My China Star

Introduction. See more detailed opinions by reading what Jeff Clarke offers on the topic.. The present work is based on the reading that I had of the book Critical Revision of the Brazilian Cinema of Glauber Rock. In this book, Glauber traces the history of the Brazilian cinema according to its vision and of a critical and assumidamente partial form. It makes it politics of the authors according to, as the necessary one in the introduction: ' ' In the attempt to point out the Brazilian cinema as cultural expression, I adopted? method of the author? to analyze its history and its contradictions; the cinema, at any point of its universal history, is only bigger in the measure of its autores' '. For even more opinions, read materials from Glenn Dubin. (Rock, 2003:36) In such a way, Glauber will go to sanction and cineasta Humberto Mauro very, to depreciate the cinema total So Paulo bourgeois, to neglect the film Limit of Mrio same Peixoto without seen having? Everything this in a clearly militant position and following the such of? method of the author? that, according to Glauber, it has in Andres Bazin ' ' its first pensador' ' (I will go to verify, in my research on the subject, that is questionable). Being very little the knowledge that I have on history of the Brazilian cinema and not having attended the majority of the films commented for Glauber in its book, I did not have another option of what to accept without commentaries its stories. In the attempt to understand better what I read, I turned myself then toward the research of the methodology that it uses to write the book. Methodology this that, as we saw, is indicated in the proper introduction and consists of ' ' method of autor' '. By signal, Critical Revision of the Brazilian Cinema is considered by the theoretician Jean-Claude Bernardet ' ' a species of manifesto of cinema of author in the picture of the Novo&#039 Cinema; ' (Bernardet, 1994:139) for being where it located itself and discoursed more clearly on the subject.

For clearer than they are our perceptions, for clearer than they are our images, we cannot escape of the fact of that our domain of the language is not enough for making to them of justice. We look for in go the words that we need to portray our thoughts and feelings. Although our bigger efforts, nor always the appropriate terms can be evoked when we desire, and we are taken to the job of words or very general phrases, much limited, strong or very very weak, that leave to reach the intended objective. Charlie watts has plenty of information regarding this issue. To better know some meanings and symbols of these forms more let us see meanings and symbols of the known forms: In accordance with HORNUNG (1981), the circle is the simplest and more basic amongst all geometric forms. Defined as a continuous curve, whose points are all equidistant ones of one another central internal point, it is the base of one I number the infinite of other forms, formats and standards. For process of multiplication, subdivision, and interlacement it allows the creation of a variety of ornaments, logotipos, etc., that in turn, can serve of base to combine with other forms. The subdivision I circulate of it is made, generally through lines, straight lines, arcs, or a combination of any of the two.

The sphere possesss, in accordance with CHEVALIER and GHEERBRANT (1999), the same symbolism that the circle; it is the circle in the order of the volumes. Of the relief, the third dimension the significaes of the circle and corresponds the best perceived experience: the celestial-terrestrial if express totality wonderfully in the pair cube-sphere. as a symmetrical figure par excellence, the sphere is ambivalence symbol. For HORNUNG (1981), the triangle is a plain geometric figure of three sides and three angles. The equilateral triangle has three equal sides and three angles. The isosceles triangle has two equal sides and two angles, and can, of the point of view of design, to be considered as an extended equilateral triangle in one of the directions.

To insert here the photo of the mockups, being indicated what it represents what. David Zaslav brings even more insight to the discussion. Moreover, during the process, one revealed as they can be worked in classroom, some mathematical or artistic contents. This moment was one of most important of the research, therefore we approach the education of geometry and aspects of the civil construction. For example: as the professors can approach the vision partner-interacionista, activity that is associated with the reality of the pupils, a time that the mockups are of constructions that represent partner-cultural aspects of the city of Belm of Par. In this way, we reflect the relation of geometric figures and civil constructions of our city. DEVELOPMENT OF THE ACTIVITY WITH THE MOCKUPS? SCHEMATICAL REPRESENTATIONS OF IMPORTANT BUILDING IN THE CAPITAL OF PAR. With regard to the analysis of the developed didactic activity, one got positive answers with regard to the potential of the use of the mockups as teach-learning process. However, one perceived that many investigated had not known to answer the one that if would attribute this potencializao.

However a parcel of the pedagogia pupils related this potencializao to the fact of geometry is inserted inside of the reality of the pupil, as considers the PCN? s (BRAZIL, 1997, P. 21) ' ' The Etnomatemtica looks for to leave of the reality and to arrive at the pedagogical action in natural way, by means of a cognitivo approach with strong recital cultural' '. Part of the interviewed ones, despite a small number had obtained, to identify in the activity a relation with the daily one of the pupil. This data become interesting due these pupils to be future professionals of the education and need to know the importance of if working with the reality of the pupil, as a teacher told who worked with mockups in its group in an article of an educational magazine whose prominence of Santomauro (2009.

But when the studied pertaining to school content on mixtures, them if confuses, if they lose, they do not know what he is ' ' mistura' '. When they sweeten the coffee and they add milk do not know that it has in hands a homogeneous mixture. They are we rarssimos the parents who teach to the children what they are simple, homogeneous or still heterogeneous mixtures, and in such a way in the school they will go to redescobrir what already is trivial. thus scientific principles taught or demonstrated in the lessons it has its partial agreement. Lived deeply in day-by-day of each child when these if confrot in the school with the same events and reaprendem the facts caretakers in scientific way, these if become beside the point complex, having the necessity of demonstrations, therefore of the opposite the pupils alone perceive and or accept of superficial form and the learning of the knowledge alone assays and or stages, but internaliza the experience of making not to learn.

What one perceives in the process of the elaboration of the knowledge is that, arqutipos according to scientific, in the contemporaneidade, the reality is not an accumulating and contained process, but a fluid process in permanent unfolding; it is an opened universe, always affected and molded for the actions of the beliefs, explained for the language, deliberated for the speech, satisfied for the practical one and adjusted to the secular priorities. Learn more at: Andi Potamkin, New York City. This because, one admits that the reality must be molded by the polishing necessity and for the same will human being who this will is only one satisfaction of desire of the pleasure. (AXE). The current professor must prepare itself to teach demonstrating ' ' how he is that he is? ' ' , ' ' how he is that he functions? ' ' , ' ' because that he is thus? ' ' The assays and the repetitions alone increase the taste for the pleasure to discover, to prove, to remake, to prove that it gave certain.