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Gigantic skull of prehistoric sea monster found on England's 'Jurassic Coast'


The remarkably well-preserved skull of a gigantic pliosaur, a prehistoric sea monster, has been discovered on a beach in the county of Dorset in southern England, and it could reveal secrets about these awe-inspiring creatures.


Pliosaurs dominated the oceans at a time when dinosaurs roamed the land. The unearthed fossil is about 150 million years old, almost 3 million years younger than any other pliosaur fins. Researchers are analyzing the specimen to determine whether it could even be a species new to science.


Originally spotted in spring 2022, the fossil, along with its complicated excavation and ongoing scientific investigation, are now detailed in the upcoming BBC documentary "Attenborough and the Jurassic Sea Monster" presented by legendary naturalist Sir David Attenborough, that will air February 14 on PBS.


Such was the enormous size of the carnivorous marine reptile that the skull, excavated from a cliff along Dorset's "Jurassic Coast", is almost 2 meters (6.6 feet) ling. In its fossilized form, the specimen weighs over half a metric ton. Pliosaurs species could grow to 15 meters (50 feet) in length, according to Encyclopaedia Britannica.


The fossil was buried deep in the cliff, about 11 meters (36 feet) above the ground and 15 meters (49 feet) down the cliff, local paleontologist Steve Etches, who helped uncover it, told the CNN in a video call.


Extracting it proved a perilous task, one fraught with danger as a crew raced against the clock during a window of good weather before summer storms closed in and the cliff eroded, possibly taking the rare and significant fossil with it.


Etches first learned of the fossil's existence when his friend Philip Jacobs called him after coming across the pliosaur's snout on the beach. Right from the start, they were "quite excited, because its jaws closed together which indicates (the fossil) is complete," Etches said.


After using drones to map the cliff and identify the rest of the pliosaur's precise position, Etches and his team embarked on a three-week operation, chiseling into the cliff while suspended in midair.


"It's a miracle we got it out," he said, "because we had one last day to get this thing out, which we did at 9:30 p.m."


Etches took on the task of painstakingly restoring the skull. There was a time he found "very disillusioning" as the mud, and bone, had cracked, but "over the following days and weeks, it was a case of ..., like a jigsaw, putting it all back. It took a long time but every bit of bone we got back in."


It's a "freak of nature" that this fossil remains in such good condition, Etches added. "It died in the right environment, there was a lot of sedimentation ... so when it died and went down to the seafloor, it got buried quite quickly."


Fearsome top predator of the seas


The nearly intact fossil illuminates the characteristics that made the pliosaur a truly fearsome predator, hunting prey such as the dolphinlike ichthyosaur. The apex predator with huge razor-sharp teeth used as a variety of senses, including sensory pits still visible on its skull that may have allowed it to detect changes in water pressure, according to the documentary.


The pliosaur had a bite twice as powerful as a saltwater crocodile, which has the world's most powerful jaws today, according to Emily Rayfield, a professor of paleobiology at the University of Bristol in the United Kingdom who appeared in the documentary. The prehistoric marine predator would have been able to cut into a car, she said.


Andre Rowe, a postdoctoral research associate of paleobiology at the University of Bristol, added that "the animal would have been so massive that I think it would have been able to prey effectively on anything that was unfortunate enough to be in its space."


By Issy Ronald, CNN

Published December 11, 2023

Available on https://edition.cnn.com/2023/12/11/world/skull-pliosaur-fo
What's the main subject of the presented text? Mark the CORRECT answer.
Text 1

ABSTRACT

The impact of streaming services on youth television viewing habits and media literacy


Streaming services have revolutionized the entertainment industry, playing an important role in attracting young people for movies and television series. The availability of streaming services such as NetFlix, Amazon, Apple TV and other platforms have drastically reduced traditional television viewing. Because of the availability of the shows at any time, youth are used to “marathoning”, resulting in a single session watching complete seasons of different shows in one sitting.
Streaming watching has helped the youth to increase their knowledge about various cultures, beliefs, and perspectives, which has helped in improving their overall understanding of the world. However, this has also led to exposure to inappropriate content, resulting in parental monitoring of the content viewed.
The present research has identified that streaming services have beneficial effects on the media literacy of the youth. Nevertheless, the exposure to inadequate content needs to be monitored, so that the beneficial aspects of streaming viewing outweigh the harm it might cause.


Available at: 10.29121/shodhkosh.v5.i1.2024.946. Access 28 Nov. 2024.
Exposure to inappropriate content is mentioned in the text as:
Text 1

ABSTRACT

The impact of streaming services on youth television viewing habits and media literacy


Streaming services have revolutionized the entertainment industry, playing an important role in attracting young people for movies and television series. The availability of streaming services such as NetFlix, Amazon, Apple TV and other platforms have drastically reduced traditional television viewing. Because of the availability of the shows at any time, youth are used to “marathoning”, resulting in a single session watching complete seasons of different shows in one sitting.
Streaming watching has helped the youth to increase their knowledge about various cultures, beliefs, and perspectives, which has helped in improving their overall understanding of the world. However, this has also led to exposure to inappropriate content, resulting in parental monitoring of the content viewed.
The present research has identified that streaming services have beneficial effects on the media literacy of the youth. Nevertheless, the exposure to inadequate content needs to be monitored, so that the beneficial aspects of streaming viewing outweigh the harm it might cause.


Available at: 10.29121/shodhkosh.v5.i1.2024.946. Access 28 Nov. 2024.
The sentence which indicates that the text is an abstract of a study on streaming viewing by the youth is:
Considering the sentence, "Despite the heavy rain, the event continued as planned. The organizers had prepared for such circumstances, ensuring everything was under control," what does the pronoun "everything" refer to?
We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function.

Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic.

E. H. Gombrich. The story of art.
New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted).

Based on the previous text, its ideas and its linguistic aspects, judge the following item.

The author of the text uses architecture as an example because he considers it the best form of art from the past.

We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function.

Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic.

E. H. Gombrich. The story of art.
New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted).

Based on the previous text, its ideas and its linguistic aspects, judge the following item.

In the first paragraph, the author states that, in the past, no buildings were built without a practical purpose or reason.

Ethical codes evolve in response to changing conditions, values, and ideas. A professional code of ethics must, therefore, be periodically updated, and also rest upon widely shared values.
Although the operating environment of museums grows more complex each year, the root value for museums, the tie that connects all of us together despite our diversity, is the commitment to serving people, both present and future generations.
Historically, museums have owned and used natural objects, living and non-living, and all manner of human artifacts to advance knowledge and nourish the human spirit.
Today, the range of their special interests reflects the scope of human vision. Their missions include collecting and preserving, as well as exhibiting and educating with materials not only owned but also borrowed and fabricated for these ends. Their numbers include both governmental and private museums.
The museum universe in the United States includes both collecting and noncollecting institutions. Although diverse in their missions, they have in common their nonprofit form of organization and a commitment of service to the public. Their collections and/or the objects they borrow or fabricate are the basis for research, exhibits, and programs that invite public participation.
Taken as a whole, museum collections and exhibition materials represent the world's natural and cultural common wealth. As stewards of that wealth, museums are compelled to advance an understanding of all natural forms and of the human experience. It is incumbent on museums to be resources for humankind and in all their activities to foster an informed appreciation of the rich and diverse world we have inherited. It is also incumbent upon them to preserve that inheritance for posterity.


www.aam-us.org/museumresources/ethics/coe.cfm. Acessado em 22/02/2024. Adaptado.
Conforme o texto, constitui elemento comum entre os vários museus nos EUA, apesar de suas missões diversas,
Ethical codes evolve in response to changing conditions, values, and ideas. A professional code of ethics must, therefore, be periodically updated, and also rest upon widely shared values.
Although the operating environment of museums grows more complex each year, the root value for museums, the tie that connects all of us together despite our diversity, is the commitment to serving people, both present and future generations.
Historically, museums have owned and used natural objects, living and non-living, and all manner of human artifacts to advance knowledge and nourish the human spirit.
Today, the range of their special interests reflects the scope of human vision. Their missions include collecting and preserving, as well as exhibiting and educating with materials not only owned but also borrowed and fabricated for these ends. Their numbers include both governmental and private museums.
The museum universe in the United States includes both collecting and noncollecting institutions. Although diverse in their missions, they have in common their nonprofit form of organization and a commitment of service to the public. Their collections and/or the objects they borrow or fabricate are the basis for research, exhibits, and programs that invite public participation.
Taken as a whole, museum collections and exhibition materials represent the world's natural and cultural common wealth. As stewards of that wealth, museums are compelled to advance an understanding of all natural forms and of the human experience. It is incumbent on museums to be resources for humankind and in all their activities to foster an informed appreciation of the rich and diverse world we have inherited. It is also incumbent upon them to preserve that inheritance for posterity.


www.aam-us.org/museumresources/ethics/coe.cfm. Acessado em 22/02/2024. Adaptado.
Considerado o contexto, o termo “stewards” (6º parágrafo) é empregado para designar museus como
Read the text and answer question.


As one of the oldest and most influential foreign language pedagogical journals, The Modern Language Journal (MLJ) offers valuable insights into how technological advances have affected language teaching and learning at various points in history. The present article will review the proposed pedagogical use of technological resources by means of a critical analysis of articles published in the MLJ since its first edition in 1916. The assessment of how previous technical capabilities have been implemented for pedagogical purposes represents a necessary background for the assessment of the pedagogical potential of present-day technologies. In this article I argue that, whereas most “new technologies” (radio, television, VCR, computers) may have been revolutionary in the overall context of human interaction, it is not clear that they have achieved equal degrees of pedagogical benefit in the realm of second language teaching. I further claim that the pedagogical effectiveness of different technologies is related to four major questions: (a) Is increased technological sophistication correlated to increased pedagogical effectiveness? (b) Which technical attributes specific to newtechnologies can be profitably exploited for pedagogical purposes? (c) How can new technologies be successfully integrated into the curriculum? and (d) Do new technologies provide for an efficient use of human and material resources?


(Salaberry, M. Researchgate.net. Adaptado)
One of the main objectives of the author is to
Text 1


Mental Health Conditions


Mental illnesses are disorders, ranging from mild to severe, that affect a person’s thinking, mood, and/or behavior. According to the National Institute of Mental Health, nearly one-in-five adults live with a mental illness. Many factors contribute to mental health conditions, including: Biological factors, such as genes or brain chemistry, life experiences, such as trauma or abuse and family history of mental health problems.


Tips for Living Well with a Mental Health Condition


Having a mental health condition can make it a struggle to work, keep up with school, stick to a regular schedule, have healthy relationships, socialize, maintain hygiene, and more. However, with early and consistent treatment—often a combination of medication and psychotherapy—it is possible to manage these conditions, overcome challenges, and lead a meaningful, productive life. Today, there are new tools, evidence-based treatments, and social support systems that help people feel better and pursue their goals. Some of these tips, tools and strategies include:


• Stick to a treatment plan. Even if you feel better, don’t stop going to therapy or taking medication without a doctor’s guidance. Work with a doctor to safely adjust doses or medication if needed to continue a treatment plan.


• Keep your primary care physician updated. Primary care physicians are an important part of long-term management, even if you also see a psychiatrist.


• Learn about the condition. Being educated can help you stick to your treatment plan. Education can also help your loved ones be more supportive and compassionate.


• Practice good self-care. Control stress with activities such as meditation or tai-chi; eat healthy and exercise; and get enough sleep.


• Reach out to family and friends. Maintaining relationships with others is important. In times of crisis or rough spells, reach out to them for support and help.


• Develop coping skills. Establishing healthy coping skills can help people deal with stress easier.


• Get enough sleep. Good sleep improves your brain performance, mood and overall health. Consistently poor sleep is associated with anxiety, depression, and other mental health conditions.



Available in:< https://www.samhsa.gov/mental-health>
Analyze the following sentences below about the excerpt of the text 1 “Today, there are new tools, evidence-based treatments, and social support systems that help people feel better and pursue their goals”.

I. The structure “there are new tools” is in the Simple Past Tense.

II. The structure “evidence-based treatments”is a nominal group connected to “social support systems that help people feel better” and the headnoun is “systems”.

III. The word “pursue” can be replace by “seek”.

IV. In the expression “that help people feel better” it refers to “social support systems”, “evidence-based treatments” and “new tools”.

Which ones are correct?
Is It Live, or Is It Deepfake?


It’s been four decades since society was in awe of the quality of recordings available from a cassette recorder tape. Today we have something new to be in awe of: deepfakes. Deepfakes include hyperrealistic videos that use artificial intelligence (AI) to create fake digital content that looks and sounds real. The word is a portmanteau of “deep learning” and “fake.” Deepfakes are everywhere: from TV news to advertising, from national election campaigns to wars between states, and from cybercriminals’ phishing campaigns to insurance claims that fraudsters file. And deepfakes come in all shapes and sizes — videos, pictures, audio, text, and any other digital material that can be manipulated with AI. One estimate suggests that deepfake content online is growing at the rate of 400% annually.


There appear to be legitimate uses of deepfakes, such as in the medical industry to improve the diagnostic accuracy of AI algorithms in identifying periodontal disease or to help medical professionals create artificial patients (from real patient data) to safely test new diagnoses and treatments or help physicians make medical decisions. Deepfakes are also used to entertain, as seen recently on America’s Got Talent, and there may be future uses where deepfake could help teachers address the personal needs and preferences of specific students.


Unfortunately, there is also the obvious downside, where the most visible examples represent malicious and illegitimate uses. Examples already exist.


Deepfakes also involve voice phishing, also known as vishing, which has been among the most common techniques for cybercriminals. This technique involves using cloned voices over the phone to exploit the victim’s professional or personal relationships by impersonating trusted individuals. In March 2019, cybercriminals were able to use a deepfake to fool the CEO of a U.K.-based energy firm into making a US$234,000 wire transfer. The British CEO who was victimized thought that the person speaking on the phone was the chief executive of the firm’s German parent company. The deepfake caller asked him to transfer the funds to a Hungarian supplier within an hour, emphasizing that the matter was extremely urgent. The fraudsters used AI-based software to successfully imitate the German executive’s voice. […]


What can be done to combat deepfakes? Could we create deepfake detectors? Or create laws or a code of conduct that probably would be ignored?


There are tools that can analyze the blood flow in a subject’s face and then compare it to human blood flow activity to detect a fake. Also, the European Union is working on addressing manipulative behaviors.


There are downsides to both categories of solutions, but clearly something needs to be done to build trust in this emerging and disruptive technology. The problem isn’t going away. It is only increasing.


Authors


Nit Kshetri, Bryan School of Business and Economics, University of North Carolina at Greensboro, Greensboro, NC, USA


Joanna F. DeFranco, Software Engineering, The Pennsylvania State University, Malvern, PA, USA Jeffrey Voas, NIST, USA


Adapted from: https://www.computer.org/csdl/magazine/co/2023/07/10154234/ 1O1wTOn6ynC
Based on the text, mark the statements below as true (T) or false (F).

( ) Deepfakes are circumscribed to certain areas of action.
( ) The sole aim of deepfake technology is to spread misinformation.
( ) Evidence shows that even high-ranking executives can be easy targets to vishing techniques.

The statements are, respectively:
Forthcoming innovation & trends in shipping industry


1 The shipping trends play a vital role in global trade, transporting goods worth trillions of dollars yearly. Population growth and continued urbanization will also lead to an increase in demand for maritime shipping services. The maritime shipping industry must continue to innovate and adopt new technologies to meet this increased demand. The following are some of the most promising trends and innovations currently taking place in the maritime shipping industry:

2 1. Green Technology - One of the most critical trends in maritime shipping is the move toward green technology. With increasing public awareness of the need to protect the environment, it is becoming increasingly crucial for maritime companies to adopt green practices. Maritime companies invest in cleaner-burning fuels such as LNG (liquefied natural gas). LNG produces significantly lower emissions than traditional marine fuels such as heavy fuel oil (HFO) and diesel. Some maritime companies are also experimenting with battery-powered ships to reduce emissions further. While battery-powered ships are not yet commercially viable on long voyages, they show great promise for use on shorter routes.

3 2. Electric Ships - Global maritime transport emits around 900 million tons of carbon dioxide annually, accounting for 2-3% of the world’s total emissions. As the push for decarbonization gathers momentum, it is only a matter of time before electric ships become the norm.

4 3. Autonomous Ships - Another exciting trend in maritime shipping is the development of autonomous ships. Autonomous ships have the potential to revolutionize the industry. They offer many advantages over traditional vessels, including reduced operating costs, increased efficiency, and improved safety by reducing the need for manual labor onboard ships. In addition, automated systems are less susceptible to human error than their manual counterparts. While there are many regulatory hurdles to overcome before autonomous vessels can be deployed commercially, they are expected to eventually become a common sight in the world’s oceans.

5 4. Blockchain - Blockchain technology is also beginning to make its way into the maritime shipping industry. Blockchain offers several potential benefits for maritime companies, including improved tracking of shipments and real-time visibility of their location- this would minimize delays caused by lost or misplaced cargo, reduce paperwork, and increase transparency throughout the supply chain. Moreover, blockchain-based smart contracts could automate many administrative tasks related to shipping, such as documentation and billing.

6 5. Big data and predictive analytics - Another major trend transforming maritime shipping is the increasing use of big data and predictive analytics. The shipping industry generates vast amounts of data that can be extremely valuable if analyzed correctly. Big data analytics can improve everything from route planning to fuel consumption. By harnessing the power of data, shipping companies can optimize their operations, reduce costs, and enhance safety and security. Predictive analytics is particularly valuable for identifying potential problems before they occur, such as equipment failures or weather hazards.

7 6. Cybersecurity - Cybersecurity is a growing concern for maritime companies due to the increased reliance on digital systems and networks. As the shipping industry becomes increasingly digitized, companies must implement robust cybersecurity measures to protect their vessels and cargo from attack. Ships are now equipped with everything from satellite communications to remote monitoring capabilities, all of which create potential cyber vulnerabilities.

8 Conclusion - The maritime shipping news is undergoing a period of significant change, with new technologies and trends emerging that have the potential to revolutionize the way that we ship goods around the world.


Available at: https://maritimefairtrade.org/6-forthcoming-innovation-
-trends-in-the-shipping-industry/ Retrieved on April 22, 2023. Adapted.
In the fifth paragraph of the text, the author states that “blockchain” is a technology that can

Text: “Why do people collect?”

Petra Engels owns 19,571 erasers, Carol Vaughn has 1,221 bars of soap, and Ralf Shrőder has a collection of 14,502 packets of sugar. Many people love to collect things, but why? Psychologists and collectors have different opinions.

The psychologist Carl Jung believed that collecting is part of our ancient human history. Thousands of years ago, humans collected nuts and berries. They kept them carefully and ate them when there was no food. The best collectors survived long cold winters or seasons without rain. Their genes passed to future generations. Nowadays, we still have a collecting instinct.

Historian Philipp Bloom has a different opinion. He thinks collectors want to make something that will remain after their death. By bringing many similar items together, the collector gains historical importance. Sometimes their collections become museums or libraries, for example, Henry Huntington, who founded a library in Los Angeles to house his collection of books.

Author Steve Roach thinks that people collect things to remember their childhood. Many children collect things, but few have enough money to buy the things they really want, and they lose interest. In later life, they remember their collections fondly. Now, they have enough money and opportunity to find special items, and they start collecting again. This way, they can re-live and enjoy their childhood years.

Art collector, Werner Muensterberger, agrees that collecting is linked to childhood. But he believes we collect in order to feel safe and secure. While babies hold blankets or toys to feel safe when their mother isn’t there, adults collect things to stop feeling lonely or anxious.

Autograph collector Mark Baker agrees that collecting is emotional, but he doesn’t collect to reduce anxiety. “For me, it’s the excitement,” he says. “I love trying to get a famous person’s autograph. Sometimes I succeed, and sometimes I fail. Also, by collecting autographs, I feel connected to famous people. I don’t just watch them on television. I actually meet them.”

These are just a few reasons for collecting. Do you know any people with collections? Why do they collect?

Questions related to the text above

What does Petra Engels collect?

Text II


This book wants to show the newcomer the lie of the land without confusing him with details. In writing it I thought first and foremost of readers in their teens. But I have never believed that books for young people should differ from books for adults except for the fact that they must reckon with the most exacting class of critics, critics who are quick to detect and resent any trace of pretentious jargon or bogus sentiment. I know from experience that these are the vices which may render people suspicious of all writings. I have striven to use plain language even at the risk of sounding casual or unprofessional. I hope that no reader will attribute my decision to get along with a minimum of the art historian’s conventional terms to any desire on my part of ‘talking down’ to him. Apart from this decision, I have tried to follow a number of more specific self-imposed rules, such as limiting myself to real works of art and cutting out anything which might merely be interesting as a specimen of taste or fashion. This decision entailed a considerable sacrifice of literary effects. Praise is so much duller than criticism, and the inclusion of some amusing monstrosities might have offered some light relief. Thus, while I do not claim that all the works illustrated represent the highest standard of perfection, I did make an effort not to include anything which I considered to be without a peculiar merit of its own.

A second rule also demanded a little self-denial. I vowed to resist any temptation to be original in my selection, lest the well-known masterpieces be crowded out by my own personal favourites. This book, after all, is not intended merely as an anthology of beautiful things; it is meant for those who look for bearings in a new field, and for them the familiar appearance of apparently ‘hackneyed’ examples may serve as welcome landmarks.

One more rule I have followed. When in doubt I have always preferred to discuss a work which I had seen in the original rather than one I knew only from photographs. I should have liked to make this an absolute rule, but I did not want the reader to be penalized by the accidents of travel restrictions which sometimes dog the life of the art-lover.


E. H. Gombrich. The Story of Art. Phaidon, New York – London: 1995, p. 7-8 (adapted).

Considering text II, judge whether the following statements are right (C) or wrong (E).

By stating that he wants to show the reader “the lie of the land” (first sentence of the text), the author means that he wants to inform the reader of the rules he followed in writing the book.

Text II


This book wants to show the newcomer the lie of the land without confusing him with details. In writing it I thought first and foremost of readers in their teens. But I have never believed that books for young people should differ from books for adults except for the fact that they must reckon with the most exacting class of critics, critics who are quick to detect and resent any trace of pretentious jargon or bogus sentiment. I know from experience that these are the vices which may render people suspicious of all writings. I have striven to use plain language even at the risk of sounding casual or unprofessional. I hope that no reader will attribute my decision to get along with a minimum of the art historian’s conventional terms to any desire on my part of ‘talking down’ to him. Apart from this decision, I have tried to follow a number of more specific self-imposed rules, such as limiting myself to real works of art and cutting out anything which might merely be interesting as a specimen of taste or fashion. This decision entailed a considerable sacrifice of literary effects. Praise is so much duller than criticism, and the inclusion of some amusing monstrosities might have offered some light relief. Thus, while I do not claim that all the works illustrated represent the highest standard of perfection, I did make an effort not to include anything which I considered to be without a peculiar merit of its own.

A second rule also demanded a little self-denial. I vowed to resist any temptation to be original in my selection, lest the well-known masterpieces be crowded out by my own personal favourites. This book, after all, is not intended merely as an anthology of beautiful things; it is meant for those who look for bearings in a new field, and for them the familiar appearance of apparently ‘hackneyed’ examples may serve as welcome landmarks.

One more rule I have followed. When in doubt I have always preferred to discuss a work which I had seen in the original rather than one I knew only from photographs. I should have liked to make this an absolute rule, but I did not want the reader to be penalized by the accidents of travel restrictions which sometimes dog the life of the art-lover.


E. H. Gombrich. The Story of Art. Phaidon, New York – London: 1995, p. 7-8 (adapted).

Based on text II, judge whether the following statements are right (C) or wrong (E).

It can be correctly concluded from the excerpt “Praise is so much duller than criticism” (ninth sentence of the first paragraph) that the author wishes to write a book criticizing what he considers “monstrosities”.

Leia as afirmativas seguintes sobre gêneros textuais e suas implicações para o ensino de inglês como língua adicional (LAd), e marque a alternativa correta.
I- No ensino de inglês, o uso de gêneros textuais é fundamental para promover uma compreensão mais ampla e profunda da linguagem. Ao expor os alunos a uma variedade de textos, como narrativas, artigos de jornal, cartas e ensaios, os professores podem ajudá-los a desenvolver habilidades de leitura crítica, compreensão auditiva e expressão escrita. Além disso, trabalhar com diferentes gêneros textuais permite aos alunos aprenderem sobre as convenções linguísticas e estruturais específicas de cada tipo de texto, preparando-os para comunicarem-se de forma eficaz em situações reais.
lI- Os gêneros textuais no ensino de inglês são uma ferramenta valiosa para promover a aprendizagem significativa e a motivação dos alunos. Ao trabalhar com uma variedade de textos autênticos, os alunos têm a oportunidade de se envolver com temas relevantes e interessantes, desenvolvendo suas habilidades linguísticas de maneira contextualizada. Além disso, o uso de gêneros textuais permite aos professores adaptarem seu ensino às necessidades e interesses individuais dos alunos, tornando a aprendizagem mais personalizada e eficaz.
IlI- O ensino com gêneros textuais abrange principalmente a proficiência na escrita. Os alunos aprendem a se expressar especificamente em contextos acadêmicos, com foco em ensaios, relatórios, artigos e outros textos formais. A instrução enfatiza o desenvolvimento da clareza e precisão gramatical. Os professores oferecem oportunidades para os alunos praticarem a escrita para fins acadêmicos, incentivando o pensamento discursivo e crítico.
Text III


Aside from the difficulties of operating a decidedly multinational staff organization, once it is formed, the problem of reconciling the principle of equitable geographical distribution of recruits with that of “securing the highest standards of efficiency, competence, and integrity” is a formidable one. This delicate task was politically imposed upon the League of Nations secretary-general, and is constitutionally required of his counterpart in the United Nations.

For better or for worse, recruitment policy cannot be based exclusively upon the criterion of the individual’s personal qualifications; in the field of international employment, the relevant irrelevancy is not “whom do you know” but “where are you from?” From a strictly administrative point of view, there is some positive value in securing broad nationality distribution, even at the expense of sheer quality; for some purposes, a slightly incompetent man’s nationality may make him more useful than a more expert civil servant of inappropriate nationality.

For the most part, however, the Charter principle of geographical distribution is a concession to political necessity. It licenses a kind of international spoils system in which states seek to nourish their national self-esteem by securing an adequate quota of international jobs for their citizens. Ironically, perhaps, because it is politically necessary it is also politically and administratively desirable; what shall it profit an international organization to maintain its administrative purity and lose its own members or their political support?


Inis L. and Claude Jr. Swords into Plowshares: The Problems and Progress of International Organization. 4th ed. New York: McGraw-Hill, 1984, pp. 196-197 (adapted).

Regarding text III, judge whether the following statements are right (C) or wrong (E).

The author of the text considers that, more than the competence of the applicants or their nationality, it is their political connections — who they know — that has the greatest impact on their chance of being recruited for international jobs.

Text IV


In the middle of July, Roger was making his first ministerial speech. I did not need reminding, having drafted enough of them, how much speeches mattered — to parliamentary bosses, to any kind of tycoon. Draft after draft: the search for the supreme, the impossible, the more than Flaubertian perfection; the scrutiny for any phrase that said more than it ought to say, so that each speech at the end was bound, by the law of official inexplicitness, to be more porridge-like than when it started out in its first draft. I had always hated writing drafts for other people, and nowadays got out of it. To Hector, to Douglas, it was part of the job, which they took with their usual patience, their usual lack of egotism: when a minister crossed out their sharp, clear English and went in for a literary composition of his own, they gave a wintry smile and let it stand.


C. P. Snow. Corridors of Power. London: Penguin Books, 1972, p. 31.
Considering the grammatical and semantic aspects of text IV, judge whether the following statements are right (C) or wrong (E).

The text suggests that, when their original drafts were modified by a minister, Hector and Douglas would stand up to him and insist on retaining the sharp, clear English of the original.
A Digital Learning Platform (DLP) is one effective avenue for enhancing language learning. It connects real learning resources with the digital world for teaching and learning. By converting as many physical learning resources into digital formats as possible, the DLP offers an innovative combination of different learning concepts and structures. It can also ensure that different groups of learners have equal access to learning resources through interaction, communication, and knowledge sharing.

DLPs have transformed English language learning with their numerous advantages, although there are also some notable drawbacks. These platforms offer unmatched accessibility and flexibility, enabling learners to access materials anytime and anywhere and to progress at their own pace. They feature diverse resources such as videos, interactive exercises, quizzes, and reading materials, with multimedia integration enhancing comprehension and retention. Personalized learning experiences are supported through adaptive technologies and immediate feedback. Gamification and interactive activities boost engagement and motivation, while cost-effectiveness and global networking opportunities are notable benefits.

However, there are downsides to consider. Digital platforms may lack the personal touch and immediate feedback of face-to-face interactions, potentially reducing social learning opportunities. Technical issues such as internet reliability and online distractions can pose barriers, requiring learners to stay disciplined and motivated. Quality and credibility can vary, raising concerns about fraudulent or poorly designed courses. Assessment challenges, including cheating and assessing practical language skills, also exist. Moreover, self-study can sometimes leave learners feeling isolated and struggling with complex topics. Balancing digital resources with other learning methods can help address these challenges and ensure a more comprehensive language learning experience.


POONPON, K. et al. TIGA-Based English Learning Platform for Language Learner Competency Development in a Digital
Environment. International Journal of Learning, Teaching and Educational Research, n. 6, June 30, 2024 (adapted).
According to the text, in order to develop multiliteracies, the platforms must be used to
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ASTEROID WARNING Elon Musk's web of satellites make it harder to detect dangerous near-Earth asteroids, scientists warn

Elon Musk's web of satellites makes it harder to detect dangerous near-Earth asteroids, scientists have warned.

The number of satellites orbiting Earth has soared from just a few hundred in 1986 to 10,000 today.

Another tenfold increase is expected over the coming decade - much of it driven by Musk's Starlink network.

Starlink is a fleet of satellites which brings internet to people with little or no signal - including troops in Ukraine.

But more than 100 astronomers have now warned against launching more "megaconstellations" of satellites.

The boffins said clogging up the Earth's orbit with satellites could block their telescopes' view of outer space.

Professor Robert McMillan told Space: "Artificial satellites, even those invisible to the naked eye, can obstruct astronomical observations.

"These observations help detect asteroids and understand our place in the universe.

"The potentially long-term environmental harms of deploying tens of thousands of satellites are still unclear."

Light streaks from Starlink have dazzled a California telescope which scans the sky for exploding stars and dangerous near-Earth asteroids.

A study found that Musk's satellites could stop the Zwicky Transient Facility picking up asteroids coming from the sun.

Around one in five snaps from the huge telescope have been affected, Scientific American reports.

Expert Przemek Mróz said: "We don't expect Starlink satellites to affect non-twilight images.

"But if the satellite constellation of other companies goes into higher orbits, this could cause problems for non-twilight observations."

Co-author Tom Prince said: "There is a small chance that we would miss an asteroid or another event hidden behind a satellite streak."

https://www.thesun.co.uk/tech/31609240/elon-musk-satellites-asteroidsscientists/

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