O carnival It is a very famous commemorative date in Brazil. On this date, people from various regions of the country gather to celebrate and enjoy the five days of revelry.
We must keep in mind that these festivities carry historical and cultural marks of the Brazilian people.
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Considering these aspects, see below three examples of activities about this date that can be worked on in basic education.
Activity 1
Clarice Lispector was a writer of the 45 generation who built introspective prose and poetry, full of streams of consciousness and epiphany. Lispector also frequently centered on female and family experiences.
Considering these aspects, read and interpret the chronicle Restos do Carnaval by Clarice Lispector. Then discuss the main points of the chronicle in class.
No, not from this last carnival. But I don't know why this one transported me back to my childhood and to Ash Wednesdays in the dead streets where the remains of serpentine and confetti fluttered. One or another saint with a veil covering her head went to church, crossing the extremely empty street that follows Carnival. Until the next year. And when the party was approaching, how to explain the inner agitation that took over me? As if the world had finally opened up from a bud that was a great scarlet rose. As if the streets and squares of Recife finally explained what they were made for. As if human voices were finally singing the capacity for pleasure that was secret in me. Carnival was mine, mine.
However, in reality, I took little part in it. I had never been to a children's dance, I had never been dressed up. On the other hand, they let me stay until about 11 at night at the foot of the stairs in the townhouse where we lived, eagerly watching the others enjoy themselves. Two precious things I would earn then and save them with avarice to last the three days: a perfume launcher and a bag of confetti. Oh, it's getting hard to write. Because I feel how dark my heart will be when I realize that, even adding so little to the joy, I was so thirsty that almost nothing already made me a happy girl.
And the masks? I was afraid, but it was a vital and necessary fear because it met my deepest suspicion that the human face is also a kind of mask. At the door at my foot of stairs, if a masked man spoke to me, I would suddenly come into indispensable contact with my inner world, which was not only made of elves and prince charming, but of people with their mystery. Even my fright with the masked men, because it was essential for me.
They didn't dress me up: in the midst of worries about my sick mother, no one at home had a mind for a children's carnival. But I would ask one of my sisters to curl that straight hair of mine that caused me so much disgust and then I had the vanity of having frizzy hair for at least three days a year. In those three days, my sister still acceded to my intense dream of being a girl — I couldn't wait coming out of a vulnerable childhood — and painted my mouth with very strong lipstick, rouge on my cheeks. faces. So I felt pretty and feminine, I escaped my childhood.
But there was a carnival different from the others. So miraculous that I couldn't believe that so much had been given to me, I, who had already learned to ask for little. It's just that the mother of a friend of mine decided to dress up her daughter and the name of the costume was Rosa. For that purpose, he had bought sheets and sheets of pink crepe paper, with which, I suppose, he intended to imitate the petals of a flower. Mouth agape, I watched the fantasy taking shape and creating itself little by little. Although the crepe paper didn't even remotely resemble petals, I seriously thought it was one of the most beautiful costumes I had ever seen.
That's when, by simple chance, the unexpected happened: there was crepe paper left over, and lots of it. And my friend's mother—perhaps heeding my mute plea, my mute envying despair, or perhaps out of sheer goodness, since there was paper left over—she decided to make me a rose costume too, out of what was left of the material. At that carnival, for the first time in my life, I would have what I had always wanted: I was going to be someone other than myself.
Even the preparations already made me dizzy with happiness. I had never felt so busy: down to the last detail, my friend and I calculated everything, under the costume we would wear a combination, because if it rained and the costume melted at least we would be somehow dressed — at the thought of a rain that would suddenly leave us, in our eight-year-old feminine modesty, in a slip in the street, we would die of shame beforehand — but ah! God would help us! it wouldn't rain! As for the fact that my fantasy only exists because of the leftovers of another, I swallowed with some pain my pride that had always been fierce, and humbly accepted what fate gave me as alms. But why exactly did that carnival, the only fantasy one, have to be so melancholy? Early in the morning on Sunday I already had my hair curled so that the frizz would hold well until the afternoon.
But the minutes didn't pass, with so much anxiety. Finally, finally! three o'clock arrived: careful not to tear the paper, I dressed in pink.
Many things that happened to me so much worse than these, I have already forgiven. However, this one I can't even understand now: the dice game of an irrational fate? It's merciless. When I was dressed in crepe paper all set up, still with my hair in curlers and still without lipstick and rouge—my mother suddenly my health deteriorated a lot, a sudden uproar broke out at home and they sent me quickly to buy some medicine at the pharmacy. I went running dressed in pink — but the still naked face did not have the girlish mask that would cover my so childhood life exposed — I ran, ran, perplexed, astonished, amid streamers, confetti and screams of carnival. The joy of others amazed me.
When hours later the atmosphere at home calmed down, my sister did my hair and painted me. But something had died in me. And, as in the stories I had read about fairies who enchanted and disenchanted people, I had been disenchanted; she was no longer a rose, she was a simple girl again. I went down to the street and standing there I wasn't a flower, I was a pensive clown with red lips. In my hunger to feel ecstasy, sometimes I began to be happy, but with remorse I remembered my mother's serious condition and again I died.
It was only hours later that salvation came. And if I quickly clung to her, it's because I needed to save myself so much. A boy of about twelve, which to me meant a boy, this very handsome boy stopped in front of me and, in a mixture of affection, thickness, playfulness and sensuality, it covered my already straight hair with confetti: for a moment we were facing each other, smiling, without to speak. And then, a little eight-year-old woman, I thought for the rest of the night that someone had finally recognized me: I was indeed a rose.
LISPECTOR, Clarice. Clandestine happiness. Rio de Janeiro: Rocco, 1998, p. 25-28
01 – In the chronicle above we can observe characteristics of Clarice Lispector's stylistics. Highlight the main features of Lispector's writing with examples from the chronicle.
02 – Epiphany is a dip in the stream of consciousness, in which the character starts to see the world and herself in a different way. It's as if she had, in fact, had a revelation and, based on it, started to have a deeper perspective on life and human relationships. This process gives rise to breaches of values and questioning. Highlight the part of the chronicle in which the protagonist suffers an epiphany.
03 – Point out the climax, the highest and most surprising moment in the chronicle.
04 – Why was the character afraid of masks?
05 – We can say that the character has a racist perspective, taking into account the following excerpt “I asked one of my sisters to curling that straight hair of mine that caused me so much displeasure and then I had the vanity of having frizzy hair for at least three days a year."?
06 – Why does the character say that there was a different carnival from the others?
07 – How did the character feel when she won the carnival costume?
08 – At the end of reading the chronicle, can we say that the character really managed to enjoy the carnival?
01 – Characteristics present in the chronicle: stream of consciousness, space-time break, mix of present and past, epiphany, intimacy.
02 – Epiphanic moment: when she comes across a boy and he covers her hair with confetti.
03 – Climax: when the protagonist's mother's health deteriorates.
04 – The masks bring you deep reflections on the falsity of human relationships.
05 – Yes, it is a racist perspective.
06 – Her carnival was different from the others because she got a “Rosa” costume from a friend's mother.
07 – The protagonist felt ashamed, humiliated when she won the costume.
08 – Yes. She got everything she ever wanted: to feel like someone else. With that, it can be concluded that she took advantage of the carnival.
Activity 2
A fable it is an excellent text to work our imagination and imaginative resources. This genre explores the ludic and fantastic world, in addition to always exposing a moral.
Read below the fable The Carnival of the Tortoise by Valmir Ayala. Then answer the questions and discuss the main points in class.
01 – What is the textual genre of this text?
02 – What are the main characters?
03 – What is the theme of the text?
04 – What was the reaction of each animal that lost its costume?
05 – Was the monkey's reaction expected by the tortoise?
06 – What is the moral of this fable?
01 – Fable
02 – Tortoise, monkey, fox, king and lion.
03 – The text metaphorically addresses the use of social masks.
04 – The animals were desperate.
05 – Yes.
06 – The main message is that the use of social masks takes away people's naturalness and can always cause inconvenience.
Activity 3
An engaging narrative is capable of taking the reader into a playful and fantastic world. The fable has this characteristic. This genre lulls us with its caricatured characters and outlandish stories, which aim to convey a moral to us.
Considering these aspects, read the text by Dona Filósofa and the piassava broom – a carnival fable by Emilia Maria M. de Morais and answer the questions. Then discuss the main points in class.
Saturday morning during Carnival, in an old townhouse, not far from Igreja do Monte, in Olinda.
A tattered passer-by announces in the middle of the street:
– Who wants to buy piassava broom to leave the house very clean after the revelry?
Dona Philosopher goes to the window of the townhouse:
– Mr. wouldn't you happen to have a flying broom? I need one to complete my Perplexed Platonics costume!
– Do you mean that you want to fly to transcendences? But at what level does he intend to arrive – that of mathematical entities, that of ideal Forms, or does he really intend to contemplate the Good itself?
– And Mr. could you get me a broom for such high flights?
– It only depends on your reserves of spiritual bread and wine of the soul.
– Oh, sir, I am very sorry, but my oven and my cellar are almost empty…
– Before they were, my dear Miss Philosopher; indeed, they are full, full of their appetites and their laziness.
– Well, hell, what can I do against my hunger and tiredness?
“Nothing, ma'am, nothing. The question is this: learn to want and act as if it were nothing, simply nothing!
– And what answer to my desires?
– Well, hell, now I say, my dear, are you deaf? Nothing, nothing at all, and above all not daring even to try to escape from the state of desiring! Haven't your studies taught you that this is the stigma of the human condition? Did he not learn, after so many years, such an elementary lesson?
– How is it possible, then, to desire without filling my desires with objects?
- With more courage and humility you would learn. He would understand that it is not within his power to know what wine and what bread he should eat! And, in that case, he would only have to wish, to wish for nothing, in vain… To wish with intensity, to think carefully, to operate with diligence, but without getting entangled by any objects or goals. Remember the words of Pater: Thy will be done… By any chance, do you intend to know what is the will that comes from transcendences? Has he not lived the experience of disenchantment so many times, even when he thought he knew what was best for himself? Don't try, then, my lady, to fill your hunger with all the pretensions of your imagination. Limit yourself to recognizing it and, believe me, this would not be little, it would be the threshold of possible fullness...
– Mr. Do you know if there is any Spiritual Reserve Fund (a kind of reverse side of the IMF) that would allow access to some supernatural credit, some loan of that wisdom, without existential or other interest. charges?
– You want more credit than Life itself – the chance of being able to contemplate the Sun and start over every day?
First of all, you have to learn that the best brooms are not for gathering or accumulating; are used for cleaning and emptying. For now, Miss Philosopher, the best thing is for you to start learning the simplest and most effective lesson with this colorful piassava broom. It will also serve to complement the make-believe of your costume. Be content with that; take good care of yourself and play a merry carnival; do not disregard, without knowledge of the facts and without due initiation, the colors and lights of this world within your reach. Next year, who knows… I'm always passing through the streets like the best and oldest revelry blocks…
Emilia Maria M. by Morais. Dona Philosopher and the piassava broom – a Carnival fable.
01 – What was the main objective of Dona Filósofa right at the beginning of the text?
02 – Upon learning of Dona Filósofa's objective, what did the tattered passer-by say to her?
03 – Dona Filósofa tells the ragged passer-by that she has no spiritual reverses, she only has empty ovens and cellars. In her opinion, by making this statement does Dona Philosopher personify materialism, futility and the hollowing out of human relationships? Substantiate your answer.
04 – What is the outcome of this narrative?
05 – What's the moral of the story?
01 – Dona Filósofa wanted a flying broom to complement her carnival costume.
02 – The ragged passer-by said that for her to achieve the goal expressed by the desired carnival costume, she would have to acquire spiritual reserves.
03 – Yes, Dona Filósofa represents human beings who do not see beyond the physical world.
04 – The narrative ends with the tattered passer-by telling Dona Philosopher that it is necessary to “learn that the best brooms are not good for gathering or accumulating; they serve to clean and empty.”
05 – The narrative aims to reflect on the human condition and intends to say that it is necessary to take into account the origins of knowledge and problems.
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