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QUEM SOLTOU O PUM PDF

Friday, July 19, 2019


Vira e mexe o Pum escapa, faz barulho e atrapalha os adultos! Um livro divertido e inusitado, de arrancar várias risadas tanto dos filhos quanto. PDF | On Dec 1, , Ana Lúcia Pinto and others published From a click to a gesture: a Blandina Franco e José Carlos Lollo, Quem soltou o Pum? (). PDF | This work explores the interactive book app for children as a form of literary Scene of the picturebook app Quem soltou o pum?.


Quem Soltou O Pum Pdf

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Rum Pum Posshh Pdf Free | taiquelo. Baixe o livro 'Quem soltou o Pum' em PDF 1. Este livro que está em suas mãos foi todo digitalizado artesanalmente e. Franco e José Carlos Lollo, Quem soltou o Pum? (). Print screen. Fig- ures 6 and 7. William Joyce,The fantastic flying books of Mr. Morris. Lessmore (). 22 jul. Baixe o livro 'Quem soltou o Pum' em PDF. Augusto Bertotto · História e cultura afro brasileira e indígena. Valeria Santos · Bruna e a Galinha D'.

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Alicia keys love is blind instrumental, deep dish essential mix 22 mar and mobile nokia c games, ragnarok 2 legend of the second ph bell book , how can i microsoft word for. Toby love yuridia quizas. Picturebooks are defined by the complex relationship and interdependency between verbal and visual elements.

Lewis described the dynamics of the picturebook as an ecosystem, where the different verbal and visual signs that compose the narrative generate complex relationships whose meaning is bigger than the some of its parts.

When one of these elements is changed, there are implications for the narrative as a whole; for instance, when a story is illustrated by a different artist, the result is a new and unique iconotext.

In picturebook apps, this ecosystem is expanded with the inclusion of the affordances of aural, kinetic and gestural modes, in addition to the affordances of written text and images. Interactivity is not a mode, but one characteristic that any text, print or digital, has in establishing a relationship between the world represented in the text and the real world, which includes the reader.

In the digital environment, however, this relationship is more dynamic, because readers can intervene and, at times, change the world that is represented in the text through their actions; the frontiers between real and represented world are not fixed and clear as in most print texts.

Therefore, picturebook apps allow children and young people to exercise this active relationship with texts — one which is Frederico, Aline. Interactivity has an intrinsic ludic aspect to it, one reason why it is very appreciated by children; this aspect can work as an important source of motivation, attracting readers that might still be facing difficulties in decoding the written text to the literary sphere.

The new and multiple possibilities of multimodal combinations in picturebook apps generate infinite possibilities; therefore, each app presents very particular features and characteristics. In general, these are hybrid texts because they combine characteristics of different narrative forms, such as the print picturebook, animated movies, and electronic games.

As an application or a piece of software, in technical terms, these narratives have the potential of exploring all the resources of digital media; however, the high cost of production results in that, in many cases, these books end up closed to a simple digitalized version of a print book rather than a truly interactive narrative.

In this paper, are being considered especially interactive picturebook apps that explore the potential of the digital medium innovatively and creatively, beyond what is possible in print media. In the following sections, some examples will be presented. Literature is a traditional ally in learning how to decode.

But what do picturebook apps offer beyond what is already available in print books? First of all, the potential of apps resides in the fact that, in most cases, they allow readers to follow the written text with professionally recorded narration. Reading-aloud, at home or school, is fundamental for the acquisition of literary competence SIPE, but this practice is not widespread amongst Brazilian families and schools. Interactivity enhances the playful aspects of the narrative, present in the play of words and sounds, in visual games and in metafictive play, which includes the participation of the reader in the narrative.

Narratives such as Tiny Great True Stories LU, include also the audio recording feature, in which readers can record their own narration of the story.

On the other hand, the recording feature allows parents, grandparents, teachers or other co-readers to record personalized narrations of the story, recreating this bond when they cannot be present to read to the child. Regarding the development of decoding skills, this function allows beginner readers to have a register of their own reading-aloud skills. In addition, the possibility of observing this development and comparing different stages can be a valuable tool for teachers in terms of evaluation and assessment.

Multiliteracies The concept of multiliteracies was proposed in by the so-called New London Group, a group of scholars from the United Stated, United Kingdom and Australia who gathered in , in New London, USA, to discuss new pedagogical frameworks to the teaching of literacy.

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According Frederico, Aline. This last aspect will not be discussed in this paper, but it is important to have into consideration that great part of picturebook apps are bi or multilingual, in contrast to the small production of bilingual print titles for children.

In addition, many apps produced in other countries are available in Portuguese, allowing Brazilian readers to get in touch with stories and cultures from other places.

These texts require not only the skill of reading and comprehending verbal and visual codes separately but also comprehending how the intermodal relations corroborate or contest their individual meanings in the creation of one new multimodal sign with a unique meaning SIPE, In digital narratives, the verbal, visual and design aspects are also present, but the definition of multimodal literacy needs to be expanded for the analysis of the picturebook app, and include also the reading and orchestration of moving images, aural signs and interactivity.

Nevertheless, differently from the teaching of reading and writing, which is now structured and established, how to deal with visual, aural and digital literacies using picturebook apps?

First of all, multimodal literacy is interdisciplinary in essence and can present an opportunity for the integration, for instance, of language arts with music, visual arts and IT teaching, dealing with different aspects of these other forms of literacy through various disciplines.

In pedagogical terms, it means to look in detail at the signs that compose the text, identifying, classifying and naming these elements. At this level, are also considered the relationship between different modes.

This discussion includes the creation and distribution of texts, and the critical analysis of the representations present in this text, dealing with racial, gender, power and stereotype issues, for instance. In this story, a boy talks about the problems of letting Pum Fart go. The use of movement, interaction and sounds in this app complement this system of meanings, expanding and enhancing the meanings created by the iconotext. At the end of every level of analysis, a list of questions that teachers can use to discuss the narrative, guiding readers to articulate their critical and comprehension skills, is presented.

These questions can be easily adapted to the analysis of other texts, print or digital. Figure 1: Scene of the picturebook app Quem soltou o pum? Perceptual analysis In the perceptual level, readers must be stimulated to explore what is immediately apparent in the narrative, identifying the elements present in each one of the modes used in the construction of the story.

It is possible to identify the neighbour as such because he is mentioned in the verbal text and is separated from the others by a wall. There are also objects around the boy and the dog: brooms, a squeegee, a rake, a broken bottle, boxes, a bucket.

This information, however, is only present in the verbal text in the scene in question. Which are in the verbal text? Which are in the visual? What about the aural? Which present sound? Structural analysis In the structural analysis of the story, it is necessary to go beyond the description of the different modes and their denotative meanings and question how these modes create these representations, how they interact in the construction of the multimodal narrative and what are their potential for connotative meanings.

Understanding the dynamics of interactivity in the construction of meaning in the narrative is also an important aspect of this analysis, which can be supported by the detailed description in the perceptual analysis. For more analytical tools to this level of analysis, check Serafini ; or the functional grammars of the different modes mentioned above. The verbal text does not mention that Pum Fart is a dog; this information is only present in the visual text. Nevertheless, through the careful analysis of the written text, the reader can have some clues to question the meaning of Pum, as the word is capitalized, meaning it is a proper noun.

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If the text is being read aloud, by the narration feature or a co-reader, these feature might go unnoticed. Having identified the characters in the first level of analysis, at this level we may look for clues as to how these representations are being constructed.

The boy and the dog are the central characters of the narrative. In the visual text, this meaning is suggested by the use of colour. The use of colour, thus, attributes salience to these two characters, it attracts the eye of the reader and suggest their importance in the story.

The sound is loud and uncomfortable, thus justifying the complaint from the neighbour. Desceu a escada de pedra e saiu. As bombas relampejavam e retiniam por toda a parte.

Para casa de quem vem?

As filhas mais velhas da casa do Aposento esperavam-na. Canga — Por pouco, melhor seria mandar um portador da cidade — respondeu ela. Acabada a missa pelas seis horas e meia, principiou a debandada. OpadreCasimiroaindaseconservavanasacristiae,porqueeletopasseManuel, quis saber dos seus estudos. Devia formar-se, dizia, para honra da sua terra. Estugou o passo. Ao passar rente a ela, um arrepio percorreu-lhe o corpo todo.

Sente-se poeta. Ventilava-se o assunto de sempre: o homem, abutre de garras aduncas, a esfacelar o seu semelhante, desprotegido da fortuna. Tira-me o coiro e o cabelo. Paredes muito brancas, telhado vermelho e portas da mesma cor. As gentes das Lombadas, ao passarem em frente do engenho, arregalavam os olhos de pasmadas.

O engenho da Fonte estava um cangalho. Quer um, quer outro, iludiam os vendedores das aldeias circunjacentes e ludibriavam os colonos.

Se quisesse assim, podia levar o dinheiro. O Isabelinha saiu fora do seu natural. Reagir seria morrer. Mas os pequenos, os filhos, eram mesmo perdidos por uma laranja, uma ameixa, um figo.

Andava por Canga todos os lugares. Como era muito pequeno subia uma amoreira e facilmente se ocultava entre a folhagem dos ramos. Era a criada que tratava os porcos. Fora viver para os Lameiros, em terreno do antigo amo. Enchera-se de filhos.

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Ainda havia sete molhos de cana a levar para o engenho. Depois, cuidadosamente, alargou um molho, colocou a pedra no meio das canas, e voltou a apertar, entalando canas entre as do ato de vime.Era a criada que tratava os porcos. Nosy Crow. Reading is unders- Frederico, Aline. In the digital environment, however, this relationship is more dynamic, because readers can intervene and, at times, change the world that is represented in the text through their actions; the frontiers between real and represented world are not fixed and clear as in most print texts.

Routledge Is the story only the words? Alguns padres tinham-se escandalizado com o artigo; conversou-se sobre isso, acremente, diante do senhor chantre.