Questões para Concursos

Text V Literacy as a Multidimensional Concept An emphasis on the development of literacy as a fluid concept (Knobel and Lankshear, 2014) is one of the most recent advances in twenty-first-century education. To conceptualize literacy, the ability of the learner to make use of language takes precedence in typical Western educational systems. However, as Kern highlights, “literacy is more than a set of academic skills” (2000, 23). It varies depending on the social context and is embedded in cultural practice (Paesani et al. 2016). Therefore, in order to define it, we must take into consideration the set of resources, sociocultural practices and competences––beyond reading and writing––that enable student interaction, critical thinking, the drawing of conclusions and the application of knowledge to curricular areas and realworld situations (New London Group 1996; Kern 2000; American Association of School Librarians (AASL) 2011; Cooper et al. 2012; Kucer 2014; Paesani et al. 2016; Reyes-Torres 2018; Warner and Dupuy 2018).

As such, the multimodal training approach that we propose for the FL class stems from Kern’s notion of literacy, first, “as a process of creating and transforming knowledge” (2000, 29), and second, “as a matter of engaging in the ever-developing process of using reading and writing as tools for thinking and learning, in order to expand one’s understanding of oneself and the world” (40). This involves paying careful attention to language, while also developing a critical awareness of the relationships between texts, images, discourse conventions and sociocultural and digital contexts.

In sum, and in consonance with Kern and other scholars such as the NLG (1996), Steve Kucer (2014), Maria Brisk (2015), Paesani et al. (2016) and Shari Tishman (2018), we define literacy as a dynamic and multidimensional concept whose main aim is to provide twenty-first-century learners with the language skills, visual thinking strategies and dialogic attitudes that are necessary to develop the knowledge that allows them to grasp and evaluate information, organize ideas, exchange perspectives, construct meaning and reflect critically on a variety of sociocultural contexts.

In order to foster such a multidimensional approach to literacy in EFL and implement it as an organizing principle (Kress 2010; Serafini 2014), it is necessary that teachers become acquainted with the three dimensions that both Kern (2000) and Kucer (2014) acknowledge as the key components: a) cognitive; b) conceptual; and c) sociocultural. These dimensions constitute a field of forces that complement one another and are equally important in the process of both teaching and learning, and they also illustrate the multiple facets and fluid nature of literacy.

Adapted from: FERNÁNDEZ, Teresa; REYES-TORRES, Agustín; FERNÁNDEZ, Pilar. A multimodal approach to foster the multiliteracies pedagogy in the English as a Foreign Language context. ATLANTIS: Journal of the Spanish Association of AngloAmerican Studies, vol. 42, no. 1, pp. 94–119, 2020. Available at: https://www.atlantisjournal.org/index.php/atlantis/article/view/741. Accessed on: Mar. 21, 2025.

Text V Literacy as a Multidimensional Concept An emphasis on the development of literacy as a fluid concept (Knobel and Lankshear, 2014) is one of the most recent advances in twenty-first-century education. To conceptualize literacy, the ability of the learner to make use of language takes precedence in typical Western educational systems. However, as Kern highlights, “literacy is more than a set of academic skills” (2000, 23). It varies depending on the social context and is embedded in cultural practice (Paesani et al. 2016). Therefore, in order to define it, we must take into consideration the set of resources, sociocultural practices and competences––beyond reading and writing––that enable student interaction, critical thinking, the drawing of conclusions and the application of knowledge to curricular areas and realworld situations (New London Group 1996; Kern 2000; American Association of School Librarians (AASL) 2011; Cooper et al. 2012; Kucer 2014; Paesani et al. 2016; Reyes-Torres 2018; Warner and Dupuy 2018).

As such, the multimodal training approach that we propose for the FL class stems from Kern’s notion of literacy, first, “as a process of creating and transforming knowledge” (2000, 29), and second, “as a matter of engaging in the ever-developing process of using reading and writing as tools for thinking and learning, in order to expand one’s understanding of oneself and the world” (40). This involves paying careful attention to language, while also developing a critical awareness of the relationships between texts, images, discourse conventions and sociocultural and digital contexts.

In sum, and in consonance with Kern and other scholars such as the NLG (1996), Steve Kucer (2014), Maria Brisk (2015), Paesani et al. (2016) and Shari Tishman (2018), we define literacy as a dynamic and multidimensional concept whose main aim is to provide twenty-first-century learners with the language skills, visual thinking strategies and dialogic attitudes that are necessary to develop the knowledge that allows them to grasp and evaluate information, organize ideas, exchange perspectives, construct meaning and reflect critically on a variety of sociocultural contexts.

In order to foster such a multidimensional approach to literacy in EFL and implement it as an organizing principle (Kress 2010; Serafini 2014), it is necessary that teachers become acquainted with the three dimensions that both Kern (2000) and Kucer (2014) acknowledge as the key components: a) cognitive; b) conceptual; and c) sociocultural. These dimensions constitute a field of forces that complement one another and are equally important in the process of both teaching and learning, and they also illustrate the multiple facets and fluid nature of literacy.

Adapted from: FERNÁNDEZ, Teresa; REYES-TORRES, Agustín; FERNÁNDEZ, Pilar. A multimodal approach to foster the multiliteracies pedagogy in the English as a Foreign Language context. ATLANTIS: Journal of the Spanish Association of AngloAmerican Studies, vol. 42, no. 1, pp. 94–119, 2020. Available at: https://www.atlantisjournal.org/index.php/atlantis/article/view/741. Accessed on: Mar. 21, 2025.

Text V Literacy as a Multidimensional Concept An emphasis on the development of literacy as a fluid concept (Knobel and Lankshear, 2014) is one of the most recent advances in twenty-first-century education. To conceptualize literacy, the ability of the learner to make use of language takes precedence in typical Western educational systems. However, as Kern highlights, “literacy is more than a set of academic skills” (2000, 23). It varies depending on the social context and is embedded in cultural practice (Paesani et al. 2016). Therefore, in order to define it, we must take into consideration the set of resources, sociocultural practices and competences––beyond reading and writing––that enable student interaction, critical thinking, the drawing of conclusions and the application of knowledge to curricular areas and realworld situations (New London Group 1996; Kern 2000; American Association of School Librarians (AASL) 2011; Cooper et al. 2012; Kucer 2014; Paesani et al. 2016; Reyes-Torres 2018; Warner and Dupuy 2018).

As such, the multimodal training approach that we propose for the FL class stems from Kern’s notion of literacy, first, “as a process of creating and transforming knowledge” (2000, 29), and second, “as a matter of engaging in the ever-developing process of using reading and writing as tools for thinking and learning, in order to expand one’s understanding of oneself and the world” (40). This involves paying careful attention to language, while also developing a critical awareness of the relationships between texts, images, discourse conventions and sociocultural and digital contexts.

In sum, and in consonance with Kern and other scholars such as the NLG (1996), Steve Kucer (2014), Maria Brisk (2015), Paesani et al. (2016) and Shari Tishman (2018), we define literacy as a dynamic and multidimensional concept whose main aim is to provide twenty-first-century learners with the language skills, visual thinking strategies and dialogic attitudes that are necessary to develop the knowledge that allows them to grasp and evaluate information, organize ideas, exchange perspectives, construct meaning and reflect critically on a variety of sociocultural contexts.

In order to foster such a multidimensional approach to literacy in EFL and implement it as an organizing principle (Kress 2010; Serafini 2014), it is necessary that teachers become acquainted with the three dimensions that both Kern (2000) and Kucer (2014) acknowledge as the key components: a) cognitive; b) conceptual; and c) sociocultural. These dimensions constitute a field of forces that complement one another and are equally important in the process of both teaching and learning, and they also illustrate the multiple facets and fluid nature of literacy.

Adapted from: FERNÁNDEZ, Teresa; REYES-TORRES, Agustín; FERNÁNDEZ, Pilar. A multimodal approach to foster the multiliteracies pedagogy in the English as a Foreign Language context. ATLANTIS: Journal of the Spanish Association of AngloAmerican Studies, vol. 42, no. 1, pp. 94–119, 2020. Available at: https://www.atlantisjournal.org/index.php/atlantis/article/view/741. Accessed on: Mar. 21, 2025.

Leia o texto para responder à questão. What does a Theatrical Company Manager do? It’s difficult to pin down exactly what a theatrical company manager does simply because they do so much: negotiate contracts, organize payroll, pay for purchases of outside materials, organize rehearsals, arrange transportation and lodging for cast and crew, assist the director, and – of course – handle emergencies inside and outside of the theater. Crucially, company managers also act as the link between the general manager – their boss – and the rest of the company. A generalized problem solver with a focus on human resources and logistics, the company manager’s work is never over, and rarely the same from day to day. Expected Professional Education The company manager is one of the highest-ranking professionals in any theater company or production, responsible for overseeing almost all logistical and administrative processes. While a company manager could possibly do well with no more than a bachelor’s degree, most theater companies prefer a master’s degree in theater management, business management, or arts administration. Many company managers get started as stage managers, working directly with the director, actors, and designers in rehearsal and calling the show. Over time, they may move gradually towards the broader logistical duties of a company manager, perhaps progressing first to become the head of operations or audience services. As this is a high-ranking position, most company managers advance by seeking longterm positions with prestigious and well-funded companies. They can also progress to become general managers, or even choose to become production managers. (https://www.berklee.edu. Adaptado)

Leia o texto para responder à questão. What does a Theatrical Company Manager do? It’s difficult to pin down exactly what a theatrical company manager does simply because they do so much: negotiate contracts, organize payroll, pay for purchases of outside materials, organize rehearsals, arrange transportation and lodging for cast and crew, assist the director, and – of course – handle emergencies inside and outside of the theater. Crucially, company managers also act as the link between the general manager – their boss – and the rest of the company. A generalized problem solver with a focus on human resources and logistics, the company manager’s work is never over, and rarely the same from day to day. Expected Professional Education The company manager is one of the highest-ranking professionals in any theater company or production, responsible for overseeing almost all logistical and administrative processes. While a company manager could possibly do well with no more than a bachelor’s degree, most theater companies prefer a master’s degree in theater management, business management, or arts administration. Many company managers get started as stage managers, working directly with the director, actors, and designers in rehearsal and calling the show. Over time, they may move gradually towards the broader logistical duties of a company manager, perhaps progressing first to become the head of operations or audience services. As this is a high-ranking position, most company managers advance by seeking longterm positions with prestigious and well-funded companies. They can also progress to become general managers, or even choose to become production managers. (https://www.berklee.edu. Adaptado)

Leia o texto para responder à questão. What does a Theatrical Company Manager do? It’s difficult to pin down exactly what a theatrical company manager does simply because they do so much: negotiate contracts, organize payroll, pay for purchases of outside materials, organize rehearsals, arrange transportation and lodging for cast and crew, assist the director, and – of course – handle emergencies inside and outside of the theater. Crucially, company managers also act as the link between the general manager – their boss – and the rest of the company. A generalized problem solver with a focus on human resources and logistics, the company manager’s work is never over, and rarely the same from day to day. Expected Professional Education The company manager is one of the highest-ranking professionals in any theater company or production, responsible for overseeing almost all logistical and administrative processes. While a company manager could possibly do well with no more than a bachelor’s degree, most theater companies prefer a master’s degree in theater management, business management, or arts administration. Many company managers get started as stage managers, working directly with the director, actors, and designers in rehearsal and calling the show. Over time, they may move gradually towards the broader logistical duties of a company manager, perhaps progressing first to become the head of operations or audience services. As this is a high-ranking position, most company managers advance by seeking longterm positions with prestigious and well-funded companies. They can also progress to become general managers, or even choose to become production managers. (https://www.berklee.edu. Adaptado)

Leia o texto para responder à questão. What does a Theatrical Company Manager do? It’s difficult to pin down exactly what a theatrical company manager does simply because they do so much: negotiate contracts, organize payroll, pay for purchases of outside materials, organize rehearsals, arrange transportation and lodging for cast and crew, assist the director, and – of course – handle emergencies inside and outside of the theater. Crucially, company managers also act as the link between the general manager – their boss – and the rest of the company. A generalized problem solver with a focus on human resources and logistics, the company manager’s work is never over, and rarely the same from day to day. Expected Professional Education The company manager is one of the highest-ranking professionals in any theater company or production, responsible for overseeing almost all logistical and administrative processes. While a company manager could possibly do well with no more than a bachelor’s degree, most theater companies prefer a master’s degree in theater management, business management, or arts administration. Many company managers get started as stage managers, working directly with the director, actors, and designers in rehearsal and calling the show. Over time, they may move gradually towards the broader logistical duties of a company manager, perhaps progressing first to become the head of operations or audience services. As this is a high-ranking position, most company managers advance by seeking longterm positions with prestigious and well-funded companies. They can also progress to become general managers, or even choose to become production managers. (https://www.berklee.edu. Adaptado)

Read the text to answer question. No one who speaks English has any difficulty understanding the meaning of a sentence like ‘It’s warm in here’. We all recognise that it is a comment on the temperature in some place or other. But why it is being said, and what the speaker wishes to convey by saying it, depends entirely on two things: the context in which it is said and what the speaker wants people to understand (...) The meaning of language depends on where it occurs within a larger stretch of discourse, and thus the relationship that the different language elements have with what comes before and after them. In other words, speakers and writers have to be able to operate with more than just words and grammar; they have to be able to string utterances together. Our ability to function properly in conversation or writing depends not only on reacting to the context in which we are using the language, but also on the relationship between words and ideas in longer texts. Words can also mean more than one thing, for example, ‘book’ (= something to read, to reserve, a list of bets, etc.), ‘beat’ (= to win, to hit, to mix, e.g. an egg, the ‘pulse’ of music/a heart) and ‘can’ (= ability, permission, probability – and a container made of metal). Notice that, in these examples, not only can the same form have many meanings, but it can also be different parts of speech. With so many available meanings for words and grammatical forms, it is the context the word occurs in which determines which of these meanings is being referred to. If we say, ‘I beat him because I ran faster than he did’, ‘beat’ is likely to mean won rather than physically assaulted or mixed (though there is always the possibility of ambiguity, of course). (Harmer, 1998. Adaptado)

Read the text to answer question. No one who speaks English has any difficulty understanding the meaning of a sentence like ‘It’s warm in here’. We all recognise that it is a comment on the temperature in some place or other. But why it is being said, and what the speaker wishes to convey by saying it, depends entirely on two things: the context in which it is said and what the speaker wants people to understand (...) The meaning of language depends on where it occurs within a larger stretch of discourse, and thus the relationship that the different language elements have with what comes before and after them. In other words, speakers and writers have to be able to operate with more than just words and grammar; they have to be able to string utterances together. Our ability to function properly in conversation or writing depends not only on reacting to the context in which we are using the language, but also on the relationship between words and ideas in longer texts. Words can also mean more than one thing, for example, ‘book’ (= something to read, to reserve, a list of bets, etc.), ‘beat’ (= to win, to hit, to mix, e.g. an egg, the ‘pulse’ of music/a heart) and ‘can’ (= ability, permission, probability – and a container made of metal). Notice that, in these examples, not only can the same form have many meanings, but it can also be different parts of speech. With so many available meanings for words and grammatical forms, it is the context the word occurs in which determines which of these meanings is being referred to. If we say, ‘I beat him because I ran faster than he did’, ‘beat’ is likely to mean won rather than physically assaulted or mixed (though there is always the possibility of ambiguity, of course). (Harmer, 1998. Adaptado)

Read the text to answer question. No one who speaks English has any difficulty understanding the meaning of a sentence like ‘It’s warm in here’. We all recognise that it is a comment on the temperature in some place or other. But why it is being said, and what the speaker wishes to convey by saying it, depends entirely on two things: the context in which it is said and what the speaker wants people to understand (...) The meaning of language depends on where it occurs within a larger stretch of discourse, and thus the relationship that the different language elements have with what comes before and after them. In other words, speakers and writers have to be able to operate with more than just words and grammar; they have to be able to string utterances together. Our ability to function properly in conversation or writing depends not only on reacting to the context in which we are using the language, but also on the relationship between words and ideas in longer texts. Words can also mean more than one thing, for example, ‘book’ (= something to read, to reserve, a list of bets, etc.), ‘beat’ (= to win, to hit, to mix, e.g. an egg, the ‘pulse’ of music/a heart) and ‘can’ (= ability, permission, probability – and a container made of metal). Notice that, in these examples, not only can the same form have many meanings, but it can also be different parts of speech. With so many available meanings for words and grammatical forms, it is the context the word occurs in which determines which of these meanings is being referred to. If we say, ‘I beat him because I ran faster than he did’, ‘beat’ is likely to mean won rather than physically assaulted or mixed (though there is always the possibility of ambiguity, of course). (Harmer, 1998. Adaptado)