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Leia o texto e assinale a afirmativa que NÃO se harmoniza com o conteúdo apresentado.
Existem modelos conceituais para compreender e explicar a incapacidade. O modelo médico considera a incapacidade como um problema da pessoa, causado diretamente pela doença, trauma ou outro problema de saúde, que requer assistência médica sob a forma de tratamento individual por profissionais. Os cuidados em relação à incapacidade têm por objetivo a cura ou a adaptação do indivíduo e mudança de comportamento. A assistência médica é considerada como a questão principal e, a nível político, a resposta almejada é a modificação ou reforma da política de saúde. No modelo social de incapacidade, por sua vez, considera-se a questão principalmente como um problema criado pela sociedade e, basicamente, como uma questão de integração plena do indivíduo na sociedade. A incapacidade não é um atributo de um indivíduo, mas sim um conjunto complexo de condições, que desfavorecem a atuação do incapaz, muitas das quais criadas pelo ambiente social. Assim, a solução do problema requer uma ação social e é responsabilidade coletiva da sociedade fazer as modificações ambientais necessárias para a participação plena das pessoas com incapacidades em todas as áreas da vida social. Portanto, é uma questão atitudinal ou ideológica que requer mudanças sociais que, a nível político, se transformam numa questão de direitos humanos. A Abordagem biopsicossocial baseia-se numa integração dos dois modelos opostos já descritos. Para se obter a integração das várias perspectivas, é utilizada uma abordagem “biopsicossocial”. Assim, tenta-se chegar a uma síntese que ofereça uma visão coerente das diferentes formas de participação dos indivíduos e perspectivas de saúde: biológica, individual e social.
(Disponível em: https://www.assistiva.com.br/tassistiva.html. Acesso em: julho de 2024. Adaptado.)
Leia o texto e analise as asserções a seguir.
A ciência tem privilegiado o trabalho mental referenciado em princípios de pensamento que enfatizam análise objetiva de dados, busca organizada de explicação para fatos registrados e controlados, método disciplinado conduzindo a organização e explicação para fatos registrados e controlados, método disciplinado conduzindo a respostas apropriadas em direções previamente hipotetizadas segundo o conhecimento existente. Por outro lado, pode-se trabalhar a partir de uma postura oposta para captar o que está acontecendo, isso implica em pensar com dados, mas não necessariamente sobre eles, gerando configurações, ideias, conhecimentos e construções mentais novas, não derivados dos dados presentes, embora, em sentido amplo, tendo a ver com o assunto estudado. Jerome Bruner investigou a questão do pensamento nas ciências matemáticas, mostrando a dificuldade de aceitação do trabalho mental mais subjetivo, embora ele seja marcante nas áreas mais férteis de pesquisa, precisamente nas ciências exatas, e faça contribuições relevantes às ciências. É nesse aspecto que a educação para alunos superdotados/com altas habilidades encontra um lugar realmente especial. Por suas características, modo próprio de ser, responder e agir, adquirem a instrumentação mais rápida e prontamente que os outros; portanto, sobra-lhes uma boa parcela do tempo escolar, e há a tendência de simplificar a instrumentação, o que abre espaço de ação ainda mais amplo. Aí também está um grande desafio para os educadores: visualizar vias para estimular o pensamento, cultivar a intuição, libertar e exercitar a imaginação criadora, prover tempo, espaço e meios apropriados para que o aluno talentoso possa efetivamente pensar. Pensar nos seus próprios termos, da maneira mais produtiva e satisfatória para ele, sobre aspectos de seu mundo físico, psicológico e social que lhe captaram o interesse e estimularam a curiosidade.
(Disponível em: http://portal.mec.gov.br/seesp/arquivos/pdf/altashabilidades.pdf. Acesso em: junho de 2024. Adaptado.)
I. Em âmbitos científicos, o pensamento intuitivo tem sido preterido em relação ao analítico.
II. O pensamento subjetivo e intuitivo, embora relacionado aos dados disponíveis para estudo, tem alcance além deles.
III. Absorver conhecimentos e memorizar dados deve ser o objetivo primordial da educação direcionada aos superdotados/com altas habilidades, tendo em vista sua capacidade e produtividade excepcionais.
Está correto o que se afirma apenas em
“Este paradigma associou a ideia da diversidade como fator de enriquecimento social e o respeito às necessidades de todos os cidadãos como pilar central de uma nova prática social: a construção de espaços inclusivos em todas as instâncias da vida na sociedade, de forma a garantir o acesso imediato e favorecer a participação de todos nos equipamentos e espaços sociais, independente das suas necessidades educacionais especiais, do tipo de deficiência e do grau de comprometimento que estas apresentem. A transformação dos sistemas educacionais tem se efetivado para garantir o acesso universal à escolaridade básica e a satisfação das necessidades de aprendizagem para todos os cidadãos.”
Considerando o exposto, é possível afirmar que se trata do paradigma
Helena, professora de matemática, possui doutorado em matemática pura, trabalha com pesquisas em uma renomada universidade e leciona em uma escola. Ao preparar a aula de matemática para os alunos de ensino fundamental, ela precisou adaptar
os conhecimentos científicos que possui para explicar determinado fenômeno, que envolve conceitos científicos avançados. O
processo utilizado por Helena para transformar o conhecimento científico em conhecimento escolar é denominado:
Em sua obra “Educação matemática da teoria à prática”, o autor Ubiratan D’Ambrósio expõe que uma percepção da história
da matemática é essencial em qualquer discussão sobre essa disciplina e seu ensino, pois sua história é um elemento
fundamental para se perceber como teorias e práticas matemáticas foram criadas, desenvolvidas e utilizadas em um
contexto específico de sua época. De acordo com as ideias do autor, é INCORRETO afirmar que:
De acordo com os Parâmetros Curriculares Nacionais (PCNs), a construção de um repertório básico constitui suporte para a
ampliação dos diferentes procedimentos e tipos de cálculos que o aluno irá desenvolver ao longo dos ciclos iniciais: cálculo mental
ou escrito, exato ou aproximado. No que concerne a esses procedimentos e tipos de cálculos, é INCORRETO afirmar que:
Texto para responder à questão.
D. Margarida tira os sapatos que lhe apertam os pés, machucando os calos.
– Não faz mal. Estou no camarote. Ninguém vê.
Mexe os dedos do pé com delícia. Agora sim, pode ouvir melhor o que ele está tocando, ele, o seu Gilberto. Parece um sonho… um teatro deste tamanho. Centenas de pessoas finas, bem vestidas, perfumadas, os homens de preto, as mulheres com vestidos decotados – todos parados, mal respirando, dominados pelo seu filho, pelo Betinho!
D. Margarida olha com o rabo dos olhos para o marido. Ali está ele a seu lado, pequeno, encurvado, a calva a reluzir foscamente na sombra, a boca entreaberta, o ar pateta. Como fica ridículo nesse smoking! O pescoço descarnado, dançando dentro do colarinho alto e duro, lembra um palhaço de circo.
(VERÍSSIMO, Érico. As mãos de meu filho. Rio de Janeiro: Meridiano, 1942. Fragmento.)
Parece haver cada vez mais, nos dias de hoje, uma forte tendência a lutar contra as mais variadas formas de preconceito, a mostrar que elas não têm nenhum fundamento racional, nenhuma justificativa, e que são apenas o resultado da ignorância, da intolerância ou da manipulação ideológica. Infelizmente, porém, essa tendência não tem atingido um tipo de preconceito muito comum na sociedade brasileira: o preconceito linguístico. Muito pelo contrário, o que vemos é esse preconceito ser alimentado diariamente em programas de televisão e de rádio, em colunas de jornal e revista, em livros e manuais que pretendem ensinar o que é “certo” e o que é “errado”, sem falar, é claro, nos instrumentos tradicionais de ensino da língua: a gramática normativa e os livros didáticos. O preconceito linguístico fica bastante claro numa série de afirmações que já fazem parte da imagem (negativa) que o brasileiro tem de si mesmo e da língua falada por aqui. Outras afirmações são até bem-intencionadas, mas mesmo assim compõem uma espécie de “preconceito positivo”, que também se afasta da realidade.
(BAGNO, Marcos. Preconceito Linguístico: o que é, como se faz. São Paulo: Loyola, 2003.)
Considerando as ideias de Marcos Bagno e as orientações dos PCNs, analise as afirmativas a seguir.
I. Entre as críticas mais frequentes que se faziam ao ensino tradicional de língua materna, destaca-se o ensino descontextualizado da metalinguagem, normalmente associado a exercícios mecânicos de identificação de fragmentos linguísticos em frases soltas.
II. A razão de ser das propostas de leitura e escuta é a compreensão ativa e não a decodificação e o silêncio.
III. A razão de ser das propostas de uso da fala e da escrita é a interlocução efetiva, e não a produção de textos para serem objetos de correção.
IV. As situações didáticas têm como objetivo levar os alunos a pensar sobre a linguagem para poder compreendê-la e utilizá-la apropriadamente às situações e aos propósitos definidos.
Está correto o que se afirma apenas em
Na semana de aperfeiçoamento docente para o ensino básico da Escola Horizonte do Saber, durante um grupo de discussão sobre Linguagens, Códigos e suas Tecnologias, os professores debateram os aspectos cognitivos da leitura e três deles se posicionaram do seguinte modo:
I. A professora Ana afirmou que, ao interpretar um texto, sempre considera o conhecimento prévio dos alunos, priorizando não só o que eles, enquanto leitores, já conhecem, mas também o conhecimento acumulado ao longo da vida, além de acionar os conhecimentos linguísticos e textuais durante a leitura.
II. O professor Bruno mencionou que diversos coeficientes de conhecimento são acionados durante a leitura. Por isso, ele incentiva seus alunos a fazerem inferências por conta própria enquanto leem, evitando interferir nas conclusões deles.
III. A professora Camila disse que avalia mais os conhecimentos linguísticos e textuais do que o conhecimento de mundo dos alunos, pois esses são os elementos que precisam ser ativados para que o leitor compreenda o que está lendo.
Com base nas concepções sobre as relações entre texto e leitor, é correto o que se afirma apenas em
Read the text to aswer the question.
The enduring joy of Golden Girls: a wildly sassy sitcom that will always cheer you up
A comedic masterclass with the best sitcom theme song of all time, Golden Girls pulled back the curtains on ageing and dealt with big-ticket issues.
A zinger-infused maelstrom of shoulder pads, pastels and perms. Rattan furniture, DayGlo linen and Formica. There’s such a distinctive look, feel and vibe to The Golden Girls, the iconic sitcom that ran from 1985 to 1992, scooping up 68 Emmy nominations and 11 wins in the process. The brainchild of producer Susan Harris, the show spawned several acclaimed spinoffs and became an enduring work of high camp in the process.
The premise? Three older women decide to live together: the stern, witty ex-teacher Dorothy Zbornak (Bea Arthur), the sweet but fantastically dense Rose Nylund (Betty White) and southern hornbag Blanche Devereaux (Rue McClanahan). At first it’s a matter of convenience, but before long, they become fast friends. During the pilot they’re joined by a fourth: Dorothy’s mother Sophia Petrillo (Estelle Getty), a nitpicky little shrew whose ability to cockblock our heroines saw her gradually become the Scrappy-Doo of the house. (Don’t @ me, Goldies, you know I’m right.)
For a comedy that primarily took place within a Floridian kitchen, The Golden Girls boasted some serious talent. The four leads were all astoundingly adept at their craft.
The golden girls themselves proved that the family you make is sometimes stronger than the one you’re born with. Dorothy, Rose and Blanche feel, at times, aged out of their previous lives. Careers, spouses, the world: all seem to be pushing them away. But the girls are proof that you can – and should – forge new bonds, even if it seems like your old life is done for. That you can make a new family, even if your old one rejects you.
The Golden Girls pulled back the curtains on ageing, showing the ways in which old people can be flawed, passionate, monumentally stupid, brave – even at times, almost heroically horny. And it did so with an almost reckless willingness to be as wildly funny as it possibly could.
The show ended up doing what many sitcoms do: use antagonism as heat to push the plot forward. It takes truly hack writers to defend needless antagonism as the only source of fuel to propel a story (I’m looking at you, post-Sorkin West Wing). The last two seasons of The Golden Girls aren’t terrible, but Sophia morphs from an old lady without boundaries to an ancient sociopathic prankster. But even with this odd acceleration towards a caricatured sitcom event horizon, the show still manages to roll out the hits. The two-part finale, written by Mitch Hurwitz (the creator of Arrested Development) and starring Leslie Nielsen as Dorothy’s love interest, ranks as some of the best in the show’s history.
It also has – and I cannot stress this enough – the best sitcom theme song in the history of sitcom theme songs. In 2023, there are few things that will haul you out of whatever psychic muck you find yourself in than whacking on an episode of The Golden Girls. I promise you, once the credits roll, you’ll find yourself lying on the lanai in your mind, feeling somehow much lighter than you did before.
(The Guardian 2024, The Guardian website. Accessed: 06 February 2024. Available: <https://www.theguardian.com/tv-and-radio/2023/aug/02/goldengirls-tv-sitcom-enduring-joy-dorothy-rose-betty-white-blanche>. Adapted.)
Read the text to aswer the question.
The enduring joy of Golden Girls: a wildly sassy sitcom that will always cheer you up
A comedic masterclass with the best sitcom theme song of all time, Golden Girls pulled back the curtains on ageing and dealt with big-ticket issues.
A zinger-infused maelstrom of shoulder pads, pastels and perms. Rattan furniture, DayGlo linen and Formica. There’s such a distinctive look, feel and vibe to The Golden Girls, the iconic sitcom that ran from 1985 to 1992, scooping up 68 Emmy nominations and 11 wins in the process. The brainchild of producer Susan Harris, the show spawned several acclaimed spinoffs and became an enduring work of high camp in the process.
The premise? Three older women decide to live together: the stern, witty ex-teacher Dorothy Zbornak (Bea Arthur), the sweet but fantastically dense Rose Nylund (Betty White) and southern hornbag Blanche Devereaux (Rue McClanahan). At first it’s a matter of convenience, but before long, they become fast friends. During the pilot they’re joined by a fourth: Dorothy’s mother Sophia Petrillo (Estelle Getty), a nitpicky little shrew whose ability to cockblock our heroines saw her gradually become the Scrappy-Doo of the house. (Don’t @ me, Goldies, you know I’m right.)
For a comedy that primarily took place within a Floridian kitchen, The Golden Girls boasted some serious talent. The four leads were all astoundingly adept at their craft.
The golden girls themselves proved that the family you make is sometimes stronger than the one you’re born with. Dorothy, Rose and Blanche feel, at times, aged out of their previous lives. Careers, spouses, the world: all seem to be pushing them away. But the girls are proof that you can – and should – forge new bonds, even if it seems like your old life is done for. That you can make a new family, even if your old one rejects you.
The Golden Girls pulled back the curtains on ageing, showing the ways in which old people can be flawed, passionate, monumentally stupid, brave – even at times, almost heroically horny. And it did so with an almost reckless willingness to be as wildly funny as it possibly could.
The show ended up doing what many sitcoms do: use antagonism as heat to push the plot forward. It takes truly hack writers to defend needless antagonism as the only source of fuel to propel a story (I’m looking at you, post-Sorkin West Wing). The last two seasons of The Golden Girls aren’t terrible, but Sophia morphs from an old lady without boundaries to an ancient sociopathic prankster. But even with this odd acceleration towards a caricatured sitcom event horizon, the show still manages to roll out the hits. The two-part finale, written by Mitch Hurwitz (the creator of Arrested Development) and starring Leslie Nielsen as Dorothy’s love interest, ranks as some of the best in the show’s history.
It also has – and I cannot stress this enough – the best sitcom theme song in the history of sitcom theme songs. In 2023, there are few things that will haul you out of whatever psychic muck you find yourself in than whacking on an episode of The Golden Girls. I promise you, once the credits roll, you’ll find yourself lying on the lanai in your mind, feeling somehow much lighter than you did before.
(The Guardian 2024, The Guardian website. Accessed: 06 February 2024. Available: <https://www.theguardian.com/tv-and-radio/2023/aug/02/goldengirls-tv-sitcom-enduring-joy-dorothy-rose-betty-white-blanche>. Adapted.)
Read the text to aswer the question.
The enduring joy of Golden Girls: a wildly sassy sitcom that will always cheer you up
A comedic masterclass with the best sitcom theme song of all time, Golden Girls pulled back the curtains on ageing and dealt with big-ticket issues.
A zinger-infused maelstrom of shoulder pads, pastels and perms. Rattan furniture, DayGlo linen and Formica. There’s such a distinctive look, feel and vibe to The Golden Girls, the iconic sitcom that ran from 1985 to 1992, scooping up 68 Emmy nominations and 11 wins in the process. The brainchild of producer Susan Harris, the show spawned several acclaimed spinoffs and became an enduring work of high camp in the process.
The premise? Three older women decide to live together: the stern, witty ex-teacher Dorothy Zbornak (Bea Arthur), the sweet but fantastically dense Rose Nylund (Betty White) and southern hornbag Blanche Devereaux (Rue McClanahan). At first it’s a matter of convenience, but before long, they become fast friends. During the pilot they’re joined by a fourth: Dorothy’s mother Sophia Petrillo (Estelle Getty), a nitpicky little shrew whose ability to cockblock our heroines saw her gradually become the Scrappy-Doo of the house. (Don’t @ me, Goldies, you know I’m right.)
For a comedy that primarily took place within a Floridian kitchen, The Golden Girls boasted some serious talent. The four leads were all astoundingly adept at their craft.
The golden girls themselves proved that the family you make is sometimes stronger than the one you’re born with. Dorothy, Rose and Blanche feel, at times, aged out of their previous lives. Careers, spouses, the world: all seem to be pushing them away. But the girls are proof that you can – and should – forge new bonds, even if it seems like your old life is done for. That you can make a new family, even if your old one rejects you.
The Golden Girls pulled back the curtains on ageing, showing the ways in which old people can be flawed, passionate, monumentally stupid, brave – even at times, almost heroically horny. And it did so with an almost reckless willingness to be as wildly funny as it possibly could.
The show ended up doing what many sitcoms do: use antagonism as heat to push the plot forward. It takes truly hack writers to defend needless antagonism as the only source of fuel to propel a story (I’m looking at you, post-Sorkin West Wing). The last two seasons of The Golden Girls aren’t terrible, but Sophia morphs from an old lady without boundaries to an ancient sociopathic prankster. But even with this odd acceleration towards a caricatured sitcom event horizon, the show still manages to roll out the hits. The two-part finale, written by Mitch Hurwitz (the creator of Arrested Development) and starring Leslie Nielsen as Dorothy’s love interest, ranks as some of the best in the show’s history.
It also has – and I cannot stress this enough – the best sitcom theme song in the history of sitcom theme songs. In 2023, there are few things that will haul you out of whatever psychic muck you find yourself in than whacking on an episode of The Golden Girls. I promise you, once the credits roll, you’ll find yourself lying on the lanai in your mind, feeling somehow much lighter than you did before.
(The Guardian 2024, The Guardian website. Accessed: 06 February 2024. Available: <https://www.theguardian.com/tv-and-radio/2023/aug/02/goldengirls-tv-sitcom-enduring-joy-dorothy-rose-betty-white-blanche>. Adapted.)
Read the text to aswer the question.
The enduring joy of Golden Girls: a wildly sassy sitcom that will always cheer you up
A comedic masterclass with the best sitcom theme song of all time, Golden Girls pulled back the curtains on ageing and dealt with big-ticket issues.
A zinger-infused maelstrom of shoulder pads, pastels and perms. Rattan furniture, DayGlo linen and Formica. There’s such a distinctive look, feel and vibe to The Golden Girls, the iconic sitcom that ran from 1985 to 1992, scooping up 68 Emmy nominations and 11 wins in the process. The brainchild of producer Susan Harris, the show spawned several acclaimed spinoffs and became an enduring work of high camp in the process.
The premise? Three older women decide to live together: the stern, witty ex-teacher Dorothy Zbornak (Bea Arthur), the sweet but fantastically dense Rose Nylund (Betty White) and southern hornbag Blanche Devereaux (Rue McClanahan). At first it’s a matter of convenience, but before long, they become fast friends. During the pilot they’re joined by a fourth: Dorothy’s mother Sophia Petrillo (Estelle Getty), a nitpicky little shrew whose ability to cockblock our heroines saw her gradually become the Scrappy-Doo of the house. (Don’t @ me, Goldies, you know I’m right.)
For a comedy that primarily took place within a Floridian kitchen, The Golden Girls boasted some serious talent. The four leads were all astoundingly adept at their craft.
The golden girls themselves proved that the family you make is sometimes stronger than the one you’re born with. Dorothy, Rose and Blanche feel, at times, aged out of their previous lives. Careers, spouses, the world: all seem to be pushing them away. But the girls are proof that you can – and should – forge new bonds, even if it seems like your old life is done for. That you can make a new family, even if your old one rejects you.
The Golden Girls pulled back the curtains on ageing, showing the ways in which old people can be flawed, passionate, monumentally stupid, brave – even at times, almost heroically horny. And it did so with an almost reckless willingness to be as wildly funny as it possibly could.
The show ended up doing what many sitcoms do: use antagonism as heat to push the plot forward. It takes truly hack writers to defend needless antagonism as the only source of fuel to propel a story (I’m looking at you, post-Sorkin West Wing). The last two seasons of The Golden Girls aren’t terrible, but Sophia morphs from an old lady without boundaries to an ancient sociopathic prankster. But even with this odd acceleration towards a caricatured sitcom event horizon, the show still manages to roll out the hits. The two-part finale, written by Mitch Hurwitz (the creator of Arrested Development) and starring Leslie Nielsen as Dorothy’s love interest, ranks as some of the best in the show’s history.
It also has – and I cannot stress this enough – the best sitcom theme song in the history of sitcom theme songs. In 2023, there are few things that will haul you out of whatever psychic muck you find yourself in than whacking on an episode of The Golden Girls. I promise you, once the credits roll, you’ll find yourself lying on the lanai in your mind, feeling somehow much lighter than you did before.
(The Guardian 2024, The Guardian website. Accessed: 06 February 2024. Available: <https://www.theguardian.com/tv-and-radio/2023/aug/02/goldengirls-tv-sitcom-enduring-joy-dorothy-rose-betty-white-blanche>. Adapted.)
Read the text to aswer the question.
The enduring joy of Golden Girls: a wildly sassy sitcom that will always cheer you up
A comedic masterclass with the best sitcom theme song of all time, Golden Girls pulled back the curtains on ageing and dealt with big-ticket issues.
A zinger-infused maelstrom of shoulder pads, pastels and perms. Rattan furniture, DayGlo linen and Formica. There’s such a distinctive look, feel and vibe to The Golden Girls, the iconic sitcom that ran from 1985 to 1992, scooping up 68 Emmy nominations and 11 wins in the process. The brainchild of producer Susan Harris, the show spawned several acclaimed spinoffs and became an enduring work of high camp in the process.
The premise? Three older women decide to live together: the stern, witty ex-teacher Dorothy Zbornak (Bea Arthur), the sweet but fantastically dense Rose Nylund (Betty White) and southern hornbag Blanche Devereaux (Rue McClanahan). At first it’s a matter of convenience, but before long, they become fast friends. During the pilot they’re joined by a fourth: Dorothy’s mother Sophia Petrillo (Estelle Getty), a nitpicky little shrew whose ability to cockblock our heroines saw her gradually become the Scrappy-Doo of the house. (Don’t @ me, Goldies, you know I’m right.)
For a comedy that primarily took place within a Floridian kitchen, The Golden Girls boasted some serious talent. The four leads were all astoundingly adept at their craft.
The golden girls themselves proved that the family you make is sometimes stronger than the one you’re born with. Dorothy, Rose and Blanche feel, at times, aged out of their previous lives. Careers, spouses, the world: all seem to be pushing them away. But the girls are proof that you can – and should – forge new bonds, even if it seems like your old life is done for. That you can make a new family, even if your old one rejects you.
The Golden Girls pulled back the curtains on ageing, showing the ways in which old people can be flawed, passionate, monumentally stupid, brave – even at times, almost heroically horny. And it did so with an almost reckless willingness to be as wildly funny as it possibly could.
The show ended up doing what many sitcoms do: use antagonism as heat to push the plot forward. It takes truly hack writers to defend needless antagonism as the only source of fuel to propel a story (I’m looking at you, post-Sorkin West Wing). The last two seasons of The Golden Girls aren’t terrible, but Sophia morphs from an old lady without boundaries to an ancient sociopathic prankster. But even with this odd acceleration towards a caricatured sitcom event horizon, the show still manages to roll out the hits. The two-part finale, written by Mitch Hurwitz (the creator of Arrested Development) and starring Leslie Nielsen as Dorothy’s love interest, ranks as some of the best in the show’s history.
It also has – and I cannot stress this enough – the best sitcom theme song in the history of sitcom theme songs. In 2023, there are few things that will haul you out of whatever psychic muck you find yourself in than whacking on an episode of The Golden Girls. I promise you, once the credits roll, you’ll find yourself lying on the lanai in your mind, feeling somehow much lighter than you did before.
(The Guardian 2024, The Guardian website. Accessed: 06 February 2024. Available: <https://www.theguardian.com/tv-and-radio/2023/aug/02/goldengirls-tv-sitcom-enduring-joy-dorothy-rose-betty-white-blanche>. Adapted.)
Consider the following sentences and mark T for true and F for false according to the information you read in the text. Then check the alternative that defines the correct sequence:
( ) The show originated other shows after it.
( ) Dorothy, Blanche and Rose are sisters.
( ) The show talks about getting old.
Conheça nossos planos