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Ano: 2026
Banca:
Ápice Consultoria
Órgão:
Prefeitura de Taperoá - BA
Provas:
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor - A
|
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Artes |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Ciências |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Educação Física |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Espanhol |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Inglês |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Matemática |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Português |
Q4285346
Português
Texto associado
Leia o texto a seguir e responda a questão.
Além do tempo de tela: o que os mais jovens
têm feito no celular?
Qualidade da interação e dos conteúdos acessados
precisa estar no centro do debate sobre saúde mental
entre crianças e adolescentes
Por Luiz Zoldan*
Reduzir a crise de saúde mental entre
jovens ao “tempo de tela” é uma explicação
confortável – e perigosamente insuficiente. O
debate público precisa de um ajuste urgente: mais
do que contar horas, é preciso entender a
qualidade da interação desses adolescentes com
os dispositivos digitais.
Em consultórios, escolas e ambientes de
trabalho, a constatação é recorrente: a forma
como os jovens se relacionam consigo mesmos,
com os outros e com o mundo mudou
profundamente. E as telas ocupam um papel
central nessa transformação.
Vivemos em uma realidade na qual nunca
estivemos tão conectados e, paradoxalmente, tão
expostos a fatores que afetam a saúde mental,
especialmente entre crianças e adolescentes.
A Organização Mundial da Saúde (OMS)
estima que mais de um em cada dez adolescentes
já manifesta um uso problemático de redes
sociais, com perda de controle e consequências
negativas no dia a dia.
Estudos consistentes associam o uso
excessivo de telas à piora nos indicadores de
saúde mental. Cerca de 25% dos adolescentes
que passam mais de 4 horas diárias em frente a
telas apresentam sintomas recentes de ansiedade
ou depressão. Evidências longitudinais também
confirmam que o aumento do tempo de exposição
está ligado a um maior risco de sofrimento
emocional a longo prazo.
O Brasil figura entre os países com maior
tempo de tela no mundo, ultrapassando 5 horas
diárias apenas em smartphones. Entre os
adolescentes brasileiros, os números são ainda
mais alarmantes, chegando a quase 6 horas em dias de semana e ultrapassando 8 horas nos fins
de semana.
O cenário nacional é marcado por três
desafios: o acesso a smartphones em idades cada
vez mais precoces, a desigualdade no acesso à
educação digital e a fragilidade na mediação por
parte de famílias e escolas. Diante disso, cresce a
percepção entre os próprios jovens de que algo
não vai bem: quase metade deles já considera que
as redes sociais impactam negativamente
pessoas da sua idade.
Ainda assim, é crucial qualificar a leitura
desses dados. A própria ciência mostra que o
impacto não é uniforme. O uso
passivo, caracterizado pela rolagem infinita e pela
comparação social, está mais associado ao malestar. Por outro lado, usos mais ativos e focados
na conexão podem ter um efeito protetor. O
problema central, portanto, não é apenas o tempo,
mas o padrão de uso. Comportamentos
compulsivos e de dependência estão mais ligados
a desfechos negativos do que o número absoluto
de horas.
Nesse contexto, avanços como a
atualização do Estatuto da Criança e do
Adolescente (ECA) e a aplicação da Lei Geral de
Proteção de Dados (LGPD) ao ambiente digital
são essenciais, pois reconhecem a
vulnerabilidade de crianças e adolescentes nesse
ecossistema. Essas iniciativas buscam
responsabilizar as plataformas, proteger dados e
reduzir a exposição a conteúdos nocivos.
Contudo, a regulação, sozinha, não resolve. Ela
cria um ambiente mais seguro, mas não substitui
a educação, o vínculo afetivo e o desenvolvimento
de repertório emocional.
Durante anos, a principal recomendação
foi limitar o tempo de tela. Embora essa
abordagem continue relevante, especialmente
para crianças mais novas, hoje sabemos que é
insuficiente. O verdadeiro problema não é apenas
o que acontece nas telas, mas o que deixa de
acontecer fora delas: sono de qualidade, atividade
física, convivência e a própria construção da
identidade são processos insubstituíveis para o
desenvolvimento psíquico.
O uso excessivo de telas, por exemplo,
está diretamente ligado a um sono mais curto e de
pior qualidade – um dos principais gatilhos para o sofrimento mental. Idealmente, um uso de
qualidade envolve interações sociais reais,
consumo de conteúdos educativos ou criativos e
intencionalidade, sem prejudicar o sono. Em
contrapartida, a utilização de risco é aquela em
que há comportamento compulsivo, comparação
social constante, exposição a conteúdos negativos
e a substituição de experiências presenciais por
virtuais.
Com base em evidências científicas e na
prática clínica, algumas medidas são
fundamentais. Para as famílias, é preciso
estabelecer acordos claros, evitar o uso de
aparelhos antes de dormir (especialmente porque
um terço dos adolescentes os utiliza depois da
meia-noite), acompanhar os
conteúdos acessados e, acima de tudo, dar o
exemplo. Isso implica reconhecer que muitos
adultos também mantêm uma relação excessiva,
distraída e pouco saudável com as telas, o
que compromete o ensino da autorregulação.
Nas escolas, o desafio vai além da simples
restrição: passa pela promoção da alfabetização
digital e midiática, pelo desenvolvimento de
competências socioemocionais e pela criação de
espaços de convivência offline que favoreçam o
pertencimento, o diálogo e a construção da
identidade. Isso inclui a promoção de conversas
qualificadas sobre corpo, gênero, autoestima e
relações sociais, temas profundamente
atravessados pela lógica das redes.
Para os profissionais de saúde, investigar
o padrão de uso digital tornou-se parte
indispensável da avaliação clínica, assim como
sono, alimentação e atividade física. Ainda assim,
o enfrentamento desse problema não é
responsabilidade somente de indivíduos, famílias
e consultórios. O desafio exige que empresas de
tecnologia e políticas públicas atuem de forma
mais firme na limitação de mecanismos de design
viciantes e persuasivos e na implementação de
estratégias integradas entre saúde, educação e
regulação digital.
A relação entre os jovens e a tecnologia
não é um “problema” a ser eliminado, mas uma
realidade a ser gerenciada com inteligência. É
preciso superar a lógica simplista de “mais ou
menos tempo de tela” e adotar uma
abordagem mais sistêmica e que considere o contexto, o conteúdo e a intenção de cada
interação. No fim das contas, o maior indicador de
sucesso não é quantas horas um jovem passa
conectado, mas sua capacidade de se
desconectar com liberdade, propósito e, acima de
tudo, saúde mental.
*Luiz Zoldan é psiquiatra e gerente médico do Espaço
Einstein Bem-Estar e Saúde Mental
Fonte: https://veja.abril.com.br/coluna/letra-de-medico/alem-dotempo-de-tela-o-que-os-mais-jovens-tem-feito-no-celular/.
Nos trechos: “O uso excessivo de telas, por
exemplo, está diretamente ligado a um sono mais
curto e de pior” e “Nas escolas, o desafio vai além
da simples restrição” o uso da vírgula se justifica,
respectivamente, por:
Ano: 2026
Banca:
Ápice Consultoria
Órgão:
Prefeitura de Taperoá - BA
Provas:
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor - A
|
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Artes |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Ciências |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Educação Física |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Espanhol |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Inglês |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Matemática |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Português |
Q4285345
Português
Texto associado
Leia o texto a seguir e responda a questão.
Além do tempo de tela: o que os mais jovens
têm feito no celular?
Qualidade da interação e dos conteúdos acessados
precisa estar no centro do debate sobre saúde mental
entre crianças e adolescentes
Por Luiz Zoldan*
Reduzir a crise de saúde mental entre
jovens ao “tempo de tela” é uma explicação
confortável – e perigosamente insuficiente. O
debate público precisa de um ajuste urgente: mais
do que contar horas, é preciso entender a
qualidade da interação desses adolescentes com
os dispositivos digitais.
Em consultórios, escolas e ambientes de
trabalho, a constatação é recorrente: a forma
como os jovens se relacionam consigo mesmos,
com os outros e com o mundo mudou
profundamente. E as telas ocupam um papel
central nessa transformação.
Vivemos em uma realidade na qual nunca
estivemos tão conectados e, paradoxalmente, tão
expostos a fatores que afetam a saúde mental,
especialmente entre crianças e adolescentes.
A Organização Mundial da Saúde (OMS)
estima que mais de um em cada dez adolescentes
já manifesta um uso problemático de redes
sociais, com perda de controle e consequências
negativas no dia a dia.
Estudos consistentes associam o uso
excessivo de telas à piora nos indicadores de
saúde mental. Cerca de 25% dos adolescentes
que passam mais de 4 horas diárias em frente a
telas apresentam sintomas recentes de ansiedade
ou depressão. Evidências longitudinais também
confirmam que o aumento do tempo de exposição
está ligado a um maior risco de sofrimento
emocional a longo prazo.
O Brasil figura entre os países com maior
tempo de tela no mundo, ultrapassando 5 horas
diárias apenas em smartphones. Entre os
adolescentes brasileiros, os números são ainda
mais alarmantes, chegando a quase 6 horas em dias de semana e ultrapassando 8 horas nos fins
de semana.
O cenário nacional é marcado por três
desafios: o acesso a smartphones em idades cada
vez mais precoces, a desigualdade no acesso à
educação digital e a fragilidade na mediação por
parte de famílias e escolas. Diante disso, cresce a
percepção entre os próprios jovens de que algo
não vai bem: quase metade deles já considera que
as redes sociais impactam negativamente
pessoas da sua idade.
Ainda assim, é crucial qualificar a leitura
desses dados. A própria ciência mostra que o
impacto não é uniforme. O uso
passivo, caracterizado pela rolagem infinita e pela
comparação social, está mais associado ao malestar. Por outro lado, usos mais ativos e focados
na conexão podem ter um efeito protetor. O
problema central, portanto, não é apenas o tempo,
mas o padrão de uso. Comportamentos
compulsivos e de dependência estão mais ligados
a desfechos negativos do que o número absoluto
de horas.
Nesse contexto, avanços como a
atualização do Estatuto da Criança e do
Adolescente (ECA) e a aplicação da Lei Geral de
Proteção de Dados (LGPD) ao ambiente digital
são essenciais, pois reconhecem a
vulnerabilidade de crianças e adolescentes nesse
ecossistema. Essas iniciativas buscam
responsabilizar as plataformas, proteger dados e
reduzir a exposição a conteúdos nocivos.
Contudo, a regulação, sozinha, não resolve. Ela
cria um ambiente mais seguro, mas não substitui
a educação, o vínculo afetivo e o desenvolvimento
de repertório emocional.
Durante anos, a principal recomendação
foi limitar o tempo de tela. Embora essa
abordagem continue relevante, especialmente
para crianças mais novas, hoje sabemos que é
insuficiente. O verdadeiro problema não é apenas
o que acontece nas telas, mas o que deixa de
acontecer fora delas: sono de qualidade, atividade
física, convivência e a própria construção da
identidade são processos insubstituíveis para o
desenvolvimento psíquico.
O uso excessivo de telas, por exemplo,
está diretamente ligado a um sono mais curto e de
pior qualidade – um dos principais gatilhos para o sofrimento mental. Idealmente, um uso de
qualidade envolve interações sociais reais,
consumo de conteúdos educativos ou criativos e
intencionalidade, sem prejudicar o sono. Em
contrapartida, a utilização de risco é aquela em
que há comportamento compulsivo, comparação
social constante, exposição a conteúdos negativos
e a substituição de experiências presenciais por
virtuais.
Com base em evidências científicas e na
prática clínica, algumas medidas são
fundamentais. Para as famílias, é preciso
estabelecer acordos claros, evitar o uso de
aparelhos antes de dormir (especialmente porque
um terço dos adolescentes os utiliza depois da
meia-noite), acompanhar os
conteúdos acessados e, acima de tudo, dar o
exemplo. Isso implica reconhecer que muitos
adultos também mantêm uma relação excessiva,
distraída e pouco saudável com as telas, o
que compromete o ensino da autorregulação.
Nas escolas, o desafio vai além da simples
restrição: passa pela promoção da alfabetização
digital e midiática, pelo desenvolvimento de
competências socioemocionais e pela criação de
espaços de convivência offline que favoreçam o
pertencimento, o diálogo e a construção da
identidade. Isso inclui a promoção de conversas
qualificadas sobre corpo, gênero, autoestima e
relações sociais, temas profundamente
atravessados pela lógica das redes.
Para os profissionais de saúde, investigar
o padrão de uso digital tornou-se parte
indispensável da avaliação clínica, assim como
sono, alimentação e atividade física. Ainda assim,
o enfrentamento desse problema não é
responsabilidade somente de indivíduos, famílias
e consultórios. O desafio exige que empresas de
tecnologia e políticas públicas atuem de forma
mais firme na limitação de mecanismos de design
viciantes e persuasivos e na implementação de
estratégias integradas entre saúde, educação e
regulação digital.
A relação entre os jovens e a tecnologia
não é um “problema” a ser eliminado, mas uma
realidade a ser gerenciada com inteligência. É
preciso superar a lógica simplista de “mais ou
menos tempo de tela” e adotar uma
abordagem mais sistêmica e que considere o contexto, o conteúdo e a intenção de cada
interação. No fim das contas, o maior indicador de
sucesso não é quantas horas um jovem passa
conectado, mas sua capacidade de se
desconectar com liberdade, propósito e, acima de
tudo, saúde mental.
*Luiz Zoldan é psiquiatra e gerente médico do Espaço
Einstein Bem-Estar e Saúde Mental
Fonte: https://veja.abril.com.br/coluna/letra-de-medico/alem-dotempo-de-tela-o-que-os-mais-jovens-tem-feito-no-celular/.
Analise o uso da vírgula após “clínica” em
“Com base em evidências científicas e na prática
clínica, algumas medidas são fundamentais.” De
acordo com as regras de pontuação, a vírgula
presente imediatamente após o termo “clínica” no
trecho anterior é de uso:
Ano: 2026
Banca:
Ápice Consultoria
Órgão:
Prefeitura de Taperoá - BA
Provas:
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor - A
|
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Artes |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Ciências |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Educação Física |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Espanhol |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Inglês |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Matemática |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Português |
Q4285344
Português
Texto associado
Leia o texto a seguir e responda a questão.
Além do tempo de tela: o que os mais jovens
têm feito no celular?
Qualidade da interação e dos conteúdos acessados
precisa estar no centro do debate sobre saúde mental
entre crianças e adolescentes
Por Luiz Zoldan*
Reduzir a crise de saúde mental entre
jovens ao “tempo de tela” é uma explicação
confortável – e perigosamente insuficiente. O
debate público precisa de um ajuste urgente: mais
do que contar horas, é preciso entender a
qualidade da interação desses adolescentes com
os dispositivos digitais.
Em consultórios, escolas e ambientes de
trabalho, a constatação é recorrente: a forma
como os jovens se relacionam consigo mesmos,
com os outros e com o mundo mudou
profundamente. E as telas ocupam um papel
central nessa transformação.
Vivemos em uma realidade na qual nunca
estivemos tão conectados e, paradoxalmente, tão
expostos a fatores que afetam a saúde mental,
especialmente entre crianças e adolescentes.
A Organização Mundial da Saúde (OMS)
estima que mais de um em cada dez adolescentes
já manifesta um uso problemático de redes
sociais, com perda de controle e consequências
negativas no dia a dia.
Estudos consistentes associam o uso
excessivo de telas à piora nos indicadores de
saúde mental. Cerca de 25% dos adolescentes
que passam mais de 4 horas diárias em frente a
telas apresentam sintomas recentes de ansiedade
ou depressão. Evidências longitudinais também
confirmam que o aumento do tempo de exposição
está ligado a um maior risco de sofrimento
emocional a longo prazo.
O Brasil figura entre os países com maior
tempo de tela no mundo, ultrapassando 5 horas
diárias apenas em smartphones. Entre os
adolescentes brasileiros, os números são ainda
mais alarmantes, chegando a quase 6 horas em dias de semana e ultrapassando 8 horas nos fins
de semana.
O cenário nacional é marcado por três
desafios: o acesso a smartphones em idades cada
vez mais precoces, a desigualdade no acesso à
educação digital e a fragilidade na mediação por
parte de famílias e escolas. Diante disso, cresce a
percepção entre os próprios jovens de que algo
não vai bem: quase metade deles já considera que
as redes sociais impactam negativamente
pessoas da sua idade.
Ainda assim, é crucial qualificar a leitura
desses dados. A própria ciência mostra que o
impacto não é uniforme. O uso
passivo, caracterizado pela rolagem infinita e pela
comparação social, está mais associado ao malestar. Por outro lado, usos mais ativos e focados
na conexão podem ter um efeito protetor. O
problema central, portanto, não é apenas o tempo,
mas o padrão de uso. Comportamentos
compulsivos e de dependência estão mais ligados
a desfechos negativos do que o número absoluto
de horas.
Nesse contexto, avanços como a
atualização do Estatuto da Criança e do
Adolescente (ECA) e a aplicação da Lei Geral de
Proteção de Dados (LGPD) ao ambiente digital
são essenciais, pois reconhecem a
vulnerabilidade de crianças e adolescentes nesse
ecossistema. Essas iniciativas buscam
responsabilizar as plataformas, proteger dados e
reduzir a exposição a conteúdos nocivos.
Contudo, a regulação, sozinha, não resolve. Ela
cria um ambiente mais seguro, mas não substitui
a educação, o vínculo afetivo e o desenvolvimento
de repertório emocional.
Durante anos, a principal recomendação
foi limitar o tempo de tela. Embora essa
abordagem continue relevante, especialmente
para crianças mais novas, hoje sabemos que é
insuficiente. O verdadeiro problema não é apenas
o que acontece nas telas, mas o que deixa de
acontecer fora delas: sono de qualidade, atividade
física, convivência e a própria construção da
identidade são processos insubstituíveis para o
desenvolvimento psíquico.
O uso excessivo de telas, por exemplo,
está diretamente ligado a um sono mais curto e de
pior qualidade – um dos principais gatilhos para o sofrimento mental. Idealmente, um uso de
qualidade envolve interações sociais reais,
consumo de conteúdos educativos ou criativos e
intencionalidade, sem prejudicar o sono. Em
contrapartida, a utilização de risco é aquela em
que há comportamento compulsivo, comparação
social constante, exposição a conteúdos negativos
e a substituição de experiências presenciais por
virtuais.
Com base em evidências científicas e na
prática clínica, algumas medidas são
fundamentais. Para as famílias, é preciso
estabelecer acordos claros, evitar o uso de
aparelhos antes de dormir (especialmente porque
um terço dos adolescentes os utiliza depois da
meia-noite), acompanhar os
conteúdos acessados e, acima de tudo, dar o
exemplo. Isso implica reconhecer que muitos
adultos também mantêm uma relação excessiva,
distraída e pouco saudável com as telas, o
que compromete o ensino da autorregulação.
Nas escolas, o desafio vai além da simples
restrição: passa pela promoção da alfabetização
digital e midiática, pelo desenvolvimento de
competências socioemocionais e pela criação de
espaços de convivência offline que favoreçam o
pertencimento, o diálogo e a construção da
identidade. Isso inclui a promoção de conversas
qualificadas sobre corpo, gênero, autoestima e
relações sociais, temas profundamente
atravessados pela lógica das redes.
Para os profissionais de saúde, investigar
o padrão de uso digital tornou-se parte
indispensável da avaliação clínica, assim como
sono, alimentação e atividade física. Ainda assim,
o enfrentamento desse problema não é
responsabilidade somente de indivíduos, famílias
e consultórios. O desafio exige que empresas de
tecnologia e políticas públicas atuem de forma
mais firme na limitação de mecanismos de design
viciantes e persuasivos e na implementação de
estratégias integradas entre saúde, educação e
regulação digital.
A relação entre os jovens e a tecnologia
não é um “problema” a ser eliminado, mas uma
realidade a ser gerenciada com inteligência. É
preciso superar a lógica simplista de “mais ou
menos tempo de tela” e adotar uma
abordagem mais sistêmica e que considere o contexto, o conteúdo e a intenção de cada
interação. No fim das contas, o maior indicador de
sucesso não é quantas horas um jovem passa
conectado, mas sua capacidade de se
desconectar com liberdade, propósito e, acima de
tudo, saúde mental.
*Luiz Zoldan é psiquiatra e gerente médico do Espaço
Einstein Bem-Estar e Saúde Mental
Fonte: https://veja.abril.com.br/coluna/letra-de-medico/alem-dotempo-de-tela-o-que-os-mais-jovens-tem-feito-no-celular/.
Assinale a alternativa em que o termo
destacado em negrito introduz uma oração
subordinada adjetiva.
Ano: 2026
Banca:
Ápice Consultoria
Órgão:
Prefeitura de Taperoá - BA
Provas:
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor - A
|
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Artes |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Ciências |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Educação Física |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Espanhol |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Inglês |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Matemática |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Português |
Q4285343
Português
Texto associado
Leia o texto a seguir e responda a questão.
Além do tempo de tela: o que os mais jovens
têm feito no celular?
Qualidade da interação e dos conteúdos acessados
precisa estar no centro do debate sobre saúde mental
entre crianças e adolescentes
Por Luiz Zoldan*
Reduzir a crise de saúde mental entre
jovens ao “tempo de tela” é uma explicação
confortável – e perigosamente insuficiente. O
debate público precisa de um ajuste urgente: mais
do que contar horas, é preciso entender a
qualidade da interação desses adolescentes com
os dispositivos digitais.
Em consultórios, escolas e ambientes de
trabalho, a constatação é recorrente: a forma
como os jovens se relacionam consigo mesmos,
com os outros e com o mundo mudou
profundamente. E as telas ocupam um papel
central nessa transformação.
Vivemos em uma realidade na qual nunca
estivemos tão conectados e, paradoxalmente, tão
expostos a fatores que afetam a saúde mental,
especialmente entre crianças e adolescentes.
A Organização Mundial da Saúde (OMS)
estima que mais de um em cada dez adolescentes
já manifesta um uso problemático de redes
sociais, com perda de controle e consequências
negativas no dia a dia.
Estudos consistentes associam o uso
excessivo de telas à piora nos indicadores de
saúde mental. Cerca de 25% dos adolescentes
que passam mais de 4 horas diárias em frente a
telas apresentam sintomas recentes de ansiedade
ou depressão. Evidências longitudinais também
confirmam que o aumento do tempo de exposição
está ligado a um maior risco de sofrimento
emocional a longo prazo.
O Brasil figura entre os países com maior
tempo de tela no mundo, ultrapassando 5 horas
diárias apenas em smartphones. Entre os
adolescentes brasileiros, os números são ainda
mais alarmantes, chegando a quase 6 horas em dias de semana e ultrapassando 8 horas nos fins
de semana.
O cenário nacional é marcado por três
desafios: o acesso a smartphones em idades cada
vez mais precoces, a desigualdade no acesso à
educação digital e a fragilidade na mediação por
parte de famílias e escolas. Diante disso, cresce a
percepção entre os próprios jovens de que algo
não vai bem: quase metade deles já considera que
as redes sociais impactam negativamente
pessoas da sua idade.
Ainda assim, é crucial qualificar a leitura
desses dados. A própria ciência mostra que o
impacto não é uniforme. O uso
passivo, caracterizado pela rolagem infinita e pela
comparação social, está mais associado ao malestar. Por outro lado, usos mais ativos e focados
na conexão podem ter um efeito protetor. O
problema central, portanto, não é apenas o tempo,
mas o padrão de uso. Comportamentos
compulsivos e de dependência estão mais ligados
a desfechos negativos do que o número absoluto
de horas.
Nesse contexto, avanços como a
atualização do Estatuto da Criança e do
Adolescente (ECA) e a aplicação da Lei Geral de
Proteção de Dados (LGPD) ao ambiente digital
são essenciais, pois reconhecem a
vulnerabilidade de crianças e adolescentes nesse
ecossistema. Essas iniciativas buscam
responsabilizar as plataformas, proteger dados e
reduzir a exposição a conteúdos nocivos.
Contudo, a regulação, sozinha, não resolve. Ela
cria um ambiente mais seguro, mas não substitui
a educação, o vínculo afetivo e o desenvolvimento
de repertório emocional.
Durante anos, a principal recomendação
foi limitar o tempo de tela. Embora essa
abordagem continue relevante, especialmente
para crianças mais novas, hoje sabemos que é
insuficiente. O verdadeiro problema não é apenas
o que acontece nas telas, mas o que deixa de
acontecer fora delas: sono de qualidade, atividade
física, convivência e a própria construção da
identidade são processos insubstituíveis para o
desenvolvimento psíquico.
O uso excessivo de telas, por exemplo,
está diretamente ligado a um sono mais curto e de
pior qualidade – um dos principais gatilhos para o sofrimento mental. Idealmente, um uso de
qualidade envolve interações sociais reais,
consumo de conteúdos educativos ou criativos e
intencionalidade, sem prejudicar o sono. Em
contrapartida, a utilização de risco é aquela em
que há comportamento compulsivo, comparação
social constante, exposição a conteúdos negativos
e a substituição de experiências presenciais por
virtuais.
Com base em evidências científicas e na
prática clínica, algumas medidas são
fundamentais. Para as famílias, é preciso
estabelecer acordos claros, evitar o uso de
aparelhos antes de dormir (especialmente porque
um terço dos adolescentes os utiliza depois da
meia-noite), acompanhar os
conteúdos acessados e, acima de tudo, dar o
exemplo. Isso implica reconhecer que muitos
adultos também mantêm uma relação excessiva,
distraída e pouco saudável com as telas, o
que compromete o ensino da autorregulação.
Nas escolas, o desafio vai além da simples
restrição: passa pela promoção da alfabetização
digital e midiática, pelo desenvolvimento de
competências socioemocionais e pela criação de
espaços de convivência offline que favoreçam o
pertencimento, o diálogo e a construção da
identidade. Isso inclui a promoção de conversas
qualificadas sobre corpo, gênero, autoestima e
relações sociais, temas profundamente
atravessados pela lógica das redes.
Para os profissionais de saúde, investigar
o padrão de uso digital tornou-se parte
indispensável da avaliação clínica, assim como
sono, alimentação e atividade física. Ainda assim,
o enfrentamento desse problema não é
responsabilidade somente de indivíduos, famílias
e consultórios. O desafio exige que empresas de
tecnologia e políticas públicas atuem de forma
mais firme na limitação de mecanismos de design
viciantes e persuasivos e na implementação de
estratégias integradas entre saúde, educação e
regulação digital.
A relação entre os jovens e a tecnologia
não é um “problema” a ser eliminado, mas uma
realidade a ser gerenciada com inteligência. É
preciso superar a lógica simplista de “mais ou
menos tempo de tela” e adotar uma
abordagem mais sistêmica e que considere o contexto, o conteúdo e a intenção de cada
interação. No fim das contas, o maior indicador de
sucesso não é quantas horas um jovem passa
conectado, mas sua capacidade de se
desconectar com liberdade, propósito e, acima de
tudo, saúde mental.
*Luiz Zoldan é psiquiatra e gerente médico do Espaço
Einstein Bem-Estar e Saúde Mental
Fonte: https://veja.abril.com.br/coluna/letra-de-medico/alem-dotempo-de-tela-o-que-os-mais-jovens-tem-feito-no-celular/.
Assinale a alternativa em que se justifica
corretamente o uso do acento grave no seguinte
período: Estudos consistentes associam o uso
excessivo de telas à piora nos indicadores de
saúde mental.
Ano: 2026
Banca:
Ápice Consultoria
Órgão:
Prefeitura de Taperoá - BA
Provas:
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor - A
|
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Artes |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Ciências |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Educação Física |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Espanhol |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Inglês |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Matemática |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Português |
Q4285342
Português
Texto associado
Leia o texto a seguir e responda a questão.
Além do tempo de tela: o que os mais jovens
têm feito no celular?
Qualidade da interação e dos conteúdos acessados
precisa estar no centro do debate sobre saúde mental
entre crianças e adolescentes
Por Luiz Zoldan*
Reduzir a crise de saúde mental entre
jovens ao “tempo de tela” é uma explicação
confortável – e perigosamente insuficiente. O
debate público precisa de um ajuste urgente: mais
do que contar horas, é preciso entender a
qualidade da interação desses adolescentes com
os dispositivos digitais.
Em consultórios, escolas e ambientes de
trabalho, a constatação é recorrente: a forma
como os jovens se relacionam consigo mesmos,
com os outros e com o mundo mudou
profundamente. E as telas ocupam um papel
central nessa transformação.
Vivemos em uma realidade na qual nunca
estivemos tão conectados e, paradoxalmente, tão
expostos a fatores que afetam a saúde mental,
especialmente entre crianças e adolescentes.
A Organização Mundial da Saúde (OMS)
estima que mais de um em cada dez adolescentes
já manifesta um uso problemático de redes
sociais, com perda de controle e consequências
negativas no dia a dia.
Estudos consistentes associam o uso
excessivo de telas à piora nos indicadores de
saúde mental. Cerca de 25% dos adolescentes
que passam mais de 4 horas diárias em frente a
telas apresentam sintomas recentes de ansiedade
ou depressão. Evidências longitudinais também
confirmam que o aumento do tempo de exposição
está ligado a um maior risco de sofrimento
emocional a longo prazo.
O Brasil figura entre os países com maior
tempo de tela no mundo, ultrapassando 5 horas
diárias apenas em smartphones. Entre os
adolescentes brasileiros, os números são ainda
mais alarmantes, chegando a quase 6 horas em dias de semana e ultrapassando 8 horas nos fins
de semana.
O cenário nacional é marcado por três
desafios: o acesso a smartphones em idades cada
vez mais precoces, a desigualdade no acesso à
educação digital e a fragilidade na mediação por
parte de famílias e escolas. Diante disso, cresce a
percepção entre os próprios jovens de que algo
não vai bem: quase metade deles já considera que
as redes sociais impactam negativamente
pessoas da sua idade.
Ainda assim, é crucial qualificar a leitura
desses dados. A própria ciência mostra que o
impacto não é uniforme. O uso
passivo, caracterizado pela rolagem infinita e pela
comparação social, está mais associado ao malestar. Por outro lado, usos mais ativos e focados
na conexão podem ter um efeito protetor. O
problema central, portanto, não é apenas o tempo,
mas o padrão de uso. Comportamentos
compulsivos e de dependência estão mais ligados
a desfechos negativos do que o número absoluto
de horas.
Nesse contexto, avanços como a
atualização do Estatuto da Criança e do
Adolescente (ECA) e a aplicação da Lei Geral de
Proteção de Dados (LGPD) ao ambiente digital
são essenciais, pois reconhecem a
vulnerabilidade de crianças e adolescentes nesse
ecossistema. Essas iniciativas buscam
responsabilizar as plataformas, proteger dados e
reduzir a exposição a conteúdos nocivos.
Contudo, a regulação, sozinha, não resolve. Ela
cria um ambiente mais seguro, mas não substitui
a educação, o vínculo afetivo e o desenvolvimento
de repertório emocional.
Durante anos, a principal recomendação
foi limitar o tempo de tela. Embora essa
abordagem continue relevante, especialmente
para crianças mais novas, hoje sabemos que é
insuficiente. O verdadeiro problema não é apenas
o que acontece nas telas, mas o que deixa de
acontecer fora delas: sono de qualidade, atividade
física, convivência e a própria construção da
identidade são processos insubstituíveis para o
desenvolvimento psíquico.
O uso excessivo de telas, por exemplo,
está diretamente ligado a um sono mais curto e de
pior qualidade – um dos principais gatilhos para o sofrimento mental. Idealmente, um uso de
qualidade envolve interações sociais reais,
consumo de conteúdos educativos ou criativos e
intencionalidade, sem prejudicar o sono. Em
contrapartida, a utilização de risco é aquela em
que há comportamento compulsivo, comparação
social constante, exposição a conteúdos negativos
e a substituição de experiências presenciais por
virtuais.
Com base em evidências científicas e na
prática clínica, algumas medidas são
fundamentais. Para as famílias, é preciso
estabelecer acordos claros, evitar o uso de
aparelhos antes de dormir (especialmente porque
um terço dos adolescentes os utiliza depois da
meia-noite), acompanhar os
conteúdos acessados e, acima de tudo, dar o
exemplo. Isso implica reconhecer que muitos
adultos também mantêm uma relação excessiva,
distraída e pouco saudável com as telas, o
que compromete o ensino da autorregulação.
Nas escolas, o desafio vai além da simples
restrição: passa pela promoção da alfabetização
digital e midiática, pelo desenvolvimento de
competências socioemocionais e pela criação de
espaços de convivência offline que favoreçam o
pertencimento, o diálogo e a construção da
identidade. Isso inclui a promoção de conversas
qualificadas sobre corpo, gênero, autoestima e
relações sociais, temas profundamente
atravessados pela lógica das redes.
Para os profissionais de saúde, investigar
o padrão de uso digital tornou-se parte
indispensável da avaliação clínica, assim como
sono, alimentação e atividade física. Ainda assim,
o enfrentamento desse problema não é
responsabilidade somente de indivíduos, famílias
e consultórios. O desafio exige que empresas de
tecnologia e políticas públicas atuem de forma
mais firme na limitação de mecanismos de design
viciantes e persuasivos e na implementação de
estratégias integradas entre saúde, educação e
regulação digital.
A relação entre os jovens e a tecnologia
não é um “problema” a ser eliminado, mas uma
realidade a ser gerenciada com inteligência. É
preciso superar a lógica simplista de “mais ou
menos tempo de tela” e adotar uma
abordagem mais sistêmica e que considere o contexto, o conteúdo e a intenção de cada
interação. No fim das contas, o maior indicador de
sucesso não é quantas horas um jovem passa
conectado, mas sua capacidade de se
desconectar com liberdade, propósito e, acima de
tudo, saúde mental.
*Luiz Zoldan é psiquiatra e gerente médico do Espaço
Einstein Bem-Estar e Saúde Mental
Fonte: https://veja.abril.com.br/coluna/letra-de-medico/alem-dotempo-de-tela-o-que-os-mais-jovens-tem-feito-no-celular/.
No trecho: "A Organização Mundial da Saúde
(OMS) estima que mais de um em cada dez
adolescentes já manifesta um uso
problemático de redes sociais.", do ponto de
vista da estrutura do período e da análise sintática,
é corretor afirmar que:
Ano: 2026
Banca:
Ápice Consultoria
Órgão:
Prefeitura de Taperoá - BA
Provas:
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor - A
|
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Artes |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Ciências |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Educação Física |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Espanhol |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Inglês |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Matemática |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Português |
Q4285339
Português
Texto associado
Leia o texto a seguir e responda à questão.
À instabilidade das coisas do mundo
Gregório de Matos
Nasce o Sol e não dura mais que um dia,
Depois da luz se segue a noite escura,
Em tristes sombras morre a formosura,
Em contínuas tristezas a alegria.
Porém se acaba o sol, por que nascia?
Se é tão formosa a luz, por que não dura?
Como a beleza assim se transfigura?
Como o gosto da pena assim se fia?
Mas no sol e na luz BBfalta a firmeza,
Na formosura não se dê constância,
E na alegria sinta-se tristeza.
Começa o mundo enfim pela ignorância,
E tem qualquer dos bens por natureza
A firmeza somente na inconstância.
Fonte: MATOS, Gregório. Gregório de Matos: poemas. 2. Ed. São
Paulo: Martin Claret, 2013.
No verso "Em tristes sombras morre a
formosura.", os elementos destacados em
negrito, no âmbito da gramática normativa da
língua portuguesa, classificam-se, morfológica e
sintaticamente, respectivamente, como:
Ano: 2026
Banca:
Ápice Consultoria
Órgão:
Prefeitura de Taperoá - BA
Provas:
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor - A
|
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Artes |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Ciências |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Educação Física |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Espanhol |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Inglês |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Matemática |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Português |
Q4285338
Português
Texto associado
Leia o texto a seguir e responda à questão.
À instabilidade das coisas do mundo
Gregório de Matos
Nasce o Sol e não dura mais que um dia,
Depois da luz se segue a noite escura,
Em tristes sombras morre a formosura,
Em contínuas tristezas a alegria.
Porém se acaba o sol, por que nascia?
Se é tão formosa a luz, por que não dura?
Como a beleza assim se transfigura?
Como o gosto da pena assim se fia?
Mas no sol e na luz BBfalta a firmeza,
Na formosura não se dê constância,
E na alegria sinta-se tristeza.
Começa o mundo enfim pela ignorância,
E tem qualquer dos bens por natureza
A firmeza somente na inconstância.
Fonte: MATOS, Gregório. Gregório de Matos: poemas. 2. Ed. São
Paulo: Martin Claret, 2013.
No verso "Começa o mundo enfim pela
ignorância", observa-se uma figura de linguagem
decorrente da inversão da ordem direta dos
termos da oração. Essa figura é denominada de:
Ano: 2026
Banca:
Ápice Consultoria
Órgão:
Prefeitura de Taperoá - BA
Provas:
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor - A
|
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Artes |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Ciências |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Educação Física |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Espanhol |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Inglês |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Matemática |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Português |
Q4285336
Português
Texto associado
Leia o texto a seguir e responda à questão.
À instabilidade das coisas do mundo
Gregório de Matos
Nasce o Sol e não dura mais que um dia,
Depois da luz se segue a noite escura,
Em tristes sombras morre a formosura,
Em contínuas tristezas a alegria.
Porém se acaba o sol, por que nascia?
Se é tão formosa a luz, por que não dura?
Como a beleza assim se transfigura?
Como o gosto da pena assim se fia?
Mas no sol e na luz BBfalta a firmeza,
Na formosura não se dê constância,
E na alegria sinta-se tristeza.
Começa o mundo enfim pela ignorância,
E tem qualquer dos bens por natureza
A firmeza somente na inconstância.
Fonte: MATOS, Gregório. Gregório de Matos: poemas. 2. Ed. São
Paulo: Martin Claret, 2013.
O vocábulo “contínuas” foi acentuado de
forma adequada à gramática normativa da Língua
Portuguesa no verso “Em contínuas tristezas a
alegria”. Assinale a alternativa em que todas as
palavras estão acentuadas de forma adequada à
gramática normativa.
Ano: 2026
Banca:
Ápice Consultoria
Órgão:
Prefeitura de Taperoá - BA
Provas:
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor - A
|
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Artes |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Ciências |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Educação Física |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Espanhol |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Inglês |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Matemática |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Português |
Q4285334
Português
Texto associado
Leia o texto a seguir e responda à questão.
À instabilidade das coisas do mundo
Gregório de Matos
Nasce o Sol e não dura mais que um dia,
Depois da luz se segue a noite escura,
Em tristes sombras morre a formosura,
Em contínuas tristezas a alegria.
Porém se acaba o sol, por que nascia?
Se é tão formosa a luz, por que não dura?
Como a beleza assim se transfigura?
Como o gosto da pena assim se fia?
Mas no sol e na luz BBfalta a firmeza,
Na formosura não se dê constância,
E na alegria sinta-se tristeza.
Começa o mundo enfim pela ignorância,
E tem qualquer dos bens por natureza
A firmeza somente na inconstância.
Fonte: MATOS, Gregório. Gregório de Matos: poemas. 2. Ed. São
Paulo: Martin Claret, 2013.
Considerando o contexto em que se encontra
dentro do poema e observando a ordem sintática
e a estrutura do verso, o termo "a alegria", em “Em
contínuas tristezas a alegria”, exerce a função
sintática de:
Ano: 2026
Banca:
Ápice Consultoria
Órgão:
Prefeitura de Taperoá - BA
Provas:
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor - A
|
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Artes |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Ciências |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Educação Física |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Espanhol |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Inglês |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Matemática |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Português |
Q4285332
Português
Texto associado
Leia o texto a seguir e responda à questão.
À instabilidade das coisas do mundo
Gregório de Matos
Nasce o Sol e não dura mais que um dia,
Depois da luz se segue a noite escura,
Em tristes sombras morre a formosura,
Em contínuas tristezas a alegria.
Porém se acaba o sol, por que nascia?
Se é tão formosa a luz, por que não dura?
Como a beleza assim se transfigura?
Como o gosto da pena assim se fia?
Mas no sol e na luz BBfalta a firmeza,
Na formosura não se dê constância,
E na alegria sinta-se tristeza.
Começa o mundo enfim pela ignorância,
E tem qualquer dos bens por natureza
A firmeza somente na inconstância.
Fonte: MATOS, Gregório. Gregório de Matos: poemas. 2. Ed. São
Paulo: Martin Claret, 2013.
A respeito da análise sintática do poema,
assinale a afirmativa correta segundo a gramática
normativa da língua portuguesa.
Ano: 2026
Banca:
Ápice Consultoria
Órgão:
Prefeitura de Taperoá - BA
Provas:
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor - A
|
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Artes |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Ciências |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Educação Física |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Espanhol |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Inglês |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Matemática |
Ápice Consultoria - 2026 - Prefeitura de Taperoá - BA - Professor B - Português |
Q4285330
Literatura
Texto associado
Leia o texto a seguir e responda à questão.
À instabilidade das coisas do mundo
Gregório de Matos
Nasce o Sol e não dura mais que um dia,
Depois da luz se segue a noite escura,
Em tristes sombras morre a formosura,
Em contínuas tristezas a alegria.
Porém se acaba o sol, por que nascia?
Se é tão formosa a luz, por que não dura?
Como a beleza assim se transfigura?
Como o gosto da pena assim se fia?
Mas no sol e na luz BBfalta a firmeza,
Na formosura não se dê constância,
E na alegria sinta-se tristeza.
Começa o mundo enfim pela ignorância,
E tem qualquer dos bens por natureza
A firmeza somente na inconstância.
Fonte: MATOS, Gregório. Gregório de Matos: poemas. 2. Ed. São
Paulo: Martin Claret, 2013.
Sobre o poema “À instabilidade das coisas do
mundo”, é correto afirmar que:
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279250
Inglês
Texto associado
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 states that Anne Young's game set cost more
than a laborer's annual wages and "would have been
affordable only for the very wealthy." The modal
construction expresses a conclusion based on historical
economic evidence. Mark the alternative that presents
the CORRECT interpretation of "would have been
affordable."
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279249
Inglês
Texto associado
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.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279248
Inglês
Texto associado
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/
Read the excerpt:
"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..."
In this passage, the pronoun "they" refers to:
"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..."
In this passage, the pronoun "they" refers to:
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279247
Inglês
Texto associado
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/
An English teacher wants to adapt Anne Young's
educational principles to a language lesson. The
objective is to help students distinguish phrasal verbs
through
repeated
contextual
use,
collaborative
decision-making, and immediate feedback rather than
isolated memorization. Mark the alternative that presents
the CORRECT activity design.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279246
Inglês
Texto associado
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/
Consider the following statements about the chronology
described in the article.
I. Anne Young received a royal patent in 1801.
II. She published her companion treatise two years later.
III. The patent had been granted before the treatise appeared.
IV. Her treatise has remained the first British patent ever granted for a game.
Mark the alternative that presents the propositions that are CORRECT.
I. Anne Young received a royal patent in 1801.
II. She published her companion treatise two years later.
III. The patent had been granted before the treatise appeared.
IV. Her treatise has remained the first British patent ever granted for a game.
Mark the alternative that presents the propositions that are CORRECT.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279245
Inglês
Texto associado
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."
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279244
Inglês
Texto associado
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.
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.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279243
Inglês
Texto associado
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 reconstructs the participation of women in the
development of educational games from the late
eighteenth century onward. Rather than presenting their
work as an isolated curiosity, the author connects game
design with access to education, gender restrictions,
technological change, and the preservation of historical
records. Based on the text, mark the alternative that
presents the CORRECT interpretation of its central
argument.
Ano: 2026
Banca:
IGEDUC
Órgão:
Prefeitura de Altos - PI
Prova:
IGEDUC - 2026 - Prefeitura de Altos - PI - Professor Língua Inglesa |
Q4279242
Inglês
Texto associado
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 includes the proverb "she cannot see the
wood for the trees" and repeatedly uses the modal verb
"would." Although "wood" and "would" differ in spelling
and meaning, they are pronounced alike in standard
varieties of English. Evaluate the statements and mark
them as true (T) or false (F).
( ) "Wood" and "would" form a pair of homophones.
( ) Their pronunciation is generally represented by the same phonemic sequence.
( ) Their grammatical functions are identical because their pronunciation is the same.
( ) Context allows listeners to distinguish their meanings in connected speech.
Mark the alternative that presents the CORRECT sequence.
( ) "Wood" and "would" form a pair of homophones.
( ) Their pronunciation is generally represented by the same phonemic sequence.
( ) Their grammatical functions are identical because their pronunciation is the same.
( ) Context allows listeners to distinguish their meanings in connected speech.
Mark the alternative that presents the CORRECT sequence.
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