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Q2496016 Inglês

TEXT I 


Is English language teaching for you? A guide to a new career 

Marie Therese Swabey

June 14, 2021



Whether you’re just starting out or thinking of a career change, teaching English as a foreign language is one of the most rewarding professional journeys you can embark on.


In English language teaching, there is a lot of career potential. As you develop your skills and take on more responsibilities, you can enjoy a long-term career. Many professionals become senior teachers or teacher trainers, or move into management or materials writing.



Why become an English language teacher? 


There are lots of reasons you might want to become an English language teacher. For a start, you can make a real difference in people’s lives. According to a 2019 survey by Wall Street English, 18% of professionals who have learned English report that they feel happier at work; 12% say they feel happier in general; and half of English speakers earn 25% more because of their language skills.


Moreover, English language teaching is an immensely flexible profession. You can decide whether to take a public or private job, or offer lessons on your own. Your working conditions are flexible too. You might prefer to work in a local school or academy, but many English language teaching jobs also allow you to work online from home. And if you’re feeling adventurous, there are lots of opportunities to live and work abroad, in a new country and culture. If you do travel further afield, you might even learn a new language of your own.


English language teaching is a career that encourages creativity. You’ll become an expert at designing lessons and making learning materials to meet the needs of your students. Best of all ... it’s fun! You spend your day with interesting, engaging people who are keen to learn. What could be better than that?



What do English language teachers do every day? 


It probably goes without saying that language educators teach students English on a day-to-day basis. But there are plenty of other aspects to the job as well.


English language teachers assess their learners through quick tests and official exams. They use this information to define learning objectives, and then plan courses and classes that meet their students’ needs.


Language teachers use a range of coursebooks and English language teaching materials, including a variety of audio, visual and digital tools. At the same time, they find and create teaching and learning materials of their own.


In the process of developing learners’ reading, listening, speaking andwriting abilities, teachers also help students develop confidence in presenting and communicating ideas. Furthermore, language teachers encourage students to develop important 21st century skills, such as creativity, collaboration, leadership, autonomous learning and adaptability. These skills are transferable and will help learners in many areas throughout their lives.



What do you need to become an English language teacher? 


Being a good English teacher requires more than just being able to speak the language fluently. You’ll also need a comprehensive knowledge of English grammar, pronunciation and vocabulary, combined with excellent communication skills. Teachers of young learners will also need to have an understanding of how to teach engaging, effective classes to children.


It helps if you are comfortable speaking in front of other people, managing groups of learners, and able to plan and organise your time. And it’s important to have a friendly, sympathetic nature and a good degree of cultural sensitivity. After all, you’ll be working with people from all over the world and all walks of life.



Where can you teach? 


There are opportunities to teach the English language almost everywhere. For example, you can teach English in an Englishspeaking country such as the UK, the US, Canada, Australia, New Zealand or Ireland. You’ll find many private and public programmes and classes for people who have come to work or study, and who need to improve their English.


Alternatively, you can teach English in schools and universities in countries where English is the official language – but not always how people communicate on a daily basis. Nigeria, Malta, India and Sierra Leone are examples. You might also prefer to teach in non-English-speaking countries, where you’ll have the opportunity to immerse yourself in the local culture and learn a new language too.


In terms of teaching environments, there are opportunities to teach in private academies, public schools, universities, offices, private homes and online. 



Who do you teach? 


There is an extensive list of people who want to learn to speak English. Many teachers start out with a variety of class types to find out which they like best. Your options include (but are not limited to):


  • • adults in private groups or one-to-one classes

  • • adults in language schools, colleges or universities

  • • professionals such as business people, medical professionals, pilots, etc. who require English for a specific purpose

  • • students who are preparing for an official exam

  • • people who have moved to an English-speaking country and need to improve their English 

  • • young learners in one-to-one classes or groups, or online

  • • young learners in private language schools, or in secondary/ primary schools.


Adapted from: https://www.cambridgeenglish.org/blog/is-english-language-teachingfor-you. Accessed on May 2, 2024

No primeiro parágrafo do texto, a conjunção whether pode ser substituída, sem prejuízo de significado, por: 
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Q2495349 Inglês
The new cost of living in New Mexico








Available at: <https://www.kob.com/new-mexico/the-new-cost-of-
-living-in-new-mexico/>. Retrieved on: Mar 1, 2024. Adapted.

In the fragment of paragraph 4 “The average rent in Albuquerque is […] about $400 higher than in January 2020”, the word “higher” can be replaced, with no change in meaning, by
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Q2494169 Inglês
The top 10 happiest countries in the world 2024

By toby Saunders


*poll: the results of a set of questions people are asked to discover what they think about a subject. (dictionary.cambridge.org, 04/04/24)

(Available at: https://www.sciencefocus.com/science/the-top-10-happiest-countries-in-the-world – text specially adapted for this test).
In the context presented in the article, the Imagem associada para resolução da questão word “tricky” in line 4 means:
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Q2486260 Inglês
TEXTO ASSOCIADO


Bob Dylan and the “Hot Hand”


For decades, there’s been a running academic debate about the question of “the hot hand”— the notion, in basketball, say, that a player has a statistically better chance of scoring from downtown if he’s been shooting that night with unusual accuracy. Put it this way: Stephen Curry, the point guard genius for the Golden State Warriors, who normally hits forty-four per cent of his threes, will raise his odds to fifty per cent or better if he’s already on a tear. He’s got a “hot hand.” If you watch enough N.B.A. ball, it appears to happen all the time. But does it? Thirty years ago, Thomas Gilovich, Amos Tversky, and Robert Vallone seemed to squelch the hot-hand theory with a stats-laden paper in the journal Cognitive Psychology, but, just last year, along came Joshua Miller and Adam Sanjurjo, marshalling no less evidence, to insist that an “atypical clustering of successes” in three-point shooting was not a “wide spread cognitive illusion” at all, but rather that it “occurs regularly.”

Steph Curry fans, who have been loyal witnesses to his improbable streaks from beyond the arc, surely agree with Professors Miller and Sanjurjo. But let’s assume that the debate, in basketball or at the blackjack table, remains open. What’s clear is that when it comes to the life of the imagination, the hot hand is a matter of historical fact. Novelists, composers, painters, and poets are apt to experience stretches of intense creativity that might derive from any number of factors — surrounding historical events, artistic rivalries, or, most mysteriously, inspiration — but the streak is undeniably there.

For Dylan, the greatest and most abundant songwriter who has ever lived, the most intense period of wild inspiration and creativity ran from the beginning of 1965 to the summer of 1966.

Before that fifteen-month period, Bob Dylan, who was twenty-three, had already transformed folk music, building on Woody Guthrie and Hank Williams. Now he was scribbling lyrics on pads and envelopes all night and listening to the Stones and the Beatles and feverishly reading the Surrealists and the Beats. In short order, he recorded the music for “Bringing It All Back Home” (the crossover to rock that ranges from “Mr. Tambourine Man” to “Subterranean Homesick Blues”); “Highway 61 Revisited” (the best rock album ever made; again, send your rebuttal to ); and “Blonde on Blonde” (a double album recorded in New York and Nashville that includes “Visions of Johanna” and “Just Like a Woman”).


Full text available on https://www.newyorker. com/culture/cultural-comment/bob-dylanand-the-hot-hand
[Questão inédita] In the sentence “Steph Curry fans, who have been loyal witnesses to his improbable streaks from beyond the arc”, the word witnesses can be replaced, with no change in meaning, by
Alternativas
Q2486259 Inglês
TEXTO ASSOCIADO


Bob Dylan and the “Hot Hand”


For decades, there’s been a running academic debate about the question of “the hot hand”— the notion, in basketball, say, that a player has a statistically better chance of scoring from downtown if he’s been shooting that night with unusual accuracy. Put it this way: Stephen Curry, the point guard genius for the Golden State Warriors, who normally hits forty-four per cent of his threes, will raise his odds to fifty per cent or better if he’s already on a tear. He’s got a “hot hand.” If you watch enough N.B.A. ball, it appears to happen all the time. But does it? Thirty years ago, Thomas Gilovich, Amos Tversky, and Robert Vallone seemed to squelch the hot-hand theory with a stats-laden paper in the journal Cognitive Psychology, but, just last year, along came Joshua Miller and Adam Sanjurjo, marshalling no less evidence, to insist that an “atypical clustering of successes” in three-point shooting was not a “wide spread cognitive illusion” at all, but rather that it “occurs regularly.”

Steph Curry fans, who have been loyal witnesses to his improbable streaks from beyond the arc, surely agree with Professors Miller and Sanjurjo. But let’s assume that the debate, in basketball or at the blackjack table, remains open. What’s clear is that when it comes to the life of the imagination, the hot hand is a matter of historical fact. Novelists, composers, painters, and poets are apt to experience stretches of intense creativity that might derive from any number of factors — surrounding historical events, artistic rivalries, or, most mysteriously, inspiration — but the streak is undeniably there.

For Dylan, the greatest and most abundant songwriter who has ever lived, the most intense period of wild inspiration and creativity ran from the beginning of 1965 to the summer of 1966.

Before that fifteen-month period, Bob Dylan, who was twenty-three, had already transformed folk music, building on Woody Guthrie and Hank Williams. Now he was scribbling lyrics on pads and envelopes all night and listening to the Stones and the Beatles and feverishly reading the Surrealists and the Beats. In short order, he recorded the music for “Bringing It All Back Home” (the crossover to rock that ranges from “Mr. Tambourine Man” to “Subterranean Homesick Blues”); “Highway 61 Revisited” (the best rock album ever made; again, send your rebuttal to ); and “Blonde on Blonde” (a double album recorded in New York and Nashville that includes “Visions of Johanna” and “Just Like a Woman”).


Full text available on https://www.newyorker. com/culture/cultural-comment/bob-dylanand-the-hot-hand
[Questão inédita] In the fragment in the fourth paragraph of the text, “Butlet’s assume that the debate, in basketball or at the blackjack table, remains open”, the word in bold refers to
Alternativas
Respostas
16: D
17: E
18: B
19: B
20: D