Questões para Concursos

Sorry for the delayed response 01 Have ___ (1) e-mail you’ve been meaning (but not really) to reply to? Read below for some 02 reasons why your response has been delayed: 03 • I totally meant to respond to this earlier, but I didn’t know ___ (2) answer to your question 04 and I kept not caring enough to ask anyone. Now ___ (3) weird amount of time has passed, 05 so I’m going to loop Laura (cc’d) into this e-mail thread to see if she can handle this. Laura? 06 • Sorry for ___ (4) delay! I put off answering your e-mail until I had ___ (5) even more tedious 07 task that I wanted to avoid. Thanks! 08 • So sorry that I’m just getting to this now. There were six other people on this e-mail thread 09 and I was hoping that one of them would answer your question and I could just go on living 10 my life. (Available at: https://www.instagram.com/p/CsHm²YnteFa/ – text especially adapted for this test).

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Text I Correspondence Human genome editing: potential seeds of conflict Recently, The Lancet published an important declaration regarding the necessity of regulating and legislating for human genome editing. We agree with their opinions that the human genome editing technology and resulting research can have both positive and negative effects on human society. The use of genome editing for research and commercial purposes has sparked debates in both biological and political realms. However, most of them have mainly focused on the effects of human genome editing on the patients themselves, and little attention has been paid to their offspring. Several films, such as Gattaca and Gundam SEED, have addressed the conflicts that arise from human genome editing. Such conflicts not only exist within the generation who have experienced editing but are also transmitted to their offspring. For example, in these films, the offspring of people without genome editing felt a sense of unfairness regarding the inferiority of their physical (or other non-edited domains) status, whereas the offspring of people with genome editing grew up in a biased, discriminated against, and ostracized environment. They could have lived in peace with a strong and well regulated government; however, when the tenuous grip of government weakens, jealousy and resentment can lead to ruins. Although these scenes still exist in films, they might become increasingly plausible in decades to come. Using the concept of preparedness, access, countermeasures, tools, and trust, we should prepare legitimate human genome editing, establish access to deal with imminent or potential discrimination, develop countermeasures and tools for prevention and resolution of conflict, and entrust future generations with the responsibility to use them wisely. Bing-Yan Zeng, Ping-Tao Tseng, *Chih-Sung Liang Adapted from: www.thelancet.com, vol. 401, June 24, 2023 at https://www.thelancet.com/action/showPdf?pii=S0140-6736%2823%2901084-X

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Text I Multimodality in the English language classroom: A systematic review of literature Literacy in the 21 st century is now no longer regarded simply as the ability to use a language competently in a mono-cultural setting. Literacy today involves students knowing how to navigate across an increasingly complex communication landscape and to negotiate a range of contexts and patterns of intercultural meanings as well as the prevalence of multimodal texts. Contemporary communication environment is characterised by multimodal meaning-making, that is the “multiplicities of media and modes”, as well as “increasing local diversity and global connectedness” (New London Group, 1996, p. 62) which necessitates a shift in the pedagogical approaches that are adopted by teachers. This is especially so in the digital age where a sole focus on language in literacy is no longer sufficient for the new workplace given that a revised sense of ‘competence’ is required. The recognition of social diversity also demands pedagogical approaches that engage with the transcultural and multicultural classroom. Issues of the day such as fake news and social justice concerns also need to be addressed in the literacy classroom. Multimodality focuses on understanding how semiotic resources (visual, gestural, spatial, linguistic, and others) work and are organised. Multimodality in education adopts an expanded view of literacy to include the range of multimodal communicative practices which young people are involved in today's digital age. Multimodal pedagogies refer to the ways in which the teacher can design learning experiences using a range of multimodal resources. It involves teachers making design choices in the ways in which the curriculum content is expressed, arranged, andsequenced multimodally. Multimodal pedagogies also involve designing opportunities for students to explore and perform ideas and identities using a range of meaning-making resources. The teaching and learning activities often involve drawing from the students’ funds of knowledge and their lifeworld. With multimodal pedagogies, teachers orchestrate the learning process by weaving together a series of knowledge representations into a cohesive tapestry and in so doing make apt selection of meaning-making resources to design the students’ learning experience. Adapted from https://www.sciencedirect.com/science /article/abs/pii/S0898589822000365

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Text I Multimodality in the English language classroom: A systematic review of literature Literacy in the 21 st century is now no longer regarded simply as the ability to use a language competently in a mono-cultural setting. Literacy today involves students knowing how to navigate across an increasingly complex communication landscape and to negotiate a range of contexts and patterns of intercultural meanings as well as the prevalence of multimodal texts. Contemporary communication environment is characterised by multimodal meaning-making, that is the “multiplicities of media and modes”, as well as “increasing local diversity and global connectedness” (New London Group, 1996, p. 62) which necessitates a shift in the pedagogical approaches that are adopted by teachers. This is especially so in the digital age where a sole focus on language in literacy is no longer sufficient for the new workplace given that a revised sense of ‘competence’ is required. The recognition of social diversity also demands pedagogical approaches that engage with the transcultural and multicultural classroom. Issues of the day such as fake news and social justice concerns also need to be addressed in the literacy classroom. Multimodality focuses on understanding how semiotic resources (visual, gestural, spatial, linguistic, and others) work and are organised. Multimodality in education adopts an expanded view of literacy to include the range of multimodal communicative practices which young people are involved in today's digital age. Multimodal pedagogies refer to the ways in which the teacher can design learning experiences using a range of multimodal resources. It involves teachers making design choices in the ways in which the curriculum content is expressed, arranged, andsequenced multimodally. Multimodal pedagogies also involve designing opportunities for students to explore and perform ideas and identities using a range of meaning-making resources. The teaching and learning activities often involve drawing from the students’ funds of knowledge and their lifeworld. With multimodal pedagogies, teachers orchestrate the learning process by weaving together a series of knowledge representations into a cohesive tapestry and in so doing make apt selection of meaning-making resources to design the students’ learning experience. Adapted from https://www.sciencedirect.com/science /article/abs/pii/S0898589822000365

Here’s why we’ll never be able to build a brain in a computer It’s easy to equate brains and computers – they’re both thinking machines, after all. But the comparison doesn’t really stand up to closer inspection, as Dr. Lisa Feldman Barrett reveals. People often describe the brain as a computer, as if neurons are like hardware and the mind is software. But this metaphor is deeply flawed. A computer is built from static parts, whereas your brain constantly rewires itself as you age and learn. A computer stores information in files that are retrieved exactly, but brains don’t store information in any literal sense. Your memory is a constant construction of electrical pulses and swirling chemicals, and the same remembrance can be reassembled in different ways at different times. Brains also do something critical that computers today can’t. A computer can be trained with thousands of photographs to recognise a dandelion as a plant with green leaves and yellow petals. You, however, can look at a dandelion and understand that in different situations it belongs to different categories. A dandelion in your vegetable garden is a weed, but in a bouquet from your child it’s a delightful flower. A dandelion in a salad is food, but people also consume dandelions as herbal medicine. In other words, your brain effortlessly categorises objects by their function , not just their physical form. Some scientists believe that this incredible ability of the brain, called ad hoc category construction, may be fundamental to the way brains work. Also, unlike a computer, your brain isn’t a bunch of parts in an empty case. Your brain inhabits a body, a complex web of systems that include over 600 muscles in motion, internal organs, a heart that pumps 7,500 litres of blood per day, and dozens of hormones and other chemicals, all of which must be coordinated, continually, to digest food, excrete waste, provide energy and fight illness.[…] If we want a computer that thinks, feels, sees or acts like us, it must regulate a body – or something like a body – with a complex collection of systems that it must keep in balance to continue operating, and with sensations to keep that regulation in check. Today’s computers don’t work this way, but perhaps some engineers can come up with something that’s enough like a body to provide this necessary ingredient. For now, ‘brain as computer’ remains just a metaphor. Metaphors can be wonderful for explaining complex topics in simple terms, but they fail when people treat the metaphor as an explanation. Metaphors provide the illusion of knowledge. (Adapted from https://www.sciencefocus.com/future-technology/canwe-build-brain-computer/ Published: 24th October, 2021, retrieved on February 9th, 2022)

The worn wooden floorboards squeak under Rafael Molina’s heavy steps as he paces the saloon. Outside, the sound of galloping horses breaks the silence of the surrounding desert. All around him, the Old West town’s empty shops and abandoned houses look as if they have just been ransacked by cowboy bandits. “When I was a kid, I could only dream about all this,” says the 68-year-old former actor and stuntman. “My aspiration was to see a film set firsthand. Today I own one of the most famous ones in the history of Western movies.” But this busy movie site is located in Spain — not Montana or Texas. It’s one of three faux Old Western towns in the small village of Tabernas and the surrounding desert of the Almería province. Since the late 1950s, these rugged mountains, arid plains, and dry canyons have provided the backdrops for more than 170 movie Westerns, including The Good, The Bad and The Ugly (1966) and Once Upon a Time in The West (1968). Molina belongs to a small community of local cowboy actors and stuntmen in Tabernas who have played a role in movies and TV shows since the first productions in the 1950s. They can perform anything from fistfights to horse drags. Knowledge and skills often pass from father to son, keeping tricks of the trade in the family. Steeped in the golden era of Westerns, these actors embody the values of their movie heroes: pride, bravado, freedom, and a trusting relationship with horses. “I’ve always liked horses and the [U.S.] West,” says 29- year-old Ricardo Cruz Fernández, a stuntman and cowboy who appeared in recent productions including Game of Thrones . Fernández started his career as a cowboy after completing a stuntman course a decade ago. Between productions, he performs daily shows at Fort Bravo for thousands of tourists who visit the set each year. In one show, Fernández portrays a bank robber who absconds with some gold. Visitors encounter him in the saloon, fist and (fake) gun fighting with actors playing his double-crossing accomplices. The town also offers cancan dance shows and set tours by horsedrawn wagon. “I prefer to play the bad guy, because it gives me a wider range of possibilities,” says Fernández. “The good guy only has to keep things in order.” Almería has hosted more than 500 productions, including blockbuster films ( Patton, Terminator: Dark Fate ) and TV shows ( Doctor Who ). “Our landscapes are very convenient. We have sea, desert, and snowy mountains all within a short distance,” says local producer Plácido Martínez. “We can serve as Texas, New Mexico, Arizona, California, and endless other natural settings.” Matteo Fagotto. The Wild West lives on in southern Spain . In: National Geographic. Internet: (adapted)

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Bill Watterson. Calvin and Hobbes. Internet: .