material didÁtico-pedagÓgico lÍngua … · 3 grammar "whenever, wherever" - shakira...

SECRETARIA DE ESTADO DA EDUCAÇÃO

SUPERINTENDÊNCIA DA EDUCAÇÃO

UNIVERSIDADE ESTADUAL DE PONTA GROSSA

PROGRAMA DE DESENVOLVIMENTO EDUCACIONAL-PDE

MATERIAL DIDÁTICO-PEDAGÓGICO

ÁREA: LÍNGUA ESTRANGEIRA MODERNA- LÍNGUA INGLESA

NOME DO PROFESSOR PDE: ÉLIO WOYCIECHOWSKI

NOME DA ORIENTADORA: VALESKA GRACIOSO CARLOS

2008/2009

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PDE

PROGRAMA DE DESENVOLVIMENTO EDUCACIONAL

1. IDENTIFICAÇÃO

1.1 IES: UNIVERSIDADE ESTADUAL DE PONTA GROSSA

1.1 ÁREA: LÍNGUA ESTRANGEIRA MODERNA- LÍNGUA INGLESA

1.2 PROFESSOR PDE: ÉLIO WOYCIECHOWSKI

1.3 PROFESSORA ORIENTADORA IES: VALESKA GRACIOSO CARLOS

2. TÍTULO DO MATERIAL DIDÁTICO: CANTANDO E APRENDENDO

3. CARACTERIZAÇÃO DO MATERIAL DIDÁTICO: PENDRIVE

4. DESCRIÇÃO DO MATERIAL DIDÁTICO-PEDAGÓGICO:

Este material didático-pedagógico contem músicas e sugestões de atividades

para serem utilizadas em aulas de Língua Inglesa (LI). Estas atividades têm como

objetivo motivar os alunos, facilitar a aquisição de vocabulário, ensinar listening,

writing, reading, speaking e conhecimento de outras culturas.

Este pendrive terá várias pastas com sugestões de atividades com músicas,

direcionadas aos professores:

- A pasta atividades está subdividida em: Grammar, músicas temáticas, vocabulary,

writing, trilha sonora de filmes e listening.

- A pasta music traz o áudio das músicas que serão utilizadas.

- A pasta theories traz teorias sobre a aquisição de linguagem e utilização de músicas

para o ensino de LI.

- A pasta clips mostra os vídeo clips e trailers de filmes que serão utilizados;

- A pasta propostas para o uso de músicas apresenta e explica algumas sugestões de

atividades para serem trabalhadas com música;

- A pasta vídeo mostra alguns vídeos sobre os efeitos da música no cérebro humano e

explicações sobre ritmos musicais, evolução da dança, aprendizagem de inglês através

de músicas.

A seguir apresento algumas atividades que estão no pendrive:

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GRAMMAR "Whenever, Wherever" - Shakira Lucky you were born that far away so So we could both make fun of distance Lucky that I love a foreign land for The lucky fact of your existence Baby I would climb the Andes solely To count the freckles on your body Never could imagine there were only Too many ways to love somebody Lo ro lo le lo le Lo ro lo le lo le Can't you see...I'm at your feet Whenever, wherever We're meant to be together I'll be there and you'll be near And that's the deal my dear They're over, you're under You'll never have to wonder We can always play by ear But that's the deal my dear Lucky that my lips not only mumble They spill kisses like a fountain Lucky that my breasts are small and humble So you don't confuse them with mountains Lucky I have strong legs like my mother To run for cover when I need it And these two eyes are for no other The day you leave we'll cry a river Lo ro lo le lo le Lo ro lo le lo le At your feet...I'm at your feet Whenever, Wherever We're meant to be together I'll be there and you'll be near And that's the deal my dear They're over, you're under You'll never have to wonder We can always play by ear But that's the deal my dear Lo ro lo le lo le Lo ro lo le lo le

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sink or fly, say it again Lo ro lo le lo le lo le Tell me one more time That you'll live Lost in my eyes Whenever, wherever We're meant to be together I'll be there and you'll be near And that's the deal my dear They're over, you're under You've got me head over heels There's nothing left to fear If you really feel the way I feel Whenever, wherever We're meant to be together I'll be there and you'll be near And that's the deal my dear They're over, you're under You've got me head over heels There's nothing left to fear If you really feel the way I feel

www.megaquality.com/lyrics_wherever_whenever.html

1- Listen to the song and fill the blanks with words from the box

day, small, fountain, lips, cover, cry, breasts, strong

Lucky that my ................. not only mumble They spill kisses like a ................. Lucky that my ................. are ................. and humble So you don't confuse them with mountains Lucky I have ................. legs like my mother To run for .................when I need it And these two eyes are for no other The you leave we'll ................. a river Lo ro lo le lo le Lo ro lo le lo le At your feet...I'm at your feet

2- Look for modal verbs in the song "Whenever, Wherever" and write down the sentences they are included in.

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3- The following words and sentences belong to the song. Underline then in red and look for the meaning of each one in your dictionary /electronic dictionary.

*We can always play by ear

*To be head over heels

*Whenever

*Wherever

*Thereover

*Hereunder

4- Read this text about Shakira's life.

Name: Shakira. This Arabic name means "woman full of grace".

Surname: Mebarak Ripoll.,

Birth date: 9 February, 1977

Birth place: in the coastal city of Barranquilla, Colombia,

Parents: Colombian mother and Lebanese father-a jeweler and writer whose Arabic background greatly influenced his daughter.

Shakira is perhaps the most recognizable and certainly, the most intriguing voice in Latin pop/rock today. When she was only 8, she wrote her first song called "Tus gafas oscuras", dedicated to her father. Two years later, she won local and national talent contests. By 13, she had signed a record deal with Sony in Colombia, which resulted in her first album, "Magia (Magic)", a compilation of songs she wrote between 8 and 13 years old.

She was chosen to represent her country at the Festival OTI in Spain. Because she was under the minimum age of 16, she wasn't allowed to participate. So instead, Shakira recorded a second album of original material, "Peligro (Danger)". At that point, Shakira took a break from music, graduated from high school (at age 15-really) and came back with a vengeance. The result was the phenomenally successful "Pies Descalzos" which sold more than four million copies worldwide.

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In addition, this determined girl wanted to try her luck as an actress in "Oasis", a soap opera, but she thought music was her life instead of TV.

Her following album, "Donde Están los Ladrones (Where Are the Thieves?)" with Emilio Estefan's Executive Production and Shakira's Artistic Production was a complete success.Then she began to be very popular: the Colombian government designated Shakira as an official goodwill ambassador, the Pope granted her an audience in the Vatican, and she was named Latin Female Artist of the Year at the World Music Awards.

The next logical step is crossover to the English market, a goal that is now closer than ever with her new album "Servicio de Lavandería (Laundry Service)". It is a mixture of different musical trends -rock, soul, blues- together with flutes of the Andes and Brazilian drums.

msu.edu/course/iah/211c/hassoun/content/famous/shakirabiography.htm

* Summarize Shakira´s life in three or four lines

* Do you like her music? Why?

* Underline the verbs in the past tense:

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MÚSICAS TEMÁTICAS 1-Mostrar as seguintes frases e perguntar quem poderia ter dito isso: "If everyone demanded peace instead of another television set, then there'd be peace." "We're all Christ and we're all Hitler. We are trying to mak e Christ's message contemporary. We want Christ to win. What would he have done if he had advertisements, T.V., records, films and newspapers? The miracle today is communication. So let's use it." 2- Pedir para contarem tudo o que sabem sobre ele; 3- Mostrar mais frases dele e trabalhar o vocabulário e o que ele quis dizer com cada uma delas, perguntar se os alunos concordam com ele ou não;

MORE QUOTES FROM JOHN LENNON

"Love is the flower you've got to let it grow." - John Lennon

"It doesn't matter how long my hair is or what colour my skin is or whether I'm a woman or a man." - John Lennon

"Love is the answer and you know that for sure". - John Lennon

"Life is what happens to you when you are busy making other plans" - John Lennon (Beautiful Boy)

"Am I crazy or am I a genius? I don't think I'm either." - John Lennon

"I always was a rebel...but on the other hand, I wanted to be loved and accepted...and not just be a loudmouth, lunatic, poet, musician. But I cannot be what I am not." - John Lennon

"I'm not going to change the way I look or the way I feel to conform to anything. I've always been a freak. So I've been a freak all my life and I have to live with that, you know. I'm one of those people." - John Lennon

"It was like being in the eye of a hurricane. You'd wake up in a concert and think, Wow, how did I get here?" - John Lennon

"My defences were so great. The cocky rock and roll hero who knows all the answers was actually a terrified guy who didn't know how to cry. Simple." - John Lennon

"Christianity will go. It will vanish and shrink. I needn't argue with that; I'm right and will be proved right. We're more popular than Jesus now; I don't know which will go first - rock and roll or Christianity." - John Lennon

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"I'm not saying we're better or greater, or comparing us with Jesus Christ as a person, or God as a thing, or whatever it is. I just said what I said, and it was wrong, or it was taken wrong. And now it's all this." - John Lennon

"The writing of the Beatles, or John and Paul's contribution to the Beatles in the late sixties - had a kind of depth to it, a more mature, more intellectual approach. We were different people, we were older. We knew each other in all kinds of different ways than when we wrote together as teenagers and in our older twenties." - John Lennon

"We were all on this ship in the sixties, our generation, a ship going to discover the New World. And the Beatles were in the crow's nest of that ship ... We were part of it and contributed what we contributed. I can't designate what we did and didn't do. It depends on how each individual was impressed by the Beatles or how our shock wave went to different people. We were going through the changes, and all we were saying was, it's raining up here, or there's land or there's a sun or we can see a seagull. We were just reporting what was happening to us." - John Lennon

"I'd never met a woman I considered as intelligent as me. That sounds big-headed, but every woman I met was either a dolly-chick, or a sort of screwed-up intellectual chick. And of course, in the field I was in, I didn't meet many intellectual people anyway. I always had this dream of meeting an artist, an artist girl who would be like me. And I thought it was a myth, but then I met Yoko and that was it." - John Lennon

"We realized there's something wrong here, if everybody was upset by the fact that two people were naked." - John Lennon

"I was too scared to break away from the Beatles, which I'd been looking to do since we stopped touring. And so I was sort of vaguely looking for somewhere to go but didn't have the nerve to really step out into the boat myself, so I sort of hung around, and when I met Yoko and fell in love, my God, this is different than anything before. This is more than a hit record. It's more than gold. It's more than everything...When I met Yoko is when you meet your first woman, and you leave the guys at the bar, and you don't go play football anymore. Once I found the woman, the boys became of no interest whatsoever, other than they were like old school friends." - John Lennon

"In 'Lucy in the Sky With Diamonds' I was visualizing Alice in Wonderland, an image of this female who would come and save me - a girl with kaleidoscope eyes who would be the real love of my life. Lucy turned out to be Yoko." - John Lennon

"Rituals are important. Nowadays it's hip not to be married. I'm not interested in being hip." - John Lennon

"We're all in a bag, you know?...I was in a pop bag, going round and round, in my own little clique. And she [Yoko] was in her own little avant-guarde clique, going round and round...So we just came up with the word. If you'd ask us what bagism is, we'd say, 'We're all in a bag, baby." - John Lennon

"If being an egomaniac means I believe in what I do and in my art or my music, then in that respect you can call me that...I believe in what I do, and I'll say it." - John Lennon

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"People want peace. And you've got to sell it and sell it and sell it. So we do the bed-ins and they say, 'What? They're in bed? What's this?' And all we're doing really is donating our holiday. We get tired and it's...more convenient for us to stay in one spot than go around doing press conferences." - John Lennon

"Well, crying for it wasn't enough. The thing the sixties did was show us the possibilities and the responsibility that we all had. It wasn't the answer. It just gave us a glimpse of the possibility." - John Lennon

"If The Beatles or the 60's had a message, it was 'Learn to swim. And once you've learned - swim!" - John Lennon

"Living is easy with your eyes closed..." - John Lennon

"I believe in everything until it's disproved. So I believe in fairies, the myths, dragons. It all exists, even if it's in your mind. Who's to say that dreams and nightmares aren't as real as the here and now? Reality leaves a lot to the imagination." - John Lennon

"Songwriting is about getting the demon out of me. It's like being posessed. You try to go to sleep, but the song won't let you. So you have to get up and make it into something, and then you're allowed to sleep. It's always in the middle of the night, or you're half-awake or tired, when your critical faculties are switched off. So letting go is what the whole game is. Every time you try to put your finger on it, it slips away. You turn on the lights and the cockroaches run away. You can never grasp them..." - John Lennon

"I don't intend to be a performing flea any more. I was the dreamweaver, but although I'll be around I don't intend to be running at 20,000 miles an hour trying to prove myself. I don't want to die at 40." - John Lennon

"My role in society, or any artist's or poet's role, is to try and express what we all feel. Not to tell people how to feel. Not as a preacher, not as a leader, but as a reflection of us all." - John Lennon

"Those in the cheaper seats clap. The rest of you rattle your jewellery." John Lennon, 1963 (Royal Variety Performance)

http://www.geocities.com/ericascyberhome/john.html

4- Distribuir o seguinte texto sobre John Lennon, com os paragrafos fora de ordem para colocarem na seguencia correta; TEXT: JOHN LENNON

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John Winston Lennon was born on October 9, 1940 to a troubled, working-class Liverpool family. John's father deserted his mother when John was only three, so at an early age Lennon was sent to live with his aunt in the suburb of Woolton, where he was a rebellious child. Frequently skipping school and doodling instead of studying, Lennon left Quarry Bank High School at age 16 after his aunt persuaded the headmaster to write him a recommendation to Liverpool Art College. At art school Lennon became involved in music, buying a guitar and starting a skiffle band in early 1957. That band, the Quarrymen, evolved over the next few years into the Beatles. Lennon remained a principle singer and songwriter for the band through its decade-long career, splitting these duties with Paul McCartney. The pair agreed early on to share songwriting credits, though they directly collaborated on only a few of the Beatles' hits. Lennon, for his part, contributed more experimental and mystical music during the band's later years, while McCartney was more pop-oriented; Lennon also led the group into drug use during the mid-'60s and encouraged them to follow his guru, the Maharishi Mahesh Yogi.

Shortly after forming the Beatles, Lennon married an art school classmate, Cynthia Powell, with whom he had a son, Julian, in 1963. Their marriage was rocky, especially after Lennon began openly dating an older Japanese-American artist named Yoko Ono. Cynthia divorced John in 1968, clearing the way for John and Yoko to begin living and working together full time. Shortly after the release of 1968's The Beatles (aka The White Album), John and Yoko released the experimental "found sound" collection Unfinished Music, No. 1 -- Two Virgins. The cover of this album featured a naked photo of the couple, causing it to be banned from many stores. Lennon and Ono became the subject of media attention as reporters speculated that Ono was "controlling" Lennon and causing trouble for the beloved Beatles. In the spring of 1969, shortly after the trouble-filled Get Back sessions were completed, Lennon and a very pregnant Ono embarked on a "honeymoon" to Europe, stopping along the way to get married in Gibraltar on March 20th. The couple staged a notorious "Bed-In" at the Amsterdam Hilton, where they recorded the single "Give Peace a Chance," released later that year. Opposition to the Vietnam War was very important to the couple, who constantly decried political injustices from their celebrity bully pulpit.

The newlyweds returned to England in May 1969, where Yoko had a miscarriage, the first of several. To deal with their anguish, John and Yoko hastily recorded two more avante- garde albums, Life with the Lions -- Unfinished Music No. 2 (which features such "songs" as flipping through various radio stations and several minutes of silence) and The Wedding Album (whose entire B-side consists of John and Yoko screaming each other's name). After recording Abbey Road during the summer of 1969, Lennon flew to Toronto, where he performed at a September rock 'n' roll festival with "The Plastic Ono Band," consisting of Ono, famed guitarist Eric Clapton, German session bassist Klaus Voormann and drummer Alan White; the band's performance was captured on a live album released later that year.

As Lennon spent more time collaborating with Ono, he began to distance himself from the other Beatles. In late 1969 he informed the group that he wanted to quit the band, but because contract negotiations were underway with EMI, his decision was kept quiet. Lennon and the Plastic Ono band recorded the single "Cold Turkey," about Lennon's struggles with heroin, but the song was not particularly popular. Lennon intensified his political actions, paying for billboards in various cities that called for the end of war, and returning an award given to him by the Queen in protest of Britain's involvement in

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Biafra. Lennon refocused on his music career in February 1970 with the Top 10 hit "Instant Karma." Two months later Paul McCartney released his debut solo album and publicly announced the end of the Beatles, angering Lennon, who had first had the idea and wanted to be the one to break the news. Lennon vented his anger with John Lennon/Plastic Ono Band, his first official album, which consisted of highly personal songs often screamed in rage. A few months later, in early 1971, Lennon released the protest song "Power to the People."

In the spring of 1971 Lennon and Ono relocated to New York City, moving into the Dakota, an historic apartment building on Central Park West. Lennon wasted no time becoming involved in American society, siding with Chicago Seven political radicals and frequently speaking out on political issues. That fall Lennon released his most popular solo album to date, the No. 1 charting Imagine, which dealt with personal and political issues in a more accessible manner than his earlier works. In early 1972 Lennon began fighting off U.S. Immigration Authorities, who had denied him a work visa due to a 1968 conviction for marijuana possession. Partially in protest, Lennon collaborated with the radical New York band Elephant's Memory on the album Sometime in New York City, a simplistic political work which is widely regarded as a commercial and artistic failure. In 1973 the INS ordered Lennon to leave the U.S.; Lennon refused, and began publicly attacking the agency. Later that year Lennon released the surprisingly tame Mind Games, whose title track was a minor hit.

In 1974 Lennon separated from Yoko Ono, relocating to Los Angeles. For the next two years Lennon became heavily involved in drugs, and became a frequent attendee of celebrity parties and wild night clubs. Through the party circuit Lennon developed a friendship with Elton John, with whom he co-wrote the song "Whatever Gets You Through the Night," Lennon's 1974 No. 1 comeback. The single was featured on the album Walls and Bridges (which also reached No. 1). On Thanksgiving night Lennon joined John onstage at Madison Square Garden, a legendary performance which turned out to be Lennon's last public concert. The following year Lennon recorded a contractual obligation album, Rock And Roll, a collection of cover tunes from the 1950s. Several months before the official release of the album, businessman Morris Levy released a bootleg of the record as Roots. Lennon later sued Levy, winning a large judgment in court.

By the end of 1975, things had turned around for Lennon: Elton John had helped John and Yoko resolve their marital differences, and in early October an appeals court overturned the deportation order which had been haunting Lennon. The following year Ono became pregnant yet again, and on October 9, 1976 (John's birthday) gave birth to their child, Sean. After contributing to a David Bowie album in the summer of 1976, John retired from music to raise his child and tend house, while Ono handled the family's complicated business and legal affairs and worked on her conceptual art.

In early 1980 Lennon came out of retirement and signed a new record deal with Geffen. John and Yoko recorded a new album that summer, Double Fantasy, which was released in November. The highly listenable album and its first single, "(Just Like) Starting Over," both charted, and Lennon seemed to be on the verge of a comeback. While leaving his New York apartment on December 8, Lennon was approached by a sleazy-looking fan who requested an autograph. When John returned home several hours later, the fan was still outside his apartment, and shot Lennon several times. He

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died minutes later, and the crazed fan, Mark David Chapman, was quickly arrested. On December 14 at 2 p.m., Lennon fans around the world participated in a widely publicized 10-minute silent vigil. Naturally, Double Fantasy and "Starting Over" went to No. 1 and sold thousands of copies. As Chapman went to trial, bizarre details came out about the disturbed loner, who apparently was obsessed not only with Lennon, but also with the popular novel Catcher in the Rye. He was easily convicted and sentenced to an indefinite term in a mental institution.

In the years following Lennon's death, his cult only grew. During the mid-'80s Capitol released several albums of unreleased songs, including 1985's Milk and Honey and a recording of Lennon's performance at a 1972 benefit concert, among others. In the ultimate exploitation of Lennon rarities, in 1995 and '96 the remaining Beatles recorded music over two "new" Lennon home demos from the late '70s; "Real Love" and "Free As a Bird." These tracks appeared on the 1996 Beatles Anthology albums as "new Beatles songs."

www. Rollingstone.com

5- Após colocar o texto em ordem, trabalhar o vocabulário, dividir a turma em grupos e pedir para cada grupo elaborar questões sobre o texto,em português ou Inglês para os colegas dos outros grupos responderem por escrito;

6- pedir para os alunos grifarem ou copiarem palavras relacionadas com música;

Atividade com a música imagine

7-Após trabalhar com o vocabulário da música, dividir a turma em grupos , dar uma ou mais perguntas para cada grupo, pedir para discutirem entre eles e depois apresentarem suas conclusões para a turma toda;

1. In your opinion, could the world's resources sustain a reasonable standard of living for everyone?

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2. Would John Lennon's ideal world solve any of your country’s current problems, or your own problems? If so, which ones?

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- - - - - - - - - - - - - - - - - - - - - -

3. How do you think John Lennon's ideal world should be implemented?

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4. What characteristics do you think would almost certainly become obsolete in John Lennon's ideal world?

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5. Would the negative aspects of human nature prevent John Lennon's ideal world from becoming a reality? If so, how?

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6. Do you agree with the whole concept of John Lennon's imaginary world, or only part?

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7. Which skills would you expect to be most important in John Lennon's ideal world?

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8. Which authorities might consider the changes negatively?

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9. Which skills would probably become obsolete in John Lennon's ideal world?

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10. Which people, if any, might assume increasing importance in John Lennon's ideal world?

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11. Which V.I.P.s are likely to lose their importance in John Lennon's ideal world? (V.I.P. = Very Important Person) Why?

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12. Which groups of people would be affected in John Lennon's imaginary world? How?

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13. John Lennon says “no possession”, but he had many properties, cars,etc. What do you think about this?

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8- Pedir para os alunos completarem várias vezes a frase: “Imagine there’s no..............................................

9- Revisar e pedir para os alunos elaborarem frases com o 2º condicional, por exemplo:

If there wasn,t schools, we would have to................................................... Comparar e discutir as frases.

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VOCABULARY PLANO DE AULA- ONE (U2)

1- Iniciar mostrando a capa do CD;

2- 2- Pedir para os alunos descreverem o que estão vendo;( O desenho mostra como os índios americanos faziam para caçar búfalos, fazendo-os correr e cair no penhasco.) 3- Relacione a palavra one com o seu significado em várias línguas: a) one ( ) portuguese b) uno ( ) dutch c) aon ( ) english d) eins ( ) spanish e) een ( ) basque f) um ( )gaeilge( irish) g) évac ( )norwegian h) ettall ( )greek i) bat ( ) german

Uno Spanish Aon Gaeilge (Irish) Eins German Een Dutch Um Portguese ένας Greek Bat Basque Ettall Norwegian

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3- Parte das vendas deste CD foi destinada a pesquisa da Aids. Trabalhar um texto atual que fala sobre o assunto para mostrar que essa donça ainda é muito perigisa: 4- Complete with the definitions below, and then listen to the song to correct: Is it getting________(1) Or do you fell the same? Will it make it easier on you now You got someone to________(2) You say One love One________(3) When it’s one need in the________(4) One love We get to share it Leaves you baby if you don’t care for it Did I disappoint you? Or leave a bad taste in your________(5)? You act like you________(6) had love And you want me to go without Well it’s… Too________(7) Tonight To drag the past out into the________(8) We’re one, but we’re not the same We get to carry each other Carry each other One Have you come________(9) for forgiveness? Have you come to raise the__________(10)? Have you come here to play Jesus? To the lepers in your________(11) Did I________(12) too much? More than a lot You gave me________(13), now it’s all I got We’re one, but we’re not the same Well we________(14) each other Then we do it again You say Love is a ________(15) Love is a higher________(16) Love is a________(15) Love is a higher________(16) You ask me to enter But then you make me________(17)

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And I can’t be holding on to what you got When all you got is hurt One love One________(18) One life You got to do what you should One life With each other ________(19) ________(20) One life But we’re not the same We got to carry each other Carry each other Carry each other One DEFINITIONS:

1- (adj) comparative of GOOD. 2- (V) to consider responsible for. 3- (n) the active force in animals and plants that makes them different from all

other forms of matter, such as stones or machines or dead bodies. 4- (n) the opposite of DAY. 5- (n) the opening on the face through which a person or animal can eat and speak. 6- (adv) the opposite of ALWAYS. 7- (adv) the opposite of EARLY. 8- (n) the natural force that takes away darkness. 9- (adv) the opposite of THERE. 10- (adj) no longer alive. 11- (n) the part of the body which contains the eyes, ears, nose, and mouth. 12- (v) to put a question to someone. 13- (pron) not any thing. 14- (v) to cause physical pain (use the past tense) 15- (n) a building or place for the worship of a god or gods. 16- (n) a rule that is supported by the power of government and that controls the

behavior of members of a society. 17- (v) to move slowly with the body close to the ground, or on the hands and knees. 18- (n) the red liquid that flows through the body. 19- (n) a female relative with the same parents (use the plural form) 20- (n) a male relative with the same parents (use the plural form)

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LISTENING

Complicated - Avril Lavigne

Uh huh, life's like this Uh huh, uh huh, that's the way it is

Cause life's like this Uh huh, uh huh that's the way it is

Chill out whatcha yelling' for? Lay back it's all been done before

And if you could only let it be you will see

I like you the way you are When we're drivin' in your car

and you're talking to me one on one but you've become

Somebody else round everyone else You're watching your back like you can't relax

You're tryin' to be cool you look like a fool to me Tell me

Why you have to go and make things so complicated? I see the way you're acting like you're somebody else gets me frustrated

Life's like this you And you fall and you crawl and you break

and you take what you get and you turn it into honesty and promise me I'm never gonna find you fake it

no no no

You come over unannounced dressed up like you're somethin' else

where you are and where it's at you see you're making me

laugh out when you strike your pose take off all your preppy clothes

you know you're not fooling anyone when you've become

Somebody else round everyone else Watching your back, like you can't relax

Trying to be cool you look like a fool to me Tell me


Life's like this you and You fall and you crawl and you break

and you take what you get and you turn it into honesty

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promise me I'm never gonna find you fake it no no no

Chill out whatcha yelling for? Lay back, it's all been done before

And if you could only let it be You will see

Somebody else round everyone else You're watching your back, like you can't relax

You're trying to be cool, you look like a fool to me Tell me


Life's like this you and you fall and you crawl and you break

and you take what you get and you turn it into honesty

promise me I'm never gonna find you fake it no no no

Why you have to go and make things so complicated? I see the way you're acting like your somebody else gets me frustrated

Life's like this you You fall and you crawl and you break

and you take what you get and you turn it into honesty promise me I'm never gonna find you fake this

no no no

http://www.metrolyrics.com/complicated-lyrics-avril-lavigne.html

1- Cut the lyrics of the song, put in an envelope and ask students to put in correct order, listening to the song:

COMPLICATED

#- - - - - - - - - - - - - - - - - - - - - - - - - -

And if you could only let it be

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

And promise me I'm never gonna find you fake it

20

#- - - - - - - - - - - - - - - - - - - - - - - - - -

And you fall and you crawl and you break

#- - - - - - - - - - - - - - - - - - - - - - - - - -

And You fall and you crawl and you break

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

And you take what you get and you turn it into honesty

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

And you're talking to me one on one but you've become

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Cause life's like this

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Chill out whatcha yelling for?

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

Dressed up like you're somethin' else

#- - - - - - - - - - - - - - - - - - - - - - - - - -

21

I like you the way you are

#- - - - - - - - - - - - - - - - - - - - - - - - - -

I see the way you're acting like your somebody else gets me frustrated

#- - - - - - - - - - - - - - - - - - - - - - - - - -

I see the way you're acting like you're somebody else gets me frustrated

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

Laugh out when you strike your pose

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Lay back it's all been done before

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Lay back, it's all been done before

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Life's like this you

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

no no

22

#- - - - - - - - - - - - - - - - - - - - - - - - - -

no no no

#- - - - - - - - - - - - - - - - - - - - - - - - - -

no no no

#- - - - - - - - - - - - - - - - - - - - - - - - - -

no no no

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Promise me I'm never gonna find you fake it

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

Somebody else round everyone else

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

Take off all your preppy clothes

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Tell me

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Tell me

#- - - - - - - - - - - - - - - - - - - - - - - - - -

23

Tell me

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Trying to be cool you look like a fool to me

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Uh huh, life's like this

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Uh huh, uh huh that's the way it is

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Uh huh, uh huh, that's the way it is

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Watching your back, like you can't relax

#- - - - - - - - - - - - - - - - - - - - - - - - - -

When we're drivin' in your car

#- - - - - - - - - - - - - - - - - - - - - - - - - -

When you've become

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Where you are and where it's at you see

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Why do you have to go and make things so complicated?

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


24

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You come over unannounced

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You fall and you crawl and you break

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You know you're not fooling anyone

#- - - - - - - - - - - - - - - - - - - - - - - - - -

you will see

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You will see

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You're making me

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You're tryin' to be cool you look like a fool to me

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You're trying to be cool, you look like a fool to me

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You're watching your back like you can't relax

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You're watching your back, like you can't relax

#- - - - - - - - - - - - - - - - - - - - - - - - - -

2-- Listen and rearrange the lines which are not in order (Every other one)

a) You know you're not fooling anyone b) Dressed up like you're

1. __________ 2. B) 3. __________

25

something else c) You come over unannounced d) You're making me, laugh out e) Where you are & what it is that you see f) All your preppy clothes g) When you strike a pose, take off h) When you become

4. D) 5. __________ 6. F) 7. __________ 8. H)

3-Where do these abbreviations come from?

a) Life's like this b) That's the way it is c) Cuz life's like this d) Whatcha yelling for? e) It's all been done before f) We're driving in your car g) You're talking to me one-on-one h) You've become somebody else i) Why'd you have to go ? j) I'm never gonna find you

4-Which of these verbs are synonyms of "relax"? a) fake b) yell c) lay back d) to be cool e) chill out

5- Match these English expressions with their translation:

a) watch your back ( ) enganar b) Talk one-on-one ( ) uniforme universitário c) Strike a pose ( ) falar demais d) Fool someone ( ) fazer pose, fingir ser alguém importante e) Preppy ( ) depender do que dizem ou pensam os outros

6- In pairs, answer the following questions 1. Which things do you value most in friendship? 2. Have you ever found people like the one described in the song? How did you feel about them?

26

3. What makes you frustrated? 4. Imagine this song belongs to a film soundtrack, what type of film would it be? Which scene would the song be in? Find a title for the film and draw the scene. Did you both imagine the same type of film or scene?

7-Read Avril's biography and answer the following questions:

Anything but ordinary. That's putting it mildly when describing Avril Lavigne. A skater-punk, a dynamic spirit, a true wild child. One of those rare creatures who started wowing people with her voice and character at around age 2. A small-town kid who couldn't sit still in class but had the confidence and determination to take off, virtually on her own, to improve her songwriting skills in New York City and Los Angeles. A startlingly up-front and outrageous 17-year-old with everything it takes to reach stardom-completely on her own terms. "I'm just coming out and I'm going to clearly be myself-I write what I feel, I never worry what others think, " Avril says. "I'm gonna dress what's me, I'm gonna act what's me and I'm gonna sing what's me."

Avril was born in Napanee, Ontario. A middle child who "always wanted to be the center of attention, I always knew this was what I had to do," she says. "I remember when I was really young, standing on my bed like it was a stage, singing at the top of my lungs and visualizing thousands of people surrounding me." She sang whenever and wherever she could-starting in church singing gospel music, and on to festivals, then singing country music at fairs and talent contests-until she was discovered by Arista Records.

At 16, she moved to Manhattan and began work on her debut CD. Avril plunged into the creative process. "I love writing," she explains. "When I get upset and really need to get it out of me I go to my guitar. Sometimes I feel like my guitar is my therapist."

Although Avril virtually lived in the studio during that New York period, her efforts didn't pay off at first. "I started working with these really talented people, but I just wasn't feeling it; the songs weren't representative of me," she admits. "Then they started talking about having people write for me, but I had to write myself. I had to do my

27

music. It was a really stressful time, but I never considered giving up." Instead, she changed coasts. Los Angeles gave Avril the fresh start she needed.

http://www.maplemusic.com/artists/ala/bio.asp

1. Where was she born? 2. Does she have any brothers or sisters? 3. Where did she start singing? 4. Where in the United States has she lived? 5. Who writes her songs? 6. What is the most important thing for Avril? 7. Do you think the song "Complicated" describes her attitude to life? 8. How would you describe her?

28

TRILHA SONORA DE FILMES Pretty Woman A história é clássica, um homem rico (Richard Gere) que só pensa em negócios, em viagem a Los Angeles, decide casualmente contratar uma prostituta (Julia Roberts) para passar a noite em um luxuoso hotel. Aos poucos, percebe que está se envolvendo por ela. O filme, uma espécie de Cinderela dos tempos modernos, lançou a atriz Julia Roberts

Pretty Woman Uma linda mulher

(Roy Orbinson)

Pretty woman, walking down the street (Linda mulher, descendo a rua)

Pretty woman, the kind I like to meet (Linda mulher, do tipo que eu quero conhecer)

Pretty woman I don’t believe you, you’re not the truth (Linda mulher, eu não creio em você, você não é real)

No one could look as good as you (Ninguém poderia ser tão bela quanto você)

Mercy (Misericórdia!)

Pretty woman, won’t you pardon me (Linda mulher, você não vai me perdoar)

Pretty woman, I couldn’t help see Linda mulher, eu não poderia ajudar você, mas veja

Pretty woman (Linda mulher)

That you look lovely as can be (Que você é admirável, como pode estar)

Are you lonely just like me (Sozinha, assim como eu)

Wow

Pretty woman, stop a while (Linda mulher, espere um instante)

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Pretty woman, talk a while (Linda mulher, converse um instante)

Pretty woman, gave your smile to me (Linda mulher, dê-me seu sorriso)

Pretty woman, yeah yeah yeah (Linda mulher, yeah Yeah Yeah)

Pretty woman, look my way (Linda mulher, olhe meu jeito)

Pretty woman, say you’ll stay with me (Linda mulher, diga que você ficará comigo)

‘Cause I need you, I’ll trear you right (Porque eu preciso de você, eu tratarei você bem)

Come with me baby, be mine tonight (Venha comigo, bebê, seja minha esta noite)

Pretty woman, don’t walk on by (Linda mulher, não se afaste)

Pretty woman, make me cry (Linda mulher, não me faça chorar)

Pretty woman, don’t walk away, hey…okay (Linda mulher, não vá embora, ó, está bem?)

If that’s the way it must be, okay (Se é desse jeito que tem de ser, está bem)

I guess I’ll go on home, it’s late (Eu acho que irei para casa, já é tarde)

There’ll be tomorrow nigh, but wait (Haverá um amanhã à noite, mas espere)

What do I see (O que eu vejo?)

Is she walking back to me (É ela, voltando para mim!)

Yeah, she’s walking back to me (Oh, oh, linda mulher.)

Oh, oh, Pretty woman (Oh, oh, Linda mulher)

30

http://www.stlyrics.com/p/prettywoman.htm

Pretty Woman

Pretty Woman is a 1990 romantic comedy film. The film centers around the titular character, down-on-her-luck prostitute Vivian Ward (Julia Roberts) who is hired by a wealthy businessman and corporate raider, Edward Lewis (Richard Gere) to be his escort for several business functions, and their developing relationship.

Pretty Woman was initially intended to be a dark drama about prostitution in Los Angeles but was reconceptualized into a romantic comedy. The film was a critical success and became one of 1990's highest grossing films, and today is one of the most financially successful entries in the romantic comedy genre, with an estimated gross of $464 million USD.[1] Roberts received a Golden Globe Award for her role, and was nominated for an Academy Award for Best Actress. Screenwriter J. F. Lawton was nominated for a Writers Guild Award and a BAFTA Award. The film was followed by a string of similar romantic comedies, including Runaway Bride, which teamed up Gere and Roberts under the direction of Garry Marshall once again

http://en.wikipedia.org/wiki/Pretty_Woman_(movie)

1- Write a small text about the movie based on the text above:

2-Listen to the song very carefully and fill in the blanks. Pretty woman, walking down the street Pretty woman, the kind I ________ to meet Pretty woman, I don't believe you You're not the truth No one could look as good as you Mercy! Pretty woman, won't you pardon me? Pretty woman, I couldn't help but ________ Pretty woman, you _________ as lovely as can be Are you lonely just like me? (Purr) Pretty woman, _______ a while Pretty woman, _______ a while Pretty woman, _______ your smile to me Pretty woman, Yeah! Yeah! Yeah! Pretty woman, ________ my way Pretty woman, say you'll ________ with me 'cause I need you, I'll treat you right Come with me baby. ____ mine tonight

31

Pretty woman, don't ______ on by Pretty woman, don't ______ me cry Pretty woman, don't walk away. Heh! O.K. If that's the way it must be. O.K. I guess l'll go on home. It's late There'll be tomorrow night, but _____ What do I see? Is she walking back to me? Yeah! She's walking back to me. Oh! Pretty woman. 3-Match the meaning of the word or words on the left with the meaning of the word(s) on the right and write the correct letter in the brackets.

WORDS from the song Meanings

1 the kind I like to meet ( ) a I think 2 I don't believe you ( ) b beautiful 3 Won't you pardon me? ( ) c You are too beautiful to believe 4 lovely ( ) d Will you excuse me? 5 I couldn't help but see ( ) e I can't stop myself from looking 6 look my way ( ) f alone, sad, with no friends 7 lonely ( ) g look at me 8 'cause ( ) h I will be good or nice to you short form of because 9 I guess ( ) i it has to be this way 10 I'll treat you right ( ) j the type of woman, the look 11 that is the way it must be ( ) k I like

1- Discuss about prostitution in different places: 2- Why the character of the movie was in the streets? And why people in real life

are on the streets? 3- Make a composition about this? 4- Show a piece of the movie.

32

WRITING

Welcome To My Life Simple Plan

Do you ever feel like breaking down?

Do you ever feel out of place? Like somehow you just don't belong

And no one understands you Do you ever wanna run away?

Do you lock yourself in your room? With the radio on turned up so loud That no one hears you screaming

No you don't know what it's like When nothing feels all right You don't know what it's like

To be like me

CHORUS: To be hurt To feel lost

To be left out in the dark To be kicked when you're down

To feel like you've been pushed around To be on the edge of breaking down

And no one's there to save you No you don't know what it's like

Welcome to my life

Do you wanna be somebody else? Are you sick of feeling so left out?

Are you desperate to find something more? Before your life is over

Are you stuck inside a world you hate? Are you sick of everyone around?

With their big fake smiles and stupid lies While deep inside you're bleeding

No you don't know what it's like When nothing feels all right You don't know what it's like

To be like me

(CHORUS)

No one ever lied straight to your face And no one ever stabbed you in the back

You might think I'm happy but I'm not gonna be okay Everybody always gave you what you wanted

33

You never had to work it was always there You don't know what it's like, what it's like

(CHORUS2x)

Welcome to my life Welcome to my life

www.lyricstop.com/w/welcometomylife-simpleplan.html

1- Match the words to their correct definition:

a) To be stuck b) To run away c) To stab someone in the back d) To break down e) To fake a smile f) To lock yourself in g) To kick someone when they're down h) To be on the edge i) To turn up j) To be left out

( ) To lose control of your feelings and start crying. (Perder o controle de seus sentimentos e começar a chorar.) ( ) To increase the sound. (Aumentar o som). ( ) To continue to hurt someone when they are already defeated. (Continuar a ferir alguém quando já estão derrotados). ( ) Unable to move or be moved. (Incapaz de mover ou ser movido). ( ) To be nervous, excited or bad tempered. (Estar nervosa, emocionado ou mal humorado) ( ) Not included or mentioned in something. (Não incluido ou mencionado em alguma coisa). ( ) To escape.(Escapar) ( ) To prevent someone from entering your room by locking the door.(Impedir alguém de entrar em seu quarto sem bater na porta). ( ) To give a false, not genuine smile. (Dar um sorriso falso e não autêntico). ( ) To betray someone who trusts you. (Trair alguém que confia em você).

2- Answer the following questions.

a) Do you think this is a happy song? Why? b) Do you ever feel like breaking down? What makes you feel like that? c) Do you ever feel out of place? What makes you feel like that? d) Do you ever want to run away? Why? Where do you want to go? e) Do you want to be somebody else? Why? Who would you like to be?

34

3- Now imagine that a friend of yours is the one who feels like the guy singing this song. Write him/her a cheering letter to make him/her feel less sad.

4- Watch the video and sing the song

35

THEORIES Stephen Krashen's Theory of Second Language Acquisition

Assimilação Natural -- o Construtivismo Comunicativo no Ensino de Línguas Ricardo Schütz

Last revision: July 2, 2007

"Language acquisition does not require extensive use of conscious grammatical rules, and does not require tedious drill." Stephen Krashen

"Acquisition requires meaningful interaction in the target language - natural communication - in which speakers are concerned not with the form of their utterances but with the messages they are conveying and understanding." Stephen Krashen

"The best methods are therefore those that supply 'comprehensible input' in low anxiety situations, containing messages that students really want to hear. These methods do not force early production in the second language, but allow students to produce when they are 'ready', recognizing that improvement comes from supplying communicative and comprehensible input, and not from forcing and correcting production." Stephen Krashen

"In the real world, conversations with sympathetic native speakers who are willing to help the acquirer understand are very helpful." Stephen Krashen

Introduction

Stephen Krashen (University of Southern California) is an expert in the field of linguistics, specializing in theories of language acquisition and development. Much of his recent research has involved the study of non-English and bilingual language acquisition. During the past 20 years, he has published well over 100 books and articles and has been invited to deliver over 300 lectures at universities throughout the United States and Canada.

This is a brief description of Krashen's widely known and well accepted theory of second language acquisition, which has had a large impact in all areas of second language research and teaching since the 1980s.

Description of Krashen's Theory of Second Language Acquisition

Krashen's theory of second language acquisition consists of five main hypotheses:

• the Acquisition-Learning hypothesis,

36

• the Monitor hypothesis, • the Natural Order hypothesis, • the Input hypothesis, • and the Affective Filter hypothesis.

The Acquisition-Learning distinction is the most fundamental of all the hypotheses in Krashen's theory and the most widely known among linguists and language practitioners.

According to Krashen there are two independent systems of second language performance: 'the acquired system' and 'the learned system'. The 'acquired system' or 'acquisition' is the product of a subconscious process very similar to the process children undergo when they acquire their first language. It requires meaningful interaction in the target language - natural communication - in which speakers are concentrated not in the form of their utterances, but in the communicative act.

The 'learned system' or 'learning' is the product of formal instruction and it comprises a conscious process which results in conscious knowledge 'about' the language, for example knowledge of grammar rules. According to Krashen 'learning' is less important than 'acquisition'. (Veja o texto ao lado e também outra página em português sobre Acquisition/Learning).

The Monitor hypothesis explains the relationship between acquisition and learning and defines the influence of the latter on the former. The monitoring function is the practical result of the learned grammar. According to Krashen, the acquisition system is the utterance initiator, while the learning system performs the role of the 'monitor' or

AS DUAS HIPÓTESES MAIS IMPORTANTES DA TEORIA DE

KRASHEN, E SUA INTERRELAÇÃO

A hipótese acquisition-learning e a hipótese monitor representam a essência da teoria de Krashen.

De acordo com sua teoria, acquisition é responsável pelo entendimento e pela capacidade de comunicação criativa: habilidades desenvolvidas subconscientemente. Isto ocorre através da familiarização com a característica fonética da língua, sua estruturação de frases, seu vocabulário, tudo decorrente de situações reais, bem como pela descoberta e assimilação de diferenças culturais e pela aceitação e adaptação à nova cultura.

Learning depende de esforço intelectual e procura produzir conhecimento consciente a respeito da estrutura da língua e de suas irregularidades, e preconiza a memorização de vocabulário fora de situações reais. Este conhecimento atua na função de monitoramento da fala. Entretanto, o efeito deste monitoramento sobre a performance da pessoa, depende muito do perfil psicológico de cada um.

Veja aqui mais sobre os conceitos de acquisition e learning.

A hipótese monitor explica a relação entre acquisition e learning ao definir a influência deste último sobre o primeiro. Os esforços espontâneos e criativos de comunicação, decorrentes de nossa capacidade natural de assimilar línguas quando em contato com elas, são policiados e disciplinados pelo conhecimento consciente das regras gramaticais da língua e de suas exceções.

37

the 'editor'. The 'monitor' acts in a planning, editing and correcting function when three specific conditions are met: that is, the second language learner has sufficient time at his/her disposal, he/she focuses on form or thinks about correctness, and he/she knows the rule.

It appears that the role of conscious learning is somewhat limited in second language performance. According to Krashen, the role of the monitor is - or should be - minor, being used only to correct deviations from 'normal' speech and to give speech a more 'polished' appearance.

Krashen also suggests that there is individual variation among language learners with regard to 'monitor' use. He distinguishes those learners that use the 'monitor' all the time (over-users); those learners who have not learned or who prefer not to use their conscious knowledge (under-users); and those learners that use the 'monitor' appropriately (optimal users). An evaluation of the person's psychological profile can help to determine to what group they belong. Usually extroverts are under-users, while introverts and perfectionists are over-users. Lack of self-confidence is frequently related to the over-use of the 'monitor'.

Os efeitos deste monitoramento sobre pessoas com diferentes características de personalidade serão vários. Pessoas que tendem à introversão, à falta de autoconfiança, ou ao perfeccionismo, pouco se beneficiarão de um conhecimento da estrutura da língua e de suas irregularidades. Pelo contrário, no caso de línguas com alto grau de irregularidade (como o inglês), poderão desenvolver um bloqueio que compromete a espontaneidade devido à consciência da alta probabilidade de cometerem erros.

Pessoas que tendem à extroversão, a falar muito, de forma espontânea e impensada, também pouco se beneficiarão de learning, uma vez que a função de monitoramento é quase inoperante, está submetida a uma personalidade intempestiva que se manifesta sem maior cautela. Os únicos que se beneficiam de learning, são as pessoas mais normais e equilibradas, que sabem aplicar a função de monitoramento de forma moderada. Mesmo assim, numa situação real de comunicação, o monitoramento só funcionará se ocorrerem 3 condições simultaneamente:

- Tempo suficiente: que a pessoa disponha de tempo suficiente para avaliar as alternativas com base nas regras incidentes. - Preocupação com a forma: que a pessoa concentre atenção não apenas no ato da comunicação, no conteúdo da mensagem, mas também e principalmente na forma. - Conhecimento da regra: que a pessoa tenha conhecimento da regra que se aplica ao caso.

The Natural Order hypothesis is based on research findings (Dulay & Burt, 1974; Fathman, 1975; Makino, 1980 cited in Krashen, 1987) which suggested that the acquisition of grammatical structures follows a 'natural order' which is predictable. For a given language, some grammatical structures tend to be acquired early while others late. This order seemed to be independent of the learners' age, L1 background, conditions of exposure, and although the agreement between individual acquirers was not always 100% in the studies, there were statistically significant similarities that reinforced the existence of a Natural Order of language acquisition. Krashen however points out that the implication of the natural order hypothesis is not that a language program syllabus

38

should be based on the order found in the studies. In fact, he rejects grammatical sequencing when the goal is language acquisition.

The Input hypothesis is Krashen's attempt to explain how the learner acquires a second language. In other words, this hypothesis is Krashen's explanation of how second language acquisition takes place. So, the Input hypothesis is only concerned with 'acquisition', not 'learning'. According to this hypothesis, the learner improves and progresses along the 'natural order' when he/she receives second language 'input' that is one step beyond his/her current stage of linguistic competence. For example, if a learner is at a stage 'i', then acquisition takes place when he/she is exposed to 'Comprehensible Input' that belongs to level 'i + 1'. Since not all of the learners can be at the same level of linguistic competence at the same time, Krashen suggests that natural communicative input is the key to designing a syllabus, ensuring in this way that each learner will receive some 'i + 1' input that is appropriate for his/her current stage of linguistic competence.

Finally, the fifth hypothesis, the Affective Filter hypothesis, embodies Krashen's view that a number of 'affective variables' play a facilitative, but non-causal, role in second language acquisition. These variables include: motivation, self-confidence and anxiety. Krashen claims that learners with high motivation, self-confidence, a good self-image, and a low level of anxiety are better equipped for success in second language acquisition. Low motivation, low self-esteem, and debilitating anxiety can combine to 'raise' the affective filter and form a 'mental block' that prevents comprehensible input from being used for acquisition. In other words, when the filter is 'up' it impedes language acquisition. On the other hand, positive affect is necessary, but not sufficient on its own, for acquisition to take place.

O CONSTRUTIVISMO NO ENSINO DE LÍNGUAS

A teoria de Krashen fornece substrato ao Natural Approach e ao Communicative Approach, versões norte-americana e britânica, respectivamente, do construtivismo no ensino de línguas.

O construtivismo preconiza o desenvolvimento de habilidades e conhecimento como resultado de ação, de interação do ser inteligente com seu ambiente. Portanto, o ambiente é fator determinante. No caso de línguas estrangeiras, o ambiente apropriado é aquele que oferece convívio multicultural.

AMBIENTES MULTICULTURAIS DE CONVÍVIO: Ambiente de convívio multiculural ou bicultural é aquele composto de pessoas de diferentes nacionalidades e culturas, que proporciona o desenvolvimento do conhecimento necessário e das habilidades básicas necessárias para que todos possam se comunicar em qualquer situação e nele se sintam à vontade. Quanto maior o grau de afinidade entre seus integrantes, mais completa será a assimilação.

The Role of Grammar in Krashen's View

O PAPEL DA GRAMÁTICA SEGUNDO

39

According to Krashen, the study of the structure of the language can have general educational advantages and values that high schools and colleges may want to include in their language programs. It should be clear, however, that examining irregularity, formulating rules and teaching complex facts about the target language is not language teaching, but rather is "language appreciation" or linguistics.

The only instance in which the teaching of grammar can result in language acquisition (and proficiency) is when the students are interested in the subject and the target language is used as a medium of instruction. Very often, when this occurs, both teachers and students are convinced that the study of formal grammar is essential for second language acquisition, and the teacher is skillful enough to present explanations in the target language so that the students understand. In other words, the teacher talk meets the requirements for comprehensible input and perhaps with the students' participation the classroom becomes an environment suitable for acquisition. Also, the filter is low in regard to the language of explanation, as the students' conscious efforts are usually on the subject matter, on what is being talked about, and not the medium.

This is a subtle point. In effect, both teachers and students are deceiving themselves. They believe that it is the subject matter itself, the study of grammar, that is responsible for the students'

KRASHEN

De acordo com Krashen, o estudo formal da estrutura de uma língua pode vir a oferecer certos benefícios, fazendo com que escolas secundárias bem como cursos de nível universitário (letras e lingüística) tenham interesse em incluir o estudo da gramática em seus programas de línguas estrangeiras. Deve ficar claro, entretanto, que a formulação de regras e o estudo das irregularidades e das complexidades da língua, não constituem-se em ensino e aprendizado que produzam proficiência comunicativa, mas apenas "apreciação" da língua, ou, simplesmente, lingüística.

A única situação na qual o ensino da gramática pode resultar em assimilação e desenvolvimento da proficiência, ocorre se duas condições forem atendidas:

• os alunos têm interesse no assunto gramática;

• a língua usada na sala de aula pelo professor é a língua estrangeira.

Normalmente, quando isso ocorre, ambos, professor e alunos, acreditam que o estudo formal da gramática é essencial para a assimilação e o desenvolvimento da proficiência. Além disso, o professor é hábil o suficiente para apresentar suas explicações unicamente na língua estrangeira, de maneira que os alunos entendam. Na verdade, o que ocorre é que a linguagem usada pelo professor se configura em perfeito comprehensible input e, com a natural participação dos alunos devido ao seu interesse, acaba criando-se na sala de aula um ambiente adequado para que que language acquisition ocorra. Em paralelo a isso, o affective filter é baixo, uma vez que a atenção dos alunos se concentra no assunto em si, naquilo a respeito de que se fala, e não na forma da linguagem usada.

Essa questão é muito sutil e curiosa. Na verdade, professores e alunos podem estar iludindo-se a si próprios. Ambos acreditam ser o conhecimento metalingüístico adquirido através

40

progress, but in reality their progress is coming from the medium and not the message. Any subject matter that held their interest would do just as well.

do estudo da gramática responsável pelo desenvolvimento da proficiência do aluno, quando na realidade o desenvolvimento vem do exercício comunicativo e não do conteúdo da mensagem. Qualquer tema que venha a despertar o interesse do aluno e cativá-lo, que seja apresentado dentro de seu nível de competência, produzirá o mesmo resultado. E se além do interesse intelectual, houver envolvimento no plano psicológico e afetivo, o resultado será surpreendente.

REFERENCES

Crystal, David The Cambridge Encyclopedia of Language. Cambridge University Press, 1997. Krashen, Stephen D. Principles and Practice in Second Language Acquisition. Prentice-Hall International, 1987. Krashen, Stephen D. Second Language Acquisition and Second Language Learning. Prentice-Hall International, 1988.

VOCÊ ESTÁ PREPARADO PARA O APRENDIZADO DE LÍNGUAS? Faça um

teste aqui.

CONSIDERAÇÕES SOBRE O APRENDIZADO DE LÍNGUAS (Port.) THE S&K METHOD (Eng.)

O uso dos materiais publicados neste site é livre. Pedimos apenas que todos respeitem a ética acadêmica, citando a fonte e informando o endereço do site, para que outros possam também explorá-lo bem como ter acesso às atualizações e complementações que fazemos quase que diariamente.

Como fazer uma citação desta página:

Schütz, Ricardo. "Stephen Krashen's Theory of Second Language Acquisition." English Made in Brazil <http://www.sk.com.br/sk-krash.html>. Online. 2 de julho de 2007. Observe que ao citar textos encontrados na internet, é necessário colocar a data, devido às freqüentes alterações que os mesmos podem sofrer. http://www.sk.com.br/sk-krash.html

41

PROPOSTAS PARA O USO DE MÚSICAS PROPOSTAS PARA O USO DE MÚSICAS

Apresento aqui algumas sugestões de atividades para se trabalhar com música.

As atividades podem ser adaptadas de acordo com o nível dos alunos e série.

• Fill in the blanks- Tirar algumas palavras da letra e deixar espaços em

branco. Pedir para os alunos completarem ouvindo a música.

Change the World - Eric Clapton

If I could reach the ........................(1), I'd pull one down for you Shine it on my heart, so you could see the......................(2) That this love I have inside, is ...........................(3) it seems But for now I find, it's only in my..........................(4) That I can change the world I would be the sunlight in your .........................(5) You would think my love was really something good Baby, if I could, change the ..........................(6) If I could be king, even for a day I'd take you as my .........................(7), I'd have it no other way And our love will rule, in this kingdom we have ........................(8) Till then I'd be a fool, wishin' for the day That I can ...........................(9) the world, I would be the sunlight in your universe.You would think my love was really something .......................(10), Baby if I could change the world. Baby if I could change the world. I could change the world, I would be the sunlight in your universe. You would think my love was really........................(11) good, Baby if I could change the world. Baby if I could change the world. Baby if I could change the world. universe, truth, dreams, world, queen, made, change, everything, stars, something, good

• Strips of paper- Recortar cada verso da letra da música e pedir para os alunos ordenarem ouvindo a mesma.

#- - - - - - - - - - - - - - - - - - - - - - - - - -

COMPLICATED - AVRIL LAVIGNE

42

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

And promise me I'm never gonna find you fake it

#- - - - - - - - - - - - - - - - - - - - - - - - - -

And you fall and you crawl and you break

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

And you're talking to me one on one but you've become

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Cause life's like this

#- - - - - - - - - - - - - - - - - - - - - - - - - -

43


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

Dressed up like you're somethin' else

#- - - - - - - - - - - - - - - - - - - - - - - - - -

I like you the way you are

#- - - - - - - - - - - - - - - - - - - - - - - - - -

I see the way you're acting like your somebody else gets me frustrated

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

Laugh out when you strike your pose

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Lay back it's all been done before

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Lay back, it's all been done before

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


44

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

no no

#- - - - - - - - - - - - - - - - - - - - - - - - - -

no no no

#- - - - - - - - - - - - - - - - - - - - - - - - - -

no no no

#- - - - - - - - - - - - - - - - - - - - - - - - - -

no no no

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

45

Take off all your preppy clothes

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Tell me

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Tell me

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Tell me

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Trying to be cool you look like a fool to me

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Uh huh, life's like this

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Uh huh, uh huh that's the way it is

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Uh huh, uh huh, that's the way it is

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Watching your back, like you can't relax

#- - - - - - - - - - - - - - - - - - - - - - - - - -

When we're drivin' in your car

#- - - - - - - - - - - - - - - - - - - - - - - - - -

When you've become

#- - - - - - - - - - - - - - - - - - - - - - - - - -

Where you are and where it's at you see

#- - - - - - - - - - - - - - - - - - - - - - - - - -


46

#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -


#- - - - - - - - - - - - - - - - - - - - - - - - - -

You come over unannounced

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You fall and you crawl and you break

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You know you're not fooling anyone

#- - - - - - - - - - - - - - - - - - - - - - - - - -

you will see

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You will see

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You're making me

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You're tryin' to be cool you look like a fool to me

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You're trying to be cool, you look like a fool to me

#- - - - - - - - - - - - - - - - - - - - - - - - - -

You're watching your back like you can't relax

#- - - - - - - - - - - - - - - - - - - - - - - - - -

47

You're watching your back, like you can't relax

#- - - - - - - - - - - - - - - - - - - - - - - - - -

• Relaxation- música como fundo musical, quando os alunos estão entrando na sala, no intervalo, durante as atividades;

• Palavras cruzadas- Selecionar palavras que os alunos conhecem ou foram trabalhadas previamente. Escrever definições das palavras em inglês. Os alunos têm que completar os espaços em branco com as palavras.

Angels Robbie Williams

I sit and wait

Does an angel contemplate my _________ ( destiny )

And do they know

The places _________ we go

When we're ________ ( an adj.) and _________ ( = young )

'Cause I've _______ ( past participle: be) told

That salvation lets their wings ___________ ( = fold )

So when I'm _________ ( put your body in a resting position) in my bed

___________ ( ideas produced by thinking ) running through my head

And I feel that love is __________ ( not alive )

I'm loving angels instead.

Chorus

And through it all she _________ ( proposes) me protection

A lot of ________ ( = hate ) and __________ ( kindness )

Whether I'm _________ ( write / right ) or __________ ( not correct )

And down the waterfall

____________ it may take me

I know that life _________ (want / won't) break me

When I come to call, she won't __________ ( abandon ) me

I'm loving angels instead.

When I'm feeling __________ ( = strong )

And my ________ ( suffering ) walks down a one way street

I _________ above

And I know I'll always _____ ___________ with love

48

And as the feeling _________ ( increases )

She breathes _______ (the skin of the human body) to my _________ ( hard parts that

form the skeleton)

And when love is _________ ( not alive )

I'm loving angels instead

Chorus

And through it all she _________ ( proposes) me protection

A lot of ________ ( = hate ) and __________ ( kindness )

Whether I'm _________ ( write / right ) or __________ ( not correct )

And down the waterfall

____________ it may take me

I know that life _________ (want / won't) break me

When I come to call she won't ___________ (abandon) me

I'm loving angels instead

Repeat chorus

• Tempo verbal- Colocar os verbos no infinitivo. Os alunos têm que conjugá-los:

MY LIFE IS BRILLIANT- JAMES BLUNT

My life is brilliant. My love is pure. I __________ an angel ( to see) Of that I'm sure. She ___________ at me on the subway ( to smile) She __________ with another man. ( to be) But I won't lose no sleep on that, 'Cause I've got a plan.

You're beautiful. You're beautiful. You're beautiful, it's true. I ________ your face in a crowded place, ( to see) And I don't know what to do, 'Cause I'll never be with you.

Yeah, she __________ my eye ( to catch) As we ___________ on by. ( to walk) She ________ see from my face that I _______, ( to can) ( to be) F* high,

49

And I don't think that I'll see her again, But we __________ a moment that will last till the end. ( to share)

You're beautiful. You're beautiful. You're beautiful, it's true. I __________ your face in a crowded place, ( to see) And I don't know what to do, 'Cause I'll never be with you. You're beautiful. You're beautiful. You're beautiful, it's true. There must be an angel with a smile on her face, When she __________ up that I should be with you. ( to think) But it's time to face the truth, I will never be with you.

• Karaokê-

- Dividir a turma em grupos de 4 ou 5 alunos;

- Dar a cada grupo uma música fácil de cantar;

- Dar a aula inteira para trabalharem nela e tirarem dúvidas;

- Na aula seguinte os alunos terão que cantar, acompanhados do aparelho de Karaokê.

• Imagination- Ouvir a música com os olhos fechados. Expressar o que imaginaram ou sentiram durante a apresentação da música;

• Ordenação da letra- Reescrever as frases numa ordem diferente, seguida de parênteses. Os alunos terão que numerar de acordo com a ordem na qual as frases são cantadas;

EVERY BREATH YOU TAKE- THE POLICE

Every move you make ( ) Every breath you take ( 1 ) Every step you take ( ) Every bond you break ( ) I'll be watching you Every night you stay ( ) Every single day ( ) Every game you play ( ) Every word you say ( ) I'll be watching you You belong to me ( )

50

Oh can't you see ( ) How my poor heart aches with every step you take ( ) Every smile you fake ( ) Every vow you break ( ) Every claim you stake ( ) Every move you make ( ) I'll be watching you I look around but it's you I can't replace ( ) I dream at night I can only see your face ( ) I keep crying baby please ( ) Since you've gone I've been lost without a trace ( ) Every claim you stake ( ) Every vow you break ( ) Every move you make ( ) Every smile you fake ( ) I'll be watching you

• Tradução- Escrever a letra da música em inglês, seguida de parênteses. Traduzir os versos fora de ordem e pedir para relacionarem;

• Apresentação de vocabulário- Cada grupo de alunos pesquisará e explicará para a classe algumas palavras da letra da música, sublinhadas pelo professor e entregue anteriormente.

51

REFERÊNCIAS BIBLIOGRAFICAS

BREWER, C. Music and learning: Seven ways to use music in the classroom.

Tequesta, FL: LifeSounds, 1995.

CAMPBELL, D. G. The Mozart effect. New York: Avon Press, 1997.

________. 100 ways to improve teaching using your voice and music: Pathways to

accelerate learning. Tucson, AZ: Zaphyr Press, 1992.

CULLEN, B. e SATO, K. Practical techniques for teaching culture in the EFL

classroom. Nagoia, Japão. The internet TESL journal. Vol. VI nº12, dezembro de 2000.

FERREIRA, M. Como usar a música na sala de aula. São Paulo: Contexto, 2001.

KRASHEN, S. D. Principles and practice in second language aquisition. Prentice-

hall International, 1987.

LEFFA, V. Aspectos políticos da formação do professor de línguas estrangeiras. In:

LEFFA, V. (ed.), O professor de línguas estrangeiras: construindo a profissão.

Pelotas: EDUCAT, 2006. P. 353 - 376.

LIMA, L. R. O uso de canções no ensino de Inglês como língua estrangeira; a

questão cultural. 1 ed. Salvador: EDUFBa, 2004, v. 1, p 173 - 192.

MEDINA, C. A. Música popular e comunicação: um ensaio sociológico. Petrópolis:

Vozes, 1973.

___________. The effect of Music on second language vocabulary aquisition. ESL

trrough music. California, U.S., 2003. p. 1-7.

MURPHEY, T. Music & song. Oxford University Press, 1994.

PARANÁ, Diretrizes Curriculares do Estado do Paraná: Língua estrangeira Moderna.

Secretaria de Estado da Educação do Paraná. Educação Básica- Curitiba: SEED, 2006.

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PFÜTZENREUTER, P. A. Experiências musicais. Revista do Professor. Porto Alegre,

v. 15, n. 59, jul/set 1999.

VYGOTSKI, L. S. Pensamento e linguagem. São Paulo. Martins Fontes, 2ª ed.,1998.

WWW.youtube.com.br

WWW.lyricsdownload.com

WWW.metrolyrics.com

WWW. Megaquality.com

Msu.edu/course/iah/211

http://en.wikipedia.org

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