Questões de Concurso Sobre interpretação de texto | reading comprehension em inglês

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Q3380205 Inglês

TEXT 1


What do AI chatbots really mean for students and cheating?

October 31, 2023 By

Carrie Spector


The launch of ChatGPT and other artificial intelligence (AI) chatbots has triggered an alarm for many educators, who worry about students using the technology to cheat by passing its writing off as their own. But two Stanford researchers say that concern is misdirected, based on their ongoing research into cheating among U.S. high school students before and after the release of ChatGPT.


Here, Lee and Pope discuss the state of cheating in U.S. schools, what research shows about why students cheat, and their recommendations for educators working to address the problem.


What do we know about how much students cheat?


Pope: We know that cheating rates have been high for a long time. At Challenge Success we’ve been running surveys and focus groups at schools for over 15 years, asking students about different aspects of their lives — the amount of sleep they get, homework pressure, extracurricular activities, family expectations, things like that — and also several questions about different forms of cheating.


For years, long before ChatGPT hit the scene, some 60 to 70 percent of students have reported engaging in at least one “cheating” behavior during the previous month. That percentage has stayed about the same or even decreased slightly in our 2023 surveys, when we added questions specific to new AI technologies, like ChatGPT, and how students are using it for school assignments.


So AI isn’t changing how often students cheat — just the tools that they’re using?


Lee: The most prudent thing to say right now is that the data suggest, perhaps to the surprise of many people, that AI is not increasing the frequency of cheating. This may change as students become increasingly familiar with the technology, and we’ll continue to study it and see if and how this changes. But I think it’s important to point out that, in Challenge Success’ most recent survey, students were also asked if and how they felt an AI chatbot like ChatGPT should be allowed for school-related tasks. Many said they thought it should be acceptable for “starter” purposes, like explaining a new concept or generating ideas for a paper. But the vast majority said that using a chatbot to write an entire paper should never be allowed. So this idea that students who’ve never cheated before are going to suddenly run amok and have AI write all of their papers appears unfounded. What would you suggest to school leaders who are concerned about students using AI chatbots?


Pope: Even before ChatGPT, we could never be sure whether kids were getting help from a parent or tutor or another source on their assignments, and this was not considered cheating. Kids in our focus groups are wondering why they can't use ChatGPT as another resource to help them write their papers — not to write the whole thing word for word, but to get the kind of help a parent or tutor would offer. We need to help students and educators find ways to discuss the ethics of using this technology and when it is and isn't useful for student learning.


Lee: There’s a lot of fear about students using this technology. Schools have considered putting significant amounts of money in AI-detection software, which studies show can be highly unreliable. Some districts have tried blocking AI chatbots from school wifi and devices, then repealed those bans because they were ineffective. AI is not going away. Along with addressing the deeper reasons why students cheat, we need to teach students how to understand and think critically about this technology. For starters, at Stanford we’ve begun developing free resources to help teachers bring these topics into the classroom as it relates to different subject areas. We know that 3 teachers don’t have time to introduce a whole new class, but we have been working with teachers to make sure these are activities and lessons that can fit with what they’re already covering in the time they have available.


I think of AI literacy as being akin to driver’s education: We’ve got a powerful tool that can be a great asset, but it can also be dangerous. We want students to learn how to use it responsibly.


Available from: < https://ed.stanford.edu/news/what-do-ai-chatbots-really-mean-students-and-cheating>. Access: 08 Dec., 2023. Adapted. 

In the introduction of the text, the author mentions that many educators are worried about the advancement of AI technologies as they would make it easier for students to cheat. According to the two Stanford researchers interviewed, this concern is 
Alternativas
Q3380204 Inglês

TEXT 1


What do AI chatbots really mean for students and cheating?

October 31, 2023 By

Carrie Spector


The launch of ChatGPT and other artificial intelligence (AI) chatbots has triggered an alarm for many educators, who worry about students using the technology to cheat by passing its writing off as their own. But two Stanford researchers say that concern is misdirected, based on their ongoing research into cheating among U.S. high school students before and after the release of ChatGPT.


Here, Lee and Pope discuss the state of cheating in U.S. schools, what research shows about why students cheat, and their recommendations for educators working to address the problem.


What do we know about how much students cheat?


Pope: We know that cheating rates have been high for a long time. At Challenge Success we’ve been running surveys and focus groups at schools for over 15 years, asking students about different aspects of their lives — the amount of sleep they get, homework pressure, extracurricular activities, family expectations, things like that — and also several questions about different forms of cheating.


For years, long before ChatGPT hit the scene, some 60 to 70 percent of students have reported engaging in at least one “cheating” behavior during the previous month. That percentage has stayed about the same or even decreased slightly in our 2023 surveys, when we added questions specific to new AI technologies, like ChatGPT, and how students are using it for school assignments.


So AI isn’t changing how often students cheat — just the tools that they’re using?


Lee: The most prudent thing to say right now is that the data suggest, perhaps to the surprise of many people, that AI is not increasing the frequency of cheating. This may change as students become increasingly familiar with the technology, and we’ll continue to study it and see if and how this changes. But I think it’s important to point out that, in Challenge Success’ most recent survey, students were also asked if and how they felt an AI chatbot like ChatGPT should be allowed for school-related tasks. Many said they thought it should be acceptable for “starter” purposes, like explaining a new concept or generating ideas for a paper. But the vast majority said that using a chatbot to write an entire paper should never be allowed. So this idea that students who’ve never cheated before are going to suddenly run amok and have AI write all of their papers appears unfounded. What would you suggest to school leaders who are concerned about students using AI chatbots?


Pope: Even before ChatGPT, we could never be sure whether kids were getting help from a parent or tutor or another source on their assignments, and this was not considered cheating. Kids in our focus groups are wondering why they can't use ChatGPT as another resource to help them write their papers — not to write the whole thing word for word, but to get the kind of help a parent or tutor would offer. We need to help students and educators find ways to discuss the ethics of using this technology and when it is and isn't useful for student learning.


Lee: There’s a lot of fear about students using this technology. Schools have considered putting significant amounts of money in AI-detection software, which studies show can be highly unreliable. Some districts have tried blocking AI chatbots from school wifi and devices, then repealed those bans because they were ineffective. AI is not going away. Along with addressing the deeper reasons why students cheat, we need to teach students how to understand and think critically about this technology. For starters, at Stanford we’ve begun developing free resources to help teachers bring these topics into the classroom as it relates to different subject areas. We know that 3 teachers don’t have time to introduce a whole new class, but we have been working with teachers to make sure these are activities and lessons that can fit with what they’re already covering in the time they have available.


I think of AI literacy as being akin to driver’s education: We’ve got a powerful tool that can be a great asset, but it can also be dangerous. We want students to learn how to use it responsibly.


Available from: < https://ed.stanford.edu/news/what-do-ai-chatbots-really-mean-students-and-cheating>. Access: 08 Dec., 2023. Adapted. 

In Text 1, Stanford education scholars Victor Lee and Denise Pope discuss 
Alternativas
Q3367751 Inglês
Quando aplicando as técnicas de skimming e scanning em uma aula de leitura em Língua Inglesa, qual é o objetivo principal que o professor deve esperar que os alunos atinjam?
Alternativas
Q3367742 Inglês
Haussmann Architecture


Haussmann eliminated many of the city's mazelike streets and removed more than 12,000 medieval structures during this dark time when Paris was filthy, overcrowded and infested with disease. He redesigned the city with a network of wide, stately boulevards, built 40,000 new buildings and cleared space for Les Halles marketplace and the Palais Garnier (home of the Paris Opera Ballet). The namesake Boulevard Haussmann runs east to west through the 9th arrondissement, near Palais Garnier. He created other structures and public plazas while modernizing the town's sewers, fountains and viaducts as well.

But it was Paris' cavalcade of enchanting apartments and their uniform facades that ultimately transformed the streetscape, making way for a more cohesive, unified city and fulfilling Napoleon III's vision. Lining the city's graceful avenues, these refined Haussmann-style buildings shaped the magnificent town we know today while accounting for about 60% of Parisian architecture.

What are some characteristics of Haussmann architecture?

Although Haussmann-style structures can vary, they were designed to fit certain standards.

Buildings in this style were required to be between 12 and 20 meters (about 39 to 65 feet) high and consist of no more than six stories. Initially, stairs were the only means of reaching different floors. Elevators were added later.

Carriage entrances that connect to a courtyard were likely. These entrances allowed the nobility to enter with their horse-drawn carriages.

"Pièrre de taille"−−also known as ashlar or freestone−− was the material of choice. This stone has a light gray color and is cut or "dressed."

The ground floor of a Haussmann-style building usually accommodated shops, as did the first level, also referred to as the mezzanine. This level has lower ceilings than the upper floors.

The second floor was intended for the upper class and nobility; it's where wealthy Parisians lived. This level boasts the highest ceilings of all the floors−−usually at least 10.5 feet−−as well as a wrought iron wraparound balcony. This level also has the most ornate interior.

Ceiling heights are lower on the third and fourth levels, and the interior detailing is simpler.

The fifth floor was not meant for nobility but offered running balconies to visually balance the building's exterior.

The sixth floor or attic space was reserved for servants. Nowadays, since the highest floor of a Haussmann-style apartment building promises sweeping views of the city's rooftops, these apartments are often in high demand.

Haussmannian architecture is marked by dormer windows and mansard roofs, which had to be angled at 45 degrees to allow the maximum amount of sunlight on the streets below.

Interiors of Haussmann buildings were as elegant as the exteriors. They typically featured herringbone and chevron parquet floors, elaborate plaster or wood moldings, large rooms with tall windows, built-in wardrobes and shelves, marble fireplaces, French doors and tomette terra-cotta tiles, on occasion.

Square footage varies in Haussmann-style apartments. Some flats offer one bedroom and bath, while others are sprawling family apartments with three or four bedrooms and several bathrooms.

The architectural heart and soul of Paris, Haussmann buildings can be found throughout much of the city. However, the greatest concentration is in the 8th, 9th, 10th, 14th, 15th, 16th, 17th, 18th, and 20th arrondissements.



https://www.mansionglobal.com/library/haussmann-architecture
Based on the text, what can be inferred about the social stratification in Paris during the period when Haussmann-style buildings were constructed?
Alternativas
Q3367741 Inglês
Haussmann Architecture


Haussmann eliminated many of the city's mazelike streets and removed more than 12,000 medieval structures during this dark time when Paris was filthy, overcrowded and infested with disease. He redesigned the city with a network of wide, stately boulevards, built 40,000 new buildings and cleared space for Les Halles marketplace and the Palais Garnier (home of the Paris Opera Ballet). The namesake Boulevard Haussmann runs east to west through the 9th arrondissement, near Palais Garnier. He created other structures and public plazas while modernizing the town's sewers, fountains and viaducts as well.

But it was Paris' cavalcade of enchanting apartments and their uniform facades that ultimately transformed the streetscape, making way for a more cohesive, unified city and fulfilling Napoleon III's vision. Lining the city's graceful avenues, these refined Haussmann-style buildings shaped the magnificent town we know today while accounting for about 60% of Parisian architecture.

What are some characteristics of Haussmann architecture?

Although Haussmann-style structures can vary, they were designed to fit certain standards.

Buildings in this style were required to be between 12 and 20 meters (about 39 to 65 feet) high and consist of no more than six stories. Initially, stairs were the only means of reaching different floors. Elevators were added later.

Carriage entrances that connect to a courtyard were likely. These entrances allowed the nobility to enter with their horse-drawn carriages.

"Pièrre de taille"−−also known as ashlar or freestone−− was the material of choice. This stone has a light gray color and is cut or "dressed."

The ground floor of a Haussmann-style building usually accommodated shops, as did the first level, also referred to as the mezzanine. This level has lower ceilings than the upper floors.

The second floor was intended for the upper class and nobility; it's where wealthy Parisians lived. This level boasts the highest ceilings of all the floors−−usually at least 10.5 feet−−as well as a wrought iron wraparound balcony. This level also has the most ornate interior.

Ceiling heights are lower on the third and fourth levels, and the interior detailing is simpler.

The fifth floor was not meant for nobility but offered running balconies to visually balance the building's exterior.

The sixth floor or attic space was reserved for servants. Nowadays, since the highest floor of a Haussmann-style apartment building promises sweeping views of the city's rooftops, these apartments are often in high demand.

Haussmannian architecture is marked by dormer windows and mansard roofs, which had to be angled at 45 degrees to allow the maximum amount of sunlight on the streets below.

Interiors of Haussmann buildings were as elegant as the exteriors. They typically featured herringbone and chevron parquet floors, elaborate plaster or wood moldings, large rooms with tall windows, built-in wardrobes and shelves, marble fireplaces, French doors and tomette terra-cotta tiles, on occasion.

Square footage varies in Haussmann-style apartments. Some flats offer one bedroom and bath, while others are sprawling family apartments with three or four bedrooms and several bathrooms.

The architectural heart and soul of Paris, Haussmann buildings can be found throughout much of the city. However, the greatest concentration is in the 8th, 9th, 10th, 14th, 15th, 16th, 17th, 18th, and 20th arrondissements.



https://www.mansionglobal.com/library/haussmann-architecture
According to the text, which architectural feature was essential for ensuring that sunlight could reach the streets below?
Alternativas
Q3367740 Inglês
Haussmann Architecture


Haussmann eliminated many of the city's mazelike streets and removed more than 12,000 medieval structures during this dark time when Paris was filthy, overcrowded and infested with disease. He redesigned the city with a network of wide, stately boulevards, built 40,000 new buildings and cleared space for Les Halles marketplace and the Palais Garnier (home of the Paris Opera Ballet). The namesake Boulevard Haussmann runs east to west through the 9th arrondissement, near Palais Garnier. He created other structures and public plazas while modernizing the town's sewers, fountains and viaducts as well.

But it was Paris' cavalcade of enchanting apartments and their uniform facades that ultimately transformed the streetscape, making way for a more cohesive, unified city and fulfilling Napoleon III's vision. Lining the city's graceful avenues, these refined Haussmann-style buildings shaped the magnificent town we know today while accounting for about 60% of Parisian architecture.

What are some characteristics of Haussmann architecture?

Although Haussmann-style structures can vary, they were designed to fit certain standards.

Buildings in this style were required to be between 12 and 20 meters (about 39 to 65 feet) high and consist of no more than six stories. Initially, stairs were the only means of reaching different floors. Elevators were added later.

Carriage entrances that connect to a courtyard were likely. These entrances allowed the nobility to enter with their horse-drawn carriages.

"Pièrre de taille"−−also known as ashlar or freestone−− was the material of choice. This stone has a light gray color and is cut or "dressed."

The ground floor of a Haussmann-style building usually accommodated shops, as did the first level, also referred to as the mezzanine. This level has lower ceilings than the upper floors.

The second floor was intended for the upper class and nobility; it's where wealthy Parisians lived. This level boasts the highest ceilings of all the floors−−usually at least 10.5 feet−−as well as a wrought iron wraparound balcony. This level also has the most ornate interior.

Ceiling heights are lower on the third and fourth levels, and the interior detailing is simpler.

The fifth floor was not meant for nobility but offered running balconies to visually balance the building's exterior.

The sixth floor or attic space was reserved for servants. Nowadays, since the highest floor of a Haussmann-style apartment building promises sweeping views of the city's rooftops, these apartments are often in high demand.

Haussmannian architecture is marked by dormer windows and mansard roofs, which had to be angled at 45 degrees to allow the maximum amount of sunlight on the streets below.

Interiors of Haussmann buildings were as elegant as the exteriors. They typically featured herringbone and chevron parquet floors, elaborate plaster or wood moldings, large rooms with tall windows, built-in wardrobes and shelves, marble fireplaces, French doors and tomette terra-cotta tiles, on occasion.

Square footage varies in Haussmann-style apartments. Some flats offer one bedroom and bath, while others are sprawling family apartments with three or four bedrooms and several bathrooms.

The architectural heart and soul of Paris, Haussmann buildings can be found throughout much of the city. However, the greatest concentration is in the 8th, 9th, 10th, 14th, 15th, 16th, 17th, 18th, and 20th arrondissements.



https://www.mansionglobal.com/library/haussmann-architecture
Infer why Haussmann-style buildings incorporated carriage entrances that led to a courtyard, as mentioned in the text
Alternativas
Q3367739 Inglês
Haussmann Architecture


Haussmann eliminated many of the city's mazelike streets and removed more than 12,000 medieval structures during this dark time when Paris was filthy, overcrowded and infested with disease. He redesigned the city with a network of wide, stately boulevards, built 40,000 new buildings and cleared space for Les Halles marketplace and the Palais Garnier (home of the Paris Opera Ballet). The namesake Boulevard Haussmann runs east to west through the 9th arrondissement, near Palais Garnier. He created other structures and public plazas while modernizing the town's sewers, fountains and viaducts as well.

But it was Paris' cavalcade of enchanting apartments and their uniform facades that ultimately transformed the streetscape, making way for a more cohesive, unified city and fulfilling Napoleon III's vision. Lining the city's graceful avenues, these refined Haussmann-style buildings shaped the magnificent town we know today while accounting for about 60% of Parisian architecture.

What are some characteristics of Haussmann architecture?

Although Haussmann-style structures can vary, they were designed to fit certain standards.

Buildings in this style were required to be between 12 and 20 meters (about 39 to 65 feet) high and consist of no more than six stories. Initially, stairs were the only means of reaching different floors. Elevators were added later.

Carriage entrances that connect to a courtyard were likely. These entrances allowed the nobility to enter with their horse-drawn carriages.

"Pièrre de taille"−−also known as ashlar or freestone−− was the material of choice. This stone has a light gray color and is cut or "dressed."

The ground floor of a Haussmann-style building usually accommodated shops, as did the first level, also referred to as the mezzanine. This level has lower ceilings than the upper floors.

The second floor was intended for the upper class and nobility; it's where wealthy Parisians lived. This level boasts the highest ceilings of all the floors−−usually at least 10.5 feet−−as well as a wrought iron wraparound balcony. This level also has the most ornate interior.

Ceiling heights are lower on the third and fourth levels, and the interior detailing is simpler.

The fifth floor was not meant for nobility but offered running balconies to visually balance the building's exterior.

The sixth floor or attic space was reserved for servants. Nowadays, since the highest floor of a Haussmann-style apartment building promises sweeping views of the city's rooftops, these apartments are often in high demand.

Haussmannian architecture is marked by dormer windows and mansard roofs, which had to be angled at 45 degrees to allow the maximum amount of sunlight on the streets below.

Interiors of Haussmann buildings were as elegant as the exteriors. They typically featured herringbone and chevron parquet floors, elaborate plaster or wood moldings, large rooms with tall windows, built-in wardrobes and shelves, marble fireplaces, French doors and tomette terra-cotta tiles, on occasion.

Square footage varies in Haussmann-style apartments. Some flats offer one bedroom and bath, while others are sprawling family apartments with three or four bedrooms and several bathrooms.

The architectural heart and soul of Paris, Haussmann buildings can be found throughout much of the city. However, the greatest concentration is in the 8th, 9th, 10th, 14th, 15th, 16th, 17th, 18th, and 20th arrondissements.



https://www.mansionglobal.com/library/haussmann-architecture
What was the primary purpose of the renovations conducted by Haussmann in Paris according to the text? 
Alternativas
Q3367738 Inglês
Haussmann Architecture


Haussmann eliminated many of the city's mazelike streets and removed more than 12,000 medieval structures during this dark time when Paris was filthy, overcrowded and infested with disease. He redesigned the city with a network of wide, stately boulevards, built 40,000 new buildings and cleared space for Les Halles marketplace and the Palais Garnier (home of the Paris Opera Ballet). The namesake Boulevard Haussmann runs east to west through the 9th arrondissement, near Palais Garnier. He created other structures and public plazas while modernizing the town's sewers, fountains and viaducts as well.

But it was Paris' cavalcade of enchanting apartments and their uniform facades that ultimately transformed the streetscape, making way for a more cohesive, unified city and fulfilling Napoleon III's vision. Lining the city's graceful avenues, these refined Haussmann-style buildings shaped the magnificent town we know today while accounting for about 60% of Parisian architecture.

What are some characteristics of Haussmann architecture?

Although Haussmann-style structures can vary, they were designed to fit certain standards.

Buildings in this style were required to be between 12 and 20 meters (about 39 to 65 feet) high and consist of no more than six stories. Initially, stairs were the only means of reaching different floors. Elevators were added later.

Carriage entrances that connect to a courtyard were likely. These entrances allowed the nobility to enter with their horse-drawn carriages.

"Pièrre de taille"−−also known as ashlar or freestone−− was the material of choice. This stone has a light gray color and is cut or "dressed."

The ground floor of a Haussmann-style building usually accommodated shops, as did the first level, also referred to as the mezzanine. This level has lower ceilings than the upper floors.

The second floor was intended for the upper class and nobility; it's where wealthy Parisians lived. This level boasts the highest ceilings of all the floors−−usually at least 10.5 feet−−as well as a wrought iron wraparound balcony. This level also has the most ornate interior.

Ceiling heights are lower on the third and fourth levels, and the interior detailing is simpler.

The fifth floor was not meant for nobility but offered running balconies to visually balance the building's exterior.

The sixth floor or attic space was reserved for servants. Nowadays, since the highest floor of a Haussmann-style apartment building promises sweeping views of the city's rooftops, these apartments are often in high demand.

Haussmannian architecture is marked by dormer windows and mansard roofs, which had to be angled at 45 degrees to allow the maximum amount of sunlight on the streets below.

Interiors of Haussmann buildings were as elegant as the exteriors. They typically featured herringbone and chevron parquet floors, elaborate plaster or wood moldings, large rooms with tall windows, built-in wardrobes and shelves, marble fireplaces, French doors and tomette terra-cotta tiles, on occasion.

Square footage varies in Haussmann-style apartments. Some flats offer one bedroom and bath, while others are sprawling family apartments with three or four bedrooms and several bathrooms.

The architectural heart and soul of Paris, Haussmann buildings can be found throughout much of the city. However, the greatest concentration is in the 8th, 9th, 10th, 14th, 15th, 16th, 17th, 18th, and 20th arrondissements.



https://www.mansionglobal.com/library/haussmann-architecture
Based on the text, which floor of a Haussmann-style building was specifically designed for the upper class and nobility?
Alternativas
Q3367737 Inglês
Haussmann Architecture


Haussmann eliminated many of the city's mazelike streets and removed more than 12,000 medieval structures during this dark time when Paris was filthy, overcrowded and infested with disease. He redesigned the city with a network of wide, stately boulevards, built 40,000 new buildings and cleared space for Les Halles marketplace and the Palais Garnier (home of the Paris Opera Ballet). The namesake Boulevard Haussmann runs east to west through the 9th arrondissement, near Palais Garnier. He created other structures and public plazas while modernizing the town's sewers, fountains and viaducts as well.

But it was Paris' cavalcade of enchanting apartments and their uniform facades that ultimately transformed the streetscape, making way for a more cohesive, unified city and fulfilling Napoleon III's vision. Lining the city's graceful avenues, these refined Haussmann-style buildings shaped the magnificent town we know today while accounting for about 60% of Parisian architecture.

What are some characteristics of Haussmann architecture?

Although Haussmann-style structures can vary, they were designed to fit certain standards.

Buildings in this style were required to be between 12 and 20 meters (about 39 to 65 feet) high and consist of no more than six stories. Initially, stairs were the only means of reaching different floors. Elevators were added later.

Carriage entrances that connect to a courtyard were likely. These entrances allowed the nobility to enter with their horse-drawn carriages.

"Pièrre de taille"−−also known as ashlar or freestone−− was the material of choice. This stone has a light gray color and is cut or "dressed."

The ground floor of a Haussmann-style building usually accommodated shops, as did the first level, also referred to as the mezzanine. This level has lower ceilings than the upper floors.

The second floor was intended for the upper class and nobility; it's where wealthy Parisians lived. This level boasts the highest ceilings of all the floors−−usually at least 10.5 feet−−as well as a wrought iron wraparound balcony. This level also has the most ornate interior.

Ceiling heights are lower on the third and fourth levels, and the interior detailing is simpler.

The fifth floor was not meant for nobility but offered running balconies to visually balance the building's exterior.

The sixth floor or attic space was reserved for servants. Nowadays, since the highest floor of a Haussmann-style apartment building promises sweeping views of the city's rooftops, these apartments are often in high demand.

Haussmannian architecture is marked by dormer windows and mansard roofs, which had to be angled at 45 degrees to allow the maximum amount of sunlight on the streets below.

Interiors of Haussmann buildings were as elegant as the exteriors. They typically featured herringbone and chevron parquet floors, elaborate plaster or wood moldings, large rooms with tall windows, built-in wardrobes and shelves, marble fireplaces, French doors and tomette terra-cotta tiles, on occasion.

Square footage varies in Haussmann-style apartments. Some flats offer one bedroom and bath, while others are sprawling family apartments with three or four bedrooms and several bathrooms.

The architectural heart and soul of Paris, Haussmann buildings can be found throughout much of the city. However, the greatest concentration is in the 8th, 9th, 10th, 14th, 15th, 16th, 17th, 18th, and 20th arrondissements.



https://www.mansionglobal.com/library/haussmann-architecture
How does the text describe the distribution of Haussmann buildings across Parisian arrondissements?
Alternativas
Q3365020 Inglês
Read the following passage:
"John has always loved gardening. Every morning, he spends two hours in his garden, tending to his flowers and vegetables. He believes that gardening not only provides him with fresh produce but also serves as a form of relaxation. Last year, he won an award for the best home garden in the neighborhood. His neighbors often come to him for gardening tips and advice."
Choose the option that best summarizes the main points in your own words, distinguishing between essential and non-essential information: 
Alternativas
Q3365017 Inglês
Jean Piaget, a swiss psychologist, is renowned for his theory of cognitive development, which outlines how children's thinking evolves in stages as they grow. Regarding the thought of Piaget, select the INCORRECT alternative: 
Alternativas
Q3365016 Inglês
Read the following passage:
"Maria looked out the window and sighed. The dark clouds were gathering quickly, and the wind had picked up. She grabbed her umbrella and raincoat before heading out the door."
Choose the option that best exemplifies making an inference based on textual evidence and prior knowledge: 
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Q3365015 Inglês
What is the primary purpose of using sensory details in descriptive writing?
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Q3365011 Inglês
Which exercise is most suitable for beginner-level students to improve their reading comprehension?
Alternativas
Q3365008 Inglês
Exploring cultural and social themes in English-speaking countries often involves understanding the nuances of their diverse societies. Which of the following statements best represents the influence of cultural diversity on the social fabric of these countries?
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Q3365007 Inglês
Which of the following best describes the scanning technique in reading? 
Alternativas
Q3364446 Inglês
Something in the water? Why we love shark films


From the Steven Spielberg classic Jaws, to predators stalking the Seine in Under Paris, there is no shortage of shark films.

Hollywood and audiences love them, seemingly never tiring of the suspense, gore and terror.

There are prehistoric giant sharks in The Meg, genetically engineered ones in Deep Blue Sea, and sharks high on cocaine in the ingeniously named Cocaine Shark.

Even Donald Trump is a fan – he was reportedly due to play the US president in a Sharknado film, before becoming the actual president.

I became hooked on them after watching James Bond film Thunderball, where the villain keeps sharks in his swimming pool.

It led to a lifelong interest in shark films, as well as an irrational fear of swimming pools, even ones filled with chlorine inside leisure centres.

Hayley Easton Street is the British director behind a new shark film, Something in the Water, which tells the story of a group of women stranded at sea.

She explains that, as fan of shark films herself, she “absolutely wanted” to make the movie.

So why are shark movies so popular? “It's the fear of what could be going on with the unknown of [the sea]” she tells BBC News.

“Just being stuck in the middle of the ocean is scary enough. You're trapped in something else's world and anything could happen.”

But despite Street's love of shark films, she did not want the ones in hers to be portrayed as marine serial killers.

“We kill 100 million sharks every year” she notes.

The director was also aware that the release of Jaws led to a huge rise in the hunting of sharks, partly because they had been portrayed as merciless killers.

“As much as I love shark films, I love sharks.”

“I was really conscious of that, because it's easy for people to start seeing them as killing machines... or monsters, which they are not.”

She adds: “I feel it's more scary to have the realistic theme of it, that, you know, if you are out in the ocean and there are sharks and they do mistake you for something else, they will kill you.”

Despite the huge success of Jaws, Spielberg has said he “truly regrets the decimation of the shark population because of the book and the film”.

Spielberg is not the only person concerned about Hollywood's portrayal of sharks and the impact it continues to have.

US marine biologist Andriana Fragola dedicates herself to educating people about sharks, often sharing videos of her diving with them.

She says they are “misunderstood predators” that have been harmed by movies and the media.

Andriana tells me that she has watched Netflix's new shark film, Under Paris, and was not impressed.

“Their whole thing was it's about conservation, about studying them, but then the sharks are still eating people.”

“So it's giving a little bit more of a rounded education and a little bit more depth to the story, it's not just people swimming at the beach and getting attacked and eaten.”

“But the bottom line and what people can draw from the movie is that sharks are still really dangerous to people and they're just going to continuously hunt and eat people.”

“If that was true, we would be reduced as a human species. Everyone who goes to the beach, they would be threatened.”

Andriana says the perception of sharks causes a real issue for conservation.

“It's a huge problem because people don't want to protect something that they're scared of.”

“The perception from people is that they're dangerous to humans so we should eradicate them, and that's obviously a huge problem for conservation and getting people to want to empathise or sympathise with sharks and wanting to actually protect them.”

“It's unfortunate because 100 million sharks are killed every year, and globally sharks kill fewer than 10 people every year.”

“We're really focused on the sharks being the monsters and them being out to get us. In reality it's the opposite.”

It is unlikely that Hollywood will stop making shark films, or we will stop watching them.

But the figures show that far from being the serial killers of the sea, sharks are actually much more likely to be the victims of humans.

(Charlotte Gallagher, Culture reporter, BBC 2024. Accessed: 29 July 2024. Available in:<https://www.bbc.com/news/articles/ckmmgxvp7dgo>. Adapted.)
The Meg, Jaws, Deep Blue Sea, Cocaine Shark and Sharknado are cited as examples of:
Alternativas
Q3364445 Inglês
Something in the water? Why we love shark films


From the Steven Spielberg classic Jaws, to predators stalking the Seine in Under Paris, there is no shortage of shark films.

Hollywood and audiences love them, seemingly never tiring of the suspense, gore and terror.

There are prehistoric giant sharks in The Meg, genetically engineered ones in Deep Blue Sea, and sharks high on cocaine in the ingeniously named Cocaine Shark.

Even Donald Trump is a fan – he was reportedly due to play the US president in a Sharknado film, before becoming the actual president.

I became hooked on them after watching James Bond film Thunderball, where the villain keeps sharks in his swimming pool.

It led to a lifelong interest in shark films, as well as an irrational fear of swimming pools, even ones filled with chlorine inside leisure centres.

Hayley Easton Street is the British director behind a new shark film, Something in the Water, which tells the story of a group of women stranded at sea.

She explains that, as fan of shark films herself, she “absolutely wanted” to make the movie.

So why are shark movies so popular? “It's the fear of what could be going on with the unknown of [the sea]” she tells BBC News.

“Just being stuck in the middle of the ocean is scary enough. You're trapped in something else's world and anything could happen.”

But despite Street's love of shark films, she did not want the ones in hers to be portrayed as marine serial killers.

“We kill 100 million sharks every year” she notes.

The director was also aware that the release of Jaws led to a huge rise in the hunting of sharks, partly because they had been portrayed as merciless killers.

“As much as I love shark films, I love sharks.”

“I was really conscious of that, because it's easy for people to start seeing them as killing machines... or monsters, which they are not.”

She adds: “I feel it's more scary to have the realistic theme of it, that, you know, if you are out in the ocean and there are sharks and they do mistake you for something else, they will kill you.”

Despite the huge success of Jaws, Spielberg has said he “truly regrets the decimation of the shark population because of the book and the film”.

Spielberg is not the only person concerned about Hollywood's portrayal of sharks and the impact it continues to have.

US marine biologist Andriana Fragola dedicates herself to educating people about sharks, often sharing videos of her diving with them.

She says they are “misunderstood predators” that have been harmed by movies and the media.

Andriana tells me that she has watched Netflix's new shark film, Under Paris, and was not impressed.

“Their whole thing was it's about conservation, about studying them, but then the sharks are still eating people.”

“So it's giving a little bit more of a rounded education and a little bit more depth to the story, it's not just people swimming at the beach and getting attacked and eaten.”

“But the bottom line and what people can draw from the movie is that sharks are still really dangerous to people and they're just going to continuously hunt and eat people.”

“If that was true, we would be reduced as a human species. Everyone who goes to the beach, they would be threatened.”

Andriana says the perception of sharks causes a real issue for conservation.

“It's a huge problem because people don't want to protect something that they're scared of.”

“The perception from people is that they're dangerous to humans so we should eradicate them, and that's obviously a huge problem for conservation and getting people to want to empathise or sympathise with sharks and wanting to actually protect them.”

“It's unfortunate because 100 million sharks are killed every year, and globally sharks kill fewer than 10 people every year.”

“We're really focused on the sharks being the monsters and them being out to get us. In reality it's the opposite.”

It is unlikely that Hollywood will stop making shark films, or we will stop watching them.

But the figures show that far from being the serial killers of the sea, sharks are actually much more likely to be the victims of humans.

(Charlotte Gallagher, Culture reporter, BBC 2024. Accessed: 29 July 2024. Available in:<https://www.bbc.com/news/articles/ckmmgxvp7dgo>. Adapted.)
Consider the sentence “[...] there is no shortage of shark films.” (1 st§) It implies that:
Alternativas
Q3364444 Inglês
Something in the water? Why we love shark films


From the Steven Spielberg classic Jaws, to predators stalking the Seine in Under Paris, there is no shortage of shark films.

Hollywood and audiences love them, seemingly never tiring of the suspense, gore and terror.

There are prehistoric giant sharks in The Meg, genetically engineered ones in Deep Blue Sea, and sharks high on cocaine in the ingeniously named Cocaine Shark.

Even Donald Trump is a fan – he was reportedly due to play the US president in a Sharknado film, before becoming the actual president.

I became hooked on them after watching James Bond film Thunderball, where the villain keeps sharks in his swimming pool.

It led to a lifelong interest in shark films, as well as an irrational fear of swimming pools, even ones filled with chlorine inside leisure centres.

Hayley Easton Street is the British director behind a new shark film, Something in the Water, which tells the story of a group of women stranded at sea.

She explains that, as fan of shark films herself, she “absolutely wanted” to make the movie.

So why are shark movies so popular? “It's the fear of what could be going on with the unknown of [the sea]” she tells BBC News.

“Just being stuck in the middle of the ocean is scary enough. You're trapped in something else's world and anything could happen.”

But despite Street's love of shark films, she did not want the ones in hers to be portrayed as marine serial killers.

“We kill 100 million sharks every year” she notes.

The director was also aware that the release of Jaws led to a huge rise in the hunting of sharks, partly because they had been portrayed as merciless killers.

“As much as I love shark films, I love sharks.”

“I was really conscious of that, because it's easy for people to start seeing them as killing machines... or monsters, which they are not.”

She adds: “I feel it's more scary to have the realistic theme of it, that, you know, if you are out in the ocean and there are sharks and they do mistake you for something else, they will kill you.”

Despite the huge success of Jaws, Spielberg has said he “truly regrets the decimation of the shark population because of the book and the film”.

Spielberg is not the only person concerned about Hollywood's portrayal of sharks and the impact it continues to have.

US marine biologist Andriana Fragola dedicates herself to educating people about sharks, often sharing videos of her diving with them.

She says they are “misunderstood predators” that have been harmed by movies and the media.

Andriana tells me that she has watched Netflix's new shark film, Under Paris, and was not impressed.

“Their whole thing was it's about conservation, about studying them, but then the sharks are still eating people.”

“So it's giving a little bit more of a rounded education and a little bit more depth to the story, it's not just people swimming at the beach and getting attacked and eaten.”

“But the bottom line and what people can draw from the movie is that sharks are still really dangerous to people and they're just going to continuously hunt and eat people.”

“If that was true, we would be reduced as a human species. Everyone who goes to the beach, they would be threatened.”

Andriana says the perception of sharks causes a real issue for conservation.

“It's a huge problem because people don't want to protect something that they're scared of.”

“The perception from people is that they're dangerous to humans so we should eradicate them, and that's obviously a huge problem for conservation and getting people to want to empathise or sympathise with sharks and wanting to actually protect them.”

“It's unfortunate because 100 million sharks are killed every year, and globally sharks kill fewer than 10 people every year.”

“We're really focused on the sharks being the monsters and them being out to get us. In reality it's the opposite.”

It is unlikely that Hollywood will stop making shark films, or we will stop watching them.

But the figures show that far from being the serial killers of the sea, sharks are actually much more likely to be the victims of humans.

(Charlotte Gallagher, Culture reporter, BBC 2024. Accessed: 29 July 2024. Available in:<https://www.bbc.com/news/articles/ckmmgxvp7dgo>. Adapted.)
Consider the following sentences and check if they are true or false, according to the text. Write T for true and F for false and then choose the correct answer.

( ) Andriana Frangola is concerned about Hollywood’s portrayal of sharks, but Steven Spielberg is not.
( ) People will stop making and watching shark movies because of their bad influence in nature.
( ) It’s more likely for a shark to be atacked by a human than the opposite.

The answer is correct in 
Alternativas
Q3364440 Inglês
Something in the water? Why we love shark films


From the Steven Spielberg classic Jaws, to predators stalking the Seine in Under Paris, there is no shortage of shark films.

Hollywood and audiences love them, seemingly never tiring of the suspense, gore and terror.

There are prehistoric giant sharks in The Meg, genetically engineered ones in Deep Blue Sea, and sharks high on cocaine in the ingeniously named Cocaine Shark.

Even Donald Trump is a fan – he was reportedly due to play the US president in a Sharknado film, before becoming the actual president.

I became hooked on them after watching James Bond film Thunderball, where the villain keeps sharks in his swimming pool.

It led to a lifelong interest in shark films, as well as an irrational fear of swimming pools, even ones filled with chlorine inside leisure centres.

Hayley Easton Street is the British director behind a new shark film, Something in the Water, which tells the story of a group of women stranded at sea.

She explains that, as fan of shark films herself, she “absolutely wanted” to make the movie.

So why are shark movies so popular? “It's the fear of what could be going on with the unknown of [the sea]” she tells BBC News.

“Just being stuck in the middle of the ocean is scary enough. You're trapped in something else's world and anything could happen.”

But despite Street's love of shark films, she did not want the ones in hers to be portrayed as marine serial killers.

“We kill 100 million sharks every year” she notes.

The director was also aware that the release of Jaws led to a huge rise in the hunting of sharks, partly because they had been portrayed as merciless killers.

“As much as I love shark films, I love sharks.”

“I was really conscious of that, because it's easy for people to start seeing them as killing machines... or monsters, which they are not.”

She adds: “I feel it's more scary to have the realistic theme of it, that, you know, if you are out in the ocean and there are sharks and they do mistake you for something else, they will kill you.”

Despite the huge success of Jaws, Spielberg has said he “truly regrets the decimation of the shark population because of the book and the film”.

Spielberg is not the only person concerned about Hollywood's portrayal of sharks and the impact it continues to have.

US marine biologist Andriana Fragola dedicates herself to educating people about sharks, often sharing videos of her diving with them.

She says they are “misunderstood predators” that have been harmed by movies and the media.

Andriana tells me that she has watched Netflix's new shark film, Under Paris, and was not impressed.

“Their whole thing was it's about conservation, about studying them, but then the sharks are still eating people.”

“So it's giving a little bit more of a rounded education and a little bit more depth to the story, it's not just people swimming at the beach and getting attacked and eaten.”

“But the bottom line and what people can draw from the movie is that sharks are still really dangerous to people and they're just going to continuously hunt and eat people.”

“If that was true, we would be reduced as a human species. Everyone who goes to the beach, they would be threatened.”

Andriana says the perception of sharks causes a real issue for conservation.

“It's a huge problem because people don't want to protect something that they're scared of.”

“The perception from people is that they're dangerous to humans so we should eradicate them, and that's obviously a huge problem for conservation and getting people to want to empathise or sympathise with sharks and wanting to actually protect them.”

“It's unfortunate because 100 million sharks are killed every year, and globally sharks kill fewer than 10 people every year.”

“We're really focused on the sharks being the monsters and them being out to get us. In reality it's the opposite.”

It is unlikely that Hollywood will stop making shark films, or we will stop watching them.

But the figures show that far from being the serial killers of the sea, sharks are actually much more likely to be the victims of humans.

(Charlotte Gallagher, Culture reporter, BBC 2024. Accessed: 29 July 2024. Available in:<https://www.bbc.com/news/articles/ckmmgxvp7dgo>. Adapted.)
Consider the underlined term: “It led to a lifelong interest in shark films, as well as an irrational fear of swimming pools, even ones filled with chlorine inside leisure centres.” (6th§) It’s correct to imply that these centres are designed for activities related to: 
Alternativas
Respostas
2561: A
2562: B
2563: B
2564: A
2565: C
2566: B
2567: B
2568: C
2569: A
2570: A
2571: A
2572: A
2573: B
2574: C
2575: C
2576: D
2577: B
2578: A
2579: D
2580: D