In relation to the teaching of language skills, according to contemporary communicative approaches to language teaching it is correct to say that 

Read the excerpt below of Virginia Woolf’s “A room of one’s own”:

It would have been impossible, completely and entirely, for any woman to have written the plays of Shakespeare in the age of Shakespeare. Let me imagine, since facts are so hard to come by, what would have happened had Shakespeare had a wonderfully gifted sister, called Judith, let us say. Shakespeare himself went, very probably,--his mother was an heiress--to the grammar school, where he may have learnt Latin--Ovid, Virgil and Horace--and the elements of grammar and logic. He was, it is well known, a wild boy who poached rabbits, perhaps shot a deer, and had, rather sooner than he should have done, to marry a woman in the neighbourhood, who bore him a child rather quicker than was right. That escapade sent him to seek his fortune in London. He had, it seemed, a taste for the theatre; he began by holding horses at the stage door. Very soon he got work in the theatre, became a successful actor, and lived at the hub of the universe, meeting everybody, knowing everybody, practising his art on the boards, exercising his wits in the streets, and even getting access to the palace of the queen.

Meanwhile his extraordinarily gifted sister, let us suppose, remained at home. She was as

adventurous, as imaginative, as agog to see the world as he was. But she was not sent to school. She had no chance of learning grammar and logic, let alone of reading Horace and Virgil. She picked up a book now and then, one of her brother's perhaps, and read a few pages. But then her parents came in and told her to mend the stockings or mind the stew and not moon about with books and papers. They would have spoken sharply but kindly, for they were substantial people who knew the conditions of life for a woman and loved their daughter--indeed, more likely than nots he was the apple of her father's eye. Perhaps she scribbled some pages up in an apple loft on the sly but was careful to hide them or set fire to them. Soon, however, before she was out of her teens, she was to be betrothed to the son of a neighbouring woolstapler. She cried out that marriage was hateful to her, and for that she was severely beaten by her father. Then he ceased to scold her. He begged her instead not to hurt him, not to shame him in this matter of her marriage. He would give her a chain of beads or a fine petticoat, he said; and there were tears in his eyes. How could she disobey him? How could she break his heart? (...) 

According to the narrator: 

Task-based language teaching is a branch of communicative language teaching that centers around the notion of “tasks”. Which learning philosophy lies behind the concept of tasks? 

Throughout the History of language teaching, different methods were believed to be ideal for students’ language development. The audiolingual and the grammar-translation methods are two known examples. However, Kumaravadivelu (1994) argues in favor of the postmethod condition, which implies that 

From the perspective of multiliteracies, it is possible to affirm that 

Read the text below and then answer the question that follows.
A careful analysis of the teacher-student relationship at any level, inside or outside the school, reveals its fundamentally narrative character. This relationship involves a narrating Subject (the teacher) and patient, listening objects (the students). The contents, whether values or empirical dimensions of reality, tend in the process of being narrated to become lifeless and petrified. Education is suffering from narration sickness.
The teacher talks about reality as if it were motionless, static, compartmentalized, and predictable. Or else he expounds on a topic completely alien to the existential experience of the students. His task is to “fill” the students with the contents of his narration—contents which are detached from reality, disconnected from the totality that engendered them and could give them significance. Words are emptied of their concreteness and become a hollow, alienated, and alienating verbosity.
The outstanding characteristic of this narrative education, then, is the sonority of words, not their transforming power. “Four times four is sixteen; the capital of Pará is Belém.” The student records, memorizes, and repeats these phrases without perceiving what four times four really means, or realizing the true significance of “capital” in the affirmation “the capital of Para is Belém,” that is, what Belém means for Pará and what Pará means for Brazil.
Source: https://www.historyisaweapon.com/defcon2/pedagogy/pedago gychapter2.html

The author of this excerpt 

Read the following excerpt of a book review:

Machado de Assis is one of Brazil’s most cherished writers. Born in 1839, he was the grandson of freed slaves. ________ was not abolished in Brazil until 1888, when Machado de Assis was already 49 years old, a fact I learned after being _____ surprised by the casual mention of slaves throughout this novel. In spite of his family’s poverty and lack of opportunity for education, Machado de Assis _____ through various bureaucratic positions until finally gaining prominence as a writer and poet. He taught himself French, English, German, and Greek, and eventually founded the Brazilian Academy of Letters. Nevertheless, he has never had a vast following among English-speaking readers, which is a shame.

Dom Casmurro is a simple tale about an aging man named Bento Santiago, who is one day moved to document the story of his life. His life is not all that extraordinary, to be honest. He falls in love with the girl next door, ______ with her and a close family friend to avoid being sent to the seminary, eventually marries and has a son, and then becomes jealous and suspicious. In his old age, where the novel begins, he has taken to living in a reproduction of his ________ home, suggesting a sort of Citizen Kane-type regret (rather, I guess Citizen Kane suggests a type of Dom Casmurrotype regret).

Source: https://cannonballread.com/2023/09/dom-casmurrokimmie/

Choose the option that best completes the gaps in the excerpt: 

Read the excerpt below, in which Gloria Anzaldúa describes her experience as a child with Mexican descent in the United States of America:
I remember being caught speaking Spanish at recess – that was good for three licks on the knuckles with a sharp ruler. I remember being sent to the comer of the classroom for “talking back” to the Anglo teacher when all I was trying to do was tell her how to pronounce my name. “If you want to be American, speak ‘American.’ If you don’t like it, go back to Mexico where you belong.”
(…) At Pan American University, I and all Chicano students were required to take two speech classes. Their purpose: to get rid of our accents. Attacks on one’s form of expression with the intent to censor are a violation of the First Amendment.
(…) Wild tongues can’t be tamed, they can only be cut out.
Reference: Anzaldúa, Gloria. Borderlands/La Frontera: The New Mestiza. 2nd ed. San Francisco: Aunt Lute Books, 1999. I

In this passage, Anzaldúa

If a teacher uses assessment instruments such as portfolios, projects, diaries; and provides students with the chance to produce different versions of their assignments after receiving feedback, what kind of assessment does the teacher follow? 

While reading a text in English, students may try to understand each single word and feel unmotivated. One possibility is to teach students about reading strategies such as skimming and scanning, which are, respectively: 

Read the excerpt from the novel by the French writer Édouard Louis:

It’s 12.33 am and I start to write in this dark and silent room. Outside through the open window I hear voices in the night and police sirens in the distance.
I’m 26 years and a few months old; most people would say that my life is ahead of me, that nothing has started yet, but for a long time now I’ve been living with the feeling that I’ve lived too much; I imagine that’s why the need to write is so deep, to fix the past in writing and, I suppose, to get rid of it, or maybe, conversely, the past is so anchored in me now that I’m forced to talk about it, at every moment, on every occasion, maybe it has won out, and by believing I’m getting rid of it I’m only bolstering its existence and its ascendency over my life, maybe I’m trapped – I don’t know.
When I was 21 it was already too late, I’d already lived too much – I’d known misery, poverty in my childhood, my mother asking me time and again to go and knock on the neighbours’ or my aunt’s door with an imploring voice so they’d give us a packet of pasta and a jar of tomato sauce because she had no more money and she knew that a child would be more easily pitied than an adult.
I’d known violence, my cousin who died in prison at 30, my older brother who was sick with alcoholism even as a teenager, who woke up drunk most mornings because his body was so steeped in alcohol, my mother who denied it with all her might to protect her son who swore to us every time he drank that it was the last time, that after that he’d never drink again. The fights in the village cafe, the obsessive racism of rural, isolated communities, underlying every sentence, or even every word.
Source: https://www.theguardian.com/books/2024/jan/28/edouard-louischange-book-extract

The narrator in this passage 

Read the lyrics by Nina Simone:
Ain't got no home, ain't got no shoes Ain't got no money, ain't got no class Ain't got no skirts, ain't got no sweaters Ain't got no perfume, ain't got no love Ain't got no faith
Ain't got no culture, ain't got no mother Ain't got no father, ain't got no brother Ain't got no children, ain't got no aunts Ain't got no uncles, ain't got no love Ain't got no mind
Ain't got no country ain't got no schooling Ain't got no friends, ain't got no nothing Ain't got no water, ain't got no air Ain't got no smokes, ain't got no ticket
Ain't got no water, ain't got no love Ain't got no hair, ain't got no God Ain't got no wine, ain't got no money Ain't got no bed, ain't got no God Ain't got no love
What have I got? Why am I alive anyway? Yeah, what have I got? Nobody can take away
Source: https://www.letras.mus.br/nina-simone/aint-got-noigot-life/

As an English teacher, how would you explain the linguistic choices of the song based on the recommendations brought by the Brazilian National Common Core Curriculum (Base Nacional Comum Curricular)? 

Imagine the following dialogue between a teacher and their students:
Teacher: There is a backpack on the table… repeat! Students: There is a backpack on the table. Teacher: Spoon. Students: There is a spoon on the table. Teacher: On the chair. Students: There is a spoon on the chair. Teacher: Bucket. Students: There is a bucket on the chair.
This dialogue can be understood as a representation of

According to the Brazilian National Common Core Curriculum (Base Nacional Comum Curricular), the English language should be approached in basic education in connection with 

A obra de Garrett referida no texto é:

Nos versos “que os que não se matam de ira / morrem de pura tristeza?”, os termos destacados expressam, correta e respectivamente, os sentidos

Em relação aos versos de Cecília Meireles, Alfredo Bosi explica que eles se alinham ao chamado

Considere as passagens do texto:

•   “O caçador saiu bem cedinho e andou o dia inteiro e só  havia matado um único macaco.” (2^o parágrafo)

•  “Além dos animais noturnos, há os espíritos da floresta que habitam o lugar.” (3^o parágrafo)

•  “… segundo os velhos, enlouquecem os caçadores desavisados que teimam pernoitar no mato.” (4^o parágrafo)

•  “Como estava muito escuro o curupira não conseguia vê-lo…” (6o parágrafo)

No contexto em que estão empregados e em conformidade com a norma-padrão, as expressões destacadas podem ser substituídas, respectivamente, por

De acordo com Dolz, Noverraz e Schneuwly (Gêneros orais e escritos na escola, 2004), o gênero textual a que pertence o texto de Daniel Munduruku circula no domínio social de comunicação da cultura literária ficcional, estando a sua capacidade de linguagem dominante relacionada a

Tendo como referência Ângela Kleiman (Texto e leitor: aspectos cognitivos da leitura, 2004), a tipologia textual predominante no texto é a