The proliferation of approaches and methods is a prominent characteristic of contemporary second and foreign language
teaching. The following are some of the major distinctive features of the Communicative Approach, EXCEPT:
Questões de Concursos
filtre e encontre questões para seus estudos.
Read and analyse this set of procedural phases of instruction.
1.Presentation of a brief dialogue or several mini-dialogues.
2.Oral practice of each utterance in the dialogue.
3.Questions and answers based on the topic and situation in the dialogue.
4.Questions and answers related to the student's personal experience but centered on the theme of the dialogue.
5.Study of the basic communicative expressions used in the dialogue or one of the structures that exemplify the function.
6.Learner discovery of generalizations or rules underlying the functional ex pression of structure.
7.Oral recognition, interpretative procedures.
8.Oral production activities, proceeding from guided to freer communication.
According to the procedural phases/steps of instruction introduced and handled above, it is illustrated what we call:
Read the text to choose the option that is a text supported statement.
Claudine and Dismas have always struggled to make ends meet in Burundi. On their farm, they grow beans, maize, bananas and sorghum, which helps them financially since their harvest is profitable, and the lands fruitful. After her second pregnancy, Claudine became very ill, and much of the extras they had went to pay for traditional healers and medical doctors searching for answers to her sickness.
The birth of their second child, Valerie, with clubfoot added to the family’s tight financial situation. The condition was not even identified until about a month after Valerie was born when her grandmother was changing her. The grandmother recognized clubfoot because Claudine’s stepsister also had children born with the disability. People discouraged Claudine and Dismas from finding treatment because they felt Valerie’s feet resulted from the strange illness Claudine suffered during her pregnancy. Even if treatment was possible, neighbors reasoned the family would never be able to afford it.
Claudine and Dismas decided to put all their limited financial resources toward clubfoot treatment. Still, saving enough money for transportation to the first clinic visit took them a while. At the clinic, Hope Walks staff gave them the good news that treatment would be free for them.
(Available in: https://www.hopewalks.org/valerie-burundi.)
Read the text to choose the item containing data that does NOT suit poem analysis.
Dulzura
by Sandra Cisneros.
Make love to me in Spanish.
Not with that other tongue.
I want you juntito a mi,
tender like the language
crooned to babies.
I want to be that
lullabied, mi bien
querido, that loved.
I want you inside
the mouth of my heart,
inside the harp of my wrists,
the sweet meat of the mango,
in the gold that dangles
from my ears and neck.
Say my name. Say it.
The way it’s supposed to be said.
I want to know that I knew you
even before I knew you.
(Available in: https://www.best-poems.net/sandra-cisneros/dulzura.html.)
Read the text to answer question
Less than half of Generation Z watch broadcast TV
Emma Saunders.
Culture reporter.
For the first time, less than half of 16 to 24-year-olds are now watching traditional TV each week.
Just 48% of young adults tuned in during an average week last year, compared with 76% just five years before (2018), according to Ofcom’s annual Media Nations report.
They watched traditional TV for an average of 33 minutes each day, down 16% year-on-year.
It will come as no surprise to many that the age group spent three times as long each day (1hr 33min) watching video-sharing platforms such as TikTok and YouTube.
Children between the ages of four and 15 are also switching off, with only 55% watching traditional TV each week last year, compared to 81% in 2018.
But there has also been a decline in middle-aged viewers (45 to 54), dropping from 89% to 84% since 2023, and a 5% drop in viewers aged between 65 and 75.
The over 75s slightly increased their traditional TV viewing, up 1% from last year, Ofcom said.
The overall viewing figures declined by 6% last year, although that was a slower fall than in 2022 (12%).
However, there was brighter news for radio. The first quarter of 2024 saw the highest number of weekly radio listeners across all devices in the last 20 years (just under 50 million). Listening time is up on last year to an average of 20.5 hours per week.
Much of this is down to commercial radio’s continued success – just over seven in 10 people aged 15 and over tune into commercial stations at least once a week (70.4%) compared to 55.6% for BBC stations.
But BBC Radio 2 was still the most popular UK station, and commercial radio had a slightly lower average listening time each week (14.0 hours compared to 14.2 hours for BBC stations).
Most watched programmes in 2023
New Year's Eve Fireworks – BBC One, 12.1m
Happy Valley – BBC One (series three, final episode) 12.1m
The Coronation of The King and Queen Camilla – BBC One, 12m
Eurovision Song Contest – BBC One, 10.1m
Strictly Come Dancing – BBC One (series 21 finale) – BBC One, 9.9m
I'm A Celebrity... Get Me Out of Here! – ITV1 (series 23, launch episode) – 9.9m
Beyond Paradise – BBC One (series one, episode one) – 9m
Death in Paradise – BBC One (series 12, episode two) – 8.7m
Glastonbury – BBC One (25 June) – 8.4m
Call the Midwife Holiday Special – BBC One – 8.4m
Music streaming
Streaming was the second most listened to form of audio last year, with 50% of adults using services such as Spotify each week.
Music streaming continues to account for two thirds of the total income for the record industry.
YouTube on Telly
Despite shifts in viewing habits, TV screens are becoming more popular for watching YouTube content.
The report says 34% of time spent watching YouTube at home is now on a TV set, up from 29% in 2022. This increases to 45% among children aged 4 to 15 – up from 36% in 2022.
YouTube’s total in-home use grew to 38 minutes per person per day in 2023, an increase of 20% year-on-year.
Overall, UK viewers watched more TV and video content at home in 2023, averaging 4hrs 31min a day (an increase of 6 minutes or 2% since 2022).
This was mainly driven by an increase in daily viewing to video-sharing platforms (including YouTube) and to broadcast video-on-demand services, such as iPlayer and ITVX.
Those services grew by 29% in 2023.
Subscription services
Overall daily viewing of subscription streaming services increased by six minutes to 38 minutes a day, with Netflix remaining the most popular service, accounting for half of all subscription video-on-demand viewing.
But those pay-for streaming services have plateaued in reach, with about two thirds of households (68%) using at least one last year, similar to 2022.
Yet the sector made just under £4bn in subscription revenue last year, up 22%, largely due to price increases.
(BBC, 2024, BBC website. Accessed: 12 August 2024. Available https://www.bbc.com/news/articles/crgm9z1dpkpo. Adapted.)
The expression “year-on-year” (3rd and 29th§) could be replaced, without change in meaning, by:
Read the text to answer question
Less than half of Generation Z watch broadcast TV
Emma Saunders.
Culture reporter.
For the first time, less than half of 16 to 24-year-olds are now watching traditional TV each week.
Just 48% of young adults tuned in during an average week last year, compared with 76% just five years before (2018), according to Ofcom’s annual Media Nations report.
They watched traditional TV for an average of 33 minutes each day, down 16% year-on-year.
It will come as no surprise to many that the age group spent three times as long each day (1hr 33min) watching video-sharing platforms such as TikTok and YouTube.
Children between the ages of four and 15 are also switching off, with only 55% watching traditional TV each week last year, compared to 81% in 2018.
But there has also been a decline in middle-aged viewers (45 to 54), dropping from 89% to 84% since 2023, and a 5% drop in viewers aged between 65 and 75.
The over 75s slightly increased their traditional TV viewing, up 1% from last year, Ofcom said.
The overall viewing figures declined by 6% last year, although that was a slower fall than in 2022 (12%).
However, there was brighter news for radio. The first quarter of 2024 saw the highest number of weekly radio listeners across all devices in the last 20 years (just under 50 million). Listening time is up on last year to an average of 20.5 hours per week.
Much of this is down to commercial radio’s continued success – just over seven in 10 people aged 15 and over tune into commercial stations at least once a week (70.4%) compared to 55.6% for BBC stations.
But BBC Radio 2 was still the most popular UK station, and commercial radio had a slightly lower average listening time each week (14.0 hours compared to 14.2 hours for BBC stations).
Most watched programmes in 2023
New Year's Eve Fireworks – BBC One, 12.1m
Happy Valley – BBC One (series three, final episode) 12.1m
The Coronation of The King and Queen Camilla – BBC One, 12m
Eurovision Song Contest – BBC One, 10.1m
Strictly Come Dancing – BBC One (series 21 finale) – BBC One, 9.9m
I'm A Celebrity... Get Me Out of Here! – ITV1 (series 23, launch episode) – 9.9m
Beyond Paradise – BBC One (series one, episode one) – 9m
Death in Paradise – BBC One (series 12, episode two) – 8.7m
Glastonbury – BBC One (25 June) – 8.4m
Call the Midwife Holiday Special – BBC One – 8.4m
Music streaming
Streaming was the second most listened to form of audio last year, with 50% of adults using services such as Spotify each week.
Music streaming continues to account for two thirds of the total income for the record industry.
YouTube on Telly
Despite shifts in viewing habits, TV screens are becoming more popular for watching YouTube content.
The report says 34% of time spent watching YouTube at home is now on a TV set, up from 29% in 2022. This increases to 45% among children aged 4 to 15 – up from 36% in 2022.
YouTube’s total in-home use grew to 38 minutes per person per day in 2023, an increase of 20% year-on-year.
Overall, UK viewers watched more TV and video content at home in 2023, averaging 4hrs 31min a day (an increase of 6 minutes or 2% since 2022).
This was mainly driven by an increase in daily viewing to video-sharing platforms (including YouTube) and to broadcast video-on-demand services, such as iPlayer and ITVX.
Those services grew by 29% in 2023.
Subscription services
Overall daily viewing of subscription streaming services increased by six minutes to 38 minutes a day, with Netflix remaining the most popular service, accounting for half of all subscription video-on-demand viewing.
But those pay-for streaming services have plateaued in reach, with about two thirds of households (68%) using at least one last year, similar to 2022.
Yet the sector made just under £4bn in subscription revenue last year, up 22%, largely due to price increases.
(BBC, 2024, BBC website. Accessed: 12 August 2024. Available https://www.bbc.com/news/articles/crgm9z1dpkpo. Adapted.)
The word “telly” (26th§) is used as a(n):
Read the text to answer question
Less than half of Generation Z watch broadcast TV
Emma Saunders.
Culture reporter.
For the first time, less than half of 16 to 24-year-olds are now watching traditional TV each week.
Just 48% of young adults tuned in during an average week last year, compared with 76% just five years before (2018), according to Ofcom’s annual Media Nations report.
They watched traditional TV for an average of 33 minutes each day, down 16% year-on-year.
It will come as no surprise to many that the age group spent three times as long each day (1hr 33min) watching video-sharing platforms such as TikTok and YouTube.
Children between the ages of four and 15 are also switching off, with only 55% watching traditional TV each week last year, compared to 81% in 2018.
But there has also been a decline in middle-aged viewers (45 to 54), dropping from 89% to 84% since 2023, and a 5% drop in viewers aged between 65 and 75.
The over 75s slightly increased their traditional TV viewing, up 1% from last year, Ofcom said.
The overall viewing figures declined by 6% last year, although that was a slower fall than in 2022 (12%).
However, there was brighter news for radio. The first quarter of 2024 saw the highest number of weekly radio listeners across all devices in the last 20 years (just under 50 million). Listening time is up on last year to an average of 20.5 hours per week.
Much of this is down to commercial radio’s continued success – just over seven in 10 people aged 15 and over tune into commercial stations at least once a week (70.4%) compared to 55.6% for BBC stations.
But BBC Radio 2 was still the most popular UK station, and commercial radio had a slightly lower average listening time each week (14.0 hours compared to 14.2 hours for BBC stations).
Most watched programmes in 2023
New Year's Eve Fireworks – BBC One, 12.1m
Happy Valley – BBC One (series three, final episode) 12.1m
The Coronation of The King and Queen Camilla – BBC One, 12m
Eurovision Song Contest – BBC One, 10.1m
Strictly Come Dancing – BBC One (series 21 finale) – BBC One, 9.9m
I'm A Celebrity... Get Me Out of Here! – ITV1 (series 23, launch episode) – 9.9m
Beyond Paradise – BBC One (series one, episode one) – 9m
Death in Paradise – BBC One (series 12, episode two) – 8.7m
Glastonbury – BBC One (25 June) – 8.4m
Call the Midwife Holiday Special – BBC One – 8.4m
Music streaming
Streaming was the second most listened to form of audio last year, with 50% of adults using services such as Spotify each week.
Music streaming continues to account for two thirds of the total income for the record industry.
YouTube on Telly
Despite shifts in viewing habits, TV screens are becoming more popular for watching YouTube content.
The report says 34% of time spent watching YouTube at home is now on a TV set, up from 29% in 2022. This increases to 45% among children aged 4 to 15 – up from 36% in 2022.
YouTube’s total in-home use grew to 38 minutes per person per day in 2023, an increase of 20% year-on-year.
Overall, UK viewers watched more TV and video content at home in 2023, averaging 4hrs 31min a day (an increase of 6 minutes or 2% since 2022).
This was mainly driven by an increase in daily viewing to video-sharing platforms (including YouTube) and to broadcast video-on-demand services, such as iPlayer and ITVX.
Those services grew by 29% in 2023.
Subscription services
Overall daily viewing of subscription streaming services increased by six minutes to 38 minutes a day, with Netflix remaining the most popular service, accounting for half of all subscription video-on-demand viewing.
But those pay-for streaming services have plateaued in reach, with about two thirds of households (68%) using at least one last year, similar to 2022.
Yet the sector made just under £4bn in subscription revenue last year, up 22%, largely due to price increases.
(BBC, 2024, BBC website. Accessed: 12 August 2024. Available https://www.bbc.com/news/articles/crgm9z1dpkpo. Adapted.)
The text considers generation Z as the people who are:
Read the text to answer question.
The nature of “Language Input” for Language Acquisition
“INPUT” is a vital concept within language acquisition, especially within second language acquisition. Theoretical models in research on language acquisition typically require the explanation of how INPUT is treated by the learners and the impact on language acquisition.The presence of INPUT, however, does not guarantee acquisition. This is generally understood. Watching 20 hours of Korean drama does not necessarily lead to acquisition of Korean – if that worked, we would have loads of proficient Korean speakers around the world now. Notwithstanding that, we also understand that the absence of target language INPUT also implies no language acquisition will take place for the target language. This should also be easily understood. It cannot be the case that a person who has never listened to a word of Yiddish, to be able to speak Yiddish suddenly.
There are various theories on the psycholinguistic processes of how INPUT generates acquisition. Nevertheless, most scholars agree that INPUT needs to be converted to “INTAKE” before acquisition can take place. Using the analogy of the Korean drama earlier, we may also have heard of examples of learners who seemed to have acquire new understanding and able to use Korean at a slightly different level after watching numerous Korean dramas. Yet, the same experience does not always hold for all others. In that sense, for those who have improved or level up, INPUT has become INTAKE in their minds.
Technically speaking, INPUT is akin to data (in fact, some scholars define input as primary linguistic data) available in the environment that the learner has opportunity of access, and intake refers to the data that the learner actually takes in and process. Just as in data science where processed raw data then becomes useful information, LANGUAGE INPUT that is processed can then become information for acquisition – the psychological region where “new information is matched against prior knowledge” (Gass, 1997:5), enabling the learner to confirm/reject any previous hypothesis or form new hypothesis about the target language. Note that this can be implicit and is unknown to the learner.
The key question then is: What types of LANGUAGE INPUT can then have a higher opportunity of becoming INTAKE? This is one question of inquiry that research has yet to provide very conclusive answers, although there are many influencing factors. As such, the various types of LANGUAGE INPUT to be discussed contribute in different manners to acquisition. We should take note of these types to construct relevant languaging experiences for our learners.
(Disponible in: https://www.languageeducatorsassemble.com/types-of-language-input. Adapted.)
Having text content as foundation, analyse the assertives to mark the chosen item.
I. INPUT is basic linguistic information affordable in the ambience that the learner has the chance of accessing.
II. Several instances of INTAKE are instrumental in different ways to foster language acquisition.
III. INPUT may come through languaging in the daily lives of the learners, where the target language is used for all sort of purposes beyond education.
I. INPUT is basic linguistic information affordable in the ambience that the learner has the chance of accessing.
II. Several instances of INTAKE are instrumental in different ways to foster language acquisition.
III. INPUT may come through languaging in the daily lives of the learners, where the target language is used for all sort of purposes beyond education.
Read the text to answer question
Less than half of Generation Z watch broadcast TV
Emma Saunders.
Culture reporter.
For the first time, less than half of 16 to 24-year-olds are now watching traditional TV each week.
Just 48% of young adults tuned in during an average week last year, compared with 76% just five years before (2018), according to Ofcom’s annual Media Nations report.
They watched traditional TV for an average of 33 minutes each day, down 16% year-on-year.
It will come as no surprise to many that the age group spent three times as long each day (1hr 33min) watching video-sharing platforms such as TikTok and YouTube.
Children between the ages of four and 15 are also switching off, with only 55% watching traditional TV each week last year, compared to 81% in 2018.
But there has also been a decline in middle-aged viewers (45 to 54), dropping from 89% to 84% since 2023, and a 5% drop in viewers aged between 65 and 75.
The over 75s slightly increased their traditional TV viewing, up 1% from last year, Ofcom said.
The overall viewing figures declined by 6% last year, although that was a slower fall than in 2022 (12%).
However, there was brighter news for radio. The first quarter of 2024 saw the highest number of weekly radio listeners across all devices in the last 20 years (just under 50 million). Listening time is up on last year to an average of 20.5 hours per week.
Much of this is down to commercial radio’s continued success – just over seven in 10 people aged 15 and over tune into commercial stations at least once a week (70.4%) compared to 55.6% for BBC stations.
But BBC Radio 2 was still the most popular UK station, and commercial radio had a slightly lower average listening time each week (14.0 hours compared to 14.2 hours for BBC stations).
Most watched programmes in 2023
New Year's Eve Fireworks – BBC One, 12.1m
Happy Valley – BBC One (series three, final episode) 12.1m
The Coronation of The King and Queen Camilla – BBC One, 12m
Eurovision Song Contest – BBC One, 10.1m
Strictly Come Dancing – BBC One (series 21 finale) – BBC One, 9.9m
I'm A Celebrity... Get Me Out of Here! – ITV1 (series 23, launch episode) – 9.9m
Beyond Paradise – BBC One (series one, episode one) – 9m
Death in Paradise – BBC One (series 12, episode two) – 8.7m
Glastonbury – BBC One (25 June) – 8.4m
Call the Midwife Holiday Special – BBC One – 8.4m
Music streaming
Streaming was the second most listened to form of audio last year, with 50% of adults using services such as Spotify each week.
Music streaming continues to account for two thirds of the total income for the record industry.
YouTube on Telly
Despite shifts in viewing habits, TV screens are becoming more popular for watching YouTube content.
The report says 34% of time spent watching YouTube at home is now on a TV set, up from 29% in 2022. This increases to 45% among children aged 4 to 15 – up from 36% in 2022.
YouTube’s total in-home use grew to 38 minutes per person per day in 2023, an increase of 20% year-on-year.
Overall, UK viewers watched more TV and video content at home in 2023, averaging 4hrs 31min a day (an increase of 6 minutes or 2% since 2022).
This was mainly driven by an increase in daily viewing to video-sharing platforms (including YouTube) and to broadcast video-on-demand services, such as iPlayer and ITVX.
Those services grew by 29% in 2023.
Subscription services
Overall daily viewing of subscription streaming services increased by six minutes to 38 minutes a day, with Netflix remaining the most popular service, accounting for half of all subscription video-on-demand viewing.
But those pay-for streaming services have plateaued in reach, with about two thirds of households (68%) using at least one last year, similar to 2022.
Yet the sector made just under £4bn in subscription revenue last year, up 22%, largely due to price increases.
(BBC, 2024, BBC website. Accessed: 12 August 2024. Available https://www.bbc.com/news/articles/crgm9z1dpkpo. Adapted.)
Consider the following sentence: “Music streaming continues to account for two thirds of the total income for the record
industry.” (25th§). Another word found in the text that could replace the underlined term, without change in meaning, is:
Read the text to answer question
Less than half of Generation Z watch broadcast TV
Emma Saunders.
Culture reporter.
For the first time, less than half of 16 to 24-year-olds are now watching traditional TV each week.
Just 48% of young adults tuned in during an average week last year, compared with 76% just five years before (2018), according to Ofcom’s annual Media Nations report.
They watched traditional TV for an average of 33 minutes each day, down 16% year-on-year.
It will come as no surprise to many that the age group spent three times as long each day (1hr 33min) watching video-sharing platforms such as TikTok and YouTube.
Children between the ages of four and 15 are also switching off, with only 55% watching traditional TV each week last year, compared to 81% in 2018.
But there has also been a decline in middle-aged viewers (45 to 54), dropping from 89% to 84% since 2023, and a 5% drop in viewers aged between 65 and 75.
The over 75s slightly increased their traditional TV viewing, up 1% from last year, Ofcom said.
The overall viewing figures declined by 6% last year, although that was a slower fall than in 2022 (12%).
However, there was brighter news for radio. The first quarter of 2024 saw the highest number of weekly radio listeners across all devices in the last 20 years (just under 50 million). Listening time is up on last year to an average of 20.5 hours per week.
Much of this is down to commercial radio’s continued success – just over seven in 10 people aged 15 and over tune into commercial stations at least once a week (70.4%) compared to 55.6% for BBC stations.
But BBC Radio 2 was still the most popular UK station, and commercial radio had a slightly lower average listening time each week (14.0 hours compared to 14.2 hours for BBC stations).
Most watched programmes in 2023
New Year's Eve Fireworks – BBC One, 12.1m
Happy Valley – BBC One (series three, final episode) 12.1m
The Coronation of The King and Queen Camilla – BBC One, 12m
Eurovision Song Contest – BBC One, 10.1m
Strictly Come Dancing – BBC One (series 21 finale) – BBC One, 9.9m
I'm A Celebrity... Get Me Out of Here! – ITV1 (series 23, launch episode) – 9.9m
Beyond Paradise – BBC One (series one, episode one) – 9m
Death in Paradise – BBC One (series 12, episode two) – 8.7m
Glastonbury – BBC One (25 June) – 8.4m
Call the Midwife Holiday Special – BBC One – 8.4m
Music streaming
Streaming was the second most listened to form of audio last year, with 50% of adults using services such as Spotify each week.
Music streaming continues to account for two thirds of the total income for the record industry.
YouTube on Telly
Despite shifts in viewing habits, TV screens are becoming more popular for watching YouTube content.
The report says 34% of time spent watching YouTube at home is now on a TV set, up from 29% in 2022. This increases to 45% among children aged 4 to 15 – up from 36% in 2022.
YouTube’s total in-home use grew to 38 minutes per person per day in 2023, an increase of 20% year-on-year.
Overall, UK viewers watched more TV and video content at home in 2023, averaging 4hrs 31min a day (an increase of 6 minutes or 2% since 2022).
This was mainly driven by an increase in daily viewing to video-sharing platforms (including YouTube) and to broadcast video-on-demand services, such as iPlayer and ITVX.
Those services grew by 29% in 2023.
Subscription services
Overall daily viewing of subscription streaming services increased by six minutes to 38 minutes a day, with Netflix remaining the most popular service, accounting for half of all subscription video-on-demand viewing.
But those pay-for streaming services have plateaued in reach, with about two thirds of households (68%) using at least one last year, similar to 2022.
Yet the sector made just under £4bn in subscription revenue last year, up 22%, largely due to price increases.
(BBC, 2024, BBC website. Accessed: 12 August 2024. Available https://www.bbc.com/news/articles/crgm9z1dpkpo. Adapted.)
The following words could correctly replace the word “however” (9th§) without change in meaning, EXCEPT:
The text below describes what its author thinks is an ideal place or world to live in. Having text clues as reference, it is correct to state that:
How It Oughta Be (Shane Profitt)
A backyard ought to be a safe place for kids to play
Teachers oughta get doctor's and lawyer's pay
I don't know about you, but if you ask me
That's how it oughta be
Cold beer oughta be too cold to hold
Somethin' good about somebody's all that oughta be told
The world oughta try a piece of Momma's chicken
Feel the love around her tabletop in the kitchen, and
Oughta be off your ass when that anthem gets sung
All our friends oughta live to be too old to die Young
Ain't how it is, but I believe
That's how it oughta be
I think 87 octane oughta be 99 cents
A buggy full of groceries oughta be cheaper than rente
Don't know why it ain't
But if you ask me
That's how it oughta be
Cold beer oughta be too cold to hold
Somethin' good about somebody's all that oughta be told
The world oughta try a piece of Momma's chicken
Feel the love around her tabletop in the kitchen, and
Oughta be off your ass when that anthem gets sung
All our friends oughta live to be too old to die Young
Ain't how it is, but I believe
That's how it oughta be
That's how it oughta be
Cold beer oughta be too cold to hold
Somethin' good about somebody's all that oughta be told
The world oughta try a piece of Momma's chicken
Feel the love around her tabletop in the kitchen, and
Oughta be off your ass when that anthem gets sung
All our friends oughta live to be too old to die Young
Ain't how it is, but I believe
That's how it oughta be, yeah
That's how it oughta be, yeah, hey-hey
That's how it oughta be
(David Frasier. Mitchell Edward Oglesby. Shane Proffit. Available In: https://www.youtube.com.)
How It Oughta Be (Shane Profitt)
A backyard ought to be a safe place for kids to play
Teachers oughta get doctor's and lawyer's pay
I don't know about you, but if you ask me
That's how it oughta be
Cold beer oughta be too cold to hold
Somethin' good about somebody's all that oughta be told
The world oughta try a piece of Momma's chicken
Feel the love around her tabletop in the kitchen, and
Oughta be off your ass when that anthem gets sung
All our friends oughta live to be too old to die Young
Ain't how it is, but I believe
That's how it oughta be
I think 87 octane oughta be 99 cents
A buggy full of groceries oughta be cheaper than rente
Don't know why it ain't
But if you ask me
That's how it oughta be
Cold beer oughta be too cold to hold
Somethin' good about somebody's all that oughta be told
The world oughta try a piece of Momma's chicken
Feel the love around her tabletop in the kitchen, and
Oughta be off your ass when that anthem gets sung
All our friends oughta live to be too old to die Young
Ain't how it is, but I believe
That's how it oughta be
That's how it oughta be
Cold beer oughta be too cold to hold
Somethin' good about somebody's all that oughta be told
The world oughta try a piece of Momma's chicken
Feel the love around her tabletop in the kitchen, and
Oughta be off your ass when that anthem gets sung
All our friends oughta live to be too old to die Young
Ain't how it is, but I believe
That's how it oughta be, yeah
That's how it oughta be, yeah, hey-hey
That's how it oughta be
(David Frasier. Mitchell Edward Oglesby. Shane Proffit. Available In: https://www.youtube.com.)
Read the text to answer question
Less than half of Generation Z watch broadcast TV
Emma Saunders.
Culture reporter.
For the first time, less than half of 16 to 24-year-olds are now watching traditional TV each week.
Just 48% of young adults tuned in during an average week last year, compared with 76% just five years before (2018), according to Ofcom’s annual Media Nations report.
They watched traditional TV for an average of 33 minutes each day, down 16% year-on-year.
It will come as no surprise to many that the age group spent three times as long each day (1hr 33min) watching video-sharing platforms such as TikTok and YouTube.
Children between the ages of four and 15 are also switching off, with only 55% watching traditional TV each week last year, compared to 81% in 2018.
But there has also been a decline in middle-aged viewers (45 to 54), dropping from 89% to 84% since 2023, and a 5% drop in viewers aged between 65 and 75.
The over 75s slightly increased their traditional TV viewing, up 1% from last year, Ofcom said.
The overall viewing figures declined by 6% last year, although that was a slower fall than in 2022 (12%).
However, there was brighter news for radio. The first quarter of 2024 saw the highest number of weekly radio listeners across all devices in the last 20 years (just under 50 million). Listening time is up on last year to an average of 20.5 hours per week.
Much of this is down to commercial radio’s continued success – just over seven in 10 people aged 15 and over tune into commercial stations at least once a week (70.4%) compared to 55.6% for BBC stations.
But BBC Radio 2 was still the most popular UK station, and commercial radio had a slightly lower average listening time each week (14.0 hours compared to 14.2 hours for BBC stations).
Most watched programmes in 2023
New Year's Eve Fireworks – BBC One, 12.1m
Happy Valley – BBC One (series three, final episode) 12.1m
The Coronation of The King and Queen Camilla – BBC One, 12m
Eurovision Song Contest – BBC One, 10.1m
Strictly Come Dancing – BBC One (series 21 finale) – BBC One, 9.9m
I'm A Celebrity... Get Me Out of Here! – ITV1 (series 23, launch episode) – 9.9m
Beyond Paradise – BBC One (series one, episode one) – 9m
Death in Paradise – BBC One (series 12, episode two) – 8.7m
Glastonbury – BBC One (25 June) – 8.4m
Call the Midwife Holiday Special – BBC One – 8.4m
Music streaming
Streaming was the second most listened to form of audio last year, with 50% of adults using services such as Spotify each week.
Music streaming continues to account for two thirds of the total income for the record industry.
YouTube on Telly
Despite shifts in viewing habits, TV screens are becoming more popular for watching YouTube content.
The report says 34% of time spent watching YouTube at home is now on a TV set, up from 29% in 2022. This increases to 45% among children aged 4 to 15 – up from 36% in 2022.
YouTube’s total in-home use grew to 38 minutes per person per day in 2023, an increase of 20% year-on-year.
Overall, UK viewers watched more TV and video content at home in 2023, averaging 4hrs 31min a day (an increase of 6 minutes or 2% since 2022).
This was mainly driven by an increase in daily viewing to video-sharing platforms (including YouTube) and to broadcast video-on-demand services, such as iPlayer and ITVX.
Those services grew by 29% in 2023.
Subscription services
Overall daily viewing of subscription streaming services increased by six minutes to 38 minutes a day, with Netflix remaining the most popular service, accounting for half of all subscription video-on-demand viewing.
But those pay-for streaming services have plateaued in reach, with about two thirds of households (68%) using at least one last year, similar to 2022.
Yet the sector made just under £4bn in subscription revenue last year, up 22%, largely due to price increases.
(BBC, 2024, BBC website. Accessed: 12 August 2024. Available https://www.bbc.com/news/articles/crgm9z1dpkpo. Adapted.)
According to the text, more than 1/3 of time spent watching YouTube at home is on a:
According to text clues, the compatible answer is:
Language teaching in a multilingual world
To discuss the complexity of language teaching, we adopt an ecological perspective. This helps us to appreciate the significant challenges for language teachers and language teacher educators at different contextual levels (macro, meso, and micro) (Chong, Issacs & McKinley, 2022). This perspective enables us to assess a variety of challenges relating to macrocontextual conditions, such as cultural traditions, political ideologies, demographic changes, shifting cultural values, and uncertain socioeconomic conditions. The impact of macro-contextual conditions is usually sifted through the mediation of institutional policies and practices at the meso or micro levels before causing changes in language teachers' practice and/or incurring resistance. The ecological perspective also highlights the roles individual teachers play in developing professional practice in response to the mediation of contextual conditions at different levels (e.g., Tao & Gao, 2017, 2018, 2021). It is also important to note that language teachers’ professional practice evolves over time under changing contextual conditions.
Shifting geo-political conditions and the values the public attaches to language learning have been found to profoundly impact language teaching, as they lead to the emergence of new languages, new curricula and the promotion of new pedagogical approaches in educational systems (Gao & Zheng, 2019). For instance, following the government's Belt and Road initiative, universities on the Chinese mainland have launched programs in various languages other than English (LOTE) to provide university graduates with the competences needed to engage with the expanding trade opportunities and frequent sociopolitical exchanges between the People's Republic of China and the countries that speak these LOTEs (e.g., Arabic, Persian).The implementation of these top-down educational initiatives requires language teachers to develop new knowledge and skills, which may enable them to develop new pedagogical practices while engendering a process of ‘deskilling,’ as teachers are told that their well-honed teaching practices are no longer valued. Consequently, the initiatives present new challenges for language teachers, who may not be well-prepared for the task of helping national governments achieve their aspirations.
An increasingly deep engagement with multilingualism in second language acquisition research has had a profound impact on language teacher education, as scholars have been critically examining, identifying, and redressing the deeply entrenched influences of monolingualism, especially English monolingualism, in language education (Li Wei, 2018). The vision of sustaining a multilingual, multicultural world means that LOTEs should be promoted in any educational system as “linguistic diversity is both critical in sustaining cultural diversity and instrumental in supporting vibrant exchanges of knowledge and understanding.
(Available in: https://www.sciencedirect.com/science/article/pii/S0346251X23001495. Adapted.)
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.)
In paragraph 5, why does the author mention the opening scene as “iconic”?
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.)
It’s correct to affirm that the tv show The Golden Girls took place within a Floridian’s house space to:
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.)
Texts vary in style and structure when it comes to their objectives. The intended message and genre conventions in the
previous text classify it as a:
Read the text to answer question
Less than half of Generation Z watch broadcast TV
Emma Saunders.
Culture reporter.
For the first time, less than half of 16 to 24-year-olds are now watching traditional TV each week.
Just 48% of young adults tuned in during an average week last year, compared with 76% just five years before (2018), according to Ofcom’s annual Media Nations report.
They watched traditional TV for an average of 33 minutes each day, down 16% year-on-year.
It will come as no surprise to many that the age group spent three times as long each day (1hr 33min) watching video-sharing platforms such as TikTok and YouTube.
Children between the ages of four and 15 are also switching off, with only 55% watching traditional TV each week last year, compared to 81% in 2018.
But there has also been a decline in middle-aged viewers (45 to 54), dropping from 89% to 84% since 2023, and a 5% drop in viewers aged between 65 and 75.
The over 75s slightly increased their traditional TV viewing, up 1% from last year, Ofcom said.
The overall viewing figures declined by 6% last year, although that was a slower fall than in 2022 (12%).
However, there was brighter news for radio. The first quarter of 2024 saw the highest number of weekly radio listeners across all devices in the last 20 years (just under 50 million). Listening time is up on last year to an average of 20.5 hours per week.
Much of this is down to commercial radio’s continued success – just over seven in 10 people aged 15 and over tune into commercial stations at least once a week (70.4%) compared to 55.6% for BBC stations.
But BBC Radio 2 was still the most popular UK station, and commercial radio had a slightly lower average listening time each week (14.0 hours compared to 14.2 hours for BBC stations).
Most watched programmes in 2023
New Year's Eve Fireworks – BBC One, 12.1m
Happy Valley – BBC One (series three, final episode) 12.1m
The Coronation of The King and Queen Camilla – BBC One, 12m
Eurovision Song Contest – BBC One, 10.1m
Strictly Come Dancing – BBC One (series 21 finale) – BBC One, 9.9m
I'm A Celebrity... Get Me Out of Here! – ITV1 (series 23, launch episode) – 9.9m
Beyond Paradise – BBC One (series one, episode one) – 9m
Death in Paradise – BBC One (series 12, episode two) – 8.7m
Glastonbury – BBC One (25 June) – 8.4m
Call the Midwife Holiday Special – BBC One – 8.4m
Music streaming
Streaming was the second most listened to form of audio last year, with 50% of adults using services such as Spotify each week.
Music streaming continues to account for two thirds of the total income for the record industry.
YouTube on Telly
Despite shifts in viewing habits, TV screens are becoming more popular for watching YouTube content.
The report says 34% of time spent watching YouTube at home is now on a TV set, up from 29% in 2022. This increases to 45% among children aged 4 to 15 – up from 36% in 2022.
YouTube’s total in-home use grew to 38 minutes per person per day in 2023, an increase of 20% year-on-year.
Overall, UK viewers watched more TV and video content at home in 2023, averaging 4hrs 31min a day (an increase of 6 minutes or 2% since 2022).
This was mainly driven by an increase in daily viewing to video-sharing platforms (including YouTube) and to broadcast video-on-demand services, such as iPlayer and ITVX.
Those services grew by 29% in 2023.
Subscription services
Overall daily viewing of subscription streaming services increased by six minutes to 38 minutes a day, with Netflix remaining the most popular service, accounting for half of all subscription video-on-demand viewing.
But those pay-for streaming services have plateaued in reach, with about two thirds of households (68%) using at least one last year, similar to 2022.
Yet the sector made just under £4bn in subscription revenue last year, up 22%, largely due to price increases.
(BBC, 2024, BBC website. Accessed: 12 August 2024. Available https://www.bbc.com/news/articles/crgm9z1dpkpo. Adapted.)
Consider the underlined term in the following sentence “[...] those pay-for streaming services have plateaued in reach, […]”
(35º§). It means that “those pay-for-streaming services” have:
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.)
According to the author’s opinion, which character suffers from caricaturisation toward the end of the show?
Leia o texto a seguir e avalie as afirmativas apresentadas.
The conceptual and epistemological grounds of literacy are being stretched as the encoded worlds we navigate increasingly interpenetrate multicultural, multilingual, and multimodal contexts. The twenty-first century finds us at a critical juncture for reevaluating English language and literacy teaching agendas. The technological revolution has facilitated and augmented human communication such that everyday interactions now essentially include digital interfaces. Language, text, and discourse norms and practices are being rapidly expanded and reinvented in response to new media and global networks. The language driving the majority of intercultural web traffic is English, which reinforces its position as a global language and adds an insidious dimension of cybercolonialism. Teachers are in crisis: domains for English language socialization now extend from known geographical and social contexts to the global panorama of the virtual world in which we, too, are learners. Information and communication technologies (ICT) have created new literacies that are required by learners of all ages if they are to fairly contend for academic and economic success. Examining the evolution of literacy into multiliteracies and considering how this epistemological shift affects ELT turned out to be a necessity. Digitally responsive, pedagogically strategic, ecologically sensitive English language and literacy teaching and learning practices should, thus, be discussed.
(Available: https://www.researchgate.net/publication/226802846_From_Literacy_to_Multiliteracies_in_ELT. Adapted.)
I. As línguas são fenômenos (geo)político, histórico, social, variável, heterogêneo e sensível aos contextos de uso, sendo eles essenciais para o reconhecimento e a vivência da língua como forma de expressão identitária.
II. Ressalta-se a tendência hegemônica da língua inglesa em ambientes virtuais como aspecto estritamente benéfico.
III. O ensino de língua inglesa sofreu mudanças resultantes das novas concepções acerca de como os conhecimentos sobre a língua são adquiridos pelas pessoas a partir dos princípios da crença, verdade e justificativa.
Está correto o que se afirma apenas em
O emprego da forma verbal destacada na letra da canção “Somewhere only we know” da banda inglesa Keane, cantada nos shows pelo Brasil em 2024, justifica-se por:
I walked across an empty land
I knew the pathway like the back of my hand
I felt the earth beneath my feet
Sat by the river and it made me complete
Oh, simple thing, where have you gone?
I'm getting old, and I need something to rely on
So, tell me when you're gonna let me in
I'm getting tired, and I need somewhere to begin
I came across a fallen tree
I felt the branches of it looking at me
Is this the place we used to love?
Is this the place that I've been dreaming of?
Oh, simple thing, where have you gone?
I'm getting old, and I need something to rely on
So, tell me when you're gonna let me in
I'm getting tired, and I need somewhere to begin
And if you have a minute, why don't we go
Talk about it somewhere only we know?
This could be the end of everything
So, why don't we go somewhere only we know?
Somewhere only we know
Oh, simple thing, where have you gone?
I'm getting old, and I need something to rely on
So, tell me when you're gonna let me in
I'm getting tired, and I need somewhere to begin
And if you have a minute, why don't we go
Talk about it somewhere only we know?
This could be the end of everything
So, why don't we go?
So, why don't we go?
Ooh, oh-oh
Ah, oh
This could be the end of everything
So, why don't we go somewhere only we know?
Somewhere only we know
Somewhere only we know
(Disponível em: https://www.letras.mus.br/keane. Acesso em: outubro de 2024.)