Manual Do Professor

sm-pnld2018-ing-al-2 (2017-09-08 07:31:57) - MD5:E980FC86C5CC0DF177E8687C242FB690
Sistema Atlas - conversor DOCX linearizado PNLD2018 - Copyright © 2017 Editorial 5
Alive high
Vera Menezes, Junia Braga, Ronaldo Gomes, Marisa Carneiro, Marcos Racilan, Magda Velloso
SM
Pá gina 1
alive high
MANUAL DO PROFESSOR
LÍNGUA ESTRANGEIRA MODERNA
INGLÊS 2
2º ANO
ENSINO MÉDIO
Vera Menezes
• Mestre em Inglês pela Universidade Federal de Minas Gerais (UFMG).
• Doutora em Linguística e Filologia pela Universidade Federal do Rio de Janeiro (UFRJ).
• Professora Titular de Linguística Aplicada na UFMG.
Junia Braga
• Mestre em Linguística Aplicada pela UFMG.
• Doutora em Linguística Aplicada pela UFMG.
• Professora de Língua Inglesa da UFMG.
Ronaldo Gomes
• Mestre em Estudos Linguísticos, á rea de concentraçã o Linguística Aplicada pela UFMG.
• Doutor em Estudos Linguísticos, á rea de concentraçã o Linguística Aplicada pela Faculdade de Letras da UFMG.
• Professor de Língua Inglesa da UFMG.
Marisa Carneiro
• Mestre em Linguística Aplicada pela Faculdade de Letras da UFMG.
• Doutora em Estudos Linguísticos, á rea de concentraçã o Linguística Teó rica e Descritiva pela Faculdade de Letras da
UFMG.
• Professora de Língua Inglesa no Ensino Superior.
Marcos Racilan
• Mestre em Linguística Aplicada pela Faculdade de Letras da UFMG.
• Professor de Língua Inglesa do Centro Federal de Educaçã o Tecnoló gica de Minas Gerais (Cefet-MG).
Magda Velloso
• Mestre em Inglês pela Faculdade de Letras da UFMG.
• Doutora em Letras: Estudos Literá rios, á rea de concentraçã o Literatura Comparada pela UFMG.
• Professora aposentada de Língua Inglesa na UFMG.
• Professora aposentada de Língua Inglesa e de Literatura de Língua Inglesa na Universidade Federal de Sã o Joã o del-
Rei (UFSJ).
2ª ediçã o
Sã o Paulo
2016
Editora SM
Pá gina 2
Alive High – 2
© Ediçõ es SM Ltda.
Todos os direitos reservados
Direção editorial Juliane Matsubara Barroso
Gerência editorial Roberta Lombardi
Gerência de design e produção Martins Marisa Iniesta Martin
Edição executiva Ana Luiza Couto

Ediçã o: Joã o Cavalheiro Valentin Jr., Mariana de Lima Albertini
Colaboraçã o técnico-pedagó gica: Robert Caudle Garner
Coordenação de controle editorial Flavia Casellato

Suporte editorial: Alzira Bertholim, Camila Cunha, Giselle Marangon, Mô nica Rocha, Talita Vieira, Silvana Siqueira, Fernanda
D’Angelo
Coordenação de revisão Clá udia Rodrigues do Espírito Santo

Preparação e revisã o: Angélica Lau P. Soares, Luciana Chagas, Rosinei Aparecida Rodrigues Araujo,Taciana Vaz, Marco Aurélio
Feltran (apoio de equipe)
Coordenação de design Rafael Vianna Leal
Design: Leika Yatsunami, Tiago Stéfano
Coordenação de arte Ulisses Pires

Ediçã o executiva de arte: Melissa Steiner
Ediçã o de arte: Bernard Fuzetti
Diagramaçã o: Gabriela Rodrigues
Coordenação de iconografia Josiane Laurentino

Pesquisa iconográ fica: Bianca Fanelli, Susan Eiko
Tratamento de imagem: Marcelo Casaro
Capa Tiago Stéfano, Rafael Vianna Leal
Imagem de capa Henrik Sorensen/Getty Images
Projeto gráfico Marcelo Rainho, Tiago Stéfano
Editoração eletrônica Fajardo Ranzini Design Grá fico
Ilustrações Attílio, Psonha, Estú dio Mil, Catarina Bessell
Fabricação Alexander Maeda
Impressão
Dados Internacionais de Catalogaçã o na Publicaçã o (CIP)

(Câ mara Brasileira do Livro, SP, Brasil)
Menezes, Vera
Alive high : inglês, 2° ano : ensino médio / Vera Menezes ... [et al.] ; – 2. ed. – Sã o Paulo : Ediçõ es SM, 2016. – (Alive high)
“Língua estrangeira moderna.”
Outros autores: Junia Braga, Ronaldo Gomes, Marisa Carneiro, Marcos Racilan, Magda Velloso
Suplementado pelo manual do professor.
Bibliografia.
ISBN 978-85-418-1396-9 (aluno)
ISBN 978-85-418-1397-6 (professor)
1. Inglês (Ensino médio) I. Menezes, Vera. II. Braga, Junia. III. Gomes, Ronaldo. IV. Carneiro, Marisa. V. Racilan, Marcos. VI. Velloso, Magda. VII. Série.
16-02744
CDD-420.7
Índices para catá logo sistemá tico: 1. Inglê s : Ensino mé dio 420.7
2ª ediçã o, 2016
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Pá gina 3
APRESENTAÇÃO
Caro aluno,
Este livro foi escrito para você, jovem do século XXI, que quer aprender
inglês e usar tecnologias de interaçã o e comunicaçã o para agir no mundo. Ao
elaborá -lo, escolhemos textos adequados à sua idade e planejamos
atividades variadas que proporcionam experiências diversas com o uso da
língua inglesa.
Com este livro, você terá oportunidade de rever o que já aprendeu e será
desafiado a aprender outros usos da língua, essenciais ao desenvolvimento
de suas habilidades orais e escritas em inglês.
Além disso, você vai escutar as cançõ es que integram o CD e ouvir e ler
textos sobre assuntos variados e interessantes. Terá oportunidade de
refletir sobre experiências individuais e sociais e, assim, se sentirá motivado
a exercer sua cidadania nos contextos local e global. Você vai escrever textos
variados e será incentivado a compartilhar sua produçã o com outros
leitores.
Terá ainda a oportunidade de entrar em contato com algumas obras da

literatura em língua inglesa, conhecendo um pouco da cultura em que elas
foram produzidas. Por meio da literatura, você poderá observar
semelhanças e diferenças em relaçã o à nossa cultura.
Enfim, você nã o vai apenas aprender inglês. Vai ampliar seu conhecimento
sobre temas diversos e aprender, também, a usar vá rias ferramentas digitais
para publicar seus textos na internet e interagir com usuá rios da língua
inglesa ao redor do mundo.
Com esta coleçã o, realizamos nosso sonho de oferecer aos estudantes

brasileiros um material de alta qualidade que valoriza a capacidade dos
jovens de aprender uma língua estrangeira.
Acreditamos que você vai se divertir e aprender muito com o conteú do deste
livro e dos outros volumes da coleçã o.
Os autores
Pá gina 4
CONHEÇA SEU LIVRO
Seu livro é composto de quatro partes, cada uma delas com duas unidades. As unidades sã o
bastante diversificadas e estã o divididas em seçõ es. Conhecer os conteú dos e objetivos de cada uma
delas o ajudará a utilizá -las de maneira mais participativa e eficaz.
ABERTURA DAS PARTS
Em pá ginas duplas, tem como objetivo ativar seu conhecimento prévio sobre os conteú dos das duas
unidades que compõ em cada parte. No Learning plan, você poderá ver os conteú dos que serã o
desenvolvidos nas duas unidades. Em cada abertura sã o também apresentadas ferramentas digitais
gratuitas que vã o ajudá -lo em seu letramento digital. A abertura da Part 1 traz também orientaçõ es
sobre o projeto a ser desenvolvido durante o ano.
LEAD-IN
Em pá gina dupla, esta é a seçã o de abertura de cada unidade do livro. Por meio de imagens e, em
alguns casos, de pequenos textos, seguidos de diversos tipos de atividades, tem como objetivo
ativar seu conhecimento prévio sobre o tema que será tratado na unidade. Você também vai ter um
primeiro contato com o vocabulá rio que será aprofundado ao longo da unidade.
LET’S READ!
Esta é a seçã o de leitura. Ela traz textos de diversos gêneros sobre temas relevantes para você e
para a sociedade. Por meio de atividades variadas, tem como objetivo levá -lo a desenvolver
habilidades de compreensã o escrita (geral e/ou detalhada) e a se posicionar criticamente.
As palavras em roxo estã o listadas no Glossá rio, no final do livro.
Pá gina 5
LET’S LISTEN AND TALK!
Por meio de diferentes tipos de textos orais (diá logos, entrevistas, trechos de filmes e programas de
TV, podcasts, trechos de palestras, etc.) e atividades variadas, nesta seçã o você terá oportunidade
de desenvolver as habilidades de compreensã o global e de compreensã o de informaçõ es específicas
de um texto oral. Além disso, a partir da compreensã o oral, poderá discutir assuntos relacionados
ao tema da unidade.
LET’S FOCUS ON LANGUAGE!
Esta é a seçã o de gramá tica. A partir da observaçã o de situaçõ es de uso da língua, você terá a
oportunidade de deduzir as regras e empregá -las de forma contextualizada.
LET’S ACT WITH WORDS!
Esta seçã o, que encerra cada unidade, propõ e atividades de produçã o escrita em diferentes gêneros
textuais, incluindo etapas de planejamento, escrita, avaliaçã o e reescrita. Nela, você vai ter a
oportunidade de usar as estruturas linguísticas e o vocabulá rio apresentados na unidade de forma
contextualizada.
VOCABULARY CORNER
Nesta seçã o você terá oportunidade de desenvolver o vocabulá rio relacionado à unidade.
PROFESSION SPOT
Nesta seçã o você vai encontrar atividades baseadas em textos orais e/ou escritos sobre diferentes
carreiras e profissõ es. Vai poder refletir e discutir sobre diferentes carreiras e possibilidades
profissionais. Esta seçã o está presente em todas as unidades do volume 3 e em algumas dos demais
volumes.
Pá gina 6
TURN ON THE JUKEBOX!
Nesta seçã o, presente em algumas unidades, há atividades de compreensã o oral com mú sicas, que
vêm reproduzidas no CD que acompanha cada volume da coleçã o.
LEARNING TIPS
Cada uma das quatro partes apresenta uma seçã o com diferentes estratégias de aprendizagem.
TIME TO REFLECT
Cada unidade é seguida de um convite à reflexã o sobre seu processo de aprendizagem.

LET’S STUDY FOR ENEM
Em todas as Parts, você vai encontrar uma seçã o com questõ es semelhantes à s do Enem.
TIME FOR LITERATURE
Esta seçã o trabalha com literatura. Traz trechos ou extratos de obras literá rias para que você se
familiarize com o texto ficcional em língua inglesa.
Pá gina 7
Além dessas seçõ es, ao longo do livro há vá rios BOXES que enriquecem os conteú dos.
» LANGUAGE IN ACTION: apresenta os objetivos de cada unidade.
» DID YOU KNOW...?: apresenta curiosidades, informaçõ es culturais e vocabulá rio relacionados a
uma atividade ou texto apresentado.
» PRONUNCIATION SPOT: apresenta questõ es relacionadas à pronú ncia e à entonaçã o.
» BEYOND THE LINES...: promove reflexõ es a partir dos temas dos textos com vistas ao
desenvolvimento do letramento crítico.
» HINT: apresenta estratégias para a recepçã o e produçã o de textos orais e escritos.
EXTRA ACTIVITIES
No final do livro, estã o as Extra activities, conjunto de atividades que retoma o conteú do estudado
nas unidades. Dessa forma, você pode estudar e praticar mais.
CROSSING BOUNDARIES
Nesta seçã o, que aparece apó s as Extra activities, você vai encontrar atividades interdisciplinares,
ou seja, que relacionam a língua inglesa com as demais disciplinas do Ensino Médio.
No FINAL do livro, você ainda vai encontrar:
» AUDIO TRANSCRIPTS: transcriçõ es dos á udios nã o apresentadas nas unidades.
» GLOSSARY (INGLÊS-PORTUGUÊS): seleçã o de vocabulá rio utilizado em cada livro.
» LANGUAGE REFERENCE: quadros e listas de referência sobre aspectos linguísticos.
CD DE ÁUDIO
Contém os á udios necessá rios para a realizaçã o das atividades de compreensã o oral e de pronú ncia
e/ou entonaçã o. Traz também os á udios de todas as mú sicas.
Pá gina 8
SUMÁRIO
PART 1 SOCIAL NETWORKS 10

LEARNING PLAN 11
UNIT 1 MAKING CONNECTIONS 12
Language in action 12
LEAD-IN 13
LET'S READ!
Managing Your Social Network Addiction 14
VOCABULARY CORNER
Compound words 16
LET'S LISTEN, READ AND TALK!

What is Better: to Make Friends in Real Life or in Social Networks? 17
Pronunciation of the th sounds 18
LET'S FOCUS ON LANGUAGE!

Simple Present and Present Continuous (Review) 19
LET'S ACT WITH WORDS! 22

Let’s create an infographic about making connections 23
LEARNING TIPS 24
TIME TO REFLECT 25
UNIT 2 DIGITAL SECURITY 26

LEAD-IN 27
LET'S READ!
Your Guide to Safe Web Browsing 28

Imperatives 31
LET'S LISTEN AND TALK!

Teens and online privacy 34
LET'S ACT WITH WORDS! 36

Let’s create a poster 37
LET'S STUDY FOR ENEM 38

TIME TO REFLECT 39
EITS/University of Georgia
PART 2 MOBILE 40
LEARNING PLAN 41
UNIT 3 ON THE WAVES OF THE RADIO 42
LEAD-IN 43
LET'S READ!
The Invention of the Radio 44
Pronunciation of final -ed 46
VOCABULARY CORNER
Defining words 46

Simple Past 47

Love Is on the Radio 49
PROFESSION SPOT
Radio jobs 50
LET'S ACT WITH WORDS!

Interview (tips) 52
Let’s do an interview about radio 53
LEARNING TIPS 54
TIME TO REFLECT 55
UNIT 4 GOING MOBILE 56
LEAD-IN 57
Answering machines messages 58
Pronunciation of final -e 58
LET'S READ!
Emojis 59

Present Perfect 60
LET'S READ!
I wrote ‘2U B4’! British Library Shows Up Textspeak as soooo 19th Century 64
How to Practice Text Etiquette 65
PROFESSION SPOT
Some jobs in the telephony field 66
VOCABULARY CORNER
Texting abbreviations 66

Text message 67

TIME TO REFLECT 69
TIME FOR LITERATURE 70
Pride and Prejudice, Jane Austen 70
Pá gina 9
PART 3 PRINT MEDIA 76

LEARNING PLAN 77
UNIT 5 EXTRA! EXTRA! 78

LEAD-IN 79
LET'S READ!
Too Much Temptation 80

Simple Past and Past Continuous (Review) 82

Newscasts 84
VOCABULARY CORNER
Suffixes for making nouns, verbs, and adjectives 85
Pronunciation of initial s- sound 85

Noun and Verbal phrases 86

Let’s know different types of headlines 88
Let’s make a news report 89
LEARNING TIPS 90
TIME TO REFLECT 91
UNIT 6 STRIKE A POSE 92

LEAD-IN 93
LET'S READ! 94
Letter to the Editor 95

Stative and active verbs 96
VOCABULARY CORNER
Parts of a digital camera 98
LET'S LISTEN!
Zhin Magazine 99

Vogue 100
PROFESSION SPOT
Photographers 102

Let’s write a letter to the editor 103

TIME TO REFLECT 105
Norman Chan/Shutterstock.com/ID/BR
PART 4 VIDEO 106
LEARNING PLAN 107
UNIT 7 IT’S ON TV 108

LEAD-IN 109
LET'S READ!
The Weather Forecast for Orlando in the United States on May 2, 2016 110
VOCABULARY CORNER
Weather idioms 111

The future of television 112

Simple Future 113
Pronunciation of the /l/ sound 116
PROFESSION SPOT
Careers in television 117

Let’s make a weather forecast 118
LEARNING TIPS 120

TIME TO REFLECT 121
UNIT 8 YOU BROADCAST 122

LEAD-IN 123
LET'S READ!
Fame and Fortune: The Power of YouTube 124
VOCABULARY CORNER
Defining words 126

Linking words and adverbs of manner 127

A chicken sandwich recipe 129
Pronunciation of the schwa vowel /ə/ 130

Sequence words 131

Let’s create a tutorial 132

TIME TO REFLECT 135
TIME FOR LITERATURE 136
“Cat in the rain” 136
EXTRA ACTIVITIES 140

CROSSING BOUNDARIES
(Knowledge across English and Chemistry) 154
• AUDIO TRANSCRIPTS 160

• GLOSSARY 162
• LANGUAGE REFERENCE 164
• RECOMMENDED BIBLIOGRAPHY FOR STUDENTS 175
• BIBLIOGRAPHY 176
Pá gina 10
Illustration: Catarina Bessell/ID/BR Photographs: Rawpixel Ltd/iStock/Getty Images
Pá gina 11
1 SOCIAL
PART
NETWORKS
LEARNING PLAN
Reading and making infographics
Talking about things that are always true and things that happen regularly
Talking about things happening around now and actions in process
Making posters
Making recommendations and warnings, giving orders and instructions
Talking about safety on the Web
Year Project - My Portfolio

What is a portfolio?
It is a collection of activities developed as school work.
Steps
1. Collect: You can collect your drafts and finished works on a computer, in a folder, or in a
box.
Hero Images/Getty Images
2. Reflect: Select the best version of each work and write a presentation with your opinion
about it.
simonkr/Getty Images
3. Publish: You can publish the final versions on your wiki. If you don’t have your own wiki,
you can create one at Wikispaces<http://linkte.me/v18f6> or you can join an existing group.
What is a “wiki?”
A wiki is a space on the Web where you can share works and ideas, pictures and links, videos
and media.
(Available at <http://www.wikispaces.com/>. Accessed on April 7, 2016.)
Pá gina 12
UNIT 1 MAKING
CONNECTIONS
LANGUAGE IN ACTION
• Learn how to read and make infographics

• Learn how to give tips and instructions
• Talk about things that are always true and things that happen regularly
• Talk about things happening around now and actions in process
Illustration: BRFuzetti/ID/BR Image: cifotart/iStock/Getty Images
Pá gina 13
LEAD-IN
1. Take a look at the text on the previous page. Which words are you familiar with? What do
you know about them?
2. Now, answer these questions:

a) What does the image show?
b) What is the purpose of this text?
c) Who is the intended audience for this text?
d) Which of those social media are popular in Brazil?
e) What do colors represent?
3. Here is a list of typical features of this textual genre. Which of these characteristics can you
find in the text? Find examples from the text to support your choices. Answer in your
notebook.
a) It highlights tons of reliable and interesting data.
b) It is focused on a valuable topic or relevant data.
c) It isn’t overly self-promotional.
d) It creatively visualizes data and information.
e) It cites data sources.
f) It presents information simply.
g) It isn’t too long or too short.
h) It incorporates branding.
i) It provides clear and obvious conclusions.
Adapted from <http://blog.hubspot.com/blog/tabid/6307/bid/28436/10-Traits-of-Amazingly-Awesome-Infographics.aspx>.

Accessed on April 7, 2016.
Norman Chan/Shutterstock.com/ID/BR
4. Are the characteristics in activity 3 typical of a graph, an infographic or a map?
5. Read the following definitions for some of the social media included in the infographic.
Which names correspond to each definition?
a) It is a popular photo-sharing app for smartphones.
b) It is a social networking site designed specifically for the business community. The goal of
the site is to allow registered members to establish and document networks of people they
know and trust professionally.
c) It is a microblogging service to communicate and stay connected through the exchange of

short, frequent posts.
d) It is a platform for academics to share research papers and monitor analytics around the
impact of their research.
e) It is a content sharing service that allows members to "pin" images, videos, and other objects
to their “pinboard.”
Sources: <http://www.gcflearnfree.org/instagram/what-is-instagram>; <http://whatis.techtarget.com/definition/LinkedIn>;

<http://oceanservice.noaa.gov/socialmedia.html>; <https://www.crunchbase.com/organization/academia-edu#/entity>. Accessed
on May 22, 2016.
6. Read the infographic carefully again and answer the questions.

a) Is there any missing social media in this infographic?
b) Are all the social media safe? Do you have examples to justify your answer?
BEYOND THE LINES...

Are all Internet users represented in this infographic?
Pá gina 14
LET’S READ!
BEFORE YOU READ…
a) Are you a network addict?
b) Find in the text below the name of networks you are a member of.
DID YOU KNOW…?
Confronted with the need to raise visibility and awareness of their struggles, Brazil’s
indigenous populations have turned to social media. […]
See some examples:
Resistance of the Terena People <http://linkte.me/y5pgb>
Committee to Keep the Xingu Alive <http://linkte.me/m9kfj>.
Adapted from <http://dmlcentral.net/socialmedia-brazil-s-indigenous-tribes-go-onlinein-their-struggle-to-be-heard/>. Accessed on

May 5, 2016.
Managing Your Social Network

Addiction
FEATURED PRODUCTIVITY
BY IBRAHIM HUSAIN
Facebook, LinkedIn, MySpace, Twitter […] the list goes on and on. And if you are any sort of tech savvy, there
is good chance you are a member of multiple social networks. Even I have accounts with at least 5 of these.
While there is a lot to be gained by using these services, there is also a lot to be lost.
[…]
Here are a few tips that can help you monitor your social network use, and ensure that you are being
productive instead of wasting time.
• Track Your Time Online – The simplest way to ensure you aren’t wasting time in any one place is to
monitor your time. Use a stopwatch and set a limit. When time is up, log out, regardless of what’s left. There
is always tomorrow.
• Remember the Telephone – I know, it’s so primitive. But a call to a friend works just as well as a Facebook
message, and it is real human interaction, something we are losing touch with.
• Go Outside – Get away from your portal to the network. Get some sunshine, chances are you need it.
• Limit Your Memberships – There is no need for memberships to 15 different networks. In fact, there is no
need for even 2 memberships of sites which do the same thing. Choose Facebook or Myspace, but not both.
Digg, or StumbleUpon. This will probably cut your memberships in half, and hopefully cut the time spent on
them down also.
• Use Your Networks Productively – When I first used Twitter I followed anyone, and had thousands of
followers. Strangely though, people rarely responded to my twits, and it was like I was invisible. I decided I’d
only use Twitter if I could be productive with it, so I unfollowed thousands of users (now below 200), and use
Twitter only to share and interact with people with similar interests as mine. Now my Twitter is a tool, not a
time warp.
Ibrahim Husain is from Texas, USA, and writes motivational and self-development works for many online
publications.
Pá gina 15
• Prioritize – Use these tools only when your work has been done, or during down time. Don’t spend time
updating your profile or changing your pic when there is work to be done. This will not only save you time and
increase productivity, but will build self discipline as well.
• Stop Procrastinating – Many times we get on Facebook or Twitter when we have real work that we just
don’t want to do. Stop that! Get the work done. Once you finish you’ll have all the time in the world to spend
making friends on Facebook.
• Remove the Cellphone Apps – You don’t really need Facebook or Twitter on your phone. Nothing on there
can be that important. Save your social networking for when you are behind the desk and limit the distractions
throughout the day.
• Spend More Time With Close Friends and Family – You aren’t the only one who suffers when you spend
countless hours on MySpace. Your family and friends don’t see you, because you are too busy learning how to
customize your backgrounds and take crazy pictures from all different angles for your profile pic. Cut out the
cancer and get back to friends and family.
Available at <www.lifehack.org/articles/productivity/managing-your-social-network-addiction.html>.Accessed on April 7, 2016.
Tatiana Popova/Shutterstock.com/ID/BR
1. Who is the intended audience for this text?
2. What is the purpose of this text?
3. According to the text, what can be an indication of social network addiction?

4. Do you agree with the author’s opinions?
5. In pairs, rank the five suggestions given by the author according to what you consider
more or less effective. Give reasons for your opinions.
Suggestions
Reasons
6. Facebook users can choose from seven emoji reactions to express emotions for or against a
specific post on Facebook.
rvlsoft/Shutterstock. com/ID/BR
In your notebook, write down or draw the one you would use when you read posts with the
following content:
a) A piece of news talking about an important scientific discovery.
b) Photographs of friends during vacation.
c) News about children being mistreated.
d) A video of funny cats or dogs.
e) A comment on a corruption scandal.
f) Someone talking about how he/she dislikes his/her job.
g) A recipe video of your favorite dish.
h) A campaign against animal cruelty showing a shocking image.
Pá gina 16
7. What kind of content do you usually ignore?
8. What kind of content do you usually post?
VOCABULARY CORNER
1. Compound words. We can create new words by putting together two or more words that
already exist. Many Internet tools were named by compound words. One example is Facebook.
What other compound words can you find in this unit?
2. Blending. We can create new words from two words that already exist, using part of one
word plus another word or part of it. An example of blending is Techmeme
(technology+meme). Can you find another example in this unit?
3. In your notebook, write the blending form for the following pairs of words.
Example: teleprinter + exchange = telex
Photopat/Alamy/Shutterstock.com/ID/BR
Telex machine.
a) biographical + picture
b) camera + recorder
c) cybernetic + organism
d) information + entertainment
e) Internet + citizen
f) simultaneous + broadcast
g) telephone + marathon
h) travel + monologue
i) web + seminar
4. Do you know other compound words or blendings?
5. Imagine a new Internet tool and create a blending in order to name it.
BEYOND THE LINES...
a) Do all Brazilians belong to social networks?
b) Can you think of other functions that social networks might have?
c) Some critics say there is no privacy in social networks. To what extent can this be a
problem?
Pá gina 17
LET’S LISTEN, READ AND TALK!
BEFORE YOU LISTEN…
• With a classmate, read the title of the text below and guess possible answers to the question.
After you have guessed possible answers, read the text quickly to check your predictions.
ÁUDIO 1 1. Read and listen to the text below. Then answer the questions in your notebook.
HINT
Sempre dê uma olhada nos títulos e subtítulos para ajudar a prever o que vai ler ou ouvir.
What is Better: to Make Friends in Real

Life or in Social Networks?
Argument 1
“True, indeed, if your parents are strict or if you can’t go out to see your actual friends you
could get on a social network. But the problem is that nowadays most of the people you meet
on a network if you haven’t ever met them in real life are fake, pervs, or predators. Not saying
that all networks are like that or that all people on there are like that but you never know. A
predator can play the role of a trustworthy person for a while and get your information and
who knows what else. It’s just safer to make friends in real life.”
Argument 2
“In my point of view, Internet becomes part of our life. We also should consider it like simply
meeting someone in the street. In any case people can lie both in Internet and during face to
face contact. It depends on you, to believe or not. For me, it is easier to communicate with
someone by chats and social networks. You can analyse the context of speech. (What to say,
how to answer and etc.)”
Argument 3
“Nowadays we have more friends in social network rather than in real life. Sometimes you
have problems, but you can’t share them with your friends in real life, so in network you don’t
know the person and easily you can share everything you have in your mind. Also it’s good if
your friend is from another country, because you become more open-minded, you will get
new information, you will know their traditions, I think that is really nice. We spend a lot of
time on the Internet and chatting, but also we have to have close friends in real life.”
Adapted from <www.createdebate.com/debate/show/what_is_better_to_make_friends_in_real_life_or_in_social_networks>. Accessed

on April 7, 2016.
Text: Courtesy of CreateDebate.com, a website property of TidyLife, Inc. all rights reserved. Illustration: BRFuzetti/ID/BR
a) Which argument best describes your opinion about the question?
b) Who’s the text addressed to?
c) Is friendship online for real? Do you have any close virtual friends?
2. Listen to the text above again. Pay attention to how the “th” is pronounced in the
ÁUDIO 1
words in bold.
Pá gina 18
3. In groups, take a look at the comic strip below and discuss these questions.
a) In what ways does the comic strip reflect your parents’ nights (or some of your friends’
nights)?
b) Do social networks change our lives for better or for worse? Support your answer.
c) What are the advantages and disadvantages of making friends in “real life” and in social
networks?
Gary Cook/CartoonStock
4. Based on your discussion in the previous activity, try to come to a consensus about which is
better: making friends in “real life” or in social networks. Report your group opinion to the
class.
USEFUL LANGUAGE
Make your point by using some of these expressions:
• I think that…
• I somewhat disagree…
• I totally disagree…
• From my point of view…
• I agree…
• I consider both…
• My friends think…
• My mother/father/cousin thinks…
PRONUNCIATION SPOT – /θ/ and /ð/
ÁUDIO 2 1. Listen to eight words taken from the texts of this unit and pay attention to the
different pronunciations of th.
A
thing math
both with
B
there that
either another
Group A words: the ‘‘th’’ sounds like /θ/. To produce this sound, place the tip of your tongue
just below the upper teeth as you blow the air out.
Group B words: the ‘‘th’’ sounds like /ð/.This sound is very similar to /θ/, but your vocal cords
vibrate when you produce /ð/.
ÁUDIO 2 2. Now listen again and repeat the words after the recording.
ÁUDIO 1 3. Listen to the text in activity 1 (page 17) again. As you do this, copy in your notebook
all the words that have the sound /ð/ and all the words that have the sound /θ/.
Pá gina 19
Verb tense review

1. Read the following sentences:
I. “The simplest way to ensure you aren’t wasting time in any one place […].”
II. “[…] something we are losing touch with.”
III. “But a call to a friend works just as well as a Facebook message […].”
IV. Is social media changing the way we communicate?
V. “Nowadays we have more friends in social network rather than in real life.”
a) Which of them present an action in progress or a temporary action?
b) Which of them are statements that are always true?
LET’S REMEMBER!
To form the Simple Present, add –s (–es or –ies) to the verb for he, she, and it.
To make the negative, use doesn’t for he, she, and it and don’t for I, you, we, and they.
To ask questions, use does when the subject is he/she/it and do when the subject is
I/you/we/they.
2. What is currently going on in your social networks? Conduct a survey in your classroom to
know more about that. Go around the class and ask questions to at least four classmates to
complete your survey. Report your results to the class. Here are some suggestions for
questions, but you can create others.
• What are people discussing on Facebook this week?
• What are people tweeting today?
• What videos are people sharing this week?
• What games are you playing on your cell phone?
• What online resources are students using this week to learn English?
• What kind of memes are you sharing?
• Who are you interacting the most with?
Here are some suggestions to make your oral report.
• A friend of mine is discussing…
• People are using…
• People are talking about…
• Another friend is…
• My friends are sharing…
Vorobyeva/Shutterstock.com/ID/BR
3. How about conducting other surveys in your classroom? In groups, create questions for
one of the topics below. Go around the class and invite two classmates to answer your survey.
Add up your results and figure out the yes and no percentages. Report your results to the class.
Broadband Internet
Do you subscribe to a paid broadband service?
Do you ever use a broadband wireless connection?
Social networking
Do you buy things online?
Do you share anything online that you created yourself?
Mobile learning
Do you ever use your cell phone to access a social networking site?
Do you ever use your cell phone to send or receive e-mails?
Pá gina 20
4. Take a good look at this cartoon and answer the questions in your notebook.
Mark Hill/www.HillCartoons.com
a) What social networks are represented in the logo “Flitterin”?
b) Why did the author use a different font for “litter”?
c) What does “litter” mean?
d) In your opinion, what was the cartoonist’s intention? Do you agree with it?
5. Use some of the words in the box to write four sentences describing what the people in the
cartoon above are doing.
carry/read/eat/type/drink/text/pizza/books/web/juice/soda/cell/phone
6. Read the text and complete it by replacing each number with the right option. Use your
notebook.
Ways to Make New Friends and Meet People

Make Friends | Making Friends Online | Meeting People Online | How to find Friends | Finding Friends
Listen and Ask Questions

[…] By being a good listener, you 1 others know that you 2 what they have to say […]. You can let others know
you 3 attention by making eye contact while they 4, then asking a question or two about what they 5. […]
Pá gina 21
Give a Compliment
Everyone 6 an ego boost. Noticing something you like about someone and sharing it with him or her is a great
way to forge a connection and 7 a conversation. When giving a compliment, be honest and genuine. […]
Join a Club or Team

Having an interest in common with another person 8 both of you something to talk about. No matter if that
interest is reading, rugby or rock ’n’ roll, pursuing it with other people is fun and gives you a sense of meaning
and belonging. Clubs, teams and other groups also 9 toward common goals, […] 10 you how to solve
problems and 11 you bond with others. […]
Form a Study Group

12 your math teacher give super-hard exams? […] Round up a few others from your class to study together
each week. Ask your teacher if you could pass around a sign-up sheet or make an announcement about the
group after class. […] Make flash cards together or quiz one another. Bring snacks and 13 what 14 in your life.
You’ll have new friends before you know it.
[…]
Available at <http://teenadvice.about.com/od/datingrelationships/tp/making-new-friends.htm>. Accessed on April 7, 2016.
a) are letting
b) let
a) are valuing
b) value
a) are paying
b) pay
a) are speaking
b) speak
a) are saying
b) say
a) is loving
b) loves
a) is starting
b) start
a) gives
b) are giving
a) are working
b) work
10
a) are teaching
b) teach
11
a) are helping
b) help
12
a) Does
b) Is
13
a) is sharing
b) share
14
a) is going on
b) goes on
7. What is the function of the four subtitles in the text? Answer in your notebook.
a) To talk about actions in progress.
b) To give instructions.
c) To give tips.
8. Go back to the text “Managing Your Social Network Addiction”, in the Let’s read! section.
What are the subtitles in bold used for?
Pá gina 22

Infographics
According to PC Mag Encyclopedia, “(Information Graphics) is an umbrella term for
illustrations and charts that instruct people, which otherwise would be difficult or impossible
with only text.”
Adapted from <http://www.pcmag.com/encyclopedia_term/0%2C1237%2Ct%3Dinfographics&i%3D59903%2C00.asp>. Accessed
on April 7, 2016.
1. Pay attention to the following infographic.
Available at <http://infographiclabs.com/news/what-is-an-infographic/>. Accessed on February 15, 2016.
See the other parts of this infographic at <http://mashable.com/2012/07/09/how-to-create-an-infographic/>. Accessed on April 7,

2016.
DID YOU KNOW…?
Figures are numerical symbols.
2. Take a look at some of the characteristics usually found in infographics. Which of them can
you find in the one above? Answer in your notebook.
a) title
b) connected visual
c) charts
d) information presented in a simple way

e) figures
f) color
g) frames
h) graphics
i) numbered sequences
j) information divided in parts
k) arrows and verbal information
l) statistics
m) boxes
n) sources
Pá gina 23
Let's create an infographic about making

connections
Your task here is to instruct your classmates about making connections by means of an
infographic. Use the infographics in this unit as a reference.
Typical grammar patterns: Imperative
Structure: Facts and instructions in frames; visual information;
Suggested theme: Instructions on making connections.
Writing Steps
Organizing
• Before you start, find more infographics on the Internet, in magazines or in

newspapers and make a collection of them. Observe their characteristics.
• Read the infographics in this unit. Read your collection of infographics.
• Make a list of elements to include in your infographic.
Preparing the first draft

• Make a first draft.
• Use a glossary or dictionary to help you.
• Find icons to illustrate it.
Peer editing
• Evaluate and discuss it with a classmate.
• Make the necessary corrections.
Publishing
• Write the final version of your infographic and include it in your portfolio or publish
it on Wikispaces.
You can also build an online infographic with free diagramming tool.
Available at <http://infographiclabs.com/news/what-is-an-infographic/>. Accessed on February 15, 2016.
Parts of the infographic at <http://mashable.com/2012/07/09/how-to-create-an-infographic>. Accessed on April 7, 2016.
Genre: Infographic
Purpose: To instruct your classmates about making connections
Tone: Informal
Setting: Wikispaces
Writer: You or your group
Audience: Classmates or wiki readers
Pá gina 24
LEARNING TIPS
How to learn more vocabulary
Learning vocabulary means knowing not only the meaning of the words, but also how
to use them in context. To know a word also implies spelling, pronunciation,
collocation, register or style, changes in form, and grammar information.
How to learn new words:
• Read a lot.
• Listen to music and pay attention to the lyrics.
• Watch movies and pay attention to the new words.
• Use a good dictionary.
• Build a personal glossary.
• Use vocabulary graphic organizers.
Have you ever recorded new words in graphic organizers? Find several kinds of
graphic organizers to help you learn new vocabulary at Enchanted Learning
<http://linkte.me/jhr98> (accessed on April 7, 2016).
BRFuzetti/ID/BR
What about building a glossary about jobs and professions? See some examples.
Word Pronunciation Meaning

/ˈwɛbˌmæstər, -
Webmaster Someone whose job is to manage a website.
ˌmɑstər/
Systems Someone whose job is to plan or improve the way that a business or
/ˈsIstəmz ˈænlIst/
analyst organization uses computers.
Web designer /ˈwɛb dIˈzaInər/ Someone who plans, designs, creates, and often maintains websites.
Pá gina 25
TIME TO REFLECT
UNIT 1
In your notebook, use the following phrases to think and write about what you’ve learned so
far. You can start with…
Hands: Macrovector/Shutterstock.com/ID/BR
Heart: Iktash/Shutterstock.com/ID/BR
… and finish with one of the options below:
… talking about general truths and regular events.

… talking about recent actions in progress.
… giving tips and instructions.
… expressing opinions.
… identifying and using words related to social networks.
… identifying the sound “th”.
… creating an infographic.
… working with free diagramming tools to build infographics.
Examples: I am good at expressing opinions. I need to get better at giving tips and instructions.
What can I do to learn more?

Manage my time more effectively. Do more exercises.
Use more multimedia/digital resources (videos, music, apps, clips, podcasts, etc.).
Read more.
Make international friends in social networks.
Read more newspapers and magazines in English.
Chat with my friends in English.
Watch a movie/series with subtitles in English.
Watch some tutorial videos in English.
Ask for help.
Other.
Images: Seudoux/Istock/Getty images
drbimages/iStock/Getty Images
Pá gina 26
UNIT 2 DIGITAL
SECURITY
LANGUAGE IN ACTION
• Learn how to make posters

• Learn how to make recommendations and give warnings, orders and instructions
• Learn how to talk about safety on the Web
Tidarat Tiemjai/Shutterstock.com/ID/BR
Pá gina 27
LEAD-IN
1. In pairs, look closely at the posters on the previous page and answer the questions.
a) What elements first call your attention?
b) What is their purpose?
c) Where did the creator(s) of these posters get inspiration to produce them?
d) In your opinion, what kind of reaction did the producer of these posters want to create in
the viewers? Is it an original idea?
2. How much do your classmates know about security on the Web? Make a quick survey with
the classmates around you.
Djomas/Shutterstock.com/ID/BR
Lan Images/Shutterstock.com/ID/BR
Niklebedev/Shutterstock.com/ID/BR
3. What type of visual effects are used in posters?
4. What kind of information do people usually find in posters? How is this information
normally conveyed?
5. Which poster corresponds to each sentence below? Write the answer in your notebook.
a) Always use a strong password or passphrase.
b) Avoid clicking links, especially any that are requesting private information.
c) Avoid sharing files in flash drives in unknown computers.
d) Be wary of any unexpected e-mail attachments or links, even from people you know.
e) Don’t leave your mobile devices unattended.
f) Have an updated anti-virus program.
g) Look for “https://” and a lock icon in the address bar before entering any private info.
h) Never enter private or personal information into a popup.
i) Never needlessly carry around your bills, health plan card, or birth certificate.
j) Never send passwords or other private information in an e-mail or message.
k) Never write down PIN numbers or passwords.
l) Review your social network posts regularly and report any irregularities.
Pá gina 28
LET’S READ!
BEFORE YOU READ…
a) How do you mantain your privacy and keep your personal information safe?
b) Do you know how to protect yourself against potential online dangers? What do you do?
1. Read the article below and find out how safely you are browsing on the Web.
HINT
Use seu conhecimento prévio sobre o assunto do texto para ajudar na compreensã o.
Your Guide to Safe Web Browsing

Get tips on keeping your computer (and your personal information) safe while on the Internet.
Here are some tips for keeping your computer, your data and your personal information safe while browsing
the Web:
The Basics:
• Use anti-virus software on your computer. Anti-virus software will detect and remove viruses or prevent
them from ever entering your computer. […]
• Use a firewall on your computer. […] A personal firewall will protect your computer against viruses,
worms and other Internet threats.
• Create and use strong passwords. […] To create a strong password, use both upper and lower case letters.
Also, incorporate numbers or punctuation marks to make your password at least eight characters long. A good
password is NOT your name, phone number, […]. […] don’t use a word that uses digits in place of letters or
passwords that are simply a group of keys right next to each other on the keyboard (asdfghjkl) or one letter or
number repeated (44444444444).
• Update your security software and change your passwords often. […] It isn’t enough just to download
and install security software one time. To keep your computer safe, you must update your protective software
regularly. Also, even if your passwords are strong, change them every six months or so. Never use one
password […] for multiple online accounts. If one of these systems is compromised, your password from one
system may be used to try to enter other systems.
• Beware of instant message links and e-mail attachments. A good rule to follow when communicating
online is to never open an attachment that you aren’t expecting, even if you know the person who sent it. […]
The sender may not even be aware that the link or attachment contains a virus. […] Before you click on that ad
for free software or for an online game demo, know that you may also be downloading spyware. […] With
spyware, identity theft is just a few clicks away for the intruder.
Available at <http://portal.utpa.edu/utpa_main/dba_home/iso_home/docs/browsing>. Accessed on April 11, 2016.
2. Do you follow the tips presented in the article? Which ones? Do you know any other tips
that were not included in this text? Write the answer in your notebook.
3. In your notebook, copy the options which refer to the functions of the tips in the text.
a) instructions
b) warning
c) orders
d) advice
e) recommendations
f) suggestions
Pá gina 29
4. Read the article again and write in your notebook the answer to each question.
I. What is a strong password?
a) It is no more than eight characters long.
b) It has more lower case than upper case letters.
c) It includes numbers and punctuation marks.
II. What can some unscrupulous Internet users do while we are connected?
a) They can steal identity.
b) They can change information.
c) They can delete unpaid bills.
III. What can we do to keep our computer safe?
a) We can change security software passwords every year.
b) We can update security software on a regular basis.
c) We can use a strong password for all online accounts.
IV. When should we open an e-mail attachment?
a) Open it even if it was sent by someone you don’t know.
b) Open it if it was sent by someone you know well.
c) Open it if you are expecting someone to send it.
V. What is the aim of the article “Your Guide to Safe Web Browsing”?
a) To give people advice on how they can be safe online.
b) To teach people how to install anti-virus software.
c) To tell people what to do in case of identity theft.
5. Have you ever had problems similar to the ones mentioned in the text? What happened?
Tell a classmate what the problem was.
VOCABULARY CORNER
Do you know the meaning of these words used in the article “Your Guide to Safe Web
Browsing”?
If necessary, find them in the article and use the context to help you choose the best option
here. Answer in your notebook.
Theft
a) robbery
b) change
Often
a) frequently
b) rarely
Threats
a) sites for hackers
b) sources of danger
Keep
a) maintain
b) prevent
Be aware
a) to allow something to happen
b) to know that something exists
Pá gina 30
6. Read the following problems. What advice would you give to these students? Answer in
your notebook.
1 Some girls are sending me mean texts and Facebook messages. I don’t respond, but it’s
starting to hurt. What do I do?
Adrian Brand/Shutterstock. com/ID/BR
2 My friend and I said some bad things about another girl on Twitter and she found out. We
didn’t mean for her to see it – were we wrong?
GlebStock/Shutterstock.com/ID/BR
3 My gf constantly wants to go through my phone and when I tell her no she thinks I'm hiding
something. She has the passwords to both my Facebook and Myspace and goes through them
everyday. If I change them she says I'm hiding something and makes me give her the new ones
or threatens to leave and says she doesn't trust me if she doesn't have them. What should I do?
GlebStock/Shutterstock.com/ID/BR
Available at <http://www.athinline.org/realstories>. Accessed on April 11, 2016.
BEYOND THE LINES...

LUOJIE/CartoonArts International/The New York Times Syndicate
a) What message does the cartoon convey?
b) What advice would you give the Three Little Pigs?
c) In what ways does the cartoon criticize people who use the Internet? Do you agree?
Pá gina 31
1. Which sentences taken from the text "Your Guide to Safe Web Browsing" express a
recommendation? Write down the answer in your notebook.
a) “Use anti-virus software on your computer.”
b) “With spyware, identity theft is just a few clicks away for the intruder.”
c) “Don’t use a word that uses digits in place of letters […].”
2. Go over the text again. Which recommendations do you find more useful? What else would
you recommend to a friend?
3. When we want someone to do (or not to do) something, we use the Imperative. Read your
examples in activity 2 and then copy in your notebook the answer for the following question.
Why was the Imperative used in each example?
a) To describe a recente event.

b) To make a recommendation.
c) To give instructions.
d) To express an action in progress.
4. The tips in the infographic below are incomplete. In your notebook, write the correct
combination of numbers–letters to complete them with the missing headings.
I Share the love - II Be social - III Be helpful - IV Be present - V Pay it forward -
@ Mark Smiciklas/Digital Strategist, IntersectionConsulting.com
5 Ways to Cultivate an Active Social Network
A Offer your network advice or suggest people that can help.

B Participate and contribute.
C Engage with as many people as possible… not to be confused with just pushing out messages to a list.
D Make it about them… talk about your network.
E Build equity by contributing to your network before asking for anything in return… and never take out more than you
put in.
Adapted from <http://www.wikihow.com/Image:5-Ways-to-Cultivate-an-Active-Social-Network.jpg>. Accessed on April 11, 2016.
BEYOND THE LINES...
Compare these recommendations to what happens in your social networks. Do the participants
behave according to these “rules”?
Pá gina 32
5. There are Dos and Don’ts when using the computer. Look at the pictures. In your
notebook:
Oleksiy Mark/Shutterstock.com/ID/BR
Olivier Le Moal/Shutterstock. com/ID/BR
ppart/Shutterstock.com/ID/BR
Varuna/Shutterstock.com/ID/BR
a) Make recommendations using the following verbs and phrases. You may have to use the
negative in some sentences.
verbs:
leave
talk
throw
scan
phrases:
batteries in designated places.
your computer on standby.
for computer viruses.
to strangers.
b) Write your own recommendation and illustrate with a picture or a drawing.
6. In your notebook, write the instructions on how to open an account on Education UK. The
first one is done for you. A - Fill in your first name.
Available at <https://www.educationuk.org/eduk/global/secure/user/registration/show.html>. Accessed on May 13, 2016.
Pá gina 33
7. What does each sign express: warning or order? Answer in your notebook.
A
DP Foto CZ/Shutterstock.com/ID/BR
sjgh/Shutterstock.com/ID/BR
LOVEgraphic/Shutterstock.com/ID/BR
8. We can use the Imperative to give orders, instructions, warnings, or to make

recommendations. In your notebook, write the combination of numbers–letters to arrange
the sentences in 4 groups (I, II, III, IV) according to their functions.
I Order
II Instruction
III Warning
IV Recommendation
AIf you’re not sure of the IP address to use, open your router’s setup page and look in its
quick-start guide for the correct address.
B Save paper when printing.
C Don’t accept unknown friend requests.
D Monitor what your friends are sending and sharing with you.
E Turn on https://browsing on your Facebook settings.
F Don’t click on suspicious links.
G Don’t you dare touch my mouse.
H Download the Facebook security server.
I Do not respond to cyberbullying messages.
J Look out for moving vehicles!
K Don’t ever give out any personal information.
Pá gina 34
a) Have you ever felt you were at risk when using a social network?
b) Have you ever felt you could put your friends at risk?
c) What kind of social network practices do you think expose us to more risks?
HINT
Pense nas palavras-chave que poderiam estar relacionadas ao tema do texto e useas para ajudar
a identificar os principais tópicos discutidos.
ÁUDIO 31. This audio excerpt was taken from the 50th episode of the Shared Security Podcast
sponsored by Security Perspectives, recorded on January 21, 2016. Below are the headings of
the topics discussed on the podcast by Tom Eston and Scott Wright with special guest Alex
Hamerstone. Listen to two minutes of the podcast and identify the topic under discussion.
Write down the answer in your notebook.
a) 2016 Reality: Lazy Authentication Still the Norm
b) Stop Doing Quizzes on Facebook if You Place any Value on Your Privacy
c) Pre-crime Arrives in The UK: Better Make Sure Your Face Stays Off the Crowdsourced Watch
List
d) The Super Creepy Side of the Internet of Things and Smart Homes
e) Xfinity’s Security System Flaws Open Homes to Thieves
2. Look at some images of Facebook applications. Which picture is an example of the topic
under discussion?
Available at <http://brainfall.com/quizzes/who-isyour-coolest-friend/>. Accessed on March 18, 2016
sidmay/Shutterstock.com/ID/BR
Available at www.agorapulse.com/features/facebook-page-apps Acessed on March 16, 2016
Antonio Guillem/Shutterstock.com/ID/BR
ÁUDIO 3 3. Listen to the recording again. Which of these statements are true? Answer in your
notebook.
a) Facebook quizzes are done by third parties.
b) Meaww is a game company associated to Facebook.
c) People should not do Facebook quizzes.
d) Facebook quizzes combine your feeds with your friends’.
e) When you take Facebook quizzes, you are giving access to your e-mail.
f) Facebook quizzes are for fun and entertainment purposes only.
Pá gina 35
4. Look at some quizzes offered by Meaww.

a) Have you ever taken any of these quizzes?
b) Do you need to answer the quizzes to know the answers?
c) What are your answers to the questions in the following quizzes?
Available at http://meaww.com/. Accessed on March 18, 2016

Available at http://meaww.com/. Accessed on March 18, 2016.
Available at http://meaww.com/. Accessed on March 18, 2016.
Adapted from <http://meaww.com/?page=2>. Accessed on April 16, 2016.
5. Use your answers in activity 4 to record a podcast and share it with your classmates.
USEFUL LANGUAGE
• I’ve (never) answered a quiz on Facebook.

• I (don’t) need to take a quiz to answer those 6 questions.
• My answers are…
• X understands me completely because she/he… really likes me./… has been my friend since,
like, forever.
• If I am kidnapped, X will… miss me./… go crazy.
• My life defining moments are… my birthday./…my holidays at the beach./…my trip to…
• X completes me because he/she… helps me…/…gives me good advice.
• My sixth sense is telling me… to study hard/… to be patient/… to be honest/… to be polite/…

I’ll get an A in English.
• X is addicted to me. We always do things together. We see each other every day.
Pá gina 36

1. Study the two posters on this page and the four posters on page 26. Then discuss with a
classmate which of the characteristics in the chart they display.
Protect IU/Indiana University

New York State Office for the Prevention of Domestic Violence/ID/BR
Verbal information
Only relevant information is presented.
The most relevant information is highlighted.
Text is in a simple font (Arial, Times New Roman).
Text is large and bold.
Content is easy to understand.
Minimal abbreviations and jargon are used.
Information is presented in a logical progression.
Information is grouped in sections.
Nonverbal information
Color use is logical and consistent.
Color is used to organize information.
Size is used to emphasize information.
Use of white spaces is adequate.
Elements are aligned vertically and horizontally.
Use of bulleted phrases.
Only relevant photos, charts, etc. are included.
Adapted from <http://omerad.msu.edu/meded/poster_files/Characteristics_of_an_Effective_Poster.pdf>. Accessed on April 11, 2016.

2. Did you notice any other characteristics? Add any other features you think a good poster
should display.
Pá gina 37
Let's create a poster

Posters are a simple but effective way of publicizing events and communicating
important messages to the public at large.
Design a poster, keeping in mind that it is important to make it attractive and easy to
read. Use the steps below as a guide.
Suggested theme:
• Security on the Web
Writing Steps
Organizing
• Decide how you will make your poster. Are you going to make a poster on cardboard
by hand? Or do you have access to a computer and printer? Or are you going to publish
it on Wikispaces?
• Choose one simple, memorable message.
• Get the information from a reliable source, such as from books, people working in
the field, or on reputable Internet sites.
• Prepare the first draft. Place your message in large lettering that will attract
attention. More detailed information can also be added in smaller lettering.
• Have your information checked by somebody with expertise in the subject. Also get
somebody to spell-check the information.
Peer editing
• Ask a classmate to read it and give you feedback.
Publishing
• Put up your poster on the classroom wall or publish it on Wikispaces. Try to find a
location where lots of people will pass by but where it will not get lost in the crowd.
You can also take a photograph of your poster and include it in your portfolio.
If you have access to the Internet, you can use free Web tools to make an interactive
online poster.
Maxx-Studio/Shutterstock.com/ID/BR
Genre: Poster
Purpose: To warn your classmates to be careful when surfing the Net
Tone: Formal
Setting: School wall or Wikispaces
Audience: Teacher, classmates, or wiki readers
Pá gina 38

ATENÇÃO: todas as questõ es foram elaboradas nos moldes das provas originais do Enem. Responda a todas as
questõ es no caderno.
1. Uma nuvem de palavras é uma representaçã o visual de um texto. A leitura da nuvem de
palavras abaixo indica que o tema do texto ao qual ela se refere é:
BRFuzetti/ID/BR
a) amigos em visita a Chicago.

b) conexõ es em redes sociais.
c) mapas de trabalho na Web.
d) oportunidades de negó cios.
e) problemas de conectividade.
2. “In my point of view, Internet becomes part of our life. We also should consider it like
simply meeting someone in the street. In any case people can lie both on the Internet and
during face-to-face contact. It depends on you, to believe or not. For me, it is easier to
communicate with someone by chats and social networks. You can analyse the context of
speech. (What to say, how to answer and etc.)”
Available at <http://www.createdebate.com/debate/show/what_is_better_to_make_friends_in_real_life_or_in_social_networks>.
Accessed on October 29, 2015.
O texto acima foi retirado de um fó rum de discussõ es sobre redes sociais. O ponto de vista do
autor desse texto sobre a mentira é o de que:
a) chats e redes sociais sã o facilitadores da mentira.

b) é mais fá cil mentir quando se está conectado na Web.
c) mente-se na internet ou na interaçã o fora da rede.
d) mentir faz parte de nossa vida cotidiana.
e) o contexto da fala induz alguém a mentir.
3. A Universidade de Georgia, preocupada com a questã o da segurança na Web, divulgou uma

série de cartazes para conscientizar a comunidade sobre os problemas da internet. Um deles é
o cartaz ao lado que aborda o tema:
a) golpe eletrô nico.

b) programa espiã o.
c) propagaçã o de vírus.
d) roubo de anexos.
e) senha confiá vel.
4. O cartaz ao lado alerta sobre um tipo de e-mail que:

a) engana usuá rios desatentos no ciberespaço.
b) identifica as pessoas que cometem furtos.
c) impede que a pessoa tenha todo o cuidado.
d) parece vir de uma empresa como um banco.
e) rouba identidades de agentes comerciais.
Pá gina 39
TIME TO REFLECT
UNIT 2
In your notebook, use the following phrases to think and write about what you've learned so
… giving orders, warnings and instructions.

… giving advice and making recommendations.
… identifying the sound /æ/.
… identifying and using words related to security on the Web.
… creating a poster.
Examples: I am good at creating a poster. I need to get better at giving orders, warnings and
instructions.

Manage my time more effectively.
Do more exercises.
Read more.
Ask for help.
Other.
amazingmikael/iStock/Getty Images
Pá gina 40
Illustration: Catarina Bessell/ID/BR
Photographs: kimberrywood/iStock/Getty Images; Wavebreakmedia/iStock/Getty Images; ktsimage/iStock/Getty Images
Pá gina 41
PART 2 Mobile
LEARNING PLAN
Creating interviews
Telling and describing past events and asking questions
Talking about things that happened at an unspecified time
Creating an answering machine message and leaving a message
Reading and writing texting abbreviations
Let’s learn how to create a podcast

pod·cast /ˈpɒdˌkæst, -ˌkɑst/
noun
1 a digital audio or video file or recording, usually part of a themed series, that can be downloaded
from a website to a media player or computer: Download or subscribe to daily, one-hour podcasts of
our radio show.
verb (used without object), verb (used with object)
2 to record and upload as a podcast: He podcasts once a week on various topics. She podcasts her
lectures.
Adapted from <http://dictionary.reference.com/browse/podcast>. Accessed on April 11, 2016.
Add audio to Wikispaces. Here are some tips:
• Record a simple welcome message.
• Record yourself singing or reading a poem.
• Record a short news report about your school or town.
You can use Audacity or Podomatic to record your podcast. They are free. Go to Audacity
<http://linkte.me/t09wh> or to Podomatic <http://linkte.me/b861r> and learn how to do it.
Accessed on October 30, 2015.
See detailed instructions on how to produce and publish a podcast at Wikihow

<http://linkte.me/l44hn> (accessed on October 30, 2015).
Nelson Marques/Shutterstock.com/ID/BR
Syda Productions/Shutterstock.com/ID/BR
Pá gina 42
UNIT 3 ON THE
WAVES OF THE
RADIO
LANGUAGE IN ACTION
• Learn how to create interviews

• Learn how to tell and describe past events
• Learn how to ask questions
Images related to the history of the radio. 2014

Popperfoto/Getty Images
1940
Private collection. Photography: NBC Studios/ID/BR
1907
Bill Ray/Time & Life Pictures/Getty Images
1966
gaspr13/iStock/Getty Images
2011
Ezra BaileyMore/Getty Images
2012
Valua Vitaly/Shutterstock.com/ID/BR
Shutterstock.com/ID/BR
Pá gina 43
LEAD-IN
1. What do the images on the previous page portray? Share your thoughts with your
classmates.
2. In your notebook, write the correct combination of numbers–letters to relate the stages in
the history of the radio to the pictures on the previous page.
A People can now listen to radio stations when they are online.
B The radio was reduced in size and became portable.
C People can listen to the radio wherever they are on their mobile devices.
D People got together to listen to the news or the soaps on the radio.
E Actors got together around a microphone to record the soaps on the radio/radio show.
F Almost every car has a radio.
HINT
Faça uma leitura rápida e superficial apenas para identificar a ideia geral e, assim, o tipo de show
descrito no texto.
3. Read the excerpts of a radio show. What kind of show is it? Use your notebook.
a) A sitcom.
b) The top 10 hits.
c) An interview.
d) A commercial.
Excerpt 1
Lady Gaga: […] I just want to say “thank you” to you from the bottom of my heart for talking to me
about this issue today on your morning radio show. I know, you know, it’s not something that
everyone wants to drive to work thinking about, but it will mean a lot to so many people that felt so
unheard for so long, I mean, I can´t tell you how many people in my life, that I’ve known for my
entire life, have come forward to tell me that they have had a dramatic experience and that this has
helped them. Thank you for, you know, doing this for me.
Excerpt 2
Elvis Duran and the Morning Show.
ED: Hey! So here it is Friday. I was looking for the coolest person on earth to talk to kick off my
weekend.
B: Who would that be?
ED: You. You, Bethany.

B: I don’t think that’s true.
ED: But I found the second coolest. Please welcome to the Friday show, Lady Gaga.
Excerpt 3
ED: […] The song that you performed the other night on the Academy Award Show. This is what’s
getting so much attention right now. You must be so proud of this song.
Lady Gaga: Thank you. I am so... so proud to hear the song, er... being, you know, heard... see that...
see it’s being heard and see the effect, I mean, what I've witnessed since the performance’s really
the most astounding thing I’ve ever seen. There’s so many people in the world that feel alone, and
this song, it heals them by bringing them together, and it also, you know, remind people that don’t
feel alone to have empathy for others.
ED: You know what I like about this song and watch you perform it that night with all the sexual
assault survivors on stage and, you know, even though it’s about such a serious, serious, deep, deep
subject, it really is a great song about healing and celebrating. […]
Available at <http://ladygaganow.co/lady-gaga-talks-about-heroscars-performance-on-z100-radio>. Accessed on April 11, 2016.
4. In your notebook, copy the first and the last word of the following parts of the text.
a) The introduction of the text.
b) The body of the text.
c) The closure of the text.
ÁUDIO 4 5. Now, read and listen to the excerpts in the correct order and check your answers.
6. The song Lady Gaga performed at the 88th Academy Awards ceremony, in 2016, was “Til It
Happens to You.” It talks about the pain caused by sexual abuse.
a) Should people wait for bad things to happen in order to react?
b) What is your reaction when you listen to stories of child abuse?
Pá gina 44
LET’S READ!
BEFORE YOU READ…
• Look at the text below. Pay attention to the title and subtitle. What kind of information do
you expect to find there?
1. Now read the text carefully to check your predictions. Do the activities on the next page
and make sure you answer them in your notebook.
HINT
Fazer previsões sobre o texto antes de lê-lo pode ajudar você a lidar com o vocabulário novo.
The Invention of the Radio

Radio is the branch of telecommunication that involves the propagation of electromagnetic waves
through space.
How did the Radio Originate?

Many scientists dreamed of discovering a way to wireless communication, but didn’t succeed until the late
nineteenth century. James Clerk Maxwell developed the first radio-wave theorem in 1864. He proved,
mathematically, that if an electrical interruption is of short distance from the point at which it occurred, there
would be effect or passage of electrical current due to “some sort of waves that move at the speed of light”, in
which the electromagnetic energy would travel.
Heinrich Hertz experimented with Maxwell’s thesis in 1888. He demonstrated that “waves traveled in straight
lines and that they could be reflected by a metal sheet.” He tested with two conductors separated by a short
gap (5ft). This idealism was advanced by the Italian physicist Guglielmo Marconi (seen on the next page), who
repeated Hertz’s experiments with a spark gap of 30ft and succeeded.
Augusto Righi, an Italian physicist, continued and refined Hertz’s work establishing the equality between
electrical and optical vibrations. Another scientist, Temistocle Calzecchi-Onesti, constructed, in 1888, a “tube”
due to his belief that electrical discharges of atmospheric perturbations influenceiron filings.
In 1894, Oliver Lodge named Temistocle’s famous “tube” the “coherer” and increased the reception gain of the
hertzian waves. All that was left was the Russian, Popov (Alexander Popoff), to create a vertical metal pole by
using Lodge’s coherer and collecting atmospheric disturbances in a rudimentary antenna. The invention of
these instruments helped Guglielmo Marconi’s discovery. Marconi verified that electromagnetic waves travel
between two points separated by an obstacle. This led to the creation of the first radio transmitter... This
experiment was repeated with larger spark gaps (started with 5 ft; expanded to 100 km). Radiotelegraphy was
born.
Available at <https://wayback.archive-it.org/3635/20130908061747/http://library.thinkquest.org/27887/gather/history/
radio.shtml>. Accessed on April 11, 2016.
DID YOU KNOW…?
Nova Quilombo/ID/BR
Radio New Quilombo FM was founded on April 6, 1986 in Palmares (PE). It is recognized as
one of the largest stations in the Northeast. The radio is an absolute audience leader in more
than 50 towns around the southern forest, wild, Pernambuco coast and north of Alagoas. […]
We can also listen to it on the Web: <http://tunein.com/radio/Radio-Nova-Quilombo-FM-1009-s85358/>. Accessed on May 13,

2016.
DID YOU KNOW…?
Yandê/iD/BR
The objetive of Yande Radio is the dissemination of Brazilian indigenous culture.
Listen to it on the Web: <http://radioyande.com/>. Accessed on May 13, 2016.
Pá gina 45
a) What is the purpose of the text?
b) Relate the sentences below to the corresponding paragraphs and find out the main ideas of
the text. Write down the answer in your notebook.
I. The behavior of radio waves was described.
II. A theoretical basis was established.
III. Understanding was refined to generate a working prototype.
IV. Scientists from other areas expanded the existing knowledge.
c) Do you think the information on the website is reliable? How do you check information
when you search on the Web?
2. Many scientists were involved in the creation of the radio. Write the correct combination of
letters–numbers to match the names to the facts. Answer in your notebook.
HARLINGUE/ROGER-VIOLLET/AFP
A Heinrich Hertz
©MP/Leemage/AFP
B Guglielmo Marconi
NYPL/Science Source/Getty Images
C Oliver Lodge
Science Photo Library/Latinstock
D James Clerk Maxwell
Guglielmo Marconi Foundation, Bologna. Photography: ID/BR

E Temistocle Calzecchi-Onesti
Popov Memorial Museum, Saint Petersburg. Photography: ID/BR
F Alexander Popoff
Etabeta/Alamy/Latinstock
G Augusto Righi
I He created the first radio-wave formula.
II He proved that radio waves are transmitted in straight lines.
III He discovered that radio waves travel through an obstacle.
IV He established the equality between electrical and optical vibrations.
V He believed in the influence of electrical discharges of atmospheric perturbations.
VI He came up with the name “coherer.”
VII He incorporated a rudimentary antenna.
DID YOU KNOW…?
Antenna – plural antennas or antennae.
Pá gina 46
3. In which tense is the text “The Invention of the Radio” mostly written? Answer in your
notebook.
a) past
b) present
c) future
4. Make a list of the verbs in the text that justify your previous answer. What do most of them
have in common?
5. Do you like listening to the radio? If so, what types of radio programs do you listen to?
PRONUNCIATION SPOT – final -ed
1. In the Simple Past, the -ed sound is pronounced differently depending on the preceding
sound.
Verbs ending in…

voiceless sounds: -ed →
voiced sounds: -ed → /d/ /t/ or /d/: -ed → /ıd/
/t/
2. Listen to the verbs below. Then list them in the appropriate column: /d/, /t/ or /ıd/.
ÁUDIO 5
Use your notebook.
developed/experimented/constructed/occurred/played/improved/helped/verified/
continued/repeated/succeeded/proved/demonstrated
VOCABULARY CORNER
1. Read the text “The Invention of the Radio” again and find the correct word for the
definitions below.
a) Having no wires (adjective, 8 letters).
b) An electronic device consisting of a system of electrodes (noun, 4 letters).
c) Presenting magnetism produced by electric charge (adjective, 15 letters).
d) Electromagnetic radiations (noun, 5 letters).
e) Tests, trials (noun, 11 letters).
f) A device that sends and receives waves (noun, 7 letters).

TheFinalMiracle/Shutterstock.com/ID/BR
Karina Kononenko/Shutterstock.com/ID/BR
RamCreativ/iStock/Getty Images
Pá gina 47
1. Let’s remember! Read these sentences and pay special attention to the words in bold.
“How did the radio originate?”
“Many scientists dreamed of discovering a way to wireless communication, but didn’t succeed
until the late nineteenth century.”
“[Heinrich Hertz] demonstrated that waves […] could be reflected by a metal sheet.”
“All that was left was the Russian, Popov (Alexander Popoff), to create a vertical metal pole […].”
“This led to the creation of the first radio transmitter…”
2. Copy in your notebook the answer for the following question. What is the function of the
Simple Past?
a) To talk about completed actions in the past.
b) To talk about actions in progress in the past.
c) To talk about uncompleted actions.

d) To talk about unspecified time actions.
e) To talk about facts and habits in the past.
f) To talk about a sequence of events in the past.
3. Based on activity 1 and on your own knowledge, replace the letters below with the
appropriated words to complete the rules. Use your notebook.
Add A to the end of regular verbs.
The Simple Past of the verb be is B (I, he, she, it) and C (you, we, they).
Use D for the interrogative and E for the negative forms.
F verbs have a special form which we need to know by heart.
4. Which of these statements about the radio are true? Answer in your notebook.
a) The invention of the radio was possible at the beginning of the 19th century.
b) James Clerk Maxwell invented the first radio.
c) In 1888, Heinrich Hertz tested Maxwell’s assumption.
d) Hertz’s experiment was replicated by Marconi without much success.
e) Temistocle named the coherer in 1888.
f) Scientists found that radio communication involves the transmission of electromagnetic

waves.
5. In your notebook, write the correct combination of numbers–letters to match the questions
to the answers. If necessary, read again the text “The Invention of the Radio”.
I Where was Guglielmo Marconi born?
II When was the first radio-wave formula created?
III Who created the name “coherer”?
IV What was constructed in 1888?
V How do radio waves travel?
VI Why can we say that the radio was collaboratively invented?
A In straight lines.
B Because many inventors were involved.
C In 1864.
D Oliver Lodge.
E A “tube”.
F In Italy.
Pá gina 48
6. Replace the letters in the text with the past form of the verbs below, and learn about the
history of podcasts. Use your notebook.
allow/ become (x2)/ explode/ help/ include/ start/ decide
A Brief History of Podcasting
Podcasting A part of the general lexicon almost overnight. The technology behind podcasting
comes from RSS news feeds, which were developed by programmer and blogging pioneer Dave
Winer. Former MTV VJ Adam Curry had been pushing for a new way to do RSS with multimedia,
and B encourage Winer to develop RSS with enclosures.
That technology C people to publish RSS feeds with audio or video, but it took a few years before
regular podcasts were launched. In the summer of 2004, Winer D a protopodcast called Morning
Coffee Notes and Curry started his Daily Source Code sh ow. Curry E to start coding his own
podcast software called iPodder, and was hoping to get other programmers to join in on the open
source software project. Eventually, iPodder F the basis for other “podcatching” software
programs, which help you manage and subscribe to podcasts. In 2005, when Apple’s iTunes G
podcatching software as well as a podcast directory, the medium H . [...]
Available at <http://mediashift.org/2007/02/your-guide-to-podcasts059>. Accessed on April 11, 2016.
7. The following pieces of information were taken from another text about the history of
podcasting (How to podcast. Available at <http://linkte.me/lbo1m>, accessed on April 11,
2016). Write questions in your notebook. The answers should be the underlined parts.
Example: When did weblogs start to appear?
Weblogs started to appear after the appearance of the Internet.
a) The next step in the history of podcasting was audio blogging.
b) The problem with audio blogs was that readers had to check for new MP3 files.
c) The spoken word added a new personal element to the media of blogging.
d) The first appearance of the word “podcast” in history was in an article in The Guardian.
e) The creation of the term is credited to Ben Hammersley who wrote the article and used
podcast as a synonym for audio blogging or amateur internet radio.
Tharin kaewkanya/Shutterstock.com/ID/BR saki80/Shutterstock.com/ID/BR
Pá gina 49
a) Do you listen to music on the radio? Can you list some current trending songs?
b) Love is a frequent topic used in songs. What are your favorite love songs?
ÁUDIO 6 1. Read and listen to the song, and then answer the following questions in your
notebook.
Love Is on the Radio

(by McFly)
I was alone and my stomach was twisted
But I can get up now, the dark clouds have lifted
Back in the old life before you existed
I couldn’t see right
My windows were misted
Said one word, make me feel much better
Starts with “L” and it’s got four letters

Chorus
Things are looking up
Looking up (hey)
There’s magic everywhere you go
Strangers stop to say hello (hello, hello, hello)
So turn it up
Turn it up (hey)
As loud as you can make it go
‘Cause love is on the radio
Now that I’ve found you my heart’s beating faster
We could be happy forever and after
We could be married, like Mrs. and Mr.
We’ll have a son and we’ll give him a sister
Just one thing holding us together
A four letter word and it lasts forever
Chorus
Love is on the radio
Love is on the radio (turn it up, turn it up) ×6
Funny one thing led to another
You came along, filled my days with colour
And it’s been an everlasting summer
Since we found each other
Chorus
So turn it up
Turn it up (hey)
As loud as you can make it go
Play until your speakers blow

And listen ‘till your ears explode
‘Cause love is on the radio
Available at <http://www.vagalume.com.br/mcfly/love-is-on-the-radio-traducao.html>. Accessed on April 11, 2016.
2. The song mentions a four-letter word. Which word is that?
3. How would you describe the singers’ feelings? Pessimistic or optimistic? In your notebook,
copy parts of the lyrics that support your answer.
4. The lyrics contains some elements used to describe life before and after love. In your
notebook, classify the following moments as before or after love.
a) no dark clouds in the sky
b) twisted stomach
c) everlasting summer
d) inability to see
e) fast-beating heart
f) misted windows
g) days with colour
5. What is the objective of this comparison between moments in the song? Use your
notebook.
a) To express that everybody changes after finding love.
b) To illustrate the sadness the person was feeling before love.
c) To show that love has the magical power to change things.
ÁUDIO 6 6. Listen to the song again and sing along!
7. Record a podcast of yourself singing this song or any other you like.
HINT
Ouvir você mesmo falando inglês, além de uma boa prática, pode ser uma excelente oportunidade
para ter uma ideia de como as pessoas ouvem você.
Pá gina 50
PROFESSION SPOT
RADIO JOBS
1. Read some ads for radio jobs and answer the following questions in your notebook.
a) Which one of these jobs pays more?
b) How much would the salary be in Brazilian currency per month?
c) Which job seems to be the most difficult one?
d) Which job would you apply for? Why?
DID YOU KNOW…?

OTE is the abbreviation for on-target earning. It means that the worker can achieve a certain
amount of money depending on the results of his/her work.
Mobile site | US site | Sign in | Register | Site Map
jobs
Marketing Executive
England | £25000 | £30000 per annum + Benefits | SPOTLIGHT RECRUITMENT
As the Marketing Executive, you will be expected to work across multiple channels, international markets and
take on a wide variety of tasks. We are looking for a creative, yet analytical person with experience using
various systems. This is a home-based role, so you need to be independent and not be afraid to take initiative!
View details | 14 days ago | Save
Media Sales Executive - (Sports, Fashion, Tech)
London (Greater) | £18-24k with OTE of £35,000 | MEDIA EXCHANGE
If you are interested in media, have a confident personality and enjoy selling then media sales could be the
perfect career path for you! What is […]
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Temporary/Contract Roles - Reception, Team Admin, PA, EA - within the creative Media
Industry
London (Central), London (Greater) | Hourly rate equivalent at all levels | PULSE SEARCH & SELECTION
LIMITED
If you’re immediately available and looking for temporary or contract roles within some of London’s leading
media companies, (advertising, marketing, PR, TV, film, post production, fashion) don’t hesitate to get in touch!
View details | Expiring today | Save

Pá gina 51
Media Planner/Buyer (TV)/Advertising/West Midlands
West Midlands | £24000 - £30000 per annum + benefits | PITCH CONSULTANTS
As Account Manager you’ll run and develop a number of exciting client accounts so will need a proven
background in media planning/buying and a clear ability to develop campaigns that deliver tangible results for
clients, and in turn further opportunities for the agency.
View details | 20 days ago | Save
Regional PR Officer, London
London (Greater) | £21,000 - £23,000 | UNITED BROADCASTERS
UB is looking for a confident communications professional with excellent people and networking skills who
will work locally in and around London to promote the work of United Broadcasters which will include
representing and assisting with the coordination of radio content, outside broadcasts and other attended
events.
View details | 7 days left | Save
Adapted from <https://jobs.theguardian.com/jobs/radio/>. Accessed on April 11, 2016.
2. The website allows you to refine your search for radio jobs according to the categories
below. In your notebook, write the correct combination of numbers–letters to match these
categories and the refinements possible. The first one is done for you!
Example: I-J Categories
I Location
II Job Function
III Job Level
IV Industry
V Salary
VI Hours
VII Contract
VIII Listing Type
IX Education Level
X Recruiter Type
Possible refinements
A Permanent 25
Temp 2
Contract 2
B Media, Radio
C £10,000 - £20,000 9
£20,000 - £30,000 27
£30,000 - £40,000 13
£40,000 - £60,000 11
£60,000 - £80,000 2
D A levels/Advanced GNVQ 1
Undergraduate degree (or equivalent) 14
E Full Time 28
Part Time 1
F Job vacancy 27
Graduate scheme 2
G Entry Level 2
Graduate 7
Experienced (non manager) 9
Management 1
Senior Executive 2
H Administration 2
Finance 1
Marketing/PR 3
Sales 11
I Direct Employer 7
Recruitment Consultant 22
J England 25
South East England 24
London (Greater) 23
East of England 1
West Midlands Region 1
Homeworking 2
3. What do you think the number after each refinement means?
4. Do some research and make a list of other radio professionals.
Pá gina 52

Interview
What is an interview?
An interview is a meeting in which someone asks another person, especially a famous person,
questions about themselves, their work, or their ideas, in order to publish or broadcast the
information.
Available at <http://www.macmillandictionary.com/dictionary/american/interview>. Accessed on April 11, 2016.
Jamie McCarthy/Getty Images
Host Sway Calloway (L) interviews the singer Tyrese Gibson (R). New York, USA, 2016.
Beto Martins/Futura Press
Brazilian swimmer Thiago Pereira being interviewed by the local press. Sã o Paulo, Brazil, 2013.
1. Read the text carefully. Which strategies do you consider the most effective?
Tips on How to Interview Like a Journalist
I. Find a good interviewee: Seek out a good subject. “The truth is that some people have a good
story to tell on a subject, and others don’t. Some people are naturally talented at being interviewed,
and others aren’t,” said copywriter Star Zagofsky.
II. It’s your job to research: Know the answers to basic questions such as the individual’s
background, hot topics, what the person has worked on, is currently working on, and what they’re
trying to promote.
III. Make them comfortable: Place them in a comfortable location with friendly surroundings. Be
professional and friendly – not pushy.
IV. Send a list of questions beforehand or not: It’s sometimes a good idea to give a skeletal list
of questions so the interviewee can prepare appropriately. But don’t give them all your questions as
you still want some spontaneity in the interview.
V. Record the interview: You must record your interviews for many reasons: it’s the ethical thing
to do; you can actually have a natural conversation; you can focus on the subject and not on your
notebook; and you reduce the fear of being misquoted.
Adapted from <http://www.sparkminute.com/2011/11/07/30-tips-on-how-to-interview-like-a-journalist/>. Accessed on April 11,

2016.
2. Now organize yourselves in groups. Discuss the questions below based on the text you
have read.
a) What is the best tip, in your opinion? Why did you choose this one?
b) In your experience as a listener, what makes a good radio interview?
c) Who do you consider a good interviewer? Think about television, radio, etc. What qualities
can you highlight in a good interviewer?
Pá gina 53
3. Here are some features found in written and oral interviews. Sort out the features
according to the interview type. Some features may be found in both. Answer in your
notebook.
I Written interview
II Oral interview
A hesitation noises
B quotations
C gap fillers
D open questions
E title
F “yes” and “no” questions
G multimedia texts
H false starts
I images
J colloquial language
Let's do an interview about radio

What about interviewing an older person about radio?
Typical grammar patterns: WH-questions, past tense
Key vocabulary items: Radio, soap opera, news, ads, interviews, artists, like, prefer, etc.
Structure: Questions and answers

Janet Faye Hastings/Shutterstock.com/ID/BR
Writing Steps
Organizing
• Get basic information about your interviewee.
• Make a list of questions in Portuguese.
• Interview elderly people (you can record the interview or take notes).
• Write a short text to introduce your interviewee.
• Write the interview in Portuguese and ask your interviewee if he or she approves it.
• Choose some interesting questions and answers and translate them into English.
• Use an online translator to help you. (Read about this tool on page 54.)
• Edit the translation and make the necessary corrections.
Peer editing
• Evaluate and discuss the interview with a classmate.
• Make the necessary changes.
Publishing
• Write the final version of your interview and publish it on Wikispaces. Keep a copy in
your portfolio.
Read more about interviewing at <http://www.ehow.com/how_2059751_interview-someonestory.html> and <http://www.right-

writing.com/steps.html>. Both accessed on April 11, 2016.
Genre: Interview
Purpose: To know about someone’s experience
Tone: Wikispaces Setting: Blog
Audience: Classmates or wiki readers
Pá gina 54
LEARNING TIPS
How to use an online translator tool
BRFuzetti/ID/BR
An online translator is a tool which can help you with translations, but it has limitations and
you must revise the text to make it more accurate. See an example below.
Você ouve rá dio?
— Muito pouco.
Você costumava ouvir rá dio quando era criança?
— Sim, eu gostava muito de rá dio. Eu adorava os programas de humor e as novelas.
Now, read the translation and pay attention to the interrogative form.
You listen to the radio?
— Very little.
You used to listen to the radio as a child?
— Yes, I loved the radio. I loved sitcoms and soap operas.
Notice the suggested final version below.
Do you listen to the radio?
— Very little.
Did you use to listen to the radio as a child?
— Yes, I loved the radio. I loved sitcoms and soap operas.
What about using an online translator tool to find more professions and jobs in English and
then enlarge your glossary?
Pá gina 55
TIME TO REFLECT
UNIT 3
… telling and describing events in the past.
… asking questions using WH-words.
… presenting interviewed people.
… identifying sounds with final -ed.

… producing an interview.
Examples: I liked asking questions using WH-words. I need to get better at producing an
interview.

Do more exercises.
Read more.
Ask for help.
Other.
Image Source/Getty Images

Pá gina 56
UNIT 4 GOING
MOBILE
LANGUAGE IN ACTION
• Learn how to talk about things that happened at an unspecified time

• Learn how to create an answering machine message and how to leave a message
• Read and write texting abbreviations
Available at <www.popsugar.com/tech/photo-gallery/35465201/image/35465243/Dancefever>. Accessed on February. 10, 2016.

Available at <www.popsugar.com/tech/photo-gallery/35465201/image/35465249/Fresh-Prince-house>. Accessed on February. 10, 2016.
Available at <http://www.smosh.com/smosh-pit/photos/17-clever-uses-emojis>. Accessed on February. 10, 2016.
TCmake_photo/iStock/Getty Images
DID YOU KNOW…?
Emojis were created in the late 1990s by NTT DoCoMo, the Japanese communications firm. The
word emoji is a contraction of the words e and moji, which roughly translates to pictograph.
Adapted from <http://www.theguardian.com/technology/2015/feb/06/difference-between-emoji-and-emoticons-explained>.

Pá gina 57
LEAD-IN
1. Take a look at the pictures from the previous page. Where can you find them?
2. How often do you use emojis to communicate with friends and family?
3. Focus on the messages from the previous page. What do they have in common? Answer in
your notebook.
a) Mixture of emoji and written language.
b) Use of picture + part of a word or just picture to
c) Colloquial and abbreviated use of words.
d) Standard use of punctuation and capital letter. convey meaning.
e) Humor.
4. Read message 1. What do the images mean? Answer in your notebook.

a) He/She went dancing about a week ago.
b) He/She was sleeping about a week ago.
c) He/She moved away about a week ago.
5. Read message 2 on page 56. In your notebook, replace the emojis (represented in the box
below by letters) with the appropriate words.
“Now this is a A all about how my life got B C and D now Id like to take a E just F I’ll tell ya
how I became a G of a H called I .”
6. Look at message 3. What does “Whale-atar” mean?
7. What are the meanings of the following emojis?

A
B
C
Illustrations: Iemoji. Facsimile: ID/BR
DID YOU KNOW…?
While in American English we say “cell phone,” in British English the term is “mobile phone.
Pá gina 58

1.Listen to the messages that some people recorded on their voicemail. What is the
ÁUDIO 7
common characteristic to all of them? Write the answer in your notebook.
a) They are all serious.
b) They are all very long.
c) They are all funny.
HINT
Manter na memó ria o contexto imediato do que se escuta ajuda a compreender palavras que
deverã o ser inseridas em lacunas.
2. Below is the transcript of the messages you heard in activity 1. What words are missing?
Replace the letters with the most suitable words to complete the text. Use your notebook.
Message 1
“Hello? Hello? Hello? Hello? Hello? Must be having A difficulties, so leave a B .” Available at
<http://www.ahajokes.com/funny_audio.html>. Accessed on April 12, 2016.
Message 2
“Hi. I’m not C to come to the D right now, so please leave a E for my cat who will return your F as soon as he
finishes a six-hour G , has a two-hour H , sharpens his claws on my fine I modern couch, makes a J in his
little K and finds some poor unsuspected L to kill and leave on my front Mstep. N for the meow. Meow!”
Available at <http://www.ahajokes.com/funny_audio.html>. Accessed on April 12, 2016.
Message 3
“Hello. I’m home O now, but I can’t find the P . Please leave a long, loud Q to help me locate R .” Available at
<http://www.ahajokes.com/funny_audio.html>. Accessed on April 12, 2016.
ÁUDIO 7 3. Listen to the messages again and check if your predictions in activity 2 were correct.
4. What message would you leave if you called people and heard these voicemail messages?
5. Get ready to record two different messages for a cell phone. Follow the instructions below.
Write the message drafts in your notebook.
Message 1: Prepare the text of a message being yourself.
A Greeting
B Apologize for not being able to answer
C Request a message
Message 2: Prepare the text of a message being an important
businessman/businesswoman. Remember to use formal language.
A Greeting
B Apologize for not being able to answer
C Request a message
Now you’re ready to record the two messages!
6. What does your ringtone say about you (headbanging rocker, gamer, sci-fi nerd, TV addict,
etc.)? Think of the last ones you chose and share with your classmates what they say about
you.
PRONUNCIATION SPOT – final -e
81.Listen to these words. Copy them in your notebook using a capital letter to show the last
sound you hear. take message phone time leave creature able
2. What did you notice? Choose an option to complete the hint. Answer in your notebook.
•
When is the last letter of the word, it is usually silent; the last consonant is actually the last
sound.
a) a
b) e
c) i
d) o
e) u
Pá gina 59
LET’S READ!
BEFORE YOU READ…
• Have you ever played guessing games with emojis?
1. With a classmate, read the names of the following movies and find the corresponding
sequence of emojis for each one.
E.T./ Free Willy/ Finding Nemo
Lord of the Rings/ Slumdog Millionaire
Planet of the Apes/ Home Alone/ The Phantom of the Opera
Titanic/ The Sisterhood of the Travelling Pants
Example:
Stuart Little
H
I
Illustrations: BhaviniOnline. Facsimile: ID/BR
2. Think of a film or a song and represent it in emojis. Then check if a classmate can guess the
name of the film or the song.
Pá gina 60
1. Read this excerpt of an Internet article and answer the questions.

Medicos may have used mobiles to cheat: Cops
Pushpa Narayan, TNN May 16, 2012, 04.15AM IST
[…]
The Tamil Nadu Dr MGR Medical University had withheld results of nine students and lodged a
complaint with cyber crime in March after they received complaints from two final year
students that nine of their classmates cheated during the exam. The students gave their names
and roll numbers. A faculty member also supported the letter. “Police have given us an interim
report that suggests there could have been malpractice. We are now waiting for the final
report,” said university vice-chancellor Dr Mayil Vahanan Natarajan. […]
Available at <http://articles.timesofindia.indiatimes.com/2012-05-16/chennai/31725192_1_cyber-crime-exam-hall-s-
arifmohammed>. Accessed on April 12, 2016.
Attílio/ID/BR
a) What does the police report suggest?
b) Does the text mention when cheating happened?
c) What is more important in this text, the fact itself or the time it happened?
d) Copy from the text examples of actions which happened at an unspecified time in the past.
Which tense is used in these sentences?
DID YOU KNOW…?
Medico: a physician or doctor; a medical student.
2. What is the function of the Present Perfect? Answer in your notebook.

a) To talk about past experiences without mentioning when they happened.
b) To talk about past experiences which happened at a specified time in the past.
c) To talk about a past event that has present consequences.
To make the Present Perfect, use have/has + verb in the Past Participle.
(You can find a list of some irregular verbs at the end of this book.)
For questions, use have/has + subject + verb in the Past Participle.
A: Have you ever used a tablet?
B: No, never.
We often use ever and never to emphasize experiences or lack of experiences before the
present time, respectively.
Pá gina 61
daboost/iStock/Getty Images
3. Work with a classmate. Use your notebook to ask questions and take notes of your
classmate’s answers to report back to the class.
Examples: use/a tablet – Have you ever used a tablet?
leave/a message on a friend’s cell phone – Have you ever left a message on a friend’s cell
phone?
a) access/wireless Internet on a tablet
b) play/online games
c) buy/anything online
d) make/new friends online
e) download/content in your cell phone
f) use/cell phone in class
g) tweet/a famous person
h) upload/YouTube content
i) need/call your parents in an emergency
j) send/e-mail with a smartphone
Use never, already, or yet to answer the questions.

Examples:
I have already used a tablet.
I have never used a tablet.
I haven’t used a tablet yet.
4. Look at the following pictures and hints and describe what has happened in the last
decades. The first one is done for you.
gielmichal/Shutterstock.com/ID/BR
pidjoe/iStock/Getty Images
a) (TV sets + larger)
TV sets have become larger.
b) (picture quality + improve)

c) (prices + come down)
d) (The smartphone + kill + the landline phone)
e) (Smartphones + replaced + the need for pocket cameras)
f) (Cell phones + become + our inseparable companions)
Pá gina 62
5. Take a look at this timeline of social media. Then study the two sentences below.
BRFuzetti/ID/B/BR
1. SlideShare has been available for several years.
2. Wikipedia has been available since 2001.
Based on the two examples above, replace the letters with the words for or since to complete
the rules. Use your notebook.
a) When we want to refer to a period of time, we use A , as in example 1.

b) When we want to refer to a point in time, we use B , as in example 2.
We use the Present Perfect followed by for or since to talk about events or states which started
in the past but are still true now.
Mario Friedlander/Pulsar Imagens
Member of ethnic group Paresi in “XII Jogos dos Povos Indígenas,” Cuiabá (MT), 2013.
Pá gina 63
6. You are going to read a text about how long some social media have been available. To find
out the exact information, replace the letters with the words for or since or the correct form
of the verbs in parentheses. Write the answers in your notebook.
a) Also known as “snail mail,” the postal service has been available A (for/since) 550 BC. More
recently, electronic mail B (make) communication quicker and easier. In fact, people C (be
able) to send e-mails for more than fifty years.
b) D (For/Since) Guglielmo Marconi first transmitted signals more than a century ago, radio E
(become) one of the world’s most common sources of news and entertainment.
c) F (For/Since) its invention in 1890, the telephone G (change) significantly over the years. It
H (come) a long way from two cups and a string. Today’s phones are technological wonders,
constantly getting smaller, more sophisticated, and less expensive.
d) I (For/Since) 2003, social networking sites such as Facebook and MySpace allow visitors to
create networks of friends and contacts and upload images, music, videos, and news stories.
Facebook J (grow) into a website with millions of users who share vital information. Facebook
is definitely the leading contender. At the beginning it was MySpace, but this site K (be) in
decline for quite a few years now. Over the past two years, MySpace L (lose), on average, more
than a million U.S. users a month.
e) Twitter M (be) around N (for/since) a while. A “tweet” is a text-based post comprised of up
to 140 characters. Tweets O (evolve) from more simple everyday experiences to shared links
to Web content, hot topic conversations, photos, videos, and songs.
BEYOND THE LINES...
a) Does everybody have access to communication technology in your community?
b) Do cell phone companies offer good service in your region?
c) Many people find it rude when a person takes a call during a private social engagement with
others. In your opinion, what’s the balance between private vs. public when it comes to using
cell phones?
d) How have the Internet and mobile devices contributed to communication and socialization
in your community?
Di Studio/Shutterstock.com/ID/BR
Pá gina 64
LET’S READ!
BEFORE YOU READ…
a) Can you write or read texting abbreviations?
b) Do you find abbreviations helpful? Why or why not?
1. Read the text and answer the following questions. Use your notebook.
HINT
Palavras da língua inglesa que se assemelham a palavras da língua portuguesa em forma e

significado auxiliam na compreensã o da leitura.
‘I wrote 2U B4’! British Library Shows Up Textspeak as

soooo 19th Century
New exhibition features Victorian poems written like text messages, the rise of RP, and battles over the letter H
Mark Brown, Arts correspondent
guardian.co.uk, Wednesday 18 August 2010 19.31 BST
If u really r annoyed by the vocabulary of the text generation, then a new exhibition at the British Library
should calm you down. It turns out they were doing it in the 19th century – only then they called it emblematic
poetry, and it was considered terribly clever.
Details were announced today of the library’s new exhibition devoted to the English language, exploring its
1,500-year history from Anglo-Saxon runes and early dictionaries to not dropping your Hs and rap.
The exhibition will open this winter after three years of planning.
[…]
There will be examples of the linguistic games people played, and a poem from Gleanings From the Harvest-
Fields of Literature, published in 1867. In it, 130 years before the arrival of mobile phone texting, Charles C
Bombaugh uses phrases such as “I wrote 2 U B 4”. Another verse reads: “He says he loves U 2 X S,/U R virtuous
and Y’s,/In X L N C U X L/All others in his i’s.”
[…]
• Evolving English: One Language, Many Voices will be at the British Library from 12 November 2010 until 3 April
2011.
David Levene/The Guardian
A typical text message on a mobile phone. The British Library has unearthed examples of 19th century language
using text msg abbreviation. GR8! Photograph: David Levene for The Guardian
Available at <http://www.guardian.co.uk/science/2010/aug/18/british-library-textspeak-exhibition>. Accessed on April 19, 2016.
The Guardian is a British national daily newspaper with Web presence.

a) What kind of text is it?
b) What does this text tell us about texting?
c) Based on the text, can we say that there is a relationship between SMS speak (texting
abbreviations) and a type of literature of the past?
Pá gina 65
d) Do you think a poem written in this format today would be considered “literature?” Why
(not)?
e) Would you say this text is informal only because Mark Brown uses some abbreviations in
some parts?
f) Why did Mark Brown choose to use the abbreviations?
g) In your opinion, what kind of people went to the exhibition? Why?
2. Read the text below and then do the activities that follow it.
Liashko/Shutterstock.com/ID/BR
Adapted from <www.wikihow.com/Practice-Text-Etiquette>. Accessed on April 12, 2016.
In groups: interview a classmate about texting. Follow these steps.
a) Talk about attitudes that annoy you regarding the use of cell phones. Create some questions
based on your discussion to find out your interviewee’s behavior when talking on the cell
phone or texting. You can use ideas from the steps above.
b) Interview a classmate and find out if she or he practices text etiquette. Share your findings
with the class, and identify as a group which etiquette items could be improved.
USEFUL LANGUAGE
• What annoys me most about texting is…
• I hate people talking loud in public spaces.
• I feel uncomfortable when my friends text while we are talking.
• I hate listening to the sound of incoming messages.
• I hate people texting me late at night.
• How do you feel when…?
• Do you text during meals/classes/family meetings?
• Do you text when you are talking to friends at a party?
• Do you send long messages?
• Do you use lots of acronyms?
Designer things/Shutterstock.com/ID/BR
Pá gina 66
PROFESSION SPOT
SOME JOBS IN THE TELEPHONY FIELD
Read the following definitions of jobs in the telephony field. Then look at the pictures and find
the proper definitions for them. In your notebook, write the correct combination of numbers –
letters.
wavebreakmedia/Shutterstock.com/ID/BR
adamgregor/Shutterstock.com/ID/BR
kupicoo/Vetta/Getty Images
wavebreakmedia/Shutterstock.com/ID/BR
I A telephone installer installs, sets up, rearranges, or removes switching, distribution,

routing, and dialing equipment […].
Adapted from <http://www.mymajors.com/careersand-jobs/Telephone-Installer>. Accessed on April 12, 2016.
II A telephonist or switchboard operator is the first point of contact for callers to an

organization. He and she answers incoming calls, directs callers to the appropriate person or
department, takes telephone numbers, and connects outgoing calls. […]
Adapted from <https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/telephonist-

switchboardoperator.aspx>. Accessed on April 12, 2016.
III A cell phone salesperson performs face-to-face sales and customer service at a retail
store. He or she is responsible for providing each new and returning customer with all
information needed to make an educated purchasing decision. […]
Available at <http://bighow.org/2303481-Cell_Phone_Sales_Tips.html>. Accessed on April 12, 2016.
IV A call center operator answers enquiries from customers by telephone and e-mail. You
could also do this by text, fax, and post. If you are looking for a customer service role and you
are keen to be part of a team, this job could be ideal for you. […]
Adapted from <https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/callcentreoperator.aspx>. Accessed

on April 12, 2016.
VOCABULARY CORNER
1. Do you know any chat acronyms or abbreviations in English?
2. Read the following texting abbreviations. Write in your notebook what they stand for.
Top 18 most popular texting abbreviations
a) asap: as soon as possible
b) b4
c) BF
d) btw
e) cos
f) cya
g) fyi
h) GF
i) gtg
j) jk
k) l8r
l) lol
m) oxox
n) rofl
o) sup
p) thx
q) w/
r) zzzz
Adapted from <http://www.webopedia.com/quick_ref/textmessageabbreviations.asp>. Accessed on April 12, 2016.
Pá gina 67
Let’s write a text message
“Texting really has changed the way we live. It has made us more available in a passive
sort of way. We can send and receive messages at any time, but messages can also
easily be ignored if someone involved chooses.”
Available at <http://justruthings.com/2011/03/23/2010-sees-huge-boost-in-text-messages-sent-and-received/>. Accessed on April

12, 2016.
Your task is to write a message to a friend using your cell phone. Before you start, let’s
review some of the characteristics of this genre.
• The sentences are normally simple.
• The use of abbreviations is very common.
• The text is organized in short paragraphs.
Writing Steps
Organizing
• Find more abbreviations on the Internet.
• Make a list of elements to include in your message.
• Make sure that your message follows texting etiquette and is polite.
• Check the abbreviations.
Peer editing
• Evaluate and discuss your message with a classmate.
• Make the necessary adjustments.
Publishing
• Write the final version of your message and send it to a friend. Include a copy in your
portfolio or publish it on Wikispaces.
Genre: Text message
Purpose: To interact informally

Tone: Informal
Setting: Cell phone
Writer: You
Audience: A friend
Andrea Slatter/Shutterstock.com/ID/BR
Pá gina 68

Billboard is a weekly American magazine devoted to the music industry, and is one of the
oldest trade magazines in the world. [...] It maintains several internationally recognized music
charts that track the most popular songs and albums in various categories on a weekly basis.
The two most notable charts are the Billboard Hot 100, which ranks the top 100 songs
regardless of genre and is based on physical sales, digital sales and radio airplay; and the
Billboard 200, the corresponding chart for album sales.
Adapted from <http://rockyout.wikia.com/wiki/Billboard_(magazine)>. Accessed on May 2, 2016.

1. De acordo com o texto acima, Billboard é:
a) a venda on-line dos melhores á lbuns de cançõ es produzidos pela indú stria americana.
b) um programa de rá dio que toca as 100 cançõ es mais populares da indú stria musical.
c) uma indú stria musical que publica semanalmente partituras musicais em inglês.
d) uma loja que se dedica a divulgar produtos internacionais da indú stria da mú sica.
e) uma revista semanal especializada em informaçõ es sobre a indú stria musical.
Wireless networking could allow you to offer new products or services. For example, many
airport departure lounges, train stations, hotels, cafes and restaurants have installed “hot spot”
wireless networking services to allow mobile users to connect their equipment to their “home”
offices while travelling.
Available at <https://www.nibusinessinfo.co.uk/content/pros-and-cons-wireless-networking>. Accessed on April 12, 2016.
3d_kot/Shutterstock.com/ID/BR
2. Esse excerto sobre redes sem fio fala sobre as vantagens desse tipo de conexã o à internet.
De acordo com o texto, “hot spots” sã o:
a) equipamentos mó veis que servem para mapear meios de transportes, hotéis e restaurantes.
b) instalaçõ es em escritó rios domésticos conectados com pessoas em trâ nsito nos aeroportos.
c) produtos ou serviços oferecidos em redes sem fio para pessoas com permissã o de uso
mó vel.
d) redes sem fio que ainda nã o permitem a oferta de novos produtos e serviços a passageiros.
e) serviços que permitem que portadores de equipamentos mó veis se conectem à internet.
Mobile computing can improve the service you offer your customers. For example, when
meeting with customers you could access your customer relationship management system –
over the Internet – allowing you to update customer details whilst away from the office.
Alternatively, you can enable customers to pay for services or goods without having to go to
the till. For example, by using a wireless payment terminal diners can pay for their meal
without leaving their table.
Adapted from <https://www.nibusinessinfo.co.uk/content/advantages-and-disadvantages-mobile-technology>. Accessed on April

12, 2016.
3. Este texto sobre computaçã o mó vel tem por objetivo:

a) alertar os leitores sobre a necessidade de atualizar seus dados na web.
b) capacitar compradores a usar terminais de pagamento em restaurantes.
c) informar aos comerciantes sobre os benefícios da computaçã o mó vel.
d) oferecer serviços de transaçã o comercial mediada por internet sem fio.
e) orientar os consumidores a fazer pagamentos seguros na Internet mó vel.
Pá gina 69
TIME TO REFLECT
UNIT 4
… talking about things that happened in an undetermined past.
… reading and writing cellphone abbreviations.
… creating voicemail messages.
… identifying and distinguishing the British sound /a/ from the American sound /æ/.
… identifying the final mute sound “-e”.
… creating text messages.
Examples: I am good at talking about things that happened in an undetermined past. I need to get
better at identifying the final mute sound “-e”.

Do more exercises.
Read more.
Ask for help.
Other.
MIXA/Getty Images
Pá gina 70
TIME FOR LITERATURE

PRIDE AND PREJUDICE
1. Answer the following questions in your notebook.
a) Are you a good reader? How many titles do you read in a year?
b) Do you prefer novels, plays, poems, biographies, or “cordel?” Any others?
c) Who are your favorite authors? What do you know about them?
2. Have you ever heard of Jane Austen? Read this excerpt from one of her biographies and
answer the questions in your notebook.
Jane Austen was an English writer that came into the world on December 16th, 1775, born to
Reverend George Austen and Cassandra Austen. Growing up, the Austen children lived in an
environment of open learning, creativity and dialog. Mr. Austen kept a large collection of literature
in his home library, which Jane made extensive use of in both reading and writing endeavors. It
became quite common for the family to invest time and energy into making home-based
productions of existing plays or writing and acting out their own creations. One can only assume
that it was in these exercises that the true talent of Jane Austen was being nurtured – through
observation, improvisation, acting and participation.
With her formal education completed at a boarding school, Jane returns home permanently and
sets out to pen the work First Impressions. Little did she know at the time that this single work
would become her most popular and enduring piece, becoming the story we now know as Pride and
Prejudice. The first draft was completed sometime in 1799. She wrote six novels and they are so
undated that lots of movies are continually being made from them.
Adapted from <http://www.janeausten.org/jane-austen-biography.asp>. Accessed on April 12, 2016.
Private Collection. Photo: Ozias Humphry/Bridgeman Images/Easypix
Portrait of Jane Austen, the Rice Portrait, by Ozias Humphry,c. 1792-93. Oil on canvas, 142,2 cm × 92,7 cm (55.9 in ×
36.4 in). Private collection.
a) How old was Jane Austen when Pride and Prejudice was finished?
b) How can her literary success at such an early age be explained?
c) Which name was first given to the novel Pride and Prejudice?
d) Do you know other young writers?
Pá gina 71
3. Which statements below are true? Use your notebook.
a) Jane Austen wrote six novels.
b) She went to boarding school to study Law.
c) There was a large library in Jane Austen’s home.
d) Jane’s family was interested in creating and performing plays.
Private Collection. Photo: Christie’s Images/Bridgeman Images/Easypix
Portrait of a Woman, by John Singleton Copley, 1755. Oil on canvas, 88,8 cm × 71,1 cm (34.9 in × 27.9 in). Private
collection.
Archive Photo/Stock Montage/Getty Images
Jane Austen’s illustration, by Ken Welsh, from Little Journeys to the Homes of Famous Women, published in 1897.
Engraving (later coloration). Private collection.
4. In Jane Austen’s time there was no photography. People were portrayed by painters. Look at
the 18th century portrait painted in 1755 by John Singleton Copley, a painter of Irish origin.
Compare it to Austen’s picture painted in 1792-93. Notice that there is a pattern in the
portraying of women at the time.
Look at two portraits. Which statements are true? Answer in your notebook.
a) Both girls portrayed are facing the same direction.
b) The position of the hands is the same.
c) Both girls have caps on their heads.
d) The style of the dresses is the same.
e) The expressions on both faces are similar.
5. The following extract is the first chapter of the novel Pride and Prejudice, by Jane Austen.
Read it and then do the activities that follow.
Chapter 1
It is a truth universally acknowledged that a single man in possession of a good fortune must be in
want of a wife.
However little known the feelings or views of such a man may be on his first entering a
neighbourhood, this truth is so well fixed in the minds of the surrounding families, that he is
considered as the rightful property of someone or other of their daughters.
“My dear Mr. Bennet,” said his lady to him one day, “have you heard thatNetherfield Park is let at
last?”
Mr. Bennet replied that he had not.
“But it is,” returned she; “for Mrs. Long has just been here, and she told me all about it.”
Mr. Bennet made no answer.
“Do not you want to know who has taken it?” cried his wife impatiently.
“You want to tell me, and I have no objection to hearing it.”
This was invitation enough.
“Why, my dear, you must know, Mrs. Long says that Netherfield is taken by a young
Pá gina 72
TIME FOR LITERATURE
man of large fortune from the north of England; that he came down on Monday in a chaise and four
to see the place, and was so much delighted with it that he agreed with Mr. Morris immediately;
that he is to take possession before Michaelmas, and some of his servants are to be in the house by
the end of next week.”
“What is his name?”
“Bingley.”
“Is he married or single?”
“Oh! Single, my dear, to be sure! A single man of large fortune; four or five thousand a year. What a
fine thing for our girls!”
“How so? How can it affect them?”
“My dear Mr. Bennet,” replied his wife, “how can you be so tiresome! You must know that I am
thinking of his marrying one of them.”
“Is that his design in settling here?”
“Design! Nonsense, how can you talk so! But it is very likely that he may fall in love with one of
them, and therefore you must visit him as soon as he comes.”
“I see no occasion for that. You and the girls may go, or you may send them by themselves, which
perhaps will be still better; for, as you are as handsome as any of them, Mr. Bingley might like you
the best of the party.”
“My dear, you flatter me. I certainly have had my share of beauty, but I do not pretend to be any
thing extraordinary now. When a woman has five grown up daughters, she ought to give over
thinking of her own beauty.”
“In such cases, a woman has not often much beauty to think of.”
“But, my dear, you must indeed go and see Mr. Bingley when he comes into the neighbourhood.”
“It is more than I engage for, I assure you.”
“But consider your daughters. Only think what an establishment it would be for one of them. Sir
William and Lady Lucas are determined to go, merely on that account, for in general, you know they
visit no new comers. Indeed you must go, for it will be impossible for us to visit him, if you do not.”
“You are over-scrupulous, surely. I dare say Mr. Bingley will be very glad to see you; and I will send
a few lines by you to assure him of my hearty consent to his marrying which ever he chooses of the
girls; though I must throw in a good word for my little Lizzy.”
“I desire you will do no such thing. Lizzy is not a bit better than the others; and I am sure she is not
half so handsome as Jane, nor half so good humoured as Lydia. But you are always giving her the
preference.
“They have none of them much to recommend them,” replied he; “they are all silly and ignorant like
other girls; but Lizzy has something more of quickness than her sisters.”
“Mr. Bennet, how can you abuse your own children in such way? You take delight in vexing me. You
have no compassion on my poor nerves.”
“You mistake me, my dear. I have a high respect for your nerves. They are my old friends. I have
heard you mention them with consideration these twenty years at least.”
“Ah! You do not know what I suffer.”
“But I hope you will get over it, and live to see many young men of four thousand a year come into
the neighbourhood.”
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“It will be no use to us if twenty such should come, since you will not visit them.”
“Depend upon it, my dear, that when there are twenty I will visit them all.”
Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the
experience of three and twenty years had been insufficient to make his wife understand his
character. Her mind was less difficult to develop. She was a woman of mean understanding, little
information, and uncertain temper. When she was discontented, she fancied herself nervous. The
business of her life was to get her daughters married; its solace was visiting and news.
“Is he married or single?”
“Oh! Single, my dear, to be sure! A single man of large fortune; four or five thousand a year. What a
fine thing for our girls!”
Available at <http://www.austen.com/pride/vol1ch01.htm>. Accessed on April 12, 2016.
GLOSSARY
chaise and four: coche puxado por quatro cavalos (símbolo de abastança)
draft: esboço, rascunho
Michaelmas: Festa de Sã o Miguel (29 de setembro)
solace: consolo
tiresome: aborrecido, cansativo
6. Answer these questions based on the text.
a) How many characters are named in this first chapter?
b) List in your notebook the named characters in two columns: Male and Female.
c) What name can we give to Mr. Bennet’s wife?

d) Why is the information that a large house in the neighborhood is soon to be occupied so
important to Mr. Bennet’s wife?
e) How did Mrs. Bennet learn about the new neighbor?
f) How many children do the Bennets have?
g) Which of them are mentioned in the first chapter?
h) Do the mother and father show any preference for any of the girls? If so, for which one?
i) What was the means of transportation used at the time of the story?
j) Would you be able to point out, from this first chapter, who is going to be the main character
in this story?
7. Write in your notebook what the predominant form in this first chapter is.
a) descriptions
b) dialogues
8. Choose three examples from the text that confirm your answer in activity 7.
9. Which of the options below expresses this sentence’s idea in a different way? Answer in
your notebook.
“It will be no use to us if twenty such should come, since you will not visit them.”
a) It doesn’t matter if twenty young men come to the neighborhood, because you have no
intention of visiting them.
b) It will be good if twenty young men come to live nearby because then you will visit each one
of them.
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TIME FOR LITERATURE

10. In your notebook, write the correct combination of letters–numbers to describe the
characters presented in this first chapter of the novel.
A Mr. Bennet
B Mrs. Bennet (×2)
C Lizzy
D Jane
E Mr. Bingley
I is foolish and always nervous when unhappy.
II is a very rich young man.
III is always teasing his wife.
IV is Mr. Bennet’s favorite daughter.
V says Lydia is very good humored.
VI has four children.
VII is a very beautiful girl.
11. Copy in your notebook the adjectives that best describe Mr. Bennet.
a) reserved
b) capricious
c) difficult
d) nervous
e) sarcastic
12. The text below is an incomplete summary of the first chapter you have just read. Which
pieces of information are missing? Use your own words and answer in your notebook.
Mrs. Bennet is very excited with the news that A . She thinks it is an opportunity for marrying one
of her daughters, if he happens to fall in love with any of them.
Mr. Bennet does not seem to be very interested in B , either because it’s not important for him to
marry the girls or to play with his wife’s nerves.
He suggests C , which is something unthinkable in that society. Then he suggests sending a letter
offering any of the girls; at this point Mrs. Bennet realizes he is making fun of her.
They discuss the merits of some of their daughters, showing D .
The chapter ends E .
13. The text Pride and Prejudice was written at the end of the 18th century. Notice that the
main concern of the mother is marrying her daughters to wealthy young men. What are
marriages based on nowadays? Do parents still interfere in their daughters’ choices today?
14. What advice would you give Mrs. Bennet if she were living today?
15. We realize that, at such a time, the option for most young girls in England was getting
married. What are the options nowadays for women in your country?
16. Do you know of any country where marriages can still be arranged by parents?
17. In your notebook, write the correct combination of letters–numbers to complete the
sentences according to the first chapter of Pride and Prejudice.
A Mrs. Bennet is excited because
B Mr. Bennet is reluctant to
C Mrs. Bennet’s nerves are Mr. Bennet’s
D Mrs. Bennet hopes Mr. Bingley
E Four or five thousand a year was considered
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I … visit the new neighbor.
II … old friends.
III … there is a new, rich, single man in town.
IV … a large fortune.
V … will fall in love with one of their girls.
18. Words are sometimes spelled differently in British and American English. Take a look at
the examples and answer the questions.
Br English Am English
neighbourhood neighborhood
good humoured good humored
sarcastic humour sarcastic humor
a) What’s the difference?
b) Which variety is used in chapter 1 of Pride and Prejudice?
19. Take a look at the following excerpts and answer the following questions.
“Do not you want to know who has taken it?” cried his wife impatiently.
“You want to tell me, and I have no objection to hearing it.” […]
“Design! Nonsense, how can you talk so! But it is very likely that he may fall in love with one of
them, and therefore you must visit him as soon as he comes.”
a) Why do you think the words “you” and “may” are in italics?
b) How would they be pronounced?
20. Notice how Mr. and Mrs. Bennet use each other’s names. How would a married couple call
each other nowadays in England?
21. Is the language used by the characters in the reading passage formal or informal? Which
characteristics below support your choice? It is A (formal/informal) because
a) there is no use of contractions.
b) there is use of complex noun phrases.
c) there is use of Latin-based words.
d) there is no use of abbreviated words.
e) there is use of more complex sentences.
f) the tone is very polite.
g) there is use of uncommon words.
h) there is no use of colloquial words or expressions.
i) husband and wife treat each other as Mr. and Mrs.
j) of the choice of a more refined vocabulary.
Pá gina 76
Illustration: Catarina Bessell/ID/BR Photographs: JGI/Jamie Grill/Getty Images; Milan Stojanovic/Getty Images; Hearts/
Publisher's collection; Lya Cattel/iStock/Getty Images; Harold M. Lambert/Lambert/Getty Images
Pá gina 77
PART 3 Print Media

LEARNING PLAN
Talking about news stories
Understanding print and online newspapers
Talking about completed actions in the past and describing actions in progress in the past
Writing headlines and making newspaper clippings
Reading magazine covers critically
Distinguishing facts from opinions and giving opinions
Writing letters to the editor
Let’s learn how to create cool

photo effects
Would you like to create cool effects for your images?
There are free tools to transform your pictures into interesting images. One of them is
PhotoFunia <http://linkte.me/j0w7c> (accessed on May 14, 2016).
Another tool is PhotoCollage <http://linkte.me/a34r1> (accessed on May 14, 2016).
The photo montage below was generated with the help of a free tool.
Available at <http://www.photofunia.com/view/le6bILXP5DT4L2rXtk0JoA/>. Accessed on January 8, 2016.
Pá gina 78
UNIT 5 EXTRA!
EXTRA!
LANGUAGE IN ACTION
• Learn how to talk about news stories

• Understand print and online newspapers
• Talk about completed actions in the past and describe actions in progress in the past
• Learn how to write headlines and news reports
• Learn how to make newspaper clippings
The Future May Be Online, but Many Will Slip

Through the Net
Peter Preston
As circulations plummet, digital seems the only future for newspapers. But supposed ‘trends’ create a very
confused picture.
David Sillitoe/The Guardian
Don’t stop the presses: on your commuter train or bus, people aren’t sitting with an iPad, they’re turning the pages of
freesheets.
There’s an awful doubt beginning to infect the media scene as autumn comes. It takes the most
commonplace assumption of newspaper life and hangs a great question mark on it. We’re
constantly told that newspapers as we know them are in a period of transition, moving to become
purely digital papers on the web, on tablets, on mobiles, on gadgets as yet uninvented. There is light
at the end of a long tunnel of uncertainty, a vital transition. Yet suppose, just suppose, that there’s
not.
Readers who read the online runes will recognise some of the doubts involved here:
advertisements priced much cheaper than print, because cyberspace is infinite and therefore
infinitely available; paywalls that raise useful sums that aren’t quite useful enough; tablet efforts
such as Rupert Murdoch’s the Daily, that begin in a blaze of publicity then disappear behind a veil of
silence; phone applications that seem hugely promising until you try charging a regular rate for
them.
None of this means there isn’t good money to be made on the net. Some specialist sheets and
smooth operators are doing that already. But your average, all-purpose paper on a standard path to
survival? Forget it.
[…]
Available at <www.theguardian.com/media/2011/aug/28/future-may-be-online-but-many-will-slip-through-the-net>. Accessed on

April 12, 2016.
1001Love/iStock/Getty Images
Pá gina 79
LEAD-IN
1. Notice how the news story on the opposite page is organized. Complete this text with the
parts of a news story. Use your notebook.
Most news stories have a clear organization and contain a headline, a strapline, a lead, a
body (content) and an image with a caption. The A sums up the main newspaper story to
attract the reader. The B adds a little more detail to the C . The opening paragraph of the news
story is known as the D . The E , the strapline, and the F tell you the main ideas of the news
article. The G of the story is where you find detailed information to help you better understand
the story. An image is another element often used in news stories. It is usually followed by a H
which integrates the image to the news story.
In what ways does the headline differ from the other parts of the article?
2. In your notebook, write the correct combination of numbers–letters to relate the sections
of a newspaper to their definitions.
I Local and Foreign News Section
II Obituary Page
III Sports Page
IV Business and Finance Section

V General News
VI Art and Entertainment Section
VII Travel and Tourism Section
VIII Editorial Page
IX Classified Ads Section
A comes on the front page and contains the most important news.
B contains domestic and international news.
C contains news about sports events in and out of the country.
D gives views or opinions of the editor or publisher on certain issues or events.
E contains advertisements of various types.
F provides information on banking and business in general.
G provides a guide to enjoyable travel.
H provides information about people who died and the time and place of their burial.
I contains information about movies, radio, television, etc.
3. Which section of a newspaper do you enjoy reading the most?
4. Discuss with a partner in which section of a newspaper these headlines can be found.
a)
Available at <http://www.theguardian.com/world/2016/feb/21/amazon-lost-tribesemerge-rainforest-brazil-peru>. Accessed on May 14, 2016.
The Guardian, February 21, 2016.
b)
Available at <http://www.usatoday.com/story/theoval/2012/12/09/obamapsy-gangnam-style-christmasin-washington/1756667/>. Accessed on April 13, 2016.
USA Today, December 9, 2012.
c)
Available at <http://www.newvision.co.ug/new_vision/news/1331480/afro-brazilianssearch-dna-pre-slavery-origins>.Accessed on May 14, 2016.
New Vision, July 30, 2015.
d)
Available at <http://www.hindustantimes.com/indianews/ht-headlines-recall-the-horror-of-asian-tsunami/article1-1295833.aspx>. Accessed on April 13, 2016.
Hindustan Times, December 22, 2014.
e)
Available at <http://www.independent.co.uk/news/business/news/the-end-of-free-bankingwill-come-in-the-next-five-years-10502295.html>. Accessed on April 13, 2016.
The Independent, September 15, 2015.
Pá gina 80
LET’S READ!
BEFORE YOU READ…
a) What does the image tell us about this article?
b) What kinds of devices are being shown?
HINT
Preste atençã o nas informações não verbais antes de ler o texto.
1. Read the headline and the strapline. Who is the article addressed to?
Too Much Temptation

January 23, 2012
It Was Hard For These Teens To Give Up Facebook, Youtube
YouTube, texting, TV. It’s sometimes so overwhelming that it can be hard to focus on homework. So we
challenged teens to do their homework without distractions for three days. They were allowed to take breaks
to do things like check their Facebook, go on YouTube, talk to their friends or watch TV, but they couldn’t do
those things while doing their homework.
Elizabeth Vidar/Photographer's Archive
Adapted from <http://www.layouth.com/too-much-temptation/>. Accessed on April 16, 2016.
Photo by Elizabeth Vidar, 17, North Hollywood HS Zoo Magnet.
L.A. Youth is an online newspaper “by and about teens,” according to its editor. It publishes first-hand accounts of
teens’ experiences with college stress and personal troubles like racial identity, broken families, teen pregnancy, and
drug addiction, among other issues.
By Jazmine Mendoza 16, Valley Regional HS #5 (San Fernando)
Distractions are all around us – Facebook, […]
I was confident the first day. I left my computer and phone on because I wanted to challenge myself by
keeping temptations nearby. I felt more focused because I wasn’t thinking about checking my Facebook every
five minutes. I spent only three hours doing homework instead of the six to seven hours I usually take. I even
had time to read for pleasure before going to bed. The following day at school I felt better prepared because
without distractions, I had fully understood the homework.
During the second night I found myself dozing off and getting bored since I was used to going online or calling
a friend when my homework got hard. I didn’t want to cave in though, so I dedicated myself to doing portions
of my homework for about an hour and then taking five-minute breaks. I didn’t use the breaks to go online
though, because I knew that I’d stay on longer than five minutes. Instead I cleaned my room, got a snack or saw
what my family was doing. Then I continued my homework more refreshed.
I repeated the same routine the third day, and will try to keep that routine from now on. Spending less time on
Facebook made it less important. I knew I wasn’t missing out on much because I could go on later and nothing
had changed. It feels good being on the computer less.
Available at <http://www.layouth.com/too-much-temptation/>. Accessed on April 16, 2016.

Pá gina 81
By Jessica Marin
17, Culver City HS
The first day, I forgot that I had to be distraction free until I realized it took me 30 minutes to come back to a
government question because I was texting my friends and checking my email. When I stopped replying to
texts, I finished my homework in less than 20 minutes. I was able to work on college applications the rest of
the night and go to sleep before 11.
I usually stay up until midnight and spend about four hours doing homework.
The next two days were not as successful. I tried not to get distracted by my phone but I couldn’t help it. I could
have moved it away from my desk, but what if I missed an important call or text? Like what if my friend broke
up with her boyfriend? I’m so attached to my phone that if I don’t have it near me I feel like a part of me is
missing, which is not normal – it is just an object. Text messages would come in, I would ignore them but then
another message would come in and another one after that one. I gave in and texted and called my best friend.
We didn’t even talk about anything important, just the usual rundown of how our day went and complaints
about our homework.
My mom said she knew I would fail this challenge because according to her I’m “addicted” to my phone. In my
defense, the challenge worked for one day but then I went back to how things usually are, staying up until
midnight. But I’m OK with that because I feel like I need mini-distractions during homework or else I’d go
crazy.
2. What challenge was proposed to the students? Answer in your notebook.

a) To do homework or study without listening to music.
b) To do homework without electronic distractions for three days.
c) To avoid friends for three days.
3. Take notes about Jessica and Jazmine’s activities. What did they do on the first, second and
third day?
4. Is there any newspaper like this in your city/state/country? What kinds of issues could be
reported by you and your colleagues if there were one?
5. Would you accept the challenge of doing homework without distractions? In pairs, discuss
your studying habits.
6. Do you prefer reading the news in print or online? What websites do you read?
7. Discuss with a partner the advantages and disadvantages of print and online newspapers.
USEFUL LANGUAGE
• Expressing opinion
In my opinion…
To me…
I think…
I believe…
• Useful words/expressions
allow/store/borrow/sell
multimedia options/availability/sustainability
BEYOND THE LINES...
a) Who chooses what is published in newspapers? What do you think they base their choices
on?
b) How do you check the reliability of your source of news?
c) Do you think the news in and about your local community represents people from different
social and economic backgrounds equally?
Pá gina 82
Verb tense review
1. We use the Simple Past to talk about completed actions in the past, and we use the Past
Continuous to describe an action in the past that was in progress. Based on this, read the
excerpts and do the following activity.
Jazmine Mendoza, 16
“I was confident the first day. I left my computer and phone on because I wanted to challenge
myself by keeping temptations nearby. I felt more focused because I wasn’t thinking about
checking my Facebook every five minutes.”
Available at <http://www.layouth.com/too-muchtemptation/>. Accessed on April 16, 2016.
Jessica Marin, 17
“The first day, I forgot that I had to be distraction free until I realized it took me 30 minutes to
come back to a government question because I was texting my friends and checking my email.”
Available at <http://www.layouth.com/too-muchtemptation/>. Accessed on April 16, 2016.
a) Which of these statements describe complete, finished actions in the past? And which ones
describe an action in the past that was in progress?
“I wanted to challenge myself by keeping temptations nearby.”
“I felt more focused […].”
“[…] because I wasn’t thinking about checking my Facebook every five minutes.”
“I forgot that I had to be distraction free […]”
“[…] because I was texting my friends and checking my email.”
b) Brian Yu also accepted the challenge of doing his homework without distractions. Let’s
review verb tenses. Replace the letters with the appropriate verb tenses. Use your notebook.
Pá gina 83
I knew the challenge would for the most part be cake. Last year I would go on Facebook or
Tumblr while A (do) my homework. I would also go on YouTube for a lecture and get
distracted by the sidebar, wasting an hour or two on random links. So I B (install) an app on
my browser called Stayfocus. I C (give) myself 50 minutes a day for browsing and once those
minutes D (be) up, the sites were blocked. My only distraction now E (be) instant messaging
my friends about girls, classes and schoolwork.
For the challenge I F (choose) the Stayfocus option that G (let/neg.) me browse at all, and H
(log/neg.) in to AIM (AOL Instant Messenger) until I was done with my homework. I I (come)
home from band practice at 7 p.m. and napped for two hours before starting my homework. I
got bored while working on my essay about Fidel Castro and I J (have) the urge to use AIM or
check out videos on YouTube. However, I K (do) the challenge so I L (make) myself a sandwich
and M (go) back to work. After I N (finish) my stuff, it was around 2 a.m. Not bad for a school
night; I usually O (finish) around 3.
On Day 2, I P (go) home after band practice and woke up around 8. I Q (put) on my
headphones and started my AP Spanish homework. It wasn’t hard staying off the Internet.[...]
On Day 3, I R (study) for my history test and S (do) my homework for my other classes.
Occasionally I would wonder what my friends were up to and how they were doing. [...]
[...] I T (like) to have AIM open on my browser window to have a friend to talk to while I U
(work). You can only focus so much before you get distracted. Taking breaks V (help) keep me
refreshed.
2. Choose five situations and share what you were doing when/before they happened.
When
Before
my parents arrived last night,
my favorite team won a game,
I went to bed yesterday, a relative came to my house unannounced,
the telephone rang the last time,
I met my best friend,
I did my homework,
I was…
When I met my best friend, I was playing soccer with my neighbors.
3. Now check with a classmate to see if you have any similar actions that happened while
others were in progress.
Pá gina 84
a) What are the most popular newspapers in your town or state?
b) Besides newspapers, what other media do you resort to when you want to know the news?
• video-sharing websites
• radio
• TV
• tabloids
• online newspapers
• magazines
• podcasts
HINT
Tomar notas enquanto ouve pode ajudar a manter o foco na compreensã o do texto oral.
1. Listen to some newscasts. Focus on the general ideas and take notes of words and
ÁUDIO 9
expressions which helped you understand the texts.
Newscast 1
Available at <http://www.guardian.co.uk/film/audio/2012/jan/12/film-weekly-podcast-ralph-fiennescoriolanus>. Accessed on

April 16, 2016.
Newscast 2
Available at <http://www.youtube.com/watch?v=AXBdIBgl7to>. Accessed on April 16, 2016.
Newscast 3
Available at <http://www.youtube.com/watch?v=DJb-_VvfIlE>. Accessed on April 16, 2016.
ÁUDIO 9 2. Listen to the newscasts again. In which section of a newspaper would these pieces of
news be found? Answer in your notebook.
a) General news
b) Entertainment section
c) Sports page
ÁUDIO 10 3. The following words from newscast 1 can be pronounced in different ways. Listen
to the American and British pronunciations of these words. Which sound marks the variation?
guardian/war/horse/power
ÁUDIO 11 4. Listen to more information about the Haitian team. Which of these statements are
true? Answer in your notebook.
a) The Haiti soccer team is made up of people who have lost either a leg or an arm.
b) The players lost their legs and arms in accidents.
c) The newscast talks about a team that has participated in the Paralympic Games.
d) The coach is proud of the team’s accomplishment.
e) The players interviewed talked about how soccer has changed their lives.
f) The players have to pay for the mechanical legs.
5. In groups, make a list of news stories about disasters that have affected different
communities, including yours. With help from the geography and history teachers, research
how communities worked together to overcome local difficulties and report it next class.
Pá gina 85
VOCABULARY CORNER
1. In pairs, each partner chooses five words from the list below. Then, write in your notebook
the noun, verb, and adjective forms.
finance
informative
classified
tour
donation
collect
communication
empowered
performing
If necessary, use a dictionary. Share your information so that both of you have a complete
chart. See an example.
entertainment →
Noun Verb Adjective

entertainment entertain entertaining
2. In your notebook, highlight the suffixes you used to form the words.
PRONUNCIATION SPOT – initial s- sound
In English there are many words that begin with the letter s followed by one or more
consonants.
ÁUDIO 12 a) Listen to some examples.
sport/strong/score/strange
When you say these words, you need to make sure you begin by producing the sound /s/.
Don’t produce a vowel sound before the /s/ (e.g. [isp] for [sp]).
ÁUDIO 13 b) Listen and repeat the words below.
school/student/spring/stop/stay/small/spot/skate/speak/special
ÁUDIO 14 c) Notice the linking sounds in the underlined phrases.
Most news stories have a clear organization.
The strapline adds a little more detail.
A study says earth is getting warmer.
d) Repeat them, making sure you do not add a vowel before the sound /s/.
Pá gina 86
1. Study the headlines and straplines below. In your notebook, complete the statements with
the words headlines and straplines and learn more about their characteristics.
• A are usually formed by full sentences.
• B are usually formed by reduced sentences or phrases.
• C usually use the present to suggest they convey recent news.
2. Read the following headlines. Are they formed by reduced sentences or by phrases? Write
the correct combination of numbers–letters in your notebook.
I Reduced sentences
II Phrases
A We Are Not Broke – Geingob
Available at <http://www.namibian.com.na/index.php?page=read&id=36963>. Accessed on February 11, 2016.

B Zika’s Explosive Spread
Available at <http://www.todayonline.com/world/zikas-explosive-spread>. Accessed on February 11, 2016.
C Regional Communication Important in the Fight against Zika
Available at <http://www.samoanews.com/content/en/regional-communication-important-fight-against-zika>. Accessed on

February 11, 2016.
D Academy Environmental Team in Action
Available at <http://www.ballymenatimes.com/news/ballymena-news/academy-environmental-team-in-action-1-7207105>.
Accessed on February 11, 2016.
E Samoa Election Gets Ugly, Reward Offered
Available at <http://www.sobserver.ws/en/09_02_2016/local/2201/Election-gets-ugly.htm>. Accessed on April 20, 2016.
F Tanzania’s Richest 10% Own the Economy – PM
Available at <http://tanzania.nuscorner.com/news/tanzanias-richest-10-own-the-economy-pm>. Accessed on April 20, 2016.
3. Notice that both the reduced sentences and the phrases are formed by “groups of meaning”
(verbal and nominal). It is easy to understand them if you make a pause between these groups.
A Massive Study/Says/(That) Earth/(Is) Getting/Warmer
Funeral/for a Tuskegee Airman
Andrey_Popov/Shutterstock.com/ID/BR
Pá gina 87
HINT
Faça uma pausa nas palavras certas e observe como essas pausas o ajudam a entender o texto.
4. Copy the ambiguous headlines below in your notebook and use slashes (/) to identify the
groups of meaning.
AldanNa/iStock/Getty Images
Picsfive/Shutterstock. com/ID/BR
Picsfive/Shutterstock. com/ID/BR
Available at <http://www.fun-with-words.com/ambiguous_headlines.html>. Accessed on April 13, 2016.
5. Read the funny headlines out loud. Which ones were more difficult to understand?
Pá gina 88

Let's know different types of headlines
1. Read the text and do the activities below.
How to Write Headlines and Subheads

by Mark Nichol
The first thing most readers notice in print or online is a headline. Think of it as a virtual handshake. If your
headline is the text equivalent of a cold, dead fish, you’ll make a poor first impression. Or think of it as
analogous to a cover letter or a request for a date. You only get one chance to introduce yourself – make it
good.
Various types of headlines exist, and some are more suitable than others for various types of content. Here are
eight categories appropriate for selling something, whether it’s a product or an idea, along with a sample
headline of that type:
1. Direct: “Lawn Mowers on Sale”
2. News: “Remote-Control Lawn Mower to Debut in April”
3. How-To: “How to Select the Best Lawn Mower for Your Yard”
4. Question: “Is Your Lawn Mower the Right One for the Job?”
5. Command: “Go to Lawn Mowers R Us for the Best Deals”
6. List: “7 Things to Look for in a New Lawn Mower”
7. Testimonial: “I Got a Great Deal on a New Lawn Mower”
8. Teaser: “The Most Important Purchase You’ll Make This Year” […]
Notice that none of the sample headlines above is more than ten words long. Many effective headlines are half
that long, or even shorter. […]
Adapted from <http://www.dailywritingtips.com/how-to-write-headlines-and-subheads>. Accessed on April 16, 2016.
Write in your notebook a different type of headline for each lead below.
a)
macida/iStock/Getty Images
Available at <http://www.irishtimes.com/news/politics/disqualified-motorists-caught-driving-to-be-arrested-on-thespot-
1.2255619>. Accessed on May 19, 2016.
b)
STILLFX/iStock/Getty Images
Available at <http://www.mumbaimirror.com/news/world/Hungary-calls-for-migrant-aid-as-EU-nations-squabble/articleshow/
48940109.cms>. Accessed on April 16, 2016.
c)
macida/iStock/Getty Images
Available at <http://www.scmp.com/news/china/economy/article/1858227/chinese-city-best-economy-its-not-shanghaisays-
milken-institute>. Accessed on April 16, 2016.
d)
hanibaram/iStock/Getty Images
Available at <http://www.voazimbabwe.com/content/kirsty-coventry-wins-gold-in-all-africagames/2952832.html>. Accessed on

April 16, 2016.
Pá gina 89
Let's make a news report

Inform your readers about something which happened in your community and which
has not been reported in the daily newspapers.
Make a newspaper clipping with your own news report.
Go to Fodey.com <http://linkte.me/jji59> (accessed on April 13, 2016) and create a

newspaper clipping similar to the example below. Fill in the form to do it online, or
make a similar one on paper.
First: Choose a name for your “newspaper.”

Available at <http://www.fodey.com/generators/newspaper/snippet.asp>. Accessed on January 28, 2016.
Available at <http://www.fodey.com/generators/newspaper/snippet.asp>. Accessed on January 28, 2016.
Second: Write the date, including day of the week, month, and year.
Third: Write the headline.
Fourth: Paste or type your news report with four to six short paragraphs.
Fifth: Press the button “generate” and you will get an image similar to the one above.
Sixth: Download your newspaper clipping as a JPG image by clicking on the

“Download Your Image” link.
Seventh: Publish the image on the Web. You can also include a copy in your portfolio.
Read more about this Web tool at <http://linkte.me/wy59v> (accessed on April 16,
2016).
Genre: News report
Purpose: To inform
Tone: Formal
Setting: Wikispaces
Writer: You
Audience: Wiki readers

Pá gina 90
LEARNING TIPS
How to learn with online newspapers and
magazines
Newseum is a museum of news in Washington, D.C. It offers an online service which
displays more than 800 newspaper front pages each day. The service is available at
<http://linkte.me/o419c> (accessed on May 2, 2016).
You can view today’s page or archived pages with events of historical significance.
Choose a page and click on it to read the news. You can find two links: Readable PDF
and Website. You can open the PDF file and read or save the front page, or you can go
to the website of the newspaper and read more news.
Archive/News Museum
Available at <http://www.newseum.org/todaysfrontpages/>. Accessed on March 27, 2012.
Suggestions to improve your English with newspapers

1. Start with headlines and make a glossary for the new words. You can use an online
dictionary (example: <http://linkte.me/wv4rp>) to learn more about the words.
2. Then read the leads and try to find answers to questions beginning with when, why,
who, whom, what, where, how.
3. Build a grammar pattern bank with examples from the news.
4. Answer a daily news quiz at The New York Times and do the exercises in its special
learning section, available at <http://linkte.me/zlcq6>.
(All sites accessed on April 16, 2016.)
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TIME TO REFLECT
UNIT 5
… understanding words related to newspapers.
… talking about actions completed in the past.
… describing actions in progress in the past.
… expressing opinions. … reading images.
… practicing pronunciation when linking words together.
… practicing the pronunciation of the initial “s-” sound.

… creating a clipping.
… working with Fodey.com to create a newspaper clipping.
Examples: I am good at talking about actions completed in the past. I need to get better at creating
a clipping.

Do more exercises.
Read more.
Ask for help.
Other.

pathdoc/Shutterstock.com/ID/BR
Pá gina 92
UNIT 6 STRIKE A
POSE
LANGUAGE IN ACTION
• Learn how to read magazine covers critically

• Learn how to distinguish facts from opinions and give opinions
• Write letters to the editor
Diversity of Magazine Cover Girls Improves, but not

Enough
Posted by Natali Rivers on Aug 9, 2013
The Huffington Post recently conducted a study to determine the diversity of magazine cover
girls. The study excluded magazines that cater to a specific ethnic population and focused on 16
“mainstream” publications. Tallying from September 2012 to September 2013, HuffPo found that
only 18 percent of the covers featured women of color. Insert shocked face here. Although these
stats were sadly unsurprising, I did find one aspect encouraging. The magazine that was considered
most diverse, with half of their covers featuring women of color, was Teen Vogue.
For me and a lot of friends my age, seeing women who don’t look like us on mainstream magazine
covers is old news. […]
Read more at <http://uptownmagazine.com/2013/08/the-diversity-of-magazine-covergirls-has-improved-but-not-enough/>.

1
Condé Nast/Publisher's collection
Mad Magazine/Publisher's collection Condé Nast/Editor's archive
Newsweek Magazine Europe/Publisher's collection
4
NRevolution/Publisher's collection
Seventeen Magazine/Publisher's collection
d1sk/iStock/Getty Images
Pá gina 93
LEAD-IN
1. Look at the magazine covers on the previous page. Which category do they fit in? There are
11 extra categories. Use your notebook to write down the answers.
a) Agriculture & Gardening
b) Art, Literature & Music
c) Business & Finance
d) Cars & Motorbikes
e) Current Affairs, Culture & Politics
f) Computer Games
g) Design, Architecture & Construction

h) Education
i) Fashion
j) Health & Medical
k) Humor
l) Lifestyle
m) Science, Geography & History
n) Sports & Hobbies
o) Travel
p) Youth Issues
2. Think of other magazines you know. Do they fit in any of the categories of exercise 1? If not,
what other categories do they fit in?
3. Do you read magazines (both in print and online)? What kinds of magazines do you like
reading? Are Afro-Brazilians and Indigenous people well represented? Give examples.
4. Read cover 1 and answer the following questions in your notebook.

a) Does the girl in the cover represent the girls you know?
b) Which elements on this cover convey the idea of happiness and perfection?
c) What can we expect to find in the news “Crash Course”?
5. Read the text with cover 1. Which statements below are true? Answer it in your notebook.
a) The title indicates that there is a good level of ethnic diversity on magazine covers.
b) The words in orange represent the key words of the text.
c) The study investigated the covers of 16 magazines during one year.
d) The results of the research surprised the author of the text.
e) Only one magazine included women of color on its cover.
f) The author of the text does not identify herself with the girls on the cover.
6. Read the following headlines and decide which category of magazine they were probably
taken from. Then write down the answers in your notebook.
a) Airlines Are Swimming in Profits

Thanks to Cheap Fuel, High Fees
Available at <http://time.com/money/4188985/airline-profits-airfare-fees-fuel-costs/>. Accessed on April 13, 2016.
b) France Ends Ban on Blood Donation by Gay Men
Available at <http://europe.newsweek.com/france-ends-ban-blood-donation-by-gay-men-335988>. Accessed on April 13, 2016.
c) The Rise of the "Gaming for Good" Movement
Available at <http://www.newsweek.com/rise-gaming-good-movement-340198>. Accessed on April 13, 2016.
d) Brazil Beyond: Must-Visit Cities Outside of Rio de Janeiro and São Paulo
Available at <http://www.vogue.com/13388335/brazil-unexpected-must-visit-cities/>. Accessed on April 13, 2016.
e) Kia Aims to Develop its Own Self-driving Car by 2030
Available at <http://www.newsweek.com/kia-aims-develop-self-driving-cars-2030-ces-412080>. Accessed on April 13, 2016.
Marine's/Shutterstock.com/ID/BR
Pá gina 94
LET’S READ!
BEFORE YOU READ…
Take a look at the sections of a Current Affairs, Culture & Politics magazine:
Home
Business & Tech
Health & Science
Life & Style
Arts & Entertainment
Contributors
Letters
a) What do you expect to find in the Letters section?
b) Why would someone write a letter to a magazine?
HINT
Levar em consideraçã o as características mais comuns de um gênero pode ajudar na

identificaçã o das informaçõ es mais relevantes em um texto.
1. The following excerpts were taken from the Letters section of two magazines. Read them
and decide if the underlined sentences refer to a fact or an author’s opinion. Answer in your
notebook.
Letter to the editor of the magazine Now (Canada), December, 2014.
What MLK Would Say
You pose the question: "Half the people living in Toronto belong to visible minorities. ( I) Why is our city
council so white?" (II) I guess Martin Luther King Jr. had it completely backwards ( III) when he said, "I look to
a day when people will not be judged by the colour of their skin, but by the content of their character." ( IV)
Bill Kitcher
Toronto
Available at <https://nowtoronto.com/news/letters-to-the-editor/letters-to-the-editor_4/>. Accessed on April 13, 2016.
Letter to the editor of New Hampshire Magazine (USA), August, 2015.
Best Not the Best

My most sincere thanks for the May, 2015, issue. It is totally readable, interesting and enjoyable from cover to
cover. (V) In my opinion The Best issues are not of any interest to most of your readers. ( VI)
Anne Hunt
Mirror Lake
Available at <http://www.nhmagazine.com/August-2015/Your-Letters-from-the-August-2015-Issue/>. Accessed on April 13, 2016.
Letter to the editor of the magazine Scientific American (Canada), March, 2015.
I was shocked to read there was a placebo-based trial of Ebola vaccines in infected areas. ( VII) This seems
beyond unethical. (VIII) No one would be okay with this Russian roulette game if it were their own family and
friends involved in the study. (IX)
Susan Russell
Boardman, Ore.
Available at <http://www.scientificamerican.com/article/readers-respond-to-electriccures/>. Accessed on April 13, 2016.
markiss/Shutterstock.com/ID/BR
Pá gina 95
2. Read the underlined sentences again. Then, answer the following questions.
a) Which number criticizes the writer of a text?
b) Which number presents a protest against a fact?
c) Which number praises the magazine?
d) Which number mentions an example as an argument?
e) Which number appeals to an authority to support the author's opinion?
f) Which number recognizes that readers may have different opinions?
3. Now read the excerpt below and check your answers to the questions proposed in the
section Before you read…
Letter to the Editor
A letter to the editor is a letter sent to a publication about issues of concern from its readers.
Usually, letters are intended for publication. In many publications, letters to the editor may be sent
either through conventional mail or electronic mail. Letters to the editor are most frequently
associated with newspapers and news magazines. […]
The subject matter of letters to the editor varies widely. However, the most common topics include:
• Supporting or opposing a stance taken by the publication in its editorial, or responding to

another writer’s letter to the editor.
[…]
• Remarking on materials (such as a news story) that have appeared in a previous edition.
Such letters may either be critical or praising.
• Correcting a perceived error or misrepresentation. […]
Available at <http://en.wikipedia.org/wiki/Letter_to_the_editor>. Accessed on Abril 13, 2016.
4. Now that you know what a letter to the editor is and what topics it may cover, go back to
the letters on the previous page. What is/are the topic(s) of these letters?
5. Class discussion.
a) Do you like reading other people’s opinions?
b) Have you ever written a letter to a magazine? If so, what was it about?
c) Do you share your opinions about something that you have read in a magazine/newspaper
with other people? How do you prefer to do it (comments, social networks, personally)?
d) If you were to write a letter to the editor, which magazine and category would you choose?
e) How could you check the facts before giving your opinion on a subject?
BEYOND THE LINES...
a) Do you think magazines are reliable sources of information?
b) Why do you think magazines use celebrities on their covers? What do they want to sell?
c) With a colleague, analyze the covers on the first page of this unit. What lifestyles, values, and
physical features are represented or omitted on them?
d) Do the images reinforce any stereotypes – preconceptions about what it means to be

beautiful, interesting, etc.?
Yuriy Boyko/iStock/Getty Images
Pá gina 96
1. Read the following letter to the editor. Does it present facts or opinions? How do you
know? Answer in your notebook.
Teen Magazines Lack Substance

By Alysha S., Dell Rapids, SD
I agree with Natascia L. I sometimes wish I could read about topics other than Paris Hilton or how
to apply eyeliner correctly. I think that if we had a magazine that talked about actual news, it would
sell. Most teenagers need to be more informed about politics and world issues. Teenagers today
need a magazine with substance.
Available at <http://www.teenink.com/hot_topics/letters_to_the_editor/article/17328/Teen-Magazines-Lack-Substance/>.
I In facts,
II In opinions,
A the sentence begins with certain verbs, such as “think,” “imagine,” “agree,” and “believe.”
B it is possible to check whether what is being said is true.
C the author mentions how he/she felt when reading the text or expresses his/her desires.
2. Which statement is fact or opinion? In your notebook, write the correct combination of
numbers−letters to match the right information.
I Fact
II Opinion
A It is something that is true about a subject and can either be tested or proven.
B It is what somebody thinks about that subject.
3. Read the following expressions. In your notebook, write the correct combination of
numbers−letters to identify if they express feelings or opinions.
I Feelings
II Opinions
A From my point of view...
B I agree...
C I am happy...
D I believe...
E I don’t like...
F I guess...
G I think...
H I was amazed...
I I was shocked...
J In my opinion...
K In my view...
L It is disgusting...
M It made me feel...
N It made me sad...
4. Take a look at the following sentences taken from the text “Teen Magazines Lack
Substance” and choose the correct alternatives. Answer in your notebook.
“I agree with Natascia L.”
“I think that if we had a magazine that talked about actual news, it would sell.”
a) “think” and “agree” were used to express opinion.
b) “think” and “agree” referred to an action in progress or temporary situations.
c) verbs of opinion are usually used in the simple form (not in the continuous form).
Pá gina 97
5. Which options complete the rules? Write the answers in your notebook.
Verbs that express A (opinion/action) are called “stative verbs.” Some verbs in this group
include imagine, remember, believe, doubt, know, understand, like, love, dislike, guess, realize.
They B (are/are not) usually used in the continuous form.
6. Replace the letters with the appropriate form of the verbs to complete the sentences.
Answer in your notebook.
a) Mission Viejo
Everyone A (agree) on the fact that education is important. The Cal State system B (plan) to
freeze spring 2013 enrollment, and more cuts will happen if voters reject the proposed
initiative to raise taxes. Obviously, the Cal State system C (try) to push voters to help fund
education, but is this really the best idea?
Adapted from <http://articles.latimes.com/2012/mar/23/opinion/la-le-0323-friday-20120323>. Accessed on April 13, 2016.
b) I am 20 years old and have recently started to be disgusted with what I D (see) on the
covers of the teen magazines at the grocery checkout. Did I really read that crap when I was
15? Yep, I sure did. Now that I’ve grown up a bit, I E (realize) that these teen magazines are
ridiculous. Anyways, I F (think) what your magazine G (do) is great. It’s real, honest and
integral.
— Natalie S.
Adapted from <http://www.fazeteen.com/issue23/letters_to_editor.html>. Accessed on April 13, 2016.
7. Do you agree with Natalie S.’s opinion about teen magazines? Do you read this kind of
magazine? Why (not)?
HINT
Planejar o que se vai falar pode ajudar na organizaçã o do pensamento antes da fala.
USEFUL LANGUAGE
• I believe…
• I think…
• I agree that…
• In my opinion, …
• I don’t like…
8. Read the following excerpts from a magazine. Work in pairs and prepare a 1 or 2-minute
presentation giving your opinion on one of the subjects.
SCHOOL | TECH
Death of the Classroom: The New Wave of Online Education

By Faze Staff
Picture a society where learning can happen at any time, in any place and can be completed without ever going
to class. This could be the new wave of education and the Internet technology now exists to support such a
system. […]
Available at <http://www.fazeteen.com/issue01/death_of_classroom.html>. Accessed on April 13, 2016.
archideaphoto/Shutterstock.com/ID/BR
MOVIES & TV | SPORTS & FITNESS
Is Wrestling a Sport?
By Faze Staff
Blood, broken bones, lies, conspiracy, vulgar language and half naked women. You guessed it, pro-wrestling. In
the “old days” wrestling was merely a way of saying, “I’m stronger than you”. Now, some call it a soap opera for
guys, some call it entertainment and others call it crap. But can we call it a sport? […]
Available at <http://www.fazeteen.com/issue05/is_wrestling_a_sport.html>. Accessed on April 13, 2016.
Hurst Photo/shutterstock.com/ID/B
Pá gina 98
VOCABULARY CORNER
Take a look at the back of a typical digital camera. In your notebook, write the correct
combination of numbers–letters to relate the parts of the camera to their functions.
For Dummies/John Wiley & Sons, Inc.
Available at <http://www.dummies.com/how-to/content/the-parts-of-a-typical-digital-camera.html>. Accessed on April 13, 2016.
A Accepts digital memory cards.
B Adjusts various camera settings.
C To frame and compose your picture.
D Press this button all the way to take a picture.
E Magnifies or reduces the size of the image.
F Turns the camera on or off.
G Press this button to review the pictures you’ve already taken.
H Access for a USB cable.
Fotinia/Shutterstock.com/ID/BR
Pá gina 99
LET’S LISTEN!
a)Go back to the magazine covers on the first pages of the unit. What do they do to stand out
and entice the buyer to pick them up in a newsstand?
b) What kind of product, service or idea are they selling?
c)Look at two covers of Zhin Magazine. Do you think they are similar to the magazines you
know?
HINT
Concentre sua atençã o em possíveis palavras-chave que remetam à s ideias centrais do texto.
Challenging Traditions
A number of female journalists in Iraqi Kurdistan are shaking up a male-dominated domain with a
magazine that aims to highlight the problems and abuse many women still face. They are reporting
on women’s success stories and addressing controversial issues such as female genital mutilation.
Melissa Tabeek visited the editorial team in Sulaymaniyah. […]
Available at <https://en.qantara.de/content/womens-magazine-zhin-in-iraqi-kurdistan-challenging-traditions>. Accessed on May

11, 2016.
Zhin Magazine/ID/BR
ÁUDIO 151. Listen to some statements by Brigitte Sins, Editor-in-chief of Zhin Magazine, and
read the audio transcription. Your task is to write in your notebook the missing parts.
“A but that women have a tool in their hands that makes them grow, that makes them develop.”
“Development is not just about economic development as I talked about before.B especially in
this society. Where women have something to develop themselves in, as in their jobs, but also
in their own well being, their personal well being.”
“C and that voice is so much needed because only women can talk about women and to women
as they are women. Only they feel the pain, the worries, the happiness that other women can
feel.”
Available at <http://www.aparchive.com/metadata/Middle-East-Extra-Iraq-Women-s-Magazine/
4d58f6bae4548ca14e7ad2943fdbf829?query=magazines&current=30&orderBy=Relevance&hits=13776&referrer=search&search=
%2fsearch%2ffilter%3fquery%3dmagazines%26from%3d21%26orderBy%3dRelevance%26ptype%3dIncludedProducts%26_
%3d1462913392435&allFilters=&productType=IncludedProducts&page=21&b=dbf829>. Accessed on May 11, 2016.
2. What is the editor of Zhin Magazine trying to do? Write in your notebook the correct
answer.
a) She is trying to convince the listener that Zhin Magazine is empowering women.
b) She is persuading the listener to buy Zhin Magazine to get good information.
c) She is defending Zhin Magazine from voices against mental development.
BEYOND THE LINES...
a) Do the magazines you know treat men and women equally?

b) Can you think of magazines that empower women? How do they help women develop
themselves in their jobs and their own well being?
c) Do the magazines you know give voice to women?
d) Do Brazilian magazines contribute to women’s mental development?
e) What magazines sold in your region tend to promote stereotypes about women and their
roles in society? Can you name some of these stereotypes and how they are presented in these
magazines?
Pá gina 100
ÁUDIO 16 1. In pairs, read the lyrics of the classic song “Vogue.”
Vogue
(by Madonna)
Strike a pose
Strike a pose
Vogue, vogue, vogue (x2)
Look around everywhere you turn is heartache
It’s everywhere that you go (look around)
You try everything you can to escape
The pain of life that you know (life that you know)
When all else fails and you long to be
Something better than you are today
I know a place where you can get away
It’s called a dance floor, and here’s what it’s for, so
Chorus
Come on, vogue
Let your body move to the music

Hey, hey, hey
Come on, vogue
Let your body go with the flow
You know you can do it
All you need is your own imagination
So use it that’s what it’s for
Go inside, for your finest inspiration
Your dreams will open the door
It makes no difference if you’re black or white
If you’re a boy or a girl
If the music’s pumping it will give you new life
You’re a superstar, yes, that’s what you are, you know it
Chorus
Come on, vogue
Let your body groove to the music
Hey, hey, hey
Come on, vogue
You know you can do it
Beauty’s where you find it
Not just where you bump and grind it
Soul is in the musical
Pá gina 101
That’s where I feel so beautiful
Magical, life’s a ball

So get up on the dance floor
Repeat chorus
Greta Garbo, and Monroe
Dietrich and DiMaggio
Marlon Brando, Jimmy Dean
On the cover of a magazine
Grace Kelly; Harlow, Jean
Picture of a beauty queen
Gene Kelly, Fred Astaire
Ginger Rodgers, dance on air
They had style, they had grace
Rita Hayworth gave good face
Lauren, Katherine, Lana too
Bette Davis, we love you
Ladies with an attitude
Fellows that were in the mood
Don’t just stand there, let’s get to it
Strike a pose, there’s nothing to it
Vogue
Oooh, you’ve got to
Let your body move to the music
Oooh, you’ve got to just
Oooh, you’ve got to Vogue

Available at <http://letras.mus.br/madonna/63190/traducao.html>.Accessed on April 13, 2016.
Imaginechina/AFP
Madonna at a concert in Hong Kong, China, 2016.
a) In your notebook, list the words with /i/ and /I/ sounds.
/i/
/I/
ÁUDIO 16 b) Listen to the song again and check your answers.
DID YOU KNOW…?
“Vogue” is in the soundtrack album I’m Breathless.
ÁUDIO 17 2. Listen to the words in boxes A and B. What will happen if you mispronounce these
words?
A eat reach feel feet peel
B it rich fill fit pill
phyZick/Shutterstock.com/ID/BR
Pá gina 102
PROFESSION SPOT
PHOTOGRAPHERS
1. There are different types of photos in magazines. Most professional photographers have
their areas of specialization. Look at the pictures below. What is each photographer’s
specialization? The first one has been done for you.
The Metropolitan Museum, New York. Photo: Yousuf Karsh
Yousuf Karsh was a portrait photographer.
Richard Avedon/Copyright © 1955 The Richard Avedon Foundation
Richard Avedon is a A.
David Munns/Science Photo Library/Latinstock

David Munns is a B.
Daniel Rouse/Cherry Blossom/<http://www.cherryblossomwedding.com/>
Daniel Rouse is a C.
Charles O'Rear/Photographer's archive
Charles O’Rear is a D.
Can you name other areas of expertise or specialization in photography?
2. Would you like to be a professional photographer? Which area would you choose? Why?
Pá gina 103

Let’s write a letter to the editor
A letter to the editor is an example of a formal letter expressing an opinion, a
complaint, an argument, or giving information. You read an article and decide to react
to it by sending a letter to the editor. This is your goal here.
Letter to the Editor (Response Genre)
Structure
• Use the conventions of a formal letter
• Introduce the topic and your opinion early
• May be a reference to a previous letter or article
• Usually a mix of fact and opinion
• Organize paragraphs with details to support your opinion
• Paragraph length may vary
Language features
• Formal term of address (Dear Sir/Madam or Dear Editor)
• Persuasive language
• Subjective but not too emotional
• Language should be formal
• A direct appeal to the editor or readers
Available at <http://www.sac.sa.edu.au/Library/Library/Topics/Literacy/letter_editor.htm>. Accessed on April 13, 2016.
OLJ Studio/shutterstock.com/ID/BR
Writing Steps
Organizing
• Choose a magazine or newspaper in print or on the Internet.
• Select an article or a news report, and write a letter to the editor showing support or
disagreement.
Peer editing
• Ask a classmate to revise it.
Publishing
• Write the final version of your letter and e-mail it to the magazine or newspaper.
Post a copy on Wikispaces or keep a copy in your portfolio.
Genre: Letter to the Editor
Purpose: To express opinion for or against a news report
Tone: Formal
Setting:
Magazine
Writer: You
Audience: Magazine and wiki readers
Pá gina 104

Too Much Temptation
It was hard for these teens to give up Facebook, YouTube and texting while doing their homework.
Distractions are all around us – Facebook, YouTube, texting, TV. It’s sometimes so overwhelming that it can be
hard to focus on homework. So we challenged teens to do their homework without distractions for three days.
They were allowed to take breaks to do things like check their Facebook, go on YouTube, talk to their friends
or watch TV, but they couldn’t do those things while doing their homework. […]
Available at <http://www.layouth.com/too-much-temptation/>. Accessed on March 2, 2016.
1. O texto mostra o pará grafo inicial de uma notícia sobre uma experiência feita com
adolescentes. Durante essa experiência, que durou três dias, os participantes deveriam:
a) buscar dados das redes sociais e da TV para resolver as tarefas escolares.
b) concentrar-se nos deveres escolares com acesso apenas à internet e à TV.
c) dividir o tempo livre entre o acesso à internet e o uso do celular e da televisã o.
d) fazer os deveres escolares sem, ao mesmo tempo, usar aparelhos eletrô nicos.
e) manter a TV desligada ao tentarem resolver as tarefas escolares com amigos.
Titanic Belfast, the world’s largest Titanic visitor attraction, has finally opened in Belfast on the site where the
ship was designed, built and launched.
Available at <http://media.ireland.com/index.php?p=n&mr=2&id=947>. Accessed on November 25, 2015.
2. O Titanic sempre foi motivo de interesse popular. Podemos inferir pela manchete acima
que, em Belfast:
a) foi aberto um museu no local da construçã o do Titanic.
b) foi criada uma pá gina na web para visitantes do Titanic.
c) foi iniciada uma viagem semelhante à do Titanic.
d) foi lançada uma réplica do Titanic para novas viagens.
e) foi produzido um filme sobre o naufrá gio do Titanic.
3. Este texto é uma carta de uma leitora publicada na Teen Ink, uma revista mensal que
divulga textos e trabalhos de arte de adolescentes. O que a autora critica na carta?
Teen Magazines Lack Substance
By Alysha S., Dell Rapids, SD
I agree with Natascia L. I sometimes wish I could read about topics other than Paris Hilton or how
to apply eyeliner correctly. I think that if we had a magazine that talked about actual news, it would
sell. Most teenagers need to be more informed about politics and world issues. Teenagers today
need a magazine with substance.
Available at <http://www.teenink.com/hot_topics/letters_to_the_editor/article/17328/Teen-Magazines-Lack-Substance/>.
Accessed on November 25, 2015.
a) A ausência de outros tó picos sobre Paris Hilton.
b) A imprensa, por divulgar notícias sobre celebridades.
c) Natascia, por escrever sobre futilidades na revista.
d) Os temas das notícias que sã o publicadas na revista.
e) Paris Hilton, por não usar delineador de forma correta.
Pá gina 105
TIME TO REFLECT
UNIT 6
… understanding words related to magazines.
… expressing opinions.
… distinguishing facts from opinions.
… distinguishing states from actions.
… creating a letter to the editor.
Examples: I liked expressing opinions. I need to get better at creating a letter to the editor.

Do more exercises.
Read more.
Ask for help.
Other.
Matthew Palmer/Blend Images - Hill Street Studios/Getty Images
Pá gina 106
Illustrations: Catarina Bessell/ID/BR Photographs: Sergey Nivens/Shutterstock.com/ID/BR
Pá gina 107
PART 4 Video
LEARNING PLAN
Talking about the future, offering help, and expressing decisions, willingness, consequences,
predictions, and promises
Talking about the weather Giving instructions
Talking about likes/dislikes and presenting reasons
Using linking words and learning how to write a tutorial
Let’s learn how to make a video
You can use one of these programs: muvee Cloud <http://linkte.me/p6ych> and Dvolver
moviemaker <http://linkte.me/z6t7w>. Both accessed on April 14, 2016.
You can also make movies with a cell phone or a digital camera.
vgajic/iStock/Getty Images
track5/iStock/Getty Images
Pá gina 108
UNIT 7 IT’S ON TV
LANGUAGE IN ACTION
• Learn how to talk about the future, offer help, and express decisions, willingness, consequences,
predictions, and promises
• Talk about the weather
zwola fasola/Shutterstock.com/ID/BR
Mosedare/CartoonStock
Available at <https://www.cartoonstock.com/cartoonview.asp?catref=mmon437>. Accessed on April 16, 2016.

Veley/CartoonStock
Available at <https://www.cartoonstock.com/cartoonview.asp?catref=bven206>. Accessed on April 16, 2016.
Mike Baldwin/Cornered/CartoonStock
Available at <https://www.cartoonstock.com/cartoonview.asp?catref=mban862>. Accessed on April 16, 2016.
noolwlee/Shutterstock.com/ID/BR
Pá gina 109
LEAD-IN
Cloud7Days/Shutterstock.com/ID/BR
1. Read the cartoons on the previous page and answer these questions with a classmate. Use
your notebook.
Cartoon 1
a) What kind of TV channel was the mother watching when her son interrupted her?
a sales channel
a documentary channel
a sports channel
a travel channel
b) Where is this program broadcast? Look at the price on the TV screen for a hint.
c) What was the boy trying to do with his ironic comment?
d) What is the stereotype of women in this cartoon?
Cartoon 2
a) Why was the writer upset?
b) How many times did the writer talk about her disappointment?
c) Why is “MY” written with capital letters?
d) What does the title of the book suggest?
That the author teaches people to defeat disappointment and resentment.
That the author teaches people to welcome disappointment and resentment.
e) What is the contradiction between the writer’s behavior and the name of her book?
Cartoon 3
a) What did the boy’s father do? Why?
b) What is the irony conveyed by the cartoon?

2. What is a common purpose of cartoons?
3. Take a look at the cartoons again. What features do they have in common? Use your
notebook.
a) They use text and image.
b) They convey meaning implicitly.
c) Drawings are intended for caricature, satire, or humor.
d) They are colored.
e) They use formal language.
f) The text is short.
4. Which cartoon do you like the most?
Pakhnyushchy/Shutterstock.com/ID/BR
Pá gina 110
LET’S READ!
BEFORE YOU READ…
a) What is the weather like in your region at this time of year?
• It’s dry and warm.
• It’s wet and hot.
• It’s cold.
b) Do you watch the weather forecast on TV?
1. The Weather Forecast for Orlando in The United States on May 2, 2016. Take a look at the
picture. What other medium can you check for the weather forecast? Read the text carefully
and then answer the following questions in your notebook.
Available at <http://www.accuweather.com/en/us/orlando-fl/32801/weather-forecast/328169>. Accessed on May 6, 2016.
Available at <http://www.accuweather.com/en/us/orlando-fl/32801/current-weather/328169>. Accessed on November 19, 2015.
a) Who may be interested in this weather forecast?
b) Are the temperatures displayed in Celsius or Fahrenheit? How do you know that?
c) What other information was relevant for people visiting Orlando at the time?
d) What was the temperature when the website was accessed on May 2, 2016?
e) What was the forecast for May 2, 2016 in the evening?
f) What good news would a TV reporter give about the weather on May 5, 2016?
Pá gina 111
VOCABULARY CORNER
In your notebook, write the correct combination of letters–numbers to match the weather
idioms to their meanings.
A A snowball’s chance.
B A storm in a teacup.
C Come rain or shine.
D Every cloud has a silver lining.
E Take a rain check.
F Shoot the breeze.
I A disturbance about little or nothing
II To chat casually
III To postpone something
IV Very little chance
V There is usually a good aspect of a bad situation
VI Whatever happens
2. Read the following predictions. Which one(s) is(are) true for your region this week?
a) It will be warm and dry.
b) Rain will fall during the night.
c) It will be sunny.
d) Thunderstorms are possible.
e) It will be hot and wet.
f) Temperature will be high.
g) It will be cold.
h) It will be windy.
i) It will be cloudy.
j) There is just a small chance for an isolated shower.

3. In your notebook, write the correct combination of letters–numbers to relate the word to
the images.
A Rainy
B Windy
C Cold
D Cloudy
E Storms
F Showers
G Sunny
H Snowy
II
III
IV
V
VI
VII
VIII
Illustrations: Psonha/ID/BR
DID YOU KNOW…?
The indigenous Brazilian people have used their own ecological knowledge to predict the
weather. A thousand years ago, the Guarani people created an "application" for solar
observation.
Read more at <http://www.noticias.ms.gov.br/observatorio-solar-era-aplicativo-deindios-brasileiros-ha-mil-anos/>. Accessed on

May 13, 2016.
DID YOU KNOW…?
Fahrenheit is a thermodynamic temperature scale, in which the freezing point of water is 32

degrees Fahrenheit (°F) and the boiling point 212°F (at standard atmospheric pressure).
Conversion formulas: Fahrenheit to Celsius: (°F − 32) ÷ 1.8 = °C Celsius to Fahrenheit: (°C ×
1.8) + 32 = °F
Available at <http://www.metricconversions.org/temperature/fahrenheit-tocelsius.htm>. Accessed on April 14, 2016.
Pá gina 112
• What do you think the future of TV will be?

HINT
Antes de escutar, pense sobre o que você já sabe sobre o tema do á udio.
1. Listen to the audio with predictions about TV (available at

ÁUDIO 18
<http://linkte.me/u12f0>. Accessed on April 14, 2016). What kind of program is this?
ÁUDIO 18 2. Listen again. Which statements below are true? Answer in your notebook.
a) TV will continue to change and evolve.
b) TV will disappear in the long term.
c) TV will be replaced by the Internet.
d) TV will absorb the Internet and will keep on moving.
e) People don’t love TV anymore like they used to.
3. Are your predictions and the interviewee’s opinion the same? Justify your answer in your
notebook.
4. In groups, ask and answer questions. Each participant asks 3–4 questions. In your
notebook, take notes of the answers, and then make a summary of the results to report to your
class.
a) How many television sets are there in your home?
b) Do you have cable TV in your house?
c) Do you have a television set in your bedroom?
d) Are you a couch potato?
e) When do you watch television the most?
f) When you watch TV, are you a remote control freak?
g) What types of shows do you watch?
h) How much television do you watch per day on average?
i) How many television shows do you watch regularly without fail and would never EVER miss
an episode?
j) What is your favorite television soap opera?
k) Do you record TV shows or films?
l) Do you watch DVDs on TV?

m) Do you use the TV set to play video games?
n) If you could go on a dream date with a television character, with whom would it be?
o) What is your favorite television theme song?
p) Who is your favorite television actor or actress?
q) Add another question of your choice.
r) Add another question of your choice.
BEYOND THE LINES...
a) How does TV influence human behavior?
b) Why are your favorite shows so appealing to you? Explain.
c) In your opinion, what are the positive aspects of TV?
Goran Bogicevic/Shutterstock.com/ID/BR
Dmitriy Karelin/Shutterstock.com/ID/BR
Pá gina 113

1.What does the text below present? Answer in your notebook.
a) A set of decisions.
b) A set of consequences.
c) A set of predictions.
d) A set of promises.
The Internet is about to swallow the television, a development that will change the nature of
global media. Soon hundreds of thousands, and eventually hundreds of millions of viewers
around the world will be on a path back from being passive couch potatoes into actively
engaged citizens again, the way we were before mass media radio and then television arrived
in our homes in the 1920s, nearly a century ago.
Available at <http://accelerating.org/articles/televisionwillberevolutionized.html>. Accessed on April 14, 2016.
2. Analyze the following statements with will. What are they expressing: decision,
consequence, prediction, or promise? Answer in your notebook.
a) “I love you and I will always love you.”
Available at <http://www.e-pao.net/epSubPageExtractor.asp?src=reviews.poems.Colours_of_life>. Accessed on April 14, 2016.
b) “If I don’t run for president, we’ll all be OK.” – Joe Biden
Available at <http://www.brainyquote.com/quotes/quotes/j/joebiden676802.html>. Accessed on April 14, 2016.
c) “Obama says he will help unemployed engineer find job…”
Available at <http://www.theguardian.com/world/2012/jan/31/obama-unemployed-engineer-video-hangout>. Accessed on April

14, 2016.
d) “People will cease distinguishing between computers and televisions.”
Available at <http://graphics.stanford.edu/~bjohanso/cs448/>. Accessed on April 14, 2016.
e) “Starting in two weeks, Fox will no longer offer free access to its TV-shows the day after they
air on television.”
Available at <http://torrentfreak.com/fox-will-boost-u-s-tv-show-piracy-110728/>. Accessed on April 14, 2016.
f) Will I need a DTV Converter Box if I buy a High Definition television?
Available at <http://tv.about.com/od/frequentlyaskedquestions/f/dtvconverterHD.htm>. Accessed on April 14, 2016.
3. Look at the following image and write predictions about the weather in your notebook. One
is done for you.
Psonha/ID/BR
I think it will be hotter on Wednesday.
Pá gina 114
We use the Simple Future tense to say something will happen in the future. We also use it to
express decisions, willingness, consequences, predictions, and promises.
4. Can you describe the predictions depicted in Villemard’s pictures? In your notebook,
replace the letters with the key words in parentheses to complete the sentences. The first one
is done for you.
Mary Evans/Glowimages
In the 21st century, in order to control traffic jams in the air, there will be more and more
flying police officers. (flying police officers)
Students A . (audio books)
People B just by dictating it into a loudspeaker. (mail)
Women C just by pressing buttons. (make up)
Pá gina 115
We D. (audio newspapers)
We E. (video-telegraphs)
World in 2000 as predicted in 1910: Illustrations by French artist Villemard in 1910 of how he imagined the future to
be in the year 2000. Available at <http://www.sadanduseless.com/2011/03/world-in-2000/>. Accessed on April 14, 2016.
5. What are your predictions for the world in 3000? Share them with a classmate.
6. What would you say to show willingness to help in the following situations? Use the verbs
in parentheses and answer in your notebook. The first one is done for you.
A visitor: It’s cold because the window is open.
You: I’ll close it.
• A relative: The phone is ringing.
You: A (get)
• A friend: The TV set is too loud.

You: B (turn down)
• Your teacher: I need help with the computer.
You: B (help)
Pá gina 116
7. The song below by The Beatles presents some love promises. In your notebook, replace the
letters with the right verb forms to complete the lyrics. Use these verbs:
will/feel/fill/find/love/wait
I Will
The Beatles
Who knows how long I’ A you,
You know I B you still,
C I D a lonely lifetime,
If you want me to I will.
For if I ever saw you,
I didn’t catch your name,
But it never really mattered,
I E always F the same.
Love you forever and forever,
Love you with all my heart;
Love you whenever we’re together,
Love you when we’re apart.
And when at last I G you,
Your song H the air,
Sing it loud so I can hear you,
Make it easy to be near you,

For the things you do endear you to me,
you know I will.
I will.
Available at <http://www.letras.mus.br/the-beatles/208/traducao.html>. Accessed on April 14, 2016.
Neftali/Shutterstock.com/ID/BR
kursatunsal/iStock/Getty Images
ÁUDIO 19 8. Listen to the song and check your answers.
9. What love promises would you make?

PRONUNCIATION SPOT – the /l / sound
ÁUDIO 19 1. Listen to the song one more time. Notice the /l/ sound while you listen to the
recording.
2. Practice producing this sound reading lines of the song above as well as other sentences
that you can find in this unit.
Pá gina 117
PROFESSION SPOT
CAREERS IN TELEVISION
Careers in television involve workers behind the cameras and in front of the cameras:
Maksim Blinov/RIA Novosti/AFP
Control room operators at Match TV studio in Russia, 2015.
Theo Wargo/NBC/Getty Images/AFP
Actor Will Smith with host Jimmy Fallon during an interview on November 24, 2015.
Read the definitions for some TV careers. Then, in your notebook, complete the chart below
with correct information.
A Actors interpret others’ words in order to bring a script to life, and to put flesh and blood on
the characters they portray.
B Camera operators capture images, which involves receiving camera directions (usually
over a headset) from the Director.
C Directors are responsible for the look and sound of a production and its technical standards;
they interpret the Producer's and/or Writer's vision.
D Location managers research and assess suitable locations, negotiate contracts and
payments, and present their findings to Producers and other decision makers.
ENetwork operations assistants co-ordinate the movements of program materials in and

out of satellite and cable broadcasting organizations.
F Presenters work at the front line of television and radio. They introduce and host programs,
read the news, interview people and report on issues and events.
G Production managers are responsible for all the organizational aspects of production
scheduling and budgeting.
H Professional singers must perform the music given them to the best of their ability.
IPuppeteers bring inanimate objects to life in order to make them perform and interpret
scripts with the same degree of integrity as actors.
JResearchers originate or develop program ideas, drawing on their knowledge and

understanding of industry requirements, and present their findings to decision makers.
K Stand up comedians usually write, direct, and perform their own material.
L Stunt performers are employed to take actors' places when dangerous or specialized
actions are specified in the script, or to perform roles requiring specific skills.
M Transmission engineers (or operations managers) supervise the transmission of all

genres of television programs, working in the Master Control Room (MCR).
N Vision mixers edit programs live (as they are being transmitted or recorded), using a
variety of transition methods, such as cuts, mixes, wipes, frame manipulation, etc.
Source: <http://www.creativeskillset.org/tv/jobs/>. Accessed on April 14, 2016.
WORKERS BEHIND THE CAMERAS
Camera operators
WORKERS IN FRONT OF THE CAMERAS
Actors
Pá gina 118

Let’s make a weather forecast
What does Erin put in her forecast?
What are the most important things to put in your weather forecast? In pairs, read
Erin's forecast and identify the elements she uses in her text. The tips below may help
you.
What does Erin Put in her Forecast?
What are the most important things to put in your weather forecast? Here are Erin's top tips.
Erin Roberts presents weather for S4C using the same forecasting data as Weather Labs
"Good morning...hope you're up and ready for the day because it's going to be a good one, another dry and fine
day in Swansea! The air pressure is up on yesterday bringing us clearer skies. Any clouds we have at the
moment are likely to clear around midday and with those light 10 mph winds still coming from the south it's
going to be warm again.
We are expecting highs of around 23 Celsius in the City Centre this afternoon, well above the seasonal average
but a degree or two lower in the surrounding areas. Temperatures will fall a little overnight but it will remain
warm and humid with lows of around 15 Celsius, another uncomfortable night on the way. But make the most
of it, it's not going to last. Rain is on the way early tomorrow, the first showers are likely to hit the city at
around 9am. These could be prolonged and heavy by mid-afternoon and be accompanied by a significant dip in
temperature. We will be back to the seasonal average with highs at around 18C tomorrow. Not looking too
promising for Swansea City's match, it's likely to stay cloudy and rather wet."
Available at <http://weatherlabs.planet-science.com/be-a-weather-forecaster/what-does-erin-put-in-her-forecast.aspx>. Accessed on May 10, 2016.
Available at <http://weatherlabs.planet-science.com/be-a-weather-forecaster/what-does-erin-put-in-her-forecast.aspx>. Accessed

on April 14, 2016.
Here are some tips

• Introduce yourself and greet the audience cheerfully;
• Try to get the main messages across in a simple way;
• Speak clearly;
• Make sure your forecast isn’t too long (around 1 minute);
• Make it as entertaining and local as possible.
Pá gina 119
Writing Steps
Organizing
• Choose a weather forecast website on the Internet.

• Decide on a specific area for your forecast. You can pick a town or village in your
area or even create a forecast specific to your school.
• Consider all the data you have carefully, one piece at a time. Which pieces of data are
most important that day to tell the weather story?
• Make a first draft of your script.
Peer editing
• Ask a classmate to revise it.
Publishing
• Record a video or a podcast and publish it on Wikispaces. You can also keep the
script in your portfolio.
Genre: A weather forecast
Purpose: To build a weather forecast
Tone: Formal
Setting: Wikispaces
Writer: You
Audience: Portfolio or wiki readers

Illustrations: TyBy/Shutterstock.com/ID/BR
Pá gina 120
LEARNING TIPS
How to learn with TV and videos
DID YOU KNOW…?
• Programme (Br English)
• Program (Am English)

Television is great for learning English. The pictures make it easier to understand than radio
and because you can see who’s talking, you get a better idea of what people mean. Just watch
their “body language”!
Watch programs that you find enjoyable and entertaining – whatever you watch will help you
to improve your English.
Here’s a guide to learning as much as possible while watching English television:
Only watch programs you find interesting. Learning English should be fun – not something
you have to force yourself to do. If you have a passion for football, watch matches or the sports
news.
Keep a notebook near your television, so that you can jot down any new words or
expressions that you hear. This is especially useful if the program you are watching has been
subtitled into your language.
Try to watch English television regularly. Even if you can only watch 15 minutes a day,
you’ll be amazed how much you learn.
Don’t worry if you don’t understand everything. English television is normally aimed at
native English language speakers. Programs often include difficult words and expressions. If
the program you’re watching is full of unknown words, just concentrate on understanding the
general meaning.
Even cartoons and children’s programs are useful when learning English, and quiz shows
are useful for learning how to ask and answer questions in English.
Keep a note of television programs and presenters that you find easy to understand and try to
watch them regularly. Doing this will increase your confidence and give you a sense of
achievement.
Adapted from <http://www.english-at-home.com/business/learn-english-with-television/>. Accessed on April 14, 2016.

HBO Latin America/ID/BR
Poster of Game of Thrones, a television show, 2012.
If you don’t have cable TV or DVD player, you can find some new and old TV shows on YouTube.
Pá gina 121
TIME TO REFLECT
UNIT 7
… asking and answering questions.
… offering help.
… expressing decisions and willingness.
… making promises.
… making predictions.
… identifying the final /l/ sound.
… creating a weather forecast.
Examples: I liked creating a weather forecast. I need to get better at expressing decisions and
willingness.

Do more exercises.
Read more.
Ask for help.
Other.
amazingmikael/iStock/Getty Images
Pá gina 122
UNIT 8 YOU
BROADCAST
LANGUAGE IN ACTION
• Learn how to give instructions

• Talk about likes/dislikes and present reasons
• Use linking words to write a tutorial
Personal broadcasting and Personal mobile broadcasting are terms for participatory journalism that
focuses on television webcasting over the Internet and mobile Internet. The term is akin to “personal
publishing” which is synonymous with blogging. However, personal broadcasting is not the same as “vlogging”
(a portmanteau of “video web logging”), as vlogging does not stream live material.
Available at <http://en.wikipedia.org/wiki/Personal_broadcasting>. Accessed on April 14, 2016.
Available at <https://www.youtube.com/watch?v=szULvY0nIuw>. Accessed on May 20, 2016
Available at <https://www.youtube.com/watch?v=GVaZyXr7gWA>. Accessed on May 20, 2016.
Available at <https://www.youtube.com/watch?v=KJWZSEkCrAM>. Accessed on May 20, 2016. tairen/Shutterstock.com/ID/BR

Available at <https://www.youtube.com/watch?v=07M1m6rPjLk>. Accessed on May 20, 2016.
Available at <https://www.youtube.com/watch?v=dKXduYry9TM>. Accessed on May 20, 2016
Pá gina 123
LEAD-IN
1. Take a look at the snapshots on the previous page. Which pictures represent the type of
videos you usually watch?
2. What do the snapshots show? Answer in your notebook.

a) tutorials
b) trailers
c) advertisements
d) experiments
e) performances
f) complaints
g) reviews
h) recipes
3. In pairs, discuss the questions below.

a) Do you know any video-sharing websites? If so, list them.
b) Why do you think people post videos on video-sharing websites?
4. Do you know what viral videos are? Make a list of the five most popular viral videos in
Brazil.
5. Do you know any famous people whose careers are associated with personal broadcasting?
6. Do you trust all the videos you watch online? How do you select the videos you watch?
7. Some people, including teenagers, have become popular vloggers or YouTubers and even
made money with the videos they share. Do you follow any vloggers? Where do they publish
their video logs? What are your favorite vlog channels?
DID YOU KNOW…?
Vlogger
A person who records himself/herself talking about their life and uploads it to various video sites. (Video
Blog). Luke decided he had no talent so he became a Vlogger.
By SuperDuper September 23, 2014
Adapted from <http://www.urbandictionary.com/define.php?term=vlogger>. Accessed on April 14, 2016.
8. Have you ever uploaded a video to Vimeo, YouTube or any other popular video
broadcasting websites? If so, how many views did it get? If not, what kind of channel do you
think you could create?
doomu/Shutterstock.com/ID/BR
tairen/Shutterstock.com/ID/BR
Pá gina 124
LET’S READ!
BEFORE YOU READ…
a) Have you ever broadcast yourself on a video-sharing website?
b) Do you know any famous people whose careers are associated with personal broadcasting?
1. Read only the title of the text below and look at the images on page 125. What do you think
the text is about?
2. Now read the text to confirm your hypothesis.

HINT
Ler a primeira sentença de cada pará grafo em um artigo pode ajudá -lo a entender os tó picos
principais.
Fame and Fortune: The Power of YouTube

3 jan 2012/0 Comments/in Social Media, Social Networking, YouTube/by admin
By Julie Lamb | @juliedlamb
What do Justin Bieber, Colbie Caillat, Soulja Boy, and Sean Kingston all have in common? Aside from being
celebrities/singers, they all started out simply by posting amateur videos of themselves on the Internet, and
after developing a large following online, were fortunate enough to “get discovered” by important people in
the music industry.
It may be easy to discount these stories as pure luck and claim that such successes don’t justify all the time that
many YouTubers spend making videos. But the truth is that the path from YouTube sensation to professional
musician is becoming more and more common, and this trend does not show signs of slowing down any time
soon.
As long as there are people willing to post their talent online, music executives now have an easy, free way to
search for budding new stars without ever leaving their couches. More importantly, they no longer have to be
limited to their city, state, or even their country.
Take the story of Arnel Pineda, who has been the lead singer of the band Journey since 2007. Prior to 2007,
Pineda performed in various groups at nightclubs in Hong Kong and the Philippines but finally got his big
break when his friend posted videos of his performances on YouTube. At that time, Journey was looking for a
new lead singer, and after holding numerous unsatisfying auditions, they turned to YouTube as their last
hope… and found exactly what they were looking for in Arnel Pineda.
You could still say that Pineda was lucky, since in order to find the “diamonds in the rough” on YouTube, one
must to sift through a huge amount of bizarre, inappropriate, or clearly talentless videos. However, between
the number of views, “likes,” the comment section, and the ease of finding videos that have gone viral by posts
on Facebook and Twitter, YouTube is still a relatively easy and efficient way to discover the next big star, in
music or otherwise. Plus, with its global popularity, YouTube puts the world at your fingertips, which increases
the chances that any talent-seeking executive will find someone who fits exactly what they are looking for.
Finding success through YouTube is not just for musicians though. With YouTube’s Partner Program, even
average people can earn a living by following their passion. As long as they create a video that enough people
find interesting, they can start bringing home the bacon with a simple click of the upload button.
For example, Megan Parken, now 15, began creating video tutorials on make up, fashion, and “life advice” the
summer before she entered 8th grade. Although her YouTube channel was popular only with girls even
younger than Megan, she was still able to get an average
Pá gina 125
of 100,000 views per video. Through YouTube’s partner program and the companies whose brands she
mentioned, she earned enough money to buy her first car and start saving money for college. In fact, she has
been so successful that, with support from her parents and her teachers, she quit high school after 9th grade so
that she could have more time to devote to her videos and to interact with her fans.
Which brings us to an important point, for both individuals and businesses alike: every YouTube sensation,
from Justin Bieber to Megan Parken, understands that it is not enough to simply post a video or two, find some
success, and then expect it to last. In order to maintain and continue to grow your fan base in this fast-paced,
social media-obsessed world, you have to be willing to put in the time and effort to interact with your
followers on Twitter and continually post new content on Facebook and YouTube. The minute you stop, your
content appears old and you become a “has-been.” Remember, there is always going to be some budding new
star or innovative business only one upload away from taking your place.
Available at <http://www.socialmediadelivered.com/2012/01/03/fame-and-fortune-the-power-of-youtube-2/>. Accessed on April

14, 2016.
Mike Windle/Getty Images
Sean Kingston, 2015.
Mathew Imaging/WireImage/Getty Images
Arnel Pineda, 2015.
Prince Williams/WireImage/Getty Images
Rapper Soulja Boy, 2015.
3. How can fame and fortune be associated with personal broadcasting?

4. In your opinion, why is personal broadcasting becoming a more and more common
marketing technique nowadays?
Pá gina 126
5. Read the text and answer the questions in your notebook.

a) What is the central idea of the text?
b) How did the singers mentioned in the text achieve a successful career?
c) What are other important actions for achieving success online besides posting a video on
YouTube?
6. In your notebook, write the correct combination of letters–numbers to find out more about
the text.
A Who?
B To whom?
C When?
D Where from?
E Forwarded to?
I Social networks
II 3 Jan 2012
III By Julie Lamb/@juliedlamb
IV Social Media Delivered
V Famous-to-be artists
7. What does it mean to find “diamonds in the rough” on YouTube? Explain the expression in
your own words. What strategy did you use to understand this expression?
8. Try to infer the meanings of the expressions below according to the context. Write in your
notebook the correct combination of letters–numbers to match both columns accordingly.
A budding new stars (line 10)
B big break (line 14)

C the world at your fingertips (line 23)
D fast-paced (line 41)
E a “has-been” (line 44)
I a forgotten person
II rising talents
III moving quickly
IV great opportunity
V something which is easily reached
VOCABULARY CORNER
Video-sharing sites contain some peculiar and specific words. In your notebook, write the
correct combination of letters–numbers to match the terms below to their correct
descriptions.
A Account
B Profile
C Caption
D Definition
E Screen size
F Channel
G Subscription
I The amount of screen space available for the video.
II The affiliation to a certain channel you enjoy.
III A personal area where you can group all your videos together.
IV The quality of the image defined by the amount of pixels.
V The formal relationship between the user and the video-sharing site.
VI An outline of your personal characteristics.
VII The text of a speech, etc., superimposed on the film and projected onto the screen.
BEYOND THE LINES...

a) Does fame on the Internet always mean success? Explain.
b) Do you know any example of a YouTube video which interfered negatively in a person’s
career?
Pá gina 127

The underlined words in the excerpts below are called “linking words.” These words help us
organize what we say or write. Most of these linking words are commonly used in writing or
more formal speech.
1. Read these excerpts taken from the text “Fame and Fortune: The Power of YouTube.”
Which linking words have the same meaning as the underlined words? Answer in your
notebook.
a) “Aside from being celebrities/singers, they all started out simply by posting amateur videos
of themselves on the Internet […].”
I Moreover
II In addition to
III Except for
b) “It may be easy to discount these stories as pure luck […]. But the truth is that the path from
YouTube sensation to professional musician is becoming more and more common […].”
I Such as
II Yet
III In brief
c) “As long as there are people willing to post their talent online, music executives now have an
easy, free way to search for budding new stars without ever leaving their couches.”
I Because
II Provided that
III In short
d) “More importantly, they no longer have to be limited to their city, state, or even their
country.”
I Likewise
II Finally
III Above all
e) “You could still say that Pineda was lucky, since in order to find the “diamonds in the rough”
on YouTube, one must sift through a huge amount of bizarre, inappropriate, or clearly
talentless videos.”
I as
II due to
III that is
f) “However, between the number of views, […] and the ease of finding videos that have gone
viral by posts on Facebook and Twitter, YouTube is still a relatively easy and efficient way to
discover the next big star […].”
I Nevertheless
II For example
III In conclusion
g) “Plus, with its global popularity, YouTube puts the world at your fingertips, which increases
the chances that any talent-seeking executive will find someone who fits exactly what they are
looking for. […]”
I Even though
II Therefore
III Besides
Pá gina 128
h) “In order to maintain and continue to grow your fan base in this fast-paced, social media
obsessed world, you have to be willing to put in the time and effort to interact with your
followers […].”
I So as to
II In spite of
III Otherwise
2. Read the following excerpts taken from the text “Fame and Fortune: The Power of
YouTube” and answer the questions in your notebook.
“Aside from being celebrities/singers, they all started out simply by posting amateur videos of themselves on
the Internet […]”
“[...] they turned to YouTube as their last hope… and found exactly what they were looking for in Arnel
Pineda.”
“[…] one must sift through a huge amount of bizarre, inappropriate, or clearly talentless videos.”
“[…] YouTube is still a relatively easy and efficient way to discover the next big star, in music or otherwise.”
“[…] you have to be willing to put in the time and effort to interact with your followers on Twitter and
continually post new content on Facebook and YouTube.”
a) Which word or words in bold describe(s) how you do something?
b) Which word or words modify(ies) another word/phrase?
The highlighted words are called “adverbs of manner.” These adverbs can modify another word
(adjectives and other adverbs) or describe an action (verb).
c) In your notebook, write the correct combination of letters–numbers to find out examples of
different ways of writing adverbs of manner. Include the adjective that originates each of these
adverbs.
A adjective + -ly
B adjective − -y + -ily
C adjective − -e + -ly
I finally
II easily
III importantly
IV relatively
V simply
3. Odd One Out! Notice that not all the words ending in –ly are adverbs of manner. Write in
your notebook the word that doesn't belong to each group.
a) negatively/probably/friendly
b) only/quickly/lastly
c) apply/slightly/automatically
d) nearly/deadly/gently
Pá gina 129

ÁUDIO 201.Listen to instructions on how to make a sandwich. Write down in your notebook the
ingredients you hear.
Africa Studio/Shutterstock. com/ID/BR
A boiled chicken breast
benimage/iStock/Getty Images
B lemon
C bread
Patryk Kosmider/Shutterstock. com/ID/BR
D tomato
sevenke/Shutterstock.com/ID/BR
E lettuce
DNY59/iStock/Getty Images
F parsley
Juanmonino/iStock/Getty Images
G onion
hilmi_m/iStock/Getty Images
H carrot
2. In your notebook, write down the correct combination of letters–numbers to label the
actions represented by the pictures.
A put
B season (x2)
C shred
D add (x3)
Photos: Marcelo Parducci/ID/BR
ÁUDIO 20 3. Listen to the recording again and put the instructions in sequence.
Pá gina 130
4. Is the text's genre on the previous page a review or a recipe? Write the answer in your
notebook.
5. Was it probably broadcast as a video or a podcast?
6. What time expressions are used to show the sequence of actions in the instructions?
7. Work alone. List five things you have watched on YouTube that you like, love, couldn’t care
less about, hate.
8. Now think about reasons for each choice in activity 7. In your notebook, draft your ideas
using language from the Useful language box.
USEFUL LANGUAGE
• I hated watching… since…
• I couldn’t care less about… because…
• I love… as…
• I like… because…
Dmitry Lobanov/Shuterstock.com/ID/BR
PRONUNCIATION SPOT – the schwa vowel /ə/
The schwa vowel /ə/ is a very short, quick sound.

ÁUDIO 21Listen and repeat. Notice how the syllable with the schwa vowel /ə/ receives less
stress than the other syllables in the words.
amateur inappropriate aside column amount performance open typical lesson
Pá gina 131
1. Read the following excerpt from the listening on page 129.

“First, shred the chicken breast. Then, put in the chicken onto the bread slice. Next, add the
lettuce, the tomato and the onion slices. Lastly, season with the parsley and the lemon juice.”
We use the following words to show the order of instructions:
First, ... Then, … After that, …
Next, …Lastly, … Finally, …
Why were the words used in bold? Copy the answer in your notebook.
a) To introduce an opinion.
b) To indicate the sequence of events.
c) To make a pause to think.
2. The following sentences are used in the instructions for creating a “mangatar.” In your
notebook, write the correct combination of letters–numbers to make complete sentences.
A Log in
B Choose
C Click
D Change
E Navigate
F Click
G Save
I the gender of your manga.
II to select skin tone.

III facial expressions by clicking the smileys.
IV at your account.
V changes to your manga and give it a nickname.
VI through the tabs to choose different features.
VII “Create” to continue.
3. Use the sentences from the previous exercise to write the sequence of instructions to
create a manga. Follow the numbers in the boxes and use the sequence words from exercise 1.
First, log in at your account. Then...
Face Your Manga. Facsimile: ID/BR
Available at <http://faceyourmanga.com/>. Accessed on April 14, 2016.
Pá gina 132

Let's create a tutorial
A tutorial is a set of instructions to teach someone how to do or use something. It is
very popular on YouTube. The following texts will help you write a tutorial.
THE FOUR-IN-HAND KNOT

The four-in-hand is the all-time classic of tie knots. It is by far the most used, because it
is simple to tie. It works well for most types of tie and with nearly all types of shirt
collar. It is perfect for men of medium height and for tall men.
Conical and elongated, the four-in-hand is narrow when tied with a lightweight
fabric and wider when formed with a thick material.
Preparation: Turn up the collar of your shirt, button the top button, then put the tie
around your neck. Medium height men should position the narrow end of the tie at
waist level. Tall men should position the narrow end a little above the waist. Narrow-
chested men will look better with the Double Knot which has a similar shape.
Psonha/ID/BR
The steps
Step 1. Just below the collar, lay the wide end over the narrow end.
Step 2. Take the wide end behind the narrow end.
Step 3. Bring the wide end across the layover.
Step 4. Holding a finger in the loop, bring the wide end up, then down through the
loop.
Step 5. Holding the narrow end, pull the knot gently up to the top shirt button.
When the knot is finished, the narrow end must be concealed and the wide end
should be level with your belt.
Available at <http://www.tieknot.com/en/four-in-hand.html>. Accessed on April 14, 2016.
EYE MAKE-UP TUTORIAL

Fernando Milani/ID/BR
First, prep the skin around your eye, then prep lids with a primer. After blending
concealer under the eyes, wet a small, flat brush and rub it across a black cake liner.
Pull the upper lid taut, and gently push the brush underneath and into the lashline.
Your eyes will look wider and your lashes more defined.
Always: Curl your lashes for an eye-opener before you apply any makeup.
Read the complete tutorial at <http://www.oprah.com/style/Eye-Makeup-Tutorial>. Accessed on April 14, 2016.
1. What is the difference between the formats of the two tutorials?
Pá gina 133
2. Choose from the options below and write your own tutorial in your notebook.
OPTION 1: THE DOUBLE KNOT
Psonha/ID/BR
The Double Knot is very similar to the Four-in-hand. It has just one more layover. At
the beginning the wide end is turned twice over the narrow end.
The slightly thicker finished knot makes it ideal for use with most shirts. It is also
perfect with all types of tie, with the exception of very thick fabrics.
a) Write a tutorial to teach the Double Knot technique to tie a tie. Use linking words to write
your tutorial: first, then, after, finally.
OPTION 2: DREADLOCKS
Step 1. Stop using conditioner a week to 10 days before you begin the process.
Step 2. Mix about 1 tablespoon of vinegar with 1 quart of water. Rinse your hair with
this vinegar-and-water solution the day you plan to start making your dreadlocks. This
solution will remove any residue or buildup that may impede the process. You can also
buy a residue-free shampoo and wash your hair with it.
Michael Stewart/Corbis/Fotoarena
b) Complete with the missing instructions.
Step 3. Begin with dry hair. Take a portion of hair…
Vocabulary you need for this tutorial: twist/retwist, tightly, pin, hairclip, rubber band,
comb/backcomb, wax or pomade
Excerpt from <http://chotskies.blogspot.com.br/2008/03/i-dig-dreads.html>. Accessed on April 14, 2016.
3. Publish your tutorial on Wikispaces or keep a copy in your portfolio.

Genre: Tutorial
Purpose: To teach how to tie a tie or how to make dreadlocks
Tone: Formal
Setting: Wikispaces
Writer: You
Audience: Wiki readers
Pá gina 134

1. Nesta charge, que critica os há bitos televisivos, a fala do menino tem por funçã o, de forma
indireta e irô nica:
Mosedare/CartoonStock
a) convidar a mã e a ler histó rias.
b) criticar o que seu amigo vê na TV.
c) impedir a mã e de comprar pela TV.
d) pedir à mã e para assistir a um filme.
e) persuadir a mã e a mudar de canal.
Available at <https://www.cartoonstock.com/cartoonview.asp?catref=mmon437>. Accessed on April 15, 2016.
2. O texto ao lado registra previsõ es meteoroló gicas para a cidade de Orlando, em maio de
2016. Assim, tomamos conhecimento de que, naquele fim de semana:
a) a noite de sexta seria agradá vel e sem chuva.
b) a probabilidade de chuva era nula para o sá bado.
c) a semana de trabalho fecharia com sol e chuva.
d) haveria muitos ventos na sexta e no sá bado.
e) os movimentos dos ventos estariam controlados.
Weather Forecast May 2, 2016
Expect a toasty day for the area today. Highs near 90 with a rain chance setting up after 2pm at 30%. Tonight,
lows fall through the 70s, rain chances dry up after 9pm. Quiet and warm overnight.
North Texans prepare for hail with mattresses, pillows and bubblewrap
Available at <http://www.accuweather.com/en/us/orlando-fl/32801/current-weather/328169>. Accessed on May 2, 2016.

Fame and Fortune: The Power of YouTube
by Julie Lamb (Jan 03, 2012)
What do Justin Bieber, Colbie Caillat, Soulja Boy, and Sean Kingston all have in common? Aside from
being celebrities/singers, they all started out simply by posting amateur videos of themselves on
the Internet, and after developing a large following online, were fortunate enough to “get
discovered” by important people in the music industry.
It may be easy to discount these stories as pure luck and claim that such successes don’t justify all
the time that many YouTubers spend making videos. But the truth is that the path from YouTube
sensation to professional musician is becoming more and more common, and this trend does not
show signs of slowing down any time soon. [...]
Available at <http://www.socialmediadelivered.com/2012/01/03/fame-and-fortune-the-power-of-youtube-2/>. Accessed on April

15, 2016.
3. Esse texto fala do poder das tecnologias em nossa sociedade e nos informa que os cantores
Justin Bieber, Colbie Caillat, Soulja Boy e Sean Kingston:
a) postaram seus vídeos no YouTube antes de fazerem sucesso.
b) fazem sucesso porque alimentam o YouTube com seus vídeos.
c) foram descobertos no YouTube porque sã o bons profissionais.
d) sã o mú sicos profissionais que anunciam seus shows no YouTube.
e) descobriram a indú stria da mú sica nos vídeos do YouTube.
Pá gina 135
TIME TO REFLECT
UNIT 8
… describing actions.
… using linking words.
… expressing likes and dislikes.
… giving instructions.
… using connectors to put ideas in sequence.
… identifying the sound /ə/.
… creating a tutorial.
Examples: I am good at expressing likes and dislikes. I need to get better at describing actions.

Do more exercises.
Read more.
Ask for help.
Other.
CREATISTA/iStock/Getty Images
Pá gina 136
TIME FOR LITERATURE

“CAT IN THE RAIN”
1. You are going to read a short story by the American writer Ernest Hemingway. First, read
the following short biography and a definition of short story. Then answer the questions in
pairs.
Ernest Hemingway was a very famous correspondent, reporter and writer, who lived in Paris,
France, for some years in the 1920s, selfexiled from his country, the United States. He was in
World War I. Part of the avant-garde artists, he is one of the most important American late
modernists. Hemingway wrote many of his works in the post-war Paris of the 1920s and in
Spain in the 1930s.
(By the authors.)

Rudolf Kucherov/Ria Novosti/AFP
Ernest Hemingway, by Andrei Kharshak, 1950. Pencil and paper. Reproduction.
A short story is a work of fiction that is usually written in prose, often in narrative format.
According to the traditional method of narrative, in the short story the action and the conflict
are built up through the development of the story until its outcome, going through a crisis and
having a final resolution. In the modern narrative method, the story disregards the former
scheme and is fragmented in an invertebrate structure. The traditional short story, in short,
has a beginning, a middle, and an end. A modern short story, most times, has no beginning or
end; it just shows a slice of life in the middle of something.
The language of the modernistic narrative is direct, with short sentences and very little use of
adjectives and long descriptions.
In a short story, as in long narratives, we can usually detect such elements as: character (the
people in the story), plot (the story itself), setting (place and time), theme (variable), style,
form, genre, narrator (narrative voice), tense (how verbs are used and why).
a) Based on Hemingway’s professional background, what type of text do you expect him to
write?
b) Considering the historical context he lived in, what themes do you expect to find in his
literature?
c) What other short stories have you already read?
d) What are the narrative methods and how are they different?
DID YOU KNOW…?
Literary Modernism has its origins in the late 19th and early 20th centuries, mainly in Europe
and North America. This movement is characterized by a self-conscious break with traditional
styles of poetry and verse.
Pá gina 137
2. Now, read the short story and then do the activities. As you read, try to identify the elements
mentioned in the previous description.
Spiritartist/iStock/Getty Images
Cat in the Rain

By Ernest Hemingway
There were only two Americans stopping at the hotel. They did not know any of the people they
passed on the stairs on their way to and from their room. Their room was on the second floor facing
the sea. It also faced the public garden and the war monument. There were big palms and green
benches in the public garden. In the good weather there was always an artist with his easel. Artists
liked the way the palms grew and the bright colors of the hotels facing the gardens and the sea.
Italians came from a long way off to look up at the war monument. It was made of bronze and
glistened in the rain. It was raining. The rain dripped from the palm trees. Water stood in pools on
the gravel paths. The sea broke in a long line in the rain and slipped back down the beach to come
up and break again in a long line in the rain. The motor cars were gone from the square by the war
monument. Across the square in the doorway of the café a waiter stood looking out at the empty
square.
The American wife stood at the window looking out. Outside right under their window a cat was
crouched under one of the dripping green tables. The cat was trying to make herself so compact
that she would not be dripped on.
‘I’m going down and get that kitty,’ the American wife said.
‘I’ll do it,’ her husband offered from the bed.
‘No, I’ll get it. The poor kitty out trying to keep dry under a table.’
The husband went on reading, lying propped up with the two pillows at the foot of the bed.
‘Don’t get wet,’ he said.
The wife went downstairs and the hotel owner stood up and bowed to her as she passed the office.
His desk was at the far end of the office. He was an old man and very tall.
‘Il piove,’ the wife said. She liked the hotel-keeper.

‘Si, Si, Signora, brutto tempo. It is very bad weather.’
He stood behind his desk in the far end of the dim room. The wife liked him. She liked the deadly
serious way he received any complaints. She liked his dignity. She liked the way he wanted to serve
her. She liked the way he felt about being a hotel-keeper. She liked his old, heavy face and big hands.
Liking him she opened the door and looked out. It was raining harder. A man in a rubber cape was
crossing the empty square to the café. The cat would be around to the right. Perhaps she could go
along under the eaves. As she stood in the doorway an umbrella opened behind her. It was the maid
who looked after their room.
Pá gina 138
TIME FOR LITERATURE

‘You must not get wet,’ she smiled, speaking Italian. Of course, the hotel-keeper had sent her.
With the maid holding the umbrella over her, she walked along the gravel path until she was under
their window. The table was there, washed bright green in the rain, but the cat was gone. She was
suddenly disappointed. The maid looked up at her.
‘Ha perduto qualque cosa, Signora?’
‘There was a cat,’ said the American girl.
‘A cat?’
‘Si, il gatto.’
‘A cat?’ the maid laughed. ‘A cat in the rain?’
‘Yes, –’ she said, ‘under the table.’ Then, ‘Oh, I wanted it so much. I wanted a kitty.
’ When she talked English the maid’s face tightened.
‘Come, Signora,’ she said. ‘We must get back inside. You will be wet.’
‘I suppose so,’ said the American girl.
They went back along the gravel path and passed in the door. The maid stayed outside to close the
umbrella. As the American girl passed the office, the padrone bowed from his desk. Something felt
very small and tight inside the girl. The padrone made her feel very small and at the same time
really important. She had a momentary feeling of being of supreme importance. She went on up the
stairs. She opened the door of the room. George was on the bed, reading.
‘Did you get the cat?’ he asked, putting the book down.
‘It was gone.’
‘Wonder where it went to,’ he said, resting his eyes from reading.
She sat down on the bed.
‘I wanted it so much,’ she said. ‘I don’t know why I wanted it so much. I wanted that poor kitty. It
isn’t any fun to be a poor kitty out in the rain.’
George was reading again.
She went over and sat in front of the mirror of the dressing table looking at herself with the hand
glass. She studied her profile, first one side and then the other. Then she studied the back of her
head and her neck.
‘Don’t you think it would be a good idea if I let my hair grow out?’ she asked, looking at her profile
again.
George looked up and saw the back of her neck, clipped close like a boy’s.
‘I like it the way it is.’
‘I get so tired of it,’ she said. ‘I get so tired of looking like a boy.’
George shifted his position in the bed. He hadn’t looked away from her since she started to speak. ‘
You look pretty darn nice,’ he said.
She laid the mirror down on the dresser and went over to the window and looked out. It was
getting dark.
‘I want to pull my hair back tight and smooth and make a big knot at the back that I can feel,’ she
said. ‘I want to have a kitty to sit on my lap and purr when I stroke her.’
‘Yeah?’ George said from the bed.
‘And I want to eat at a table with my own silver and I want candles. And I want it to be spring and I
want to brush my hair out in front of a mirror and I want a kitty and I want some new clothes.’
‘Oh, shut up and get something to read,’ George said. He was reading again.
His wife was looking out of the window. It was quite dark now and still raining in the palm trees.
‘Anyway, I want a cat,’ she said, ‘I want a cat. I want a cat now. If I can’t have long hair or any fun, I
can have a cat.’
George was not listening. He was reading his book.
His wife looked out of the window where the light had come on in the square. Someone knocked at
the door.
‘Avanti,’ George said. He looked up from his book. In the doorway stood the maid. She held a big
tortoise-shell cat pressed tight against her and swung down against her body.
‘Excuse me,’ she said, ‘the padrone asked me to bring this for the Signora.’
Available at <http://www.vahidnab.com/cat.pdf>. Accessed on April 15, 2016.
GLOSSARY
easel: cavalete de pintor
eaves: beiral do telhado
purr: ronronar
3. Write in your notebook the subject on which Hemingway dwells in this short story.
a) Exiles in faraway countries
b) Life in Paris after the war
c) A young woman trying to find her place in life
d) Post war lack of purpose in life
Pá gina 139
4. Write in your notebook the characteristics represented in Ernest Hemingway’s short story
“Cat in the Rain”?
a) The narrative is fragmented.
b) There is a resolution in the end.
c) It shows a slice of life.
d) The couple is facing a crisis.
5. What’s the setting of the short story?
6. Who is the main character in the story?
7. How are the exiles depicted in the short story?
8. In this story, the expression “cat in the rain” is used in its normal literal meaning and
figuratively as well. To what/whom does it refer in the literal meaning and in the figurative
meaning? Answer in your notebook.
9. What verb tenses are used in the narrative part of the short story? Why?
10. Write in your notebook the phrase(s) which best describe(s) the narrator in this short
story?
a) first person
b) second person
c) third person
d) alternating person
e) omniscient
f) unreliable
g) objective
h) subjective
11. The author uses a foreign language in the short story. In your notebook, write the correct
combination of letters–numbers to match the sentences and their meanings.[
A “Avanti.”
B “Ha perduto qualque cosa, Signora?”
C “Il piove.”
D “Si, Il gatto.”
E “Si, Si, Signora, brutto tempo.”
I “It’s raining.”
II “Yes, yes, Madam, awful weather.”
III “Have you lost something, Madam?”
IV “Yes, the cat.”
V “Come in.”
12. To what literary genre would you say this short story belongs to? Write the answer in
your notebook.
a) Adventure – a story where the characters undergo a series of perils.
b) Comic – a funny story that makes you laugh.
c) Epistolary – a story told through an exchange of letters.
d) Magic realism – where real life is mixed with fantastic beings.
e) Erotic – stories involving sex.
f) Historical – created fiction which happens in the middle of real historical events.
g) Horror – a story with unlikely events that frighten the reader.
h) Superhero – a story involving a superhero like Superman or Spiderman.
i) Romance – a story that tells of a love story.

j) Urban – a story that takes place in a city or town.
k) Saga – a story that tells the tale of various generations of characters.
l) Thriller – a story in which there is a crime and an investigation.
Pá gina 140
EXTRA ACTIVITIES
PROFESSION SPOT
PART 1
1. In your notebook, write the correct combination of numbers–letters to match the names of
the following Internet careers to their corresponding definitions.
I Blogger
II Internet judge
III Network engineer
IV Social media consultant
V User operations analyst
VI Web designer
VII Web developer
VIII Webmaster
Michaeljung/Shutterstock.com/ID/BR
A writes articles and/or posts for online publications.
B is responsible for installing, maintaining and supporting computer communication networks within an
organization or between organizations.
C is an individual who is employed by a search engine to review and rate websites.
D is someone who creates web-based applications by using programming languages.
E is someone who works with the visual elements of a Web page.
F can be either a Web developer or a Web designer. He or she usually works alone doing both jobs as he or she
maintains a website. In addition, he or she may be responsible for search engine optimization (SEO), web
content writing, and/or marketing.
G is someone who sets up and maintains accounts on Twitter, Facebook, MySpace and any other social media
site that pops up. He or she might work for a public relations director or alongside a branding consultant.
Whatever the case, this person needs to keep the content fresh, monitor user feedback and create a persona
for the company – all through the click of a mouse.
H monitors how users interact with the site, answers users’ questions or listens to their feedback to see what
they want in a site and reports the results to the site owner.
Sources: <http://edition.cnn.com/2010/LIVING/worklife/02/10/cb.jobs.internet.addicts/index.html>;
<http://www.webreference.com/internet/jobs/careers/index.html>;
<http://www.prospects.ac.uk/network_engineer_job_description.htm>;
<http://internetjobs231188.blogspot.com.br/2012/10/best-ways-to-makemoney-online.html> and
<https://www.nhsdesigns.com/web/careers/webmaster.php>. Accessed on April 15, 2016.
Pá gina 141
LET’S READ!
BEFORE YOU READ…
a) Do you get distracted easily?

b) In your opinion, what are the most distracting activities on the Internet?
1. The text below mentions the expression “the age of distraction”. Is the Internet the one to
blame, or is it the way we deal with the new communication technologies?
Archive/Learning Fundamentals
2. Based on the infographic above and on your knowledge about the topic, which option in
parentheses makes appropriate recommendations to help people focus? Use your notebook.
Managing your space
A (Do/Don’t do) just one thing at a time.
B (Keep/Don’t keep) distractions away from you.
C (Spend/Don’t spend) ten minutes organizing your things.
Take a digital technology detox
D (Spend/Don’t spend) time with your family and friends.
E (Use/Don’t use) your cell phone, send e-mail, watch TV, or access Facebook.
Help for addicts
F (Use/Don’t use) blocker programs or adopt an alternative way to write.

Pá gina 142
EXTRA ACTIVITIES
Take time to reflect and review
Early in the morning, G (check/don’t check) your e-mail until you have decided what the three
most important things to be done are.
At the end of the day, H (reflect/don’t reflect) on what you did during the day.
Managing e-mail
I (Turn on/Don’t turn on) e-mail alerts.
J (Keep/Don’t keep) your computer disconnected from 8 am to 10 am.
K (Check/Don’t check) e-mail two or three times a day.
Create rituals/habits
L(Have/Don’t have) a quiet morning: read, meditate, go for a walk. Before bedtime, M
(wash/don’t wash) your face, clean the dishes, read a book.
How to work
N (Stay/Don’t stay) away from the computer.
O (Work/Don’t work) for fifty minutes and have a break for twenty minutes.
1. The following text is a description of a social networking service. In your notebook, replace
the letters by the appropriate verbs to complete the text. Use the correct tense.
connect be consist focus share chat
A social networking service A an online service, platform, or site that B on facilitating the building of social
networks or social relations among people who, for example, C interests, activities, backgrounds, or real-
lifeconnections. A social network service D of a representation of each user (often a profile), his/her social
links, and a variety of additional services. […]
Available at <http://mashable.com/follow/topics/social-networking/>. Accessed on April 15, 2016.
2. In your notebook, replace the letters by the verbs in parentheses. Decide if the actions are
in progress or are routines/habits.
We A (live) in curious times. It’s called the Age of Information, but in another light it can be called the Age of
Distraction.
[…]
When we B (work), we C (have) distractions coming from every direction. In front of us D (be) the
computer,with e-mail notifications and other notifications of all kinds. Then there’s the addicting lure of the
browser, which E (contain) not only an endless amount of reading material that can be a black hole into which
we never F (escape), but unlimited opportunities for shopping, for chatting with other people, for gossip and
news and lurid photos and so much more. […]
Computers G (take over) our lives. And while I H (be) as pro-technology as the next guy (more so in many
cases), I also I (think) we need to consider the consequences of this new lifestyle. […]
Available at <http://focusmanifesto.com/the-age-of-distraction/>. Accessed on April 15, 2016.
Pá gina 143
LET’S READ!
PART 2
1. Read the following excerpt and answer the questions in your notebook.
mikiekwoods/Shutterstock.com/ID/BR
An April 2009 survey by the Pew Research Center’s Internet & American Life Project shows that
56% of adult Americans have accessed the internet by wireless means, such as using a laptop,
mobile device, game console, or MP3 player. The most prevalent way people get online using a
wireless network is with a laptop computer; 39% of adults have done this.
Adapted from <http://www.pewinternet.org/Reports/2009/12-Wireless-Internet-Use.aspx>. Accessed on April 15, 2016.
a) Who has accessed the Internet by wireless means?
b) Does the text mention when the Internet was accessed?

c) What does “this” in “39% of adults have done this” refer to? What is more important, the fact
itself or when it happened?
d) Find in the text two sentences which refer to actions that happened at an unspecified time in
the past. Which tense is used in these sentences?
e) Would you say these figures are the same for Brazil and your community?
f) Would Wi-Fi Internet be relevant for your community?
VOCABULARY CORNER
1. In your notebook, write the correct combination of letters–numbers to match the symbols
and their meanings.
A Credit Card
B Podcast
C Wireless
D Upload
E Bluetooth
F Download
G GPS
sarahdesign/Shutterstock.com/ID/BR
siridhata/Shutterstock.com/ID/BR
Vectorphoto/Shutterstock.com/ID/BR
Enculescu Marian Vladut/Shutterstock.com/ID/BR
Jane Kelly/Shutterstock.com/ID/BR
siridhata/Shutterstock.com/ID/BR
D-Line/Shutterstock.com/ID/BR
Pá gina 144
EXTRA ACTIVITIES
1. Replace the letters with the appropriate tense of the verbs in parentheses to complete the
sentences about the history of the radio. Use your notebook.
James Clerk Maxwell A (not/create) the first radio.
He B (develop) the first radio-wave mathematical formula.
In 1888, Heinrich Hertz C (test) Maxwell’s assumption.
The radio D (be) a subdivision of telecommunication.

“When E Oliver Lodge F (name) the coherer?” “In 1894.”
In 1888, Temistocle Calzecchi-Onesti G (demonstrate) that a tube with iron filings conducted
an electrical current.
Radio communication H (involve) the transmission of electromagnetic waves.
Before the 19th century, many scientists I (try) to invent something like the radio.
Marconi J (notice) that electromagnetic waves K (travel) between two points separated by an
obstacle.
2. In your notebook, list other verbs according to the adequate spelling rule. Do you notice
any recurrent patterns in the categories?
Simple Past spelling rules
1 2 3 4 5
dance - danced cut - cut stop - stopped play - played worry - worried
love - loved put - put rub - rubbed annoy - annoyed study - studied
live - lived hit - hit plan - planned enjoy - enjoyed copy - copied
3. Ask a classmate if she/he has ever done the following actions. Write the questions in your
notebook.
Example: Text during a class. Have you ever texted during class?
a) Receive an unexpected call in the movies.
b) Access the Internet on a smartphone.
c) Download apps on your cell phone.
d) See someone texting while driving.
e) Exchange files via Bluetooth.
f) Leave a message on voicemail.
g) Send pictures via SMS.
h) Film with a smartphone.

mediaphotos/iStock/Getty Images
4. Write five statements about your classmate based on the answers you received in activity
3. Look at the two examples below. Include the words never, yet, or already.
Paula has never texted during a class.
Paula hasn’t texted during a class yet.
5. Add at least 5 examples of irregular verbs in each category of the chart below. Check the
list on page 172 as necessary.
All forms are the same 2 and 3 forms are the same
nd rd
All forms are different
cut – cut – cut lose – lost – lost drive – drove – driven
Pá gina 145
PROFESSION SPOT
PART 3
Newspaper staff positions
Paolo Bona/Shutterstock.com/ID/BR
A typical day in a Brazilian newsroom, 2015.
1. In your notebook, write the correct combination of numbers–letters to find out what each
professional does at a newspaper company.
I Advertising manager
II Business manager
III Copy editor
IV Editor-in-chief
V Features editor
VI Managing editor
VII News editor
VIII Opinion editor
IX Photo/Graphics editor
X Sports editor
A reviews all photos and graphics in the paper and edits them to fit layout.
B reads and edits feature stories, assigns stories to writers, and manages the layout of the
features section.
C determines the layout of all ads, sells advertisement spots, and designs some ads.
D is in charge of the news section, reads and edits all news stories, works out the layout of the
sections, and assigns specific stories to writers.
E reads and edits the entire sports section, manages layout, and occasionally writes an article
for the section.
F proofreads the entire paper, edits copy and photos to fit layout.
G reads and edits the entire opinion section, usually writes his/her own column, and manages
the layout of the opinion section.
H oversees all phases of the production of the paper, reviews all articles and sections, and
assigns staff with their stories, along with the section editors.
Imanages money of the newspaper and is in charge of marketing, salaries, and the overall
budget.
Jhelps the editor-in-chief decide content of the issue, designs overall layout and section layout
with section editors.
Adapted from <http://quizlet.com/3170822/staff-positions-of-a-newspaper-flash-cards/>. Accessed on April 15, 2016.
Pá gina 146
EXTRA ACTIVITIES
LET’S READ!
The Economist/Shutterstock.com/ID/BR
Available at <http://www.ritholtz.com/blog/2009/08/falling-homeprice-magazine-cover/>. Accessed on April 15, 2016.

1. What type of magazine is this? Why do you think so? Support your answer.
2. The word “fall” can be interpreted literally and metaphorically. What are some of the
possible interpretations? You can use a dictionary to help you.
3. What does the falling object represent literally and metaphorically?
4. Do you think the message portrayed on this cover is positive or negative? Why?
5. Read the excerpts and decide what idea the underlined words/expressions convey. In your
notebook, write the correct combination of numbers–letters.
A adding
B showing result
C summing up
D giving examples
E making contrast
a) Although (I) the company says it plans to add 5 to 15 HD titles per month, their HD offerings
will still lag severely behind the availability of film and TV on Blu-ray. Also ( II), new HD rentals
cost $6, while (III) catalog rentals are $4. Finally, you’ll need a 4-megabits-per-second
connection.
Adapted from <www.networkworld.com/article/2280178/computers/now-playing--high-def-movies.html>. Accessed on April 15,

2016.
b) Since the introduction of the modern computer, obtaining information has been increasingly
simple, especially with the help of the Internet, online encyclopedias and other various CD-
ROMs. The computer can also accomplish smaller chores with ease. For example (IV), the
builtin calculator in Windows comes in handy when figuring calculations. In brief ( V),
computers are remarkably important in finishing trivial everyday tasks.
Adapted from <http://www.customessaymeister.com/customessays/Entertainment/13766.htm>. Accessed on April 15, 2016.
c) The monthly charge for a new PC typically is less than the monthly fee to finance the cost of
a new TV. Moreover (VI), consumers who choose the monthly repayment option on the
purchase of a television often must use the company’s store credit card to do so. This is not
typically the case with “free PCs.” Thus (VII), as the cost of the average entry-level personal
computer continues to fall well below that of the average television set, American households
should have fewer problems affording new computers.
Adapted from <http://www.heritage.org/research/reports/2000/04/how-free-computers-are-filling-the-digital-divide>. Accessed

on April 15, 2016.
Pá gina 147
VOCABULARY CORNER
1. Relate the letters below to the parts of a news story. Answer in your notebook.
The New York Times/ID/BR
Available at <http://1.bp.blogspot.com/_9gn6KLa5xtY/Sqp82LVQhBI/AAAAAAAAE6c/F-Mfus9aBOE/
s400/911NewYorkTimesFrontPageSept112001>. Accessed on April 15, 2016.
2. Use the suffixes -ion, -tion, and -ment to transform the verbs below into nouns. Use your
notebook.
communicate/entertain/empower/collect/classify/inform
3. Use the suffixes -ing and -ive to transform the verbs below into adjectives. Use your
notebook.
collect/perform/communicate/entertain/inform
Pá gina 148
EXTRA ACTIVITIES
PART 4
a) What do you think a sunny day can represent to people?
b) What about a rainy day, or a cloudy day?
c) How can the weather influence people’s moods?
d) Do you think that a sunny day has the same effect on people who live in very cold and dark
climate and on people from a tropical place? Why (not)?
HINT
Repare como as palavras são ligadas, fazendo a língua soar mais natural.
ÁUDIO 22 1. Listen to “Rain Will Fall” by Alain Clark. How do you like the song?
Alain Clark is a Dutch musician and producer. “Rain Will Fall” features in his album Live It Out.
Rain Will Fall

(by Alain Clark)
Hang around on a sunny day it’s alright
Picking flowers at the dawn of May it’s all bright
Safe people don’t go to pray and it’s alright
Saying sorry when you know you’re wrong it’s all good
Sing these lyrics to another song and it’s all good
Just as long as you go along it’s all good
But where there are clouds
Rain will fall

Cold love looks you in the eye and that’s okay
Two lovers with an alibi that’s touché
Ask no questions and you hear no lies is what they say
Ride the storm and laugh about it
It’s just a breeze if you look the other way
No sky’s ever been clear without it
Take a dive when the water’s warm
Blow the smoke away from the smoke alarm
Hurt no one and you do no harm
But don’t you know
That where there are clouds
Rain will fall
Where there are clouds
Rain will fall
Available at <http://www.sweetslyrics.com/567167.Alain%20Clark%20-%20Rain%20Will%20Fall%20.html>. Accessed on April

15, 2016.
Peter Van Breukelen/Redferns/Getty Images
Alain Clark, 2014.
2. Some weather expressions were used as metaphors in this song. In your notebook, write
the correct combination of numbers–letters to match the metaphors to their possible
meanings.
I Something which will pass quickly/something which causes no harm
II Sign of anger
III Problems
IV Tears
V Difficulties, challenges
A clouds
B rain
C breeze
D smoke
E storm
3. What idea do the first three verses of the song convey?
4. Do you agree with the advice in the song? Justify your answer.
ÁUDIO 22 5. Listen to the song and sing along!
Pá gina 149
VOCABULARY CORNER
1. What is the corresponding symbol for each weather condition? In your notebook, write the
right combination of letters–numbers.
A sunny
B stormy
C snowy
D windy
E rainy
F cloudy
I
II
III
IV
VI
Illustrations: TyBy/Shutterstock.com/ID/BR
LET’S READ!
1. Replace the letters of the excerpt below with the adverbs carefully, extremely,
historically, relatively, relentlessly, seriously, suddenly and only. Use your notebook.
For Teenage Girls, Facebook Means Always Being Camera-Ready

By Randye Hoder
It used to be that the A people B concerned about getting caught in grungy sweat pants, sans makeup, were
starlets stalked by the paparazzi. But in today’s hyper-public Internet age, young teenagers are C living their
lives camera-ready — and it’s not a pretty picture.
I first noticed this while looking over my 14-year-old son’s shoulder at photos of his “friends” on Facebook.
Girls, in particular, seemed to be always posing for the camera: hair swept back, hand on hip, dressed just so.
[…]
Creating a persona via Facebook is nothing new. Kids have been doing this since the site was first launched
eight years ago. By D selecting their own profile pictures, younger teenagers have become quite adept at
managing their image. But what is E new is that the glare of the camera is never far away. And that is F
affecting how adolescent girls conduct themselves in their actual, everyday lives. Girls this age, who have felt
pressured G to look their best most of the time, H seem to feel as if they need to look their best all of the time.
Adapted from <http://parenting.blogs.nytimes.com/2012/03/07/for-teenage-girls-facebook-means-always-being-camera-ready/>.

Pá gina 150
EXTRA ACTIVITIES
TIME FOR LITERATURE
Essay to Miss Catharine Jay (by Charles C. Bombaugh)
1. Read the poem Essay to Miss Catharine Jay, by Charles C. Bombaugh, and try to rewrite it in
your notebook decoding the abbreviations and numbers. Saying the letters and numbers aloud
can help in some cases. For example: “U” sounds like “You.”
Essay to Miss Catharine Jay

by Charles C. Bombaugh (~1847)
Private Collection. Facsimile: ID/BR
Charles C. Bombaugh,c. XIX.
An S A now I mean 2 write
2 U sweet K T J,
The girl without a | |,
The belle of U T K.
I 1 der if U got that 1
I wrote 2 U B 4
I sailed in the R K D A,
And sent by L N Moore.
My M T head will scarce contain
A calm I D A bright;
But A T miles from U I must
M ⏞ this chance 2 write.
And 1st, should N E N V U,
B E Z, mind it not;
Should N E friendship show, B true;
They should not B forgot.
From virt U nev R D V 8;
Her influence B 9
A like induces 10 dern S,
Or 40 tude D vine.
And if you cannot cut a —
Or cut an !
I hope U ’ll put a .
2 1 ?.
R U for an X ation 2,
My cous N? — heart and
He off R’s in a ¶
A § 2 of land.
He says he loves U 2 X S,
U R virtuous and Y’s,
In X L N C U X L
All others in his i’s.
This S A, until U I C,
I pray U 2 X Q’s,
And do not burn in F E G
My young and wayward muse.
Now fare U well, dear K T J,
I trust that U R true—
When this U C, then you can say,
An S A I O U.
Available at <http://www.bl.uk/learning/timeline/large126809.html>. Accessed on April 15, 2016.
2. Be a poet! In your notebook, write a poem in text message style or choose a poem you like
and rewrite it in this style. Then text it to a classmate for feedback. You can also post it on your
wiki. Remember to include a copy of it in your portfolio.
Pá gina 151
TIME FOR LITERATURE
Pride and Prejudice (by Jane Austen)
1. Jane Austen wrote six novels during her lifetime. They are Pride and Prejudice, Sense and
Sensibility, Emma, Northanger Abbey, Mansfield Park, and Persuasion. All of them have been
adapted into movies. Have you ever seen any of these movies?
2. Take a look at a poster of the 2005 film version of Pride and Prejudice. The catch line on the
bottom reads:
Universal Pictures/Album Cinema/Latinstock
“Sometimes the last person on earth you want to be with is the one person you can’t be
without.”
Now answer these two questions.
a) What genre do you expect the story to be?
b) Do you agree with the statement in the poster’s catch line? Why (not)?
3. Despite the effort of the movie director, sometimes movies are released with technical
problems. Below you have some mistakes in the movie adaptation of Pride and Prejudice.
Continuity: At the dinner in Lady Catherine’s house, the second candle from the left in the candle
holder is alternately crooked/straight during Elizabeth and Lady Catherine’s conversation.
Crew or equipment visible: When Mrs. Bennet follows Elizabeth out to the pond, after Elizabeth’s
refusal of Mr. Collins, Mrs. Bennet’s audio cord can be seen stretched out from under her dress. It is
masked with foliage, but still clearly visible.
Revealing mistakes: During the first scene of the movie in the house when Mary is seen playing
the piano, she is not actually touching the keys.
Available at <http://www.imdb.com/title/tt0414387/trivia?tab=gf>. Accessed on April 15, 2016.
a) Have you ever found a mistake in a movie you saw?
b) Here is a challenge: Watch the movie and try to find them. Have fun!
4. Let’s tweet! Start by reading the first descriptive paragraph in Jane Austen’s text again.
“… Mrs. Long says that Netherfield is taken by a young man of large fortune from the north of
England; that he came down on Monday in a chaise and four to see the place, and was so much
delighted with it that he agreed with Mr. Morris immediately; that he is to take possession before
Michaelmas, and some of his servants are to be in the house by the end of next week.”
The novel, as it has already been pointed out, was written in the 18th century. Notice that
people do not speak in the same way nowadays. Having this in mind, your task is to rewrite the
paragraph in the way you would say it nowadays and tweet about the arrival of a new boy/girl
in the neighborhood.
Remember to use colloquial everyday English of today, using no more than 140 characters!
Pá gina 152
EXTRA ACTIVITIES
TIME FOR LITERATURE
Cat in the Rain
1. Connect the following sentences in such a way that you will have a summary of the short
story “Cat in the Rain”. Add connecting words and new expressions when necessary, such as
and, where, above all, after, later, also, or any other you wish. Use your notebook.
She likes the hotel owner a lot.
She wishes she had long hair in contrast with her short manly curls.
A young American couple is staying at a hotel in Italy after the end of war.
She could receive guests and use shining silver with candles on the table.
They have no friends there.
She wants a cat she can hold and stroke and call her own too.
The husband spends most of his time lying in bed reading a book.
She talks to the hotel owner.
She wishes she had a house of her own.
The hotel owner is a very kind old man.
She goes down to try to save the cat from the rain.
She goes back to the room.
The hotel maid comes to her door with the little cat.
The wife is restless.
She sees a cat in the patio in the rain.
She starts to wish for a lot of things.
The maid says the “padrone” had sent her the kitten.
The cat is gone.
2. Look back at the first chapter of Pride and Prejudice that you read in Time for Literature,
where the position of women in society was mentioned. Think of the American wife in “Cat in
the Rain” and, in pairs, discuss the following topics.
Pá gina 153
a) More than one hundred years after the time of Jane Austen, what was a woman’s position in
society?
b) Does the American wife seem freer to choose her own destiny than Austen’s heroines?
c) Does George, the American husband, seem to consider his wife’s wishes?
d) The narrator says that the wife likes the hotel owner, but it never says the wife likes her
husband. Why do you think this is?
e) When the wife asks her husband about letting her hair grow, it seems she depends on his
opinion even for small things. Do you think wives nowadays need that kind of reassurance?
f) The husband is more interested in the book he is reading than in his wife. With a married
couple today, would the husband be reading a book or working on his computer/checking his
cell phone? How do you see the interference of computers and the Internet in a couple’s
relationship nowadays?
g) It’s nearly one hundred years since “Cat in the Rain” was written. How do you compare
couples’ relationships like the one described by Hemingway with relationships of the 21 st
century?
3. Now read the following lines, written by Shakespeare in the 17th century, and answer the
questions that follow.
Thy husband is thy lord, thy life, thy keeper, Thy head, thy sovereign; one that cares for thee,
And for thy maintenance commits his body To painful labour both by sea and land, To watch
the night in storms, the day in cold, Whilst thou liest warm at home, secure and safe; And
craves no other tribute at thy hands But love, fair looks and true obedience; Too little payment
for so great a debt. (The Taming of the Shrew 5.2.145-53)
Crw Publishing/ID/BR
a) In this excerpt from The Taming of the Shrew, which words are used to describe the
husband?
b) According to Shakespeare’s text, what are the main qualities of a wife?
c) What does the text imply is the reward a husband expects from a wife?
d) And why should the wife give such rewards?
e) How would you compare marriage in Hemingway’s text with marriage in Shakespeare’s
play?
DID YOU KNOW…?
In old English thy means your, thee means you (as an object in the sentence) and thou
means you (as a subject in the sentence).
Observe also that in Old English st was used with the second person of verbs in the present.
Example: thou liest instead of you lie.
DID YOU KNOW…?
In 1967, the Italian movie director Franco Zeffirelli filmed this play by Shakespeare, featuring
Richard Burton and Elizabeth Taylor, two great actors of the time, and the film became a
classic. You can find it in video rentals if you are interested in checking out this very interesting
story.
Columbia Pictures/ID/BR
GLOSSARY
sovereign: soberano(a)
whilst: enquanto
Pá gina 154
CROSSING BOUNDARIES
Knowledge across English and Chemistry
Do your part to save the environment!
How about learning how to help the environment by trying different solutions to get the same
result we get with industrialized products? Before you do an interesting experiment, work in
pairs and do the following activities. Use your notebook.
1. Make a list of the environmental problems the planet is facing today as a result of human
activity. Then decide: What can each individual do to help?
2. What do you do with comic books, newspapers, and magazines when you need to discard
them?
3. Look at the images below. How do you think they are related to some environmental
problems we face today?
qvist/Shutterstock.com/ID/BR
Gts/Shutterstock.com/ID/BR
Andreja Donko/Shutterstock.com/ID/BR
Andrew Scherbackov/Shutterstock.com/ID/BR
4. One of the images above shows a type of industrialized product for cleaning glass. Do you
know any substitutes for this product which would cause less harm to the environment?
Pá gina 155
You are the researcher!

5. Let’s try a revealing experiment in groups. Ask your chemistry teacher to help you. After
you have done your project, discuss the results with your group and present them to the whole
class.
Testing an alternative way to clean surfaces

You will compare a solution of vinegar and an industrialized cleaning product. You will need
the following:
• a dirty mirror, glass window, or any other dirty glass surface
• a bottle of vinegar
• a bottle of industrialized window cleaner

This is the procedure for your experiment:
1. Soak a piece of old newspaper with a diluted solution of vinegar.
Illustrations: Psonha/ID/BR
2. Scrub half of the dirty glass surface for one minute with the vinegar solution.
3. Spray the industrialized window cleaner on the other half of the glass surface.
4. Scrub it for one minute.
5. After doing this, observe the surface. Which half is cleaner? Is there a noticeable difference?
6. Discuss your results using the questions below as a guide.

a) What are the advantages and disadvantages of using a “green” cleaner?
b) Is it a good idea to use old newspaper to clean glass surfaces? What are the positive and
negative points?
c) Study the label of an industrialized cleaning product. Do research on its ingredients and list
their impact on the environment.
Adapted from <http://www.sciencefairadventure.com/ProjectDetail.aspx?ProjectID=190>. Accessed on April 15, 2016.

Pá gina 156
CROSSING BOUNDARIES
Knowledge across English and Physics
You are going to learn how to design an interesting camera. You are also going to try different
experiments involving Physics. Before you start, ask a classmate these questions:
a) Do you usually take photos or make videos of family and friends?
b) Which device(s) do you normally use to take photos?
1. Read this text and answer the questions.
Pinhole Photography
History, Images, Cameras, Formulas by Jon Grepstad, 1996
Introduction
Pinhole photography is lensless photography. A tiny hole replaces the lens. Light passes
through the hole; an image is formed in the camera.
Pinhole cameras are small or large, improvised or designed with great care. Cameras have
been made of seashells, many have been made of oatmeal boxes, coke cans or cookie
containers, at least one has been made of a discarded refrigerator. Cameras have been cast in
plaster like a face mask, constructed from beautiful hardwoods, built of metal with bellows and
a range of multiple pinholes. Station wagons have been used as pinhole cameras – and rooms
in large buildings. Basically a pinhole camera is a box, with a tiny hole at one end and film or
photographic paper at the other.
Pinhole cameras are used for fun, for art and for science.
Designing and building the cameras are great fun. Making images with cameras you have made
yourself is a great pleasure, too. But in serious photography the pinhole camera is just an
imaging device with its advantages and limitations, special characteristics and potentials. By
making the best of the camera’s potential great images can be produced. Some of the images
could not have been produced with a lens. […]
Available at <http://photo.net/learn/pinhole/pinhole>. Accessed on April 15, 2016.
a) What is the difference between a “regular” camera and a pinhole camera?
b) Which materials/things have already been used to build pinhole cameras?

2. Learn more about this art. With the help of your Physics teacher, do some research on one
of these topics.
How cameras work
How digital cameras work
How instant cameras work
How light affects the quality of photos
What causes red eyes in photos
Pá gina 157
You are the researcher!

How about making a pinhole camera?
These are the things you will need:
• a shoebox (or any similar box)
• blackout for a window (e.g. black card that can be taped over a window)
• aluminum foil (about 3 cm × 3 cm)
• a pin or sharp point (Be very careful when using this!)
• tape
• scissors
• craft knife (Be very careful when using this!)
• a ruler
• a lamp or a lit candle (Be very careful when using this!)
• Cut a square about 2 cm × 2 cm in the center of one side of the shoebox.
• Put the foil over the 2 cm square hole and tape it to the side of the shoebox.
• Use a pin or similar instrument to make a small hole in the foil.

• Your shoebox with pinhole is your pinhole camera.
This is how you use the pinhole camera:
• First check that you get an image with your pinhole camera: Place a light source in front of
the pinhole camera (see illustration). Then turn off all other lights.
• You should be able to see an image of the object on the opposite side of the shoebox.
Manzi/ID/BR
Adapted from <http://www-outreach.phy.cam.ac.uk/resources/ESM/KS2/pinhole/index.php>. Accessed on April 15, 2016.
Present the results of your experiment to your classmates, with the help of your physics
teacher. Discuss:
3. What is the principle behind the concept of a pinhole camera?
4. Why is the image produced by this camera upside down?
Pá gina 158
CROSSING BOUNDARIES
Experiments related to image production and
common phenomena studied in Physics
Look at the following projects. Choose one of them for an experiment. Ask your physics teacher
to help you.
Project 1: Making your photos move

Discover how you can make your photos move by trying this exciting experiment.
• Set up your digital camera on a tripod or in a secure spot near a busy street corner. If you
don’t have access to a street corner, choose a fixed subject matter in a changing environment,
such as a tree that catches morning and afternoon sun, or a flower that closes its petals at
night.
• Remove any obstacles in front of your subject matter. Don’t move your camera once the
project has started.
• Keep the flash turned off for day pictures, and turn your night mode on for pictures taken
between twilight and dawn.
• Set a watch to go off every hour to remind you to take a photo of your subject matter. In 24
hours, you should have 24 images in succession.
• Upload the images into a slide show format on your computer and put it on a loop. Extend the
amount of pictures in your experiment to see changes over days, weeks, or even months.
Adapted from <http://garmanj.blogspot.com.br/2015/07/junior-high-school-projects-with.html>. Accessed on April 15, 2016.
Multiples/Alamy/Glow Images
Wiltshire, United Kingdom, 2008.
Project 2: Create lightening

Lightening is a beautiful and frightening natural element. You can hear its boom from miles
and miles away and see it light up a completely dark sky – if only for a moment. Did you know
that you can create your own lightening using things that you are likely to find in your home or
at the grocery store? You will be able to see and possibly hear the lightening as it’s created!
Here’s how you can make your very own lightening! You will need the following:
• a foil pie plate
• a pen (ball point)
• a tack
• a sock (must be wool)
• Styrofoam block
• glue (if necessary)

• a cell phone with camera, if you have one
• notebook paper or journal
CG Mattos/Shutterstock.com/ID/BR
Rio de Janeiro, Brazil (undated photo).
Pá gina 159
• Gather your materials on a table.
• Begin by placing your tack in the pie plate from the bottom up. The sharp point should be
sticking out of the top of the pie plate.
• Place the pen in the pie plate, using the tack to anchor it. You may need to use a drop or two
of glue to get the pen anchored well. If you use glue, let it dry before proceeding. After this,
don’t touch the pie plate with your hands! You will not be able to conduct the experiment if you
do.
• Take the sock and rub the block of Styrofoam quickly. This will create the negative charge
you need to produce the lightening spark.
• Pick up the pie plate by holding on to the pen and push it down on top of the Styrofoam block
so the tack is lodged into the Styrofoam and anchors it in place.
• Turn off the lights. If it is possible, you can film the lightening spark.
• Bring your hand towards the pie plate slowly, without touching it. This will complete the
experiment.
Observation
Record each step of the experiment in your journal or on a piece of notebook paper. Be sure to
describe everything in detail if you don’t have a video camera to record the experiment.
Result
When you bring your hand close to the pie plate, an electric spark will be created. You will see
and hear it and possibly even feel it! What you have created is tiny lightening!
Project 3: Spectrum through water

Create a spectrum using a beam of light passing through water to form rainbow colors on the
ceiling.
These are the materials you will need:
• a shallow bowl
• water
• a mirror
• a flashlight
• Fill a shallow bowl with water.
• Place a mirror in the shallow bowl with water so that it is at an angle of about 30 degrees to
the surface of the water.
• Make the room dark (turn off lights/cover windows with dark cloth or paper).
• Shine the flashlight on the mirror. Remember: The angle at which the mirror is placed is
crucial to the formation of the spectrum on the ceiling.
Observation
When a beam of light from the flashlight is shone on the mirror immersed in water, a small
spectrum of rainbow colors appears on the ceiling.
Result
The experiment proves that white light is composed of different colors of the spectrum, each
possessing different wavelengths. Each water molecule acts as a simple prism causing the
refraction of each wavelength of light at a different angle, ultimately leading to the formation of
the colors of the spectrum on the surface on which the reflected beam of light falls.

Manzi/ID/BR
Pá gina 160
Audio transcripts
Unit 2 - DIGITAL SECURITY
Page 34
Track 3
– Let’s talk about Facebook quizzes.
– Yeah, that’s fun.
– Why those are bad?
– Oh, okay, it’s not fun.
(Laughs.)
– So, everyone with a Facebook account will probably notice all these quizzes that, you know,
come by your feed, through your friends, there’s a lot of these personality tests. Friend
comparisons, you know, year in review… All these things, and they are all done by, you know,
third parties, right? The article that I’ll link in the show now goes in a little bit more detail into
this and specifically calls out one company… Miao or something? Mow that they are called? M-
E-A-W-W is the name of this company.
– Meaww…
– Meaww, right. And they talk about some of their quizzes and digs into their privacy policy
and what they really do. When you click on these links to take the quiz, they automatically…
Now these are all Facebook applications that develops, and because they are Facebook
applications, what they do is, they prompt you and say “By taking this quiz you are giving
access to your email, your friends lists…” .You know, anything that you make public, and all
these information are harvested by this third party developer and they clearly state in their
privacy policy that: “Well, when you click on that link, you thereby give us this information by
taking the quiz” and who knows what happens to their data after that? A lot of times, from the
research that I’ve done, you know, if they have your email address, you are probably gonna see
an up ticking spam. They have your name, they have your friends names… Think about all that
information that can be used all because you wanted to have a little fun with your friends and,
you know, do some silly comparison, right?
Available at <http://sharedsecurity.net/2016/01/23/the-shared-securitypodcast-episode-50-facebook-quizzes-pre-crime-wireless-
home-securitysystems/>. Accessed on May 17, 2016.
Unit 5 - EXTRA! EXTRA!

Page 84
Track 9
Newscast 1
The Guardian
Welcome back to Film Weekly. I’m Jason Solomons. The cream of British screen acting visits the
show this week. I meet actress Emily Watson to discuss her role in Stephen Spielberg’s
adaptation of War Horse and Ralph Fiennes releases his directional debut – an adaptation of
Shakespeare’s Coriolanus, a tale of power, war and betrayal. I discuss the challenge of starring
and directing this thorny political tragedy. Myself and Guardian critic Xan Brooks will be
reviewing the week’s other big releases as well as War Horse. We’ve got Michael Fassbender
and Carey Mulligan in Shame and Jeremy Irons and Kevin Spacey, among others, in Margin
Call.
When it comes to film podcasts, it’s a one-horse race. It’s Film Weekly.
Available at <http://www.guardian.co.uk/film/audio/2012/jan/12/filmweekly-podcast-ralph-fiennes-coriolanus>. Accessed on

May 16, 2016.
Newscast 2
At times, it doesn’t even look like a regular soccer field. It is someone’s desperate home, not a
manicured pitch, and cattle sauntered by. But the players are not regular soccer players either
– they kick with the same leg they stand on. Goalies play with the only arm they have. These
are the members of Haiti’s amputees soccer teams, men and women who lost limbs almost all
during the earthquake in 2010. A balcony collapsed on Judith Facile: she had two choices:
amputation or death. Soccer soothes her pain.
Available at <http://www.youtube.com/watch?v=AXBdIBgl7to>. Accessed on May 16, 2016.
Newscast 3
Anchor: Over in Brazil the President, Dilma Roussef, announced a 65 billion dollar plan to help
stimulate the economy there centered on infrastructure. The plan offers 14,000 kilometers of
its roads and railways to the private sector. Karina Huber has more.
Reporter: Brazil is gearing up for a massive influx of visitors. In 2016 it will host the Olympics.
Two years before that the Football World Cup. In February it privatized three of its largest
airports in a bid to improve its infrastructure ahead of the arrival of all those athletes and
tourists. Now President Roussef has announced Brazil will be offering concessions to roads,
railways, ports and maybe some other airports to the private sector. Growth in Brazil is
predicted to be under two percent this year – a big drop from its 7.5 percent rate in 2010. Part
of its slowdown is due to slower global growth, but also due to weak infrastructure.
International economists with a specialty in emerging markets, like Joseph Foudy, think 65
billion dollars is not enough to get Brazil’s economy back on track, but he says focusing on
improving its infrastructure is a good first step.
Joseph Foudy: The number one challenge that, uhm,
Pá gina 161
Brazilian observers and international observers see is the quality of infrastructure. We really
worry this is a bottleneck on GDP that when the country starts growing too fast, uhm, inflation
sets in, uhm, earlier and faster in Brazil than in other countries, so anything they can do to
really improve the quality of infrastructure is gonna pay big dividends down the road.
Reporter: Brazil is also preparing to get rid of some taxes industries have to pay for energy.
Available at <http://www.youtube.com/watch?v=DJb-_VvfIlE&playnext=1&list=PL3AE53E53CC17E299&feature=results_video>.
Accessed on May 16, 2016.
Track 11
At times, it doesn’t even look like a regular soccer field. It is someone’s desperate home, not a
manicured pitch, and cattle saunter by. But the players are not regular soccer players either –
they kick with the same leg they stand on. Goalies play with the only arm they have. These are
the members of Haiti’s amputee soccer teams, men and women who lost limbs almost all
during the earthquake in 2010. A balcony collapsed on Judith Facile: she had two choices:
amputation or death. Soccer soothes her pain.
Judith: “Now I feel like I’m alive because, before that, after I lost my leg, I didn’t have any hope
for the future. Even though I was walking on crutches.”
And they are a sight to behold beyond the normal bounds of balance. Team president Cedieu
Fortilus says the players have changed the entire country’s attitude about the disabled.
“When I see they are playing like that I’m so proud, I’m so proud I think I’m doing a good job.
So I see so many people, even Haitians, even if they are crossing in the street, they take time to
look at them because they are doing something very strange. Something many Haitians never
see in their life.”
Off their crutches they tend to blend in. Each player is fitted with a state of the art prosthetic
for home use. Every centimeter of it is designed to mimic a real leg. Legs like these cost about
fifty thousand dollars in the US. Here in Haiti they are free.
Several private non-profit organizations in the United States fund a team and prosthetics for all
Haitians who need them.
“Just do it without the crutches, ha?”

The team name, Zorian, is creole for Tarantula, a spider that can function without a limb.
“Soccer has taught me to do a lot of things on one leg that I wasn’t used to doing before. I feel
comfortable when I’m playing.”
Team Zorian, showing the world not what its players can’t do without two legs, but what they
can do with just one.
In Cite Soleil, Haiti, Carolyn Presutti, VOA News.
Available at <http://www.youtube.com/watch?v=AXBdIBgl7to>. Accessed on May 12, 2016.
Unit 7 - IT’S ON TV
Page 112
Track 18
Reporter: What do you think the future of TV will be?
Interviewee: For me, if we begin to break it down, it’s really about taking something that
everybody loves, which is television, and bringing it together with the speed and power and
intelligence of a computer.
Reporter: Will it still be called television after all these social aspects and things are kind of
integrated into what we traditionally think of as our television set?
Interviewee: I think TV as a concept in consumers’ minds will continue to change and will
continue to evolve. So, really, the Internet won’t kill TV at all. TV is so powerful, people love it
so much, that they’ll just absorb it and just keep on moving. For us, as we move forward, when
you have the Internet and that connectivity, what it means is you have personalization. And I
think, as we continue to move further out, TV is gonna move off the wall. Or you’ve got smart
phones, you’ve got laptops, you’ve got cars, we’re beginning to see that, like we’re beginning to
see some cool little apps that are coming out to do that. And I think you’ll see more of them.
Reporter: It’s safe to say television isn’t going anywhere. It’s just going to evolve like it’s been
doing for the past seventy years. I’m Ellie Rountree and this has been Rocketboom tech.
Available at <http://www.youtube.com/watch?v=dXbI_aTiA84>. Accessed on May 16, 2016.
Unit 8 - YOU BROADCAST

Page 129
Track 20
A simple method to make a chicken sandwich. The ingredients: four pieces of bread, one boiled
chicken breast, two pieces of lettuce, some parsley for seasoning, tomato and onion slices, and
a tablespoon of lemon juice. First, shred the chicken breast. Then put in the chicken onto the
bread slice. Next, add the lettuce, the tomato and the onion slices. Lastly, season with the
parsley and the lemon juice. Chicken sandwich is suitable as a simple healthy dinner serving.
Pá gina 162
GLOSSARY
A
addicted: viciado(a)
addiction: vício
advice: conselho
agree: concordar
averages: médias
aware: consciente, informado(a)
background: histórico
battle: lutar; luta, batalha
beforehand: de antemão
belief: crença
believe: acreditar
belong: pertencer
beware: tomar cuidado, precaver-se
bond: estabelecer vínculo; união
boost: impulso, reforço
border: fronteira
branch: filial, ramo
bright: claro(a), vivo(a), resplandecente
broken down: quebrado
build equity: criar redes de relacionamento
burst onto: estourar
C
cave in: ceder à pressão
challenge: desafio; desafiar
chart: gráfico
cheat: colar (em prova, exame)
close: próximo(a), íntimo(a)
complaint: reclamação; reclamar
confident: confiante, seguro(a)
countless: incontável
deal: negócio; lidar
drop: queda; cair, baixar
due to: devido a
earn: ganhar
endear: enaltecer, tornar importante
endorse: aprovar, sancionar, confirmar
engage: envolver-se
enough: suficiente
ensure: assegurar
entrepreneur: empreendedor(a)
eyeliner: delineador de olhos
fad: tendência, moda
fear: medo, receio; temer, recear
few: poucos, poucas
footstep: passo, pegada
former: ex, anterior
fortunate: sortudo(a) G
gap: lacuna
guest: convidado(a) H
half: metade
hang around: vadiar, vagabundear
hard-driving: de pulso forte, de forte condução
hurt: doer, machucar
indeed: realmente
instead of: em vez de
iron filings: limalha de ferro
keep: manter
kick: chutar
kill: matar
launched: lançado
lawn mower: cortador de grama
led: levou, conduziu
losing touch: perdendo contato
lurk: espreitar, emboscar; esconderijo
Pá gina 163
manage: gerenciar
meaning: significado
misquoted: citado de forma errada
miss: perder, deixar escapar
mold: modelo, molde; moldar, formar

mourned: velado(a), em situação de luto
nowadays: hoje em dia
often: frequentemente
open-minded: de mente aberta, liberal
overcome: superar overnight: da noite para o dia
overwhelming: irresistível
pay forward: pagar depois (sentido de retribuição)
perv (abreviatura para perverted): pervertido(a)
pic (abreviatura para picture): foto
praise: elogiar; elogio
pundit: pessoa sábia, pândita
purchase: compra; comprar, adquirir
pursue: buscar, ir atrás de
push out: enviar
pushy:insistente, intrometido(a)
realize: perceber
referee: árbitro(a) de partida esportiva
refresh: refrescar, revigorar
regardless: independentemente de
resentment: ressentimento, indignação
rule: regra
safe: seguro(a), fora de perigo
safer: mais seguro
sales: vendas
savvy: bem informado(a), conhecedor(a)
seasonal: sazonal (que ocorre sempre numa época do ano)
seek out: buscar
seem: parecer set: estabelecer
shortage: falta de, insuficiência
sign-up sheet: ficha de inscrição
skeletal list: lista resumida
snack: refeição leve, pequeno lanche
snatch: roubar, sequestrar
sort: tipo, espécie; classificar, ordenar
spark: fagulha, faísca
speech: fala, discurso
spent: gasto, despendido
stand: permanecer, ficar
stopwatch: cronômetro
straight: reto(a)
strength: força
strict: rigoroso(a)
surroundings: arredores
swinging: balançando
threat: ameaça; ameaçar
through: através de
throw: arremessar, lançar
thunderstorm: tempestade (com raios e trovoadas)
toward: em direção a, para
trustworthy: confiável
try: tentar
turn down: dispensar, rejeitar

U
unlike: ao contrário, diferentemente utterly: completamente
waste: desperdiçar; perda, desperdício
wave: onda
way: maneira, modo
wildly popular: super popular
wintry: algo referente ao inverno
wish: desejar; desejo
Pá gina 164
LANGUAGE REFERENCE
Falar sobre hábitos e verdades
Use o presente simples para falar sobre situaçõ es permanentes ou verdades genéricas, e para
falar sobre coisas que acontecem com frequência:
Social networking sites make these connections between people visible.
Nowadays we have more friends in social network rather than in real life.
Com he, she e it usamos regras diferentes:
Casos especiais (grafia) Exemplos

Para a maioria dos verbos But a call to a friend works just as well as a Facebook
message […]. In my point of view, Internet becomes part
adicione -s of our life
Para verbos que terminam em vogal + y
A good listener pays attention by making eye contact
adicione -s
Para verbos que terminam em consoante + y
Find an example that justifies your answer.
troque o y por -ies
Para verbos que terminam em -ch, -sh ou -o
[…] the list goes on and on.
adicione -es
Formas irregulares
be > is Social networking is a major worldwide success.
have > has

Use don’t ou doesn’t seguido pelo verbo em sua forma bá sica para formar a negativa:
Your family and friends don’t see you […].
The video doesn’t talk about the rise and decline of some social networks.
Formas completas e formas contraídas

I do not
I don’t
He does not/She does not/It does not
have to use social networks in the office.

He doesn’t/She doesn’t/It doesn’t
We do not/You do not/They do not
We don’t/You don’t/They don’t
Insira o verbo auxiliar do (ou does) antes do sujeito para fazer perguntas.
Verbo auxiliar + Sujeito + Infinitivo do verbo principal

Do I/we/you/they have to use social networks in the
Does he/she/it office?
Respostas curtas
Afirmativa Negativa
don’t.
I/we/you/they do. I/we/you/they
do not.
Yes, No,
doesn’t.
he/she/it does. he/she/it
does not.
Pá gina 165
Falar sobre ações em progresso

Use o presente contínuo para açõ es que estã o em progresso ou acontecendo agora (hoje,
neste segundo/mês/ano/século):
[…] human interaction, something we are losing touch with.
The simplest way to ensure you aren’t wasting time in any one place […]
Is social media changing the way we communicate?
Afirmativas
Expressões de
Verbo to be + verbo na forma -ing
tempo
I am studying English now.
He/She/It is studying
We/You/They are studying at the moment.
Negativas
I am not
I’m not
He is not/She is not/It is not
He isn’t/She isn’t/It isn’t
wasting time in any one place […].

He’s not/She’s not/It’s not
We are not/You are not/They are not
We aren’t/You aren’t/They aren’t
We’re not/You’re not/They’re not
Insira o verbo to be antes do sujeito para formar perguntas.
Perguntas
Verbo to be + Sujeito + Verbo na forma -ing
Am I
keeping regular contact with
Is he/she/it
English?
Are we/you/they
Os verbos principais podem sofrer alteraçõ es para formar o presente contínuo.
Ortografia Exemplos
Para a maioria dos verbos
Am I keeping regular contact […]?
adicione -ing
Para verbos que terminam em -y
I’m studying English now.
adicione -ing
Para verbos que terminam em -e
We aren’t wasting time. Exceptions: be > being; see >
seeing
troque o -e por -ing
Para verbos que terminam em consoante + vogal
+ consoante na sílaba tônica We’re beginning to see some cool little apps that are
coming out to do that.
repita a consoante final + -ing
Pá gina 166
Use palavras WH- e coloque o verbo to be antes do sujeito para fazer perguntas.
Perguntas
Palavra WH- + Verbo to be + Sujeito + Verbo na forma -ing
am I
What is he/she/it doing in this picture?
are we/you/they
Fazer recomendações e dar ordens

Use o imperativo para dar dicas.
Afirmativa: verbo Negativa: don’t + verbo

Listen and Ask Questions Don’t ask embarrassing questions.
Give a Compliment Don’t be impolite.
Form a Study Group Don’t complain too much.
Use o imperativo para fazer recomendaçõ es, sugestõ es, avisos e para dar instruçõ es ou
ordens:
Use anti-virus software on your computer.
Don’t accept unknown friend requests.
Falar sobre ações no passado

Use os verbos na forma do passado simples para descrever fatos, açõ es e eventos terminados
no passado.
Afirmativa com a maioria dos verbos

And I had, like, an eating disorder in high school […].
I/You/He/She/It/We/You/
They
She moved to L.A. from Texas to pursue her dream […].
Afirmativa com o verbo to be
All that was left was the Russian, Alexander Popoff, to create a vertical metal
I/He/She/It/
pole […]
We/You/They […] those months you lived in L.A. were kind of a disaster, right?
Use o verbo auxiliar did para fazer perguntas e negativas no passado simples.
Verbo auxiliar + Sujeito + Infinitivo do verbo principal

I
Did he/she/it invent the radio?
we/you/they
Respostas curtas
Afirmativa Negativa
I
I he/she/it
Yes, did. No, he/she/it did not. didn’t.
we/you/they
we/you/they
Pá gina 167
Adicione n’t ou not ao verbo auxiliar did para formar a negativa:
[...] they didn't allow us to use their kitchen.

I
did not
He/She/It invent the radio alone.
didn’t
We/You/They
Nota: O verbo principal permanece na sua forma bá sica na negativa.
Adicione n’t ou not à s formas do verbo to be (was e were) para formar a negativa.

I was not/He was not/She was not/It was not
a big radio fan.
I wasn’t/He wasn’t/She wasn’t/It wasn’t
We were not/You were not/They were not
big radio fans.
We weren’t/You weren’t/They weren’t
Use palavras WH- para fazer perguntas.
Palavra WH- como objeto de questão

Verbo auxiliar
Palavra WH- Sujeito Verbo principal
(was/were ou did)
How did the radio originate?
Where was Guglielmo Marconi born?
When were the first formulas reated?
Palavra WH- como sujeito da sentença

Palavra WH- Verbo principal Complemento
Who created the name “coherer”?
What was constructed in 1888?
Nota: As formas verbais was e were devem concordar com o sujeito.
Use o sufixo -ed para formar o passado simples de verbos regulares.
Formação de palavras Exemplos

Para a maioria dos verbos
Guglielmo Marconi discovered that radio waves travel
through an obstacle.
adicione -ed
Para verbos que terminam em e
James Maxwell created the first radio-wave formula.
adicione -d
Para verbos que terminam em consoante + y I studied about the invention of the radio with interest.
troque o y por -ied
Nota: verbos irregulares possuem formas especiais. Confira uma lista desses verbos no final
desta seçã o.=PG=168=
LANGUAGE REFERENCE
Falar sobre experiências em um tempo indefinido
no passado
Use o presente perfeito para falar sobre experiências que ocorreram em um tempo
indefinido no passado ou eventos no passado com consequências no presente.

Verbo to have + Particípio passado do verbo principal
I have/We have/You have/They have
I’ve/We’ve/You’ve/They’ve
used social networks a lot lately.
He has/She has/It has
He’s/She’s/It’s
Nota: O particípio passado de verbos regulares é formado adicionando-se o sufixo –ed; por
exemplo, used. Verbos irregulares possuem formas especiais; por exemplo, seen. Confira o
quadro com verbos irregulares no final desta seçã o.
Adicione n’t ao verbo auxiliar have ou use-o seguido de not para formar a negativa.
Negativas
Verbo to have + not + Particípio passado do verbo principal
I/We/You/They haven’t
used social networks a lot lately.
He/She/It hasn’t
Insira o verbo to have antes do sujeito para fazer perguntas.
Perguntas
Verbo to have + Sujeito + Particípio Passado do verbo principal
Have I/we/you/they
used social networks a lot lately?
Has he/she/it
Use ever para perguntar sobre uma experiência prévia ocorrida em qualquer momento do
passado:
Have you ever left a message on a friend’s cell phone?
Has he ever used a tablet?

Respostas curtas
Afirmativa Negativa
have not.
I/we/you/
have. I/we/you/they
they
haven’t.
Yes, No,
has not.
he/she/it has. he/she/it
hasn’t.
Use never, already, just e yet para responder perguntas que estã o no presente perfeito:
I have never used the new tablet. (A açã o nã o aconteceu em nenhum momento.)
I’ve already used the new tablet. (A açã o aconteceu previamente.)
I’ve just used the new tablet. (A açã o aconteceu recentemente.)
I haven’t used the new tablet yet. (A açã o ainda nã o aconteceu.)
Pá gina 169
Nota 1: O advérbio never é usado em sentenças afirmativas, enquanto yet é usado no final de
sentenças negativas.
Nota 2: Os advérbios already e yet podem ser usados como sinô nimos em perguntas.
Have you texted your friend about the party yet? (Are you done? I’m waiting.)
Have you already texted your friend about the party? (So fast. I’m shocked!)
Use for ou since para falar sobre eventos ou estados que começaram no passado e ainda
permanecem agora.
Delicious [ the website] has been available for several years. (Foco no período de tempo)
Wikipedia has been available since 2001. (Foco no início do evento)
Falar sobre ações em progresso no passado

Use o passado contínuo para falar sobre uma atividade que estava em progresso ou fornecer
o pano de fundo de uma narrativa no passado.
[…] because I was texting my friends and checking my e-mail. (Atividade em progresso)
I was doing the challenge so I made myself a sandwich and went back to work. (Acontecimento
paralelo)
Afirmativas
Verbo to be + Verbo na forma -ing
I/He/She/It was texting some friends and checking
We/You/They were e-mails.
Adicione n’t à s formas de passado do verbo to be ou use essas formas seguidas por not para
fazer a negativa.

I was not/He was not/She was not/It was not
I wasn’t/He wasn’t/She wasn’t/It wasn’t

texting friends or checking e-mails.
We were not/You were not/They were not
We weren’t/You weren’t/They weren’t
Use palavras WH- e insira o verbo to be antes do sujeito para fazer perguntas.
Perguntas
Palavra WH- + Verbo to be + Sujeito + Verbo na forma -ing
was I/he/she/it when the teacher
arrived in class?
What doing
were we/you/they
yesterday at 7 pm?
Use when ou before para falar sobre uma açã o completa que interrompeu a açã o em
progresso no passado.
When I met my best friend, I was playing soccer with neighbors.
We were talking noisily before the teacher arrived in class.
Nota: Quando a sentença começa com um advérbio, colocamos uma vírgula apó s o advérbio.
Pá gina 170
LANGUAGE REFERENCE
Distinguir fatos de opiniões
Use verbos estativos para expressar opiniõ es, estados duradouros. Veja alguns exemplos:
agree, believe, dislike, doubt, guess, know, imagine, like, love, realize, remember, think (= have an opinion), understand
I think that it’s a mistake to substitute modern languages for an ancient universal one […]
I agree with Natascia L.
Nota: Verbos estativos sã o diferentes de verbos dinâ micos, que normalmente descrevem
açõ es: eles geralmente não sã o usados na forma contínua. Nã o é considerado padrã o, por
exemplo, perguntar “Are you understanding this topic?”.
Falar sobre eventos futuros

Use o futuro simples para falar sobre eventos futuros, expressar decisõ es, consequências,
previsõ es e promessas.
Afirmativas
Will + Infinitivo do verbo principal
I/He/She/It
will change the nature of global media.
We/You/They
Adicione not ao verbo auxiliar, ou altere a sua ortografia adicionando n’t, para formar a
negativa (will not ou won’t).
Formas completas e contraídas

I/He/She/It
will not won’t change the nature of global media.
We/You/They
Insira o auxiliar will antes do sujeito para fazer perguntas.
Perguntas
Will + Sujeito + Infinitivo do verbo principal
I/he/she/it
Will change the nature of global media?
we/you/they
Respostas curtas
Afirmativa Negativa
I he/she/it I he/she/it will not.
Yes, will. No,
we/you/they we/you/they won’t.
Adicione palavras WH- antes do auxiliar will para fazer outros tipos de perguntas.
Perguntas
Palavra WH- + will + Sujeito + Infinitivo do verbo principal
I/he/she/it
What will do in the future?
we/you/they
Pá gina 171
Conectar ideias
Use palavras de ligação para conectar ideias dentro de um pará grafo e entre pará grafos.
Ideias Palavras de ligação

adição in addition, moreover, besides, as well as, and, also
contraste however, nevertheless, even though, while, but, yet, although
comparação similarly, in the same way/manner, likewise
ênfase in fact, indeed
exemplificação for example, such as
exceção aside from, except (for)
explicar razão since, because, because of, due to, as
resultado thus, therefore, then
sequência first, second, next, then, after that, lastly, finally
resumo in conclusion, finally, in brief
condição if, whether
simultaneidade while, as
Formar palavras
Adicione sufixos à s palavras para criar novos significados.
Formação de palavras
Sufixo Significado Exemplos
(substantivo) caracterizado por
-ance performance finance
(verbo) caracterizar
-ist (substantivo) pessoa envolvida com tourist
(substantivo) açã o, condiçã o,
-ment empowerment
resultado
-ism (substantivo) açã o ou prá tica tourism
(substantivo abstrato) açã o,
-tion classification
processo de
(adjetivo) resultar qualidade ou
-ed empowered (with power)
estado
-ing (adjetivo) atributos contínuos empowering (that gives power)
-al (adjetivo) ter o caráter de financial
(adjetivo) tendência, disposiçã o,
-ive informative
condiçã o
-ate (verbo) açã o donate
-ify (verbo) fazer, tornar-se, fazer mudar classify
Use advérbios de modo para falar sobre como algo acontece (verbo) ou é (adjetivo).
Adjetivo + -ly Exemplos

[…] you have to be willing to […] continually post new
continually modifica o verbo post
content on Facebook and YouTube.
YouTube is still a relatively easy and efficient way to
relatively modifica os adjetivos easy e efficient
discover the next big star […]
Pá gina 172
LANGUAGE REFERENCE
Verbos irregulares
Forma básica Passado simples Particípio passado Tradução
levantar(-se); surgir;
arise /əˈraɪz/ arouse /əˈroʊz/ arisen /əˈrɪz ən/
originar(-se)
was /wʌz/,
be /bi/ been /bɪn/ ser, estar
were /wɜr/
carregar; espalhar;
bear /bɛər/ bore /bɔr/ born, borne /bɔrn/
exibir, ostentar
beat /bit/ beat /bit/ beaten /ˈbit n/ bater
become /bɪˈkʌm/ became /bɪˈkeɪm/ become /bɪˈkʌm/ tornar-se
begin /bɪˈgɪn/ began /bɪˈgæn/ begun /bɪˈgʌn/ começar
bend /bɛnd/ bent /bɛnt/ bent /bɛnt/ inclinar-se, curvar-se
bet /bɛt/ bet /bɛt/ bet /bɛt/ apostar
bid /bɪd/, bade bid /bɪd/, mandar; declarar;
bid /bɪd/
/bæd/ bidden /ˈbɪd n/ fazer um lance
bind /baɪnd/ bound /baʊnd/ bound /baʊnd/ ligar, unir
bite /baɪt/ bit /bɪt/ bitten /ˈbɪt n/ picar
soprar; florescer;
blow /bloʊ/ blew /blu/ blown /bloʊn/
espalhar
break /breɪk/ broke /broʊk/ broken /ˈbroʊ kən/ quebrar, partir
produzir; dar cria,
breed /brid/ bred /brɛd/ bred /brɛd/
procriar
bring /brɪŋ/ brought /brɔt/ brought /brɔt/ trazer; produzir; levar
broadcast /ˈbrɔd broadcast /ˈbrɔd transmitir por rá dio
broadcast /ˈbrɔdˌkæst/
ˌkæst/ ˌkæst/ ou TV; espalhar
build /bɪld/ built /bɪlt/ built /bɪlt/ construir; montar
burst /bɜrst/ burst /bɜrst/ burst /bɜrst/ rebentar, estourar
buy /baɪ/ bought /bɔt/ bought /bɔt/ comprar
cast /kæst/ cast /kæst/ cast /kæst/ lançar; emitir
catch /kætʃ/ caught /kɔt/ caught /kɔt/ pegar; capturar
choose /tʃuz/ chose /tʃoʊz/ chosen /ˈtʃoʊ zən/ escolher
come /kʌm/ came /keɪm/c ome /kʌm/ vir
cost /kɔst/ cost /kɔst/ cost /kɔst/ custar
cut /kʌt/ cut /kʌt/ cut /kʌt/ cortar
deal /dil/ dealt /dɛlt/ dealt /dɛlt/ lidar
dig /dɪg/ dug /dʌg/ dug /dʌg/ cavar, furar; indagar
do /du/ did /dɪd/ done /dʌn/ fazer
draw /drɔ/ drew /dru/ drawn /drɔn/ desenhar; puxar;
traçar
drink /drɪŋk/ drank /dræŋk/ drunk /drʌŋk/ beber
drive /draɪv/ drove /droʊv/ driven /ˈdrɪv ən/ deixar; levar a; dirigir;
pô r em movimento
eat /it/ ate /eɪt/ eaten /ˈit n/ comer
fall /fɔl/ fell /fɛl/ fallen /ˈfɔ lən/ cair
feed /fid/ fed /fɛd/ fed /fɛd/ alimentar(-se)
feel /fil/ felt /fɛlt/ felt /fɛlt/ sentir
fight /faɪt/ fought /fɔt/ fought /fɔt/ brigar, lutar; combater
find /faɪnd/ found /faʊnd/ found /faʊnd/ achar; julgar;
encontrar; procurar
fit /fɪt/ fit /fɪt/ fit /fɪt/ encaixar; ajustar
flee /fli/ fled /flɛd/ fled /flɛd/ fugir
forecast /ˈfɔrˌkæst/ forecast /ˈfɔrˌkæst/ forecast /ˈfɔrˌkæst/ prever; projetar
forget /fərˈgɛt/ forgot /fərˈgɒt/ forgotten /fərˈgɒt n/, esquecer
forgot
forgive /fərˈgɪv/ forgave /fərˈgeɪv/ forgiven /fərˈgɪv ən/ perdoar
fly /flaɪ/ flew /flu/ flown /floʊn/ voar
freeze /friz/ frozen /froʊz/ froze /ˈfroʊ zən/ congelar
Pá gina 173
Verbos irregulares
get /gɛt/ got /gɒt/ got, gotten /ˈgɒt n/ conseguir; receber;
entender; ficar; pegar,
contrair
give /gɪv/ gave /geɪv/ given /ˈgɪ vən/ dar
go /goʊ/ went /wɛnt/ gone /gɒn/ ir
grow /groʊ/ grew /gru/ grown /groʊn/ crescer; criar; ficar
cada vez mais; cultivar
hang /hæŋ/ hung /hʌŋ/ hung /hʌŋ/ dependurar; ficar
have /hæv/ had /hæd/ had /hæd/ ter
hear /hɪər/ heard /hɜrd/ heard /hɜrd/ ouvir, escutar
hide /haɪd/ hid /hɪd/ hidden /ˈhɪd n/ esconder(-se)
hit /hɪt/ hit /hɪt/ hit /hɪt/ atingir; chegar a
hold /hoʊld/ held /hɛld/ held /hɛld/ sediar; reunir; segurar
hurt /hɜrt/ hurt /hɜrt/ hurt /hɜrt/ machucar, ferir;
causar prejuízo, doer
keep /kip/ kept /kɛpt/ kept /kɛpt/ manter; permanecer
know /noʊ/ knew /nyu/ known /noʊn/ conhecer; saber
lay /leɪ/ laid /leɪd/ laid /leɪd/ pô r; estender
lead /lid/ led /lɛd/ led /lɛd/ conduzir, levar
learn /lɜrn/ learnt /lɜrnt/ learnt /lɜrnt/ aprender; ficar
sabendo, descobrir
leave /liv/ left /lɛft/ left /lɛft/ partir; sair; sobrar
lend /lɛnd/ lent /lɛnt/ lent /lɛnt/ emprestar
let /lɛt/ let /lɛt/ let /lɛt/ fazer com que; deixar
lie /laɪ/ lay /leɪ/ lain /leɪn/ jazer, estar deitado(a)
light /laɪt/ lit /lɪt/ lit /lɪt/ iluminar; acender
lose /luz/ lost /lɔst/ lost /lɔst/ perder
make /meɪk/ made /meɪd/ made /meɪd/ fazer
mean /min/ meant /mɛnt/ meant /mɛnt/ querer dizer;
significar
meet /mit/ met /mɛt/ met /mɛt/ conhecer; encontrar
overcome /ˌoʊvər overcame /ˌoʊvər overcome /ˌoʊvər superar
ˈkʌm/ ˈkeɪm/ ˈkʌm/
pay /peɪ/ paid /peɪd/ paid /peɪd/ pagar; prestar
put /pʊt/ put /pʊt/ put /pʊt/ pô r, colocar
quit /kwɪt/ quit /kwɪt/ quit /kwɪt/ renunciar, abandonar,
desistir, deixar
read /rid/ read /rɛd/ read /rɛd/ ler
rid /rɪd/ rid /rɪd/ rid /rɪd/ livrar-se
ride /raɪd/ rode /roʊd/ ridden /ˈrɪd n/ cavalgar; andar de
ring /rɪŋ/ rang /ræŋ/ rung /rʌŋ/ tocar (campainha,
telefone)
rise /raɪz/ rose /roʊz/ risen /ˈrɪz ən/ levantar, sair da cama;
subir; tornar-se
audível
run /rʌn/ ran /ræn/ run /rʌn/ correr; dirigir,
administrar; ter a
duraçã o de; executar
(programa)
say /seɪ/ said /sɛd/ said /sɛd/ dizer
see /si/ saw /sɔ/ seen /sin/ ver
seek /sik/ sought /sɔt/ sought /sɔt/ buscar; aspirar;
empenhar-se
sell /sɛl/ sold /soʊld/ sold /soʊld/ vender
send /sɛnd/ sent /sɛnt/ sent /sɛnt/ enviar
set /sɛt/ set /sɛt/ set /sɛt/ estabelecer; passar-se;
ter lugar
sew /soʊ/ sewed /soʊd/ sewn /soʊn/, sewed costurar
shake /ʃeɪk/ shook /ʃʊk/ shaken /ˈʃeɪkən/ sacudir, agitar
Pá gina 174
LANGUAGE REFERENCE
Verbos irregulares
shine /ʃaɪn/ shone /ʃoʊn/ shone /ʃoʊn/ brilhar; refletir luz
shoot /ʃut/ shot /ʃɒt/ shot /ʃɒt/ filmar; percorrer em
grande velocidade;
dizer logo
show /ʃoʊ/ showed /ʃoʊd/ shown /ʃoʊn/ mostrar, apresentar
shut /ʃʌt/ shut /ʃʌt/ shut /ʃʌt/ fechar
sing /sɪŋ/ sang /sæŋ/ sung /sʌŋ/ cantar
sink /sɪŋk/ sank /sæŋk/, sunk /sʌŋk/ descer; afundar;
sunk /sʌŋk/ decair
sit /sɪt/ sat /sæt/ sat /sæt/ sentar-se; deixar por
um tempo
sleep /slip/ slept /slɛpt/ slept /slɛpt/ dormir
slide /slaɪd/ slid /slɪd/ slidden /ˈslɪd n/, slid deslizar
speak /spik/ spoke /spoʊk/ spoken /ˈspoʊ kən/ falar
spend /spɛnd/ spent /spɛnt/ spent /spɛnt/ passar (tempo);
gastar
spill /spɪl/ spilt /spɪlt/ spilt /spɪlt/ derramar
spin /spɪn/ spun /spʌn/ spun /spʌn/ girar; torcer
split /splɪt/ split /splɪt/ split /splɪt/ rachar; separar(-se);
dividir
spread /sprɛd/ spread /sprɛd/ spread /sprɛd/ espalhar; estender
spring /sprɪŋ/ sprang /spræŋ/ sprung /sprʌŋ/ surgir
stand /stænd/ stood /stʊd/ stood /stʊd/ aturar, suportar; estar
de pé; estar;
encontrar-se; ser;
ocupar certo lugar
steal /stil/ stole /stoʊl/ stolen /ˈstoʊ lən/ roubar
stick /stɪk/ stuck /stʌk/ stuck /stʌk/ grudar
sting /stɪŋ/ stung /stʌŋ/ stung /stʌŋ/ picar, ferroar; doer;
ferir
strike /straɪk/ struck /strʌk/ struck /strʌk/ impressionar; abater
swear /swɛər/ swore /swɔr/ sworn /swɔrn/ jurar, prometer;
xingar, praguejar
sweep /swip/ swept /swɛpt/ swept /swɛpt/ passar rapidamente;
varrer
swim /swɪm/ swam /swæm/ swum /swʌm/ nadar
swing /swɪŋ/ swung /swʌŋ/ swung /swʌŋ/ balançar
take /teɪk/ took /tʊk/ taken /ˈteɪ kən/ agarrar; levar; fazer
(aula); tomar,
assumir; pegar
teach /titʃ/ taught /tɔt/ taught /tɔt/ ensinar
tear /tɛər/ tore /tɔr/ torn /tɔrn/ rasgar; dividir
tell /tɛl/ told /toʊld/ told /toʊld/ contar; dizer
think /θɪŋk/ thought /θɔt/ thought /θɔt/ achar; pensar
throw /θroʊ/ threw /θru/ thrown /θroʊn/ atirar, jogar
understand /ˌʌn dər understood /ˌʌn dər understood /ˌʌn dər entender
ˈstænd/ ˈstʊd/ ˈstʊd/
upset /ʌpˈsɛt/ upset /ʌpˈsɛt/ upset /ʌpˈsɛt/ desarranjar;
perturbar; impedir
wake /weɪk/ woke /woʊk/ woken /ˈwoʊkən/ acordar
wear /wɛər/ wore /wɔr/ worn /wɔrn/ usar; vestir; gastar
(pelo uso)
win /wɪn/ won /wʌn/ won /wʌn/ ganhar, vencer
wind /waɪnd/ wound /waʊnd/ wound /waʊnd/ enrolar
withdraw /wɪðˈdrɔ/ withdrew /wɪðˈdru/ withdrawn /wɪð retirar(-se); afastar(-
ˈdrɔn/ se); sacar
write /raɪ t/ wrote /roʊt/ written /ˈrɪtn/ escrever
Pá gina 175
RECOMMENDED BIBLIOGRAPHY FOR STUDENTS

AZAR, B. S.; HAGEN, S. A. Basic English Grammar. New York: Pearson; Longman, 2006.
BROMBERG, M.; GORDON, M. Barron’s 1100 Words You Need to Know. Hauupauge, UK: Barron’s Educational
Series, 1997.
CAMBRIDGE Advanced Learner's Dictionary (with CD-ROM). Cambridge: Cambridge University Press, 2008.
CARTER, R.; HUGHES, R.; MCCARTHY, M. Exploring Grammar in Context: Upper-Intermediate and Advanced.
Cambridge: Cambridge University Press, 2000.
COLLINS Cobuild Dictionary of Idioms. London: Harper Collins, 1995.
DICIONÁRIO Oxford escolar para estudantes brasileiros de inglês: Português-Inglês/Inglês-Português. Sã o

Paulo: Oxford do Brasil, 2010.
GREEN, J. Cassell Dictionary of Slang. London: Cassell, 2006.
HUGHES, R. Exploring Grammar in Writing: Upper-Intermediate and Advanced. Cambridge: Cambridge

University Press, 2005.
KERNERMAN, L. Password: English Dictionary for Speakers of Portuguese. Sã o Paulo: Martins Fontes, 2010.
LIGHTER, J. E. (Ed.). Random House Historical Dictionary of American Slang. New York: Random House,
1994-97. v. 1, 2.
MARQUES, A. Dicionário de Inglês/Português Português/Inglês. Sã o Paulo: Á tica, 2004.
MCCARTHY, M.; O'DELL, F. English Vocabulary in Use (Upper-Intermediate). Cambridge: Cambridge

MURPHY, R. English Grammar in Use. Cambridge: Cambridge University Press.
NETTLE, M.; HOPKINS, D. Developing Grammar in Context Intermediate with Answers: Grammar Reference and
Practice. Cambridge: Cambridge University Press, 2003.
PARKINSON, D. (Ed.). Oxford Phrasal Verbs Dictionary for Learners of English. Oxford: Oxford University
Press, 2005.
SWAN, Michael. Practical English Usage. Oxford: Oxford University Press, 2005.
LITERATURE
ATWOOD, M. The Edible Woman. Piscataway, NJ: Research & Education Association, 2000.
AUSTEN, J. Pride and Prejudice. London: Collector’s Library, CRW Publishing, 2003.
BRONTË, E. Wuthering Heights. New York: The Modern Library, 1950.
DRABBLE, M. The Milestone. Harmondsworth, Middlesex, England: Penguin Books, 1980.
HEMINGWAY, E. The Old Man and the Sea. New York: Bantam Books, 1965.
JOYCE, J. Dubliners. Harmondsworth, Middlesex, England: Penguin Books, 1986.
Pá gina 176
BIBLIOGRAPHY
ABREU-TARDELLI, L. S.; CRISTOVÃO, V. L. L. (Org.). Linguagem e educação: o ensino e a aprendizagem de gêneros
textuais. Campinas: Mercado de Letras, 2009.
BAZERMAN, C. Gênero, agência e escrita. Trad. e adap. Judith Chambliss Hoffnagel. Sã o Paulo: Cortez, 2006.
BORGES, E. F. V.; PAIVA, V. L. M. O. Por uma abordagem complexa de ensino de línguas. Linguagem & Ensino,
Pelotas, v. 14, n. 2, p. 337-56, jul./dez. 2011.
BRASIL. Ensino médio inovador. Brasília: MEC/SEB, 2009. Disponível em:

<http://portal.mec.gov.br/dmdocuments/ensino_medioinovador.pdf>. Acesso em: 15 abr. 2016.
________. Lei n. 9.394, de 20 de dezembro de 1996. Lex: Leis de Diretrizes e Bases da Educaçã o Brasileira
(LDB). Brasília, 1996.
________. Orientações curriculares para o ensino médio. Linguagens, có digos e suas tecnologias. Brasília:
MEC/SEB, 2006. v. 1.
COPE, B.; KALANTZIS, M. Multiliteracies: The beginning of an idea. In: COPE, B.; KALANTZIS, M. (Ed.).
Multiliteracies: Literacy learning and the design of social futures. London: Routledge, 2000. p. 3-8.
CRISTOVÃO, V. L. L.; NASCIMENTO, E. L. (Org.). Gêneros textuais: teoria e prá tica II. Palmas, Uniã o da Vitó ria:
Kayguangue, 2005.
LARSEN-FREEMAN, D. Chaos/Complexity science and second language acquisition. Applied Linguistics, v. 18, n.
2, p. 141-65, 1997.
MARCUSCHI, L. A. Produção textual, análise de gêneros e compreensão. Sã o Paulo: Pará bola Editorial, 2008.
MILLER, C. R. Rhetorical community: the cultural basis of genre. In: FREEDMAN, A.; MEDWAY, P. (Ed.). Genre and
the New Rhetoric. London: Taylor and Francis, 1994. p. 23-42.
NOVAK, J. D.; GOWIN, D. B. Learning How to Learn. New York, NY: Cambridge University Press, 1984.
PAIVA, V. L. M. O. As habilidades orais nas narrativas de aprendizagem. Trabalhos em Linguística Aplicada,

v. 46, n. 2, p. 165-179, 2007.
__________. Como o sujeito vê a aquisiçã o de segunda língua. In: CORTINA, A.; NASSER, S. M. G. C. Sujeito e
linguagem. Sã o Paulo: Cultura Acadêmica, 2009.
__________. Modelo fractal de aquisiçã o de línguas. In: BRUNO, F. C. (Org.). Reflexão e Prática em
ensino/aprendizagem de língua estrangeira. Sã o Paulo: Clara Luz, 2005. p. 23-36.
PALTRIDGE, B. Genre and the Language Learning Classroom. Ann Arbor, MI: The University of Michigan
Press, 2004.
RAIMES, A. Techniques in Teaching Writing. New York, Oxford: Oxford University Press, 1983.
RICHARDS, J.; PLATT, J.; WEBER, H. Longman Dictionary of Applied Linguistics. Hong Kong: Longman, 1985.
SAUSSURE, F. Curso de linguística geral. Trad. Antô nio Chelini, José Paulo Paes e Izidoro Blikstein. Sã o Paulo:
Cultrix, 1995.
SILVA, T. C. Pronúncia do inglês: para falantes do português brasileiro: os sons. Belo Horizonte:
FALE/UFMG, 2005.
ZIMMER, M.; SILVEIRA, R.; ALVES, U. K. Pronunciation Instruction for Brazilians: Bringing theory and practice
together. New Castle upon Tyne, UK: Cambridge Scholars Publishing, 2009.
Pá gina 177
LÍNGUA ESTRANGEIRA MODERNA
INGLÊS 2
2º ANO
MANUAL DO PROFESSOR
Pá gina 178
SUMÁRIO
PARTE 1 - ASPECTOS GERAIS DA COLEÇÃO 179
APRESENTAÇÃO DA OBRA 179
OBJETIVOS GERAIS 180
CONCEITO DE LINGUA(GEM) E AÇÃO COM LINGUA(GEM) 180
CONCEITO DE AQUISIÇÃO DE LINGUAGEM 181

A abordagem 181
AS QUATRO HABILIDADES LINGUÍSTICAS E O CONCEITO DE

MULTILETRAMENTOS 182
A compreensã o escrita 182
A compreensã o oral 182
A produçã o oral 183
A produçã o escrita 183
ESTUDO DE VOCABULÁRIO 185
GRAMÁTICA E ASPECTOS DISCURSIVOS 185
AVALIAÇÃO 185
Learning tips 186
COMPONENTES DA COLEÇÃO E ESTRUTURA DA OBRA 186

Livro do aluno 186
Manual do Professor 186
CD de á udio 187
DESCRIÇÃO DAS UNIDADES E SEÇÕES 187
PLANO DE CURSO 189
DISTRIBUIÇÃO DE AULAS 189

Organizaçã o por bimestre 190
Organizaçã o por trimestre 191
PARTE 2 - OBJETIVOS, TEMAS, SUGESTÕES E RESPOSTAS POR

UNIDADE 192
REFERÊNCIAS BIBLIOGRÁFICAS 217

SUGESTÕES DE LEITURA 218
WEBGRAFIA PARA O ALUNO E PARA O PROFESSOR 218

Dicioná rios on-line 218
Inglês geral 218 Gramá tica 219
Pronú ncia e entonaçã o 219
Compreensã o escrita 219
Compreensã o oral 220
BIBLIOGRAFIA COMENTADA PARA O PROFESSOR 220
WEBGRAFIA COMENTADA PARA O PROFESSOR 222
FERRAMENTAS DIGITAIS E SERVIÇOS GRATUITOS DISPONÍVEIS NA

INTERNET 223
Pá gina 179
PARTE 1 – Aspectos gerais da coleção

APRESENTAÇÃO DA OBRA
A Lei de Diretrizes e Bases da Educaçã o Nacional (BRASIL, 1996) estabelece, em seu Art. 35, as
finalidades do Ensino Médio.
Art. 35. O Ensino Médio, etapa final da educaçã o bá sica, com duraçã o mínima de três anos, terá como
finalidades:
1. a consolidação e o aprofundamento dos conhecimentos adquiridos no Ensino Fundamental, possibilitando o

prosseguimento de estudos; 2. a preparaçã o bá sica para o trabalho e a cidadania do educando, para continuar
aprendendo, de modo a ser capaz de se adaptar com flexibilidade a novas condiçõ es de ocupaçã o ou
aperfeiçoamento posteriores; 3. o aprimoramento do educando como pessoa humana, incluindo a formaçã o
ética e o desenvolvimento da autonomia intelectual e do pensamento crítico; 4. a compreensã o dos
fundamentos científico-tecnoló gicos dos processos produtivos, relacionando a teoria com a prá tica, no ensino
de cada disciplina.
Esta coleçã o didá tica atende a todas as finalidades dispostas na legislaçã o ao:
1. consolidar e aprofundar os conhecimentos de língua inglesa adquiridos no Ensino

Fundamental;
2. auxiliar na preparaçã o para a cidadania e o trabalho, reunindo temas que contribuem para a
reflexã o sobre a cidadania, o desenvolvimento de atitudes solidá rias e afirmativas, e o
conhecimento sobre diversas profissõ es;
3. discutir temas e propor atividades que contribuem para o aprimoramento do educando

como ser humano, incluindo a formaçã o ética e o desenvolvimento da autonomia intelectual e
do pensamento crítico;
4. contribuir para a compreensã o dos fundamentos linguísticos associados à açã o em prá ticas
sociais mediadas pela linguagem, algo que ocorre, sobretudo, em atividades de produçã o
escrita, nas quais os alunos produzem gêneros textuais que circulam socialmente, sempre com
finalidades de comunicaçã o real. A frequência é maior em atividades de escrita, visto que os
letramentos possuem ainda maior enfoque no ensino formal pú blico do que a oralidade, a qual,
ainda assim, não deixa de ser contemplada na coleçã o.
Partindo do pressuposto de que a aprendizagem da língua inglesa deve ser inserida em

prá ticas sociais da linguagem, estimulamos a busca por oportunidades para aprender e agir
com a língua inglesa em experiências tanto dentro quanto fora da sala de aula. O material
fomenta também a autonomia do aluno e a reflexã o sobre sua pró pria aprendizagem ao
disponibilizar, ao final de cada unidade, um formulá rio de autoavaliaçã o ( Time to reflect) e
dicas de aprendizagem (Learning tips).
A fim de criar as oportunidades de uso da língua, o material apresenta um diá logo constante
com ferramentas digitais para ampliar o contato com o idioma e para estimular a motivaçã o e a
criatividade dos alunos. A coleçã o incentiva o aluno, o tempo todo, a produzir e divulgar
diversos textos em papel ou no ambiente digital. Dessa forma, o aluno nã o é apenas
consumidor de textos produzidos por outrem, ele é também um produtor de linguagem
multimodal relevante em seu contexto, o que contribui para maior inserçã o digital e social,
como indicam as orientaçõ es curriculares (BRASIL, 2006, p. 98).
Dentro do espírito de um ensino inovador, esta coleçã o trabalha com questõ es

interdisciplinares de forma que o aluno possa vivenciar experiências que não se limitam à
aprendizagem da língua inglesa, mas que o motivam a se emancipar intelectualmente,
refletindo sobre seu papel social e sua consequente participaçã o na sociedade. A
interdisciplinaridade é um item explorado de maneira mais específica nas atividades propostas
na seçã o Crossing boundaries, porém esse conceito permeia toda a obra já a partir da seleçã o
dos temas abordados e da maneira com que sã o tratados, permitindo trabalhos
interdisciplinares que levam em conta, inclusive, o entorno da escola.
Essas atividades podem ser desenvolvidas em conjunto com outros professores da escola,
cabendo a cada professor, a partir das oportunidades e restriçõ es de seu contexto, definir a
dimensã o dessa colaboraçã o.
Esta coleçã o certamente contribuirá para um projeto pedagó gico comprometido com um
ensino inovador, tendo em vista que atende aos indicativos previstos no documento do MEC
sobre o Ensino Médio inovador (BRASIL, 2009, p. 19-20), como o estímulo à iniciaçã o científica
e a açõ es artístico-culturais; a promoçã o de aprendizagem criativa; a construçã o de
conhecimento que supera a mera memorizaçã o; a valorizaçã o da leitura com a inclusã o de
textos diversos; o incentivo à leitura extensiva e ao letramento crítico; o fomento ao
“comportamento ético, como ponto de partida para o reconhecimento dos deveres e direitos
da cidadania; praticando um humanismo contemporâ neo”, reconhecendo que há vá rias
identidades e aprendendo a conviver com elas de maneira cidadã ; a utilizaçã o das “novas
mídias e tecnologias educacionais, como processo de dinamizaçã o dos ambientes de
aprendizagem”; o estímulo “ao autodidatismo e autonomia”; a promoçã o de “atividades sociais
que estimulem o convívio humano e interativo do mundo dos jovens”; a reflexã o sobre o
mundo do trabalho; “a interdisciplinaridade e contextualizaçã o dos conhecimentos”; a
sugestã o de “atividades complementares e de reforço da aprendizagem” com a mediaçã o das
tecnologias de aprendizagem e de comunicaçã o.
Pá gina 180
OBJETIVOS GERAIS
Os objetivos desta obra, listados a seguir, foram estabelecidos com base nas orientaçõ es dos
documentos norteadores do Ensino Médio no Brasil, em especial, as orientaçõ es curriculares
(BRASIL, 2006). Sã o eles:
• Desenvolver competências que tornem os alunos aptos a se engajar em atividades de uso da

linguagem para compreender melhor o mundo em que vivem e dele participar criticamente.
• Desenvolver, de modo integrado e contextualizado, as habilidades linguísticas (compreensã o

oral e escrita, produçã o oral e escrita), a fim de que os aprendizes possam utilizá -las em
prá ticas sociais diversas.
• Levar os alunos a reconhecer e a usar a língua inglesa como instrumento de acesso a

informaçõ es, grupos sociais e culturas de diferentes partes do mundo.
• Desenvolver nos alunos a consciência linguística e a consciência crítica dos usos que se fazem
da língua que estã o aprendendo, trabalho que é realizado com maior ênfase nas atividades de
compreensã o e produçã o escrita, mas que se faz presente também nas atividades de
compreensã o e produçã o oral, ainda que com menor destaque, pelas razõ es apresentadas no
item 4 do bloco introdutó rio deste texto.
• Levar o aluno a reconhecer as variaçõ es linguísticas (regionais, de classe social, gênero,

registro, etc.) e a questionar possíveis preconceitos a elas relacionados.
• Promover, a partir de temas que permitem trabalhos interdisciplinares, a articulaçã o entre a

língua inglesa e outras á reas do conhecimento, de modo a contribuir para um currículo
abrangente e integrado.
• Desenvolver estratégias de aprendizagem variadas, incluindo aquelas relacionadas à

aprendizagem colaborativa, com vistas à formaçã o de cidadã os autô nomos e solidá rios.
Os objetivos específicos relativos a cada seçã o que compõ e o Livro do Aluno e a cada unidade
serã o apresentados mais adiante, na seçã o Descrição das unidades e seções deste Manual e na
seçã o de detalhamento das unidades, respectivamente.
CONCEITO DE LINGUA(GEM) E AÇÃO COM LINGUA(GEM)

Para atingir todos esses objetivos, trabalhamos com o pressuposto de que língua e linguagem
sã o elementos insepará veis de um mesmo fenô meno. Adotamos, assim, o uso do termo
“lingua(gem)”, entendido como um sistema semió tico complexo que compreende processos
biocognitivos, só cio-histó ricos e político-culturais e que, como já dizia Saussure (1995),
pertence ao domínio individual e ao domínio social. A língua como um sistema complexo nã o é
apenas conjunto de estruturas linguísticas, mas um sistema vivo e dinâ mico em constante
evoluçã o e mudança e que se auto-organiza na produçã o de texto/sentido. Vale lembrar que os
conceitos de Saussure dos quais lançamos mã o sã o revisitados, em consonância com as novas
teorias sociais de aprendizagem de línguas.
Como todo sistema complexo, a lingua(gem) é um sistema aberto e novos componentes vã o se

agregando, fazendo que o sistema mude e se auto-organize constantemente. Daí a importâ ncia
de mostrarmos aos alunos mudanças e variaçõ es linguísticas. Nesse processo dinâ mico e auto-
organizativo, a lingua(gem) nos constitui como sujeitos sociais, revela nossas identidades e nos
permite vivenciar nossa subjetividade, nossos papéis sociais, e nos fornece elementos para
refletirmos sobre a sociedade e nela agirmos.
Agir na sociedade implica, necessariamente, o uso de gêneros textuais. Como afirma Bazerman
(2006, p. 19), “gêneros não sã o somente formas textuais, mas também formas de vida e de
açã o”. Ele acrescenta que “[a] abordagem social do gênero transforma-o em uma açã o social, e
assim em uma ferramenta de agência”. Adotamos, nesta coleçã o, a definiçã o de gênero segundo
Bazerman (2006, p. 23):
Gêneros sã o formas de vida, modos de ser. Sã o frames para a ação social. Sã o ambientes para a aprendizagem.
Sã o os lugares onde o sentido é construído. Os gêneros moldam os pensamentos que formamos e as
comunicaçõ es através das quais interagimos. Gêneros sã o os lugares familiares para onde nos dirigimos para
criar açõ es comunicativas inteligíveis uns com os outros e sã o os modelos que utilizamos para explorar o nã o
familiar.
Os trabalhos propostos com os diversos gêneros orais e escritos têm por objetivo criar açõ es
comunicativas, ou seja, levar o aluno a agir no mundo que o cerca. Além dos gêneros
tradicionais, o material estimula o aprendiz a ler e a produzir textos multimodais e digitais,
incluindo, entre outros, as mensagens tipo “texting” e mensagens criativas para correios de
voz.
As atividades propostas motivam os alunos a agir, a usar a língua em prá ticas sociais da
linguagem. Estimulam também a reflexã o pessoal, comunicaçã o e interaçã o, divertimento,
prazer estético, enfim, o estar no mundo mediado pela lingua(gem). Os textos nã o serã o
instrumentos para o ensino artificial de estruturas gramaticais. Ao contrá rio, a gramá tica
estará sempre a serviço de uma situaçã o de açã o com a linguagem, o que nã o significa que o
aluno nã o tenha oportunidade, esporadicamente, de ter contato com algum exercício de
natureza mais formal, o qual, ainda assim, estará sempre vinculado ao tema da unidade ou da
parte em questã o.
Orientados pelos princípios da complexidade (Larsen-Freeman, 1997; Paiva, 2005; Larsen-

Freeman, Cameron, 2008), entendemos a aprendizagem como um sistema complexo. Por isso,
não descartamos as demais teorias,
Pá gina 181
pois acreditamos que cada uma delas nos apresenta a visã o de um aspecto da aquisiçã o. Assim,
a noçã o de aprendizagem que serve de suporte à nossa coleçã o aposta:
1. na capacidade inata para aprender uma língua;
2. na importâ ncia de há bitos automá ticos, como no caso do uso de algumas expressõ es
formulaicas e na aprendizagem de elementos sonoros;
3. na importâ ncia do insumo linguístico obtido por meio da exposiçã o a prá ticas sociais da
linguagem autênticas, contextualizadas e socialmente significativas;
4. na importâ ncia da interaçã o, da lingualizaçã o (output) e da negociaçã o de sentido, presente,

de maneira mais recorrente, na seçã o de produçã o escrita, em que os alunos têm um pú blico
claro para o qual escrevem e precisam negociar que tipo de linguagem e que registro utilizar;
5. no papel das conexõ es neurais;
6. na relevâ ncia da construçã o da identidade;
7. na necessidade da mediaçã o social, ideia que é explorada, principalmente, nos quadros

Beyond the lines..., momento em que os alunos sã o convidados a refletir criticamente sobre
aspectos sociais presentes nos temas abordados nos textos;
8. na aprendizagem situada em comunidades de prá tica, etc.
Nossa proposta se apoia em uma visã o de aprendizagem como um sistema dinâ mico, um
sistema em movimento que alterna momentos de estabilidade e de turbulência e que muda
constantemente. A aprendizagem, nessa perspectiva, nã o pode ser vista como produto, mas
como processo dinâ mico, como algo em permanente evoluçã o.
Como os alunos e seus contextos sã o diferentes, também serã o diferentes seus processos de
aquisiçã o e nã o podemos prever como será a rota de cada um. No entanto, cabe a nó s
professores estimulá -los a manter seus sistemas de aprendizagem sempre em movimento, com
desafios frequentes e oportunidades de uso da língua de forma significativa.
Seguindo as Orientaçõ es Curriculares para o Ensino Médio (BRASIL, 2006), esta coleçã o inclui
o ensino da leitura, da prá tica escrita e da comunicaçã o oral contextualizadas, sem perder de
vista o papel educacional do ensino de uma língua adicional.
CONCEITO DE AQUISIÇÃO DE LINGUAGEM
Conforme a proposta de Paiva (2009, p. 36), entendemos aquisiçã o como:
um sistema não linear e dinâ mico, composto de inter-relaçõ es entre elementos bioló gicos, psicoló gicos, sociais
e tudo o que o social implica, tais como aspectos histó ricos, econô micos, culturais e políticos. São essas
interconexõ es que nos fazem pensar e agir através da linguagem.
Entendemos, também como Paiva (2009, p. 43), que:
a aprendizagem é, também, uma experiência identitá ria porque transforma quem nó s somos e o que podemos
fazer. Nã o é apenas uma questã o de há bitos automá ticos ou de acú mulo de informaçõ es metalinguísticas, mas
um processo de transformaçã o, de mudança.
Adotar um conceito de aquisiçã o como um sistema complexo implica admitir não apenas a
existência de estruturas mentais inatas, como também a importâ ncia de criaçã o de há bitos
automá ticos; a interferência das identidades, das interaçõ es, do input linguístico assim como
da produçã o de linguagem, o papel das redes neurais e também das redes sociais que
permitem a mediaçã o de outros participantes no processo de aquisiçã o.
Assim como a língua, a aquisiçã o também é um sistema dinâ mico, que muda ao longo do tempo
e que alterna momentos de estabilidade e de turbulências, sendo estas essenciais para a
evoluçã o do sistema.
Entendemos também que as experiências de aprendizagem sã o diferentes mesmo em face de

contextos muito semelhantes e que o papel do material didá tico é estimular atividades
criativas, mas também incentivar a autonomia do aprendiz para que ele possa buscar novas
experiências, dinamizando assim seu processo de aquisiçã o.
A ABORDAGEM
A abordagem proposta pela coleçã o pode ser denominada abordagem complexa, pois não se
limita ao ensino da língua para a comunicaçã o, mas também para reflexã o e açã o na sociedade,
como é possível observar, por exemplo, no tipo de questã o proposta nos quadrosBeyond the
lines... e nas orientaçõ es da seçã o Let’s act with words que se relacionam com o entorno da
escola. Uma abordagem complexa inclui também a reflexã o metalinguística, o que é feito nas
seçõ es Focus on language.
Como explicam Borges e Paiva (2011, p. 350), com base em Larsen-Freeman e Cameron
(2008), uma abordagem complexa deve “(1) propiciar o desenvolvimento da competência
ecoló gica (conectividade mente-corpo-mundo) dos alunos; (2) organizar-se na base da
dinamicidade da linguagem e dos demais componentes de sala de aula; (3) enfatizar a
negociaçã o de sentidos e os processos de mudança (coadaptaçã o); (4) centrar-se no processo
de aprendizagem e de desempenho dos alunos”.
Além disso, Borges e Paiva (2011, p. 350-351) acrescentam, entre outros pressupostos, que
uma abordagem complexa deve:
a) tomar a lingua(gem) e a aquisição de língua como SACs1 [...];
b) entender a natureza do ensino/aprendizagem como multifacetada [...];
Pá gina 182
c) conceber o professor como um dos elementos que dá dinamicidade ao sistema de ensino e de aprendizagem e
nã o como mero reprodutor passivo de métodos e técnicas [...];
e) [...] entender as práticas sociais da lingua(gem) […], incluindo, aqui, também, o letramento digital, como
elementos essenciais no processo de aquisição [...];
g) [...] considerar que “o ensino e a interaçã o professor-aluno constroem e restringem as affordances2”

(Larsen-Freeman & Cameron, 2008, p. 199), ou seja, o processo de se perceberem os objetos permeados de
valoraçã o na aprendizagem. A noçã o de affordance traz à tona, ainda, uma percepçã o importante da
interdependência do aprendiz com o ambiente [...].
AS QUATRO HABILIDADES LINGUÍSTICAS E O CONCEITO DE

MULTILETRAMENTOS
Tradicionalmente, o ensino de inglês tem se organizado com base nas quatro habilidades
linguísticas: compreensã o escrita e compreensã o oral, produçã o escrita e produçã o oral. Essas
habilidades, entretanto, nã o ocorrem de modo isolado nas prá ticas sociais. Ao contrá rio, na era
digital em que vivemos, a integraçã o hipertextual de texto escrito, imagem e som torna ainda
mais evidente a conexã o entre as diferentes habilidades.
Para denominar os usos heterogêneos da linguagem em que formas de leitura e escrita

interagem em prá ticas socioculturais, pode-se recorrer ao termo “letramento” ou
“letramentos” (no plural para dar conta de diferentes tipos de letramento, como “visual”,
1
SACs é um acrônimo para Sistemas Adaptativos Complexos. Os SACs são sistemas compostos por elementos em interação e que
estão sempre em mudança porque são sensíveis à experiência e ao feedback.
2
Affordances, neste contexto, podem ser entendidas como as oportunidades de aprendizagem.
“digital”, etc.) e até mesmo ao conceito de multiletramentos, proposto por Cope e Kalantzis
(2000) para designar a multiplicidade de usos da linguagem e de habilidades envolvidas nesse
novo contexto multimodal que constituem um processo mais complexo de (re)criaçã o e de
negociaçã o de sentidos.
Nesta coleçã o, seguindo a tradiçã o, fazemos referência à s quatro habilidades, mas sem perder
de vista os multiletramentos necessá rios para o aluno agir e interagir no mundo. Dessa forma,
buscamos o desenvolvimento das quatro habilidades, considerando seus usos em diferentes
contextos socioculturais e suas possíveis formas de integraçã o. Embora, por razõ es didá ticas,
haja seçõ es no Livro do Aluno que se referem a apenas uma das quatro habilidades, nã o
queremos sugerir que seja possível compartimentalizá -las na prá tica social. Isso explica por
que, ao longo da coleçã o, optamos frequentemente por criar seçõ es que integram duas ou mais
habilidades linguísticas.
Incluímos, ao longo de toda a obra, informaçõ es sobre uma série de ferramentas digitais
gratuitas de forma que a aprendizagem de língua inglesa esteja também associada ao
letramento tecnoló gico. Com o uso dessas ferramentas, o aluno passa a ser também produtor
de textos digitais e multimodais, e nã o apenas consumidor de conteú do em inglês na web.
A seguir, descrevemos como cada uma das quatro habilidades é trabalhada ao longo da obra.
A COMPREENSÃO ESCRITA
Em consonâ ncia com a visã o de linguagem e com a abordagem de ensino de línguas aqui
adotadas e também com as orientaçõ es curriculares para o ensino de inglês no Ensino Médio,
esta coleçã o desenvolve estratégias de leitura, a compreensã o de informaçõ es do texto e a
reflexã o crítica do leitor. A escolha de textos, sempre autênticos e variados, teve como
prioridade temas que fossem do interesse dos alunos e que oferecessem oportunidade de
reflexã o sobre a sociedade e ampliaçã o da visã o de mundo, conforme previsto nas orientaçõ es
curriculares (BRASIL, 2006, p. 114). As atividades de leitura, na seçã o Let’s read!, estimulam a
construçã o de sentido a partir do texto, conduzindo o aluno a ir além do texto para que
estabeleça conexõ es com seu conhecimento de mundo e com seu contexto de forma a se
posicionar criticamente.
Além de explorar as informaçõ es veiculadas e inferidas nos textos, as atividades de leitura

conduzem o aluno para além do texto, estimulando-o a fazer uma leitura crítica. Essas questõ es
aparecem, prioritariamente, em uma seçã o intitulada Beyond the lines.
A COMPREENSÃO ORAL
Para o desenvolvimento das atividades de compreensã o oral, cada volume da coleçã o (tanto o
Livro do Aluno quanto o Manual do Professor) é acompanhado por um CD de á udio. O CD de
á udio, conforme mencionado na descriçã o dos componentes da obra (mais adiante), contém o
á udio das mú sicas e dos textos orais usados nas seçõ es Turn on the jukebox! e Let’s listen and
talk! e naquelas que integram a habilidade de compreensã o oral a outras.
Assim como nas atividades de leitura, também utilizamos, para o desenvolvimento da

habilidade de compreensã o oral, textos orais autênticos de diferentes gêneros. No caso de
alguns textos originais mais longos, optamos por fazer pequenos cortes, a fim de construir
textos de tamanho adequado à s atividades pedagó gicas propostas, mas sem alterar as
principais características do gênero em foco e sem soarem artificiais.
À exceçã o das mú sicas da seçã o Turn on the jukebox! e de algumas atividades em que o aluno
deve completar o texto apó s ouvi-lo, as transcriçõ es dos textos orais apresentados no CD de
á udio se encontram ao final do Livro do Aluno. Assim, o aluno pode perceber que é capaz de
desenvolver aos poucos sua habilidade de compreensã o auditiva sem precisar,
necessariamente, de um suporte escrito. No caso das mú sicas, as letras estã o transcritas para
que, depois de
Pá gina 183
uma atividade de compreensã o e reconhecimento de sons, os alunos possam acompanhá -las

enquanto cantam.
A PRODUÇÃO ORAL
A pesquisa sobre narrativas de aprendizagem tem revelado que muitos aprendizes de inglês
relatam sua frustraçã o por nã o terem tido a oportunidade de participar de atividades de fala
em inglês na sala de aula (PAIVA, 2007) e também lembram com carinho dos professores que
se empenharam em ajudá -los a desenvolver essa habilidade.
Esta coleçã o procura atender ao anseio dos aprendizes que querem aprender a falar inglês,
oferecendo oportunidades de prá ticas orais mais livres, bem como de expressã o da pró pria
opiniã o, com a colaboraçã o do professor.
A seçã o Let’s listen and talk!, ou uma seçã o que integre a fala a outra(s) habilidade(s),
apresenta atividades de produçã o oral relacionadas, de alguma forma, ao tema desenvolvido
na unidade. Essa relaçã o temá tica permite a utilizaçã o de vocabulá rio, estruturas linguísticas e
outros conteú dos já estudados e discutidos pelos alunos ao longo da unidade, proporcionando-
lhes mais confiança para se expressarem, sem perder o foco no sentido. Além disso, ao integrar
a atividade de fala a outras habilidades, como a compreensã o oral, o material oferece aos
aprendizes amostras da língua em uso de forma que eles possam perceber as variaçõ es
linguísticas orais e escritas. Um exemplo disso é a linguagem da internet. O professor deve
também lembrar aos alunos sobre variaçõ es coloquiais na interaçã o oral, como o uso de “Yep”
e “Nope”, em vez de “Yes” e “No”. É importante que o aprendiz perceba que, em contextos
informais, é possível usar essas outras formas.
A obra apresenta também atividades de pronú ncia e entonaçã o vinculadas à habilidade de

produçã o oral, nas quais, depois de perceber e reconhecer determinados sons, sequências de
sons e ritmo em palavras e/ou frases, os alunos têm a oportunidade de repeti-los, tornando-se
mais seguros para pronunciar alguns termos e frases em inglês que costumam trazer mais
dificuldade para os falantes do português. Além dessas atividades, há indicaçõ es de pá ginas da
internet em que o aluno pode encontrar mais recursos para praticar a pronú ncia e a
entonaçã o.
No entanto, o objetivo das atividades de fala nã o é formar falantes que se assemelham aos
nativos, e o sotaque deve ser visto como uma característica identitá ria típica de qualquer
falante de uma língua estrangeira. O objetivo é ajudar o aprendiz a desenvolver a capacidade
de se expressar em inglês em situaçõ es sociais adequadas a sua idade de forma compreensível
e adequada.
É relevante observar que aprender a falar implica agir discursivamente e que isso vai além do
domínio de estruturas sintá ticas e de vocabulá rio. É por esse motivo que nenhuma das
atividades orais nesta coleçã o demanda dos alunos, por exemplo, respostas completas, pois
uma das regras conversacionais prescreve que se forneça apenas a informaçã o solicitada.
• A pronúncia
O CD de á udio contém atividades de pronú ncia que aparecem em todas as unidades, vinculadas
a seçõ es de compreensã o e/ou produçã o oral. Essas atividades têm por objetivo focar
determinados sons e servem de apoio para as atividades de produçã o oral.
As atividades de pronú ncia no boxe Pronunciation spot visam chamar a atençã o para os
principais problemas de pronú ncia que afetam falantes brasileiros do inglês e oferecer
oportunidade de conscientizaçã o e de prá tica desses aspectos. Aconselhamos o professor
interessado em investir mais no ensino de pronú ncia a consultar duas obras brasileiras sobre o
tema:
SILVA, T. C. Pronúncia do inglês: para falantes do português brasileiro. Sã o Paulo: Contexto, 2012.
ZIMMER, M.; SILVEIRA, R.; ALVES, U. K. Pronunciation Instruction for Brazilians: Bringing Theory and Practice
Together. New Castle upon Tyne, UK: Cambridge Scholars Publishing, 2009.
A PRODUÇÃO ESCRITA
Nossa proposta de produçã o textual se baseia na abordagem da escrita como processo

associado ao trabalho com gêneros.
Na abordagem da escrita como processo, conforme alerta Raimes (1983, p. 10), “o aluno não
escreve sobre um determinado tó pico, durante um tempo definido, e entrega a redaçã o para o
professor ‘corrigir’ – o que, geralmente, significa encontrar erros”. Em uma abordagem com
foco no processo, o aluno produz um gênero textual com oportunidade de muitas revisõ es e
com suporte de diferentes tipos de feedback: do pró prio produtor do texto e seu primeiro
leitor, dos colegas e do professor.
Tendo em vista que, além de produzir um texto, é necessá rio fazê-lo circular, associamos a
abordagem da escrita como processo à perspectiva dos gêneros e adotamos o conceito de
gênero como prá tica social, como propõ e Miller (1994). Para ela, “os gêneros servem como
chaves para a compreensã o de como participar nas açõ es de uma comunidade” (p. 39). Nã o é
por coincidência que as atividades de produçã o textual ao final de cada unidade se intitulam
Let’s act with words. Entendemos que escrever é agir e para isso oferecemos oportunidades
diversas de açã o ao longo de cada livro que incluem, dentre outras atividades, fazer um script e
gravar uma mensagem para o correio de voz, tuitar, criar pô steres, linhas de tempo, etc.
A abordagem dos gêneros focaliza a compreensã o e a produçã o de textos que circulam na

sociedade. Privilegia-se o texto em sua totalidade, e nã o como conjunto de unidades frasais em
uma dada sequência. O foco re-
Pá gina 184
cai na língua em uso, em açõ es comunicativas, e nã o em formas gramaticais isoladas. A

gramá tica passa a ser entendida como um componente a serviço de uma organizaçã o
discursiva. O contexto, incluindo o propó sito da escrita, adquire grande importâ ncia nessa
abordagem.
No trabalho com gêneros, é importante expor os alunos a amostras do gênero em estudo em

seu contexto cultural, mostrar que sua estrutura é relativamente está vel e que não existe uma
fó rmula ú nica. Antes de iniciar as atividades didá ticas com um gênero específico, aconselha-se
o professor a verificar se existem publicaçõ es sobre esse gênero em questã o, pois esse estudo
preliminar pode ajudar no desenvolvimento das atividades didá ticas.
Com base nos estudos de Paltridge (2004) e naqueles organizados por Abreu-Tardelli e
Cristó vã o (2009) e Cristó vã o e Nascimento (2005), propomos quatro etapas para o
desenvolvimento do trabalho de produçã o escrita a partir do conceito de gênero: (1) seleçã o
docorpus; (2) observaçã o da situaçã o de açã o de linguagem em que esse gênero é produzido;
(3) aná lise de corpus; e (4) produçã o do texto.
Na etapa (1), o trabalho de seleçã o e análise de corpus, ou seja, de diferentes textos do gênero
em foco, pode ser feito pelo professor em conjunto com os alunos, para que todos se
familiarizem com o texto a ser produzido. Cada unidade apresenta exemplares do gênero, mas
seria interessante que se ampliasse esse corpus.
Na etapa (2), os alunos sã o levados a refletir sobre a situaçã o de açã o de linguagem de

produçã o desse gênero, observando os seguintes aspectos:
• o propó sito comunicativo;
• quem é o produtor do texto e em que papel social se encontra;
• a quem se dirige e em que papel se encontra o leitor do texto;
• o grau de formalidade ou informalidade;
• o suporte que faz o gênero circular (jornal mural, blog, pô ster, vídeo, etc.);
• o local onde o gênero circula (escola, comunidade, internet).
Essa reflexã o deve ser orientada pelo professor a partir dos textos selecionados, na etapa (1),
como possíveis exemplos de manifestaçã o do gênero. Deve-se levar em conta o contexto dos
alunos e suas necessidades e levá -los a refletir sobre o propó sito comunicativo do que vai ser
produzido.
Na etapa (3), observa-se o tipo de linguagem empregada nos textos do gênero em foco e
procede-se à aná lise da organizaçã o estrutural, em que o professor, em conjunto com seus
alunos, analisa os conteú dos típicos do gênero; observa sua construçã o composicional;
identifica os padrõ es de textualizaçã o ou características léxico-gramaticais, além de palavras-
chave, presença ou ausência de pronomes pessoais de primeira e segunda pessoa, dêiticos3,
tempos verbais, modalizadores, níveis de formalidade e de informalidade, assim como as
sequên cias textuais que caracterizam o gênero.
Como vimos na descriçã o da etapa (2), as atividades de produçã o textual envolvem o uso da
língua em um contexto de produçã o que compreende quem escreve, para quem se escreve,
com qual objetivo e em qual suporte o texto circulará . Em cada livro da coleçã o, propomos que
3
Dêiticos são elementos linguísticos (pronomes pessoais, demonstrativos e advérbios de lugar e tempo) que fazem referência aos
falantes, ao espaço e ao tempo.
os alunos reú nam suas produçõ es em um projeto anual diferente – blog, portfolio, Padlet wall
–, reunindo vá rios textos redigidos e/ou gravados por eles.
Cada atividade de produçã o textual é acompanhada de uma listagem dos procedimentos de

escrita, que envolvem a pesquisa de material, as escolhas linguísticas e multimodais, o uso de
recursos adicionais (ex.: dicioná rio), a redaçã o do primeiro rascunho, a revisã o individual e em
pares, a ediçã o final e a publicaçã o.
A etapa de revisã o prevê a participaçã o do colega ou colegas, além da revisã o do professor.

Para a fase de revisã o, o professor poderá desenvolver com seus alunos um conjunto de
có digos para que os pró prios alunos façam as correçõ es. Alguns exemplos sã o:
• ? = I don’t understand
• sp = spelling
• wo = word order
• vt = verb tense
• ü = missing word
• p = punctuation
As etapas do processo de produçã o textual nã o precisam ser lineares, e o aluno pode voltar a
cada uma delas sempre que sentir necessidade, em um processo recursivo. Na fase de
produçã o, por exemplo, os passos podem se repetir vá rias vezes, com ou sem a participaçã o do
professor. Finalmente, cumpre destacar a necessidade de feedback para a produçã o realizada.
Além do feedback dos colegas e dos leitores, os alunos, certamente, têm a expectativa de ter
uma avaliaçã o do professor, que nã o se restrinja à correçã o de possíveis erros gramaticais, mas
que principalmente considere o contexto de produçã o e as características do gênero em foco.
Esse feedback por parte do professor deve acontecer, se possível, nas diversas etapas do
processo de produçã o textual.
É importante também que o professor oriente os alunos sobre o fato de que o feedback nã o
deve ser dado apenas para a forma do texto em processo de produçã o, mas também sobre sua
apresentaçã o, criatividade, originalidade e inteligibilidade. Um bom feedbackmostra falhas,
sugere mudanças, mas também elogia. Assim, elencar pontos positivos contribui também para
a formaçã o
Pá gina 185
de um cidadã o crítico, pois ser crítico nã o é apenas achar problemas, mas também reconhecer
as qualidades.
Na ú ltima etapa, a da publicaçã o, é importante que os textos criados pelos alunos circulem fora
da sala de aula, de forma a fazer que eles, aos poucos, participem de uma comunidade
discursiva que usa a língua inglesa. Caso os alunos tenham acesso à internet, sugerimos que o
professor os incentive a se engajar em situaçõ es autênticas de comunicaçã o em inglês, com o
uso de e-mail, postagem em microblogs e criaçã o de blogs, orientando-os a tomar precauçõ es
para nã o divulgar dados pessoais e para resguardar sua privacidade. Podem ser encontradas
sugestõ es de atividades e conteú dos sobre esse assunto no portal Internet Segura
(http://linkte.me/f1vn3), site indicado na Webgrafia deste Manual, e nas seguintes aulas
sugeridas no Portal do Professor do Ministério da Educaçã o: <http://linkte.me/hhush>;
<http://linkte.me/cwwd3> e <http://linkte.me/h69o0>. Acessos em: 19 maio 2016.
ESTUDO DE VOCABULÁRIO
O trabalho com vocabulá rio, feito ao longo de cada unidade e na seçã o Vocabulary corner,
perpassa o desenvolvimento das diversas atividades de compreensã o e produçã o, tanto
escritas quanto orais. Assim, os itens lexicais nã o sã o abordados de maneira isolada, mas de
forma contextualizada.
Atençã o especial foi dada ao vocabulá rio relacionado a profissõ es, e sugerimos que o professor
estimule os alunos a buscarem autonomamente mais vocá bulos sobre esse tema.
Sugerimos também que o professor estimule os alunos a expandirem seu vocabulá rio, criando
glossá rios de termos específicos ou mesmo elencando amostras de uso de determinados
termos.
GRAMÁTICA E ASPECTOS DISCURSIVOS

Na seçã o Let’s focus on language! sã o apresentadas as estruturas gramaticais da língua inglesa
abordadas em cada unidade, sempre a partir de exemplos de uso extraídos de textos
autênticos. Dessa forma, a partir da observaçã o e aná lise de um trecho de linguagem em
contexto de uso, os alunos sã o levados a tirar suas pró prias conclusõ es sobre as regras e
utilizá -las adequadamente. Em outras palavras, o ensino da gramá tica se dá de forma
contextualizada e integrada à s prá ticas de linguagem, e nã o acontece de maneira isolada ou
antecipada a essas prá ticas. Sempre que necessá rio, o professor pode recuperar o contexto
integral de onde o exemplo foi retirado, pois ou aparece em textos de seçõ es anteriores ou
pode ser acessado na internet.
Assim, as estruturas e as regras gramaticais apresentadas na seçã o Let’s focus on language!

também estã o presentes em outras seçõ es, com atividades de compreensã o e produçã o da
linguagem oral ou escrita.
Além disso, ao final do Livro do Aluno, a seçã o Language reference sistematiza os conteú dos
gramaticais de cada bimestre em forma de quadros com exemplos, oferecendo aos alunos e ao
professor mais um instrumento de consulta, referência e estudo.
Cumpre destacar que, nesta coleçã o, a importâ ncia é dada ao uso da língua, e nã o à gramá tica
descontextualizada.
AVALIAÇÃO
A avaliaçã o nã o deve ser usada como ameaça ou puniçã o, mas como instrumento para ampliar
a aprendizagem. A aquisiçã o de uma língua é um processo longo e nã o linear. Nã o podemos
afirmar que, ao se ensinar uma funçã o linguístico-comunicativa, o aprendiz a aprenderá
imediatamente. Aprender uma língua demanda tempo e vivência em prá ticas sociais da
linguagem. Dessa forma, a avaliaçã o não deve se limitar à atribuiçã o de notas em funçã o do
produto apresentado pelos alunos em resposta a testes e provas, mas deve valorizar o esforço
de colocar essa língua em funcionamento. Inadequaçõ es fazem parte do processo de
aprendizagem e o aprendiz pode aprender com elas. Dar maior valor à produçã o de sentido do
que ao rigor das formas será um bom incentivo para que os alunos nã o tenham medo de se
arriscar.
Além disso, a avaliaçã o deve incluir nã o apenas o ponto de vista do professor como o ú nico
capaz de falar sobre o processo de ensino-aprendizagem, mas de todos os corresponsá veis por
esse processo, incluindo, portanto, a visã o dos alunos.
Quando o aluno se engaja efetivamente no processo avaliativo, ele desenvolve sua autonomia e
passa a se sentir corresponsá vel pela aprendizagem. Sugerimos, portanto, que o professor crie
oportunidades para os alunos refletirem sobre seu pró prio processo de aprendizagem e se
posicionarem sobre as prá ticas pedagó gicas adotadas. Esse tipo de avaliaçã o pode ser
conduzido apó s cada unidade ou parte, oralmente (através de conversas individuais, em
pequenos grupos ou com a turma toda) ou por escrito (através de questioná rios ou breves
relatos).
Para auxiliar a participaçã o do aluno no processo de avaliaçã o contínua, incluímos, apó s cada
unidade, a seçã o Time to reflect, na qual o estudante poderá refletir sobre sua pró pria
aprendizagem e dizer o que gostou de aprender (I liked...), o que está bem aprendido (I am
good at...), o que precisa rever e aprender mais (I need to get better at…). É um momento
também para incentivar a autonomia e levar o aprendiz a pensar sobre suas experiências de
aprendizagem dentro e fora da sala de aula.
Ao final do livro existem atividades extras que podem ser utilizadas para revisã o e como itens
para avaliaçã o. Serã o também ú teis para os professores que pre-
Pá gina 186
cisarem de mais conteú do no caso de mais aulas por semana. Essas atividades podem ser
realizadas em casa ou em aula, individualmente ou em dupla, sendo corrigidas e comentadas
com ampla participaçã o dos alunos, a fim de que todos discutam como chegar à s respostas
certas e aprendam com possíveis erros.
Uma alternativa é solicitar aos alunos que façam algumas das atividades extras em folha
separada para ser entregue ao professor (para posterior correçã o) ou para ser trocada entre os
alunos (para que um corrija as respostas do colega, sob a orientaçã o do professor). Além das
atividades extras, a avaliaçã o pode incluir a realizaçã o de outras atividades propostas no Livro
do Aluno, como aquelas relacionadas ao projeto anual de produçã o escrita.
Ao final de cada parte, há também questõ es que se assemelham aos testes do Enem e que, a
critério do professor, podem ser usadas para avaliaçã o. É bom lembrar que, por ser um exame
para grandes populaçõ es, esses testes avaliam apenas a compreensã o de textos escritos.
Uma forma de avaliar o desenvolvimento da aprendizagem é reunir o que cada estudante

produz ao longo de um determinado período (mês, bimestre, semestre ou mesmo durante todo
o ano) em um portfó lio. O portfó lio pode incluir tarefas realizadas em aula ou em casa,
resultados de projetos, anotaçõ es, reflexõ es do aluno sobre o que e como aprendeu (como
proposto na já mencionada seçã o Time to reflect) e ser apresentado ao professor em uma pasta
ou outra forma original de agrupar todas as produçõ es de cada aluno.
O professor também pode optar por formas mais tradicionais, como a aplicaçã o de testes e
provas para a verificaçã o da aprendizagem. Os testes podem ser curtos para serem aplicados
apó s uma unidade ou mais longos e elaborados, para aplicaçã o ao final de um bimestre, por
exemplo. Se, por um lado, esse tipo de instrumento de avaliaçã o pode constituir uma medida
de aprendizagem mais objetiva, por outro ele pode, muitas vezes, direcionar de forma
indesejada o conteú do das aulas que o precedem e o desempenho dos alunos, que passam a se
interessar apenas pelo que acreditam ser necessá rio para dar as respostas certas no teste ou
prova.
LEARNING TIPS
Apó s cada unidade ímpar dos três livros, o aluno vai encontrar Learning tips, que sã o dicas de
sites para aprendizagem autô noma. Essas dicas nã o estã o associadas a uma ú nica unidade e
podem ser ú teis em qualquer fase do ano escolar. Se o professor desejar, ele pode antecipar
aos alunos dicas que estã o nos outros livros da coleçã o.
COMPONENTES DA COLEÇÃO E ESTRUTURA DA OBRA
Esta é uma coleçã o didá tica em três volumes, correspondentes aos anos letivos que compõ em
o Ensino Médio. Para cada ano, há um Livro do Aluno, um Manual do Professor e um CD com
arquivos de á udio. A seguir, a estrutura geral de cada componente é detalhada.
LIVRO DO ALUNO
O Livro do Aluno é composto de:
• Oito unidades, organizadas em 4 blocos de 2 unidades, que constituem as 4 partes do livro

(veja detalhamento da estrutura de cada unidade na seçã o Descrição das unidades e seções,
neste Manual).
• Quatro aberturas, uma para cada parte, a fim de ativar o conhecimento prévio dos alunos
sobre os conteú dos das 2 unidades que compõ em cada parte. Em cada abertura é apresentada
uma ferramenta digital gratuita que auxiliará o aluno no seu letramento digital. A abertura 1
traz também orientaçã o sobre o projeto a ser desenvolvido durante o ano.
• Apó s cada unidade o aluno é levado a refletir sobre sua pró pria aprendizagem na seçã o Time
to reflect.
• Ao final de cada parte, estã o incluídas questõ es semelhantes à s do Enem para revisã o e
aprofundamento dos conteú dos apresentados nas duas unidades.
• Duas unidades especiais chamadas de Time for literature, incluídas a cada duas partes do
Livro do Aluno. Essas unidades apresentam textos literá rios seguidos de atividades de leitura e
glossá rio específico (exceto no vol. 3).
• Ao final do livro foram incluídas atividades extras que podem ser usadas para revisã o e
aprofundamento dos conteú dos apresentados nas unidades.
• Quadros e listas de referência sobre aspectos linguísticos organizados em seçõ es chamadas

Language Reference, apresentadas no final do Livro do Aluno.
• Glossary inglês-português, apresentado no final do Livro do Aluno, com uma seleçã o de
vocabulá rio utilizado em cada livro, estando registrados apenas os significados que aparecem
nos textos da obra.
MANUAL DO PROFESSOR
O Manual do Professor possui as seguintes características:
• apresenta os pressupostos teó ricos e metodoló gicos que fundamentam a obra e indica as
referências bibliográ ficas pertinentes;
• descreve a estrutura e a organizaçã o do material;
• descreve a estrutura e os conteú dos de cada unidade;
• oferece sugestõ es para o plano de curso e a distribuiçã o de conteú dos por aula;
• indica respostas possíveis, sem supor que haja sempre uma ú nica resposta correta;
• apresenta sugestõ es de estratégias e recursos de ensino para a realizaçã o e a ampliaçã o das

atividades (através
Pá gina 187
de atividades extras) de acordo com os interesses dos alunos e as possibilidades de cada

contexto;
• oferece, na subseçã o “Comentá rios e sugestõ es”, informaçõ es culturais e linguísticas

relacionadas a conteú dos apresentados em cada unidade (a serem compartilhadas com os
alunos a critério do professor), além de sugestõ es de atividades extras, incluindo atividades de
natureza interdisciplinar;
• apresenta sugestõ es de materiais impressos e websites para uso dos alunos e do professor
visando ao enriquecimento do processo de ensino-aprendizagem.
Destacamos que todas as sugestõ es apresentadas devem ser entendidas como possibilidades
de ampliaçã o do material e de ajustes à realidade de cada turma. Cabe ao professor fazer as
escolhas que sejam as mais adequadas aos seus alunos. Ele pode, assim, descartar ou substituir
atividades e ainda ampliar aquelas que considerar insuficientes. Esclarecemos também que, ao
propor uma grande variedade de atividades extras, nã o supomos que haja tempo há bil para a
implementaçã o de todas elas, mas nossa expectativa é a de que o professor selecione as que
julgar mais apropriadas.
CD DE ÁUDIO
O CD de aú dio, que acompanha tanto o Livro do Aluno quanto o Manual do Professor, contém o
á udio das mú sicas e dos textos orais (de diferentes gêneros) usados nas seçõ es com atividades
de compreensã o oral Turn on the jukebox!, Let’s listen and talk! e outras seçõ es que conjugam
atividades de compreensã o oral com atividades envolvendo outras habilidades.
Conforme já mencionado na seçã o sobre compreensã o oral deste Manual, ao longo da coleçã o
encontram-se amostras de diferentes variedades linguísticas, permitindo que o professor e os
alunos ouçam a pronú ncia e a entonaçã o da língua inglesa em diversas situaçõ es e com
diferentes sotaques, incluindo aqueles de falantes do inglês como língua estrangeira ou
segunda língua. Dessa forma, pretendemos ajudar a diminuir possíveis preconceitos e
inseguranças com relaçã o à produçã o oral por parte de alunos e professores que nã o têm o
inglês como língua materna. Além disso, espera-se que o professor possa, assim, contribuir
para a formaçã o de usuá rios da linguagem respeitosos com o outro e acolhedores da
pluralidade e da diversidade linguística e cultural nos mais diversos contextos.
Com relaçã o aos textos orais apresentados no CD de á udio, relembramos que o Livro do Aluno
traz as letras das mú sicas (para que os alunos possam acompanhar e cantá -las) e, ao seu final, a
transcriçã o do restante dos textos utilizados nas atividades de compreensã o oral. Desse modo,
pretendemos que os textos orais sejam apresentados aos alunos na modalidade em que foram
produzidos.
DESCRIÇÃO DAS UNIDADES E SEÇÕES
As unidades desta obra sã o bastante diversificadas e estã o divididas em seçõ es, cujos
conteú dos e objetivos serã o detalhados em um quadro mais adiante.
As seçõ es que estã o presentes em todas as oito unidades sã o: Lead-in (seçã o de abertura de
cada unidade) e Let’s focus on language! (seçã o que focaliza os conteú dos linguísticos
apresentados na unidade), além de seçõ es que apresentam atividades para o desenvolvimento
das quatro habilidades linguísticas (compreensã o e produçã o oral: Let’s listen and talk!;
compreensã o escrita: Let’s read!; e produçã o escrita: Let’s act with words!). Atividades sobre
pronú ncia e/ou entonaçã o também estã o incluídas em todas as unidades, estando vinculadas a
seçõ es de compreensã o e/ou produçã o oral. Em algumas unidades, há atividades com mú sica
sob o nome de Turn on the jukebox!. Atividades que visam ao desenvolvimento de vocabulá rio
de maneira contextualizada constam da seçã oVocabulary corner.
Pedagogicamente, reconhecemos a necessidade de, em algumas situaçõ es, privilegiar o

trabalho com uma das habilidades, mas também consideramos que a integraçã o de habilidades
seja bastante desejá vel por proporcionar contextos de uso da língua mais ricos e mais
pró ximos do cotidiano. Vejamos um exemplo: lemos uma notícia no jornal (compreensã o
escrita), ouvimos uma entrevista sobre o mesmo assunto (compreensã o oral) e, depois,
conversamos com amigos sobre o tema (produçã o oral).
Além das seçõ es já mencionadas, foi incluída a seçã o Profession spot, com atividades que
remetem a diferentes carreiras e profissõ es e que aparece em algumas unidades dos volumes 1
e 2 e em todas as unidades do volume 3.
A seçã o que trabalha com literatura, Time for literature, traz trechos ou extratos de obras
literá rias, tanto do câ none literá rio quanto de obras de cunho mais popular, para que o aluno
possa entrar em contato com todo tipo de texto literá rio produzido em língua inglesa. A
finalidade dessa seçã o é familiarizar o aluno com o texto ficcional, seja ele narrativo, poético ou
dramá tico. A leitura literá ria, além de contribuir para a aprendizagem da língua, tem uma forte
funçã o educacional, levando o aluno a refletir sobre a vivência humana. Nas seçõ es de
literatura, trabalhamos com questõ es de compreensã o e inferência das circunstâ ncias que nos
levam a apreender os sentidos possíveis de cada texto, com características de personagens,
tempo e lugar, focalizaçã o, variaçõ es linguísticas, diferentes registros, diferenças contextuais
entre a época em que a obra foi escrita e o momento presente – o que leva o aluno a refletir
sobre as semelhanças e diferenças culturais.
Pá gina 188
Conforme já mencionado, as seçõ es que compõ em as unidades desta obra encontram-se

descritas no quadro a seguir, onde se informam os objetivos específicos de cada uma.
Seção Conteúdos Objetivos

• Ativar o conhecimento
pré vio do aluno sobre os
temas a serem abordados
na unidade.
• Introduzir vocabulá rio e

algumas estruturas que
serã o apresentados e
• Imagens e, em algumas aprofundados ao longo da
unidades, pequenos textos unidade.
Lead-in relacionados aos temas da
unidade, seguidos de
diversos tipos de atividades. • Explorar a linguagem nã o
verbal (fotos, ilustraçõ es) e
estabelecer relaçõ es com a
linguagem verbal.
• Favorecer um primeiro
contato com as
características de diversos
gê neros discursivos.
• Expor o aluno a textos de
diversos gê neros.
• Desenvolver a habilidade
de leitura para
compreensã o geral do texto
e suas ideias principais,
assim como para
identificaçã o de
informaçõ es específicas.
• Abordar e discutir
• Textos de diversos assuntos relacionados ao
gêneros sobre temas tema da unidade a partir da
relevantes para o aluno e a compreensã o escrita.
sociedade, com atividades
variadas de compreensã o
Let’s read! • Levar o aluno a
escrita (geral e/ou
detalhada), incluindo estabelecer relaçõ es entre
atividades nas etapas de o(s) texto(s) lido(s) e sua
pré -leitura, leitura e pó s- vivê ncia pessoal.
leitura.
• Levar o aluno a
posicionar-se criticamente
diante do texto, ponto
contemplado,
principalmente, nos
quadros Beyond the lines.
• Trabalhar diferentes
estraté gias de leitura,
dependendo do objetivo de
compreensã o escrita.
Let’s focus on language! • Apresentaçã o • Promover o
contextualizada do(s) desenvolvimento do
tó pico(s) gramatical(is) da conhecimento sistê mico do
unidade.• Atividades para aluno a partir da
observaçã o de situaçõ es de
uso da língua.
• Desenvolver a autonomia
do aluno e sua capacidade
deduçã o de regras
de inferê ncia das regras
gramaticais.• Atividades
gramaticais.
para uso dos tó picos
gramaticais apresentados.
• Oferecer ao aluno
oportunidades para
empregar as regras
gramaticais de forma
contextualizada.
• Oferecer oportunidades de
compreensã o oral da língua
inglesa e de fala a partir de
diferentes gê neros
discursivos orais.
• Desenvolver as
habilidades de
compreensã o global e de
compreensã o de
informaçõ es específicas de
um texto oral (compreensã o
seletiva).
• Diferentes tipos de textos
orais (diá logos, entrevistas,
trechos de filmes e
estraté gias de audiçã o,
programas de TV, podcasts, dependendo do objetivo de
trechos de palestras, etc.) e compreensã o oral.
atividades variadas de
compreensã o oral • Abordar e discutir
(compreensã o intensiva, assuntos relacionados ao
Let’s listen and talk! extensiva e seletiva), tema da unidade a partir da
incluindo atividades nas compreensã o oral.
etapas de pre-listening,
listening e post-listening.• • Proporcionar
oportunidades de produçã o
Atividades de produçã o oral
oral da língua inglesa em
em diferentes contextos de
diferentes contextos de uso,
uso, com diferentes graus
com diferentes graus de
de complexidade de
complexidade de interaçã o.
interaçã o.
estraté gias de fala,
dependendo do objetivo da
atividade e do contexto de
uso.
• Oferecer oportunidades de
uso do vocabulá rio
relacionado ao(s) tema(s)
da unidade em um
determinado contexto de
uso.
Vocabulary corner • Itens lexicais abordados a • Promover oportunidades
partir das unidades. de desenvolvimento do
Atividades que visam ao vocabulá rio relativo à
desenvolvimento de unidade.
vocabulá rio de maneira
contextualizada.
• Desenvolver a capacidade
do aluno de inferir o
significado de palavras e
expressõ es desconhecidas.
• Construir sentidos de
modo contextualizado, a
partir da observaçã o da
língua em uso e do seu
conhecimento de mundo.
• Propiciar oportunidades
de conscientizaçã o e
discussã o sobre diferentes
carreiras e profissõ es.
• Atividades baseadas em
• Oferecer oportunidade de
textos orais e/ou escritos
Profession spot uso de vocabulá rio
sobre diferentes carreiras e
relacionado a diversas
profissõ es.
profissõ es.
• Ajudar o aluno a refletir

sobre possibilidades de
carreira profissional.
• Promover a articulaçã o de
conteú dos estudados nas
unidades a diferentes
disciplinas, aprofundando a
compreensã o de questõ es
relevantes à realidade do
aluno do ensino mé dio.
• Trabalhos e projetos
temá ticos a serem • Estimular o pensamento
desenvolvidos, científico e a capacidade de
preferencialmente, com os experimentaçã o, com o
Crossing boundaries professores de outras objetivo de propiciar ao
disciplinas. Atividades sob a aluno vivê ncias que o
forma de leitura e/ou auxiliem a adquirir
projetos investigativos de conhecimento científico ou
cará ter experimental. tecnoló gico, intermediado
pelo uso da língua
estrangeira.
• Permitir a articulaçã o de
conteú dos que sejam
integradores, indo alé m do
ensino da língua em si.
• Propiciar oportunidades
de prá tica e reflexã o sobre o
uso da língua inglesa para
comunicaçã o escrita,
utilizando gê neros textuais
relevantes para o aluno.
• Atividades de produçã o
escrita em gêneros textuais
relevantes para o aprendiz, • Oferecer oportunidades de
incluindo atividades nas uso contextualizado de
Let’s act with words!
estruturas linguístico-
etapas de pre-writing, discursivas e de vocabulá rio
apresentados na unidade.
writing e post-writing.
• Levar o aluno a
compreender a escrita como
prá tica social e como um
processo contínuo de
avaliaçã o e reescritura.
Além das seçõ es aqui descritas, cumpre comentar também sobre os boxes inseridos ao longo
do Livro do Aluno a fim de complementar e enriquecer os conteú dos apresentados. Para
organizar os diferen-
Pá gina 189
tes tipos de informaçã o, utilizamos os boxes descritos a seguir:
• Language in action: apresenta o objetivo geral de cada unidade.
• Did you know...?: apresenta curiosidades, informaçõ es culturais e vocabulá rio relacionados a
uma atividade ou texto apresentado.
• Pronunciation spot: apresenta questõ es relacionadas à pronú ncia e à entonaçã o.
• Beyond the lines: promove reflexõ es a partir dos temas dos textos com vistas ao
desenvolvimento do letramento crítico.
• Hint: sensibiliza os alunos para a aplicaçã o de estratégias para a recepçã o e produçã o de

textos orais e escritos.
PLANO DE CURSO
Considerando as unidades que compõ em o Livro do Aluno e o planejamento por bimestres,

tradicionalmente adotado pelas escolas, propõ e-se a seguinte divisã o de conteú dos ao longo do
ano letivo:
Organizaçã o por bimestre
• 1º bimestre • Unidades 1 e 2
Organizaçã o por trimestre:
• 1º trimestre|• Unidades 1, 2 e 3
• 2º trimestre • Unidades 4, 5, 6 (primeira metade)

• 3º trimestre • Unidades 6 (segunda metade), 7 e 8
Nesse planejamento, devem-se incluir ainda, a critério do professor, as atividades de pesquisa,

de avaliaçã o (para as quais apresentamos sugestõ es neste Manual) e aquelas de cará ter
interdisciplinar (duas seçõ es incluídas ao final de partes, além das sugestõ es dadas para o
desenvolvimento das seçõ es de cada unidade). A seguir, apresentamos uma seçã o com
sugestõ es de como fazer a distribuiçã o de aulas ao longo do ano.
Quanto à s unidades de literatura, o professor pode orientar os alunos a fazer a leitura e as

respectivas atividades ao longo de cada semestre, nas férias ou quando achar mais adequado. A
primeira unidade, por exemplo, poderia ser feita nas férias do meio do ano e retomada no
início do segundo semestre. Isso daria oportunidade ao aluno de continuar em contato com o
idioma fora de períodos letivos, contribuindo para sua formaçã o como leitor autô nomo.
DISTRIBUIÇÃO DE AULAS
A distribuiçã o de aulas, sugerida nos quadros a seguir, tem por base uma escola regular de
Ensino Médio com duas aulas de inglês por semana – portanto, com uma média de oito aulas ao
mês. A cada bimestre, recomendamos trabalhar duas unidades e, conforme a agenda do
professor, algumas atividades extras e a seçã o Time for literature. Apresentamos também a
distribuiçã o de aulas por trimestre, para o caso de escolas que adotam esse tipo de
planejamento.
Em nossa proposta, cada unidade é desenvolvida ao longo de seis tempos de aula, seguidos de
dois tempos para atividades variadas, a critério do professor. Esses dois tempos podem ser
dedicados à s atividades extras referentes à unidade, da seçã o Crossing boundaries, à s
atividades extraclasse de escolha do professor e/ou à s avaliaçõ es previstas (ver seçã o
Avaliação neste Manual para sugestõ es de diversos instrumentos e procedimentos de
avaliaçã o). Dessa forma, cerca de 25% da carga horá ria bimestral (quatro aulas) sã o
reservados para se garantir a flexibilidade necessá ria para imprevistos no calendá rio e,
sobretudo, para o professor poder atender à s necessidades de seus alunos.
A seçã o Let’s act with words! (ú ltima seçã o de cada unidade), que traz uma atividade de
produçã o escrita (ver seçã o Produção escrita neste Manual para maior detalhamento), foi
incluída no plano de curso a seguir, mas poderá ser utilizada pelo professor de acordo com as
possibilidades e os interesses de cada turma, podendo ser desenvolvida como trabalho de casa
e também utilizada como um dos instrumentos de avaliaçã o (ver sugestã o dada na seçã o
Avaliação deste Manual). Como alternativa, sugerimos que se utilize parte de uma aula livre
para dar orientaçõ es aos alunos sobre a atividade proposta na seçã o Let’s act with words! e
parte de outra aula livre para que eles possam compartilhar suas produçõ es e recorrer aos
colegas para correçã o (peer correction).
As pá ginas de abertura de cada parte do livro foram incluídas antes da seçã o Lead-in de cada
primeira unidade do bimestre. Essas pá ginas buscam ativar o conhecimento prévio dos alunos
e prepará -los para os conteú dos a serem apresentados e nã o consomem muito tempo em sala
de aula. As pá ginas de fechamento de cada parte, por sua vez, nã o foram incluídas no plano de
atividades. Elas podem ser utilizadas na ú ltima aula de cada bimestre para apresentaçã o e
discussã o sobre estratégias de aprendizagem com toda a turma e como atividade de casa para
que o aluno reflita sobre seu processo de aprendizagem (pá gina Time to reflect). Na seçã o
Avaliação deste Manual, destacamos a importâ ncia dessa reflexã o para o processo de avaliaçã o
contínua.
As atividades extras podem servir ao professor nã o apenas como recurso para as aulas livres,
mas também como estratégia, seja de apoio para alunos com dificuldades nas duas unidades
anteriores, seja de complemento para alunos mais rá pidos com tempo disponível em sala de
aula. Além disso, as atividades extras podem ser feitas como trabalho de casa (ao final ou ao
longo do bimestre) ou como parte da avaliaçã o bimestral (conforme sugerido na seçã o
Avaliação deste Manual).=PG=190=
ORGANIZAÇÃO POR BIMESTRE 1ºSEMESTRE

Part 1 Unit 1: Making • Aula 1 • Abertura da Part 1
connections
(1º bimestre) • Lead-in
• Aula 2 • Let’s read!
• Vocabulary corner
• Aula 3 • Let’s listen, read and
talk!
• Aula 4 • Let’s focus on language!
(até a atividade 4)
(da atividade 5 ao final)
• Aula 6 • Let’s act with words!
• Aula 7 • LIVRE
Unit 2: Digital security • Aula 1 • Lead-in
• Aula 5 • Let’s listen and talk!
Extra activities • (Ao final ou ao longo do
bimestre)
Part 2 Unit 3: On the waves of the • Aula 1 • Abertura da Part 2
radio
• Aula 4 • Turn on the jukebox!
• Aula 5 • Profession spot: Radio
jobs
Unit 4: Going mobile • Aula 1 • Lead-in
• Aula 2 • Let’s Listen and talk!
(da atividade 5 ao final)•
Let’s read!
• Aula 6 • Profession spot: Some
jobs in the telephony
field• Vocabulary corner
bimestre)
Time for literature • (Ao final ou ao longo do
bimestre)
2º semestre
Part 3 Unit 5: Extra! Extra! • Aula 1 • Abertura da Part 3

Unit 6: Strike a pose • Aula 1 • Lead-in
• Aula 5 • Vocabulary corner
• Let’s listen!
• Profession spot:
Photographers
bimestre)
Part 4 Unit 7: It’s on TV • Aula 1 • Abertura da Part 4
(4ºbimestre) • Lead-in
• Profession spot: Careers

in television
Unit 8: You broadcast • Aula 1 • Lead-in
bimestre)
bimestre)
Caso sua escola adote a organizaçã o do ano letivo em etapas trimestrais, sugerimos a seguinte
distribuiçã o dos conteú dos:
Pá gina 191
ORGANIZAÇÃO POR TRIMESTRE

1º TRIMESTRE
Part 1 Unit 1: Making • Aula 1 • Abertura da Part 1
connections
• Lead-in
• Aula 4 • Let’s focus on language
Unit 2: Digital security • Aula 1 • Lead-in
Extra activities • (Ao final ou ao longo da
Part 1)
Part 2 Unit 3: On the waves of • Aula 1 • Abertura da Part 2
the radio
(primeira metade) • Lead-in
• Aula 5 • Profession spot: Radio
jobs
2º trimestre
Part 2 (segunda metade) Unit 4: Going mobile • Aula 1 • Lead-in
• Let’s read!
• Aula 5• Let’s read!
• Aula 6 • Profession spot: Some
jobs in the telephony field
Part 2)
Time for literature • (Ao longo do 1º
trimestre e início do 2º)
Part 3 Unit 5: Extra! Extra! • Aula 1 • Abertura da Part 3
• Lead-in
Unit 6: Strike a pose • Aula 1 • Lead-in
(primeira metade) • Aula 2 • Let’s read!
3º trimestre
Part 3 Unit 6: Strike a pose • Aula 5 • Vocabulary corner
(segunda metade)
• Let’s listen!
• Profession spot:
Photographers
Part 3)
Part 4 Unit 7: It’s on TV • Aula 1 • Abertura da Part 4
• Lead-in
• Let’s focus on language!

• Profession spot: Careers

in television
Unit 8: You broadcas Aula 1 • Lead-in
Review • (Ao final ou ao longo da
Part 4)
3º trimestre)
Pá gina 192
PARTE 2 – Objetivos, temas, sugestões e respostas por

unidade
Nesta seçã o, para cada unidade, indicamos os objetivos gerais e os específicos, comentamos o tema
central e, a fim de ampliar os conteú dos trabalhados, apresentamos informaçõ es culturais e/ou
linguísticas, a serem compartilhadas com os alunos a critério do professor. Em alguns casos, a partir
dessas notas, incluímos sugestõ es para atividades extras, com atividades de natureza interdisciplinar e
sugestõ es de pesquisa para a iniciaçã o científica dos alunos.
Professor, de acordo com o Parecer CNE/CEB 15/2000, “o uso didá tico de imagens comerciais
identificadas pode ser pertinente desde que faça parte de um contexto pedagó gico mais amplo,
conducente à apropriaçã o crítica das mú ltiplas formas de linguagem presentes em nossa sociedade,
submetido à s determinaçõ es gerais da legislaçã o nacional e à s específicas da educaçã o brasileira, com
comparecimento mó dico e variado”. Para saber mais, consulte o Parecer inteiro, especialmente a parte
“II – Voto do relator”.
Disponível em: <http://portal.mec.gov.br/cne/arquivos/pdf/PCB15_2000.pdf>. Acesso em: 25 maio 2016.
PART 1 - SOCIAL NETWORKS

UNIT 1 MAKING CONNECTIONS
Objetivo geral
Aprender a ler e a fazer infográ ficos. Levar os alunos a interagir em inglês.
Objetivos específicos
Levar os alunos a:
• reconhecer características do infográ fico;
• falar de coisas geralmente verdadeiras e que acontecem regularmente;
• falar de açõ es em progresso agora ou por volta de agora;
• aprender como dar dicas e instruçõ es;
• reconhecer e entender metá foras;
• reconhecer e usar vocabulá rio relacionado à s redes sociais de forma comunicativa;
• aprender a expressar opiniõ es;
• identificar os sons de “th” no inglês;
• produzir um infográ fico para o portfó lio.

Sobre o tema da unidade
A primeira unidade trata de conexõ es e relaçõ es que se estabelecem em redes sociais com foco nas redes
on-line. A temá tica envolve aspectos característicos das redes sociais e posicionamentos críticos sobre as
conexõ es e relaçõ es que se estabelecem em ambiente virtual.
Comentários, sugestões e respostas

• Página 11
Ice breaker
Uma dinâ mica interessante consiste em permitir que cada aluno se apresente para a turma. Por exemplo,
você pode propor a atividade “Two lies and a truth”, na qual cada aluno lista três coisas interessantes
sobre si mesmo: duas mentiras e uma verdade. Os colegas tentam adivinhar qual é a verdade e quais sã o
as mentiras. O aluno, entã o, corrige as mentiras apresentadas.
Caso seja necessá rio, escreva no quadro uma lista de Useful language que possa ajudar a turma.
Por exemplo: Hi, my name is =QQ=, and I am =QQ= years old. I like=QQ=, and I don’t like =QQ=.
Social networks
Redes Sociais. No ambiente da internet, o termo é conhecido pelas teias de relacionamentos formadas em
canais da Web que proporcionam a formaçã o de comunidades on-line e a interaçã o de seus participantes
ou usuá rios, como sã o chamados. Cada vez maiores, essas redes têm influenciado as novas geraçõ es na
maneira como se relacionam com outras pessoas, marcas e instituiçõ es.
Adaptado de: <https://en.wikipedia.org/wiki/Social_network>. Acesso em: 25 maio 2016.
• Página 12
Infographics (Infográficos)
Sã o representaçõ es visuais de informaçã o; grá ficos nos quais a informaçã o precisa ser explicada de
forma mais dinâ mica, como em mapas, no jornalismo e em manuais técnicos, educativos ou científicos. É
um recurso muitas vezes complexo, podendo se utilizar da combinaçã o de fotografia, desenho e texto.
Adaptado de: <http://pt.wikipedia.org/wiki/Infografia>. Acesso em: 25 maio 2016.
Propomos que, neste contato inicial dos alunos com o conteú do da pá gina, o professor sonde a
familiaridade e a experiência deles com redes sociais e outros serviços disponíveis na rede. É possível
que mesmo alunos que nã o tenham contato direto com esse universo já tenham ouvido falar de
Facebook, Twitter, entre outros. Convidar alunos que sabem “um pouco mais” sobre o assunto a
contribuir com explicaçõ es mais específicas.
• Página 13
Lead-in
1. Personal answers.
2. a) It shows a map of social media.
b) To inform, presenting a lot of visual elements.
c) Internet users or the readers of a website/blog.
d) Facebook, WhatsApp, Instagram, Twitter, YouTube.
e) The green color means Relationships; the blue color symbolizes Contents. Professor, as respostas que
apresentamos aqui sã o apenas sugestõ es. Aceitar outras ideias dos alunos contanto que eles as
justifiquem com base no texto e em seu pró prio conhecimento.
Pá gina 193
3. Personal answers. Professor, sugerimos explorar os textos explicativos de cada característica dos
infográ ficos disponíveis no site Hubspot <http://linkte.me/g6iek>, acesso em: 25 maio 2016. Você pode
levar os textos explicativos e pedir aos alunos que, em grupo, os associem à s características. Poderia
ainda levar exemplos de infográ ficos para ampliar a atividade ou pedir aos alunos que encontrem outros
exemplos. Sugerimos explorar as características do gênero infográ fico.
A definiçã o está na pá gina 22 (Let’s act with words!).
4. Infographic.
5. a) Instagram
b) LinkedIn
c) Twitter
d) Academia
e) Pinterest
6. a) Personal answers.
b) No, they are not./Personal answers.
Professor, discuta com os alunos os perigos que se escondem em redes sociais voltadas para namoro,
como Badoo e Tinder, pois pessoas com perfis falsos estã o em busca de pessoas inocentes para aplicar
golpes financeiros ou para açõ es de pedofilia. Orientar os alunos, especialmente os menores de idade, a
nã o entrar nesse tipo de site, e comentar notícias recentes de vítimas desse tipo de rede de
relacionamento. Uma busca na internet com qualquer nome dessas redes sociais, mais a palavra “perigo”
vai sempre indicar exemplos recentes.
Beyond the lines...
• Personal answers.
• Página 14
Let’s read! Before you read...
a) Personal answer.
b) Personal answer.
Managing your social network addiction
Professor, para ajudar a turma a ativar seu conhecimento anterior sobre o assunto do texto, sugerimos
perguntar para os alunos se eles acessam a internet diariamente, se a utilizam para aprender inglês,
quais sã o seus sites favoritos, quantas horas passam interagindo on-line por semana, etc. Essas
perguntas poderã o ser escritas no quadro de giz para os alunos responderem e discutirem em pares.
Sugerimos que a abordagem inicial do texto nã o se restrinja a interagir apenas com alunos que sejam
membros de redes sociais. Este é um bom momento para perguntar a alguns alunos por que eles nã o
gostam de redes sociais, o que eles sabem sobre elas, mesmo nã o sendo usuá rios, etc.
Lembramos que, na seçã o Objetivos, temas e sugestões por unidade do Manual do Professor, há
informaçõ es adicionais sobre alguns aspectos trabalhados nas unidades. Consulte-a sempre.
• Página 15
Let’s read!
Variação linguística
Professor, você pode mostrar aos alunos que verbos que terminam em –ize, como o verbo customize,
que aparece no texto, podem ter duas grafias: com –z na variante estadunidense da língua, e com –s na
variante britâ nica. Sugerimos mostrar outros exemplos.
1. Suggested answer: People who love networking services.
2. To convince people to spend less time on social networking.
3. When you are a member of multiple social networks.
4. Personal answer.
5. Personal answer.
Professor, sugerimos que, apó s encorajar os alunos a apresentar suas razõ es, você explore um pouco
mais esse tema perguntando à turma, por exemplo, qual é a vantagem que os donos dessas redes têm em
oferecer tantas possibilidades aos membros. Em outras palavras, aproveite para fazer com que os alunos
pensem sobre o tipo de retorno financeiro que os donos dessas redes têm ou podem ter.
• Página 16
Let’s read!
Vocabulary corner
1. Suggested answers: Myspace/Blogspot/YouTube.
2. Instagram (instant+telegram)
3. a) biopic
b) camcorder
c) cyborg
d) infotainment
e) netizen
f) simulcast
g) telethon
h) travelogue
i) webinar
Beyond the lines...
a) Personal answers.
b) Personal answers.
c) Personal answers. Recomendamos explorar de forma crítica as questõ es sobre redes sociais discutidas
na seçã o Beyond the lines...
• Página 17
Let’s listen and talk!
Before you listen...
• Personal answers.
1. a) Personal answer.
b) Young people who like to interact on-line.
c) Personal answer. Professor, caso prefira tocar o á udio antes da atividade 1, você poderá explorar as
seguintes perguntas:
1) How many people are giving their opinion?;

2) By their tone of voice and some words you can understand, which ones think it’s better to make friends in
real life? And in social networks?
Esta pode ser uma oportunidade de enfatizar a diferença entre palavras que sã o escritas com s em inglês
britâ nico (analyse) e z no inglês americano (analyze). Sugerimos trazer outras palavras para os alunos.
• Página 18
Pá gina 194
4. Personal answer.
Professor, esta atividade 4, em grupo, permite que os alunos explorem o tema e formem uma opiniã o
sobre a experiência de fazer novos amigos. Você poderá dividir a turma em dois grupos: os que sã o mais
favorá veis a fazer amigos em redes sociais e os que sã o mais favorá veis a fazer amigos na vida real. Eles
podem com isso colocar em prá tica o uso dos marcadores apresentados no boxe Useful language.
Professor, caso as atividades de fala se mostrem desafiadoras para a turma, sugerimos usar estratégias
que deem aos alunos suporte para sua produçã o oral, por exemplo: escrever no quadro palavras-chave
que eles possam utilizar; sugerir o planejamento e a organizaçã o das ideias antes da realizaçã o das
atividades; enfatizar a importâ ncia de usarem os boxes de Useful Language e ampliá -los no quadro caso
seja necessá rio; encorajar os alunos a usarem a pará frase para expressar uma ideia de uma maneira
alternativa caso tenham dificuldade com vocabulá rio.
Em apresentaçõ es orais mais elaboradas, você pode ainda propor aos alunos que preparem um script da
fala, em que devem planejar o que vã o falar. Essa pode ser uma ó tima oportunidade para discutir com
eles sobre as diferenças dos discursos escrito e oral em um trabalho interdisciplinar com o professor de
língua portuguesa. Os alunos podem elaborar seus scripts em dupla, reescrevê-los a partir do seu
feedback e preparar a parte oral com antecedência. Esse trabalho processual mais extenso deve dar
maior segurança aos alunos e ainda ser parte do sistema de avaliaçã o processual do bimestre.
Pronunciation spot
3. /ð/: the; that; them; there; trustworthy; rather; than; their /θ/: both; with; everything; think
• Página 19
Let’s focus on language!
1. a) I, II, IV
b) III, V
Professor, você pode pedir aos alunos que criem suas perguntas para o survey e o hospede on-line,
pedindo a outras turmas que também o respondam. Sugestã o de site: SurveyMonkey
<http://linkte.me/g1zv9> (acesso em: 19 maio 2016). Como cada grupo vai produzir questõ es sobre
tó picos diferentes, haverá diferentes tó picos com respostas distintas. Esses dados podem ser
posteriormente apresentados para a turma ou todas as turmas, mostrando um perfil dos usuá rios de
internet da escola.
Para evitar confusã o, sugerimos pedir aos grupos que façam suas pesquisas um de cada vez. Por
exemplo, na vez do grupo 1, os integrantes se levantam e conversam com diferentes colegas na sala, de
modo que o grupo 1 obtenha informaçõ es de pelo menos 10 colegas da turma. Na vez do grupo 2, o
procedimento se repete, e assim por diante. Caso julgue pertinente, incentivar os alunos a fazer mais
perguntas para a enquete. Além disso, antes de circular pela sala, os grupos podem trocar as perguntas
para correçã o em pares.
• Página 20
4. a) Facebook, Twitter and Linkedin.
b) To highlight the word/To call the reader’s attention.
c) Something that you don’t need anymore, something which has no use for you.
d) Personal answers.
5. Suggested answers:
• A young woman is carrying some books.
• A boy is reading a book.
• A young woman is texting.
• A young man is typing. Professor, uma forma lú dica de se praticar o Present Continuous é pedir aos
alunos que façam mímica de açõ es e convidar o grupo para descobrir o que a mímica representa usando
esse tempo verbal. Você poderá trazer para a sala de aula algumas tirinhas de papel com açõ es para
tornar a atividade mais dinâ mica e promover a prá tica de um maior nú mero de açõ es.
• Página 21
6. 1 - let/2 - value/3 - are paying/4 - are speaking/5 - are saying/6 - loves/7 - start/8 - gives/9 -
work/10 - teach/11 - help/12 - Does/13 - share/14 -is going on
Professor, outra alternativa é pedir aos alunos que copiem apenas as frases em que eles devem inserir as
formas verbais.
7. c) To give tips.
8. They are used for giving instructions.
• Página 22
1. Professor, sugerimos chamar a atençã o dos alunos para o gênero infográ fico, que geralmente abusa de
ilustraçõ es, grá ficos, cores e imagens. Lembre-os de que o objetivo de um infográ fico é informar os
leitores com abundâ ncia de elementos grá ficos, e nã o textos longos. Encoraje os alunos a trabalhar em
duplas ou grupos, dando feedback aos trabalhos uns dos outros e lembre-os de que eles podem utilizar
recursos tecnoló gicos digitais, como o computador, por exemplo.
2. a) title/b) connected visual and verbal information/d) information presented in a simple way/f)
color/h) graphics/j) information divided in parts/l) statistics/m) boxes
• Página 23
Let’s create an Infographic about making connections
Para avaliar o infográ fico, sugerimos verificar se o aluno conseguiu pesquisar e sintetizar as informaçõ es
obtidas, se o trabalho é criativo, se existe equilíbrio entre as informaçõ es visuais e textuais no infográ fico
produzido, se o texto usa a língua de forma adequada e se nã o apresenta erros de ortografia. Sugerimos
informar aos alunos os critérios que utilizará para avaliaçã o da produçã o escrita.
Esta atividade pode ser feita em casa ou em sala de aula e poderá ser incluída no sistema de avaliaçã o.
UNIT 2 DIGITAL SECURITY
Objetivo geral
Aprender a ler e fazer pô steres. Levar os alunos a interagir em inglês para falar sobre a segurança na
internet.
Pá gina 195
Levar os alunos a:
• reconhecer características do gênero pô ster;
• aprender a dar ordens, avisos e instruçõ es;
• aprender a dar conselho e fazer recomendaçõ es;
• produzir um pô ster para o portfó lio.

Esta unidade trata de aspectos relativos à segurança na rede. A temá tica aborda questõ es voltadas para
proteçã o contra vírus, roubo de identidade no ciberespaço, invasã o de senhas e contas pessoais. A
unidade promove a conscientizaçã o de uma navegaçã o segura na internet.

• Página 26
Phishing
O termo phishing vem do verbo to fish, “pescar”, e é um meio de obter senhas de acesso a bancos e
outros serviços, além de criar sites muito parecidos com os originais, à s vezes mudando apenas um
nú mero ou letra no endereço principal do site. A prá tica ilícita também é muito frequente em e-mails
vindos de desconhecidos, e à s vezes até de pessoas conhecidas, contendo links e atalhos que captam
informaçõ es de segurança.
Adaptado de: <http://www.infoescola.com/internet/phishing/>. Acesso em: 25 maio 2016.
• Página 27
Lead-in
Professor, sugerimos estimular os alunos a usar a estratégia de leitura de informaçã o nã o verbal,

prestando atençã o à s imagens, à s cores, ao tamanho das letras, etc., para facilitar a compreensã o dos
textos.
1. a) Suggested answers: the dangerous animals, the scary images, the dangerous or endangered digital
devices.
b) To warn people about the dangers of handling digital devices and Web browsing.
c) Probably they got inspiration from horror movie posters or comics.
d) Suggested answer: They want to use fear to promote awareness. It’s not original, but it’s usually very
effective. Professor, você pode fomentar a discussã o com a turma toda ou pedir que discutam em grupos.
Os alunos podem anotar palavras-chave e você pode auxiliá -los com o vocabulá rio em inglês.
• Downloading and opening files, installing programs and apps, surfing on unsafe Websites.
• Delete files, copy passwords and personal information, damage softwares, etc.
• Use it for shopping, sending messages under your name, etc.
3. Suggested answers: colors, size, letter shapes, images, etc.
4. Suggested answers: ads, movie openings, protests, campaigns, etc. The information on posters is
normally conveyed in an appealing way, that is, in a way that draws the public’s attention.
5. a) Posters 1 and 2.
b) Posters 1 and 3.
c) Poster 4.
d) Poster 1.
e) Poster 3.
f) Posters 1 and 4.
g) Poster 1.
h) Poster 1.
i) Poster 2.
k) Posters 2 and 3.
j) Posters 1 and 3.
l) Poster 2.
Professor, sugerimos que estimule os estudantes a fazer uma leitura detalhada e crítica, percebendo os
trocadilhos e as referências intertextuais presentes nos pô steres. Por exemplo, pode-se destacar:
a) a referência ao tubarã o e a fishing no uso do termo phishing, que significa pegar informaçã o de
terceiros no pô ster 1;
b) a mã o do esqueleto que se refere a “wrong hands” no pô ster 3;
c) o uso de aranhas e da referência à teia na sentença “Don’t get caught up in the Web” no pô ster 4.
• Página 28
Let’s read! Before you read...
b) Personal answers. Professor, caso seja necessá rio, escreva no quadro uma lista de Useful Language
que possa ajudar a turma. Por exemplo: To keep my privacy and personal information safe, I... (use an
antivirus/never save my passwords/...) I know how to protect myself because... (I read about it on the
Internet/My friend told me/...).
1. Recomendamos orientar os alunos a, inicialmente, ler apenas o título e o subtítulo, bem como os
subtítulos em negrito ao longo do texto, com o intuito de ter uma compreensã o geral. Caso necessá rio,
ajude a turma com o vocabulá rio dessas partes.
Firewall
Pode ser definida como uma barreira de proteçã o que controla o trá fego de dados entre seu computador
e a Internet (ou entre a rede onde seu computador está instalado e a Internet). Seu objetivo é permitir
somente a transmissã o e a recepçã o de dados autorizados. [...]
Adaptado de: <http://www.infowester.com/firewall.php>. Acesso em: 25 maio 2016.
Anti-virus software
Trata-se de um programa de antivírus. Sã o programas desenvolvidos para prevenir, detectar e eliminar

vírus de computador.
Adaptado de: <http://pt.wikipedia.org/wiki/Antiv%C3%ADrus>. Acesso em: 25 maio 2016.
Professor, antes de pedir aos alunos que façam a atividade 2, sugerir-lhes que identifiquem essas dicas
no texto, lendo algumas delas em voz alta. Certificar-se de que todos entendam o significado de termos
como firewall, attachment, browsing, etc. Esta é uma oportunidade de fazer com que alunos mais
familiarizados com esse campo de conhecimento compartilhem aquilo que sabem.
3. b) warning/d) advice/e) recommendations/f) suggestions

Professor, todas as opçõ es do exercício 3 sã o ideias que o imperativo pode exprimir. A resposta dos
alunos dependerá da dica que eles focalizarem – isso poderá ser esclarecido por você. Beware, por
exemplo, pode ser warning, enquanto create e use podem ser uma sugestã o, recomendaçã o, etc.
• Página 29
Let’s read!
4. I-c)/II-a)/III-b)/IV-c)/V-a).
Pá gina 196
Professor, apó s os alunos terem interagido em duplas, você pode pedir que voluntá rios contem para o
restante da classe qual foi o problema que tiveram e como o resolveram. Os alunos também poderã o
falar de problemas que algum familiar ou conhecido teve. Esta é uma boa oportunidade para verificar o
quanto já sabem sobre o assunto e assim determinar que temas da unidade poderã o ser priorizados. É
possível também saber se um dos alunos é capaz de contribuir posteriormente com a exposiçã o de algum
item técnico envolvendo a internet.
Caso necessá rio, escreva no quadro uma lista de Useful language que possa ajudar a turma. Por exemplo:
Yes, I had a problem similar to the ones in the text. What happened was that.../No, I have never had this
kind of problem because...
Vocabulary corner
Theft: a) robbery
Often: a) frequently
Threats: b) sources of danger
Keep: a) maintain
Be aware: b) to know that something exists
Professor, chamar a atençã o dos alunos para o fato de que palavras sinô nimas têm significado
semelhante, mas nã o necessariamente igual. Por exemplo, na seçã o de vocabulá rio, apesar de alguns
dicioná rios colocarem robbery como sinô nimo de theft, os conceitos sã o diferentes, pois robbery
envolve violência.
• Página 30
Let’s read!
Professor, sugerimos que você explore a relaçã o da imagem com o texto 2, perguntando aos alunos se
eles acham que o texto foi escrito por uma menina ou por um menino. Pedir-lhes que justifiquem suas
respostas. Este pode ser um bom momento para discutir as possíveis razõ es que levam os rapazes a nã o
expressarem seus sentimentos do mesmo modo como as meninas o fazem.
Beyond the lines…
a) Suggested answer: People may not be who they say they are, and you can be fooled into meeting
someone who is not who they say they are.
b) Answers may vary. You have to be cautious about sharing information online.
c) Suggested answer: It assumes people may lie about their identities on-line and that one is a fool to
trust them./Personal answer. Professor, recomendamos sempre aproveitar cartuns e tirinhas para
estimular uma reflexã o que favoreça o desenvolvimento do letramento crítico dos alunos.
• Página 31
1. a) “Use anti-virus software on your computer.”/
c) “Don’t use a word that uses digits in place of letters [...].”
3. b) To make recommendation./
c) To give instructions./
d) To express an action in progress.
4. I-D; II-C; III-A; IV-B; V-E
Beyond the lines…
Personal answers.
• Página 32
5. a) • Throw batteries in designated places.
• Don’t leave your computer on standby.
• Scan for computer viruses.
• Don’t talk to strangers.
B - Fill in your last name.
C - Add your e-mail.

D - Create a strong password.
E - Add your nationality.
F - Click on “Register”.
• Página 33
7. A - order/B - warning/C - order
8. A-II; B-IV; C-IV; D-IV; E-II; F-IV; G-I; H-II; I-IV; J-III; K-I
• Página 34
Before you listen…
a) Personal answer.
b) Personal answer.
c) Personal answer.
1. b) Stop Doing Quizzes on Facebook if You Place any Value on Your Privacy Professor, caso as
atividades de compreensã o oral se mostrem desafiadoras para a turma, sugerimos usar estratégias que
facilitem a interaçã o dos alunos com os textos orais, por exemplo: explorar o conhecimento de mundo do
aluno quanto à temá tica do texto antes de ouvi-lo; passar o á udio uma vez com os livros fechados e
explorar a ideia geral do texto; escrever no quadro palavras e expressõ es-chave de textos mais longos e
complexos; orientar os alunos a lerem as questõ es relativas ao texto antes de ouvi-lo para concentrarem
sua atençã o na informaçã o relevante; fazer perguntas extras que explorem o á udio em maiores detalhes,
se necessá rio, escrevendo-as no quadro.
2. Picture 3.
3. a) Facebook quizzes are done by third parties./c) People should not do Facebook quizzes./d)
Facebook quizzes combine your feeds with those of your friends’./e) When you take Facebook quizzes,
you are giving access to your e-mail.
Professor, sugerimos orientar os alunos a lerem as afirmativas antes de o á udio ser reproduzido.
Explique que essa estratégia (Scanning – busca por informaçã o específica) permitirá que eles focalizem
sua atençã o nas informaçõ es que precisam para realizar a tarefa.
• Página 35
b) No.
c) Personal answer.
5. Professor, sugerimos que os alunos usem o celular para gravar o á udio, ou uma ferramenta digital
como o Vocaroo <http://linkte.me/hr3oc> (acesso em: 20 maio 2016).
Caso as atividades de fala se mostrem desafiadoras para a turma, sugerimos usar estratégias que deem
aos alunos suporte
Pá gina 197
para sua produçã o oral, por exemplo: escrever no quadro palavras-chave que eles possam utilizar;
sugerir o planejamento e a organizaçã o das ideias antes da realizaçã o das atividades; enfatizar a
importâ ncia de usarem os boxes de Useful languange e ampliá -los no quadro caso seja necessá rio;
encorajar os alunos a usarem a pará frase para expressar uma ideia de uma maneira alternativa caso
tenham dificuldade com vocabulá rio.
• Página 36
1. Nonverbal information: Color use is logical and consistent./Color is used to organize

information./Contrasting colors do not clash./Size is used to emphasize information./Use of white
spaces is adequate./Only relevant photos, charts, etc. are included.
Verbal information: Only relevant information is presented./The most relevant information is

highlighted./Text is in a simple font (Arial, Times New Roman)./Text is large and bold./Content is easy to
understand./Minimal abbreviations and jargon are used./Information is presented in a logical
progression./Information is grouped in sections.
Professor, sugerimos destacar as características do gênero pô ster, que geralmente apresenta frases
curtas, porém impactantes, visando chamar a atençã o dos leitores de maneira rá pida. Um bom pô ster
deve fazer uso efetivo das cores, ser simples e convincente. Uma estratégia eficiente de conscientizaçã o
do gênero é apresentar uma coletâ nea de pô steres aos alunos, convidando-os a apontar suas principais
características. Peça-lhes que trabalhem de forma colaborativa, estimulando-os a lerem e darem
feedback e sugestõ es nos trabalhos uns dos outros. Explore também os elementos multimodais
presentes nos pô steres da unidade e naqueles que forem encontrados na Web.
Sugerimos propor um projeto interdisciplinar com o(a) Professor(a) de Artes para que ele(a)
oriente os alunos na produçã o de cartazes mais elaborados visualmente para serem expostos na escola
em um trabalho de conscientização e dicas sobre segurança na rede envolvendo nã o somente os
alunos, mas toda a comunidade escolar. Seria interessante se os pô steres produzidos nesse projeto
pudessem ser publicados durante evento com a participação dos familiares e de pessoas da
comunidade externa à escola.
2. Personal answer.
• Página 37
Let’s create a poster
Para avaliar o pô ster, sugerimos verificar se o aluno escolheu imagens adequadas, letras que chamam a
atençã o, bem como se usou a língua adequadamente, sem erros de ortografia. Sugerimos informar aos
alunos os critérios que utilizará para avaliaçã o da produçã o escrita.
Esta atividade poderá ser desenvolvida na sala ou em casa (parcial ou totalmente). A correçã o em pares
na sala de aula poderá auxiliar o desenvolvimento da produçã o escrita.
Sugerimos levar ou pedir aos alunos que levem outras opçõ es de pô steres que possam ser usados como
modelo.
Caso a escola tenha um laborató rio de informá tica, sugerimos utilizar a ferramenta on-line Glogster
<http://linkte.me/wqrps> (acesso em: 26 maio 2016) para a criaçã o das apresentaçõ es orais dos alunos.
A integraçã o de novas tecnologias na sala de aula de línguas poderá ser um elemento de motivaçã o para
o engajamento dos alunos na tarefa. A apresentaçã o em um pô ster impresso poderá ser utilizada como
alternativa.
Glogster
Trata-se de uma rede social criada em 2007 com o objetivo de criar e compartilhar glogs. Os glogs sã o
pô steres interativos que podem conter texto, imagem, mú sica e vídeo.
• Página 38
Let’s study for Enem
1. b) conexõ es em redes sociais.
2. c) mente-se na internet ou na interaçã o fora da rede.
3. b) programa espiã o.
4. d) parece vir de uma empresa como um banco.
PART 2 - MOBILE
UNIT 3 ON THE WAVES OF THE RADIO
Objetivo geral
Entender e criar entrevistas. Levar os alunos a falar sobre eventos no passado e a fazer perguntas.
Levar os alunos a:
• reconhecer características do gênero entrevista;
• reconhecer características do gênero podcast;
• aprender a contar e descrever eventos passados;
• aprender a fazer perguntas de conteú do (WH-);
• aprender a apresentar entrevistados;
• reconhecer os sons com final -ed;
• produzir uma entrevista para o portfó lio.

Esta unidade trata inicialmente da invençã o do rá dio e sua evoluçã o até as versõ es mais atuais como o
podcast. Essa temá tica dá abertura para assuntos voltados para o universo musical e sua indú stria.

• Página 43 Lead in
Professor, como uma forma de ampliar a atividade e o contato com a língua, sugerimos organizar um
trabalho interdisciplinar com os professores de português e de espanhol com o objetivo de promover um
festival de mú sica. Com a orientaçã o dos professores, os alunos interessados escolhem mú sicas nos três
idiomas, ensaiam e cantam em um espaço especialmente preparado para receber pais, responsá veis,
amigos e, se possível, pessoas do entorno da escola. Outra ideia possível é organizar um espaço semanal
de confraternizaçã o em que os alunos possam cantar, bem como apresentar outros trabalhos envolvendo
mú sica desenvolvidos com o professor de Arte. Esse momento poderia acontecer no intervalo do almoço
e ser chamado de “Quarta (ou qualquer outro dia) Cultural”, por exemplo.
1. Suggested answers: The evolution of the radio/Different people listening to different types of radio in
different places/ages/etc.
2. A-6; B-3; C-5; D-1; E-2; F-4
3. c) An interview
Sugerimos chamar a atençã o dos alunos para as marcas de oralidade presentes no texto, como as
contraçõ es, as hesitaçõ es,
Pá gina 198
os falsos começos (quando a pessoa nã o termina a palavra ou a ideia), as repetiçõ es, etc. Peça a eles que
pensem como isso acontece em português e deem alguns exemplos, como a hesitaçã o “er...”, no inglês,
que é produzida como “é...” em português.
4. A-Excerpt 2; B-Excerpt 3; C-Excerpt 1
b) Personal answer. Professor, sugerimos explorar a presença do rá dio na vida dos alunos. Pergunte-lhes
se eles o ouvem com frequência, se estudam com mú sica, etc.
• Página 44
Let’s read!
Before you read…
• Personal answer.
1. Professor, no texto The invention of the radio, você pode chamar a atençã o dos alunos para o fato de
que o verbo travel é geralmente escrito com dois “L” na variante do inglês britâ nico quando é flexionado,
gerando “travelling” e “travelled”, ao passo que, na variante do inglês estadunidense, permanece com um
“L” apenas – “traveling” e “traveled”.
Did you know...?
Professor, os quilombos sã o locais onde os escravos africanos e afrodescendentes se refugiavam. Se

necessá rio, peça ajuda ao professor de Histó ria para explicar para os alunos a histó ria dos quilombos.
The invention of the Radio
Professor, para expandir a tarefa, sugerimos um trabalho interdisciplinar com o professor de Histó ria no
qual os alunos pesquisam as origens de outros dispositivos, como o telefone, a televisã o, o computador,
etc. Seria importante que os alunos pudessem expor sua produçã o na escola. Heinrich Hertz Foi um
físico alemã o que demonstrou a existência da radiaçã o electromagnética criando aparelhos emissores e
detectores de ondas de rá dio.
Adaptado de: <http://pt.wikipedia.org/wiki/Heinrich_Hertz>. Acesso em: 23 maio 2016.
Guglielmo Marconi
Foi um pioneiro do rá dio, considerado seu inventor oficial, e um empresá rio de sucesso. Tinha apenas 23
anos de idade quando patenteou um sistema de telegrafia sem fios que lhe assegurou o monopó lio das
radiocomunicaçõ es e, mais tarde, o Prêmio Nobel de Física (1909). [...]
Disponível em: <http://educacao.uol.com.br/biografias/guglielmo-marconi.jhtm>. Acesso em: 23 maio 2016.
Oliver Lodge
Foi notá vel pelo seu trabalho sobre o éter, que tinha sido postulado como o meio que preenchia todo o
espaço e por onde as ondas se transmitiam. Ele transmitiu sinais de rá dio em 14 de agosto de 1894 em
um encontro da Associaçã o Britâ nica para o Avanço da Ciência na Universidade de Oxford. [...]
Adaptado de: <http://pt.wikipedia.org/wiki/Oliver_Lodge>. Acesso em: 23 maio 2016.
James Clerk Maxwell
[…] matemá tico, físico e astrô nomo escocês, o primeiro que demonstrou que as ondas eletromagné ticas
se propagam realmente à velocidade da luz, descobrindo assim o segredo matemá tico do rá dio, radar,
televisã o. […]
Adaptado de: <http://www.portalsaofrancisco.com.br/alfa/james-clerk-maxwell/index.php#ixzz1yXhtjtXI>. Acesso em: 23

maio 2016.
Temistocle Calzecchi-Onesti
Demonstrou que o ferro contido em um tubo isolante conduziria uma corrente elétrica sob a açã o de
uma onda eletromagnética. Esta descoberta foi o princípio operante por trá s de um antigo dispositivo
detector de ondas de rá dio chamado “coherer” (coesor), desenvolvido entre 6 e 10 anos depois por
Lodge, Branly e Marconi. [...]
Adaptado de: <http://en.wikipedia.org/wiki/Temistocle_Calzecchi-Onesti>. Acesso em: 23 maio 2016.
Alexander Popoff
Foi um físico russo. Realizou as primeiras demonstraçõ es pú blicas com seu transmissor e receptor,
aplicando o “coesor”. No ano seguinte, numa conferência pú blica, recebeu o primeiro radiograma
transmitido por seu assistente que se encontrava num outro prédio da Universidade de Sã o Petersburgo.
O telegrama constava de duas palavras: “Heinrich Hertz”.
Fontes: <http://pt.wikipedia.org/wiki/Alexander_Stepanovich_Popov> e
<http://rogeletrycradiostransmissores.blogspot.com.br/2011/12/alexandre-popoff-fisico-russo.html>. Acessos em: 23
maio 2016.
Augusto Righi
Foi um físico italiano. Foi a primeira pessoa a gerar micro-ondas, abrindo uma nova á rea de pesquisa na
eletromagnética e subsequentes aplicaçõ es.
Adaptado de: <http://en.wikipedia.org/wiki/Augusto_Righi>. Acesso em: 23 maio 2016.
• Página 45
Let’s read!
1. a) To inform about how the radio was developed and the scientists involved in its invention.
b) I. 2nd paragraph II. 1st paragraph III. 4th paragraph IV. 3rd paragraph
c) Personal answers. Professor, sugerimos recomendar aos alunos que tentem fazer esta atividade
baseando-se em seu conhecimento prévio. Mostrar como o conhecimento que trazemos para a leitura
nos ajuda a construir sentido quando interagimos com um texto novo. Caso alguma palavra seja mais
difícil, é recomendá vel solicitar que eles voltem ao texto em busca de pistas e/ou confirmaçã o. 2.A-II; B-
III; C-VI; D-I; E-V; F-VII; G-IV
• Página 46
Let’s read!
3. past.
4. They have in common the -ed particle.
Pá gina 199
Pronunciation spot – Final -ed
/d/: occurred, played, improved, verified, continued, proved;
/t/: developed, helped;

/ıd/: experimented, constructed, repeated, succeeded, demonstrated. Professor, você pode ainda
ressaltar que:
• Pronú ncia final “t” com voiceless sounds, chamados de “sons surdos” em português, sã o sons
produzidos sem a vibraçã o das cordas vocais, ou seja, sons “secos”. Em inglês, isso é comum no final de
palavras e, no caso dos verbos, os mais comuns sã o os terminados em: k, p, e ce – verbos que exigem a
pronú ncia de “t” no passado, por uma questã o de ser mais fá cil pronunciar assim, por exemplo: help –
helped/dance – danced.
• Pronú ncia final “d” com voiced sounds, chamados de “sons sonoros” em português, sã o sons que
produzem vibraçõ es nas cordas vocais. A maioria dos verbos no passado regular entra nessa categoria.
Nesses casos, deve-se pronunciar o passado com som de “d” mudo, ou seja, sem pronunciar a letra “e”,
por exemplo: listen – listened/engage – engaged.
• Pronú ncia final “ed” – todos os verbos cujo presente termina em “t” ou “d”, acrescido ou nã o de “e”
precisam de uma sílaba extra para se pronunciar o passado, por exemplo: rent (1 sílaba) – rented (2
sílabas)/decide (2 sílabas) – decided (3 sílabas).
Vocabulary corner
1. a) wireless
b) tube
c) electromagnetic
d) waves
e) experiments
f) antenna
• Página 47
2. a) To talk about completed actions in the past.
e) To talk about facts and habits in the past.
f) To talk about a sequence of events in the past.
3. A - ed; B - was; C - were; D - did; E - did not/didn’t; F - Irregular
4. c) In 1888, Heinrich Hertz tested Maxwell’s assumption.
f) Scientists found that radio communication involves the transmission of electromagnetic waves.
5. I-F; II-C; III-D; IV-E; V-A; VI-B
• Página 48

6. A - became; B - helped; C - allowed; D - started; E - decide d; F - became; G - included; H - exploded
7. a) What was the next step in the history of podcasting?
b) What was the problem with audio blogs?
c) What did the spoken word add to the media of blogging?
d) Where did the word “podcast” first appear?
e) Who created the term “podcast”?
Professor, você pode pedir aos alunos que têm facilidade de acesso à Internet que pesquisem sobre
personalidades locais ou nacionais associadas à comunicaçã o ou sobre a histó ria dos meios de
comunicaçã o. Cada grupo seleciona um assunto diferente e, a partir da informaçã o coletada, prepara um
quiz (perguntas utilizando WH- words e três opçõ es de respostas) para testar o conhecimento dos
outros grupos sobre o assunto escolhido por eles. Você pode ainda fazer a atividade em forma de
competiçã o, verificando qual grupo acerta mais. Outra ideia é pedir aos alunos que formulem perguntas
para uma entrevista que gostariam de fazer com o seu ídolo musica l.
Podcast
Podcast é um arquivo em á udio ou vídeo, geralmente pertencente a uma série temá tica, que pode ser
baixado da Web para um aparelho de mídia ou para um computador.
Disponível em: <http://dictionary.reference.com/browse/podcast>. Acesso em: 23 maio 2016.
MP3
A sigla MP3 vem de MPEG Audio Layer-3, um formato de arquivo que permite ouvir mú sicas no
computador com ó tima qualidade. Assim como os antigos LP, K7 e o nem tã o antigo CD, o MP3 vem se
destacando como o principal formato de arquivos musicais e á udio em geral.
Disponível em: <http://www.tecmundo.com.br/214-o-que-e-mp3-.htm#ixzz1yXyKnW00>. Acesso em: 23 maio 2016.
• Página 49
Turn on the jukebox!
2. Love.
4. Before love: b) twisted stomach/d) inability to see/f) misted windows After love: a) no dark clouds in
the sky/c) everlasting summer/e) fast-beating heart/g) days with colour
5. c) To show that love has the magical power to change things.

7. Professor, essa pode ser uma oportunidade para organizar junto com os professores de Artes e de
Educaçã o Física uma apresentaçã o para os alunos que queiram mostrar os seus podcasts ou cantar ao
vivo.
• Página 50
Profession spot
1. a) Media Sales Executive.
b) Professor, a resposta vai depender do câ mbio do dia.
c) Personal answers.
d) Personal answers.
• Página 51
Profession spot
2. II-H; III-G; IV-B; V-C; VI-E; VII-A; VIII-F; IX-D; X-I
3. The number of job opportunities available under that category and refinement.
4. Suggested answers: reporter, news reporter, announcer, programming producer, programming

director, music director, radio presenter.
• Página 52
Professor, sugerimos chamar a atençã o dos alunos para o gênero entrevista, que geralmente é
estruturado em forma de perguntas e respostas. Destaque que um bom entrevistador
Pá gina 200
sempre estuda bastante o assunto da entrevista, bem como sobre o entrevistado. Convide a turma a
pensar em bons entrevistadores e cite características que os mesmos tenham. Lembre aos alunos que
uma entrevista terá bastante ocorrências de perguntas com WH-words e passado simples. Encoraje o
trabalho colaborativo, pedindo aos alunos que leiam, palpitem e deem feedback das entrevistas uns dos
outros.
Professor, esta atividade pode ser feita no final da pá gina ou logo apó s a atividade 1. O professor pode
pesquisar entrevistas na internet sobre mú sica ou sobre a comunicaçã o via rá dio, podcast, etc, e separar
as perguntas das respostas. Os alunos teriam de criar as respostas para as perguntas ou fazer a
correspondência entre elas. O professor pode também comparar diferenças e semelhanças entre
entrevistas escritas e orais, pedir aos alunos que identifiquem marcadores discursivos e ainda pedir-lhes
que comparem as perguntas feitas nas diferentes entrevistas. Qual foi o foco do entrevistador? Ele fez
alguma pergunta que deixou o entrevistado de alguma forma constrangido? O entrevistador emite
opiniã o acerca do entrevistado?
• Página 53
3. A-II; B-I; C-II; D-I, II; E-I; F-I, II; G-I; H-II; I-I; J-II
Professor, caso necessá rio, anote no quadro de giz exemplos de hesitation noises, quotations, gap fillers,
etc., para ilustrar e facilitar o cumprimento da tarefa.
A entrevista espontâ nea se caracteriza como uma conversa. As perguntas podem até ser pensadas
previamente, mas as respostas sã o, em geral, planejadas localmente, em tempo real. Ou seja, quem é
entrevistado tem que pensar no que vai dizer e falar ao mesmo tempo. É natural, portanto, que ocorram
hesitaçõ es, pausas e falsos começos (false starts) e também frases incompletas. Falsos começos sã o
inícios de frases que sã o abandonadas pelo falante e substituídas em seguida por outras opçõ es. As
hesitaçõ es sã o marcadas por sons (hesitation noises) denominados de sons paralinguísticos tais como uh,
um, errr para se evitar o silêncio. As pausas também sã o marcadas por preenchedores de silêncio (gap
fillers) tais como well, I mean, um, you know, you see. Veja um exemplo de reproduçã o de um texto oral,
retirado do filme Fogueira das Vaidades (Bonfire of the Vanities).
SHERMAN
Oh, well. I should be down there
in a day or so...
RAWLIE
Oh, that won’t be necessary.
That’s what I came to... I was
sent to tell you. I mean, you
don’t have to... I mean, you
shouldn’t come down. I mean,
they don’t want you to come down.
Disponível em: <http://www.imsdb.com/scripts/Bonfire-of-the-Vanities.html>. Acesso em: 23 maio 2016.
Sherman, que se encontrava afastado do emprego devido a um problema que se transformou em um

escâ ndalo pú blico, diz ao colega que pretende voltar ao emprego. Sua fala demonstra hesitaçã o com os
termos Oh, well. Mas o colega, Rawlie, foi encarregado de dizer a Sherman que ele foi demitido do
emprego e fica mais constrangido do que ele e hesita muito, usando uma série de falsos começos (That’s
what I came to.../I was sent to tell you…/you don’t have to…/you shouldn’t come down) entremeados com o
preenchedor de silêncio I mean.
Textos multimídias sã o textos que apelam para dois ou mais sentidos humanos, como o cinema, em que o
espectador usa a audiçã o e a visã o. Os textos podem ser também multimodais, isto é, podem combinar
muitos modos semió ticos, como texto e imagem, voz e mú sica.
Let’s do an interview about radio
Professor, lembre aos alunos sobre o gênero entrevista e peça que apontem algumas de suas
características. Convide a turma a procurar boas entrevistas e a debater por que as consideram assim.
Relembre os alunos a ocorrência de perguntas com WH-words e simple past nas entrevistas. Estimule o
trabalho colaborativo, pedindo aos alunos que leiam, palpitem e deem feedback das entrevistas uns dos
outros.
Esta atividade poderá ser desenvolvida em sala ou em casa (parcial ou totalmente). A correçã o em pares,
em sala de aula, poderá auxiliar o desenvolvimento da produçã o escrita.
UNIT 4 GOING MOBILE
Objetivo geral
Aprender a falar sobre coisas que aconteceram em um tempo nã o específico. Aprender a criar
mensagens para secretá ria eletrô nica e a escrever mensagens instantâ neas.
Levar os alunos a:
• reconhecer características do gênero mensagem instantâ nea;
• reconhecer características do gênero mensagens de secretá ria eletrô nica;
• aprender a falar de coisas que aconteceram em um passado indeterminado;
• ler e escrever abreviaçõ es de torpedo e usar emojis;
• fazer gravaçõ es de mensagens em secretá rias eletrô nicas;
• reconhecer e distinguir o som /α/ britâ nico do /æ/ estadunidense;
• reconhecer o “-e” mudo.

Esta unidade trata do uso de dispositivos mó veis e da linguagem utilizada nesses dispositivos.

• Página 56
Professor, você pode mostrar para os alunos as diferenças de pronú ncia entre a variante do inglês
estadunidense e a do inglês britâ nico para a palavra “mobile”, que aparece no título da unidade e em
vá rios outros momentos. Na variante britâ nica, fala-se /ˈmoʊ.b l/ e na estadunidense /ˈm ʊ.baɪl/.
• Página 57
Lead in
1. In text message apps for mobile devices.
Pá gina 201
2. Personal answer.
3. a) Mixture of emoji and written language.
b) Use of picture + part of a word or just picture to convey meaning.
c) Colloquial and abbreviated use of words.
e) Humor.
4. a) He/She went dancing about a week ago.
5. A - story; B - turned; C - up; D - down; E - minute; F - sit; G - king; H - city/village/kingdom; I - Bell Air
6. Avatar of a whale.
7. A - love, passion B - blowing kiss, love C - screaming in fear D - winking, kidding E - crying, sad F - high
five; pray
• Página 58
1. c) They are all funny.
Professor, caso as atividades de compreensã o oral se mostrem desafiadoras para sua turma, sugerimos
usar estratégias que facilitem a interaçã o dos alunos com os textos orais, por exemplo: explorar o
conhecimento de mundo do aluno quanto à temá tica do texto antes de ouvi-lo; passar o á udio uma vez
com os livros fechados e explorar a ideia geral do texto; escrever no quadro palavras e expressõ es-chave
de textos mais longos e complexos; orientar os alunos a lerem as questõ es relativas ao texto antes de
ouvi-lo para concentrarem sua atençã o na informaçã o relevante; fazer perguntas extras que explorem o
á udio em maiores detalhes, se necessá rio, escrevendo-as no quadro.
2. Message 1: A - technical; B - message
Message 2: C - able; D - phone; E - message; F - call; G - nap; H - bath; I - Italian; J - deposit; K - box; L -
creatur e; M - door; N - wait
Message 3: O - right; P - phone; Q - message; R - it
Professor, os alunos podem, em duplas, tentar adivinhar quais sã o algumas das palavras que faltam
servindo-se da dica de palavras “vizinhas” e do que se lembram, visto que já ouviram a gravaçã o uma
vez. Outra opçã o é ler com todos eles as mensagens e pedir que lancem hipó teses de quais sã o essas
palavras. Escrever no quadro de giz somente aquelas que “acertarem”. Deixar que eles descubram as
demais ouvindo a gravaçã o novamente.
Professor, os alunos podem preparar no caderno o texto das mensagens que gostariam de deixar.
Professor, caso as atividades de fala se mostrem desafiadoras para sua turma, sugerimos usar estratégias
que deem aos alunos suporte para sua produçã o oral, por exemplo: escrever no quadro de giz palavras-
chave que eles possam utilizar; sugerir o planejamento e a organizaçã o das ideias antes da realizaçã o das
atividades; enfatizar a importâ ncia de usarem os boxes Useful Language e ampliá -los no quadro de giz
caso seja necessá rio; encorajar os alunos a usarem a pará frase para expressar alguma ideia de uma
maneira alternativa caso tenham dificuldade com vocabulá rio.
6. Professor, sugerimos que os alunos se reú nam em duplas para produzir um texto criativo para deixar
em uma secretá ria eletrô nica, como aqueles apresentados na atividade 2. Se possível, as mensagens
podem ser gravadas nos celulares da dupla. Os colegas das outras duplas podem ligar uns para os outros
para ouvir e, se quiserem, responder deixando uma mensagem. Caso a escola nã o permita o uso do
celular ou os alunos nã o tenham caixa postal, a atividade pode ser feita no computador e compartilhada
na Internet em um site de vídeos, por exemplo. Os colegas podem ouvi r o texto e responder por meio de
um comentá rio no site.
Pronunciation spot – Final -e
1. taKe; messaGe; phoNe; tiMe; leaVe; creatuRe; abLe
2. b) e
• Página 59
Before you read…
• Personal answer.
Let’s read!
1. A - The Sisterhood of the Travelling Pants
B - Titanic
C - Slumdog Millionaire
D - Free Willy
E - The Phantom of the Opera
F - Home Alone
G - E.T.
H - Lord of the Rings
I - Planet of the Apes

J - Finding Nemo
Professor, apresentamos uma breve sinopse dos filmes relacionados nessa atividade para que você, caso
nã o tenho visto ou nã o conheça algum deles, possa auxiliar os alunos nessa tarefa:
E.T. Direção: Steven Spielberg. EUA, 1982.
Um garoto faz amizade com um ser de outro planeta, que ficou sozinho na Terra, protegendo-o de todas
as formas para evitar que ele seja capturado e transformado em cobaia. Gradativamente, surge entre os
dois uma forte amizade.
Disponível em: http://www.adorocinema.com/filmes/filme-29718/. Acesso em: 05 de maio de 2016.
Finding Nemo. Direção: Andrew Stanton, Lee Unkrich. EUA, 2003.
Nas profundezas da Grande Barreira de Coral, Marlin, um peixe-palhaço superprotetor, embarca em uma
perigosa missã o para resgatar o seu amado filho Nemo, que é capturado por um mergulhador. Ao lado da
sua amiga Dory, Marlin fica diante de um oceano cheio de personagens cô micos durante a sua jornada
para encontrar o Nemo.
Disponível em: http://filmes.disney.com.br/procurandonemo. Acesso em: 05 de maio de 2016.
Free Willy. Direção: Simon Wincer. EUA, 1993.
Jesse (Jason James Richter) é um menino que perdeu os pais muito cedo. Ele costumava saltar de
orfanato em orfanato, até que passou a viver nas ruas. Numa noite, ele e seu amigo Perry (Michael Bacall)
sã o flagrados pelo policial Dwight (Mykel T. Williamson) pixando um parque local. Apesar da situaçã o, o
agente de polícia simpatiza com Jesse e o apresenta para Glen e Annie Greenwood (Michael Madsen e
Jayne Atkinson), que irã o adotar o garoto. Parte da puniçã o por sua pequena infraçã o envolve limpar a
sujeira que ele fez no parque e é lá que Jesse conhece Willy, uma orca que está sendo treinada para ser a
atraçã o especial do local. No entanto, Willy nã o responde bem ao adestramento. Ela foi roubada de sua
família por um pescador mercená rio e ainda está traumatizada. Jesse e Willy desenvolvem uma estreita
ligaçã o emocional.
Pá gina 202
Só que o dono do parque nã o está satisfeito com o desempenho de Willy e calcula que a orca vale mais
morta do que viva. A partir daí Jesse fará de tudo para salvar o animal e devolvê-lo para o oceano.
Fonte de pesquisa: <http://www.adorocinema.com/filmes/filme-9188/>. Acesso em: 5 maio 2016.
Home Alone. Direção: Chris Columbus. EUA, 1990.
Uma família de Chicago planeja passar o Natal em Paris. Porém, em meio à s confusõ es da viagem, um dos
filhos, Kevin (Macaulay Culkin), acaba esquecido em casa. O garoto de apenas oito anos é obrigado a se
virar sozinho e defender a casa de dois insistentes ladrõ es.
The Lord of the Rings. Direção: Peter Jackson. EUA, 2001, 2002, 2003.
Numa terra fantá stica e ú nica, chamada Terra-Média, um hobbit (seres de estatura entre 80 cm e 1,20 m,
com pés peludos e bochechas um pouco avermelhadas) recebe de presente de seu tio um anel má gico e
maligno que precisa ser destruído antes que caia nas mã os do mal. Para isso o hobbitFrodo (Elijah
Woods) terá um caminho á rduo pela frente, onde encontrará perigo, medo e personagens bizarros. Ao
seu lado para o cumprimento desta jornada, ele poderá contar com outros hobbits, um elfo, um anã o,
dois humanos e um mago, totalizando 9 pessoas que formarã o a Sociedade do Anel.
Planet of the Apes. Direção: Tim Burton. EUA, 2001.
San Francisco, EUA. Will Rodman (James Franco) é um cientista que trabalha em um laborató rio onde
sã o realizadas experiências com macacos. Ele está interessado em descobrir novos medicamentos para a
cura do mal de Alzheimer, já que seu pai, Charles (John Lithgow), sofre da doença. Apó s um dos macacos
escapar e provocar vá rios estragos, sua pesquisa é cancelada. Will nã o desiste e leva para casa algumas
amostras do medicamento, aplicando-as no pró prio pai. Leva também um filhote de macaco de uma das
cobaias do laborató rio. Logo Charles nã o apenas se recupera como tem a memó ria melhorada, graças ao
medicamento. Já o filhote, que recebe o nome de César, demonstra ter inteligência fora do comum, pois
recebeu geneticamente esses mesmos medicamentos aplicados na mã e. O trio leva uma vida tranquila,
até que, anos mais tarde, o remédio para de funcionar em Charles e, em uma tentativa de defendê-lo,
César ataca um vizinho. O macaco é entã o engaiolado, onde passa a ter contato com outros símios e, cada
vez mais, se revolta com a situaçã o.
Slumdog Millionaire. Direção: Danny Boyle, Loveleen Tandan. Reino Unido, 2009.
Jamal K. Malik (Dev Patel) é um jovem que trabalha servindo chá em uma empresa de telemarketing. Sua
infâ ncia foi difícil, tendo que fugir da miséria e violência para conseguir chegar ao emprego atual. Um dia
ele se inscreve no popular programa de TV “Quem Quer Ser um Milioná rio?”. Inicialmente desacreditado,
ele encontra em fatos de sua vida as respostas das perguntas feitas.
The Phantom of the Opera. Direção: Joel Schumacher. EUA, Reino Unido, 2005.
La Carlotta (Minnie Driver) é a diva de uma conceituada companhia teatral, que é responsá vel pelas
ó peras realizadas em um imponente teatro. Temperamental, La Carlotta se irrita pela ausência de um
solo na nova produçã o da companhia e decide abandonar os ensaios. Com a estreia marcada para o
mesmo dia, os novos donos do teatro nã o têm outra alternativa senã o aceitar a sugestã o de Madame Giry
(Miranda Richardson) e escalar em seu lugar a jovem Christine Daae (Emmy Rossum), que fazia parte do
coral. Christine faz sucesso em sua estreia, chamando a atençã o do Visconde de Chagny (Patrick Wilson),
o novo patrocinador da companhia. Visconde e Christine se conheceram ainda crianças, mas ele apenas a
reconhece na encenaçã o da ó pera. Porém o que ele nã o sabe é que Christine tem um tutor misterioso,
que acompanha nas sombras tudo o que acontece no teatro: o Fantasma da Ó pera (Gérard Butler).
The Sisterhood of the Travelling Pants. Direção: Ken Kwapis. EUA, 2005.
Tibby (Amber Tamblyn), Lena (Alexis Bledel), Bridget (Blake Lively) e Carmen (America Ferrera) se
conhecem desde bebês, já que suas mã es faziam aula de aeró bica juntas. Elas nasceram no mesmo mês e
cresceram juntas, tornando-se grandes amigas. Agora com 16 anos elas estã o prestes a se separar pela
primeira vez, já que Bridget, Lena e Carmen planejam viajar nas férias de verã o. Em uma ida à s compras
antes da separaçã o, elas encontram uma calça jeans que, estranhamente, cabe perfeitamente nelas. As
amigas decidem comprá -la e iniciar uma irmandade em torno da calça, acreditando que ela seja má gica
pelo fato de se adequar aos corpos diferentes que possuem. Sã o definidas regras para o uso da calça,
sendo que uma delas é que cada uma das amigas poderá usá -la durante uma semana.

Titanic. Direção: James Cameron. EUA, 1997.
Jack Dawson (Leonardo DiCaprio) é um jovem aventureiro que, na mesa de jogo, ganha uma passagem
para a primeira viagem do transatlâ ntico Titanic. Trata-se de um luxuoso e imponente navio, anunciado
na época como inafundá vel, que parte para os Estados Unidos. Nele está também Rose DeWitt Bukater
(Kate Winslet), a jovem noiva de Caledon Hockley (Billy Zane). Rose está descontente com sua vida, já
que se sente sufocada pelos costumes da elite e nã o ama Caledon. Entretanto, ela precisa se casar com ele
para manter o bom nome da família, que está falida. Um dia, desesperada, Rose ameaça se atirar do
Titanic, mas Jack consegue demovê-la da ideia. Pelo ato ele é convidado a jantar na primeira classe, onde
começa a se tornar mais pró ximo de Rose. Logo eles se apaixonam, despertando a fú ria de Caledon. A
situaçã o fica ainda mais complicada quando o Titanic se choca com um iceberg, provocando algo que
ninguém imaginava ser possível: o naufrá gio do navio.
Fonte de pesquisa: <http://www.adorocinema.com/filmes/filme-5818/>. Acesso em: 5 de maio 2016.
• Página 60
1. a) That medicos may have used mobiles to cheat in an exam.
Pá gina 203
b) No.
c) The fact itself.
d) “Medicos may have used mobiles to cheat: Cops”; “Police have given us an interim report that suggests
there could have been malpractice…” Present Perfect.
“Medicos”
De acordo com o Dicioná rio Cambridge, a palavra “medico” é um termo informal no inglês britâ nico que
equivale a doctor.
Fonte de pesquisa: <http://dictionary.cambridge.org/dictionary/british/medico?q=medico>. Acesso em: 23 maio 2016.
2. a) To talk about past experiences without mentioning when they happened.
c) To talk about a past event that has present consequences.
• Página 61
3. a) Have you ever accessed wireless Internet on a tablet?
b) Have you ever played (any) online games?
c) Have you ever bought anything online?

d) Have you ever made new friends online?
e) Have you ever downloaded content on your cell phone?
f) Have you ever used a cell phone in class?
g) Have you ever tweeted a famous person?
h) Have you ever uploaded YouTube content?
i) Have you ever needed to call your parents in an emergency?
j) Have you ever sent an e-mail with a smartphone?
Professor, sugerimos lembrar os alunos de que, para reportar a resposta do colega, devemos usar a
terceira pessoa do singular e, portanto, a forma do verbo auxiliar muda para “has”. Chamar a atençã o
para o fato de que, na linguagem oral, geralmente se usa a forma contraída do verbo “has” com o
pronome pessoal: “he’s”, “she’s”, etc.
Smartphone
Em traduçã o literal, “um telefone inteligente”. E nã o há melhor maneira de definir esse tipo de produto.
Ele é a evoluçã o do celular. A capacidade de realizar e receber chamadas é “apenas um detalhe” para esse
aparelho, que permite uma infinidade de possibilidades. Os smartphones sã o híbridos entre celulares e
computadores. Nã o têm o hardware potente de um PC, mas também nã o sã o tã o simples quanto um
telefone. Afinal, eles englobam algumas das principais tecnologias de comunicaçã o em somente um local:
internet, GPS, e-mail, SMS, mensageiro instantâ neo e aplicativos para muitos fins.
Adaptado de: <http://www.techtudo.com.br/artigos/noticia/2011/12/o-que-e-smartphone-e-para-que-serve.html>.

Acesso em: 23 maio 2016.
4. b) Picture quality has improved.
c) Prices have come down.
d) The smartphone has killed the landline phone.
e) Smartphones have replaced the need for pocket cameras.
f) Cell phones have become our inseparable companions.
• Página 62
5. a) A – for
b) B – since
Professor, recomendamos fazer um brainstorm em grupo para apontar as mídias sociais que poderiam
ser incluídas na timeline.
De acordo com o Parecer CNE/CEB 15/2000, “o uso didá tico de imagens comerciais identificadas pode
ser pertinente desde que faça parte de um contexto pedagó gico mais amplo, conducente à apropriaçã o
crítica das mú ltiplas formas de linguagem presentes em nossa sociedade, submetido à s determinaçõ es
gerais da legislaçã o nacional e à s específicas da educaçã o brasileira, com comparecimento mó dico e
variado”. Para saber mais, consulte o Parecer inteiro, especialmente a parte “II – Voto do relator”.
Social media
Mídias sociais. Sã o espaços de interaçã o entre usuá rios. Sã o considerados exemplos de mídias sociais:
blogs, redes sociais, fó runs, e-groups, instant messengers, wikis, sites de compartilhamento de conteú do
multimídia. Nesses canais, as pessoas podem dialogar e compartilhar informaçã o. O conteú do de uma
mídia social tende sempre ao infinito, uma vez que qualquer membro pode contribuir a qualquer
momento. Este diá logo entre usuá rios constitui blocos colaborativos de opiniã o.
Adaptado de: <http://www.admit.com.br/marketing/o-que-sao-midias-sociais>. Acesso em: 23 maio 2016.
• Página 63 Let’s focus on language!
6. a) A – since; B – has made; C – have been able
b) D – Since; E – has become
c) F – Since; G – has changed; H – has come
d) I – Since; J – has grown; K – has been; L – has lost
e) M – has been; N – for; O – have evolved
Beyond the lines...
a) Personal answer.
b) Personal answer.
c) Personal answer.
d) Personal answer.
• Página
64 Let’s read!
Before you read…
a) Personal answer.
b) Personal answer. Professor, caso julgue interessante e seja possível, pedir aos alunos que liguem os
celulares e enviem mensagens para os colegas de sala. Apó s o recebimento das mensagens, chamar a
atençã o sobre o gênero e suas características: abreviaçã o, textos curtos, etc.
Sugerimos a você que lide com essas perguntas oralmente, pedindo aos alunos que mantenham os livros
fechados. As perguntas podem ser dirigidas à turma toda, e voluntá rios podem ser encorajados a
escrever no quadro de giz exemplos de texting abbreviations que eles conhecem, em inglês ou em
português.
1. a) It is a news report.
b) Possible answer: It says texting is not new.
c) Yes, we can. In “emblematic poetry”, the writer combines numbers and letters.
• Página 65
d) Personal answer.
e) Personal answer.
f) Personal answer.
g) Personal answer.
b) Personal answer.
Pá gina 204
• Página 66
Profession spot
I–D
II – C
III – B
IV – A
Professor, os alunos também poderã o responder II – A e IV – C.
Vocabulary corner
2. b) before
c) boyfriend
d) by the way
e) because
f) see ya/you
g) for your information
h) girlfriend
i) got to go
j) just kidding
k) later
l) laugh out loud
m) hugs and kisses
n) roll on floor laughing
o) what’s up?
p) thanks
q) with
r) sleeping or bored
• Página 67
Let’s write a text message
Professor, esta atividade poderá ser desenvolvida em sala ou em casa (parcial ou totalmente). A correçã o
em pares na sala de aula poderá auxiliar o desenvolvimento da produçã o escrita.
Sugerimos chamar a atençã o dos alunos para o gênero mensagem de texto, que geralmente é marcado
pela concisã o, pela objetividade e pelas abreviaçõ es. É interessante relembrar as abreviaçõ es
trabalhadas na unidade e também encorajar os alunos a pesquisar outras. Convide-os a trabalhar em
conjunto, lendo, revisando e dando feedback à s mensagens uns dos outros.
• Página 68
1. e) uma revista semanal especializada em informaçõ es sobre a indú stria da mú sica.
2. e) serviços que permitem que portadores de equipamentos mó veis se conectem à internet.
3. c) informar aos comerciantes sobre os benefícios da computaçã o mó vel.
• Página 70
Time for literature
c) Personal answers. Professor, sugerimos a você que faça, antes da atividade, um brainstorming de
nomes de obras e autores que os alunos conhecem, nã o se limitando aos clá ssicos. Este é um momento
em que eles podem falar, por exemplo, de autores populares em sua regiã o e de estilos dos quais gostam,
além dos sugeridos nas perguntas a seguir.
2. a) She was 24.
b) Suggested answer: She read and wrote a lot during her life and exercised her creativity as much as she
could.
c) First Impressions
d) Personal answer.
• Página 71
Time for literature
3. a) Jane Austen wrote six novels.
c) There was a large library in Jane Austen’s home.
d) Jane’s family was interested in creating and performing plays.
4. a) Both girls portrayed are facing the same direction.
b) The position of the hands is the same.
e) The expressions on both faces are similar.
• Página 73
Time for literature
6. a) Eight.
b) Male: Mr. Bennet, Mr. Bingley; Sir William. Female: Mrs. Long; Lady Lucas; Lizzy; Jane; Lydia.
c) Mrs. Bennet.
d) She thinks that the new neighbor may fall in love and marry one of her daughters.
e) Mrs. Long had told her about him.
f) Five.
g) Lizzy, Jane, and Lydia.
h) Yes, Mr. Bennet seems to prefer Lizzy.
i) Horses and carriages.
j) Suggested answer: Mr. and Mrs. Bennet and their daughters. Perhaps Lizzy and Mr. Bingley.
7. b) dialogues
8. Propomos a você que se certifique de que os alunos conseguem localizar essas marcas no texto,
caracterizadas pelo uso de aspas. Eles poderã o escolher livremente três casos. Ao corrigir o exercício,
pedir a alguns alunos que leiam as partes que selecionaram e digam “quem está falando com quem” em
cada caso.
9. a) It doesn’t matter if twenty young men come to the neighborhood, because you have no intention of
visiting them.
• Página 74
Time for literature
10. A–III/B–I, V/C–IV/D–VII/E–II
11. a) reserved
b) capricious
e) sarcastic
12. A – a rich young man is moving into the neighborhood
B – introducing himself to the young man
C – sending the girls by themselves
D – their preference for one or another
E – with the reader not knowing whether Mr. Bennet will visit Mr. Bingley or not.
13. Answers may vary. Suggested answer: Marriages are based on love; or the desire to have a family;
sometimes on financial interests.
16. Personal answers (In some families in India and in the Middle East, for example.)
17. A–III; B–I; C–II; D–V; E–IV
Pá gina 205
• Página 75
Time for literature
18. a) The letter “u” in the British spelling./The absence of the letter “u” in the American spelling.
b) British English.
19. a) Suggested answer: To show intonation emphasis and to imply hidden intentions, respectively.
b) The word “you” would have a rising tone while “may” would be pronounced slowly and maliciously.
Professor, sugerimos a você que proponha a seguinte atividade aos alunos como parte deste exercício:
em duplas, eles devem encontrar outros exemplos de entonaçã o no texto e dramatizar esses trechos,
como se estivessem participando de uma peça ou de um filme. Os trechos sã o “I certainly have had my
share of beauty, but I do not pretend to be anything extraordinary now”, “But you are always giving her the
preference” e “Her mind was less difficult to develop”.
20. Suggested answer: They would call each other by their first names.
21. Formal.
a); c); d); f); g); h); i); j)
PART 3 - PRINT MEDIA

UNIT 5 EXTRA! EXTRA!
Objetivo geral
Levar os alunos a falar sobre reportagens jornalísticas e entender textos em jornais impressos e on-line.
Aprender a escrever manchetes e fazer clippings de jornais.
Levar os alunos a:
• reconhecer características do gênero manchete;
• reconhecer características do gênero strapline;
• reconhecer características do gênero reportagem;
• aprender a falar de açõ es completadas no passado;
• aprender a descrever açõ es em progresso no passado;
• aprender a ler imagens;
• praticar a pronú ncia da ligaçã o entre palavras;
• praticar a pronú ncia do som “-s” inicial;
• produzir um clipping de notícias para o portfó lio.

Esta unidade trata de reportagens em jornais impressos e on-line.

• Página 78 The Future May Be Online, but Many Will Slip Through the Net
Professor, a leitura detalhada do texto nã o é essencial para o desenvolvimento da unidade. Sugerimos

utilizá -lo para exemplificar as partes de uma notícia de jornal.
• Página 79
Lead-in
1. A – headline; B – strapline; C – headline; D – lead; E – headline; F – lead; G – body; H – caption It gives

the gist of the piece of news; it is usually highlighted in bold and in large typeface.
2. I–B; II–H; III–C; IV–F; V–A; VI–I; VII–G; VIII–D; IX–E
3. Personal answer.
4. a) General News
b) Art and Entertainment Section
c) Local and Foreign News Section
d) General News
e) Business and Finance Section
Sismo e tsunami do Oceano Índico de 2004
O sismo e tsunami do Oceano Índico de 2004 foi um terremoto/sismo submarino que ocorreu à s
00:58:53 UTC de 26 de dezembro de 2004, com epicentro na costa oeste de Sumatra, na Indonésia. O
terremoto é conhecido pela comunidade científica como terremoto de Sumatra-Andaman.
O terremoto foi causado por uma subducçã o que desencadeou uma série de tsunamis devastadores ao
longo das costas da maioria dos continentes banhados pelo Oceano Índico, o que causou a morte de mais
de 230 mil pessoas em 14 países diferentes e inundou comunidades costeiras com ondas de até 30
metros de altura. Foi um dos mais mortais desastres naturais da histó ria. Em nú mero de vítimas, a
Indonésia foi o país mais atingido, seguida por Sri Lanka, Índia e Tailâ ndia.
Com uma magnitude de entre 9,1 e 9,3, foi o terceiro maior terremoto já registrado em um sismó grafo.
Este sismo teve a maior duraçã o de falha já observada, entre 8,3 e 10 minutos. Isso fez com que o planeta
inteiro vibrasse em um centímetro e deu origem a outros terremotos em pontos muito distantes do
epicentro, como o Alasca, nos Estados Unidos. Seu hipocentro foi a cerca de 30 km de profundidade e o
epicentro situou-se entre Simeulue e Samatra.
A situaçã o de muitos povos e países afetados em todo o mundo provocou uma resposta humanitá ria. Ao
todo, a comunidade mundial doou mais de 14 bilhõ es de dó lares em ajuda humanitá ria. [...] Os países
mais afetados foram:
• Indonésia, ilha de Samatra, estado de Banda Aceh.
• Sri Lanka, com milhares de mortos e milhares de desalojados; por esse motivo o estado de emergência
nacional foi declarado.
• Índia, na Costa de Coromandel, nomeadamente os estados de Tamil Nadu, Andhra Pradesh e os

arquipélagos Andamã o e Nicobar onde algumas ilhas foram totalmente submersas.
• Tailâ ndia, especialmente as estâ ncias turísticas das Ilhas Phi Phi e Ilhas Phuket.
• Malá sia.
• Ilhas Maldivas, onde dois terços da capital, Malé, foram inundados pelo tsunami.
• Bangladesh. Disponível em: <https://pt.wikipedia.org/wiki/Sismo_e_tsunami_do_Oceano_%C3%8Dndico_de_2004>.

Acesso em: 2 jun. 2016.
Gangnam Style
Mú sica do cantor coreano Psy que viralizou no mundo inteiro, chegando a obter mais de 2 bilhõ es de
visualizaçõ es no YouTube.
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Let’s read!
Before you read…
a) The image shows a teenager who looks confused, so we can infer the article has to do with some issues
that make young people feel uncomfortable or anxious.
b) Tablets, a desk phone, a cell phone, and some kind of camera, besides an animal-shaped device.
1. To teens.
• Página 81
Let’s read!
2. b) To do homework without electronic distractions for three days.
3. Jazmine: First day – She spent only three hours doing homework without distractions of any kind;
Second day – She did portions of her homework for about an hour and then took five–minute breaks,
but she didn’t use the breaks to go on-line; Third day – She adopted the same routine practiced during
the second day.
Jessica: First day – When she stopped replying to texts, she finished her homework in less than 20
minutes; Second day – She couldn’t help being distracted by her cell phone; Third day – Same as the
second day.
6.Personal answers.
7. Personal answer.
Beyond the lines…

a) Personal answers. Você pode explorar diferentes fatores que influenciam o editor no momento em que
escolhe as matérias: opiniã o pú blica, interesse político, o que causa mais sensaçã o, etc.
b) Personal answer.
c) Personal answer.
• Página 82 Let’s focus on language!
1. a) Complete, finished actions in the past: “I wanted to challenge myself by keeping temptations
nearby”; “I felt more focused [...]”; “I forgot that I had to be distraction free [...]”/Action in the past that
was in progress: “[...] because I wasn’t thinking about checking my Facebook every five minutes.”; “[...]
because I was texting my friends and checking my email.”
• Página 83
b) A – I was doing; B – installed; C – gave; D – were; E – is; F – chose; G – didn’t let; H – didn’t log; I –
came; J – had; K – was doing; L – made; M – went; N – finished; O – finish; P – went; Q – put; R – studied; S
– did; T – like; U – ‘m working; V – helps
Professor, depois que os alunos tiverem feito a atividade de foco gramatical, uma sugestã o é pedir a eles
que discutam em grupos se compartilham das mesmas distraçõ es que acabaram de ler, em que medida
isso os afeta e quais sã o suas estratégias para evitá -las, caso isso os incomode. Você também pode
sugerir aos alunos que experimentem as estratégias relatadas no texto e depois contem para os colegas o
que aconteceu.
• Página 84
Before you listen…
a) Personal answer.
b) Personal answer.
1. Sugerimos colocar palavras-chave de cada podcast no quadro de giz para ajudar os alunos, caso
necessá rio.
Professor, caso as atividades de compreensã o oral se mostrem desafiadoras para a turma, sugerimos
usar estratégias que facilitem a interaçã o dos alunos com os textos orais. Por exemplo: explorar o
com os livros fechados e explorar a ideia geral do texto; registrar no quadro de giz palavras e expressõ es-
chave de textos mais longos e complexos; orientar os alunos a lerem as questõ es relativas ao texto antes
de ouvi-lo para concentrarem sua atençã o na informaçã o relevante; fazer perguntas extras que explorem
o á udio em maiores detalhes, se necessá rio, escrevendo-as no quadro.
2. a) Newscast
3. b) Newscast 1.
c) Newscast 2.
3. The /r/ sound
Recomendamos destacar a diferença do som de r nos sotaques americano e britâ nico. Levar outros
exemplos dessa variaçã o para a aula.
4. a); d); e)
• Página 85
Vocabulary corner
1.
Noun Verb Adjective

finance finance finance financial
informative nformation inform informative
classified classification classify classified
tourism /tourist/
tour tour tourist
tour
donation donation donate –
collect collection collect collective
communication communication communicate communicative
empowered empowerment empower empowered
performing performance perform performing
Sugestõ es de dicioná rios on-line: Dictionary Reference<http://linkte.me/cg4wn>; Merriam-Webster

<http://linkte.me/ah17p>; The Free Dictionary <http://linkte.me/h42or>. Acessos em: 24 maio 2016.
2. -ment, -ance, -tion, -ist, -ism (for nouns); -ance, -ify, -ate (for verbs); -ing, -ive, -al, -ed, -ist (for
adjectives)
Pronunciation spot
que deem aos alunos suporte para sua produçã o oral, por exemplo: escrever no quadro palavras-chave
que eles possam utilizar; sugerir o planejamento e a organizaçã o das ideias antes da realizaçã o das
maneira alternativa, caso tenham dificuldade com vocabulá rio.
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• Página 86
1. A – Straplines; B – Headlines; C – Headlines

Professor, sugerimos apontar para os alunos que nã o é necessá rio que saibam classificar sintaticamente
as partes das oraçõ es. No entanto, é interessante que eles percebam essas unidades naturais de sentido.
Explicar que o sujeito e o verbo sã o elementos essenciais nas sentenças em inglês, ao passo que o objeto
e o complemento podem nã o ocorrer.
Se necessá rio, explicar para os alunos que a palavra phrases significa “expressã o” ou um pedaço de uma
oraçã o; explicar que full sentence é uma sentença que contém pelo menos os elementos essenciais de
uma oraçã o (sujeito e verbo, mas talvez objetos e complementos) sem a omissã o de palavras como
verbos auxiliares e preposiçõ es; finalmente, explicar que reduced sentences sã o sentenças em que
algumas palavras sã o omitidas para fins de simplificaçã o da estrutura. Sugerimos que o professor leve
vá rios outros headlines e straplines atualizados para a aula.
Hage Geingob
É o presidente de seu país desde 21 de março de 2015.
Nascido em uma família damara em Otjiwarongo, no entã o conhecido Sudoeste Africano, Geingob foi
viver nos Estados Unidos da América para prosseguir o ensino superior em ciências políticas. Ele se
tornou o primeiro primeiro-ministro da Namíbia apó s a libertaçã o do jugo da Á frica do Sul, em 1990,
servindo até 2002. Ele retornou ao posto em 2012. Membro da Organizaçã o do Povo do Sudoeste
Africano (SWAPO, na sigla em inglês), ele foi eleito presidente da Repú blica nas eleiçõ es de 2014.
Disponível em: <https://pt.wikipedia.org/wiki/Hage_Geingob>. Acesso em: 23 maio 2016.
2. A–I; B–II; C–II; D–II; E–I; F–I
3. Professor, recomendamos explicar para os alunos que os grupos verbais sã o formados por verbos e
advérbios, ao passo que os grupos nominais sã o formados por substantivos e palavras que possam
modificá -los (adjetivo, numeral, quantificador, pronome e artigo).
• Página 87
4. Hospitals/Are Sued/By 7 Foot Doctors
Miners/Refuse/To Work/After Death
Milk Drinkers/Are Turning/To Powder
Complaints/About NBA Referees/Growing/Ugly
Two Soviet Ships Collide/One Dies
Astronaut/Takes Blame/For Gas/In Spacecraft
Include/Your Children/When Baking/Cookies
Hershey Bars Protest
Professor, recomendamos deixar claro para os alunos que essas manchetes foram tiradas de jornais
reais. Vale também a pena mencionar que sã o engraçadas por causa da ambiguidade gerada na
construçã o do texto. Sugerimos perguntar-lhes se eles se lembram de alguma mensagem semelhante
publicada nos jornais brasileiros.
5. Personal answer.
Professor, sugerimos que os alunos façam a atividade em dupla ou em trio e que tentem entender a graça
das notícias. Ao final, pedir que expliquem o motivo da graça.
• Página 88
b) Personal answer.
c) Personal answer.
d) Personal answer. Professor, para avaliar o recorte de jornal, sugerimos verificar se o aluno utilizou a
língua de forma adequada, se preservou o cará ter informativo do gênero, se manteve o tom formal, se
nã o apresenta erros de ortografia no texto e se criou uma manchete adequada ao conteú do da notícia.
Sugerimos informar aos alunos os critérios que utilizará para avaliaçã o da produçã o escrita.
Sugerimos chamar a atençã o dos alunos para o gênero reportagem, que geralmente possui um tom mais
formal e imparcial. O objetivo da reportagem é levar o fato ao conhecimento dos leitores. Lembre os
alunos da importâ ncia de uma boa manchete e que em uma reportagem a probabilidade de frases sobre
o passado aparecerem é grande. Como a reportagem é essencialmente um texto mais longo, enfatize a
grande importâ ncia do planejamento, que poderá também ser discutido entre os colegas.
• Página 89
Let’s make a news report
Professor, esta atividade poderá ser desenvolvida em sala ou em casa (parcial ou totalmente). A correçã o
em pares em sala de aula poderá auxiliar o desenvolvimento da produçã o escrita. Caso julgue pertinente,
sugerir aos alunos que se limitem a produzir o headline, o strapline e o lead.
UNIT 6 STRIKE A POSE
Objetivo geral
Levar os alunos a ler capas de revista criticamente. Aprender a escrever cartas para o editor.
Levar os alunos a:
• reconhecer características do gênero carta para o editor;
• reconhecer características do gênero capa de revista;
• aprender a distinguir fatos e opiniõ es;
• aprender a distinguir estados e açõ es;

• reconhecer e distinguir os sons /ɪ/ e /i/;
• produzir uma carta para o editor e incluí-la no portfó lio.

Esta unidade aborda o tema revista e algumas de suas características.

• Página 92
The Huffington Post
É um site destinado a notícias, com blogs e conteú dos originais, oferecendo cobertura sobre política,
entretenimento, estilo, tecnologia e comédia.
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• Página 93
Lead-in
1. 1 – Fashion; 2 – Humor; 3 – Current Affairs, Culture & Politics; 4 – Computer games; 5 – Youth Issues
Professor, este é um bom momento para mostrar que mesmo que a capa da revista fuja do estereó tipo
das moças brancas, ainda assim apresenta uma imagem com alguns estereó tipos que se repetem nas
capas desse tipo de revista, com uma modelo muito magra e com cabelo louro.
b) Prettiest, cool, best, fabulous, euphoric, powerful, the image of a heart meaning love.
c) The news will probably show that texting while driving is very dangerous and can cause crashes.
5. b); c); e); f)
6. a) Business & Finances
b) Health & Medical
c) Computer games
d) Travel
e) Cars & Motorbikes

• Página 94
Let’s read!
Before you read...
1. 1) I – fact; II – opinion; III – opinion; IV – fact
2) V – opinion; VI – opinion
3) VII – fact; VIII – opinion; IX – opinion
Professor, recomendamos perguntar aos alunos quais elementos eles acreditam indicar que as frases sã o
fatos ou opiniõ es, como, por exemplo, uso de verbos de estado ou opiniã o, presença de dados ou
percepçã o subjetiva, etc.
• Página 95
2. a) 1; b) 3; c) 2; d) 3; e) 1; f) 2
4. The 3 letters to the editor criticize or praise a news story that appeared in a previous edition.
b) Personal answer.
c) Personal answer.
d) Personal answer.
e) Personal answer.
Beyond the lines...
a) Personal answer.
b) Personal answer.
c) Personal answer.
d) Personal answer.
Professor, sugerimos levar para a aula outras capas de revistas locais, folhetins, etc., e explorar os estilos
de vida que elas vendem, se elas reforçam estereó tipos, etc. Caso a escola conte com laborató rio de
informá tica, levar os alunos para pesquisar essas e outras capas na internet.
• Página 96

1. Opinions.
II–A; I–B; II–C
2. I–A; II–B
3. II–A; II–B; I–C; II–D; II–E; II–F; II–G; I–H; I–I; II–J; II–K; I–L; I–M; I–N
4. a); c)
• Página 97
5. A – opinion; B – are not
6. a) A – agrees; B – is planning; C – is trying
b) D – see; E – realize; F – think; G – is doing
Mission Viejo
Esse nome, mencionado na atividade 6, letra a), refere-se a uma cidade localizada na Califó rnia, no
Condado de Orange, Estados Unidos. Se julgar pertinente, comentar que nomes de cidades em espanhol
sã o muito comuns na Califó rnia, devido ao passado histó rico. A á rea onde se situa esse estado pertencia
ao México anteriormente. Alguns nomes de cidades californianas: Los Angeles, San Diego, San José, San
Francisco, Sacramento, Santa Cruz, San Bernardino, entre outros.
A palavra Yep, que aparece na atividade 6, letra
b), é uma variante informal da palavra yes, sendo mais comum no discurso oral.
8. Recomendamos incentivar os alunos a usar as expressõ es do exercício 3 para o desenvolvimento da

apresentaçã o.
Se achar conveniente, você pode sugerir aos alunos que gravem a apresentaçã o em á udio ou vídeo.
que deem aos alunos suporte para sua produçã o oral, por exemplo: escrever no quadro de giz palavras-
chave que eles possam utilizar; sugerir o planejamento e a organizaçã o das ideias antes da realizaçã o das
Wrestling
É uma arte marcial que utiliza técnicas de agarramento como a luta em clinch, arremessos e derrubadas,
chaves, pinos e outros golpes do grappling (estilo de luta agarrada). Uma luta de wrestling é uma
competiçã o física entre dois (à s vezes mais) competidores ou parceiros de sparring, que tentam ganhar e
manter uma posiçã o superior. Há uma grande variedade de estilos, com diferentes regras tanto nos
estilos tradicionais histó ricos quanto nos estilos modernos. Técnicas de wrestling foram incorporadas
por outras artes marciais, bem como por sistemas militares de combate corpo a corpo.
Disponível em: <http://pt.wikipedia.org/wiki/Wrestling>. Acesso em: 25 maio 2016.
• Página 98
Vocabulary corner
I–D; II–B; III–C; IV–E; V–G; VI–A; VII–H; VIII–F
Pá gina 209
• Página 99
Let’s listen!
a) Celebrities, catchy images, big and colorful headlines, etc.
b) Cool styles for Summer, sarcasm about how the world is dealing with peace, world debt, games, etc.
1. A - And the main goal is not just to inform women B - It’s about mental development, C - If you don’t
include women in the media, you miss that voice.
2. a) She is trying to convince the listener that Zhin Magazine is empowering women.
com os livros fechados e explorar a ideia geral do texto; escrever no quadro de giz palavras e expressõ es-
o á udio em maiores detalhes, escrevendo-as no quadro se necessá rio.
Beyond the lines
a) Personal answer.
b) Personal answer.
c) Personal answer.
d) Personal answer.
e) Personal answer.
• Página 101

1. a) /i/sound: be; body; need; dreams; Beauty’s; feel; Drietrich; Jimmy Dean; magazine; Kelly; Jean; Rita;
beauty queen; Gene Kelly; we; Ladies. /I/ sound: everywhere; is; It’s; everything; Something; music;
with; imagination; it; inside; inspiration; will; difference; if; music’s; pumping; give; in; musical; beautiful;
Magical; DiMaggio; Picture; Ginger; Katherine; Davis; atitude; nothing.
2. The meaning changes.
Professor, caso esta atividade seja desafiadora demais para os alunos, sugerimos abordar a tarefa de
forma que eles consigam realizá -la. Por exemplo: pedir a eles que identifiquem os sons na letra antes de
ouvir a mú sica; sugerir que façam a atividade em duplas e depois comparem seu trabalho com o de
outras duplas; dar dicas de quantos sons de /i/ e /I/ há em cada pará grafo; tocar a mú sica vá rias vezes;
etc.
• Página 102
Profession spot
1. A – fashion photographer; B – food photographer; C – wedding photographer; D – landscape

photographer
• Página 103
Professor, sugerimos chamar a atençã o dos alunos para o gênero carta ao editor, que tem o objetivo de
expressar a opiniã o do leitor em relaçã o a uma notícia ou reportagem de um jornal ou uma revista. Em
uma carta ao editor, o autor apresenta suas opiniõ es sobre algum artigo ou reportagem publicado em um
perió dico. O texto avalia o que foi lido, apresentando elogio(s) ou crítica(s), reclamaçõ es,
questionamento(s) ou sugestõ es de temas para reportagens futuras. Lembre os alunos de que ao darem
feedback aos seus pares, eles devem observar se o autor da carta se identificou. A identificaçã o é um
elemento essencial desse tipo de gênero e geralmente isso é explicitado nas normas dos jornais e
revistas. Observar também se o texto que está sendo criticado ou elogiado é também identificado no
corpo da carta e se há justificativa para a crítica/reclamaçã o/questionamento ou o elogio. Peça à turma
que pesquise cartas ao editor na web, tanto em português como em inglês, e estimule os alunos a
perceber as principais características do gênero.
Let’s write a letter to the editor
Para avaliar a carta ao editor, sugerimos verificar se o aluno apresenta fatos, expressa sua opiniã o
favorá vel ou contrá ria, se utiliza o estilo adequadamente e se usa a língua de forma correta.
• Página 104
1. d) fazer os deveres escolares sem, ao mesmo tempo, usar aparelhos eletrô nicos.
2. a) foi aberto um museu no local da construçã o do Titanic.
3. d) Os temas das notícias que sã o publicadas.
PART 4 - VIDEO
UNIT 7 IT’S ON TV
Objetivo geral
Levar os alunos a fazer previsõ es para o futuro, a manifestar solidariedade e a expressar decisõ es.
Aprender a falar de previsõ es do tempo.
Levar os alunos a:
• reconhecer características do gênero previsã o do tempo;
• fazer e responder perguntas em situaçõ es comunicativas;
• aprender a oferecer ajuda;
• aprender a expressar decisõ es e vontades;
• aprender a fazer promessas;
• aprender a fazer previsõ es;
• perceber o som /l/ final;
• reconhecer os sons /aʊ/, /aɪ/ e /eɪ/;
• produzir uma previsã o do tempo para o portfó lio.
Pá gina 210

A unidade trata sobre a televisã o e seu futuro, trazendo programas tradicionais como o de previsã o de
tempo.

• Página 108
Oprah Winfrey
Oprah Gail Winfrey é uma apresentadora e empresá ria estadunidense que apresentou por muitos anos e
com muito sucesso um programa de entrevistas intitulado The Oprah Winfrey Show. Atualmente, Oprah
dedica-se a uma revista que tem o seu nome e à sua emissora de televisã o.
Adaptado de: <https://www.ebiografia.com/oprah_winfrey/>. Acesso em: 25 maio 2016.
• Página 109
Lead-in
1. Cartoon 1
a) a sales channel
b) In the United Kingdom.
c) He was complaining./He was criticizing her./He was persuading her to change the channel.
d) Women love buying things.
Cartoon 2
a) Because Oprah had not reviewed her new book.
b) Several times.
c) To show intonation emphasis and to indicate that the show is not Oprah’s.
d) That the author teaches people to defeat disappointment and resentment.
e) She wrote about overcoming disappointment, but she had not overcome her own disappointment with
Oprah.
Cartoon 3
a) He kicked in the TV screen and threw the TV set out of the window.
b) His action was very violent.
2. To make fun or criticize something or someone.
3. a); b); c); f)
• Página 110
Let’s read!
Before you read...
1. a) Possible answers: People who want to choose their vacation time in the US, travelers in and to the
US, farmers, etc.
b) Fahrenheit. The numbers referring to temperatures are much higher than we are used to in Brazil.
c) Suggested answer: Chances of thunderstorm and heavy rain.
d) 90 degrees.
e) Lows fall through the 70s, rain chances dry up after 9pm.
f) Thursday will be sunny, breezy and less humid.
Gênero “Previsão do Tempo” (Weather Forecast)
Para ativar o conhecimento dos alunos e chamar a atençã o deles para o gênero previsã o do tempo, pedir
a eles que listem palavras (em inglês e português) que esperam encontrar nesse tipo de texto. O
professor pode, em seguida, perguntar aos alunos quais foram as palavras listadas e registrá -las no
quadro de giz.
Grau Fahrenheit
O grau Fahrenheit (símbolo: °F) é uma escala de temperatura proposta por Daniel Gabriel Fahrenheit em
1724. Nessa escala o ponto de fusã o da á gua é de 32 °F e o ponto de ebuliçã o, de 212 °F. Uma diferença
de 1,8 grau Fahrenheit equivale à de 1 °C. Essa escala foi utilizada principalmente pelos países que foram
colonizados pelos britâ nicos, mas seu uso atualmente se restringe a poucos países de língua inglesa,
como os Estados Unidos e Belize.
Fórmulas de conversão de graus Fahrenheit

Conversão de para Fórmula
• grau Fahrenheit • Celsius • °C = (°F – 32)/1,8
• grau Celsius • grau Fahrenheit • °F = °C × 1,8 + 32
• grau Fahrenheit • Kelvin • K = (°F + 459,67)/1,8
• Kelvin • grau Fahrenheit • °F = K × 1,8 - 459,67
Adaptado de: <http://pt.wikipedia.org/wiki/Grau_Fahrenheit>. Acesso em: 25 maio 2016.
• Página 111
Vocabulary corner
A–IV; B–I; C–VI; D–V; E–III; F– I
Let’s read!
3. A–IV; B–VI; C–VIII; D–I; E–V; F–III; G–II; H–VII
• Página 112
Personal answer.
Prediction
Você pode pedir aos alunos que identifiquem outras expressõ es que indicam prediction, aproveitando a
oportunidade para mostrar que going to também pode ser usado em casos em que se tem certeza de que
algo vai acontecer.
1. It’s an interview about TV (there are questions and answers).

o á udio em maiores detalhes, escrevendo-as no quadro de giz se necessá rio.
2. a); d)
Pá gina 211
Professor, sugerimos explorar com os alunos a entonaçã o de perguntas em inglês.
Caso necessá rio, sugerimos relembrar a estrutura de perguntas e do Simple Present que os alunos
deverã o usar para reportar as respostas dos colegas.
Caso as atividades de fala se mostrem desafiadoras para a turma, sugerimos usar estratégias que deem
aos alunos suporte para sua produçã o oral. Por exemplo: escrever no quadro de giz palavras-chave que
eles possam utilizar; sugerir o planejamento e a organizaçã o das ideias antes da realizaçã o das
Você pode aproveitar o tema da discussã o para explorar mais o vocabulá rio sobre televisã o. Para isso,
pode solicitar aos alunos que digam quais sã o seus programas favoritos e registrá -los no quadro de giz.
Em seguida, pode pedir aos alunos que agrupem os programas de acordo com categorias e que os
escrevam no quadro: series, soap operas, talent shows, comedy shows, reality shows, talk shows, sport
shows, newscast, cartoons e daily shows. Por fim, pode pedir aos alunos que completem as categorias
com outros programas que eles conheçam.
Couch potato
É uma gíria para designar uma pessoa sedentá ria e preguiçosa, que passa a maior parte do tempo
sentada no sofá (couch) vendo televisã o. A traduçã o literal seria “batata no sofá ” e dá a ideia de alguém
que fica “vegetando” em cima desse mó vel.
Beyond the lines...
c) Personal answers. Caso seja necessá rio, sugerimos registrar no quadro de giz uma lista de Useful
Language que possa ajudar os alunos. Por exemplo:
a) The most criticized behaviors are... (violence, corruption, ...)

b) I think TV influences bad behavior when it shows...
• Página 113
1. c) A set of predictions.
2. a) promise
b) consequence
c) promise
d) prediction
e) decision
f) consequence
3. Monday will be cloudy.
Tuesday will be sunny.
Thursday will be a rainy day.
Friday will be colder/Friday will be very cold.
• Página 114
4. A – will study with audio books./B – will be able to send mail/C – will make themselves up (suggested
answers).
• Página 115
4. D – will listen to audio newspapers./E – will send video-telegraphs (suggested answers).
5. Personal answer.
6. A – I’ll get it./B – I’ll turn it down./C – I’ll help you.
• Página 116
7. A – ‘ve loved ; B – love; C – will; D – wait; E – will; F – feel; G – find; H – will fill
9. Personal answer.
Pronunciation spot – The /l/ sound

Sugerimos enfatizar a importâ ncia de pronunciar adequadamente o /l/ final em palavras e nas
contraçõ es com will: I’ll, he’ll, you’ll, etc. Recomendamos incentivar os alunos a praticar a ligaçã o de sons
entre palavras que terminam com o som /l/ e palavras que começam com som de vogal. Por exemplo, na
mú sica temos: will I e will always.
• Página 117
Profession spot
Workers behind the cameras: directors (C), location managers (D), network operations assistants (E),
production managers (G), professional singers (H), researchers (J), transmission engineers (M), vision
mixers (N).
Workers in front of the cameras: presenters (F), puppeteers (I), stand up comedians (K), stunt
performers (L).
Os alunos podem responder que professional singers (H) também atuam in front of the cameras.
• Página 118
Let’s make a weather forecast
Professor, sugerimos chamar a atençã o dos alunos para o gênero weather script, que geralmente
apresenta, de forma leve e divertida, como será o clima em um determinado dia. É interessante sempre
estimular o trabalho colaborativo. Você poderá propor aos alunos que escrevam o roteiro
colaborativamente, ou mesmo que o planejamento e a revisã o aconteçam dessa forma. Lembre-os
também de que, quando fazemos previsõ es, há uma grande tendência de usarmos o futuro simples, como
“will”.
• Página 119
Esta atividade poderá ser desenvolvida em sala ou em casa (parcial ou totalmente). A correçã o em pares
em sala de aula poderá auxiliar o desenvolvimento da produçã o escrita.
• Página 120
Learning tips
submetido à s determinaçõ es gerais da legislaçã o nacional e
Pá gina 212
à s específicas da educaçã o brasileira, com comparecimento mó dico e variado”. Para saber mais, consulte
o Parecer inteiro, especialmente a parte “II – Voto do relator”.
UNIT 8 YOU BROADCAST
Objetivo geral
Levar os alunos a falar sobre preferências e a apresentar razõ es. Aprender a produzir um tutorial.
Levar os alunos a:
• reconhecer características do gênero tutorial;
• reconhecer características do gênero receita culiná ria;
• aprender a descrever açõ es;
• aprender a qualificar outras palavras;
• aprender a usar palavras de ligaçã o;
• aprender a expressar likes e dislikes;
• aprender a dar instruçõ es;
• aprender a ordenar ideias;
• reconhecer o som /ə/;
• produzir um tutorial.

Esta unidade trata de vídeos pessoais e dos gêneros que os envolvem.
Comentá rios, sugestõ es e respostas

• Página 122
Broadcasting
É um termo da língua inglesa formado por duas palavras distintas, broad (largo, ou em larga escala) e
cast (enviar, projetar, transmitir). Com a popularizaçã o de inú meros meios de comunicaçã o diferentes,
pode-se considerar que broadcast é o ato de transmitir algo, utilizando qualquer tipo de mídia, seja ela
via ondas de rá dio, satélite, cabos, fibras ó pticas, linhas telefô nicas, etc. Na internet, fazer broadcast é
fazer essa transmissã o — geralmente de vídeos e mú sicas.
Adaptado de: <http://www.tecmundo.com.br/2026-o-que-e-broadcast-.htm#ixzz1yYFjbWtC>. Acesso em: 25 maio 2016.
• Página 123
Lead-in
1. Personal answer.
Sugerimos apontar em sala de aula o sentido de portmanteau, palavra utilizada na pá gina 122. Observe a
definiçã o: A portmanteau word is a word that combines the sound and meaning of two words, for example
“smog,” a combination of “smoke” and “fog” (Macmillan Dictionary, 2016).
2. a) tutorials (picture 1); e) performances (picture 3); f) complaints (picture 4); g) reviews (picture 5);
h) recipes (picture 2)
4. Viral videos are videos that become very popular on the Internet and are spread as powerfully as a
virus./Personal answers.
5. Personal answer.
Did you know...?
Sugerimos chamar a atençã o dos alunos para a fonte da definiçã o, o Urban Dictionary. Comente que
todas as entradas sã o feitas pelos pró prios usuá rios, que incluem o verbete, uma definiçã o e um exemplo
de como ele é usado em uma sentença. Recomende aos alunos participarem de comunidades como essa
com o intuito de criarem oportunidades de usar a língua inglesa.
Vlogging
Vlog é o diminutivo para Video Blog. Assim, um videoblog é um pequeno vídeo com uma curta duraçã o,
normalmente entre 2 e 5 minutos, no qual o autor do vlog (que tem por nome vlogger) dá a conhecer à
sua audiência um determinado assunto.
Adaptado de: <http://www.portais.ws/?page=art_det&ida=2627>. Acesso em: 25 maio 2016.
Sugerimos levar os alunos a pensar em suas habilidades, nas coisas de que gostam e que poderiam gerar
canais interessantes que os insiram em situaçõ es reais de uso de língua. Sugerimos também comentar
com os alunos que muitos programas das TVs a cabo e/ou via satélite sã o disponibilizados no YouTube,
favorecendo o acesso gratuito a conteú dos variados.
• Página 124
Let’s read!
Before you read...
a) Personal answer.
b) Personal answer. Recomendamos pedir aos alunos que leiam as instruçõ es das atividades 1 a 6 da
seçã o Let’s read!. Isso vai permitir que eles tenham uma ideia geral do texto e possam aplicar a estratégia
de scanning, busca por informaçã o específica. Recomendar aos alunos que, inicialmente, nã o se
preocupem com palavras que nã o os ajudam a fazer as atividades.
Justin Bieber
Jovem ator, cantor e compositor canadense. Tornou-se internacionalmente famoso em pouco tempo, a
partir da mú sica “Baby”, lançada em 2010. Atualmente, é um dos artistas mais conhecidos da mú sica pop.
Adaptado de: <https://pt.wikipedia.org/wiki/Justin_Bieber>. Acesso em: 25 maio 2016.
Colbie Caillat
Cantora e compositora estadunidense, que tornou-se bastante conhecida apó s o sucesso da mú sica
“Bubbly”. Adaptado de: <https://pt.wikipedia.org/wiki/Colbie_Caillat>.
Soulja Boy
DeAndre Cortez Way, mais conhecido como Soulja Boy Tell’Em, ou apenas Soulja Boy, é rapper,
dançarino e produtor dos Estados Unidos. Inicialmente, o pró prio cantor postava sua mú sica na Internet,
o que o levou ao topo nos Estados Unidos por sete semanas nã o consecutivas.
Adaptado de: <http://pt.wikipedia.org/wiki/Soulja_Boy>. Acesso em: 25 maio 2016.
Pá gina 213
Sean Kingston
Kisean Anderson, mais conhecido como Sean Kingston, é um rapper e cantor de reggae, rap e pop.
Apesar de ter nascido em Miami, Fló rida, mudou-se para Kingston, Jamaica, quando tinha seis anos de
idade.
Adaptado de: <http://pt.wikipedia.org/wiki/Sean_Kingston>. Acesso em: 25 maio 2016.
Arnel Pineda
Cantor e compositor filipino, vocalista da banda de rock
Journey desde 2007. Adaptado de: <https://en.wikipedia.org/wiki/Arnel_Pineda>.
1. Celebrities that became famous and rich through viral videos on YouTube.
• Página 125
Let’s read!
3. Suggested answer: Viral videos are a way of becoming famous and calling the attention of producers
and music executives.
4. Because it’s easy, cheap, and people have easy access to it.
• Página 126
Let’s read!
5. a) YouTube videos are a potent way of achieving success.
b) Through viral videos on YouTube
c) It’s important to dedicate time and effort to interact with the followers on Twitter and continually post
new content on Facebook and YouTube.
6. A–III; B–V; C–II; D–IV; E–I
7. Personal answers. 8.A–II; B–IV; C–V; D–III; E–I
Vocabulary corner
A–V; B–VI; C–VII; D–IV; E–I; F–III; G–II
Beyond the lines...
a) Personal answer.
b) Personal answer.
• Página 127
1. a) II; b) II; c) II; d) III; e) I; f) I; g) III; h) I
• Página 128
2. a) simply, continually
b) clearly, relatively, exactly
c) I –A – final; I – C – important; I – D – relative;
II – B – easy; III – E– simple
3. a) friendly; b) only; c) apply; d) deadly
• Página 129
o á udio em maiores detalhes, escrevendo-as no quadro, se necessá rio.
1. A, B, C, D, E, F, G
2. C–I; A–III; D–II; D–IV; D–VII; B–VI; B–V
3. I, III, II, IV, VII, VI, V
• Página 130
4. It is a recipe.
5. It was broadcast as a video.
6. First, then, next, and lastly.
7. Personal answer.
8. Personal answer.
Professor, recomendamos usar estratégias que deem aos alunos suporte para sua produçã o oral, por
exemplo: escrever no quadro palavras-chave que eles possam utilizar; sugerir o planejamento e a
organizaçã o das ideias antes da realizaçã o das atividades; enfatizar a importâ ncia de usarem os
boxesUseful language e ampliá -los no quadro caso seja necessá rio; encorajar os alunos a usarem a
pará frase para expressar uma ideia de uma maneira alternativa caso tenham dificuldade com
vocabulá rio.
Pronunciation spot – The /l/ sound
Professor, caso tenha interesse em integrar uma atividade de fala e ampliar oportunidades de fala,
sugerimos a seguinte atividade:
In groups, create an instructional video of a game. Here are some steps: introduce the game, describe the
roles of the players on the different teams, explain the rules of the game, and show the game actually
being played. Variations such as cooking recipes, instructions on how to download an app can also be
interesting possibilities. Make sure you organize how your will work.
a) Decide what you are going to do.
b) Define all roles/tasks in the process.
c) Try to speak English as much as you can during your negotiations/ discussions. Useful expressions: I
think…; I believe…; What if we…; how about…; OK, but…; OK, but don’t you think…, I agree that…
• Página 131
1. b) To indicate the sequence of events.
2. AI–V; B–I; C–VII; D–III; E–VI; F–II, G–V

3. First, log in at your account. Then, choose the gender of your manga. Click “Create” to continue. Next,
change facial expressions by clicking the smileys. Navigate through the tabs to choose different features.
Click to select skin tone. Lastly, save changes to your manga and give it a nickname.
Pá gina 214
• Página 132 Let’s act with words!
Let’s create a tutorial
Professor, sugerimos chamar a atençã o dos alunos para o gênero tutorial, que geralmente apresenta um
“passo a passo” detalhado para o desenvolvimento de algo. Lembre os alunos de que um bom tutorial é
rico em imagens e possui instruçõ es claras e objetivas. Lembre-os também de que eles deverã o construir
frases usando o imperativo, estrutura característica de tutoriais. Uma boa forma de averiguar se um
tutorial é bom e cumpre com seu propó sito é quando ele é lido e entendido por outra pessoa. Daí a
necessidade de promover uma produçã o colaborativa, encorajando os alunos a lerem e darem feedback
para as produçõ es dos colegas.
1. The first uses steps and the second uses linking words (first, then, after).
Caso julgue interessante, sugerimos destacar que, o primeiro tutorial vem na forma de passo a passo, ao
passo que o segundo está estruturado na forma de texto. Pode-se propor a retextualizaçã o, ou reescrita,
de um na estrutura do outro, como forma de conscientizaçã o e preparaçã o para a tarefa de escrita a
seguir.
• Página 133
• Página 134
1. e) persuadir a mã e a mudar de canal.
2. a) a noite de sexta seria agradá vel e sem chuva.
3. a) postaram seus vídeos no Youtube antes de fazerem sucesso.
• Página 136
Time for literature
1. a) Investigative, critical, inquisitive, etc.
b) Criticism of American society and the war, living in a foreign country.

c) Personal answer. Sugerimos que você faça, antes da atividade, um brainstorming de nomes de obras e
autores que os alunos conhecem, incluindo os de literatura brasileira.
d) The traditional method has a beginning, a development (conflict), and a conclusion. The modern
method is less structured and more direct.
• Página 138
Time for literature
3. a); c); d)
• Página 139 Time for literature
4. a); c)
5. A hotel in Italy after the war.
6. The American wife.
7. As two Americans living in an Italian hotel, exiles from their own land. The husband seems bored,
always reading, and the wife shows a desire for things she probably misses from the life she used to have
before.
8. Literal meaning: It refers to the cat the wife sees under the table in the patio of the hotel. Figurative
meaning: It refers to the wife herself, who apparently is feeling as lost in a foreign country as the little cat
in the rain.
9. The verbs are all in the past tense. It seems the story happened before the narration.
10. c)
11. A–V; B–III; C–I; D–IV; E–II
12. j)
• Página 140
EXTRA ACTIVITIES
Objetivo geral
Objetivos: As atividades extra promovem oportunidades de prá tica de leitura, bem como prá ticas de
vocabulá rio e gramá tica desenvolvidos nas unidades.
Profession spot
I–A; III–B; II–C; VII–D; E–VI; F–VIII; G–IV; H–V
• Página 141
Let’s read!
Before you read...

a) Personal answer.
b) Personal answer.
1. Personal answer.
2. Managing your space: A. Do; B. Keep; C. Spend;
Take a digital technology detox: D. Spend; E. Don’t use;
Help for addicts: F. Use.
• Página 142
Let’s read!
Take time to reflect and review: G. don’t check; H. reflect;
Managing e-mail: I. Don’t turn on; J. Keep; K. Check;
Create rituals/habits: L. Have; M. wash;
How to work: N. Stay; O. Work.
1. A – is; B – focuses; C – share; D – consists
2. A – live; B – are working; C – have; D – is; E – contains; F – escape; G – are taking over; H – ’m; I – think
• Página 143
Let’s read!
1. a) 56% of adult Americans.
b) No.
c) Use of a laptop to get on-line/The fact.
d) 56% of adult Americans have accessed the Internet by wireless means; 39% of adults have done
this./Present Perfect.
e) Personal answer.
f) Personal answer.
Vocabulary corner
1. A–III; B–IV; C–VII; D–II; E–I, F–VI; G-V
Pá gina 215
• Página 144
1. A – didn’t create; B – developed; C – tested; D – is; E – did; F – name; G – demonstrated; H – involves; I

– tried; J – noticed; K – traveled
2. 1 – Regular= -ed; 2 – Irregular verb = same form; 3 – Consonant-vowel-consonant in stressed syllable

= double final consonant; 4– -y after vowel = -ed; 5– -y after consonant = replace -y with -ied
3. a) Have you ever received an unexpected call in the movies?
b) Have you ever accessed the Internet on a smartphone?
c) Have you ever downloaded apps through your cell phone?
d) Have you ever seen someone texting while driving?
e) Have you ever exchanged files via Bluetooth?
f) Have you ever left a message on voicemail?
g) Have you ever sent pictures via SMS?
h) Have you ever filmed with a smartphone?
4. Personal answer.
5. Personal answer.
• Página 145
Profession spot
1. I–C; II–I; III–F; IV–H; V–B; VI–J; VII–D; VIII–G; IX–I; X–E
• Página 146
Let’s read!
1. A magazine mainly about economics./A magazine with emphasis on economy and political
issues./The title of the magazine tells us it is about economics.
2. Literally: to descend freely by the force of gravity. Metaphorically: to decline in financial value or
price.
Available at: <http://www.merriam-webster.com/dictionary/fall>. Accessed on: April 7, 2016.
3. Literally: a brick; Metaphorically: house prices.
4. Suggested answer: Positive. Since the house prices have fallen, people will have more access to
houses.
5. a) I–E; II–A; III–E

b) IV–D; V–C
c) VI–A; VII–B
• Página 147
Vocabulary corner
1. A – headline; B – strapline; C – lead; D – body
2. communication, entertainment, empowerment, collection, classification, information
3. collective, performing, communicative, entertaining, informative
• Página 148
Before you read...
a) Personal answer.
b) It can represent happiness.
c) They can represent sadness.
d) It can affect humor. For example: some people feel depressed on a rainy, or cloudy day.
1. Personal answer.
2. I–C; II–D; III–A; IV–B; V–E
3. Happiness, joy.
4. Personal answer.
Alain Clark
Alain Clark (nascido em 4 de junho de 1979, em Haarlem, Holanda) é mú sico e produtor.
• Página 149
Vocabulary corner
1. A–VI; B–III; C–II; D–I; E–V; F–IV
Let’s read!
1. A – only; B – extremely; C – relentlessly; D – carefully; E –relatively; F – seriously; G – historically; H –

suddenly
• Página 150
Time for literature

Professor, veja um versã o decodificada disponível em: <http://linkte.me/ttufe>, acesso em: 16 maio
2016.
As interrogaçõ es marcam os pontos de dú vida na decodificaçã o.
An essay now I mean to write
To you, sweet Katie J,
The girl without a parallel,
The belle of Utica.
I wonder if you got that one
I wrote to you before
I sailed in the Arcadia,
And sent by Ellen/Allen Moore (?)
My empty head will scarce contain
A calm idea bright;
But eighty miles from you I must
Embrace this chance to write.
And first, should any envy you,
Be easy, mind it not;
Should any friendship show, be true,
They should not be forgot.
But friends and foes alike decay,
As you may plainly see,
In every funeral array,
Or uncle’s elegy.
(From virtue never deviate;
Her influence benign
A like induces tendernes,
Or fortitude divine.)
And if you cannot cut a dash,

Or cause an exclamation (?)
I hope you’ll put a period (?)
To one interrogation (?).
Are you for annexation too,
My cousin? Heart and hand
He offers in a paragraph
A section, too, of land.
He says he loves you to excess,
You are virtuous and wise,
In excellency you excel
All others in his eyes.
Pá gina 216
This essay, until you I see
I pray you to excuse,
And do not burn in effigy,
My young and wayward muse.
Now fare you well dear Katie J,
I trust that you are true;
When this you see then you can say,
An essay I owe you.
2. Personal answer.
• Página 151
Time for literature
1. Personal answer.
2. a) Drama, romance.
Aqui também é possível discutir com os alunos a crítica que costuma ser feita à s adaptaçõ es de livros
para o cinema. Pode-se abordar isso com base no livro Crepúsculo (Twilight), perguntando-lhes: Did you
read this book? Did you watch the movie? Why are movie adaptations normally “different” from the book?
Aceitar suas respostas e explicar que sã o linguagens muito diferentes (livro × cinema), que há restriçã o
de tempo (o filme mostra em duas horas o que o livro narra em centenas de pá ginas), que o cinema lida
com movimento, sons, etc. Isso torna a adaptaçã o cinematográ fica uma obra ú nica, que à s vezes passa
uma ideia bem diferente da que tivemos ao ler a obra original.
4. Personal answer.
• Página 152
Time for literature
1. Suggested answer: A young American couple is staying at a hotel in Italy after the end of war. They
have no friends there. The husband spends most of his time lying in bed reading a book. The wife is
restless and, seeing a cat in the patio in the rain, she starts to wish for a lot of things. She wishes she had
a house of her own where she could receive guests and use shining silver with candles on the table. She
also wishes she had long hair in contrast with her short manly curls. And, above all, she wants a cat she
can hold and stroke and call her own too. She goes down to try to save the cat from the rain and she talks
to the hotel owner, who is a very kind old man, and whom she likes a lot. The cat is gone. She goes back
to the room. Later the hotel maid comes to her door with the little cat, saying the “padrone” had sent her
the kitten.
• Página 153
Time for literature
b) Personal answers, but we expect it to be a “no.”
c) Personal answers. (Ex.: No, he keeps reading all the time, offers to get the cat but does not budge.)
d) Personal answer. (She resents her husband who does nothing to please her, whereas she likes the
hotel owner who is always trying to do so.)
e) Personal answer.
f) Personal answer.
g) Personal answer.
3. a) Lord, life, keeper, head, sovereign…
b) Loving, beautiful, and obedient
c) Love, fair looks, and obedience
d) As payment for the debt she owes him for working to take care of her.
e) Personal answer.
Ao trabalhar com esta atividade, se julgar necessá rio, discutir antes com os alunos a questã o da
emancipaçã o da mulher ao longo do tempo: pelo que depreendemos do texto de Shakespeare, as
mulheres do seu tempo deveriam se dedicar unicamente à s ocupaçõ es do lar, e as atitudes que se
esperavam de uma boa esposa eram, acima de tudo, gratidã o e obediência ao marido; suas maiores
qualidades seriam a boa aparência e a amabilidade. Já no texto de Hemingway, há uma mudança na
representaçã o da mulher; a personagem manifesta suas vontades e suas insatisfaçõ es; ela nã o se encaixa
no padrã o de esposa obediente e subserviente do século XVII.
CROSSING BOUNDARIES
• Página 154
1. Personal answer.
2. Personal answer.
3. Personal answer.
4. Personal answer.
• Página 155
b) Personal answer.
c) Personal answer.
Em muitos casos, há pouco ou nenhum resultado na limpeza dos vidros. Muitos limpadores
industrializados contêm produtos químicos pesados que sã o perigosos para a atmosfera e o meio
ambiente. O vinagre é um líquido á cido nã o tó xico, que pode limpar tã o efetivamente quanto muitos
agentes químicos, sem nenhum efeito prejudicial. O jornal foi utilizado para demonstrar como materiais
reciclados podem ser substitutos viá veis para panos de limpeza, que necessitam de muita energia em sua
produçã o.
• Página 156
a) Personal answer.
b) Personal answer.
1. a) Suggested answer: A pinhole camera does not necessarily use lenses.
b) seashells, oatmeal boxes, coke cans or cookie containers, a discarded refrigerator, plaster, beautiful
hardwoods, metal with bellows, station wagons, rooms in large buildings.
• Página 157
Apesar de nã o ter um objetivo de ensino específico, a atividade proposta está integrada ao conteú do das
liçõ es e é um momento de experimentar com a fotografia. Por esse motivo, sugerimos que os alunos
sejam encorajados a fazer e publicar o resultado no jornal mural para que recebam feedback dos colegas.
As fotos podem também ser escaneadas ou fotografadas digitalmente e publicadas nos blogs dos alunos
ou no Facebook.
Pá gina 217
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gêneros textuais. Campinas: Mercado de Letras, 2009.
BAZERMAN, C. Gênero, agência e escrita. Org. de Judith Chambliss Hoffnagel e Â ngela Paiva
Dionísio. Trad. e adapt. Judith Chambliss Hoffnagel. Sã o Paulo: Cortez, 2006.
BRASIL. Lei n. 9.394, de 20 de dezembro de 1996. Lex: Leis de Diretrizes e Bases da Educaçã o
Brasileira (LDB). Brasília, 1996.
_______. Ministério da Educaçã o. Secretaria de Educaçã o Bá sica. Orientações Curriculares para o

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_______. Ministério da Educaçã o. Secretaria de Educaçã o Bá sica. Ensino médio inovador.

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<http://portal.mec.gov.br/dmdocuments/ensino_medioinovador.pdf>. Acesso em: 31 maio
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CRISTÓVÃO, V. L. L.; NASCIMENTO, E. L. (Org.). Gêneros textuais: teoria e prá tica II. Palmas e Uniã o da
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LARSEN-FREEMAN, D. Chaos/Complexity Science and Second Language Acquisition. Applied

Linguistics, v. 18, n. 2, p. 141-165, 1997.
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MARCUSCHI, L. A. Produção textual, análise de gêneros e compreensão. Sã o Paulo: Pará bola

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Genre and the new rhetoric. London: Taylor and Francis, 1994. p. 23-42.
PAIVA, V. L. M. O. Modelo fractal de aquisiçã o de línguas In: BRUNO, F. C. (Org.). Reflexão e prática
em ensino/aprendizagem de língua estrangeira. Sã o Paulo: Clara Luz, 2005. p. 23-36.
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Aplicada, v. 46, n. 2, p.165-179, 2007.
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linguagem. Sã o Paulo: Cultura Acadê mica, 2009.
PALTRIDGE, B. Genre and the language learning classroom. Ann Arbor: The University of Michigan
Press, 2004.
RAIMES, A. Techniques in Teaching Writing. New York, Oxford: Oxford University Press, 1983.
RICHARDS, J.; PLATT, J.; WEBER, H. Longman Dictionary of Applied Linguistics. Hong Kong: Longman,
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SAUSSURE, F. Curso de linguística geral. Trad. Antô nio Chelini, José Paulo Paes e Izidoro Blikstein.
Sã o Paulo: Cultrix, 1995.
SILVA, T. C. Pronúncia do inglês: para falantes do português brasileiro. Sã o Paulo: Contexto, 2012.
ZIMMER, M.; SILVEIRA, R.; ALVES, U. K. Pronunciation instruction for brazilians: bringing theory and
practice together. New Castle upon Tyne: Cambridge Scholars Publishing, 2009.
Pá gina 218
SUGESTÕES DE LEITURA
Nesta seçã o, apresentamos algumas sugestõ es de leitura, incluindo livros e sites, para
aprofundamento e/ou ampliaçã o dos conteú dos trabalhados ao longo da coleçã o, como
estímulo à diversificaçã o de fontes de consulta e referência para alunos e professores. Algumas
indicaçõ es relacionam-se a assuntos tratados nos textos das unidades, buscando reforçar a
abordagem interdisciplinar aqui defendida. Outras focalizam o ensino-aprendizagem de inglês,
apresentando recursos que podem favorecer o desenvolvimento da autonomia do aluno e do
professor. Sugerimos também leituras que podem contribuir para a formaçã o continuada do
professor, de modo geral.
WEBGRAFIA PARA O ALUNO E PARA O PROFESSOR
Todos os sites indicados nesta seçã o: acesso em 24 maio 2016.
• Dicionários on-line
Cambridge Dictionaries Online
http://linkte.me/n0s8c
Site que oferece dicioná rios monolíngues (inglês-inglês) da editora da Universidade de

Cambridge: Advanced Learner’s, Learners, American English e Idioms. Seu uso é bastante
simples: basta digitar o vocá bulo no campo do topo da pá gina e clicar no botã o “Look it up”. Na
pá gina que será recarregada em seguida, além dos diversos significados apresentados para o
vocá bulo, pode-se ter acesso à pronú ncia (clicando no ícone de alto-falante) da palavra em
inglês britâ nico e em inglês americano.
Dictionary.com
http://linkte.me/e97l5
Portal famoso e de fá cil utilizaçã o que conta com dicioná rio monolíngue e dicioná rio de
sinô nimos (Thesaurus). Há também flashcards, reunidos por categorias e níveis de
escolaridade, e um tradutor on-line.
Internet Picture Dictionary
http://linkte.me/hve31
Dicioná rio monolíngue ilustrado de uso extremamente fá cil. A consulta pode ser feita pela letra
inicial do verbete (Browse by letter) ou por assunto (Browse by category). As imagens
apresentadas sã o pequenas, mas podem servir para ilustrar uma atividade pedagó gica. Para
capturar uma imagem qualquer, basta clicar sobre ela com o botã o direito do mouse, selecionar
a opçã o “Salvar figura como...” e escolher uma pasta do computador para gravá -la. O site ainda
apresenta atividades variadas na seçã o Activities, localizada no canto inferior esquerdo. Há
desde flashcards, que podem ser reunidos por categoria e impressos, até atividades que testam
a memó ria verbal do usuá rio (Stinky Spelling e Straight Recall).
Linguee
http://linkte.me/o09s7
Ferramenta de traduçã o que utiliza um banco de dados com milhõ es de traduçõ es como
dicioná rio. Ela combina um banco de dados com uma má quina de busca de traduçõ es capaz de
vasculhar 100 milhõ es de textos bilíngues em busca de palavras e expressõ es. No resultado da
busca, você verá a tela dividida em duas partes. À esquerda, os resultados provenientes do
banco de dados para que você possa ler exemplos de diversos empregos da palavra ou
expressã o. À direita, os exemplos traduzidos da expressã o ou do termo buscado, para que você
possa verificar o contexto adequado.
Your Dictionary
http://linkte.me/c8pl7
Apresenta ampla variedade de conteú do vocabular. Inclui um dicioná rio de traduçõ es do inglês
para o alemã o, o português, o espanhol, o francês e o italiano. Possui recurso para ouvir a
palavra procurada, sua transcriçã o fonética, exemplos com frases e sua origem etimoló gica.
• Inglês geral
Activities for ESL Students
http://linkte.me/g4uos
Traz testes, exercícios e quebra-cabeças nas á reas de gramá tica e vocabulá rio organizados por
nível de dificuldade e/ou assunto e com acesso à s respostas corretas.
BBC Skillswise
http://linkte.me/nf023
Aborda vá rias estratégias de leitura (scanning, skimming, summarising) e compreensã o oral

(listening for specific information), por exemplo. Na parte de desenvolvimento de produçã o
textual, é possível encontrar algumas fases da escrita (planning, proofreading). O site
disponibiliza tanto a teoria quanto a prá tica por meios de exercícios, jogos e quizzes.
Bab.la
http://linkte.me/uyrd8
Um portal sobre línguas que oferece dicioná rios com bancos de traduçõ es em vá rios idiomas,
testes, jogos, exercícios de vocabulá rio, fó runs, etc. O portal é interativo, pois você pode sugerir
traduçõ es, criar seus testes ou seus pró prios exercícios de vocabulá rio.
English as 2nd Language
http://linkte.me/w4r4i
Aborda grande variedade de links para artigos e recursos em vá rias á reas, como Grammar,
Writing Skills, Reading Skills, Listening Skills, Pronunciation,
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Vocabulary, Teaching English, Lesson Plans, Free Exam Preparation (incluindo TOEFL, IELTS,
FCE), entre outras.
EnglishClub.com
http://linkte.me/d4xi0
Site com conteú do extenso. Á reas para alunos, professores, escolas, etc. Na parte destinada aos
alunos, há links para seçõ es como Grammar, Listening, Pronunciation e Speaking. Cada seçã o
apresenta grande variedade de links para explicaçõ es e/ou exercícios. Há fó runs, sugestõ es de
planos de aula e outras informaçõ es relativas à prá tica do ensino da língua inglesa destinadas
aos professores.
Learn English
http://linkte.me/ocwlc
Portal que dá acesso a todos os sites do Conselho Britâ nico (British Council) para professores e
alunos de inglês. No menu do site LearnEnglish, pode-se escolher navegar por habilidades
linguísticas ( listening, reading, writing), prá tica de gramá tica ou vocabulá rio, testes on-line
para avaliar a proficiência em diferentes á reas da língua inglesa e conteú dos para diversã o
(como jogos e cartuns).
Many Things
http://linkte.me/j460h
Leia e escute histó rias ao mesmo tempo! Nesse site, você encontra vá rias atividades de leitura
com acompanhamentos em á udio. Além disso, aqui você também terá acesso a quizzes, jogos,
provérbios e até mesmo piadas divertidas, que ajudarã o a complementar sua leitura.
World English
http://linkte.me/pw66a
Site para estudantes de inglês como segunda língua ou língua estrangeira. Nesse site, há
atividades e testes relacionados a tó picos de vocabulá rio, gramá tica, quatro habilidades e
literatura. Existe também um espaço criado para troca de mensagens entre amigos virtuais
(epals).
• Gramática
Daily Grammar
http://linkte.me/a9p4t
Site que trata de dú vidas frequentes no estudo da língua inglesa. Os exercícios sã o para
imprimir e vêm com gabarito. Alguns dos pontos gramaticais tratados sã o verbs, pronouns,
adjectives, sentence variety eprepositions.
English Grammar Lessons
http://linkte.me/zbdb0
Apresentaçã o resumida sobre vá rios tó picos gramaticais da língua inglesa e exercícios on-line
com resposta automá tica.
Internet Grammar of English
http://linkte.me/kl701
Traz uma vasta cobertura de conteú do gramatical, que inclui tó picos como nouns, adverbs,
adjectives, prepositions, conjunctions e functions in phrases, entre outros. Apresenta exercícios
interativos com correçã o automá tica e revisã o ao final, além de um glossá rio gramatical.
• Pronúncia e entonação
Learning English Pronunciation
http://linkte.me/bm1v8
Dicas sobre a pronú ncia da língua inglesa. Apresenta os sons do International Phonetic
Alphabet com exemplos em á udio, introduçã o à transcriçã o fonética, demonstraçõ es de
transcriçã o fonética e dicas para uma boa pronú ncia. Há também artigos relacionados a
pronú ncia e sotaque.
Sounds of English
http://linkte.me/e9464
Apresenta sons específicos de pares mínimos e word stress, demonstrando a diferença entre
eles. Traz dicas para professores, como exercícios de pronú ncia que podem ser impressos e
utilizados em sala de aula.
EnglishCentral
http://linkte.me/zd95r
Neste site, o aprendiz pode ver vídeos autênticos, com ou sem legendas, e gravar/praticar a
fala usando o microfone do computador. Usando tecnologia de reconhecimento de voz, a
pronú ncia é avaliada e o usuá rio recebe feedbackimediato, podendo praticar mais para
aprimorá -la.
Phonetics: The sounds of Spoken Language
http://linkte.me/o6ymb
Este site contém bibliotecas animadas dos sons do inglês, alemã o e espanhol. Ele disponibiliza,
para cada consoante e vogal, um diagrama articulató rio animado, uma descriçã o passo a passo
e um vídeo-á udio do som falado em contexto. Com a ajuda do diagrama interativo da anatomia
articulató ria, estudantes e professores podem perceber como os sons sã o produzidos no nosso
sistema fonador.
• Compreensão escrita
About.com
http://linkte.me/fq5hh
Trata-se de um portal que reú ne textos autênticos de diversos gêneros (tais como artigos,
receitas, quizzes, tutoriais, etc.) e com grande riqueza de informaçõ es. Vá rios textos sã o
elaborados em inglês por centenas de especialistas exclusivamente para o site. Podem-se
buscar textos a partir de uma lista de tó picos organizados em ordem alfabética e também a
partir da navegaçã o (browsing) por uma lista de grandes temas, chamados “canais”. É também
uma fonte de textos autênticos de diversos gêneros e
Pá gina 220
com grande riqueza de informaçõ es, sendo ú til tanto para alunos quanto para professores.
ESL Gold
http://linkte.me/gj524
Site voltado para o aprimoramento de técnicas de leitura que traz atividades para estudantes
em diferentes níveis de aprendizagem. Apresenta textos de referência sobre estratégias de
leitura, artigos, exercícios de compreensã o de textos, além de jogos e planos de aula para
professores.
ESL Reading
http://linkte.me/p9q9v
Com conteú do especial para compreensã o de texto e ampliaçã o de vocabulá rio, esse site
oferece poemas, livros virtuais, curiosidades e uma compilaçã o de histó rias originais e versõ es
simplificadas de textos clá ssicos. Há também vá rios quizzes e palavras cruzadas, separados por
níveis de aprendizagem.
ESL Yes
http://linkte.me/i4ods
Oferece 365 histó rias para leitura. Todas sã o acompanhadas de exercícios de compreensã o
(mú ltipla escolha, palavras cruzadas, ditado) e lista de vocabulá rio.
Famous People Lessons
http://linkte.me/gy904
Site com biografias de vá rias personalidades mundiais e atividades baseadas nesse gênero
textual. Sã o atividades que buscam ampliar a compreensã o de textos e vocabulá rio.
Online Newspapers
http://linkte.me/jz9ba
Portal que dá acesso a jornais de todo o mundo, em diferentes línguas, incluindo a língua
inglesa, sendo, portanto, uma fonte de textos autênticos com temas atuais. Pode ser usado para
pesquisa e prá tica adicional da leitura pelo aluno ou como fonte de textos a partir dos quais o
professor poderá elaborar atividades de compreensã o de texto.
Short Stories
http://linkte.me/f8jf1
Com textos narrativos em inglês, o site reú ne, organiza e classifica contos por tipos (infantil,
humor, ficçã o científica, terror, etc.), autor, avaliaçã o de leitores, faixa etá ria e tamanho do
texto. Pode ser usado tanto pelo aluno quanto pelo professor para o desenvolvimento de
atividades de leitura. O site também oferece jogos e guias de leitura, entre outros recursos.
The Guardian
http://linkte.me/e089d
Seçã o especial do jornal The Guardian dedicada à aprendizagem de inglês, cujos textos sã o
baseados em notícias da atualidade. Para cada matéria, sã o propostas liçõ es de compreensã o
de textos, vocabulá rio, gramá tica e questõ es para discussã o.
The Learning Network
http://linkte.me/u1znb
Blog com ó timas referências em materiais de leitura e estudo da língua inglesa. Sã o planos de
aula com base no conteú do do jornal The New York Times que trazem propostas interativas
para compreensã o e discussã o de conteú do.
• Compreensão oral
Breaking News English
http://linkte.me/m6hw8
Site para aprimorar as estratégias de compreensã o oral, com podcasts baseados em notícias
recentes. Há planos de estudo com exercícios de compreensã o e chave de respostas para as
atividades propostas.
English Listening Lesson Library Online
http://linkte.me/kns95
Oferece ricas e variadas atividades on-line de listening, com opçã o de legenda e transcriçã o,
atividades de mú ltipla escolha (compreensã o), jogos, atividades com imagens e vídeo. Inclui o
á udio de falantes de diversas nacionalidades.
English Listening Lounge
http://linkte.me/k22o3
Site comercial que oferece conteú do gratuito. A Free Guest Area, destinada aos nã o membros, é
dividida de acordo com o grau de dificuldade. Os assuntos sã o separados em tó picos nos
diferentes menus exibidos. Cada menu contém uma rá pida descriçã o do conteú do a ser
escutado, do tempo de duraçã o, da velocidade e do sotaque. Os arquivos possuem exercícios de
mú ltipla escolha com gabarito e transcriçã o.
Randall’s ESL Cyber Listening Lab
http://linkte.me/z8387
Possui inú meros arquivos de á udio organizados por graus de dificuldade e temas,
acompanhados de atividades de compreensã o auditiva (incluindo pre-listening , exercícios de
listening com resposta automá tica, atividades de vocabulá rio, post-listening) e com opçã o de
visualizaçã o da transcriçã o.
Voices of America
http://linkte.me/z9z14
Site com vídeos legendados e podcasts sobre notícias de todo o mundo com reduçã o de 1/3 de
sua velocidade original para que aprendizes de inglês possam acompanhar as reportagens.
BIBLIOGRAFIA COMENTADA PARA O PROFESSOR
BARCELOS, Ana Maria Ferreira; ABRAHÃO, Maria Helena Vieira (Org.). Crenças e ensino de línguas:
foco no professor, no aluno e na formaçã o de professores. Campinas: Pontes, 2006.
Esse livro reú ne pesquisadores de vá rias partes do Brasil em 12 capítulos sobre crenças de
professores e alunos de língua inglesa com foco na formaçã o de professores.
Pá gina 221
BARROS, Solange Maria de; ASSIS-PETERSON, Ana Antô nia de (Org.). Formação crítica de professores de
línguas: desejos e possibilidades. Sã o Carlos: Pedro & Joã o Editores, 2010.
Esse livro reú ne, em cinco eixos temá ticos, textos sobre questõ es educacionais. Os textos
discutem o discurso crítico-reflexivo, questõ es colaborativas, identidades, currículos e
discursos de professores.
BRAGA, Douglas Bértoli. Ambientes digitais: reflexõ es teó ricas e prá ticas. Sã o Paulo: Cortez, 2013.
O livro apresenta reflexõ es sobre as tecnologias de informaçã o e comunicaçã o e possibilidades

de uso no ensino bá sico. É um bom auxiliar para o professor que pretende mudar os modos de
ensinar com a inserçã o de ferramentas digitais em suas prá ticas pedagó gicas.
BROWN, H. Douglas. Teaching by principles: an interactive approach to language pedagogy. 3. ed.

New York: Pearson Longman, 2007.
Esse livro é indicado para professores de línguas com nenhuma ou pouca experiência em sala
de aula. Reú ne sugestõ es prá ticas sobre o ensino-aprendizagem de línguas, todas firmemente
ancoradas em princípios bem fundamentados. Ao final de cada capítulo, há exercícios que
proporcionam a reflexã o sobre o conteú do apresentado.
BRUNO, Fá tima Cabral (Org.). Ensino-aprendizagem de línguas estrangeiras: reflexã o e prá tica.
Sã o Carlos: Claraluz, 2005.
Esse livro reú ne textos de interesse de professores de espanhol e de inglês, e dentre eles
destacam-se as reflexõ es sobre aquisiçã o de segunda língua, sobre o erro do aluno de língua
estrangeira e sobre o ensino do present perfect.
CELANI, Maria Antonieta Alba (Org.). Professores e formadores em mudança: relato de um

processo de reflexã o e transformaçã o da prá tica docente. Campinas: Mercado de Letras, 2003.
Essa obra reú ne uma série de reflexõ es sobre um projeto de formaçã o de professores em Sã o
Paulo que inclui aprimoramento linguístico, aprimoramento de formaçã o profissional e
formaçã o de multiplicadores. As questõ es abordadas, tais como aprendendo a aprender,
autoavaliaçã o e representaçõ es, sã o de interesse de qualquer professor.
DIAS, Reinildes; CRISTÓVÃO, Vera Lú cia Lopes (Org.). O livro didático de língua estrangeira:
mú ltiplas perspectivas. Campinas: Mercado de Letras, 2009.
Essa coletâ nea reú ne trabalhos de vá rios pesquisadores que compartilham conhecimento
teó rico-metodoló gico sobre o livro didá tico de língua estrangeira e apresenta argumentos para
o desenvolvimento da postura crítica em relaçã o ao material didá tico disponível no mercado
e/ou produzido pelo professor.
ELICHIRIGOITY, Maria Terezinha Py (Org.). Técnicas e jogos para aprendizagem de língua

estrangeira na sala de aula. Pelotas: Educat, 1999.
Esse livro oferece ao professor de língua estrangeira mais de cinquenta sugestõ es de técnicas e
jogos para a aprendizagem de língua estrangeira, incluindo sugestõ es de como trabalhar com
cançõ es.
FIGUEIREDO, Francisco José Quaresma de (Org.). Aprendendo com os erros: uma perspectiva de
ensino de línguas. Goiâ nia: Editora UFG, 2006.
Esse livro reú ne capítulos do organizador e seu grupo de pesquisa sobre aprendizagem
colaborativa, demonstrando seus benefícios e suas limitaçõ es. O volume apresenta
fundamentaçã o teó rica sobre aquisiçã o de línguas, concepçõ es de erro, reflexõ es sobre o
ensino de línguas e exercícios que levam o leitor a refletir sobre a aná lise de erros de
aprendizes.
LEFFA, Vilson (Org.). O professor de línguas estrangeiras: construindo a profissã o. Pelotas:

Educat, 2001.
O livro apresenta o professor de línguas estrangeiras como um profissional em formaçã o

contínua, que precisa estar sempre se atualizando, nã o só para acompanhar um mundo em
constante mudança, mas também para ser capaz de provocar mudanças. Emancipaçã o,
autonomia, diá logo, o professor-pesquisador, relaçõ es entre teoria e prá tica, domínio afetivo,
ênfase no desejo do aluno, trabalho colaborativo entre colegas professores e ensino
colaborativo aliado ao uso das novas tecnologias, consciência política sobre ensinar/aprender
línguas, ruptura com o tradicional e formaçã o integral sã o alguns dos temas abordados nessa
obra.
LEFFA, Vilson (Org.). A interação na aprendizagem das línguas. 2. ed. Pelotas: Educat, 2006.
Esse livro reú ne vá rios pesquisadores para demonstrar a importâ ncia da interaçã o no
processo de ensino e aprendizagem, incluindo a interaçã o face a face e a mediada pelo
computador.
LIBERALI, Fernanda Coelho. Atividade social nas aulas de língua estrangeira. Sã o Paulo:
Moderna/Richmond, 2009.
Esse livro discute e propõ e o ensino de línguas por meio de atividades sociais, incluindo a
discussã o sobre como preparar unidades ou projetos e como avaliar. Aborda também a relaçã o
entre atividades sociais e os gêneros. A título de exemplificaçã o de como implementar as ideias
apresentadas, o volume traz quatro unidades didá ticas com sugestõ es e exemplos de tarefas.
Finalmente, sã o feitas consideraçõ es sobre a importâ ncia da reflexã o crítica na formaçã o do
professor.
LIGHTBOWN, Patsy M.; SPADA, Nina. How languages are learned. 3. ed. Oxford; New York: Oxford
Pá gina 222
Esse livro apresenta uma revisã o das principais teorias de aquisiçã o, discute fatores que
afetam a aquisiçã o de uma segunda língua e faz reflexõ es sobre processos de ensino e de
aprendizagem, além de discutir alguns mitos sobre a aprendizagem de línguas.
LIMA, Dió genes Câ ndido (Org.). Ensino e aprendizagem de língua inglesa: conversas com
especialistas. Sã o Paulo: Pará bola Editorial, 2009.
No livro, especialistas de vá rias partes do Brasil respondem a perguntas feitas por jovens
professores de língua inglesa, abrindo um espaço de debates, provocaçõ es e reflexõ es sobre o
processo de ensino e aprendizagem de inglês como língua estrangeira e internacional.
_______. Aprendizagem de língua inglesa: histó rias refletidas.Vitó ria da Conquista: Ediçõ es Uesb,
2010.
Esse livro reú ne pesquisadores de vá rias universidades e apresenta aná lises de narrativas de
aprendizagem coletadas pelo organizador e disponibilizadas no projeto Amfale. A partir das
análises, os autores discutem questõ es tais como teorias da aprendizagem, crenças sobre
aprendizagem, autonomia, identidade, etc.
MICCOLLI, Laura. Ensino e aprendizagem de inglês: experiências, desafios e possibilidades.

Campinas: Pontes, 2010.
Nesse livro, além de uma só lida reflexã o teó rica, a autora apresenta um estudo dividido em 12
capítulos sobre experiências de aprendizagem que abrangem experiências individuais e
coletivas de alunos e professores, em contextos diferentes.
PAIVA, V. L. M. de O. e (Org.). Práticas de ensino e aprendizagem de inglês com foco na autonomia.

Campinas: Pontes, 2007.
Esse livro visa ajudar o professor de inglês a continuar seu processo de aprendizagem da
língua de forma autô noma e, ao mesmo tempo, a refletir sobre os processos de ensino e
aprendizagem que propiciem o uso da língua estrangeira de forma significativa.
RIBEIRO, Ana Elisa; NOVAIS, Ana Elisa Costa (Org.). Letramento digital em 15 cliques. Belo
Horizonte: RHJ, 2012.
Conforme as organizadoras, esse livro pode ser definido como uma “caixa de ferramentas” que
reú ne 15 experiências com diferentes tecnologias digitais. Os autores apresentam as
ferramentas de forma didá tica por meio de mapas de propostas que incluem o que foi feito,
com qual ferramenta, o passo a passo e os objetivos.
SCARCELLA, Robin C.; OXFORD, Rebecca L. The tapestry of language learning: the individual in the
communicative classroom. Boston: Heinle & Heinle, 1992.
Esse livro apresenta uma proposta que combina a aprendizagem comunicativa, temá tica e por
tarefa, levando em conta as diferenças individuais (estilos e estratégias de aprendizagem,
motivaçã o, idade e necessidades do aprendiz) e propondo a integraçã o das habilidades de
leitura, escrita, produçã o e compreensã o oral.
SILVA, Kléber Aparecido da (Org.). Ensinar e aprender línguas na contemporaneidade: linhas e

entrelinhas. Campinas: Pontes, 2010.
Essa coletâ nea reú ne diversos pesquisadores discutindo temas diversos, tais como políticas
educacionais e processos de formaçã o de professor.
SILVA, Thaïs Cristó faro. Pronúncia do inglês: para falantes do português brasileiro. Sã o Paulo:
Contexto, 2012.
Nesse livro, a autora apresenta de forma clara e didá tica o sistema de sons do inglês britâ nico e
do americano e destaca os aspectos mais relevantes para os brasileiros que aprendem o
idioma. O livro inclui exercícios com respostas para que o leitor possa praticar e aperfeiçoar
sua pronú ncia.
SWAN, M. Practical english usage. Oxford: Oxford University Press, 2005.
Esse guia é uma referência para o ensino de gramá tica e oferece explicaçõ es de forma clara e
prá tica sobre o uso da língua inglesa. Os exemplos apresentados sã o baseados em pesquisa
decorpus recente.
UR, Penny. A course in language teaching: practice and theory. Cambridge: Cambridge
Essa obra oferece um panorama bem abrangente sobre o ensino-aprendizagem de línguas. Ela
fornece uma introduçã o bastante acessível a muitas características importantes do ensino de
línguas. Todas as unidades sã o acompanhadas de tarefas e sugestõ es prá ticas para o professor
utilizar em sala de aula.
WEBGRAFIA COMENTADA PARA O PROFESSOR
• Cybergrammar
http://linkte.me/b7s1c
Organizado pela University of Exeter, esse site contém um resumo de pontos gramaticais e as
discussõ es de implicaçõ es pedagó gicas referentes a eles, além de testes para a verificaçã o do
entendimento das á reas focalizadas.
• Internet Segura
http://linkte.me/eprm4
O portal Internet Segura é uma iniciativa do Comitê Gestor da Internet no Brasil e do Nú cleo de
Informaçã o e Coordenaçã o do Ponto BR, que procura reunir as principais iniciativas de
segurança da internet no Brasil e apresentá -las em um local ú nico, auxiliando os
Pá gina 223
internautas a localizar as informaçõ es de interesse e incentivando o uso seguro da internet.

Uma das á reas do portal (http://linkte.me/ige6u) é dedicada a crianças e adolescentes e
oferece guias, cartilhas, dicas e vídeos que ajudam a navegar de forma mais segura.
• OWL (Online Writing Lab)
http://linkte.me/o2egf
Reú ne recursos e materiais sobre técnicas de escrita de diferentes tipos de texto (essays,
cartas, memorandos, relató rios) e até mesmo de pesquisa na internet. Cobre todos os aspectos,
destrincha todos os tipos de writing e ainda tira dú vidas, por meio de FAQs ou e-mail. Conta
ainda com um grande nú mero de exercícios. O Online Writing Lab aborda o processo de
redaçã o em suas diferentes etapas, desde o planejamento até a revisã o do texto.
• Teaching English
http://linkte.me/bj7at
Elaborado pelo Conselho Britâ nico com apoio da rede BBC, o site disponibiliza ao professor de
inglês informaçõ es e recursos variados, como sugestõ es de atividades, planos de aula, fó runs
de discussã o, detalhes sobre conferências profissionais, artigos acadê micos, etc. Também pode
ser acessado a partir de link no portal Learn English: http://linkte. me/dgcvy.
• Using English for Academic Purposes
http://linkte.me/e5e1f
Apresenta enorme variedade de conteú dos prá ticos e teó ricos para quem precisa usar a língua
inglesa com propó sitos acadêmicos, como ler e redigir textos acadêmicos, fazer resumos,
compreender e apresentar palestras, etc. Inclui dicas, orientaçõ es de estudo, referências
bibliográ ficas e exercícios com respostas em algumas seçõ es.
• Corpora
http://linkte.me/cc0q4
Site que disponibiliza gratuitamente nove corpora diferentes, como Global Web-Based English
(1,9 bilhã o de palavras), Corpus of Contemporary American English (450 milhõ es de palavras),
British National Corpus (100 milhõ es de palavras), Strathy Corpus (50 milhõ es de palavras do
inglês canadense), dentre outros. Disponibiliza ainda vá rios sites que permitem explorar as
palavras da língua inglesa, sua frequência e usos. Dentre suas aplicaçõ es, podemos citar:
descobrir como falantes nativos realmente falam e escrevem; estudar a mudança e a variaçã o
linguística; descobrir quais sã o as palavras, as expressõ es e as colocaçõ es mais frequentemente
usadas; desenvolver materiais para aprendizagem de língua mais autênticos.
• Sites de pesquisadores e grupos de pesquisa
Sites de pesquisadores e grupos de pesquisa sã o fontes de textos atuais e confiá veis para
formaçã o docente.
• Site com textos da Prof.ª Bonny Norton
http://linkte.me/zrc84
Os textos da Profª. Bonny Norton tratam de questõ es sobre identidade e aprendizagem, inglês
como língua internacional, letramento crítico e pesquisa qualitativa.
• Site do Núcleo de Pesquisas em Linguagem, Educação e Tecnologia (LingNet)
http://linkte.me/p68tk
O site do nú cleo de pesquisas LingNet (Linguagem, Educaçã o e Tecnologia), da Universidade

Federal do Rio de Janeiro (UFRJ), oferece uma Webliotec@ (que lista e descreve os conteú dos
de sites selecionados e organizados por temas: inglês geral, gramá tica, leitura e redaçã o, oral,
literatura inglesa e norte-americana, recursos para professores, dicioná rios, diversã o e
curiosidades); livros virtuais gratuitos (na seçã o eBooks LingNet); links para artigos,
dissertaçõ es, teses, perió dicos, entrevistas e podcasts relacionados à á rea de Linguagem,
Educaçã o e Tecnologia (a partir da seçã o Produçã o); informaçõ es atualizadas sobre eventos
acadêmicos relevantes para a formaçã o do professor de línguas.
• Site com textos do Prof. Tim Murphey
http://linkte.me/gqys9
Nesse site, encontramos textos sobre ensino comunicativo humanista, mú sica e cançõ es, teoria
sociocultural, identidade e motivaçã o.
• Site do Prof. Dr. Vilson Leffa (UCPel)
http://linkte.me/arcgf
O site mantido pelo Prof. Dr. Vilson J. Leffa, professor titular da Universidade Cató lica de
Pelotas (UCPel), disponibiliza, entre outros recursos, inú meros textos sobre ensino-
aprendizagem de línguas e formaçã o do professor.
FERRAMENTAS DIGITAIS E SERVIÇOS GRATUITOS DISPONÍVEIS NA

INTERNET
Na internet, muitas ferramentas digitais e serviços gratuitos podem ser utilizados pelo
professor de inglês para elaborar materiais e atividades didá ticas, ainda que a maioria desses
recursos nã o tenha sido criada para o ensino de línguas. A seguir, sugerimos alguns deles.
Pá gina 224
• Eclipse Crossword
http://linkte.me/mh6l5
Programa de criaçã o de palavras cruzadas.
• ELO (Ensino de Línguas Online)
http://linkte.me/h135l
Programa de autoria para a produçã o de materiais voltado especialmente para o ensino de

línguas. Com o ELO você pode criar diferentes tipos de atividades, incluindo leitura de texto
com dicioná rio acoplado, fazer perguntas e avaliar as respostas do aluno, dar feedback
progressivo para cada resposta do aluno, correta ou nã o, além de outros tipos de atividade.
• Hot Potatoes
http://linkte.me/ls52o
Programa de autoria de seis tipos de exercícios interativos em formato html: mú ltipla escolha,
perguntas curtas, palavras cruzadas, ordenaçã o de frases, correlaçã o e preenchimento de
lacunas. As atividades podem ser realizadas tantoon-line quanto off-line. O software é gratuito
para fins educacionais, mas é necessá rio fazer um registro no site do programa.
• Moodle
http://linkte.me/ek7ix
Moodle (Modular Object-Oriented Dynamic Learning Environment) é um gerenciador de cursos

on-line. É um software livre (open source) desenhado para ajudar educadores a criarem
comunidades de aprendizagem on-line.
• Youblisher
http://linkte.me/n2908
Site que permite a criaçã o de publicaçõ es (livros, revistas, manuais) on-line.

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sm-pnld2018-ing-al-2 (2017-09-08 07:31:57) - MD5:E980FC86C5CC0DF177E8687C242FB690

Sistema Atlas - conversor DOCX linearizado PNLD2018 - Copyright © 2017 Editorial 5

Direção editorial Juliane Matsubara Barroso

Gerência editorial Roberta Lombardi

Gerência de design e produção Martins Marisa Iniesta Martin

Edição executiva Ana Luiza Couto

Colaboraçã o técnico-pedagó gica: Robert Caudle Garner

Coordenação de controle editorial Flavia Casellato

Coordenação de revisão Clá udia Rodrigues do Espírito Santo

Coordenação de arte Ulisses Pires

Ediçã o de arte: Bernard Fuzetti

Diagramaçã o: Gabriela Rodrigues

Coordenação de iconografia Josiane Laurentino

Tratamento de imagem: Marcelo Casaro

Capa Tiago Stéfano, Rafael Vianna Leal

Imagem de capa Henrik Sorensen/Getty Images

Projeto gráfico Marcelo Rainho, Tiago Stéfano

Editoração eletrônica Fajardo Ranzini Design Grá fico

Ilustrações Attílio, Psonha, Estú dio Mil, Catarina Bessell

Fabricação Alexander Maeda

Dados Internacionais de Catalogaçã o na Publicaçã o (CIP)

ABDR - Associaçã o Brasileira de Direitos Reprográ ficos

Terá ainda a oportunidade de entrar em contato com algumas obras da

Com esta coleçã o, realizamos nosso sonho de oferecer aos estudantes

ABERTURA DAS PARTS

LET’S LISTEN AND TALK!

LET’S FOCUS ON LANGUAGE!

TURN ON THE JUKEBOX!

Cada unidade é seguida de um convite à reflexã o sobre seu processo de aprendizagem.

TIME FOR LITERATURE

» LANGUAGE IN ACTION: apresenta os objetivos de cada unidade.

» PRONUNCIATION SPOT: apresenta questõ es relacionadas à pronú ncia e à entonaçã o.

» HINT: apresenta estratégias para a recepçã o e produçã o de textos orais e escritos.

» AUDIO TRANSCRIPTS: transcriçõ es dos á udios nã o apresentadas nas unidades.

» GLOSSARY (INGLÊS-PORTUGUÊS): seleçã o de vocabulá rio utilizado em cada livro.

» LANGUAGE REFERENCE: quadros e listas de referência sobre aspectos linguísticos.

PART 1 SOCIAL NETWORKS 10

UNIT 1 MAKING CONNECTIONS 12

LET'S LISTEN, READ AND TALK!

LET'S FOCUS ON LANGUAGE!

LET'S ACT WITH WORDS! 22

UNIT 2 DIGITAL SECURITY 26

LET'S FOCUS ON LANGUAGE!

LET'S LISTEN AND TALK!

LET'S ACT WITH WORDS! 36

LET'S STUDY FOR ENEM 38

UNIT 3 ON THE WAVES OF THE RADIO 42

LET'S FOCUS ON LANGUAGE!

TURN ON THE JUKEBOX!

LET'S ACT WITH WORDS!

UNIT 4 GOING MOBILE 56

LET'S FOCUS ON LANGUAGE!

LET'S ACT WITH WORDS!

LET'S STUDY FOR ENEM 68

TIME FOR LITERATURE 70

Pride and Prejudice, Jane Austen 70

PART 3 PRINT MEDIA 76

UNIT 5 EXTRA! EXTRA! 78

LET'S FOCUS ON LANGUAGE!

LET'S LISTEN AND TALK!

LET'S FOCUS ON LANGUAGE!

LET'S ACT WITH WORDS!

UNIT 6 STRIKE A POSE 92

LET'S FOCUS ON LANGUAGE!