Questões de Concurso Público SEED-PR 2024 para Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138
Foram encontradas 35 questões
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128625
Inglês
Texto associado
Read thoroughly to answer the following question.
Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times
when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater,
Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in
the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me
today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The
difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that
created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction
was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart,
and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid,
confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some
truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how
affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt
Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended
party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and
celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding
some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth
– I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an
unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy
meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly
would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in
and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in
1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was
18, and I loved it tonight. And, my son also loved it... so a great evening all around.
(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
Texts vary in style and structure when it comes to their objectives. The intended message and genre conventions in the
previous text classify it as a:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128626
Inglês
Texto associado
Read thoroughly to answer the following question.
Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times
when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater,
Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in
the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me
today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The
difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that
created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction
was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart,
and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid,
confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some
truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how
affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt
Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended
party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and
celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding
some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth
– I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an
unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy
meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly
would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in
and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in
1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was
18, and I loved it tonight. And, my son also loved it... so a great evening all around.
(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
In paragraph 3, what exactly does the author consider “revolutionary” about the movie “Scream”?
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128627
Inglês
Texto associado
Read thoroughly to answer the following question.
Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times
when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater,
Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in
the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me
today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The
difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that
created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction
was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart,
and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid,
confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some
truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how
affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt
Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended
party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and
celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding
some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth
– I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an
unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy
meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly
would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in
and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in
1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was
18, and I loved it tonight. And, my son also loved it... so a great evening all around.
(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
In paragraph 5, why does the author mention the opening scene as “iconic”?
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128628
Inglês
Texto associado
Read thoroughly to answer the following question.
Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times
when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater,
Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in
the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me
today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The
difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that
created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction
was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart,
and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid,
confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some
truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how
affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt
Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended
party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and
celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding
some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth
– I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an
unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy
meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly
would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in
and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in
1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was
18, and I loved it tonight. And, my son also loved it... so a great evening all around.
(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
In paragraph 2, the following match the same meaning EXCEPT:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128629
Inglês
Texto associado
Read thoroughly to answer the following question.
Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times
when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater,
Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in
the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me
today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The
difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that
created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction
was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart,
and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid,
confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some
truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how
affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt
Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended
party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and
celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding
some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth
– I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an
unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy
meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly
would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in
and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in
1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was
18, and I loved it tonight. And, my son also loved it... so a great evening all around.
(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
The word “riff” in paragraph 3 is best replaced by:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128630
Inglês
Texto associado
Read thoroughly to answer the following question.
Had the great pleasure of introducing my 14-year-old son to one of my favorite movies tonight. I saw SCREAM five times
when it was released theatrically in 1996. I was a freshman in college and working part-time at my hometown movie theater,
Cineplex Odeon in Bowie, Maryland, and I remember loving it so much that I would sometimes spend my 15-minute breaks in
the back of the theater just to admire the filmmaking.
The movie absolutely knocked the wind out of me in '96, and I'm pleased to report that it still works beautifully for me
today.
SCREAM is a riff on the high-school slasher film, where a group of friends are picked off one-by-one by a masked killer. The
difference is that both the killer and the intended victims are aware of (and in some cases well-versed in) the very movies that
created this genre, and try to use those tropes as a means of attack, or a way to survive. This kind of meta-genre deconstruction
was pretty revolutionary in 1996, but SCREAM succeeds at being an exceptional slasher film even as it takes the genre apart,
and that is truly miraculous to behold.
Kevin Williamson's script is crackling with wit, humor, and deep respect and love for the genre. Craven's direction is fluid,
confident, and full of brilliant misdirection – it feels like watching close-up magic, and his slight of hand is balanced with some
truly inspired set pieces and beautiful cinematography. The cast is wonderful, and I found myself smiling about just how
affectionately I remember these characters. When the movie started, I didn't think “oh there's Neve Campbell, and there's Matt
Lillard” – I was thinking “There's Sid, there's Stu.”
It's easy to forgot how revolutionary and astonishing the iconic opening sequence was, and I marvel now at the extended
party set-piece, which takes up almost the entirety of the second half of the film. Just wonderful stuff.
SCREAM is a gleeful, brilliant deconstruction of the genre itself, breaking it apart with profound respect and love, and
celebrating the very tropes it is exposing. There's a reason it had such impact on release, and that the franchise is still finding
some fuel in the tank nearly three decades later. It's also a time capsule of the late 90's, and reminds me so much of my youth
– I grinned when the sheriff asks Billy Loomis “Why do you have a cellular telephone, son?” This was, at the time, not an
unreasonable question. It's a different world, but horror still works just as well.
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy
meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell... I frankly
would never have believed it. I've now gotten to personally thank those artists for the impact this film had on me, and that in
and of itself only further blurs the lines between movies and reality – a sensation I faintly felt watching NEW NIGHTMARE in
1994, and felt completely with SCREAM. What a wild world this is.
This movie was formative for me, and changed the way I looked at what was possible in the genre. I loved it when I was
18, and I loved it tonight. And, my son also loved it... so a great evening all around.
(Available: https://letterboxd.com/flanaganfilm/films/reviews/ Accessed in: November/2024.)
Analyze the following statements:
I. Praising technical features of the movie indicates the author’s appreciation for it.
II. “Scream” deeply influenced the author’s professional and personal growth.
III. The author is in disbelief on his current relationship with some cast and crew members of the film.
IV.The author finds connection only with his youth in regard to the movie script.
All of them are true, EXCEPT:
I. Praising technical features of the movie indicates the author’s appreciation for it.
II. “Scream” deeply influenced the author’s professional and personal growth.
III. The author is in disbelief on his current relationship with some cast and crew members of the film.
IV.The author finds connection only with his youth in regard to the movie script.
All of them are true, EXCEPT:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128631
Inglês
An English teacher handed this text to his/her students with the following sentence highlighted. Analyze his criteria to do so:
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell… I frankly would never have believed it.
I. Use of spoken and informal language.
II. Non-standard use of past unreal conditional structure.
III. Commas to enhance formality.
IV.Conversational tone as a way to create a sense of familiarity.
The correct items are:
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell… I frankly would never have believed it.
I. Use of spoken and informal language.
II. Non-standard use of past unreal conditional structure.
III. Commas to enhance formality.
IV.Conversational tone as a way to create a sense of familiarity.
The correct items are:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128632
Inglês
An English teacher handed this text to his/her students with the following sentence highlighted. Analyze his criteria to do so:
If I would have told my 18 year-old self that someday I'd work with (and become great friends with) Matthew Lillard, enjoy meals and social deduction games with Kevin Williamson, and have a relaxed, casual dinner with Neve Campbell… I frankly would never have believed it.
Which item presents the standard form of the sentence structure in question ?
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128633
Inglês
Students were asked to read the text thoroughly and and answer the following questions about the movie “Scream”:
• Who was the director?
• What is the release date?
• Who played the characters?
• Who wrote the script?
This activity is an example of:
• Who was the director?
• What is the release date?
• Who played the characters?
• Who wrote the script?
This activity is an example of:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128634
Inglês
The reference to “New Nightmare” alongside “Scream” was stressed out by a teacher with the goal to demonstrate:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128635
Inglês
Texto associado
Read the poem to answer the following question:
The fundamental theme of the poem can be pointed out in:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128636
Inglês
Texto associado
Read the poem to answer the following question:
Indicate the phonological poetic device spotted in “Because it was grassy and wanted wear”:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128637
Inglês
Texto associado
Read the poem to answer the following question:
Students were given a set of verbs as follows and asked to separate them in three groups in accordance with the ones
highlighted in the poem. Select the option that justifies the teacher’s decision to propose this activity:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128638
Inglês
Consider verbal and non-verbal language to answer the following:
The English language facet targeted is:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128639
Inglês
Inspect the quotes in detail:
I. “You should be the change that you want to see in the world.” – Mahatma Gandhi
II. “You may not control all the events that happen to you, but you can decide not to be reduced by them.” – Maya Angelou
III. “I might have been born in a hovel, but I am determined to travel with the greats.” – Tina Turner
IV.“We must accept finite disappointment, but never lose infinite hope.” – Martin Luther King Jr.
The shades of modality can be identified respectively in
I. “You should be the change that you want to see in the world.” – Mahatma Gandhi
II. “You may not control all the events that happen to you, but you can decide not to be reduced by them.” – Maya Angelou
III. “I might have been born in a hovel, but I am determined to travel with the greats.” – Tina Turner
IV.“We must accept finite disappointment, but never lose infinite hope.” – Martin Luther King Jr.
The shades of modality can be identified respectively in
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128640
Inglês
The sentence “English is the easiest language to learn!” functions as a way to:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128641
Inglês
Students received the quotes and were asked to reflect on the aspects of modality conveyed in each. As an introductory
activity, the teacher encouraged them to find an additional quote that matched the meaning of one of the provided quotes.
All of the following students succeeded, EXCEPT:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128642
Inglês
Texto associado
Scan the following content:
From Woolf to Sackville-West
52 Tavistock Square
Tuesday, January 26.
Your letter from Trieste came this morning – But why do you think I don’t feel, or that I make phrases? ‘Lovely phrases’ you say which rob things of reality. Just the opposite. Always, always, always I try to say what I feel. Will you then believe that after you went last Tuesday – exactly a week ago – out I went into the slums of Bloomsbury, to find a barrel organ. But it did not make me cheerful … And ever since, nothing important has happened – Somehow it's dull and damp. I have been dull; I have missed you. I do miss you. I shall miss you. And if you don’t believe it, you’re a long eared owl and ass. Lovely phrases? …
But of course (to return to your letter) I always knew about your standoffishness. Only I said to myself, I insist upon kindness. With this aim in view, I came to Long Barn. Open the top button of your jersey and you will see, nestling inside, a lively squirrel with the most inquisitive habits, but a dear creature all the same – V.
Taking into account verbal and non-verbal language, it is correct to affirm that content consists of:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128643
Inglês
Texto associado
Scan the following content:
From Woolf to Sackville-West
52 Tavistock Square
Tuesday, January 26.
Your letter from Trieste came this morning – But why do you think I don’t feel, or that I make phrases? ‘Lovely phrases’ you say which rob things of reality. Just the opposite. Always, always, always I try to say what I feel. Will you then believe that after you went last Tuesday – exactly a week ago – out I went into the slums of Bloomsbury, to find a barrel organ. But it did not make me cheerful … And ever since, nothing important has happened – Somehow it's dull and damp. I have been dull; I have missed you. I do miss you. I shall miss you. And if you don’t believe it, you’re a long eared owl and ass. Lovely phrases? …
But of course (to return to your letter) I always knew about your standoffishness. Only I said to myself, I insist upon kindness. With this aim in view, I came to Long Barn. Open the top button of your jersey and you will see, nestling inside, a lively squirrel with the most inquisitive habits, but a dear creature all the same – V.
The author’s sentimental condition is best outlined in:
Ano: 2024
Banca:
Instituto Consulplan
Órgão:
SEED-PR
Prova:
Instituto Consulplan - 2024 - SEED-PR - Professor - Língua Estrangeira Moderna - Inglês - Edital nº 138 |
Q3128644
Inglês
Texto associado
Scan the following content:
From Woolf to Sackville-West
52 Tavistock Square
Tuesday, January 26.
Your letter from Trieste came this morning – But why do you think I don’t feel, or that I make phrases? ‘Lovely phrases’ you say which rob things of reality. Just the opposite. Always, always, always I try to say what I feel. Will you then believe that after you went last Tuesday – exactly a week ago – out I went into the slums of Bloomsbury, to find a barrel organ. But it did not make me cheerful … And ever since, nothing important has happened – Somehow it's dull and damp. I have been dull; I have missed you. I do miss you. I shall miss you. And if you don’t believe it, you’re a long eared owl and ass. Lovely phrases? …
But of course (to return to your letter) I always knew about your standoffishness. Only I said to myself, I insist upon kindness. With this aim in view, I came to Long Barn. Open the top button of your jersey and you will see, nestling inside, a lively squirrel with the most inquisitive habits, but a dear creature all the same – V.
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