Windows to Culture II A Reading comprehension Textbook “aae iG ~ — EScaneado con CamNTRODUCCION Windows to Culture If corresponde al segundo de los dos niveles del curso de Compren- sion de Lectura en Inglés disefiado en el Departamento de Comprensién de Lectura en Lenguas Extranjeras de la Facultad de Filosofia y Letras de la Universidad Nacional Autonoma de México (DELEFYL) y esta dirigido a las personas que requieran leer textos en inglés a nivel académico. Los objetivos del curso son los siguientes: que los alumnos desarrollen las habilidades para Ievar a cabo la comprension de textos en inglés, am- plien su vocabulario, efectien diversos tipos de lectura de acuerdo con sus propésitos especificos y apliquen los conocimientos lingiiisticos adquiridos. El curso se concentra ‘micamente en el aspecto de la comprensién de lectura y no incluye la produccién oral ni escrita, ni la comprensién auditiva. El libro contiene material para aproximadamente setenta horas de clase. Los textos contenidos en las unidades no estan simplificados; los temas de los mismos son de interés general y aparecen en un orden de dificultad ascendente. Los ejercicios corres- pondientes fueron disefiados para cumplir los diversos objetivos del curso; por esta raz6n, la mayoria aparecen en espafiol y la comunicacién dentro del salon de clase puede Ilevarse a cabo en este idioma. La practica constante de la lectura es indispensable para el debido aprovechamiento de este proceso de ensefanza-aprendizaje. Se requiere, por lo tanto, que los estudian- tes leven a cabo fuera de clase lecturas en inglés de cualquier tema que les resulte interesante. Cabe aclarar que este libro es el fruto de la labor de investigacion que durante mu- chos arios hemos Ilevado a cabo un grupo de maestras que, a la vez, hemos impartido el curso correspondiente; esto nos ha permitido mejorar el material a través de la retroalimentacién recibida de nuestros alumnos. Windows to Culture II contiene textos con ejercicios que constituyen una practica de las estrategias de comprensi6n de lectura mas importantes. Puesto que éstas son apli- cables a la lectura de todo tipo de textos, el libro puede ser utilizado por alumnos de cualquier disciplina o por cualquier persona que desee seguir un curso de comprension de lectura en inglés. Las Autoras tscaneago con LamsUNION VOTE BLOCKING WOMEN all the more a pity the process whi oe Pee the eed ee Party is stopped dead in its tracks by abour Your impressive feature by Murray Ritchie 20 block vote thrown behind a sitting, usualy to 5 on the way a trade union block vote can pre- Member. le, vent more women achieving elected office in Women MPs in the House of Commons politics should be reprinted in every news- already outnumbered by males by an absent, paper in Britain (July 3). It spelled out clearly to 1. This cannot be good for the parties. Novi the problem women face - especially in the 2 good for real democracy, as 1 understava 1 trade-union-backed Labour Party in getting word. Xe a fair chance to put themselves forward for Parliament. None of Britain's political par- Lesley Abdela, ties are particularly good on this. The Cottage, ‘The Labour Party in Parliament has a 90. Court Hill Farm, 18 very good record on women's equality and Potterne, the fair treatment of women. It’s therefore Wilts. Il. Después de haber leido la carta de una lectora dirigida al editor de The Glasgow Herald elige la opcién correcta para formar una oracién. The letter writer objects to the fact that a) the Labour Party will not allow more women into Parliament. b) a trade union block prevents more women from getting into Parliament. ©) the Labour Party does not provide fair treatment for women. 9) Murray Ritchie's feature article can influence Labour Party members to blod women from Parliament. m. ae siguientes enunciados, consulta el texto y anota V (verdadero) 0 F 0). Escribe el mamero de los renglones donde se encuentra la informaciés vV/F 2 1. The writer of the letter is probably a woman. —_— 2. i The writer wants the editor to reprint a feature article, — 10 Escaneado con CamSV/F R 3. The Labour Party is backed by trade unions. 4, Women are getting a fair chance to get into Parliament. a . The Labour Party is in favor of fair treatment of women. 6. The trade unions cannot block women from getting into Parliament. 7. There are more men than women in The House of Commons. . Blige la opcién correcta para responder a las siguientes preguntas. Comenta con tus compafieros de qué manera te ayudé el contexto a identificar la acep- cién adecuada en cada caso. What does “feature” mean? (paragraph 1) a) characteristic of b) prominent article in a newspaper ©) outstanding achievement a) noteworthy life story 2. What does “block” mean? (paragraph 1) a) obstruction, obstruct b) arrangement, arrange c) destruction, destroy d) inducement, induce 3. What does “backed” mean? (paragraph 2) a) base(d) b) maintain(ed) ©) found(ed) ) support(ed)4. What does ‘sitting’ mean? (paragraph 3) a) posing for a portrait, usually for long periods. b) a member of a court of law, e.g. Parliament, sitting continuously. 0) to be in a position in which the body is upright. 4) sitting motionless and therefore easy to kill. V. ELEMENTOS LINGUisTICOS A.Lee la siguiente ora .cién y contesta las Preguntas que aparecen a Continua. cién. The feature article by Murray Ritchie spelled out the problem women fax in the trade-union-backed ice - especially forward for Parliament. Labour Party-in getting a fair chance to put themselves 1. Qué significa”trade-union-backed Labour Party”? 2. gQué funci6n tienen las palabras en negritas en la frase anterior? 7 bl Bi inglés es un idioma sintético; en algunos articulos, cartas y notas Saeeeese can en los periédicos se concentra mucha informacién en un espacio limitado: frase at esto a menudo se recurre a Modificadores compuestos como los de la terior. mente B.Recuerda que en inglés los verbos compuestos se usan frecuente Estos verbos constan de un verbo y una particula. Ej. break away move up look up 12 Cscaledauo COM UdilsLa siguientes oraciones tomadas del texto contienen verbos compuestos. Subraya- los y anota su significado en la linea‘en blanco. Consulta tu diccionario sélo si es necesario. It spelled out clearly the problem women face... in getting a fair chance to put themselves forward for Parliament. ... the process where women could get to Parliament in larger numbers in the Labour Party is stopped dead in its tracks by a union block vote thrown behind a sitting, usually male, Member. VI. Como hemos visto, de acuerdo con la carta enviada al editor del periédico, los sindicatos en el Reino Unido no siempre ejercen una influencia favorable para las mujeres. gSucede algo semejante en tu pais? Anota algunos ejemplos.L 2 MAYA MURALS Esta es la primera parte de un articulo sobre pinturas murales mayas, Ant de leerlo, y de acuerdo con lo que sabes del tema, contesta lo siguiente, 7 1. Los mayas son famosos por sus pinturas murales. .Qué proporcion de estos murales crees que se haya conservado? a) considerable. b) minima. ©) regular. 2. gCuando crees que el descubrimiento de estos murales se lev6 a cabo? a) En el siglo XIX. b) En el siglo XVI. c) En el siglo XX. 3. gCuantas técnicas de pintura mural crees que utilizaron los mayas? a) una. b) dos. c) varias. Qué valor supones que tiene el color en estas pinturas murales? a) politico. b) simbilico. ¢) emotivo, = éCrees que existe Perspectiva en las pinturas murales precolombinas? a) si. b) no. ©) a veces, 14 Escaleauo Cor UdllsW. Haz una lectura global del texto temas: y anota en qué orden se tratan los siguientes ; Renglones Orden Perspective and size of human figures Conventions of Indian paintings Survival of ancient murals Murals as religious and historical paintings Discovery of ancient murals General characteristics of human figures and objects Techniques of mural paintings MAYA MURALS 1 Mural painting was employed as one of their means of artistic expression by all the peoples of advanced culture who inhabited present-day Mexico. As far back as several centuries before s Christ, walls of temples or palaces or tomb in- teriors were sometimes painted. But later, with the development of architecture, there was a corre- sponding increase of surfaces that permitted the execution of large murals, and so we find them even 10 on the vaults of maya ceilings. But painting being so susceptible to the depredations of time, nature and man, only a fraction of these ancient murals has survived, a number grossly disproportionate to that of the buildings themselves or the sculptures that we pos- sess. 1s Though the art is ancient its discovery is quite recent. The first description of Maya murals is to be found in a book by John Stephens, the great explorer of the Maya zone, which was published in 1843.* Little by little, further explorations, a more intense examination of sites difficult of access, and larger scale excavations have revealed a relatively important group of these priceless historical and artistic 2% monuments. ; There has been much discussion of the technique employed by the Indians in the painting of their murals. True fresco, dry plaster-painting (fresco secco) and + John L. Stephens (1805-1852). American Traveller Incidents of Travelin Central America, Chiapas and Yucatan (1841) and Incidents of Travel in Yueatan (1843). 15 Escaneado con Lamsother methods have been suggested. Actually it seems that the same method was not always used, but that the walls of Bonampak were certainly painted in fresco. The paintings were executed on a plaster which was several centimetres thick, and mineral colours were employed, though possibly mixed with some organic sub- stances. The pigments were carefully prepared, and a good number of colours were used, sometimes pure and sometimes diluted with white. First the outline was drawn in red, and the general composition thus determined. Next the solid background % colours were applied, leaving the figures blank, to be painted in subsequently in full detail. Finally these figures were outlined in black, a procedure which allowed any errors in the original drawing to be corrected. In some cases the black outline does not seem to improve the picture, but to be less well drawn than the original red. It is as if an assistant had botched the completion of his master’s work. 3% We cannot speak of these paintings in purely decorative terms. What we have are religious scenes or, as in the case of Bonampak or the Chichen Itza frescoes, scenes from life. These are really historical paintings. Indian painting is based on a series of conventions, a knowledge of which is necessary for their interpretation. Many of them have an aesthetic basis, but 40 others are primarily symbolic. The colour itself, for example, has a highly impor- tant symbolism; in the codices* many objects are distinguished only by the colour in which they are painted. This tells us whether a jewel is jade or gold, what a vessel i contains, or from what bird the feathers of a headress came. Colour has such importance in these peoples’ thought that even the points of the compass and times 45 of day have a distinguishing colour. Men are always shown with the face in profile even when the body is viewed from the front; and in such cases the legs are shown open with the toes pointing out- wards. When an object that should be in profile is important, it is turned and portrayed from the front; and one that should properly be out of sight is moved from its true position, so that the observer may see it. This is frequently the case with belt-fastenings, which are drawn at a person's side though they would actual- i ly be at the back. There is no perspective. More distant figures are placed above nearer ones with- out any reduction of scale. Sometimes, as at Chichen Itza, they are even drawn 65 larger because the spectator sees them from further off. In Teotihuacan a man’s size is determined by his importance, not by his distance. Except possibly at Bonampak, there are no portraits or individual features. A portrait in the western | sense is unknown. Nor would it ever have occurred to an artist to “sign” his work. It is the same with the tombs, which are equally anonymous. The Egyptian and sub- 6 sequent western idea of inscribing the name of the person buried was quite foreign to the native of Mexico. Paintings survive at many of the archeological sites, painted in various local styles that change at different periods. But since the illustrations of this book consist principally of details from the famous frescoes of Bonampak, we are chiefly concerned here with Maya painting and Maya culture. g “Painted books of days. calendars, genealogies, annals, etc. dating from before the Conquest, made principally” the Mixtec people of Central Mexico, 16 —_ Escaneado con CamSI. Lee los tres primeros parrafos nuevamente y anota V (verdadero) o F (falso). Escribe el nimero de Jos renglones donde se encuentra la informacion. V/F R 1.All the people of ancient Mexico : employed mural painting as a means of artistic expression. 2.In some cases they painted the walls of temples or palaces or tomb interiors. 3. Large murals were executed with the development of architecture. 4. Most of these murals survive up to the present. 5. The first person to describe the Maya murals was John Stephens. 6.All historical and artistic monuments were discovered before 1843. 7.The same fresco painting technique was used by the Indians in their murals. Lee los parrafos cuarto y quinto para completar las oraciones siguientes: 1. Las pinturas se ejecutaban sobre un emplasto y se empleaban mezclados con 2. Los colores que se utilizaban eran a veces ces. yave- 3. Lo primero que se hacia era. En seguida se aplicaban porque después 5. Finalmente las figuras se delineaban con color negro porque esto > y se dejaban las figuras 6. En algunos casos parece como si algé ayudante hubiera echado a perder el trabajo de su maestro porque . Estas pinturas no se pueden considerar solamente decorativas porque 17 Escaneado con CamSV. Ahora Ice los tres ultimos parrafos para responder a las siguientes preguntas; 9 - Por qué es necesario conocer las convenciones en las que se basan las pinturas indigenas? + Qué funcién tiene el color en estas pinturas? ¢Qué son los cédices? éComo se representa la figura masculina en las pinturas murales? Como se representa algun objeto importante que normalmente estaria de perfil? - Como se representa un objeto que normalmente no se veria o estaria guardado? eCémo se manejan los planos de distancia? 18 Escaneado con Lams8. gExisten retratos de alguna persona importante? 9. gComo se diferencia el arte prehispanico del arte occidental o del egipcio? VI. ELEMENTOS LINGUISTICOS A. Localiza en el texto los referentes de las siguientes palabras. their. 1) them — (. 9) others (r. 39) one (r. 49) ______ they (51) ________ Gnes: (09) them (r. 55) B. Recuerda que cuando se desea resaltar el resultado de la accién que se leva a cabo, se utiliza la voz pasiva. ‘Aveces se menciona al agente o a quien Ieva a cabo la accion. Fj. “Mural painting was employed as one of their means of artistic expression by all the peoples of advanced culture”. En otros casos no se menciona al agente. Fj. *...walls of temples or places or tomb interiors were sometimes painted.” 49 Escaleauo Cor UdllsSubraya las oraciones en voz pasiva que encuentres en el parrafo 4. Se menciona al agente en alguna de ellas? 2A qué crees que se deba esto? VI. .Cémo crees que se podria explicar que el arte prehispanico careciera de pers- Pectiva, que los artistas no “firmaran” sus obras y que las tumbas fueran anénimas? 20 Escaneado con CamS3 REVOLUTIONARY IDEAS I. Antes de leer el texto y de acuerdo con Io que sabes del tema, contesta las. siguientes preguntas. 1. gPor qué habia descontento entre muchos mexicanos con el gobierno de Don Porfirio Diaz? 2. gQué soluciones proponian sus opositores? I. A. Con frecuencia, la primera oracién o el primer parrafo de un texto sinteti- za el contenido del mismo. Lee el primer parrafo de “Revolutionary Ideas” y marca la opcién que creas que corresponde a la sintesis correcta. Una descripcién de los grupos de oposicién al régimen de Porfirio Diaz. Los intereses y ambiciones de Porfirio Diaz. Una descripcion de las caracteristicas del régimen porfiriano. B. Ahora lee nuevamente el pérrafo para verificar tu respuesta. 21 Escaneauo con UainsREVOLUTIONARY IDEAS 1 Between 1900 and 1910, the Diaz regime faced a growing opposition from diverse groups with varying interests and ambitions.For most of the period there was not much unity between the opposition groups in terms of either organization or agreement on desired reforms. Several organizations were formed for the purpose 8 of building a coherent political opposition with national platforms which could unify these diverse groups. One of the more significant reform themes was that of asserting national control over natural resources. A reform group especially important because of its later ideological influence developed under the leadership of Ricardo Flores Magén and his brothers. Ricardo began fighting against Diaz as a student in 1892, and in 1900 he and several others founded the newspaper Regeneracién. The paper had a sporadic existence, but it was an articulate source for nationalist and reform ideas. As the Flores Magon brothers moved from a legalistic, anti-Diaz to a revolutionary, anticapitalistic position, the newspaper reflected this increasingly militant and anti-Yankee view. In September 1905, Ricardo Flores Magon formed the organizing committee of the Mexican Liberal party in Saint Louis, and in July 1906 the committee issued a sweeping reform manifesto which foreshadowed many of the points later included in the Constitution of 1917. Among other things, the manifesto demanded that Mexicans be given preference over foreigners in economic matters to establish 20 equality of opportunity and that foreigners who acquired economic rights or concessions be treated as Mexican citizens. The eight-hour day for labor, the restriction of the church, and some type of land redistribution (especially of lands “illegally” acquired under Diaz) were also outlined in various parts of the program." Andrés Molina Enriquez was also one of the most influential and persuasive 2 articulators of reform ideas. His book Great National Problems -published in 1909- contained a detailed analysis of the problems of México and a prophetic discussion of the progression of the revolution."® Molina Enriquez developed in great detail the concept that reform in México had to be based upon the elaboration of an intensive Mexican nationalism and its enforcement upon all aspects of Mexican life. The % economy and politics of México were controlled by foreigners, especially North Americans, and their criollo allies in the Mexican upper class; Molina Enriquez believed that this power structure had to be broken in order for any real changes to take place in the living conditions of most of the people. His book constituted a significant step in the articulation of revolutionary nationalism in the underdeveloped 3 world, for Molina Enriquez clearly saw that the economic and cultural presence of the developed nations was an integral part of the status quo and that foreign interest 10 5 8 Manuel Gonzalez Ramirez, Planes politicos y otros documentos, vol.1 of Fuentes para ta hist” ria de la Revolucién Mexicana (México, D. F.,1954), 3.21. Antonio Diaz Soto y Gama collaborated i" the writing and later became the leading adviser to Emiliano Zapata. 18 Andrés Molina Enriquez, Los grandes problemas nacionales (México, D. F.,1909), 312-13: 338-40, 345-46, 357-60. 22 Escaneado con CamSwere part of the Indigenous power structure. But within this system reform and more equitable distribution of wealth would be difficult, if not impossible, to achieve. ‘Any real attempt to change the old order would produce conflict with foreign interests, since their power would be curtailed through the imposition of national controls. Molina Enriquez believed that revolutionary changes in México would have international repercussions. He also believed that in order for México to achieve its true national independence it would have to expound a particularly self-conscious nationalism in all areas of its culture, from articles of everyday consumption to the arts. Only in this manner could México resist the powerful influences from abroad and develop the cohesiveness needed for reform and development. ‘These views would be interesting; but beside the point if they were simply the musings of one man. But Molina Enriquez articulated the ideas and feelings of the reform-minded intellectuals and professionals who would help to make the revolution and shape the policies of the government. Some seven years after writing Great National Problems, the author participated in the writing of another document - article 27 of the 1917 Constitution. Observa el orden en que esta expuesta la informacién. Se habla del grupo de los hermanos Flores Magén y de Andrés Molina Enriquez. 1. gEn qué parrafols) se habla de los primeros? 2. gin qué parrafo(s) se habla del segundo? 3, gQué relacion tienen estos personajes historicos con la primera oracion del texto? Completa el esquema siguiente. Utiliza palabras o frases cortas que represen- ten y condensen el contenido. Grupos de oposici6n al régimen de Diaz: 23 Esctamleauv Con UalnsRicardo Flores Magén y su grupo: Periédico: Importancia del mismo: Cambios importantes que reflejé el periédico: Las demandas principales contenidas en el manifiesto del comité organizador del Partido Liberal Mexicano : Andrés Molina Enriquez: Libro:, Concepto que desarrolla en dicho libro: La estructura del poder y el cambio que propone: Los problemas que traeria dicho cambi 24 Escanleauy con vaisLa forma en que México podria obtener una verdadera independencia nacional: La contribucién de Molina Enriquez en relacién con la Revolucién y las politicas gubernamentales: ELEMENTOS LINGUISTICOS A. Recuerda que una palabra puede tener mas de un significado. Observa el si- guiente ejemplo. Ej. “For most of the period there was not much unity between the opposition groups in terms of either organization or agreement on desired reforms. Several organizations were formed for the purpose of building a coherent political opposition...” En el primer caso, la palabra “for" significa “durante”, en el segundo, significa “con”. Escoge la opcion que corresponda a cada una de las palabras encasilladas. 1. “Ricardo Flores Magén began fighting against Diaz as] a student.” (r. 10) a) a medida que b) cuando era o) tan 2. “The paper had a sporadic existence, but it was an articulate source for] nationalist and reform ideas.” (r. 12) a) por b) para c) durante 25 Escaneado con Lams3. “ [As] the Flores Mag6n brothers moved from a legalistic, anti-Diaz to a revoly. tionary, anti-capitalistic position...” (r. 12) a) a medida que b) cuando eran c) tan - “Among other things, the manifesto demanded that Mexicans be given preference over foreigners in economic matters [fo] establish equality of opportunity...” (r. 18) a) hacia ba c) para 5. “His book constituted a significant step in the articulation of revolutionary nationalism presence of the developed * (x, 33) 2 “Any real attempt to change the old order woul interests, [Since] this power would be curtailed ld produce conflict with foreign ” (x. 39) a) desde b) a partir de ©) puesto que B.En el primer nivel viste que la terminacién in subrayada y anota su funcién. 1. ... the Diaz regime faced a growing opposition from diverse groups. creciendo, creciente, crecimiento 2. Several organizations were fo rmed for the purpose of building a coherent political opposition. construyendo, construir, construccion 26 Escamleauv Con Valls3. One of the more significant reform themes was that of asserting national control over natural resources. estableciendo, establecer, establecimiento 4. Ricardo began fighting against Diaz as a student in 1892... luchando, luchar, lucha ... Ricardo Flores Magén formed the organizing committee of the Mexican Liberal Party .... organizando, organizador, organizacién _.. The committee issued a sweeping reform manifesto .... arrollando, arrollar, arrollador 7. These views would be interesting but beside the point if they were simply the musings of one man. pensando, pensantes, pensamientos VI. Lectura critica. En tu opinién, gse podrian aplicar los puntos de vista de los grupos de oposi- cién a Diaz a la situacién actual de México? ePor qué? 27 Escaneado con Cams4 HUMBLE TORTILLA El texto que vas a leer trata sobre Ia importante en la dieta de fermedad. tortilla como un elemento nutritivo los mexicanos que ayuda a prevenir cierta en- Qué sabes sobre este tema? Ahora lee el texto y verifica tu respuesta. HUMBLE TORTILLA WARDS OFF ANCIENT ILLNESS For thousands of years the inhabitants of deficiency disease known as chance or by intent is not kno not exist in Mexico. This is especially notable since pellagra has been found to result, in some cases, from a diet high in corn, a Mexican sta ancient Mexico were free of a vitamin pellagra. Whether they acquired this knowledge by wn. But the fact remains that even now pellagra does y of Tehuacan, Pue. Subjected to the carbon-14 dating process, they proved to be approximately 15,000 years old. These small corn cobs probably came from the teocinte, Nahuatl for “wild corn plant.” Over the centuries, probably by mutation and cross-pollenization. present-day corn with its long cob and large kernels was developed. ‘This grain was Such an important part of the diet of the Mayans that one of their myths asserts that man himself was created from an ear of corn. 28 Escaneado con CamSThe discovery of corn as a food was important in transforming the indigenous 15 tribes from nomads into sedentary cultivators of food crops. Corn may, indeed, have contributed to the eventual development of the magnificent pre-Columbian civilizations. This possibility is illustrated by paintings found on the walls of one of the palaces excavated on the site of the ancient city of Teotihuacan, north of México City. They depict Tlaloc, god of rain, sowing kernels of corn as a gift of the gods to man. Corn supplies many important components necessary for a balanced diet: sugar (corn is rich in starches), polyunsaturated oil (low in cholesterol) and almost all of the aminoacids contained in animal protein. Thanks to the eminent Mexican scientist : e Massicu, it was found that corn is low only in the aminoacids tryptophane and lysine. When the white man “discovered” the Americas, he also discovered corn, which he took back to Europe. However, whenever non-Indians ate corn in large amounts, they became sick. Their skin cracked and they developed open sores which became infected, causing much suffering and eventual death. In 1735, a renowned physician of the court of Spain, Gaspar Casal, defined this disease and described its characteristics, giving it the name “pellagra” (from the Latin pellis, “skin” and acre, “seizure’). The plague affected northern Italy, France and New York and Massachusetts, where the settlers had learned to cultivate corn from the Indians. In later years, pellagra spread to the southern part of the United States, where corn bread and hominy grits {a corn product) had become favorite foods. Pellagra was not associated with the eating of corn as a diet staple. After all, the indigenous people ate almost nothing but corn, and they didn’t have pellagra. In 1925, Joseph Goldberger demonstrated that pellagra was caused by a vitamin deficiency, and later, in 1938, C.A. Elvehjem established the relationship between 40 pellagra and canine black tongue, also caused by vitamin deficiency, and the curative effect on them of liver extract, which contains nicotinamide, a derivative of nicotinic acid (niacin). Then, during research at the National Nutrition Institute (INN) in 1950, Rene Cravioto and his collaborators found that corn contains at least 2 milligrams of The acid is a form of vitamin obtained from nicotine 4 nicotinic acid per 100 grams. by an oxidation process involving the addition of nitric acid. Nicotinic acid cannot be extracted from tobacco by smoking it or chewing it nor can it be separated from corn during digestion, it is eliminated from the body without having been utilized. However, it can be liberated by hydrolyzing corn kernels in a hot alkaline solution. s0 The pre-Hispanic peoples of Mesoamerica prepared their corn by boiling it with lime obtained from burning seashells, forming a dough from which tortillas were alled nixtamal in Nahuatl, the language of the made. This traditional process was c: : tees. The dough is still used today to make such staples of Mexican cuisine as tacos, tostadas, atole (a kind of drink) and the ever popular tamal. whose Nahuatl & name tamallt was decived from nixtamal. It seems unlikely that the Mayas of the sarees knew that by using lime water they were releasing nicotinic acid from their corn and thus preventing pellagra. It is more likely that they discovered that the lime water served to give the dough a malleable texture so that it could be formed 29 Escaneado con CamSinto tortillas. Thus, by a kind of serendipity, they saved their descendants from the scourge of pellagra, for not one case has ever been reported in Mexico. The old practice has not been lost on modern Mexican governments. In 1952, the government of Mexico obtained a patent on an industrial process for preparing corn in lime water commercially and is still receiving royalties on a technique basically worked out by Mexico's Maya-Aztec forebears. Large international companies such as Quaker Oats pay the royalties and use the patent to manufacture corn products, Pellagra is no longer widespread. 1. 2. 3. 4, Contesta las siguientes preguntas. Consulta el texto. éCual es el mito maya acerca de la creacién del hombre? zEn qué paises se extendié la pelagra? éCémo preparaba el maiz la gente de Mesoamérica? éPara qué usaron el agua de cal los habitantes de México? II. Escoge la opcién que corresponda. Consulta el texto. 1 x . gCuando ha habido pelagra en México? a) durante la época de la conquista. b) nunca. ©) antes de la llegada de los espaiioles. . Se sabe que los indigenas comian maiz porque a) se encontraron pequefias mazorcas en excavaciones. b) los indigenas tenian pelagra. ¢) lo trajeron los esparioles. 30 Cscaledauo COM Udills3. El término pelagra se utilizé por primera vez en a) América. b) Espana. ©) Italia. IV. Lee el texto cuidadosamente y anota V (verdadero) 0 F (falso). Escribe el name- ro de los renglones donde se encuentra la informacién. v/F R 1. El descubrimiento del maiz contribuy6 al desarrollo de los mayas en la época prehispanica. 2. Los indigenas ofrendaban maiz a sus dioses. 9 El maiz llegé a Europa después del descubrimiento de América. 4, Gaspar Casal demostré que una defi- ciencia vitaminica era la causa de la pelagra. a . Joseph Goldberg dijo que la pelagra era propia de los fumadores. 6. René Cravioto y sus colaboradores descubrieron que los pueblos prehis- panicos preparaban el maiz hirvién- dolo con cal. 7. Los mayas y los aztecas sabian que al utilizar agua de cal evitaban contraer la pelagra. 2 . El gobierno de México recibe regalias por la patente del proceso de elaboracién del nixtamal. 31 Escaneado con CamSV. ELEMENTOS LINGUISTICOS ‘A.De acuerdo con el contexto, elige el significado que te parezca mas ade. cuado. 1. staple (©. 6) a) yerba b) alimento basico ¢) verdura 2. cobs (r. 7) a) mazorcas b) granos ©) cafias 3. wild (r. 9) a) cultivado b) silvestre c) primitivo 4. kernels (r. 11) a) hojas b) granos ¢) elotes 5. crops (r. 15) a) cosechas b) alimentos c) granos 6. sow(ing) (r. 20) a) coser b) plagar ¢) sembrar 7. became sick (r. 28) a) se enfermaban b) se morian c) se mareaban 8. settlers (r. 33) a) cazadores b) nativos ¢) colonizadores 9. unlikely (r. 55) a) poco probable b) imposible ©) indeseable 10. likely (r. 57) a) gustar b) probablemente c) gustosamente Esctamleauv Con VallsB.En el texto aparecen algunos cognados falsos, como inhabitants, ancient y lime. Son palabras de morfologia similar al espafol, pero con signifi- cado diferente que puedes identificar por el contexto; explica qué signi- ficado tienen estas palabras en el texto. Consulta el diccionario en caso de duda. VI. 4Qué conocimientos nuevos adquiriste en este articulo? 33 Esctamleauy Con Ualns5 THE FIVE PROCESSES OF TEACHING I. Lee a continuacién los enunciados sobre procesos de ensefianza y anota y (verdadero) o F (falso). Escribe el nimero de los renglones donde se encuentra la informacién. Después consulta el texto y coteja tus respuestas. V/F R - Actualmente se entiende por conocimiento los métodos © conceptos que el sujeto emplea para dar orden a sus experiencias. - El conocimiento consiste en la acumulacién de informacién y el acopio de datos. - El maestro debe saber como se produce el conocimiento. » Una de las funciones del maestro es la identificacion de problemas educativos y la adopcién de medidas para resolverlos. 5. Al maestro no le corresponde elaborar objetivos educativos. 6. El maestro tiene la responsabilidad de organizar el curriculum, el contenido del aprendizaje, las ideas, métodos, valores, recursos y evaluacién. 7. El maestro debe saber qué métodos son adecuados para acercarse al alumno. 8. Es obligacién del maestro dejar a un lado sus sentimientos personales y dedicarse a alcanzar sus objetivos educativos. 9. El maestro debe tener conciencia de las repercusiones sociales de su trabajo. 10. Es ms importante en el trabajo del maestro la relacion con los alumnos que la relacién con sus colegas. Escaneado con CamSV/F R 11. El maestro debe tratar de mantener la autoridad y las normas establecidas. 12. El maestro debe mantenerse firme y no renunciar a su personalidad ni cambiar sus practicas educativas. THE FIVE PROCESSES OF TEACHING This book analyzes teaching into five processes. All these processes are interrelated and, in reality, inseparable. None can stand alone. And yet, for analysis we have come to think of teaching in terms of these areas of reality that the teacher must deal with if he is to become a fully effective educator. Each process of teaching involves effective control over a certain reality that is essential to teaching. Making and Using Knowledge. The teacher must understand what is modernly meant by “knowledge” - those methods or concepts one uses to organize life's experiences - and he must know how to instill this operational knowledge in students. Knowledge is not simply data or information, it is the ways one goes about seeking data and drawing generalizations. The teacher must therefore know a lot about truth and fallacy, about evidence and bias, about the nature of theory. He needs to know what scholarly inquiry is, how knowledge is produced, held, used, and made obsolete. Because he will have to help children learn about scholarly disciplines by practicing these disciplines with them, he needs to know what it means to practice 1s. scholarship. Shaping the School. Every teacher must develop strategies whereby he can identify critical educational problems and, along with his colleagues, make decisions toward solving them. In developing curricula with his colleagues, he has to make decisions about educational objetives and about the methods and procedures most 2 likely to achieve the objetives. He has to organize curricula around coherent themes so that the growth of the students’ knowledge from year to year is cumulative rather than dispersive or sporadic. These curricula, in brief, will deal with content or subject matter, with ideas, methods, and values to be taught, with instructional resources, with the organization of students into classes or groups, with testing % and evaluation, and with every other general educational influence on students. Every teacher must learn how to cooperate with his colleagues to make comprehensive decisions affecting these several interacting problems. ‘Teaching with Strategy. For carrying out the various curricular decisions, the teacher must learn how to employ a wide range of teaching strategies - that is, 3% methods of approaching the students. He must find appropriate methods and materials and then reward the behaviors he wants to encourage in students and inhibit 35 Escaneado con CamSi needs to teach didactically as es enn ops he tao ah ate Sais portant the teacher must exis self-control with student, ee room feclings or needs do not nteriere with his efforts to carry out et decisions, In short, what he must learn is how to implement curricular a ae seseceh Climates. The teacher must learn how to work with groups of people - students and colleagues, both children and adul ts, He mus Tecognize his effect on groups and their effect on him. As a mernber ofa team teachers, he must Imow both how to lead and how to cooperate. Wit ne must further know how to stimulate their own ability to lead and cooperate i setes, fa shared search for knowledge. All this calls for an ability to “periment with varieties of organization, to compromise with fellow teachers on plans an Procedures, and to diagnose the needs and interests of children who must be organized. Controlling a Teaching Personality. The teacher must learn to cope with himself, He must i i work deliberately to imp: Personality or practices, The teacher in summ: rove it; he cannot affoy aay must learn to control five processes of teaching: making and using knowledge, shaping the School, teaching with strategy, creating interpersonal climates, and controlling a teaching Personality. All of these, it should be emphasized, are processes, Teaching is a fluid interplay of events One cannot “just know the subject and teach it” because the subjects themselves are ever changing. The physics of 1986 is not the Physics of 1966. The art of. today is not the art of 1920. The social movements now shaping the world Were not imagined by the best minds of a generation ago. ‘The situations of teachi change too. The motion picture, the Paperback press, the development simultaneously of the inost literate population and the densest slums, the growing demand for universel ed all these developments have acation up through the college grades transformed and are transforming the world of the Seoel. In 1950 the teacher was still thers Now he is more "< member of an instructional t. The teacher of a generati 36 Escaneado con CamSII. Lee rapidamente el texto y anota en inglés los procesos de ensefanza restantes. The five processes of teaching: 3, Making and using knowledge 2. II. Contesta lo siguiente. 1. gA qué procesos mencionados antes se refiere la frase “these processes” en el renglon 1? 2. zQué es “this operational knowledge” mencionado en el renglén 8? 3. gCudales son las disciplinas a que se refiere “these disciplines” en el renglon 14? 4. gA qué se refiere “them” en el renglon 18? 5. gA qué se refiere la frase “all this” en el renglon 43? 7 Esctafleauy Con Ualns6. ZA qué se refiere la frase “all these developments” en el renglon 68? IV. ELEMENTOS LINGUISTICOS A. NEXOS 1.Como viste en el primer libro, la palabra “yet” generalmente sefiala un contraste entre la idea que la precede y la idea siguiente. Localiza “yet” en el renglén 2 y escribe en tus Ppropias palabras las dos ideas contrastantes. 2. “Therefore” (renglén 10) por lo general indica que la idea presentada a continuacién es consecuencia de lo dicho anteriormente. Escribe en tus propias palabras la causa y la consecuencia unidas por “therefore”. 3.Las frases “in brief” (r. 22), “in short” (r. 36), 0 “in summary” (r. 57) por lo general van seguidas de una sintesis de lo dicho antes. Localizalas en el texto y subraya la sintesis. 4.La frase “that is” (r. 29) con frecuencia indica que el autor expresard en otras p* labras lo que ha dicho previamente. Localiza esta frase en el cuarto parrafo y su" braya la oracién que expresa en otras palabras lo dicho anteriormente. 38 Escaneado con CamSB. El verbo auxiliar “must” se emplea frecuentemente en “The Five Processes of Teaching”. Este verbo indica deber u obligacién. Localiza cinco frases en que el autor menciona obligaciones del maestro y explicalas en tus propias palabras. V. gEstas de acuerdo con los deberes u obligaciones del maestro segiin lo expone el autor? Da tus razones. 39 Escaneado con CamS6 THEATRE AND METHODS OF STAGING Antes de leer el texto, contesta lo siguiente. 1. gEn qué consiste la puesta en escena de una obra de teatro? 2. Aparte del método tradicional, gconoces otro tipo de escenificacién? gCual? THEATER AND METHODS OF STAGING While a dramatist may write a play in the privacy of his study, its presentation before an audience is an art that includes many more elements besides the text. Stage production is a collaborative effort which includes contributions by the actors. the director, the designer of the stage settings and costumes, the technicians and - in the case of musicals or dance dramas - the singers and dancers, the composer. the librettist, the choreographer, the orchestra, and the conductor. That this collaboration should result in an artistic synthesis producing a unified impression is a credo that had remained unchallenged since its formulation by Richard Wagner. More recently, however, it has met with opposition in the theory of the German dramatist-director Bertolt Brecht who believed in non-magical effects and insisted on the independence of the separate theatrical elements. 40 Esctafleauv Con VallsTo understand the issues involved here, one must recall that the traditional method of staging has been on a platform surrounded on at least three sides by the audience. This method may be designated as “conventional”, the word being used in a purely technical sense to indicate that special stage conventions are in use. The stage action takes place in the same room which encloses the audience; the performers are obviously actors, and the settings are scenic structures. This platform style is the method of the ancient Athenian theatre, of the stage of Shakespeare, and of the traditional Chinese and Japanese stages among others. In contrast, there is the current method of Europe and America, a form that may be termed “illusory”, since it attempts to create an illusion that the audience is not ina theatre at all. Its psychology is that the audience is watching an action - whether in reality or in fantasy - that has never been planned by a dramatist or rehearsed by actors. In the case of the illusory theatre, the audience is separated from the performers by means of the proscenium and the stage curtain, and the playgoer seems to be watching a lighted picture inside the proscenium frame. It is evident that the picture stage lends itself more readily to the integration of theatrical elements that does the platform stage, since the latter obliges the spectator to rely on his own imagination. The spectator attending a platform production is not “carried away” or entranced into believing he is watching animated images in his own mind: instead he is taking part in a ceremony shared with the actors. Areturn to the platform stage was advocated by such “theatricalists” as Reinhardt, Copeau, and Meyerhold, who considered the platform technique more honest and compelling than the illusory form. Not even Meyerhold, however, went as far as Brecht who chose to deal with epic events rather than individual or family fortunes and approached his themes with an attempt at scientific detachment. A performance for Brecht was a means of edifying and teaching an audience. His “learning plays” made use of platform staging but with a utilitarian rather than spectacular purpose: he conceived of a stage performance as a sort of glorified lecture, to be accompanied at times by lantern-slide projections, film sequences, or editorial comment broadcast over a loudspeaker. Only the future can determine whether the Wagnerian or the Brechtian method will prevail, or if there will be some ingenious combination of both. Lee el texto para localizar la informacién sobre los temas de Ja lista a conti- nuacién. Anétala con tus propias palabras. 1. El “credo” de Richard Wagner a Escaneauo Cor Valls2. La teoria de Bertolt Brecht 3, El método de escenificaci6n tradicional o “convencional” 4. El método de escenificacién actual o “ilusorio” en Europa y América 5. El retorno al teatro de plataforma por el que abogan varios dramaturgos IH. Liena el siguiente cuadro para completar la informacién sobre los dos princi- pales métodos de escenificacién. Consulta el texto. Los dos métodos Otras formas de designar Lugares y épocas principales de estos métodos en que se han escenificacién empleado Traditional A method which may The ancient method of be designated as Athenian theater, staging _— ey the stage of indicating that special stage conventions are | style the traditional in use. and stages The current A form that may be Europe and method of termed * staging since it attempts to stage create an illusion. 42 Cscaleduo COM UdillsIV. Escoge la opcién que corresponda. Consulta el texto. 1. The credo formulated by Richard Wagner stated that stage production is a) a dramatist's creation of a play and its production before a group of people. b) an art which includes many elements besides the text of the play written by a dramatist. ©) a collaborative effort resulting in an artistic synthesis and producing a unified impression. x . Bertolt Brecht was a German dramatist-director who a) opposed the credo of Richard Wagner. b) wanted to integrate the elements in stage design. ©) believed that a theatrical theory was necessary. 3. One of the differences between the platform stage and the picture stage is that in the former a) theatrical elements are completely integrated. b) there are more scenic structures. ©) the audience surrounds the platform on at least three sides. 4. Another difference between the platform stage and the picture stage is that in the latter a) the spectator relies more on his imagination. b) the integration of theatrical elements is more feasible. ©) the playgoer takes part in a ceremony. 43 Escaneado con CamS5. Reinhardt, Copeau, and Meyerhold were famous “theatricalists” who a) advocated a return to the platform stage. b) preferred the illusory form. ©) dealt not only with epic events, but with family fortunes. 6. Bertolt Brecht made use of the platform stage in order to a) teach the people who went to see his plays. b) make the performance more real. ©) present a spectacular production. Vv. ELEMENTOS LINGUIsSTICOS Recuerda que los nexos relacionan ideas dentro de un enunciado o entre dos o més enunciados. Lee las siguientes oraciones, observa los nexos subraya- dos y escoge la opcién que expresa la funcién de cada uno. . Stage production is seen as an artistic synthesis producing a unified impression. Recently, however, this credo has met with opposition. a) alternativa b) propésito ¢) contraste, oposicién o diferencia 2. In contrast, there is the current method of Europe and America, a form that may be termed illusory, since it attempts to create an illusion. a) condicion b) causa ©) propésito 3. Its psychology is that the audience is watching an action whether in reality of in fantasy. a) alternativa b) concesién c) causa 44 Escaneado con CamS4.In a platform producti lon the spectator is not entranced into believing he is watching animated images in his own mind, instead, he is taking part in a ceremony shared with the actors. a) comparacion b) concesion ©) alternativa 5. Not even Meyerhold, however, went as far as Brecht who chose to deal with epic events rather than individual or family fortunes. a) alternativa b) adicion ¢) condicién. . Contesta lo siguiente. 1. Hoy en dia, gqué tipo de escenificacién crees que es mas conocido? 2. ¥ gpor qué crees que se prefiera? 45 Escaneado con Lams7 DEMOCRACY Antes de leer el texto, contesta lo siguiente. 1. gQue definicion conoces de Democracia? 2. Crees que algunas veces se usa indebidamente dicho término? 3. Expresa tu opinién al respecto. DEMOCRACY Democracy, like liberty or science or progress, is a word with which we are all so familiar that we rarely take the trouble to ask what we mean by it. It is a term, as the devotees of semantics say, which has no “referent” ~ there is no precise or palpable thing or object which we all think of when the word is pronounced. On the contrary, it is a word which connotes different things to different people, a kind of conceptual Gladstone bag which, with a little manipulation, can be made to accommodate almost any collection of social facts we may wish to carry about in it. In it we can as easily pack a dictatorship as any other form of government, We have only to stretch the Concept to include any form of government supported by a majority of the people, for whatever reasons and by whatever means of expressiny assent, and before we know it the empire of Napoleon, the Soviet regime of Stalin, be necessary, therefore, to define it, to attach to the word a sufficiently precisé meaning to avoid the confusion which is not infrequently the chief result of such discussions, 46 Escaneado con CamS% All human institutions, we are told, have their ideal forms laid away in heaven, and we do not need to be told that the actual institutions conform but indifferently to these ideal counterparts. It would be possible then to define democracy either in terms of the ideal or in terms of the real form - to define it as government of the people, by the people, for the people; or to define it as government of the people, by the politicians, for whatever pressure groups can get their interests taken care of, but as a historian I am naturally disposed to be satisfied with the meaning which, in the history of politics, men have commonly attributed to the word - a meaning, needless to say, which derives partly from the experience and partly from the aspirations of mankind. So regarded, the term democracy refers primarily to a form of government, and it has always meant government by the many as opposed to government by the one-government by the people as opposed to government by a tyrant, a dictator, or an absolute monarch. This is the most general meaning of the word as men have commonly understood it. In this antithesis there are, however, certain implications always tacitly understood, which give a more precise meaning to the term. Peisistratus, for example, was supported by a majority of the people, but his government was never regarded as a democracy for all that. Caesar's power derived from a popular mandate, conveyed through established republican forms, but that did not make his government any the less a dictatorship. Napoleon called his government a democratic empire, but no one, least of all Napoleon himself, doubted that he had destroyed the last vestiges of the democratic republic. Since the Greeks first used the term, the essential test of democratic government has always been this: the source of political authority must be and remain in the people and not in the ruler. A democratic government has always meant one in which the citizens, or a sufficient number of them to represent more or less effectively the common will, freely act from time to time, and according to established forms, to appoint or recall the magistrates and to enact or revoke the laws by which the community is governed. This I take to be the meaning which history has impressed upon the term democracy as a form of government. . El autor se refiere a “Gladstone bag” como una bolsa muy flexible donde todo se puede acomodar. Nos dice que si se manipula la palabra “democracia” para acomodar toda clase de hechos sociales, se puede llegar a tales exageraciones como para incluir dentro de este término a ciertos gobiernos que no reanen las caracteristicas de una verdadera democracia. A. Anota cuales son. yy 2) 3) 4) 4a Escaneauo con vansB.El autor hace una propuesta para definir el término “democracia”. Anota cual es. MI. Después de leer el segundo pirrafo ,cudles crees que son las dos fo rmMas como se puede definir la democracia y cuales son sus caracteristicas? IDEAL REAL of. of. by by for for IV. Los tres ejemplos con que “democracia” contienen siguiente: justifica el autor la necesidad de precisar el término una idea de contraste con but. Localizalos y anota lo GOBERNANTES ORIGEN DE SU GOBIERNO CARACTERISTICAS Peisistratus Caesar Napoleon V. Anota la acepcién que, como historiador, da el autor. 48 Escaneado con CamSvi. ELEMENTOS LINGUisTIcos Recuerda que a veces hay frases que interrumpen las oraciones, generalmente con la finalidad de ampliar la informacién. Estas interrupciones se presentan entre comas en la mayoria de los casos. 1. “All human institutions, we are told, have their ideal forms laid away in heaven...” (r. ) “Iam naturally disposed to be satisfied with the meaning which, in the history of Politics, men have commonly attributed to the word...” (r. ) --no one, least of all Napoleon himself, doubted that he had destroyed the last vestiges of the democratic republic.” {r. ) 4. “A democratic government has always meant one in which the citizens, or a sufficient number of them to represent more or less effectively the common will, freely act from time to time. Localiza otros ejemplos en el primer parrafo del texto. é i6n, % é i llegas respec- ‘VI. Di és de haber trabajado esta leccién, 4a qué conclusiones Tlegas resp to al concepto “democracia”? Comparalas con tu definicién inicial. Discite- las en grupo. 49 Escaneado con CamS8 NERO, THE ARTIST _ lustful, Nero nevertheless had genuine artistic leanings, Hert fu nang aoe The Sc eh suing amen do not suggest total lack of merit. He took great trouble to improve El somewhat husky voice (‘vox exigua et fusca), by lying with heavy lead sheets on his chest in order to strengthen his diaphragm, and by dieting and purging. He studied the playing of the harp with great determination. That he should appear in private performances as singer, artist, actor or poet was harmless enough, as also was his Passion for horsemanship. 7 But unfortunately he gained an exaggerated idea of his abilities and craved wider audiences, and here he met opposition from the aristocracy, for an emperor to perform in public shocked Roman sentiment. Further, he had a genuine interest in Greek art, and wanted to introduce Greek Games into Rome, including athletic contests, chariot driving, and competitions in poetry, music and oratory. It may be that one of the causes of his quarrel with his mother was her opposition to the development of these interests. Certain it is that after her death he gave full rein to them. In 57 he had forbidden gladiatorial combats to be fought to the death, presumably not from humaneness but because such games were unHellenic. In 59 he held Ludi Juvenales, gymnastic and artistic competitions, in his own gardens, at which a special body of young aristocrats, the Augustiani, took part. Citizens had taken part in the games of Greece, and Nero intended senators and knights to follow this example. In 60 he established quinquennial Neronia, based on the Olympic games. He himself appeared as singer, harpist and charioteer: one of the functions of the Augustiani was to act as his claque. In 61 he built a gymnasium and Baths (the thermae Neroniane). In 64 he appeared on the stage at Greek Naples. When he presided at these games, men might wonder whether he did not resemble a Hellenistic King rather than Roman emperor. Having thrown off all restraint in this field, Nero was encouraged to indulge his less reputable desires and rid himself of any who stood in his way: in 62 treason {tials started again. When Burrus died, possibly a natural death, Nero appointed two praetorian prefects, Faenius Rufus and a vicious Sicilian, Ofonius Tigellinus, who had managed to become Prefect of the Vigiles. Without Burrus and unable any longet to rely on the praetorian Guard, Seneca was powerless and was forced into retirement. While Tigellinus pandered to Nero's vices, Poppaea persuaded him to divorce Octavia and marry her. Octavia was banished, but a false rumor that she was going to be reinstated led to public demostrations in her favour. Nero acted promptly: he accused her of adultery with Anicetus and treason. She was put to death and Anicetus, an awkward accomplice of Nero in the murder of Agrippina, was neatlf banished. Nor did Nero part of the reign was now lost, and Nero wa bei ted by unbridled power To the hatred of the Senate was next added that of the meople ct Rema that of the people of Rome. 50 Escaneado con CamSLee el texto y a continuacién marca la opcién que consideres correcta. 1. A pesar de sus defectos, Nerén tenia inclinaciones artisticas y, segiin el texto, a) se podria decir que era un poeta destacado. b) lleg6 a producir una gran cantidad de poemas. c) sus poemas podrian haber tenido cierto mérito. 2. gPor qué se enfrenté con la oposicién de la aristocracia? a) Porque le gustaba actuar en piiblico. b) Porque tenia un concepto exagerado de sus habilidades. ©) Porque le gustaba impresionar con actitudes exageradas. 3. Nerén queria hacer algo a lo que su madre se oponia. Sin embargo, lo evo a cabo después de la muerte de ésta. gQué fue? a) promover el interés del pueblo romano en el arte. b) introducir los juegos y el arte griego a Roma. ©) tomar parte en las competencias atléticas en Roma. - Nerén prohibio los combates de gladiadores porque a) estaba en contra de la crueldad. b) no correspondian al concepto de lo helénico. ©) le molestaba que los gladiadores lucharan hasta la muerte. a Qué eran los “Ludi Juvenales”? a) un grupo de aristécratas jévenes. b) los jardines del palacio de Neron. ©} competencias gimnasticas y artisticas. a Los “Neronia” eran a) juegos que se llevaban a cabo cada cinco afios. b) funciones de los Agustiani. ¢) actores y cantantes. 54 Escaleauy Con Vals10. . éQuiénes eran Faenius Rufus y Ofonius Tigellinus? a) dos comparieros viciosos de Nerén. b) dos guardias pretorianos de Nerén. ©) dos prefectos pretorianos de Nerén. . Neron mando ejecutar a Octavia después de haberla desterrado porque a) el pueblo la acusaba de adulterio con Aniceto. b) se rumoraba que regresaria y el pueblo la apoyaba. c) fue complice en el asesinato de Agripina. . ZA quiénes mand6 ejecutar Neron? a) a Octavia, a Rubellius Plautus y a Cornellius Sulla. b) a Anicetus, a Octavia, a Agrippina, a Tiberius y a Plautus. c) a Octavia, a un nieto de Tiberius y a Claudius. El pueblo lleg6 a odiar a Neron, entre otras razones, porque a) desterré a Séneca. b) tenia un poder desenfrenado. ©) perdié su libertad por culpa de él. Esctamleauy Con Valls9 HAMLET El texto que vas a leer es la sinopsis de una de las mas famosas tragedias de Shakespeare, Hamlet. 1, Con qué objeto leerias la sinopsis de una obra dramatica como ésta? 2. gDénde podrias conseguir la sinopsis de una obra de teatro? 53 Escaneado con CamS. é licada. Para estar como ésta tiene una trama comp! . Para estar a] ié ning e identific én es quién en Ia obra, haz una lectura tipo scam fica fos 1 coolates dela columna de Ta izquierda completando la informacién que falta en los espacios en blanco. Toma la informacién del primer parrafo, Recuerda que un uso del apéstrofo y la s ('s) en inglés indica posesi6n o perte. Una obra dramatica nencia. Prince of Denmark Hamlet - The ghost of King Hamlet - Hamlet's father Claudius - Queen Gertrude - the elder Hamlet's Fortinbras - The King of Norway's Laertes - Polonius’ Polonius - Secretary of State Horatio - Hamlet's Ophelia - Hamlet's HAMLET Synopsis Hamlet, Prince of Denmark, has returned to the Danish Court at Elsinore to attend the funeral of his father, King Hamlet. Claudius, the king’s younger brother, has by a successful coup d'etat, been elected to the Danish throne in place of his nephew, and has married the elder Hamlet's wife, Gertrude. Claudius’ reign is at once shaken by the intentions of Fortinbras, nephew of the King of Norway, to invade Denmark and recover lands lost by his father, who was killed in battle with the former King Hamlet. Claudius allows Laertes, son of Polonius (the Secretary of State), to return to the University of Paris, while at the same time denying Hamlet permission t0 return to the University of Wittenberg. He proclaims his nephew his heir and Crow Prince. Hamlet now has no friends at Court except for Horatio, a fellow student: his mother, Queen Gertrude, sides with the King, and his girlfriend, Ophelia, daughter of Polonius, is told to refuse Hamlet's advances, Hamlet's agitation at the recent events is intensified by a report made by Horatio and two guards that the ghost of Hamlet the King was seen walking the battlements of the castle. Hamlet encounters the spirit and learns the truth of his father’s death; he was poisoned by Claudius: The ghost compels Hamlet to seek revenge. 54 Escaneado con CamSHamlet feigns madness to cover his thoughts of vengeance. Polonius believes the insanity to be Hamlet's thwarted love for Ophelia. Claudius is not convinced of Hamlet's madness, and has summoned Rosencrantz and Guildenstern, friends of Hamlet, to spy on him and learn the truth. Hamlet plots to “catch the conscience of the King” by employing a troupe of players to perform a murder-play in which certain scenes strongly resemble those of the poisoning of his father. In the meantime Claudius has successfully thwarted a potential overthrow by young Fortinbras, by allowing him to pass through Denmark to mount an invasion of Poland. Rosencrantz and Guildenstern, as well as Polonius, have failed to determine the cause of Hamlet's “melancholy”, and the King decides to send Hamlet to England with Rosencrantz and Guildenstern. The player's performance forces Claudius to leave the hall, proving his guilt to Hamlet. In spite of this, Hamlet cannot make up his mind to kill Claudius when he encounters him alone at prayer. Queen Gertrude, increasingly concerned for her son's welfare, at Polonius’ insistence calls him to her bedchamber to chastise him for his behavior. Hamlet turns on her, and her cries for assistance are answered from behind an arras. He thrusts his sword into the curtains, and kills Polonius, who was spying. The ghost of Hamlet's father appears to him but not to his mother, who is consequently convinced of his madness. Hamlet persuades his mother not to take sides against him. Hamlet departs for England with Rosencrantz and Guildenstern as escorts. He escapes aboard a pirate ship and upon his return to Denmark sends letters of his arrival to Claudius, Gertrude, and Horatio. In the meantime, the death and secret burial of Polonius has driven Ophelia to madness. Laertes, determined to avenge his father's death, mounts a coup against Claudius, and invades Elsinore. Claudius skillfully avoids this overthrow by persuading Laertes of Hamlet's guilt and together they plot to kill him with a poisoned rapier in a fencing match. Gertrude informs the Courts that Ophelia has been drowned. Hamlet returns to Elsinore just as the hastily arranged funeral of Ophelia is taking place. Overcome, he jumps into the grave with the body and he grapples with Laertes. Later, Hamlet reveals to Horatio that while on board the ship bound for England he discovered that Claudius had ordered his execution at the hands of the English, and that he substituted those orders with ones of his own calling for the deaths of Rosencrantz and Guildenstern. Laertes challenges Hamlet to the fencing match, and they meet in the presence of the Court. Laertes wounds Hamlet with the poisoned rapier, and in an ensuing scuffle they exchange weapons and Hamlet wounds Laertes. Gertrude unwittingly drinks from a poisoned goblet that Claudius has prepared for Hamlet. As they are dying, Gertrude and Laertes reveal to Hamlet the villainy of the King, and Hamlet stabs Claudius with the poisoned rapier and forces him to drink from the poisoned goblet. Hamlet dies begging Horatio to clear his name, and nominating Fortinbras to succeed as the Danish Monarch. The English ambassador arrives to report the deaths of Rosencrantz and Guildenstern, and Fortinbras enters to claim the kingdom and restore order to the land. 55 Escaneauo Corn UdllsIMI. En el primer parrafo no sélo se establece la identidad de los personajes, sj, que se plantea la situacién inicial de la obra. Completa el cuadro con la info maci6n tomada del mismo. WHO? WHAT (ACTION)? WHERE? WHY? Hamlet has returned to the court to attend the funeral of his father. has been elected to the Danish throne Fortinbras Denmark Laertes returns because Claudius allows him to do so, sides with King Claudius - encounter the spirit of his father The ghost because he was poisoned by Claudius. Iv. Ahora haz una lectura tipo search reading (lectura de biisqueda) de todo el texto para contestar lo siguiente: 1. gPor qué Hamlet simula estar loco? 2. gCudles son las opiniones o las reacciones de los locura de Hamlet? Polonius: siguientes personajes a # eee —— Claudius: ee pe Escaneado con CamSQueen Gertrude: ee a 3. gCual es el plan de Hamlet para confirmar la culpabilidad de Claudius? 4. gQué accion de Claudius durante la Tepresentacién confirma su culpabilidad ante Hamlet? 5. gComo logra Claudius evitar que Fortinbras invada Dinamarca? 6. gCémo muere cada uno de los personajes en la obra? Anota la informacion en los espacios. Polonius Ophelia Rosencrantz y Guildenstern Laertes Hamlet | 57 Escaneado con CamSGertrude Claudius V. ELEMENTOS LINGUISTICOS A. Recuerda que a veces hay frases que interrumpen la oracién principal con el objeto de introducir informacién adicional. Por ejemplo: “Claudius, the King's younger brother, has by a successful coup d'etat been elected to the Danish throne...” Si omitimos las interrupciones podemos ver que el sujeto de la oracién es Claudius, el verbo, has been elected y el complemento, to the throne. Estas tres partes contienen lo mas importante de una oracion. En las siguientes oraciones, subraya el sujeto con una linea y el verbo, con dos. - Hamlet's mother, Queen Gertrude, sides with the King. 2. His girlfriend, Ophelia, daughter of Polonius, is told to refuse Hamlet's advances. 3. Claudius has summoned Rosencranz and Guildenstern, friends of Hamlet, to spy on him. 4. Queen Gertrude, increasingly concern ed for her son's welfare, at Polonius’ insistence calls him to her bedchamber. 5. Laertes, determined to aven, ge his father’s death, mount: ainst Claudius. unts a coup age 58 Cscaledauo COM UdillsB. Contesta lo siguiente: 1, eQué clase de informacion se encuentra en las interrupciones? 2. gCrees que la informacion que interrumpe la secuencia de la oracién principal es importante? gPor qué? VI. Después de haber leido 1a sinopsis de Hamlet gcrees que te gustaria leer la obra o verla en el teatro? {Por qué? 59 Escaneado con CamS10 GUIDELINES FOR THE SECURITY OF RARE BOOK, MANUSCRIPT, AND OTHER SPECIAL COLLECTIONS I. Antes de leer el texto contesta lo siguiente. 1. gPor qué podria constituir un problema para las bibliotecas la seguridad de ma- nuscritos y libros valiosos? 2. gQué medidas de seguridad crees que se deberian tomar para proteger estos ma- teriales en las bibliotecas? Il. El texto a continuacién consta de una serie de sugerencias para elaborar un programa de seguridad en las bibliotecas. Haz una lectura rapida del texto y de los subtitulos que se encuentran al final del mismo. Coloca en Ia linea en blan- co el subtitulo correspondiente a cada seccion. 60 Escaneado con CamSGUIDELINES FOR THE SECURITY OF RARE BOOK, MANUSCRIPT, AND OTHER SPECIAL COLLECTIONS: A DRAFT 1 One of the major problems in the administration of rare book, manuscript, and other special collections is the security of those collections. Thefts have greatly increased because of public awareness of the value of materials. Rare book, manuscript, and other special collection administrators have the responsibility of securing their collections from theft. Security arrangements will vary from institution to institution, depending on staffing, physical setting, and use of the collections. ‘Thefts have also presented a problem for rare book and manuscript dealers, who may unknowingly sell stolen materials if thefts go unreported. The Antiquarian Booksellers Association of America has established policies which place the responsibility for reporting thefts with the libraries which suffer them, and libraries should pay- particular attention to their legal and procedural responsibilities in their attempt to recover stolen library materials. ‘These guidelines are written to identify the general topics to be considered in an adequate security program. a ‘The RBMS Guidelines Regarding Thefts in Libraries lists as its first priority in preventing thefts that a senior staff member should be appointed Library Security Officer, with the responsibility and authority to carry out the security program, and a knowledge of all library security needs, particularly those of Special Collections. The identity of the Library Security Officer should be made widely known, especially among those persons responsible for handling incoming telephone calls and letters. The Library Security Officer's first priority should be to plan a program, starting with a survey of the collections and reviews of the physical layout and staff. (S)he should also seek the advice and assistance of appropiate personnel, such as institutional administrators, corporate counsel, life safety officers, and of outside consultants from law enforcement agencies and insurance companies. The Library Security Officer may recommend that a Security Planning Group be named to bring problem areas to the Officer's attention and to recommend solutions. A security consultant may be brought in to assist in determining the major threats to the collection. MI. | . A poli ity of the collections should be written by the Library Security Oftcer orcaccitation Sith the administration, staff, legal authorities, and other knowledgeable persons. The policy should include a standard operating procedure on dealing with a theft: determining the circumstances of the theft, reporting the theft to the proper authorities within an organization, and to the local and (where 61 Escaneauo Cor Udlls50 appropiate) national legal authorites. Sec the RBMS Guidelines Regarding Thefts in Libraries for steps to take in establishing adequate policies. The Security Policy should be kept up-to-date with concurrent names and telephone numbers of institutional and law enforcement contacts. IV. ‘The special collections building or area should have as few access points as possible, with the same entry and exit for both patrons and staff. Fire and emergency exits should be strictly controlled and alarmed, and not used for regular access. The public should have access only to the public areas, not work areas or stack space, A reading room or search room should be identified as the only area in which materials may be used, where the readers can be carefully watched at all times by staff trained for this purpose. A reception area should be set up to receive readers. A security guard or staff member should check reader's reseach materials before they go into the secure area, and when they leave the area. A coatroom and lockers should be provided for readers’ personal belongings. Keys and their equivalents (c. g. keycards) are especially vulnerable items; the keys to secure areas should be issued on an as-needed basis to staff, with master keys secured against easy access. There should be a controlled check-out system for all keys. Combinations to vaults should also have limited distribution and should be changed each time there is a staff change involving a position with access to the vault. ve An atmosphere of trust and concern for the collections is probably the best insurance against theft by the staff, although close and equitable supervision is essential. The staff should be chosen carefully. Background checks and bonding of staff members may be considered through regular institutional channels. Careful personnel management is an ongoing necessity; a weak point in any security system is disgruntled staff who may seek revenge through the theft, destruction, or willful mishandling of collections. The same security procedures should be applied to staff as to readers, including keeping records of use of materials by staff, checking their belongings when entering and leaving the secure area, and keeping unnecesary personal items out of the secure work areas. The Library Security Officer should make training the staff in security measures a high priority. Staff should know their legal and procedural responsibilities for security and know their own and the readers’ legal rights in handling possible problems. All staff should be made aware of and follow established procedures. VI. The special collections administrator must carefully balance the responsibility of making materials available to researchers with the responsibility for ensuring the security of the materials. Readers should be required to present valid photographic identification and a reasonable explanation of their need to use materials. This check is especially important in the use of archival and manuscript collections 62 Escaneado con CamS% Lees Red een orientation to the collections requested and to the gover ne f the collections. Readers should not be allowed to take extrant personal material (for example, notebooks, briefcases, heavy coats, books or voluminous papers) into the reading room. Lockers or some kind of secure area should be provided for Personal items. The readers should be watched at all times, and not allowed to hide their work behind bookcases, booktrucks, piles of books, or any other obstacles. Readers should be limited to only those books, manuscripts, or other items which are needed at one time to perform the research at hand. Each item should be checked before being given to the reader, and when returned, staff should check condition, content, and completeness. Readers should be required to return all library materials before leaving the reading room area, even if they plan to return later in the day to continue their research. Readers should not be allowed to trade materials, nor to have access to materials another reader has checked out. The special collections staff must be able to identify who has used which material by keeping adequate check-out-records. These records should be kept indefinitely. The security policy The staff Introduction The Library Security officer The readers The special collections building or area Lee la introduccién nuevamente para poder responder a las siguientes preguntas. 1. gPor qué han aumentado los robos de libros valiosos, manuscritos y otras colec- ciones especiales en las bibliotecas? 2. gQuiénes tienen la responsabilidad de proteger estos materiales? 3. Por qué los robos son también un problema para los que se dedican a la compra-venta de estos materiales? 63 Cscaleduo COM Udils4. .Qué papel juega en relacién con esto la Asociacion Americana de Libros Anti. guos? IV. Ahora lee las secciones II, V, VI donde se dan una serie de sugerencias sobre el Personal y los usuarios de la bibliotecas. A.Liena el cuadro siguiente con la informacion correcta sobre el encargado de la seguridad en las bibliotecas. Consulta la seccién II. THE LIBRARY SECURITY OFFICER WHO CHARACTERISTICS FIRST PRIORITY COLLABORATORS | a with responsibility to. institutional administration eek | ane a program. corporate counsel member to carry out secu- life safety officers rity programs and outside consultants a of all library needs. B. Numera los siguientes temas en el orden en que aparecen en la Seccion V sobre el personal de las bibliotecas. THE STAFF security procedures carefully chosen staff training the staff careful personnel management 64 Escaneado con CamSC. Lee la Seccién VI y ord exige a los lectores y lo WHAT READERS ARE REQUIRED TO Do: ena por columnas, que no deberia pe: segan corresponda, lo que se Tmitirseles en una biblioteca. Anota correctamente la informacion proporcionada abajo. WHAT READERS SHOULD NOT BE ALLOWED TO DO: present photographic identification. take extraneous personal material into the reading room keep their personal items in lockers. hide their work behind bookcases or other places. use only the material needed for the research at hand. return all library materials before leaving. trade materials. have access to other readers’ materials. Liena el siguiente cuadro sobre las politicas de seguridad en una biblioteca. Consulta la seccién II. ‘THE SECURITY POLICY ‘WHAT DOES THE ‘FINAL WHO WRITES Try] WHO DOES HE poucyincLUDE? | RECOMMENDATIONS 65 Escaneado con CamSé i dros numerados del VI. Marca la opcién correcta en cada caso siguiendo los cuadr¢ ely algen Tos que se especifican las caracteristicas que deberia tener el edificio 4rea que alberga las colecciones especiales en las bibliotecas. Consulta la Sec. cién IV. combinations to vaults: distribution: (limited) (unlimited) changes: (never) (when needed) 1 7 ae keys and key cards: rare eae SeecAL controlled (yes)(no) entry and exit COLLECTIONS for patrons and BUILDING 6 staff: OR (same) (different) AREA | fire and emergency coatroom and lockers: exits controlled: only for staff | (es) (n0) (yes) (no) for readers: (yes) (no) 2 [ 3 - 4 l work areas and reading room: reception area: secur 5 stack space: readers are for readers checks readers acces to public watched: (yes) (no) research mate- yes) (no) (ves) (no) rials: a) when they go in b) when they go | out ©) both of the above 66 Escaneado con Camsvi. ELEMENTOS LINGUisTICos Vuelve a 1a Parte Iv Gel texto. En ella se explica en detalle cémo se deberia cuidar el edificio o area de colecciones especiales. Fijate en el verbo “should” (deberia) utilizado para hacer recomendaciones, Localiza las recome: en este parrafo y escribelas en tus Propias palabras en las lineas aoe VIIL. Si tienes alguna otra sugerencia para proteger el material valioso en las bi- bliotecas, escribela a continuacién. 67 Escaneado con CamS11 A BRIEF HISTORY OF MIME I. Antes de leer el texto, contesta las siguientes preguntas. 1. Qué es la mimica? 2. gCrees que se le podria considerar como un arte? gPor qué? Escaneado con CamS8 a A Brief History of Mime amicry is a basic form of lan; Mirrence in a foreign Senet ae aeeeee ti Ermey gone through bin C A ae ” ie language, of making the ce a drinkin iking to get across our thoughts or needs to a local inhabitant. ‘Therefore, it seems likely that a form of mime was the earliest language. The rimitive caveman gesturing and acting out his feelings to his companions had no other way to communicate. He dramatized his prowess as a hunter or warrior, accompanying his motions with grunts and snarls until a spoken language finally evolved. Today, primitive tribes still act out entire stories in their dances, and through this form of mimicry their mythology and the history of their ancestors live on. Mime as a true theatrical form began in ancient Greece, where performers portrayed the events of everyday life with the help of elaborate gestures. Mime was not the silent show we recognize today. Before each performance in the Athenian theater, the actors often did a mime show as an introduction. The principal mimes were called ethologues, meaning painters of manners, and they tried to teach moral lessons in their work. During the performances themselves, the choruses mimed as they spoke and reacted in movement to what occurred on the stage. Then there were the popular entertainers ofall kinds - jugglers, acrobats, musicians, male and female alike who thronged the festivals and market places, or who might be hired to perform in private homes. Some might have a special gift for mimicry, who could imitate the sound of thunder or the cries of animals and birds. Their ability to use every limb and every muscle, and to control their facial expressions, set them apart from other performers. A rough platform might raise the actors above the heads of the crowd, and a colleague would collect coins from the spectators. Language was no barrier to this art of noise, movement and facial-expression, and the simple requirements of a platform and curtain could be improvised everywhere. The gulf was wide, however, between these performers and the actors who, in mask and costume, appeared at the Festival of Dionysus to present the tragedies of Euripides or the comedies of Menander. ‘As literature, the mime developed through the writings of such dramatists as Sophron (in the fifth century B.C.) and later (in the second century B.C.), Herondas, fragments of whose work have survived to this day. They are realistic and sometimes SS «| _-E be read rather than acted. Jaborate form of mime, known as the. hypothesis At its hi the most elaborate form of : and or aay, may have approached the level of true drama. It differed, however, in its preoccupation with the establishment and development of character rather than of plot, and there is record of solo performers who prided themselves on their ability to give the impression that they were several individuals. ‘The contacts of Roman with Greek during the third century B.C., at the time of ° hoes vobably made many Romans familiar with Pyrrhus’ campaigns in southern taly. Po Rome had hardly begun. The Festival of Mime at a time when the liter: 69 Cscaleduo COM Udills50 55 60 65 7 Flora was initiated a few years after the introduction of Greek drama to the Roman stage and, like the Greek Festival of Dionysus, it became a favorite occasion for the performers of mimes. The festival was celebrated riotously by the population, and it went so far as to allow the appearance of mime actresses naked on the stage. An element of indecency clung to the mime from the beginning, and it reacheq an incredible level during the Roman empire. Emperor Heliogabalus is said to have ordered the performance of sex acts on stage and, if the plot included an execution, sometimes a condemned criminal would be substituted for the actor to give the spectators an extra thrill. As Christianity asserted itself, opposition grew to the bawdy traditions anq associations of mime, and in turn the Church received the scornful attentions of the actors during their performances - until the Church got the upper hand, excommunicating all performers and later closing down all the theaters. Yet basic mime survived. Its requirements were so simple that it could still be performed anywhere, in public or in private. Eventually from the tenth century on, the Church relaxed its attitude, began to accept the theater, and indeed rather than condemning it began to patronize it. Mystery and morality plays began to appear with religious themes, many performed in mime. So mime continued to entertain the masses throughout the Middle Ages and on to modern times. It passed through varying degrees of popularity, reaching its height in sixteenth-century Italy, in the form of Commedia dell’ Arte. In 1576 a company of Italian players led by Flamino Scala went to France, where the art of mime, and of Commedia dell’ Arte in particular, became immensely popular. Many of the traditional gestures and figures, such as Harlequin, became familiar at this time. It was almost two and a half centuries later, in 1811, when a Bohemian acrobatic family touring the continent played at the Parisian Fairs. The son, Jean Gaspard Deburau, was engaged to play at the Funambules on the Boulevard du Temple, a home of tumblers and tightrope walkers. He remained at this theater until his death, and during this time changed mime from crude slapstick to the art form itis considered today. Deburau created with great subtlety his characterization of the pale, lovesick Pierrot, the eternal seeker, and left us the legacy that today is echoed in Marcel Marceau's own creation, Bip. After Deburau's death his son Charles carried on in his father's tradition. Though of lesser stature, his influence was powerful both in Marseilles, where he taught Rouffe and his son Severin, and in Paris, whert one-act mimes were being performed at the Opera. Mime received new impetus after the First World War from the great Jacques Copeau, who taught Charles Dullin at the Vieux-Colombier school. Etienne Decroux. who had been another pupil, took these beginnings a stage further, and togethe! with his own pupil Jean-Louis Barrault developed the first elements of moder" mime. Barrault later went his own way, to create the first true mimodramas. Then after the Second World War emerged Marceau, a pupil of Decroux at tht Dullin school. Heir to a tradition over two thousand years old, he took mime as i was then known, studied, honed, improved and transformed it. He was the architec! of a totally new style and tradition, the true creator and master of modern mime we understand it today. 70 Escaneado con CamS, Ahora baz una lectura global del Cgenizada la informacién, Escoge | texto (skimming) para ver cémo esta fa opcién correcta. a) de lo general a lo particular. p) en orden cronologico. ¢) de lo particular a lo general. zBn qué aspectos del texto te basaste para dar esta respuesta? Il. Lee el texto hasta el renglén 60 para completar el cuadro siguiente con la informacién que falta. When (time) | Who (person) What (action) where What (thing Today ima forcign country ~ dramatized his prowess as hunter and warrior ae fm ancient Greece Before each performance =<] ethologues Then The contact of Roman with Greek was initiated fan element of indecency Eventually from the tenth century on 1 Escaneado con CamSIV. Consulta nuevamente el texto y encuentra el referente de las siguientes pala. bras en negritas: 1. in doing so (r. 4) 2. his motions (r. 8) 3. who (r. 19) 4. some (r. 20) a . they (r. 32) 6. it (x. 36) 7. it (r. 44) 8. it (r. 47) Ahora vuelve a leer los ultimos tres parrafos del texto y numera las siguientes oraciones en el orden en que se encuentra la informacién en el texto. (_) a. Marceau is considered the creator and master of the new style and tradition of modern mime. () b. Jean Gaspard Deburau changed mime from crude slapstick comedy to att (_) ¢. Deburau left us Pierrot, the pale, lovestick, eternal seeker. (_) d. Marceau studied it, honed it, improved and transformed it to the mime ¥¢ understand today. (_) e. Decroux and Barrault, Copeau's pupils developed the first elements of mode mime. () £ Based on Deburau’s creation, Marcel Marceau created Bip. 72 Escaneado con CamSyi ELEMENTOS LINGUisTICOS Recuerda que en inglés a menudo se utilizan verb pu tan saat. - del verbo principal y una particula ej: get up, get ea ct oe Sige etc.), A veces basta con fijarse en ef ‘ara infertr su significado, Si contexto para inferir su signi 7 esto no da resultado, se necesita consultar el diccionaria ee Trata de inferir el significado de los siguientes - a a diccionario sélo en caso necesario. an aa 1. get across (r. ) 2. act out (r. ) 3. set ... apart (r. ) 4. carried on (r. ) VI. Escoge la opcién correcta en cada uno de los siguientes reactivos. Consulta el texto para que puedas identificar la respuesta. 1. If we go to a foreign country and we don't know how to speak the language, we a) use our basic knowledge of language. b) experience needs which we cannot communicate. ©) use mimicry to get our ideas across. 2. A form of mime was the earliest language because primitive men a) did not dramatize their actions. b) preferred this form of communication. ©) did not possess a spoken language. 73 Escaneado con CamSa . In Ancient Greece mime began as a true theatrical form. During the performance, not only the actors mimed, but also the a) choruses. b) ethologues. ©) performers. . There was difference between mimes and the actors who presented the comedies and tragedies of the classical Greek dramatists. a) no. b) a great. ©) little. ‘The hypothesis differed from true drama in that a) it stressed plot more than character. b) character was more important than plot. c) performers acted alone on the stage. When the Romans adopted Greek drama, they also became familiar with mime. However, a) cruel and indecent elements were introduced. b) mime was only performed during festivals. c) the literary drama of Rome was superior. At first, the Church opposed mime but later began to accept it because a) the requirements of mime were very simple. b) other institutions began to patronize mime. ©) the Church made use of mime for its own purposes. 74 Escaneado con CamSg. The true creator and master of modern mime as we understand it today was a) Copeau b) Marceau c) Deburau ‘VII. ,Qué técnicas de Marcel Marceau siguen los mimos populares de hoy en dia? 5 Cscaleduo COM Udills12 MIND AND SPIRIT I. Antes de leer el texto completo, contesta las secciones A y B. A. 1. Lee las dos primeras y las tres tltimas oraciones y di sobre qué crees que trata el texto. 2. gCuales crees que podrian ser las diferencias mas importantes entre Egipto y Grecia en cuanto a caracteristicas geograficas? 3. gPor qué crees que los juegos olimpicos eran tan importantes para los griegos? B. Lee los siguientes enunciados y, de acuerdo con tus conocimientos, anota 'V (verdadero) o F (falso). V/F R 1. Egipto y Grecia tienen caracteristicas geograficas muy diferentes. 2. Las caracteristicas espirituales de los antiguos pueblos de Egipto y Grecia eran similares. 3. Los antiguos griegos y egipcios amaban los juegos y el deporte. 4. Cuando habia guerras se suspendian — los juegos olimpicos. 76 Esctamleauv Con Valls