Questões de Concursos Inglês

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Communicative Language Teaching

By Judson Wright

Introduction

The teacher as model

In some approaches to teaching English, the teacher’s main role is to pass on knowledge to students through explanations. In Communicative Language Teaching, the role of the teacher is rather different, although providing clear explanations of language points is still an important part of it. First of all, the teacher acts as a model of good communication skills. This involves asking clear questions, providing clear answers, and giving clear instructions to students. The teacher also models active listening skills, which include making eye contact, listening carefully to what people are saying, checking that listeners understand what’s being said, and responding appropriately. It is the teacher who sets the expectation that these and other communication skills, such as taking turns appropriately in a conversation, are the classroom norm.

Classroom interaction

As in many other classrooms, some of the interaction in the CLT classroom consists of the teacher talking to the whole class while the students listen or respond to the teacher’s questions, particularly when the teacher is explaining a language point. However, CLT is based on the idea that in order to improve students’ communication skills, most of the interaction that teachers need to provide for their students should be classroom tasks that require and develop communication skills. In particular, CLT makes use of roleplays, pair work and group work tasks. These forms of interaction provide some important benefits.

One benefit is that students usually find these forms of interaction motivating and engaging. Pair and group work provide opportunities to focus more on fluency and on content than on accuracy, which often means that students are able to speak more freely than when they are asked to respond to direct questions from the teacher in front of the whole class. These interactions provide a safer space to practise communication skills. The teacher has an important part to play here, ensuring that students avoid focusing on form too much during tasks as well as bringing their students’ focus back onto the content of the interaction rather than correcting each other’s English while carrying out the task

Another benefit is a better use of time. When students are divided into pairs or groups and given a task that each pair or group carries out at the same time, it is a far more efficient and effective use of classroom time than other forms of classroom interaction. It means that all students can be engaged and active at the same time, rather than merely listening to other students respond to the teacher’s questions or prompts, which is a typical interaction in some classrooms. Through pair and group work, each individual student spends far more time using English and practising their communication skills.

Meaningful communication

In order for the interactions to be effective, we need to ensure that successfully completing a task depends on meaningful communication. In other words, each pair and group work task are designed so that there is a real purpose for the interaction, mirroring communicative interactions in the real world. This real purpose might involve a student communicating something about their own life which another student doesn’t know, such as information about their family, or their own opinions on a subject. It might also involve creating an information gap between the students which requires the use of different communication skills. Let’s consider a couple of examples at different levels of English ability that illustrate the idea of meaningful communication.

Imagine a teacher is working with students at an elementary level of English who are learning or practising the names of colours. The teacher produces sheets of paper with perhaps four or five coloured circles on them. Most sheets are different from each other, but each sheet has at least one other that matches it exactly. Each student receives a sheet and is asked not to let other people see their sheet. The task is for each student to find another student whose sheet exactly matches their own. Armed with a simple structure, such as Do you have a … circle?, students mingle around the classroom, asking and answering each other’s questions, until they have each found a matching partner. This type of task can be easily adapted to focus on shapes, body parts, and a range of other lexical sets. Contrast this with a situation where a teacher indicates different objects that the whole class can see and asks questions such as What colour is this? and expects students to respond with the correct colour. In that case, no meaningful communication takes place since all students already know the answer.

[…]

Assessment and correction

During the task, the students’ focus should be on achieving the communicative aim, whether that’s finding someone in the class with matching information, reconstructing a text, or successfully completing a roleplay. The teacher’s role is to employ ongoing informal assessment by monitoring the interactions and making sure that each pair and group stays on task and does not get distracted by trying to correct each other’s use of language. It’s worth making the importance of completing the task explicit at the start of any communicative task. As teachers monitor the students, they should make a note of any errors that they want to focus on after the activity. This is usually most effective when the teacher selects errors that more than one student makes since focusing on these is likely to be of use to more students. While the teacher may choose to ignore most other errors, it is sometimes worth using ‘hot correction’ with individual students. With hot correction, the teacher quickly makes a note of the correct form on a slip of paper and simply places it on the table in front of the student, without interrupting the interaction.

Conclusion

Communicative Language Teaching prepares students for communicative demands outside the classroom using techniques that develop communication skills. In its pure form, some teachers may feel that there is not enough focus on accuracy and language structure to meet their needs and the needs of their students. However, introducing elements of the approach into your classroom and reconsidering your role as a teacher and the types of tasks you ask your students to take part in will motivate and engage your students while developing their communication skills.

Available at: https://www.onestopenglish.com/methodology-theworld-of-elt/communicative-language-teaching/1000116.article. Accessed on: Jan 23rd, 2024.

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Netflix is trying to prove to the world that it's all grown up

Netflix is trying to persuade Wall Street that it is now all grown up. After squeezing out millions of additional subscribers via its password sharing crackdown and through the introduction of cheaper advertiser-supported plans, the streamer knows that its growth spurts are coming to an end — and now it wants investors to stop obsessing over those pesky membership numbers and instead focus on other metrics.

"In our early days, when we had little revenue or profit, membership growth was a strong indicator of our future potential. But now we're generating very substantial profit and free cash flow. We are also developing new revenue streams like advertising and our extra member feature, so memberships are just one component of our growth", Netflix told shareholders as it reported quarterly earnings.

To that end, Netflix said that it will no longer report quarterly subscriber numbers, starting in 2025. Alas, the metric that Wall Street has forever judged Netflix on — the metric that prompted legacy media companies to burn endless piles of cash in their bids to compete with the streamer — will be retired. The decision to shut off transparency on the metric represents a significant turning point in the streaming revolution. For years, Netflix has prided itself on being extraordinarily transparent. Now it is aiming to hold its cards closer to its chest. And given that streaming giant is the trendsetter in the space, one could expect that other media companies will be inspired by the company's move and also opt to cease reporting such data.

To be fair, what Netflix is saying isn't necessarily off base either. As the company shifts its business model away from subscriptions and toward advertising and other revenue streams, it makes sense to consider how much time users are spending on the service. The more content a user consumes on Netflix, the more likely they are to continue paying for the service, and the more money Netflix then makes from that single subscriber. "We're focused on revenue and operating margin as our primary financial metrics — and engagement (i.e. time spent) as our best proxy for customer satisfaction,” Netflix underscored in its letter to shareholders.

Regardless, less transparency in an already opaque industry is not ideal. The walled garden of streaming already lacks the same detailed viewership data that Nielsen collects on linear television broadcasters. Now, visibility into the streaming world will get even dimmer.

The announcement from Netflix managed to overshadow its otherwise stellar quarter. The company handily beat expectations and added a staggering 9.3 million subscribers, meaning it now boasts nearly 270 million in total. Netflix also beat analyst expectations on both earnings and revenue. However, it wasn't all good news. Netflix forecasted its subscriber growth to be lower in quarter two, chalking it up to “typical seasonality.” That led the stock to slide nearly 5% in after-hours trading.

Whether "typical seasonality” is solely to blame, or whether the streamer is simply starting to hit a ceiling, is hard to tell. Perhaps it is a mix of both. Whatever the cause, the stock sliding on the less-than-ideal outlook is a prime example of why Netflix wants Wall Street to stop focusing on its subscriber numbers. And, in one year's time, investors won't have a choice.

Adapted from: https://edition.cnn.com/2024/04/19/media/netflix-subscription-numbers/index.html

Read Text | and answer questions 05 to 13.

Netflix is trying to prove to the world that it's all grown up

Netflix is trying to persuade Wall Street that it is now all grown up. After squeezing out millions of additional subscribers via its password sharing crackdown and through the introduction of cheaper advertiser-supported plans, the streamer knows that its growth spurts are coming to an end — and now it wants investors to stop obsessing over those pesky membership numbers and instead focus on other metrics.

"In our early days, when we had little revenue or profit, membership growth was a strong indicator of our future potential. But now we're generating very substantial profit and free cash flow. We are also developing new revenue streams like advertising and our extra member feature, so memberships are just one component of our growth", Netflix told shareholders as it reported quarterly earnings.

To that end, Netflix said that it will no longer report quarterly subscriber numbers, starting in 2025. Alas, the metric that Wall Street has forever judged Netflix on — the metric that prompted legacy media companies to burn endless piles of cash in their bids to compete with the streamer — will be retired. The decision to shut off transparency on the metric represents a significant turning point in the streaming revolution. For years, Netflix has prided itself on being extraordinarily transparent. Now it is aiming to hold its cards closer to its chest. And given that streaming giant is the trendsetter in the space, one could expect that other media companies will be inspired by the company's move and also opt to cease reporting such data.

To be fair, what Netflix is saying isn't necessarily off base either. As the company shifts its business model away from subscriptions and toward advertising and other revenue streams, it makes sense to consider how much time users are spending on the service. The more content a user consumes on Netflix, the more likely they are to continue paying for the service, and the more money Netflix then makes from that single subscriber. "We're focused on revenue and operating margin as our primary financial metrics — and engagement (i.e. time spent) as our best proxy for customer satisfaction,” Netflix underscored in its letter to shareholders.

Regardless, less transparency in an already opaque industry is not ideal. The walled garden of streaming already lacks the same detailed viewership data that Nielsen collects on linear television broadcasters. Now, visibility into the streaming world will get even dimmer.

The announcement from Netflix managed to overshadow its otherwise stellar quarter. The company handily beat expectations and added a staggering 9.3 million subscribers, meaning it now boasts nearly 270 million in total. Netflix also beat analyst expectations on both earnings and revenue. However, it wasn't all good news. Netflix forecasted its subscriber growth to be lower in quarter two, chalking it up to “typical seasonality.” That led the stock to slide nearly 5% in after-hours trading.

Whether "typical seasonality” is solely to blame, or whether the streamer is simply starting to hit a ceiling, is hard to tell. Perhaps it is a mix of both. Whatever the cause, the stock sliding on the less-than-ideal outlook is a prime example of why Netflix wants Wall Street to stop focusing on its subscriber numbers. And, in one year's time, investors won't have a choice.

Adapted from: https://edition.cnn.com/2024/04/19/media/netflix-subscription-numbers/index.html

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Pontus

Pontus is a non-playable faction in Rome: Total War. Pontus was a Hellenistic Kingdom on the southern coast of the Black Sea.

Pontus are an eastern faction, based in Asia Minor (Modern-day Turkey), having their origins with an ambitious Persian noble who siezed the area when Alexander's empire broke up. They were best known for their support for the pirates of Cilicia and their subsequent defeat by Pompey.

A refreshingly different faction, Pontus are similar in some ways to the Seleucids, but mainly they are unique. With a large amount of missile cavalry, chariots chariot archers, Cappadocian Lancers and Pikemen, they have a different balance to most factions, while not severely lacking in any department except heavy infantry.

Pontus is a small faction in Asia Minor. While their army is relatively weak at the low initial development levels of Asia Minor, Asia Minor itself is a relatively easy part of the map to take and hold. Trade and growth are relatively good around the area and Rhodes, Crete and the Seleucids are soon ripe for the picking. Tactically, Pontus are an eastern faction. Expect to field a mobile army of mainly missile units. There are Macedonian-influenced Pikemen though, allowing a solid infantry line to be made when dealing with the western armies and to provide more strategic options.

Pontus have mostly the basic eastern units, but with skirmisher cavalry instead of mounted archers. Scythed Chariots and Chariot Archers are also available, allowing further flexibility. The infantry is a little ticklish at times though; The early infantry suffers from poor morale and a lack of stopping power, although Eastern Infantry are very good at stopping enemy chariots. Pikemen and Cappadocian Lancers are available later on though, allowing more Seleucid-influenced tactics to be used to good effect.

It was founded by Mithridates I in 291 BC and lasted until its conquest by the Roman Empire in 63 BC. Despite being ruled by a dynasty which was a descendant of the Persian Achaemenid Empire it became hellenized due to the influence of the Greeks on the black sea and the smaller Hellenistic kingdoms in the Middle East. Pontus grew to its largest extent under Mithridates VI the great, who conquered Colchis, Cappadocia, Bithynia, Lesser Armenia, the Greek colonies of the Tauric Chersonesosand for a brief time the Roman province of Asia.

Pontus starts in north and east Asia Minor, north of the Seleucid Empire, and west of Armenia. Their cities are:

Sinope - Pontic Capital; Region - Pontus

Mazaka - Pontic Large Town; Region - Cappadocia

Pontus infantry units include the feared Bronze Shield Pikemen, the elite of the army of Pontus, among the heirs of the world-conquering phalanxes of Alexander the Great. Pontus has effective cavalry including Cappadocian Cavalry, which are are excellent horsemen, best suited to charging into and breaking through enemy formations with their lances. Pontic heavy cavalry are javelin-armed horsemen who can also fight hand-to-hand - a potent combination in one force.

After a long struggle with Rome in the Mithridatic wars, Pontus was defeated, part of it was incorporated into the Roman Empire as the province Bithynia et Pontus and the eastern half survived as a client Kingdom. The Bosporan Kingdom also remained independent under Pharnaces II as an ally and friend of Rome. Colchis was also made into a client Kingdom. Pharnaces II later made an attempt at reconquering Pontus. During the civil war of Caesar and Pompey, he invaded Asia Minor, taking Colchis, lesser Armenia, Pontus and Cappadocia and defeating a Roman army at Nicopolis. Caesar responded swiftly and defeated him at Zela, where he uttered the famous phrase 'Veni, Vidi, Vici' (i came, i saw, i conquered). Pontic kings continued to rule the client Kingdom of Pontus, Colchis and Cilicia until Polemon II was finally forced to abdicate the Pontic throne by the Romans in 62 AD.

https://totalwar.fandom.com/wiki/Pontus

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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.)