Questões de Concurso Militar EsFCEx 2026 para Oficial - Especialidade: Magistério em Inglês
Foram encontradas 50 questões
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189421
Pedagogia
Barbosa (2007) atrela a concepção de pluralidade das
infâncias à compreensão da infância como
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189422
Pedagogia
Texto associado
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Após participar de um ciclo formativo a respeito da aprendizagem baseada em projetos (ABP), a professora Ana decidiu trabalhar a partir dessa abordagem com suas turmas de
7o
ano do ensino fundamental ao tematizar o componente
curricular relacionado ao corpo humano. Ela tem, agora, o
desafio do pré-planejamento da ABP, desenhando a proposta
que realizará com os estudantes na intenção de fomentar a
alfabetização e o letramento científicos (AC/LC).
Baseando-se corretamente na obra de Bender (2014), a
respeito da ABP, Ana deve desenvolver
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189423
Português
Texto associado
Leia o texto para responder à questão:
Após participar de um ciclo formativo a respeito da aprendizagem baseada em projetos (ABP), a professora Ana decidiu trabalhar a partir dessa abordagem com suas turmas de
7o
ano do ensino fundamental ao tematizar o componente
curricular relacionado ao corpo humano. Ela tem, agora, o
desafio do pré-planejamento da ABP, desenhando a proposta
que realizará com os estudantes na intenção de fomentar a
alfabetização e o letramento científicos (AC/LC).
Ana tem refletido sobre os propósitos e justificativas de
seu trabalho de AC/LC. Lendo o texto de Santos (2007),
compreendeu que as definições e propostas de AC/LC
são diversas e variam a partir do contexto social em que
são pensadas, mas que convergem em dois grandes
grupos de categorias.
Coerentemente ao que afirma o texto, Ana deve se atentar ao trabalho em dois domínios: um quanto
Coerentemente ao que afirma o texto, Ana deve se atentar ao trabalho em dois domínios: um quanto
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189424
Pedagogia
Coll e Monereo (2010) tratam de fenômenos, tendências
e características que são especialmente importantes
como pano de fundo da educação na Sociedade da Informação (SI) e de suas instáveis transformações.
Entre os elementos que os autores destacam, está
Entre os elementos que os autores destacam, está
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189425
Pedagogia
Dias et al. (2022) defendem que, ao se basear uma proposta pedagógica na resolução de problemas, se deve
tomar a seguinte asserção como um de seus princípios:
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189426
Pedagogia
Frade, Araújo e Glória (2018) defendem que “a relação
com a leitura e a escrita se torna mais rica quando se
aprende a lidar desde cedo com as possibilidades que
cada um dos suportes textuais pode proporcionar àqueles que o experimentam”.
Para as autoras, isso significa, dentre outros aspectos,
Para as autoras, isso significa, dentre outros aspectos,
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189427
Pedagogia
Paro (2008) afirma que “a estrutura da escola deve assumir uma forma democrática, que favoreça a vontade dos
sujeitos envolvidos no processo pedagógico”.
O autor entende que esse imperativo parte da concepção de educação como
O autor entende que esse imperativo parte da concepção de educação como
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189428
Pedagogia
Paulilo (2017) resgata pesquisas que mapeiam historicamente a produção sobre o fracasso escolar no Brasil. O autor entende que há dois tipos de deslocamento
na compreensão do fracasso escolar, sendo o primeiro
deles a transição da busca de
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189429
Pedagogia
Ao refletir sobre os saberes docentes, Tardif (2018)
problematiza a imprecisão e equivocidade da noção de
“saber”. O autor apresenta três concepções, uma das
quais entende o saber como argumento ou discussão.
A respeito da concepção de saber como argumento, assinale a alternativa que enuncia corretamente a perspectiva do autor.
A respeito da concepção de saber como argumento, assinale a alternativa que enuncia corretamente a perspectiva do autor.
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189430
Pedagogia
Observe o gráfico a seguir:
(Censo Escolar, 2006)
Assinale a alternativa correta que identifica a interpretação dos dados que seja condizente com o que afirma a Política Nacional de Educação Especial na Perspectiva da Educação Inclusiva (Brasil, 2008).
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189431
Inglês
Texto associado
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Knowledge of a language enables you to combine sounds
to form words, words to form phrases, and phrases to form
sentences. You cannot buy a dictionary or phrase book of
any language with all the sentences of the language. No
dictionary can list all the possible sentences, because the
number of sentences in a language is infinite. Knowing a
language means being able to produce and understand new
sentences never spoken before. This is the creative aspect
of language. Not every speaker can create great literature, but
everybody who knows a language can create and understand
new sentences.
This creative aspect of language is quite easy to illustrate.
If for every sentence in the language a longer sentence can
be formed, then there is no limit to the number of sentences.
If you know English, you have the knowledge to add any
number of adjectives as modifiers to a noun and to form
sentences with indefinite numbers of clauses.
All human languages permit their speakers to increase the
length and complexity of sentences in these ways; creativity is
a universal property of human language.
Our knowledge of language not only allows us to
produce and understand an infinite number of well-formed
(even if silly and illogical) sentences, but also permits us
to distinguish well-formed (grammatical) sentences from
ill-formed (ungrammatical) sentences – or non-sentences.
(Fromkin, Rodman and Hyams, An Introduction to Language, 2013. Adaptado)
According to the first paragraph, the creative aspect of
language allows the user to
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189432
Inglês
Texto associado
Leia o texto a seguir para responder à questão:
Knowledge of a language enables you to combine sounds
to form words, words to form phrases, and phrases to form
sentences. You cannot buy a dictionary or phrase book of
any language with all the sentences of the language. No
dictionary can list all the possible sentences, because the
number of sentences in a language is infinite. Knowing a
language means being able to produce and understand new
sentences never spoken before. This is the creative aspect
of language. Not every speaker can create great literature, but
everybody who knows a language can create and understand
new sentences.
This creative aspect of language is quite easy to illustrate.
If for every sentence in the language a longer sentence can
be formed, then there is no limit to the number of sentences.
If you know English, you have the knowledge to add any
number of adjectives as modifiers to a noun and to form
sentences with indefinite numbers of clauses.
All human languages permit their speakers to increase the
length and complexity of sentences in these ways; creativity is
a universal property of human language.
Our knowledge of language not only allows us to
produce and understand an infinite number of well-formed
(even if silly and illogical) sentences, but also permits us
to distinguish well-formed (grammatical) sentences from
ill-formed (ungrammatical) sentences – or non-sentences.
(Fromkin, Rodman and Hyams, An Introduction to Language, 2013. Adaptado)
No trecho do primeiro parágrafo “Knowledge of a
language enables you to”, a palavra destacada é formada
pela adição do prefixo en- à raiz “able”. A alternativa em
que o prefixo en- desempenha o mesmo papel que em
“enable” é:
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189433
Inglês
Texto associado
Leia o texto a seguir para responder à questão:
Knowledge of a language enables you to combine sounds
to form words, words to form phrases, and phrases to form
sentences. You cannot buy a dictionary or phrase book of
any language with all the sentences of the language. No
dictionary can list all the possible sentences, because the
number of sentences in a language is infinite. Knowing a
language means being able to produce and understand new
sentences never spoken before. This is the creative aspect
of language. Not every speaker can create great literature, but
everybody who knows a language can create and understand
new sentences.
This creative aspect of language is quite easy to illustrate.
If for every sentence in the language a longer sentence can
be formed, then there is no limit to the number of sentences.
If you know English, you have the knowledge to add any
number of adjectives as modifiers to a noun and to form
sentences with indefinite numbers of clauses.
All human languages permit their speakers to increase the
length and complexity of sentences in these ways; creativity is
a universal property of human language.
Our knowledge of language not only allows us to
produce and understand an infinite number of well-formed
(even if silly and illogical) sentences, but also permits us
to distinguish well-formed (grammatical) sentences from
ill-formed (ungrammatical) sentences – or non-sentences.
(Fromkin, Rodman and Hyams, An Introduction to Language, 2013. Adaptado)
No final do primeiro parágrafo, o trecho “everybody who
knows a language” contém um pronome relativo que não
pode ser suprimido sem prejuízo da gramaticalidade da
frase. Da mesma forma, não pode ser omitido o pronome
relativo em:
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189434
Inglês
Texto associado
Leia o texto a seguir para responder à questão:
Knowledge of a language enables you to combine sounds
to form words, words to form phrases, and phrases to form
sentences. You cannot buy a dictionary or phrase book of
any language with all the sentences of the language. No
dictionary can list all the possible sentences, because the
number of sentences in a language is infinite. Knowing a
language means being able to produce and understand new
sentences never spoken before. This is the creative aspect
of language. Not every speaker can create great literature, but
everybody who knows a language can create and understand
new sentences.
This creative aspect of language is quite easy to illustrate.
If for every sentence in the language a longer sentence can
be formed, then there is no limit to the number of sentences.
If you know English, you have the knowledge to add any
number of adjectives as modifiers to a noun and to form
sentences with indefinite numbers of clauses.
All human languages permit their speakers to increase the
length and complexity of sentences in these ways; creativity is
a universal property of human language.
Our knowledge of language not only allows us to
produce and understand an infinite number of well-formed
(even if silly and illogical) sentences, but also permits us
to distinguish well-formed (grammatical) sentences from
ill-formed (ungrammatical) sentences – or non-sentences.
(Fromkin, Rodman and Hyams, An Introduction to Language, 2013. Adaptado)
O conectivo que pode ser usado para relacionar as
duas sentenças do terceiro parágrafo sem corromper o
significado é
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189435
Inglês
Texto associado
Leia o texto a seguir para responder à questão:
Knowledge of a language enables you to combine sounds
to form words, words to form phrases, and phrases to form
sentences. You cannot buy a dictionary or phrase book of
any language with all the sentences of the language. No
dictionary can list all the possible sentences, because the
number of sentences in a language is infinite. Knowing a
language means being able to produce and understand new
sentences never spoken before. This is the creative aspect
of language. Not every speaker can create great literature, but
everybody who knows a language can create and understand
new sentences.
This creative aspect of language is quite easy to illustrate.
If for every sentence in the language a longer sentence can
be formed, then there is no limit to the number of sentences.
If you know English, you have the knowledge to add any
number of adjectives as modifiers to a noun and to form
sentences with indefinite numbers of clauses.
All human languages permit their speakers to increase the
length and complexity of sentences in these ways; creativity is
a universal property of human language.
Our knowledge of language not only allows us to
produce and understand an infinite number of well-formed
(even if silly and illogical) sentences, but also permits us
to distinguish well-formed (grammatical) sentences from
ill-formed (ungrammatical) sentences – or non-sentences.
(Fromkin, Rodman and Hyams, An Introduction to Language, 2013. Adaptado)
The sentence in the fourth paragraph displays one
correct use of paired conjunctions.
The alternative in which the paired conjunctions help form a grammatically correct sentence is:
The alternative in which the paired conjunctions help form a grammatically correct sentence is:
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189436
Inglês
Texto associado
Leia o texto a seguir para responder à questão:
Knowledge of a language enables you to combine sounds
to form words, words to form phrases, and phrases to form
sentences. You cannot buy a dictionary or phrase book of
any language with all the sentences of the language. No
dictionary can list all the possible sentences, because the
number of sentences in a language is infinite. Knowing a
language means being able to produce and understand new
sentences never spoken before. This is the creative aspect
of language. Not every speaker can create great literature, but
everybody who knows a language can create and understand
new sentences.
This creative aspect of language is quite easy to illustrate.
If for every sentence in the language a longer sentence can
be formed, then there is no limit to the number of sentences.
If you know English, you have the knowledge to add any
number of adjectives as modifiers to a noun and to form
sentences with indefinite numbers of clauses.
All human languages permit their speakers to increase the
length and complexity of sentences in these ways; creativity is
a universal property of human language.
Our knowledge of language not only allows us to
produce and understand an infinite number of well-formed
(even if silly and illogical) sentences, but also permits us
to distinguish well-formed (grammatical) sentences from
ill-formed (ungrammatical) sentences – or non-sentences.
(Fromkin, Rodman and Hyams, An Introduction to Language, 2013. Adaptado)
A teacher is discussing aspects of knowledge of the
language and creativity, and also introduces the
concept of sentences (grammatically well-formed) and
non-sentences (grammatically ill-formed) discussed by
Fromkin, Rodman and Hyams. Students are asked to
get in groups and discuss the 5 following sentences
to decide which one, among them, can be considered
a non-sentence according to the authors’ view.
Based on this context, select the option that presents
a non-sentence.
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189437
Inglês
Texto associado
Leia o texto a seguir para responder à questão:
According to Savignon and Sysoyev (2005), “cultures
are never static” (p. 36). Certainly, there are aspects
of culture that do not change or change at a slower rate,
such as values, norms, and historical heritage (Savignon &
Sysoyev, 2005), but teachers need “to recognize the limits
of this static nature and keep in mind that culture, as well as
language, is constantly changing, it is in flux (Lange, 1999).
The dynamic nature of culture brings a number of challenges
and concerns for teachers trying to choose relevant teaching
materials and activities (Savignon & Sysoyev, 2005). While
culture is often depicted as static in textbooks, the digital
media, authentic products and texts provide a more dynamic
environment.
Foreign language instructors are beginning to incorporate
more movies in the FL classroom as “an accessible
window” (Bueno, 2009, p. 319) to the target culture through
“combined effects of images, sounds, camera, plots and
dialogue” (Stephens, 2001, p. 2). The teachers’ major task
is to bring both language and culture into students’ social
reality (Lange, 1999), in order to make sure that they do not
possess incomplete or outdated knowledge about the target
language and its culture.
(Dema, O., Mueller, A. J., Teaching culture in the 21st century
language classroom, 2012. Adaptado)
According to the first paragraph,
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189438
Pedagogia
Texto associado
Leia o texto a seguir para responder à questão:
According to Savignon and Sysoyev (2005), “cultures
are never static” (p. 36). Certainly, there are aspects
of culture that do not change or change at a slower rate,
such as values, norms, and historical heritage (Savignon &
Sysoyev, 2005), but teachers need “to recognize the limits
of this static nature and keep in mind that culture, as well as
language, is constantly changing, it is in flux (Lange, 1999).
The dynamic nature of culture brings a number of challenges
and concerns for teachers trying to choose relevant teaching
materials and activities (Savignon & Sysoyev, 2005). While
culture is often depicted as static in textbooks, the digital
media, authentic products and texts provide a more dynamic
environment.
Foreign language instructors are beginning to incorporate
more movies in the FL classroom as “an accessible
window” (Bueno, 2009, p. 319) to the target culture through
“combined effects of images, sounds, camera, plots and
dialogue” (Stephens, 2001, p. 2). The teachers’ major task
is to bring both language and culture into students’ social
reality (Lange, 1999), in order to make sure that they do not
possess incomplete or outdated knowledge about the target
language and its culture.
(Dema, O., Mueller, A. J., Teaching culture in the 21st century
language classroom, 2012. Adaptado)
Um determinado professor compreende a reflexão levantada no texto e decide propor aos seus alunos uma tarefa em que três tipos de conhecimento sejam solicitados:
da língua inglesa, de aspectos culturais dos países que
falam a língua e de recursos disponíveis em meios digitais.
A alternativa descrevendo uma tarefa que contempla o
desenvolvimento e uso desses três conhecimentos é:
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189439
Inglês
Texto associado
Leia o texto a seguir para responder à questão:
According to Savignon and Sysoyev (2005), “cultures
are never static” (p. 36). Certainly, there are aspects
of culture that do not change or change at a slower rate,
such as values, norms, and historical heritage (Savignon &
Sysoyev, 2005), but teachers need “to recognize the limits
of this static nature and keep in mind that culture, as well as
language, is constantly changing, it is in flux (Lange, 1999).
The dynamic nature of culture brings a number of challenges
and concerns for teachers trying to choose relevant teaching
materials and activities (Savignon & Sysoyev, 2005). While
culture is often depicted as static in textbooks, the digital
media, authentic products and texts provide a more dynamic
environment.
Foreign language instructors are beginning to incorporate
more movies in the FL classroom as “an accessible
window” (Bueno, 2009, p. 319) to the target culture through
“combined effects of images, sounds, camera, plots and
dialogue” (Stephens, 2001, p. 2). The teachers’ major task
is to bring both language and culture into students’ social
reality (Lange, 1999), in order to make sure that they do not
possess incomplete or outdated knowledge about the target
language and its culture.
(Dema, O., Mueller, A. J., Teaching culture in the 21st century
language classroom, 2012. Adaptado)
The verb in the fragment “While culture is often depicted
as static in textbooks” (paragraph 2) is in the passive
voice. However, not all English verbs – or verb tenses –
can take a passive. The alternative in which the sentence
can be correctly rewritten in the passive voice is:
Ano: 2026
Banca:
VUNESP
Órgão:
EsFCEx
Prova:
VUNESP - 2026 - EsFCEx - Oficial - Especialidade: Magistério em Inglês |
Q4189440
Pedagogia
Texto associado
Leia o texto a seguir para responder à questão:
According to Savignon and Sysoyev (2005), “cultures
are never static” (p. 36). Certainly, there are aspects
of culture that do not change or change at a slower rate,
such as values, norms, and historical heritage (Savignon &
Sysoyev, 2005), but teachers need “to recognize the limits
of this static nature and keep in mind that culture, as well as
language, is constantly changing, it is in flux (Lange, 1999).
The dynamic nature of culture brings a number of challenges
and concerns for teachers trying to choose relevant teaching
materials and activities (Savignon & Sysoyev, 2005). While
culture is often depicted as static in textbooks, the digital
media, authentic products and texts provide a more dynamic
environment.
Foreign language instructors are beginning to incorporate
more movies in the FL classroom as “an accessible
window” (Bueno, 2009, p. 319) to the target culture through
“combined effects of images, sounds, camera, plots and
dialogue” (Stephens, 2001, p. 2). The teachers’ major task
is to bring both language and culture into students’ social
reality (Lange, 1999), in order to make sure that they do not
possess incomplete or outdated knowledge about the target
language and its culture.
(Dema, O., Mueller, A. J., Teaching culture in the 21st century
language classroom, 2012. Adaptado)
The stretch from the second paragraph “… through
‘combined effects of images, sounds, camera, plots and
dialogue’…” represents a teaching and communication
approach consistent with
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