Questões de Concurso Comentadas sobre inglês
Foram encontradas 19.375 questões
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128639
Inglês
Inspect the quotes in detail:
I. “You should be the change that you want to see in the world.” – Mahatma Gandhi
II. “You may not control all the events that happen to you, but you can decide not to be reduced by them.” – Maya Angelou
III. “I might have been born in a hovel, but I am determined to travel with the greats.” – Tina Turner
IV.“We must accept finite disappointment, but never lose infinite hope.” – Martin Luther King Jr.
The shades of modality can be identified respectively in
I. “You should be the change that you want to see in the world.” – Mahatma Gandhi
II. “You may not control all the events that happen to you, but you can decide not to be reduced by them.” – Maya Angelou
III. “I might have been born in a hovel, but I am determined to travel with the greats.” – Tina Turner
IV.“We must accept finite disappointment, but never lose infinite hope.” – Martin Luther King Jr.
The shades of modality can be identified respectively in
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128634
Inglês
The reference to “New Nightmare” alongside “Scream” was stressed out by a teacher with the goal to demonstrate:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128633
Inglês
Students were asked to read the text thoroughly and and answer the following questions about the movie “Scream”:
• Who was the director?
• What is the release date?
• Who played the characters?
• Who wrote the script?
This activity is an example of:
• Who was the director?
• What is the release date?
• Who played the characters?
• Who wrote the script?
This activity is an example of:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128632
Inglês
An English teacher handed this text to his/her students with the following sentence highlighted. Analyze his criteria to do so:
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell… I frankly would never have believed it.
Which item presents the standard form of the sentence structure in question ?
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128631
Inglês
An English teacher handed this text to his/her students with the following sentence highlighted. Analyze his criteria to do so:
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell… I frankly would never have believed it.
I. Use of spoken and informal language.
II. Non-standard use of past unreal conditional structure.
III. Commas to enhance formality.
IV.Conversational tone as a way to create a sense of familiarity.
The correct items are:
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell… I frankly would never have believed it.
I. Use of spoken and informal language.
II. Non-standard use of past unreal conditional structure.
III. Commas to enhance formality.
IV.Conversational tone as a way to create a sense of familiarity.
The correct items are:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128630
Inglês
Texto associado
Read thoroughly to answer the following question.
Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times
when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater,
Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in
the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me
today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The
difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that
created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction
was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart,
and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid,
confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some
truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how
affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt
Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended
party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and
celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding
some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth
– I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an
unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy
meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly
would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in
and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in
1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was
18, and I loved it tonight. And, my son also loved it... so a great evening all around.
(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
Analyze the following statements:
I. Praising technical features of the movie indicates the author’s appreciation for it.
II. “Scream” deeply influenced the author’s professional and personal growth.
III. The author is in disbelief on his current relationship with some cast and crew members of the film.
IV.The author finds connection only with his youth in regard to the movie script.
All of them are true, EXCEPT:
I. Praising technical features of the movie indicates the author’s appreciation for it.
II. “Scream” deeply influenced the author’s professional and personal growth.
III. The author is in disbelief on his current relationship with some cast and crew members of the film.
IV.The author finds connection only with his youth in regard to the movie script.
All of them are true, EXCEPT:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128629
Inglês
Texto associado
Read thoroughly to answer the following question.
Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times
when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater,
Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in
the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me
today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The
difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that
created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction
was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart,
and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid,
confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some
truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how
affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt
Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended
party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and
celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding
some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth
– I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an
unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy
meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly
would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in
and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in
1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was
18, and I loved it tonight. And, my son also loved it... so a great evening all around.
(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
The word “riff” in paragraph 3 is best replaced by:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128628
Inglês
Texto associado
Read thoroughly to answer the following question.
Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times
when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater,
Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in
the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me
today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The
difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that
created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction
was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart,
and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid,
confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some
truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how
affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt
Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended
party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and
celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding
some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth
– I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an
unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy
meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly
would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in
and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in
1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was
18, and I loved it tonight. And, my son also loved it... so a great evening all around.
(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
In paragraph 2, the following match the same meaning EXCEPT:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128627
Inglês
Texto associado
Read thoroughly to answer the following question.
Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times
when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater,
Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in
the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me
today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The
difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that
created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction
was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart,
and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid,
confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some
truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how
affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt
Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended
party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and
celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding
some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth
– I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an
unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy
meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly
would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in
and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in
1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was
18, and I loved it tonight. And, my son also loved it... so a great evening all around.
(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
In paragraph 5, why does the author mention the opening scene as “iconic”?
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128626
Inglês
Texto associado
Read thoroughly to answer the following question.
Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times
when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater,
Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in
the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me
today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The
difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that
created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction
was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart,
and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid,
confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some
truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how
affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt
Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended
party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and
celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding
some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth
– I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an
unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy
meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly
would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in
and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in
1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was
18, and I loved it tonight. And, my son also loved it... so a great evening all around.
(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
In paragraph 3, what exactly does the author consider “revolutionary” about the movie “Scream”?
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128625
Inglês
Texto associado
Read thoroughly to answer the following question.
Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times
when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater,
Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in
the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me
today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The
difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that
created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction
was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart,
and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid,
confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some
truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how
affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt
Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended
party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and
celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding
some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth
– I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an
unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy
meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly
would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in
and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in
1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was
18, and I loved it tonight. And, my son also loved it... so a great evening all around.
(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
Texts vary in style and structure when it comes to their objectives. The intended message and genre conventions in the
previous text classify it as a:
Ano: 2024
Banca:
CPCON
Órgão:
Prefeitura de São José de Piranhas - PB
Prova:
CPCON - 2024 - Prefeitura de São José de Piranhas - PB - Professor de Língua Inglesa |
Q3128404
Inglês
Identify among the following sentences the one that CORRECTLYuses time and place indicators.
Ano: 2024
Banca:
CPCON
Órgão:
Prefeitura de São José de Piranhas - PB
Prova:
CPCON - 2024 - Prefeitura de São José de Piranhas - PB - Professor de Língua Inglesa |
Q3128403
Inglês
Which of the following sentences CORRECTLYdemonstrates the use of a complex verbal structure?
Ano: 2024
Banca:
CPCON
Órgão:
Prefeitura de São José de Piranhas - PB
Prova:
CPCON - 2024 - Prefeitura de São José de Piranhas - PB - Professor de Língua Inglesa |
Q3128402
Inglês
Which of the following words is the CORRECT antonym for "ephemeral" in the sentence: “The joy of summer vacations always feels
ephemeral, quickly fading as the days rush by.”?
Ano: 2024
Banca:
CPCON
Órgão:
Prefeitura de São José de Piranhas - PB
Prova:
CPCON - 2024 - Prefeitura de São José de Piranhas - PB - Professor de Língua Inglesa |
Q3128401
Inglês
Which of the following sentences CORRECTLYuses the comparative form?
Ano: 2024
Banca:
CPCON
Órgão:
Prefeitura de São José de Piranhas - PB
Prova:
CPCON - 2024 - Prefeitura de São José de Piranhas - PB - Professor de Língua Inglesa |
Q3128400
Inglês
Which of the following Best describes the relationship between the two clauses in the sentence?
"The novel received critical acclaim for its intricate plot and deep character development; consequently, it was nominated for several prestigious literary awards."
"The novel received critical acclaim for its intricate plot and deep character development; consequently, it was nominated for several prestigious literary awards."
Ano: 2024
Banca:
CPCON
Órgão:
Prefeitura de São José de Piranhas - PB
Prova:
CPCON - 2024 - Prefeitura de São José de Piranhas - PB - Professor de Língua Inglesa |
Q3128399
Inglês
In the sentence below, identify the correctly analyzed morphological structure of the suffixed words:
"The happiness of the children was reflected in their joyful laughter."
Ano: 2024
Banca:
CPCON
Órgão:
Prefeitura de São José de Piranhas - PB
Prova:
CPCON - 2024 - Prefeitura de São José de Piranhas - PB - Professor de Língua Inglesa |
Q3128398
Inglês
Which of the following sentences CORRECTLY converts the direct speech into reported speech with all necessary changes in tense,
pronouns, and time expressions?
Direct Speech:
"I have been working on this project for two weeks, but I can't finish it before next Monday because my colleagues aren't helping me," John explained yesterday.
"I have been working on this project for two weeks, but I can't finish it before next Monday because my colleagues aren't helping me," John explained yesterday.
Ano: 2024
Banca:
CPCON
Órgão:
Prefeitura de São José de Piranhas - PB
Prova:
CPCON - 2024 - Prefeitura de São José de Piranhas - PB - Professor de Língua Inglesa |
Q3128397
Inglês
In the following passage, which option CORRECTLY identifies all the contextually appropriate references (lexical cohesion) used to
avoid repetition and maintain coherence?
Original Passage: "The team discussed the project for several hours. They wanted to ensure that it was both innovative and feasible. However, the budget constraints made the planning difficult, and the members had to reconsider their approach. After some adjustments, the plan was finally approved by the committee, who appreciated its practicality."
Original Passage: "The team discussed the project for several hours. They wanted to ensure that it was both innovative and feasible. However, the budget constraints made the planning difficult, and the members had to reconsider their approach. After some adjustments, the plan was finally approved by the committee, who appreciated its practicality."
Ano: 2024
Banca:
CPCON
Órgão:
Prefeitura de São José de Piranhas - PB
Prova:
CPCON - 2024 - Prefeitura de São José de Piranhas - PB - Professor de Língua Inglesa |
Q3128396
Inglês
Linguistic variation refers to the differences in language use across different regions, social groups, or contexts. In the context of
English language teaching, especially in countries like Brazil, where English is a foreign language, incorporating linguistic variation
plays a crucial role in developing students' communicative competence. English is not a monolithic language; it has many varieties,
including British,American,Australian, Indian, and Nigerian English, among others. Each variety is associated with different accents,
vocabulary, grammar, and cultural contexts.
One challenge in English language teaching is the overemphasis on certain "standard" forms of English, often British or American, to the exclusion of other varieties. This can lead to a narrow understanding of the language and limit students' ability to interact in global contexts where English is spoken in diverse forms. By exposing students to different accents, dialects, and usages, teachers can prepare them for real-world communication, where English functions as a global lingua franca. This approach also promotes linguistic tolerance and awareness, teaching students that no variety is inherently superior to another, but that different varieties serve different communicative purposes.
For example, a Brazilian student learning British English may encounter challenges when interacting with a Nigerian English speaker due to different pronunciations and expressions. Thus, it's important that students not only learn the grammatical structure of English but also develop the ability to adapt to and understand different varieties of English. This adaptability enhances their global communication skills.
Additionally, the Base Nacional Comum Curricular (BNCC) encourages teaching English as a means of fostering global citizenship and intercultural communication, which implicitly requires an understanding of linguistic variation. Recognizing English as a plural language, with many forms and functions, aligns with the goal of preparing students for global engagement.
Canagarajah, S. (2006). The Place of World Englishes in Composition: Pluralization Continued.College Composition and Communication, 57(4), 586-619.
Why is it important to include linguistic variation in English language teaching, particularly in non-English-speaking countries?
One challenge in English language teaching is the overemphasis on certain "standard" forms of English, often British or American, to the exclusion of other varieties. This can lead to a narrow understanding of the language and limit students' ability to interact in global contexts where English is spoken in diverse forms. By exposing students to different accents, dialects, and usages, teachers can prepare them for real-world communication, where English functions as a global lingua franca. This approach also promotes linguistic tolerance and awareness, teaching students that no variety is inherently superior to another, but that different varieties serve different communicative purposes.
For example, a Brazilian student learning British English may encounter challenges when interacting with a Nigerian English speaker due to different pronunciations and expressions. Thus, it's important that students not only learn the grammatical structure of English but also develop the ability to adapt to and understand different varieties of English. This adaptability enhances their global communication skills.
Additionally, the Base Nacional Comum Curricular (BNCC) encourages teaching English as a means of fostering global citizenship and intercultural communication, which implicitly requires an understanding of linguistic variation. Recognizing English as a plural language, with many forms and functions, aligns with the goal of preparing students for global engagement.
Canagarajah, S. (2006). The Place of World Englishes in Composition: Pluralization Continued.College Composition and Communication, 57(4), 586-619.
Why is it important to include linguistic variation in English language teaching, particularly in non-English-speaking countries?
Conheça nossos planos