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Disciplina: Inglês (Língua Inglesa)
Banca: FADESP
Orgão: Pref. Capanema-PA
“The professional of Teaching English as a Foreign Language”
Author: Anderson Francisco Guimarães Maia
According to the National Foreign Language Center (2012), over one eighth of
the world’s population is currently studying English as a foreign language (EFL) in over
seventy countries. Statistics also show these figures have increased 52% in the past two
decades and estimate that 1,5 billion people will be using the English language as the
main means of communication in the next twenty years.
This growing need for global communication brings the field of teaching English
as foreign language (TEFL) .to a .much higher. level of professionalism. The concept of
professional, however, might vary in different contexts. A professional is a worker whose
expertise involves not only skill and knowledge but also exercise of highly sophisticated
judgment, and whose accreditation necessitates extensive study, often university-based,
as well as practical experience. According to this definition, one must perform a threefold
task in order to be considered a professional EFL teacher: (1) fulfill entry requirements
and standards, (2) obtain specialized knowledge through both academic and practical
experience, and (3) build a career in the field of education.
Global and local standards for both English language teaching and teachers have
been continuously developed through the proliferation of academic programs, legislation,
professional journals, magazines, conferences, and professional organizations. However,
several other individuals are actively involved in the EFL teaching field, but they cannot
be considered actual professionals. These individuals are considered lays, amateurs,
technicians, or academics. The diferences between actual professionals and other
individuals are outlined below.
Professional vs lay.
The lay population of EFL workers includes individuals who do not have the
specific skills, knowledge, and conventions that professionals do. They usually do not
belong to any professional group, but know enough English to be considered “capable”
of teaching others. Their teaching activities often include tutoring, conversation classes,
or other undemanding settings to which very little pedagogical knowledge is needed.
Professional vs amateur.
The amateur EFL teacher is the individual who ventures into the field with very
minimum skills and pedagogical knowledge. The amateur is not committed to ongoing
development and lacks particular training. This type of teacher usually experiments with
his classes and tries out new trends for fun or even the love of it. Professional standards
are not a concern to amateur teachers. They do not comply with compulsory examinations
and nationally or internationally recognized qualifications. It is true though that several
EFL teachers begin as amateurs in language institutions after minimum pre-service
training. It is also true that gifted amateurs might outperform uncommitted professionals.
Real and committed EFL professional teachers, however, develop better and better
practices over the course of time as opposed to amateurs who are usually not committed
to continuous development.
Professional vs. technician.
A technician who teaches EFL is “trained” to perform a specific educational
activity and certain acts with skill. A technician can be considered partly professional and
partly amateur. On one hand, a technician is a professional as he or she performs regular
teaching routines and has enough pedagogical and linguistic knowledge to meet specific
needs in a non-academic setting. On the other hand, the technician is an amateur as he
or she lacks the ability to understand principles that underlie actions. This inability leads
to automatized actions as the technician does not understand language acquisition
processes or pedagogical theory. For instance, a technician might be “trained” to teach
new grammar rules by introducing them within the context of a conversation. He or she
can use that technique for several years and have it automatized without any
understanding of inductive and deductive approaches to grammar teaching.
Professional vs academic.
The academic holds deep knowledge about language and teaching and can be
defined as a researcher, lecturer, and writer whose primary setting is a university.
Although many academics would define themselves as professionals, true professionals
are immediate agents of real- world change and academics are primarily occupied in
thinking and researching. The academic’s job is to refine thinking through research and
the professional’s job is to improve actual teaching and find out what works.
The following alternative represents the correct pronunciation of the word “According” (line 1)
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- Interpretação de texto | Reading comprehension
- Gramática - Língua InglesaPronomes | PronounsPronome relativo | Relative clauses
“The professional of Teaching English as a Foreign Language”
Author: Anderson Francisco Guimarães Maia
According to the National Foreign Language Center (2012), over one eighth of
the world’s population is currently studying English as a foreign language (EFL) in over
seventy countries. Statistics also show these figures have increased 52% in the past two
decades and estimate that 1,5 billion people will be using the English language as the
main means of communication in the next twenty years.
This growing need for global communication brings the field of teaching English
as foreign language (TEFL) .to a .much higher. level of professionalism. The concept of
professional, however, might vary in different contexts. A professional is a worker whose
expertise involves not only skill and knowledge but also exercise of highly sophisticated
judgment, and whose accreditation necessitates extensive study, often university-based,
as well as practical experience. According to this definition, one must perform a threefold
task in order to be considered a professional EFL teacher: (1) fulfill entry requirements
and standards, (2) obtain specialized knowledge through both academic and practical
experience, and (3) build a career in the field of education.
Global and local standards for both English language teaching and teachers have
been continuously developed through the proliferation of academic programs, legislation,
professional journals, magazines, conferences, and professional organizations. However,
several other individuals are actively involved in the EFL teaching field, but they cannot
be considered actual professionals. These individuals are considered lays, amateurs,
technicians, or academics. The diferences between actual professionals and other
individuals are outlined below.
Professional vs lay.
The lay population of EFL workers includes individuals who do not have the
specific skills, knowledge, and conventions that professionals do. They usually do not
belong to any professional group, but know enough English to be considered “capable”
of teaching others. Their teaching activities often include tutoring, conversation classes,
or other undemanding settings to which very little pedagogical knowledge is needed.
Professional vs amateur.
The amateur EFL teacher is the individual who ventures into the field with very
minimum skills and pedagogical knowledge. The amateur is not committed to ongoing
development and lacks particular training. This type of teacher usually experiments with
his classes and tries out new trends for fun or even the love of it. Professional standards
are not a concern to amateur teachers. They do not comply with compulsory examinations
and nationally or internationally recognized qualifications. It is true though that several
EFL teachers begin as amateurs in language institutions after minimum pre-service
training. It is also true that gifted amateurs might outperform uncommitted professionals.
Real and committed EFL professional teachers, however, develop better and better
practices over the course of time as opposed to amateurs who are usually not committed
to continuous development.
Professional vs. technician.
A technician who teaches EFL is “trained” to perform a specific educational
activity and certain acts with skill. A technician can be considered partly professional and
partly amateur. On one hand, a technician is a professional as he or she performs regular
teaching routines and has enough pedagogical and linguistic knowledge to meet specific
needs in a non-academic setting. On the other hand, the technician is an amateur as he
or she lacks the ability to understand principles that underlie actions. This inability leads
to automatized actions as the technician does not understand language acquisition
processes or pedagogical theory. For instance, a technician might be “trained” to teach
new grammar rules by introducing them within the context of a conversation. He or she
can use that technique for several years and have it automatized without any
understanding of inductive and deductive approaches to grammar teaching.
Professional vs academic.
The academic holds deep knowledge about language and teaching and can be
defined as a researcher, lecturer, and writer whose primary setting is a university.
Although many academics would define themselves as professionals, true professionals
are immediate agents of real- world change and academics are primarily occupied in
thinking and researching. The academic’s job is to refine thinking through research and
the professional’s job is to improve actual teaching and find out what works.
Consider the statements below
I. The article is about different ways to perform as a professional EFL teacher.
II. The word “whose” in line 10 refers to “worker” in the same sentence.
III. The words “requirements” (line 12) and “standards” (line 13) are synonyms.
IV. The article is predominantly denotative.
The following statement(s) is/are true
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As palavras a seguir são derivadas do mesmo substantivo, exceto:
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Na frase “"After several attempts to fix the car, he decided to give up", o phrasal verb utilizado, pode ser substituído, mantendo o sentido da construção, por:
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Um exemplo de primeira condicional (first conditional), ocorre em:
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Texto para as questões de 21 a 27.
What the Paris Olympics opening ceremony really meant
The opening ceremony of the Olympic Games traditionally offers the host city the opportunity to celebrate sporting excellence and international unity while also presenting to the world a flattering portrait of its own nation, informed by its own culture. [...]
[...] Entitled ‘Ça ira’ (‘It’ll be all right’), the show garnered mixed reviews in the French press. It was described variously as magical or catastrophic, as an astonishing apotheosis or a distressing accumulation of kitsch. Lady Gaga performed up and down a flight of stairs, dressed in feathers. The French singer Philippe Katerine, covered in blue body paint and dressed up as Bacchus, reclined in a platter of fruit. A threesome blossomed in the Bibliothèque Nationale. Decapitated figures of Marie-Antoinette holding their singing heads appeared at the windows of the Conciergerie. A floating piano was set on fire. The ceremony was conceived over two years by a committee made up of historian Patrick Boucheron (a member of the prestigious research institute, the Collège de France), the scriptwriter Fanny Herrero (creator of the Netflix series 10 Pour Cent/Call My Agent), the novelist Leïla Slimani (winner of the Goncourt literary prize for her novel Chanson douce/Lullaby), and the dramatist Damien Gabriac, who were all assembled in 2022 by the event’s master of ceremonies, theatre director Thomas Jolly. to co-write the script of their celebration of France.
[...]
The man behind Le Puy du Fou is entrepreneur and politician Philippe de Villiers. Although de Villiers briefly served as Secretary of State for Culture under Socialist President François Mitterand, he is currently a member of French nationalist party Reconquête!, whose leader is the far-right firebrand Eric Zemmour. De Villiers is a Christian traditionalist who has expressed hostility towards Islam and has maintained that during the French Revolution a political ‘genocide’ was perpetrated against the Royalist people of Vendée.
It was therefore important for Jolly and his team firmly to distance their own project from Le Puy du Fou and to offer instead, as Jolly said: ‘the opposite of a virile, heroic and providential history’, of ‘an ode to grandeur’ or to the ‘manifestation of force’. Besides de Villiers’ theme park, another anti-model may have been the opening ceremony of the 2023 Rugby World Cup. Hosted by the popular actor Jean Dujardin and featuring a playful celebration of traditional French life, it was criticised for portraying a nostalgic and ‘rancid’ version of France. To be sure, at a time when France is politically and culturally riven, it would have seemed important to tell a national story that would unite rather than divide. In contrast, Jolly aimed for a celebration of ‘planetary multi-ethnicity’. But was it not in hindsight a mistake, a missed opportunity, to throw out, for fear that it might be politically toxic, anything that might be perceived as a celebration of French history, or the shared heritage that binds all French people together?
Patrick Boucheron, the historian in Jolly’s team, has declared his ‘resistance’ to the idea of a ‘roman national’, the strengthening story a nation collectively weaves about itself – the word roman meaning in this instance at once a narrative and a romance. Boucheron favours instead a decentring of national consciousness and a deconstruction of national history. There was always a danger in rejecting historical greatness for ideological reasons. Louis XIV and Napoleon Bonaparte – both absent from the celebration – really do belong to all French; including them in the narrative would not have made it reactionary. Meanwhile Jolly’s desire systematically to foreground pop culture in order not to appear elitist often felt parochial. What is the long-term cultural significance of Nicky Doll, Paloma and Piche, stars of the reality show Drag Race France? Was the performance of John Lennon’s song Imagine really, as a sports historian declared in the newspaper Libération, ‘heavy with meaning’ because of its nature as a ‘political and cultural allegory’?
Wasn’t it also a pity not to celebrate France’s contemporary achievements, especially the rebuilding of Notre-Dame after its devastation by fire, and the Grand Paris Express transport network being developed for better integration of central Paris and its banlieues?
But above all, what was missing from the show, with rare exceptions – such as the sight of the Olympic cauldron rising into the sky tethered to a gigantic hot air balloon – was beauty. This signalled a lack of cultural confidence on the part of the ceremony’s storytellers. It was telling, for example, that Marcel Proust, one of France’s most exceptional writers, was featured as a caricatured carnival head, alongside Little Red Riding Hood and Marcel Marceau. Nor was placing the ceremony under the auspices of ‘Ça ira’, a 1790 anthem of the French Revolution as familiar to the French as the Marseillaise, an expression of intellectual confidence. Like the Marseillaise, ‘Ça ira’ is a call to violence – an ode to the systematic hanging of aristocrats from lamp-posts – and insisting, as Jolly did, that it can be reframed as a message of hope and of ‘union and unity within diversity’ is meaningless. Ultimately, whether any of this landed with its audience remains doubtful. In spite of the driving rain, the French enjoyed the show’s wackiness, the party atmosphere, the excitement and anticipation of the Games. And the Games themselves were a wonderful success. But a message was sent nevertheless. And now that the Olympic truce is over, Emmanuel Macron must once again face up to a divided nation
In: https://engelsbergideas.com/notebook/what-the-paris-olympics-opening-ceremony-reallymeant/?gad_source=1&gclid=CjwKCAjwuMC2BhA7EiwAmJKRrLbi3d14OiB6WRug_hjU2I-75FCfTsQ0RitnqNM3GJxOqz9UCUlUBoCZ4IQAvD_BwE
O adjetivo utilizado no texto para descrever a cerimônia é:
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Texto para as questões de 21 a 27.
What the Paris Olympics opening ceremony really meant
The opening ceremony of the Olympic Games traditionally offers the host city the opportunity to celebrate sporting excellence and international unity while also presenting to the world a flattering portrait of its own nation, informed by its own culture. [...]
[...] Entitled ‘Ça ira’ (‘It’ll be all right’), the show garnered mixed reviews in the French press. It was described variously as magical or catastrophic, as an astonishing apotheosis or a distressing accumulation of kitsch. Lady Gaga performed up and down a flight of stairs, dressed in feathers. The French singer Philippe Katerine, covered in blue body paint and dressed up as Bacchus, reclined in a platter of fruit. A threesome blossomed in the Bibliothèque Nationale. Decapitated figures of Marie-Antoinette holding their singing heads appeared at the windows of the Conciergerie. A floating piano was set on fire. The ceremony was conceived over two years by a committee made up of historian Patrick Boucheron (a member of the prestigious research institute, the Collège de France), the scriptwriter Fanny Herrero (creator of the Netflix series 10 Pour Cent/Call My Agent), the novelist Leïla Slimani (winner of the Goncourt literary prize for her novel Chanson douce/Lullaby), and the dramatist Damien Gabriac, who were all assembled in 2022 by the event’s master of ceremonies, theatre director Thomas Jolly. to co-write the script of their celebration of France.
[...]
The man behind Le Puy du Fou is entrepreneur and politician Philippe de Villiers. Although de Villiers briefly served as Secretary of State for Culture under Socialist President François Mitterand, he is currently a member of French nationalist party Reconquête!, whose leader is the far-right firebrand Eric Zemmour. De Villiers is a Christian traditionalist who has expressed hostility towards Islam and has maintained that during the French Revolution a political ‘genocide’ was perpetrated against the Royalist people of Vendée.
It was therefore important for Jolly and his team firmly to distance their own project from Le Puy du Fou and to offer instead, as Jolly said: ‘the opposite of a virile, heroic and providential history’, of ‘an ode to grandeur’ or to the ‘manifestation of force’. Besides de Villiers’ theme park, another anti-model may have been the opening ceremony of the 2023 Rugby World Cup. Hosted by the popular actor Jean Dujardin and featuring a playful celebration of traditional French life, it was criticised for portraying a nostalgic and ‘rancid’ version of France. To be sure, at a time when France is politically and culturally riven, it would have seemed important to tell a national story that would unite rather than divide. In contrast, Jolly aimed for a celebration of ‘planetary multi-ethnicity’. But was it not in hindsight a mistake, a missed opportunity, to throw out, for fear that it might be politically toxic, anything that might be perceived as a celebration of French history, or the shared heritage that binds all French people together?
Patrick Boucheron, the historian in Jolly’s team, has declared his ‘resistance’ to the idea of a ‘roman national’, the strengthening story a nation collectively weaves about itself – the word roman meaning in this instance at once a narrative and a romance. Boucheron favours instead a decentring of national consciousness and a deconstruction of national history. There was always a danger in rejecting historical greatness for ideological reasons. Louis XIV and Napoleon Bonaparte – both absent from the celebration – really do belong to all French; including them in the narrative would not have made it reactionary. Meanwhile Jolly’s desire systematically to foreground pop culture in order not to appear elitist often felt parochial. What is the long-term cultural significance of Nicky Doll, Paloma and Piche, stars of the reality show Drag Race France? Was the performance of John Lennon’s song Imagine really, as a sports historian declared in the newspaper Libération, ‘heavy with meaning’ because of its nature as a ‘political and cultural allegory’?
Wasn’t it also a pity not to celebrate France’s contemporary achievements, especially the rebuilding of Notre-Dame after its devastation by fire, and the Grand Paris Express transport network being developed for better integration of central Paris and its banlieues?
But above all, what was missing from the show, with rare exceptions – such as the sight of the Olympic cauldron rising into the sky tethered to a gigantic hot air balloon – was beauty. This signalled a lack of cultural confidence on the part of the ceremony’s storytellers. It was telling, for example, that Marcel Proust, one of France’s most exceptional writers, was featured as a caricatured carnival head, alongside Little Red Riding Hood and Marcel Marceau. Nor was placing the ceremony under the auspices of ‘Ça ira’, a 1790 anthem of the French Revolution as familiar to the French as the Marseillaise, an expression of intellectual confidence. Like the Marseillaise, ‘Ça ira’ is a call to violence – an ode to the systematic hanging of aristocrats from lamp-posts – and insisting, as Jolly did, that it can be reframed as a message of hope and of ‘union and unity within diversity’ is meaningless. Ultimately, whether any of this landed with its audience remains doubtful. In spite of the driving rain, the French enjoyed the show’s wackiness, the party atmosphere, the excitement and anticipation of the Games. And the Games themselves were a wonderful success. But a message was sent nevertheless. And now that the Olympic truce is over, Emmanuel Macron must once again face up to a divided nation
In: https://engelsbergideas.com/notebook/what-the-paris-olympics-opening-ceremony-reallymeant/?gad_source=1&gclid=CjwKCAjwuMC2BhA7EiwAmJKRrLbi3d14OiB6WRug_hjU2I-75FCfTsQ0RitnqNM3GJxOqz9UCUlUBoCZ4IQAvD_BwE
Na frase "A floating piano was set on fire,"o termo destacado é sintaticamente classificado como:
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Texto para as questões de 21 a 27.
What the Paris Olympics opening ceremony really meant
The opening ceremony of the Olympic Games traditionally offers the host city the opportunity to celebrate sporting excellence and international unity while also presenting to the world a flattering portrait of its own nation, informed by its own culture. [...]
[...] Entitled ‘Ça ira’ (‘It’ll be all right’), the show garnered mixed reviews in the French press. It was described variously as magical or catastrophic, as an astonishing apotheosis or a distressing accumulation of kitsch. Lady Gaga performed up and down a flight of stairs, dressed in feathers. The French singer Philippe Katerine, covered in blue body paint and dressed up as Bacchus, reclined in a platter of fruit. A threesome blossomed in the Bibliothèque Nationale. Decapitated figures of Marie-Antoinette holding their singing heads appeared at the windows of the Conciergerie. A floating piano was set on fire. The ceremony was conceived over two years by a committee made up of historian Patrick Boucheron (a member of the prestigious research institute, the Collège de France), the scriptwriter Fanny Herrero (creator of the Netflix series 10 Pour Cent/Call My Agent), the novelist Leïla Slimani (winner of the Goncourt literary prize for her novel Chanson douce/Lullaby), and the dramatist Damien Gabriac, who were all assembled in 2022 by the event’s master of ceremonies, theatre director Thomas Jolly. to co-write the script of their celebration of France.
[...]
The man behind Le Puy du Fou is entrepreneur and politician Philippe de Villiers. Although de Villiers briefly served as Secretary of State for Culture under Socialist President François Mitterand, he is currently a member of French nationalist party Reconquête!, whose leader is the far-right firebrand Eric Zemmour. De Villiers is a Christian traditionalist who has expressed hostility towards Islam and has maintained that during the French Revolution a political ‘genocide’ was perpetrated against the Royalist people of Vendée.
It was therefore important for Jolly and his team firmly to distance their own project from Le Puy du Fou and to offer instead, as Jolly said: ‘the opposite of a virile, heroic and providential history’, of ‘an ode to grandeur’ or to the ‘manifestation of force’. Besides de Villiers’ theme park, another anti-model may have been the opening ceremony of the 2023 Rugby World Cup. Hosted by the popular actor Jean Dujardin and featuring a playful celebration of traditional French life, it was criticised for portraying a nostalgic and ‘rancid’ version of France. To be sure, at a time when France is politically and culturally riven, it would have seemed important to tell a national story that would unite rather than divide. In contrast, Jolly aimed for a celebration of ‘planetary multi-ethnicity’. But was it not in hindsight a mistake, a missed opportunity, to throw out, for fear that it might be politically toxic, anything that might be perceived as a celebration of French history, or the shared heritage that binds all French people together?
Patrick Boucheron, the historian in Jolly’s team, has declared his ‘resistance’ to the idea of a ‘roman national’, the strengthening story a nation collectively weaves about itself – the word roman meaning in this instance at once a narrative and a romance. Boucheron favours instead a decentring of national consciousness and a deconstruction of national history. There was always a danger in rejecting historical greatness for ideological reasons. Louis XIV and Napoleon Bonaparte – both absent from the celebration – really do belong to all French; including them in the narrative would not have made it reactionary. Meanwhile Jolly’s desire systematically to foreground pop culture in order not to appear elitist often felt parochial. What is the long-term cultural significance of Nicky Doll, Paloma and Piche, stars of the reality show Drag Race France? Was the performance of John Lennon’s song Imagine really, as a sports historian declared in the newspaper Libération, ‘heavy with meaning’ because of its nature as a ‘political and cultural allegory’?
Wasn’t it also a pity not to celebrate France’s contemporary achievements, especially the rebuilding of Notre-Dame after its devastation by fire, and the Grand Paris Express transport network being developed for better integration of central Paris and its banlieues?
But above all, what was missing from the show, with rare exceptions – such as the sight of the Olympic cauldron rising into the sky tethered to a gigantic hot air balloon – was beauty. This signalled a lack of cultural confidence on the part of the ceremony’s storytellers. It was telling, for example, that Marcel Proust, one of France’s most exceptional writers, was featured as a caricatured carnival head, alongside Little Red Riding Hood and Marcel Marceau. Nor was placing the ceremony under the auspices of ‘Ça ira’, a 1790 anthem of the French Revolution as familiar to the French as the Marseillaise, an expression of intellectual confidence. Like the Marseillaise, ‘Ça ira’ is a call to violence – an ode to the systematic hanging of aristocrats from lamp-posts – and insisting, as Jolly did, that it can be reframed as a message of hope and of ‘union and unity within diversity’ is meaningless. Ultimately, whether any of this landed with its audience remains doubtful. In spite of the driving rain, the French enjoyed the show’s wackiness, the party atmosphere, the excitement and anticipation of the Games. And the Games themselves were a wonderful success. But a message was sent nevertheless. And now that the Olympic truce is over, Emmanuel Macron must once again face up to a divided nation
In: https://engelsbergideas.com/notebook/what-the-paris-olympics-opening-ceremony-reallymeant/?gad_source=1&gclid=CjwKCAjwuMC2BhA7EiwAmJKRrLbi3d14OiB6WRug_hjU2I-75FCfTsQ0RitnqNM3GJxOqz9UCUlUBoCZ4IQAvD_BwE
Assinale a alternativa que apresenta um exemplo de discurso direto:
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Texto para as questões de 21 a 27.
What the Paris Olympics opening ceremony really meant
The opening ceremony of the Olympic Games traditionally offers the host city the opportunity to celebrate sporting excellence and international unity while also presenting to the world a flattering portrait of its own nation, informed by its own culture. [...]
[...] Entitled ‘Ça ira’ (‘It’ll be all right’), the show garnered mixed reviews in the French press. It was described variously as magical or catastrophic, as an astonishing apotheosis or a distressing accumulation of kitsch. Lady Gaga performed up and down a flight of stairs, dressed in feathers. The French singer Philippe Katerine, covered in blue body paint and dressed up as Bacchus, reclined in a platter of fruit. A threesome blossomed in the Bibliothèque Nationale. Decapitated figures of Marie-Antoinette holding their singing heads appeared at the windows of the Conciergerie. A floating piano was set on fire. The ceremony was conceived over two years by a committee made up of historian Patrick Boucheron (a member of the prestigious research institute, the Collège de France), the scriptwriter Fanny Herrero (creator of the Netflix series 10 Pour Cent/Call My Agent), the novelist Leïla Slimani (winner of the Goncourt literary prize for her novel Chanson douce/Lullaby), and the dramatist Damien Gabriac, who were all assembled in 2022 by the event’s master of ceremonies, theatre director Thomas Jolly. to co-write the script of their celebration of France.
[...]
The man behind Le Puy du Fou is entrepreneur and politician Philippe de Villiers. Although de Villiers briefly served as Secretary of State for Culture under Socialist President François Mitterand, he is currently a member of French nationalist party Reconquête!, whose leader is the far-right firebrand Eric Zemmour. De Villiers is a Christian traditionalist who has expressed hostility towards Islam and has maintained that during the French Revolution a political ‘genocide’ was perpetrated against the Royalist people of Vendée.
It was therefore important for Jolly and his team firmly to distance their own project from Le Puy du Fou and to offer instead, as Jolly said: ‘the opposite of a virile, heroic and providential history’, of ‘an ode to grandeur’ or to the ‘manifestation of force’. Besides de Villiers’ theme park, another anti-model may have been the opening ceremony of the 2023 Rugby World Cup. Hosted by the popular actor Jean Dujardin and featuring a playful celebration of traditional French life, it was criticised for portraying a nostalgic and ‘rancid’ version of France. To be sure, at a time when France is politically and culturally riven, it would have seemed important to tell a national story that would unite rather than divide. In contrast, Jolly aimed for a celebration of ‘planetary multi-ethnicity’. But was it not in hindsight a mistake, a missed opportunity, to throw out, for fear that it might be politically toxic, anything that might be perceived as a celebration of French history, or the shared heritage that binds all French people together?
Patrick Boucheron, the historian in Jolly’s team, has declared his ‘resistance’ to the idea of a ‘roman national’, the strengthening story a nation collectively weaves about itself – the word roman meaning in this instance at once a narrative and a romance. Boucheron favours instead a decentring of national consciousness and a deconstruction of national history. There was always a danger in rejecting historical greatness for ideological reasons. Louis XIV and Napoleon Bonaparte – both absent from the celebration – really do belong to all French; including them in the narrative would not have made it reactionary. Meanwhile Jolly’s desire systematically to foreground pop culture in order not to appear elitist often felt parochial. What is the long-term cultural significance of Nicky Doll, Paloma and Piche, stars of the reality show Drag Race France? Was the performance of John Lennon’s song Imagine really, as a sports historian declared in the newspaper Libération, ‘heavy with meaning’ because of its nature as a ‘political and cultural allegory’?
Wasn’t it also a pity not to celebrate France’s contemporary achievements, especially the rebuilding of Notre-Dame after its devastation by fire, and the Grand Paris Express transport network being developed for better integration of central Paris and its banlieues?
But above all, what was missing from the show, with rare exceptions – such as the sight of the Olympic cauldron rising into the sky tethered to a gigantic hot air balloon – was beauty. This signalled a lack of cultural confidence on the part of the ceremony’s storytellers. It was telling, for example, that Marcel Proust, one of France’s most exceptional writers, was featured as a caricatured carnival head, alongside Little Red Riding Hood and Marcel Marceau. Nor was placing the ceremony under the auspices of ‘Ça ira’, a 1790 anthem of the French Revolution as familiar to the French as the Marseillaise, an expression of intellectual confidence. Like the Marseillaise, ‘Ça ira’ is a call to violence – an ode to the systematic hanging of aristocrats from lamp-posts – and insisting, as Jolly did, that it can be reframed as a message of hope and of ‘union and unity within diversity’ is meaningless. Ultimately, whether any of this landed with its audience remains doubtful. In spite of the driving rain, the French enjoyed the show’s wackiness, the party atmosphere, the excitement and anticipation of the Games. And the Games themselves were a wonderful success. But a message was sent nevertheless. And now that the Olympic truce is over, Emmanuel Macron must once again face up to a divided nation
In: https://engelsbergideas.com/notebook/what-the-paris-olympics-opening-ceremony-reallymeant/?gad_source=1&gclid=CjwKCAjwuMC2BhA7EiwAmJKRrLbi3d14OiB6WRug_hjU2I-75FCfTsQ0RitnqNM3GJxOqz9UCUlUBoCZ4IQAvD_BwE
Assinale a alternativa que apresenta uma frase na voz passiva:
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Disciplina: Inglês (Língua Inglesa)
Banca: Gama
Orgão: Pref. Novo Mundo-MT
Texto para as questões de 21 a 27.
What the Paris Olympics opening ceremony really meant
The opening ceremony of the Olympic Games traditionally offers the host city the opportunity to celebrate sporting excellence and international unity while also presenting to the world a flattering portrait of its own nation, informed by its own culture. [...]
[...] Entitled ‘Ça ira’ (‘It’ll be all right’), the show garnered mixed reviews in the French press. It was described variously as magical or catastrophic, as an astonishing apotheosis or a distressing accumulation of kitsch. Lady Gaga performed up and down a flight of stairs, dressed in feathers. The French singer Philippe Katerine, covered in blue body paint and dressed up as Bacchus, reclined in a platter of fruit. A threesome blossomed in the Bibliothèque Nationale. Decapitated figures of Marie-Antoinette holding their singing heads appeared at the windows of the Conciergerie. A floating piano was set on fire. The ceremony was conceived over two years by a committee made up of historian Patrick Boucheron (a member of the prestigious research institute, the Collège de France), the scriptwriter Fanny Herrero (creator of the Netflix series 10 Pour Cent/Call My Agent), the novelist Leïla Slimani (winner of the Goncourt literary prize for her novel Chanson douce/Lullaby), and the dramatist Damien Gabriac, who were all assembled in 2022 by the event’s master of ceremonies, theatre director Thomas Jolly. to co-write the script of their celebration of France.
[...]
The man behind Le Puy du Fou is entrepreneur and politician Philippe de Villiers. Although de Villiers briefly served as Secretary of State for Culture under Socialist President François Mitterand, he is currently a member of French nationalist party Reconquête!, whose leader is the far-right firebrand Eric Zemmour. De Villiers is a Christian traditionalist who has expressed hostility towards Islam and has maintained that during the French Revolution a political ‘genocide’ was perpetrated against the Royalist people of Vendée.
It was therefore important for Jolly and his team firmly to distance their own project from Le Puy du Fou and to offer instead, as Jolly said: ‘the opposite of a virile, heroic and providential history’, of ‘an ode to grandeur’ or to the ‘manifestation of force’. Besides de Villiers’ theme park, another anti-model may have been the opening ceremony of the 2023 Rugby World Cup. Hosted by the popular actor Jean Dujardin and featuring a playful celebration of traditional French life, it was criticised for portraying a nostalgic and ‘rancid’ version of France. To be sure, at a time when France is politically and culturally riven, it would have seemed important to tell a national story that would unite rather than divide. In contrast, Jolly aimed for a celebration of ‘planetary multi-ethnicity’. But was it not in hindsight a mistake, a missed opportunity, to throw out, for fear that it might be politically toxic, anything that might be perceived as a celebration of French history, or the shared heritage that binds all French people together?
Patrick Boucheron, the historian in Jolly’s team, has declared his ‘resistance’ to the idea of a ‘roman national’, the strengthening story a nation collectively weaves about itself – the word roman meaning in this instance at once a narrative and a romance. Boucheron favours instead a decentring of national consciousness and a deconstruction of national history. There was always a danger in rejecting historical greatness for ideological reasons. Louis XIV and Napoleon Bonaparte – both absent from the celebration – really do belong to all French; including them in the narrative would not have made it reactionary. Meanwhile Jolly’s desire systematically to foreground pop culture in order not to appear elitist often felt parochial. What is the long-term cultural significance of Nicky Doll, Paloma and Piche, stars of the reality show Drag Race France? Was the performance of John Lennon’s song Imagine really, as a sports historian declared in the newspaper Libération, ‘heavy with meaning’ because of its nature as a ‘political and cultural allegory’?
Wasn’t it also a pity not to celebrate France’s contemporary achievements, especially the rebuilding of Notre-Dame after its devastation by fire, and the Grand Paris Express transport network being developed for better integration of central Paris and its banlieues?
But above all, what was missing from the show, with rare exceptions – such as the sight of the Olympic cauldron rising into the sky tethered to a gigantic hot air balloon – was beauty. This signalled a lack of cultural confidence on the part of the ceremony’s storytellers. It was telling, for example, that Marcel Proust, one of France’s most exceptional writers, was featured as a caricatured carnival head, alongside Little Red Riding Hood and Marcel Marceau. Nor was placing the ceremony under the auspices of ‘Ça ira’, a 1790 anthem of the French Revolution as familiar to the French as the Marseillaise, an expression of intellectual confidence. Like the Marseillaise, ‘Ça ira’ is a call to violence – an ode to the systematic hanging of aristocrats from lamp-posts – and insisting, as Jolly did, that it can be reframed as a message of hope and of ‘union and unity within diversity’ is meaningless. Ultimately, whether any of this landed with its audience remains doubtful. In spite of the driving rain, the French enjoyed the show’s wackiness, the party atmosphere, the excitement and anticipation of the Games. And the Games themselves were a wonderful success. But a message was sent nevertheless. And now that the Olympic truce is over, Emmanuel Macron must once again face up to a divided nation
In: https://engelsbergideas.com/notebook/what-the-paris-olympics-opening-ceremony-reallymeant/?gad_source=1&gclid=CjwKCAjwuMC2BhA7EiwAmJKRrLbi3d14OiB6WRug_hjU2I-75FCfTsQ0RitnqNM3GJxOqz9UCUlUBoCZ4IQAvD_BwE
De acordo com o texto, uma das críticas feitas à cerimônia de abertura das Olimpíadas de Paris foi:
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