Foram encontradas 50 questões.
Leia o texto a seguir para responder a questão:
There are differences between content-based language
teaching (CBLT) and content and language integrated learning
(CLIL), the main one being that CBLT deals with teaching
content in language lessons, whereas CLIL deals with
teaching a subject at the same time as teaching language.
CLIL is also different from immersion, where learners learn
all their subjects in another language and there is no focus on
language in subject lessons, for example in an international
school. These ideas can be visualised as a continuum. On
the left-hand side of the continuum, content-based language
teaching is where language teachers teach another language
through content - so the focus is on language and the input
for language classes is topics based on subject content. On
the right-hand side of the continuum, learners are working all
the time in another language. CLIL can be placed somewhere
in the middle of the continuum: learners are learning content
through another language. Typically, they have a number of
lessons in one or more subjects per week in another language
(for example, geography, history, science, PE or music) and
the rest of their lessons in their first language.
(Liz Dale, Rosie Tanner. CLIL activities:
a resource for subjects and language teachers)
Which learning approach is the teacher adopting?
Provas
Questão presente nas seguintes provas
Leia o texto a seguir para responder a questão:
There are differences between content-based language
teaching (CBLT) and content and language integrated learning
(CLIL), the main one being that CBLT deals with teaching
content in language lessons, whereas CLIL deals with
teaching a subject at the same time as teaching language.
CLIL is also different from immersion, where learners learn
all their subjects in another language and there is no focus on
language in subject lessons, for example in an international
school. These ideas can be visualised as a continuum. On
the left-hand side of the continuum, content-based language
teaching is where language teachers teach another language
through content - so the focus is on language and the input
for language classes is topics based on subject content. On
the right-hand side of the continuum, learners are working all
the time in another language. CLIL can be placed somewhere
in the middle of the continuum: learners are learning content
through another language. Typically, they have a number of
lessons in one or more subjects per week in another language
(for example, geography, history, science, PE or music) and
the rest of their lessons in their first language.
(Liz Dale, Rosie Tanner. CLIL activities:
a resource for subjects and language teachers)
Provas
Questão presente nas seguintes provas
Leia o texto a seguir para responder a questão:
Creativity is a quality which manifests itself in many
different ways, and this is one of the reasons it has proved
so difficult to define. As Amabile (1996) points out, ‘a clear
and sufficiently detailed articulation of the creative process is
not yet possible.’ Yet we readily recognise creativity when we
meet it, even if we cannot define it precisely. For all practical
purposes this is enough, and we do not need to spend too
much time agonising over a definition.
There are of course some features which are almost
always present in a creative act. The core idea of ‘making
something new’ is at the heart of creativity. But novelty is not
alone sufficient for something to be recognised as creative.
We could, for example, wear a clown’s red nose to class. This
would certainly be doing something new and unusual but it
would only count as creative if we then did something with it,
like creating a new persona. It is also necessary for creative
acts to be recognised and accepted within the domain in
which they occur. They need to be relevant and practicable
– not just novel. Sometimes creative ideas are ahead of their
time and have to wait for technology to catch up. Leonardo da
Vinci designed an aeroplane in the 15th century, but before
aeroplanes could become a reality, materials and fuels had
to be available.
[…]
[…] Boden (1990) takes an AI (artificial intelligence)
approach to investigating creativity. She asks what a computer
would need to do to replicate human thought processes. This
leads to a consideration of the self-organising properties of
complex, generative systems through processes such as
parallel distributed processing. For her, creativity arises from
the systematic exploration of a conceptual space or domain
(mathematical, musical or linguistic). She draws attention to
the importance of constraints in this process. ‘Far from being
the antithesis of creativity, constraints on thinking are what
make it possible’ (p. 82). Chaos theory (Gleick, 1987) tends
to support her ideas. Boden’s approach is richly suggestive
for language acquisition, materials writing and for teaching, in
that all are rooted in complex, self-organising systems.
(Alan Maley, Nik Peachey. Creativity in the English language classroom.)
Provas
Questão presente nas seguintes provas
Leia o texto a seguir para responder a questão:
Creativity is a quality which manifests itself in many
different ways, and this is one of the reasons it has proved
so difficult to define. As Amabile (1996) points out, ‘a clear
and sufficiently detailed articulation of the creative process is
not yet possible.’ Yet we readily recognise creativity when we
meet it, even if we cannot define it precisely. For all practical
purposes this is enough, and we do not need to spend too
much time agonising over a definition.
There are of course some features which are almost
always present in a creative act. The core idea of ‘making
something new’ is at the heart of creativity. But novelty is not
alone sufficient for something to be recognised as creative.
We could, for example, wear a clown’s red nose to class. This
would certainly be doing something new and unusual but it
would only count as creative if we then did something with it,
like creating a new persona. It is also necessary for creative
acts to be recognised and accepted within the domain in
which they occur. They need to be relevant and practicable
– not just novel. Sometimes creative ideas are ahead of their
time and have to wait for technology to catch up. Leonardo da
Vinci designed an aeroplane in the 15th century, but before
aeroplanes could become a reality, materials and fuels had
to be available.
[…]
[…] Boden (1990) takes an AI (artificial intelligence)
approach to investigating creativity. She asks what a computer
would need to do to replicate human thought processes. This
leads to a consideration of the self-organising properties of
complex, generative systems through processes such as
parallel distributed processing. For her, creativity arises from
the systematic exploration of a conceptual space or domain
(mathematical, musical or linguistic). She draws attention to
the importance of constraints in this process. ‘Far from being
the antithesis of creativity, constraints on thinking are what
make it possible’ (p. 82). Chaos theory (Gleick, 1987) tends
to support her ideas. Boden’s approach is richly suggestive
for language acquisition, materials writing and for teaching, in
that all are rooted in complex, self-organising systems.
(Alan Maley, Nik Peachey. Creativity in the English language classroom.)
Provas
Questão presente nas seguintes provas
Leia o texto a seguir para responder a questão:
Creativity is a quality which manifests itself in many
different ways, and this is one of the reasons it has proved
so difficult to define. As Amabile (1996) points out, ‘a clear
and sufficiently detailed articulation of the creative process is
not yet possible.’ Yet we readily recognise creativity when we
meet it, even if we cannot define it precisely. For all practical
purposes this is enough, and we do not need to spend too
much time agonising over a definition.
There are of course some features which are almost
always present in a creative act. The core idea of ‘making
something new’ is at the heart of creativity. But novelty is not
alone sufficient for something to be recognised as creative.
We could, for example, wear a clown’s red nose to class. This
would certainly be doing something new and unusual but it
would only count as creative if we then did something with it,
like creating a new persona. It is also necessary for creative
acts to be recognised and accepted within the domain in
which they occur. They need to be relevant and practicable
– not just novel. Sometimes creative ideas are ahead of their
time and have to wait for technology to catch up. Leonardo da
Vinci designed an aeroplane in the 15th century, but before
aeroplanes could become a reality, materials and fuels had
to be available.
[…]
[…] Boden (1990) takes an AI (artificial intelligence)
approach to investigating creativity. She asks what a computer
would need to do to replicate human thought processes. This
leads to a consideration of the self-organising properties of
complex, generative systems through processes such as
parallel distributed processing. For her, creativity arises from
the systematic exploration of a conceptual space or domain
(mathematical, musical or linguistic). She draws attention to
the importance of constraints in this process. ‘Far from being
the antithesis of creativity, constraints on thinking are what
make it possible’ (p. 82). Chaos theory (Gleick, 1987) tends
to support her ideas. Boden’s approach is richly suggestive
for language acquisition, materials writing and for teaching, in
that all are rooted in complex, self-organising systems.
(Alan Maley, Nik Peachey. Creativity in the English language classroom.)
Provas
Questão presente nas seguintes provas
Leia o texto a seguir para responder as questões:
Como pode ser visto na bibliografia de Wilson (2007), muita coisa já foi publicada sobre o assunto. Isso não significa, no entanto, que já existe um conhecimento consolidado sobre a adoção de estratégias e a utilização de recursos para esse fim. Se a literatura sobre o ensino de inglês para surdos é indicativa, o que mais se encontra são relatos de experiência de professores e instituições. Essa literatura é difícil de ser avaliada pela falta de informações precisas sobre as variáveis centrais como: os objetivos do ensino (e.g., língua oral ou língua escrita), o contexto de ensino (língua oral ou língua de sinais, classes especiais ou inclusivas) e o perfil dos alunos (oralizados ou fluentes em língua de sinais). Essa imprecisão é o resultado, em parte, das exigências imediatas dos contextos de ensino: as instituições tinham alunos para ser educados e os educadores buscavam soluções práticas possíveis; e objetivo não era o de fazer pesquisa básica com os controles necessários. Mas a imprecisão também é o resultado da falta de conhecimentos teóricos sobre os assuntos tratados neste artigo: a natureza linguística das línguas de sinais, a precariedade da oralização come aquisição de língua, os efeitos de aquisição tardia de uma primeira língua, o papel cognitivo fundamental de uma “língua do berço”, o papel da socialização entre surdos na aquisição de língua gestual. A literatura deve ser lida sempre com esses parâmetros em mente.
(Leland McCleary. O ensino de língua estrangeira e a questão da diversidade)
Provas
Questão presente nas seguintes provas
Leia o texto a seguir para responder as questões:
Como pode ser visto na bibliografia de Wilson (2007), muita coisa já foi publicada sobre o assunto. Isso não significa, no entanto, que já existe um conhecimento consolidado sobre a adoção de estratégias e a utilização de recursos para esse fim. Se a literatura sobre o ensino de inglês para surdos é indicativa, o que mais se encontra são relatos de experiência de professores e instituições. Essa literatura é difícil de ser avaliada pela falta de informações precisas sobre as variáveis centrais como: os objetivos do ensino (e.g., língua oral ou língua escrita), o contexto de ensino (língua oral ou língua de sinais, classes especiais ou inclusivas) e o perfil dos alunos (oralizados ou fluentes em língua de sinais). Essa imprecisão é o resultado, em parte, das exigências imediatas dos contextos de ensino: as instituições tinham alunos para ser educados e os educadores buscavam soluções práticas possíveis; e objetivo não era o de fazer pesquisa básica com os controles necessários. Mas a imprecisão também é o resultado da falta de conhecimentos teóricos sobre os assuntos tratados neste artigo: a natureza linguística das línguas de sinais, a precariedade da oralização come aquisição de língua, os efeitos de aquisição tardia de uma primeira língua, o papel cognitivo fundamental de uma “língua do berço”, o papel da socialização entre surdos na aquisição de língua gestual. A literatura deve ser lida sempre com esses parâmetros em mente.
(Leland McCleary. O ensino de língua estrangeira e a questão da diversidade)
Provas
Questão presente nas seguintes provas
Leia o texto a seguir para responder a questão:
There is no single way of teaching English, no single
way of learning it, no single motive for doing so, no single
syllabus or textbook, no single way of assessing proficiency
and, indeed, no single variety of English which provides the
target of learning. It is tempting, but unhelpful, to say there
are as many combinations of these as there are learners and
teachers. The proliferation of acronyms in English Language
Teaching reflects this diversity of models.
By a ‘model’ I do not mean a particular variety of English –
such as US or British – though selection of a particular variety
may play a role.
By a ‘model’ of English I mean a complex
framework, which includes issues of methodology and variety,
but goes beyond these to include other dimensions of the
context and practice of learning English.
It is becoming clear that these issues are not easily
separable. The appropriateness of content clearly depends
on such things as the age of the learner and whether
English is to be used primarily as a language of international
communication or for survival communication with native
speakers, perhaps whilst on holiday in the UK or some other
English-speaking country. This is why I have identified broad
models which can be thought of as configurations of the
factors listed in the box.
There are many stakeholders involved in the teaching and
learning process, each of whom may have a different view.
Learners, their families, teachers, governments, employers,
textbook publishers, examination providers – all now possess
an interest in the English language business.
(David Graddol. English Next. Adaptado)
Provas
Questão presente nas seguintes provas
Leia o texto a seguir para responder a questão:
There is no single way of teaching English, no single
way of learning it, no single motive for doing so, no single
syllabus or textbook, no single way of assessing proficiency
and, indeed, no single variety of English which provides the
target of learning. It is tempting, but unhelpful, to say there
are as many combinations of these as there are learners and
teachers. The proliferation of acronyms in English Language
Teaching reflects this diversity of models.
By a ‘model’ I do not mean a particular variety of English –
such as US or British – though selection of a particular variety
may play a role.
By a ‘model’ of English I mean a complex
framework, which includes issues of methodology and variety,
but goes beyond these to include other dimensions of the
context and practice of learning English.
It is becoming clear that these issues are not easily
separable. The appropriateness of content clearly depends
on such things as the age of the learner and whether
English is to be used primarily as a language of international
communication or for survival communication with native
speakers, perhaps whilst on holiday in the UK or some other
English-speaking country. This is why I have identified broad
models which can be thought of as configurations of the
factors listed in the box.
There are many stakeholders involved in the teaching and
learning process, each of whom may have a different view.
Learners, their families, teachers, governments, employers,
textbook publishers, examination providers – all now possess
an interest in the English language business.
(David Graddol. English Next. Adaptado)
Provas
Questão presente nas seguintes provas
Leia o texto a seguir para responder as questões:
Shifting paradigms in language teaching
Foreign language teaching has long relied on written
texts as a source of language input. Until relatively recently,
however, the sentence has been the privileged unit of
meaning and analysis. The grammar-translation method
of the nineteenth and twentieth centuries, for example,
illustrated grammatical principles via exemplary sentences.
The pedagogical goal was to recode sentences written in
the foreign language into one’s mother tongue, with heavy
emphasis placed on accuracy and completeness. During the
audiolingual era, from the 1940s to the 1960s, the emphasis
shifted to spoken language and dialogues were used as
language models, but the individual sentence remained the
focus of repetition and drills. Again, formal accuracy remained
paramount. In the 1960s, with the advent of ‘cognitive-code
learning’ theory (following Chomsky’s rejection of behavioristic
models of language learning in the late 1950s), teachers’ goals
gradually shifted from instilling accurate language habits, to
fostering learners’ mental construction of a second language
system. Rule learning was reintroduced, but still only at the
level of the individual sentence. Indeed, even today, many
introductory level foreign language courses are organized
around a planned sequence of grammatical structures that
are exemplified in sample sentences for intensive practice.
(Richard Kern. Literacy and language teaching)
Provas
Questão presente nas seguintes provas
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