módulo do curso língua inglesa com arte e cultura

8/10/2019 Mdulo do Curso Lngua Inglesa Com Arte e Cultura

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ndice


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Apresentao.....................................................................................................05

Programa 1- Gramtica elementar1.1- Introduo lngua inglesa (surgimento, desenvolvimento e expresses

corriqueiras)..............................................................................................0

1.2- !l"a#eto (pronuncia e artigos)..................................................................0

1.3- $umerais (cardinais e ordinais)................................................................0%

1.4- !rtistic and cultural "ocus& 'etra de msica (!ll togeter no*& +e eatles)

-------------------------.0

1.5- "ocus& +exto literrio e iogra"ia ( -and /ou dare to call me coloured& alcom1)---------------------------.

1.6- 2escrio "sica e psicol3gica..................................................................4

1.7- ostos e necessidades..............................................................................6

1.- 7eviso geral............................................................................................8

Programa 2- !er"o #o $e

2.1- 9er#o +o e (import:ncia e utili;ao)................................................%

2.2- 9er#o +o e (presente simples)...........................................................%

2.3- 9er#o +o e (passado simples)............................................................40

2.4- 9er#o +o e ("uturo)............................................................................44

2.5- !rtistic and cultural "ocus &'etra de msica (ill/ son)

----------------------..-..48

2.6- ?ultural "ocus & +exto e #iogra"ia ( @teven i>o).................................4

2.7- !rtistic "ocus &+reco de "ilme (am#loo;ed& @pi>e 'ee)----...4%

2.- 7eviso geral.........................................................................................4A

Programa 3- Pronomes

3.1- Bronomes pessoais...................................................................................64

3.2& Bronomes e ad


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3.5- !rtistic and cultural "ocus &'etra de msica (7emdemption song& o#

arle/...................................................................................................68

3.6- Cxerccio conis)...............................................................................................8

4.- 7eviso geral..........................................................................................8%

Programa 5- Ad%eti&os e s'"stanti&os

5.& Blural dos su#stantivos (regras)---------------.50

5.4& asculinoJ"eminino--------------------5

5.6& !d


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.6& 9er#o +o Kave (!"irmativa, negativa e interrogativa do passado e do

presente).........................................................................................8

.8& 9er#o modal ?an (!"irmativa, negativa e interrogativa do passado e do

presente).........................................................................................

.5& 9er#os modais (!"irmativa, negativa e interrogativa do passado e do

presente).........................................................................................%

.& !rtistic and cultural "ocus 'etra de msica ( +e seri""& Cmerson, 'a>e and

Balmer)---------------------..-.L

.%& ?ultural "ocus& texto ( rie" istor/ a#out candom#lD)---.-%

.A& 7eviso geral..................................................................................%

Programa 7- !er"os reg'lares e irreg'lares

7.1- 9er#os regulares (presente e passado)..............................................A0

7.2- 9er#os irregulares (presente e passado)............................................A0

7.3- Guturo regulares e irregulares............................................................A4

7.4- +empo per"eito (presente).................................................................A6

7.5- +empo per"eito (passado e "uturo)....................................................A8

7.6- !rtistic "ocus 'etra de msica (istreated& 2eep Burple)-........-A5

7.7- ?ultural "ocus +reco de livro e #iogra"ia (LA8& eorge

Mr*ell)................................................................................................A%

7.- 7eviso geral......................................................................................AA

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2e acordo com dados recentes do IC re"erentes ao ano de 4008, cerca de 60Nda populao economicamente ativa est desempregada em @alvador. Cntretanto esta

porcentagem D muito maior se considerarmos tam#Dm como no empregados aqueles

que esto su#empregados, os que vivem na in"ormalidade e os autOnomos. ! populao

negra e po#re D a que mais so"re com a "alta de vagas e postos de tra#alo. uito disso

deve&se a m qualidade do ensino p#lico que no ga#arita ninguDm a pleitear

seguramente uma vaga no mercado de tra#alo, ainda mais tendo esses que competir

com integrantes de extratos sociais mais a#astados, que possuem a condio de investirpesadamente em educao. Ms empregos su#alternos e aqueles que no requerem maior

quali"icao so os que aca#am so#rando para o povo negro e po#re, e mesmo estes

aca#am por ser disputados como se "ossem oportunidades nicas na vida dos

concorrentesP atD para tra#alos menos dese


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sua quali"icao, mas tam#Dm para a trans"ormao da sociedade num am#iente mais

tolerante e plural.

arcelo $ascimento R ?oordenador do 'I!?

Programa 1- Gramtica elementar

1.1- ,ntrod'o l*ng'a inglesa e e(press/es corri0'eiras! lngua inglesa surgiu em meados do comeo do primeiro sDculo da era crist, sendode origem anglo&saxOnica. Inicialmente "alada nas regies que o /ouJ +an>sJ +an> /ou ver/ mucJ WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWBleaseJ sorr/J not at allWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW@ee /ou laterJ @ee /ou soonWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW

(erc*cio 1-Preenca as lac'nas respondendo as perg'ntas

WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW. WWWWWWWWWWWWWWWWWWWWWWWWWWWWWW

(Vat is /our nameF) (Ko* old are /ouF)

WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW.WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW (Vere are /ou "romF) (Vere do /ou liveF)

1.2- Ala"eto e artigos

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!a # ?c 2d Ce G" g K Ii

=< X> 'l m $n Mo Bp Eq7r @s +t Su 9v V* 1x Y/;(erc*cio 2- scre&a e soletre o se' nome

/ name isWWWWWWWWWWWWWWWWWWWWWWWW

$a lngua inglesa existem apenas trQs artigosP +e (artigo de"inido) e aJan (artigoinde"inido). $o caso do artigo de"inido, ele ter a mesma "orma para qualquersu#stantivo masculino, "eminino, singular e plural.

Cx. +e girls are ere +e girl is mine

+e #o/ is sic> +e #o/s are "ree

M artigo inde"inido D utili;ado somente no singular, sem alterao quanto ao sexo,

porDm a variao que ocorre no mesmo D relativa ao su#stantivo que D indicado peloartigo. !queles que se iniciam com som de consoantesero precedidos pelo artigo a ,enquanto que os que se iniciam com som de &ogal,sero precedidos pelo artigo an.

Cx. @e is a good girl /ou are an old "riend

(erc*cio 3- Preenca os campos com o artigo correto

a) I aveWWWautomo#ile. #) Yesterda/ *asWWWot da/.c) @e *as ereWWWour ago. d) Ve stud/ in WWW universit/.e) You needWWWWelp. ") I am readingWWW#oo>.

1.3- 'merais-Ms numerais so classi"icados de duas "ormasP cardinais e ordinais

meros cardinais e ordinais +at 2

1- MneJ Girst2- +*oJ second3- +reeJ +ird

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4- GourJ Gourt5- GiveJ Gi"t6- @ixJ @ixt7- @evenJ @event- CigtJ Cigt

8- $ineJ $inet1- +enJ +ent11- ClevenJ elevent12- +*elveJ t*elvet13- +irteenJ +irteent14- GourteenJ Gourteent15- Gi"teenJ "i"teent16- @ixteenJ sixteent17- @eventeenJ seventeent1- CigteenJ Cigteent18-$ineteenJ nineteent

2- +*ent/J t*entiet

!s de;enas inteiras seguintes seroP

3- +irt/J tirtiet4- Gort/J "ortiet5- Gi"t/J "i"tiet6- @ixt/J sixtiet7- @event/J seventiet- Cigt/J eigtiet8& $inet/J ninetiet

Bara se "ormar uma de;ena cardinal "racionada #asta acrescentar, separado por umtrao, o nmero complementar mesma.Cx

33-tirt/&tree57-"i"t/&seven1& eigt&one25& t*ent/&"ive78& sevent/&nine

88& ninet/&nine$o caso das de;enas ordinais "racionadas elas so "ormadas pela de;ena cardinalacrescida do numero complementar na "orma ordinal.Cx

27t& t*ent/& sevent71st-sevent/& "irst32nd-tirt/&second63rd-sixt/&tird

55t

& "i"t/& "i"t47t-"ourt/&sevent

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?omo se deve ter notado, a nomenclatura dos nmeros ordinais D seguida das duasultimas letras, elevadas ao numero, que indicam a situao de ordenao numDrica. MstrQs primeiros nmeros, e suas "ormas tem "ormas especi"icas, porDm para todos os

outros acrescenta&se as letras t.

9'tros n'merais cardinais e ordinais

00& one undred400& t*o undred600& tree undred-.L00& nine undred000& one tousand4000& t*o tousand

L000& nine tousand5.000& "i"teen tousand600.000& tree undred tousand.000.000& one million

00t& one undredt400tR t*o undredt600tR tree undredtL00t& nine undredt000tRone tousandt4000t& t*o tousandtL000t& nine tousandt5000t& "i"teen tousandt600.000t&tree undred tousandt.000.000t& one milliont

(erc*cio 4- scre&a por e(tenso os seg'intes nmeros:

a) 85&

#) 6.68&

c) 5.%5.L50&

d) 6t&

e) %0t&

") .85Lt&

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1.4 ; Artistic oc's- All togeter no< +)ennon and =cartne>

+e eatles is te greatest pop #and in te *orld. It *as"ormed #/ =on 'ennon and eorge Karrison, guitar and vocals, Baul c?artne/, #assand vocals, and 7ingo @tar, 2rums. +e #andZs name is a mix o" te *ord #eat, #ecauseo" teir music and #eetle, #ecause o" teir air st/le. +e/ #egan to *or> in te end o"te "i"ties. +e/ made teir "irst record in L4, [Please, please me.In L8 te/ got teir "irst num#er one *orld it single [I wanna hold you hand.Gromtat time onBeatlemaniatoo> te *ole *orld.In L%, despite all te success te/ got pla/ing teir usual #asic roc>, te/ canged

deepl/ teir musical direction. +e record [Sergeant Peppers lonely heart club band*as te most am#itious 'B te/ made, until tat time. +e/ mixed 7oc>, aroquemusic, Bs/cedelic, Indian music and ever/ting come out "rom teir eads.@urprisingl/ tis *as one o" te most sold records "rom tem.!"ter it, te/ >ept teir musical "reedom, despite all te relationsip pro#lems inside te

#and, principall/ #et*een =on and Baul, te main song*riters "rom te #and, andeorge, te sporadic, #ut also good, song*riter.In LL te/ made teir last records ([Let it be, released in L%0 and [Abbey Road,released in tat /ear) and one /ear later Baul announcedP [+e dream is over\]. +eeatles *as split up.In 4000 te tree reminiscent "rom te #and (Baul, eorge *o died a #it later, and

7ingo) recorded a song #ased on a tape "rom =on 'ennon acoustic sessions. [Free as abird was te last song made #/ +e eatles.=on 'ennon died inLA, murdered #/ a [Gan] and eorge Karrison died in 400 #/cancer #ut +e "a# "our, o* te/ *ere called, *ill never die.

+is song is "rom te al#um !ellow Submarine. It is a cildis song #ut it is per"ectto te "irst contact *it Cnglis language.

All togeter no< +)ennon and =cartne>

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Mne, t*o, tree, "our ?an I ave a little moreF "ive, six, seven eigt nine ten I love /ou.

!, , ?, 2 ?an I #ring m/ "riend to teaF C, G, K I = I love /ou.

@ail te sip, ?op te tree, @>ip te rope, 'oo> at me

!ll togeter no*....

lac>, *ite, green, red ?an I ta>e m/ "riend to #edF

Bin>, #ro*n, /ello* orange #lue I love /ou !ll togeter no*....

@ail te sip, =ump te tree @>ip te rope, 'oo> at me !ll togeter no*....

1.5- ?escrio *sica e psicol@gica

Cxistem duas expresses interrogativas no inglQs que indicam a descrio "sica epsicol3gica de uma pessoaPVat (doJdoes) (su li>eF ( descrio "isica)Vat (to #e) (sueF (descrio psicol3gica)CxPVat do /ou loo> li>eFVat are /ou li>eF

Para descre&er a aparncia das pessoas podemos 'sar alg'ns desses ad%eti&os:

AparnciaP #eauti"ul, prett/, good&loo>ing, noting special, ugl/.

Alt'raP tall, average eigt, sort (no inglQs a medida utili;ada para altura se cama"eet. Bara sa#er a sua altura em pDs #asta multiplicar sua altura em metros por 6.6. ?asose queira "a;er o processo inverso, #asta multiplicar a altura em"eetpor 60 e acar ocorrelato em centmetros)

PesoP "at, tin, slim, atletic, s>inn/ (no inglQs a medida utili;ada se camaPound.Bara sa#er o seu peso em li#ras, #asta multiplicar o seu peso em quilos por 4.4 e caso sequeira "a;er o processo inverso, #asta multiplicar o peso em li#ras por 0.85 para acar oequivalente em >ilos)

stilo e cor de ca"elo +air:#londe, #runette, in trances, straigt, *av/, sort, long.

stilo e cor dos olos +e>es:small, #ig, round, almond&li>e, #lue, green, ligtJdar>#ro*n, #lac>.

9'tras cores& *ite, gre/, pin>, red, /ello*, orange.

Bara descrever a personalidade das pessoas podemos usar alguns desses ad


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(ercicio 5- Besponda as d'as 0'est/es:

Vat do /ou loo> li>eF

Vat are /ou li>eF

1.6- 'lt'ral oc's- Cand >o' dare to call me colo'redD +=alcom E

alcom 'ittle *as #orn in a/ Lt, L45 in Mmaa,$e#ras>a, sevent son o" Carl 'ittle and 'ouise 'ittle. Kis grandmoter, "rom moter#ranc, *as raped #/ a *ite man and #ecause o" it se *as #iracialP al"lac>, al"&*ite. Kis "ater, Carl 'ittle *as a arcus arve/Hs ( a #lac> !merican a"ricanist)[#ac> to !"rica movement] "ollo*er. Ke, since is earl/ /ears *as educated tat *ite

people is one ting and #lac> people anoter.Ven e got adult, a"ter ad ad "amil/ pro#lems #ecause o" is "ater deat and iscanging to live *it a *ite peopleHs "amil/, e #ecame a gangster. Ke dealt a#out

prostituition, drugs, games and "or#idden tings. Ke got a lot o" mone/ and po*er attat time #ut one da/ e *as caugt #/ police^ in L85 e *as arrested and sentenced upto ten /ears., at $or"ol> rea# prision.In te , te greatdi""erence #et*een *ite and #lac> people, and a#out Islamism, especiall/ a#out $ationo" Islam led #/ Cli people and de"ects o" *ite people. Ke *as contemporaneous"rom artin 'uter Xing #ut te di""erence #et*een tem *as tat tis one *asrecogni;ed as a paci"ist and non&racist #lac> movement leader *ile alcom *asconsidered te aggressive and racist leader. +is di""erence didn_t ma>e te/ #ecameenemies #ut eac one "ollo* is o*n *a/ to do, tin>ing it *as te #est.

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In tis meantime, a"ter e le"t te prison, e *as a disciplined "ollo*er o" Cli people^ e couldnHt uslims. $o#od/ >no*s i" te/ *ere reall/uslins or ?I! or GI disguised agents.

2uring is li"etime alcom 1 as trans"ormed imsel" into a deepl/ moral, spiritualperson and li"ted imsel" out o" drug addiction, sel" atred and povert/. Ke restored asense o" pride to millions o" #lac> people, inside and outside S@!. Ke can #econsidered one o" te greatest #lac> leaders in te *ole *orld.

=alcom (

And you dare to call me coloured...

`Ven IZm #orn IZm lac>, *en I gro* up IZm lac>, *en IZm in te cold IZm lac>,*en IZm in te sun IZm lac>, *en IZm sic> IZm lac>, *en I die IZm lac>. !nd/ou... Ven /ouZre #orn /ouZre Bin>, *en /ou gro* up /ouZre Vite, *en /ouZre inte cold /ouZre lue, *en /ouZre in te sun 7ed, *en /ouZre sic> /ouZre reen, *en/ou die /ouZre Burple. !nd /ou dare to call C coloured F....`.

1.7- Gostos e necessidades

!lguns ver#os podem auxiliar na "ormao de "rases que indiquem gosto, necessidadeou vontade.

+o li>e+o ave+o *ant+o need+o ate+o disli>e+o love

CxPI liFeto *atc +9 at nigtYou a&eto *or> tomorro*

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Ke eg) +o love

1.- Be&iso geral

a ,ntrod'cing to nglis lang'age and c'rrent e(pressions

Cnglis language appear in te #eginning o" te "irst centur/ a"ter ano domini, #eing"rom !nglo&@axon source.

$o*ada/s Cnglis is te language most spo>en around te *orld. Your expansion o*e

to to several reasons #ut te "act o" /our grammar #e elementar/ and uncomplicatedmade eas/ its spreading.

WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW (Vat is /our nameF) (Ko* old are /ouF)

Ha> te name o i&e co'ntries


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c) /ou areWWWW sical and ps>cological description

+ere is t*o interrogative expressions in Cnglis *ic indicate te B/sical and te

ps/cological descriptionPVat (doJdoes) (su li>eF (B/sical description)Vat (to #e) (sueF (ps/cological description)

Ans


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'lt'ral oc's- Cand >o' dare to call me colo'redD +=alcom EAns


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Programa 2- !er"o to "e

2.1- importOncia e 'tiliao

M ver#o +o #e tem uma import:ncia singular na lngua inglesa. !lDm da duplasigni"ic:ncia (ser e estar), ele tam#Dm auxilia na "ormao dos tempos contnuos( passado, presente e "uturo) e no "uturo geral dos ver#os ( partcula *ill)

exPI am sic> toda/ (estar)+e/ are intelligent (ser )@e is learning Cnglis ( presente continuo)+e/ *ere singing in te #and (passado continuo)You *ill #e drin>ing at nigt ( "uturo continuo)

Ke *ill pla/ soccer *it us ( "uturo do ver#o pla/)

$otaP

! dupla signi"ic:ncia do ver#o to #e pode causar con"uso na ora da traduo,principalmente quando associada a um pronome invarivel no gQnero.

CxP

You are #eauti"ul

Csta "rase tem oito tradues di"erentesP

9ocQ D #onita (indicando condioJ segunda pessoa singularJ ad


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?onvDm in"ormar que os ad


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te/ are not

egati&a contra*daI ain_t

You aren_tKe isn_t@e isn_tIt is isn_tVe aren_tYou aren_tte/ aren_t

$ota&se que a negativa D "ormada pela incluso da partcula not ap3s o ver#o to #e. !sua "orma contrada, com exceo da primeira pessoa do singular que tem uma "ormaespeci"ica, D "ormada pela


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c) e is *aiting te #us

d) it is a great idea

e) *e are campions again

") te/ are te "ireman

2.3- &er"o #o "e passado simples +simple past

o ver#o +o #e no passado simples (simple past) se apresenta, precedido dos pronomespessoais, assimP

Airmati&aI *asYou *ereKe *as@e *as

It *asVe *ereYou *erete/ *ere

nota&se que o ver#o +o #e no passado simples surge de duas "ormasP *as, utili;ado nossingulares, & com exceo do /ou & , e *ere , que D utili;ado para os plurais e da@egunda pessoa do singular.

CxPYou *ere m/ #est "riend

Ve *ere te #est group ereYou *ere so #eauti"ulIt *as a #ig pro#lem

egati&a

I *as notYou *ere notKe *as not@e *as notIt *as not

Ve *ere notYou *ere not

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te/ *ere not

egati&a contra*da

I *asn_t

You *eren_tKe *asn_t@e *asn_tIt *asn_tVe *eren_t/ou *eren_tte/ *eren_t

note que a mesma regra do ver#o +o #e na negativa para o presente D utili;ada para opassado.CxP

You *ere not m/ #est "riendVe *eren_t te #est group ereYou *ere not so #eauti"ulIt *asn_t a #ig pro#lem

,nterrogati&a

Vas IFVere /ouFVas eFVas seFVas itFVere *eFVere /ouFVere te/F

$ote que a mesma regra do ver#o to #e para o presente D aplicada para o passado.

CxP*ere /ou m/ #est "riendF*ere *e te #est group ereF

*ere /ou so #eauti"ulF*as it a #ig pro#lem F

(ercicio- 2- olo0'e as rases em todas ormas do &er"o #o "e no passadosimples.

a) I *as te #est student

#) /ou *ere te sunsine o" m/ li"e

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c) e *as *aiting te #us

d) it *as a great idea

e) *e *ere campions again

") te/ *ere te "ireman2.4 ; &er"o #o "e no 't'ro simples +simple 't're

o ver#o +o #e no "uturo se apresenta, precedido pelo pronome pessoal, assimAirmati&a

I *ill #e/ou *ill #ee *ill #ese *ill #eit *ill #e*e *ill #e/ou *ill #ete/ *ill #e

Airmati&a contra*da

I_ ll #eYou_ll #eKe_ll #e@e_ll #eIt_ll #eVe_ll #eYou_ll #e+e/_ll #e

$ote que o ver#o +o #e no "uturo D "ormado pela partcula *ill seguida do ver#o noin"initivo e a "orma contrada D "ormada pela


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I *ill not/ou *ill note *ill notse *ill notit *ill not

*e *ill not/ou *ill notte/ *ill not

egati&a contra*da

I *on_t/ou *on_te *on_tse *on_tit *on_t

*e *on_t/ou *on_tte/ *on_t

note que a negativa segue a regra das outras, enquanto que a negativa contrada tem a"orma espec"ica *on_t.

CxPYou *ill not #e m/ #est "riendVe *on_t #e te #est group ereYou *ill not #e so #eauti"ulIt *on_t #e a #ig pro#lem

,nterrogati&a

Vill I #eFVill /ou #eFVill e #eFVill se #eF

Vill it #eFVill *e #eFVill /ou #eFVill te/ #eF

$ote que para "ormar a interrogativa do "uturo simples #asta trocar o lugar do su


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Vill it #e a #ig pro#lemF

(ercicio- 3- olo0'e as rases em todas as ormas do &er"o #o "e no 't'rosimples

a) I *ill #e te #est student

#) /ou *ill #e te sunsine o" m/ li"e

c) e *ill #e *aiting te #us

2.5 ; Artistic oc's - $ill> Qean +=icael QacFson

ornP 4L&!ug&L5A , ar/, Indiana

!s part o" te =ac>son 5, a group made up o" is #roters,icael =ac>son *as among te most popular singing stars o" te Z%0s. Mn is o*n, e*as te #iggest pop star o" te ZA0s. =ac>son *as al*a/s te visual and vocal "ocus o"te =ac>son 5, *o #ro>e troug to national success on te oto*n la#el in L%0,*en e *as , *it te "irst o" "our straigt its, Ì Vant You ac>.` =ac>son *asalso promoted as a solo artist, and e scored is "irst it, òt to e +ere,` in L%"rom te single *it te same name. @u#sequent its included is rema>e o" `7oc>inZ7o#in` and èn` in L%4.icael =ac>sonZs and te =ac>son 5Zs "ortunes declined some*at a"ter te earl/ Z%0s,so oto*n la#el "inis teir contract and te group moved to Cpic at mid&decade, *iticael temporaril/ a#andoning is solo career and su#suming is group leadersip tooter mem#ers o" *at *as no* called te =ac>sons. +e group graduall/ #uilt #ac> its

popularit/ #/ *riting its o*n material. =ac>son returned to solo *or> in L%L *it M""te Vall, a mature com#ination o" driving dance songs (`2onZt @top Ztil You etCnoug`) and "eelingl/ sung #allads (`@eZs Mut o" / 'i"e`) tat outsold an/ previousgroup or solo e""ort, and spa*ned "our +op +en its.=ac>son again recorded and toured *it te =ac>sons, #ut is next al#um, +riller(LA4), #ecame a musical penomenon. It *as te #iggest&selling al#um o" all time,moving 40 million copies in te S.@. alone and including seven +op +en its. ?learl/=ac>son ad gro*n #e/ond is #roters, #ut e sta/ed *it tem "or one more al#um

and tour in LA8.

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Kis "ollo*&up al#um, ad (LA%), accompanied #/ a solo *orld tour, sold six millioncopies domesticall/. Mnl/ six o" its seven singles it te +op +en, #ut "ive in a ro* it.In late LL, =ac>son returned *it 2angerous, *ic, #/ mid&LL4, ad sold "ourmillion copies and spa*ned te its `lac> and Vite,` `7emem#er te +ime,` `In te

?loset,` and `=am.` =ac>sonZs second *orld tour, launced in Curope in =une LL4,continued into LL6.!ltoug numerous rumors ad circled around =ac>son trougout is career, isreputation remained clean. It *asnZt until LL6 tat e su""ered serious damage to isimage. =ac>son *as accused o" cild a#use #/ a teenage "riend, spar>ing a mason #egan *or>ing on KI@tor/ soon a"ter tesettlement. KI@tor/ contained one disc o" =ac>sonZs greatest its and one disc o" ne*material. It *as released on =une 40, LL5.

$ill> Qean +QacFson

@e *as more li>e a #eaut/ queen "rom a movie sceneI said donZt mind, #ut *at do /ou mean I am te oneVo *ill dance on te "loor in te round@e said I am te one *o *ill dance on te "loor in te round

@e told me er name *as illie =ean, as se caused a scene+en ever/ ead turned *it e/es tat dreamed o" #eing te oneVo *ill dance on te "loor in te round

Beople al*a/s told me #e care"ul o" *at /ou do!nd donZt go around #rea>ing /oung girlsZ earts

!nd moter al*a/s told me #e care"ul o" *o /ou love!nd #e care"ul o" *at /ou do Zcause te lie #ecomes te trut

illie =ean is not m/ lover@eZs id is not m/ son@e sa/s I am te one, #ut te >id is not m/ son

Gor "ort/ da/s and "ort/ nigts+e la* *as on er sideut *o can stand *en seZs in demandKer scemes and plansZ?ause *e danced on te "loor in te round@o ta>e m/ strong advice, t*ice(2o tin> t*ice)

@e told m/ #a#/ tat_s a treat!s se loo>ed at me+en so*ed a poto o" a #a#/ cries

C/es *ould li>e mineo on dance on te "loor in te round, #a#/

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Beople al*a/s told me #e care"ul o" *at /ou do!nd donZt go around #rea>ing /oung girlsZ earts@e came and stood rigt #/ me+en te smell o" s*eet per"ume

+is appened muc too soon@e called me to er room

illie =ean is not m/ lover@eZs id is not m/ sonillie =ean is not m/ lover@eZs id is not m/ son

She says I am the one, but the kid is not my son

2.6 ; 'lt'ral oc's- Hte&en $iFo $iograp>

@teven antu *as #orn at 2ecem#er, A, L8 in Xing Villian_seastern cape to*n, @out !"rica. @ince *en e *as quite /oung e *as involved instudents movement and anti&esta#lisment actions. Ven e got older e *ent touniversit/ o" $atal medical scool. +ere e #ecame involved *it te $ational Sniono" @out !"rica ($S@!@) #ut tis group *as led #/ *ite li#erals and #ecause o" it edecided to create te @out !"rican @tudents Mrgani;ation (@!M), *ic provided legalaid and medical clinics, and elping to develop cottage industries "or #lac>communities.

In L%4 e *as one o" te "ounder mem#ers o" lac> Beoples convention (B?)*or>ing in social pro leaders and places o" teir reunions.In @eptem#er, 4 , L%% e couldn_t resist to te *ounds and died. +e o""icial racist

press said tat e resistance.

#espite the in$uest "inding no person responsible "or his death, the %ommission "inds that, in &iew o"

the "act that Bi'o died in the custody o" law en"orcement o""icials, the probabilities are that he died as a

result o" in(uries sustained during his detention.`

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@out&!"rican ealt/ commission report, L%%

2.7 - 'lt'ral oc's- $am"looedKs HpiFe )ee dialog'e

@pi>e 'ee is one o" te greatest directors in S@!. ost o" teirmovies tal>s a#out #lac> people_s li"e. Ke is prett/ ironic in is dialogues, critici;ing te*a/ o" act "rom an/ strange caracter, *itout give importance to te color o" tis one.+e movie [am#loo;ed] is "ull o" iron/ and critics, as /ou can see in tis dialogue.

I$+. 2S$VI++YZ@ MGGI?C & M7$I$

Mne #/ one, te team enters te o""ice and sits do*n on teso"a.

2S$VI++Y

2elacroix, IZm glad /ou got /ourmind rigt.

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2C'!?7MI1ItZs rigt and tigt. ood morning,let me introduce /ou to ever/#od/.You >no* m/ assistant, @loan.

@'M!$Kello.

2C'!?7MI1+is is ?ee#a.

?KCC!$ice to meet /ou.

2C'!?7MI1!nd tis is anra/.

!$7!YKo* do /ou doF

2S$VI++Yood. I li>e te names. 9er/teatrical.

2C'!?7MI1VeZre all app/ to #e ere and IZmgoing to paint a picture "or /ou.

2S$VI++YIZm *id it.

2C'!?7MI1IZve done a lot o" soul searcingand once again /ou are rigt. Inm/ previous *or> itZs #een all

sur"ace, super"icial. I ave neverreall/ dug deep. $ot an/more. !sar> +*ain "ull/ understood satireis te *a/. 7ace as al*a/s #een aot #utton in tis countr/Zsistor/ and it needs to #e pusedarder. I" *e are ever to liveside #/ side in peace and armon/.ItZs a#out promoting racial ealing.

2S$VI++Y

o on. ood so "ar.

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2C'!?7MI1I >no* /ouZre "amiliar *it minstrelso*s. +e/ came a#out at te turno" te Lt centur/. It *as avariet/ so* in *ic te talent

*as in #lac>"ace & singing, dancing,telling es, doing s>its.2un*itt/, I as> /ou *en *as telast time tere *as a good variet/so* on te air. ?arol urnettF

KeeKa*F

2. ; Be&iso Geral

a importance and 'tiliation

9er# +o #e as a single importance in Cnglis language. esides its dou#le

meaning , it also elps in te "ormation o" continuous tense (past, present and "uture)

and in te ver#s general "uture (*ill).

" !er" #o "e in te simple present

P't te sentences in all te oter present orms.

a) ill/ id is not m/ son

c) @pi>e 'ee is one o" te greatest directors in S@!

d) VeZre all app/ to #e ere

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c !er" #o "e in te simple past

P't te sentences in oter past orms.

a) e *as te #iggest pop star o" te ZA0s

#) e *as involved in students movement

c) +e la* *as on er side

d) +e/ *ere too muc "amous

d !er" #o "e in te simple 't're

P't te sentences in all te oter 't're orms.

a) @e *ill dance on te "loor in te round

#) You *ill #e elp tem

c) +e/ *ill #e at te clu#

d) I *ill #e a singer

e Artistic oc's- $ill> %ean +=icael QacFson

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AnsD

" Iic Hte&en $iFo decided to create is o


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" Iat is ?elacroi(Ks idea a"o't promote racial ealingD

c Iic is is pro%ectD

d ?o >o' agree D

Programa 3 ; Pronomes

3.1- Pronomes pessoais +s'%eito e o"%eto

Ms pronomes pessoais do caso do su


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ItsMurYour+eir

Bronomes

ineYoursKisKersItsMursYours+eirs

Ms ad


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3.4 ; Pronomes demosntrati&os

$a lngua inglesa existem quatro pronomes demonstrativos

$o singularP +is e +at

$o pluralP +ese e +ose

+is e +ese indicam proximidade ou inseroPCxP

+is is m/ carI live in tis street+ese are teir sons@e *or>s among tese #uildings

+at e +ose indicam tanto a"astamento mDdio quanto longo.CxP

+at is te teacerVe drin> in tat #ar+ose are te =ac>sonsI love all tose persons.

(erc*cio 3 - olo0'e os pronomes demonstrati&os ade0'ados:

a) WWWWWis m/ ne* *atc. ( +isJ+ese)

#) I *or> inWWWWW place. (+atJ+ose)

c) WWWWis te #est "orWWWWW persons.(+oseJ +is) (+isJ+ose)

d) WWWWW #o/s are te rigt ones "orWWWWW e(ercise

Cste exerccio serve para "ixar a utili;ao dos pronomes de "orma prtica e ldica.$esse exerccio teremos um personagem (=on) que tem uma namorada (@ara). Cles,como todo e qualquer casal, tem uma vida ceia de so#ressaltosP eles terminam, voltam,do um tempo, se envolvem com outras pessoas (=im ,ar/, icael, @u;/) etc. ?a#era vocQ identi"icar a situao do casal utili;ando os pronomes corretos para indicar acena apresentada. Cnto, vamos l\

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'acuna& Bronome demonstrativoJ 4 'acuna& 9er#o to #eJ 6 'acuna& !d


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3.6- Artistic oc's- Bedemption song +$o" =arle>

I" =amaica no* is >no*n all over te *orld it dues principall/ tisto one artistP o# arle/.

+is song is te last recording "rom o# arle/. !s i" e *as sure a#out is deatcoming, te l/rics o" tis song are a#out "reedom and ope. 'oo> o* e uses [ in a*rong *a/] te personal pronouns. It migt ave #een #ecause o" =amaican Cnglis,*ic as its o*n *a/ to tal> and *rite or te autor *anted to represent a slave tal>inga#out is capture. It up to us to decide *ic one is more li>el/.

Bedemption song +$o" =arle>

Mld pirates /es te/ ro# I@old I to te mercant sips

inutes a"ter te/ too> IGrom te #ottomless pitut m/ and *as made strong/ te and o" te almigt/

Ve "or*ard in tis generation+riumpantl/!ll I ever ad, is songs o" "reedomVonZt /ou elp to sing, tese songs o" "reedom?ause all I ever ad, redemption songs

7edemption songs

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Cmancipate /ourselves "rom mental slaver/$one #ut ourselves can "ree our mindsKave no "ear "or atomic energ/?ause none o" tem can stop te timeKo* long sall te/ >ill our propets

Vile *e stand aside and loo>@ome sa/ itZs ill our propetsVile *e stand aside and loo>Yes some sa/ itZs


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3.7- 'lt'ral oc's- =oandas R. Gandi

oandas X. andi *as #orn in AL to Kindu parents in te stateo" uaned ceaselessl/ to improve te rigts o" Indian immigrants. It *as tere tat edeveloped is creed o" passive resistance against ining te lead in te long struggle "orindependence "rom ritain. Ke never *avered in is unsa>a#le #elie" in nonviolent

protest and religious tolerance. Ven uslim and Kindu compatriots committed acts o"violence, *eter against te ritis *o ruled India, or against eac oter, e "asteduntil te "igting ceased. Independence, *en it came in L8%, *as not a militar/victor/, #ut a triump o" uman *ill. +o andiZs despair, o*ever, te countr/ *as

partitioned into Kindu India and uslim Ba>istan. +e last t*o monts o" is li"e *erespent tr/ing to end te appalling violence *ic ensued, leading im to "ast to te #rin>o" deat, an act *ic "inall/ quelled te riots. In =anuar/ L8A, at te age o" %L, e *as>illed #/ an assassin as e *al>ed troug a cro*ed garden in $e* 2eli to ta>eevening pra/ers.

andi speec

`In m/ tour last /ear in /sore @tate, I met man/ poor villagers, and I "ound uponinquir/ tat te/ did not >no* *o ruled /sore. +e/ simpl/ said some od ruled it.I" te >no*ledge o" tese poor people *as so limited a#out teir ruler, I, *o amin"initel/ lesser in respect to od tan te/ to teir ruler need not #e surprised i" I do

38
http://vishnu.opti.net/India/Gujarat-map.htmlhttp://vishnu.opti.net/India/Gujarat-map.html


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not reali;e te presence o" od, te Xing o" Xings. $everteless I do "eel as te poorvillagers "elt a#out /sore, tat tere is orderliness in te universe.`

3.- Be&iso geral

a Personal prono'ns + s'"%ect and o"%ect

Bersonal pronouns in te su#no* "rom te previous topic, appearo"ten in te #eginning o" te sentences *ile in te o#

1- I> did $o" =arle> 'se te personal prono'nsD

2- Iat do te l>rics speaF a"o'tD

3- ,denti> te prono'ns in te l>rics.

g c'lt'ral oc's- =oandas R. Gandi

1- Io


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2- Iic ed speecD

Programa 4- #empo

4.1- Ad&r"ios de tempo

Ms advDr#ios de tempo so utili;ados para indicar um momento especi"ico da ao.2entre os mais usados estoP

Per*odos do dia-

2a/orning!"ternoon

Cvening$igt2a*n

$oonidnigt

9'tros-

+oda/

+omorro*Yesterda/Vee>ontYear?entur/illennium

$ext'astCxP

I ave #rea>"ast in te morning@e *or>s in te a"ternoon

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+oda/ *e ave "oot#allI *ill travel to 'ondon next /ear+e/ le"t te ouse last mont

4.2- ?ias das semanas e meses do ano

?ias da semanaonda/+uesda/Vednesda/+ursda/Grida/@aturda/@unda/

=eses do ano

=anuar/Ge#ruar/arc!prila/=une=ul/!ugust

@eptem#erMcto#er$ovem#er2ecem#erCxP

$ot even od *or>ed on @unda/.I meet /ou on Grida/.2ecem#er is te mont o" ?ristmas.You *ill graduate in =une.

4.3- ?atas especiicas e data/es

! datao dos dias dos meses segue uma ordem di"erente na lngua inglesa. !o invDs dese colocar o dia, coloca&se o mQs primeiro.

CxP

08J0J06 f !pril, te "irst, t*o tousand tree4J45J06f 2ecem#er, te t*ent/&"i"t, t*o tousand tree

! seguir algumas datas especi"icas e estaes do ano em inglQs.

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?ristmas&Caster&+an>sgiving&@ummer&@pring&

Vinter&Gall!utumn&

(erc*cio 1- scre&a por e(tenso as seg'intes datas

a) 0%J44J%%&

#) 4J%J5&

c) 0JJ58&

d) 0J05JLL&

4.4- S'e oras soD

! notao das oras em inglQs tem "ormas particulares e especi"icas. Bara as orasexatas utili;a&se o termo o_cloc>, para as oras "racionadas, atD a primeira metadeinvertem&se os minutos e as oras e utili;a&se a partcula past, quanto as da segundametade utili;am&se os minutos que "altam para completar a ora su#seqbente e a

partcula to. $o caso das oras re"erentes aos perodos do dia (tarde, noite), utili;am&sedois termosP !, para as oras compreendidas entre a meia&noite e o meio dia, e B,para as oras compreendidas entre o meio&dia e a meia&noite.

CxP

P00& six o_cloc>P0& ten past sixP5& "i"teen past sixJ a quarter past sixP60& al" past sixP85& "i"teen to sevenJ a quarter to seven

P50& ten to seven%P00& seven o_cloc>AP00 B f 40P000P00 !f 0P006P00 Bf %P00

(erc*cio 2- scre&a as oras por e(tenso.

a)%P85)6P% B&c)%P40&

d)44P60&e)P55 !&

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")5P4&

4.5- Artistical oc's- Trida> , am in lo&e +Bo"ert Hmit

+e cure *as "ormed in L% in @ussex, Cngland *it 7o#ertsmit(guitarJ vocals), and is scoolmates icael 2empse/ (#ass), 'ol +olurst(drums) and local guitar ero Borl +ompson.+eir second record +ree Imaginar/ o/sZ ave te "amous song o/s don_t cr/].+e ?ure *as ?lassi"ied as a otic 7oc>, a la#el used to indicate oter "amous #ands

o" tat time li>e auaus, @iouxie and te #ansees and =o/ division. +eir principal"eature *as te melancol/, te niilism and te sadness "ound in teir l/rics, teirdressing and even in teir *a/ o" li"e.+e song *e are using is "rom te al#um Vis_ released in LL4 *ic *as a success

#ecause o" tis song and ! letter to Clise_In LLL te #and complete te recording o" a ne* al#um Zlood"lo*ersZ. It is teir lastrecord released.+e #and ad a lot o" di""erent "ormations #ut te onl/ original mem#er and leader7o#ert @mit, *it te elp o" te ne* mem#ers, >eep on *or>ing to so* +e cure tote *orld.

Trida> ,Um ,n )o&e +Hmit

I donZt care i" onda/Zs #lue+uesda/Zs gre/ and Vednesda/ too+ursda/ I donZt care a#out /ouItZs Grida/ IZm in love

onda/ /ou can "all apart

+uesda/ Vednesda/ #rea> m/ eart+ursda/ doesnZt even start

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ItZs Grida/ IZm in love

@aturda/ *ait!nd @unda/ al*a/s comes too lateut Grida/ never esitate...

I donZt care i" onda/s #lac>+uesda/ Vednesda/ eart attac>+ursda/ never loo>ing #ac>ItZs Grida/ IZm in love

onda/ /ou can old /our ead+uesda/ Vednesda/ sta/ in #edMr +ursda/ *atc te *alls insteadItZs Grida/ IZm in love

@aturda/ *ait!nd @unda/ al*a/s comes too lateut Grida/ never esitate...

2ressed up to te e/esItZs a *onder"ul surprise+o see /our soes and /our spirits rise+ro*ing out /our "ro*n!nd as a srie>@pinning round and round!l*a/s ta>e a #ig #iteItZs suc a gorgeous sigt+o see /ou eat in te middle o" te nigtYou can never get enougCnoug o" tis stu""ItZs Grida/IZm in love

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4.6- Artistical oc's- $acF to te 't're

ac> to te "uture *as a great success *en *as released. It is a movie *ic dealsa#out time travel. It is a istor/ o" one gu/ *o, *it te elp o" a cra;/ scientist, got

#ac> to te past and end up creating a pro#lem tere tat a""ects all is present ("uture).+e movie ad t*o oter parts and is considered one o" te most innovative movies"rom te 40tcentur/.!7+YI tougt tat po*er converter ting operated on solar energ/. +ereZsno sun.

B7MGC@@M7 CC++ 7MV$@olar energ/ *ould ave *or>ed


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art/I


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At-+empo&Kora& at six o_cloc>2ata especi"ica sem o termo da/& at Caster!t nigt

'ugar&7ua com o numero& at 86 'uis de cames street'ocal espec"ico& at scool, at curc

Mutras preposies&

!#ove&Snder&elo*&In "ront o"&eind&/ side&et*een&!mong&

(erc*cio 3 - olo0'e a preposio correta-

a) / sister isWWWome.#) +e/ areWWW466 oceanica avenue.c) @irle/ is stud/ingWWW'ondon.

d) +e ne* scool isWWWW2


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@aturda/

=onts o te >ear

=anuar/

a/=une

$ovem#er2ecem#erc Hpeciic dates and . +o te "ractioned ours, up to te "irst al", invert te minutes andte ours and use te *ord past, and a#out te minutes "rom te second al" use teminutes tat lac> to complete te coming our and te *ord to. In te case o" te ours

#elonged to te periods o" te da/ ( morning, a"ternoon, evening and nigt), use t*o

termsP !m, to te ours #et*een midnigt and noon, and Bm, to te ours #et*eennoon and midnigt.

Cxercise&Vrite "or in "ull te ours&

a) %P50) 4P46&

c) 8PL B&d) 5P0%& !&e) %P5&

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Artistical oc's- Trida> , am in lo&e +Bo"ert Hmit

1- Iat do te l>rics talF a"o'tD

2- Trom o' "elie&e in time tra&elD I>D

g Prepositions +in on e at

+e prepositions in, on and at as te same meaning in BortugueseP *at *ill cange"rom one to oter is te utili;ation in te sentences, in relation to te time and place.Cxercise&

?omplete *it te rigt preposition&

a) Ker #irtda/ isWWWa/.#) Independence o" aia *asWWW=ul/.c) +ere *as a #ig artistic meetingWWWLWWWrasil.d) I *or> WWWte mallWWWte a"ternnon.

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Programa 5- H'"stanti&os e ad%eti&os

5.1- Pl'ral dos s'"stanti&os! regra geral do inglQs para os plurais dos su#stantivos D idQntica do portuguQsP acrescenta&

se @ ao "inal da palavra

+is is m/ carJ +ese are m/ cars

!ldous *rote a #oo>J !ldous *rote man/ #oo>s

Cm inglQs, porDm, existem algumas regras especi"icas para a "ormao dos plurais dos

su#stantivos^

$aqueles terminados em @, @@, @K, ?K, 1, e M acrescenta&se C@CxP

I ordered "ive "o(es

@e gave me man/ Fisses

@alvador as a lot o""eaces

naqueles terminados em Y e precedidos de consoante troca&se o Y por i, e acrescenta&se C@.

CxP

+is is te ladiesZ roomYou teac in te scool o" #a#ies

C ainda temos os plurais irregulares, que no se enquadram em nenuma regra prD&

determinada

CxP

anJ men

+ootJ teet

@eepJ seep

YouJ /ou

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KeJ te/

$otaP os su#stantivos terminados em Y precedidos de vogal seguem a regra geral

CxP /esterda/ I sa* man/ pla>sat te teater

$ota 4P o artigo inde"inido (aJan) no D utili;ado no plural

CxP I #ougt a carJ I #ougt cars

(erc*cio 1 - olo0'e todos os termos poss*&eis no pl'ral

a) I read te #oo>J

#) @e paints er airJ

c) You #ougt a ne* *rist*atcJ

d) +e *oman give me a >issJ

5.2- masc'lino e eminino

Cm inglQs no existe regra espec"ica para de"inir o masculino e o "eminino dos su#stantivos,

no caso das pessoas

anJ *oman

o/J girl

KeJ se

GaterJ moter

Kus#andJ *i"e

$o caso dos animais pode&se utili;ar o termo especi"ico ou nos casos em que no

discriminao entre "Qmea e maco no termo, utili;a&se o termosepara indicar o "eminino e

epara indicar o masculino do mesmo

MxJ co*

2ogJ #itc

KorseJ mare

+igerJ tigress

Ke& Vol"J se&*ol"

Ke&mon>e/J se&mon>e/

$o caso de pro"isses e ocupaes o termo no so"re variao, a no ser quando ele D

"ormado por alguma palavra que so"ra a variao de gQnero. ?aso se dese


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(ale) studentJ ("emale) student

BolicemanJ police*oman

@cool#o/J scoolgirl

(erc*cio 2- olo0'e as rases no eminino

!) e is er us#and

) is son is a "ireman

?) te dog #ite te #o/

2) /our "ater is a teacer

5.3 Ad%ecti&es +r'les and e(amples

caractersticas gerais

os ad


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"atJ tin

goodJ #ad

app/J sad

rigtJ le"t

slo*J "ast

tallJ sort

/oungJ old

(erc*cio 3- responda as 0'est/es

a) !re /ou tall or sortF

#) !re /ou /oung or oldF

c) !re /ou good or #adF

d) !re /ou "at or tinF

5.4- Ad%eti&os comparati&os e s'perlati&os

$a lngua inglesa os ad


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(!d


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#) @alvadorJ +o>/o

c) il#erto ilJ Gausto

d) isele bndcenJ @u;ana 9ieira

Taa rases s'perlati&as com os elementos

a) Vale

#) +e eatles

c) S.@.!

d) @oap opera

5.5- aso geniti&o

M caso genitivo D utili;ado para indicar a posse de determinado elemento

/ #roterZs ome

+e studentZs #oo>

$o caso possessivo as "rases aparecem da seguinte "orma

+e ome o" m/ #roter

+e #oo> o" te student

$o caso dos possuidores que "orem plurais e terminem em @, o apostro"o "icar ap3s a letra.

Your "riendsZ carsJ te cars o" /our "riends

7iversZ *aterJ te *ater o" te rivers

Bara tornar um caso possessivo em genitivo #asta seguir os seguintes passos

a) inverter as posies da posse e do possuidor

#) eliminar o artigo e a preposio o"

c) colocar apostro"o @ no possuidor

(erc*cio 5- colo0'e as rases 0'e esto no caso possessi&o no geniti&o e &ice e &ersa

a) +e sucess o" ?aetano 9eloso

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#) +e great >no*ledge o" te lost people

c) aria ?are/Zs ne* record

d) @alvadorZs ne* ma/or

e) +e ouse o" te cildrenZs pets

5.6- Artistic a oc's- )etra de msica + Ht'pid girl- Qagger and

Bicards

+e 7olling stones is one o" te greatest roc> #ands in te

*orld. +e/ #egan in te earl/ 0Zs and up to no* >eep on ma>ing records and concerts. In

te #eginning o" teir career, te/ *ere considered te eatlesZ opposite. Vile te "a# "our

*as clean, app/ and s/mpatetic, +e 7olling @tones *ere dirt/, serious and antipatetic.

!ctuall/, te mem#ers o" te t*o groups *ere "riends and usuall/ te/ made colla#orations

to eac oter. +e 7olling @tonesZ manager at tat time (!ndre* oldman) created te

sloganP ` *ould /ou let /our daugter merr/ a 7olling @toneF` to remar> tat li"est/le e

*anted to sell.

+e "irst and classical mar> o" te #and *as ic> =agger (9ocals), Xeit 7icards ( uitar),rian =ones ( guitar, citar, s/ntesi;er, etc), ill V/man ( ass) and ?arlie Vatts ( drums).

2espite o" rian =ones #e te #andZs leader, ic> and Xeit *ere te main song*riters and

*en rian died in LL, te/ got te leadersip too.

Kardl/ te/ smiled in teir recordsZ covers and at pu#lic apparitions. +e/ *ere not al*a/s

cran>/, #ut tis image elped to sell million records all around te *orld, a"ter all tereZs

some people *o li>e #ad #o/s and support te villain instead o" te ero. +e rolling @tones

*ere tese anti&eroes.

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+e 7olling @tones >eep on rolling a"ter 80 /ears o" 7oc>ZnZ7oll. +e #and no* is ic>

=agger, Xeit 7icards, ?arlie *atts and 7on Vood (guitar) *o replaced ic> +a/lor, tat

one *o replaced rian =ones #e"ore. ill V/man le"t te #and in LL.

@tupid irl is "rom te record !"termat released in L. Vile te oter roc> #ands ind o" girls. +e title explains itsel".

@tupid irl (. =aggerJX. 7icards)

IZm not tal>ing a#out te >ind o" clotes se *ears'oo> at tat stupid girlIZm not tal>ing a#out te *a/ se com#s er air

'oo> at tat stupid girl+e *a/ se po*ders er noseKer vanit/ so*s and it so*s@eZs te *orst ting in tis *orldVell, loo> at tat stupid girlIZm not tal>ing a#out te *a/ se digs "or gold'oo> at tat stupid girlVell, IZm tal>ing a#out te *a/ se gra#s and olds'oo> at tat stupid girl+e *a/ se tal>s a#out someone else+at se donZt even >no* ersel"

@eZs te sic>est ting in tis *orldVell, loo> at tat stupid girlVell, IZm sic> and tired!nd I reall/ ave m/ dou#tsIZve tried and triedut it never reall/ *or>s out'i>e a lad/ in *aiting to a virgin queen'oo> at tat stupid girl@e #itces Z#out tings tat seZs never seen'oo> at tat stupid girlIt doesnZt matter i" se d/es er air

Mr te color o" te soes se *ears@eZs te *orst ting in tis *orldVell, loo> at tat stupid girl@ut&up, sut&up, sut&up, sut&up, sut&up@ut&up, sut&up, sut&up, sut&up, sut&up@ut&up, sut&up, sut&up'i>e a lad/ in *aiting to a virgin queen'oo> at tat stupid girl@e #itces Z#out tings tat seZs never seen'oo> at tat stupid girl@e purrs li>e a puss/cat+en se turns Zround and isses #ac>

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@eZs te sic>est ting in tis *orld'oo> at tat stupid girl

5.7- 'lt'ral oc's + $ra&e ne<

+e Cnglis novelist and essa/ist Aldo's )eonard L'(le>, #. =ul/ 4,

AL8, d. $ov. 44, L6, a mem#er o" a distinguised scienti"ic and literar/ "amil/,

intended to stud/ medicine, #ut *as prevented #/ an e/e ailment tat almost #linded

im at te age o" . Ke ten turned to literature, pu#lising t*o volumes o" poetr/

*ile still a student at Mx"ord. Kis reputation *as "irml/ esta#lised #/ is "irst novel,

%rome !ellow(L4), a *itt/ satire on te intellectual pretensions o" is time.

Kuxle/Zs earl/ comic novels, *ic includeAntic )ay(L46), *hose Barren Lea&es

(L45), andPoint %ounter Point(L4A), demonstrate is a#ilit/ to dramati;e intellectual

de#ate in "iction^ e discussed pilosopical and social topics in a volume o" essa/s,Proper Studies(L4%). In #ot "iction and non"iction Kuxle/ #ecame increasingl/

critical o" Vestern civili;ation in te L60s.Bra&e +ew orld(L64), is most

cele#rated *or>, is a #itterl/ satiric account o" an inumane societ/ controlled #/

tecnolog/, in *ic art and religion ave #een a#olised and uman #eings reproduce

#/ arti"icial "ertili;ation. Kuxle/Zs distress at *at e regarded as te spiritual

#an>ruptc/ o" te modern *orld led im to*ard m/sticism and te use o" allucinator/

drugs. +e novel-yeless in a/a(L6) portra/s its central caracterZs conversion "romsel"is isolation to transcendental m/sticism^ and in *he #oors o" Perception(L58)

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and)ea&en and )ell(L5) e descri#es te use o" mescaline to induce visionar/ states

o" mind.

Kuxle/, *o moved to soutern ?ali"ornia in L8%, *as primaril/ a moral pilosoper

*o used "iction during is earl/ career as a veicle "or ideas^ in is later *riting, *ic

consists largel/ o" essa/s, e adopts an overtl/ didactic tone. 'i>e is contemporaries 2.

K. 'a*rence and eorge Mr*ell, Kuxle/ a#orred con"ormit/ and denounced te

ortodox attitudes o" is time. +e enormous range o" is intellect and te pungenc/ o"

is *riting ma>e im one o" te most signi"icant voices o" te earl/ 40t centur/.

$ra&e ne< e te inconveniences.`

`Ve donZt,` said te ?ontroller. `Ve pre"er to do tings com"orta#l/.`

ùt I donZt *ant com"ort. I *ant od, I *ant poetr/, I *ant real danger, I *ant"reedom, I *ant goodness. I *ant sin.`

Ìn "act,` said ustapa ond, `/ouZre claiming te rigt to #e unapp/.`

`!ll rigt ten,` said te @avage de"iantl/, ÌZm claiming te rigt to #e unapp/.`

`$ot to mention te rigt to gro* old and ugl/ and impotent^ te rigt to ave s/pillisand cancer^ te rigt to ave too little to eat^ te rigt to #e lous/^ te rigt to live inconstant appreension o" *at ma/ appen tomorro*^ te rigt to catc t/poid^ terigt to #e tortured #/ unspea>a#le pains o" ever/ >ind.` +ere *as a long silence.

Ì claim tem all,` said te @avage at last.

ustapa ond srugged is soulders. `YouZre *elcome,` e said.

5.- Be&iso Geral

a Pl'ral o te no'ns+r'les

+e general rule in Cnglis "or te nounZs plural is equal to te BortugueseP add @ to te end

o" te *ord.

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In Cnglis, moreover, tere are some speci"ic rules to te pluralZs "ormation o" te nouns.

Mn tose "inised in @, @@, @K, ?K, 1, e M !dd C@

Mn tose "inised in Y and preceded #/ consonant excange te Y "or I and add C@.

!nd still *e ave te irregular plurals, *ic donZt "it in none pre&determined rule

.ouns "inised in Y and preceded #/ vo*el "ollo* te general rule

" =ale J emale

In Cnglis tereZs no speci"ic rule to de"ine te nounsZ male and "emale in te case o" persons.

In te case o" animals *e can use te speci"ic term or in te cases *ic tere isnZt

discrimination #et*een male and "emale, *e use te *ord se to indicate te "emale and e

to indicate te male.

In te case o" pro"essions and occupations te term doesnZt ave an/ variation, unless *en it

is made #/ some *ord *ic as genre variation. I" *e *ant to identi"/ te genre, *e add te

*ords male and "emale.

c Ad%ecti&es- general eat'res

ad& ! same qualit/ sared #et*een t*o elements, #eing tat

one o" tose as less tan te oter.

omparati&e o s'periorit>& ! same qualit/ sared #et*een t*o elements, #eing tat one o"

tose as more tan te oter.

$oteP ad


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omparati&e o ineriorit>& ! same qualit/ sared #et*een t*o elements, #eing tat one o"

tose as less tan te oter.

H'perlati&es

H'perlati&e o s'periorit>- Ven a element as a qualit/ incompara#l/ superior

H'perlati&e o ineriorit>& Ven a element as a qualit/ incompara#l/ in"erior

$oteP some ad


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a Iat did e intent to st'd>D I> didnUt e st'd> itD

" Iat is is most cele"rated "ooFD I>D

c Iat does V#e doors o perceptionV and Vea&en and ellV descri"eD

d Iat is te main 0'estion on te dialog'e rom V$ra&e ne<


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You *ere running

Guturo contnuo

M "uturo contnuo D "ormado pelo ver#o to #e no "uturo mais o ver#o principal no gerndio

@e *ill #e stud/ing music

Ve *ill #e *aiting "or te doctor

I *ill #e tr/ing to do m/ #est

You *ill #e running

(erc*cio1- olo0'e as rases nos trs tempos cont*n'os

a) I pla/ "oot#all

#) +e/ need mone/

c) aria drives too "ast

d) You ma>e me a good ca>e

e) +is dog *ants "ood

6.2 !er"o #o ?o + Airmati&a negati&a e interrogati&a do passado e do

presente

M ver#o to do como auxiliar no tem traduo. Cle serve para a


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+e/ do not sing a good song

+e/ donZt sing a good song

$otaP no caso das terceiras pessoas do singular ao invDs de do not e donZt , utili;a&se does not

e doesnZt

Ke doesnZt sing a good song

,nterrogati&a do presente simples

! interrogativa do presente simples D "ormada pelo ver#o to do no presente invertendo

posio com o su


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c) You eat a lot

d) Ke olds te #ag

e) It sines as gold

6.3- !er"o #o La&e +Airmati&a negati&a e interrogati&a do passado e

do presenteM ver#o to ave D utili;ado como auxiliar na "ormao dos tempos per"eitosP presente

per"eito, passado per"eito e "uturo per"eito. Cm todos esses tempos o ver#o principal

aparecer no particpio passado.

Presente pereito

+empo ver#al que indica uma ao que aconteceu no passado, mas ainda continua ou uma

ao que ocorre com "reqbQncia.

!"irmativa D "ormada pelo ver#o auxiliar to ave no presente.

You ave studiedJ /ouZve studied

! negativa D "ormada pelo ver#o auxiliar to ave na "orma negativa ( ave not e avenZt)

You avenZt studied

! interrogativa D "ormada pelo ver#o auxiliar em posio invertida com o su


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! interrogativa D "ormada pelo ver#o auxiliar to ave no passado (ad) m posio invertida

com o su


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6.4- !er"o modal an +Airmati&a negati&a e interrogati&a do

passado e do presente

M ver#o modal can D utili;ado somente no presente para dar uma idDia de possi#ilidade,

capacidade e permisso,


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Ke *ould come tomorro*

@e *ouldnZt travel to S@

Vould /ou li>e a drin>F

Ho'ld& indica conselo, dever, necessidade e o#rigao no passado e "uturo do pretDrito

I >no* i sould stud/ more

You souldnZt scream to te >ids

@ould I sta/ or sould I goF

AnWmalos(con& indica poder e permisso

It ma/ rain toda/

I ma/ not *al> so "ast

a/ I sit ere, misterF

=igt& indica possi#ilidade remota

It migt rain toda/. Vo >no*sF

+e/ migt not li"t er up

igt /ou read tis letterF

='st& indica dever, ter quase certe;a de

Xlaus must #e german

@e mustnZt smo>e cigarretes

ust /ou pa/ /our taxesF

(erc*cio 5- #rad'a as rases

a) Cu poderia


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6.6- Artistic and c'lt'ral oc's )etra de msica + #e seri- merson

)aFe and Palmer

Cmerson, la>e and Balmer is one o" te main #ands "rom

a movement called progressive roc>. +ese #ands, *ic ad *or>ed during te late 0Zs and

got #ig success in te %0Zs, used to mix roc> music *it "ol> music, classical, =a;; and oter

st/les, and *ere te "irst to use te image as an important element "or teir music.

C'B *as "ormed #/ Xeit Cmerson (>e/#oards), reg 'a>e ( #ass and vocals) and ?arl

palmer (drums). 2i""erent "rom oter po*er trios, suc as =imi Kendrix experience, ?ream

and 7us, te/ didnZt use an electric guitar. +e guitar role *as made #/ te >e/#oards.

+e/ ad a lot o" success in te %0Zs and tried to get #ac> some times #ut te music scene

*asnZt so receptive to te music te/ made. !t least, te/ got on te istor/ o" music as one

o" te most innovative #ands ever.

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+e song `+e seri""` is "rom te record `+rilog/` released in L%4. !t tat time te/ *ere

alread/ considered as a great #and #ut it *as *it tis record tat te/ consolidate teir

names not #ut into te music istor/ as all.

+e seri"" (Cmerson & la>e)

Vic>ed =osie rode a*a/

In te sunset covered s>/

! l/ncing mo# ad strung is "riend up

7igt #e"ore is e/es

Ke didn_t >no* *at te/_d #ot done

Ke sure as ell *ould end up one

! ot tin notc on te seri""_s gun

I" e didn_t move on

et out o" ere

+e seri"" "ollo*ed =osie_s


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#eing more m/sterious, stronger, more po*er"ul tan its modern and *iteneddescendent, Sm#anda.

?andom#lD "ound social, economical and cultural conditions ver/ "avora#le to itsre#irt in a ne* territor/. In te ne* MrixasZ terreiros could #e "ound people "rom all

etnic and racial origin. +e/ #egan to get interested in ?andom#le and made tisreligion #ecome a part o" ra;ilian people "eatures.

Home 9ri(s

$ameP ar C Cx (#atuque), Cx (candom#lD)^

Vee> da/ (#ot)P monda/

?olorsP red, red and #lac> and #lac> (depending on te nation).2omainP *a/s, crossroads, gates, etc.!xD (emanated "orce)P, lin>ing #et*een material and spiritual communication,"ecundation, opening o" *a/s to te #usinesstools and s/m#olsP >e/, trident, erected penis.

o""eringsP (#ar) toasted corn, 0% small potatoes roasted *it s>in, pop corn and palmoil and Bad de ex (manioc "lour and palm oil).

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$ame& Mgum P

*ee> da/P +uesda/ (candom#lD) tursda/ (#atuque).

?olorsP dar> #lue (candom#lD), green or red and green (#atuque).

salutionPMgunQ. (candom#lD and #atuque).2omainP. ever/ lin>s esta#lised in di""erent places, railroads, *a/s, etc

!xD (emanated "orces)P lord o" te de"enses, o" te #attles, o" te iron, etc

tools and s/m#olsP. @*ord and tings made #/ iron.

o""eringsP roasted iname

$ame M/J /ans

@alutionP Cpa e/ o/a (candom#lD Jnao)^?olorsP #ro*n and red!xD(emanated "orces) protection against eguns.Vee> da/P +uesda/ (#atuque) Vednesda/ (candom#lD)^+ools and s/m#olsP, metal s*ord in copper, iruexim ^2omainP *inds, storms, egunsM""eringsP acara


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$ame& 1angO

salution >a*o&>a#iesile

?olorsP (candom#lD and #atuque) red and *ite or #ro*n

*ee> da/P +uesda/ (#atuque) Vednesda/ (candom#lD)

2omainP quarries, ra/s, tunder, "ire

tools and s/m#olsPP oxD, dou#le axe *it t*o lateral cuts, made and carved in *ood

!xD (emanated "orce)P da/P +ursda/ (candom#lD) Vednesda/ and Grida/ (#atuque)

+ools and s/m#olsP MGT (arro* and #o*)

?olorP turquoise #lue (candom#lD). @ea #lue (#atuque).

@alution candom#lDP. M>Q arO

@alution #atuqueP o>Q e#amo

2omainP "orests, *ere tere is pre/ .

!xD (emanated "orces)PP plent/ "ullness.

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$ame& Mxum

salutionP ora /e/ o\tools and s/m#olsP a#e#e, a "an in golden #rass IndD (#racelet)

2omainP ."res *aters, "ountains and *ater"alls?olorP /ello*, gold /ello**ee> da/P @aturda/!xD (emanated "orces "ecundit/, goddess o" ricness and love .o""eringsP omolocum (/ello* coo>ed can


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Mxal

$ameP oxaguian ($e*), oxalu"an (old)^

?olor oxalu"an *ite,, ivor/, pearl, lead.

?olor oxaguianP *ite and ligt #lue

salutionP Cpa #a#&epa j

2omainP^air, s>/ (orun), rives, mountains

Vee> da/P Grida/ (candom#lD) @unda/ (#atuque)^

+ools and s/m#ols oxalu"anP opaxorO, silver ca


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Bast continuous is made #/ ver# to #e in te past and te main ver# in te gerund

Guture continuous

Guture continuous is made #/ ver# to #e in te "uture and te main ver# in te gerund.

" !er" #o ?o + simple present and past Airmati&e negati&e and

interrogati&e

9er# to do as auxiliar/ doesnZt ave translation. It elps in te "ormation o" simple tensesZ

negative and interrogative o" te main ver#s.

Himple present airmati&e

In te a""irmative it can #e use or not, *itout pro#lem to te compreension, giving onl/ aremar>ing idea to te a""irmation done.

Himple present negati&e

+e simple presentZs negative "orms are made #/ te auxiliar/ in te negative "orm and te

main ver# in te in"initive, #ut also are used in te contracted "orm.

$oteP in te singular tird personsZ case *e use does and doesnZt instead o" do and donZt.

Himple present interrogati&e

+e simple present interrogative is made #/ ver# to do in te presenting excanging position*it te su#eeps on in"initive "orm.

Himple past airmati&e

@imple past a""irmative is made #/ te main ver# in its past "orm, *itout elp "rom auxiliar/

ver# to do.

Himple past negati&e

@imple past negative is made #/ te past o" te auxiliar/ ver# in negative "orm and #/ te

main ver# in te in"initive.

Himple past interrogati&e

@imple past interrogative is made #/ ver# to do in te past canging position *it te su#eeps on te in"initive.

$otaP o "uturo de qualquer ver#o D "ormado pela partcula *ill mais o ver#o no in"initivo. !

sua "orma negativa D *ill not ou *onZt. a interrogativa segue a regra anteriormente citada.

$oteP te "uture o" an/ ver# is made #/ te *ord *ill and te ver# in te in"initive. Its

negative "orm is *ill not (*onZt). Interrogative "orm "ollo*s te rule previousl/ cited.

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$oteP ver# to do can appear as auxiliar/ #ut also as te main ver#. Is tis case it *ill #e

translated as"a/er.

c !er" #o La&e + present and past perect Airmati&e negati&e and

interrogati&e9er# to ave is used as auxiliar/ in te per"ect tensesZ "ormationP present per"ect, past per"ect,

"uture per"ect. In all tose tenses te main ver# *ill appear in te past participle.

Present perect

+ense *ic indicates an action tat appened in te past, #ut >eeps on te present or an

action tat appen "requentl/.

!""irmative is made #/ auxiliar/ ver# to ave in te present.

$egative is made #/ auxiliar/ ver# to ave in te negative "orm.Interrogative is made #/ auxiliar/ ver# excanging position *it te su#


79/91

Interrogative o" simple present is made *it te inversion #et*een ver# to can and te

su# o andom"l

a Iat are te dierent names and places o aro-$railian religionsD

" Iat is Xm"andaD

c According to te te(t D

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e Ha> te eat'res o tree 9ri(s.

Programa 7- &er"os reg'lares e irreg'lares

7.1- presente simples dos &er"os reg'lares e irreg'lares

Ms ver#os na lngua inglesa podem ser divididos em regulares, irregulares e anOmalos,sendo que esses ltimos


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$otaP na terceira pessoa do singular acrescenta&se s ao "inal do ver#o como regra geral.$os ver#os terminados em s,ss, s,c,x,; e o acrescenta&se es. $os ver#os terminadosem / precedidos de consoante, troca&se essa letra por i e acrescenta&se es.

(erc*cio

?rie cinco "rases no presente simples

7.2- ininiti&o tempo passado e partic*pio passado dos &er"osreg'lares

os ver#os so identi"icados com o regulares ou irregulares de acordo com a "ormaodos seu tempo passado e do particpio passado. $o caso dos ver#os regulares os doistempos so "ormados pelo acrDscimo de ed no "inal do ver#o.

You *or>ed too muc+e eatles pla/ed great songs+e/ needed tis cair

$otaP ! negativa e a interrogativa dos ver#os regulares no passado so "ormadas com over#o auxiliar did e sua "orma negativa, didnZt(vide programa ). os ver#os terminadosem / precedidos de consoante tem a ltima letra trocada por i, acrescido de ed. Ms

ver#os regulares (monossla#os e dissla#os com ltima sla#a tOnica) "ormados porconsoante& vogal Rconsoante tQm a ltima letra do#rada, acrescido de ed. Ms ver#osregulares terminados em e, acrescenta&se apenas d.

e and m/ "riend studied a lot+e government tried to elp te victims+e rain *etted er t&sirt/ grann/ loved classical music

$a seqbQncia uma lista com alguns ver#os regulares

,niniti&o Passado Partic*pio passado+o li>e li>ed li>ed+o *ant *anted *anted+o need needed needed+o miss missed missed+o start started started+o greet greeted greeted+o travel traveled traveled+o stop stopped stopped+o "it "itted "itted

+o plan planned planned+o cr/ cried cried

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+o pla/ pla/ed pla/ed+o admit admited !dmited+o control controlled controlled+o pre"er pre"erred pre"erred+o permit permitted permitted

+o love loved loved+o ate ated ated+o tr/ tried tried

(erc*cio 1- olo0'e as rases nas trs ormas do passado simples

a) auricio travels to SX

#) Your sister and me elp poor people

c) ra;ilian people love arts and culture

d) =oanna ates soap&opera

e) +e +9 program starts ver/ earl/

7.3- ininiti&o tempo passado e partic*pio passado dos &er"osirreg'laresMs ver#os irregulares so aqueles que no seguem nenuma regra especi"ica e possuem,

na maioria dos casos, di"erenciaes entre o tempo passado e o particpio passado.Bitt/ sang a good songItZs a great song to #e sung/ *i"e gave me a lovel/ gi"t! lovel/ gi"t *as given #/ m/ *i"e to me

$otaP a negativa e a interrogativa D "eita da mesma "orma que os ver#os regulares (did edidnZt, com o ver#o principal no in"initivo)

Bitt/ didnZt sing a good song

2id m/ *i"e give me a lovel/ gi"t

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$a seqbQncia uma lista com alguns ver#os irregulares

In"initivo Bassado Barticipio passado+o #e VasJ *ere #een+o #egin #egan #egun

+o catc caugt caugt+o come came come+o cut cut cut+o drin> dran> drun> +o eat ate eaten+o "ind "ound "ound+o "l/ "le* "lo*n+o give gave given+o go *ent gone+o ave ad ad

+o it it it+o meet met met+o spend spent spent+o tell told told+o tin> tougt tougt+o understand understood understood+o *rite *rote *ritten

(erc*cio 2 -olo0'e as rases nas trs ormas do passado simples

a) @e is te #est in atematics

#) It sines li>e gold

c) +e students donZt understand *at te teacer said

d) 2o /ou ma>e te exerciseF

7.4- 't'ro simples dos &er"os reg'lares e irreg'lares

M "uturo simples dos ver#os regulares e irregulares D "ormado com a partcula *ill ou eo ver#o principal no in"initivo. ! negativa D "ormada pela partcula *onZt (*illhnot) e ainterrogativa D "eita com a inverso do su


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$otaP existe tam#Dm na lngua inglesa o "uturo imediato, que D "ormado pelo ver#o to#e no presente, o ver#o to go no gerndio e o ver#o principal no in"initivo. Csse tempover#al serve para indicar aes que acontecero num "uturo pr3ximo.

Bitt/ is going to ma>e a ne* record

/ >ids are going to give me a gi"t

(erc*cio 2- olo0'e as rases nas trs ormas do 't'ro simples

a) +e students donZt understand *at te teacer said

#) ra;ilian people love arts and culture

c) =oana ates soap&opera

d) It sines li>e gold

7.5- principais tempos &er"ais da l*ng'a inglesa.#empo &er"al airmati&a negati&a interrogati&aPresente simples @e loves /ou se doesnZt love /ou 2oes se love /ouF

Passado simples @e loved /ou @e didnZt love /ou 2id se love /ouF

T't'ro simples @e *ill love /ou @e *onZt love /ou Vill se love /ouF

Presente contin'o @e is loving /ou @e isnZt loving /ou Is se loving /ouF

Passado contin'o @e *as loving /ou @e *asnZt loving /ou Vas se loving /ouF

T't'ro contin'o @e *ill #e loving/ou @e *onZt #e loving /ou Vill se loving /ouFPresente pereito @e as loved /ou @e asnZt loved /ou Kas se loved /ouF

Passado pereito @e ad loved /ou @e adnZt loved /ou Kad se love /ouF

T't'ro pereito @e *ill ave loved/ou

@e *onZt ave loved/ou

Vill se ave loved/ouF

T't'ro imediato @e is going to love/ou

@e isnZt going to love/ou

Is se going to love/ouF

ondicional @e *ould love /ou @e *ouldnZt love /ou Vould se love /ouF

(erc*cio 4- olo0'e as rases nas trs ormas dos tempos &er"ais indicados.

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a) +e movie #egins too late ( @imple present, Bast continuous and "uture per"ect)

#) Ve *ant te *orld ( @imple past, "uture continuous and past per"ect)

7.6- artistic oc's- =istreated +deep p'rple

2eep purple is one o" te #est roc> #ands in te*orld. +e/ #ean teir career in LL *it te record named `@ades o" 2eep Burple`,*ic as some eatlesZ covers and teir "irst it `Kus`. In L%0 te singer 7od evansand te #ass pla/er $ic> @imper le"t te #and and t*o oter mem#ers more, >e/#oardist =on 'ord and drummer Ian Baice. Vit Ianillan and 7oger glover replacing respectivel/ 7od and $ic>, te/ start to #ecome"amous. @o, te group *or>ed in an am#itious pro` a classic roc> record, considered one o" teindispensa#le roc> records, "or tose *o li>e te st/le.

In L%4 te/ released `acine Kead` and te success, tat *as restrict to teir

omeland Cngland, #ecame *ider, getting oter places suc as S.@, =apan and sout!merica (including ra;il). ` @mo>e on te *ater` guitar ri"" is one o" te most

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important in te roc> istor/. +is song *as *ritten #ased on a "ire at Gran> appaZs ( a song*riter and guitar pla/er) studio. +e studio, "or *om *atced it "romsome distance, seemed li>e te sea *as on "ire. +is is */ it as tis title.

In L%8 illan and lover le"t te #and and *ere replaced #/ 2avid ?overdale andlen Kuges respectivel/, and te #and got elements "rom soul music, principall/

#ecause o" KugesZ presence, *o *as a grooving #assist and a souls singer (2avid *aste lead singer #ut len used to ma>e #ac>ground vocals, divide some vocals and evensing "e* songs alone).

In L%, a"ter 7itciesZ departure, *o *as replaced #/ !merican guitar pla/er+omm/ olin, te/ recorded `?ome taste te #and` and split up. olin died in te"ollo*ing /ear #/ a eart attac>.In LA5 te second mar> (lac>more, illan, lover, 'ord and Baice) returned *it ane* release ` $o#od/Zs per"ect` and >ept togeter up to LAL *en illan le"t again to

#e replaced #/ =oe '/n tuner. +*o /ears later illan got #ac> #ut in LL 7itcie le"tte #and and te ver/ >no*n guitar ero @teve orse (*o pla/ed in Xansas and @teveorse #and) e a ne* record *en =on 'ord decided toleave te #and. +o is place *as called 2on !/re, *o ad pla/ed *it 7itcie and7oger at 7ain#o*.

Mne /ear later te/ released `ananas` and #egan teir *orld tour in ra;il, as a>ind o" ac>no*ledgment to ra;ilian "ans , *o ever *ere "ait"ul to te #and.

@ome people sa/, no*, te/ are old, tired and ave to stop #ut tose *o sa/ tisave to listen to teir ne* al#um. +e/ *ill see, actuall/ ear, tat 2eep Burple is li>e*ineP te older te #etter\+e song ` istreated` is "rom te al#um `urn` released in L%8. It is a classic ard

#lues, so te musical "eatures as te l/rics teme. It is a#out a man *o lost is girl andcomplains a#out it. @ince 7o#ert =onson (!merican acoustic guitar pla/er "rom te60Zs) te #lues uses t*elve compasses and cries a#out emotional pro#lems te same*a/ as tis song composed #/ 7itce lac>more (song) and 2avid ?overdale (l/rics)

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=istreated +$lacFmoreJo&erdale

IZve #een mistreated, IZve #een a#used.

IZve #een struc> do*nearted, #a#/, IZve #een con"usedZcause I >no*, /es, I >no* IZve #een mistreated.

@ince m/ #a#/ le"t me IZve #een losing m/ mind, /ou >no* I ave.

IZve #een lonel/, IZve #een cold.

IZve #een loo>ing "or a *oman to ave and old

Zcause I >no*, /es, I >no* IZve #een mistreated.

@ince m/ #a#/ le"t me IZve #een losing, IZve #een losing,

IZve #een losing m/ mind, #a#/ #a#/ #a#e.

IZve #een mistreated, IZve #een a#used.

IZve #een loo>ing "or a *oman, /e, IZve #een con"used

Zcause I >no*, /es, I >no* IZve #een mistreated, oo o&o&o.

@ince m/ #a#/ le"t me IZve #een losing, losing,

IZve #een losing m/ mind, #a#/ #a#/ #a#e.

M o o, o *oman, o *oman, o *oman.

IZve #een losing m/ mind.

7.7- c'lt'ral oc's- George 9r


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I" /ou *ant a picture o" te "uture, imagine a #oot stamping on a uman "ace&&"or ever.`

&&"rom+ineteen -ighty0Four

+e ritis autor George 9ring totalitarianism. Gamiliarit/ *itte novels, documentaries, essa/s, and criticism e *rote during te L60s and later assince esta#lised im as one o" te most important and in"luential voices o" te centur/.

Mr*ellZs parents *ere mem#ers o" te Indian ?ivil @ervice, and, a"ter an education atCton ?ollege in Cngland, Mr*ell ,

#own and 1ut in Paris and London(L66), *as a non"ictional account&&moving andcomic at te same time&&o" several /ears o" sel"&imposed povert/ e ad experienceda"ter leaving urma. Ke pu#lised tree oter novels in te L60sPA %lergyman2s

#aughter(L65),3eep the Aspidistra Flying(L6), and %oming 4p "or Air(L6L).Kis mas o" te period *ere t*o documentariesP *he Road to igan Pier(L6%), a detailed, s/mpatetic, and /et o# *it te #estever *ritten. `Bolitics and te Cnglis 'anguage` (L50), *ic lin>s autoritarianism*it linguistic deca/, as #een *idel/ in"luential. +e "our&volume %ollected -ssays,

6ournalism, and Letters o" eorge 1rwell*as pu#lisedin LA

7.- Be&iso Geral

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a reg'lar and irreg'lar &er"s + simple present.9er#s in Cnglis language can #e sared in regular, irregular and anomalous, and telast ones *ere alread/ so*n in te previous program. 7egular ver#s are tose *ic

"ollo*s a rule in te past tenseZs and past participleZs tenses. Irregular ver#s are tose*ic donZt "ollo* an/ speci"ic rule in te past tenseZs and past participleZs "ormations.7egular and irregular ver#sZ simple present is made #/ te ver# in its in"initive "orm,*itout te *ord to.

$egative and interrogative "orms are made *it te elp o" auxiliar/ ver# do ( donZt,does, doesnZt)

$oteP in te singular tird person add @ at te end o" te ver# as a general rule. In tever#s "inised in s,ss,s,c,x,; e o add es. In te ver#s "inised / and preceded #/consonant, excange / "or I and add es.

" Beg'lar &er"s +ininiti&e past tense e past participle.9er#s are identi"ied as regular or irregular according to its past tenseZs and past

participleZs "ormation. In te regular ver#sZ case #ot o" tenses are made #/ adding ed atte end o" te ver#.

noteP regular ver#s negative and interrogative in te past are made *it te auxiliar didand its negative "orm, didnZt. ver#s "inised in / preceded #/ consonant ave te lastletter canged to I, adding ed. 7egular ver#s made #/ consonant&vo*el&consonant ave

te last letter dou#led, adding ed. 7egular ver#s "inised in e,


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tense airmati&e negati&e interrogati&esimple PresentHimple pastHimple 't're

Present contin'o'sPast contin'o's

T't're contin'o'sPresent perect

Past perectT't're perect,mediate 't're

onditional

Ans permanent "andUs mem"erD

d Iat


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" Iat

módulo do curso língua inglesa com arte e cultura

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