Questões de Concursos Professor de Inglês

Plurilingualism and translanguaging: commonalities and divergences

Both plurilingual and translanguaging pedagogical practices in the education of language minoritized students remain controversial, for schools have a monolingual and monoglossic tradition that is hard to disrupt, even when the disrupting stance brings success to learners. At issue is the national identity that schools are supposed to develop in their students, and the Eurocentric system of knowledge, circulated through standardized named languages, that continues to impose what Quijano (2000) has called a coloniality of power.

All theories emerge from a place, an experience, a time, and a position, and in this case, plurilingualism and translanguaging have developed, as we have seen, from different loci of enunciation. But concepts do not remain static in a time and place, as educators and researchers take them up, as they travel, and as educators develop alternative practices. Thus, plurilingual and translanguaging pedagogical practices sometimes look the same, and sometimes they even have the same practical goals. For example, educators who say they use plurilingual pedagogical practices might insist on developing bilingual identities, and not solely use plurilingualism as a scaffold. And educators who claim to use translanguaging pedagogical practices sometimes use them only as a scaffold to the dominant language, not grasping its potential. In the United States, translanguaging pedagogies are often used in English-as-a-Second Language programs only as a scaffold. And although the potential for translanguaging is more likely to be found in bilingual education programs, this is also at times elusive. The potential is curtailed, for example, by the strict language allocation policies that have accompanied the growth of dual language education programs in the last decade in the USA, which come close to the neoliberal understanding of multilingualism espoused in the European Union.

It is important to keep the conceptual distinctions between plurilingualism and translanguaging at the forefront as we develop ways of enacting them in practice, even when pedagogies may turn out to look the same. Because the theoretical stance of translanguaging brings forth and affirms dynamic multilingual realities, it offers the potential to transform minoritized communities sense of self that the concept of plurilingualism may not always do. The purpose of translanguaging could be transformative of socio-political and socio-educational structures that legitimize the language hierarchies that exclude minoritized bilingual students and the epistemological understandings that render them invisible. In its theoretical formulation, translanguaging disrupts the concept of named languages and the power hierarchies in which languages are positioned. But the issue for the future is whether school authorities will allow translanguaging to achieve its potential, or whether it will silence it as simply another kind of scaffold. To the degree that educators act on translanguaging with political intent, it will continue to crack some openings and to open opportunities for bilingual students. Otherwise, the present conceptual differences between plurilingualism and translanguaging will be erased.

Source: GARCÍA, Ofelia; OTHEGUY, Ricardo. Plurilingualism and translanguaging: Commonalities and divergences. International Journal of Bilingual Education and Bilingualism, v. 23, n. 1, p. 17-35, 2020.

Garcia e Otheguy (2020)

Read the excerpt to answer the question.

“JACK: We must get married at once. There is no time to be lost.

GWENDOLEN: Married, Mr. Worthing?

JACK: Well... surely. You know that I love you, and you let me to believe, Miss Fairfax, that you were not absolutely indifferent to me.

GWENDOLEN: I adore you. But you haven't proposed to me yet. Nothing has been said at all about marriage. The subject has not even been touched on.

JACK: Well... may I propose to you now?

GWENDOLEN: I think it would be an admirable opportunity. And to spare you any possible disappointment, Mr. Worthing, I think it only fair to tell you quite frankly beforehand that I am fully determined to accept you.”

Oscar Wilde, The Importance of Being Earnest

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: <https://www.infoq.com> (adapted).

O texto seguinte servirá de base para responder às questões de 1 a 9.

Valdivia Figurines and the appeal of 'the oldest'

(1º§) The logo for the Ecuadorian Ministry of Culture website is about my favourite thing of the afternoon which is saying a lot since I spent much of the day reading about giant Olmec heads. Three Valdivia Figurines in the colours of the Ecuadorian flag? I am sold! Golly, I love Valdivia figurines for all the right and all the wrong reasons.

(2º§) There are two things that can easily be said about Valdivia figurines: they are VERY Ecuadorian and they are VERY looted. The first explains why they appear prominently on the Ministry of Culture website (and on stencilled graffiti around Quito circa 2007). Ancient Ecuador has played second fiddle to Ancient Peru since the early days of archaeology. The Valdivia culture, however, represents something that Peru doesn't have, 'the oldest'. Everyone loves 'the oldest', national pride, etc. etc.

(3º§) Who else loves 'the oldest'? Collectors and Museums. If the Valdivia pottery sequence is the oldest in the new world, collectors want a slice of that pie. Heck, even better than some junky pottery, the Valdivia made interesting figurines: lovely ladies that look good on stark black backgrounds in auction catalogues. They are part of 'the oldest' yet they also look good.

(4º§) Valdivia sites are famously looted and Valdivia figurines are famously faked. A few years back I started doing some initial work into looting in Ecuador (which led to fieldwork in Quito and the cloud forest that didn't really go anywhere as of yet) and I, like anyone else going down that road, came across Bruhns and Hammond's 1983 Journal of Field Archaeology piece 'A Visit to Valdivia'. Knowing nothing at all about Ecuador at the time, I had never heard of Valdivia, a wonder since the only Ecuadorian archaeology books that Cambridge owns are a few by the late Betty Meggars and Emilio Estrada from the 1950s and 1960s which link uber-ancient Ecuador to Jomon Period Japan (yeah...I know). As Bruhns and Hammond relate, Meggars detected faking at Valdivia immediately after the start of her excavations: practical jokers who discovered a market for their copies. As the market for the pieces grew, the presumed fakes get more and more elaborate and fanciful...and Valdivia sites were just looted to pieces.

(5º§) So really with Valdivia we are left with a situation where we don't know what is real. It is directly comparable to the Cycladic Figurine problem: the corpus is mostly looted, it contains tons of forms not found in the limited archaeological excavations that have been conducted, and we intellectual consumers of artefacts don't know what to believe. To me Valdivia figurines are the perfect looting Catch 22: they warrant study so that the interested public can learn about 'the oldest', but they can't be studied because collectors wanted 'the oldest' so sites were looted and buckets of fakes were produced.

(6º§) In 2007 I bought a fake Valdivia figurine in Otavalo which now stands in a Spondylus shell on my counter and watches me cook. The fella selling it to me told me it was real. I knew it wasn't but made to put it back saying something along the lines that law breaking makes me sick. He quickly agreed that it wasn't real and cut his asking price by a ton. Que Sera. Three cheers, Ecuadorian Ministry of Culture, your logo is the best.

https://www.anonymousswisscollector.com/2012/09/valdivia-figurines-a

nd-appeal-of-oldest.html

O texto seguinte servirá de base para responder às questões de 1 a 9.

Valdivia Figurines and the appeal of 'the oldest'

(1º§) The logo for the Ecuadorian Ministry of Culture website is about my favourite thing of the afternoon which is saying a lot since I spent much of the day reading about giant Olmec heads. Three Valdivia Figurines in the colours of the Ecuadorian flag? I am sold! Golly, I love Valdivia figurines for all the right and all the wrong reasons.

(2º§) There are two things that can easily be said about Valdivia figurines: they are VERY Ecuadorian and they are VERY looted. The first explains why they appear prominently on the Ministry of Culture website (and on stencilled graffiti around Quito circa 2007). Ancient Ecuador has played second fiddle to Ancient Peru since the early days of archaeology. The Valdivia culture, however, represents something that Peru doesn't have, 'the oldest'. Everyone loves 'the oldest', national pride, etc. etc.

(3º§) Who else loves 'the oldest'? Collectors and Museums. If the Valdivia pottery sequence is the oldest in the new world, collectors want a slice of that pie. Heck, even better than some junky pottery, the Valdivia made interesting figurines: lovely ladies that look good on stark black backgrounds in auction catalogues. They are part of 'the oldest' yet they also look good.

(4º§) Valdivia sites are famously looted and Valdivia figurines are famously faked. A few years back I started doing some initial work into looting in Ecuador (which led to fieldwork in Quito and the cloud forest that didn't really go anywhere as of yet) and I, like anyone else going down that road, came across Bruhns and Hammond's 1983 Journal of Field Archaeology piece 'A Visit to Valdivia'. Knowing nothing at all about Ecuador at the time, I had never heard of Valdivia, a wonder since the only Ecuadorian archaeology books that Cambridge owns are a few by the late Betty Meggars and Emilio Estrada from the 1950s and 1960s which link uber-ancient Ecuador to Jomon Period Japan (yeah...I know). As Bruhns and Hammond relate, Meggars detected faking at Valdivia immediately after the start of her excavations: practical jokers who discovered a market for their copies. As the market for the pieces grew, the presumed fakes get more and more elaborate and fanciful...and Valdivia sites were just looted to pieces.

(5º§) So really with Valdivia we are left with a situation where we don't know what is real. It is directly comparable to the Cycladic Figurine problem: the corpus is mostly looted, it contains tons of forms not found in the limited archaeological excavations that have been conducted, and we intellectual consumers of artefacts don't know what to believe. To me Valdivia figurines are the perfect looting Catch 22: they warrant study so that the interested public can learn about 'the oldest', but they can't be studied because collectors wanted 'the oldest' so sites were looted and buckets of fakes were produced.

(6º§) In 2007 I bought a fake Valdivia figurine in Otavalo which now stands in a Spondylus shell on my counter and watches me cook. The fella selling it to me told me it was real. I knew it wasn't but made to put it back saying something along the lines that law breaking makes me sick. He quickly agreed that it wasn't real and cut his asking price by a ton. Que Sera. Three cheers, Ecuadorian Ministry of Culture, your logo is the best.

https://www.anonymousswisscollector.com/2012/09/valdivia-figurines-a

nd-appeal-of-oldest.html

O texto seguinte servirá de base para responder às questões de 1 a 9.

Valdivia Figurines and the appeal of 'the oldest'

(1º§) The logo for the Ecuadorian Ministry of Culture website is about my favourite thing of the afternoon which is saying a lot since I spent much of the day reading about giant Olmec heads. Three Valdivia Figurines in the colours of the Ecuadorian flag? I am sold! Golly, I love Valdivia figurines for all the right and all the wrong reasons.

(2º§) There are two things that can easily be said about Valdivia figurines: they are VERY Ecuadorian and they are VERY looted. The first explains why they appear prominently on the Ministry of Culture website (and on stencilled graffiti around Quito circa 2007). Ancient Ecuador has played second fiddle to Ancient Peru since the early days of archaeology. The Valdivia culture, however, represents something that Peru doesn't have, 'the oldest'. Everyone loves 'the oldest', national pride, etc. etc.

(3º§) Who else loves 'the oldest'? Collectors and Museums. If the Valdivia pottery sequence is the oldest in the new world, collectors want a slice of that pie. Heck, even better than some junky pottery, the Valdivia made interesting figurines: lovely ladies that look good on stark black backgrounds in auction catalogues. They are part of 'the oldest' yet they also look good.

(4º§) Valdivia sites are famously looted and Valdivia figurines are famously faked. A few years back I started doing some initial work into looting in Ecuador (which led to fieldwork in Quito and the cloud forest that didn't really go anywhere as of yet) and I, like anyone else going down that road, came across Bruhns and Hammond's 1983 Journal of Field Archaeology piece 'A Visit to Valdivia'. Knowing nothing at all about Ecuador at the time, I had never heard of Valdivia, a wonder since the only Ecuadorian archaeology books that Cambridge owns are a few by the late Betty Meggars and Emilio Estrada from the 1950s and 1960s which link uber-ancient Ecuador to Jomon Period Japan (yeah...I know). As Bruhns and Hammond relate, Meggars detected faking at Valdivia immediately after the start of her excavations: practical jokers who discovered a market for their copies. As the market for the pieces grew, the presumed fakes get more and more elaborate and fanciful...and Valdivia sites were just looted to pieces.

(5º§) So really with Valdivia we are left with a situation where we don't know what is real. It is directly comparable to the Cycladic Figurine problem: the corpus is mostly looted, it contains tons of forms not found in the limited archaeological excavations that have been conducted, and we intellectual consumers of artefacts don't know what to believe. To me Valdivia figurines are the perfect looting Catch 22: they warrant study so that the interested public can learn about 'the oldest', but they can't be studied because collectors wanted 'the oldest' so sites were looted and buckets of fakes were produced.

(6º§) In 2007 I bought a fake Valdivia figurine in Otavalo which now stands in a Spondylus shell on my counter and watches me cook. The fella selling it to me told me it was real. I knew it wasn't but made to put it back saying something along the lines that law breaking makes me sick. He quickly agreed that it wasn't real and cut his asking price by a ton. Que Sera. Three cheers, Ecuadorian Ministry of Culture, your logo is the best.

https://www.anonymousswisscollector.com/2012/09/valdivia-figurines-a

nd-appeal-of-oldest.html

O texto seguinte servirá de base para responder às questões de 1 a 9.

Valdivia Figurines and the appeal of 'the oldest'

(1º§) The logo for the Ecuadorian Ministry of Culture website is about my favourite thing of the afternoon which is saying a lot since I spent much of the day reading about giant Olmec heads. Three Valdivia Figurines in the colours of the Ecuadorian flag? I am sold! Golly, I love Valdivia figurines for all the right and all the wrong reasons.

(2º§) There are two things that can easily be said about Valdivia figurines: they are VERY Ecuadorian and they are VERY looted. The first explains why they appear prominently on the Ministry of Culture website (and on stencilled graffiti around Quito circa 2007). Ancient Ecuador has played second fiddle to Ancient Peru since the early days of archaeology. The Valdivia culture, however, represents something that Peru doesn't have, 'the oldest'. Everyone loves 'the oldest', national pride, etc. etc.

(3º§) Who else loves 'the oldest'? Collectors and Museums. If the Valdivia pottery sequence is the oldest in the new world, collectors want a slice of that pie. Heck, even better than some junky pottery, the Valdivia made interesting figurines: lovely ladies that look good on stark black backgrounds in auction catalogues. They are part of 'the oldest' yet they also look good.

(4º§) Valdivia sites are famously looted and Valdivia figurines are famously faked. A few years back I started doing some initial work into looting in Ecuador (which led to fieldwork in Quito and the cloud forest that didn't really go anywhere as of yet) and I, like anyone else going down that road, came across Bruhns and Hammond's 1983 Journal of Field Archaeology piece 'A Visit to Valdivia'. Knowing nothing at all about Ecuador at the time, I had never heard of Valdivia, a wonder since the only Ecuadorian archaeology books that Cambridge owns are a few by the late Betty Meggars and Emilio Estrada from the 1950s and 1960s which link uber-ancient Ecuador to Jomon Period Japan (yeah...I know). As Bruhns and Hammond relate, Meggars detected faking at Valdivia immediately after the start of her excavations: practical jokers who discovered a market for their copies. As the market for the pieces grew, the presumed fakes get more and more elaborate and fanciful...and Valdivia sites were just looted to pieces.

(5º§) So really with Valdivia we are left with a situation where we don't know what is real. It is directly comparable to the Cycladic Figurine problem: the corpus is mostly looted, it contains tons of forms not found in the limited archaeological excavations that have been conducted, and we intellectual consumers of artefacts don't know what to believe. To me Valdivia figurines are the perfect looting Catch 22: they warrant study so that the interested public can learn about 'the oldest', but they can't be studied because collectors wanted 'the oldest' so sites were looted and buckets of fakes were produced.

(6º§) In 2007 I bought a fake Valdivia figurine in Otavalo which now stands in a Spondylus shell on my counter and watches me cook. The fella selling it to me told me it was real. I knew it wasn't but made to put it back saying something along the lines that law breaking makes me sick. He quickly agreed that it wasn't real and cut his asking price by a ton. Que Sera. Three cheers, Ecuadorian Ministry of Culture, your logo is the best.

https://www.anonymousswisscollector.com/2012/09/valdivia-figurines-a

nd-appeal-of-oldest.html

Read the text to aswer the question.

The enduring joy of Golden Girls: a wildly sassy sitcom that will always cheer you up

A comedic masterclass with the best sitcom theme song of all time, Golden Girls pulled back the curtains on ageing and dealt with big-ticket issues.

A zinger-infused maelstrom of shoulder pads, pastels and perms. Rattan furniture, DayGlo linen and Formica. There’s such a distinctive look, feel and vibe to The Golden Girls, the iconic sitcom that ran from 1985 to 1992, scooping up 68 Emmy nominations and 11 wins in the process. The brainchild of producer Susan Harris, the show spawned several acclaimed spinoffs and became an enduring work of high camp in the process.

The premise? Three older women decide to live together: the stern, witty ex-teacher Dorothy Zbornak (Bea Arthur), the sweet but fantastically dense Rose Nylund (Betty White) and southern hornbag Blanche Devereaux (Rue McClanahan). At first it’s a matter of convenience, but before long, they become fast friends. During the pilot they’re joined by a fourth: Dorothy’s mother Sophia Petrillo (Estelle Getty), a nitpicky little shrew whose ability to cockblock our heroines saw her gradually become the Scrappy-Doo of the house. (Don’t @ me, Goldies, you know I’m right.)

For a comedy that primarily took place within a Floridian kitchen, The Golden Girls boasted some serious talent. The four leads were all astoundingly adept at their craft.

The golden girls themselves proved that the family you make is sometimes stronger than the one you’re born with. Dorothy, Rose and Blanche feel, at times, aged out of their previous lives. Careers, spouses, the world: all seem to be pushing them away. But the girls are proof that you can – and should – forge new bonds, even if it seems like your old life is done for. That you can make a new family, even if your old one rejects you.

The Golden Girls pulled back the curtains on ageing, showing the ways in which old people can be flawed, passionate, monumentally stupid, brave – even at times, almost heroically horny. And it did so with an almost reckless willingness to be as wildly funny as it possibly could.

The show ended up doing what many sitcoms do: use antagonism as heat to push the plot forward. It takes truly hack writers to defend needless antagonism as the only source of fuel to propel a story (I’m looking at you, post-Sorkin West Wing). The last two seasons of The Golden Girls aren’t terrible, but Sophia morphs from an old lady without boundaries to an ancient sociopathic prankster. But even with this odd acceleration towards a caricatured sitcom event horizon, the show still manages to roll out the hits. The two-part finale, written by Mitch Hurwitz (the creator of Arrested Development) and starring Leslie Nielsen as Dorothy’s love interest, ranks as some of the best in the show’s history.

It also has – and I cannot stress this enough – the best sitcom theme song in the history of sitcom theme songs. In 2023, there are few things that will haul you out of whatever psychic muck you find yourself in than whacking on an episode of The Golden Girls. I promise you, once the credits roll, you’ll find yourself lying on the lanai in your mind, feeling somehow much lighter than you did before.

(The Guardian 2024, The Guardian website. Accessed: 06 February 2024. Available: <https://www.theguardian.com/tv-and-radio/2023/aug/02/goldengirls-tv-sitcom-enduring-joy-dorothy-rose-betty-white-blanche>. Adapted.)