Questões de Concurso Comentadas sobre vocabulário | vocabulary em inglês

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Q4302798 Inglês
TEXT 2

Global Englishes in Language Education

Global Englishes in language education encompasses the study and teaching of English as a pluricentric, international means of communication rather than a single standard variety. This field recognises the multiplicity of English norms around the world and seeks pedagogical approaches that validate diverse accents, dialects and communicative practices. Recent scholarship emphasises critical awareness of power dynamics in language use, challenges the supremacy of native-speaker models and promotes curricula that equip learners to navigate intercultural encounters. Innovations span bottom-up curriculum design, translanguaging and digital technologies, all underpinned by partnerships between researchers and practitioners. The ultimate aim is to prepare both teachers and students for inclusive, intelligible and context-sensitive use of English in global settings.

Content extracted and adapted from: https://www.nature.com/natureindex/topics/l4/global-englishes-in-language-education
Considering the excerpt “Innovations span bottom-up curriculum design, translanguaging and digital technologies, all underpinned by partnerships between researchers and practitioners” (extracted from Text 2), choose the alternative that correctly presents a synonym for the underlined word:
Alternativas
Q4302792 Inglês

TEXT 1


Tech-enhanced learning: edtech trends, AI and the future of education


What is the purpose of learning? Education means many things to many different people, and the only definitive answer to the question of its purpose seems to be an ambiguous one: it depends — on cultural and historical contexts, social and political factors, philosophical views, educational theories, individual preferences, and disciplines (STEM or the humanities, for example). Even linguistically, education is synonymous with a range of related notions — teaching, schooling, training, development, coaching, improvement, instruction — that differ in subtle ways.


In Classical Athens, for example, elementary education included the paidotribēs (athletics and fitness), the kitharistēs (music and lyric poetry), and the grammatistēs (reading, writing, and arithmetic), whereas mediaeval grammar schools combined Classical learning with a decidedly Christian dimension. Based on the ideas of Alexander von Humboldt, the eighteenth-century German notion of education (Bildung) emphasised lifelong selfdevelopment in contrast to skills training (Ausbildung).


Closer to our own time, education is no longer the privileged domain of the wealthy, no longer available only to (young) men, and no longer primarily associated with religion, but many challenges nevertheless remain in terms of aims, rationales, and accessibility, especially when we add the digital classroom and tech-enhanced learning into the mix. And yet, despite the challenges, education will continue to serve as a cornerstone for skilling and reskilling, empowering individuals and societies to navigate the complexities of our rapidly changing world. 


AI-powered learning in our post-COVID era, for example, underscores the complex intersection of education and technology, one that necessarily presents both challenges and opportunities for students, educators, and policymakers. In the following article, we’ll explore how emerging technologies, particularly the confluence of edtech and AI, are already re-shaping the future of learning, and, along the way, highlight a number of innovative European edtech startups taking the lead on the use of technology to enhance and support education.


Excerpt extracted and adapted from: https://www.eif.org/blog/all/techenhanced-learning-edtech-trends-ai-and-the-future-of-education

Considering the sentence “education will continue to serve as a cornerstone for skilling and re-skilling”, the underlined word is closest in meaning to:
Alternativas
Q4299218 Inglês
Evaluate the lexical choices in the sentences below.
(__)In "The committee carried out a review," carried out can be replaced by conducted without a substantial change in meaning. (__)In "The new evidence brought about a change," brought about means that the evidence prevented the change from occurring. (__)In "The researchers reached a tentative conclusion," the adjective forms a conventional collocation indicating limited certainty. (__)In "The manager looked into the complaint," the phrasal verb refers to examining or investigating the matter.
Mark T for true statements and F for false statements. Then select the CORRECT sequence.
Alternativas
Q4297043 Inglês
Bettytown Library marks opening chapter


      Tomorrow (Tuesday) marks the first anniversary of the opening of Bettystown Library with a programme of events taking place throughout the day to celebrate the milestone.

     First opening its doors on 24th tebruary 2025, over the past year it has become very much embedded in the East Meath community, which had been without its own library service for two decades. 

      On Friday, staff were delighted to learn that Bettystown Library has been shortlisted as an Island of Ireland Regional and Country Finalist for the Library of the Year 2026, a category of the British Book Awards, which is sponsored by DK in association with the Reading Agency.

     Events to mark the first anniversary including an exhibition of work by the 'Open Book Craft Group' one of the very successful groups that meeting in the library.

       Executive Librarian Aoife Carberry is delighted with how the first year has gone for the library.

     "We are blown away by the support we have received. It is so lovely to get to know the different members and organisations within the area and to work towards the best service we can possible be for them, "she said. "We have been very lucky, we have had incredible support from the community here. We've worked closely with a number or organisations, schools and special interest groups in the area as well. We just want to thank the community for welcoming us as well as they have and we look forward to continuing to work with them as the years go by."

     She spoke of how libraries are no longer quiet hushed places but are vibrant places with a wide variety of events and initiatives that go far beyond just borrowing books.

     "The biggest message we want to get out is that libraries are open to everyone, everyone is welcome. We have our books. We have plenty of events, loads of initiatives we work on, in Meath we have STEAM kits and backpacks to borrow, home energy kits to borrow, a huge range of online resources, audio books, ebooks, courses where you can upskill or develop a new hobby, language learning courses and books in other languages."

      "There is a huge wealth of things in libraries, covering all ages and all interests." 


Fonte: htt ps://www. meat hch ro ni cle.i e / 2026 / 02 / 23 / b etlylow n- I i bra rymarks-openin g -chapter/
In the eighth paragraph, the text describes libraries as vibrant places. Which of the following options BEST captures the specific lexical nuance intended by the author in this context? 
Alternativas
Q4297041 Inglês
Bettytown Library marks opening chapter


      Tomorrow (Tuesday) marks the first anniversary of the opening of Bettystown Library with a programme of events taking place throughout the day to celebrate the milestone.

     First opening its doors on 24th tebruary 2025, over the past year it has become very much embedded in the East Meath community, which had been without its own library service for two decades. 

      On Friday, staff were delighted to learn that Bettystown Library has been shortlisted as an Island of Ireland Regional and Country Finalist for the Library of the Year 2026, a category of the British Book Awards, which is sponsored by DK in association with the Reading Agency.

     Events to mark the first anniversary including an exhibition of work by the 'Open Book Craft Group' one of the very successful groups that meeting in the library.

       Executive Librarian Aoife Carberry is delighted with how the first year has gone for the library.

     "We are blown away by the support we have received. It is so lovely to get to know the different members and organisations within the area and to work towards the best service we can possible be for them, "she said. "We have been very lucky, we have had incredible support from the community here. We've worked closely with a number or organisations, schools and special interest groups in the area as well. We just want to thank the community for welcoming us as well as they have and we look forward to continuing to work with them as the years go by."

     She spoke of how libraries are no longer quiet hushed places but are vibrant places with a wide variety of events and initiatives that go far beyond just borrowing books.

     "The biggest message we want to get out is that libraries are open to everyone, everyone is welcome. We have our books. We have plenty of events, loads of initiatives we work on, in Meath we have STEAM kits and backpacks to borrow, home energy kits to borrow, a huge range of online resources, audio books, ebooks, courses where you can upskill or develop a new hobby, language learning courses and books in other languages."

      "There is a huge wealth of things in libraries, covering all ages and all interests." 


Fonte: htt ps://www. meat hch ro ni cle.i e / 2026 / 02 / 23 / b etlylow n- I i bra rymarks-openin g -chapter/
In the second paragraph, the text states that the library has become very much embedded in the East Meath community. Which of the following phrasal verbs BEST conveys the meaning of being embedded or firmly established within a social group? 
Alternativas
Q4297039 Inglês
Bettytown Library marks opening chapter


      Tomorrow (Tuesday) marks the first anniversary of the opening of Bettystown Library with a programme of events taking place throughout the day to celebrate the milestone.

     First opening its doors on 24th tebruary 2025, over the past year it has become very much embedded in the East Meath community, which had been without its own library service for two decades. 

      On Friday, staff were delighted to learn that Bettystown Library has been shortlisted as an Island of Ireland Regional and Country Finalist for the Library of the Year 2026, a category of the British Book Awards, which is sponsored by DK in association with the Reading Agency.

     Events to mark the first anniversary including an exhibition of work by the 'Open Book Craft Group' one of the very successful groups that meeting in the library.

       Executive Librarian Aoife Carberry is delighted with how the first year has gone for the library.

     "We are blown away by the support we have received. It is so lovely to get to know the different members and organisations within the area and to work towards the best service we can possible be for them, "she said. "We have been very lucky, we have had incredible support from the community here. We've worked closely with a number or organisations, schools and special interest groups in the area as well. We just want to thank the community for welcoming us as well as they have and we look forward to continuing to work with them as the years go by."

     She spoke of how libraries are no longer quiet hushed places but are vibrant places with a wide variety of events and initiatives that go far beyond just borrowing books.

     "The biggest message we want to get out is that libraries are open to everyone, everyone is welcome. We have our books. We have plenty of events, loads of initiatives we work on, in Meath we have STEAM kits and backpacks to borrow, home energy kits to borrow, a huge range of online resources, audio books, ebooks, courses where you can upskill or develop a new hobby, language learning courses and books in other languages."

      "There is a huge wealth of things in libraries, covering all ages and all interests." 


Fonte: htt ps://www. meat hch ro ni cle.i e / 2026 / 02 / 23 / b etlylow n- I i bra rymarks-openin g -chapter/
Read the following sentence:

According to Executive Librarian Aoife Carberry, the ínstitution's primary communication objective is to emphasize that the library is __________ rather than a place limíted to its traditional role of  __________ .

Fill in the blanks CORRECTLY and respectively:
Alternativas
Q4292329 Inglês
Leia o texto a seguir para responder à questão:

        A number of researchers have studied conversations between speakers of English as a Lingua Franca and have noted a number of somewhat surprising characteristics, including:

        •  Use of an all-purpose tag question such as isn’t it? (They should arrive soon, isn’t it?)

        •  Increasing of redundancy by adding prepositions {We have to study about… and Can we discuss about…)

        •  Pluralisation of nouns which are considered uncountable in native-speaker English. (informations, staffs)

        The evidence suggests that non-native speakers are not conforming to a native English standard. Truly, they seem to get along perfectly well despite the fact that they miss things out and put things in which ‘they should not do’.

(HARMER, J. The practice of English language teaching. 4th ed, Essex: Pearson Longman. Adaptado)
A palavra em que a letra u é pronunciada assim como em “number” encontra-se na alternativa
Alternativas
Q4292315 Inglês

Leia o texto a seguir para responder à questão: 


        In the Star Trek universe, the audience occasionally gets a glimpse inside schools on the planet Vulcan. Young children stand alone in “capsules” surrounded by 360-degree digital screens. Adults walk around but do not talk to the students. Instead, each child interacts only with a sophisticated artificial intelligence (AI). Although this is not the reality in today’s classrooms on Earth, there are people for whom a vision of personalized learning conducted by artificial intelligence has considerable appeal.


        Individualized learning has its place. But decades of educational research also demonstrate that learning is essentially a social endeavor. Classrooms that privilege personalized AI chatbots overlook that fact.


        Generative AI is quickly coming to classrooms. If decades ago educators worldwide promoted the benefits of “One Laptop per Child”, today we may be approaching the model “one chatbot per child.” What does educational research tell us about what this model could mean for children’s learning and well-being?


        During much of the 20th century, learning was understood as mainly as a matter of individual cognition. A misconception, if compared to today’s comprehension of what learning involves. Scientists now understand that apparently individual processes – such as building new knowledge – are actually social interactions with the world around us. In classrooms, this suggests that opportunities for daily personal interaction can strongly support brain health and academic learning.


        Therefore, it is important to understand generative AI’s real-life impact on students.


        For example: How does it feel to learn from a chatbot, day after day? How will long-term use of AI affect children’s mental health? How does AI use affect children’s relationships with each other and with their teachers? What kinds of relationships might children form with the chatbots themselves? More broadly, we could also ask: What do we, as a society, actually want children to learn?


        Good teaching and learning blends social and individual processes. I see the beneficial application of any new technology in the classroom – AI or otherwise – as a way to build upon the social fabric of human learning. My concern about personalized AI tutors is how they might displace already infrequent opportunities for social interaction, further isolating children in classrooms.


(Niral Shah. www.converstion.com, 15.12.2025. Adaptado)

Careful reading of the second paragraph helps understand the meaning of the verb “overlook” as
Alternativas
Q4285573 Inglês
Leia o excerto abaixo:
"Whether weather be the frost Or the violence of the dog days I'm on waves, out being tossed Is there a line that I could just go cross?
/…/
Hey, December, guess I'm feeling unmoored Can't remember what I used to fight for I rewind the tape, but all it does is pause On the very moment all was lost Sending signals to be double-crossed"
(SWIFT, Taylor. evermore. In: evermore. Republic Records, 2020).
No trecho, a construção imagética reforça sentimentos de instabilidade emocional, perda de pertencimento e dificuldade de encontrar direção. Nesse contexto, a palavra unmoored expressa esse estado metafórico da narradora. Assinale a alternativa que apresenta, respectivamente, um sinônimo e um antônimo contextualmente adequados para unmoored.
Alternativas
Q4279249 Inglês
The Hidden History of Women Game Designers



Educational games were all the rage in the early ninteenth century. As the narrator of Sir Walter Scott's 1814 novel, Waverley, observed, "the history of England is now reduced to a game at cards, the problems of mathematics to puzzles and riddles." This bemusement reflects the burgeoning industry of instructional card, dice, and board games that sprang up in the late 1700s, partly in response to changing attitudes towards juvenile education outlined early on by the philosopher John Locke a century before.

Women at the time were, of course, generally barred from attending college and generally discouraged from the pursuit of learning beyond acquiring the skills of a governess. Yet the wave of enthusiasm for educational games nevertheless created an opportunity for some enterprising women—despite significant structural obstacles—to find an intellectual and creative outlet. Standout figures in the history of game design include Margaret Bryan, who directed a girl's school in Blackheath in southeastern London. A writer on science with a particular interest in astronomy, Bryan produced the boardgame Science in Sport, or the Pleasures of Astronomy in collaboration with the well-known game publisher John Wallis.

This game, a variation on the staple of the Game of the Goose (akin to Chutes and Ladders), requires players to spin a teetotum and race their pieces along the board. Most of the squares illustrate scientific phenomena, explained in an accompanying rule booklet, but some depict bad behavior, such as square six, which features "The County Gaol...for those who attend to the motion of Billiard Balls, more than to the motion of the Planets," and square twelve, which features "a blockhead." Landing on these meant losing a turn or worse, a player's place on the board.

Learning the rules of music theory by rote could seem tedious. But the subject itself—with its principles, prohibitions, and occasional exceptions—lent itself to gamification.

Other pioneering game designers include children's author Alicia Catherine Mant, who also published an astronomy-themed board game, while the ludic inventions of the poet and schoolteacher Elizabeth Rowse encompassed A Grammatical Game, in Rhyme, by a Lady (1802) and Mythological Amusement (1804).

Perhaps the most creative arena for female game designers, however, was music, and more specifically, music theory. Among the middle and upper classes, music was generally seen as a female accomplishment, and teaching its rudiments to children was typically left to mothers, governesses, or schoolmistresses. Learning the rules of music theory by rote could seem difficult and tedious. But the subject itself—with its principles, prohibitions, and occasional exceptions—lent itself remarkably well to gamification.

The nineteenth century's best-known musical game designer was the Edinburgh-based pianist and music teacher Anne Young. In 1801, she received a royal patent for a set of games intended to "render familiar and impress upon the memory, the fundamental principles of the science of music." The first British patent ever granted for a game, it was also the only one awarded that year to a female inventor, as David Ghere and Fred Amram have discovered. Two years after the launch of the Musical Games, Young, now the respectably married Mrs. Gunn, published a two-hundred-fifty page companion treatise entitled An Introduction to Music, which explained music theory fundamentals via instructions for playing her Musical Games. The treatise is organized as seven sections, each corresponding to a different set of games, and includes a number of optional variations, outlining twenty-two different games in total.

A handful of Young's Musical Games can be found in libraries, museums, and private collections today. They're luxury items: the boards were made of mahogany, while most of the nearly two hundred parts in each game—pins, dice, plates, and counters—were carved out of ivory and ebony. Priced originally at seven guineas, which was more than the annual wages of a laborer at the time, this game set would have been affordable only for the very wealthy.

Unlike earlier musical dice games, which were designed to encourage composition, Musical Games aimed to teach the rudiments of theory. Some of the games that can be played on the set involve racing, with players competing to move their pieces up and down various configurations on the board. Others involve the acquisition of points for correct answers, tallied with delicate ivory counters. A child following the treatise's progression of games would engage many of the fundamentals of music theory, ranging from notation through more advanced topics in harmony including chord resolution and modulation.

Young's invention haunted musical journals throughout the nineteenth century, resurfacing from time to time in newspaper queries, sometimes from readers intrigued by the warm endorsement it got from her husband John Gunn, a distinguished Scottish music pedagogue who wroteinstructional treatises. (In his writings, Gunn protested "without having ever previously heard the name of the ingenious and scientific Inventor, I was struck with the merits of these Games.") Interestingly, the Musical Games reappear nearly a century later in the essay "Games of Music," published in 1907 in the London-based magazine The Musical Times by Bertha Harrison, who was very likely the anti-suffrage activist also known as Ethel Bertha Harrison. Harrison was interested in music history—her earlier writings in The Musical Times had treated topics such as child prodigies and historic concert venues—but it was only in her essay on musical games that she revealed her political leanings.

In what may be one of the earliest pieces of ludomusicology, the study of music and games, Harrison's essay surveys the role of musical games from the eighteenth century to her present day. Although she ostensibly examines musical games in general, most of her article is dedicated to Young, whom she characterizes as a woman "possessed of an uncommon order of mind." Harrison describes Young's games as "so clever and ingenious, so full of nice detail, that all the music games of the present day seem poor in design and clumsy in execution in comparison with it."

However, the crux of Harrison's argument appears in a subsequent paragraph, where she struggles to put a positive spin on the striking disparity in the quality of games designed by women and men, writing that "is a curious and interesting fact that, among musical games, those invented by women are very complicated and extraordinarily full of detail, while those invented by men are, with very rare exceptions, quite simple and generally adaptations from other games. From this we may draw one of two conclusions: either that in this particular line woman has more originality than man, or that when she begins to invent, her mind becomes so engrossed with details as to lose sight of the main issue, and, in the words of the proverb, she cannot see the wood for the trees."

Conceding that women might be intrinsically better at musical game design, Harrison immediately undercuts this notion with the claim that women are overly concerned with details, and that is why their games tend to be more complex. The stereotype of the detail-oriented woman, as exemplified in this example, is a trope that, as Naomi Schor reminds us, has informed and limited understandings of female ability for centuries.

Harrison's critique notwithstanding, the nineteenth century saw many impressive music educational games invented by women. The 1851 Great Exhibition in London featured Gioco di Euterpe, (a game whose name invokes the Greek goddess of music) designed by Abelinde Prince and "intended to assist beginners in the knowledge of the relative value of musical characters, and to render them good timeists." The editor of The Girl's Own Book (1869) described a game developed by an anonymous female friend, entitled "Sir Samuel Semibreve," which taught sight-singing and could be ordered from a music shop in Middlesex.

Across the Atlantic, Abbie T. Hays, principal of a music school in Wichita, Kansas, filed a patent in 1895 for a "musical game device" designed to teach notation with pictures depicting the words spelled out by note-names (think B-A-G or B-E-E). Later that year, Sarah W. Featherstone, a schoolteacher in Toledo, Ohio, filed a patent for Nota Bene, which used a spinning wheel to teach children rhythm. And in 1897, the enterpreneurial Evelyn Fletcher of Toronto filed both Canadian and US patents for a Music Block Game. Her "Fletcher Music Method" would later be endorsed by luminaries such as John Philip Sousa and Hugo Riemann, and it was highly popular with schoolteachers. This is just a small selection of the names and devices that pop out of the archive. In my experience searching historical patent records, one is more likely to come across games designed by women than by men. Bertha Harrison seems to have gotten that right, at least!

Today, using gamification to teach music seems like a no-brainer. Indeed, many music videogames have become wildly popular—think instrument-based rhythm games like Guitar Hero. While these games generally teach synchronization, there are also plenty of music theory games available to try online, such as ToneGym, Solfege Story, or Chet — Ear Training. Although these modern creations would have been unthinkable a hundred years ago, these games are still part of an unusual—and unusually female—tradition.

https://daily.jstor.org/the-hidden-history-of-women-game-designers/
The article explains that an industry of instructional games "sprang up" in the late eighteenth century. The verb phrase describes the appearance of a new commercial and educational activity in response to changing ideas about childhood education. Mark the alternative that replaces "sprang up" without changing the meaning of the passage. 
Alternativas
Q4279245 Inglês
The Hidden History of Women Game Designers



Educational games were all the rage in the early ninteenth century. As the narrator of Sir Walter Scott's 1814 novel, Waverley, observed, "the history of England is now reduced to a game at cards, the problems of mathematics to puzzles and riddles." This bemusement reflects the burgeoning industry of instructional card, dice, and board games that sprang up in the late 1700s, partly in response to changing attitudes towards juvenile education outlined early on by the philosopher John Locke a century before.

Women at the time were, of course, generally barred from attending college and generally discouraged from the pursuit of learning beyond acquiring the skills of a governess. Yet the wave of enthusiasm for educational games nevertheless created an opportunity for some enterprising women—despite significant structural obstacles—to find an intellectual and creative outlet. Standout figures in the history of game design include Margaret Bryan, who directed a girl's school in Blackheath in southeastern London. A writer on science with a particular interest in astronomy, Bryan produced the boardgame Science in Sport, or the Pleasures of Astronomy in collaboration with the well-known game publisher John Wallis.

This game, a variation on the staple of the Game of the Goose (akin to Chutes and Ladders), requires players to spin a teetotum and race their pieces along the board. Most of the squares illustrate scientific phenomena, explained in an accompanying rule booklet, but some depict bad behavior, such as square six, which features "The County Gaol...for those who attend to the motion of Billiard Balls, more than to the motion of the Planets," and square twelve, which features "a blockhead." Landing on these meant losing a turn or worse, a player's place on the board.

Learning the rules of music theory by rote could seem tedious. But the subject itself—with its principles, prohibitions, and occasional exceptions—lent itself to gamification.

Other pioneering game designers include children's author Alicia Catherine Mant, who also published an astronomy-themed board game, while the ludic inventions of the poet and schoolteacher Elizabeth Rowse encompassed A Grammatical Game, in Rhyme, by a Lady (1802) and Mythological Amusement (1804).

Perhaps the most creative arena for female game designers, however, was music, and more specifically, music theory. Among the middle and upper classes, music was generally seen as a female accomplishment, and teaching its rudiments to children was typically left to mothers, governesses, or schoolmistresses. Learning the rules of music theory by rote could seem difficult and tedious. But the subject itself—with its principles, prohibitions, and occasional exceptions—lent itself remarkably well to gamification.

The nineteenth century's best-known musical game designer was the Edinburgh-based pianist and music teacher Anne Young. In 1801, she received a royal patent for a set of games intended to "render familiar and impress upon the memory, the fundamental principles of the science of music." The first British patent ever granted for a game, it was also the only one awarded that year to a female inventor, as David Ghere and Fred Amram have discovered. Two years after the launch of the Musical Games, Young, now the respectably married Mrs. Gunn, published a two-hundred-fifty page companion treatise entitled An Introduction to Music, which explained music theory fundamentals via instructions for playing her Musical Games. The treatise is organized as seven sections, each corresponding to a different set of games, and includes a number of optional variations, outlining twenty-two different games in total.

A handful of Young's Musical Games can be found in libraries, museums, and private collections today. They're luxury items: the boards were made of mahogany, while most of the nearly two hundred parts in each game—pins, dice, plates, and counters—were carved out of ivory and ebony. Priced originally at seven guineas, which was more than the annual wages of a laborer at the time, this game set would have been affordable only for the very wealthy.

Unlike earlier musical dice games, which were designed to encourage composition, Musical Games aimed to teach the rudiments of theory. Some of the games that can be played on the set involve racing, with players competing to move their pieces up and down various configurations on the board. Others involve the acquisition of points for correct answers, tallied with delicate ivory counters. A child following the treatise's progression of games would engage many of the fundamentals of music theory, ranging from notation through more advanced topics in harmony including chord resolution and modulation.

Young's invention haunted musical journals throughout the nineteenth century, resurfacing from time to time in newspaper queries, sometimes from readers intrigued by the warm endorsement it got from her husband John Gunn, a distinguished Scottish music pedagogue who wroteinstructional treatises. (In his writings, Gunn protested "without having ever previously heard the name of the ingenious and scientific Inventor, I was struck with the merits of these Games.") Interestingly, the Musical Games reappear nearly a century later in the essay "Games of Music," published in 1907 in the London-based magazine The Musical Times by Bertha Harrison, who was very likely the anti-suffrage activist also known as Ethel Bertha Harrison. Harrison was interested in music history—her earlier writings in The Musical Times had treated topics such as child prodigies and historic concert venues—but it was only in her essay on musical games that she revealed her political leanings.

In what may be one of the earliest pieces of ludomusicology, the study of music and games, Harrison's essay surveys the role of musical games from the eighteenth century to her present day. Although she ostensibly examines musical games in general, most of her article is dedicated to Young, whom she characterizes as a woman "possessed of an uncommon order of mind." Harrison describes Young's games as "so clever and ingenious, so full of nice detail, that all the music games of the present day seem poor in design and clumsy in execution in comparison with it."

However, the crux of Harrison's argument appears in a subsequent paragraph, where she struggles to put a positive spin on the striking disparity in the quality of games designed by women and men, writing that "is a curious and interesting fact that, among musical games, those invented by women are very complicated and extraordinarily full of detail, while those invented by men are, with very rare exceptions, quite simple and generally adaptations from other games. From this we may draw one of two conclusions: either that in this particular line woman has more originality than man, or that when she begins to invent, her mind becomes so engrossed with details as to lose sight of the main issue, and, in the words of the proverb, she cannot see the wood for the trees."

Conceding that women might be intrinsically better at musical game design, Harrison immediately undercuts this notion with the claim that women are overly concerned with details, and that is why their games tend to be more complex. The stereotype of the detail-oriented woman, as exemplified in this example, is a trope that, as Naomi Schor reminds us, has informed and limited understandings of female ability for centuries.

Harrison's critique notwithstanding, the nineteenth century saw many impressive music educational games invented by women. The 1851 Great Exhibition in London featured Gioco di Euterpe, (a game whose name invokes the Greek goddess of music) designed by Abelinde Prince and "intended to assist beginners in the knowledge of the relative value of musical characters, and to render them good timeists." The editor of The Girl's Own Book (1869) described a game developed by an anonymous female friend, entitled "Sir Samuel Semibreve," which taught sight-singing and could be ordered from a music shop in Middlesex.

Across the Atlantic, Abbie T. Hays, principal of a music school in Wichita, Kansas, filed a patent in 1895 for a "musical game device" designed to teach notation with pictures depicting the words spelled out by note-names (think B-A-G or B-E-E). Later that year, Sarah W. Featherstone, a schoolteacher in Toledo, Ohio, filed a patent for Nota Bene, which used a spinning wheel to teach children rhythm. And in 1897, the enterpreneurial Evelyn Fletcher of Toronto filed both Canadian and US patents for a Music Block Game. Her "Fletcher Music Method" would later be endorsed by luminaries such as John Philip Sousa and Hugo Riemann, and it was highly popular with schoolteachers. This is just a small selection of the names and devices that pop out of the archive. In my experience searching historical patent records, one is more likely to come across games designed by women than by men. Bertha Harrison seems to have gotten that right, at least!

Today, using gamification to teach music seems like a no-brainer. Indeed, many music videogames have become wildly popular—think instrument-based rhythm games like Guitar Hero. While these games generally teach synchronization, there are also plenty of music theory games available to try online, such as ToneGym, Solfege Story, or Chet — Ear Training. Although these modern creations would have been unthinkable a hundred years ago, these games are still part of an unusual—and unusually female—tradition.

https://daily.jstor.org/the-hidden-history-of-women-game-designers/
In the opening paragraph, the author states that educational games "were all the rage" in the early nineteenth century. The same paragraph describes a rapidly expanding market for instructional card, dice, and board games. Considering this context, mark the alternative that presents the CORRECT meaning of the expression "all the rage." 
Alternativas
Q4279244 Inglês
The Hidden History of Women Game Designers



Educational games were all the rage in the early ninteenth century. As the narrator of Sir Walter Scott's 1814 novel, Waverley, observed, "the history of England is now reduced to a game at cards, the problems of mathematics to puzzles and riddles." This bemusement reflects the burgeoning industry of instructional card, dice, and board games that sprang up in the late 1700s, partly in response to changing attitudes towards juvenile education outlined early on by the philosopher John Locke a century before.

Women at the time were, of course, generally barred from attending college and generally discouraged from the pursuit of learning beyond acquiring the skills of a governess. Yet the wave of enthusiasm for educational games nevertheless created an opportunity for some enterprising women—despite significant structural obstacles—to find an intellectual and creative outlet. Standout figures in the history of game design include Margaret Bryan, who directed a girl's school in Blackheath in southeastern London. A writer on science with a particular interest in astronomy, Bryan produced the boardgame Science in Sport, or the Pleasures of Astronomy in collaboration with the well-known game publisher John Wallis.

This game, a variation on the staple of the Game of the Goose (akin to Chutes and Ladders), requires players to spin a teetotum and race their pieces along the board. Most of the squares illustrate scientific phenomena, explained in an accompanying rule booklet, but some depict bad behavior, such as square six, which features "The County Gaol...for those who attend to the motion of Billiard Balls, more than to the motion of the Planets," and square twelve, which features "a blockhead." Landing on these meant losing a turn or worse, a player's place on the board.

Learning the rules of music theory by rote could seem tedious. But the subject itself—with its principles, prohibitions, and occasional exceptions—lent itself to gamification.

Other pioneering game designers include children's author Alicia Catherine Mant, who also published an astronomy-themed board game, while the ludic inventions of the poet and schoolteacher Elizabeth Rowse encompassed A Grammatical Game, in Rhyme, by a Lady (1802) and Mythological Amusement (1804).

Perhaps the most creative arena for female game designers, however, was music, and more specifically, music theory. Among the middle and upper classes, music was generally seen as a female accomplishment, and teaching its rudiments to children was typically left to mothers, governesses, or schoolmistresses. Learning the rules of music theory by rote could seem difficult and tedious. But the subject itself—with its principles, prohibitions, and occasional exceptions—lent itself remarkably well to gamification.

The nineteenth century's best-known musical game designer was the Edinburgh-based pianist and music teacher Anne Young. In 1801, she received a royal patent for a set of games intended to "render familiar and impress upon the memory, the fundamental principles of the science of music." The first British patent ever granted for a game, it was also the only one awarded that year to a female inventor, as David Ghere and Fred Amram have discovered. Two years after the launch of the Musical Games, Young, now the respectably married Mrs. Gunn, published a two-hundred-fifty page companion treatise entitled An Introduction to Music, which explained music theory fundamentals via instructions for playing her Musical Games. The treatise is organized as seven sections, each corresponding to a different set of games, and includes a number of optional variations, outlining twenty-two different games in total.

A handful of Young's Musical Games can be found in libraries, museums, and private collections today. They're luxury items: the boards were made of mahogany, while most of the nearly two hundred parts in each game—pins, dice, plates, and counters—were carved out of ivory and ebony. Priced originally at seven guineas, which was more than the annual wages of a laborer at the time, this game set would have been affordable only for the very wealthy.

Unlike earlier musical dice games, which were designed to encourage composition, Musical Games aimed to teach the rudiments of theory. Some of the games that can be played on the set involve racing, with players competing to move their pieces up and down various configurations on the board. Others involve the acquisition of points for correct answers, tallied with delicate ivory counters. A child following the treatise's progression of games would engage many of the fundamentals of music theory, ranging from notation through more advanced topics in harmony including chord resolution and modulation.

Young's invention haunted musical journals throughout the nineteenth century, resurfacing from time to time in newspaper queries, sometimes from readers intrigued by the warm endorsement it got from her husband John Gunn, a distinguished Scottish music pedagogue who wroteinstructional treatises. (In his writings, Gunn protested "without having ever previously heard the name of the ingenious and scientific Inventor, I was struck with the merits of these Games.") Interestingly, the Musical Games reappear nearly a century later in the essay "Games of Music," published in 1907 in the London-based magazine The Musical Times by Bertha Harrison, who was very likely the anti-suffrage activist also known as Ethel Bertha Harrison. Harrison was interested in music history—her earlier writings in The Musical Times had treated topics such as child prodigies and historic concert venues—but it was only in her essay on musical games that she revealed her political leanings.

In what may be one of the earliest pieces of ludomusicology, the study of music and games, Harrison's essay surveys the role of musical games from the eighteenth century to her present day. Although she ostensibly examines musical games in general, most of her article is dedicated to Young, whom she characterizes as a woman "possessed of an uncommon order of mind." Harrison describes Young's games as "so clever and ingenious, so full of nice detail, that all the music games of the present day seem poor in design and clumsy in execution in comparison with it."

However, the crux of Harrison's argument appears in a subsequent paragraph, where she struggles to put a positive spin on the striking disparity in the quality of games designed by women and men, writing that "is a curious and interesting fact that, among musical games, those invented by women are very complicated and extraordinarily full of detail, while those invented by men are, with very rare exceptions, quite simple and generally adaptations from other games. From this we may draw one of two conclusions: either that in this particular line woman has more originality than man, or that when she begins to invent, her mind becomes so engrossed with details as to lose sight of the main issue, and, in the words of the proverb, she cannot see the wood for the trees."

Conceding that women might be intrinsically better at musical game design, Harrison immediately undercuts this notion with the claim that women are overly concerned with details, and that is why their games tend to be more complex. The stereotype of the detail-oriented woman, as exemplified in this example, is a trope that, as Naomi Schor reminds us, has informed and limited understandings of female ability for centuries.

Harrison's critique notwithstanding, the nineteenth century saw many impressive music educational games invented by women. The 1851 Great Exhibition in London featured Gioco di Euterpe, (a game whose name invokes the Greek goddess of music) designed by Abelinde Prince and "intended to assist beginners in the knowledge of the relative value of musical characters, and to render them good timeists." The editor of The Girl's Own Book (1869) described a game developed by an anonymous female friend, entitled "Sir Samuel Semibreve," which taught sight-singing and could be ordered from a music shop in Middlesex.

Across the Atlantic, Abbie T. Hays, principal of a music school in Wichita, Kansas, filed a patent in 1895 for a "musical game device" designed to teach notation with pictures depicting the words spelled out by note-names (think B-A-G or B-E-E). Later that year, Sarah W. Featherstone, a schoolteacher in Toledo, Ohio, filed a patent for Nota Bene, which used a spinning wheel to teach children rhythm. And in 1897, the enterpreneurial Evelyn Fletcher of Toronto filed both Canadian and US patents for a Music Block Game. Her "Fletcher Music Method" would later be endorsed by luminaries such as John Philip Sousa and Hugo Riemann, and it was highly popular with schoolteachers. This is just a small selection of the names and devices that pop out of the archive. In my experience searching historical patent records, one is more likely to come across games designed by women than by men. Bertha Harrison seems to have gotten that right, at least!

Today, using gamification to teach music seems like a no-brainer. Indeed, many music videogames have become wildly popular—think instrument-based rhythm games like Guitar Hero. While these games generally teach synchronization, there are also plenty of music theory games available to try online, such as ToneGym, Solfege Story, or Chet — Ear Training. Although these modern creations would have been unthinkable a hundred years ago, these games are still part of an unusual—and unusually female—tradition.

https://daily.jstor.org/the-hidden-history-of-women-game-designers/
The article contains the expression "The County Gaol," quoted from a British educational game, and later uses the word "laborer" when explaining the price of Anne Young's game set. These forms reflect different spelling traditions. Match the words in Column I with the descriptions in Column II. 

Column I      
1. Gaol.       2. Jail.       3. Laborer.       4. Labourer.      

Column II

I. Traditional British spelling for a place of imprisonment. 
II. Common modern spelling in both American and British  usage. 
III. American spelling without the letter "u." 
IV. British spelling retaining the letter "u." 

Mark the alternative that presents the CORRECT  matching. 
Alternativas
Q4275638 Inglês
Carnivorous great sundew plants produce sticky sweet-smelling secretions as a deadly trap to ensnare unsuspecting insects


The great sundew has a restricted distribution in Shetland, growing mainly in North Roe. It is generally a larger plant than the commoner round-leaved sundew, reaching up to 20 cm. The leaves are long and spatulate, narrowing at the hairless leaf stalks. Great sundew grows in wetter bog habitats than round-leaved sundew, often found at the margins of pools.

Round-leaved sundew has, as the name suggests, round leaves up to 1 cm across. The leaf stalks are covered in tiny hairs. It is often found growing on hummocks of sphagnum moss and on wet heaths. In late summer, both species of sundew produce tiny flowers, borne on long stems which arise from the centre of the rosette of leaves.

Sundews are carnivorous plants which grow in nutrient-poor, acidic soils. They supplement their nutrient supply by catching and digesting small invertebrates. The leaves are covered with red hairs, each tipped by a droplet. The name "sundew" refers to these glistening droplets resembling dew. The hairs are tiny glands, producing a sticky sweet-smelling secretion which attracts small insects like flies. Each droplet is a deadly trap, ensnaring the unsuspecting insect.

As the fly struggles to escape, the mucilage starts to clog up its spiracles, tiny holes through which it breathes. The leaf hairs are very sensitive, having detected the insect, they start to curl inward. Very slowly the leaves also curl inwards and the droplets exude an enzyme which starts to digest the soft parts of the fly. The resulting fly soup is then absorbed by the leaves. Several days later, the leaves uncurl and the remains of the insect are discarded. The droplets then reappear at the end of the tentacles and the trap is reset. It is estimated that a sundew can catch up to 2,000 insects during the summer.

Sundew flowers only open in sunny weather for a few hours during the day. Raised high above the insect-trapping leaves, the flowers attract pollinators such as flies and midges. However, the flowers can also self-pollinate. In winter, the sundews which grow in temperate climates form a resting bud to survive the cold, from which they re-grow in spring.

Ross-shire through the Lens: Lochcarron Highland Games Attadale wonderland!Ross-shire through the Lens: Lochcarron Highland Games Attadale wonderland!

Read More

Also growing in nitrogen-poor bogs and wet acidic heaths is another carnivorous plant, common butterwort. In spring, small green stars of yellow-green basal leaves appear flat to the ground. From this rosette two or three upright stalks grow, each producing small deep-purple flowers. Bees mainly pollinate these flowers but they can also self-pollinate.

Common butterwort also tops up its nutrients by catching and digesting prey. However, its bee pollinators are too large to be caught. Nearer the ground, small insects are trapped on the starfish-like leaves. These are covered in tiny sticky drops of mucilage so that they always look wet. The insects are attracted to the moisture and land on the leaf but quickly become stuck. The leaf edges slowly curl inwards to prevent escape and the plant secretes digestive enzymes which break down the soft parts of the insect. The liquefied nutrients are absorbed by the leaf before the leaf eventually uncurls to reveal the chitinous husk.

The common name, 'butterwort', refers to the fatty appearance of the leaves. Wort is an Old English word for a plant or herb. It was believed that rubbing butterwort leaves on a cow's udders would protect the cow from evil spirits and ensure a good supply of butter. The leaves were also used to curdle and thicken milk during cheese and butter making.

Birds of note this week included the queen eider in Lerwick harbour, a black-throated diver at Urafirth, an osprey in Unst, an eclipse male ring-necked duck at Clickimin, a ring-billed gull on Noss and a long-tailed skua at the airstrip in Foula.

The long-tailed skua is a scarce migrant, more commonly observed offshore in spring and autumn. Long-tailed skuas have a circumpolar distribution, breeding on the Arctic tundra, and are found in northern parts of Scandinavia. In summer, lemmings are a major part of their diet. After the breeding season, they migrate to the south Atlantic, spending the winter months at sea, feeding on fish. The smallest of the skuas, the long-tailed skua is about the size of a black-headed gull. Slim with long, slender wings, the flight is graceful and tern-like. In adult summer breeding plumage, it is readily identified by very long central tail feathers which can measure up to 20cm. The dark brown-grey upperparts, with black patches on the wings, contrast with pale underparts and a dark cap.

Cetacean sightings this week have included Risso's dolphin, white-beaked dolphin, common dolphin, harbour porpoise, minke and orca.


https://www.shetlandtimes.co.uk/news/carnivorous-plants-produce-stick
y-sweet-smelling-secretions-440918/
The text describes each sticky droplet on a sundew leaf as a trap capable of "ensnaring the unsuspecting insect." The surrounding sentences explain that the secretion attracts flies and prevents them from escaping after contact with the leaf. In this context, the verb "ensnaring" expresses the idea of:         
Alternativas
Q4275636 Inglês
Carnivorous great sundew plants produce sticky sweet-smelling secretions as a deadly trap to ensnare unsuspecting insects


The great sundew has a restricted distribution in Shetland, growing mainly in North Roe. It is generally a larger plant than the commoner round-leaved sundew, reaching up to 20 cm. The leaves are long and spatulate, narrowing at the hairless leaf stalks. Great sundew grows in wetter bog habitats than round-leaved sundew, often found at the margins of pools.

Round-leaved sundew has, as the name suggests, round leaves up to 1 cm across. The leaf stalks are covered in tiny hairs. It is often found growing on hummocks of sphagnum moss and on wet heaths. In late summer, both species of sundew produce tiny flowers, borne on long stems which arise from the centre of the rosette of leaves.

Sundews are carnivorous plants which grow in nutrient-poor, acidic soils. They supplement their nutrient supply by catching and digesting small invertebrates. The leaves are covered with red hairs, each tipped by a droplet. The name "sundew" refers to these glistening droplets resembling dew. The hairs are tiny glands, producing a sticky sweet-smelling secretion which attracts small insects like flies. Each droplet is a deadly trap, ensnaring the unsuspecting insect.

As the fly struggles to escape, the mucilage starts to clog up its spiracles, tiny holes through which it breathes. The leaf hairs are very sensitive, having detected the insect, they start to curl inward. Very slowly the leaves also curl inwards and the droplets exude an enzyme which starts to digest the soft parts of the fly. The resulting fly soup is then absorbed by the leaves. Several days later, the leaves uncurl and the remains of the insect are discarded. The droplets then reappear at the end of the tentacles and the trap is reset. It is estimated that a sundew can catch up to 2,000 insects during the summer.

Sundew flowers only open in sunny weather for a few hours during the day. Raised high above the insect-trapping leaves, the flowers attract pollinators such as flies and midges. However, the flowers can also self-pollinate. In winter, the sundews which grow in temperate climates form a resting bud to survive the cold, from which they re-grow in spring.

Ross-shire through the Lens: Lochcarron Highland Games Attadale wonderland!Ross-shire through the Lens: Lochcarron Highland Games Attadale wonderland!

Read More

Also growing in nitrogen-poor bogs and wet acidic heaths is another carnivorous plant, common butterwort. In spring, small green stars of yellow-green basal leaves appear flat to the ground. From this rosette two or three upright stalks grow, each producing small deep-purple flowers. Bees mainly pollinate these flowers but they can also self-pollinate.

Common butterwort also tops up its nutrients by catching and digesting prey. However, its bee pollinators are too large to be caught. Nearer the ground, small insects are trapped on the starfish-like leaves. These are covered in tiny sticky drops of mucilage so that they always look wet. The insects are attracted to the moisture and land on the leaf but quickly become stuck. The leaf edges slowly curl inwards to prevent escape and the plant secretes digestive enzymes which break down the soft parts of the insect. The liquefied nutrients are absorbed by the leaf before the leaf eventually uncurls to reveal the chitinous husk.

The common name, 'butterwort', refers to the fatty appearance of the leaves. Wort is an Old English word for a plant or herb. It was believed that rubbing butterwort leaves on a cow's udders would protect the cow from evil spirits and ensure a good supply of butter. The leaves were also used to curdle and thicken milk during cheese and butter making.

Birds of note this week included the queen eider in Lerwick harbour, a black-throated diver at Urafirth, an osprey in Unst, an eclipse male ring-necked duck at Clickimin, a ring-billed gull on Noss and a long-tailed skua at the airstrip in Foula.

The long-tailed skua is a scarce migrant, more commonly observed offshore in spring and autumn. Long-tailed skuas have a circumpolar distribution, breeding on the Arctic tundra, and are found in northern parts of Scandinavia. In summer, lemmings are a major part of their diet. After the breeding season, they migrate to the south Atlantic, spending the winter months at sea, feeding on fish. The smallest of the skuas, the long-tailed skua is about the size of a black-headed gull. Slim with long, slender wings, the flight is graceful and tern-like. In adult summer breeding plumage, it is readily identified by very long central tail feathers which can measure up to 20cm. The dark brown-grey upperparts, with black patches on the wings, contrast with pale underparts and a dark cap.

Cetacean sightings this week have included Risso's dolphin, white-beaked dolphin, common dolphin, harbour porpoise, minke and orca.


https://www.shetlandtimes.co.uk/news/carnivorous-plants-produce-stick
y-sweet-smelling-secretions-440918/
The passage states that common butterwort "tops up its nutrients by catching and digesting prey." The expression appears after the description of the nutrient-poor bogs and acidic heaths where the plant grows. Considering this relationship, the expression "tops up" indicates that the plant:
Alternativas
Q4261708 Inglês

Compreensão de textos em Língua Inglesa


The Importance of Didactics and

Methodology in English Language Teaching


Teaching English involves much more than explaining grammar rules or asking students to memorize vocabulary. Effective English language teaching requires careful planning, appropriate teaching methods, and an understanding of how students learn.


Didactics refers to the principles and strategies that guide the teaching and learning process. It helps teachers organize lessons, define learning objectives, choose suitable materials, and evaluate students’ progress. Good didactics creates a positive learning environment where students feel motivated to participate and develop their language skills.


Methodology, on the other hand, focuses on the methods and approaches used in the classroom. Throughout history, different methodologies have been developed to improve language learning. For example, the Grammar-Translation Method emphasizes reading, writing, and translation, while the Communicative Language Teaching (CLT) approach encourages students to use English in real-life situations through meaningful interaction.


Modern English teaching often combines different methodologies to meet the needs of diverse learners. Teachers may use games, technology, group work, role-playing activities, and project-based learning to make lessons more engaging and effective. This flexible approach recognizes that students have different learning styles, interests, and levels of proficiency.


Assessment is another essential part of the teaching process. Besides traditional tests, teachers can evaluate students through presentations, classroom participation, portfolios, and collaborative projects. Continuous assessment allows teachers to monitor students’ progress and adjust their teaching strategies when necessary.


Finally, an effective English teacher is not only knowledgeable about the language but also reflective about their teaching practice. By evaluating their lessons and seeking professional development, teachers can continuously improve their instructional methods and better support their students’ learning.




Read the paragraph below about English as a Global Language.
“Interculturality highlights the role of the English language as a global means of communication, connecting people from different countries, cultures, and backgrounds. As an international language, English enables individuals to exchange ideas, collaborate, and build relationships across ________boundaries. At the same time, it reflects the richness of __________diversity and includes many linguistic and__________variations influenced by local traditions, accents, and expressions. Understanding these differences is essential for effective communication in international contexts, as it promotes respect, empathy, and __________ awareness. By using English in a way that values diversity, people can communicate more successfully and contribute to a more inclusive and interconnected world.”
Select the alternative containing the word that correctly completes all the blanks in the text.
Alternativas
Q4254773 Inglês
AI teachers and cybernetics - what could the world look like in 2050?

Laura Cress - Technology reporter


   The last 25 years has seen some mind-bending technological changes. At the start of the century, most computers connected to the internet with noisy dial-up connections, Netflix was an online DVD rental company, and the vast majority of people hadn't even heard of a smartphone. Fast forward two and a half decades, and innovations in AI, robotics and much else besides are emerging at an incredible rate. So we decided to ask experts what the next 25 years could bring. Here are their predictions for the technology we'll be using by 2050 - and how it could reshape our lives.

    Merging humans and machines

    Science fiction set in the 2050s is full of examples of humans using technological enhancements to feel fitter, happier and more productive. In the 2000 hit game Deus Ex - set in 2052 - the player can inject themselves with tiny robots called “nanites”. These microscopic robots manipulate matter on atomic levels, giving superhuman abilities such as enhanced speed and the ability to see in the dark. It sounds like something from the distant future, but nanotechnology - engineering at a scale of millionths of a millimetre - is already used in lots of everyday real-life tech. In fact, it is powering the way you are reading these very words right now - every smartphone or computer is run by a central chip made up of billions of tiny transistors - electrical components built on a nanoscale to speed up data processing. Professor Steven Bramwell at the London Centre for Nanotechnology told the BBC by 2050 we should expect the lines between machines, electronics and biology to be “significantly blurred”. That means we could see nanotechnology implants by then - but more to “monitor your health or aid communication” rather than to appear invisible, as in Deus Ex. Medicine could also make common use of machines at a nanometre scale to “deliver drugs to exactly where they need to go”, said Professor Bramwell. Cybernetics professor Kevin Warwick is equally interested in studying augmentations, going one step further than most. In 1998 he became the first human to have a microchip implanted into his nervous system, earning him the title “Captain Cyborg”. Professor Warwick believes by 2050, advancements in cybernetics - the science studying the links between natural and mechanical systems - could lead to trailblazing treatments for diseases. He predicts the use of “deep brain electronic stimulation” as a partial treatment for some conditions such as schizophrenia, rather than medicine. He adds it is likely we'll see more cybernetic enhancements of the kind he has already trialled himself, so that “your brain and body can be in different places”. And what if we wanted to test out how the latest enhancement, or even new diet worked on our bodies, without any risks of experiencing the side effects? Professor Roger Highfield, Science Director of the Science Museum, believes “digital twins” - virtual versions of a physical object, updated using real time data - could become a regular feature in our lives. He imagines a world where each of us could have “thousands of simplified twins”, using them to explore how “different medications or lifestyle changes affect your unique biology”. In other words, we could preview our futures before we live them.

     The next generation of AI  

    Many technology firms, including Google and IBM, are currently locked in a multi-billion dollar race to revolutionise how we push fields like AI even further - in the form of quantum computing. Quantum computers are machines which can do very complex calculations at incredibly fast speeds - for example, simulating molecular interactions to design new drugs faster. In January 2025, Jensen Huang - boss of the leading chip firm Nvidia - said he believed “very useful” quantum computing would come in 20 years. AI itself will undoubtedly continue to loom large in our society as we journey towards the half century mark. Futurist and author Tracey Follows, who helped write a White Paper on UK education in 2050, believes learning will take place across “virtual and physical realities” using AI teachers which “adjust in real time”. Rather than textbooks, she predicts children will use “immersive simulations”. Meanwhile, education will be less standardised, with each child's individual DNA or biometric data studied to understand how they learn best.

Available on https://www.bbc.com/news/articles/c865n800d5jo
The text mentions that “lines between machines, electronics and biology” will be “significantly blurred.” In this context, what does the word “blurred” imply regarding the relationship between these fields?
Alternativas
Q4254766 Inglês
AI teachers and cybernetics - what could the world look like in 2050?

Laura Cress - Technology reporter


   The last 25 years has seen some mind-bending technological changes. At the start of the century, most computers connected to the internet with noisy dial-up connections, Netflix was an online DVD rental company, and the vast majority of people hadn't even heard of a smartphone. Fast forward two and a half decades, and innovations in AI, robotics and much else besides are emerging at an incredible rate. So we decided to ask experts what the next 25 years could bring. Here are their predictions for the technology we'll be using by 2050 - and how it could reshape our lives.

    Merging humans and machines

    Science fiction set in the 2050s is full of examples of humans using technological enhancements to feel fitter, happier and more productive. In the 2000 hit game Deus Ex - set in 2052 - the player can inject themselves with tiny robots called “nanites”. These microscopic robots manipulate matter on atomic levels, giving superhuman abilities such as enhanced speed and the ability to see in the dark. It sounds like something from the distant future, but nanotechnology - engineering at a scale of millionths of a millimetre - is already used in lots of everyday real-life tech. In fact, it is powering the way you are reading these very words right now - every smartphone or computer is run by a central chip made up of billions of tiny transistors - electrical components built on a nanoscale to speed up data processing. Professor Steven Bramwell at the London Centre for Nanotechnology told the BBC by 2050 we should expect the lines between machines, electronics and biology to be “significantly blurred”. That means we could see nanotechnology implants by then - but more to “monitor your health or aid communication” rather than to appear invisible, as in Deus Ex. Medicine could also make common use of machines at a nanometre scale to “deliver drugs to exactly where they need to go”, said Professor Bramwell. Cybernetics professor Kevin Warwick is equally interested in studying augmentations, going one step further than most. In 1998 he became the first human to have a microchip implanted into his nervous system, earning him the title “Captain Cyborg”. Professor Warwick believes by 2050, advancements in cybernetics - the science studying the links between natural and mechanical systems - could lead to trailblazing treatments for diseases. He predicts the use of “deep brain electronic stimulation” as a partial treatment for some conditions such as schizophrenia, rather than medicine. He adds it is likely we'll see more cybernetic enhancements of the kind he has already trialled himself, so that “your brain and body can be in different places”. And what if we wanted to test out how the latest enhancement, or even new diet worked on our bodies, without any risks of experiencing the side effects? Professor Roger Highfield, Science Director of the Science Museum, believes “digital twins” - virtual versions of a physical object, updated using real time data - could become a regular feature in our lives. He imagines a world where each of us could have “thousands of simplified twins”, using them to explore how “different medications or lifestyle changes affect your unique biology”. In other words, we could preview our futures before we live them.

     The next generation of AI  

    Many technology firms, including Google and IBM, are currently locked in a multi-billion dollar race to revolutionise how we push fields like AI even further - in the form of quantum computing. Quantum computers are machines which can do very complex calculations at incredibly fast speeds - for example, simulating molecular interactions to design new drugs faster. In January 2025, Jensen Huang - boss of the leading chip firm Nvidia - said he believed “very useful” quantum computing would come in 20 years. AI itself will undoubtedly continue to loom large in our society as we journey towards the half century mark. Futurist and author Tracey Follows, who helped write a White Paper on UK education in 2050, believes learning will take place across “virtual and physical realities” using AI teachers which “adjust in real time”. Rather than textbooks, she predicts children will use “immersive simulations”. Meanwhile, education will be less standardised, with each child's individual DNA or biometric data studied to understand how they learn best.

Available on https://www.bbc.com/news/articles/c865n800d5jo
In the sentence “innovations... are emerging at an incredible rate,” which word could replace “incredible” without changing the meaning? 
Alternativas
Q4250984 Inglês
Leia o texto a seguir.


In Brazil, four in ten teenagers face school bullying


In Brazil, four out of ten students aged 13 to 17 say they have already been victims of bullying, and 27.2 percent in this age group have suffered some form of humiliation two or more times.

The data, released this week, are based on testimonies collected in 2024 in schools across Brazil by the Brazilian government’s statistics agency IBGE as part of the National School Health Survey (PeNSE).

Compared to the previous survey, conducted in 2019, there was a 0.7 percentage point increase in the total number of students who reported having suffered bullying. The proportion of students who experienced it at least twice rose by more than 4 percentage points, Marco Andreazzi, the research manager, emphasized.

“Bullying is already characterized as something persistent, intermittent… And here we observe an upward trend, indicating that more students have begun to experience repeated situations of violence,” Andreazzi said.

The researcher stressed that “the number of those who suffer bullying remains practically the same; however, the persistence and intensity of the episodes have increased.”

Appearance, race, gender

Bullied students told researchers that their facial features or hair were the main targets of bullying, accounting for 30.2 percent of cases.

Next is body appearance, accounting for 24.7 percent, followed by bullying related to color or race, reported by 10.6 percent.

“There is also a high percentage - 26.3 percent - of students who say the bullying had no reason. That is, many of those who suffer do not know why, and this is natural, since bullying occurs collectively and the victim does not necessarily perceive a reason for it. On the contrary, they feel completely wronged,” the research manager noted.

The research found that girls are the most affected - 43.3 percent have experienced bullying, compared to 37.3 percent of boys.

Furthermore, 30.1 percent of female adolescent students reported feeling humiliated by teasing from classmates two or more times. This proportion is nearly 6 percentage points higher than among male students.

Profile of the aggressors

Data on those who commit bullying show an inverse pattern: 13.7 percent of students reported having engaged in some form of violence - 16.5 percent of boys and 10.9 percent of girls.

IBGE also asked about the reasons for the aggression, and once again, facial features, hair, body type, and skin color or race were the most frequently cited.

However, some significant differences emerged in relation to victims’ reports. For example, 12.1 percent of perpetrators said they engaged in bullying because of their classmates’ gender or sexual orientation, while only 6.4 percent of victims identified this as a motive for the violence.

A similar pattern emerged regarding disability: while 7.6 percent of perpetrators acknowledged engaging in bullying for this reason, only 2.6 percent of victims associated the attacks with this characteristic.

For researchers, this may indicate that many victims prefer to remain silent about the circumstances for fear of being stigmatized.

TÂMARA FREIRE


Fonte: https://agenciabrasil.ebc.com.br/en/educacao/noticia/2026-03/brazil-four-tenteenagers-face-school-bullying-27/5/2026/. Excerto. Acesso em: 10/06/2026.
O phrasal verb que coaduna com a finalidade da prática do bullying é:
Alternativas
Q4250983 Inglês
Leia o texto a seguir.


In Brazil, four in ten teenagers face school bullying


In Brazil, four out of ten students aged 13 to 17 say they have already been victims of bullying, and 27.2 percent in this age group have suffered some form of humiliation two or more times.

The data, released this week, are based on testimonies collected in 2024 in schools across Brazil by the Brazilian government’s statistics agency IBGE as part of the National School Health Survey (PeNSE).

Compared to the previous survey, conducted in 2019, there was a 0.7 percentage point increase in the total number of students who reported having suffered bullying. The proportion of students who experienced it at least twice rose by more than 4 percentage points, Marco Andreazzi, the research manager, emphasized.

“Bullying is already characterized as something persistent, intermittent… And here we observe an upward trend, indicating that more students have begun to experience repeated situations of violence,” Andreazzi said.

The researcher stressed that “the number of those who suffer bullying remains practically the same; however, the persistence and intensity of the episodes have increased.”

Appearance, race, gender

Bullied students told researchers that their facial features or hair were the main targets of bullying, accounting for 30.2 percent of cases.

Next is body appearance, accounting for 24.7 percent, followed by bullying related to color or race, reported by 10.6 percent.

“There is also a high percentage - 26.3 percent - of students who say the bullying had no reason. That is, many of those who suffer do not know why, and this is natural, since bullying occurs collectively and the victim does not necessarily perceive a reason for it. On the contrary, they feel completely wronged,” the research manager noted.

The research found that girls are the most affected - 43.3 percent have experienced bullying, compared to 37.3 percent of boys.

Furthermore, 30.1 percent of female adolescent students reported feeling humiliated by teasing from classmates two or more times. This proportion is nearly 6 percentage points higher than among male students.

Profile of the aggressors

Data on those who commit bullying show an inverse pattern: 13.7 percent of students reported having engaged in some form of violence - 16.5 percent of boys and 10.9 percent of girls.

IBGE also asked about the reasons for the aggression, and once again, facial features, hair, body type, and skin color or race were the most frequently cited.

However, some significant differences emerged in relation to victims’ reports. For example, 12.1 percent of perpetrators said they engaged in bullying because of their classmates’ gender or sexual orientation, while only 6.4 percent of victims identified this as a motive for the violence.

A similar pattern emerged regarding disability: while 7.6 percent of perpetrators acknowledged engaging in bullying for this reason, only 2.6 percent of victims associated the attacks with this characteristic.

For researchers, this may indicate that many victims prefer to remain silent about the circumstances for fear of being stigmatized.

TÂMARA FREIRE


Fonte: https://agenciabrasil.ebc.com.br/en/educacao/noticia/2026-03/brazil-four-tenteenagers-face-school-bullying-27/5/2026/. Excerto. Acesso em: 10/06/2026.
A partir da leitura do texto, pode-se definir a prática do bullying como:
Alternativas
Q4248843 Inglês
'It's Happening': Daniel Johns Drops More Teases After Making Shock Appearance at Silverchair Tribute Show


Daniel Johns has been sharing cryptic messages in recent months, and fans are only asking more questions


The iconic Australian musician has been sharing cryptic messages in recent months, and fans are only asking more questions on the back of his latest social media post.

In clips shared to the Silverchair frontman's Instagram, captioned "It's happening", it was revealed that Johns made a surprise appearance at the soundcheck of local band The Lizards' show earlier this year at Little Bosa in Port Elliot, South Adelaide. The band were playing Silverchair's debut album Frogstomp in full to celebrate the record's 30th anniversary.

Per the video, Johns "just rocks up at soundcheck, played with The Lizards for a bit, did a jam, and it was just really odd", before returning later in the night for the gig. He is believed to have shown up quietly as the show started as "Dan didn't want to freak anyone out" and watched from the kitchen: "Then Dan just disappeared. Just vanished. It was so trippy, but it happened. I filmed a bit on my phone because I knew no one would believe me. It was crazy."

It comes after Johns posted a black-and-white Polaroid on his Instagram in June, paired with short clips of himself tearing through a frantic guitar piece. The captions read: "5 Minute Warning," "Stand 'em up against the wall," and "This concludes the intermission — see you in 1995. #FutureNever."

The posts continue a run of unusual updates in recent weeks, with Johns dropping hints about "time travelling" and slipping in references to 1994. For Johns, 1994 is more than just a throwback. It was the year Silverchair broke through with their debut EP Tomorrow, whose title track topped the ARIA Charts.

Back in April, on his 46th birthday, Johns reemerged on Instagram for the first time since October 2023, writing: "I have to go back in time to finalise something."

Silverchair celebrated the Frogstomp anniversary with a special event in Sydney in March, though Johns was not in attendance.

In 2023, his Silverchair bandmates Ben Gillies and Chris Joannou teamed up to release the memoir Love & Pain, which covered the rise of Silverchair as a burgeoning trio from Newcastle to one of the world's biggest acts.

At the time, Johns pushed for the removal of a two-part Australian Story documentary from ABC iView ahead of the book's release, claiming he had not cleared the rights to Silverchair songs being used in the programme. 

"I was and remain incredibly supportive of them telling their story," Johns wrote on Instagram.

"I was asked at the end of filming to be interviewed about their contribution to the band and although I wished them all the best, I respectfully declined for one reason.

"I haven't been involved in the book nor am I aware of the contents. I've asked on many occasions to read the book but haven't been sent a copy, consequently I was uncomfortable being interviewed to help promote it."

Johns' last offering of new music came in 2022 with his second studio album, FutureNever, which also hit #1 in Australia and picked up ARIA, APRA and AIR Award nominations. 


https://au.rollingstone.com/music/music-news/daniel-johns-silverchair-fr
ogstomp-lizards-81005/
Consider the excerpt below.

"Johns 'just rocks up at soundcheck, played with The Lizards for a bit, did a jam, and it was just really odd' [...]"

In this context, the informal expression "rocks up" means: 
Alternativas
Respostas
41: A
42: C
43: D
44: B
45: C
46: B
47: A
48: A
49: D
50: B
51: B
52: C
53: C
54: D
55: C
56: A
57: C
58: A
59: D
60: A