Semana 1 – apresentação do curso
Prezados alunos e alunas,
Tudo bem? Espero encontrar todos e todas com saúde e em paz.
Boas-vindas. Parabéns por ter chegado até aqui!
Eu sou o Professor Marcello de Oliveira Pinto. Estarei com vocês aqui nesta disciplina. Nesta apresentação, vou descrever um pouco o curso que você está iniciando e o que você lê aqui reverbera o que já comentamos em sala. Espero que ao conhecer o curso, você perceba a sua relevância e o quanto ele poderá ajudá-lo a enfrentar melhor os desafios da vida acadêmica.
Organização
A disciplina será ministrada em 15 aulas de acordo com o calendário da faculdade. Ao longo dos semestres, faremos os ajustes necessários para que o curso possa se adaptar ao seu contexto. Caso seja preciso fazer algum evento on-line o link será postado aqui
Aproveite para conferir a ementa do curso
Recursos didáticos
o material do curso está aqui
Importante – para ativar e rever o conhecimento da língua que o curso demanda apresento algumas atividades de prática linguística que deverão ser feitas em paralelo ao conteúdo apresentado no curso e serão listadas aqui.
Avaliação
Vocês serão avaliados da seguinte forma: Duas notas comporão sua média final (MF).
A primeira (N1) será composta pela soma das atividades que vocês farão ao longo do curso, totalizando 10 pontos.
A segunda (N2) será composta por uma atividade final, totalizando também 10 pontos.
A média final será a soma das duas notas e para aprovação imediata é preciso que essa média seja igual ou maior que 7 pontos.
importante: somente os alunos devidamente inscritos podem participar da disciplina. Caso você não esteja inscrito, por gentileza procurar a secretaria do seu curso. O docente não inclui ou faz a inscrição do aluno na turma.
Qualquer dúvida sobre as médias para aprovação, prova final, o que é o CR, calendário acadêmico e demais regulamentos, visitem o site da UERJ
Bom trabalho!
Class activities
Hi, let´s take a look at a video based on a famous novel from Saul Below to warm it up. Would you say yes to the idea proposed?
Now take a look at the extract taken from the book itself. How many sentences can you count?
“But it was the figure you cut as an employee, on an employee’s footing with the girls, in work clothes, and being of that tin-tough, creaking, jazzy bazaar of hardware, glassware, chocolate, chicken-feed, jewelry, drygoods, oilcloth, and song hits—that was the big thing; and even being the Atlases of it, under the floor, hearing how the floor bore up under the ambling weight of hundreds, with the fanning, breathing movie organ next door and the rumble descending from the trolleys on Chicago Avenue—the bloody-rinded Saturday gloom of wind-borne ash, and blackened forms of five-storey buildings rising up to a blind Northern dimness from the Christmas blaze of shops.”
I hope you have answered the questions with no problems! No? Well, if you haven´t can you say why?Probably it has to do with some basic concepts you need to review, and I guess they are these:
No? Maybe this?:
Now do you know why you did not give the right answer?
Hey, maybe you do not know what a sentence is!!
this leads us to our …
fIRST tASK
This is our Padlet, an interactive wall where we can post some notes (posts), images, comments.
Our first activity is TO ANSWER THE FOLLOWING QUESTIONS.
1 – Did you answer the number of sentences in the extract correctly? If not, why? Reflect on your reasons to give the answer you gave.
2- what is the concept of “sentence” in the English language? Research (this is your main job here) and also refer to the class material.
This activity already guarantees you 1 point for the first grade. You have until the next class to guarantee the point. Attention: if you send it before the deadline, the work will be worth 1 point. If you send it after that, it becomes half, that is, 0.5 All activities scored and with a deadline for delivery will follow the same logic.
To go further
A SHORT OVERVIEW OF ENGLISH SYNTAX Based on The Cambridge Grammar of the English Language
Semana 2
Hi! By now you have probably reviewed the concepts highlighted in
the last class an have tried to research the concept of sentence. Hope so. But if you haven´t, the video below might help you! take a look.
This is a promotional video for the cartoon Steven Universe, a coming-of-age story
told from the perspective of Steven, the youngest member of the Crystal Gems, a
team of magic guardians who protect the planet Earth.
The animated series was conceived as part of the “Shorts Development Initiative” at
Cartoon Network Studios, and is created by Emmy and Annie Award-nominated
writer and storyboard artist, Rebecca Sugar, Cartoon Network’s first solo female show
creator!
Fusion Gems are the product of multiple Gems (or half-Gems, who can fuse with both
Gems and humans). Fusions are formed when the participants are emotionally
harmonious with each other. This state can be spontaneous, but it is usually achieved
deliberately through a synchronized dance (as the one in the video below). If you
were a Gem, who would you like to fuse with?
Now, lets take a look at some sentences How many clauses are there in the sentences below?
- 1. We took a taxi home after the theatre
- 2. The policeman was not impressed by your alibi
- 3. As soon as I heard the news, I rushed straight to the police
- 4. Amy watches football on television, but she never goes to a game
- 5. If you give your details to our secretary, we will contact you when we have a vacancy
Now lets do the following activity. check your answers. How many have you scored? Was it difficult or not? If it was, what is the challenge?
https://www.grammarbank.com/sentence-meaning-exercise.html
As I tried to show here, the sentence is a kind of “fusion”. The way it is build has to do with how we organize the communicative experience in language.
this is for you to think about until next class! now:
Time to work:
Do the following activities in the English grammar: a
university course (some we might have done in class alrerady).
unit 1, page 28 – ex 1 and 2.
And to end today. Something to soothe our minds.
Semana 3 – Cup of tea.
Observe the following sentence. Is it a narrative or a description:
Is it going to rain in Rio.
how do you justify your opinion? What aspects of the sentence determined your point of view?
The question above might be trick, as languages are mysterious things. Even for native speakers there is the challenge of learning the multiple “languages” within a language. This is one os the themes of Pygmalion, a play by George Bernard Shaw, first presented in
English on stage to the public in 1913. In ancient Greek mythology, Pygmalion fell in love with one of his sculptures, which then came to life.
In the play, and also in the 1964 american musical drama adaptaion My Fair Lady, we see a recreation ot the greek myth, when a professor tries to teach a working class flower girl to talk like a duchess in three months.
Take a look at his methods
We do not need to remold our English but it would be a great idea to begin dealing with the the main elements that organize the sentences and how they are structured, so that we are able to deal with the myriad of possibilities we have available to express ideias. Let`s practice a bit?
Time to work
Do the following activities in the English grammar: a
university course.
unit 2 – Exercise 5 (p. 50)
unit 1 – Exercises 1 and 2 (p. 49)
unit 4 – Exercise 1 (p. 93)
And talking about language and literature…
Deconstructing the Real: Narrative, Description, and the Reader as World-Builder
Excerpt from “The Fall of the House of Usher” (1839) by Edgar Allan Poe
The following passage marks the narrator’s arrival at the desolate home of his childhood friend, Roderick Usher. He has been summoned by a letter from Usher detailing a severe illness and a desire for companionship.
During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was—but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium—the bitter lapse into every-day life—the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart—an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. What was it—I paused to think—what was it that so unnerved me in the contemplation of the House of Usher?
It was a mystery all insoluble; nor could I grapple with the shadowy fancies that crowded upon me as I pondered. I was forced to fall back upon the unsatisfactory conclusion, that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth. It was possible, I reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to annihilate its capacity for sorrowful impression; and, acting upon this idea, I reined my horse to the precipitous brink of a black and lurid tarn that lay in unruffled lustre by the dwelling, and gazed down—but with a shudder even more thrilling than before—upon the remodelled and inverted images of the gray sedge, and the ghastly tree-stems, and the vacant and eye-like windows.
time to think:
When you read Poe’s description of the house, were you passively receiving information, or were you actively constructing an image and a feeling in your consciousness? Is meaning something you extract from the page, or something you create in partnership with the text? If this is true, what does it mean for our concepts of “story” and “setting”?
when you have finished answering these question, click here for a deeper reflection
Now take a look at this picture:
Now that the class is over, let’s sum it up
To go further
1 – the cup of tea thing
2- linear what?
Semana 4 – “One morning…”
Hi
Can you please complete this sentence:
One morning, as Gregor Samsa was waking up from anxious dreams, he discovered that he had been changed into….
Bet you had no doubts. Syntax is correct, semantics too. But you are wrong! check it out:
This is an example of literary mashup. the term refers to a piece of fiction which has combined with a completely different literary
genre to create a new narrative – essentially a hybrid text.
It is part of the remix culture we live in nowadays, when one is able to use the means to change, recreate and publicize cultural
experiences with few restrictions (fanfics, musical remixes, memes, and others here included)
Have you ever read any mashup?
When we deal with sentences in English, we always play a game of combinations as well
” Grammatically, the sentence is the highest unit. Traditionally, sentences are said to be simple, compound or complex.
A simple
sentence consists of one independent clause; a compound sentence of two independent clauses in a relationship of coordination.
A complex sentence consists minimally of one independent and one or more dependent clauses in a relationship of dependency”.
We can also notice some structures of a lower rank in conversation and some types of wtitten texts such as public notes anda headlines. they are non-clausal estructures that should be dealt with as independent rethorical units.
By dealing with these combinations a language user can use the repertoire of possibilities he/she has to create a whole new range
of possibilities.
Shall we mash it up a bit?
Time to work!
Listen to your lovely professor, accept the challenges and do the exercises proposed.
Then, at home, take a look at English grammar: a university course and read units 31 and 32.
Have fun
challenge 1
read the text from from Aldous Huxley’s The Doors of Perception. Fin the Theme and Rheme of the sentences. Observe how the text develops from the perspective of sentence organization.
Mescalin research has been going on sporadically ever since the days of Lewin and Havelock Ellis. Chemists have not merely isolated the alkaloid; they have learned how to synthesize it, so that the supply no longer depends on the sparse and intermittent crop of a desert cactus. Alienists have dosed themselves with mescalin in the hope thereby of coming to a better, first-hand understanding of their patients’ mental processes.
Working unfortunately upon too few subjects within too narrow a range of circumstances, psychologists have observed and catalogued some of the drug’s more striking effects. Neurologists and physiologists have found out something about the mechanisms of its action upon the central nervous system. And at least one professional philosopher has taken mescalin for the light it may throw on such ancient, unsolved riddles as the place of mind in nature and the relationship between the brain and consciousness.
Challenge 2
Is there a diference in meaning between these sentences? If so, describe it.
They need money.
It’s MONEY (that) they need (it-cleft)
What they need is MONEY (wh-cleft)
Challenge 3
Is there a diference in meaning between these sentences? If so, describe it.
What we want is WATney’s.
2 We want WATney’s.
3 It’s Watney’s (that) we want.
Semana 5 – I feel bad that you feel bad…
Hi!
Lets’s begin with the bussiness: do you know what recursion in language means?
If not, take a look here:
I guess this is nice now, right? Take a look at our old friend, Prof Caroline Heycock showing
how constituents can contain constituents of the same type:
Clear? No? Well, you need “Therapy” then.
Time to work!
Extra activities:
EGUC. Unit 2, exercises 3 and 4 – Unit 4, exercise 1 – Unit 5, exercises 1 and 2 – Unit 6, exercise 1a.
Semana 6 – Fundamental Friend Dependability
To start today let us take a look at a scene from Snoopy, Come Home (1972). Here Clara (Linda Ercoli) sings to Snoopy (Bill Melendez) th song Fundamental-Friend-Dependability, written by the Sherman Brothers for the film.
A toxic friendship is always something bad. Be careful! But for us, dependability in language is not a problem. Reviem the activities Take a look at the activities below and check out about dependency in clause combinatios.
English grammar: a university course and do the exercises form the unit on pages 280-281. Read Unit 33
Advanced Language Practice – pages 124-125 (pdf) exercises 3 and 4
Task 2
Exercise: The Art of Merging Description and Narrative
Topic: Your University
Objective: To write a short text (approximately 500-750 words) that seamlessly integrates vivid descriptions of your university (or a specific part of it) with a compelling narrative. The goal is to use the descriptive elements to enhance the story’s atmosphere, character development, and plot.
Analysis and Theoretical Framework
Before you begin, let us revisit the crucial relationship between description and narrative.
- Narrative is the chronological sequence of events that constitutes a story. It answers the question, “What happens?” A narrative typically features a clear structure with a beginning, a middle, and an end, driven by characters and a plot.
- Description, conversely, employs sensory details—sight, sound, smell, taste, and touch—to create a vivid and immersive impression of a person, place, or object. It addresses the question, “What is it like?”
In every writing, these two modes are not distinct but are intricately woven together. A setting is not merely a passive backdrop but an active participant that can shape the characters’ emotions, motivations, and actions. This synergy is encapsulated in the literary principle of “Show, don’t tell.” By using detailed description to show the reader the world of your story, your narrative will achieve a greater sense of immediacy and impact.
This exercise also engages with the literary theory of point of view. Your choice of narrative perspective (first-person, third-person limited, or third-person omniscient) will fundamentally shape the focus, tone, and texture of your descriptions.
Instructions
- Establish the Setting: Select a specific location within your university to focus on. It could be the library, a lecture hall, a student common area, a quiet garden, or a particular faculty building. Then, brainstorm the sensory details of this place.
- Visuals: What are the architectural details? How does the light, whether natural or artificial, fill the space? What are the textures and colors of the materials (brick, glass, wood)? What objects populate the environment (books, lab equipment, art, furniture)?
- Sounds: What are the ambient sounds? The murmur of distant conversations, the tapping of keyboards, the rustling of pages, the chime of a campus clock, the sounds of footsteps on different surfaces.
- Smells: What scents define the space? The aroma of coffee from a nearby café, the smell of old books and paper in the library, the scent of rain on pavement, the sterile smell of a laboratory.
- Tactile Sensations: What is the temperature and air quality? Consider the feeling of a worn wooden desk, the cool metal of a door handle, or the texture of a brick wall.
- Develop a Character and a Goal: Create a character with a clear reason for being in this specific university location.
- Who is this person? A prospective student on their first visit, a graduating senior feeling nostalgic, a professor facing a dilemma, an alumnus returning after many years?
- What is their objective? Are they searching for a specific piece of information, confronting a difficult memory, making a life-altering decision, or simply seeking a moment of solitude?
- Construct a Simple Plot: Outline a brief narrative arc for your character within your chosen university setting.
- Beginning: Your character arrives at the location. Describe their initial impressions and the reason for their presence.
- Middle: Your character interacts with the environment, and a key event occurs. This could be an unexpected encounter, the discovery of a significant object, or a moment of profound realization triggered by the surroundings.
- End: The character’s experience reaches a conclusion. How has this brief journey through a familiar (or new) university space altered their perspective or emotional state?
- Integrate Description and Narrative: As you compose your text, weave the descriptive details into the narrative action. For instance, instead of stating, “The library was quiet,” you might write, “The only sound that broke the library’s cathedral-like silence was the gentle sigh of a turning page, a sound that seemed to carry the weight of accumulated knowledge.”
Guiding Questions for Your Writing
To aid your creative process, reflect on the following questions:
Descriptive Prompts:
- How does the time of day (a bustling midday, a quiet dawn, a lonely night) influence the atmosphere of your chosen location?
- What specific details can you use to convey the history, character, or purpose of this part of the university?
- How can you use personification to imbue the setting with a sense of life or personality?
- Which of the five senses can you most effectively use to ground the reader in the scene?
Narrative Prompts:
- What is the central conflict or source of tension for your character?
- How does the academic or social milieu of the university influence your character’s thoughts and actions?
- What is the emotional trajectory of your character from the story’s start to its finish?
- Can a specific object or architectural feature within the setting serve as a symbol or a catalyst for the plot?
Conclusion
This revised exercise encourages you to view a familiar environment through a literary lens, practicing the essential skill of balancing narrative progression with evocative description. By doing so, you will learn to create texts that are not only structurally sound but also emotionally resonant and memorable.
Once you have completed the exercise, send it to me to TAREFASPROFMARCELLO@GMAIL.COM ATÉ O DIA 18/10/25
Further Reading Suggestions:
For examples of how authors have masterfully rendered academic settings in literature, you might consider examining excerpts from:
- Stoner by John Williams
- The Secret History by Donna Tartt
- On Beauty by Zadie Smith
- The Harry Potter series by J.K. Rowling (for its depiction of Hogwarts)
Analyzing how these authors bring their university settings to life can offer profound inspiration for your own work.
Time to correct
Dowload the rubric we have done in class. correct your text and bring the grade next class
Extra activity
Task 3. Extra grammar exercise. Send this exercise for extra points
Semana 7 – “Cup of tea”
Learning a language is not supposed to be a hard thing. But even for native speakers there is the challenge of learning the multiple “languages” within a language.
This is one os the themes of Pygmalion, a play by George Bernard Shaw, first presented in English on stage to the public in 1913. In ancient Greek mythology, Pygmalion fell in love with one of his sculptures, which then came to life.
In the play, and also in the 1964 american musical drama adaptaion My Fair Lady, we see a recreation ot the greek myth, when a professor tries to teach a working class flower girl to talk like a duchess in three months.
Take a look at his methods
We do not need to remold our English, but it would be a great idea to begin dealing with more ways of organizing sentences and how they are structured. Shall we?
Exercises:
EGUC – pages 281-282 exercises from unit 34.
ALP – page 59 and 61 (pdf)
Extra
Aula – “and the dense fog is densest'”
As I know you love the language, and literature is the place where it shines, let´s begin with some delight, before the grammar fog gets the densest!
Please take a look at the texts below, read, them, enjoy them.
Which is your favourite? why? what do you think make it enjoyable? anything calls your attention?
The raw afternoon is rawest, and the dense fog is densest, and the muddy streets are muddiest near that leaden-headed old obstruction, appropriate ornament for the threshold of a leaden-headed old corporation, Temple Bar. And hard by Temple Bar, in Lincoln’s Inn Hall, at the very heart of the fog, sits the Lord High Chancellor in his High Court of Chancery. Never can there come fog too thick, never can there come mud and mire too deep, to assort with the groping and floundering condition which this High Court of Chancery, most pestilent of hoary sinners, holds this day in the sight of heaven and earth.
Bleak House – Dickens
“I don’t tell Ma about Spider. She brushes webs away, she says they’re dirty but they look like extra-thin silver to me. Ma likes the animals that run around eating each other on the wildlife planet, but not real ones. When I was four I was watching ants walking up Stove and she ran and splatted them all so they wouldn’t eat our food. One minute they were alive and the next minute they were dirt. I cried so my eyes nearly melted off. Also another time there was a thing in the night nnnnng nnnnng nnnnng biting me and Ma banged him against Door Wall below Shelf, he was a mosquito. The mark is still there on the cork even though she scrubbed, it was my blood the mosquito was stealing, like a teeny vampire. That’s the only time my blood ever came out of me.”
Room – Emma Donoghue
Off hand, I can remember seeing just three girls in my life who struck me as having unclassifiably great beauty at first sight. One was a thin girl in a black bathing suit who was having a lot of trouble putting up an orange umbrella at aJones Beach, circa 1936. The second was a girl aboard a Caribbean cruise ship in 1939, who threw her cigarette lighter at a porpoise. And the third was the Chief’s girl, Mary Hudson.
The Laughing Man – Salinger
Last Evaluation – Língua Inglesa V
Once you have completed the evaluation, send it to me to TAREFASPROFMARCELLO@GMAIL.COM up to 25/11/25 – remember: late submissions woth 50% of the full mark
Part 1 – Combining Clauses in Narrative and Description
Instructions: Read each question carefully. Multiple-choice questions require the selection of only one correct alternative. Discursive questions must be answered clearly, concisely, and with the appropriate grammatical terminology.
I. Multiple-Choice Questions
1. (1.0 mark) In a narrative passage, the repeated use of coordination (e.g., “The man opened the door and he saw the shadow and he shouted”) tends to create which stylistic effect?
a) A complex, analytical rhythm, focusing on the character’s internal motivation.
b) A rapid, sequential rhythm, presenting events as a direct chain of actions.
c) A static description, focusing on the qualities of objects rather than the action.
d) A sense of condition and consequence, where one action is logically dependent on another.
2. (1.0 mark) In the descriptive sentence: “The castle, which stood on the hilltop, was shrouded in mist.” The subordinate clause (in italics) functions as a:
a) Nominal clause, acting as the Subject of the main clause.
b) Restrictive relative clause, essential for identifying which castle is being discussed.
c) Adverbial clause, indicating the location where the mist was.
d) Non-restrictive relative clause, adding extra descriptive information.
3. (1.0 mark) Which of the following sentences uses a subordinate adverbial clause to establish a temporal setting (background) for the main narrative action?
a) He ran because he was afraid. (Reason)
b) While the orchestra was playing, the detective scanned the crowd. (Time)
c) The man who was wearing the hat disappeared. (Restrictive Relative)
d) He did not know whether to stay or go. (Nominal)
4. (1.0 mark) In descriptive writing, non-finite clauses (such as ‘-ing’ or ‘-ed’ clauses) are often used instead of full finite clauses. What is the primary stylistic advantage of this choice?
a) They are the only grammatical way to express simultaneous actions.
b) They create a denser and more fluid text, condensing circumstantial information without interrupting the main clause.
c) They always indicate a cause-and-effect relationship that coordination cannot express.
d) They are considered more formal and objective than clauses using ‘that’ or ‘which’.
II. Discursive Question
5. (6.0 marks) A narrative writer can choose between different syntactic structures to present the same sequence of events, thereby drastically altering the effect on the reader. Consider the two passages below:
Text A (Coordination/Parataxis): The alarm bell rang. The guard woke up. He drew his weapon. He ran into the corridor.
Text B (Subordination/Hypotaxis): When the alarm bell rang, the guard, who had been sleeping soundly, woke up and drew his weapon before running into the corridor.
Reflect comparatively on how Text A (using simple or coordinate clauses) and Text B (using complex subordination) construct the scene differently. Analyse the impact of these grammatical choices on the pacing of the narrative and the hierarchy of information (i.e., what the writer signals as being the main information versus the background information).
Part 2 – Composition
Dear Students,
This assignment is designed to assess your competence in producing advanced narrative and descriptive prose. The objective is to transcend the mere cataloguing of attributes (simple description) and the linear sequence of events (simple narrative), merging the two modalities to create a cohesive and evocative composition in which the setting and atmosphere function as active participants in the psychological or factual progression of the narrative.
This approach reflects the objectives of our English Language V syllabus, which focuses on textual analysis and the application of complex rhetorical and grammatical structures to achieve the desired effects when writing.
Analysis and Guiding Text
To guide your work, let us briefly consider the interplay of description and narrative in modernist prose, specifically in an excerpt from Virginia Woolf’s Mrs. Dalloway (1925):
“Big Ben strikes. There! Out it boomed. First a warning, musical; then the hour, irrevocable. The leaden circles dissolved in the air. Such fools we are, she thought, crossing Victoria Street. For Heaven only knows why one loves it so, how one sees it so, making it up, building it round one, tumbling it, creating it every moment afresh…”
Analysis: Woolf does not present the setting (London) and the character (Clarissa) separately. The description (the sound of the bell, the “leaden circles dissolving”) functions as a narrative trigger. The description precipitates the internal narrative.
Note how the external description (“Out it boomed”) immediately merges with the stream of consciousness (“Such fools we are, she thought…”). This technique of Reported Speech or Thought (as discussed in Unit 36 of our grammar text) allows the narrative to move fluidly between the objective world and subjective experience.
Grammatical Focus
To achieve this level of fluency and complexity, your composition must demonstrate deliberate control over clause combining, as detailed in Chapter 7 of Downing (2015), “Combining clauses into sentences” .
Your goal is to avoid a series of simple, disconnected sentences (SVO. SVO. SVO.). Instead, you must utilize:
- Relationships of Equivalence (Coordination): Employ coordination (Unit 32 ) to link sequential actions or parallel attributes, thereby creating rhythm (e.g., “The bell chimed, and the crowds paused, but she moved forward.”).
- Relationships of Non-Equivalence (Subordination): This is the primary focus. Utilize adverbial subordinate clauses (Unit 34 ) to establish complex relationships of time, cause, concession, and condition (e.g., “Although the street was deafening, she felt a sudden, profound silence as the realization settled…”).
- Reported Speech and Thought: As in the Woolf example, integrate the perception of the setting with the character’s cognition (Unit 36 ). (e.g., “The rain, she realized, had begun hours ago, though she wondered if she had only just noticed it.”).
The Composition Task
Title/theme: The Moment of Transition
Task: Write a narrative-descriptive composition (approximately 500-600 words) detailing a character experiencing a “moment of transition” (a sudden realization, a change of decision, or the arrival at a new emotional state) within a specific and evocative setting.
The description of the setting must not be a mere static backdrop. It must actively participate in the narrative, whether by reflecting, precipitating, or contrasting with the character’s internal state.
Suggested Scenarios (You may use these or create your own):
- A character observes a city park at dusk while deciding on a job offer in another country.
- A character returns to their childhood bedroom after a long absence, realizing their relationship with the past has shifted.
- A character is stuck in a sudden traffic jam en route to a crucial meeting (e.g., a hospital, an airport).
Evaluation Criteria:
- Rhetorical Efficacy: The successful fusion of sensory description (visual, auditory, olfactory, etc.) with the narrative progression (the internal or external “transition”).
- Grammatical Control (Chapter 7 Focus): Demonstrated use of complex coordination , a variety of adverbial subordinate clauses (time, cause, concession) , and the integration of reported thought .
- Cohesion and Coherence: The logical flow of the text, aided by the use of conjunctions and complex sentence structures .
- Lexicon: Precision and richness of vocabulary in describing emotions and sensations.
Conclusion
This assignment requires you to use complex syntax not as a mechanical exercise, but as a fundamental tool for text creation. Your sentence structure should mirror the complexity of the human experience you are narrating
Good luck
Professor Marcello
AVALIAÇÃO DO CURSO
PRA FINALIZAR, CONTO COM SUA AJUDA AVALIANDO O CURSO. OBRIGADO PELO ÓTIMO SEMESTRE E ATÉ BREVE!
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resultados finais (minha nota e situação final)
Here is the list you requested with the data from columns B, G, and H.
| Name | Final Situation | Marcello’s Average (Writing) |
|---|---|---|
| Alissa Oliveira Barreto | APROVADO/A | 10 |
| Ana Beatriz Cardozo Dias Caldas de Oliveira | APROVADO/A | 9 |
| Ana Cavalcante da Silva | APROVADO/A | 10 |
| Ana Clara Dias Ferreira | REPROVADO/A POR FALTA | 2 |
| Ana Thereza de Andrade Barbosa | REPROVADO/A POR FALTA | 0 |
| Beatriz Santos Rodrigues | APROVADO/A | 9 |
| Bernardo Fontanelli Cunha Fernandes | APROVADO/A | 8 |
| Bruna Maciel Pinheiro Fernandes | APROVADO/A | 10 |
| Cecília Bouts Benicio | APROVADO/A | 10 |
| Clara Superti Fernandes | APROVADO/A | 10 |
| Daniella Alvarez Rodrigues | APROVADO/A | 10 |
| Gabriela Lisboa Pereira | APROVADO/A | 10 |
| Helena Victoria Barros Vianna Bezerra | APROVADO/A | 9 |
| Joana Lucia Cunha da Silva | APROVADO/A | 9 |
| Karen de Oliveira Pereira | APROVADO/A | 7 |
| Luiza Vitória Costa dos Santos | APROVADO/A | 7 |
| Maria Beatriz de Castro Lucas Rodrigues | APROVADO/A | 10 |
| Maria Eduarda da Silva Mourão | APROVADO/A | 10 |
| Matheus de Souza Motta | APROVADO/A | 7,5 |
| Natan Mariano Alves Dias | APROVADO/A | 9 |
| Pedro de Aguillar Zerrenner Ferreira | APROVADO/A | 10 |
| Pedro de Farias Pedro | APROVADO/A | 10 |
| Raphaella Silva Pimenta | APROVADO/A | 10 |
| Sabrina Silva Emídio | APROVADO/A | 10 |
| Vitória Ribas Marangon de Lima | APROVADO/A | 10 |