Questões de Concurso Sobre sinônimos | synonyms em inglês

Foram encontradas 1.298 questões

Q2508876 Inglês
The word “therefore” used in the text can be substituted, without change in meaning, by which one of the following? 
Alternativas
Q2508875 Inglês
What does the term “willingness” most closely mean in the context of this text?
Alternativas
Q2502382 Inglês
Check the item that correctly displays a synonym for the underlined word. 
Alternativas
Q2502378 Inglês

Crazy Horse


    Crazy Horse (Tasunke Witko, 1840-1877) was an Oglala Lakota Sioux warrior and warband leader considered among the greatest defenders of Sioux lands against the forces of the US government in the 19th century. He is one of the most famous Native American figures in history and among the Sioux's most honored heroes. Although he is often referred to as a "chief", Crazy Horse was actually a "Shirt Wearer" – a kind of "subchief" – who carried out the decisions of the council and also served as a war chief of a given band of warriors. Even so, Crazy Horse inspired such devotion in his followers that he was regarded as a "chief" and is referenced as such by others.


    His name, Tasunke Witko (Crazy Horse), is accurately translated as "His Crazy Horse" or "His Horse is Crazy" and was his father's and grandfather's name, seemingly referencing a horse that behaved erratically. According to Black Elk, however, the name correlated to Crazy Horse's famous vision in which he saw his horse dancing as though "made only of shadow" in a strange or "crazy" way.


    Crazy Horse dedicated himself to opposing the US military as early as 1854 following the Grattan Fight (Grattan Massacre) and the subsequent massacre of Little Thunder's camp in 1855 by Colonel William S. Harney. He continued his resistance over the next eleven years and was named a "Shirt Wearer" in 1865. He fought in the Battle of Plate River Bridge (1865), Red Cloud's War (1866-1868), the Battle of the Rosebud (1876), and the Battle of the Little Bighorn (1876). His last full-scale engagement with US forces was the Battle of Wolf Mountain in January 1877.


World History Encyclopedia. Adaptation.

The underlined word in the first paragraph, while maintaining its original meaning, can be substituted by:
Alternativas
Q2500558 Inglês
Text









Available at: https://www.tokyofoundation.org/research/ detail.php?id=899. Retrieved on: Feb 29, 2024. Adapted. 
In the fragment in the third paragraph of the text, the words in bold “Wealth could become concentrated in the hands of those providing the ideas and capital for the development and use of AI, along with a small elite of managers with the skills to harness the technology, while the situation for the majority of other workers displaced by technology becomes increasingly bleak” can be respectively replaced, without any change in meaning, by: 
Alternativas
Q2500021 Inglês
Texts for the item.






Internet: <www.raijmr.com> (adapted).
Considering the ideas presented in the texts and general English knowledge, judge the item below. 
The word “often” (line 3) is an adverb of frequency and could be replaced by seldom without major changes in the meaning.
Alternativas
Q2496022 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 trecho “But there are plenty of other aspects to the job as well”, a palavra em destaque pode ser substituída, sem prejuízo de significado, por:
Alternativas
Q2496020 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

Na oração “If you do travel further afield, you might even learn a new language of your own”, a expressão em destaque pode ser substituída, sem prejuízo de significado, por:
Alternativas
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: 
Alternativas
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
Alternativas
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:
Alternativas
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, “Bu let’s assume that the debate, in basketball or at the blackjack table, remains open”, the word in bold refers to
Alternativas
Q2486258 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 section “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”, the expression scribbling lyrics is synonymous with
Alternativas
Q2486257 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] Read the following excerpt of the text: “For Dylan, the greatest and most abundant song writer who has ever lived, the most intense period of wild inspiration and creativity ran from the beginning of 1965 to the summer of 1966”.

The word in bold is associated with the idea of:
Alternativas
Q2482230 Inglês

Julgue o item subsequente.


If subject of a sentence is a collective noun, the verb can either agree with the singular noun as a single unit or with the plural sense of the collective noun, depending on the context and intended meaning.

Alternativas
Q2465904 Inglês

(Available in: https://www.france24.com/en/europe/20240114-denmark-s-frederik-x-to-become-king-afterqueen-margrethe-s-abdication – text especially adapted for this test).

Analyze the following statements about the excerpt “Margrethe will retain her title of queen and may represent the royal family on occasion” (l. 22-23):

I. The word “may” suggests a possibility.
II. In a negative structure, “may not represent” and “cannot represent” have the same meaning.
III. “Will retain” is an example of the Simple Future Verb Tense.

Which statements are correct?
Alternativas
Q2459383 Inglês

Read text II and answer the four questions that follow it:


Text II


                                         

                                                                  Adapted from: https://br.pinterest.com/pin/428897564482393461/

To be “at odds with ‘the majority’ position” means to

Alternativas
Q2459382 Inglês

Read text II and answer the four questions that follow it:


Text II


                                         

                                                                  Adapted from: https://br.pinterest.com/pin/428897564482393461/

If a person has an “open-minded attitude”, this person can be said to be

Alternativas
Q2459375 Inglês

Read Text I and answer the fourteen questions that follow it

                           

 Text I The “literacy turn” in education: reexamining 

what it means to be literate


In response to the phenomena of mass migration and the emergence of digital communications media that defined the last decade of the 20th century, the New London Group (NLG) called for a broader view of literacy and literacy teaching in its 1996 manifesto, A Pedagogy of Multiliteracies: Designing Social Futures. The group argued that literacy pedagogy in education must (1) reflect the increasing cultural and linguistic diversity of the contemporary globalized world, and (2) account for the new kinds of texts and textual engagement that have emerged in the wake of new information and multimedia technologies. In order to better capture the plurality of discourses, languages, and media, they proposed the term ‘multiliteracies’.

Within the NLG’s pedagogy of multiliteracies, language and other modes of communication are viewed as dynamic resources for meaning making that undergo constant changes in the dynamics of language use as learners attempt to achieve their own purposes. Within this broader view of literacy and literacy teaching, learners are no longer “users as decoders of language” but rather “designers of meaning.” Meaning is not viewed as something that resides in texts; rather, deriving meaning is considered an active and dynamic process in which learners combine and creatively apply both linguistic and other semiotic resources (e.g., visual, gesture, sound, etc.) with an awareness of “the sets of conventions connected with semiotic activity [...] in a given social space” (NLG, 1996, p. 74).

Grounded within the view that learning develops in social, cultural, and material contexts as a result of collaborative interactions, NLG argued that instantiating literacy-based teaching in classrooms calls on the complex integration and interaction of four pedagogical components that are neither hierarchical nor linear and can at times overlap: situated practice, overt instruction, critical framing, and transformed practice. […]

Although the NLG’s pedagogy of multiliteracies was conceived as a “statement of general principle” (1996, p. 89) for schools, the group’s call for educators to recognize the diversity and social situatedness of literacy has had a lasting impact on foreign language (FL) teaching and learning. The reception of the group’s work along with that of other scholars from critical pedagogy appeared at a time when the field was becoming less solidly anchored in theories of L2 acquisition and more interested in the social practice of FL education itself. In the section that follows, we describe the current state of FL literacy studies as it has developed in recent years, before finally turning to some very recent emerging trends that we are likely to see develop going forward.

(Adapted from: https://www.colorado.edu/center/altec/sites/default/files/ attachedfiles/moving_toward_multiliteracies_in_foreign_language_teaching.pdf)

In “can at times overlap” (3rd paragraph), “at times” may be replaced without significant change in meaning by
Alternativas
Respostas
81: D
82: C
83: B
84: A
85: D
86: E
87: B
88: C
89: D
90: E
91: B
92: B
93: D
94: C
95: A
96: C
97: E
98: E
99: A
100: D