thegoodfellas/blogset-br huggingface dataset:
Espetacular Sobremesa de Chocolate2 xicaras de leite desnatado 12 xicara de acucar 12 xicara de cacau em po sem acucar 2 colherinhas de cafe instantaneo 3 colheres de maisena 12 xica... :: Enviada por: CamilaFrutas, Doces & Sobremesas / Compotas & Doces Caseiros Ver Receita Cocada de Leite Condensado1 lata de leite condensado 2 xicaras de acucar 200 gramas de coco desidratado (sem acucar) 1 colherinha de manteiga sem sal, mole 6 colheres de le... :: Enviada por: CamilaFrutas, Doces & Sobremesas / Compotas & Doces Caseiros Ver Receita Muffins de Baunilha4 xicaras de farinha de trigo 2 xicaras de acucar 1 colher mais 2 colherinhas de fermento em po 1 colherinha de sal 1 xicaras de leite 2 ovos 1 ... :: Enviada por: CamilaFrutas, Doces & Sobremesas / Compotas & Doces Caseiros Ver Receita Galeria de doces Doces do Durzinho sao destaques no festival gastronomico Brasil Sabor Grande sucesso do doce no festival Doces de Itagimirim sao destaques na 4a edicao do festival gastronomico Brasil Sabor, realizado pela Abrasel. A cidade de Itagimirim se fez presente no evento atraves da familia do senhor Durzinho, fabricante dos tradicionais doces de leite produzidos na cidade. A Prefeitura Municipal deu todo apoio para que a cidade fizesse parte de um dos mais conceituados eventos realizados em todo o pais, onde a gastronomia e o prato principal. A fabricacao de doces de leite, em tamanho pequeno e uma das riquezas do municipio, mas que ate entao era apenas conhecido por alguns consumidores da propria cidade e municipios circunvizinhos. Com a participacao no evento os Doces do Durzinho, como ficou conhecido, ganha dimensao em divulgacao, passando a ser conhecido em todo o Brasil, atraves da participacao do Festival, que teve seu lancamento no dia 15 de maio, no Centro Cultural na cidade de Porto Seguro-BA. Um estande foi montado, e a familia de Durzinho orgulhosamente representou o municipio de Itagimirim, arrancando elogios de todos que se fizeram presentes. Os doces, com sabores diversos, foram expostos no evento e degustados por especialistas que aprovaram a qualidade do produto, feito artesanalmente. Para que o Doce do Durzinho participasse desse importante evento da gastronomia brasileira, a Prefeitura de Itagimirim deu todo o apoio necessario a familia, contribuindo de forma decisiva para que a cidade de itagimirim pudesse ser conhecida, tambem pela sua culinaria e, com isso, provocar o estimulo a outras pessoas investirem em pequenas empresas e aumentar a geracao de emprego e renda aos municipes. Itagimirim fez bonito. A Prefeitura esta mostrando que com as parcerias entre o Poder Publico local e a iniciativa privada se e capaz de criar alternativas para o desenvolvimento da cidade e a melhoria da qualidade de vida de todos os cidadaos e cidadas que nela residem. Itagimirim estara gravada no livro dos fabricantes das melhores iguarias existentes na regiao, no Estado e no Brasil. So com a sensibilidade e a responsabilidade de um governo serio, transparente, arrojado e, acima de tudo comprometido com o desenvolvimento, se consegue enfrentar qualquer crise. O Governo Novos Rumos, Novos Tempos e assim: trabalhando por voce.
This fall I will be teaching rhetoric at the University of Iowa. As it will be my first time back in the classroom in two years, Ive been working hard to prepare reading books and essays on rhetoric, deciding on readings, and thinking about assignments, assessments, and in-class activities. I am almost childishly excited to be teaching again, and so Ive thrown myself into preparation; I am determined to get it right.But as I prepare, one question keeps jumping out at me, stubbornly refusing to go away: How do I balance my desire to integrate student-centered learning practices with my almost pathological need to have every last bit of the course planned out and thought through?Most of my pedagogy research has suggested that we as faculty should be looking for ways to give students a real sense of ownership in the classroom. One of our goals should be to create an atmosphere that leaves space for students take an active role in their own learning. How, then, do we design a course before even meeting our students? Isnt there a danger in showing up to the first day of class with a syllabus that shows the whole course planned out? By doing so, aren't we clearly communicating to the students that the instructor is in charge, that if you know whats good for you, youll follow these rules?I worry about sending that message, even though I also believe theres room to acknowledge that college instructors are qualified to, yes, instruct. We do have expertise and experience that can help students attain their goals. But many of the ways in which we operate at the front of a classroom serve to keep students in a subservient position, passively awaiting the teachers instruction and mindlessly doing what they think we want them to do.An example: Ive learned, through painful experience, that when giving students essay prompts, it's best to lay out in fine detail the manner in which they are to complete an assignment. I dont want there to be any confusion as to the font size, line spacing, word count, paragraph format, and subject matter required. I nip potential misconceptions in the bud with mini-lessons on argument, thesis statements, evidence marshalling, and other elements of a good essay. All of those elements are important. And of course Ive found that when I dont make those details explicit, I receive papers that veer off course in maddening ways.But doesnt that litany of regulations send the message to students that we are in charge, and they are merely our loyal subjects? Should we be surprised that they arent invested in their work when we tell them by our actions that their role is to fill in the few blanks that weve left them?Chris Friend, an assistant professor of English at Saint Leo College in Florida and managing editor of the digital journal Hybrid Pedagogy, has been writing about these issues recently, both for that journal and on his personal blog. In a number of posts, Friend has detailed his efforts to surrender some of the
control that instructors typically wield over students, in the interest of fostering creativity, flexibility, and self-direction. He worries that, even when he gives class time over to student discussion, most of the time he finds himself guiding the conversation exactly where he wants it to go. A class discussion where the teacher pre-determines the outcome, Friend writes, is just a lecture in disguise, dressed up to feel student-centered while still being instructor-directed. Similarly, hes grown suspicious that his emphasis on explicitly telling students how they should complete their assignments has made him into a mere functionary, checking essays for whether they fulfilled the seemingly arbitrary requirements.In his courses, Friend writes, he has been backing off in an attempt to allow students the freedom to find their own path to their learning goals. For example, he's been making a point of staying silent during class discussions. Instead, he will spend the class time posting notes from the students' own comments into a document that is projected onto the screen behind him. Thus, he acts as the class facilitator and secretary, rather than its benevolent dictator.I dont want to oversimplify Friends very interesting work, but what Ive taken from his posts is that the best way to foster freedom in the classroom is to emphasize why a class does what it does rather than how. If we can foreground our classroom goals, going out of our way to meticulously explain what we're hoping students will learn, we can feel more comfortable allowing students much more leeway in figuring out how to reach those goals on their own.So I'm going to spend some time this summer thinking more intently about my goals for my courses. What do I hope students will achieve? What's the point of the assignments I give out? How can I clearly and directly communicate these goals to my students? And how can I create space for students to figure out for themselves how to reach those goals? It's my hope that if I can explicitly lay out the reasoning behind our activities as a class, I'll be able to back off more, and allow students the freedom to find their own roads to where I'd like them to end up. The task of finding those roads is an education itself.- See more at: https://chroniclevitae.com/news/1045-classroom-freedom-versus-control?cid=VTEVPMSED1#sthash.ORJlbls8.dpuf
What should I do about social media and an Internet presence, while Im on the job market?I am asked this question constantly and Im glad, because every job seeker should be asking this question and thinking hard about the answer. I could write a book on the subject of academic uses and abuses of Twitter and other social media at this point, and Im sure that somewhere somebody is, because the issue has never been more fraught. But for the sake of this column, Ill be brief.You should have a curated Internet presence for the job market. The fact is, you will be Googled. That is not usually because search committees are trying to dig up dirt on you, or derail your candidacy. Rather, they just want to know more about you, and get a sense of your intellectual communities, of where and how you are active, and of your style of communication (lively, reserved, direct, blunt, tactful, supportive, combative, and so on).So be aware that your Internet footprint will be examined. And be proactive in getting out in front of it, so that you know and control, to the extent you can what viewers will see. First off, search for your name (on a variety of different search engines, perhaps using several different search strings attached to your name). Then take steps to deal with what you find.The most important thing you can do is establish a personal academic website. Even if you have no coding knowledge, you can design it yourself using any of the virtually countless website design programs available. Just search for drag and drop website design and explore your options. Read this Vitae post by Kelli Marshall on managing your digital identity for some recommendations. You can also use the simple options at Academia.edu or Vitae.Your personal website should contain a relatively serious photo of you looking professional (i.e., dressed for work, or perhaps in the classroom, lab, or field), plus a concise summary of your research, a link to your CV, links to your articles and conference papers, perhaps some teaching material, and so on. Your site doesnt have to be complicated. It also doesnt have to include a blog if you want to blog you can, but its not required, and be aware that a rich blogging history but little-to-no record of traditional peer-reviewed publications makes you look like a very poor risk for tenure.Your goal here is a curated Internet presence that frames your profile in a concise and clear way, and gives search committees a focal point for their searching. You have an internet presence. You cannot avoid that. Your task is to manage it.Now, on the question of social media such as Facebook and Twitter, my advice is more equivocal. I firmly believe that all academics should engage on social media. So, OK, I guess thats pretty unequivocal.But how you engage, as of 2015, requires some very serious and rather depressing calculation. The fact is, in a post-Steven Salaita and post-Saida Grundy world, no academic -- whether senior or junior -- can
afford to post candid and controversial ideas on social media without fear of surveillance and possible professional repercussions. Institutions are not showing evidence of protecting the academic freedom of students or faculty in social-media settings.In light of that, why do I state so unequivocally that academics should still engage on social media?Because I believe the potential gains outweigh the potential risks, as long as users either: (a) Stay firmly on the side of the collegial and noncontroversial, and use social media to engage with their networks around topics that cannot be misconstrued by upper administration; or (b) continue to be bold and critical in their social-media activity, but clearly understand the grave risks attached.Many scholars, including myself, are engaged daily in dynamic, energetic, and constructive dialogues on Facebook and Twitter on a host of topics related to scholarship, teaching, organizing, and social critique. These dialogues are a central element of our professional identities and trajectories. Our careers are unthinkable without them. Do not deprive yourself of those opportunities -- which absolutely can lead from virtual to face-to-face engagement and invitations -- out of fear, or even an excess of caution. Many readers and clients tell me they are inclined to avoid social media, and thats a mistake. Certainly you cant assume you can write anything you want without any possibility of professional harm. You just need to be careful.I want to make myself perfectly clear: I deplore that I am telling readers (who are mostly vulnerable junior scholars) that they should probably censor themselves on social media. This is a terrible state of affairs, and part of the overall assault on academic freedom, tenure, and the entire edifice of higher education in the United States. As a former professor, and someone who loves the potential of academia to shine a critical light on the structures and abuses of power in society, it breaks my heart. But I am choosing to be this frank about the risks that I see so that, ironically, I can encourage young scholars not to give up on social media entirely. Because I believe that is throwing the baby out with the bathwater.I will not devolve here into a list of topics I deem safe versus unsafe. I have enough respect for readers to trust that you can make these deliberations yourself, in consultation with your professors and peers, and in light of your own institutional and disciplinary contexts. I simply want to be explicit that I believe activity on social media is essential to career-building at this point in time, despite the chilled environment around it, and it yields gratifying virtual and real-life communities and opportunities.It can even lead somewhat indirectly to a job offer. Ive seen that happen. So proceed onward with your website and your social media, but do so with care and consideration.Dear Readers: Have a question about the academic job market and/or professionalization? Send it to The Professor Is In! Karen welcomes any and all questions related to the job market, preparing for the job market while in graduate school, coping with the
SOME people are keen learners of many foreign languages: they find it enjoyable to rack up one, then another, then another, reading, practising, brushing up, seeking out any opportunity to use them. They are usually proud of this devotion. (Your columnist must admit to being a member of this odd tribe.)But the longer a language-learner spends on the hobby, and the greater the numbers of languages studied, the harder a simple question becomes. Often asked, it is impossible to give an easy answer: How many languages do you speak? The more languages one has studied and the more experience one has, the more the answer feels like none! I have learned to give a numerical range and a lot of hemming and hawing.Ken Hale, a linguist at the Massachusetts Institute of Technology, was renowned among colleagues for picking up languages seemingly instantly. It is said, perhaps apocryphally, that he learned Finnish on a flight to Helsinki. But he insisted that he spoke only English, Spanish and Walpiri, an Australian aboriginal language. The rest he merely talked in. Tim Doner, an American teenage polyglot (see The Economists multilingual video interview with him here) is much the same. A video about Mr Doner has the title Teen speaks over 20 languages, but Mr Doner laughingly says only that he is very comfortable in four or five.Anyone who has gone far in even a single foreign language knows that competence is graded: there is no magical day when someone pins a gold star on your lapel and says: Congratulations. It is more like driving into town and listening to a radio station that at first comes in weakly, with heavy static, and only gradually becomes clear. At what point did you start getting that station?Lacking a clear line, language-learners have all manner of ad-hoc ways of describing when they finally got it. Some will say that the day they began dreaming in a language meant that they had it. But this is hazy; dreams, played in ones own head, say little about real-world competence. Others recall the first conversation in which they did not have to struggle; this, at least, is a better rule of thumb. Others set the bar higher: only when you understand jokes do you really know the language. This sets the bar perhaps even too high. You can communicate all manner of things without having the fingertip-feel needed for wordplay.Competence also has domains. The simplest are the staples of getting to know someone, taught in every language class. What is your name? Where are you from? Why did you learn Russian? You speak such good Portuguese! People from your country dont learn Polish very much. Is this your first time in China? And so on. Most polyglots will have repeated these opening conversational turns a hundred times, and so the initial meeting with the delighted foreigner is bound to impress.But once the conversation goes into unexpected territory, things can go badly quickly. The reason is the huge vocabulary needed to talk about all of lifes many domains. It has been estimated
that the average English-speaking adult knows the meaning of about 30,000 words, far more than most people think. A fluent speaker of a foreign language might know just a tenth of that number. This means that, a good accent, rhythm and grammar notwithstanding, the intermediate-to-advanced learner is likely to flail discussing the value-added tax, running style or camera lenses.Your columnist knows from experience: I have flailed on all of the above in languages I would otherwise say I had spoken well for years. When I heard 90 dolares mas IVA in Spanish for the first time, I thought was 90 dollarsmasiva, or massive, wondering what this curious expression meant. But it just meant plus VAT. When a French colleague asked about running in a place called Pienu, I had no idea where that was, until he switched to English: barefoot, or pieds nus. And focal length is Brennweite in German, which no one would easily guess, as it looks like it means burn-width. (It does make sense, though: focused light rays can burn, which is why focus comes from the Latin for hearth.)Repeat these disappointing experiences a couple of hundred times in a life, and one becomes very cautious about casually rattling off a big number of languages spoken. Your next conversation may be a breeze, or a frustration. Perhaps it is best to imitate Mr Hale and talk about talking in foreign languages, or to take after Mr Doner, and merely say which ones you are comfortable in. Ziad Fazah, the man whom the "Guinness Book of World Records"said spoke 58 languages, was humiliated in a Chilean television performance. Peppered with random questions from the audience (What is the only man-made structure visible from the moon? in Chinese, What day of the week is it today? in Russian) he flailed repeatedly, in a YouTube clipthat serves as a well-known cautionary tale among polyglots. The bigger they are, the harder they fall, applies to more than physical size. Braggarts beware: real-life language learning is a constant exercise in humility.
transformacao exercida por elesobre as personagens.Aleitura de uma peca exige que o leitor leve em consideracao a vocacao cenica daliteratura dramatica; observe a estrutura do texto, tomando as indicacoescenicas como complementares ao dialogo; tenha discernimento do conflito e dosdesdobramentos da acao; perceba as implicacoes ideologicas do discurso daspersonagens; conceba o signo teatral como elemento fundamental para aconstrucao do sentido do texto. Trata-se de um processo que deve, em ultima instancia,deixar evidente a teatralidade do texto, elemento que, afinal, e intrinseco anatureza da literatura dramatica.ReferenciasABEL, Lionel. Metateatro:uma nova visao da forma dramatica. Traducao de Barbara Heliodora. Apresentacaode Paulo Francis. Rio de Janeiro: Zahar, 1968.ARAGAO, Maria Lucia. A comedia deli'arte.In: Teatro sempre.Revista Tempo Brasileiro, n. 72, jan.-mar. Rio de Janeiro: Tempo Brasileiro,1983, p. 57-66.AREAS, Vilma. Iniciacao a comedia.Rio de Janeiro: Jorge Zahar Editor, 1990.ARISTOTELES.Poetica. Traducao Eudoro deSouza. Sao Paulo: Ars Poetica, 1993. Edicao bilingue grego-portugues.BALL, David. Para tras e para frente:um guia para leitura de pecas teatrais. Traducao Leila Coury. SaoPaulo: Perspectiva, 1999.BORNHEIM, Gerd A Breves observacoes sobre o sentido e a evolucao dotragico. In: O sentido e a mascara.3. ed. Sao Paulo: Perspectiva, 1992, p. 69-92.BRECHT, Bertolt. O circulo de giz caucasiano. TraducaoGeir Campos. In:_____________ . Teatro completo.Rio deJaneiro:Paz e Terra, 1992. v. 9, p. 179-296.COSTA Ligia Militz da; REMEDIOS, Maria Luiza Ritzel. A tragedia: estrutura e historia. Sao Paulo: Atica, 1988.(Serie Fundamentos).DANZIGER, Marlies K; JOHNSON, W. Stacy. Traducao de Alvaro Cabral, com a colaboracao deCatarina T. Feldmann.Introducao ao estudo critico da literatura. Sao Paulo: Edusp; Cultrix, 1974.ESSLIN, Martin. Uma anatomia do drama. Traducao Barbara Heliodora. Riode Janeiro: Zahar Editores, 1978.FACHIN, Lidia. O espaco da narrativa noteatro. RevistaItinerarios. Araraquara/SP, n. 12, p. 103-11,1998.FARIA, Joao Roberto. Oteatro na estante - Estudos de dramaturgia brasileirae estrangeira. Sao Paulo: Atelie Editorial, 1998.IBSEN, Henrik. Casa de bonecas. Traducao Cecil Thire. Sao Paulo:Nova Cultural, 2003.KOWZAN, Tadeusz. O signo no teatro. In: NUNES, Luiz Arthur et al. (Org.). O signo teatral: a Semiologia aplicada a arte dramatica. Organizacao etraducao Luiz Arthur Nunes et al. Porto Alegre: Globo, 1977,p. 57-83.MACHADO, Maria Clara. A bruxinha que era boa. In:___________ . Teatro completo I. 15. ed. Rio de Janeiro: Agir,1994,p. 5-51.MAGALDI, Sabato. Iniciacao ao teatro. 4. ed. Sao Paulo: Atica, 1991.(Serie Fundamentos).