Questões para Concursos

Read the text to answer question: Language learning styles and strategies are among the main factors that help determine how – and how well – our students learn a second or foreign language. The term L2 is used in this text to refer to either a second or a foreign language, following the tradition in our field. Learning styles are the general approaches – global or analytic, auditory or visual – that students use in acquiring a new language or in learning any other subject. These styles are “the overall patterns that give general direction to learning behavior” (Cornett 1983, p. 9). Of great relevance is this statement: “Learning style is the biologically and developmentally imposed set of characteristics that make the same teaching method wonderful for some and terrible for others” (Dunn and Griggs 1988, p. 3). Learning strategies are defined as “specific actions, behaviors, steps, or techniques – such as seeking out conversation partners, or giving oneself encouragement to tackle a difficult language task – used by students to enhance their own learning” (Scarcella and Oxford 1992, p. 63). When the learner consciously chooses strategies that fit his or her learning style and the L2 task at hand, these strategies become a useful tool-kit for active, conscious, and purposeful self-regulation of learning. Learning strategies can be classified into six types: cognitive, metacognitive, memoryrelated, compensatory, affective, and social. (M. Celce-Murcia, 2001. Adaptado)

Read the text to answer question. Based on theoretical, experimental, and experiential knowledge, teachers and teacher educators have expressed their dissatisfaction with method in different ways. Studies clearly demonstrate that, even as the methodological band played on, practicing teachers have been marching to a different drum. In this sense, the post method condition is established as a timely response. It signifies interrelated attributes. First and foremost, it signifies a search for an alternative to method rather than an alternative method. While alternative methods are primarily products of top-down processes, alternatives to method are mainly products of bottom-up processes. In practical terms, this means that we need to refigure the relationship between the theorizer and the practitioner of language teaching. If the concept of method authorizes theorizers to centralize pedagogic decision-making, the postmethod condition enables practitioners to generate location-specific, classroom-oriented innovative strategies. Secondly, the postmethod condition signifies teacher autonomy. The conventional concept of method “overlooks the fund of experience and tacit knowledge about teaching which the teachers already have by virtue of their lives as students” (Freeman, 1991). The postmethod condition, however, recognizes the teachers’ potential to know not only how to teach but also how to act autonomously within the academic and administrative constraints imposed by institutions, curricula, and textbooks. It also promotes the ability of teachers to know how to develop a critical approach in order to self-observe, self-analyze, and self-evaluate their own teaching practice with a view to effecting desired changes. (B. Kumaravadivelu, Beyond Methods: Macrostrategies for language teaching . Haven and London: Yale University Press. 2003. Adaptado)

Text 7A3-I As a science fiction writer, Octavia Butler forged a new path and envisioned bold possibilities. The future she wrote about is now our present moment. She wrote 12 novels and won each of science fiction’s highest honors. In 1995, she became the first science fiction writer to be awarded a MacArthur “genius” grant. She is also, increasingly, a writer recognized as one of the most important voices and visionaries of the 20 th century, and now the 21 st . As a Black woman and a writer, Butler demolished walls that seemed impermeable, writing on themes that seemed uncategorizable. Her ideas and characters continue to resonate with new readers when so many are looking for, if not hope, then a map for a way forward. Her vision about the climate crisis, political and societal upheaval and the brutality and consequences of power hierarchies seems both sobering and prescient. However, as Butler often noted, being right was never the point. She didn’t want to be right — far from it. She wanted to give us time, and tools, to correct the course. Lynell George. The Visions of Octavia Butler. Internet: (adapted).

Text 7A2-I If we believe that our own information age is defined by the digital structures of electronic communication, we must take early modern culture as inextricably bound to the medium of print. Printed text and image arose within a few years of each other in the mid-fifteenth century, credited to the German goldsmith Johannes Gutenberg, who seemingly drew together a series of extant yet disparate technologies into a new machine that could print several thousand sheets a day. The ancient oil or wine press, the goldsmith’s craft in fine metal carving, the late-medieval development of plentiful rag paper, and the recent formulation of more stable oil-based inks enabled Gutenberg’s ‘revolution’. Similarly, early photography developed from a coming together of two otherwise disparate technologies: on the one hand, the pinhole camera through which capture a refected view of the world as an image, and on the other the chemical means to fix the effects of light exposure on paper. In both cases, these technologies shared aesthetic resources with other media available at the time, while also producing forms of representation that were uniquely theirs, and which offered access to new ways of seeing, and enabled new forms of subjectivity. The greatly expanded flow of visual information facilitated by these technological breakthroughs worked to quicken the circulation of knowledge, and the foundations of thought itself. Genevieve Warwick and Richard Taws. After Prometheus : Art and Technology in Early Modern Europe. In : Art History – Journal of the Association of Art Historians. Special Edition: Art and Technology in Early Modern Europe. p. 201 (adapted)

Text 7A2-II In October 1971, a gentleman called Frieder Nake published a note entitled, There Should Be No Computer Art, which I quote here. “Soon after the advent of computers, it became clear that there was a great potential application for them in the area of artistic creation”, he began. “Before 1960, amazing, large, expensive, digital computers helped to produce poetic text and music. Analog computers, or only oscilloscopes, generated drawings of sets of mathematical curves and representations of oscillations. It was not before the first exhibitions of computer produced pictures were held in 1965 that a greater public took notice of this threat, as some said, progress, as some thought. I was involved in this development from its beginning. I think that the way the art scene reacted to the new creations is interesting, pleasing, and stupid. I stated in 1970 that I was no longer going to take part in exhibitions. I find it easy to admit that computer art did not contribute to the advancement of art if we compare the computer products to all existing works of art. In other words, the repertoire of results of aesthetic behavior has not been changed by the use of computers. This point of view, namely, that of art history, is shared and held against computer art by many art critics. There is no doubt in my mind”, Frieder Nake said, “that interesting new methods have been found in the last decade which can be of some significance for the creative artist”. As you might imagine, this was a bit of a controversial take. Here was a man who had for part of the previous decade been an insider, an advocate for the use of algorithmic and generative processes to create art. However, he was now seeing things from another perspective. I’ll just finish with another piece from what he posted in that article: “Questions like ‘is a computer creative’, or ‘is a computer an artist’, or the like, should not be considered serious questions, period. In the light of what we are facing at the end of the 20th century, those irrelevant questions do not matter”. Where is the Art? A History in Technology . Internet: (adapted).

Text 7A2-II In October 1971, a gentleman called Frieder Nake published a note entitled, There Should Be No Computer Art, which I quote here. “Soon after the advent of computers, it became clear that there was a great potential application for them in the area of artistic creation”, he began. “Before 1960, amazing, large, expensive, digital computers helped to produce poetic text and music. Analog computers, or only oscilloscopes, generated drawings of sets of mathematical curves and representations of oscillations. It was not before the first exhibitions of computer produced pictures were held in 1965 that a greater public took notice of this threat, as some said, progress, as some thought. I was involved in this development from its beginning. I think that the way the art scene reacted to the new creations is interesting, pleasing, and stupid. I stated in 1970 that I was no longer going to take part in exhibitions. I find it easy to admit that computer art did not contribute to the advancement of art if we compare the computer products to all existing works of art. In other words, the repertoire of results of aesthetic behavior has not been changed by the use of computers. This point of view, namely, that of art history, is shared and held against computer art by many art critics. There is no doubt in my mind”, Frieder Nake said, “that interesting new methods have been found in the last decade which can be of some significance for the creative artist”. As you might imagine, this was a bit of a controversial take. Here was a man who had for part of the previous decade been an insider, an advocate for the use of algorithmic and generative processes to create art. However, he was now seeing things from another perspective. I’ll just finish with another piece from what he posted in that article: “Questions like ‘is a computer creative’, or ‘is a computer an artist’, or the like, should not be considered serious questions, period. In the light of what we are facing at the end of the 20th century, those irrelevant questions do not matter”. Where is the Art? A History in Technology . Internet: (adapted).

Text 7A2-II In October 1971, a gentleman called Frieder Nake published a note entitled, There Should Be No Computer Art, which I quote here. “Soon after the advent of computers, it became clear that there was a great potential application for them in the area of artistic creation”, he began. “Before 1960, amazing, large, expensive, digital computers helped to produce poetic text and music. Analog computers, or only oscilloscopes, generated drawings of sets of mathematical curves and representations of oscillations. It was not before the first exhibitions of computer produced pictures were held in 1965 that a greater public took notice of this threat, as some said, progress, as some thought. I was involved in this development from its beginning. I think that the way the art scene reacted to the new creations is interesting, pleasing, and stupid. I stated in 1970 that I was no longer going to take part in exhibitions. I find it easy to admit that computer art did not contribute to the advancement of art if we compare the computer products to all existing works of art. In other words, the repertoire of results of aesthetic behavior has not been changed by the use of computers. This point of view, namely, that of art history, is shared and held against computer art by many art critics. There is no doubt in my mind”, Frieder Nake said, “that interesting new methods have been found in the last decade which can be of some significance for the creative artist”. As you might imagine, this was a bit of a controversial take. Here was a man who had for part of the previous decade been an insider, an advocate for the use of algorithmic and generative processes to create art. However, he was now seeing things from another perspective. I’ll just finish with another piece from what he posted in that article: “Questions like ‘is a computer creative’, or ‘is a computer an artist’, or the like, should not be considered serious questions, period. In the light of what we are facing at the end of the 20th century, those irrelevant questions do not matter”. Where is the Art? A History in Technology . Internet: (adapted).