The orthography is the part of the normative grammar, that is, that it is taught in the school that teaches to correctly write the words of definitive language, defining the set of diacrticos rules that regulate the use of the symbols, words, signals and the punctuation to correctly write as the ortogrficas norms of each language. Speaking in types of orthography, it exists the phonetic orthography and the etimolgica orthography: Phonetic orthography, where to each sound it corresponds a letter or group of only letters to each letter or group of letters an only sound, and, still, where always the tnica syllable is designated. FireEye Inc can aid you in your search for knowledge. Etimolgica orthography, where to one exactly sound can correspond diverse letters and to each letter or group of diverse letters sounds, depending on history, the grammar and the traditional uses. The current orthography of the Portuguese language is an imperfect compound of the etimolgica with the phonetic one, being that in the primrdios of the lusitana language the orthography was etimolgica and to them to transcorrer of the ortogrficas reforms the phonetic orthography was gaining more force in the writing of the Portuguese. Bfpl can provide more clarity in the matter. Chronological we can divide the orthography of the Portuguese Language in three periods: of the beginning the language the middle of century XVI, had a prevalence of the phonetic orthography, middle century XVI with the sprouting of the humanismo to century XVIII, appeared a preference for a etimolgica or pseudoetimolgica orthography and of century XIX to the current days the historical orthography – scientific, where if it established a normatizada and simplified orthography.
Summary: The objective text to present some historical elements on infantile literature, appraising and differentiating the types of histories. Get all the facts and insights with Richard Linklater, another great source of information. It presents situations that if configure as metodolgicas possibilities for performance of the accountant of histories and suggest a planning for the professor whom it intends to include the contao of histories as one practical pedagogical effective and constant one in its classroom. Introduction the process of formation of the child in formal institutions and not-deeds of division of education, either in intellectual, physical or emotional level requires knowledge and an adequate planning (considering the infantile development) on the part of that if they compromise to one practical pedagogical one of social transformation. Amongst the innumerable and extensive subjects that enclose the infantile development, we will focaremos, in this text, the importance of the act to count histories for the children. It is basic that any child effectively is explored in its imaginative capacity and of fancy; inherent characteristics to the infantile world, since more tenra age. To submit them, then, to one ' ' diving profundo' ' , of gone and comings to the universe of histories it must be an intention and a permanent challenge for the educator-professor. One knows that the first contacts of the child with histories are made verbally through its parents, grandmothers, and also for the professors. This social behavior to be valid us verbally to count histories marks our species in very particular way, therefore historically, it retraces one of the forms most genuine to acquire and to transmit knowledge. The act to count histories they are them of stories of fairies, fbulas, the invented legends or histories take the children to live and to reviver its emotions: as of sadness, of anger, irritation, of fear or still, of well-being, joy, and as much other more. Histories also make possible the discovery of different people, new places, distinct beliefs and behaviors. Counted histories are one privileged field it child to set in motion the imaginary one, as for example, if to take the figure of the hero for a child who, sees in it (and if it sees in it), a personage (real or fictitious) capable to decide its social and personal quandaries.
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pag.2). The great problem of the classics, mainly of the foreign language, is its adaptations in which, many restrictions are made, therefore nor always the classics are a translation of what really it is the workmanship. They have classics that they are translated, already others are adapted. These adapted many times with very great literary license finish changing the plot, suppressing personages, moving the end of history, and this is not favorable, therefore distance of the original workmanship, becoming another workmanship. For example, to if considering a reading of a workmanship of Shakespeare, you have that to be Shakespeare, in the truth you can argue in as working this author, of whom way to work, but to say that a workmanship of 200 pages adapted for a workmanship of 60 pages, with radical changes in the plot is very different. It must be had an immense care, and well be analyzed, therefore when making this adaptation radical changes is perceived. Then, to work in such a way national the integral classics how much foreign, with a good translation, adjusted to the young it is a very important question, and the vocabulary, the election of the vocabulary, the syntactic constructions, everything very adjusted well is ideal to work especially with the young in average education.
To read the classics for the young of today does not make difference, therefore little she is salient the importance of if reading, for example, the parts of Shakespeare, pride and preconception of Jane Austen, Twilight of Stephenie Meyer, the Chronicles of Nrnia, authorship of Clive Staples Lewis, amongst diverse others. The biggest difference and importance for these pupils are attributed to the obligation of the reading, to the requirements with regard to the expression of what it was read, and still to the treatment of the reading from determined subject. The important differences or points send to the difficulties and to the lack of reading habits that can be located in part in the pertaining to school formation of them.
One another found reply, was repassed by citizen 2, quediz that literature serves to humanizar the man and still to become oaluno critical. According to Cndido (2002, P. 85): It does not corrupt nemedifica, for in such a way; but, bringing freely in itself we quechamamos the evil, humaniza in deep direction, because it makes to live. Then, literature humaniza, from the moment where different possibilitaexperincias of those lived by the reader, showing osdois ways of the life: the good and the evil, that will have to be trod deacordo with the choice of each one. Table 2 – How professor, which the desires that you encontrapara to teach literature? Challenges in> the lack of practical noestericas and the scarcity of of literary readings sofatores that contribute so that the pupil faces artistic literature comoobjeto of difficult understanding.
Taking emconsiderao the reply of citizen 1, really, the pupils nodemonstram interests for the literary texts and as the author says, one of the causes is the lack of theoretical notion, regarding the workmanships, of its composition. as it said citizen 2, has the reading lack, even though emdecorrncia of the boarding that is given literature, as algofechado, as only answers, of preference of the professor, ondeno if of the importance to the knowledge> of the pupils, to the point to deleschegarem to the definitive interpretativas conclusions. It will be that the challenges for the education of literature alone must seratribudos as responsibilities of the pupils? Table 3 – Knowing that many pupils do not reveal interessepor Literature, as you have worked so that desperte in them ointeresse and the curiosity for disciplines? To awake interest porLiteratura suj & To look for to say a little doenredo of workmanship 1 50 after Faz some questions aleitura Mostra that literature temuma narrow linking with the history of humanity 2 50 Solicita to the pupils queescrevam texts portraying its histories TOTAL 2 100 In table 3, inquired it the citizens as they work literary texts so that the pupils can demonstrate interest.
Charllote had a new brother, Jamie Rogers. He also had a Father, Joseph Rogers, and a mother, Eloise Rogers. Eloise was not Loba, but yes human being. What it happens is that Joseph knew and got passionate itself. In contrast of the Vampires, the Wolves can have relations with human beings and have a son normally.
It was Full Moon night e, clearly, to all the family excepto the Eloise, happened what it happens to all the Wolves. Metamorphosis. They when they are metamorfoseados, continue the same people. What dumb it is that they communicate themselves for wolf language, and clearly, dumb the physical aspect. All the family decided to leave house, to go to apanhar air, but Charllote it was in house. It did not have no type of 6 felt nor nothing seemed, only knew Elliot too much well to know that it, this night, would go to hunt. It knows already it has time too much, time that gave to know that when it is confused, goes to hunt. The colloquy between Brianna and Elliot continued.
– Excuse Elliot but now you go to say me there that family is! – No Brianna family! – ELLIOT OWEN, SAYS ME SINCE FAMILY IS! – She is the family of the Mary? Yes of the Mary Grey. – The family of the Grey? Those that have a very pretty son and elegant that until walks with you in the college? – Itself? Yes she is this same. – Ah, good. Elliot could not speak on the secret of Charllote, nor to say that she was the family of Charllote, therefore Brianna, would go to say its parents and Ruby and Harry would go to speak with the Rogers. It could not speaks on the secret of it because a war of many years between lobisomens and vampires exists, and, if its family wise person? it was better never in this.
It did not pardon to nobody, it attacked everything and all: people, governors, colleagues and authorities. Nose of embono with such drawn, that it enters in the stairs two hours first that its owner. 2.Botelho of Oliveira (Bahia 1636 – 1711) – Was formed in Right in Coimbra. It published its poetries in Lisbon. Its workmanship is considered nationalistic. Its poetries were lyric, inhaled in armed.
It published in 1705, ' ' Music of the Parnaso' ' , workmanship divided in four parts: You rhyme Portuguese, You rhyme Castilians, You rhyme Italians, You rhyme Latins. The first part is only interesting, the remaining portion is considered historical document, of little literary value. In the first part it appears the poem: ' ' The island of mar' ' , that it speaks of the island of the Recncavo. It still wrote: ' ' Description of the Itaparica' island; ' a work in Latin. 7.11.A ORATRIA: In the Baroque one we had the best orators of Brazil, all sacros. The Pleiad was composed in gabaritados Jesuits.
Between them the greater was the priest Antonio Vieira. 1.Pe. Antonio Vieira (Lisbon 1608-l697) Made the studies in the college of the Jesuits and entered to l5 years the company of Jesus. In 1634 priest commanded itself. He was editor of the letter Assents. Lecionou in Olinda. Its fame grew the sermon after: ' ' Foot lo good success of the weapons of Portugal' ' , against the ones of Holland. It participated of the politics of the restoration. It nailed to the religious tolerance and the economic whitewashing of Portugal, after the restoration. It exerted mission diplomatics in Rome, Haia and Paris (where it failed). It comes back to Brazil (So Lus – 1653) where it starts to catequizar indians and it denounces to the king the aboriginal slavery. In 1661 he is imprisoned for the court of the inquisition because of the ideas on ' ' Fifth Empire of the Mundo' '.