controversial and provocative, leading to several celeumas.

This sedenta search for social justice takes the synopsis of the film ' ' Secas&#039 lives; ' , to represent the Brazilian Northeast in the delivery of ' ' Oscar' ' of better film in the year of 1963, the festival of canes as, (in pauprrimo Northeast Brazilian). Inside of this conjuncture, we can say that ' ' Secas&#039 lives; ' it brings the social and ideological marks of the context of its Director, taken for the influence of the marxist theory, where concepts as oppressing, oppressed, ideology, dialectic, system, exploration, and etc permeiam established the social and cultural codes around the flmica production of 1963. But, the films, thus with the letters, the books, the commercial ones of television, are made for somebody. They aim at and imagine definitive public. However, the directors of cinema, the scriptwriters, the producers and the proprietors of cinema rooms are, frequently, distanciados of the spectators ' ' reais' ' or ' ' concretos' '. The distances can be economic, secular, social, geographic, ideological, of sort, race. (ELLSWORTH, 2001, P.

13) Taking this comment of Elizabeth Ellsworth and the present question in its text, ' ' Way of addressing: a cinema thing; an education thing tambm' ' , ' ' who this film thinks that you are? ' '. We will have. This film thinks that I am northeastern, explored for the State, condemned for the castigante sun who dries up the ground, exactly kills the cattle and the people of hunger and headquarters, that I am mentally ill, but thus, a male goat or strong woman that resists all to these difficulties. As we saw in the citation above of the text ' ' Way of Endereamento' ' , the director can miss its target of addressing for some reasons, but this will be retaken more ahead, now will problematizaremos as the point detached in the introduction.

The history or the reading of the time. Belo Horizonte: Authentic Publishing company, 2009. ‘ ‘ History is a glad, full car of a contented people Who runs over indifferent that one all denies that it. It is a train scratching out tracks, opening new spaces Waving many arms, balancing ours filhos’ ‘ (Chico Buarque/Pablo Milans) In its workmanship the history or the reading of the time, Authentic, 2009, Roger Chartier, Pope of New Cultural History, discourses concerning the historiogrfica production and the problems that perpassam the writing of history. The rhetorical form and narrative of history concomitantly go being shown with its place of production? before the monasteries and palaces, today the university academies – and also its forms of spreading? editorial and through the Internet.

The forms are cited to inside produce history and its divisions between diverse historiogrficas chains beyond its temporalities and forms of writing shared with the fiction or of its arcabouo conceptual scientific. It has also the competition with the scenic arts and literature in the art to reconstruct the facts with probability. Roger Chartier, French of Lyon, researcher and university professor are managing of research of the School of High Studies in Social Sciences and also member of the Center of European Studies of the Harvard University, in the United States. The history or the reading of the time is its tenth workmanship published in Brazil, country that Le visited for some times and where one of the French intellectuals is considered more influential contemporaries between the students of social sciences. Its practical book cultural history between and representations, published in Brazil in 1988, helped to create a new concept for the research in cultural history: the concept of ‘ ‘ representations and prticas’ ‘. In its first chapter, history, between story and knowledge, Chartier cites historians as Paul Veyne, Michel de Certeau, Hayden White, Carlo Ginzburg among others to speak concerning the forms of narrative rhetoric of history.

The feminists had entered in conflict with Thompson in virtue of the form with that it sees the sales of wives, therefore for such feminists, such sales were really an act of violence against the woman. Thompson not renega suffering eventually suffered by the women in such situations, relates but it to the conditions of that time, marked for the domination of the man on the woman, with the applicability of these proceitos in the laws and the Church. This practical indicates proper ethics on the part of the diligent classroom proto-industrial; it is a culture of independent segment of the norms of the State that starts to reprehend severely these sales of wives 1830 after. The legal divorce was consecrated only to the aristocracy. The women, however, had inside of these practical cultural marked by the machismo an active paper and its situation was if becoming more independent concomitantly the asceno of the industrial society. Finally, in chapter 8, intitled Rough Music, Thompson it locks up this wonderful book. Rough music was one practical cultural one that aimed at the public demoralization of the infractors of the ethical peasant. For in such a way, one used of songs and boasted defamatory verses nominys with great howl for the streets directed to the infractor or infralog of the values peasants, either the man who beat, or apanhava, of the woman or the woman who traa its husband or was fofoqueira.

Such practical is witnessed between centuries XVII and XIX and can have medieval origin; the penalties are applied in virtue of the infraction of the pautados ethical codes in patriarcais and machistas values of the time. Rough music could occur for ethical infractions in the public or private life, having a proximity between the two. The society daily pay-industrial prezava the patriarcais values and on account made proper justice for the maintenance of the order just street. Aventa Thompson to the possibility of a bigger masculine aggression in reason of the increasing mobility of the woman in reason of the changes in the world of the work. However, she is necessary to leave clearly that paternalism aims at the domain of the man on the woman and does not legitimize the beating, for the opposite, the function of paternalism was exactly to protect the woman for the authority of the man. In this process, the women were not so passive, therefore proper actions possuam, what it characterized a paternalism in part. With the advent of the industrialismo, the work force uses forms of rough music for new infractions of internal codes as the pierce-strikes, passive workers to the exploration of the more-value, among others. These movements had evolved for a new form of planning, as the ludismo and had crossed the Atlantic, adaptando themselves it local forms of the United States and Canad.Em its essence, rough music consisted of a form to legislate economically independent of the hegemonic classroom, the fact to take an infractor of moral code of coasts on of a donkey is a form to perceive the legal application of a penalty for the breaking of a custom, as the commotions made in the streets with defamatory songs against a woman adulteress they are equally proposals as loaded of social codes and not as mere practical a behind one of social agents without culture.