Questões de Concurso
Sobre interpretação de texto | reading comprehension em inglês
Foram encontradas 12.963 questões
Examine the following graph.
(Dados obtidos a partir da ferramenta de busca Google)
It shows that the word “scaffolding”
Read the following text to answer question
CLIL is an abbreviation for Content and Language Integrated Learning. It is a way of teaching where subject content — such as history, science or physical education — is taught in another language (often English). We like the following definition of CLIL by Coyle, Hood and Marsh (2010, р. 1):
Content and Language Integrated Learning (CLIL) is a dual-focused educational approach in which another language is used for the learning and teaching of both content and language. That is, in the teaching and learning process, there is a focus not only on content, and not only on language. Each is interwoven, even if the emphasis is greater on one or the other at a given time.
(Liz Dale, Rosie Tanner. CLIL activities:
a resource for subjects and language teachers,
2012. Adaptado)
Read the following text to answer question
his paper presents the concept of task as the location for learning a foreign language (FL), a space for creation in and with the target language, with the tasks utilized simulating as closely as possible the situations which the students will encounter outside the classroom and which, moreover, emphasize meaning. Throughout the paper, the theory of the use of tasks for the teaching/learning of a FL present in the literature will be discussed, and an approach which is based on the utilization of tasks as the backbone for the planning of course is presented. In addition to emphasizing meaning, the tasks analyzed take a relatively long time to complete, i.e. they last more than a single class. Thus, the input can be remembered and re-worked as it reappears in different ways, thus making it possible for learning to be more long-lasting and significant.
(José Carlos Paes de Almeida Filho e Rita Barbirato.
Ambientes comunicativos para aprender línguas estrangeiras,
2000. Adaptado)
Read the following text to answer question
his paper presents the concept of task as the location for learning a foreign language (FL), a space for creation in and with the target language, with the tasks utilized simulating as closely as possible the situations which the students will encounter outside the classroom and which, moreover, emphasize meaning. Throughout the paper, the theory of the use of tasks for the teaching/learning of a FL present in the literature will be discussed, and an approach which is based on the utilization of tasks as the backbone for the planning of course is presented. In addition to emphasizing meaning, the tasks analyzed take a relatively long time to complete, i.e. they last more than a single class. Thus, the input can be remembered and re-worked as it reappears in different ways, thus making it possible for learning to be more long-lasting and significant.
(José Carlos Paes de Almeida Filho e Rita Barbirato.
Ambientes comunicativos para aprender línguas estrangeiras,
2000. Adaptado)
Read the following anecdote to answer question
In Salzburg as a group of about 15 family and friends. We asked a nice German woman to take our photo. She takes one then says “OK, back up”. So, we all shuffle as a group like 3 feet backwards. She immediately starts laughing and explains she meant she was taking a backup photo. Safe to say the smiles in the second photo were genuine.
(https://www.boredpanda.com/funny-travel-miscommunications/)
A teacher asks students to analyze the following text excerpt:
“The project was delayed. Nevertheless, the team worked hard to meet the deadline.”
What does the discourse marker “nevertheless” indicate in this context?
About the ideas and the linguistic aspects of the previous text, judge the following item.
It can be inferred from the text that the new scholarship scheme will undoubtedly achieve its goal of developing the next generation of AI groundbreakers.
About the ideas and the linguistic aspects of the previous text, judge the following item.
The text mentions that the financial subsidy supporting the scholarship scheme is going to be refundable.
About the ideas and the linguistic aspects of the previous text, judge the following item.
According to the text, one of the anticipated outcomes of the scholarship initiative is helping scholars obtain stable, specialised jobs.
About the ideas and the linguistic aspects of the previous text, judge the following item.
The text suggests that the scholarship scheme will ultimately pave the way for strengthening links between academic research and practical applications.
Text VI
TUDO SALA DE AULA. Portal educacional com recursos didáticos para professores da Educação Básica. Available at: https://www.tudosaladeaula.com. Accessed on: Mar. 21, 2025.
Texto para a questão
How to write, according to the bestselling novelist of all time
Everyone has a book inside them, or so the saying goes. In this day and age, those who want help coaxing the story out can receive instruction online from some of the world’s most popular authors. Lee Child and Harlan Coben, who have sold hundreds of millions of books between them, teach thriller writing; Jojo Moyes offers tips on romance yarns. And now Agatha Christie, the world’s bestselling writer of fiction, with more than 2 bn copies sold, is instructing viewers in the art of the whodunnit—even though she died in 1976.
Christie’s course is the result not of recently unearthed archival footage, but artificial intelligence. BBC Maestro, an online education platform, brought the idea to the Christie family, which still controls 36% of Agatha Christie Ltd (AMC Networks, an entertainment giant, owns the rest). They consented to bring the “Queen of Crime” back to life, to teach the mysterious flair of her style.
A team of almost 100—including Christie scholars as well as AI specialists—worked on the project. Vivien Keene, an actor, provided a stand-in for the author; Christie’s face was mapped on top. Crucially, Ms Keene’s eerily credible performance employs only Christie’s words: a tapestry of extracts from her own writings, notebooks and interviews.
In this way, the creator of Hercule Poirot and Miss Marple shares handy writing tips, such as the neatest ways to dispatch fictional victims. Firearms bring ballistic complications. Be wary of poisons, as each works in a unique way. Novice authors can “always rely on a dull blow to the head”.
Many of Christie’s writing rules concern playing fair. She practiced misdirection and laid “false clues” alongside true ones, but insisted that her plots do not cheat or hide key evidence: “I never deceive my readers.” In sections devoted to plot and setting, she explains how to plant key clues “in plain sight” and plan events with detailed “maps and diagrams”. She advises viewers to watch and listen to strangers on buses or in shops and to spice up motives for murder with a love triangle.
Some of the most engaging sections come from “An Autobiography”, published posthumously in 1977: Poirot’s origins among the Belgian refugees who reached Devon during the First World War, or fond memories of her charismatic, feckless brother Monty, who had “broken the laws of a lot of countries” and provided the inspiration for many of Christie’s “wayward young male figures”.
By relying on Christie’s own words, BBC Maestro hopes to avoid charges of creepy pedagogical deepfakery. At the same time, it is that focus on quotation which limits the course’s value as a creative-writing toolbox. The woman born Agatha Miller in 1890 speaks from her own time and place. She tells wannabe writers to use snowstorms to isolate murder scenes (as they bring down telephone wires) and cites the clue-generating value of railway timetables, ink stains and cut-up newspapers. These charming details are irrelevant to modern scribblers.
Yet anachronism is not the course’s biggest flaw: it is that it lacks vitality. Christie enjoyed a richer life than learners will glean from this prim phantom: she was a wartime nurse (hence her deep knowledge of toxins), thwarted opera singer, keen surfer and archaeological expert who joined her second husband on digs in Iraq. Furthermore, her juiciest mysteries smash crime-writing rules. The narrator does it; the detective does it; all the suspects do it. Sometimes there’s no detective: in “The Hollow” (1946) Christie regretted that Poirot appeared at all. With its working-class antihero and gothic darkness, “Endless Night” (1967) shatters every Christie cliché. This high-tech, retrofitted version of the author feels smaller and flatter than the ingenious original.
The Economist, May, 8th, 2025
Texto para a questão
How to write, according to the bestselling novelist of all time
Everyone has a book inside them, or so the saying goes. In this day and age, those who want help coaxing the story out can receive instruction online from some of the world’s most popular authors. Lee Child and Harlan Coben, who have sold hundreds of millions of books between them, teach thriller writing; Jojo Moyes offers tips on romance yarns. And now Agatha Christie, the world’s bestselling writer of fiction, with more than 2 bn copies sold, is instructing viewers in the art of the whodunnit—even though she died in 1976.
Christie’s course is the result not of recently unearthed archival footage, but artificial intelligence. BBC Maestro, an online education platform, brought the idea to the Christie family, which still controls 36% of Agatha Christie Ltd (AMC Networks, an entertainment giant, owns the rest). They consented to bring the “Queen of Crime” back to life, to teach the mysterious flair of her style.
A team of almost 100—including Christie scholars as well as AI specialists—worked on the project. Vivien Keene, an actor, provided a stand-in for the author; Christie’s face was mapped on top. Crucially, Ms Keene’s eerily credible performance employs only Christie’s words: a tapestry of extracts from her own writings, notebooks and interviews.
In this way, the creator of Hercule Poirot and Miss Marple shares handy writing tips, such as the neatest ways to dispatch fictional victims. Firearms bring ballistic complications. Be wary of poisons, as each works in a unique way. Novice authors can “always rely on a dull blow to the head”.
Many of Christie’s writing rules concern playing fair. She practiced misdirection and laid “false clues” alongside true ones, but insisted that her plots do not cheat or hide key evidence: “I never deceive my readers.” In sections devoted to plot and setting, she explains how to plant key clues “in plain sight” and plan events with detailed “maps and diagrams”. She advises viewers to watch and listen to strangers on buses or in shops and to spice up motives for murder with a love triangle.
Some of the most engaging sections come from “An Autobiography”, published posthumously in 1977: Poirot’s origins among the Belgian refugees who reached Devon during the First World War, or fond memories of her charismatic, feckless brother Monty, who had “broken the laws of a lot of countries” and provided the inspiration for many of Christie’s “wayward young male figures”.
By relying on Christie’s own words, BBC Maestro hopes to avoid charges of creepy pedagogical deepfakery. At the same time, it is that focus on quotation which limits the course’s value as a creative-writing toolbox. The woman born Agatha Miller in 1890 speaks from her own time and place. She tells wannabe writers to use snowstorms to isolate murder scenes (as they bring down telephone wires) and cites the clue-generating value of railway timetables, ink stains and cut-up newspapers. These charming details are irrelevant to modern scribblers.
Yet anachronism is not the course’s biggest flaw: it is that it lacks vitality. Christie enjoyed a richer life than learners will glean from this prim phantom: she was a wartime nurse (hence her deep knowledge of toxins), thwarted opera singer, keen surfer and archaeological expert who joined her second husband on digs in Iraq. Furthermore, her juiciest mysteries smash crime-writing rules. The narrator does it; the detective does it; all the suspects do it. Sometimes there’s no detective: in “The Hollow” (1946) Christie regretted that Poirot appeared at all. With its working-class antihero and gothic darkness, “Endless Night” (1967) shatters every Christie cliché. This high-tech, retrofitted version of the author feels smaller and flatter than the ingenious original.
The Economist, May, 8th, 2025
Em relação ao trecho apresentado, qual a figura de linguagem que está na expressão “a tapestry of extracts”?
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