Questões de Concurso Público Prefeitura de Uberlândia - MG 2019 para Professor - Inglês
Foram encontradas 20 questões
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108047
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT I
Using authentic reading materials in FLT
Let us discuss what reading in a foreign language is,
how it differs from reading in one’s mother-tongue.
If the foreign language learners are poor readers in their
mother-tongue, we can’t expect them to read efficiently
in the foreign language. But if they are good readers in
their mother-tongue, we expect them to transfer their
reading strategies to the foreign language automatically.
Unfortunately, this doesn’t always happen. Automatic
transfer of reading strategies from L1 to L2 is difficult
or never occurs. Good readers use top-down and
bottom-up strategies to make predictions about the
meaning of the text and check them. They vary their
reading speed and strategies according to the purpose
for their reading and the type of the text. When the same
students read a text in the foreign language, they tend to
use bottom-up strategies, i.e. their linguistic knowledge,
but they rarely dare to use top-down strategies, i.e. their
knowledge abouttheworld.Appropriate reading strategies
are rarely used and even some faulty reading habits, e.g.
subvocalizing, regressive eye movements, etc., can be
observed. So, foreign language students usually need
more reading practice in order to become efficient readers
in the foreign language. The use of authentic materials
is an important principle of Communicative Language
Teaching. In real life we read because we are interested
in the communicative purpose of the text, in the ideas
that the writer has expressed or the effect that the text
is supposed to produce on the reader. The language in
an authentic text is varied, whereas in a non-authentic
one there is often one single structure that is repeated.
The use of truly authentic texts is an important means of
teaching students to communicate effectively.
Unfortunately, most textbooks make use of non-authentic
texts. They are supposed to be easier than authentic
ones and to be better suited to the students’ language
proficiency level. However, this is not true because:
• non-authentic texts are usually over-explicit:
they say too much because they lack the natural
redundancy of authentic ones, they abound with
details, so, the students are not given the chance
to make any inferences;
• textbook reading materials usually deal with
over-familiar topics. This can hardly be avoided at
beginner level but at the higher levels the reading
texts can be more informative, enjoyable and
interesting;
• there is often a noticeable emphasis on the
product of the activity, i.e. on the answers to the
comprehension questions, over the process,
i.e. the appropriate use of reading skills and
strategies in order to understand the text.
We can overcome these shortcomings quite successfully
if we provide supplementary authentic texts. Thus the
language learners will become better readers, confident
in their ability to cope with reading in real life situations.
So, why do we read? In our daily lives we read for two
basic reasons: for pleasure and for information (Grellet,
1981:4). We read for information because we want to find
out something, to learn something from the text, or for
instruction, in order to do something with the information
we get, to find out how to act. These reasons for reading
are authentic. […]
Having mentioned the major drawbacks of textbook
reading materials, let’s now consider the guidelines for
selecting a text to supplement them or even replace them.
These are the readability, the suitability of content and
the exploitability of the authentic text (Nuttal, 1982:25).
• Readability means that the text should be at the
right level. When we try to find a readable text,
we have to assess the level of its structural and
lexical difficulty. Still, we should not forget that
the students can deal with more difficult texts,
provided the task is not too difficult.
• Suitability of content means that the text should
be interesting and informative. The students’
preferences should not be neglected and a survey
of their tastes might help the teacher quite a lot.
• Exploitability means that the text should facilitate
the development of reading skills in order to help
the students become competent and independent
readers.
However, we shouldn’t forget the fact that language
classes are not entirely homogeneous: the level of the
students is not the same, their tastes may vary and it is
virtually impossible to create an ideal reader who could
tackle all existing texts successfully. So, our goals and
criteria should be realistic.
[…]
What should be pointed out in conclusion is the vital
importance of using authentic texts as supplements to
textbook reading materials in order to prepare students for
real life reading.Authentic texts foster the development of
their reading skills thus helping them gain confidence in
their reading ability in the foreign language. They become
autonomous readers, who can take responsibility for their
own reading.
Available at: <https://www.beta-iatefl.org/1106/blog-
publications>. Accessed on: July 9th, 2019. (Adapted).
According to the text, a good reader in the mother tongue
usually
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108048
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT I
Using authentic reading materials in FLT
Let us discuss what reading in a foreign language is,
how it differs from reading in one’s mother-tongue.
If the foreign language learners are poor readers in their
mother-tongue, we can’t expect them to read efficiently
in the foreign language. But if they are good readers in
their mother-tongue, we expect them to transfer their
reading strategies to the foreign language automatically.
Unfortunately, this doesn’t always happen. Automatic
transfer of reading strategies from L1 to L2 is difficult
or never occurs. Good readers use top-down and
bottom-up strategies to make predictions about the
meaning of the text and check them. They vary their
reading speed and strategies according to the purpose
for their reading and the type of the text. When the same
students read a text in the foreign language, they tend to
use bottom-up strategies, i.e. their linguistic knowledge,
but they rarely dare to use top-down strategies, i.e. their
knowledge abouttheworld.Appropriate reading strategies
are rarely used and even some faulty reading habits, e.g.
subvocalizing, regressive eye movements, etc., can be
observed. So, foreign language students usually need
more reading practice in order to become efficient readers
in the foreign language. The use of authentic materials
is an important principle of Communicative Language
Teaching. In real life we read because we are interested
in the communicative purpose of the text, in the ideas
that the writer has expressed or the effect that the text
is supposed to produce on the reader. The language in
an authentic text is varied, whereas in a non-authentic
one there is often one single structure that is repeated.
The use of truly authentic texts is an important means of
teaching students to communicate effectively.
Unfortunately, most textbooks make use of non-authentic
texts. They are supposed to be easier than authentic
ones and to be better suited to the students’ language
proficiency level. However, this is not true because:
• non-authentic texts are usually over-explicit:
they say too much because they lack the natural
redundancy of authentic ones, they abound with
details, so, the students are not given the chance
to make any inferences;
• textbook reading materials usually deal with
over-familiar topics. This can hardly be avoided at
beginner level but at the higher levels the reading
texts can be more informative, enjoyable and
interesting;
• there is often a noticeable emphasis on the
product of the activity, i.e. on the answers to the
comprehension questions, over the process,
i.e. the appropriate use of reading skills and
strategies in order to understand the text.
We can overcome these shortcomings quite successfully
if we provide supplementary authentic texts. Thus the
language learners will become better readers, confident
in their ability to cope with reading in real life situations.
So, why do we read? In our daily lives we read for two
basic reasons: for pleasure and for information (Grellet,
1981:4). We read for information because we want to find
out something, to learn something from the text, or for
instruction, in order to do something with the information
we get, to find out how to act. These reasons for reading
are authentic. […]
Having mentioned the major drawbacks of textbook
reading materials, let’s now consider the guidelines for
selecting a text to supplement them or even replace them.
These are the readability, the suitability of content and
the exploitability of the authentic text (Nuttal, 1982:25).
• Readability means that the text should be at the
right level. When we try to find a readable text,
we have to assess the level of its structural and
lexical difficulty. Still, we should not forget that
the students can deal with more difficult texts,
provided the task is not too difficult.
• Suitability of content means that the text should
be interesting and informative. The students’
preferences should not be neglected and a survey
of their tastes might help the teacher quite a lot.
• Exploitability means that the text should facilitate
the development of reading skills in order to help
the students become competent and independent
readers.
However, we shouldn’t forget the fact that language
classes are not entirely homogeneous: the level of the
students is not the same, their tastes may vary and it is
virtually impossible to create an ideal reader who could
tackle all existing texts successfully. So, our goals and
criteria should be realistic.
[…]
What should be pointed out in conclusion is the vital
importance of using authentic texts as supplements to
textbook reading materials in order to prepare students for
real life reading.Authentic texts foster the development of
their reading skills thus helping them gain confidence in
their reading ability in the foreign language. They become
autonomous readers, who can take responsibility for their
own reading.
Available at: <https://www.beta-iatefl.org/1106/blog-
publications>. Accessed on: July 9th, 2019. (Adapted).
According to the text, the strategies used by readers vary
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108049
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT I
Using authentic reading materials in FLT
Let us discuss what reading in a foreign language is,
how it differs from reading in one’s mother-tongue.
If the foreign language learners are poor readers in their
mother-tongue, we can’t expect them to read efficiently
in the foreign language. But if they are good readers in
their mother-tongue, we expect them to transfer their
reading strategies to the foreign language automatically.
Unfortunately, this doesn’t always happen. Automatic
transfer of reading strategies from L1 to L2 is difficult
or never occurs. Good readers use top-down and
bottom-up strategies to make predictions about the
meaning of the text and check them. They vary their
reading speed and strategies according to the purpose
for their reading and the type of the text. When the same
students read a text in the foreign language, they tend to
use bottom-up strategies, i.e. their linguistic knowledge,
but they rarely dare to use top-down strategies, i.e. their
knowledge abouttheworld.Appropriate reading strategies
are rarely used and even some faulty reading habits, e.g.
subvocalizing, regressive eye movements, etc., can be
observed. So, foreign language students usually need
more reading practice in order to become efficient readers
in the foreign language. The use of authentic materials
is an important principle of Communicative Language
Teaching. In real life we read because we are interested
in the communicative purpose of the text, in the ideas
that the writer has expressed or the effect that the text
is supposed to produce on the reader. The language in
an authentic text is varied, whereas in a non-authentic
one there is often one single structure that is repeated.
The use of truly authentic texts is an important means of
teaching students to communicate effectively.
Unfortunately, most textbooks make use of non-authentic
texts. They are supposed to be easier than authentic
ones and to be better suited to the students’ language
proficiency level. However, this is not true because:
• non-authentic texts are usually over-explicit:
they say too much because they lack the natural
redundancy of authentic ones, they abound with
details, so, the students are not given the chance
to make any inferences;
• textbook reading materials usually deal with
over-familiar topics. This can hardly be avoided at
beginner level but at the higher levels the reading
texts can be more informative, enjoyable and
interesting;
• there is often a noticeable emphasis on the
product of the activity, i.e. on the answers to the
comprehension questions, over the process,
i.e. the appropriate use of reading skills and
strategies in order to understand the text.
We can overcome these shortcomings quite successfully
if we provide supplementary authentic texts. Thus the
language learners will become better readers, confident
in their ability to cope with reading in real life situations.
So, why do we read? In our daily lives we read for two
basic reasons: for pleasure and for information (Grellet,
1981:4). We read for information because we want to find
out something, to learn something from the text, or for
instruction, in order to do something with the information
we get, to find out how to act. These reasons for reading
are authentic. […]
Having mentioned the major drawbacks of textbook
reading materials, let’s now consider the guidelines for
selecting a text to supplement them or even replace them.
These are the readability, the suitability of content and
the exploitability of the authentic text (Nuttal, 1982:25).
• Readability means that the text should be at the
right level. When we try to find a readable text,
we have to assess the level of its structural and
lexical difficulty. Still, we should not forget that
the students can deal with more difficult texts,
provided the task is not too difficult.
• Suitability of content means that the text should
be interesting and informative. The students’
preferences should not be neglected and a survey
of their tastes might help the teacher quite a lot.
• Exploitability means that the text should facilitate
the development of reading skills in order to help
the students become competent and independent
readers.
However, we shouldn’t forget the fact that language
classes are not entirely homogeneous: the level of the
students is not the same, their tastes may vary and it is
virtually impossible to create an ideal reader who could
tackle all existing texts successfully. So, our goals and
criteria should be realistic.
[…]
What should be pointed out in conclusion is the vital
importance of using authentic texts as supplements to
textbook reading materials in order to prepare students for
real life reading.Authentic texts foster the development of
their reading skills thus helping them gain confidence in
their reading ability in the foreign language. They become
autonomous readers, who can take responsibility for their
own reading.
Available at: <https://www.beta-iatefl.org/1106/blog-
publications>. Accessed on: July 9th, 2019. (Adapted).
The article says that in communicative language teaching
authentic texts should be presented
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108050
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT I
Using authentic reading materials in FLT
Let us discuss what reading in a foreign language is,
how it differs from reading in one’s mother-tongue.
If the foreign language learners are poor readers in their
mother-tongue, we can’t expect them to read efficiently
in the foreign language. But if they are good readers in
their mother-tongue, we expect them to transfer their
reading strategies to the foreign language automatically.
Unfortunately, this doesn’t always happen. Automatic
transfer of reading strategies from L1 to L2 is difficult
or never occurs. Good readers use top-down and
bottom-up strategies to make predictions about the
meaning of the text and check them. They vary their
reading speed and strategies according to the purpose
for their reading and the type of the text. When the same
students read a text in the foreign language, they tend to
use bottom-up strategies, i.e. their linguistic knowledge,
but they rarely dare to use top-down strategies, i.e. their
knowledge abouttheworld.Appropriate reading strategies
are rarely used and even some faulty reading habits, e.g.
subvocalizing, regressive eye movements, etc., can be
observed. So, foreign language students usually need
more reading practice in order to become efficient readers
in the foreign language. The use of authentic materials
is an important principle of Communicative Language
Teaching. In real life we read because we are interested
in the communicative purpose of the text, in the ideas
that the writer has expressed or the effect that the text
is supposed to produce on the reader. The language in
an authentic text is varied, whereas in a non-authentic
one there is often one single structure that is repeated.
The use of truly authentic texts is an important means of
teaching students to communicate effectively.
Unfortunately, most textbooks make use of non-authentic
texts. They are supposed to be easier than authentic
ones and to be better suited to the students’ language
proficiency level. However, this is not true because:
• non-authentic texts are usually over-explicit:
they say too much because they lack the natural
redundancy of authentic ones, they abound with
details, so, the students are not given the chance
to make any inferences;
• textbook reading materials usually deal with
over-familiar topics. This can hardly be avoided at
beginner level but at the higher levels the reading
texts can be more informative, enjoyable and
interesting;
• there is often a noticeable emphasis on the
product of the activity, i.e. on the answers to the
comprehension questions, over the process,
i.e. the appropriate use of reading skills and
strategies in order to understand the text.
We can overcome these shortcomings quite successfully
if we provide supplementary authentic texts. Thus the
language learners will become better readers, confident
in their ability to cope with reading in real life situations.
So, why do we read? In our daily lives we read for two
basic reasons: for pleasure and for information (Grellet,
1981:4). We read for information because we want to find
out something, to learn something from the text, or for
instruction, in order to do something with the information
we get, to find out how to act. These reasons for reading
are authentic. […]
Having mentioned the major drawbacks of textbook
reading materials, let’s now consider the guidelines for
selecting a text to supplement them or even replace them.
These are the readability, the suitability of content and
the exploitability of the authentic text (Nuttal, 1982:25).
• Readability means that the text should be at the
right level. When we try to find a readable text,
we have to assess the level of its structural and
lexical difficulty. Still, we should not forget that
the students can deal with more difficult texts,
provided the task is not too difficult.
• Suitability of content means that the text should
be interesting and informative. The students’
preferences should not be neglected and a survey
of their tastes might help the teacher quite a lot.
• Exploitability means that the text should facilitate
the development of reading skills in order to help
the students become competent and independent
readers.
However, we shouldn’t forget the fact that language
classes are not entirely homogeneous: the level of the
students is not the same, their tastes may vary and it is
virtually impossible to create an ideal reader who could
tackle all existing texts successfully. So, our goals and
criteria should be realistic.
[…]
What should be pointed out in conclusion is the vital
importance of using authentic texts as supplements to
textbook reading materials in order to prepare students for
real life reading.Authentic texts foster the development of
their reading skills thus helping them gain confidence in
their reading ability in the foreign language. They become
autonomous readers, who can take responsibility for their
own reading.
Available at: <https://www.beta-iatefl.org/1106/blog-
publications>. Accessed on: July 9th, 2019. (Adapted).
Some textbooks still make use of non-authentic texts
because
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108051
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT I
Using authentic reading materials in FLT
Let us discuss what reading in a foreign language is,
how it differs from reading in one’s mother-tongue.
If the foreign language learners are poor readers in their
mother-tongue, we can’t expect them to read efficiently
in the foreign language. But if they are good readers in
their mother-tongue, we expect them to transfer their
reading strategies to the foreign language automatically.
Unfortunately, this doesn’t always happen. Automatic
transfer of reading strategies from L1 to L2 is difficult
or never occurs. Good readers use top-down and
bottom-up strategies to make predictions about the
meaning of the text and check them. They vary their
reading speed and strategies according to the purpose
for their reading and the type of the text. When the same
students read a text in the foreign language, they tend to
use bottom-up strategies, i.e. their linguistic knowledge,
but they rarely dare to use top-down strategies, i.e. their
knowledge abouttheworld.Appropriate reading strategies
are rarely used and even some faulty reading habits, e.g.
subvocalizing, regressive eye movements, etc., can be
observed. So, foreign language students usually need
more reading practice in order to become efficient readers
in the foreign language. The use of authentic materials
is an important principle of Communicative Language
Teaching. In real life we read because we are interested
in the communicative purpose of the text, in the ideas
that the writer has expressed or the effect that the text
is supposed to produce on the reader. The language in
an authentic text is varied, whereas in a non-authentic
one there is often one single structure that is repeated.
The use of truly authentic texts is an important means of
teaching students to communicate effectively.
Unfortunately, most textbooks make use of non-authentic
texts. They are supposed to be easier than authentic
ones and to be better suited to the students’ language
proficiency level. However, this is not true because:
• non-authentic texts are usually over-explicit:
they say too much because they lack the natural
redundancy of authentic ones, they abound with
details, so, the students are not given the chance
to make any inferences;
• textbook reading materials usually deal with
over-familiar topics. This can hardly be avoided at
beginner level but at the higher levels the reading
texts can be more informative, enjoyable and
interesting;
• there is often a noticeable emphasis on the
product of the activity, i.e. on the answers to the
comprehension questions, over the process,
i.e. the appropriate use of reading skills and
strategies in order to understand the text.
We can overcome these shortcomings quite successfully
if we provide supplementary authentic texts. Thus the
language learners will become better readers, confident
in their ability to cope with reading in real life situations.
So, why do we read? In our daily lives we read for two
basic reasons: for pleasure and for information (Grellet,
1981:4). We read for information because we want to find
out something, to learn something from the text, or for
instruction, in order to do something with the information
we get, to find out how to act. These reasons for reading
are authentic. […]
Having mentioned the major drawbacks of textbook
reading materials, let’s now consider the guidelines for
selecting a text to supplement them or even replace them.
These are the readability, the suitability of content and
the exploitability of the authentic text (Nuttal, 1982:25).
• Readability means that the text should be at the
right level. When we try to find a readable text,
we have to assess the level of its structural and
lexical difficulty. Still, we should not forget that
the students can deal with more difficult texts,
provided the task is not too difficult.
• Suitability of content means that the text should
be interesting and informative. The students’
preferences should not be neglected and a survey
of their tastes might help the teacher quite a lot.
• Exploitability means that the text should facilitate
the development of reading skills in order to help
the students become competent and independent
readers.
However, we shouldn’t forget the fact that language
classes are not entirely homogeneous: the level of the
students is not the same, their tastes may vary and it is
virtually impossible to create an ideal reader who could
tackle all existing texts successfully. So, our goals and
criteria should be realistic.
[…]
What should be pointed out in conclusion is the vital
importance of using authentic texts as supplements to
textbook reading materials in order to prepare students for
real life reading.Authentic texts foster the development of
their reading skills thus helping them gain confidence in
their reading ability in the foreign language. They become
autonomous readers, who can take responsibility for their
own reading.
Available at: <https://www.beta-iatefl.org/1106/blog-
publications>. Accessed on: July 9th, 2019. (Adapted).
The author of the article does not consider that
non-authentic texts
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108052
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT I
Using authentic reading materials in FLT
Let us discuss what reading in a foreign language is,
how it differs from reading in one’s mother-tongue.
If the foreign language learners are poor readers in their
mother-tongue, we can’t expect them to read efficiently
in the foreign language. But if they are good readers in
their mother-tongue, we expect them to transfer their
reading strategies to the foreign language automatically.
Unfortunately, this doesn’t always happen. Automatic
transfer of reading strategies from L1 to L2 is difficult
or never occurs. Good readers use top-down and
bottom-up strategies to make predictions about the
meaning of the text and check them. They vary their
reading speed and strategies according to the purpose
for their reading and the type of the text. When the same
students read a text in the foreign language, they tend to
use bottom-up strategies, i.e. their linguistic knowledge,
but they rarely dare to use top-down strategies, i.e. their
knowledge abouttheworld.Appropriate reading strategies
are rarely used and even some faulty reading habits, e.g.
subvocalizing, regressive eye movements, etc., can be
observed. So, foreign language students usually need
more reading practice in order to become efficient readers
in the foreign language. The use of authentic materials
is an important principle of Communicative Language
Teaching. In real life we read because we are interested
in the communicative purpose of the text, in the ideas
that the writer has expressed or the effect that the text
is supposed to produce on the reader. The language in
an authentic text is varied, whereas in a non-authentic
one there is often one single structure that is repeated.
The use of truly authentic texts is an important means of
teaching students to communicate effectively.
Unfortunately, most textbooks make use of non-authentic
texts. They are supposed to be easier than authentic
ones and to be better suited to the students’ language
proficiency level. However, this is not true because:
• non-authentic texts are usually over-explicit:
they say too much because they lack the natural
redundancy of authentic ones, they abound with
details, so, the students are not given the chance
to make any inferences;
• textbook reading materials usually deal with
over-familiar topics. This can hardly be avoided at
beginner level but at the higher levels the reading
texts can be more informative, enjoyable and
interesting;
• there is often a noticeable emphasis on the
product of the activity, i.e. on the answers to the
comprehension questions, over the process,
i.e. the appropriate use of reading skills and
strategies in order to understand the text.
We can overcome these shortcomings quite successfully
if we provide supplementary authentic texts. Thus the
language learners will become better readers, confident
in their ability to cope with reading in real life situations.
So, why do we read? In our daily lives we read for two
basic reasons: for pleasure and for information (Grellet,
1981:4). We read for information because we want to find
out something, to learn something from the text, or for
instruction, in order to do something with the information
we get, to find out how to act. These reasons for reading
are authentic. […]
Having mentioned the major drawbacks of textbook
reading materials, let’s now consider the guidelines for
selecting a text to supplement them or even replace them.
These are the readability, the suitability of content and
the exploitability of the authentic text (Nuttal, 1982:25).
• Readability means that the text should be at the
right level. When we try to find a readable text,
we have to assess the level of its structural and
lexical difficulty. Still, we should not forget that
the students can deal with more difficult texts,
provided the task is not too difficult.
• Suitability of content means that the text should
be interesting and informative. The students’
preferences should not be neglected and a survey
of their tastes might help the teacher quite a lot.
• Exploitability means that the text should facilitate
the development of reading skills in order to help
the students become competent and independent
readers.
However, we shouldn’t forget the fact that language
classes are not entirely homogeneous: the level of the
students is not the same, their tastes may vary and it is
virtually impossible to create an ideal reader who could
tackle all existing texts successfully. So, our goals and
criteria should be realistic.
[…]
What should be pointed out in conclusion is the vital
importance of using authentic texts as supplements to
textbook reading materials in order to prepare students for
real life reading.Authentic texts foster the development of
their reading skills thus helping them gain confidence in
their reading ability in the foreign language. They become
autonomous readers, who can take responsibility for their
own reading.
Available at: <https://www.beta-iatefl.org/1106/blog-
publications>. Accessed on: July 9th, 2019. (Adapted).
According to the text, the authentic reasons we read can
be summarized as:
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108053
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT I
Using authentic reading materials in FLT
Let us discuss what reading in a foreign language is,
how it differs from reading in one’s mother-tongue.
If the foreign language learners are poor readers in their
mother-tongue, we can’t expect them to read efficiently
in the foreign language. But if they are good readers in
their mother-tongue, we expect them to transfer their
reading strategies to the foreign language automatically.
Unfortunately, this doesn’t always happen. Automatic
transfer of reading strategies from L1 to L2 is difficult
or never occurs. Good readers use top-down and
bottom-up strategies to make predictions about the
meaning of the text and check them. They vary their
reading speed and strategies according to the purpose
for their reading and the type of the text. When the same
students read a text in the foreign language, they tend to
use bottom-up strategies, i.e. their linguistic knowledge,
but they rarely dare to use top-down strategies, i.e. their
knowledge abouttheworld.Appropriate reading strategies
are rarely used and even some faulty reading habits, e.g.
subvocalizing, regressive eye movements, etc., can be
observed. So, foreign language students usually need
more reading practice in order to become efficient readers
in the foreign language. The use of authentic materials
is an important principle of Communicative Language
Teaching. In real life we read because we are interested
in the communicative purpose of the text, in the ideas
that the writer has expressed or the effect that the text
is supposed to produce on the reader. The language in
an authentic text is varied, whereas in a non-authentic
one there is often one single structure that is repeated.
The use of truly authentic texts is an important means of
teaching students to communicate effectively.
Unfortunately, most textbooks make use of non-authentic
texts. They are supposed to be easier than authentic
ones and to be better suited to the students’ language
proficiency level. However, this is not true because:
• non-authentic texts are usually over-explicit:
they say too much because they lack the natural
redundancy of authentic ones, they abound with
details, so, the students are not given the chance
to make any inferences;
• textbook reading materials usually deal with
over-familiar topics. This can hardly be avoided at
beginner level but at the higher levels the reading
texts can be more informative, enjoyable and
interesting;
• there is often a noticeable emphasis on the
product of the activity, i.e. on the answers to the
comprehension questions, over the process,
i.e. the appropriate use of reading skills and
strategies in order to understand the text.
We can overcome these shortcomings quite successfully
if we provide supplementary authentic texts. Thus the
language learners will become better readers, confident
in their ability to cope with reading in real life situations.
So, why do we read? In our daily lives we read for two
basic reasons: for pleasure and for information (Grellet,
1981:4). We read for information because we want to find
out something, to learn something from the text, or for
instruction, in order to do something with the information
we get, to find out how to act. These reasons for reading
are authentic. […]
Having mentioned the major drawbacks of textbook
reading materials, let’s now consider the guidelines for
selecting a text to supplement them or even replace them.
These are the readability, the suitability of content and
the exploitability of the authentic text (Nuttal, 1982:25).
• Readability means that the text should be at the
right level. When we try to find a readable text,
we have to assess the level of its structural and
lexical difficulty. Still, we should not forget that
the students can deal with more difficult texts,
provided the task is not too difficult.
• Suitability of content means that the text should
be interesting and informative. The students’
preferences should not be neglected and a survey
of their tastes might help the teacher quite a lot.
• Exploitability means that the text should facilitate
the development of reading skills in order to help
the students become competent and independent
readers.
However, we shouldn’t forget the fact that language
classes are not entirely homogeneous: the level of the
students is not the same, their tastes may vary and it is
virtually impossible to create an ideal reader who could
tackle all existing texts successfully. So, our goals and
criteria should be realistic.
[…]
What should be pointed out in conclusion is the vital
importance of using authentic texts as supplements to
textbook reading materials in order to prepare students for
real life reading.Authentic texts foster the development of
their reading skills thus helping them gain confidence in
their reading ability in the foreign language. They become
autonomous readers, who can take responsibility for their
own reading.
Available at: <https://www.beta-iatefl.org/1106/blog-
publications>. Accessed on: July 9th, 2019. (Adapted).
According to Nuttal (mentioned in the text), the selection
of authentic reading material should consider some
guidelines, as presented below. Mark the alternative that
is not included as an item.
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108054
Inglês
Texto associado
Acessed on: August 31th, 2019 (Free translation).
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT II
Reading approaches language practices which come
directly from the interaction of the reader with the written
text, especially under the focus of the constitution of
meaning, based on understanding and interpreting genres
written in the English language, which circulate in the
various fields and layers of society. The practice of reading
in English promotes, for example, the development of
strategies of textual recognition (the use of verbal and
non-verbal clues into the formulation of hypotheses and
inferences) and of the investigation of the ways in which
the contexts in the BNCC facilitate processes of meaning
and critical reflection of the themes under study.
The work with verbal and hybrid genres, mainly
potentialized by digital media, makes it possible to live, in
a meaningful and pre-given way, diverse ways of reading
(reading in order to have a general idea of the text, search
for specific information, understand details, etc.), as well
as different aims at reading (in order to do research, or
enhance one’s own writing, read aloud to defend ideas or
arguments, to act in the actual world, always in a critical
manner, among other aims). Besides, reading practices
in English include diverse possibilities of contexts in
the use of languages for research and enhancing of
knowledge of meaningful themes for the students, in
interdisciplinary works or esthetic appreciation of genres
like poems, plays, etc.
Reading from chosen texts, involving practice with
diverse written and multimodal texts, of great importance
to the life of students in their school, social and cultural
aspects, as well as the analyzing and problematizing of
the chosen texts, help develop critical reading and the
building of an autonomous and creative trajectory in
language learning.
BRASIL. Base Nacional Comum Curricular (BNCC).
Available
at: <http://basenacionalcomum.mec.gov.br/>.
The reading practice does not:
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108055
Inglês
Texto associado
Acessed on: August 31th, 2019 (Free translation).
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT II
Reading approaches language practices which come
directly from the interaction of the reader with the written
text, especially under the focus of the constitution of
meaning, based on understanding and interpreting genres
written in the English language, which circulate in the
various fields and layers of society. The practice of reading
in English promotes, for example, the development of
strategies of textual recognition (the use of verbal and
non-verbal clues into the formulation of hypotheses and
inferences) and of the investigation of the ways in which
the contexts in the BNCC facilitate processes of meaning
and critical reflection of the themes under study.
The work with verbal and hybrid genres, mainly
potentialized by digital media, makes it possible to live, in
a meaningful and pre-given way, diverse ways of reading
(reading in order to have a general idea of the text, search
for specific information, understand details, etc.), as well
as different aims at reading (in order to do research, or
enhance one’s own writing, read aloud to defend ideas or
arguments, to act in the actual world, always in a critical
manner, among other aims). Besides, reading practices
in English include diverse possibilities of contexts in
the use of languages for research and enhancing of
knowledge of meaningful themes for the students, in
interdisciplinary works or esthetic appreciation of genres
like poems, plays, etc.
Reading from chosen texts, involving practice with
diverse written and multimodal texts, of great importance
to the life of students in their school, social and cultural
aspects, as well as the analyzing and problematizing of
the chosen texts, help develop critical reading and the
building of an autonomous and creative trajectory in
language learning.
BRASIL. Base Nacional Comum Curricular (BNCC).
Available
at: <http://basenacionalcomum.mec.gov.br/>.
The text says that the digital media
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108056
Inglês
Texto associado
Acessed on: August 31th, 2019 (Free translation).
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT II
Reading approaches language practices which come
directly from the interaction of the reader with the written
text, especially under the focus of the constitution of
meaning, based on understanding and interpreting genres
written in the English language, which circulate in the
various fields and layers of society. The practice of reading
in English promotes, for example, the development of
strategies of textual recognition (the use of verbal and
non-verbal clues into the formulation of hypotheses and
inferences) and of the investigation of the ways in which
the contexts in the BNCC facilitate processes of meaning
and critical reflection of the themes under study.
The work with verbal and hybrid genres, mainly
potentialized by digital media, makes it possible to live, in
a meaningful and pre-given way, diverse ways of reading
(reading in order to have a general idea of the text, search
for specific information, understand details, etc.), as well
as different aims at reading (in order to do research, or
enhance one’s own writing, read aloud to defend ideas or
arguments, to act in the actual world, always in a critical
manner, among other aims). Besides, reading practices
in English include diverse possibilities of contexts in
the use of languages for research and enhancing of
knowledge of meaningful themes for the students, in
interdisciplinary works or esthetic appreciation of genres
like poems, plays, etc.
Reading from chosen texts, involving practice with
diverse written and multimodal texts, of great importance
to the life of students in their school, social and cultural
aspects, as well as the analyzing and problematizing of
the chosen texts, help develop critical reading and the
building of an autonomous and creative trajectory in
language learning.
BRASIL. Base Nacional Comum Curricular (BNCC).
Available
at: <http://basenacionalcomum.mec.gov.br/>.
Among other advantages in the learning process, reading
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108057
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT III
The cab had arrived ten minutes late, then had got stuck
in a monumental traffic jam on Charing Cross Road.
‘Sorry, love, nothing doing,’ the driver had said. Joanna
had looked at her watch, chucked a ten-pound note at
him and jumped out of the cab. As she’d hared through
the streets towards Covent Garden, her chest laboring
and her nose streaming, she’d wondered whether life
could get any worse.
Joanna was snapped out of her reverie as the
congregation suddenly ceased their chatter. She opened
her eyes and turned round as Sir James Harrison’s family
members began to file into the church.
Leading the party was Charles Harrison, Sir James’s only
child, now well into his sixties. He lived in Los Angeles,
and was an acclaimed director of big-budget action films
filled with special effects. She vaguely remembered that
he had won an Oscar some time ago, but his films weren’t
the kind she usually went to see.
By Charles Harrison’s side was Zoe Harrison, his
daughter. As Alec had hoped, Zoe looked stunning in a
fitted black suit with a short skirt that showed her long
legs, and her hair was pulled back in a sleek chignon
that set off her classic English-rose beauty to perfection.
She was an actress, whose film career was on the rise,
and Matthew had been mad about her. He always said
Zoe reminded him of Grace Kelly his dream woman,
apparently – leading Joanna to wonder why Matthew
was going out with a dark-eyed, gangly brunette such
as herself. She swallowed a lump in her throat, betting
that Winnie the Pooh hot-water bottle that his ‘Samantha”
was a petite blonde.
Holding Zoe Harrison’s hand was a young boy of
around nine or ten, looking uncomfortable in a black
suit and tie: Zoe’s son Jamie Harrison, named after his
great-grandfather. Zoe had given birth to Jamie when she
was only nineteen and still refused to name the father. Sir
James had loyally defended his granddaughter and her
decision to both have the baby and to remain silent about
Jamie’s paternity.
Joanna thought how alike Jamie and his mother were:
the same fine features, a milk and rose complexion, and
huge blue eyes. Zoe Harrison kept him away from the
cameras as much as possible – if Steve had got a shot
of mother and son together, it would probably make the
front page tomorrow morning.
Behind them came Marcus Harrison, Zoe’s brother.
Joanna watched him as he drew level with her pew.
Even with her thoughts still on Matthew, she had to admit
Marcus Harrison was a serious ‘hottie’, as her fellow
reporter Alice would say. Joanna recognised him from
the gossip columns – most recently squiring a blonde
British socialite with a triple-barreled surname. As dark
as his sister was fair, but sharing the same blue eyes,
Marcus carried himself with louche confidence. His hair
almost touched his shoulders and, wearing a crumpled
black jacket and a white shirt unbuttoned at the neck,
he oozed charisma. Joanna dragged her gaze away
from him. Next time, she thought firmly, I’m going for a
middle-aged man who likes bird watching and stamp
collecting. She struggled to recall what Marcus Harrison
did for a living – a fledgling film producer, she thought.
Well, he certainly looked the part.
‘Good morning, ladies and gentlemen’. The vicar spoke
from the pulpit, a large picture of Sir James Harrison in
front of him, surrounded with wreaths of white roses.
‘Sir James’s family welcomes you all here and thanks
you for coming to pay tribute to a friend, a colleague, a
father, grandfather and great-grandfather, and perhaps
the finest actor of this century. For those of us who had
the good fortune to know him well, it will not come as a
surprise that Sir James was adamant that this was not to
be a sombre occasion, but a celebration. Both his family
and I have honoured his wishes. Therefore, we start with
Sir James’s favourite hymn “I Vow to Thee My Country”.
Please stand’.
RILEY, Lucinda. The Love Letter. London: Pan Books, 2018,
p. 13-15.
Read the following statements.
I. Five people of the same family are named in the text. II. Jamie Harrison was the great-grandson of the man whose funeral was being held. III. Marcus Harrison was believed to be the young boy’s father. IV. Marcus Harrison was truly a very handsome and attractive man.
The alternative that contains the correct statements, according to the text, is:
I. Five people of the same family are named in the text. II. Jamie Harrison was the great-grandson of the man whose funeral was being held. III. Marcus Harrison was believed to be the young boy’s father. IV. Marcus Harrison was truly a very handsome and attractive man.
The alternative that contains the correct statements, according to the text, is:
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108058
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT III
The cab had arrived ten minutes late, then had got stuck
in a monumental traffic jam on Charing Cross Road.
‘Sorry, love, nothing doing,’ the driver had said. Joanna
had looked at her watch, chucked a ten-pound note at
him and jumped out of the cab. As she’d hared through
the streets towards Covent Garden, her chest laboring
and her nose streaming, she’d wondered whether life
could get any worse.
Joanna was snapped out of her reverie as the
congregation suddenly ceased their chatter. She opened
her eyes and turned round as Sir James Harrison’s family
members began to file into the church.
Leading the party was Charles Harrison, Sir James’s only
child, now well into his sixties. He lived in Los Angeles,
and was an acclaimed director of big-budget action films
filled with special effects. She vaguely remembered that
he had won an Oscar some time ago, but his films weren’t
the kind she usually went to see.
By Charles Harrison’s side was Zoe Harrison, his
daughter. As Alec had hoped, Zoe looked stunning in a
fitted black suit with a short skirt that showed her long
legs, and her hair was pulled back in a sleek chignon
that set off her classic English-rose beauty to perfection.
She was an actress, whose film career was on the rise,
and Matthew had been mad about her. He always said
Zoe reminded him of Grace Kelly his dream woman,
apparently – leading Joanna to wonder why Matthew
was going out with a dark-eyed, gangly brunette such
as herself. She swallowed a lump in her throat, betting
that Winnie the Pooh hot-water bottle that his ‘Samantha”
was a petite blonde.
Holding Zoe Harrison’s hand was a young boy of
around nine or ten, looking uncomfortable in a black
suit and tie: Zoe’s son Jamie Harrison, named after his
great-grandfather. Zoe had given birth to Jamie when she
was only nineteen and still refused to name the father. Sir
James had loyally defended his granddaughter and her
decision to both have the baby and to remain silent about
Jamie’s paternity.
Joanna thought how alike Jamie and his mother were:
the same fine features, a milk and rose complexion, and
huge blue eyes. Zoe Harrison kept him away from the
cameras as much as possible – if Steve had got a shot
of mother and son together, it would probably make the
front page tomorrow morning.
Behind them came Marcus Harrison, Zoe’s brother.
Joanna watched him as he drew level with her pew.
Even with her thoughts still on Matthew, she had to admit
Marcus Harrison was a serious ‘hottie’, as her fellow
reporter Alice would say. Joanna recognised him from
the gossip columns – most recently squiring a blonde
British socialite with a triple-barreled surname. As dark
as his sister was fair, but sharing the same blue eyes,
Marcus carried himself with louche confidence. His hair
almost touched his shoulders and, wearing a crumpled
black jacket and a white shirt unbuttoned at the neck,
he oozed charisma. Joanna dragged her gaze away
from him. Next time, she thought firmly, I’m going for a
middle-aged man who likes bird watching and stamp
collecting. She struggled to recall what Marcus Harrison
did for a living – a fledgling film producer, she thought.
Well, he certainly looked the part.
‘Good morning, ladies and gentlemen’. The vicar spoke
from the pulpit, a large picture of Sir James Harrison in
front of him, surrounded with wreaths of white roses.
‘Sir James’s family welcomes you all here and thanks
you for coming to pay tribute to a friend, a colleague, a
father, grandfather and great-grandfather, and perhaps
the finest actor of this century. For those of us who had
the good fortune to know him well, it will not come as a
surprise that Sir James was adamant that this was not to
be a sombre occasion, but a celebration. Both his family
and I have honoured his wishes. Therefore, we start with
Sir James’s favourite hymn “I Vow to Thee My Country”.
Please stand’.
RILEY, Lucinda. The Love Letter. London: Pan Books, 2018,
p. 13-15.
The girl first named in the text is
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108059
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT III
The cab had arrived ten minutes late, then had got stuck
in a monumental traffic jam on Charing Cross Road.
‘Sorry, love, nothing doing,’ the driver had said. Joanna
had looked at her watch, chucked a ten-pound note at
him and jumped out of the cab. As she’d hared through
the streets towards Covent Garden, her chest laboring
and her nose streaming, she’d wondered whether life
could get any worse.
Joanna was snapped out of her reverie as the
congregation suddenly ceased their chatter. She opened
her eyes and turned round as Sir James Harrison’s family
members began to file into the church.
Leading the party was Charles Harrison, Sir James’s only
child, now well into his sixties. He lived in Los Angeles,
and was an acclaimed director of big-budget action films
filled with special effects. She vaguely remembered that
he had won an Oscar some time ago, but his films weren’t
the kind she usually went to see.
By Charles Harrison’s side was Zoe Harrison, his
daughter. As Alec had hoped, Zoe looked stunning in a
fitted black suit with a short skirt that showed her long
legs, and her hair was pulled back in a sleek chignon
that set off her classic English-rose beauty to perfection.
She was an actress, whose film career was on the rise,
and Matthew had been mad about her. He always said
Zoe reminded him of Grace Kelly his dream woman,
apparently – leading Joanna to wonder why Matthew
was going out with a dark-eyed, gangly brunette such
as herself. She swallowed a lump in her throat, betting
that Winnie the Pooh hot-water bottle that his ‘Samantha”
was a petite blonde.
Holding Zoe Harrison’s hand was a young boy of
around nine or ten, looking uncomfortable in a black
suit and tie: Zoe’s son Jamie Harrison, named after his
great-grandfather. Zoe had given birth to Jamie when she
was only nineteen and still refused to name the father. Sir
James had loyally defended his granddaughter and her
decision to both have the baby and to remain silent about
Jamie’s paternity.
Joanna thought how alike Jamie and his mother were:
the same fine features, a milk and rose complexion, and
huge blue eyes. Zoe Harrison kept him away from the
cameras as much as possible – if Steve had got a shot
of mother and son together, it would probably make the
front page tomorrow morning.
Behind them came Marcus Harrison, Zoe’s brother.
Joanna watched him as he drew level with her pew.
Even with her thoughts still on Matthew, she had to admit
Marcus Harrison was a serious ‘hottie’, as her fellow
reporter Alice would say. Joanna recognised him from
the gossip columns – most recently squiring a blonde
British socialite with a triple-barreled surname. As dark
as his sister was fair, but sharing the same blue eyes,
Marcus carried himself with louche confidence. His hair
almost touched his shoulders and, wearing a crumpled
black jacket and a white shirt unbuttoned at the neck,
he oozed charisma. Joanna dragged her gaze away
from him. Next time, she thought firmly, I’m going for a
middle-aged man who likes bird watching and stamp
collecting. She struggled to recall what Marcus Harrison
did for a living – a fledgling film producer, she thought.
Well, he certainly looked the part.
‘Good morning, ladies and gentlemen’. The vicar spoke
from the pulpit, a large picture of Sir James Harrison in
front of him, surrounded with wreaths of white roses.
‘Sir James’s family welcomes you all here and thanks
you for coming to pay tribute to a friend, a colleague, a
father, grandfather and great-grandfather, and perhaps
the finest actor of this century. For those of us who had
the good fortune to know him well, it will not come as a
surprise that Sir James was adamant that this was not to
be a sombre occasion, but a celebration. Both his family
and I have honoured his wishes. Therefore, we start with
Sir James’s favourite hymn “I Vow to Thee My Country”.
Please stand’.
RILEY, Lucinda. The Love Letter. London: Pan Books, 2018,
p. 13-15.
Read the text again carefully and then mark the alternative
that contradicts it.
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108060
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT III
The cab had arrived ten minutes late, then had got stuck
in a monumental traffic jam on Charing Cross Road.
‘Sorry, love, nothing doing,’ the driver had said. Joanna
had looked at her watch, chucked a ten-pound note at
him and jumped out of the cab. As she’d hared through
the streets towards Covent Garden, her chest laboring
and her nose streaming, she’d wondered whether life
could get any worse.
Joanna was snapped out of her reverie as the
congregation suddenly ceased their chatter. She opened
her eyes and turned round as Sir James Harrison’s family
members began to file into the church.
Leading the party was Charles Harrison, Sir James’s only
child, now well into his sixties. He lived in Los Angeles,
and was an acclaimed director of big-budget action films
filled with special effects. She vaguely remembered that
he had won an Oscar some time ago, but his films weren’t
the kind she usually went to see.
By Charles Harrison’s side was Zoe Harrison, his
daughter. As Alec had hoped, Zoe looked stunning in a
fitted black suit with a short skirt that showed her long
legs, and her hair was pulled back in a sleek chignon
that set off her classic English-rose beauty to perfection.
She was an actress, whose film career was on the rise,
and Matthew had been mad about her. He always said
Zoe reminded him of Grace Kelly his dream woman,
apparently – leading Joanna to wonder why Matthew
was going out with a dark-eyed, gangly brunette such
as herself. She swallowed a lump in her throat, betting
that Winnie the Pooh hot-water bottle that his ‘Samantha”
was a petite blonde.
Holding Zoe Harrison’s hand was a young boy of
around nine or ten, looking uncomfortable in a black
suit and tie: Zoe’s son Jamie Harrison, named after his
great-grandfather. Zoe had given birth to Jamie when she
was only nineteen and still refused to name the father. Sir
James had loyally defended his granddaughter and her
decision to both have the baby and to remain silent about
Jamie’s paternity.
Joanna thought how alike Jamie and his mother were:
the same fine features, a milk and rose complexion, and
huge blue eyes. Zoe Harrison kept him away from the
cameras as much as possible – if Steve had got a shot
of mother and son together, it would probably make the
front page tomorrow morning.
Behind them came Marcus Harrison, Zoe’s brother.
Joanna watched him as he drew level with her pew.
Even with her thoughts still on Matthew, she had to admit
Marcus Harrison was a serious ‘hottie’, as her fellow
reporter Alice would say. Joanna recognised him from
the gossip columns – most recently squiring a blonde
British socialite with a triple-barreled surname. As dark
as his sister was fair, but sharing the same blue eyes,
Marcus carried himself with louche confidence. His hair
almost touched his shoulders and, wearing a crumpled
black jacket and a white shirt unbuttoned at the neck,
he oozed charisma. Joanna dragged her gaze away
from him. Next time, she thought firmly, I’m going for a
middle-aged man who likes bird watching and stamp
collecting. She struggled to recall what Marcus Harrison
did for a living – a fledgling film producer, she thought.
Well, he certainly looked the part.
‘Good morning, ladies and gentlemen’. The vicar spoke
from the pulpit, a large picture of Sir James Harrison in
front of him, surrounded with wreaths of white roses.
‘Sir James’s family welcomes you all here and thanks
you for coming to pay tribute to a friend, a colleague, a
father, grandfather and great-grandfather, and perhaps
the finest actor of this century. For those of us who had
the good fortune to know him well, it will not come as a
surprise that Sir James was adamant that this was not to
be a sombre occasion, but a celebration. Both his family
and I have honoured his wishes. Therefore, we start with
Sir James’s favourite hymn “I Vow to Thee My Country”.
Please stand’.
RILEY, Lucinda. The Love Letter. London: Pan Books, 2018,
p. 13-15.
Look at the sentence ‘Joanna was snapped out of her
reverie as the congregation suddenly ceased their
chatter’.
Mark the correct alternative that corresponds to this
sentence in meaning.
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108061
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT III
The cab had arrived ten minutes late, then had got stuck
in a monumental traffic jam on Charing Cross Road.
‘Sorry, love, nothing doing,’ the driver had said. Joanna
had looked at her watch, chucked a ten-pound note at
him and jumped out of the cab. As she’d hared through
the streets towards Covent Garden, her chest laboring
and her nose streaming, she’d wondered whether life
could get any worse.
Joanna was snapped out of her reverie as the
congregation suddenly ceased their chatter. She opened
her eyes and turned round as Sir James Harrison’s family
members began to file into the church.
Leading the party was Charles Harrison, Sir James’s only
child, now well into his sixties. He lived in Los Angeles,
and was an acclaimed director of big-budget action films
filled with special effects. She vaguely remembered that
he had won an Oscar some time ago, but his films weren’t
the kind she usually went to see.
By Charles Harrison’s side was Zoe Harrison, his
daughter. As Alec had hoped, Zoe looked stunning in a
fitted black suit with a short skirt that showed her long
legs, and her hair was pulled back in a sleek chignon
that set off her classic English-rose beauty to perfection.
She was an actress, whose film career was on the rise,
and Matthew had been mad about her. He always said
Zoe reminded him of Grace Kelly his dream woman,
apparently – leading Joanna to wonder why Matthew
was going out with a dark-eyed, gangly brunette such
as herself. She swallowed a lump in her throat, betting
that Winnie the Pooh hot-water bottle that his ‘Samantha”
was a petite blonde.
Holding Zoe Harrison’s hand was a young boy of
around nine or ten, looking uncomfortable in a black
suit and tie: Zoe’s son Jamie Harrison, named after his
great-grandfather. Zoe had given birth to Jamie when she
was only nineteen and still refused to name the father. Sir
James had loyally defended his granddaughter and her
decision to both have the baby and to remain silent about
Jamie’s paternity.
Joanna thought how alike Jamie and his mother were:
the same fine features, a milk and rose complexion, and
huge blue eyes. Zoe Harrison kept him away from the
cameras as much as possible – if Steve had got a shot
of mother and son together, it would probably make the
front page tomorrow morning.
Behind them came Marcus Harrison, Zoe’s brother.
Joanna watched him as he drew level with her pew.
Even with her thoughts still on Matthew, she had to admit
Marcus Harrison was a serious ‘hottie’, as her fellow
reporter Alice would say. Joanna recognised him from
the gossip columns – most recently squiring a blonde
British socialite with a triple-barreled surname. As dark
as his sister was fair, but sharing the same blue eyes,
Marcus carried himself with louche confidence. His hair
almost touched his shoulders and, wearing a crumpled
black jacket and a white shirt unbuttoned at the neck,
he oozed charisma. Joanna dragged her gaze away
from him. Next time, she thought firmly, I’m going for a
middle-aged man who likes bird watching and stamp
collecting. She struggled to recall what Marcus Harrison
did for a living – a fledgling film producer, she thought.
Well, he certainly looked the part.
‘Good morning, ladies and gentlemen’. The vicar spoke
from the pulpit, a large picture of Sir James Harrison in
front of him, surrounded with wreaths of white roses.
‘Sir James’s family welcomes you all here and thanks
you for coming to pay tribute to a friend, a colleague, a
father, grandfather and great-grandfather, and perhaps
the finest actor of this century. For those of us who had
the good fortune to know him well, it will not come as a
surprise that Sir James was adamant that this was not to
be a sombre occasion, but a celebration. Both his family
and I have honoured his wishes. Therefore, we start with
Sir James’s favourite hymn “I Vow to Thee My Country”.
Please stand’.
RILEY, Lucinda. The Love Letter. London: Pan Books, 2018,
p. 13-15.
The correct passive voice for the sentence ‘Sir James’s
family welcomes you all here and thanks you for coming
to pay tribute to a friend’ will be:
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108062
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT III
The cab had arrived ten minutes late, then had got stuck
in a monumental traffic jam on Charing Cross Road.
‘Sorry, love, nothing doing,’ the driver had said. Joanna
had looked at her watch, chucked a ten-pound note at
him and jumped out of the cab. As she’d hared through
the streets towards Covent Garden, her chest laboring
and her nose streaming, she’d wondered whether life
could get any worse.
Joanna was snapped out of her reverie as the
congregation suddenly ceased their chatter. She opened
her eyes and turned round as Sir James Harrison’s family
members began to file into the church.
Leading the party was Charles Harrison, Sir James’s only
child, now well into his sixties. He lived in Los Angeles,
and was an acclaimed director of big-budget action films
filled with special effects. She vaguely remembered that
he had won an Oscar some time ago, but his films weren’t
the kind she usually went to see.
By Charles Harrison’s side was Zoe Harrison, his
daughter. As Alec had hoped, Zoe looked stunning in a
fitted black suit with a short skirt that showed her long
legs, and her hair was pulled back in a sleek chignon
that set off her classic English-rose beauty to perfection.
She was an actress, whose film career was on the rise,
and Matthew had been mad about her. He always said
Zoe reminded him of Grace Kelly his dream woman,
apparently – leading Joanna to wonder why Matthew
was going out with a dark-eyed, gangly brunette such
as herself. She swallowed a lump in her throat, betting
that Winnie the Pooh hot-water bottle that his ‘Samantha”
was a petite blonde.
Holding Zoe Harrison’s hand was a young boy of
around nine or ten, looking uncomfortable in a black
suit and tie: Zoe’s son Jamie Harrison, named after his
great-grandfather. Zoe had given birth to Jamie when she
was only nineteen and still refused to name the father. Sir
James had loyally defended his granddaughter and her
decision to both have the baby and to remain silent about
Jamie’s paternity.
Joanna thought how alike Jamie and his mother were:
the same fine features, a milk and rose complexion, and
huge blue eyes. Zoe Harrison kept him away from the
cameras as much as possible – if Steve had got a shot
of mother and son together, it would probably make the
front page tomorrow morning.
Behind them came Marcus Harrison, Zoe’s brother.
Joanna watched him as he drew level with her pew.
Even with her thoughts still on Matthew, she had to admit
Marcus Harrison was a serious ‘hottie’, as her fellow
reporter Alice would say. Joanna recognised him from
the gossip columns – most recently squiring a blonde
British socialite with a triple-barreled surname. As dark
as his sister was fair, but sharing the same blue eyes,
Marcus carried himself with louche confidence. His hair
almost touched his shoulders and, wearing a crumpled
black jacket and a white shirt unbuttoned at the neck,
he oozed charisma. Joanna dragged her gaze away
from him. Next time, she thought firmly, I’m going for a
middle-aged man who likes bird watching and stamp
collecting. She struggled to recall what Marcus Harrison
did for a living – a fledgling film producer, she thought.
Well, he certainly looked the part.
‘Good morning, ladies and gentlemen’. The vicar spoke
from the pulpit, a large picture of Sir James Harrison in
front of him, surrounded with wreaths of white roses.
‘Sir James’s family welcomes you all here and thanks
you for coming to pay tribute to a friend, a colleague, a
father, grandfather and great-grandfather, and perhaps
the finest actor of this century. For those of us who had
the good fortune to know him well, it will not come as a
surprise that Sir James was adamant that this was not to
be a sombre occasion, but a celebration. Both his family
and I have honoured his wishes. Therefore, we start with
Sir James’s favourite hymn “I Vow to Thee My Country”.
Please stand’.
RILEY, Lucinda. The Love Letter. London: Pan Books, 2018,
p. 13-15.
In the sentence “She was an actress, whose film career
was on the rise”, the word whose is
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108063
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT III
The cab had arrived ten minutes late, then had got stuck
in a monumental traffic jam on Charing Cross Road.
‘Sorry, love, nothing doing,’ the driver had said. Joanna
had looked at her watch, chucked a ten-pound note at
him and jumped out of the cab. As she’d hared through
the streets towards Covent Garden, her chest laboring
and her nose streaming, she’d wondered whether life
could get any worse.
Joanna was snapped out of her reverie as the
congregation suddenly ceased their chatter. She opened
her eyes and turned round as Sir James Harrison’s family
members began to file into the church.
Leading the party was Charles Harrison, Sir James’s only
child, now well into his sixties. He lived in Los Angeles,
and was an acclaimed director of big-budget action films
filled with special effects. She vaguely remembered that
he had won an Oscar some time ago, but his films weren’t
the kind she usually went to see.
By Charles Harrison’s side was Zoe Harrison, his
daughter. As Alec had hoped, Zoe looked stunning in a
fitted black suit with a short skirt that showed her long
legs, and her hair was pulled back in a sleek chignon
that set off her classic English-rose beauty to perfection.
She was an actress, whose film career was on the rise,
and Matthew had been mad about her. He always said
Zoe reminded him of Grace Kelly his dream woman,
apparently – leading Joanna to wonder why Matthew
was going out with a dark-eyed, gangly brunette such
as herself. She swallowed a lump in her throat, betting
that Winnie the Pooh hot-water bottle that his ‘Samantha”
was a petite blonde.
Holding Zoe Harrison’s hand was a young boy of
around nine or ten, looking uncomfortable in a black
suit and tie: Zoe’s son Jamie Harrison, named after his
great-grandfather. Zoe had given birth to Jamie when she
was only nineteen and still refused to name the father. Sir
James had loyally defended his granddaughter and her
decision to both have the baby and to remain silent about
Jamie’s paternity.
Joanna thought how alike Jamie and his mother were:
the same fine features, a milk and rose complexion, and
huge blue eyes. Zoe Harrison kept him away from the
cameras as much as possible – if Steve had got a shot
of mother and son together, it would probably make the
front page tomorrow morning.
Behind them came Marcus Harrison, Zoe’s brother.
Joanna watched him as he drew level with her pew.
Even with her thoughts still on Matthew, she had to admit
Marcus Harrison was a serious ‘hottie’, as her fellow
reporter Alice would say. Joanna recognised him from
the gossip columns – most recently squiring a blonde
British socialite with a triple-barreled surname. As dark
as his sister was fair, but sharing the same blue eyes,
Marcus carried himself with louche confidence. His hair
almost touched his shoulders and, wearing a crumpled
black jacket and a white shirt unbuttoned at the neck,
he oozed charisma. Joanna dragged her gaze away
from him. Next time, she thought firmly, I’m going for a
middle-aged man who likes bird watching and stamp
collecting. She struggled to recall what Marcus Harrison
did for a living – a fledgling film producer, she thought.
Well, he certainly looked the part.
‘Good morning, ladies and gentlemen’. The vicar spoke
from the pulpit, a large picture of Sir James Harrison in
front of him, surrounded with wreaths of white roses.
‘Sir James’s family welcomes you all here and thanks
you for coming to pay tribute to a friend, a colleague, a
father, grandfather and great-grandfather, and perhaps
the finest actor of this century. For those of us who had
the good fortune to know him well, it will not come as a
surprise that Sir James was adamant that this was not to
be a sombre occasion, but a celebration. Both his family
and I have honoured his wishes. Therefore, we start with
Sir James’s favourite hymn “I Vow to Thee My Country”.
Please stand’.
RILEY, Lucinda. The Love Letter. London: Pan Books, 2018,
p. 13-15.
In the sentence “[…] leading Joanna to wonder why
Matthew was going out with a dark-eyed, gangly brunette
such as herself”, the pronoun herself refers to
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108064
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT III
The cab had arrived ten minutes late, then had got stuck
in a monumental traffic jam on Charing Cross Road.
‘Sorry, love, nothing doing,’ the driver had said. Joanna
had looked at her watch, chucked a ten-pound note at
him and jumped out of the cab. As she’d hared through
the streets towards Covent Garden, her chest laboring
and her nose streaming, she’d wondered whether life
could get any worse.
Joanna was snapped out of her reverie as the
congregation suddenly ceased their chatter. She opened
her eyes and turned round as Sir James Harrison’s family
members began to file into the church.
Leading the party was Charles Harrison, Sir James’s only
child, now well into his sixties. He lived in Los Angeles,
and was an acclaimed director of big-budget action films
filled with special effects. She vaguely remembered that
he had won an Oscar some time ago, but his films weren’t
the kind she usually went to see.
By Charles Harrison’s side was Zoe Harrison, his
daughter. As Alec had hoped, Zoe looked stunning in a
fitted black suit with a short skirt that showed her long
legs, and her hair was pulled back in a sleek chignon
that set off her classic English-rose beauty to perfection.
She was an actress, whose film career was on the rise,
and Matthew had been mad about her. He always said
Zoe reminded him of Grace Kelly his dream woman,
apparently – leading Joanna to wonder why Matthew
was going out with a dark-eyed, gangly brunette such
as herself. She swallowed a lump in her throat, betting
that Winnie the Pooh hot-water bottle that his ‘Samantha”
was a petite blonde.
Holding Zoe Harrison’s hand was a young boy of
around nine or ten, looking uncomfortable in a black
suit and tie: Zoe’s son Jamie Harrison, named after his
great-grandfather. Zoe had given birth to Jamie when she
was only nineteen and still refused to name the father. Sir
James had loyally defended his granddaughter and her
decision to both have the baby and to remain silent about
Jamie’s paternity.
Joanna thought how alike Jamie and his mother were:
the same fine features, a milk and rose complexion, and
huge blue eyes. Zoe Harrison kept him away from the
cameras as much as possible – if Steve had got a shot
of mother and son together, it would probably make the
front page tomorrow morning.
Behind them came Marcus Harrison, Zoe’s brother.
Joanna watched him as he drew level with her pew.
Even with her thoughts still on Matthew, she had to admit
Marcus Harrison was a serious ‘hottie’, as her fellow
reporter Alice would say. Joanna recognised him from
the gossip columns – most recently squiring a blonde
British socialite with a triple-barreled surname. As dark
as his sister was fair, but sharing the same blue eyes,
Marcus carried himself with louche confidence. His hair
almost touched his shoulders and, wearing a crumpled
black jacket and a white shirt unbuttoned at the neck,
he oozed charisma. Joanna dragged her gaze away
from him. Next time, she thought firmly, I’m going for a
middle-aged man who likes bird watching and stamp
collecting. She struggled to recall what Marcus Harrison
did for a living – a fledgling film producer, she thought.
Well, he certainly looked the part.
‘Good morning, ladies and gentlemen’. The vicar spoke
from the pulpit, a large picture of Sir James Harrison in
front of him, surrounded with wreaths of white roses.
‘Sir James’s family welcomes you all here and thanks
you for coming to pay tribute to a friend, a colleague, a
father, grandfather and great-grandfather, and perhaps
the finest actor of this century. For those of us who had
the good fortune to know him well, it will not come as a
surprise that Sir James was adamant that this was not to
be a sombre occasion, but a celebration. Both his family
and I have honoured his wishes. Therefore, we start with
Sir James’s favourite hymn “I Vow to Thee My Country”.
Please stand’.
RILEY, Lucinda. The Love Letter. London: Pan Books, 2018,
p. 13-15.
Mark the letter which corresponds to the word which is
not an adverb formed with the suffix ly
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108065
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT III
The cab had arrived ten minutes late, then had got stuck
in a monumental traffic jam on Charing Cross Road.
‘Sorry, love, nothing doing,’ the driver had said. Joanna
had looked at her watch, chucked a ten-pound note at
him and jumped out of the cab. As she’d hared through
the streets towards Covent Garden, her chest laboring
and her nose streaming, she’d wondered whether life
could get any worse.
Joanna was snapped out of her reverie as the
congregation suddenly ceased their chatter. She opened
her eyes and turned round as Sir James Harrison’s family
members began to file into the church.
Leading the party was Charles Harrison, Sir James’s only
child, now well into his sixties. He lived in Los Angeles,
and was an acclaimed director of big-budget action films
filled with special effects. She vaguely remembered that
he had won an Oscar some time ago, but his films weren’t
the kind she usually went to see.
By Charles Harrison’s side was Zoe Harrison, his
daughter. As Alec had hoped, Zoe looked stunning in a
fitted black suit with a short skirt that showed her long
legs, and her hair was pulled back in a sleek chignon
that set off her classic English-rose beauty to perfection.
She was an actress, whose film career was on the rise,
and Matthew had been mad about her. He always said
Zoe reminded him of Grace Kelly his dream woman,
apparently – leading Joanna to wonder why Matthew
was going out with a dark-eyed, gangly brunette such
as herself. She swallowed a lump in her throat, betting
that Winnie the Pooh hot-water bottle that his ‘Samantha”
was a petite blonde.
Holding Zoe Harrison’s hand was a young boy of
around nine or ten, looking uncomfortable in a black
suit and tie: Zoe’s son Jamie Harrison, named after his
great-grandfather. Zoe had given birth to Jamie when she
was only nineteen and still refused to name the father. Sir
James had loyally defended his granddaughter and her
decision to both have the baby and to remain silent about
Jamie’s paternity.
Joanna thought how alike Jamie and his mother were:
the same fine features, a milk and rose complexion, and
huge blue eyes. Zoe Harrison kept him away from the
cameras as much as possible – if Steve had got a shot
of mother and son together, it would probably make the
front page tomorrow morning.
Behind them came Marcus Harrison, Zoe’s brother.
Joanna watched him as he drew level with her pew.
Even with her thoughts still on Matthew, she had to admit
Marcus Harrison was a serious ‘hottie’, as her fellow
reporter Alice would say. Joanna recognised him from
the gossip columns – most recently squiring a blonde
British socialite with a triple-barreled surname. As dark
as his sister was fair, but sharing the same blue eyes,
Marcus carried himself with louche confidence. His hair
almost touched his shoulders and, wearing a crumpled
black jacket and a white shirt unbuttoned at the neck,
he oozed charisma. Joanna dragged her gaze away
from him. Next time, she thought firmly, I’m going for a
middle-aged man who likes bird watching and stamp
collecting. She struggled to recall what Marcus Harrison
did for a living – a fledgling film producer, she thought.
Well, he certainly looked the part.
‘Good morning, ladies and gentlemen’. The vicar spoke
from the pulpit, a large picture of Sir James Harrison in
front of him, surrounded with wreaths of white roses.
‘Sir James’s family welcomes you all here and thanks
you for coming to pay tribute to a friend, a colleague, a
father, grandfather and great-grandfather, and perhaps
the finest actor of this century. For those of us who had
the good fortune to know him well, it will not come as a
surprise that Sir James was adamant that this was not to
be a sombre occasion, but a celebration. Both his family
and I have honoured his wishes. Therefore, we start with
Sir James’s favourite hymn “I Vow to Thee My Country”.
Please stand’.
RILEY, Lucinda. The Love Letter. London: Pan Books, 2018,
p. 13-15.
The correct reported alternative for the sentence “Next
time, she thought firmly, I’m going for a middle-aged man
who likes bird watching and stamp collecting” is:
Ano: 2019
Banca:
FUNDEP (Gestão de Concursos)
Órgão:
Prefeitura de Uberlândia - MG
Prova:
FUNDEP (Gestão de Concursos) - 2019 - Prefeitura de Uberlândia - MG - Professor - Inglês |
Q1108066
Inglês
Texto associado
INSTRUCTIONS: Read the text carefully and then mark
the alternatives that answer the questions or complete
the sentences presented after it.
TEXT III
The cab had arrived ten minutes late, then had got stuck
in a monumental traffic jam on Charing Cross Road.
‘Sorry, love, nothing doing,’ the driver had said. Joanna
had looked at her watch, chucked a ten-pound note at
him and jumped out of the cab. As she’d hared through
the streets towards Covent Garden, her chest laboring
and her nose streaming, she’d wondered whether life
could get any worse.
Joanna was snapped out of her reverie as the
congregation suddenly ceased their chatter. She opened
her eyes and turned round as Sir James Harrison’s family
members began to file into the church.
Leading the party was Charles Harrison, Sir James’s only
child, now well into his sixties. He lived in Los Angeles,
and was an acclaimed director of big-budget action films
filled with special effects. She vaguely remembered that
he had won an Oscar some time ago, but his films weren’t
the kind she usually went to see.
By Charles Harrison’s side was Zoe Harrison, his
daughter. As Alec had hoped, Zoe looked stunning in a
fitted black suit with a short skirt that showed her long
legs, and her hair was pulled back in a sleek chignon
that set off her classic English-rose beauty to perfection.
She was an actress, whose film career was on the rise,
and Matthew had been mad about her. He always said
Zoe reminded him of Grace Kelly his dream woman,
apparently – leading Joanna to wonder why Matthew
was going out with a dark-eyed, gangly brunette such
as herself. She swallowed a lump in her throat, betting
that Winnie the Pooh hot-water bottle that his ‘Samantha”
was a petite blonde.
Holding Zoe Harrison’s hand was a young boy of
around nine or ten, looking uncomfortable in a black
suit and tie: Zoe’s son Jamie Harrison, named after his
great-grandfather. Zoe had given birth to Jamie when she
was only nineteen and still refused to name the father. Sir
James had loyally defended his granddaughter and her
decision to both have the baby and to remain silent about
Jamie’s paternity.
Joanna thought how alike Jamie and his mother were:
the same fine features, a milk and rose complexion, and
huge blue eyes. Zoe Harrison kept him away from the
cameras as much as possible – if Steve had got a shot
of mother and son together, it would probably make the
front page tomorrow morning.
Behind them came Marcus Harrison, Zoe’s brother.
Joanna watched him as he drew level with her pew.
Even with her thoughts still on Matthew, she had to admit
Marcus Harrison was a serious ‘hottie’, as her fellow
reporter Alice would say. Joanna recognised him from
the gossip columns – most recently squiring a blonde
British socialite with a triple-barreled surname. As dark
as his sister was fair, but sharing the same blue eyes,
Marcus carried himself with louche confidence. His hair
almost touched his shoulders and, wearing a crumpled
black jacket and a white shirt unbuttoned at the neck,
he oozed charisma. Joanna dragged her gaze away
from him. Next time, she thought firmly, I’m going for a
middle-aged man who likes bird watching and stamp
collecting. She struggled to recall what Marcus Harrison
did for a living – a fledgling film producer, she thought.
Well, he certainly looked the part.
‘Good morning, ladies and gentlemen’. The vicar spoke
from the pulpit, a large picture of Sir James Harrison in
front of him, surrounded with wreaths of white roses.
‘Sir James’s family welcomes you all here and thanks
you for coming to pay tribute to a friend, a colleague, a
father, grandfather and great-grandfather, and perhaps
the finest actor of this century. For those of us who had
the good fortune to know him well, it will not come as a
surprise that Sir James was adamant that this was not to
be a sombre occasion, but a celebration. Both his family
and I have honoured his wishes. Therefore, we start with
Sir James’s favourite hymn “I Vow to Thee My Country”.
Please stand’.
RILEY, Lucinda. The Love Letter. London: Pan Books, 2018,
p. 13-15.
Look at the following sentence, found in the text: “Zoe
looked stunning in a fitted black suit with a short skirt
that showed her long legs, and her hair was pulled back
in a sleek chignon that set off her classic English-rose
beauty to perfection.”
All of the words or phrases underlined in the sentence
are
Conheça nossos planos