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Q2486259
Inglês Sinônimos | Synonyms ,
Ano: 2024 Banca: CESGRANRIO Órgão: Caixa Provas: CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - 1° Simulado | CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - Tecnologia da Informação - 1° Simulado |
Q2486259 Inglês
TEXTO ASSOCIADO


Bob Dylan and the “Hot Hand”


For decades, there’s been a running academic debate about the question of “the hot hand”— the notion, in basketball, say, that a player has a statistically better chance of scoring from downtown if he’s been shooting that night with unusual accuracy. Put it this way: Stephen Curry, the point guard genius for the Golden State Warriors, who normally hits forty-four per cent of his threes, will raise his odds to fifty per cent or better if he’s already on a tear. He’s got a “hot hand.” If you watch enough N.B.A. ball, it appears to happen all the time. But does it? Thirty years ago, Thomas Gilovich, Amos Tversky, and Robert Vallone seemed to squelch the hot-hand theory with a stats-laden paper in the journal Cognitive Psychology, but, just last year, along came Joshua Miller and Adam Sanjurjo, marshalling no less evidence, to insist that an “atypical clustering of successes” in three-point shooting was not a “wide spread cognitive illusion” at all, but rather that it “occurs regularly.”

Steph Curry fans, who have been loyal witnesses to his improbable streaks from beyond the arc, surely agree with Professors Miller and Sanjurjo. But let’s assume that the debate, in basketball or at the blackjack table, remains open. What’s clear is that when it comes to the life of the imagination, the hot hand is a matter of historical fact. Novelists, composers, painters, and poets are apt to experience stretches of intense creativity that might derive from any number of factors — surrounding historical events, artistic rivalries, or, most mysteriously, inspiration — but the streak is undeniably there.

For Dylan, the greatest and most abundant songwriter who has ever lived, the most intense period of wild inspiration and creativity ran from the beginning of 1965 to the summer of 1966.

Before that fifteen-month period, Bob Dylan, who was twenty-three, had already transformed folk music, building on Woody Guthrie and Hank Williams. Now he was scribbling lyrics on pads and envelopes all night and listening to the Stones and the Beatles and feverishly reading the Surrealists and the Beats. In short order, he recorded the music for “Bringing It All Back Home” (the crossover to rock that ranges from “Mr. Tambourine Man” to “Subterranean Homesick Blues”); “Highway 61 Revisited” (the best rock album ever made; again, send your rebuttal to ); and “Blonde on Blonde” (a double album recorded in New York and Nashville that includes “Visions of Johanna” and “Just Like a Woman”).


Full text available on https://www.newyorker. com/culture/cultural-comment/bob-dylanand-the-hot-hand
[Questão inédita] In the fragment in the fourth paragraph of the text, “Butlet’s assume that the debate, in basketball or at the blackjack table, remains open”, the word in bold refers to
Alternativas
Q2486258
Inglês Sinônimos | Synonyms ,
Ano: 2024 Banca: CESGRANRIO Órgão: Caixa Provas: CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - 1° Simulado | CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - Tecnologia da Informação - 1° Simulado |
Q2486258 Inglês
TEXTO ASSOCIADO


Bob Dylan and the “Hot Hand”


For decades, there’s been a running academic debate about the question of “the hot hand”— the notion, in basketball, say, that a player has a statistically better chance of scoring from downtown if he’s been shooting that night with unusual accuracy. Put it this way: Stephen Curry, the point guard genius for the Golden State Warriors, who normally hits forty-four per cent of his threes, will raise his odds to fifty per cent or better if he’s already on a tear. He’s got a “hot hand.” If you watch enough N.B.A. ball, it appears to happen all the time. But does it? Thirty years ago, Thomas Gilovich, Amos Tversky, and Robert Vallone seemed to squelch the hot-hand theory with a stats-laden paper in the journal Cognitive Psychology, but, just last year, along came Joshua Miller and Adam Sanjurjo, marshalling no less evidence, to insist that an “atypical clustering of successes” in three-point shooting was not a “wide spread cognitive illusion” at all, but rather that it “occurs regularly.”

Steph Curry fans, who have been loyal witnesses to his improbable streaks from beyond the arc, surely agree with Professors Miller and Sanjurjo. But let’s assume that the debate, in basketball or at the blackjack table, remains open. What’s clear is that when it comes to the life of the imagination, the hot hand is a matter of historical fact. Novelists, composers, painters, and poets are apt to experience stretches of intense creativity that might derive from any number of factors — surrounding historical events, artistic rivalries, or, most mysteriously, inspiration — but the streak is undeniably there.

For Dylan, the greatest and most abundant songwriter who has ever lived, the most intense period of wild inspiration and creativity ran from the beginning of 1965 to the summer of 1966.

Before that fifteen-month period, Bob Dylan, who was twenty-three, had already transformed folk music, building on Woody Guthrie and Hank Williams. Now he was scribbling lyrics on pads and envelopes all night and listening to the Stones and the Beatles and feverishly reading the Surrealists and the Beats. In short order, he recorded the music for “Bringing It All Back Home” (the crossover to rock that ranges from “Mr. Tambourine Man” to “Subterranean Homesick Blues”); “Highway 61 Revisited” (the best rock album ever made; again, send your rebuttal to ); and “Blonde on Blonde” (a double album recorded in New York and Nashville that includes “Visions of Johanna” and “Just Like a Woman”).


Full text available on https://www.newyorker. com/culture/cultural-comment/bob-dylanand-the-hot-hand
[Questão inédita] In the section “Now he was scribbling lyrics on pads and envelopes all night and listening to the Stones and the Beatles and feverishly reading the Surrealists and the Beats”, the expression scribbling lyrics is synonymous with
Alternativas
Q2486257
Inglês Sinônimos | Synonyms ,
Ano: 2024 Banca: CESGRANRIO Órgão: Caixa Provas: CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - 1° Simulado | CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - Tecnologia da Informação - 1° Simulado |
Q2486257 Inglês
TEXTO ASSOCIADO


Bob Dylan and the “Hot Hand”


For decades, there’s been a running academic debate about the question of “the hot hand”— the notion, in basketball, say, that a player has a statistically better chance of scoring from downtown if he’s been shooting that night with unusual accuracy. Put it this way: Stephen Curry, the point guard genius for the Golden State Warriors, who normally hits forty-four per cent of his threes, will raise his odds to fifty per cent or better if he’s already on a tear. He’s got a “hot hand.” If you watch enough N.B.A. ball, it appears to happen all the time. But does it? Thirty years ago, Thomas Gilovich, Amos Tversky, and Robert Vallone seemed to squelch the hot-hand theory with a stats-laden paper in the journal Cognitive Psychology, but, just last year, along came Joshua Miller and Adam Sanjurjo, marshalling no less evidence, to insist that an “atypical clustering of successes” in three-point shooting was not a “wide spread cognitive illusion” at all, but rather that it “occurs regularly.”

Steph Curry fans, who have been loyal witnesses to his improbable streaks from beyond the arc, surely agree with Professors Miller and Sanjurjo. But let’s assume that the debate, in basketball or at the blackjack table, remains open. What’s clear is that when it comes to the life of the imagination, the hot hand is a matter of historical fact. Novelists, composers, painters, and poets are apt to experience stretches of intense creativity that might derive from any number of factors — surrounding historical events, artistic rivalries, or, most mysteriously, inspiration — but the streak is undeniably there.

For Dylan, the greatest and most abundant songwriter who has ever lived, the most intense period of wild inspiration and creativity ran from the beginning of 1965 to the summer of 1966.

Before that fifteen-month period, Bob Dylan, who was twenty-three, had already transformed folk music, building on Woody Guthrie and Hank Williams. Now he was scribbling lyrics on pads and envelopes all night and listening to the Stones and the Beatles and feverishly reading the Surrealists and the Beats. In short order, he recorded the music for “Bringing It All Back Home” (the crossover to rock that ranges from “Mr. Tambourine Man” to “Subterranean Homesick Blues”); “Highway 61 Revisited” (the best rock album ever made; again, send your rebuttal to ); and “Blonde on Blonde” (a double album recorded in New York and Nashville that includes “Visions of Johanna” and “Just Like a Woman”).


Full text available on https://www.newyorker. com/culture/cultural-comment/bob-dylanand-the-hot-hand
[Questão inédita] Red the following excerpt of the text: “For Dylan, the greatest and most abundant song writer who has ever lived, the most intense period of wild inspiration and creativity ran from the beginning of 1965 to the summer of 1966”.

The word in bold is associated with the idea of:
Alternativas
Q2459377
Inglês Adjetivos | Adjectives , Oposto | Opposite ,
Ano: 2024 Banca: FGV Órgão: Prefeitura de Vitória - ES Prova: FGV - 2024 - Prefeitura de Vitória - ES - PEB III - Língua Inglesa |
Q2459377 Inglês

Read Text I and answer the fourteen questions that follow it

                           

 Text I The “literacy turn” in education: reexamining 

what it means to be literate


In response to the phenomena of mass migration and the emergence of digital communications media that defined the last decade of the 20th century, the New London Group (NLG) called for a broader view of literacy and literacy teaching in its 1996 manifesto, A Pedagogy of Multiliteracies: Designing Social Futures. The group argued that literacy pedagogy in education must (1) reflect the increasing cultural and linguistic diversity of the contemporary globalized world, and (2) account for the new kinds of texts and textual engagement that have emerged in the wake of new information and multimedia technologies. In order to better capture the plurality of discourses, languages, and media, they proposed the term ‘multiliteracies’.

Within the NLG’s pedagogy of multiliteracies, language and other modes of communication are viewed as dynamic resources for meaning making that undergo constant changes in the dynamics of language use as learners attempt to achieve their own purposes. Within this broader view of literacy and literacy teaching, learners are no longer “users as decoders of language” but rather “designers of meaning.” Meaning is not viewed as something that resides in texts; rather, deriving meaning is considered an active and dynamic process in which learners combine and creatively apply both linguistic and other semiotic resources (e.g., visual, gesture, sound, etc.) with an awareness of “the sets of conventions connected with semiotic activity [...] in a given social space” (NLG, 1996, p. 74).

Grounded within the view that learning develops in social, cultural, and material contexts as a result of collaborative interactions, NLG argued that instantiating literacy-based teaching in classrooms calls on the complex integration and interaction of four pedagogical components that are neither hierarchical nor linear and can at times overlap: situated practice, overt instruction, critical framing, and transformed practice. […]

Although the NLG’s pedagogy of multiliteracies was conceived as a “statement of general principle” (1996, p. 89) for schools, the group’s call for educators to recognize the diversity and social situatedness of literacy has had a lasting impact on foreign language (FL) teaching and learning. The reception of the group’s work along with that of other scholars from critical pedagogy appeared at a time when the field was becoming less solidly anchored in theories of L2 acquisition and more interested in the social practice of FL education itself. In the section that follows, we describe the current state of FL literacy studies as it has developed in recent years, before finally turning to some very recent emerging trends that we are likely to see develop going forward.

(Adapted from: https://www.colorado.edu/center/altec/sites/default/files/ attachedfiles/moving_toward_multiliteracies_in_foreign_language_teaching.pdf)

The opposite of “less” in “less solidly anchored” (4th paragraph) is
Alternativas
Q2459376
Inglês Adjetivos | Adjectives , Uso dos adjetivos | Use of adjectives ,
Ano: 2024 Banca: FGV Órgão: Prefeitura de Vitória - ES Prova: FGV - 2024 - Prefeitura de Vitória - ES - PEB III - Língua Inglesa |
Q2459376 Inglês

Read Text I and answer the fourteen questions that follow it

                           

 Text I The “literacy turn” in education: reexamining 

what it means to be literate


In response to the phenomena of mass migration and the emergence of digital communications media that defined the last decade of the 20th century, the New London Group (NLG) called for a broader view of literacy and literacy teaching in its 1996 manifesto, A Pedagogy of Multiliteracies: Designing Social Futures. The group argued that literacy pedagogy in education must (1) reflect the increasing cultural and linguistic diversity of the contemporary globalized world, and (2) account for the new kinds of texts and textual engagement that have emerged in the wake of new information and multimedia technologies. In order to better capture the plurality of discourses, languages, and media, they proposed the term ‘multiliteracies’.

Within the NLG’s pedagogy of multiliteracies, language and other modes of communication are viewed as dynamic resources for meaning making that undergo constant changes in the dynamics of language use as learners attempt to achieve their own purposes. Within this broader view of literacy and literacy teaching, learners are no longer “users as decoders of language” but rather “designers of meaning.” Meaning is not viewed as something that resides in texts; rather, deriving meaning is considered an active and dynamic process in which learners combine and creatively apply both linguistic and other semiotic resources (e.g., visual, gesture, sound, etc.) with an awareness of “the sets of conventions connected with semiotic activity [...] in a given social space” (NLG, 1996, p. 74).

Grounded within the view that learning develops in social, cultural, and material contexts as a result of collaborative interactions, NLG argued that instantiating literacy-based teaching in classrooms calls on the complex integration and interaction of four pedagogical components that are neither hierarchical nor linear and can at times overlap: situated practice, overt instruction, critical framing, and transformed practice. […]

Although the NLG’s pedagogy of multiliteracies was conceived as a “statement of general principle” (1996, p. 89) for schools, the group’s call for educators to recognize the diversity and social situatedness of literacy has had a lasting impact on foreign language (FL) teaching and learning. The reception of the group’s work along with that of other scholars from critical pedagogy appeared at a time when the field was becoming less solidly anchored in theories of L2 acquisition and more interested in the social practice of FL education itself. In the section that follows, we describe the current state of FL literacy studies as it has developed in recent years, before finally turning to some very recent emerging trends that we are likely to see develop going forward.

(Adapted from: https://www.colorado.edu/center/altec/sites/default/files/ attachedfiles/moving_toward_multiliteracies_in_foreign_language_teaching.pdf)

The adjective in “literacy has had a lasting impact” (4th paragraph) means
Alternativas
Respostas
1: D
2: C
3: A
4: B
5: C
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