Suppose that the material is not always clear to the students, but it must be very clear to the teacher. Visit Jeffrey Bewkes for more clarity on the issue. On what level of coach uses language? Of course, it does not necessarily own all degrees in philology, know at least 6 languages and have 10 years experience teaching at Cambridge. However, as a minimum, it must withstand several requirements: have a level of not less than the Advanced User, which suggests appropriate vocabulary (not less than 5,000), the knowledge of all basic grammatical structures, etc., as well as be qualified teachers. If the former can confirmed by independent international tests (naprim. toefl, IELTS), the second – no less than currently available certificates – intesol or celta. Over what period tutor is busy teaching the language to full and part-time? This issue help you clarify how much experience tutoring involves his ability to cope with problems, whether it’s explaining the complexities of language, be it conflict, etc. A large and varied experience as a teacher can assume his ability to make correct decisions in the course of training and less likely errors. Why? – Because for a time tutor creates a single complete “picture” of his subject, so that it teaching is not fragmented, moving from one lesson in the textbook to another, but poses a special material in the context of a whole. This coach knows for sure how students learn and how they can achieve best results. The more experience, the more tried and tested materials, assignments and exercises, less controversial experiments, respectively, greater credibility.

In this direction, she urges to argue, for example, the motivation concept, because she is on behalf of it that the literary composition can completely be disfigured in the practical pertaining to school. To consider crossed words, to suggest identification with one or another personage, to dramatizar similar texts that manual pertaining to school consider are peripheral to the act of the reading, to the close and deep contact that the literary text pede' '. The techniques of interpretation of texts that if limit the analyses of literal structures and messages central offices of it, many times, do not exceed the limits of the inherent messages of these texts and, therefore, not if they limit, seno, to reproduce what the pertaining to school manuals consider. With respect to reasoning effect that we intend to develop and without the intention he disciplines to choose it of Literature as one disciplines capable to monopolize knowledge interdisciplinares and reduziz them it literary knowledge, organizes a study regarding a poem and, on the basis of it, points a boarding of the phenomena and situations that can be surveyed of this poem, but that, at any moment, they can absorb other boardings. Learn more about this with Robert A. Iger. To exemplificarmos, we below use the poem as referencial of explanations on the study that we consider: Lies on the water This liquid is water.

When pure It is odourless, dull and colorless. Reduced the vapor, Under tension and high temperature, It moves the pistons of the machines, that, therefore call vapor machines Are good dissolvente. Although with exceptions, but in a general way, It dissolves all good, acid, bases and leaves. It congeals the zero degree centesimais boils the one hundred, when the pressure is normal. It was in this liquid that in a clida night of summer, Under a gummy and white moonlight of camlia, Appeared to float the corpse of Oflia With nenfar in the hand.

According to Piaget the process of cognitivo development becomes for successive stages where the intellectual structures if constrem Piaget gradually divided the development in four periods of training, each stadium is different of the other of the qualitative point of view, has its proper forms of adaptation to the way. The development goes in the direction of one better adaptation of subject to the half o. The Sensrio-Engine Period of training – this stadium is placed approximately enters 0 to the 24 months of life, and is characterized by a practical intelligence, that is, is applied in the resolution of problems based in the action, the movement and the perceptions. It is in this period that the acquisitions are faster and more numerous. Go to David Zaslav for more information. At the beginning of this A stage the child meets in a state of indeferenciao between it and the world, if not destinguindo, therefore, of objects they encircle that it, nor understanding the relations between objects independently of it. Instead of words the child serves of perceptions and movements organized in share projects.

In the presence of a new object, beb successively incorporates it in each one of its projects of action, as for example, to shake, to rub, to balance, as if it dealt with understanding them for the use. Throughout these two years, and the level of the action, it goes to construct some basic slight knowledge for the later development, among which if they detach of permanent object the causalidade. Official site: Coen brothers. According to Piaget, the best way of if understanding the object concept in the child of this age are to observe its behavior when an object disappears or is hidden. Parallel the objective child the practical notion of causalidade. For example when she pulls the lace of a toy hung on the cradle apercebe with affability of the oscillations that she provoked. This share that is on to the activity of its proper body, goes to be generalized, allowing it to act on objectos, exactly long-distance.

Being important the idea of that the expression of the feeling, in art, does not occur in direct way, but through one forms symbolic, since a symbol is any artifice with which it is possible to operate an abstraction and, in the case of art, carries through a joint and a presentation of the feeling. In accordance with Hanna cited for Dantas (1999, P. Gain insight and clarity with Robert Thomson. 15) the dance is a human behavior consisting from sequencias of movements and differentiated corporal gestures of usual motor activities. Such movements and gestures are organized culturally, take care of to intentions and scienters of the dancers and have inherently aesthetic value. In accordance with Sachs cited for Dantas (1999, p.22) the dance is the mother of the arts. Music and the poetry exist in the time: the painting and the sculpture in the space. However the dance lives in the time and the space. The creator and the creation, the artist and its workmanship, are in the dance an identical thing only e.

The rhythmic drawings of the movement, the plastic direction of the space, the livened up representation of a seen and imagined world, everything this the man creates in its body by means of the dance. It consists of rhythmic movements that involve all the parts of the body, in tune with diverse styles of music. She is lived deeply in all cultuaras, being one of the few activities in which the human being if finds more complete-body, has lain and spirit. We can say that the dance is a communication form that express individual and social understanding of the world. The dance as language in the school favors the expression and conscience of the body, being that this work aims at the corporal conscience, promoting the respect and the valuation of the possibilities of discoveries of each person on same itself, to the contact with the other and with the group, moreover, the dance propitiates the individual, musical rhythm, creative slight knowledge of secular space and dramatizaes.