Questões de Inglês

Peanuts é um tirinha americana escrita e ilustrada por Charles M. Schilz. Foi uma das tirinhas mais populares e influentes com 17,897 publicações – o maior número na história da humanidade.

THE WORLD: Rescued migrant hopes for better life in Europe for baby born on warship

Stephanie Samuel and baby Francesca Marina soon to be transferred from Sicilian hospital to immigration centre. 

A woman who gave birth on a warship after the Italian navy rescued her from a migrant boat has said her daughter will have a better life in Europe after surviving the dangerous voyage. 

Baby Francesca Marina, named after St Francis and the Italian navy, was delivered aboard the Bettica naval vessel in the Mediterranean a week ago. Once ashore, she suffered seizures and was put in intensive care¹. 

A week on, Francesca and her mother, Stephanie Samuel, 24, have recovered and doctors in Sicily said they would probably be transferred to an immigration centre² for families with small children in a few days’ time. 

The story of the migrant baby born aboard a navy ship captured international media attention at the end of one of the busiest weekends for sea crossings from Libya to Europe this year, during which about 6,800 people were rescued³ and dozens are said to have drowned. 

Samuel, who is Nigerian, worked for two years in Tripoli as a housemaid to save money to pay smugglers for the trip. The boat she set off in with about 90 others stalled after three hours at sea. 

By the time they were picked up by the Bettica⁴ off the Libyan coast seven hours later, she was unconscious after suffering epileptic seizures and had gone into labour. 

“I didn’t expect the baby, you know, but she just came,” Samuel said. “I just wanted to leave Libya. Italy is better than Libya and Nigeria is the worst.” 

Of her daughter, she said: “God decides, not me … but I believe she will have a more good future in Europe.” So far this year more than 30,000 people have reached Italy by sea from North Africa, mostly from Libya. 

More than 170,000 came last year. The interior ministry has said 200,000 might make it to Italy’s shores in 2015. 

Many are political refugees such as Syrians fleeing civil war or Eritreans escaping forced military conscription, while others like Samuel are economic migrants in search of a better life. 

Samuel said her husband, who was still working in Libya, was ready to risk the sea crossing to be with her and their daughter as soon as he could afford to pay the smugglers, who demand up to £1,000 for passage on overcrowded, rickety boats. 

http://www.theguardian.com/world/2015/may/11/rescued-migrant-mother-better-life-europe-baby

Peanuts é uma tirinha americana escrita e ilustrada por Charles M. Schulz. Foi uma das tirinhas mais populares e influentes com 17,897 publicações – o maior número na história da humanidade. 

[1] The study of game aesthetics is a very

recent practice, spanning less than two

decades. Unlike game studies in mathematics

or the social sciences, ........ are much older,

[5] games became subject to humanistic study

only after computer and video games became

popular. This lack of persistent interest might

seem odd, but only if we see traditional

games and computer games as intrinsically

[10] similar, ........ they are not. We might try to

explain this lack by noting that games are

usually seen as trivial and lowbrow by the

aesthetic and theoretical elites ........ cultivate

the analysis of artistic media objects:

[15] literature, the visual arts, theatre, music, etc.

But this does not explain the fact that

aesthetic studies of games are now not only

possible, but even encouraged and supported

with funding. What happened to cause this

[20] change?

A possible explanation could be that digital

games, unlike traditional games or sports,

consist of non-ephemeral content (stored

words, sounds and images), which places

[25] them much closer to the ideal object of the

Humanities, the work of art. Thus, they

become visible and textualizable for the

aesthetic observer, in a way the previous

phenomena were not.

[30] However, this sudden visibility, probably

also caused by the tremendous economic and

cultural success of computer games, produces

certain blind spots in the aesthetic observer,

especially if he/she is trained in textual/visual

[35] analysis, as is usually the case. Instead of

treating the new phenomena carefully, and as

objects of a study for which no methodology

yet exists, they are analyzed with tools that

happen to be at hand, such as film or

[40] narrative theories. Therefore we need to

outline and promote a methodology for the

aesthetic study of games, which, given the

current nascent state of the field, will

doubtlessly give way to more sophisticated

[45] approaches in the years to come.

Adapted from: Aarseth, Espen. Playing Research: Methodological approaches to game analysis. Available at: <http://hypertext.rmit.edu.au/dac/ papers/Aarseth.pdf>. Accessed on July 26th, 2014.

[1] The study of game aesthetics is a very

recent practice, spanning less than two

decades. Unlike game studies in mathematics

or the social sciences, ........ are much older,

[5] games became subject to humanistic study

only after computer and video games became

popular. This lack of persistent interest might

seem odd, but only if we see traditional

games and computer games as intrinsically

[10] similar, ........ they are not. We might try to

explain this lack by noting that games are

usually seen as trivial and lowbrow by the

aesthetic and theoretical elites ........ cultivate

the analysis of artistic media objects:

[15] literature, the visual arts, theatre, music, etc.

But this does not explain the fact that

aesthetic studies of games are now not only

possible, but even encouraged and supported

with funding. What happened to cause this

[20] change?

A possible explanation could be that digital

games, unlike traditional games or sports,

consist of non-ephemeral content (stored

words, sounds and images), which places

[25] them much closer to the ideal object of the

Humanities, the work of art. Thus, they

become visible and textualizable for the

aesthetic observer, in a way the previous

phenomena were not.

[30] However, this sudden visibility, probably

also caused by the tremendous economic and

cultural success of computer games, produces

certain blind spots in the aesthetic observer,

especially if he/she is trained in textual/visual

[35] analysis, as is usually the case. Instead of

treating the new phenomena carefully, and as

objects of a study for which no methodology

yet exists, they are analyzed with tools that

happen to be at hand, such as film or

[40] narrative theories. Therefore we need to

outline and promote a methodology for the

aesthetic study of games, which, given the

current nascent state of the field, will

doubtlessly give way to more sophisticated

[45] approaches in the years to come.

Adapted from: Aarseth, Espen. Playing Research: Methodological approaches to game analysis. Available at: . Accessed on July 26th, 2014.

[1] The study of game aesthetics is a very

recent practice, spanning less than two

decades. Unlike game studies in mathematics

or the social sciences, ........ are much older,

[5] games became subject to humanistic study

only after computer and video games became

popular. This lack of persistent interest might

seem odd, but only if we see traditional

games and computer games as intrinsically

[10] similar, ........ they are not. We might try to

explain this lack by noting that games are

usually seen as trivial and lowbrow by the

aesthetic and theoretical elites ........ cultivate

the analysis of artistic media objects:

[15] literature, the visual arts, theatre, music, etc.

But this does not explain the fact that

aesthetic studies of games are now not only

possible, but even encouraged and supported

with funding. What happened to cause this

[20] change?

A possible explanation could be that digital

games, unlike traditional games or sports,

consist of non-ephemeral content (stored

words, sounds and images), which places

[25] them much closer to the ideal object of the

Humanities, the work of art. Thus, they

become visible and textualizable for the

aesthetic observer, in a way the previous

phenomena were not.

[30] However, this sudden visibility, probably

also caused by the tremendous economic and

cultural success of computer games, produces

certain blind spots in the aesthetic observer,

especially if he/she is trained in textual/visual

[35] analysis, as is usually the case. Instead of

treating the new phenomena carefully, and as

objects of a study for which no methodology

yet exists, they are analyzed with tools that

happen to be at hand, such as film or

[40] narrative theories. Therefore we need to

outline and promote a methodology for the

aesthetic study of games, which, given the

current nascent state of the field, will

doubtlessly give way to more sophisticated

[45] approaches in the years to come.

Adapted from: Aarseth, Espen. Playing Research: Methodological approaches to game analysis. Available at: <http://hypertext.rmit.edu.au/dac/ papers/Aarseth.pdf>. Accessed on July 26th, 2014.