QuestLab Plataforma Inteligente de Questões
Banco público de questões

Questões para Concursos

Pesquise questões reais por disciplina, assunto, tópico, banca, órgão, cargo, ano e modalidade.

Questões por banca

29 bancas disponíveis. Clique para visualizar todas.

Encontre as questões que procura
Limpar filtros
28 questões encontradas
Texto associado
Read the following extract to answer question. A friend of mine who is an orchestral conductor was asking me (early in our acquaintance) about what I did for a living. When I told him that apart from other activities, I wrote books about how to teach English he said ‘Books in the plural? Surely once you’ve written one, there’s nothing more to say!’ I wanted to reply that he had just argued himself out of a job (I mean, how many performances of Beethoven symphonies have there been in the twenty-first century alone?), but someone else laughed at his question, another musician made a different comment, the conversation moved on, and so Martin-the-conductor’s flippant enquiry evaporated in the convivial atmosphere of a British pub. But his question was a good one. Surely we know how to teach languages? After all, people have been doing it successfully for two thousand years or more, and some aspects of teaching in the past have probably not changed that much. But other things have, and continue to change. Which is (I suppose) why every time I re-examine past assumptions about teaching, I find myself questioning and reinterpreting things I thought were fixed. And of course, I am not alone in this. We all do it all the time – or at least we do if we haven’t closed our minds off from the possibility of change and renewal. Language teaching, perhaps more than many other activities, reflects the times it takes place in. Language is about communication, after all, and perhaps that is why philosophies and techniques for learning languages seem to develop and change in tune with the societies which give rise to them. Teaching and learning are very human activities; they are social just as much as they are (in our case) linguistic. But it’s not just society that changes and evolves. The last decades have seen what feels like unprecedented technological change. The Internet has seen to that, and other educational technology has not lagged behind. And it’s exciting stuff. I’ve tried to reflect that excitement and newness in parts of this new edition. (Jeremy Harmer, How to teach English . Adaptado)

This extract from Harmer’s book is consistent with the following section of a book:

A Notes.
B Table of contents.
C Acknowledgements.
D Introduction.
E Epilogue.
Texto associado
Read the following extract to answer question. A friend of mine who is an orchestral conductor was asking me (early in our acquaintance) about what I did for a living. When I told him that apart from other activities, I wrote books about how to teach English he said ‘Books in the plural? Surely once you’ve written one, there’s nothing more to say!’ I wanted to reply that he had just argued himself out of a job (I mean, how many performances of Beethoven symphonies have there been in the twenty-first century alone?), but someone else laughed at his question, another musician made a different comment, the conversation moved on, and so Martin-the-conductor’s flippant enquiry evaporated in the convivial atmosphere of a British pub. But his question was a good one. Surely we know how to teach languages? After all, people have been doing it successfully for two thousand years or more, and some aspects of teaching in the past have probably not changed that much. But other things have, and continue to change. Which is (I suppose) why every time I re-examine past assumptions about teaching, I find myself questioning and reinterpreting things I thought were fixed. And of course, I am not alone in this. We all do it all the time – or at least we do if we haven’t closed our minds off from the possibility of change and renewal. Language teaching, perhaps more than many other activities, reflects the times it takes place in. Language is about communication, after all, and perhaps that is why philosophies and techniques for learning languages seem to develop and change in tune with the societies which give rise to them. Teaching and learning are very human activities; they are social just as much as they are (in our case) linguistic. But it’s not just society that changes and evolves. The last decades have seen what feels like unprecedented technological change. The Internet has seen to that, and other educational technology has not lagged behind. And it’s exciting stuff. I’ve tried to reflect that excitement and newness in parts of this new edition. (Jeremy Harmer, How to teach English . Adaptado)

É correto afirmar que o primeiro parágrafo é desenvolvido, predominantemente, em forma de texto

A narrativo.
B descritivo.
C argumentativo.
D expositivo.
E injuntivo.
Texto associado
Read the following extract to answer question. A friend of mine who is an orchestral conductor was asking me (early in our acquaintance) about what I did for a living. When I told him that apart from other activities, I wrote books about how to teach English he said ‘Books in the plural? Surely once you’ve written one, there’s nothing more to say!’ I wanted to reply that he had just argued himself out of a job (I mean, how many performances of Beethoven symphonies have there been in the twenty-first century alone?), but someone else laughed at his question, another musician made a different comment, the conversation moved on, and so Martin-the-conductor’s flippant enquiry evaporated in the convivial atmosphere of a British pub. But his question was a good one. Surely we know how to teach languages? After all, people have been doing it successfully for two thousand years or more, and some aspects of teaching in the past have probably not changed that much. But other things have, and continue to change. Which is (I suppose) why every time I re-examine past assumptions about teaching, I find myself questioning and reinterpreting things I thought were fixed. And of course, I am not alone in this. We all do it all the time – or at least we do if we haven’t closed our minds off from the possibility of change and renewal. Language teaching, perhaps more than many other activities, reflects the times it takes place in. Language is about communication, after all, and perhaps that is why philosophies and techniques for learning languages seem to develop and change in tune with the societies which give rise to them. Teaching and learning are very human activities; they are social just as much as they are (in our case) linguistic. But it’s not just society that changes and evolves. The last decades have seen what feels like unprecedented technological change. The Internet has seen to that, and other educational technology has not lagged behind. And it’s exciting stuff. I’ve tried to reflect that excitement and newness in parts of this new edition. (Jeremy Harmer, How to teach English . Adaptado)

In the sentence from the last paragraph “The last decades have seen what feels like unprecedented technological change.”, the word in bold can be replaced, without meaning change, by

A unquestionable.
B uncontrollable.
C unbelievable.
D unexpected.
E unparalleled.
Texto associado
Read the following extract to answer question. A friend of mine who is an orchestral conductor was asking me (early in our acquaintance) about what I did for a living. When I told him that apart from other activities, I wrote books about how to teach English he said ‘Books in the plural? Surely once you’ve written one, there’s nothing more to say!’ I wanted to reply that he had just argued himself out of a job (I mean, how many performances of Beethoven symphonies have there been in the twenty-first century alone?), but someone else laughed at his question, another musician made a different comment, the conversation moved on, and so Martin-the-conductor’s flippant enquiry evaporated in the convivial atmosphere of a British pub. But his question was a good one. Surely we know how to teach languages? After all, people have been doing it successfully for two thousand years or more, and some aspects of teaching in the past have probably not changed that much. But other things have, and continue to change. Which is (I suppose) why every time I re-examine past assumptions about teaching, I find myself questioning and reinterpreting things I thought were fixed. And of course, I am not alone in this. We all do it all the time – or at least we do if we haven’t closed our minds off from the possibility of change and renewal. Language teaching, perhaps more than many other activities, reflects the times it takes place in. Language is about communication, after all, and perhaps that is why philosophies and techniques for learning languages seem to develop and change in tune with the societies which give rise to them. Teaching and learning are very human activities; they are social just as much as they are (in our case) linguistic. But it’s not just society that changes and evolves. The last decades have seen what feels like unprecedented technological change. The Internet has seen to that, and other educational technology has not lagged behind. And it’s exciting stuff. I’ve tried to reflect that excitement and newness in parts of this new edition. (Jeremy Harmer, How to teach English . Adaptado)

Sintagmas nominais são unidades sintáticas compostas de um núcleo (um substantivo) e seus modificadores. No trecho “Martin-the-conductor’s flippant enquiry”, retirado do primeiro parágrafo, o núcleo do sintagma nominal é

A Martin-the-conductor.
B Martin.
C conductor.
D flippant enquiry
E enquiry.
Texto associado
Read the following extract to answer question. A friend of mine who is an orchestral conductor was asking me (early in our acquaintance) about what I did for a living. When I told him that apart from other activities, I wrote books about how to teach English he said ‘Books in the plural? Surely once you’ve written one, there’s nothing more to say!’ I wanted to reply that he had just argued himself out of a job (I mean, how many performances of Beethoven symphonies have there been in the twenty-first century alone?), but someone else laughed at his question, another musician made a different comment, the conversation moved on, and so Martin-the-conductor’s flippant enquiry evaporated in the convivial atmosphere of a British pub. But his question was a good one. Surely we know how to teach languages? After all, people have been doing it successfully for two thousand years or more, and some aspects of teaching in the past have probably not changed that much. But other things have, and continue to change. Which is (I suppose) why every time I re-examine past assumptions about teaching, I find myself questioning and reinterpreting things I thought were fixed. And of course, I am not alone in this. We all do it all the time – or at least we do if we haven’t closed our minds off from the possibility of change and renewal. Language teaching, perhaps more than many other activities, reflects the times it takes place in. Language is about communication, after all, and perhaps that is why philosophies and techniques for learning languages seem to develop and change in tune with the societies which give rise to them. Teaching and learning are very human activities; they are social just as much as they are (in our case) linguistic. But it’s not just society that changes and evolves. The last decades have seen what feels like unprecedented technological change. The Internet has seen to that, and other educational technology has not lagged behind. And it’s exciting stuff. I’ve tried to reflect that excitement and newness in parts of this new edition. (Jeremy Harmer, How to teach English . Adaptado)

O segundo parágrafo permite saber que Harmer considera que

A a educação pouco mudou ao longo de um pouco mais de dois mil anos.
B devemos nos questionar se realmente sabemos ensinar.
C nos questionarmos mostra que não nos fechamos a mudanças.
D aquilo em que somos bem-sucedidos não precisa ser alterado.
E algumas práticas no ensino de línguas foram readequadas com êxito.
Texto associado
Read the following extract to answer question. A friend of mine who is an orchestral conductor was asking me (early in our acquaintance) about what I did for a living. When I told him that apart from other activities, I wrote books about how to teach English he said ‘Books in the plural? Surely once you’ve written one, there’s nothing more to say!’ I wanted to reply that he had just argued himself out of a job (I mean, how many performances of Beethoven symphonies have there been in the twenty-first century alone?), but someone else laughed at his question, another musician made a different comment, the conversation moved on, and so Martin-the-conductor’s flippant enquiry evaporated in the convivial atmosphere of a British pub. But his question was a good one. Surely we know how to teach languages? After all, people have been doing it successfully for two thousand years or more, and some aspects of teaching in the past have probably not changed that much. But other things have, and continue to change. Which is (I suppose) why every time I re-examine past assumptions about teaching, I find myself questioning and reinterpreting things I thought were fixed. And of course, I am not alone in this. We all do it all the time – or at least we do if we haven’t closed our minds off from the possibility of change and renewal. Language teaching, perhaps more than many other activities, reflects the times it takes place in. Language is about communication, after all, and perhaps that is why philosophies and techniques for learning languages seem to develop and change in tune with the societies which give rise to them. Teaching and learning are very human activities; they are social just as much as they are (in our case) linguistic. But it’s not just society that changes and evolves. The last decades have seen what feels like unprecedented technological change. The Internet has seen to that, and other educational technology has not lagged behind. And it’s exciting stuff. I’ve tried to reflect that excitement and newness in parts of this new edition. (Jeremy Harmer, How to teach English . Adaptado)

In the fragment taken from the second paragraph “But other things have, and continue to change”, the word in bold belongs to a group of words made up of adjectives and pronouns such as “the other”, “the others”, “others”, “another”. The alternative in which the use of any of these words is correct is

A The embassy website has general information about visas, as well as other travel needs.
B What others books have you read in the last year or so?
C We’re sure you’ll find another students to share the dorm with you.
D There’s other thing we need to discuss before we finish.
E Mimi and Chester stayed behind. The others girls went home.

De acordo com a Lei Complementar no 391, de 04 de outubro de 2022, planejar, coordenar, controlar e promover a política de crescimento sustentável e habitacional no município de Tremembé e executar outras tarefas correlatas determinadas pelo Chefe do Poder Executivo compete ao Secretário de

A Mobilidade Urbana e Cooperação.
B Obras Públicas e Serviços Urbanos.
C Planejamento Urbano.
D Desenvolvimento Econômico.
E Administração.

Para Berthold

( 2000 ), com a Revolução Russa, o teatro soviético assistiu a uma ruptura das mais elementares, radicais e duradouras com a tradição. Nos anos imediatamente posteriores a 1917, intensa movimentação foi exercida para leva-lo à mobilização política em direção ao projeto comunista. Um exemplo desse exercício, naquele período e localização, segundo a autora, foi

A o teatro do Absurdo.
B o happening.
C o agit-prop.
D a performance.
E o teatro Pobre.

Para Magaldi

( 1985 ), o teatro do Oprimido caracteriza-se por

A preocupac?a?o de racionalidade, que abole o transe, leva ao preceito de que em nenhum momento o ator deve se entregar a uma completa metamorfose.
B um grupo ensaiado desencadeia uma ac?a?o que, na?o se apresentando como teatro, estimula a participac?a?o dos circunstantes, levando-os a figurar nela na qualidade de verdadeiros agentes.
C apresentar como ideal e objetivo da proposta a total fusa?o do ator com a personagem, criando um processo empático e catártico.
D explorar os aspectos temáticos e cenográficos que enfatizem a subjetividade, o exagero e a criação de um design cênico marcante.
E enfatizar a vida cotidiana, com suas falas, ambientes, de maneira a apresenta-la de maneira realista.

Para Reverbel

( 1996 ), a Ação Exterior é definida

A pela pose ou gesto do ator, visi?vel para o espectador.
B pelo pensamento que precede o movimento e a fala do ator em cena.
C pela evolução do conflito dramático até chegar ao apogeu.
D pela habilidade de manter-se fixado num ponto sem desviar a atenc?a?o.
E pelo ato de relaxamento muscular e de desinibic?a?o, habilidade essencial ao jogo do ator.