{"id":14767,"date":"2026-03-18T18:06:00","date_gmt":"2026-03-18T16:06:00","guid":{"rendered":"https:\/\/iteach.ro\/experientedidactice\/?p=14767"},"modified":"2026-03-26T15:19:31","modified_gmt":"2026-03-26T13:19:31","slug":"lamour-est-un-oiseau-rebelle-documente-autentice-ca-texte-preliminare-in-invatarea-limbii-franceze","status":"publish","type":"post","link":"https:\/\/iteach.ro\/experientedidactice\/lamour-est-un-oiseau-rebelle-documente-autentice-ca-texte-preliminare-in-invatarea-limbii-franceze","title":{"rendered":"L\u2019amour est un oiseau rebelle. Documente autentice ca texte preliminare \u00een \u00eenv\u0103\u021barea limbii franceze"},"content":{"rendered":"<p>Prezentul articol propune o secven\u021b\u0103 didactic\u0103 interdisciplinar\u0103 pentru predarea limbii franceze la clasa a X-a, filiera tehnologic\u0103, construit\u0103 \u00een jurul unui document audio-video de patrimoniu: Habanera din opera Carmen de Georges Bizet, \u00een interpretarea sopranei Maria Callas. Pornind de la premisa c\u0103 accesul la cultura universal\u0103 constituie una dintre finalit\u0103\u021bile esen\u021biale ale studierii unei limbi moderne, scenariul valorific\u0103 dimensiunea intercultural\u0103 a pred\u0103rii prin articularea a trei tipuri de resurse complementare &#8211; muzical\u0103, literar\u0103 \u0219i lingvistic\u0103 -, urm\u0103rind simultan consolidarea unor structuri gramaticale (pronumele personale complement direct \u0219i indirect, pronumele nehot\u0103r\u00e2te, fraza condi\u021bional\u0103) \u0219i dezvoltarea competen\u021bei de receptare a mesajului oral \u0219i scris. Demersul se \u00eenscrie \u00eentr-o perspectiv\u0103 ac\u021bional-comunicativ\u0103 \u0219i propune activit\u0103\u021bi diferen\u021biate, adaptate nivelurilor de competen\u021b\u0103 ale elevilor. <!--more--><\/p>\n<p><strong>L\u2019amour est un oiseau rebelle, pr\u00e9-texte d&#8217;apprentissage du fran\u00e7ais<\/strong><\/p>\n<p>Vorbind de interculturalitate, profesorul C. Cuco\u0219 afirma: \u201co cultur\u0103 este mare nu numai prin ea \u00eens\u0103\u0219i, prin propriile mecanisme autoreproductive sau autocontemplative, ci \u0219i prin \u00ab metabolismul \u00bb cre\u0219terii \u0219i transform\u0103rii ei, prin felul \u00een care permite deschideri spre reverbera\u021bii din exterior (\u2026) Trebuie mers spre intercultural prin cultural\u201d (Pedagogie, 2014: 172-173). Profesorul de limb\u0103 modern\u0103 devine facilitator al cunoa\u0219terii interculturale, av\u00e2nd la dispozi\u021bie multiple p\u00e2rghii: literatura, muzica, pictura, baletul, fiecare reprezent\u00e2nd varii valen\u021be ale alterit\u0103\u021bii.<\/p>\n<p>Pentru aceast\u0103 secven\u021b\u0103 didactic\u0103, fragmentul muzical apar\u021bin\u00e2nd lui Georges Bizet, din opera Carmen, \u00een interpretarea sopranei Maria Callas (de la min 2,08: youtu.be\/EseMHr6VEM0?si=NbVV_6RvUPqiEIqO&amp;t=127) reprezint\u0103 un pretext pentru a relua \u0219i sistematiza formele pronumelui personal complement direct \u0219i indirect \u00een ora de limba francez\u0103, dar \u0219i un pretext pentru a o descoperi pe eroina lui Prosper M\u00e9rim\u00e9e: cartea suscit\u0103 aten\u021bia oric\u0103rui public, contemporan sau nu, deoarece \u00ab ac\u021biunea nuvelei e situat\u0103 dincolo de Pirinei. (&#8230;)\u00a0 Andaluzia [era] perceput\u0103 \u00een Fran\u021ba ca un spa\u021biu oriental din cauza compozantei maure, era un cadru exotic mai potrivit pentru o poveste de amor \u00eembibat\u0103 cu violen\u021b\u0103\u201d (M. Ungurean, De la Adolphe la Zazie, 2010: 101). Studiul de fa\u021b\u0103 analizeaz\u0103 impactul documentului audio-video \u0219i literar de mai jos prin aplicarea la clasa a X a, filiera tehnologic\u0103, profilul servicii.<\/p>\n<p>youtu.be\/EseMHr6VEM0?si=NbVV_6RvUPqiEIqO&amp;t=127<br \/>\n<iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/EseMHr6VEM0?si=kR2-oORoqadxdPZr&amp;start=125\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>Domeniul personal (rela\u0163ii interpersonale \u00een familie \u0219i \u00een societate) \u0219i educa\u021bional\/ cultural (elemente importante din universul cultural francez)<\/strong><\/p>\n<p><em>Competen\u021be generale \u0219i specifice:<br \/>\n<\/em>1. Receptarea mesajelor transmise oral sau \u00een scris \u00een diferite situa\u0163ii de comunicare &#8211; 1.3 Recunoa\u015fterea unor informa\u0163ii specifice dintr-un text citit\/ ascultat pe subiecte familiare, articulat clar \u015fi cu vitez\u0103 normal\u0103<br \/>\n4. Transferul \u015fi medierea mesajelor orale sau scrise \u00een situa\u0163ii variate de comunicare &#8211; 4.1 Reducerea unui paragraf la ideea esen\u0163ial\u0103<\/p>\n<p><em>Atitudini dezvoltate:<\/em> Con\u015ftientizarea rolului limbii moderne ca mijloc de acces la patrimoniul culturii universale<\/p>\n<p><em>Cuno\u0219tin\u021be<\/em>: gramaticale (reluarea \u0219i sistematizarea pronumelor peronale COD, COI), pronume nehot\u0103r\u00e2te, acte de vorbire : A descrie persoane<\/p>\n<p><em>Deprinderi<\/em>: a utiliza cu u\u0219urin\u0163\u0103 un dic\u0163ionar on-line pentru a g\u0103si semnifica\u021biile unui cuv\u00e2nt polisemantic sau a unei dificult\u0103\u021bi lingvistice ; a fi capabil de a se orienta f\u0103r\u0103 efort \u00eentr-un centru de documentare pentru a g\u0103si nuvela studiat\u0103; a manipula suporturile audiovizuale sau informatice \u00een calitate de surse de \u00eenv\u0103\u0163are.<\/p>\n<p><em>Capacitatea de a \u00eenv\u0103\u021ba s\u0103 \u00eenve\u021bi <\/em>:<br \/>\n\u2022 \u201cMaterial\u201d necesar: Nuvela <em>Carmen <\/em>de Prosper M\u00e9rim\u00e9e<br \/>\n\u2022 Secven\u021b\u0103 audio\u00a0 din G. Bizet, <em>Carmen<\/em>, <em>Habanera<\/em>, M. Callas &#8211; youtube.com\/watch?v=EseMHr6VEM0<\/p>\n<p><em>Scenariul didactic:<\/em><\/p>\n<p>1) Prima ascultare a documentului audio \u0219i declan\u0219area dezbaterii asupra tipului de document, a sonorit\u0103\u021bii lui \u0219i a sentimentelor \/ emo\u021biilor resim\u021bite de c\u0103tre ascult\u0103tor.<\/p>\n<p>2) Elevii lucreaz\u0103 fi\u0219ele de lucru cu versurile secven\u021bei lirice <em>L\u2019amour est un oiseau rebelle<\/em><\/p>\n<p>3) Abordarea fragmentului din nuvela Carmen de Prosper M\u00e9rim\u00e9e<\/p>\n<p>A. O prim\u0103 activitate prevede \u00eenlocuirea cuvintelor subliniate cu un text lacunar, \u00een care pronumele negative \u0219i cele nehot\u0103r\u00e2te lipsesc, iar elevii vor trebui s\u0103 le completeze \u00een momentul celei de-a doua audi\u021bii: traducerea ulterioar\u0103 va permite sistematizarea func\u021bion\u0103rii acestora \u00eempreun\u0103 cu celelalte nega\u021bii din context.<\/p>\n<p>B. O activitate centrat\u0103 pe vocabular prin c\u0103utarea de sinonime \u0219i antonime, iar ulterior folosirea acestora \u00een fraze construite dup\u0103 propria imagina\u021bie va permite fixarea semnifica\u021biei cupletelor:<\/p>\n<p>L\u2019amour est un oiseau rebelle\u00a0\u00a0\u00a0 <em>Explications vocabulaire et traduction:<\/em><br \/>\nQue <strong>nul<\/strong> ne peut apprivoiser &#8211; &gt;\u00a0\u00a0\u00a0\u00a0 dompter = a \u00eembl\u00e2nzi<br \/>\nEt c\u2019est bien en vain qu\u2019on <em>l\u2019<\/em>appelle &#8211; &gt;\u00a0 \u00a0 en vain= inutilement<br \/>\nS\u2019il <em>lui <\/em>convient de refuser &#8211; &gt;\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<br \/>\n<strong>Rien<\/strong> n\u2019<em>y <\/em>fait menace ou pri\u00e8re\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<br \/>\n<strong>L\u2019un<\/strong> parle bien,<strong> l\u2019autre<\/strong> se tait\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<br \/>\nEt c\u2019est <strong>l&#8217;autre<\/strong> que je pr\u00e9f\u00e8re\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<br \/>\nIl n\u2019a <strong>rien<\/strong> dit, mais il <em>me<\/em> pla\u00eet\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<br \/>\n(\u2026) L\u2019amour est enfant de boh\u00e8me\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<br \/>\nIl n\u2019a jamais, jamais connu de loi\u00a0\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<br \/>\nSi tu ne<em> m\u2019<\/em>aimes pas, je <em>t\u2019<\/em>aime\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<br \/>\nSi je <em>t\u2019<\/em>aime, prends garde<em> \u00e0 toi\u00a0<\/em>\u00a0\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<br \/>\nPrends garde <em>\u00e0 toi<\/em><br \/>\nSi tu ne <em>m\u2019<\/em>aimes pas<br \/>\nSi tu ne <em>m\u2019<\/em>aimes pas, je <em>t\u2019<\/em>aime<br \/>\nPrends garde \u00e0 toi<br \/>\nMais si je <em>t\u2019<\/em>aime, si je<em> t\u2019<\/em>aime<br \/>\nPrends garde <em>\u00e0 toi<\/em><br \/>\nL\u2019oiseau que tu croyais surprendre<br \/>\nBattit de l\u2019aile et s\u2019envola<\/p>\n<p>L\u2019amour est loin, tu peux<em> l\u2019<\/em>attendre\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<br \/>\nTu ne <em>l\u2019<\/em>attends plus, il est l\u00e0\u00a0\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<br \/>\nTout autour de toi, vite, vite\u00a0\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<br \/>\nIl vient, s\u2019<em>en<\/em> va; puis il revient\u00a0\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<br \/>\nTu crois <em>le<\/em> tenir, il <em>t\u2019<\/em>\u00e9vite\u00a0\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<br \/>\nTu crois<em> l\u2019<\/em>\u00e9viter ; il <em>te<\/em> tient.\u00a0\u00a0\u00a0\u00a0 \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<\/p>\n<p>C. Textul se preteaz\u0103 explic\u0103rii de c\u0103tre profesor a frazei condi\u021bionale I \u0219i \u00een\u021belegerii func\u021bion\u0103rii acesteia prin elaborarea unui item semi-obiectiv de tipul complet\u0103rii de c\u0103tre fiecare elev al \u00eenceputului de cuplet :<br \/>\n\u2022 Si tu ne m\u2019aimes pas, \u2026\u2026 (de exemplu, \u00ab je te convaicrai que tu as tort \u00bb) .<\/p>\n<p>D. Ultima strof\u0103 din document permite efectuarea unei activit\u0103\u021bi de \u00een\u021belegere a func\u021bion\u0103rii pronumelor complemente directe \u0219i a locului lor \u00een fraza afirmativ\u0103; elevul identific\u0103 substantivul antecedent (&#8222;amour&#8221;) \u0219i formele pronominale care \u00eel \u00eenlocuiesc. Apoi, prin \u00eenlocuirea cu un substantiv la plural, contextul poate varia creativ \u0219i modifica construc\u021bia stilistic\u0103 a cupletului.<\/p>\n<p>E. Elevii pot redacta un text eseistic cu tema <em>Ce este dragostea? Cu ce poate fi ea comparat\u0103? Cu o pas\u0103re, cu un copil sau <\/em>&#8230;.. (10 r\u00e2nduri)<br \/>\nPentru etapa urm\u0103toare, care presupune diferen\u021bierea \u00eenv\u0103\u021b\u0103rii, propunem descoperirea unui fragment din nuvela Carmen de Prosper M\u00e9rim\u00e9e: elevii vor da r\u0103spunsul la \u00eentrebarea <em>Cine este Carmen? Cum este ea? De unde vine? De cine se \u00eendr\u0103goste\u0219te?<\/em><br \/>\nCu elevii de nivel B1-B2, dup\u0103 lectura c\u0103r\u021bii, se pot aborda probleme de interculturalitate, precum modul de via\u021b\u0103 al popula\u021biilor nomade, practicarea \u0219tiin\u021belor oculte, prejudec\u0103\u021bile comunit\u0103\u021bii fa\u021b\u0103 de acestea \u0219i a vulnerabilit\u0103\u021bile lor. Abordarea subiectelor de dezbatere se va face \u00een func\u021bie de gradul de cunoa\u0219tere \u0219i de maturitate a publicului cititor.<\/p>\n<p>Dialog &#8211; Joc de rol &#8211; Extrait n\u00b02 : chapitre II, pages 11-12<\/p>\n<p><em>De quel pays \u00eates-vous, Monsieur? Anglais sans doute?<\/em><br \/>\n<em>\u2013 Fran\u00e7ais et votre grand serviteur. Et vous, Mademoiselle, ou Madame, vous \u00eates probablement de Cordoue ?<\/em><br \/>\n<em>\u2013 Non.<\/em><br \/>\n<em>\u2013 Vous \u00eates du moins Andalouse. Il me semble le reconna\u00eetre \u00e0 votre doux parler.<\/em><br \/>\n<em>\u2013 Si vous remarquez si bien l\u2019accent du monde, vous devez bien deviner qui je suis.<\/em><br \/>\n<em>\u2013 Je crois que vous \u00eates du pays de J\u00e9sus, \u00e0 deux pas du paradis. (J\u2019avais appris cette m\u00e9taphore, qui d\u00e9signe l\u2019Andalousie, de mon ami Francisco Sevilla, picador bien connu.)<\/em><br \/>\n<em>\u2013 Bah ! Le paradis les gens d\u2019ici disent qu\u2019il n\u2019est pas fait pour nous.<\/em><br \/>\n<em>\u2013 Alors, vous seriez donc Moresque, ou\u2026 je m\u2019arr\u00eatai, n\u2019osant dire juive.<\/em><br \/>\n<em>\u2013 Allons, allons ! Vous voyez bien que je suis boh\u00e9mienne; voulez-vous que je vous dise la baji\u00a0 ? Avez-vous entendu parler de la Carmencita ? C\u2019est moi.<\/em><\/p>\n<p><em>Resurs\u0103<\/em>: Biblioth\u00e8que num\u00e9rique TV5Monde. Traducerea \u00een limba rom\u00e2n\u0103 a lui Al. I. Teodoreanu constituie un instrument de confruntare a textului \u00eentre limba surs\u0103 \u0219i limba \u021bint\u0103.<br \/>\n<a href=\"https:\/\/lyricstranslate.com\/ro\/habanera-l039amour-est-un-oiseau-rebelle-stranie-pasare-e-amorul.html\">lyricstranslate.com\/ro\/habanera-l039amour-est-un-oiseau-rebelle-stranie-pasare-e-amorul.html<\/a><br \/>\nRaport \u0219i evaluare: Trimite\u021bi feedback \u00een cazul onor\u0103rii acestei invita\u021bii: <a href=\"https:\/\/www.spectacoleiasi.ro\/spectacole-iasi\/carmen-spectacol-extraordinar-de-balet-in-doua-tablouri-4\/\">www.spectacoleiasi.ro\/spectacole-iasi\/carmen-spectacol-extraordinar-de-balet-in-doua-tablouri-4\/<\/a><\/p>\n<p>Concluziile aplic\u0103rii scenariului didactic la clasa a X-a I au fost urm\u0103toarele: din 24 de elevi, 17 au rezolvat activitatea (fi\u0219a de lucru) ceea ce a permis identificarea urm\u0103toarelor caracteristici ale \u00eenv\u0103\u021b\u0103rii:<\/p>\n<ol>\n<li>identificarea corect\u0103 a formelor pronumelor personale C.O.D. \u0219i C.O.I.;<\/li>\n<li>dificult\u0103\u021bi \u00een stabilirea topicii frazei, respectiv a ordinii folosirii lor \u00een special \u00een cazul dublei pronominaliz\u0103ri \u0219i a folosirii unui timp verbal compus;<\/li>\n<li>u\u0219urin\u021ba identific\u0103rii semnifica\u021biei pronumelor nehot\u0103r\u00e2te din context;<\/li>\n<li>preferin\u021ba clar\u0103 a elevilor pentru lucrul pe textul dialogat (lectura pe roluri, interpretare de personaje literare, joc de rol);<\/li>\n<li>dificult\u0103\u021bi de natur\u0103 cultural\u0103 \u00een receptarea \u0219i interpretarea tipului de mesaj artistic datorat faptului c\u0103 elevii nu sunt obi\u0219nui\u021bi \u00een a asculta muzic\u0103 de oper\u0103.<\/li>\n<\/ol>\n<p><strong>Concluzii<\/strong><\/p>\n<p>Rezultatele aplic\u0103rii scenariului la clasa a X-a confirm\u0103 poten\u021bialul pedagogic al documentului autentic ca vector al \u00eenv\u0103\u021b\u0103rii integrate: muzica, textul literar \u0219i exerci\u021biul lingvistic nu func\u021bioneaz\u0103 ca etape separate, ci se consolideaz\u0103 reciproc, facilit\u00e2nd at\u00e2t achizi\u021bia structurilor gramaticale vizate, c\u00e2t \u0219i deschiderea elevilor spre alteritate cultural\u0103. Datele colectate eviden\u021biaz\u0103 totodat\u0103 dificult\u0103\u021bi reale \u0219i recurente &#8211; topica frazei \u00een cazul dublei pronominaliz\u0103ri, receptarea muzicii de oper\u0103 ca tip de mesaj artistic -, care ofer\u0103 profesorului informa\u021bii diagnostice valoroase pentru proiectarea unor interven\u021bii didactice ulterioare.<\/p>\n<p>La nivel mai larg, demersul ilustreaz\u0103 modul \u00een care ora de limb\u0103 modern\u0103 poate deveni un spa\u021biu de educa\u021bie intercultural\u0103 autentic\u0103, dincolo de simpla transmitere a unor cuno\u0219tin\u021be lingvistice. Integrarea documentului de patrimoniu \u00een scenariul didactic r\u0103spunde, \u00een acela\u0219i timp, unei provoc\u0103ri sistemice: formarea unor elevi capabili s\u0103 navigheze \u00eentre culturi, s\u0103 interpreteze mesaje artistice complexe \u0219i s\u0103 utilizeze critic resursele digitale ca instrumente de \u00eenv\u0103\u021bare. Astfel, propunerea de fa\u021b\u0103 poate constitui un model replicabil \u0219i adaptabil, relevant at\u00e2t pentru practica individual\u0103 a profesorului de limbi moderne, c\u00e2t \u0219i pentru politicile de dezvoltare curricular\u0103 la nivelul institu\u021biei \u0219colare.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Prezentul articol propune o secven\u021b\u0103 didactic\u0103 interdisciplinar\u0103 pentru predarea limbii franceze la clasa a X-a, filiera tehnologic\u0103, construit\u0103 \u00een jurul unui document audio-video de patrimoniu: Habanera din opera Carmen de Georges Bizet, \u00een interpretarea sopranei Maria Callas. Pornind de la &hellip; <a href=\"https:\/\/iteach.ro\/experientedidactice\/lamour-est-un-oiseau-rebelle-documente-autentice-ca-texte-preliminare-in-invatarea-limbii-franceze\">Cite\u0219te continuarea <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[789,1018,1951,1476,1704],"tags":[2279],"class_list":["post-14767","post","type-post","status-publish","format-standard","hentry","category-didactica-limbii-franceze","category-educatie-interculturala","category-lectia","category-mass-media","category-mijloace-didactice","tag-maria-gorban"],"_links":{"self":[{"href":"https:\/\/iteach.ro\/experientedidactice\/wp-json\/wp\/v2\/posts\/14767","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/iteach.ro\/experientedidactice\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/iteach.ro\/experientedidactice\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/iteach.ro\/experientedidactice\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/iteach.ro\/experientedidactice\/wp-json\/wp\/v2\/comments?post=14767"}],"version-history":[{"count":2,"href":"https:\/\/iteach.ro\/experientedidactice\/wp-json\/wp\/v2\/posts\/14767\/revisions"}],"predecessor-version":[{"id":14865,"href":"https:\/\/iteach.ro\/experientedidactice\/wp-json\/wp\/v2\/posts\/14767\/revisions\/14865"}],"wp:attachment":[{"href":"https:\/\/iteach.ro\/experientedidactice\/wp-json\/wp\/v2\/media?parent=14767"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/iteach.ro\/experientedidactice\/wp-json\/wp\/v2\/categories?post=14767"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/iteach.ro\/experientedidactice\/wp-json\/wp\/v2\/tags?post=14767"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}