Ivaiporã Núcleo Regional de Educação Relatório mês de Outubro/2009.
Caderno Pedagógico- Josi€¦ · Ensinando leitura e interpretação de textos em língua inglesa,...
42
Transcript of Caderno Pedagógico- Josi€¦ · Ensinando leitura e interpretação de textos em língua inglesa,...
Josi Batistella
UNIDADE DIDÁTICA
Ensinando leitura e interpretação de textos em língua inglesa, dentro da atmosfera fantástica e assustadora
dos contos de Edgar Allan Poe.
Ivaiporã
2010
Secretaria de Estado da Educação Superintendência da Educação
Diretoria de Políticas e Programas Educacionais Programa de Desenvolvimento Educacional
Universidade Estadual de Londrina
Josi Batistella
Produção didático- pedagógica apresesentada à Secretaria de Estado da Educação do Paraná como parte dos requisitos para a conclusão do Programa de Desenvolvimento Educacional – PDE. Orientadora: Prof. Me. Lilian Kemmer Chimentão.
Ivaiporã 2010
*1
____________ *1- Imagem: Miguel Antonio de Souza Junior
"A emoção mais forte e mais antiga do homem é o medo, e a espécie mais forte e mais antiga de medo é o medo do desconhecido.” ( Howard Phillips Lovecraft)
4
INTRODUÇÃO O desenvolvimento desta Unidade Temática é resultado do Programa
Estadual – PDE, que deu oportunidade aos professores voltarem às Universidades
para um aperfeiçoamento e reavaliação de suas carreiras profissionais. Este
trabalho foi elaborado com base nos contos fantásticos de Edgar Allan Poe e
também em textos que exploram o medo e as crenças do ser humano e tem como
objetivo proporcionar um ensino voltado para a reflexão crítica do aluno, na tentativa
de contribuir e fornecer subsídios para sua formação social e cultural, levando em
conta os aspectos culturais da língua inglesa, além de conhecer um texto literário de
um grande escritor Norte Americano.
Através das atividades propostas, espera-se que os alunos irão
expandam seu vocabulário, melhorarem suas habilidades de interpretação e
criticidade e sejam capazes de promover uma interação comunicativa. E, também,
poderão conhecer e discutir questões artísticas e culturais pertinentes às obras do
autor, que permitirão um contraste entre valores do passado e do presente da
cultura brasileira e inglesa, promovendo mudanças no modo de ver e entender o
mundo e uma melhora na qualidade de ensino de língua inglesa aos alunos do
ensino médio, algo que acreditamos que a literatura possa contribuir amplamente,
pois possibilita ao professor novos caminhos para incluir questões culturais e sociais
não apenas estruturais e gramaticais no processo de aprendizagem do aluno.
Falar em literatura de terror ou horror é espionar o medo e os temores
que estão sempre perto do homem. Os mistérios da morte sempre causaram
angústia e inquietação ao ser humano, consequentemente os sustos, as
inesperadas aparições, os causos contados de geração em geração, tudo isso
transforma-se em um instigante gênero, a literatura fantástica, assustadora e
surpreendente, pois se tememos o conhecido, que vai do sangue que pinga das
notícias dos jornais, às guerras, à insanidade humana, como não temer ao
desconhecido, ao exótico, aos mistérios e fenômenos sobrenaturais, estes, são os
que mais assustam e aterrorisa o ser humano.
De acordo com a reportagem da VEJA JOVEM - 2003 , o Psiquiatra Fáfio
Barbirato fala sobre a atração das pessoas por histórias que causem medo, e uma
das explicações é o fato de que o sentimento do medo libera uma substância
5
conhecida como adrenalina, e isto sempre acontece quando passamos por
situações de medo ou estresse. E quando essa situação de medo ou estresse
diminui, no nosso organismo há a liberação de outra substância conhecida como
endorfina, esta traz uma sensação de alívio e bem estar. E é este fenomeno
fisiológico que atrai tanto os adolescentes que se encantam por filmes e histórias de
terror ou suspense, que fazem com que eles vivam essa emoção.
Ler é um fator decisivo na vida do estudante, pois é através da leitura que
ele amplia seu conhecimento, busca informações, organiza o pensamento, amplia o
vocabulário e muitas vezes, viaja pelo mundo. Entende-se que a leitura, acima de
tudo, deve apresentar-se como algo atrativo, benéfico e bastante responsável pelo
desenvolvimento de cada um, bem como da sociedade de modo geral.
Por ser um texto mais concentrado e de fácil entendimento escolhemos o
gênero conto, pois textos grandes e
maçantes levariam ao tédio dos alunos,
desmotivando-os à leitura, impossibilitando
assim, que o professor promova atividades
interessantes e motivadoras com essa
leitura. Além disso, contos bens escritos
sempre prendem o leitor logo no início da
história, fazendo com que ele tenha vontade
de continuar sua leitura até o fim, e assim desfazendo a imagem de algo chato e
sem sentido que os jovens têm da leitura.
Segundo Gotilib (1987), na estrutura do conto há um só drama, um só
conflito, ela rejeita as minúcias e as extrapolações, pois seu objetivo é um só, um só
efeito. Assim, o tamanho do conto é reduzido: o autor usa formas contraídas, isto é,
a economia dos meios narrativos, preferindo a concentração dos efeitos, o que torna
o conto uma narrativa curta. A principal característica que diferencia o conto do
romance é que ele termina justamente no clímax, ao contrário do romance em que o
clímax aparece antes do final.
Em geral, os autores de literatura fantástica, aqui em especial Edgar Allan
Poe, procuram, atrás da aparência cotidiana dos fatos relatados e um mundo
macabro ou cheio de suspense e medo, mais do que assustar o leitor, deixá-lo
perplexo e cheio de dúvidas: se o que ele leu é verdade ou mentira, sonho ou
alucinação, pois as narrativas fantásticas estão sempre relacionadas a
Imagem: Miguel Antonio de Souza Junior
6
acontecimentos que empurram os personagens a executarem ações
independentemente de seus pensamentos conscientes, desejos ou vontades
conhecidas. Segundo o psicanalista “Freud”, isso pode ocorrer com muita frequência
devido a desejos reprimidos, e até mesmo a loucura e a indefinição entre a fantasia
e a realidade.
Para Cortazar (1974), o fantástico deve tocar em nós e nos tirar do ponto
“vélico”, isto é, como se houvesse uma convergência de forças para um determinado
ponto, colocando-nos fora de eixo, sem saber a grande surpresa que nos espera. É
isso que o final abrupto do conto provoca, por ser enigmático e não contar o fim do
fantástico dia do narrador.
As atividades propostas nesta Unidade Didática foram elaboradas para
serem utilizadas em sala de aula de ensino da língua inglesa para alunos do Ensino
Médio do Colégio Estadual Bento Mossurunga – Ensino Fundamental e Médio do
Município de Ivaiporã - Paraná. Prevemos que sua aplicação poderá ter a duração
de, aproximadamente, 10 horas/aula. Para uma melhor organização do material e
também para que o aluno se oriente, as atividades foram divididas em três fases,
conforme pede a aplicação de trabalhos com gêneros desta natureza, com objetivos
distintos: I. Pre-reading (antes da leitura) tem o objetivo de familiarizar o aluno com
o tema da aula proposta, facilitando o acesso ao texto; II. While-reading (durante a
leitura), que corresponde à fase de leitura do texto e exercícios de compreensão; e
III. Post-reading (pós leitura), tem a finalidade de propor uma reflexão crítica das
questões abordadas pelos textos lidos e o tema estudado.
7
CONTOS FANTaSTICOS
Imagem: Miguel Antonio de Souza Junior
I- Pre - reading
1- Ask some oral questions to the students about literature and Edgar Allan
Poe:
a) Do you like to read? Why / Why not?
b) What do you usually read?
c) Do you like literature books?
d) What kind of literature books do you enjoy reading?
e) Do you prefer fiction or non-fiction?
f) Do you prefer reading books or short stories?
g) Do you know something about Edgar Allan Poe?
Edgar Allan Poe e seus mistérios
8
h) Do you know some tale by Edgar Allan Poe?
i) Were you afraid of something when you were a child? And Today?
j) What is your biggest fear?
k) Do you think that there is truth behind superstitions?
l) Do you walk under ladders?
m) Do you consider that black cat is unlucky?
n) What are some things that you consider lucky?
o) Has anything ever happened to you that you cannot explain?
p) Do you believe that there are many things in our universe that cannot be
explained? Give some examples.
Obs: Essas questões serão respondidas pelos alunos e guardadas pelo professor. Na última aula, elas serão revistas pelos alunos.
2- Tell to the students about Edgar Allan Poe’s life:
Poe nasceu em 1809 e morreu em 1849. Filho de pais
atores, mas o destino reservou um duro golpe para o
menino e seus irmãos, matando seus pais de tuberculose.
As crianças foram recolhidas por pessoas da família e
Edgar acabou encontrando abrigo na casa de um tio rico.
No entanto, as dificuldades do início da vida provocaram
um permanente pessimismo e um espírito macabro que o
acompanharam até sua morte. Sua obra é vasta em
qualidade artística e transita por diversos gêneros. O autor
escreveu desde poemas até novelas, porém os contos são considerados a parte
mais relevante de sua obra. “Crimes na rua Morgue”, short story de sua autoria,
inaugura, em 1841, o gênero policial. No entanto, o autor norte-americano pode ser
considerado um escritor fantástico antes de ser contista policial, pois suas obras
vão muito além de tramitações de crimes. Os crimes de Edgar Allan Poe
costumam ser envoltos em situações sobrenaturais, enigmáticas e misteriosas;
causando hesitação, curiosidade e aguçando a perspicácia de seus leitores.
Fonte:http://www.prattlibrary.org/research/digitalcollections.aspx?id=180
9
3- Reading approach and hypothesis:
a) Mostre aos alunos o livro Histórias extraordinárias
de Edgar Allan Poe e peça que eles formulem hipóteses
em relação a ele. Observe que a capa contém a figura
de um gato preto e pergunte à turma o que esse animal
sugere.
b) Pergunte para a classe: Por que Edgar A. Poe
escolheu um gato preto? Não poderia ser qualquer outro
animal?
c) Peça que os alunos formulem hipóteses oralmente para a escolha do gato
preto. Depois discuta o tema com a classe. Conte a eles e deixe que eles também
contem algumas histórias sobre as superstições envolvendo a figura do gato preto e
outros objetos.
4- Watch with the students, in the Pen Drive TV, the video “Lendas Urbanas - Gato Preto” – Part 1, 2 e 3.
Você encontra os vídeos disponíveis em:
http://www.youtube.com/watch?v=oxH7-WW3hd8
http://www.youtube.com/watch?v=RVUXGijFy3w&NR=1
http://www.youtube.com/watch?v=MmivFenaG0o&feature=related
Obs :Há, no mesmo site, outras releituras do conto “O Gato Preto” que podem ser
mostradas aos alunos.
*Após assistir os vídeos, peça aos alunos que exponham suas opiniões, por escrito
ou oralmente, a respeito do que viram.
Fonte: http://www.shopmania.com.br/livros/p-historias-extraordinarias-2589686
10
________________________________________
________________________________________
________________________________________
________________________________________
________________________________________
________________________________________ ________________________________________
*2___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
5- Such a climate of psychological terror is reminiscent of Edgar Allan Poe’s
fantastic tales: Let's read the story “The Black Cat”.
II- While- reading:
a- De algumas orientações aos alunos, para que possam ter uma boa
compreensão do texto:
I- Tenha concentração na hora da leitura, esqueça o mundo, foque o seu
pensamento somente no que você vai ler;
II- Leia lentamente, prestando atenção em cada detalhe para não correr o risco de
haver algum engano na compreensão;
III- Procure o significado geral do texto, isto é, sobre o que o texto trata. Isto ajuda
na "filtragem" das informações mais relevantes;
IV- Quando encontrar uma palavra desconhecida, você não deve se preocupar
imediatamente com o seu significado. O primeiro passo é ver se a palavra é ou
não importante para a compreensão do texto. Se for anote-a. ____________
*2 Imagem: http://www.publicdomainpictures.net
11
The Black Cat FOR the most wild, yet most homely
narrative which I am about to pen, I neither expect
nor solicit belief. Mad indeed would I be to expect
it, in a case where my very senses reject their own
evidence. Yet, mad am I not—and very surely do I
not dream. But tomorrow I die, and today I would
unburthen my soul. My immediate purpose is to
place before the world, plainly, succinctly, and
without comment, a series of mere household
events. In their consequences, these events have
terrified—have tortured—have destroyed me. Yet I
will not attempt to expound them. To me, they have
presented little but Horror—to many they will seem less terrible than barroques.
Hereafter, perhaps, some intellect may be found which will reduce my phantasm to
the common-place—some intellect more calm, more logical, and far less excitable
than my own, which will perceive, in the circumstances I detail with awe, nothing
more than an ordinary succession of very natural causes and effects.
From my infancy I was noted for the docility and humanity of my disposition.
My tenderness of heart was even so conspicuous as to make me the jest of my
companions. I was especially fond of animals, and was indulged by my parents with
a great variety of pets. With these I spent most of my time, and never was so happy
as when feeding and caressing them. This peculiarity of character grew with my
growth, and in my manhood, I derived from it one of my principal sources of pleasure.
To those who have cherished an affection for a faithful and sagacious dog, I need
hardly be at the trouble of explaining the nature or the intensity of the gratification
thus derivable. There is something in the unselfish and self-sacrificing love of a brute,
which goes directly to the heart of him who has had frequent occasion to test the
paltry friendship and gossamer fidelity of mere Man.
I married early, and was happy to find in my wife a disposition not uncongenial
with my own. Observing my partiality for domestic pets, she lost no opportunity of
Imagem: Miguel Antonio de Souza Junior
12
procuring those of the most agreeable kind. We had birds, gold-fish, a fine dog,
rabbits, a small monkey, and a cat.
This latter was a remarkably large and beautiful animal, entirely black, and
sagacious to an astonishing degree. In speaking of his intelligence, my wife, who at
heart was not a little tinctured with superstition, made frequent allusion to the ancient
popular notion, which regarded all black cats as witches in disguise. Not that she was
ever serious upon this point—and I mention the
matter at all for no better reason than that it happens,
just now, to be remembered.
Pluto—this was the cat's name—was my
favorite pet and playmate. I alone fed him, and he
attended me wherever I went about the house. It was
even with difficulty that I could prevent him from
following me through the streets.
Our friendship lasted, in this manner, for
several years, during which my general temperament
and character—through the instrumentality of the Fiend Intemperance—had (I blush
to confess it) experienced a radical alteration for the worse. I grew, day by day, more
moody, more irritable, more regardless of the feelings of others. I suffered myself to
use intemperate language to my wife. At length, I even offered her personal violence.
My pets, of course, were made to feel the change in my disposition. I not only
neglected, but ill-used them. For Pluto, however, I still retained sufficient regard to
restrain me from maltreating him, as I made no scruple of maltreating the rabbits, the
monkey, or even the dog, when by accident, or through affection, they came in my
way. But my disease grew upon me—for what disease is like Alcohol!—and at length
even Pluto, who was now becoming old, and consequently somewhat peevish—even
Pluto began to experience the effects of my ill temper.
One night, returning home, much intoxicated, from one of my haunts about
town, I fancied that the cat avoided my presence. I seized him; when, in his fright at
my violence, he inflicted a slight wound upon my hand with his teeth. The fury of a
demon instantly possessed me. I knew myself no longer. My original soul seemed, at
once, to take its flight from my body and a more than fiendish malevolence, gin- ____________
*3 Imagem Gato Preto: http://www.publicdomainpictures.net
13
nurtured, thrilled every fibre of my frame. I took from my waistcoat-pocket a pen-
knife, opened it, grasped the poor beast by the throat, and deliberately cut one of its
eyes from the socket! I blush, I burn, I shudder, while I pen the damnable atrocity.
When reason returned with the morning—when I had slept off the fumes of the
night's debauch—I experienced a sentiment half of horror, half of remorse, for the
crime of which I had been guilty; but it was, at best, a feeble and equivocal feeling,
and the soul remained untouched. I again plunged into excess, and soon drowned in
wine all memory of the deed.
In the meantime the cat slowly recovered. The socket of the lost eye
presented, it is true, a frightful appearance, but he no longer appeared to suffer any
pain. He went about the house as usual, but, as might be expected, fled in extreme
terror at my approach. I had so much of my old heart left, as to be at first grieved by
this evident dislike on the part of a creature which had once so loved me. But this
feeling soon gave place to irritation. And then came, as if to my final and irrevocable
overthrow, the spirit of PERVERSENESS. Of this spirit philosophy takes no account.
Yet I am not more sure that my soul lives, than I am that perverseness is one of the
primitive impulses of the human heart—one of the indivisible primary faculties, or
sentiments, which give direction to the character of Man. Who has not, a hundred
times, found himself committing a vile or a silly action, for no other reason than
because he knows he should not? Have we not a perpetual inclination, in the teeth of
our best judgment, to violate that which is Law, merely because we understand it to
be such? This spirit of perverseness, I say, came to my final overthrow. It was this
unfathomable longing of the soul to vex itself—to offer violence to its own nature—to
do wrong for the wrong's sake only—that urged me to continue and finally to
consummate the injury I had inflicted upon the unoffending brute. One morning, in
cool blood, I slipped a noose about its neck and hung it to the limb of a tree;—hung it
with the tears streaming from my eyes, and with the bitterest remorse at my heart;—
hung it because I knew that it had loved me, and because I felt it had given me no
reason of offence;—hung it because I knew that in so doing I was committing a sin—
a deadly sin that would so jeopardize my immortal soul as to place it—if such a thing
wore possible—even beyond the reach of the infinite mercy of the Most Merciful and
Most Terrible God.
14
On the night of the day on which this cruel deed was done, I was aroused from
sleep by the cry of fire. The curtains of my bed were in flames. The whole house was
blazing. It was with great difficulty that my wife, a servant, and myself, made our
escape from the conflagration. The destruction was complete. My entire worldly
wealth was swallowed up, and I resigned myself thenceforward to despair.
I am above the weakness of seeking to establish a sequence of cause and
effect, between the disaster and the atrocity. But I am detailing a chain of facts—and
wish not to leave even a possible link imperfect. On the day succeeding the fire, I
visited the ruins. The walls, with one exception, had fallen in. This exception was
found in a compartment wall, not very thick, which stood about the middle of the
house, and against which had rested the head of my bed. The plastering had here, in
great measure, resisted the action of the fire—a fact which I attributed to its having
been recently spread. About this wall a dense crowd were collected, and many
persons seemed to be examining a particular portion of it with very minute and eager
attention. The words "strange!" "singular!" and other similar expressions, excited my
curiosity. I approached and saw, as if graven in bas relief upon the white surface, the
figure of a gigantic cat. The impression was given with an accuracy truly marvellous.
There was a rope about the animal's neck.
When I first beheld this apparition—for I
could scarcely regard it as less—my wonder and
my terror were extreme. But at length reflection
came to my aid. The cat, I remembered, had
been hung in a garden adjacent to the house.
Upon the alarm of fire, this garden had been
immediately filled by the crowd—by some one of
whom the animal must have been cut from the
tree and thrown, through an open window, into
my chamber. This had probably been done with
the view of arousing me from sleep. The falling
of other walls had compressed the victim of my
cruelty into the substance of the freshly-spread plaster; the lime of which, with the
flames, and the ammonia from the carcass, had then accomplished the portraiture as
I saw it.
Imagem: Miguel Antonio de Souza Junior
15
Although I thus readily accounted to my reason, if not altogether to my
conscience, for the startling fact just detailed, it did not the less fail to make a deep
impression upon my fancy. For months I could not rid myself of the phantasm of the
cat; and, during this period, there came back into my spirit a half-sentiment that
seemed, but was not, remorse. I went so far as to regret the loss of the animal, and
to look about me, among the vile haunts which I now habitually frequented, for
another pet of the same species, and of somewhat similar appearance, with which to
supply its place.
One night as I sat, half stupefied, in a den of more than infamy, my attention
was suddenly drawn to some black object, reposing upon the head of one of the
immense hogsheads of Gin, or of Rum, which constituted the chief furniture of the
apartment. I had been looking steadily at the top of this hogshead for some minutes,
and what now caused me surprise was the fact that I had not sooner perceived the
object thereupon. I approached it, and touched it with my hand. It was a black cat—a
very large one—fully as large as Pluto, and closely resembling him in every respect
but one. Pluto had not a white hair upon any portion of his body; but this cat had a
large, although indefinite splotch of white, covering nearly the whole region of the
breast. Upon my touching him, he immediately arose, purred loudly, rubbed against
my hand, and appeared delighted with my notice. This, then, was the very creature of
which I was in search. I at once offered to purchase it of the landlord; but this person
made no claim to it—knew nothing of it—had never seen it before.
I continued my caresses, and, when I prepared to go home, the animal
evinced a disposition to accompany me. I permitted it to do so; occasionally stooping
and patting it as I proceeded. When it reached the house it domesticated itself at
once, and became immediately a great favorite with my wife.
For my own part, I soon found a dislike to it arising within me. This was just the
reverse of what I had anticipated; but—I know not how or why it was—its evident
fondness for myself rather disgusted and annoyed. By slow degrees, these feelings
of disgust and annoyance rose into the bitterness of hatred. I avoided the creature; a
certain sense of shame, and the remembrance of my former deed of cruelty,
preventing me from physically abusing it. I did not, for some weeks, strike, or
otherwise violently ill use it; but gradually—very gradually—I came to look upon it
with unutterable loathing, and to flee silently from its odious presence, as from the
breath of a pestilence.
16
What added, no doubt, to my hatred of the beast, was the discovery, on the
morning after I brought it home, that, like Pluto, it also had been deprived of one of its
eyes. This circumstance, however, only endeared it to my wife, who, as I have
already said, possessed, in a high degree, that humanity of feeling which had once
been my distinguishing trait, and the source of many of my simplest and purest
pleasures.
With my aversion to this cat, however, its partiality for myself seemed to
increase. It followed my footsteps with a pertinacity which it would be difficult to make
the reader comprehend. Whenever I sat, it would crouch beneath my chair, or spring
upon my knees, covering me with its loathsome caresses. If I arose to walk it would
get between my feet and thus nearly throw me down, or, fastening its long and sharp
claws in my dress, clamber, in this manner, to my breast. At such times, although I
longed to destroy it with a blow, I was yet withheld from so doing, partly by a memory
of my former crime, but chiefly—let me confess it at once—by absolute dread of the
beast.
This dread was not exactly a dread of physical evil—and yet I should be at a
loss how otherwise to define it. I am almost ashamed to own—yes, even in this
felon's cell, I am almost ashamed to own—that the terror and horror with which the
animal inspired me, had been heightened by one of the merest chimaeras it would be
possible to conceive. My wife had called my attention, more than once, to the
character of the mark of white hair, of which I have spoken, and which constituted the
sole visible difference between the strange beast and the one I had destroyed. The
reader will remember that this mark, although large, had been originally very
indefinite; but, by slow degrees—degrees nearly imperceptible, and which for a long
time my Reason struggled to reject as fanciful—it had, at length, assumed a rigorous
distinctness of outline. It was now the representation of an object that I shudder to
name—and for this, above all, I loathed, and dreaded, and would have rid myself of
the monster had I dared—it was now, I say, the image of a hideous—of a ghastly
thing—of the GALLOWS!—oh, mournful and terrible engine of Horror and of Crime—
of Agony and of Death!
And now was I indeed wretched beyond the wretchedness of mere Humanity.
And a brute beast —whose fellow I had contemptuously destroyed—a brute beast to
work out for me—for me a man, fashioned in the image of the High God—so much of
insufferable wo! Alas! neither by day nor by night knew I the blessing of Rest any
17
more! During the former the creature left me no moment alone; and, in the latter, I
started, hourly, from dreams of unutterable fear, to find the hot breath of the thing
upon my face, and its vast weight—an incarnate Night-Mare that I had no power to
shake off—incumbent eternally upon my heart!
Beneath the pressure of torments such as these, the feeble remnant of the
good within me succumbed. Evil thoughts became my sole intimates—the darkest
and most evil of thoughts. The moodiness of my usual temper increased to hatred of
all things and of all mankind; while, from the sudden, frequent, and ungovernable
outbursts of a fury to which I now blindly abandoned myself, my uncomplaining wife,
alas! was the most usual and the most patient of sufferers.
One day she accompanied me, upon some household errand, into the cellar of
the old building which our poverty compelled us to inhabit. The cat followed me down
the steep stairs, and, nearly throwing me headlong, exasperated me to madness.
Uplifting an axe, and forgetting, in my wrath, the childish dread which had hitherto
stayed my hand, I aimed a blow at the animal which, of course, would have proved
instantly fatal had it descended as I wished. But this blow was arrested by the hand
of my wife. Goaded, by the interference, into a rage more than demoniacal, I
withdrew my arm from her grasp and buried the axe in her brain. She fell dead upon
the spot, without a groan.
This hideous murder accomplished, I set
myself forthwith, and with entire deliberation, to the
task of concealing the body. I knew that I
could not remove it from the house, either by day
or by night, without the risk of being observed by
the neighbors. Many projects entered my mind. At
one period I thought of cutting the corpse into
minute fragments, and destroying them by fire. At
another, I resolved to dig a grave for it in the floor of
the cellar. Again, I deliberated about casting it in the
well in the yard—about packing it in a box, as if
merchandize, with the usual arrangements, and so
getting a porter to take it from the house. Finally I hit
Imagem: http://3.bp.blogspot.com/_hUn-yffTZbM/RleGIa54SEI/AAAAAAAAAEA/h1ZCB6Ts2y8/s1600-h/102158.jpg
18
upon what I considered a far better expedient than either of these. I determined to
wall it up in the cellar—as the monks of the middle ages are recorded to have walled
up their victims.
For a purpose such as this the cellar was well adapted. Its walls were loosely
constructed, and had lately been plastered throughout with a rough plaster, which the
dampness of the atmosphere had prevented from hardening. Moreover, in one of the
walls was a projection, caused by a false chimney, or fireplace, that had been filled
up, and made to resemble the red of the cellar. I made no doubt that I could readily
displace the bricks at this point, insert the corpse, and wall the whole up as before,
so that no eye could detect any thing suspicious. And in this calculation I was not
deceived. By means of a crow-bar I easily dislodged the bricks, and, having carefully
deposited the body against the inner wall, I propped it in that position, while, with little
trouble, I re-laid the whole structure as it originally stood. Having procured mortar,
sand, and hair, with every possible precaution, I prepared a plaster which could not
be distinguished from the old, and with this I very carefully went over the new
brickwork. When I had finished, I felt satisfied that all was right. The wall did not
present the slightest appearance of having been disturbed. The rubbish on the floor
was picked up with the minutest care. I looked around triumphantly, and said to
myself—"Here at least, then, my labor has not been in vain."
My next step was to look for the beast which had been the cause of so much
wretchedness; for I had, at length, firmly resolved to put it to death. Had I been able
to meet with it, at the moment, there could have been no doubt of its fate; but it
appeared that the crafty animal had been alarmed at the violence of my previous
anger, and forebore to present itself in my present mood. It is impossible to describe,
or to imagine, the deep, the blissful sense of relief which the absence of the detested
creature occasioned in my bosom. It did not make its appearance during the night—
and thus for one night at least, since its introduction into the house, I soundly and
tranquilly slept; aye, slept even with the burden of murder upon my soul!
The second and the third day passed, and still my tormentor came not. Once
again I breathed as a freeman. The monster, in terror, had fled the premises forever!
I should behold it no more! My happiness was supreme! The guilt of my dark deed
disturbed me but little. Some few inquiries had been made, but these had been
readily answered. Even a search had been instituted—but of course nothing was to
be discovered. I looked upon my future felicity as secured.
19
Upon the fourth day of the assassination, a party of the police came, very
unexpectedly, into the house, and proceeded again to make rigorous investigation of
the premises. Secure, however, in the inscrutability of my place of concealment, I felt
no embarrassment whatever. The officers bade me accompany them in their search.
They left no nook or corner unexplored. At length, for the third or fourth time, they
descended into the cellar. I quivered not in a muscle. My heart beat calmly as that of
one who slumbers in innocence. I walked the cellar from end to end. I folded my
arms upon my bosom, and roamed easily to and fro. The police were thoroughly
satisfied and prepared to depart. The glee at my heart was too strong to be
restrained. I burned to say if but one word, by way of triumph, and to render doubly
sure their assurance of my guiltlessness.
"Gentlemen," I said at last, as the party
ascended the steps, "I delight to have allayed your
suspicions. I wish you all health, and a little more
courtesy. By the bye, gentlemen, this—this is a very
well constructed house." [In the rabid desire to say
something easily, I scarcely knew what I uttered at
all.]—"I may say an excellently well constructed
house. These walls are you going, gentlemen?—
these walls are solidly put together;" and here,
through the mere phrenzy of bravado, I rapped
heavily, with a cane which I held in my hand, upon
that very portion of the brick-work behind which
stood the corpse of the wife of my bosom.
But may God shield and deliver me from the fangs of the Arch-Fiend! No
sooner had the reverberation of my blows sunk into silence, than I was answered by
a voice from within the tomb!—by a cry, at first muffled and broken, like the sobbing
of a child, and then quickly swelling into one long, loud, and continuous scream,
utterly anomalous and inhuman—a howl—a wailing shriek, half of horror and half of
triumph, such as might have arisen only out of hell, conjointly from the throats of the
dammed in their agony and of the demons that exult in the damnation.
Of my own thoughts it is folly to speak. Swooning, I staggered to the opposite
wall. For one instant the party upon the stairs remained motionless, through extremity
of terror and of awe. In the next, a dozen stout arms were toiling at the wall. It fell
Imagem: http://www.contosparanaodormir.com/2010/08/edgar-allan-poe.html
20
bodily. The corpse, already greatly decayed and clotted with gore, stood erect before
the eyes of the spectators. Upon its head, with red extended mouth and solitary eye
of fire, sat the hideous beast whose craft had seduced me into murder, and whose
informing voice had consigned me to the hangman. I had walled the monster up
within the tomb! Source from: http://www.gutenberg.org/files/25525/25525-h/25525-h.htm
6- Understanding the Text!!!!!
a) Após uma primeira leitura do conto, pedir que os alunos exponham suas
ideias do que entenderam do texto.
b) Se a turma tiver muita dificuldade em entender o texto em Inglês, apresentar
também uma versão do conto “O Gato Preto”, na língua materna.
c) Apresente em slides as definições de conto e de “Fantástico” e suas
características e objetivo.
O que é conto??O que O que éé conto??conto??
Segundo Moisés (2004), o conto contém um só drama, um só conflito, uma só unidade dramática, uma sóhistória, uma só ação, enfim, uma única célula dramática.
- Já Gotlib (1998), caracteriza o conto, contrastando-o à fábula e à parábola: a primeira, tem objetivo instrutivo e émuito breve. E a parábola tem sentido realista e moralista, sendo que o sentido das duas não é aparente e os detalhes de personagens podem ser simbólicos. O conto conserva características destas duas formas: a economia do estilo e a situação e a proposição temática resumidas. (p. 15)
21
E quanto ao termo Fantástico?
• Fantástico designa aquilo ou aquele que só existe na imaginação. Logo, a temática que o conto aborda é de cunho diferenciado, pois apresenta estórias imaginadas que envolvem acontecimentos fictícios e de cunho sobrenatural, não tendo compromisso com o real, permitindo que a ficção não tenha limites precisos.
• Por abordar estórias sobrenaturais, o Conto Fantástico versa por temáticas e simbologias relacionadas a esse mundo de mistérios e segredos tais como: manuscritos escondidos, torturas e crimes com horror sobrenatural, profecias, maldições, seitas secretas, segredos do passado, possessões demoníacas entre outras.
Características....• O conto, por ser uma narrativa, possui
elementos constitutivos como: argumento para a história, narrador, que, por sua vez, é construído a fim de proporcionar a fruição do imaginário dos leitores de forma a transportá-los a lugares tenebrosos e medonhos envolvendo-os de maneira bastante singular.
• Ainda acerca das características do Conto Fantástico, este tem um efeito singular de especial importância, uma vez que brota dos recursos de expectativas crescentes por parte do leitor ou da técnica de suspense diante de um enigma que é sustentado no desenvolvimento do conto até o seu desfecho.
Objetivo....• Para Cortazar (1974), o fantástico deve
tocar em nós e nos tirar do ponto “vélico”, isto é, como se houvesse uma convergência de forças para um determinado ponto, colocando-nos fora de eixo, sem saber a grande surpresa que nos espera. É isso que o final abrupto do conto provoca, por ser enigmático e não contar o fim do fantástico dia do narrador.
d) Pergunte aos alunos:
I- Quais fatos fantásticos aparecem no conto?
II- Explore a mudança de comportamento narrador-personagem, o incêndio da
casa, a marca do gato enforcado na parede, a semelhança entre o novo gato
preto e o antigo, o emparedamento da esposa e o surgimento do gato dentro
da parede. O que cada um dos gatos representa na vida do narrador?
III- No decorrer da narrativa, os conflitos do narrador são revelados a partir das
seguintes dualidades: bem x mal; salvação x condenação; perversidade x
Imagem: Miguel Antonio de Souza Junior
22
ternura. Seu objetivo em expor diante do mundo os fatos está intimamente
ligado a esses conflitos. Segundo a crença do narrador, a partir de que
momento poderá sentir algum alívio?
IV- De acordo com a psicologia de Freud criador e criatura estão intimamente
ligados, quer dizer que obra e autor se misturam. Você acredita que a vida
cheia de angústias que Edgar Allan Poe tinha, o levou a escrever essa obra?
V- Releia com a classe um dos trechos que levam o leitor a desconfiar da
veracidade dos fatos contados pelo narrador, pois tudo é contado pela ótica
do próprio narrador: “For the most wild, yet most homely narrative which I am
about to pen, I neither expect nor solicit belief. Mad indeed would I be to
expect it, in a case where my very senses reject their own evidence.”
VI- Peça aos alunos que escrevam um fato que eles conheçam ou ouviram
contar que tenha uma relação passional ou doméstica, baseada no conto O
gato Preto.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
23
7-
Explain the “Past Tense” basic rules to the students:
Simple Past Forms
Regular Verbs
Most verbs are conjugated by adding – ed- at the end of the verb like the verb "wait"
below. This is called the general rule!!!
Affirmative Negative Question
I waited. You waited. We waited. They waited. He waited. She waited. It waited.
I did not wait. You did not wait. We did not wait. They did not wait. He did not wait. She did not wait. It did not wait.
Did I wait? Did you wait? Did we wait? Did they wait? Did he wait? Did she wait? Did it wait?
In spite of the general rule, there are some other rules to form the simple past
of regular verbs. Take a look:
These verbs are called regular verbs because they follow these rules:
Verb ending in... How to make the simple past Examples
e Add -D live lived date dated
Consonant +y Change y to i, then add -ED
try tried cry cried
24
One vowel + one consonant (but NOT w or y)
Double the consonant, then add -ED
tap tapped commit committed
anything else including w Add -ED
boil boiled fill filled hand handed show showed
Irregular Verbs
Other verbs, such as "have", take irregular forms in the Simple Past. Notice that you
only use the irregular verbs in affirmative statements. In negative forms and
questions, the word "did" indicates Simple Past, so the verbs come back to the
infinitive form.
Affirmative Negative Question
I had. You had. We had. They had. He had. She had. It had.
I did not have. You did not have. We did not have. They did not have. He did not have. She did not have. It did not have.
Did I have? Did you have? Did we have? Did they have? Did he have? Did she have? Did it have?
USE 1- Completed Action in the Past
Use the Simple Past to express the idea that an action started and finished at a
specific time in the past. Sometimes, the speaker may not actually mention the
specific time, but they do have one specific time in mind.
25
Examples:
I saw a movie yesterday. I didn't see a play yesterday. Last year, I traveled to Japan. Last year, I didn't travel to Korea. Did you have dinner last night? She washed her car. He didn't wash his car.
USE 2- A Series of Completed Actions
We use the Simple Past to list a series of completed actions in the past. These
actions happen 1st, 2nd, 3rd, 4th, and so on.
Examples:
I finished work, walked to the beach, and found a nice place to swim. He arrived from the airport at 8:00, checked into the hotel at 9:00, and met
the others at 10:00. Did you add flour, pour in the milk, and then add the eggs?
USE 3- Duration in Past
The Simple Past can be used with a duration which starts and stops in the past. A
duration is a longer action often indicated by expressions such as: for two years, for
five minutes, all day, all year, etc.
Examples:
I lived in Brazil for two years. Shauna studied Japanese for five years. They sat at the beach all day. They did not stay at the party the entire time. We talked on the phone for thirty minutes. A: How long did you wait for them? B: We waited for one hour. She was shy as a child, but now she is very outgoing. He didn't like tomatoes before.
26
Past time Expressions
In order to show when an action or situation happened in the past, particular words
and phrases (time adverbials) are often used. Here are some of the most common
ones:
1. yesterday
This refers to the day before today, but not at any specific time.
2. last _____
This time adverbial is similar to yesterday, but it can be used with many different
time references: last night, last week, last month, last year, last Tuesday, last
summer, etc.
3. a / an / one _____ ago
A singular noun phrase showing a period of time follows a, an, or one:
a / one minute ago, an / one hour ago, a / one week ago, a / one week ago, a / one
month ago, a / one year ago, etc.
4. (plural number or expression) _____ ago
A plural noun phrase showing a period of time is used before ago:
two minutes ago, three hours ago, several days ago, a few weeks ago, a number of
months ago, many years ago, etc.
5. the day before yesterday
This time adverbial has the same meaning as two days ago.
6. the _____ before last
This common time adverbial is similar to the day before yesterday, but it can be
used for many more time references:
the night before last, the week before last, the month before last, etc.
Source from: http://www.englishpage.com/verbpage/simplepast.html http://www.eslcafe.com/grammar/simple_past_tense04.html
27
I- Encourage the students with the following exercises:
a) Choose the option that completes correctly the following sentences, according to the text “ The Black Cat.”
1. The second and the third day ___________, and still my tormentor came not.
a. pass
b. passed
c. passes
2. With these I ____________ most of my time,
a. Spend
b. Spent
c. Spell
3. Never __________ so happy as when feeding and caressing them.
a. was
b. is
c. been
4. she _________ no opportunity of procuring those of the most agreeable kind.
a. lose
b. losten
c. lost
Imagem: http://www.publicdomainpictures.net
Let’s
Practice
28
5. I _____________ myself to use intemperate language to my wife.
a.suffered
b. suffer
c. suffere
b) Rewrite the following sentences using the correct form of “simple past.”
1. Did In the meantime the cat slowly recovered? R:......................................................................................... 2. There is a rope about the animal's neck. R:.........................................................................................
3. One night as I didn’t sat, half stupefied.
R:.........................................................................................
c) Turn the sentences below to the English.
1. Na minha infância eu era notado pela docilidade e humanidade do meu caráter.
R:...........................................................................................
2. Eu casei cedo e estava feliz em encontrar na minha esposa um caráter
compatível com o meu.
R:............................................................................................
d) Translate the sentence to the portuguese:
Pluto—this was the cat's name—was my favorite pet and playmate.
R:..........................................................................................................
e) Vocabulary:
I -
29
II - Connect each word with the correct meaning:
Dislike Sucumbiu
Soul Fisicamente
Regard Onde quer que…
Character Antipatizar
Intoxicated Inocente
Succumbed Alma
Unoffending Estima, afeto
Swallowed Caráter
Physically Ingerido
Prepared Bêbado
Wherever Disposto, pronto
30
8 – Cognates and False Cognates.
Explique aos alunos que na língua inglesa há palavras que se parecem com as do
português, mas não têm o mesmo sentido nas duas línguas (falsos cognatos) e
também, que há palavras que se parecem com as do português e têm o mesmo
sentido (cognatos).
Examples of COGNATE WORDS:
Inglês Português Competition Competição Television Televisão Radio Rádio Music Música Area Área Human Humano Emotion Emoção Idea Ideia
FALSE COGNATES:
Escreva no quadro a palavra Push.
Pergunte aos alunos o que fariam se vissem esta palavra escrita em uma
porta.
Talvez, alguns deles responderão que puxariam a porta. Comente que, na
verdade, a palavra push significa empurrar, e não, puxar. Explique aos alunos que
este é um caso típico de um falso cognato.
Comente que, em inglês, há uma grande quantidade de palavras que nos
confundem por terem a grafia parecida com palavras da língua portuguesa. Some examples:
Inglês Tradução ERRADA Tradução CORRETA Costume Costume Fantasia
31
Parents Parentes Pais Attend Atender Assistir Fabric Fábrica Tecido Relatives Relativos Parentes Baton Batom Cacetete Library Livraria Biblioteca
Amass Amassar Acumular, Juntar Lunch Lanche Almoço Prejudice Prejudicar Preconceito Pasta Pasta Massa (alimento) Argument Argumento Discussão Legend Legenda Mito, Lenda Pretend Pretender Fingir Procure Procure Adquirir, Conseguir Preservative Preservativo Conservante Realize Realizar Notar, Perceber Sort Sorte Tipo Time Time Tempo, Hora
Source from: http://portaldoprofessor.mec.gov.br/fichaTecnicaAula.html?aula=20911
Então, peça que eles lhe deem o significado em inglês das palavras com as quais os
falsos cognatos se parecem. Você deve obter:
pretender = intend
atender (o telefone, a porta) = answer
pasta = folder (para papéis), toothpaste (pasta de dente)
sorte = luck
lanche = snack
time = team
a) Ask students to look at the text “ The Black Cat”, words that illustrate the
explanations:
32
Cognates:
___________________________ ___________________________
___________________________ ___________________________
___________________________ ___________________________
___________________________ ___________________________
False Cognates:
___________________________ ___________________________
___________________________ ___________________________
___________________________ ___________________________
___________________________ ___________________________
III- POST-READING
Now it’s your turn! Everybody is a creator!
Considering that, in the next activity we will see a movie, ask students to prepare a folder in English to be distributed to the students of the School, with an invitation to watch the movie “Mary Shelley’s Frankenstein”. This folder should contain some characteristics of the fantastic literary genre.
Knowing More
WITCHES ?? VAMPIRE ??
FRANKENSTEIN ??
WEREWOLF??
33
Do they cause panic in you?
1- Make questions to the students about witches, ghosts and others creatures that represent to them the terror and fear.
a) Do you think ghosts really exist?
b) Do you believe that houses can be haunted? Have you ever been one?
c) If one of your friends told you that he/she had seen a ghost, would you believe
him/her? Why/ Why not?
d) Do you believe in werewolf?
e) What would you do if a vampire apper in front of you?
f) Are there superstitions in Brazil? Give some examples.
g) Do you think that there is truth behind superstitions?
2- Now show the students a little bit of the story of the creatures that cause
panic and comment each one with them:
Werewolf
One of the most fascinating aspects of the werewolf legend Is that it exists
in almost every culture. That is, the idea of a man turning into a beast feared is
common through the world. That is, the idea of a man turning into a feared beast is
common throughout the world. But the beast is not
always a wolf. But the beast is not always a wolf.
Instead, it is usually whatever animals are feared in
that particular region. Instead, it is usually whatever
animals are in feared that particular region. For
example, there are legends in India that involve men
who turn into tigers and in Africa the legends tell of
men transforming into ferocious hyenas. For
example, there are legends in India that involves men who turn into tigers in Africa
and the legends tell of men transforming into ferocious hyenas. In Europe, where
wolves are the predominant predatory animal, the legends are of men transforming
34
into wolves. In Europe, where wolves are the predominant predatory animal, are the
legends of transforming men into wolves.
While there are hundreds of variations to the European legends of men turning
into wolves, of these legends all share some common elements. Among the most
prominent is the belief that a werewolf is a servant of the Devil. In Medieval Europe, It
was believed that a man became a werewolf by making an unholy pact with satan
himself. The Devil would grant a man the power to transform into a wolf in exchange
for doing the devil's bidding and terrorizing villagers churchgoing. Additional powers
granted if he would be recruited others to become werewolves. Because of the
werewolf's believed association with the devil, the medieval Catholic Church
condemned these creatures. Anyone suspected of being a werewolf was promptly
burnt at the stake. This led to the unfortunate belief deaths of countless innocents
who, much like in the Salem witch trials, is executed were they were not being
something. Source From: http://www.ghostsource.com/field_guide/werewolves.php
DRACULA Yes, there was the real Dracula, and he was a true prince of darkness.
He was Prince Vlad III Dracula, also known as Vlad Tepes, meaning "Vlad the
Impaler." The Turks called hin Kaziglu Bey, ort he Impaler Prince. “He was the
prince of Walachia, but, the legend suggests, he was born in Transylvania, Which at
that time was ruled by Hungary.
Nobody Knows why Bram Stoker chose this fifteenth century Romanian prince
as a model for his fictional character. Some scholars have Proposed Stoker that had
a friendly relationship with a Hungarian teacher from the University of Budapest,
Vambery Arminius (Hermann Vamberger), and It is likely that this man gave Stoker
some information about Vlad tepes Dracula. Moreover, the fact that Dr. Abraham
Van Helsing mentions his "friend Arminius" in the 1897 novel to the source of his
knowledge on Vlad seems to support this hypothesis.
Source from: http://mural.uv.es/emuhol/Real%20Count%20Dracula's%20life.html
http://www.draculas.info/count_dracula/
35
A Brief History of the Salem Witch Trials
The Salem witch trials occurred in
colonial Massachusetts between 1692 and
1693. More than 200 people were accused
of practicing witchcraft—the Devil's magic—
and 20 were executed. Eventually, the
colony admitted the trials were a mistake
and compensated the families of those
convicted. Since then, the story of the trials
has become synonymous with paranoia
and injustice, and it continues to beguile the
Several centuries ago, many practicing
Christians, and those of other religions, had
a strong belief that the Devil could give certain people known as witches the power to
harm others in return for their loyalty. A "witchcraft craze" rippled through Europe
from the 1300s to the end of the 1600s. Hundreds of thousands of supposed
witches—mostly women—were executed.
Though the Salem trials came on just as the
European craze was winding down, local
circumstances explain their onset.
In 1689, English rulers William and Mary
started a war with France in the American
colonies. Known as King William's War to
colonists, it ravaged regions of upstate New York,
Nova Scotia and Quebec, sending refugees into
the county of Essex and, specifically, Salem
Village in the Massachusetts Bay Colony. (Salem
Village is present-day Danvers, Massachusetts; colonial Salem Town became what's
now Salem.)
The displaced people created a strain on Salem's resources. This aggravated
the existing rivalry between families with ties to the wealth of the port of Salem and
those who still depended on agriculture. Controversy also brewed over Reverend
Roger Conant, Salem’s founder. Photo: Lilian Kemmer Chimentão
Salem Witch Museum Photo: Lilian Kemmer Chimentão
36
Samuel Parris, who became Salem Village's first ordained minister in 1689, and was
disliked because of his rigid ways and greedy nature. The Puritan villagers believed
all the quarreling was the work of the Devil.
In January of 1692, Reverend Parris' daughter Elizabeth, age 9, and niece
Abigail Williams, age 11, started having
"fits." They screamed, threw things, uttered
peculiar sounds and contorted themselves
into strange positions, and a local doctor
blamed the supernatural. Another girl, Ann
Putnam, age 11, experienced similar
episodes. On February 29, under pressure
from magistrates Jonathan Corwin and
John Hathorne, the girls blamed three
women for afflicting them: Tituba, the Parris' Caribbean slave; Sarah Good, a
homeless beggar; and Sarah Osborne, an elderly impoverished woman.
All three women were brought before the local magistrates and interrogated
for several days, starting on March 1, 1692. Osborne claimed innocence, as did
Good. But Tituba confessed, "The Devil came to me and bid me serve him." She
described elaborate images of black dogs, red cats, yellow birds and a "black man"
who wanted her to sign his book. She admitted that she signed the book and said
there were several other witches looking to destroy the Puritans. All three women
were put in jail.
With the seed of paranoia planted,
a stream of accusations followed for the
next few months. Charges against Martha
Corey, a loyal member of the Church in
Salem Village, greatly concerned the
community; if she could be a witch, then
anyone could. Magistrates even
questioned Sarah Good's 4-year-old
daughter, Dorothy, and her timid answers
were construed as a confession. The questioning got more serious in April when
Deputy Governor Thomas Danforth and his assistants attended the hearings. Dozens
Salem Witch Museum Photo: Lilian Kemmer Chimentão
Salem Witch Museum Photo: Lilian Kemmer Chimentão
37
Dentro deste contexto o professor pode falar um pouco sobre o Halloween no Brasil e no mundo, incorporar leituras de outras histórias de horror em torno de Halloween. Este é um momento perfeito para mostrar aos alunos os contos e romances de Edgar Allan Poe, Mary Shelley ou Bram Stoker. Para estimular ainda mais a imaginação do aluno, o professor pode sugerir leituras como Frankenstein, Drácula e outros e também assistir a filmes de versões mais modernas e atualizadas dessas histórias. Discutir como esses clássicos de horror influenciaram a cultura popular. O professor pode também criar uma atmosfera condizente com o tema, deixando a sala escura e colocando alguns adereços conforme o filme escolhido.
of people from Salem and other Massachusetts villages were brought in for
questioning.
On May 27, 1692, Governor William Phipps ordered the establishment of a
Special Court of Oyer (to hear) and Terminer (to decide) for Suffolk, Essex and
Middlesex counties. The first case brought to the special court was Bridget Bishop,
an older woman known for her gossipy habits and promiscuity. When asked if she
committed witchcraft, Bishop responded, "I am as innocent as the child unborn." The
defense must not have been convincing, because she was found guilty and, on June
10, became the first person hanged on what was later called Gallows Hill. Source from: http://www.smithsonianmag.com/history-archaeology/brief-salem.html#xzz1SnOmv0
Sugestões de filmes que poderão ser passados aos alunos neste momento:
“A Letra Escarlate” - 1995
“As Bruxas de Salem” - 1996
“Conde Drácula” - 1970
“Frankenstein de Mary Shelley” - 1994
38
3- Entre os filmes acima optamos por “Frankenstein de Mary Shelley”, por ser um
filme cheio de efeitos especiais, o que o torna mais atraente aos adolescentes.
I. Agora curta o momento com seu grupo! Vale todo mundo no chão, pipoca e
sem esquecer a ambientação da sala para causar aquele clima cheio de suspense e
muita adrenalina.
II. Neste primeiro momento não é
recomendável que os estudantes façam
anotações durante a apresentação do filme,
isso dispersa a atenção dos mesmos para os
detalhes da trama, do cenário, dos figurinos e
de outros elementos representativos que
podem ser utilizados pelo professor em suas
atividades posteriores.
III. Se o professor considerar necessário
pode apresentar mais vezes os trechos mais
importantes do filme, depois que as
discussões e debates e até mesmo uma
redação sobre o filme visto, já estiverem em
prática durante as aulas.
IV. Para uma perfeita compreensão do filme,
é necessário contextualizá-lo com os alunos. Época da filmagem, contexto social,
condições técnicas de filmagem, contexto histórico do filme, quando ocorreu, como e
quais as relevâncias sociais da época.
V. O gênero predominante do filme é o terror. Com que outros filmes deste gênero
os alunos já tiveram contato?
VI. Após fazer um diagnóstico coletivo, peça para eles indicarem quais as
principais diferenças entre os elementos aterrorizantes do início do século XX e os
atuais.
VII. Baseado no filme, como eram construídas as cenas de impacto naquela
época?
VIII. Um debate ético pode ser fomentado:
a- Que questões estão envolvidas na idéia de criação da vida?
b- O que pensam os alunos sobre a clonagem e as pesquisas com células
tronco.
Imagem:http://www.todohdtv.com/wp-content/uploads/frankenstein-alta-definicion-1080p.jpg
39
IX. E para finalizar peça que os alunos se unam em pares e escrevam um texto
baseado no filme “Frankenstein”, tendo como título “Criador e Criatura”.
Obs.: Após o trabalho com esta unidade didática, o professor irá retomar o questionário aplicado aos alunos na 1ª aula e verificar, em que medida a utilização da leitura crítica, como ferramenta didática, pôde melhorar ou servir como estímulo ao processo de cognição dos alunos?
Thank you
40
REFERÊNCIAS CORTÁZAR, Júlio. Valise de cronópio. Trad. Davi Arrigucci Júnior. São Paulo: Perspectiva, 1974. GOTLIB, Nádia Battella. Teoria do Conto. São Paulo: Ática, 1987. POE, Edgar Alan. Histórias extraordinárias. Círculo do Livro, 1975. VEJA Jovem. Edição Especial. Julho de 2003 – A ciência explica o aborrecente. – Psiquiatra Fábio Barbirato Sites consultados: WIDGER, David. The Works of Edgar Allan Poe. Disponível em: http://www.gutenberg.org/files/25525/25525-h/25525-h.htm - Acesso em 01/06/2011 Gothic cat Clip Art – Disponível em: http://www.pdclipart.org/displayimage.php?album=21&pos=91 - Acesso em 05/06/2011. Bats Border – Disponível em: http//www.christmas-graphics-plus.com/free/animated-spooky.html – Acesso em 07/07/2011 CRAWFORD Tom. Legends of Shapeshifting – Disponível em: http://www.ghostsource.com/field_guide/werewolves.php - Acesso em 12/07/2011 Dracula’s Real Life – Disponível em: http://mural.uv.es/emuhol/Real%20Count%20Dracula's%20life.html: - Acesso em 21/07/2011 Count Drácula – Disponível em: http://www.draculas.info/count_dracula/ - Acesso em 21/07/2011 SMITHSONIAN, B.Jess. A Brief History of the Salem Witch Trials – Disponível em: http://www.smithsonianmag.com/history-archaeology/brief-salem.html#xzz1SnOmv0 : Acesso em 22/07/2011 http://www.todohdtv.com/wp-content/uploads/frankenstein-alta-definicion-1080p.jpg - Site consultado em 25/07/2011 COSTA, Duarte Danilo. Estratégias de leitura: Cognatos e Falsos Cognatos – Disponível em: http://portaldoprofessor.mec.gov.br/fichaTecnicaAula.html?aula=20911 - Acesso em 25/07/2011 DANIEL. Edgar Allan Poe – Disponível em: http://www.contosparanaodormir.com/2010/08/edgar-allan-poe.html - Acesso em 27/07/2011
41
Word_search_puzzle/index.php- Disponível em: http://www.kokolikoko.com/ – Acesso em 27/07/2011 Animais de estimação By Edgar Allan Poe – Disponível em: http://e-agora-jose.blogspot.com/2007/05/animais-de-estimao-o-gato-preto-by.html?zx=fc4c2bceaef8434c: Acesso em 29/07/2011
OLIVER Dennis. Verb Forms and Verb Tenses – Disponível em: http://www.eslcafe.com/grammar/simple_past_tense04.html - Acesso em 02/08/2011
