Questões de Concurso Sobre inglês
Foram encontradas 26.001 questões
Ano: 2025
Banca:
INSTITUTO AOCP
Órgão:
IF-MS
Prova:
INSTITUTO AOCP - 2025 - IF-MS - Professor EBTT - Português/Inglês |
Q3541313
Inglês
Texto associado
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.
In relation to the elements from the comic strip,
Text VI, consider the following statements.
I. In the utterance “I don’t understand women”, the word “women” is the plural form of woman, and is classified as an irregular noun whose plural is formed by mutation, in other words, a change in the vowel of the singular form. Other examples of plural nouns formed by mutation include “man/men”, “tooth/teeth”, and “mouse/mice”.
II. In the clause “that’s always worked”, replacing the verb “worked” with the phrasal verb “given up” would preserve the original meaning of the sentence, as both expressions convey the idea of successful effort or effectiveness over time.
III. The term "yeah" is a conjunction that expresses surprise or disbelief, commonly used in formal written English to indicate hesitation or irony.
IV. In “I’ll pretend I do”, the term “do” refers to “understand women” and is used to avoid unnecessary repetition.
V. In the clause “Yeah, that’s always worked”, the apostrophe+s (´s) is a contraction of the verb “to be” in the present tense (that is), forming a structure that indicates an action that began in the past and continues into the present.
Mark the alternative in which the statements are correct.
I. In the utterance “I don’t understand women”, the word “women” is the plural form of woman, and is classified as an irregular noun whose plural is formed by mutation, in other words, a change in the vowel of the singular form. Other examples of plural nouns formed by mutation include “man/men”, “tooth/teeth”, and “mouse/mice”.
II. In the clause “that’s always worked”, replacing the verb “worked” with the phrasal verb “given up” would preserve the original meaning of the sentence, as both expressions convey the idea of successful effort or effectiveness over time.
III. The term "yeah" is a conjunction that expresses surprise or disbelief, commonly used in formal written English to indicate hesitation or irony.
IV. In “I’ll pretend I do”, the term “do” refers to “understand women” and is used to avoid unnecessary repetition.
V. In the clause “Yeah, that’s always worked”, the apostrophe+s (´s) is a contraction of the verb “to be” in the present tense (that is), forming a structure that indicates an action that began in the past and continues into the present.
Mark the alternative in which the statements are correct.
Ano: 2025
Banca:
INSTITUTO AOCP
Órgão:
IF-MS
Prova:
INSTITUTO AOCP - 2025 - IF-MS - Professor EBTT - Português/Inglês |
Q3541312
Inglês
Texto associado
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.
In the context of the comic strip, Text VI, it is
possible to infer that the human:
Ano: 2025
Banca:
INSTITUTO AOCP
Órgão:
IF-MS
Prova:
INSTITUTO AOCP - 2025 - IF-MS - Professor EBTT - Português/Inglês |
Q3541311
Inglês
Texto associado
Text V
Literacy as a Multidimensional Concept
An emphasis on the development of literacy as a
fluid concept (Knobel and Lankshear, 2014) is one of
the most recent advances in twenty-first-century
education. To conceptualize literacy, the ability of the
learner to make use of language takes precedence in
typical Western educational systems. However, as
Kern highlights, “literacy is more than a set of
academic skills” (2000, 23). It varies depending on the
social context and is embedded in cultural practice
(Paesani et al. 2016).
Therefore, in order to define it, we must take into
consideration the set of resources, sociocultural
practices and competences––beyond reading and
writing––that enable student interaction, critical
thinking, the drawing of conclusions and the
application of knowledge to curricular areas and realworld situations (New London Group 1996; Kern
2000; American Association of School Librarians
(AASL) 2011; Cooper et al. 2012; Kucer 2014;
Paesani et al. 2016; Reyes-Torres 2018; Warner and
Dupuy 2018). As such, the multimodal training
approach that we propose for the FL class stems from
Kern’s notion of literacy, first, “as a process of creating
and transforming knowledge” (2000, 29), and second,
“as a matter of engaging in the ever-developing
process of using reading and writing as tools for
thinking and learning, in order to expand one’s
understanding of oneself and the world” (40). This
involves paying careful attention to language, while
also developing a critical awareness of the
relationships between texts, images, discourse
conventions and sociocultural and digital contexts.
In sum, and in consonance with Kern and other
scholars such as the NLG (1996), Steve Kucer (2014),
Maria Brisk (2015), Paesani et al. (2016) and Shari
Tishman (2018), we define literacy as a dynamic and
multidimensional concept whose main aim is to
provide twenty-first-century learners with the language
skills, visual thinking strategies and dialogic attitudes
that are necessary to develop the knowledge that
allows them to grasp and evaluate information,
organize ideas, exchange perspectives, construct
meaning and reflect critically on a variety of
sociocultural contexts. In order to foster such a
multidimensional approach to literacy in EFL and
implement it as an organizing principle (Kress 2010;
Serafini 2014), it is necessary that teachers become
acquainted with the three dimensions that both Kern
(2000) and Kucer (2014) acknowledge as the key
components: a) cognitive; b) conceptual; and c)
sociocultural.
These dimensions constitute a field of forces that
complement one another and are equally important in
the process of both teaching and learning, and they
also illustrate the multiple facets and fluid nature of
literacy.
Adapted from: FERNÁNDEZ, Teresa; REYES-TORRES, Agustín;
FERNÁNDEZ, Pilar. A multimodal approach to foster the
multiliteracies pedagogy in the English as a Foreign Language
context. ATLANTIS: Journal of the Spanish Association of AngloAmerican Studies, vol. 42, no. 1, pp. 94–119, 2020. Available at:
https://www.atlantisjournal.org/index.php/atlantis/article/view/741.
Accessed on: Mar. 21, 2025.
Regarding the expression “these dimensions” in
the passage: “These dimensions constitute a field
of forces that complement one another and are
equally important in the process of both teaching
and learning, anda they also illustrate the multiple
facets and fluid nature of literacy”, select the
correct alternative.
Ano: 2025
Banca:
INSTITUTO AOCP
Órgão:
IF-MS
Prova:
INSTITUTO AOCP - 2025 - IF-MS - Professor EBTT - Português/Inglês |
Q3541310
Inglês
Texto associado
Text V
Literacy as a Multidimensional Concept
An emphasis on the development of literacy as a
fluid concept (Knobel and Lankshear, 2014) is one of
the most recent advances in twenty-first-century
education. To conceptualize literacy, the ability of the
learner to make use of language takes precedence in
typical Western educational systems. However, as
Kern highlights, “literacy is more than a set of
academic skills” (2000, 23). It varies depending on the
social context and is embedded in cultural practice
(Paesani et al. 2016).
Therefore, in order to define it, we must take into
consideration the set of resources, sociocultural
practices and competences––beyond reading and
writing––that enable student interaction, critical
thinking, the drawing of conclusions and the
application of knowledge to curricular areas and realworld situations (New London Group 1996; Kern
2000; American Association of School Librarians
(AASL) 2011; Cooper et al. 2012; Kucer 2014;
Paesani et al. 2016; Reyes-Torres 2018; Warner and
Dupuy 2018). As such, the multimodal training
approach that we propose for the FL class stems from
Kern’s notion of literacy, first, “as a process of creating
and transforming knowledge” (2000, 29), and second,
“as a matter of engaging in the ever-developing
process of using reading and writing as tools for
thinking and learning, in order to expand one’s
understanding of oneself and the world” (40). This
involves paying careful attention to language, while
also developing a critical awareness of the
relationships between texts, images, discourse
conventions and sociocultural and digital contexts.
In sum, and in consonance with Kern and other
scholars such as the NLG (1996), Steve Kucer (2014),
Maria Brisk (2015), Paesani et al. (2016) and Shari
Tishman (2018), we define literacy as a dynamic and
multidimensional concept whose main aim is to
provide twenty-first-century learners with the language
skills, visual thinking strategies and dialogic attitudes
that are necessary to develop the knowledge that
allows them to grasp and evaluate information,
organize ideas, exchange perspectives, construct
meaning and reflect critically on a variety of
sociocultural contexts. In order to foster such a
multidimensional approach to literacy in EFL and
implement it as an organizing principle (Kress 2010;
Serafini 2014), it is necessary that teachers become
acquainted with the three dimensions that both Kern
(2000) and Kucer (2014) acknowledge as the key
components: a) cognitive; b) conceptual; and c)
sociocultural.
These dimensions constitute a field of forces that
complement one another and are equally important in
the process of both teaching and learning, and they
also illustrate the multiple facets and fluid nature of
literacy.
Adapted from: FERNÁNDEZ, Teresa; REYES-TORRES, Agustín;
FERNÁNDEZ, Pilar. A multimodal approach to foster the
multiliteracies pedagogy in the English as a Foreign Language
context. ATLANTIS: Journal of the Spanish Association of AngloAmerican Studies, vol. 42, no. 1, pp. 94–119, 2020. Available at:
https://www.atlantisjournal.org/index.php/atlantis/article/view/741.
Accessed on: Mar. 21, 2025.
In relation to the term “whose” in the sentence:
“We define literacy as a dynamic and
multidimensional concept whose main aim is to
provide twenty-first-century learners with the
language skills [...]”, select the correct alternative.
Ano: 2025
Banca:
INSTITUTO AOCP
Órgão:
IF-MS
Prova:
INSTITUTO AOCP - 2025 - IF-MS - Professor EBTT - Português/Inglês |
Q3541309
Inglês
Texto associado
Text V
Literacy as a Multidimensional Concept
An emphasis on the development of literacy as a
fluid concept (Knobel and Lankshear, 2014) is one of
the most recent advances in twenty-first-century
education. To conceptualize literacy, the ability of the
learner to make use of language takes precedence in
typical Western educational systems. However, as
Kern highlights, “literacy is more than a set of
academic skills” (2000, 23). It varies depending on the
social context and is embedded in cultural practice
(Paesani et al. 2016).
Therefore, in order to define it, we must take into
consideration the set of resources, sociocultural
practices and competences––beyond reading and
writing––that enable student interaction, critical
thinking, the drawing of conclusions and the
application of knowledge to curricular areas and realworld situations (New London Group 1996; Kern
2000; American Association of School Librarians
(AASL) 2011; Cooper et al. 2012; Kucer 2014;
Paesani et al. 2016; Reyes-Torres 2018; Warner and
Dupuy 2018). As such, the multimodal training
approach that we propose for the FL class stems from
Kern’s notion of literacy, first, “as a process of creating
and transforming knowledge” (2000, 29), and second,
“as a matter of engaging in the ever-developing
process of using reading and writing as tools for
thinking and learning, in order to expand one’s
understanding of oneself and the world” (40). This
involves paying careful attention to language, while
also developing a critical awareness of the
relationships between texts, images, discourse
conventions and sociocultural and digital contexts.
In sum, and in consonance with Kern and other
scholars such as the NLG (1996), Steve Kucer (2014),
Maria Brisk (2015), Paesani et al. (2016) and Shari
Tishman (2018), we define literacy as a dynamic and
multidimensional concept whose main aim is to
provide twenty-first-century learners with the language
skills, visual thinking strategies and dialogic attitudes
that are necessary to develop the knowledge that
allows them to grasp and evaluate information,
organize ideas, exchange perspectives, construct
meaning and reflect critically on a variety of
sociocultural contexts. In order to foster such a
multidimensional approach to literacy in EFL and
implement it as an organizing principle (Kress 2010;
Serafini 2014), it is necessary that teachers become
acquainted with the three dimensions that both Kern
(2000) and Kucer (2014) acknowledge as the key
components: a) cognitive; b) conceptual; and c)
sociocultural.
These dimensions constitute a field of forces that
complement one another and are equally important in
the process of both teaching and learning, and they
also illustrate the multiple facets and fluid nature of
literacy.
Adapted from: FERNÁNDEZ, Teresa; REYES-TORRES, Agustín;
FERNÁNDEZ, Pilar. A multimodal approach to foster the
multiliteracies pedagogy in the English as a Foreign Language
context. ATLANTIS: Journal of the Spanish Association of AngloAmerican Studies, vol. 42, no. 1, pp. 94–119, 2020. Available at:
https://www.atlantisjournal.org/index.php/atlantis/article/view/741.
Accessed on: Mar. 21, 2025.
In “This involves paying careful attention to
language, while also developing a critical
awareness of the relationships between texts,
images, discourse conventions and sociocultural
and digital contexts”, select the correct alternative
regarding the highlighted term “careful”.
Ano: 2025
Banca:
INSTITUTO AOCP
Órgão:
IF-MS
Prova:
INSTITUTO AOCP - 2025 - IF-MS - Professor EBTT - Português/Inglês |
Q3541308
Inglês
Texto associado
Text V
Literacy as a Multidimensional Concept
An emphasis on the development of literacy as a
fluid concept (Knobel and Lankshear, 2014) is one of
the most recent advances in twenty-first-century
education. To conceptualize literacy, the ability of the
learner to make use of language takes precedence in
typical Western educational systems. However, as
Kern highlights, “literacy is more than a set of
academic skills” (2000, 23). It varies depending on the
social context and is embedded in cultural practice
(Paesani et al. 2016).
Therefore, in order to define it, we must take into
consideration the set of resources, sociocultural
practices and competences––beyond reading and
writing––that enable student interaction, critical
thinking, the drawing of conclusions and the
application of knowledge to curricular areas and realworld situations (New London Group 1996; Kern
2000; American Association of School Librarians
(AASL) 2011; Cooper et al. 2012; Kucer 2014;
Paesani et al. 2016; Reyes-Torres 2018; Warner and
Dupuy 2018). As such, the multimodal training
approach that we propose for the FL class stems from
Kern’s notion of literacy, first, “as a process of creating
and transforming knowledge” (2000, 29), and second,
“as a matter of engaging in the ever-developing
process of using reading and writing as tools for
thinking and learning, in order to expand one’s
understanding of oneself and the world” (40). This
involves paying careful attention to language, while
also developing a critical awareness of the
relationships between texts, images, discourse
conventions and sociocultural and digital contexts.
In sum, and in consonance with Kern and other
scholars such as the NLG (1996), Steve Kucer (2014),
Maria Brisk (2015), Paesani et al. (2016) and Shari
Tishman (2018), we define literacy as a dynamic and
multidimensional concept whose main aim is to
provide twenty-first-century learners with the language
skills, visual thinking strategies and dialogic attitudes
that are necessary to develop the knowledge that
allows them to grasp and evaluate information,
organize ideas, exchange perspectives, construct
meaning and reflect critically on a variety of
sociocultural contexts. In order to foster such a
multidimensional approach to literacy in EFL and
implement it as an organizing principle (Kress 2010;
Serafini 2014), it is necessary that teachers become
acquainted with the three dimensions that both Kern
(2000) and Kucer (2014) acknowledge as the key
components: a) cognitive; b) conceptual; and c)
sociocultural.
These dimensions constitute a field of forces that
complement one another and are equally important in
the process of both teaching and learning, and they
also illustrate the multiple facets and fluid nature of
literacy.
Adapted from: FERNÁNDEZ, Teresa; REYES-TORRES, Agustín;
FERNÁNDEZ, Pilar. A multimodal approach to foster the
multiliteracies pedagogy in the English as a Foreign Language
context. ATLANTIS: Journal of the Spanish Association of AngloAmerican Studies, vol. 42, no. 1, pp. 94–119, 2020. Available at:
https://www.atlantisjournal.org/index.php/atlantis/article/view/741.
Accessed on: Mar. 21, 2025.
Contextual clues such as definitions, examples,
modifiers, relocation, parallel structures,
connectors, and the repetition of keywords play a
vital role in enhancing the flow and clarity of
academic texts. In the Text V, the term 'however',
present in the following excerpt, is used as one of
these contextual clues. About it, select the correct
alternative.
“An emphasis on the development of literacy as a fluid concept (Knobel and Lankshear (2014) is one of the most recent advances in twenty-first-century education. To conceptualize literacy, the ability of the learner to make use of language takes precedence in typical Western educational systems. However, as Kern highlights, “literacy is more than a set of academic skills” (2000, 23). It varies depending on the social context and is embedded in cultural practice (Paesani et al. 2016).”
“An emphasis on the development of literacy as a fluid concept (Knobel and Lankshear (2014) is one of the most recent advances in twenty-first-century education. To conceptualize literacy, the ability of the learner to make use of language takes precedence in typical Western educational systems. However, as Kern highlights, “literacy is more than a set of academic skills” (2000, 23). It varies depending on the social context and is embedded in cultural practice (Paesani et al. 2016).”
Ano: 2025
Banca:
INSTITUTO AOCP
Órgão:
IF-MS
Prova:
INSTITUTO AOCP - 2025 - IF-MS - Professor EBTT - Português/Inglês |
Q3541307
Inglês
Texto associado
Text V
Literacy as a Multidimensional Concept
An emphasis on the development of literacy as a
fluid concept (Knobel and Lankshear, 2014) is one of
the most recent advances in twenty-first-century
education. To conceptualize literacy, the ability of the
learner to make use of language takes precedence in
typical Western educational systems. However, as
Kern highlights, “literacy is more than a set of
academic skills” (2000, 23). It varies depending on the
social context and is embedded in cultural practice
(Paesani et al. 2016).
Therefore, in order to define it, we must take into
consideration the set of resources, sociocultural
practices and competences––beyond reading and
writing––that enable student interaction, critical
thinking, the drawing of conclusions and the
application of knowledge to curricular areas and realworld situations (New London Group 1996; Kern
2000; American Association of School Librarians
(AASL) 2011; Cooper et al. 2012; Kucer 2014;
Paesani et al. 2016; Reyes-Torres 2018; Warner and
Dupuy 2018). As such, the multimodal training
approach that we propose for the FL class stems from
Kern’s notion of literacy, first, “as a process of creating
and transforming knowledge” (2000, 29), and second,
“as a matter of engaging in the ever-developing
process of using reading and writing as tools for
thinking and learning, in order to expand one’s
understanding of oneself and the world” (40). This
involves paying careful attention to language, while
also developing a critical awareness of the
relationships between texts, images, discourse
conventions and sociocultural and digital contexts.
In sum, and in consonance with Kern and other
scholars such as the NLG (1996), Steve Kucer (2014),
Maria Brisk (2015), Paesani et al. (2016) and Shari
Tishman (2018), we define literacy as a dynamic and
multidimensional concept whose main aim is to
provide twenty-first-century learners with the language
skills, visual thinking strategies and dialogic attitudes
that are necessary to develop the knowledge that
allows them to grasp and evaluate information,
organize ideas, exchange perspectives, construct
meaning and reflect critically on a variety of
sociocultural contexts. In order to foster such a
multidimensional approach to literacy in EFL and
implement it as an organizing principle (Kress 2010;
Serafini 2014), it is necessary that teachers become
acquainted with the three dimensions that both Kern
(2000) and Kucer (2014) acknowledge as the key
components: a) cognitive; b) conceptual; and c)
sociocultural.
These dimensions constitute a field of forces that
complement one another and are equally important in
the process of both teaching and learning, and they
also illustrate the multiple facets and fluid nature of
literacy.
Adapted from: FERNÁNDEZ, Teresa; REYES-TORRES, Agustín;
FERNÁNDEZ, Pilar. A multimodal approach to foster the
multiliteracies pedagogy in the English as a Foreign Language
context. ATLANTIS: Journal of the Spanish Association of AngloAmerican Studies, vol. 42, no. 1, pp. 94–119, 2020. Available at:
https://www.atlantisjournal.org/index.php/atlantis/article/view/741.
Accessed on: Mar. 21, 2025.
The Text V discusses the essential dimensions
identified by Kern (2000) and Kucer (2014) as
foundational for a multidimensional approach to
literacy in English as a Foreign Language (EFL).
What is the role of these dimensions in the
teaching and learning process?
Ano: 2025
Banca:
INSTITUTO AOCP
Órgão:
IF-MS
Prova:
INSTITUTO AOCP - 2025 - IF-MS - Professor EBTT - Português/Inglês |
Q3541306
Inglês
Texto associado
Text V
Literacy as a Multidimensional Concept
An emphasis on the development of literacy as a
fluid concept (Knobel and Lankshear, 2014) is one of
the most recent advances in twenty-first-century
education. To conceptualize literacy, the ability of the
learner to make use of language takes precedence in
typical Western educational systems. However, as
Kern highlights, “literacy is more than a set of
academic skills” (2000, 23). It varies depending on the
social context and is embedded in cultural practice
(Paesani et al. 2016).
Therefore, in order to define it, we must take into
consideration the set of resources, sociocultural
practices and competences––beyond reading and
writing––that enable student interaction, critical
thinking, the drawing of conclusions and the
application of knowledge to curricular areas and realworld situations (New London Group 1996; Kern
2000; American Association of School Librarians
(AASL) 2011; Cooper et al. 2012; Kucer 2014;
Paesani et al. 2016; Reyes-Torres 2018; Warner and
Dupuy 2018). As such, the multimodal training
approach that we propose for the FL class stems from
Kern’s notion of literacy, first, “as a process of creating
and transforming knowledge” (2000, 29), and second,
“as a matter of engaging in the ever-developing
process of using reading and writing as tools for
thinking and learning, in order to expand one’s
understanding of oneself and the world” (40). This
involves paying careful attention to language, while
also developing a critical awareness of the
relationships between texts, images, discourse
conventions and sociocultural and digital contexts.
In sum, and in consonance with Kern and other
scholars such as the NLG (1996), Steve Kucer (2014),
Maria Brisk (2015), Paesani et al. (2016) and Shari
Tishman (2018), we define literacy as a dynamic and
multidimensional concept whose main aim is to
provide twenty-first-century learners with the language
skills, visual thinking strategies and dialogic attitudes
that are necessary to develop the knowledge that
allows them to grasp and evaluate information,
organize ideas, exchange perspectives, construct
meaning and reflect critically on a variety of
sociocultural contexts. In order to foster such a
multidimensional approach to literacy in EFL and
implement it as an organizing principle (Kress 2010;
Serafini 2014), it is necessary that teachers become
acquainted with the three dimensions that both Kern
(2000) and Kucer (2014) acknowledge as the key
components: a) cognitive; b) conceptual; and c)
sociocultural.
These dimensions constitute a field of forces that
complement one another and are equally important in
the process of both teaching and learning, and they
also illustrate the multiple facets and fluid nature of
literacy.
Adapted from: FERNÁNDEZ, Teresa; REYES-TORRES, Agustín;
FERNÁNDEZ, Pilar. A multimodal approach to foster the
multiliteracies pedagogy in the English as a Foreign Language
context. ATLANTIS: Journal of the Spanish Association of AngloAmerican Studies, vol. 42, no. 1, pp. 94–119, 2020. Available at:
https://www.atlantisjournal.org/index.php/atlantis/article/view/741.
Accessed on: Mar. 21, 2025.
According to the Text V, what is the proposed
approach for the foreign language (FL) class?
Ano: 2025
Banca:
INSTITUTO AOCP
Órgão:
IF-MS
Prova:
INSTITUTO AOCP - 2025 - IF-MS - Professor EBTT - Português/Inglês |
Q3541305
Inglês
Texto associado
Text V
Literacy as a Multidimensional Concept
An emphasis on the development of literacy as a
fluid concept (Knobel and Lankshear, 2014) is one of
the most recent advances in twenty-first-century
education. To conceptualize literacy, the ability of the
learner to make use of language takes precedence in
typical Western educational systems. However, as
Kern highlights, “literacy is more than a set of
academic skills” (2000, 23). It varies depending on the
social context and is embedded in cultural practice
(Paesani et al. 2016).
Therefore, in order to define it, we must take into
consideration the set of resources, sociocultural
practices and competences––beyond reading and
writing––that enable student interaction, critical
thinking, the drawing of conclusions and the
application of knowledge to curricular areas and realworld situations (New London Group 1996; Kern
2000; American Association of School Librarians
(AASL) 2011; Cooper et al. 2012; Kucer 2014;
Paesani et al. 2016; Reyes-Torres 2018; Warner and
Dupuy 2018). As such, the multimodal training
approach that we propose for the FL class stems from
Kern’s notion of literacy, first, “as a process of creating
and transforming knowledge” (2000, 29), and second,
“as a matter of engaging in the ever-developing
process of using reading and writing as tools for
thinking and learning, in order to expand one’s
understanding of oneself and the world” (40). This
involves paying careful attention to language, while
also developing a critical awareness of the
relationships between texts, images, discourse
conventions and sociocultural and digital contexts.
In sum, and in consonance with Kern and other
scholars such as the NLG (1996), Steve Kucer (2014),
Maria Brisk (2015), Paesani et al. (2016) and Shari
Tishman (2018), we define literacy as a dynamic and
multidimensional concept whose main aim is to
provide twenty-first-century learners with the language
skills, visual thinking strategies and dialogic attitudes
that are necessary to develop the knowledge that
allows them to grasp and evaluate information,
organize ideas, exchange perspectives, construct
meaning and reflect critically on a variety of
sociocultural contexts. In order to foster such a
multidimensional approach to literacy in EFL and
implement it as an organizing principle (Kress 2010;
Serafini 2014), it is necessary that teachers become
acquainted with the three dimensions that both Kern
(2000) and Kucer (2014) acknowledge as the key
components: a) cognitive; b) conceptual; and c)
sociocultural.
These dimensions constitute a field of forces that
complement one another and are equally important in
the process of both teaching and learning, and they
also illustrate the multiple facets and fluid nature of
literacy.
Adapted from: FERNÁNDEZ, Teresa; REYES-TORRES, Agustín;
FERNÁNDEZ, Pilar. A multimodal approach to foster the
multiliteracies pedagogy in the English as a Foreign Language
context. ATLANTIS: Journal of the Spanish Association of AngloAmerican Studies, vol. 42, no. 1, pp. 94–119, 2020. Available at:
https://www.atlantisjournal.org/index.php/atlantis/article/view/741.
Accessed on: Mar. 21, 2025.
In the Text V, the author refers to several scholars
and organizations, such as Knobel and Lankshear
(2014), Kern (2000), the New London Group (1996),
and others. What is the author's main purpose in
including these references throughout the text?
Ano: 2025
Banca:
INQC
Órgão:
GHC-RS
Prova:
INQC - 2025 - GHC-RS - Curso de Mestrado Profissional em Avaliação e Produção de Tecnologias para o SUS |
Q3537359
Inglês
The management of health technologies is a
fundamental field for ensuring the quality,
effectiveness, and sustainability of health
systems, especially in the face of scientific
advances and the constant introduction of new
methods and equipment. In this context, some
elements reinforce the need for a National
Policy on Health Technology Management,
EXCEPT
Ano: 2025
Banca:
OBJETIVA
Órgão:
Prefeitura de Guadalupe - PI
Prova:
OBJETIVA - 2025 - Prefeitura de Guadalupe - PI - Professor - Inglês |
Q3534828
Inglês
The mistreatment of Ophelia in Shakespeare’s “Hamlet”
has long been debated among scholars. This mistreatment
culminates in:
Ano: 2025
Banca:
OBJETIVA
Órgão:
Prefeitura de Guadalupe - PI
Prova:
OBJETIVA - 2025 - Prefeitura de Guadalupe - PI - Professor - Inglês |
Q3534827
Inglês
What does the phrasal verb below mean in the following
sentence?
She keeps telling me to bug off but I need my stuff back.
She keeps telling me to bug off but I need my stuff back.
Ano: 2025
Banca:
OBJETIVA
Órgão:
Prefeitura de Guadalupe - PI
Prova:
OBJETIVA - 2025 - Prefeitura de Guadalupe - PI - Professor - Inglês |
Q3534826
Inglês
Fill in the blanks below and mark the CORRECT item.
• How _____ water does the plant need?
• Work lasted too _____ hours today.
• I don't have ______ money to spend.
• How _____ water does the plant need?
• Work lasted too _____ hours today.
• I don't have ______ money to spend.
Ano: 2025
Banca:
OBJETIVA
Órgão:
Prefeitura de Guadalupe - PI
Prova:
OBJETIVA - 2025 - Prefeitura de Guadalupe - PI - Professor - Inglês |
Q3534825
Inglês
Texto associado
What's the Difference Between a Solstice and an Equinox?
You may know that the solstices and equinoxes
signal the changing of the seasons on Earth, but do you
remember which is which? Are they just different names for
the same thing? Actually, a solstice and an equinox are sort
of opposites.
The seasons on Earth change because the planet is
slightly tilted on its axis as it travels around the Sun. This
means different points on Earth receive more or less sunlight
at different times of year. If Earth were not tilted, the Sun
would always appear to be directly above the Equator, the
amount of light a given location receives would be fixed, and
there would be no seasons. There also would be no need to
mark equinoxes or solstices.
The two solstices happen in June (20 or 21) and
December (21 or 22). These are the days when the Sun’s
path in the sky is the farthest north or south from the
Equator. A hemisphere’s winter solstice is the shortest day
of the year and its summer solstice the year’s longest. In the
Northern Hemisphere the June solstice marks the start of
summer: this is when the North Pole is tilted closest to the
Sun, and the Sun’s rays are directly overhead at the Tropic of
Cancer. The December solstice marks the start of winter: at
this point the South Pole is tilted closest to the Sun, and the
Sun’s rays are directly overhead at the Tropic of Capricorn.
(In the Southern Hemisphere the seasons are reversed.)
The equinoxes happen in March (about March 21)
and September (about September 23). These are the days
when the Sun is exactly above the Equator, which makes day
and night of equal length.
Encyclopaedia Britannica. Adaptation.
The tense and aspect of the underlined verbs below are:
The seasons on Earth change because the planet is slightly tilted on its axis as it travels around the Sun. This means different points on Earth receive more or less sunlight at different times of year.
Ano: 2025
Banca:
OBJETIVA
Órgão:
Prefeitura de Guadalupe - PI
Prova:
OBJETIVA - 2025 - Prefeitura de Guadalupe - PI - Professor - Inglês |
Q3534824
Inglês
Texto associado
What's the Difference Between a Solstice and an Equinox?
You may know that the solstices and equinoxes
signal the changing of the seasons on Earth, but do you
remember which is which? Are they just different names for
the same thing? Actually, a solstice and an equinox are sort
of opposites.
The seasons on Earth change because the planet is
slightly tilted on its axis as it travels around the Sun. This
means different points on Earth receive more or less sunlight
at different times of year. If Earth were not tilted, the Sun
would always appear to be directly above the Equator, the
amount of light a given location receives would be fixed, and
there would be no seasons. There also would be no need to
mark equinoxes or solstices.
The two solstices happen in June (20 or 21) and
December (21 or 22). These are the days when the Sun’s
path in the sky is the farthest north or south from the
Equator. A hemisphere’s winter solstice is the shortest day
of the year and its summer solstice the year’s longest. In the
Northern Hemisphere the June solstice marks the start of
summer: this is when the North Pole is tilted closest to the
Sun, and the Sun’s rays are directly overhead at the Tropic of
Cancer. The December solstice marks the start of winter: at
this point the South Pole is tilted closest to the Sun, and the
Sun’s rays are directly overhead at the Tropic of Capricorn.
(In the Southern Hemisphere the seasons are reversed.)
The equinoxes happen in March (about March 21)
and September (about September 23). These are the days
when the Sun is exactly above the Equator, which makes day
and night of equal length.
Encyclopaedia Britannica. Adaptation.
The text uses superlatives to talk about distances
between certain points or length of days (farthest and
shortest, for example). Which sentence below also makes
use of a superlative?
Ano: 2025
Banca:
OBJETIVA
Órgão:
Prefeitura de Guadalupe - PI
Prova:
OBJETIVA - 2025 - Prefeitura de Guadalupe - PI - Professor - Inglês |
Q3534823
Inglês
Texto associado
What's the Difference Between a Solstice and an Equinox?
You may know that the solstices and equinoxes
signal the changing of the seasons on Earth, but do you
remember which is which? Are they just different names for
the same thing? Actually, a solstice and an equinox are sort
of opposites.
The seasons on Earth change because the planet is
slightly tilted on its axis as it travels around the Sun. This
means different points on Earth receive more or less sunlight
at different times of year. If Earth were not tilted, the Sun
would always appear to be directly above the Equator, the
amount of light a given location receives would be fixed, and
there would be no seasons. There also would be no need to
mark equinoxes or solstices.
The two solstices happen in June (20 or 21) and
December (21 or 22). These are the days when the Sun’s
path in the sky is the farthest north or south from the
Equator. A hemisphere’s winter solstice is the shortest day
of the year and its summer solstice the year’s longest. In the
Northern Hemisphere the June solstice marks the start of
summer: this is when the North Pole is tilted closest to the
Sun, and the Sun’s rays are directly overhead at the Tropic of
Cancer. The December solstice marks the start of winter: at
this point the South Pole is tilted closest to the Sun, and the
Sun’s rays are directly overhead at the Tropic of Capricorn.
(In the Southern Hemisphere the seasons are reversed.)
The equinoxes happen in March (about March 21)
and September (about September 23). These are the days
when the Sun is exactly above the Equator, which makes day
and night of equal length.
Encyclopaedia Britannica. Adaptation.
Regarding the text, mark the INCORRECT item.
Ano: 2025
Banca:
OBJETIVA
Órgão:
Prefeitura de Guadalupe - PI
Prova:
OBJETIVA - 2025 - Prefeitura de Guadalupe - PI - Professor - Inglês |
Q3534822
Inglês
Texto associado
What's the Difference Between a Solstice and an Equinox?
You may know that the solstices and equinoxes
signal the changing of the seasons on Earth, but do you
remember which is which? Are they just different names for
the same thing? Actually, a solstice and an equinox are sort
of opposites.
The seasons on Earth change because the planet is
slightly tilted on its axis as it travels around the Sun. This
means different points on Earth receive more or less sunlight
at different times of year. If Earth were not tilted, the Sun
would always appear to be directly above the Equator, the
amount of light a given location receives would be fixed, and
there would be no seasons. There also would be no need to
mark equinoxes or solstices.
The two solstices happen in June (20 or 21) and
December (21 or 22). These are the days when the Sun’s
path in the sky is the farthest north or south from the
Equator. A hemisphere’s winter solstice is the shortest day
of the year and its summer solstice the year’s longest. In the
Northern Hemisphere the June solstice marks the start of
summer: this is when the North Pole is tilted closest to the
Sun, and the Sun’s rays are directly overhead at the Tropic of
Cancer. The December solstice marks the start of winter: at
this point the South Pole is tilted closest to the Sun, and the
Sun’s rays are directly overhead at the Tropic of Capricorn.
(In the Southern Hemisphere the seasons are reversed.)
The equinoxes happen in March (about March 21)
and September (about September 23). These are the days
when the Sun is exactly above the Equator, which makes day
and night of equal length.
Encyclopaedia Britannica. Adaptation.
A compound word is two or more words linked together
to produce a word with a new meaning. Which of the words
below, from the text, is a compound word?
Ano: 2025
Banca:
FUVEST
Órgão:
USP
Prova:
FUVEST - 2025 - USP - Enfermeiro (Enfermagem na Atenção Primária à Saúde) – Edital nº 38 |
Q3533768
Inglês
Texto associado
Leveraging Student Interests to Teach Critical Analysis
Critical analysis often feels burdensome to students—an
exercise in sorting hazy ideas with no clear payoff. Yet, when
learners glimpse something of value—a “gem” amid the
clutter—the process becomes not just manageable but
invigorating. By tapping into topics they already care about,
we can model the habits of mind involved in deep thinking
before guiding students into unfamiliar territory. In this way,
what begins as an exploration of personal passion becomes a
transferable skill for any subject.
First, invite students to choose a subject that genuinely
interests them—whether it’s dissecting the social commentary
in a favorite song or debating the ethics of a beloved athlete’s
off-field behavior. Guide them through selecting an analytical
angle, unpacking layers of meaning, and celebrating
discoveries. As they experience critical analysis as an
energizing process rather than a dry requirement, they build
confidence in their own intellectual curiosity and learn to seek
connections between ideas.
Next, when faced with assignments that initially seem
remote—say, an art critique or a historical essay—provide a
lens that resonates with each student’s strengths. A budding
fiction writer, for example, can approach a painting as she
would a story: considering character, narrative arc, and
emotional impact. By framing unfamiliar topics through familiar
mindsets, you grant students an entry point that makes critical
analysis feel both relevant and compelling.
Once students have internalized the underlying process,
encourage them to take the reins. Rather than asking, “What
does this mean?” shift to, “What does this mean to me?”
Students might analyze ecological themes in a novel from their
passion for climate justice, or reinterpret a political speech
through the lens of family heritage. These personal
connections transform assignments from obligatory tasks into
opportunities for authentic inquiry.
Ultimately, teaching critical analysis in this way moves
learners from guided practice to independent exploration. By
beginning with their interests, scaffolding new angles, and then
inviting student-driven investigations, educators can help
every learner—from the avid gamer to the reluctant essaywriter—carry these skills into diverse subjects. In doing so,
critical analysis becomes not a chore but a doorway to richer
understanding.
Edutopia, May, 1st, 2025
Assinale a alternativa que apresenta, resumidamente, o
sentido geral do texto.
Ano: 2025
Banca:
FUVEST
Órgão:
USP
Prova:
FUVEST - 2025 - USP - Enfermeiro (Enfermagem na Atenção Primária à Saúde) – Edital nº 38 |
Q3533766
Inglês
Texto associado
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
Assinale a alternativa que sintetiza com mais precisão a crítica
principal do autor ao curso de escrita “ministrado” por Agatha
Christie via inteligência artificial.
Ano: 2025
Banca:
FUVEST
Órgão:
USP
Prova:
FUVEST - 2025 - USP - Enfermeiro (Enfermagem na Atenção Primária à Saúde) – Edital nº 38 |
Q3533765
Inglês
Texto associado
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
“Crucially, Ms Keene’s eerily credible performance employs
only Christie’s words: a tapestry of extracts from her own
writings, notebooks and interviews.”
Em relação ao trecho apresentado, qual a figura de linguagem que está na expressão “a tapestry of extracts”?
Em relação ao trecho apresentado, qual a figura de linguagem que está na expressão “a tapestry of extracts”?
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