Questões de Concurso

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The archetype of the classic witch is a cornerstone of global folklore and fiction, often depicted as a formidable and sinister antagonist. These figures are deeply embedded in collective storytelling, usually characterized by their malevolent intentions towards protagonists, especially innocent children or virtuous heroes. Their narrative role is fundamentally to embody the forces of darkness, chaos, or forbidden knowledge, creating a clear moral contrast and a formidable obstacle for the main characters to overcome. From European fairy tales to modern pop culture, the classic witch serves as a powerful symbol of fear and the supernatural.

Physically, the traditional witch is frequently described as an old, haggard woman with exaggeratedly ugly features, which visually symbolizes her inner corruption and alienation from societal norms. Common traits include a long, hooked nose, warts, disheveled gray hair, and crooked fingers. She is typically clothed in dark, ragged robes and a pointed, wide-brimmed hat, an image popularized and solidified by Western media. This distinct and fearsome appearance is designed to evoke immediate unease and signal her dangerous nature to the audience.

The classic witch's power is intrinsically linked to specific magical tools and practices. The bubbling cauldron is her quintessential instrument, used for brewing potent potions, casting spells, and concocting mysterious elixirs. Her magic often involves ancient books ofspells, enchanted mirrors that show more than mere reflections, and the command over supernatural familiars like black cats, crows, or toads. These elements are not just props; they are extensions of her will and the sources of her power, which she uses to curse, transform, or deceive those who cross her path.

This archetype finds vivid expression in some of the most famous villains of literature and film. The Wicked Witch of the West from The Wizard of Oz menaces Dorothy with her command over flying monkeys and her thirst for revenge. The Evil Queen from Snow White, obsessed with being the "fairest of them all, " uses a poisoned apple in her deadly scheme. Similarly, Maleficent from Sleeping Beauty is a figure of pure vengeance, cursing an infant princess to a sleep-like death. Beyond Anglo-American tales, other cultures have their own versions, such as Brazil's Cuca, a child-eating alligator-witch from Sítio do Picapau Amarelo.

However, the portrayal of the witch is not monolithic and has evolved to include more nuanced or comedic figures. In the Mexican sitcom El Chavo del Ocho, Doña Clotilde, nicknamed "La Bruja del 71, " is a neighborhood eccentric whose witch persona is more a source of gossip and lighthearted fear than genuine evil. Furthermore, modern narratives like the film Hocus Pocus present the Sanderson sisters as a blend of the classic tropes—complete with spell books and a thirst for youth—but with a comedic and less terrifying demeanor, showcasing the adaptability and enduring fascination with this iconic character type.

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African schools gear up for the AI revolution

The emergence of cheap or free AI tools is being eagerly embraced by those with smartphones and the ability to get online. As governments and legislators struggle to get their heads around the implications of this powerful technology and work out how to bring in regulations for its safe use, millions of people are enjoying its ability to save time, helping them to transforming raw data into essays, exam answers, or, with a bit more work, even videos and podcasts.

Even in developing countries where electricity and internet access is limited (it’s estimated that over 570 million people in Africa lack electricity), there is enthusiasm for the potential of AI. In the Democratic Republic of the Congo (DRC), for example, a nation riven by internal conflict, poverty and vast inequality, educators are seeing the impact of AI. “It is obvious that our country is lagging behind in terms of new technologies for one reason or another, ” says Benjamin Sivanzire, a teacher in Beni, North Kivu Province. “Many parts of the DRC do not even have traditional methods of communication, or even radio or television.” However, even though Mr. Sivanzire and his students are not yet able to make use of AI in their classes, they are seeing it being used in the wider culture, often in a negative way, to manipulate public opinion. The teacher underlines the importance of educating people to distinguish between verifiable information and lies. “There are videos created by artificial intelligence that show images that are not real and have been created for propaganda purposes, ” he explains.

One concern that is frequently raised is the extent to which the development of AI tools is concentrated in the hands of a relatively small group of people. Farida Shahid, the independent Special Rapporteur on the right to education, shares these concerns. “AI algorithms are being made by individuals who often sit in a particular location, such as Silicon Valley, where the people who make and test them have their own biases, ” she says. “Often the algorithms don’t do well at recognizing people with dark skin. They also have great problems with people who are autistic and don’t like looking into cameras. “Another example is the UK where, recently, an AI program was used to grade exam papers. This led to decisions that were biased against people from certain ethnic backgrounds. We really need to look at this issue more closely, starting with the human rights perspective, and I think that’s where the U.N. role comes in: if you increasingly rely on AI as the source of verification, you’re going to have problems because you are using a framework which privileges white males, and doesn’t reflect the whole gamut of people’s lives and experiences”.

The urgent need to expand the developer talent base has been identified by the UN as central to ensuring that a wide variety of voices are heard in the “EdTech” (educational technology) space. Shafika Isaacs, the head of technology and AI at the UN agency for science, technology and education (UNESCO), says that the number of African EdTech startups has been mushrooming in recent years, with entrepreneurs experimenting with the AIenabled digital tools which could support learning and teaching across many different contexts, including in African languages, and local dialects. “I’ve personally engaged with a startup that matches high school students to career pathways, including choosing the right university, community college or even entrepreneurship program. They have seen strong results because of their focus on children in underprivileged contexts and schools. Tech startups have also looked at developing AI-enabled mobile apps, including chat bots, that can support teachers in teaching literacy or teaching mathematics. “The challenge is that there’s often a disconnect between the public education system and tech startups. We need educators to be proactive in engaging with those developing tools, and we encourage students and teachers to learn how to create and design technologies that are relevant to their linguistic and cultural contexts.”

Many African governments are keen to adopt national AI strategies and integrate AI into their national policies on technologies in education. In Côte d’Ivoire, where AI is already being widely used in the private sector, Mariatou Koné, the Minister of Education, says that the country’s education system is undergoing a transformation, following a 2022 review which recommended a digitalization strategy. “We have put in place initiatives to ensure that everyone is aware of the issue of AI. It can provide individual learning programs, and help struggling students to improve, ” said Ms. Koné. “However, we are worried about potential abuses. We have to be able to protect personal data and ensure that learners are aware of the potential dangers.” The Minister agrees that, in order to guard against bias, the pool of engineers building AI tools needs to be expanded. “We need the right tools, adapted to the African context, to the Ivorian context. We have our own history, our own heritage. If we create our own industry, it has to be adapted to the realities of Côte d’Ivoire.”

Available at: https://news.un.org/en/story/2025/01/1159621. Retrieved on: January 6,2026. Adapted.