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)

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

Read text I to answer the question.

TEXT I

Teachers in the Movement: Pedagogy, Activism, and Freedom 

        In this year's Presidential Address, historian Derrick P. Alridge __________ his current research project, Teachers in the Movement: Pedagogy, Activism, and Freedom. The project builds on recent literature about teachers as activists be tween 1950 and 1980 and explores how and what secondary and postsecondary teachers taught. Focusing on teachers in Maryland, Virginia, North Carolina, South Carolina, and Georgia, the project investigates teachers' roles as agents of social change through teaching the ideals of freedom during the most significant social movement in the United States in the twentieth century. Drawing on oral history and archival research, the project plans to produce five hundred videotaped interviews that will generate extensive firsthand knowledge and fresh perspectives about teachers in the civil rights move ment. By examining teachers' pedagogical activism during this period of rapid social change, Alridge hopes to inspire and inform educators teaching in the midst of today's freedom and social justice movements. 

(Disponível em: https://eric.ed.gov/?id=EJ1255911) 

Read the text by Brown to answer question.

        The question of whether or not to distinguish between native and nonnative speakers in the teaching profession has grown into a common and productive topic of research in the last decade. For many decades the English language teaching profession assumed that native English-speaking teachers, by virtue of their superior model of oral production, comprised the ideal English language teacher. Then, Medgyes (1994), among others, showed in his research that nonnative English speaking teachers offered as many if not more inherent advantages. Other authors concur by noting not only that multiple varieties of English are now considered legitimate and acceptable, but also that teachers who have actually gone through the process of learning English possess distinct advantages over native speakers.

        As we move into a new paradigm in which the concepts of native and nonnative “speaker” become less relevant, it is perhaps more appropriate to think in terms of the proficiency level of a user of a language. Speaking is one of four skills and may not deserve in all contexts to be elevated to the sole criterion for proficiency. So, the profession is better served by considering a person’s communicative proficiency across the four skills. Teachers of any language, regardless of their own variety of English, can then be judged accordingly, and in turn, their pedagogical training and experience can occupy focal attention.

(Brown, 2006. Adaptado)