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Ano: 2024
Banca:
CESGRANRIO
Órgão:
Caixa
Provas:
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - 1° Simulado
|
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - Tecnologia da Informação - 1° Simulado |
Q2486261
Inglês
Texto associado
TEXTO ASSOCIADO
Bob Dylan and the “Hot Hand”
For decades, there’s been a running academic
debate about the question of “the hot hand”—
the notion, in basketball, say, that a player has
a statistically better chance of scoring from
downtown if he’s been shooting that night
with unusual accuracy. Put it this way: Stephen
Curry, the point guard genius for the Golden
State Warriors, who normally hits forty-four
per cent of his threes, will raise his odds to
fifty per cent or better if he’s already on a tear.
He’s got a “hot hand.” If you watch enough
N.B.A. ball, it appears to happen all the time.
But does it? Thirty years ago, Thomas Gilovich,
Amos Tversky, and Robert Vallone seemed to
squelch the hot-hand theory with a stats-laden
paper in the journal Cognitive Psychology,
but, just last year, along came Joshua Miller
and Adam Sanjurjo, marshalling no less
evidence, to insist that an “atypical clustering
of successes” in three-point shooting was not
a “wide spread cognitive illusion” at all, but
rather that it “occurs regularly.”
Steph Curry fans, who have been loyal
witnesses to his improbable streaks from
beyond the arc, surely agree with Professors Miller and Sanjurjo. But let’s assume that the
debate, in basketball or at the blackjack table,
remains open. What’s clear is that when it
comes to the life of the imagination, the hot
hand is a matter of historical fact. Novelists,
composers, painters, and poets are apt to
experience stretches of intense creativity that
might derive from any number of factors —
surrounding historical events, artistic rivalries,
or, most mysteriously, inspiration — but the
streak is undeniably there.
For Dylan, the greatest and most abundant
songwriter who has ever lived, the most
intense period of wild inspiration and creativity
ran from the beginning of 1965 to the summer
of 1966.
Before that fifteen-month period, Bob
Dylan, who was twenty-three, had already
transformed folk music, building on Woody
Guthrie and Hank Williams. Now he was
scribbling lyrics on pads and envelopes all night
and listening to the Stones and the Beatles
and feverishly reading the Surrealists and the
Beats. In short order, he recorded the music for
“Bringing It All Back Home” (the crossover to
rock that ranges from “Mr. Tambourine Man”
to “Subterranean Homesick Blues”); “Highway
61 Revisited” (the best rock album ever made;
again, send your rebuttal to ); and “Blonde
on Blonde” (a double album recorded in New
York and Nashville that includes “Visions of
Johanna” and “Just Like a Woman”).
Full text available on https://www.newyorker.
com/culture/cultural-comment/bob-dylanand-the-hot-hand
[Questão inédita] In the fragment “Stephen Curry, the point
guard genius for the Golden State
Warriors, who normally hits forty-four per cent
of his threes”, the word his refers to
Ano: 2024
Banca:
CESGRANRIO
Órgão:
Caixa
Provas:
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - 1° Simulado
|
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - Tecnologia da Informação - 1° Simulado |
Q2486260
Inglês
Texto associado
TEXTO ASSOCIADO
Bob Dylan and the “Hot Hand”
For decades, there’s been a running academic
debate about the question of “the hot hand”—
the notion, in basketball, say, that a player has
a statistically better chance of scoring from
downtown if he’s been shooting that night
with unusual accuracy. Put it this way: Stephen
Curry, the point guard genius for the Golden
State Warriors, who normally hits forty-four
per cent of his threes, will raise his odds to
fifty per cent or better if he’s already on a tear.
He’s got a “hot hand.” If you watch enough
N.B.A. ball, it appears to happen all the time.
But does it? Thirty years ago, Thomas Gilovich,
Amos Tversky, and Robert Vallone seemed to
squelch the hot-hand theory with a stats-laden
paper in the journal Cognitive Psychology,
but, just last year, along came Joshua Miller
and Adam Sanjurjo, marshalling no less
evidence, to insist that an “atypical clustering
of successes” in three-point shooting was not
a “wide spread cognitive illusion” at all, but
rather that it “occurs regularly.”
Steph Curry fans, who have been loyal
witnesses to his improbable streaks from
beyond the arc, surely agree with Professors Miller and Sanjurjo. But let’s assume that the
debate, in basketball or at the blackjack table,
remains open. What’s clear is that when it
comes to the life of the imagination, the hot
hand is a matter of historical fact. Novelists,
composers, painters, and poets are apt to
experience stretches of intense creativity that
might derive from any number of factors —
surrounding historical events, artistic rivalries,
or, most mysteriously, inspiration — but the
streak is undeniably there.
For Dylan, the greatest and most abundant
songwriter who has ever lived, the most
intense period of wild inspiration and creativity
ran from the beginning of 1965 to the summer
of 1966.
Before that fifteen-month period, Bob
Dylan, who was twenty-three, had already
transformed folk music, building on Woody
Guthrie and Hank Williams. Now he was
scribbling lyrics on pads and envelopes all night
and listening to the Stones and the Beatles
and feverishly reading the Surrealists and the
Beats. In short order, he recorded the music for
“Bringing It All Back Home” (the crossover to
rock that ranges from “Mr. Tambourine Man”
to “Subterranean Homesick Blues”); “Highway
61 Revisited” (the best rock album ever made;
again, send your rebuttal to ); and “Blonde
on Blonde” (a double album recorded in New
York and Nashville that includes “Visions of
Johanna” and “Just Like a Woman”).
Full text available on https://www.newyorker.
com/culture/cultural-comment/bob-dylanand-the-hot-hand
[Questão inédita] In the sentence “Steph Curry fans, who
have been loyal witnesses to his improbable
streaks from beyond the arc”, the word
witnesses can be replaced, with no change in
meaning, by
Ano: 2024
Banca:
CESGRANRIO
Órgão:
Caixa
Provas:
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - 1° Simulado
|
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - Tecnologia da Informação - 1° Simulado |
Q2486259
Inglês
Texto associado
TEXTO ASSOCIADO
Bob Dylan and the “Hot Hand”
For decades, there’s been a running academic
debate about the question of “the hot hand”—
the notion, in basketball, say, that a player has
a statistically better chance of scoring from
downtown if he’s been shooting that night
with unusual accuracy. Put it this way: Stephen
Curry, the point guard genius for the Golden
State Warriors, who normally hits forty-four
per cent of his threes, will raise his odds to
fifty per cent or better if he’s already on a tear.
He’s got a “hot hand.” If you watch enough
N.B.A. ball, it appears to happen all the time.
But does it? Thirty years ago, Thomas Gilovich,
Amos Tversky, and Robert Vallone seemed to
squelch the hot-hand theory with a stats-laden
paper in the journal Cognitive Psychology,
but, just last year, along came Joshua Miller
and Adam Sanjurjo, marshalling no less
evidence, to insist that an “atypical clustering
of successes” in three-point shooting was not
a “wide spread cognitive illusion” at all, but
rather that it “occurs regularly.”
Steph Curry fans, who have been loyal
witnesses to his improbable streaks from
beyond the arc, surely agree with Professors Miller and Sanjurjo. But let’s assume that the
debate, in basketball or at the blackjack table,
remains open. What’s clear is that when it
comes to the life of the imagination, the hot
hand is a matter of historical fact. Novelists,
composers, painters, and poets are apt to
experience stretches of intense creativity that
might derive from any number of factors —
surrounding historical events, artistic rivalries,
or, most mysteriously, inspiration — but the
streak is undeniably there.
For Dylan, the greatest and most abundant
songwriter who has ever lived, the most
intense period of wild inspiration and creativity
ran from the beginning of 1965 to the summer
of 1966.
Before that fifteen-month period, Bob
Dylan, who was twenty-three, had already
transformed folk music, building on Woody
Guthrie and Hank Williams. Now he was
scribbling lyrics on pads and envelopes all night
and listening to the Stones and the Beatles
and feverishly reading the Surrealists and the
Beats. In short order, he recorded the music for
“Bringing It All Back Home” (the crossover to
rock that ranges from “Mr. Tambourine Man”
to “Subterranean Homesick Blues”); “Highway
61 Revisited” (the best rock album ever made;
again, send your rebuttal to ); and “Blonde
on Blonde” (a double album recorded in New
York and Nashville that includes “Visions of
Johanna” and “Just Like a Woman”).
Full text available on https://www.newyorker.
com/culture/cultural-comment/bob-dylanand-the-hot-hand
[Questão inédita] In the fragment in the fourth paragraph of
the text, “Bu let’s assume that the debate,
in basketball or at the blackjack table, remains
open”, the word in bold refers to
Ano: 2024
Banca:
CESGRANRIO
Órgão:
Caixa
Provas:
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - 1° Simulado
|
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - Tecnologia da Informação - 1° Simulado |
Q2486258
Inglês
Texto associado
TEXTO ASSOCIADO
Bob Dylan and the “Hot Hand”
For decades, there’s been a running academic
debate about the question of “the hot hand”—
the notion, in basketball, say, that a player has
a statistically better chance of scoring from
downtown if he’s been shooting that night
with unusual accuracy. Put it this way: Stephen
Curry, the point guard genius for the Golden
State Warriors, who normally hits forty-four
per cent of his threes, will raise his odds to
fifty per cent or better if he’s already on a tear.
He’s got a “hot hand.” If you watch enough
N.B.A. ball, it appears to happen all the time.
But does it? Thirty years ago, Thomas Gilovich,
Amos Tversky, and Robert Vallone seemed to
squelch the hot-hand theory with a stats-laden
paper in the journal Cognitive Psychology,
but, just last year, along came Joshua Miller
and Adam Sanjurjo, marshalling no less
evidence, to insist that an “atypical clustering
of successes” in three-point shooting was not
a “wide spread cognitive illusion” at all, but
rather that it “occurs regularly.”
Steph Curry fans, who have been loyal
witnesses to his improbable streaks from
beyond the arc, surely agree with Professors Miller and Sanjurjo. But let’s assume that the
debate, in basketball or at the blackjack table,
remains open. What’s clear is that when it
comes to the life of the imagination, the hot
hand is a matter of historical fact. Novelists,
composers, painters, and poets are apt to
experience stretches of intense creativity that
might derive from any number of factors —
surrounding historical events, artistic rivalries,
or, most mysteriously, inspiration — but the
streak is undeniably there.
For Dylan, the greatest and most abundant
songwriter who has ever lived, the most
intense period of wild inspiration and creativity
ran from the beginning of 1965 to the summer
of 1966.
Before that fifteen-month period, Bob
Dylan, who was twenty-three, had already
transformed folk music, building on Woody
Guthrie and Hank Williams. Now he was
scribbling lyrics on pads and envelopes all night
and listening to the Stones and the Beatles
and feverishly reading the Surrealists and the
Beats. In short order, he recorded the music for
“Bringing It All Back Home” (the crossover to
rock that ranges from “Mr. Tambourine Man”
to “Subterranean Homesick Blues”); “Highway
61 Revisited” (the best rock album ever made;
again, send your rebuttal to ); and “Blonde
on Blonde” (a double album recorded in New
York and Nashville that includes “Visions of
Johanna” and “Just Like a Woman”).
Full text available on https://www.newyorker.
com/culture/cultural-comment/bob-dylanand-the-hot-hand
[Questão inédita] In the section “Now he was scribbling
lyrics on pads and envelopes all night and
listening to the Stones and the Beatles and
feverishly reading the Surrealists and the
Beats”, the expression scribbling lyrics is
synonymous with
Ano: 2024
Banca:
CESGRANRIO
Órgão:
Caixa
Provas:
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - 1° Simulado
|
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - Tecnologia da Informação - 1° Simulado |
Q2486257
Inglês
Texto associado
TEXTO ASSOCIADO
Bob Dylan and the “Hot Hand”
For decades, there’s been a running academic
debate about the question of “the hot hand”—
the notion, in basketball, say, that a player has
a statistically better chance of scoring from
downtown if he’s been shooting that night
with unusual accuracy. Put it this way: Stephen
Curry, the point guard genius for the Golden
State Warriors, who normally hits forty-four
per cent of his threes, will raise his odds to
fifty per cent or better if he’s already on a tear.
He’s got a “hot hand.” If you watch enough
N.B.A. ball, it appears to happen all the time.
But does it? Thirty years ago, Thomas Gilovich,
Amos Tversky, and Robert Vallone seemed to
squelch the hot-hand theory with a stats-laden
paper in the journal Cognitive Psychology,
but, just last year, along came Joshua Miller
and Adam Sanjurjo, marshalling no less
evidence, to insist that an “atypical clustering
of successes” in three-point shooting was not
a “wide spread cognitive illusion” at all, but
rather that it “occurs regularly.”
Steph Curry fans, who have been loyal
witnesses to his improbable streaks from
beyond the arc, surely agree with Professors Miller and Sanjurjo. But let’s assume that the
debate, in basketball or at the blackjack table,
remains open. What’s clear is that when it
comes to the life of the imagination, the hot
hand is a matter of historical fact. Novelists,
composers, painters, and poets are apt to
experience stretches of intense creativity that
might derive from any number of factors —
surrounding historical events, artistic rivalries,
or, most mysteriously, inspiration — but the
streak is undeniably there.
For Dylan, the greatest and most abundant
songwriter who has ever lived, the most
intense period of wild inspiration and creativity
ran from the beginning of 1965 to the summer
of 1966.
Before that fifteen-month period, Bob
Dylan, who was twenty-three, had already
transformed folk music, building on Woody
Guthrie and Hank Williams. Now he was
scribbling lyrics on pads and envelopes all night
and listening to the Stones and the Beatles
and feverishly reading the Surrealists and the
Beats. In short order, he recorded the music for
“Bringing It All Back Home” (the crossover to
rock that ranges from “Mr. Tambourine Man”
to “Subterranean Homesick Blues”); “Highway
61 Revisited” (the best rock album ever made;
again, send your rebuttal to ); and “Blonde
on Blonde” (a double album recorded in New
York and Nashville that includes “Visions of
Johanna” and “Just Like a Woman”).
Full text available on https://www.newyorker.
com/culture/cultural-comment/bob-dylanand-the-hot-hand
[Questão inédita] Read the following excerpt of the text:
“For Dylan, the greatest and most abundant
song writer who has ever lived, the most
intense period of wild inspiration and creativity
ran from the beginning of 1965 to the summer
of 1966”.
The word in bold is associated with the idea of:
The word in bold is associated with the idea of:
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482290
Inglês
Julgue o item subsequente.
The construction of the school curriculum should be
reviewed annually, but once it is established in the school
planning for a year, it cannot be changed.
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482289
Inglês
Julgue o item subsequente.
Nominal clauses cannot stand alone as complete
sentences because they are dependent clauses. Instead,
they function as nouns within a sentence and rely on an
independent clause to form a complete thought.
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482288
Inglês
Julgue o item subsequente.
The integration of written and spoken English within the
context of new communication technologies benefits
foreign language students, fostering a broader and more
inclusive understanding of the language, and the teacher's
interest of mediating this new uses of technology is
essential for students to embrace the learning.
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482287
Inglês
Julgue o item subsequente.
The Federal Law nº 10.639/03 states that the contents
referring to African-Brazilian Culture and History will be
teached only on History, Arts and Literature subjects.
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482286
Inglês
Julgue o item subsequente.
The Federal Constitution ensures that it is a State duty to
provide access to higher levels of education, research and
arts to students according to each person's capacity.
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482285
Inglês
Julgue o item subsequente.
Inclusive education is not restricted to students with
physical or intellectual disabilities, but also comprehend
students with global developmental disorders, autism,
and those with high abilities, all of whom require
educational strategies adapted to their specific needs.
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482284
Inglês
Julgue o item subsequente.
The sentence: "We have been to the beach last summer"
the sentence as a whole is in the present perfect tense.
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482283
Inglês
Julgue o item subsequente.
In the sentence: "This must be the tallest building in this
city!", the suffix on "tallest" express a comparative
adjective.
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482282
Inglês
Julgue o item subsequente.
When reading an illustrated text, a comic strip for
example, there is more to analyze than the verbal
communication as usually the non-verbal communication
is often present and is relevant to the complete
understanding of the message in this type ot text.
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482281
Inglês
Julgue o item subsequente.
Carl Rogers believed that all human beings have an innate
tendency to seek self-realization and personal growth.
This tendency is the motivating force that drives people
toward their maximum potential.
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482280
Inglês
Julgue o item subsequente.
According to Vygotsky's Learning Theory, for learning to
occur, social interaction must take place within the zone
of proximal development, which is the gap between what
the individual already knows, their actual knowledge, and
what the individual has the potential to learn.
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482279
Inglês
Julgue o item subsequente.
It is a rule that adverbial clauses must start with a
subordinating conjunction and connect to an independent
clause in means to make sense.
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482278
Inglês
Julgue o item subsequente.
The social role of school, in addition to providing quality
formal education equally to students is to also be a place
for cultural development, allowing the exposition to the
plurality of ideas, cultures and perspectives to strengthen
them to living on a plural society.
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482277
Inglês
Julgue o item subsequente.
In the sentence: "The children got to play all day, and that
made them happy", the comma provides no change to the
meaning of the phrase.
Ano: 2024
Banca:
IGEDUC
Órgão:
Prefeitura de Garanhuns - PE
Prova:
IGEDUC - 2024 - Prefeitura de Garanhuns - PE - Professor II - Língua Inglesa (Regular) |
Q2482276
Inglês
Julgue o item subsequente.
In Graciliano Ramos work the enviroment usually is really
important to the soty, but the interest is directly focused
on human behavior, attitudes, and conduct, and the
description of the landscape arises from the
psychological characterization of the characters.
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