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Q3782183 Pedagogia
Segundo a BNCC: Ensino Fundamental – História, “o processo de ensino e aprendizagem da História no Ensino Fundamental – Anos Finais está pautado por três procedimentos básicos”.
Assinale a alternativa que apresenta um desses procedimentos básicos.
Alternativas
Q3782182 História
As propostas curriculares, para todos os níveis de ensino, têm se preocupado em responder à pergunta: “Por que estudar História?”
“Estuda-se História para compreender o presente e criar os projetos do futuro” é uma das frases mais encontradas em textos relacionados ao assunto e das mais repetidas por professores em suas explicações iniciais sobre o porquê da disciplina na escola. As finalidades do ensino de História não se limitam a essa frase, sendo, evidentemente, mais complexas, e algumas propostas curriculares procuram explicitá-las.
(Circe M. F. Bittencourt, Ensino de História: fundamentos e métodos, 2008)
Para Bittencourt, na atualidade, um dos objetivos centrais do ensino de História relaciona-se com
Alternativas
Q3781921 Inglês
Leia o texto a seguir para responder a questão:

        There are differences between content-based language teaching (CBLT) and content and language integrated learning (CLIL), the main one being that CBLT deals with teaching content in language lessons, whereas CLIL deals with teaching a subject at the same time as teaching language. CLIL is also different from immersion, where learners learn all their subjects in another language and there is no focus on language in subject lessons, for example in an international school. These ideas can be visualised as a continuum. On the left-hand side of the continuum, content-based language teaching is where language teachers teach another language through content - so the focus is on language and the input for language classes is topics based on subject content. On the right-hand side of the continuum, learners are working all the time in another language. CLIL can be placed somewhere in the middle of the continuum: learners are learning content through another language. Typically, they have a number of lessons in one or more subjects per week in another language (for example, geography, history, science, PE or music) and the rest of their lessons in their first language.

(Liz Dale, Rosie Tanner. CLIL activities: a resource for subjects and language teachers)
An EFL teacher is planning a lesson on “The Water Cycle” where the primary goal is for students to successfully use the conditional tense (if... then...) to describe the process.
Which learning approach is the teacher adopting?
Alternativas
Q3781920 Inglês
Leia o texto a seguir para responder a questão:

        There are differences between content-based language teaching (CBLT) and content and language integrated learning (CLIL), the main one being that CBLT deals with teaching content in language lessons, whereas CLIL deals with teaching a subject at the same time as teaching language. CLIL is also different from immersion, where learners learn all their subjects in another language and there is no focus on language in subject lessons, for example in an international school. These ideas can be visualised as a continuum. On the left-hand side of the continuum, content-based language teaching is where language teachers teach another language through content - so the focus is on language and the input for language classes is topics based on subject content. On the right-hand side of the continuum, learners are working all the time in another language. CLIL can be placed somewhere in the middle of the continuum: learners are learning content through another language. Typically, they have a number of lessons in one or more subjects per week in another language (for example, geography, history, science, PE or music) and the rest of their lessons in their first language.

(Liz Dale, Rosie Tanner. CLIL activities: a resource for subjects and language teachers)
According to the text, the primary difference between Content-Based Language Teaching (CBLT) and Content and Language Integrated Learning (CLIL) is
Alternativas
Q3781918 Inglês
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        Creativity is a quality which manifests itself in many different ways, and this is one of the reasons it has proved so difficult to define. As Amabile (1996) points out, ‘a clear and sufficiently detailed articulation of the creative process is not yet possible.’ Yet we readily recognise creativity when we meet it, even if we cannot define it precisely. For all practical purposes this is enough, and we do not need to spend too much time agonising over a definition.

        There are of course some features which are almost always present in a creative act. The core idea of ‘making something new’ is at the heart of creativity. But novelty is not alone sufficient for something to be recognised as creative. We could, for example, wear a clown’s red nose to class. This would certainly be doing something new and unusual but it would only count as creative if we then did something with it, like creating a new persona. It is also necessary for creative acts to be recognised and accepted within the domain in which they occur. They need to be relevant and practicable – not just novel. Sometimes creative ideas are ahead of their time and have to wait for technology to catch up. Leonardo da Vinci designed an aeroplane in the 15th century, but before aeroplanes could become a reality, materials and fuels had to be available.

        […]

        […] Boden (1990) takes an AI (artificial intelligence) approach to investigating creativity. She asks what a computer would need to do to replicate human thought processes. This leads to a consideration of the self-organising properties of complex, generative systems through processes such as parallel distributed processing. For her, creativity arises from the systematic exploration of a conceptual space or domain (mathematical, musical or linguistic). She draws attention to the importance of constraints in this process. ‘Far from being the antithesis of creativity, constraints on thinking are what make it possible’ (p. 82). Chaos theory (Gleick, 1987) tends to support her ideas. Boden’s approach is richly suggestive for language acquisition, materials writing and for teaching, in that all are rooted in complex, self-organising systems.

(Alan Maley, Nik Peachey. Creativity in the English language classroom.)
What conclusion does the author draw about the necessity of achieving a precise, universally accepted definition of creativity?
Alternativas
Q3781917 Inglês
Leia o texto a seguir para responder a questão:

        Creativity is a quality which manifests itself in many different ways, and this is one of the reasons it has proved so difficult to define. As Amabile (1996) points out, ‘a clear and sufficiently detailed articulation of the creative process is not yet possible.’ Yet we readily recognise creativity when we meet it, even if we cannot define it precisely. For all practical purposes this is enough, and we do not need to spend too much time agonising over a definition.

        There are of course some features which are almost always present in a creative act. The core idea of ‘making something new’ is at the heart of creativity. But novelty is not alone sufficient for something to be recognised as creative. We could, for example, wear a clown’s red nose to class. This would certainly be doing something new and unusual but it would only count as creative if we then did something with it, like creating a new persona. It is also necessary for creative acts to be recognised and accepted within the domain in which they occur. They need to be relevant and practicable – not just novel. Sometimes creative ideas are ahead of their time and have to wait for technology to catch up. Leonardo da Vinci designed an aeroplane in the 15th century, but before aeroplanes could become a reality, materials and fuels had to be available.

        […]

        […] Boden (1990) takes an AI (artificial intelligence) approach to investigating creativity. She asks what a computer would need to do to replicate human thought processes. This leads to a consideration of the self-organising properties of complex, generative systems through processes such as parallel distributed processing. For her, creativity arises from the systematic exploration of a conceptual space or domain (mathematical, musical or linguistic). She draws attention to the importance of constraints in this process. ‘Far from being the antithesis of creativity, constraints on thinking are what make it possible’ (p. 82). Chaos theory (Gleick, 1987) tends to support her ideas. Boden’s approach is richly suggestive for language acquisition, materials writing and for teaching, in that all are rooted in complex, self-organising systems.

(Alan Maley, Nik Peachey. Creativity in the English language classroom.)
According to the second paragraph, in addition to being new, the necessary condition for an act or idea to be recognized and accepted as creative within its specific domain is
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Q3781916 Pedagogia

Leia o texto a seguir para responder as questões:


        Como pode ser visto na bibliografia de Wilson (2007), muita coisa já foi publicada sobre o assunto. Isso não significa, no entanto, que já existe um conhecimento consolidado sobre a adoção de estratégias e a utilização de recursos para esse fim. Se a literatura sobre o ensino de inglês para surdos é indicativa, o que mais se encontra são relatos de experiência de professores e instituições. Essa literatura é difícil de ser avaliada pela falta de informações precisas sobre as variáveis centrais como: os objetivos do ensino (e.g., língua oral ou língua escrita), o contexto de ensino (língua oral ou língua de sinais, classes especiais ou inclusivas) e o perfil dos alunos (oralizados ou fluentes em língua de sinais). Essa imprecisão é o resultado, em parte, das exigências imediatas dos contextos de ensino: as instituições tinham alunos para ser educados e os educadores buscavam soluções práticas possíveis; e objetivo não era o de fazer pesquisa básica com os controles necessários. Mas a imprecisão também é o resultado da falta de conhecimentos teóricos sobre os assuntos tratados neste artigo: a natureza linguística das línguas de sinais, a precariedade da oralização come aquisição de língua, os efeitos de aquisição tardia de uma primeira língua, o papel cognitivo fundamental de uma “língua do berço”, o papel da socialização entre surdos na aquisição de língua gestual. A literatura deve ser lida sempre com esses parâmetros em mente.


(Leland McCleary. O ensino de língua estrangeira e a questão da diversidade)

De acordo com o texto, as principais razões pelas quais a literatura sobre o ensino de inglês para surdos carece de precisão nas informações sobre as variáveis centrais são
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Q3781915 Pedagogia

Leia o texto a seguir para responder as questões:


        Como pode ser visto na bibliografia de Wilson (2007), muita coisa já foi publicada sobre o assunto. Isso não significa, no entanto, que já existe um conhecimento consolidado sobre a adoção de estratégias e a utilização de recursos para esse fim. Se a literatura sobre o ensino de inglês para surdos é indicativa, o que mais se encontra são relatos de experiência de professores e instituições. Essa literatura é difícil de ser avaliada pela falta de informações precisas sobre as variáveis centrais como: os objetivos do ensino (e.g., língua oral ou língua escrita), o contexto de ensino (língua oral ou língua de sinais, classes especiais ou inclusivas) e o perfil dos alunos (oralizados ou fluentes em língua de sinais). Essa imprecisão é o resultado, em parte, das exigências imediatas dos contextos de ensino: as instituições tinham alunos para ser educados e os educadores buscavam soluções práticas possíveis; e objetivo não era o de fazer pesquisa básica com os controles necessários. Mas a imprecisão também é o resultado da falta de conhecimentos teóricos sobre os assuntos tratados neste artigo: a natureza linguística das línguas de sinais, a precariedade da oralização come aquisição de língua, os efeitos de aquisição tardia de uma primeira língua, o papel cognitivo fundamental de uma “língua do berço”, o papel da socialização entre surdos na aquisição de língua gestual. A literatura deve ser lida sempre com esses parâmetros em mente.


(Leland McCleary. O ensino de língua estrangeira e a questão da diversidade)

Conforme o texto, a principal limitação da literatura existente sobre o ensino de inglês para alunos surdos é
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Q3781914 Inglês
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        There is no single way of teaching English, no single way of learning it, no single motive for doing so, no single syllabus or textbook, no single way of assessing proficiency and, indeed, no single variety of English which provides the target of learning. It is tempting, but unhelpful, to say there are as many combinations of these as there are learners and teachers. The proliferation of acronyms in English Language Teaching reflects this diversity of models. By a ‘model’ I do not mean a particular variety of English – such as US or British – though selection of a particular variety may play a role.

        By a ‘model’ of English I mean a complex framework, which includes issues of methodology and variety, but goes beyond these to include other dimensions of the context and practice of learning English.

        It is becoming clear that these issues are not easily separable. The appropriateness of content clearly depends on such things as the age of the learner and whether English is to be used primarily as a language of international communication or for survival communication with native speakers, perhaps whilst on holiday in the UK or some other English-speaking country. This is why I have identified broad models which can be thought of as configurations of the factors listed in the box.

        There are many stakeholders involved in the teaching and learning process, each of whom may have a different view. Learners, their families, teachers, governments, employers, textbook publishers, examination providers – all now possess an interest in the English language business.

(David Graddol. English Next. Adaptado)
According to the author, the defining characteristic of a ‘model’ of English in the context of language teaching is a
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Q3781912 Pedagogia
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Shifting paradigms in language teaching

        Foreign language teaching has long relied on written texts as a source of language input. Until relatively recently, however, the sentence has been the privileged unit of meaning and analysis. The grammar-translation method of the nineteenth and twentieth centuries, for example, illustrated grammatical principles via exemplary sentences. The pedagogical goal was to recode sentences written in the foreign language into one’s mother tongue, with heavy emphasis placed on accuracy and completeness. During the audiolingual era, from the 1940s to the 1960s, the emphasis shifted to spoken language and dialogues were used as language models, but the individual sentence remained the focus of repetition and drills. Again, formal accuracy remained paramount. In the 1960s, with the advent of ‘cognitive-code learning’ theory (following Chomsky’s rejection of behavioristic models of language learning in the late 1950s), teachers’ goals gradually shifted from instilling accurate language habits, to fostering learners’ mental construction of a second language system. Rule learning was reintroduced, but still only at the level of the individual sentence. Indeed, even today, many introductory level foreign language courses are organized around a planned sequence of grammatical structures that are exemplified in sample sentences for intensive practice.

(Richard Kern. Literacy and language teaching)
How did the pedagogical goal of language teaching evolve with the advent of “cognitive-code learning”?
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Q3781911 Inglês
Leia o texto a seguir para responder as questões:

Shifting paradigms in language teaching

        Foreign language teaching has long relied on written texts as a source of language input. Until relatively recently, however, the sentence has been the privileged unit of meaning and analysis. The grammar-translation method of the nineteenth and twentieth centuries, for example, illustrated grammatical principles via exemplary sentences. The pedagogical goal was to recode sentences written in the foreign language into one’s mother tongue, with heavy emphasis placed on accuracy and completeness. During the audiolingual era, from the 1940s to the 1960s, the emphasis shifted to spoken language and dialogues were used as language models, but the individual sentence remained the focus of repetition and drills. Again, formal accuracy remained paramount. In the 1960s, with the advent of ‘cognitive-code learning’ theory (following Chomsky’s rejection of behavioristic models of language learning in the late 1950s), teachers’ goals gradually shifted from instilling accurate language habits, to fostering learners’ mental construction of a second language system. Rule learning was reintroduced, but still only at the level of the individual sentence. Indeed, even today, many introductory level foreign language courses are organized around a planned sequence of grammatical structures that are exemplified in sample sentences for intensive practice.

(Richard Kern. Literacy and language teaching)
Based on the historical overview, the sustained pattern that can be observed regarding the unit of linguistic focus across the Grammar-Translation, Audiolingual, and early Cognitive-Code learning periods is
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Q3781910 Inglês
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        The learning principles that good games incorporate are by no means unknown to researchers in the learning sciences. In fact current research on learning supports the sorts of learning principles that good games use, though these principles are often exemplified in games in particularly striking ways (for a survey and citations of the literature, see Gee 2003). However, many of these principles are much better reflected in good games than they are in today’s schools, where we also ask young people to learn complex and challenging things. With the current return in our schools to skill-and-drill and curricula driven by standardized tests, good learning principles have, more and more, been left on the cognitive scientist’s laboratory bench and, I will argue, inside good computer and video games.

        Game design involves modeling human interactions with and within complex virtual worlds, including learning processes as part and parcel of these interactions. This is, in fact, not unlike design research in educational psychology where researchers model new forms of interaction connected to learning in classrooms (complex worlds, indeed), study such interactions to better understand how and why they lead to deep learning, and then ultimately disseminate them across a great many classrooms (see, for example, the chapters in Kelly 2003).

(James Paulo Gee. Situated Language and Learning: a critique of traditional schooling)
Based on the author’s comparison of game design to design research in education, a pedagogical practice an English as a Foreign Language teacher should prioritize to move beyond the criticized approach is
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Q3781909 Inglês
Leia o texto a seguir para responder a questão:

        The learning principles that good games incorporate are by no means unknown to researchers in the learning sciences. In fact current research on learning supports the sorts of learning principles that good games use, though these principles are often exemplified in games in particularly striking ways (for a survey and citations of the literature, see Gee 2003). However, many of these principles are much better reflected in good games than they are in today’s schools, where we also ask young people to learn complex and challenging things. With the current return in our schools to skill-and-drill and curricula driven by standardized tests, good learning principles have, more and more, been left on the cognitive scientist’s laboratory bench and, I will argue, inside good computer and video games.

        Game design involves modeling human interactions with and within complex virtual worlds, including learning processes as part and parcel of these interactions. This is, in fact, not unlike design research in educational psychology where researchers model new forms of interaction connected to learning in classrooms (complex worlds, indeed), study such interactions to better understand how and why they lead to deep learning, and then ultimately disseminate them across a great many classrooms (see, for example, the chapters in Kelly 2003).

(James Paulo Gee. Situated Language and Learning: a critique of traditional schooling)
According to the author, “good learning principles” are neglected and relegated because of
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Q3781908 Inglês
Leia o texto a seguir para responder a questão:

Language monitor

        A new topic area will quickly generate the need to acquire new language in the form of vocabulary, structures, and pronunciation. It is a good idea to have ready a way of coping with this demand.

        If students can feel that they have the time and opportunity to master the use of language that either you or they have identified as being necessary for a certain stage in a project, this will go a long way to increasing their confidence and language competence.

        One way to do this is to produce a language monitor which focuses on vocabulary and structures that have been identified as being useful.

        This allows other students to read it and absorb the word or phrase, the meaning, pronunciation, associated words or collocations, and how to use it in a sentence. They can also add their own cards. The vocabulary monitor remains on the noticeboard throughout the project, constantly available for reinforcement and consolidation. It can also be used as a source of vocabulary games.

        In addition to this or as an alternative, if you have suitable computer facilities available, electronic lists could be created. Students can add to the lists in the same way as the noticeboard. The updated list can be printed out at regular intervals and put on the noticeboard and handouts given to the students.

(Diana L. Fried-Booth. Project Work. Adaptado)
Considering the concept of the “Language Monitor,” an English as a Foreign Language teacher best integrates this tool to foster learner autonomy and confidence in a project-based learning environment by
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Q3781907 Inglês
Leia o texto a seguir para responder a questão:

Language monitor

        A new topic area will quickly generate the need to acquire new language in the form of vocabulary, structures, and pronunciation. It is a good idea to have ready a way of coping with this demand.

        If students can feel that they have the time and opportunity to master the use of language that either you or they have identified as being necessary for a certain stage in a project, this will go a long way to increasing their confidence and language competence.

        One way to do this is to produce a language monitor which focuses on vocabulary and structures that have been identified as being useful.

        This allows other students to read it and absorb the word or phrase, the meaning, pronunciation, associated words or collocations, and how to use it in a sentence. They can also add their own cards. The vocabulary monitor remains on the noticeboard throughout the project, constantly available for reinforcement and consolidation. It can also be used as a source of vocabulary games.

        In addition to this or as an alternative, if you have suitable computer facilities available, electronic lists could be created. Students can add to the lists in the same way as the noticeboard. The updated list can be printed out at regular intervals and put on the noticeboard and handouts given to the students.

(Diana L. Fried-Booth. Project Work. Adaptado)
According to the text, the main purpose of the “Language Monitor” is to
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Q3781906 Inglês
Leia o texto a seguir para responder a questão:

        […] The action research cycle results show that task design should follow a certain sequence: First, tasks should focus on gaining an understanding of the e-literacy skills required when working with tools such as forums, wikis, and social bookmarking sites for language learning and teaching purposes. Ideally, this understanding should enable teachers to provide a rationale for using bespoke tools. Next, tasks should raise their awareness of a tool’s specific affordances, i.e. the constraints and possibilities of the modes available for meaning making and communication (Hampel & Hauck, 2006). This will allow the teachers to move to the next level of Hampel and Stickler’s (2005) skills pyramid by fostering their multimodal communicative competence and thus their professional literacy (Willis, 2001). These steps are a prerequisite for the subsequent phase in which teachers themselves design tasks with the goal of fostering, in turn, their learners’ multimodal competence and autonomy since merely equipping learners with creative and democratic representational online resources will not necessarily result in higher student control over the learning process or the development of autonomy (Hampel & Hauck, 2006).

(Carolin Fuchs, Andreas Müller-Hartmann, Mirjam Hauck. Promoting learner autonomy through multiliteracy skills development in cross-institutional exchanges. Adaptado)
Based on the final phase described in the text, where teachers design tasks to foster learner autonomy and multimodal competence, a teacher planning a task using a discussion forum should ensure the task
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Q3781902 Pedagogia
Leia o texto a seguir para responder as questões:

        A concepção de Kincheloe apoia-se na pedagogia crítica defendida por Freire. Discutindo a concepção bancária de ensino-aprendizagem (que resulta – assim como é o resultado – de um currículo e formação de professor fragmentados), Freire (1970, p. 85) afirma que essa concepção “desenvolve uma ação apassivadora, coincide com o estado de “imersão” da consciência oprimida”.

        Para Freire, não é a oposição de um discurso ao outro que promoverá a transformação social, mas a formação para a conscientização de sua condição subalterna. Em outras palavras: “o empenho (...) está em que os oprimidos tomem consciência de que, pelo fato mesmo de que estão sendo “hospedeiros” dos opressores, como seres duais, não estão podendo ser (1970, p. 86, grifo meu)”.

        Não bastaria, portanto, substituir a linguagem de um grupo social ou político por outro. A formação de professores não poderia ser pautada no ensino (por uns) e apropriação de práticas, técnicas ou mesmo conceitos (por outros). É preciso permitir que as linguagens em conflito possam ser compreendidas pelos agentes que, em última análise, as validam e utilizam – talvez inconscientemente. Caso contrário, estando na Linguística Aplicada, tenho o dever de ressaltar que tais agentes (ex.: os educadores) estariam a serviço da manutenção de uma linguagem cujos objetivos, muitas vezes, desconhecem porque não foram formados para ler nas entrelinhas, a “letra miúda” que traz os “efeitos colaterais”. Ao mesmo tempo, seria obrigada a denunciar que a formação de professores estaria a serviço também da mesma manutenção – “fazendo comunicados” (Freire, 1970), mas não “comunicando”.

(Sueli Salles Fidalgo. Formar professores de línguas para incluir em contextos de diversidade excludente.)
A autora argumenta que a transformação social, na perspectiva freiriana, não se concretiza pela simples substituição de discursos.
Considerando a metáfora dos oprimidos como “hospedeiros” dos opressores, para o movimento de emancipação e para o seu pleno “ser” é essencial
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Q3781899 Inglês
Leia o texto a seguir para responder a questão:

        Our analysis of the Time to Share series revealed that it follows the principles of recent theories in the development of the learning activities although there is an excessive use of the Portuguese language. Students are somewhat well encouraged to actively participate but more could be done in this sense. Further responsibility could be put upon the students in terms of interactions and research on the web. They are digital natives and their familiarity with this new world can make a difference in their involvement with learning English online for today and for the future. Their success depends on them, and they must be encouraged to learn by themselves.

(Reinildes Dias & Ana Emília Fajardo Turbin. The two “multis” and the multiliteracies pedagogy: “shaking hands” in the Brazilian English public education for teens.)
Based on the authors’ analysis, what is the most emphatically suggested pedagogical shift needed to enhance student involvement and leverage their status as “digital natives” in the learning process?
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Q3781898 Inglês
Leia o texto a seguir para responder a questão:

        The more traditional methods and approaches to teaching culture, such as movies and video, can be enhanced through the integration of digital media. Feature films have become readily available and have been included in numerous textbooks and designed to actively involve the learner (Aparisi, Blanco, & Rinka, 2007; Blanco & Tocaimaza-Hatch, 2007). Foreign language instructors are beginning to incorporate more movies in the foreign language classroom as “an accessible window” (Bueno, 2009, p. 319) to the target culture through “combined effects of images, sounds, camera, plots and dialogue” (Stephens, 2001, p. 2). According to Bueno (2009), media literacy promotes cross-cultural competence and comprehension focused on meaning rather than on form, as well as repeated exposure to L2 cultural products, practices, and perspectives, and the target language itself.

(Oxana Dema & Aleidine Kramer Moeller. Teaching culture in the 21st century language classroom. Adaptado.)
Considering the author’s point of view on the use of digital media for cultural and intercultural purposes, which of the following activities best exemplifies an enhanced use of films and digital media in the foreign language classroom?
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Q3781897 Inglês
Leia o texto a seguir para responder a questão:

        The more traditional methods and approaches to teaching culture, such as movies and video, can be enhanced through the integration of digital media. Feature films have become readily available and have been included in numerous textbooks and designed to actively involve the learner (Aparisi, Blanco, & Rinka, 2007; Blanco & Tocaimaza-Hatch, 2007). Foreign language instructors are beginning to incorporate more movies in the foreign language classroom as “an accessible window” (Bueno, 2009, p. 319) to the target culture through “combined effects of images, sounds, camera, plots and dialogue” (Stephens, 2001, p. 2). According to Bueno (2009), media literacy promotes cross-cultural competence and comprehension focused on meaning rather than on form, as well as repeated exposure to L2 cultural products, practices, and perspectives, and the target language itself.

(Oxana Dema & Aleidine Kramer Moeller. Teaching culture in the 21st century language classroom. Adaptado.)
According to the author, the pedagogical value of incorporating films and digital media into foreign language instruction is
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Respostas
121: D
122: C
123: B
124: A
125: D
126: B
127: D
128: C
129: D
130: E
131: A
132: B
133: D
134: E
135: C
136: C
137: C
138: A
139: B
140: C