TEXT IV

Throughout the last 15 years our society has undergone two major changes: Firstly, there has been a steady rise of cultural and linguistic diversity, due to migration, multiculturalism and global economic integration; secondly, there has been the rapid development of technological devices and the world-wide expansion of new communications media. These changes directly affect the lives of our pupils at home and at school and thus have an important impact on curricular development, teaching objectives, contents and methodologies – starting as early as in primary school.

[…] 

While traditionally being literate solely referred to the ability to read and write in a standardized form of one language, literate practices today incorporate multimodal, critical, cultural, and media competencies next to traditional-functional language skills, like reading, writing, speaking, mediating, and listening in many languages. 

One major aspect in this context is the changing nature of texts that has developed from advances in technology. Language learners today need to be able to cope with different kinds of texts, including multimodal, interactive, linear, and nonlinear texts, texts in different languages, texts with several possible meanings, texts being delivered on paper, screens, or live, and texts that comprise one or more semiotic system. 

In order to prepare students to actively engage in a socially diverse, globalized, and technological world, teachers need to find new forms of teaching and learning and provide opportunities for their pupils to explore, learn about, and critically engage with a broad variety of texts and differing literate practices. Still, the question remains open as to how these principles and objectives of a multiliteracies pedagogy translate into examples of good practice in school settings.

(Source: adapted from ELSNER, D. Developing multiliteracies, plurilingual awareness & critical thinking in the primary language classroom with multilingual virtual talking books. Encuentro 20, 2011, pp. 27- 38.https://archive.org/details/ERIC_ED530011) 

TEXT IV

Throughout the last 15 years our society has undergone two major changes: Firstly, there has been a steady rise of cultural and linguistic diversity, due to migration, multiculturalism and global economic integration; secondly, there has been the rapid development of technological devices and the world-wide expansion of new communications media. These changes directly affect the lives of our pupils at home and at school and thus have an important impact on curricular development, teaching objectives, contents and methodologies – starting as early as in primary school.

[…] 

While traditionally being literate solely referred to the ability to read and write in a standardized form of one language, literate practices today incorporate multimodal, critical, cultural, and media competencies next to traditional-functional language skills, like reading, writing, speaking, mediating, and listening in many languages. 

One major aspect in this context is the changing nature of texts that has developed from advances in technology. Language learners today need to be able to cope with different kinds of texts, including multimodal, interactive, linear, and nonlinear texts, texts in different languages, texts with several possible meanings, texts being delivered on paper, screens, or live, and texts that comprise one or more semiotic system. 

In order to prepare students to actively engage in a socially diverse, globalized, and technological world, teachers need to find new forms of teaching and learning and provide opportunities for their pupils to explore, learn about, and critically engage with a broad variety of texts and differing literate practices. Still, the question remains open as to how these principles and objectives of a multiliteracies pedagogy translate into examples of good practice in school settings.

(Source: adapted from ELSNER, D. Developing multiliteracies, plurilingual awareness & critical thinking in the primary language classroom with multilingual virtual talking books. Encuentro 20, 2011, pp. 27- 38.https://archive.org/details/ERIC_ED530011) 

TEXT IV

Throughout the last 15 years our society has undergone two major changes: Firstly, there has been a steady rise of cultural and linguistic diversity, due to migration, multiculturalism and global economic integration; secondly, there has been the rapid development of technological devices and the world-wide expansion of new communications media. These changes directly affect the lives of our pupils at home and at school and thus have an important impact on curricular development, teaching objectives, contents and methodologies – starting as early as in primary school.

[…] 

While traditionally being literate solely referred to the ability to read and write in a standardized form of one language, literate practices today incorporate multimodal, critical, cultural, and media competencies next to traditional-functional language skills, like reading, writing, speaking, mediating, and listening in many languages. 

One major aspect in this context is the changing nature of texts that has developed from advances in technology. Language learners today need to be able to cope with different kinds of texts, including multimodal, interactive, linear, and nonlinear texts, texts in different languages, texts with several possible meanings, texts being delivered on paper, screens, or live, and texts that comprise one or more semiotic system. 

In order to prepare students to actively engage in a socially diverse, globalized, and technological world, teachers need to find new forms of teaching and learning and provide opportunities for their pupils to explore, learn about, and critically engage with a broad variety of texts and differing literate practices. Still, the question remains open as to how these principles and objectives of a multiliteracies pedagogy translate into examples of good practice in school settings.

(Source: adapted from ELSNER, D. Developing multiliteracies, plurilingual awareness & critical thinking in the primary language classroom with multilingual virtual talking books. Encuentro 20, 2011, pp. 27- 38.https://archive.org/details/ERIC_ED530011) 

TEXT IV

Throughout the last 15 years our society has undergone two major changes: Firstly, there has been a steady rise of cultural and linguistic diversity, due to migration, multiculturalism and global economic integration; secondly, there has been the rapid development of technological devices and the world-wide expansion of new communications media. These changes directly affect the lives of our pupils at home and at school and thus have an important impact on curricular development, teaching objectives, contents and methodologies – starting as early as in primary school.

[…] 

While traditionally being literate solely referred to the ability to read and write in a standardized form of one language, literate practices today incorporate multimodal, critical, cultural, and media competencies next to traditional-functional language skills, like reading, writing, speaking, mediating, and listening in many languages. 

One major aspect in this context is the changing nature of texts that has developed from advances in technology. Language learners today need to be able to cope with different kinds of texts, including multimodal, interactive, linear, and nonlinear texts, texts in different languages, texts with several possible meanings, texts being delivered on paper, screens, or live, and texts that comprise one or more semiotic system. 

In order to prepare students to actively engage in a socially diverse, globalized, and technological world, teachers need to find new forms of teaching and learning and provide opportunities for their pupils to explore, learn about, and critically engage with a broad variety of texts and differing literate practices. Still, the question remains open as to how these principles and objectives of a multiliteracies pedagogy translate into examples of good practice in school settings.

(Source: adapted from ELSNER, D. Developing multiliteracies, plurilingual awareness & critical thinking in the primary language classroom with multilingual virtual talking books. Encuentro 20, 2011, pp. 27- 38.https://archive.org/details/ERIC_ED530011) 

TEXT III

(Source: https://pt.wikipedia.org/wiki/Green_Book)

Here are six reviews on Green Book:

1.

The screenplay essentially turns Shirley into a black man who thematically shapeshifts into whoever will make the story appealing to white audiences - and that’s inexcusable.

Lawrence Ware New York Times

2.

Green Book is effective and affecting while being careful to avoid overdosing its audience on material that some might deem too shocking or upsetting.

James Berardinelli ReelViews

3.

In a world that seems to get uglier every day, this movie’s gentle heart and mere humanity feel like a salve.

Leah Greenblatt Entertainment Weekly

4.

A bizarre fish-out-of-water comedy masquerading as a serious awards-season contender by pretending to address the deep wound of racial inequality while demonstrating its profound inability, intellectually and dramatically, to do that.

Kevin Maher Times (UK)

5.

Sometimes life is stranger than art, sometimes art imitates life, and sometimes life imitates art. If life starts imitating hopeful art - that’s uplifting. That’s the goal of art, as I see it. “Green Book” uplifts.

Mark Jackson Epoch Times

6.

There’s not much here you haven’t seen before, and very little that can’t be described as crude, obvious and borderline offensive, even as it tries to be uplifting and affirmative.

A.O. Scott New York Times

(Source: https://www.rottentomatoes.com/m/green_book/reviews/)  

TEXT III

(Source: https://pt.wikipedia.org/wiki/Green_Book)

Here are six reviews on Green Book:

1.

The screenplay essentially turns Shirley into a black man who thematically shapeshifts into whoever will make the story appealing to white audiences - and that’s inexcusable.

Lawrence Ware New York Times

2.

Green Book is effective and affecting while being careful to avoid overdosing its audience on material that some might deem too shocking or upsetting.

James Berardinelli ReelViews

3.

In a world that seems to get uglier every day, this movie’s gentle heart and mere humanity feel like a salve.

Leah Greenblatt Entertainment Weekly

4.

A bizarre fish-out-of-water comedy masquerading as a serious awards-season contender by pretending to address the deep wound of racial inequality while demonstrating its profound inability, intellectually and dramatically, to do that.

Kevin Maher Times (UK)

5.

Sometimes life is stranger than art, sometimes art imitates life, and sometimes life imitates art. If life starts imitating hopeful art - that’s uplifting. That’s the goal of art, as I see it. “Green Book” uplifts.

Mark Jackson Epoch Times

6.

There’s not much here you haven’t seen before, and very little that can’t be described as crude, obvious and borderline offensive, even as it tries to be uplifting and affirmative.

A.O. Scott New York Times

(Source: https://www.rottentomatoes.com/m/green_book/reviews/)  

TEXT III

(Source: https://pt.wikipedia.org/wiki/Green_Book)

Here are six reviews on Green Book:

1.

The screenplay essentially turns Shirley into a black man who thematically shapeshifts into whoever will make the story appealing to white audiences - and that’s inexcusable.

Lawrence Ware New York Times

2.

Green Book is effective and affecting while being careful to avoid overdosing its audience on material that some might deem too shocking or upsetting.

James Berardinelli ReelViews

3.

In a world that seems to get uglier every day, this movie’s gentle heart and mere humanity feel like a salve.

Leah Greenblatt Entertainment Weekly

4.

A bizarre fish-out-of-water comedy masquerading as a serious awards-season contender by pretending to address the deep wound of racial inequality while demonstrating its profound inability, intellectually and dramatically, to do that.

Kevin Maher Times (UK)

5.

Sometimes life is stranger than art, sometimes art imitates life, and sometimes life imitates art. If life starts imitating hopeful art - that’s uplifting. That’s the goal of art, as I see it. “Green Book” uplifts.

Mark Jackson Epoch Times

6.

There’s not much here you haven’t seen before, and very little that can’t be described as crude, obvious and borderline offensive, even as it tries to be uplifting and affirmative.

A.O. Scott New York Times

(Source: https://www.rottentomatoes.com/m/green_book/reviews/)  

TEXT III

(Source: https://pt.wikipedia.org/wiki/Green_Book)

Here are six reviews on Green Book:

1.

The screenplay essentially turns Shirley into a black man who thematically shapeshifts into whoever will make the story appealing to white audiences - and that’s inexcusable.

Lawrence Ware New York Times

2.

Green Book is effective and affecting while being careful to avoid overdosing its audience on material that some might deem too shocking or upsetting.

James Berardinelli ReelViews

3.

In a world that seems to get uglier every day, this movie’s gentle heart and mere humanity feel like a salve.

Leah Greenblatt Entertainment Weekly

4.

A bizarre fish-out-of-water comedy masquerading as a serious awards-season contender by pretending to address the deep wound of racial inequality while demonstrating its profound inability, intellectually and dramatically, to do that.

Kevin Maher Times (UK)

5.

Sometimes life is stranger than art, sometimes art imitates life, and sometimes life imitates art. If life starts imitating hopeful art - that’s uplifting. That’s the goal of art, as I see it. “Green Book” uplifts.

Mark Jackson Epoch Times

6.

There’s not much here you haven’t seen before, and very little that can’t be described as crude, obvious and borderline offensive, even as it tries to be uplifting and affirmative.

A.O. Scott New York Times

(Source: https://www.rottentomatoes.com/m/green_book/reviews/)  

TEXT II

What to Know About the Controversy Surrounding the Movie Green Book

Depending on who you ask, Green Book is either the pinnacle of movie magic or a whitewashing sham. 

The film, which took home the prize for Best Picture at the 91st Academy Awards, as well as honors for Mahershala Ali as Best Supporting Actor and Nick Vallelonga, Brian Currie and Peter Farrelly for Best Original Screenplay, depicts the burgeoning friendship between a black classical pianist and his ItalianAmerican driver as they travel the 1960s segregated South on a concert tour. But while Green Book was an awards frontrunner all season, its road to Oscar night was riddled with missteps and controversies over its authenticity and racial politics. 

Green Book is about the relationship between two real-life people: Donald Shirley and Tony “Lip” Vallelonga. Shirley was born in 1927 and grew up in a well-off black family in Florida, where he emerged as a classical piano prodigy: he possessed virtuosic technique and a firm grasp of both classical and pop repertoire. He went on to perform regularly at Carnegie Hall— right below his regal apartment—and work with many prestigious orchestras, like the Chicago Symphony and the New York Philharmonic. But at a time when prominent black classical musicians were few and far between due to racist power structures, he never secured a spot in the upper echelons of the classical world. (African Americans still only make up 1.8 percent of musicians playing in orchestras nationwide, according to a recent study.) 

Vallelonga was born in 1930 to working-class Italian parents and grew up in the Bronx. As an adult he worked as a bouncer, a maître d’ and a chauffeur, and he was hired in 1962 to drive Shirley on a concert tour through the Jim Crow South. The mismatched pair spent one and a half years together on the road — though it’s condensed to just a couple of months in the film — wriggling out of perilous situations and learning about each other’s worlds. Vallelonga would later become an actor and land a recurring role on The Sopranos. 

In the 1980s, Vallelonga’s son, Nick, approached his father and Shirley about making a movie about their friendship. For reasons that are now contested, Shirley rebuffed these requests at the time. […]

(Source: from http://time.com/5527806/green-book-movie-controversy/)

TEXT II

What to Know About the Controversy Surrounding the Movie Green Book

Depending on who you ask, Green Book is either the pinnacle of movie magic or a whitewashing sham. 

The film, which took home the prize for Best Picture at the 91st Academy Awards, as well as honors for Mahershala Ali as Best Supporting Actor and Nick Vallelonga, Brian Currie and Peter Farrelly for Best Original Screenplay, depicts the burgeoning friendship between a black classical pianist and his ItalianAmerican driver as they travel the 1960s segregated South on a concert tour. But while Green Book was an awards frontrunner all season, its road to Oscar night was riddled with missteps and controversies over its authenticity and racial politics. 

Green Book is about the relationship between two real-life people: Donald Shirley and Tony “Lip” Vallelonga. Shirley was born in 1927 and grew up in a well-off black family in Florida, where he emerged as a classical piano prodigy: he possessed virtuosic technique and a firm grasp of both classical and pop repertoire. He went on to perform regularly at Carnegie Hall— right below his regal apartment—and work with many prestigious orchestras, like the Chicago Symphony and the New York Philharmonic. But at a time when prominent black classical musicians were few and far between due to racist power structures, he never secured a spot in the upper echelons of the classical world. (African Americans still only make up 1.8 percent of musicians playing in orchestras nationwide, according to a recent study.) 

Vallelonga was born in 1930 to working-class Italian parents and grew up in the Bronx. As an adult he worked as a bouncer, a maître d’ and a chauffeur, and he was hired in 1962 to drive Shirley on a concert tour through the Jim Crow South. The mismatched pair spent one and a half years together on the road — though it’s condensed to just a couple of months in the film — wriggling out of perilous situations and learning about each other’s worlds. Vallelonga would later become an actor and land a recurring role on The Sopranos. 

In the 1980s, Vallelonga’s son, Nick, approached his father and Shirley about making a movie about their friendship. For reasons that are now contested, Shirley rebuffed these requests at the time. […]

(Source: from http://time.com/5527806/green-book-movie-controversy/)

TEXT II

What to Know About the Controversy Surrounding the Movie Green Book

Depending on who you ask, Green Book is either the pinnacle of movie magic or a whitewashing sham. 

The film, which took home the prize for Best Picture at the 91st Academy Awards, as well as honors for Mahershala Ali as Best Supporting Actor and Nick Vallelonga, Brian Currie and Peter Farrelly for Best Original Screenplay, depicts the burgeoning friendship between a black classical pianist and his ItalianAmerican driver as they travel the 1960s segregated South on a concert tour. But while Green Book was an awards frontrunner all season, its road to Oscar night was riddled with missteps and controversies over its authenticity and racial politics. 

Green Book is about the relationship between two real-life people: Donald Shirley and Tony “Lip” Vallelonga. Shirley was born in 1927 and grew up in a well-off black family in Florida, where he emerged as a classical piano prodigy: he possessed virtuosic technique and a firm grasp of both classical and pop repertoire. He went on to perform regularly at Carnegie Hall— right below his regal apartment—and work with many prestigious orchestras, like the Chicago Symphony and the New York Philharmonic. But at a time when prominent black classical musicians were few and far between due to racist power structures, he never secured a spot in the upper echelons of the classical world. (African Americans still only make up 1.8 percent of musicians playing in orchestras nationwide, according to a recent study.) 

Vallelonga was born in 1930 to working-class Italian parents and grew up in the Bronx. As an adult he worked as a bouncer, a maître d’ and a chauffeur, and he was hired in 1962 to drive Shirley on a concert tour through the Jim Crow South. The mismatched pair spent one and a half years together on the road — though it’s condensed to just a couple of months in the film — wriggling out of perilous situations and learning about each other’s worlds. Vallelonga would later become an actor and land a recurring role on The Sopranos. 

In the 1980s, Vallelonga’s son, Nick, approached his father and Shirley about making a movie about their friendship. For reasons that are now contested, Shirley rebuffed these requests at the time. […]

(Source: from http://time.com/5527806/green-book-movie-controversy/)

TEXT II

What to Know About the Controversy Surrounding the Movie Green Book

Depending on who you ask, Green Book is either the pinnacle of movie magic or a whitewashing sham. 

The film, which took home the prize for Best Picture at the 91st Academy Awards, as well as honors for Mahershala Ali as Best Supporting Actor and Nick Vallelonga, Brian Currie and Peter Farrelly for Best Original Screenplay, depicts the burgeoning friendship between a black classical pianist and his ItalianAmerican driver as they travel the 1960s segregated South on a concert tour. But while Green Book was an awards frontrunner all season, its road to Oscar night was riddled with missteps and controversies over its authenticity and racial politics. 

Green Book is about the relationship between two real-life people: Donald Shirley and Tony “Lip” Vallelonga. Shirley was born in 1927 and grew up in a well-off black family in Florida, where he emerged as a classical piano prodigy: he possessed virtuosic technique and a firm grasp of both classical and pop repertoire. He went on to perform regularly at Carnegie Hall— right below his regal apartment—and work with many prestigious orchestras, like the Chicago Symphony and the New York Philharmonic. But at a time when prominent black classical musicians were few and far between due to racist power structures, he never secured a spot in the upper echelons of the classical world. (African Americans still only make up 1.8 percent of musicians playing in orchestras nationwide, according to a recent study.) 

Vallelonga was born in 1930 to working-class Italian parents and grew up in the Bronx. As an adult he worked as a bouncer, a maître d’ and a chauffeur, and he was hired in 1962 to drive Shirley on a concert tour through the Jim Crow South. The mismatched pair spent one and a half years together on the road — though it’s condensed to just a couple of months in the film — wriggling out of perilous situations and learning about each other’s worlds. Vallelonga would later become an actor and land a recurring role on The Sopranos. 

In the 1980s, Vallelonga’s son, Nick, approached his father and Shirley about making a movie about their friendship. For reasons that are now contested, Shirley rebuffed these requests at the time. […]

(Source: from http://time.com/5527806/green-book-movie-controversy/)

TEXT II

What to Know About the Controversy Surrounding the Movie Green Book

Depending on who you ask, Green Book is either the pinnacle of movie magic or a whitewashing sham. 

The film, which took home the prize for Best Picture at the 91st Academy Awards, as well as honors for Mahershala Ali as Best Supporting Actor and Nick Vallelonga, Brian Currie and Peter Farrelly for Best Original Screenplay, depicts the burgeoning friendship between a black classical pianist and his ItalianAmerican driver as they travel the 1960s segregated South on a concert tour. But while Green Book was an awards frontrunner all season, its road to Oscar night was riddled with missteps and controversies over its authenticity and racial politics. 

Green Book is about the relationship between two real-life people: Donald Shirley and Tony “Lip” Vallelonga. Shirley was born in 1927 and grew up in a well-off black family in Florida, where he emerged as a classical piano prodigy: he possessed virtuosic technique and a firm grasp of both classical and pop repertoire. He went on to perform regularly at Carnegie Hall— right below his regal apartment—and work with many prestigious orchestras, like the Chicago Symphony and the New York Philharmonic. But at a time when prominent black classical musicians were few and far between due to racist power structures, he never secured a spot in the upper echelons of the classical world. (African Americans still only make up 1.8 percent of musicians playing in orchestras nationwide, according to a recent study.) 

Vallelonga was born in 1930 to working-class Italian parents and grew up in the Bronx. As an adult he worked as a bouncer, a maître d’ and a chauffeur, and he was hired in 1962 to drive Shirley on a concert tour through the Jim Crow South. The mismatched pair spent one and a half years together on the road — though it’s condensed to just a couple of months in the film — wriggling out of perilous situations and learning about each other’s worlds. Vallelonga would later become an actor and land a recurring role on The Sopranos. 

In the 1980s, Vallelonga’s son, Nick, approached his father and Shirley about making a movie about their friendship. For reasons that are now contested, Shirley rebuffed these requests at the time. […]

(Source: from http://time.com/5527806/green-book-movie-controversy/)