Questões para Concursos

Crazy Horse Crazy Horse (Tasunke Witko, 1840-1877) was an Oglala Lakota Sioux warrior and warband leader considered among the greatest defenders of Sioux lands against the forces of the US government in the 19th century. He is one of the most famous Native American figures in history and among the Sioux's most honored heroes. Although he is often referred to as a "chief", Crazy Horse was actually a "Shirt Wearer" – a kind of "subchief" – who carried out the decisions of the council and also served as a war chief of a given band of warriors. Even so, Crazy Horse inspired such devotion in his followers that he was regarded as a "chief" and is referenced as such by others. His name, Tasunke Witko (Crazy Horse), is accurately translated as "His Crazy Horse" or "His Horse is Crazy" and was his father's and grandfather's name, seemingly referencing a horse that behaved erratically. According to Black Elk, however, the name correlated to Crazy Horse's famous vision in which he saw his horse dancing as though "made only of shadow" in a strange or "crazy" way. Crazy Horse dedicated himself to opposing the US military as early as 1854 following the Grattan Fight (Grattan Massacre) and the subsequent massacre of Little Thunder's camp in 1855 by Colonel William S. Harney. He continued his resistance over the next eleven years and was named a "Shirt Wearer" in 1865. He fought in the Battle of Plate River Bridge (1865), Red Cloud's War (1866-1868), the Battle of the Rosebud (1876), and the Battle of the Little Bighorn (1876). His last full-scale engagement with US forces was the Battle of Wolf Mountain in January 1877. World History Encyclopedia. Adaptation.

Google News, Thursday, June 16, 2021 Teaching methods keep changing with the times,................... the blackboard of the old days ........... electronic teaching today. Mr. Kam, physics instructor the Chinese University of Hong Kong, is one of those who has changed ......... the times. Mr. Kam employs a two-pronged approach. First , he uses multimedia teaching materials during lectures. Second , he arranges internships for undergraduates. These can take the form of learning assistantships at the university or teaching assistantships at secondary schools, and also there’s always the odd science project at the Space Museum. The initiatives have earned him the Faculty Exemplary Teaching Award 2020. A CUHK alumnus, he is grateful for the chance to teach at the university after earning his doctoral degree there. His teaching position actually represents the fulfillment of a dream, for the status of professors during his days as a university student was extremely high and he could meet them only during lectures. After being a teacher for 10 years, Mr. Kam has found no apparent regression in the learning abilities of students, but he believes teachers should not just force knowledge on students - they have to pay careful attention to their needs too. The multimedia materials that Mr. Kam uses to illustrate his area of interest includes animation and video clips. He encourages students to read popular astronomy magazines and share any note-worthy content they find. Mr. Kam also gets his undergraduates to help prepare students sitting for physics papers in public exams or to help out on research projects undertaken by meteorological officers at the observatory. He also arranges for his undergraduates to teach students from other faculties during physics liberal studies classes through talks and star-gazing expeditions. Such responsibilities serve two greater purposes. First, undergraduates become even more motivated to learn when they find out they have to guide other students. Second, physics students are, unlike arts students, not at their best when called upon to express themselves. Acting as assistants allows them to practice their skills and build up their self- confidence. I asked Mr. Kam what he found most satisfying in teaching. And the answer is obvious. It is the deep friendship he forms with students. Mr. Kam says many former students still come back to see him occasionally despite being busy parents. He draws considerable satisfaction from seeing his students grow into mature adults. For Mr. Kam, the best teachers will never find extracurricular activity a burden because the good work that is done today plants the seed for future generations.

The report presents an overview of English teaching in Brazil, examining the main national policies that regulate and inform English language learning and how they have been implemented. In addition, the study aims to exemplify how English teaching is guided from the national level to the state and municipal level, looking particularly at the states of Minas Gerais and Mato Grosso. The case studies in these two states examine state policies related to English, with a particular focus on teachers and their careers, from training to work routine and 20 classroom pedagogical practices. Based on an in-depth analysis of these two Brazilian states and the results of questionnaires conducted with universities and with teachers, this report offers a set of recommendations for improving English teaching in these two states, which can also be applied to other states or federal entities in Brazil. The aim is to consolidate these recommendations into workable and meaningful propositions with the ultimate goal of improving English teaching 25 in Brazil through better quality education led by qualified teachers.

(Source: https://www.thedialogue.org/analysis/english-language-learning-in-brazil/. Access: October 2024.)

Conclusions and Recommendations Given the panorama of English instruction in Brazil, particularly in the states of Minas Gerais and Mato Grosso, and considering the results of the surveys conducted with universities and teachers in both states, some conclusions and recommendations could be drawn. Nationally, English instruction has been gaining importance and visibility through curriculum reform and the new model of upper secondary school. It is an enormously significant achievement that, for the first time, English has become mandatory in all public and private schools from 6th grade onward. The BNCC offers clarity on the competencies and abilities that students should develop at each education level. However, if, on the one hand, making English compulsory was an important step, on the other hand, the implementation of this policy is still incomplete. The main issue is the limited amount of instructional time in English in the national curriculum guidelines. As the cases of Mato Grosso and Minas Gerais illustrate, the result is that students have insufficient exposure to the language, with only two classes per week in secondary schools and one class per week in upper secondary. Under these conditions, it is unlikely that learners will develop full proficiency in the language, and teachers will have the instructional time to focus on all the necessary competencies and abilities required by the BNCC. Another important consideration is the link between initial training for English teachers and how it interacts with the routines and challenges of the classroom. There is room for improvement when considering the mismatch between the programs of study at universities and the pedagogical practice required of English teachers and strengthened ties and communication between State Education Departments and the teacher training programs at universities. Universities face additional challenges, such as the low English proficiency of students in the initial training courses. Initial training institutions face difficulties in thoroughly preparing future teachers regarding language proficiency and the pedagogical elements related to being an effective teacher. In this sense, the situation can create a vicious cycle; students leave schools with a low proficiency level in English, and those who decide to take the initial training courses to become English teachers and enter universities cannot fully develop proficiency as pedagogical competencies. Therefore, they enter schools not fully prepared to be teachers and face all the challenges of a classroom. Another critical challenge is class size and the heterogeneity of students’ ability levels, which could limit teachers’ ability to implement some pedagogical practices, such as working with practicing speaking. This is not only a challenge faced by English teachers, but all teachers and that policymakers need to keep in mind. In addition, teachers commonly work in more than one school at a time and sometimes teach other subjects to meet the required hours of instructional time stipulated in their contracts. The surveys with teachers demonstrated that many have never participated in a professional development session specifically designed for English teachers. For those who have, not all considered the helpful training to improve their knowledge and practice. This points to the fact that more attention needs to be paid to the continuous training courses offered to English teachers. These training courses should be frequent and address specific challenges, taking into account the pedagogical issues and areas that English teachers identify as most critical. Briefly, it is important to highlight the windows of opportunity that have been opened in Brazil with the BNCC and the new upper secondary model. Through their education ministries, state governments have made significant efforts to adapt their regional curricula to the competencies and abilities listed on the BNCC and implement the first pilots and designed pathways for upper secondary schools. It remains a question of how the rest of those two processes will be implemented, but there are positive signs that English may gain more importance at a national level. At least in Minas Gerais and Mato Grosso, there is already a movement to increase the importance of the discipline. While Minas Gerais has developed a few specific training courses for English teachers focused on improving their pedagogical knowledge through the program “Pathways for Educators” and intends to create a training pathway for upper secondary students focused in English, Mato Grosso has implemented English in all primary schools in the state and launched the program “More English,” with resources to help teachers and students. Those efforts are aligned with the national reforms and illustrate the political willingness of states to promote more actions to improve teachers’ and students’ proficiency in English. In these states and, to some extent, at the national level, the foundations have been set to put English instruction in the spotlight as a crucial discipline to the integral development of students. However, much work and resources are still needed to realize this goal. Therefore, the following recommendations are intended to advise decision-makers at universities and State Education Departments.

(Source: https://www.thedialogue.org/wp-content/. Access: October 2024.)

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.)

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.)

Something in the water? Why we love shark films From the Steven Spielberg classic Jaws, to predators stalking the Seine in Under Paris, there is no shortage of shark films. Hollywood and audiences love them, seemingly never tiring of the suspense, gore and terror. There are prehistoric giant sharks in The Meg, genetically engineered ones in Deep Blue Sea, and sharks high on cocaine in the ingeniously named Cocaine Shark. Even Donald Trump is a fan – he was reportedly due to play the US president in a Sharknado film, before becoming the actual president. I became hooked on them after watching James Bond film Thunderball, where the villain keeps sharks in his swimming pool. It led to a lifelong interest in shark films, as well as an irrational fear of swimming pools, even ones filled with chlorine inside leisure centres. Hayley Easton Street is the British director behind a new shark film, Something in the Water, which tells the story of a group of women stranded at sea. She explains that, as fan of shark films herself, she “absolutely wanted” to make the movie. So why are shark movies so popular? “It's the fear of what could be going on with the unknown of [the sea]” she tells BBC News. “Just being stuck in the middle of the ocean is scary enough. You're trapped in something else's world and anything could happen.” But despite Street's love of shark films, she did not want the ones in hers to be portrayed as marine serial killers. “We kill 100 million sharks every year” she notes. The director was also aware that the release of Jaws led to a huge rise in the hunting of sharks, partly because they had been portrayed as merciless killers. “As much as I love shark films, I love sharks.” “I was really conscious of that, because it's easy for people to start seeing them as killing machines... or monsters, which they are not.” She adds: “I feel it's more scary to have the realistic theme of it, that, you know, if you are out in the ocean and there are sharks and they do mistake you for something else, they will kill you.” Despite the huge success of Jaws, Spielberg has said he “truly regrets the decimation of the shark population because of the book and the film”. Spielberg is not the only person concerned about Hollywood's portrayal of sharks and the impact it continues to have. US marine biologist Andriana Fragola dedicates herself to educating people about sharks, often sharing videos of her diving with them. She says they are “misunderstood predators” that have been harmed by movies and the media. Andriana tells me that she has watched Netflix's new shark film, Under Paris, and was not impressed. “Their whole thing was it's about conservation, about studying them, but then the sharks are still eating people.” “So it's giving a little bit more of a rounded education and a little bit more depth to the story, it's not just people swimming at the beach and getting attacked and eaten.” “But the bottom line and what people can draw from the movie is that sharks are still really dangerous to people and they're just going to continuously hunt and eat people.” “If that was true, we would be reduced as a human species. Everyone who goes to the beach, they would be threatened.” Andriana says the perception of sharks causes a real issue for conservation. “It's a huge problem because people don't want to protect something that they're scared of.” “The perception from people is that they're dangerous to humans so we should eradicate them, and that's obviously a huge problem for conservation and getting people to want to empathise or sympathise with sharks and wanting to actually protect them.” “It's unfortunate because 100 million sharks are killed every year, and globally sharks kill fewer than 10 people every year.” “We're really focused on the sharks being the monsters and them being out to get us. In reality it's the opposite.” It is unlikely that Hollywood will stop making shark films, or we will stop watching them. But the figures show that far from being the serial killers of the sea, sharks are actually much more likely to be the victims of humans. (Charlotte Gallagher, Culture reporter, BBC 2024. Accessed: 29 July 2024. Available in: . Adapted.)

Text I Energy Transition in a Transnational World Within the sphere of environmental law, the climate crisis is increasingly understood to be an intersectional challenge that implicates and exacerbates existing systemic challenges and prevailing pathways of inequality. From this vantage point climate change also creates opportunities for rethinking the role of law in limiting the destructive impacts of climate change and moving towards a more sustainable and equitable world in the process. This view is advanced by the climate justice movement, which is swelling in influence worldwide. Drawing from the environmental justice movement, the climate justice movement exposes not only how social and economic inequality has led to and perpetuates patterns of climate change, but also how climate change deepens inequality by disproportionately affecting the most vulnerable members of society. Climate justice seeks greater emphasis on this issue and advocates on the part of those most affected by climate change. The movement envisions a world which simultaneously curtails the negative effects of climate change and reshapes existing social, political, and economic relationships along the way. Amidst the overlapping crises of modern times, the modern climate justice movement is reviving dialogue at the intersection of feminism, environmentalism, social and economic justice, and other progressive law reform movements, as well as creating the space and momentum for intersectional ideas to flourish. For lawyers and legal scholars, the opportunity is to see climate change and environmental degradation within its broader social context and to seize upon the rule of law as a powerful tool for change. Nowhere are these intersecting challenges as acute as in the context of energy. One of the principal aims of the climate justice movement is to achieve a just and equitable transition from an extractive economy to a regenerative economy. This requires transitioning from fossil fuel-dependent to low and zero-carbon economies. However, the pathways for overhauling energy systems worldwide remain indeterminate. Energy systems are evolving in response to a combination of law and policy changes, developments in energy technologies, and market forces. Moreover, given both the entrenched nature of fossil fuel economies and the varied social, political, economic, and environmental factors that shape energy transition, pathways to decarbonization are bound to be beset with complex trade-offs, such as those between energy security and environmental objectives, or between energy choice and economies of scale. The precise contours of these systemic changes vary from country to country, and remain under-explored both within their national contexts and from a broader transnational perspective. This knowledge gap is critical. Understanding how, why, and to what end states are restructuring their energy economies is essential for transitioning to more environmentally sustainable and just societies worldwide. In short, this is an area in need of experimentation and iterative learning. It is a subject ripe for greater scholarly focus, particularly at the transnational level, where improved learning and sharing is indispensable for achieving the global-level shifts needed to address climate change. Adapted from: Etty, Thijs et al. “Energy Transition in a Transnational World.” Transnational Environmental Law 10.2 (2021): 197–204. Available athttps://www.cambridge.org/core/journals/transnational-environmentallaw/article/energy-transition-in-a-transnationalworld/9F9D4229588B39C0E5916DFBE82EA046

Back in October 2011, Stanford professors launched three free online courses, open to the public. One by one, these courses went massive, with enrollments topping 100.000 students each. Soon the media was calling these courses MOOCs, short for massive open online courses. Since then, more than 1.200 universities around the world have launched free online courses. In addition to the larger global MOOC platforms, many national governments around the world have launched their own country-specific MOOC platforms, including India, Italy, Israel, Mexico and Thailand. After a decade of popularization, in 2021, over 220 million students had signed up for at least one course on one of these platforms, and 40 million did so in 2021 alone. MOOCs and MOOC platforms are still growing, even after the crazy “Year of the MOOC” prompted by the pandemic and travel restrictions. At Class Central, we try to catalog as many MOOCs as possible, and our listing currently includes more than 150.000 of them, from MOOC platforms and other online learning platforms. But due to limited resources, we cannot index every single one. If you’re looking for MOOCs from around the world, this list is our best attempt to catalog all different MOOC platforms that are out there. Internet: (adapted)