Read the text to answer questions 31 to 42.

Based on theoretical, experimental, and experiential knowledge, teachers and teacher educators have expressed their dissatisfaction with method in different ways. Studies clearly demonstrate that, even as the methodological band played on, practicing teachers have been marching to a different drum.

In this sense, the post method condition is established as a timely response. It signifies interrelated attributes. First and foremost, it signifies a search for an alternative to method rather than an alternative method. While alternative methods are primarily products of top-down processes, alternatives to method are mainly products of bottom-up processes. In practical terms, this means that we need to refigure the relationship between the theorizer and the practitioner of language teaching. If the concept of method authorizes theorizers to centralize pedagogic decision-making, the postmethod condition enables practitioners to generate location-specific, classroom-oriented innovative strategies.

Secondly, the postmethod condition signifies teacher autonomy. The conventional concept of method “overlooks the fund of experience and tacit knowledge about teaching which the teachers already have by virtue of their lives as students” (Freeman, 1991). The postmethod condition, however, recognizes the teachers’ potential to know not only how to teach but also how to act autonomously within the academic and administrative constraints imposed by institutions, curricula, and textbooks. It also promotes the ability of teachers to know how to develop a critical approach in order to self-observe, self-analyze, and self-evaluate their own teaching practice with a view to effecting desired changes.

(B. Kumaravadivelu, Beyond Methods: Macrostrategies for language teaching. Haven and London: Yale University Press. 2003. Adaptado)

Read the text to answer questions 31 to 42.

Based on theoretical, experimental, and experiential knowledge, teachers and teacher educators have expressed their dissatisfaction with method in different ways. Studies clearly demonstrate that, even as the methodological band played on, practicing teachers have been marching to a different drum.

In this sense, the post method condition is established as a timely response. It signifies interrelated attributes. First and foremost, it signifies a search for an alternative to method rather than an alternative method. While alternative methods are primarily products of top-down processes, alternatives to method are mainly products of bottom-up processes. In practical terms, this means that we need to refigure the relationship between the theorizer and the practitioner of language teaching. If the concept of method authorizes theorizers to centralize pedagogic decision-making, the postmethod condition enables practitioners to generate location-specific, classroom-oriented innovative strategies.

Secondly, the postmethod condition signifies teacher autonomy. The conventional concept of method “overlooks the fund of experience and tacit knowledge about teaching which the teachers already have by virtue of their lives as students” (Freeman, 1991). The postmethod condition, however, recognizes the teachers’ potential to know not only how to teach but also how to act autonomously within the academic and administrative constraints imposed by institutions, curricula, and textbooks. It also promotes the ability of teachers to know how to develop a critical approach in order to self-observe, self-analyze, and self-evaluate their own teaching practice with a view to effecting desired changes.

(B. Kumaravadivelu, Beyond Methods: Macrostrategies for language teaching. Haven and London: Yale University Press. 2003. Adaptado)

Read the text to answer questions 31 to 42.

Based on theoretical, experimental, and experiential knowledge, teachers and teacher educators have expressed their dissatisfaction with method in different ways. Studies clearly demonstrate that, even as the methodological band played on, practicing teachers have been marching to a different drum.

In this sense, the post method condition is established as a timely response. It signifies interrelated attributes. First and foremost, it signifies a search for an alternative to method rather than an alternative method. While alternative methods are primarily products of top-down processes, alternatives to method are mainly products of bottom-up processes. In practical terms, this means that we need to refigure the relationship between the theorizer and the practitioner of language teaching. If the concept of method authorizes theorizers to centralize pedagogic decision-making, the postmethod condition enables practitioners to generate location-specific, classroom-oriented innovative strategies.

Secondly, the postmethod condition signifies teacher autonomy. The conventional concept of method “overlooks the fund of experience and tacit knowledge about teaching which the teachers already have by virtue of their lives as students” (Freeman, 1991). The postmethod condition, however, recognizes the teachers’ potential to know not only how to teach but also how to act autonomously within the academic and administrative constraints imposed by institutions, curricula, and textbooks. It also promotes the ability of teachers to know how to develop a critical approach in order to self-observe, self-analyze, and self-evaluate their own teaching practice with a view to effecting desired changes.

(B. Kumaravadivelu, Beyond Methods: Macrostrategies for language teaching. Haven and London: Yale University Press. 2003. Adaptado)

Read the text to answer questions 31 to 42.

Based on theoretical, experimental, and experiential knowledge, teachers and teacher educators have expressed their dissatisfaction with method in different ways. Studies clearly demonstrate that, even as the methodological band played on, practicing teachers have been marching to a different drum.

In this sense, the post method condition is established as a timely response. It signifies interrelated attributes. First and foremost, it signifies a search for an alternative to method rather than an alternative method. While alternative methods are primarily products of top-down processes, alternatives to method are mainly products of bottom-up processes. In practical terms, this means that we need to refigure the relationship between the theorizer and the practitioner of language teaching. If the concept of method authorizes theorizers to centralize pedagogic decision-making, the postmethod condition enables practitioners to generate location-specific, classroom-oriented innovative strategies.

Secondly, the postmethod condition signifies teacher autonomy. The conventional concept of method “overlooks the fund of experience and tacit knowledge about teaching which the teachers already have by virtue of their lives as students” (Freeman, 1991). The postmethod condition, however, recognizes the teachers’ potential to know not only how to teach but also how to act autonomously within the academic and administrative constraints imposed by institutions, curricula, and textbooks. It also promotes the ability of teachers to know how to develop a critical approach in order to self-observe, self-analyze, and self-evaluate their own teaching practice with a view to effecting desired changes.

(B. Kumaravadivelu, Beyond Methods: Macrostrategies for language teaching. Haven and London: Yale University Press. 2003. Adaptado)

Para responder às questões 31 a 40, leia o texto abaixo.

Ennui (In)

Clark Ashton Smith

1. In the alcove whose curtains are cloth-of-gold, and
2. whose pillars are fluted sapphire, reclines the
3. emperor Chan, on his couch of ebony set with opals
4. and rubies, and cushioned with the furs of unknown
5. and gorgeous beasts. With implacable and weary
6. gaze, from beneath unmoving lids that seem carven
7. of purple-veined onyx, he stares at the crystal
8. windows, giving upon the infinite fiery azures of a
9. tropic sky and sea. Oppressive as nightmare, a
10. formless nameless fatigue, heavier than any burden
11. the slaves of the mines must bear, lies forever at his
12. heart: all deliriums of Love and wine, the agonizing
13. ecstasy of drugs, even the deepest and the faintest
14. pulse of delight or pain-all are proven, all are futile,
15. for the outworn but insatiate emperor. Even for a new
16. grief, or a subtler pang than any felt before, he thinks,
17. lying on his bed of ebony, that he would give the
18. silver and vermilion of all his mines, with the crowded
19. caskets, the carcanets and crowns that lie in his most
20. immemorial treasure-vault, Vainly, with the verse of
21. the more inventive poets, the fanciful purple-
22. threaded fabrics of the subtlest looms, the unfamiliar
23. gems and minerals from the uttermost land, the pallid
24. leaves and blood-like petals of a rare and venomous
25. blossom-vainly, with all these, and many stranger
26. devices, wilder, more wonderful diversions, the
27. slaves and sultanas have sought to alleviate the iron
28. hours. One by one he has dismissed them with a
29. weary gesture. And now, in the silence of the heavily
30. curtained alcove, he lies alone, with the canker of
31. ennui at his heart, like the undying mordant worm at
32. the heart of the dead.

Fonte: http://www eldritchdark.com/writings/prose-poetry-plays/13/ennui-%28in%29

Para responder às questões 31 a 40, leia o texto abaixo.

Ennui (In)

Clark Ashton Smith

1. In the alcove whose curtains are cloth-of-gold, and
2. whose pillars are fluted sapphire, reclines the
3. emperor Chan, on his couch of ebony set with opals
4. and rubies, and cushioned with the furs of unknown
5. and gorgeous beasts. With implacable and weary
6. gaze, from beneath unmoving lids that seem carven
7. of purple-veined onyx, he stares at the crystal
8. windows, giving upon the infinite fiery azures of a
9. tropic sky and sea. Oppressive as nightmare, a
10. formless nameless fatigue, heavier than any burden
11. the slaves of the mines must bear, lies forever at his
12. heart: all deliriums of Love and wine, the agonizing
13. ecstasy of drugs, even the deepest and the faintest
14. pulse of delight or pain-all are proven, all are futile,
15. for the outworn but insatiate emperor. Even for a new
16. grief, or a subtler pang than any felt before, he thinks,
17. lying on his bed of ebony, that he would give the
18. silver and vermilion of all his mines, with the crowded
19. caskets, the carcanets and crowns that lie in his most
20. immemorial treasure-vault, Vainly, with the verse of
21. the more inventive poets, the fanciful purple-
22. threaded fabrics of the subtlest looms, the unfamiliar
23. gems and minerals from the uttermost land, the pallid
24. leaves and blood-like petals of a rare and venomous
25. blossom-vainly, with all these, and many stranger
26. devices, wilder, more wonderful diversions, the
27. slaves and sultanas have sought to alleviate the iron
28. hours. One by one he has dismissed them with a
29. weary gesture. And now, in the silence of the heavily
30. curtained alcove, he lies alone, with the canker of
31. ennui at his heart, like the undying mordant worm at
32. the heart of the dead.

Fonte: http://www eldritchdark.com/writings/prose-poetry-plays/13/ennui-%28in%29

Para responder às questões 31 a 40, leia o texto abaixo.

Ennui (In)

Clark Ashton Smith

1. In the alcove whose curtains are cloth-of-gold, and
2. whose pillars are fluted sapphire, reclines the
3. emperor Chan, on his couch of ebony set with opals
4. and rubies, and cushioned with the furs of unknown
5. and gorgeous beasts. With implacable and weary
6. gaze, from beneath unmoving lids that seem carven
7. of purple-veined onyx, he stares at the crystal
8. windows, giving upon the infinite fiery azures of a
9. tropic sky and sea. Oppressive as nightmare, a
10. formless nameless fatigue, heavier than any burden
11. the slaves of the mines must bear, lies forever at his
12. heart: all deliriums of Love and wine, the agonizing
13. ecstasy of drugs, even the deepest and the faintest
14. pulse of delight or pain-all are proven, all are futile,
15. for the outworn but insatiate emperor. Even for a new
16. grief, or a subtler pang than any felt before, he thinks,
17. lying on his bed of ebony, that he would give the
18. silver and vermilion of all his mines, with the crowded
19. caskets, the carcanets and crowns that lie in his most
20. immemorial treasure-vault, Vainly, with the verse of
21. the more inventive poets, the fanciful purple-
22. threaded fabrics of the subtlest looms, the unfamiliar
23. gems and minerals from the uttermost land, the pallid
24. leaves and blood-like petals of a rare and venomous
25. blossom-vainly, with all these, and many stranger
26. devices, wilder, more wonderful diversions, the
27. slaves and sultanas have sought to alleviate the iron
28. hours. One by one he has dismissed them with a
29. weary gesture. And now, in the silence of the heavily
30. curtained alcove, he lies alone, with the canker of
31. ennui at his heart, like the undying mordant worm at
32. the heart of the dead.

Fonte: http://www eldritchdark.com/writings/prose-poetry-plays/13/ennui-%28in%29

Para responder às questões 31 a 40, leia o texto abaixo.

Ennui (In)

Clark Ashton Smith

1. In the alcove whose curtains are cloth-of-gold, and
2. whose pillars are fluted sapphire, reclines the
3. emperor Chan, on his couch of ebony set with opals
4. and rubies, and cushioned with the furs of unknown
5. and gorgeous beasts. With implacable and weary
6. gaze, from beneath unmoving lids that seem carven
7. of purple-veined onyx, he stares at the crystal
8. windows, giving upon the infinite fiery azures of a
9. tropic sky and sea. Oppressive as nightmare, a
10. formless nameless fatigue, heavier than any burden
11. the slaves of the mines must bear, lies forever at his
12. heart: all deliriums of Love and wine, the agonizing
13. ecstasy of drugs, even the deepest and the faintest
14. pulse of delight or pain-all are proven, all are futile,
15. for the outworn but insatiate emperor. Even for a new
16. grief, or a subtler pang than any felt before, he thinks,
17. lying on his bed of ebony, that he would give the
18. silver and vermilion of all his mines, with the crowded
19. caskets, the carcanets and crowns that lie in his most
20. immemorial treasure-vault, Vainly, with the verse of
21. the more inventive poets, the fanciful purple-
22. threaded fabrics of the subtlest looms, the unfamiliar
23. gems and minerals from the uttermost land, the pallid
24. leaves and blood-like petals of a rare and venomous
25. blossom-vainly, with all these, and many stranger
26. devices, wilder, more wonderful diversions, the
27. slaves and sultanas have sought to alleviate the iron
28. hours. One by one he has dismissed them with a
29. weary gesture. And now, in the silence of the heavily
30. curtained alcove, he lies alone, with the canker of
31. ennui at his heart, like the undying mordant worm at
32. the heart of the dead.

Fonte: http://www eldritchdark.com/writings/prose-poetry-plays/13/ennui-%28in%29

Para responder às questões 31 a 40, leia o texto abaixo.

Ennui (In)

Clark Ashton Smith

1. In the alcove whose curtains are cloth-of-gold, and
2. whose pillars are fluted sapphire, reclines the
3. emperor Chan, on his couch of ebony set with opals
4. and rubies, and cushioned with the furs of unknown
5. and gorgeous beasts. With implacable and weary
6. gaze, from beneath unmoving lids that seem carven
7. of purple-veined onyx, he stares at the crystal
8. windows, giving upon the infinite fiery azures of a
9. tropic sky and sea. Oppressive as nightmare, a
10. formless nameless fatigue, heavier than any burden
11. the slaves of the mines must bear, lies forever at his
12. heart: all deliriums of Love and wine, the agonizing
13. ecstasy of drugs, even the deepest and the faintest
14. pulse of delight or pain-all are proven, all are futile,
15. for the outworn but insatiate emperor. Even for a new
16. grief, or a subtler pang than any felt before, he thinks,
17. lying on his bed of ebony, that he would give the
18. silver and vermilion of all his mines, with the crowded
19. caskets, the carcanets and crowns that lie in his most
20. immemorial treasure-vault, Vainly, with the verse of
21. the more inventive poets, the fanciful purple-
22. threaded fabrics of the subtlest looms, the unfamiliar
23. gems and minerals from the uttermost land, the pallid
24. leaves and blood-like petals of a rare and venomous
25. blossom-vainly, with all these, and many stranger
26. devices, wilder, more wonderful diversions, the
27. slaves and sultanas have sought to alleviate the iron
28. hours. One by one he has dismissed them with a
29. weary gesture. And now, in the silence of the heavily
30. curtained alcove, he lies alone, with the canker of
31. ennui at his heart, like the undying mordant worm at
32. the heart of the dead.

Fonte: http://www eldritchdark.com/writings/prose-poetry-plays/13/ennui-%28in%29

Para responder às questões 31 a 40, leia o texto abaixo.

Ennui (In)

Clark Ashton Smith

1. In the alcove whose curtains are cloth-of-gold, and
2. whose pillars are fluted sapphire, reclines the
3. emperor Chan, on his couch of ebony set with opals
4. and rubies, and cushioned with the furs of unknown
5. and gorgeous beasts. With implacable and weary
6. gaze, from beneath unmoving lids that seem carven
7. of purple-veined onyx, he stares at the crystal
8. windows, giving upon the infinite fiery azures of a
9. tropic sky and sea. Oppressive as nightmare, a
10. formless nameless fatigue, heavier than any burden
11. the slaves of the mines must bear, lies forever at his
12. heart: all deliriums of Love and wine, the agonizing
13. ecstasy of drugs, even the deepest and the faintest
14. pulse of delight or pain-all are proven, all are futile,
15. for the outworn but insatiate emperor. Even for a new
16. grief, or a subtler pang than any felt before, he thinks,
17. lying on his bed of ebony, that he would give the
18. silver and vermilion of all his mines, with the crowded
19. caskets, the carcanets and crowns that lie in his most
20. immemorial treasure-vault, Vainly, with the verse of
21. the more inventive poets, the fanciful purple-
22. threaded fabrics of the subtlest looms, the unfamiliar
23. gems and minerals from the uttermost land, the pallid
24. leaves and blood-like petals of a rare and venomous
25. blossom-vainly, with all these, and many stranger
26. devices, wilder, more wonderful diversions, the
27. slaves and sultanas have sought to alleviate the iron
28. hours. One by one he has dismissed them with a
29. weary gesture. And now, in the silence of the heavily
30. curtained alcove, he lies alone, with the canker of
31. ennui at his heart, like the undying mordant worm at
32. the heart of the dead.

Fonte: http://www eldritchdark.com/writings/prose-poetry-plays/13/ennui-%28in%29