lectura-en-pisa

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LA LECTURA EN PISA 2009 Marcos y pruebas de la evaluación

MINISTERIO GOBIERNO GOBIERNO MINISTERIO DE EDUCACIÓN DE ESPAÑA DE ESPAÑA DE EDUCACIÓN

GOBIERNO DE ESPAÑA

MINISTERIO DE EDUCACIÓN

LA LECTURA EN PISA 2009 Marcos y pruebas de la evaluación

INSTITUTO DE EVALUACIÓN

educacion.es

9

LA LECTURA EN PISA 2009 Marcos y pruebas de la evaluaci贸n

MINISTERIO DE EDUCACIÓN SECRETARÍA DE ESTADO DE EDUCACIÓN Y FORMACIÓN PROFESIONAL DIRECCIÓN GENERAL DE EVALUACIÓN Y COOPERACIÓN TERRITORIAL

Instituto de Evaluación C/ San Fernando del Jarama, 14 28002 Madrid, España www. Institutodeevaluacion.educacion.es

Edita: © SECRETARÍA GENERAL TÉCNICA Subdirección General de Documentación y Publicaciones

Catálogo de Publicaciones del Ministerio: educación.es Catálogo General de Publicaciones: 060.es Fecha de edición: 2010 NIPO: 820-10-189-0 ISBN: 978-84-369-4896-7 Dep. Legal: M-49.532-2010 Imprime: Omagraf S.L.

LA LECTURA EN PISA 2009 Marcos y pruebas de la evaluación

MINISTERIO DE EDUCACIÓN SECRETARÍA DE ESTADO DE EDUCACIÓN Y FORMACIÓN PROFESIONAL DIRECCIÓN GENERAL DE EVALUACIÓN Y COOPERACIÓN TERRITORIAL

Instituto de Evaluación Madrid 2010

ÍNDICE

PRESENTACIÓN…………………………………………………………………………………….. .

1. RESUMEN……………………………………………………………………………………….…

2. MARCO DE LA LECTURA………………………………………………..…….…………………

3. MARCO DEL CUESTIONARIO………………………………………………….…………….…

ANEXOS……………………………………………………………………………………...………

A1. Ejemplos de ejercicios de la lectura en soporte impreso……….………..……..

A2. Ejemplos de ejercicios de la lectura en soporte electrónico…….……………..

B. Cuestionarios de contexto………….………………………………..…………..……………

͘​͘​͘​͘​͘​͘​͘​͘ ͘ /ŶĚŝĐĞ ϳ

PRESENTACIÓN

El Instituto de Evaluación, del Ministerio de Educación, lleva trabajando en estudios de evaluación comparada durante casi dos décadas, en colaboración con distintas instituciones internacionales. PISA (Programme for International Student Assessment) es uno de los estudios más relevantes de este tipo. Representa el compromiso de los países de la OCDE para medir los resultados de los sistemas educativos partiendo del rendimiento de los alumnos en tres competencias básicas: lectura, matemáticas y ciencias. Este estudio es la consecuencia de la labor conjunta de los países participantes, que consiguen la colaboración de sus mejores expertos en las distintas áreas de conocimiento dentro de la evaluación comparada, tanto en contenido sustantivo como en métodos psicométricos y estadísticos. Así los países se aseguran de la validez y fiabilidad de los instrumentos de la prueba a nivel internacional, teniendo en cuenta los diversos contextos culturales y curriculares en donde aquéllos se aplican.

En 2009, PISA vuelve a enfocarse en la comprensión lectora, como ya había hecho en su primera edición de 2000. El Marco de la evaluación se ha actualizado e incluye también la lectura digital.

Al mismo tiempo, esta nueva publicación del Instituto de Evaluación recoge la versión más reciente de los cuestionarios de contexto y el marco teórico en que se inscriben.

Distintos investigadores e instituciones han participado en este libro. Los principales han sido: Raymond Adams y Juliette Mendelovits, de ACER (Australian Council for Educational Research); Henk Moelands, de CITO (Central Institute for Test Development); Irwin Kirsch, de ETS (Educational Testing Service); Jaap Scheerens, de la Universidad de Twente; Henry Levin, de Teachers College, Columbia University; Andreas Schleicher, del Secretariado de la OCDE.

Otra novedad de esta última edición de PISA ha sido la participación activa de España y el resto de los países GIP (Grupo Iberoamericano de PISA) en la elaboración de unidades de lectura, de las que se muestran algunos ejemplos en el libro. En esta actividad han trabajado María Jesús Pérez Zorrilla y Lis Cercadillo, del Instituto de Evaluación. Es necesario agradecer el apoyo del resto del personal del Instituto, entre ellos, de Alba Reboredo y Paloma González Chasco, que ha sido decisivo para la finalización de esta versión en español del Marco de PISA 2009.

Enrique Roca Director del Instituto de Evaluación Ministerio de Educación España

WƌĞƐĞŶƚĂĐŝſŶ ϵ

1

R ESUMEN

! " # " $ % " & #% ' * +--/ 4 5 " 6 7 &4687 < '= 4687 5 5 " > $ ? = 8 @ 5 5 F $ " * > $ 5 F @ 5 5 > 5 Q > @ 5 ! Q 5 5 =

V7 V #WY[7 \ 4687 ]^^-=

4 > $ ? _ _ Q * Q < 5 5 = ` * 5 ! @ 5 = V 5 $ Q > { F Q = ` Q " 5 5 Q " ! @ = 4 @ 5 5 > @ Q $ Q * ! Q > " > = W < $ @ > $ < $ 5 5 " =

! " # " $ % " & #% ' * +--/ 4 5 " 6 7 &4687 < '= 4687 5 5 " > $ ? = 8 @ 5 5 F $ " * > $ 5 F @ 5 5 > 5 Q > @ 5 ! Q 5 5 =

4687 > ! " Q * _ #% F |^ _ * Q < +} ~ F > > Q 5 > = V " * Q +} ~ { > ~ ! #% = 4687 @ ?

5 { > = 4687 * ! $ @"5 +} ~ ? ! ~ Q @ " 5 =

4687 " ! $ Q > @ $ Q F " $ > 5 = 8 F ! @ 5 ! $ <{ Q > 5 = 4687 Q Q +} ~ F > $ 5 Q * Q * > @ 5 Q * > 5 $ = V 5 " ? = 7 5 ! Q 5 ? 4687 <

ϯ

V7 V #WY[7 \ 4687 ]^^-=

! > @ $ $ { 5 = 4 @ $ 5 > " F F " Q < F ! * > " = < ! " F $ ! $ 5 " 4687 @ 5 * Q < +} ~ 5 5 Q ! * > > ! $ !

F $ > Q * Q $ 5< { ! @ =

4687 * ~ > " 5< 5 $ $ !

$

$ = # 5 " F $ > " F > > ! @ ! @ $ > = V F > = 4 4687 5 > Q > $ $ > $ ! Q * > ? $ F " 5 =

4687 ! +' $ " $ " ]' $ 5 " 5< " " $ 5 " @ $ |' " < $ < F 5 ! = ` " $ 5 ! $ > Q @ 5 $ ! $ =

" Q $ 5 " 4687 ]^^- $ " $ "

Q 5 5 $ { " > @ > " $ > F = 8 > Q Q Q * 5 $ { Q $ ! = 7 F $ @ = Q $ { = W > " Q $ > > * 5 $ ! @ =

ϰ

V7 V #WY[7 \ 4687 ]^^-=

! "# $ % &

Y 5 " ! > @ $ @"5 +} ~ 5 =

Y 5 | $ " &|] ]^^^ $ ++ ]^^]' + &]^^|' }/ &]^^ ' $ / &]^^-'=

4 ? Q }^^ $ +^ ^^^ =

%

4687 ]^^- F

$

" < * { " Q * $ 5 =

8 " " $ 5 5 > F =

!%

V " 5 " * $ ! F ! $ = 5 $ ^ 5 " $ " { " =

V " ? Q Q = V ! { Q " 5 =

{ |-^ " Q " =

V { |^ " Q > > " $ > = V ]^ = $ 5 F +' Q > > " Q { $ { * $ ]' Q > " $ Q * * < $ =

V 5 " ~ ? < Q { * ]^+}=

# ! > F Q F > ! = V F * ]^^^

]^^| $

]^^ =

]^^- 5 5 F =

%

Y > F $ ! @"5 +} ~ =

6 { Q $ = 6 Q 5 " =

Y 5 > Q F $ 5 " 5 =

ϱ

V7 V #WY[7 \ 4687 ]^^-=

' ( '# ) # * "# +,,- 4687 ]^^- " > +--/ = V

& #% +---' !!" #

$ $

% & #%

]^^|' $ !!&' #

( %

$

& #% ]^^ ' Q 5 " 4687= V #

)

!!! & #%

]^^+' !!"*

+ & #% ]^^ ' $ !!&' #

+ & #% ]^^/'= W F 4687 ,,,) ) ) -) V 5 = 7 Q 5 ]^^- F $ F

= 7 { $ > " = + $ < > " = 5 " 4687 ]^^- / $ |^ #% = @ -^ =

% Q 4687 @ 5 5 5 Q ! " F 5 @"5 +} ~ ~ ! < $ > = 4 < }^^ $ +^ ^^^ +}^ Q > " =

@ 5 5 " 4687 Q < @"5 * Q $ ! F $ > Q F 5 = V 5 " 5 ?

4687 ]^^-= V ! Q { " > Q

8 Q " > ! @ " 5 > Q " $ ! F F =

$ > { $ { ! > =

F * ! F 5 ! 5 $ F Q { = > { Q @ > $ 5 Q " F 5 $ * =

ϲ

V7 V #WY[7 \ 4687 ]^^-=

{ " =

* $ 5 " Q Q > $ 5 5 =

Q ! F Q $ " > { $ ! " > " =

! $ 5 > Q 5 =

4687 ? 5 " ! +} ~ F $ Q !

F > " Q 5 F 5 " $ ! > = " 5 ? F > F = # 5 ~ > F {* 5 F $ ~ F = ~ ]^^^ F > ]^^|

$ ]^^

= ]^^- 5 5

Q > 5 Q { " $

$ -

&5< # '=

7 Q ! " 4687 ]^^- * Q > " $ " { |-^ = 4 @ F +| = # ? > Q " 5 ! $ 5 & @ * $ * $ $ " '= V < |^ { = 7 F 5 " $ $ 5 " $ " { " =

V 5 " 4687

% Q > > $ ! =

. Q " { * !

5 F> " $ 5 =

$ Q 5 F $ 5 $ " $ 5 $ $ =

8 $ " 5 F = 4 4687 *

.

V7 V #WY[7 \ 4687 ]^^-=

F Q 5 F F " =

/ 0 "# 1 # 2

4687 @"5 ! $ ! > > 5 = " > @ > $ @ 5 Q 5 ! F Q Q * Q $ " * =

V Q 4687

" Q ! @ $ > 5 Q > ! @ > > " > { $ > $ 5 5 =

# 5 $ ! 5 $ ! ! $ > ! 5 =

[ 5 ! @ 5 Q * Q 4687 5 $ 5 Q < > " 5 " " Q $ ! @ =

[ Q 5 " @ 5 5 =

7 F> $ F 5 Q 4687 ]^^- |^ #% $ F |^ $ =

Q 5 @"5 ~ " 5 " 4687 > $ ! Q 4687 = ! 7 # F $ % > > " { 5 " 4687 ]^^^ +} ~ $ Q > " $ < +- ~ = 4 @ Q * ! 5 } +} ~ + 5 $ +- ~ Q Q Q * ! 5 + =

4687 F $ Q { 5 $ Q > > $ 5 Q { >

ϴ

V7 V #WY[7 \ 4687 ]^^-=

{ = V $ ! 5 > " { { Q > @ F = 8 > ! $ 5 5 " = 8 " $ = # 4687 5 ! $ > $ > > 5 @ " " F ? Q " =

> 5 4687 $ ! " > @ 5 @ 5 !

5 Q $ 5 $ > $ < 5 = V 4687 > ?

4687 ? $ " Q " 4687 =

" " '#3 4 5 * 52 3 51 * * 2 2 # # '2

# / > " F 5 4687 ]^^-= W > * * < $ ! > Q > 5 = % * " Q F Q * * ! 5 @ = W < " = @ F @ 4687 " Q ? Q > { $ 5 = V > * { " Q * $ 5 = V > < ! ! $ > ! 5 =

ϵ

V7 V #WY[7 \ 4687 ]^^-=

) * 6 & %

5 ! > { $ { ! @ 5 $ $ =

5 > $ Q ~ F ! ! > $ ! $ F Q > 5 5 $ > { 5 =

> 5 $ ! " > Q 5 { > " > $ { = 7 " < $ 5 " * " Q $ > $ $ " $ > { 5 =

&Q " # ' > > " ! $ > { { > ! @ 5 = * Q > 6 7 > ! " 7 &67V8 < ' 4687 * 5 ? F @ 5 $ { > { < $ { = 4687 5 ? "

0 . ' 5 ! * . ! $ F > = % 4687 * ! < .

Q > " @ > F> = 7 * > " { " $ " = 4687 ]^^- { > $ " $ = Q 5 5 $ @ 5 5 { & = @= > ' $ F > ? { Q 5 =

ϮϬ

1 2' 5 ? ! F F Q $ +} ~ $ * Q = Q $ > " " { $ > { > $ =

' > 5< * { = 4 @ 5 > F 5 > ? > > $ { * @ @ 5 = 4 Q @

V7 V #WY[7 \ 4687 ]^^-=

" Q 5 5 5 " =

* > ! ! $ > ! > 5 F = * 4687 5 " F * ~

0

' > > " 5 & $ > $ ' $ " > " & ?

F $ '=

' > 5< F 5 Q $ @ F " $ ! " = \ * ! 5 ? Q ! " Q @ F Q F " 5 = ! > " Q > ! Q =

' > > " Q F Q !

F ? { =

> 5 > ? $ > =

F 5 > 5 " F 4687 5 5 " ]^+]=

> ! $ > " Q < = V 5 " 4687 * ~

' $ 5 Q > " > " = 7 Q 4687 ! * > Q $ W $ Q =

' Q $ * * = W F 4687 $ +' " { " $ " > " > ]' " 5 " > $ |' " $ > =

. ' F Q $ > = > F 5 $ W $ $ =

Ϯϭ

V7 V #WY[7 \ 4687 ]^^-=

3 5 #7 8 " ' #7 * 52 5' *2 * "# +,,- 7 Q 5 4687 ]^^- $ F != 7 F 5 $ 5 5 " { " = W 5 " ! $ F ! 5 " $ =

Q Q @ ? " ? =

$ 5 ! F = F 5 $ = * ~ F Q Q F $ $ Q " F @ Q =

V Q 5 " = 8 5 " F $ ! $ F !

4687 ]^^- ! +| * ~ |^ = # F $ = $ +| ? ~ = # $ * " = # $ =

4 5 " 4687 ]^^- Q F = % $ Q $ > = V < Q 5 > $ F { F >F > @ > " 5 Q $ * F @ = W $ ++ F $ = 7 F 5 =

$ F ? =

5 $ $ " { " 5 ? ^ = V ! ]^ " = % $ ? ~ Q > = W Q 5 " @ < = W 5 " Q ! $ F ! Q 5 $ !

5 ? 5< Q & = @= {

ϮϮ

V7 V #WY[7 \ 4687 ]^^-=

F> =' @ ? = ! $ Q 5 Q { 5 = # Q ! 5 ? =

V 4687 * " }^^ $ 5 " +^^ F Q > Q #% 5 ^^ $ ^^ =

F = ~ ]^^^ F >

$ 5 5 $ ! = V 5 @ > Q Q Q * @ 5 > = 7 F < " > " " { $ > { " $ 5 " = 7 F $ Q 5 Q " F = 4687 ]^^| " > Q $ > " 5 F =

'

$ %

$ $

% ) % > F " 4687 ]^^ > " 5 = V * >

.

$

%

) 7 F "

%

$

= V F

$

3

= 4 5 ! 4687 ]^^-

5 F 5 F $ F F

$

)

52 '#2 #2 * 2 ' 9'2 8 '#5#: #7 # > > " { 4687 $ Q { |^ " = ~ ! > " 5 $ =

# " = V 5 &4687 ]^^^ ]^^| ]^^ $ ]^^-' F 4687 ,,,) ) ) -= 7 5< > "

V $ > 5 " $ =

7 5 @ * ! @ *F $ 5 5 $ > =

7 * $ F ? 5 " $ > "

Ϯϯ

V7 V #WY[7 \ 4687 ]^^-=

" < > $ 5 { > =

{ 5 $ ~ $ $ 5 =

7 ~ ! $ ! @ < 5 " $ =

# >

% -

; Q $ ! " > " $ " &W6#' $ < F > ! " $ * * = # F 5< ]^^| #% " > 4 3 ( - 54 ( 6 7 6( 3 & #% ]^^}'= # 6 5 " 6 5 " 5 &# [6 < ' #%

F $

> 4687 ]^^ =

%

$ Q > " ! " $ < 5 $ { =

$ Q

$ $ Q < * $ * @ $ " =

~ * ]^^- Q ]^^ " > W6#= V > " { 5< $ $ > $ 5 $ " > " Q 4687 = V #% $ Q 5 & { F> $ " $ > $ ' $ " & = @=

Q #% '=

5 5 )2 #7 2 < ' * "# 8 2 * 3 5 #7

4687 > ! " #%

> 5 5 " > = V 5 " $ Q = V " 5

Ϯϰ

V7 V #WY[7 \ 4687 ]^^-=

> $ * >

<{ 4687 $ " =

# @ 4687 &4 < ' Q F F 5 @ 5 @ 5 #% 4687 $ 5 F = $ " 5 " $ " = V { < @ @ 5 F 4687 @ F $ < F 5 " = ` " { Q 5F $ { $ 5 #% = ! Q 5 " " " $ Q < > $ 5 ! 5 =

7 F $ 4687 5< $ &\4` < ' ? " = Q ~ > ! F{ " = 7 5 > $ 5 F > $ =

~ 5 " F $ " 4

# 0 4 ( &7# [ # @ 7 6 5 " 5 '=

-

8 # $ 9 - - 0.

3

Y 5 V @ &84 ' < 9 ( : ; - - ( < ( - &%64 ' 7 =

-

0 &\6 [' " $

8W7W Y =

V " * 5 #6W 6 \ ` 5 4 @ = Q >

- 0

Y 5 > ; ? ; 9

@A

&% 44' $ Y 5 3, 4 @ = 8 #% " 5 * ? 4 $ @ 4 $ " =

8 #% < " $ F $ " > $ " 4687 $ * > &4 ' 5 * & $ '=

% Q " +--/ " 4687 * Q

" > " @ F 5 " $ " Q 5 * > " =

Ϯϱ

V7 V #WY[7 \ 4687 ]^^-=

" ! @ > $ 5 * F > " 5 Q @ 5 " =

5 F ! " > > { $ { ! " 5 =

" 5 $ 5 " " " > @ =

4 " Q " =

7 Q 5 @ $ 5 F @ " { 5 @

Y @ ? $ 5 * " 5 " $ Q < = % * > $ @ 5 " =

Y F $ ! > F 5 = # > 5 ! " Q F $

F > " Q =

V > " $ " 5 Q $ > > 5 Q F $ ! 5 " =

V " Q F $ { " Q 5 ? 5 " $ 5 " 5 ! > ! =

Ϯϲ

2

P ISA 2009

M ARCO DE LA LECTURA

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V7 V #WY[7 \ 4687 ]^^-=

# 2* #7 -,=%,5% : + %- !, !* + 1 - ! * -+/!=!, % *! =-1

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ย @ย 3 #*1 0*"3 "31 /+0*ย ย ย 63"3 "/ 83ย

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1 > ( "*41 A 38* 1 "*41 # 1 83 # 8 " 8 13 " 1"* / 6 8 " ! 8 1 / " 6 "*# # # / / " 38 6 8 8 68 1 8 0 1 /0 1 / 8 " 8 6 8*38 # / )*6 8 @ 3O 3 38( 1*B #38 (/3! / 7 8 68 1 1 "31 @ " * # / 8 " 8 # / 6 (*1 A # /3 1/ " 638 - 06/3L /3 0 1 8 " 8 #3 A /3 0 6 # "31 1*#3 / 1 8 # "* 8 A # L * 068 A " 1#3 */*" 1 +0!3/3 *0 ( 1 7 A 8 / 1 ' 0*/* 8 / / " 38 3 3 // L O

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8 / ย > /ย "*41 #ย / /ย "ย ย 8 ย /ย "ย 841*" ย 7 0) 31-+$ $+" 22 22* +3 ย 1 ย ย ย ย *(/ ย ย 1 *1(/&ย ย ย 1 6 7 ย ย ย ย ย ย ) *#ย 1ย *'*" #3 ย 1 "31-ย 1ย 3 #ย )ย 88 0*ย 1ย ย #ย 1 >ย ( "*41 A ย ย ย 8ย "ย ย 8 ย "31 ย / '*1 #ย *1"/ย *8/ ย ย *ย ย ย 0 ย *" 0ย 1ย ย ย 1 /3ย *1ย ย 8ย 0ย 1ย 3ย "303 ย 1 "30631ย 1ย ย *0638ย 1ย ย #ย / 0ย #*"*41 #ย / "306ย ย ย 1"* /ย "ย 38 ย 1 0 ย ย 8* #ย ย ย @ย 3ย ย /ย "ย 841*"3ย O %*")3 "31-ย 1ย 3 *1"/ย Aย ! 88 ย #ย #ย ย 6/ B 0*ย 1ย 3 6 8 ย ย !*8 A ! - 8 638 / ย 6 (*1 ย M 6ย ย ย 2 ย 6 8 /3ย #*ย ย *1ย 3ย ย *ย *3ย ?ย !M /*ย ย ย #ย )*6ย 8>+1"ย /3ย 7ย ย ย ย 0ย ย ย ย 8 1 ย 1 ย 1 '*/ L ย 1 ย 1 "3/ย 01 3 "303 ย 1 0ย 1ย #ย ย 6/ย ( !/ย M ย )*6ย 8>+1"ย /3ย *1"8ย ย ย #3ย L ย ย #ย "*8L )*6ย 8>+1"ย /3ย *1"/ย *#3ย ย 1 6 88 '3ย L ย !/ ย #ย *1'380 "*41 3 ย 1 /*ย ย #ย 8ย ย ย /ย #3ย #ย !ย ย 7ย ย # O 3ย )*6ย 8>+1"ย /3ย 6ย ย #ย 1 #36ย 8 / '380 #ย *"313ย 3 6 / !8 ย O

#*'*"ย /ย # #ย ย 1 ย -ย 8"*"*3 ย ย ย "31#*"*31 # ย 1 6 8ย ย 638 / ย )ย 88 0*ย 1ย ย A " 8 "ย ย 8+ย ย *" ย #ย 1 >ย ( "*41 ย 3"* # ย &/O #*'*"ย /ย # #ย /3ย ย -ย 8"*"*3ย ย ย 0 A38 3 0ย 138 ย 1 'ย 1"*41 #ย / 1ย 0ย 83 #ย )ย 88 0*ย 1ย ย #ย 1 >ย ( "*41 7ย ย ย ย 1ย "ย ย 8*3 ย ย */*B 8L #ย / 1ย 0ย 83 #ย 36ย 8 "*31ย ย 3 6 ย 3ย 8ย 7ย ย 8*#3ย A #ย / ย *63 #ย )ย 88 0*ย 1ย ย ย 06/ย # ย O 1 (ย 1ย 8 /L "ย 1ย 3 0 A38 ย ย ย / 1ย 0ย 83 #ย 36ย 8 "*31ย ย A / "306/ย -*# # #ย / ย *63 #ย )ย 88 0*ย 1ย L 0 A38 ย ย / #*'*"ย /ย # #ย / 68ย (ย 1ย O ' 0*/* 8*# #L ย 8 1ย 6 8ย 1"* 3 >*ย *!*/*# # #ย / ย )ย 88 0*ย 1ย ย A " 8 "ย ย 8+ย ย *" ย #ย 1 >ย ( "*41 ย 0!*&1 'ย "ย 1 / #*'*"ย /ย #O 38 ย -ย 06/3L 1380 /0ย 1ย ย 8ย ย ย /ย 0 ย ' "*/ 1 >ย ( 8 "31 ย 1 )*6ย 8>+1"ย /3 #ย 130*1 #3 ยก ย /ย 8 7ย +ยข 7ย ย "31 ย 1 0ย 1ย #ย ย 6/ย ( !/ย 7ย ย ย 4/3 ย ย >*ย ย /*B "ย 1#3 ย / "ย 8ย 38 ย ย 63ย ย 3!8ย &/O 7/(ย 13ย ย -ย 8"*"*3ย #ย /ย "ย ย 8 ย /ย "ย 841*" 6ย 1 ย 8ย 7ย *ย 8ย 1 1 >ย ( "*41 3 *1"/ย ย 3 13 8ย 7ย *ย 8ย 1 1*1(ย 1 N 638 ย -ย 06/3L "ย 1#3 ย ย 6*#ย /3ย /ย 013ย 7ย ย /3" /*"ย 1 3 *1ย ย 868ย ย ย 1 / *1'380 "*41 #ย ย 1 6 (*1 ?ย ! #31#ย ย / ย ย @ย 3 6ย ย #ย >ย 8ย ย ย 1 ย ย ย 3ย /*# #O

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3ย ย ย @ย 3ย #ย ย 1 ย 1ย 3813 B3-1 ย *ย 1ย 1 ย 1 "31ย ย 1*#3 '*-3 ย 3!8ย ย / 7ย ย ย / /ย "ย 38 13 6ย ย #ย *1'/ย *8O 31 ย 1ย 3813ย *1#ย 6ย 1#*ย 1ย ย ย L "31ย 83/ #3ย 3 6ย !/*" #3ย 638 ย 1 ย 068ย ย 0ย 8" 1ย */L ย 1 38( 1*ย 03 ย ย ย ย /L ย 1 38( 1*B "*41 3 *1ย ย *ย ย "*41L 3 ย 1 *1#*>*#ย 3O 3ย /ย "ย 38ย ย ย ย */*B 1 ย ย ย 3ย ย *ย *3ย 68*1"*6 /0ย 1ย ย 6 8 3!ย ย 1ย 8 *1'380 "*41O 3ย 3!-ย ย 3ย #ย ย ย @ย 3 ย 1 ย 1 ย 1ย 3813 #ย ย ย 38 *1"/ย Aย 1 6 (*1 ย #ย *1*"*3L ย *ย *3ย 7ย ย 6ย !/*"*ย 1 ย >ย 1ย 3ย 3 683#ย "ย 3ย L ย *ย *3ย #ย *1'380 "*41 (ย !ย 81 0ย 1ย /L ย *ย *3ย ย #ย " ย *>3ย "31 *1'380 "*41 6 8 /3ย /ย 013ย L ย *ย *3ย #ย 13ย *"* ย A " ย /3(3ย #ย !*!/*3ย ย " -+ )$+ O

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Textos mรบltiples

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Acceder y obtener

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Integrar e interpretar

Integrar e interpretar Reflexionar y valorar

Acceder y obtener

Reflexionar y valorar

Reflexionar y valorar

Integrar e

interpretar

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Herramientas y caracterรญsticas de navegaciรณn

Textos mรบltiples

Texto dinรกmico con lรญmites poco claros

Acceder y obtener

Reflexionar y valorar

Integrar e interpretar

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MACONDO

Deslumbrada por tantas y tan maravillosas invenciones, la gente de Macondo no sabĂ­a por dĂłnde empezar a asombrarse. Se trasnochaban contemplando las pĂĄlidas bombillas elĂŠctricas alimentadas por la planta que llevĂł Aureliano Triste en el segundo viaje del tren, y a cuyo obsesionante tumtum costĂł tiempo y trabajo acostumbrarse. Se indignaron con las imĂĄgenes vivas que el prĂłspero comerciante don Bruno Crespi proyectaba en el teatro con taquillas de bocas de leĂłn, porque un personaje muerto y sepultado en una pelĂ­cula y por cuya desgracia se derramaron lĂĄgrimas de aflicciĂłn, reapareciĂł vivo y convertido en ĂĄrabe en la pelĂ­cula siguiente. El pĂşblico que pagaba dos centavos para compartir las vicisitudes de los personajes, no pudo soportar aquella burla inaudita y rompiĂł la silleterĂ­a. El alcalde, a instancias de don Bruno Crespi, explicĂł mediante un bando que el cine era una mĂĄquina de ilusiĂłn que no merecĂ­a los desbordamientos pasionales del pĂşblico. Ante la desalentadora explicaciĂłn, muchos estimaron que habĂ­an sido vĂ­ctimas de un nuevo y aparatoso asunto de gitanos, de modo que optaron por no volver a ir al cine, considerando que ya tenĂ­an bastante con sus propias penas, para llorar por fingidas desventuras de seres imaginarios.

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Pregunta 3: MACONDO Al final del fragmento, Âżpor quĂŠ decidieron los habitantes de Macondo no volver al cine?

A. QuerĂ­an divertirse y distraerse, pero descubrieron que las pelĂ­culas eran realistas y tristes.

B. No podĂ­an pagar el precio de las entradas.

C. QuerĂ­an reservar sus emociones para los acontecimientos de la vida real.

D. Buscaban implicarse emocionalmente pero las pelĂ­culas les parecieron aburridas, poco convincentes y de mala calidad.

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5 # " L #* * >

Ronda de circunvalaciĂłn

Norte

MALECĂ&#x201C;N

Puente de Piedra Canal

Ribera

Torre Victoria PUERTA ESTE PUER Hospital

Ă&#x201C;pera Centro

Banco

ZOO

Museo

Parlamento

PUERTA OESTE ESTE

Castillo

Puerto

Muelle Antiguo o

Ronda de circunvalaciĂłn

AzaĂąa

Unidad nidad Marie Curie Cima

Consistorio

Einstein

Mercado FĂĄbrica de gas Mandela M Plaza

Pradera

Calle Real Libertad

Independencia

Universidad

Plata

Parque

Bosque

Esmeralda

VigĂ­a

Diamante

Nobel Lee RamĂłn y Cajal

LĂ­nea 1 EL SUR

LĂ­nea 2 LĂ­nea 3 LĂ­nea 4 LĂ­nea 5 Autobuses interurbanos

Para mĂĄs informaciĂłn: 900 444 535 www.metrotransit.es

Trenes de cercanĂ­as LĂ­nea cerrada por obras

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Pregunta 4: METROTRANSIT Tienes que encontrar el camino mรกs corto en metro desde la estaciรณn de Marie Curie hasta la estaciรณn del Bosque.

Dibuja en el plano el camino que seguirรญas.

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OPINIONES DE LOS ESTUDIANTES

Hay mucha gente en el mundo muriÊndose de hambre y enfermedades, mientras nosotros nos preocupamos mås de los avances futuros. Dejamos atrås a esa gente intentando olvidarlos y seguir adelante. Las grandes compaùías gastan billones de pesetas cada aùo en la investigación espacial. Si el dinero gastado en la exploración del espacio se empleara en beneficio del necesitado y no del codicioso, se podría aliviar el sufrimiento de millones de personas.

Ana El desafĂ­o de explorar el espacio es fuente de inspiraciĂłn para mucha gente.

Durante miles de aĂąos hemos estado soĂąando con el universo, queriendo alargar la mano y tocar las estrellas, deseando comunicarnos con algo que sĂłlo imaginamos que existe, anhelando saber... ÂżEstamos solos?

La exploraciĂłn del espacio es una metĂĄfora del conocimiento y el conocimiento es lo que mueve nuestro mundo. Mientras que los realistas siguen recordĂĄndonos nuestros problemas actuales, los soĂąadores amplĂ­an nuestras mentes. Son las visiones, esperanzas y deseos de los soĂąadores los que nos conducirĂĄn al futuro.

Beatriz Nos cargamos las selvas tropicales porque hay petrĂłleo en el subsuelo, excavamos minas en terreno sagrado para obtener uranio. ÂżDestruirĂ­amos tambiĂŠn otro planeta sĂłlo por conseguir la soluciĂłn a problemas creados por nosotros mismos? ÂĄPor supuesto!

La exploraciĂłn del espacio confirma la poderosa creencia de que los problemas del hombre pueden solucionarse mediante nuestra siempre creciente dominaciĂłn del medio ambiente. Los seres humanos seguirĂĄn creyendo que tienen derecho a abusar de los recursos naturales como los rĂ­os y las selvas tropicales, si saben que siempre queda otro planeta a la vuelta de la esquina esperando ser explotado.

Hemos hecho suficiente daĂąo a la tierra. DeberĂ­amos dejar tranquilo el espacio exterior.

Diego

Ďł>

V7 V #WY[7 \ 4687 ]^^-=

Los recursos de la tierra estĂĄn desapareciendo a gran velocidad. La poblaciĂłn de la tierra estĂĄ creciendo a un ritmo desenfrenado. La vida no puede mantenerse si continuamos viviendo de este modo. La contaminaciĂłn ha producido un agujero en la capa de ozono. Las tierras fĂŠrtiles se estĂĄn agotando y pronto nuestros recursos alimentarios se reducirĂĄn. Ya hay casos de hambre y enfermedades causados por la superpoblaciĂłn.

El espacio es una enorme regiĂłn vacĂ­a que podemos usar en nuestro beneficio.

Apoyando la exploraciĂłn del espacio, podremos encontrar un dĂ­a un planeta donde vivir. De momento, esto parece impensable, pero la idea de viajar por el espacio parecĂ­a imposible en el pasado. Interrumpir la exploraciĂłn del espacio para resolver problemas inmediatos muestra una gran estrechez mental y una visiĂłn a corto plazo. Debemos aprender a pensar no sĂłlo en esta generaciĂłn sino en las generaciones futuras.

FĂŠlix

Ignorar lo que la exploraciĂłn del espacio tiene que ofrecer serĂ­a una gran pĂŠrdida para la humanidad. Las posibilidades de alcanzar una mayor comprensiĂłn del universo y sus orĂ­genes son demasiado valiosas para desaprovecharlas. El estudio de los cuerpos celestes ya ha aumentado nuestra comprensiĂłn de los problemas medioambientales y del posible futuro de la Tierra si no aprendemos a gestionar nuestras actividades.

TambiĂŠn hay beneficios indirectos de la investigaciĂłn para los viajes espaciales. La creaciĂłn de la tecnologĂ­a lĂĄser y otros tratamientos mĂŠdicos puede atribuirse a la investigaciĂłn espacial. Substancias como el teflĂłn han sido descubiertas gracias al interĂŠs de la humanidad por los viajes espaciales.

Por lo tanto, las nuevas tecnologĂ­as creadas para la investigaciĂłn espacial pueden tener beneficios inmediatos para todo el mundo.

Teresa

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Pregunta 6: OPINIONES DE LOS ESTUDIANTES Pensando en las principales ideas expuestas por los cinco estudiantes, ยฟcon cuรกl de los estudiantes estรกs mรกs de acuerdo?

Nombre del estudiante: ..........................................

Utilizando tus propias palabras, explica las razones de tu elecciรณn haciendo referencia a tu propia opiniรณn y a las principales ideas expuestas por el estudiante. ......................................................................................................................................................... ........................................................................................................................................................ ........................................................................................................................................................ ........................................................................................................................................................

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AVISO EN EL SUPERMERCADO

A lert a de Alergia a los Cacahuetes Galletas Rellenas de Chocolate Fecha de la alerta: 4 de febrero.

Nombre del fabricante: Fine Foods Ltd. InformaciĂłn sobre el producto: Galletas rellenas de chocolate, 125 g (Consumir preferentemente antes del: 18 de junio y consumir preferentemente antes del: 1 de julio).

Detalles: algunas galletas de estos lotes pueden contener trazas de cacahuete, que no estĂĄn incluidas en la lista de ingredientes. Las personas alĂŠrgicas a los cacahuetes no deben comer estas galletas.

ActuaciĂłn por parte del consumidor: si ha comprado estas galletas puede llevarlas al lugar donde las adquiriĂł para que le devuelvan el dinero, o llamar al 900 32 33 34 para mĂĄs informaciĂłn.

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Pregunta 3: AVISO EN EL SUPERMERCADO ¿Cómo se llama la empresa que elaboró las galletas?

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Pregunta 3: LA DEMOCRACIA EN ATENAS

Uno de los objetivos del discurso de la parte B era honrar a los soldados caídos en el primer año de la guerra del Peloponeso. ¿Cuál era OTRO de los objetivos de este discurso? .......................................................................................................................................................... ..........................................................................................................................................................

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Ejercicio: VAMOS A HABLAR Mira el comentario de Marga del 10 de marzo. Haz clic en ÂŤEscribe una respuestaÂť y escribe una respuesta a Marga. En tu respuesta, responde a su pregunta sobre quĂŠ participante, en tu opiniĂłn, sabe mĂĄs sobre este tema. Justifica tu respuesta.

Haz clic en ÂŤEnvĂ­a la respuestaÂť para aĂąadir tu respuesta al foro.

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MACONDO

Deslumbrada por tantas y tan maravillosas invenciones, la gente de Macondo no sabĂ­a por dĂłnde empezar a asombrarse. Se trasnochaban contemplando las pĂĄlidas bombillas elĂŠctricas alimentadas por la planta que llevĂł Aureliano Triste en el segundo viaje del tren, y a cuyo obsesionante tumtum costĂł tiempo y trabajo acostumbrarse. Se indignaron con las imĂĄgenes vivas que el prĂłspero comerciante don Bruno Crespi proyectaba en el teatro con taquillas de bocas de leĂłn, porque un personaje muerto y sepultado en una pelĂ­cula y por cuya desgracia se derramaron lĂĄgrimas de aflicciĂłn, reapareciĂł vivo y convertido en ĂĄrabe en la pelĂ­cula siguiente. El pĂşblico que pagaba dos centavos para compartir las vicisitudes de los personajes, no pudo soportar aquella burla inaudita y rompiĂł la silleterĂ­a. El alcalde, a instancias de don Bruno Crespi, explicĂł mediante un bando que el cine era una mĂĄquina de ilusiĂłn que no merecĂ­a los desbordamientos pasionales del pĂşblico. Ante la desalentadora explicaciĂłn, muchos estimaron que habĂ­an sido vĂ­ctimas de un nuevo y aparatoso asunto de gitanos, de modo que optaron por no volver a ir al cine, considerando que ya tenĂ­an bastante con sus propias penas, para llorar por fingidas desventuras de seres imaginarios.

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Pregunta 1: MACONDO ÂżQuĂŠ aspecto de las pelĂ­culas indignaba a los habitantes de Macondo?

............................................................................................................................................ ............................................................................................................................................ ............................................................................................................................................

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Pregunta 3: MACONDO Al final del fragmento, Âżpor quĂŠ decidieron los habitantes de Macondo no volver al cine?

A. QuerĂ­an divertirse y distraerse, pero descubrieron que las pelĂ­culas eran realistas y tristes.

B. No podĂ­an pagar el precio de las entradas.

C. QuerĂ­an reservar sus emociones para los acontecimientos de la vida real.

D. Buscaban implicarse emocionalmente pero las pelĂ­culas les parecieron aburridas, poco convincentes y de mala calidad.

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Pregunta 4: MACONDO ÂżQuiĂŠnes son los ÂŤseres imaginariosÂť de los que se habla en la Ăşltima lĂ­nea del texto?

A. Fantasmas.

B. Invenciones de feria.

C. Personajes de las pelĂ­culas.

D. Actores.

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Pregunta 5: MACONDO ÂżEstĂĄs de acuerdo con la opiniĂłn final de los habitantes de Macondo sobre el valor de las pelĂ­culas?

Explica tu respuesta y compara tu actitud hacia las pelĂ­culas con la suya. .......................................................................................................................................................................... .......................................................................................................................................................................... .......................................................................................................................................................................... .......................................................................................................................................................................... .......................................................................................................................................................................... ..........................................................................................................................................................................

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PLANO DE LA BIBLIOTECA

SALIDA

Ficciรณn

Ficciรณn

Referencia 000

No ficciรณn 999 No ficciรณn 900 No ficciรณn 800 No ficciรณn 700 No ficciรณn 600 No ficciรณn 500 No ficciรณn 400 No ficciรณn 300 No ficciรณn 200 No ficciรณn 100 No ficciรณn

Otros idiomas CD-ROM y PC con Internet Fotocopiadoras MOSTRADOR DE INFORMACIร N Buzรณn de MOSTRADOR DE sugerencias

Libros juveniles

SALIDA

Revistas

Periรณdicos

ASEOS

999

Revistas

Referencia

Referencia

PRร STAMOS

Devoluciones

Audio libros

000 Novedades Juguetes

ENTRADA

SALIDA

Libros de imรกgenes Libros infantiles

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Pregunta 5: BIBLIOTECA

En el colegio te dicen que tienes que leer una novela en francĂŠs. Dibuja en el plano anterior un cĂ­rculo alrededor de la secciĂłn donde serĂ­a mĂĄs probable que encontraras esa clase de libro para tomar prestado.

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Pregunta 7A: BIBLIOTECA ยฟDรณnde estรกn situadas las Novedades?

A. En la secciรณn de ficciรณn.

B. En la secciรณn de no ficciรณn.

C. Cerca de la entrada.

D. Cerca del mostrador de informaciรณn.

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Pregunta 7B: BIBLIOTECA

Explica por quรฉ puede haberse elegido ese lugar para las Novedades. .......................................................................................................................................................................... ..........................................................................................................................................................................

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OPINIONES DE LOS ESTUDIANTES

Hay mucha gente en el mundo muriÊndose de hambre y enfermedades, mientras nosotros nos preocupamos mås de los avances futuros. Dejamos atrås a esa gente intentando olvidarlos y seguir adelante. Las grandes compaùías gastan billones de pesetas cada aùo en la investigación espacial.

Si el dinero gastado en la exploraciĂłn del espacio se empleara en beneficio del necesitado y no del codicioso, se podrĂ­a aliviar el sufrimiento de millones de personas.

Ana El desafĂ­o de explorar el espacio es fuente de inspiraciĂłn para mucha gente. Durante miles de aĂąos hemos estado soĂąando con el universo, queriendo alargar la mano y tocar las estrellas, deseando comunicarnos con algo que sĂłlo imaginamos que existe, anhelando saber... ÂżEstamos solos?

La exploraciĂłn del espacio es una metĂĄfora del conocimiento y el conocimiento es lo que mueve nuestro mundo. Mientras que los realistas siguen recordĂĄndonos nuestros problemas actuales, los soĂąadores amplĂ­an nuestras mentes. Son las visiones, esperanzas y deseos de los soĂąadores los que nos conducirĂĄn al futuro.

Beatriz Nos cargamos las selvas tropicales porque hay petrĂłleo en el subsuelo, excavamos minas en terreno sagrado para obtener uranio. ÂżDestruirĂ­amos tambiĂŠn otro planeta sĂłlo por conseguir la soluciĂłn a problemas creados por nosotros mismos? ÂĄPor supuesto!

La exploraciĂłn del espacio confirma la poderosa creencia de que los problemas del hombre pueden solucionarse mediante nuestra siempre creciente dominaciĂłn del medio ambiente. Los seres humanos seguirĂĄn creyendo que tienen derecho a abusar de los recursos naturales como los rĂ­os y las selvas tropicales, si saben que siempre queda otro planeta a la vuelta de la esquina esperando ser explotado.

Hemos hecho suficiente daĂąo a la tierra. DeberĂ­amos dejar tranquilo el espacio exterior.

Diego

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Los recursos de la tierra estĂĄn desapareciendo a gran velocidad. La poblaciĂłn de la tierra estĂĄ creciendo a un ritmo desenfrenado. La vida no puede mantenerse si continuamos viviendo de este modo. La contaminaciĂłn ha producido un agujero en la capa de ozono. Las tierras fĂŠrtiles se estĂĄn agotando y pronto nuestros recursos alimentarios se reducirĂĄn. Ya hay casos de hambre y enfermedades causados por la superpoblaciĂłn.

El espacio es una enorme regiĂłn vacĂ­a que podemos usar en nuestro beneficio. Apoyando la exploraciĂłn del espacio, podremos encontrar un dĂ­a un planeta donde vivir. De momento, esto parece impensable, pero la idea de viajar por el espacio parecĂ­a imposible en el pasado. Interrumpir la exploraciĂłn del espacio para resolver problemas inmediatos muestra una gran estrechez mental y una visiĂłn a corto plazo. Debemos aprender a pensar no sĂłlo en esta generaciĂłn sino en las generaciones futuras.

FĂŠlix

Ignorar lo que la exploraciĂłn del espacio tiene que ofrecer serĂ­a una gran pĂŠrdida para la humanidad. Las posibilidades de alcanzar una mayor comprensiĂłn del universo y sus orĂ­genes son demasiado valiosas para desaprovecharlas. El estudio de los cuerpos celestes ya ha aumentado nuestra comprensiĂłn de los problemas medioambientales y del posible futuro de la Tierra si no aprendemos a gestionar nuestras actividades.

TambiĂŠn hay beneficios indirectos de la investigaciĂłn para los viajes espaciales. La creaciĂłn de la tecnologĂ­a lĂĄser y otros tratamientos mĂŠdicos puede atribuirse a la investigaciĂłn espacial. Substancias como el teflĂłn han sido descubiertas gracias al interĂŠs de la humanidad por los viajes espaciales. Por lo tanto, las nuevas tecnologĂ­as creadas para la investigaciĂłn espacial pueden tener beneficios inmediatos para todo el mundo.

Teresa

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Pregunta 1: OPINIONES DE LOS ESTUDIANTES ÂżCuĂĄl de las siguientes preguntas parecen estar contestando los estudiantes?

A. ÂżCuĂĄl es el problema mĂĄs importante al que se enfrenta el mundo hoy?

B. ÂżEstĂĄs a favor de la exploraciĂłn del espacio?

C. ÂżCrees en la vida mĂĄs allĂĄ de nuestro planeta?

D. ÂżQuĂŠ avances recientes ha habido en la investigaciĂłn espacial?

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Pregunta 3: OPINIONES DE LOS ESTUDIANTES

ยฟCuรกl de los autores contradice mรกs directamente la exposiciรณn de Fรฉlix?

A. Diego.

B. Ana. C. Teresa.

D. Beatriz.

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Pregunta 6: OPINIONES DE LOS ESTUDIANTES Pensando en las principales ideas expuestas por los cinco estudiantes, ยฟcon cuรกl de los estudiantes estรกs mรกs de acuerdo?

Nombre del estudiante: ..............................................

Utilizando tus propias palabras, explica las razones de tu elecciรณn haciendo referencia a tu propia opiniรณn y a las principales ideas expuestas por el estudiante.

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Pregunta 7: OPINIONES DE LOS ESTUDIANTES

Algunas afirmaciones son cuestiones de opiniĂłn, basadas en las ideas y valores del autor. Otras afirmaciones son cuestiones de hecho, que pueden ser probadas objetivamente y bien son correctas o incorrectas.

Rodea con un cĂ­rculo ÂŤcuestiĂłn de opiniĂłnÂť o ÂŤcuestiĂłn de hechoÂť junto a cada una de las citas de las redacciones de los estudiantes que aparecen a continuaciĂłn.

La primera estĂĄ hecha a modo de ejemplo.

Citas de las redacciones de los estudiantes ÂŤLa contaminaciĂłn ha producido un agujero en la capa de ozonoÂť. (FĂŠlix)

ÂżEs una cuestiĂłn de opiniĂłn o es una cuestiĂłn de hecho?

CuestiĂłn de opiniĂłn / CuestiĂłn de hecho

Las grandes compaùías gastan billones de pesetas cada aùo en la investigación espacial. (Ana)

CuestiĂłn de opiniĂłn / CuestiĂłn de hecho

ÂŤLa exploraciĂłn del espacio refuerza la peligrosa creencia de que los problemas humanos pueden resolverse mediante nuestro siempre creciente dominio del entorno naturalÂť. (Diego)

CuestiĂłn de opiniĂłn / CuestiĂłn de hecho

ÂŤInterrumpir la exploraciĂłn del espacio para resolver problemas inmediatos demuestra una gran estrechez mental y una visiĂłn a corto plazoÂť. (FĂŠlix)

CuestiĂłn de opiniĂłn / CuestiĂłn de hecho

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8 A

AVISO EN EL SUPERMERCADO

Alert a de Alergia a los Cacahuetes Galletas Rellenas de Chocolate Fecha de la alerta: 4 de febrero.

Nombre del fabricante: Fine Foods Ltd. Informaciรณn sobre el producto: Galletas rellenas de chocolate, 125 g (Consumir preferentemente antes del: 18 de junio y consumir preferentemente antes del: 1 de julio).

Detalles: algunas galletas de estos lotes pueden contener trazas de cacahuete, que no estรกn incluidas en la lista de ingredientes. Las personas alรฉrgicas a los cacahuetes no deben comer estas galletas.

Actuaciรณn por parte del consumidor: si ha comprado estas galletas puede llevarlas al lugar donde las adquiriรณ para que le devuelvan el dinero, o llamar al 900 32 33 34 para mรกs informaciรณn.

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Pregunta 2: AVISO EN EL SUPERMERCADO ÂżCuĂĄl es la finalidad de este aviso?

A. Hacer publicidad de las Galletas rellenas de chocolate.

B. Indicar a las personas cuĂĄndo se elaboraron las galletas.

C. Prevenir a las personas acerca de las galletas.

D. Explicar dĂłnde comprar Galletas rellenas de chocolate.

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Pregunta 3: AVISO EN EL SUPERMERCADO ÂżCĂłmo se llama la empresa que elaborĂł las galletas? ......................................................................................................................................................................

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Pregunta 5: AVISO EN EL SUPERMERCADO ÂżTĂş quĂŠ harĂ­as si hubieses comprado estas galletas? ......................................................................................................................................................................... ÂżPor quĂŠ lo harĂ­as?

Utiliza la informaciĂłn del texto para apoyar tu respuesta. ......................................................................................................................................................................... .........................................................................................................................................................................

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Pregunta 6: AVISO EN EL SUPERMERCADO ÂżPor quĂŠ incluye el aviso las fechas para ÂŤconsumir preferentementeÂť? .................................................................................................................................................................... ....................................................................................................................................................................

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LA MOTO

ÂżAlguna vez te has levantado con la impresiĂłn de que algo iba mal?

AsĂ­ fue el dĂ­a para mĂ­.

Me sentĂŠ en la cama.

Poco despuĂŠs descorrĂ­ las cortinas.

El tiempo era horrible; estaba lloviendo a cĂĄntaros.

Entonces, bajĂŠ la vista al patio. ÂĄClaro! AllĂ­ estaba la moto.

Tan destrozada como la noche anterior.

Y empezaba a dolerme la pierna.

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Pregunta 1: LA MOTO Algo le ocurriĂł al personaje de la historia la noche anterior. ÂżQuĂŠ fue lo que le pasĂł?

A. El mal tiempo habĂ­a estropeado la moto.

B. El mal tiempo habĂ­a impedido salir al personaje.

C. El personaje habĂ­a comprado una moto nueva.

D. El personaje habĂ­a tenido un accidente de moto.

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Pregunta 2: LA MOTO ÂŤAsĂ­ fue el dĂ­a para mĂ­.Âť ÂżQuĂŠ tipo de dĂ­a resultĂł ser ĂŠse?

A. Un buen dĂ­a.

B. Un mal dĂ­a.

C. Un dĂ­a emocionante.

D. Un dĂ­a aburrido.

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Pregunta 6: LA MOTO ÂżPor quĂŠ comienza el escritor la historia con una pregunta?

A. Porque el escritor quiere saber la respuesta.

B. Para involucrar al lector en la historia.

C. Porque la pregunta es difĂ­cil de responder.

D. Para recordar al lector que este tipo de experiencia es poco corriente.

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Pregunta 1: EDIFICIOS ALTOS Cuando se publicรณ el artรญculo, ยฟcuรกl era el edificio mรกs alto finalizado segรบn el Grรกfico 2? ..........................................................................................................................................................................

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( 1) >. 183

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Pregunta 4: EDIFICIOS ALTOS ÂżQuĂŠ tipo de informaciĂłn proporciona el GrĂĄfico 1?

A. Una comparaciĂłn de la altura de distintos edificios.

B. El nĂşmero total de edificios en distintas ciudades.

C. El nĂşmero de edificios que superan una determinada altura en varias ciudades.

D. InformaciĂłn sobre el estilo de los edificios de distintas ciudades.

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Pregunta 5: EDIFICIOS ALTOS El Radisson SAS Plaza de Oslo (Noruega), sĂłlo tiene 117 metros de altura. ÂżPor quĂŠ se ha incluido en el GrĂĄfico 2? .......................................................................................................................................................................... .......................................................................................................................................................................... >84

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Pregunta 9: EDIFICIOS ALTOS ImagĂ­nate que un artĂ­culo como ĂŠste, sobre edificios altos, se publica de nuevo dentro de 20 aĂąos.

A continuaciĂłn se incluyen dos elementos del artĂ­culo original. Indica si es o no probable que estos elementos cambien en 20 aĂąos rodeando con un cĂ­rculo ÂŤSĂ­Âť o ÂŤNoÂť en la tabla siguiente.

Elemento del artĂ­culo

ÂżEs probable que cambie en 20 aĂąos?

El tĂ­tulo del GrĂĄfico 2.

SĂ­ / No

El nĂşmero de edificios mencionados en el GrĂĄfico 1.

SĂ­ / No

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8 D

LA DEMOCRACIA EN ATENAS

PARTE A TucĂ­dides fue un historiador y militar que viviĂł en el siglo V a. C., durante la ĂŠpoca de la Grecia clĂĄsica. NaciĂł en Atenas. Durante la guerra del Peloponeso (del 431 a. C. al 404 a.

C.), entre Atenas y Esparta, estuvo al mando de una flota cuya misiĂłn era proteger la ciudad de AnfĂ­polis, en Tracia. No consiguiĂł llegar a la ciudad a tiempo. Ă&#x2030;sta cayĂł en manos del general espartano, BrĂĄsidas, lo que condenĂł a TucĂ­dides a veinte aĂąos de exilio. Esta circunstancia le dio la oportunidad de recoger informaciĂłn bastante completa de los dos bandos en conflicto y la posibilidad de investigar para su obra Historia de la guerra del Peloponeso.

TucĂ­dides estĂĄ considerado como uno de los grandes historiadores de la AntigĂźedad. Se centra mĂĄs en las causas naturales y en la conducta de cada individuo que en el destino o en la intervenciĂłn de los dioses para explicar la evoluciĂłn de la historia. En su obra, los hechos no se presentan como meras anĂŠcdotas, sino que se explican tratando de descubrir los motivos que llevaron a los protagonistas a actuar del modo en que lo hicieron. El ĂŠnfasis que TucĂ­dides pone en la conducta de los individuos le lleva a veces a introducir discursos ficticios: ĂŠstos le ayudan a exponer las motivaciones de los personajes histĂłricos.

PARTE B TucĂ­dides atribuye al dirigente ateniense Pericles (siglo V a. C.) el siguiente discurso en honor de los soldados caĂ­dos en el primer aĂąo de la guerra del Peloponeso.

Nuestro sistema de gobierno no copia las leyes de los estados vecinos; nosotros somos mĂĄs un ejemplo para otros que imitadores de los demĂĄs. Nuestro sistema se denomina democracia, ya que el gobierno no depende de unos pocos, sino de una mayorĂ­a. Nuestras leyes garantizan iguales derechos para todos en las cuestiones privadas, mientras que el prestigio en la vida pĂşblica depende mĂĄs de los mĂŠritos que de la clase social.

Tampoco la clase social impide a nadie llegar a ejercer cualquier cargo pĂşblico (...). Y, al tiempo que no interferimos en las cuestiones privadas, respetamos la ley en los asuntos pĂşblicos. Obedecemos a quienes ponemos a desempeĂąar cargos pĂşblicos y obedecemos las leyes, en especial las dirigidas a la protecciĂłn de los oprimidos y las leyes no escritas que supone una verdadera vergĂźenza infringir.

AdemĂĄs, nos hemos procurado muchos placeres para el espĂ­ritu. Los juegos y sacrificios que celebramos durante todo el aĂąo y la elegancia de nuestras casas particulares constituyen una fuente diaria de placer que nos ayuda a olvidar cualquier preocupaciĂłn; mientras que los numerosos habitantes de la ciudad atraen a Atenas productos de todo el mundo, de modo que a los atenienses los frutos de otros pueblos les son tan familiares como los suyos propios.

>88

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Pregunta 3: LA DEMOCRACIA EN ATENAS Uno de los objetivos del discurso de la parte B era honrar a los soldados caĂ­dos en el primer aĂąo de la guerra del Peloponeso. ÂżCuĂĄl era OTRO de los objetivos de este discurso? ....................................................................................................................................................................... ....................................................................................................................................................................... , . ,#-." - & ' , )

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Pregunta 4: LA DEMOCRACIA EN ATENAS ÂżQuĂŠ condenĂł a TucĂ­dides al exilio?

A.

Que no pudiese lograr la victoria de los atenienses en AnfĂ­polis.

B.

Que tomase el mando de una flota en AnfĂ­polis.

C.

Que recogiese informaciĂłn de los dos bandos en conflicto.

D.

Que desertase de los atenienses para luchar con los espartanos.

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Pregunta 5: LA DEMOCRACIA EN ATENAS ÂżQuiĂŠn escribiĂł el discurso de la Parte B? RemĂ­tete al texto para justificar tu respuesta. ..................................................................................................................................................................... .....................................................................................................................................................................

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Pregunta 6: LA DEMOCRACIA EN ATENAS SegĂşn el texto, ÂżquĂŠ diferenciaba a TucĂ­dides de los demĂĄs historiadores de su ĂŠpoca?

A. EscribĂ­a sobre personas corrientes, no sobre hĂŠroes.

B. Utilizaba anĂŠcdotas, mĂĄs que meros hechos.

C. Explicaba sucesos histĂłricos haciendo referencia a sus causas sobrenaturales.

D. Se centraba en lo que llevaba a las personas a actuar del modo en que lo hacĂ­an.

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Pregunta 7: LA DEMOCRACIA EN ATENAS FĂ­jate en este fragmento del texto, que se encuentra casi al final de la Parte B:

ÂŤAdemĂĄs, nos hemos procurado muchos placeres para el espĂ­ritu. Los juegos y sacrificios que celebramos durante todo el aĂąo y la elegancia de nuestras casas particulares constituyen una fuente diaria de placer que nos hace olvidar cualquier preocupaciĂłn.Âť ÂżCuĂĄl de estas frases resume mejor esta parte del texto?

A. El sistema de gobierno de Atenas permite a cualquier persona elaborar leyes.

B. La diversiĂłn y la belleza son parte de la buena vida que se puede tener en Atenas.

C. Los atenienses viven rodeados de un lujo excesivo y no pueden tomarse la vida en serio.

D. La vida pĂşblica y privada son consideradas como una misma cosa.

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8 E

DESTINO BUENOS AIRES De esta manera, los tres aviones de correo de la Patagonia1, Chile y Paraguay regresaban del sur, del oeste y del norte hacia Buenos Aires. AllĂ­ se esperaba su cargamento, para que pudiese despegar hacia la medianoche el aviĂłn hacia Europa.

Tres pilotos, cada uno tras una cubierta de motor pesada como una barcaza, perdidos en la noche, evaluaban su vuelo y, al acercarse a la ciudad inmensa, bajarĂ­an lentamente de su cielo tormentoso o en calma, como extraĂąos campesinos que descienden de sus montaĂąas.

Rivière, responsable de toda la operación, caminaba de arriba para abajo por la pista de aterrizaje de Buenos Aires. Permanecía en silencio, pues, hasta la llegada de los tres aviones, el día no presagiaba nada bueno para Êl. Minuto a minuto, a medida que le llegaban los telegramas, Rivière era consciente de que le arrebataba algo al destino, de que reducía gradualmente lo desconocido, de que sacaba a sus tripulaciones de la noche hasta la orilla.

Uno de los hombres se acercó a Rivière para comunicarle un mensaje transmitido por radio.

El correo de Chile anuncia que divisa las luces de Buenos Aires.

Bien.

Pronto Rivière oiría ese avión; la noche abandonaba ya a uno de ellos, como un mar, lleno de flujo y reflujo y misterios, abandona en la orilla el tesoro que ha zarandeado tanto tiempo. Y mås tarde, devolvería a los otros dos.

Entonces, el trabajo de este día habría terminado. Entonces, las tripulaciones, cansadas, se irían a dormir, para ser reemplazadas por otras de refresco. Pero Rivière no tendría reposo: el correo de Europa, a su vez, lo llenaría de inquietud.

Y asĂ­ serĂ­a siempre. Siempre.

Antoine de Saint-ExupĂŠry. Vol de Nuit .Š Ă&#x2030;ditions Gallimard 1

RegiĂłn del sur de Chile y Argentina

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Pregunta 3: DESTINO BUENOS AIRES ¿Cómo se siente Rivière en su trabajo? Utiliza el texto para justificar tu respuesta. ...................................................................................................................................................................... ......................................................................................................................................................................

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Pregunta 5: DESTINO BUENOS AIRES Destino Buenos Aires se escribió en 1931. ¿Crees que hoy en día las preocupaciones de Rivière serían parecidas? Justifica tu respuesta. .......................................................................................................................................................................... ..........................................................................................................................................................................

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Pregunta 7: DESTINO BUENOS AIRES ÂżQuĂŠ le ocurre al protagonista de este texto?

A. Tiene una sorpresa desagradable.

B. Decide cambiar de trabajo.

C. Espera ocurra alguna cosa.

D. Aprende a escuchar a otros.

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Pregunta 8: DESTINO BUENOS AIRES SegĂşn el penĂşltimo pĂĄrrafo (ÂŤPronto â&#x20AC;ŚÂť) Âżen quĂŠ se parecen la noche y el mar?

A. Los dos esconden lo que hay en ellos.

B. Los dos son ruidosos.

C. Los dos han sido domados por el hombre.

D. Los dos son peligrosos para el hombre.

E. Los dos son silenciosos.

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TREKKING EN Ă FRICA

Trekking en el norte del Drankensberg: SudĂĄfrica / Lesotho Ficha informativa DESCRIPCIĂ&#x201C;N GENERAL El trekking por el norte del Drakensberg incluye atravesar la escarpadura norte del Drakensberg a gran altitud. La ruta, de unas 40 millas (65 km) aproximadamente, se extiende a lo largo de la frontera entre SudĂĄfrica y Lesotho, y precisa 5 agotadores dĂ­as para completarse. El trekking estĂĄ lleno de momentos espectaculares, como las impresionantes vistas desde mĂĄs allĂĄ del Anfiteatro hasta el Diente del Diablo, a medida que se va en direcciĂłn a la Escalera MetĂĄlica, y la salida del sol vista desde el Mponjwane, para la que bien merece la pena poner el despertador.

Punto de partida: aparcamiento El Centinela, Parque Nacional Real Natal.

Punto de llegada: hotel El Pico de la Catedral.

Dificultad y altitud: se trata de un camino de alta montaĂąa en una de las zonas mĂĄs remotas de la cordillera del Drakensberg. La marcha puede resultar bastante ardua y los dĂ­as largos. Un buen sentido de la orientaciĂłn es fundamental para realizar la travesĂ­a con seguridad. Ă&#x2030;POCA ADECUADA Y DIFERENCIAS ESTACIONALES Mejores meses para viajar: abril, mayo, junio o septiembre, octubre, noviembre.

Clima: los veranos en el Drakensberg pueden ser muy cålidos y muy húmedos. Los inviernos son mucho mås secos, pero siempre existe el riesgo de precipitaciones, probablemente en forma de nieve en las zonas altas. En la primavera y el otoùo las temperaturas diurnas son ideales (entre 60°F/15°C y 70°F/20°C), pero por la noche caen frecuentemente por debajo del punto de congelación.

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SENDERO DEL CONTOUR

GARGANTA DE NGUZA

CONFLUENCIA

GARGANTA DE PINS

GARGANTA DE RWANQA

GARGANTA DE FANGS

RÍO KHUBEDU R MBUNDINI MBUNDINI

MONTE AVERY

CATARATAS DE TUGELA

12.000 (3.660)

ESCALERA METÁLICA

PERFIL DEL CAMINO

GA GARGANTA ARGANTA DE NTONJELANA GARGANTA DE TWINS

1

2

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HOTEL EL PICO DE LA CATEDRAL

CUEVA DE TWINS

CUEVA DEL MPONJWANE

CUEVA DE RWANQA

4.000 (1.220)

CUEVA DE IFIDI

6.000 (1.830)

APARCAMIENTO EL CENTILNELA

ALTITUD EN PIES (METROS)

8.000 (2.440)

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Pregunta 2: TREKKING EN ÁFRICA ¿A qué altitud se encuentra el aparcamiento El Centinela? Da la respuesta en pies y en metros. ..................................................................................pies. ..................................................................................metros.

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Pregunta 7: TREKKING EN Ă FRICA SegĂşn la informaciĂłn facilitada, ÂżdĂłnde pasarĂ­as la noche tras el segundo dĂ­a de caminata?

A. En el aparcamiento El Centinela.

B. En la cueva de Ifidi.

C. En la cueva de Rwanqa.

D. En la cueva del Mponjwane.

E. En la cueva de Twins.

F.

En el hotel El Pico de la Catedral.

20A

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Pregunta 8: TREKKING EN Ă FRICA ÂżQuĂŠ dĂ­a del trekking crees que serĂĄ el mĂĄs difĂ­cil? Utiliza la informaciĂłn facilitada para justificar tu respuesta. ......................................................................................................................................................................... .........................................................................................................................................................................

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Pregunta 7: TREKKING EN Ă FRICA ÂżLa maĂąana de quĂŠ dĂ­a del trekking verĂĄs la salida del sol mencionada en la descripciĂłn general?

A. DĂ­a 1.

B. DĂ­a 2.

C. DĂ­a 3.

D. DĂ­a 4.

E. DĂ­a 5.

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METROTRANSIT

Ronda de circunvalaciĂłn

Norte

MALECĂ&#x201C;N

Puente de Piedra Canal

Ribera

Torre Victoria PUERTA ESTE PUER

Centro

Banco

Ă&#x201C;pera

Hospital

ZOO

Museo

Ronda de circunvalaciĂłn

Parlamento

PUERTA OESTE ESTE

Castillo

Puerto

Muelle Antiguo o

AzaĂąa

Unidad nidad Marie Curie Cima

Consistorio

Einstein

Mercado FĂĄbrica de gas Mandela M Plaza

Pradera

Calle Real Libertad

Independencia

Universidad

Plata

Parque

Diamante

Bosque

Esmeralda

VigĂ­a

Nobel Lee RamĂłn y Cajal

LĂ­nea 1 EL SUR

LĂ­nea 2 LĂ­nea 3 LĂ­nea 4 LĂ­nea 5 Autobuses interurbanos

Para mĂĄs informaciĂłn: 900 444 535 www.metrotransit.es

Trenes de cercanĂ­as

LĂ­nea cerrada por obras

2ºŸ

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Pregunta 1: METROTRANSIT ÂżDesde quĂŠ estaciĂłn de Metrotransit se pueden coger tanto autobuses interurbanos como trenes de cercanĂ­as? ........................................................................................................................................................................

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Pregunta 2: METROTRANSIT Si te encuentras en la estaciĂłn del Zoo y quieres ir a la estaciĂłn de Puente de Piedra, Âżen quĂŠ estaciĂłn tienes que cambiar de lĂ­nea?

A. Consistorio.

B. Ribera.

C. MalecĂłn.

D. Muelle Antiguo.

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Pregunta 3: METROTRANSIT Algunas estaciones como Puerta Oeste, Zoo e Independencia tienen un sombreado gris a su alrededor ÂżQuĂŠ indica dicho sombreado acerca de esas estaciones?

..........................................................................................................................................................................

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( 1) >. ĎŽĎ­Ď­

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Pregunta 4: METROTRANSIT Tienes que encontrar el camino mĂĄs corto en metro desde la estaciĂłn de Marie Curie hasta la estaciĂłn de Bosque.

Dibuja en el plano el camino que seguirĂ­as.

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EstĂĄs en la pĂĄgina de Inicio del ÂŤCafĂŠ de filĂłsofosÂť. Pincha en el enlace que lleva a Confucio. ÂżQuĂŠ querĂ­a decir Confucio con ÂŤRenÂť?

A. Paz y prosperidad.

B. Vivir en el caos y en la guerra.

C. El comportamiento de los gobernantes.

D. Bondad hacia los demĂĄs.

E. Vivir en armonĂ­a.

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Ejercicio 2: CAFĂ&#x2030; DE FILĂ&#x201C;SOFOS Ve a la pĂĄgina Actividades. Observa la SituaciĂłn 2. ÂżCuĂĄl de las enseĂąanzas de ZenĂłn refleja este cĂłmic?

A. DeberĂ­amos tener en cuenta a los demĂĄs para vivir contentos.

B. DeberĂ­amos preocuparnos por nuestro aspecto.

C. No deberĂ­amos dejarnos llevar por nuestros deseos.

D. No deberĂ­amos intentar cambiar el pasado.

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Ve a la pĂĄgina Actividades. Busca la LĂ­nea del Tiempo. Utiliza la informaciĂłn de la web para averiguar cuĂĄndo naciĂł cada uno de los tres filĂłsofos (Bentham, Confucio y ZenĂłn). Luego utiliza los menĂşs desplegables de la LĂ­nea del Tiempo para seĂąalar cuĂĄndo naciĂł cada filĂłsofo.

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Ejercicio 1: EL HELADO Esta pĂĄgina muestra los resultados de la bĂşsqueda de helado y alimentos similares en todo el mundo. ÂżQuĂŠ resultado de la bĂşsqueda es mĂĄs probable que ofrezca la historia del helado? Pincha en el botĂłn que se encuentra junto al enlace.

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Ejercicio 2: EL HELADO

Esta pĂĄgina muestra los resultados de la bĂşsqueda de helado y alimentos similares en todo el mundo.

Quieres saber si el helado puede formar parte de una dieta saludable. ÂżCuĂĄl de los resultados serĂĄ mĂĄs probable que proporcione una orientaciĂłn acertada? Pincha en el botĂłn que se encuentra junto al enlace.

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Ejercicio 1: PHISHING EstĂĄs en la pĂĄgina inicial de la web de recursos sobre el phishing. SegĂşn esta pĂĄgina, ÂżcuĂĄl de las siguientes es una caracterĂ­stica de un correo electrĂłnico de phishing?

A. Solicita informaciĂłn personal.

B. Contiene publicidad no deseada.

C. Ofrece un servicio real.

D. Procede de una empresa conocida.

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Ejercicio 2: PHISHING ÂżCuĂĄntos correos electrĂłnicos de phishing se envĂ­an en todo el mundo en un mes cualquiera como media?

A. 1.200.

B. MĂĄs de 6.000 millones.

C. Alrededor de 25.000.

D. 55.500.

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Ejercicio 3: PHISHING ÂżCuĂĄl de las siguientes formas de engaĂąo se explica en la pĂĄgina ÂŤReconocer el phishingÂť?

A. El correo electrĂłnico solicita al destinatario que done dinero a una falsa obra benĂŠfica.

B. El correo electrĂłnico de phishing instala software espĂ­a en el ordenador del usuario.

C. El autor del correo electrĂłnico inserta un enlace falso en una pĂĄgina web falsa.

D. El correo electrĂłnico pretende hacer creer al destinatario que ha ganado un premio.

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12 #* ,0) #-* 83 0 #(3120 0 ( 1 1 ) & *9 1 8 # 0 * # 1 *20 *20,1 1 ,( 0 1 . 0 12 ( 0 ) &,0 ( ,*2 72, * ( /3 1 .0, 3 * (,1 0 13(2 ,1 (,1 (3)*,1B ,0 & ).(,? 12 #* ,0) #-* .3 ,*20# 3#0 12#) 0 ( #). 2, ( #1.,*# #(# 0 301,1 1, 0 ( 0 * #)# *2, (,1 (3)*,1? 2 *2, *20, 3* . $1 ,), ,). 0 * , *20 #12#*2,1 . $1 1B 3=! 5!3= ., 2 . ! ! 3!2 2!**!, . 0.2 !* 2! =.2 !* !,=2. . * 0!23., !, 15 !, !*!$5!C

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0. 2 !,= # 2 , ,$6, !,=2.C

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# B 4 # # *

J

@ 5" 523.3 3! +0 2=!, !, 35 !,=2.?

D + 0 +: +*. . , =E

H

N: 3 #-* 0#) 0# B

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Q: 3 #-* 0#) 0# B

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KLϲ

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+ -

+ - - + . .- + /

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, . - =E

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.= *

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M

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D + 0 +: +*. , . , =E

N

Y* .3 (,? ( , ., ( #-* 030 ( G ) *,1 P MMM " #2 *2 1HB

Y* .3 (, ) # *, G P MMM NR MMM " #2 *2 1HB

Y* #3 2 ) +, ) #, G NR MMM NMM MMM " #2 *2 1HB

Y* #3 !0 * G NMM MMM N MMM MMM " #2 *2 1HB

Y* !0 * #3 ) 1 N MMM MMM " #2 *2 1B

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( NMY , ) 1? . 0, ) *,1 ( OMYB

1 ( MY? . 0, ) *,1 ( NMYB

#*!3*,B

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p

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3

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# B *

" - , , -.

- , -+ , + -. - , , + + +

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/ +

JI

@ 5 * !3 !* ,6+!2. =.= * ! *5+,.3 ! M; ! ! 35 !,=2.?

D + 0 +: , + H F + G , ( -. =E

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CCCCCCCCC

JI

02.8 + +!,=!A @ 5 ,=.3 .2 !, .2!3 ! *.3 30., *!3 0 2 *.3 *5+,.3 !3= , .,! = .3 #,=!2,!=?

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JJ

@ ! 7! # 5*= * 0 !* !,=2. 0 2 !,3!- 2 0.2 *$5,. ! *.3 # =.2!3 3 $5 !,=!3?

D + 0 +: +*. . , =E

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H

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&H

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* 3 #-* , 1 1 9 .0,!0 ) 1 #* ,0) 2# ,1 . 0 ( *1 + *9 B

* 3 #-* , 1 1 9 ) 2 0# ( * ( # (#,2 B

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* 3 #-* , 1 1 9 ) #,1 3 #,5#13 ( 1B

N

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KÏ°Ï®

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# *B ( # *

JL

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D + 0 +: +*. . , =E

H

* ? ,0/3 12 , ,0,B

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0 2 20, , )31# ( ( *20,B

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7*3 0#,? . 0#- # , , 0 5#12 1 ,( 0B

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/3#., .,02 , 2#5# 1 .,02#5 1B #,* 0 * # 1 8D, 1 )#* 0#,1 G.B &B? .,* *2 1 72 0*,1? ,), 1 0#2,0 1 , . 0#, #12 1HB #,( ,0 #-* ,* # (#,2 1 ( (, (# B #,( ,0 #-* ,* . 0#- # ,1 (, ( 1B

*2 0 ) #,1 1 ,( 0 1 ,* *20,1 720 *& 0,1B

N

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JM

@ #2! ! 35 !,=2. *$5, ! * 3 3 $5 !,=!3 .0 .,!3 *.3 *5+,.3 ! M; ! 15! ,. = !,!, !* 3=!** ,. .+. *!,$5 + =!2, ?

D + 0 +: +*. . , =E

H

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H

7*2 1 . 1 0 ( 1 ( 1 1 *,0) ( 1? 12,1 (3)*,1 0 # * *1 + *9 1#!* 230 1 1 ,( 0 1 * 13 ( *!3 ) 2 0* B

H

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N

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( 2 ) +, ( ( 1 1 0 3 . 0 2 * 0 ( 1 * 1# 1 1. # ( 1 12,1 (3)*,1B

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D + 0 +: +*. . , =E

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K B M 0 , +

,. A

-

, . 0

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JO

, 35 !,=2.A @3! 5= * : * !7 *5 /, ! *.3 *5+,.3 ! M; ! 0 2 *$5,. ! *.3 3 $5 !,=!3 # ,!3?

D + 0 +: +*. . , =E

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% # #0 1# (,1 (3)*,1 . 1 * , *, 301,B

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5 (3 0 ( .0,!0 1, ( *20, +, * +,B

( ! 0 ,* (31#,* 1 * 3 *2, ( # # * # ( .0, 1,0 ,B

*2# # 0 1. 2,1 ( *1 + *9 , ( 300$ 3(, /3 1 .3 * ) &,0 0B

#,). 0 0 ( *20, ,* ,20,1 *20,1B

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# B )# *

JP

@0 3= 15" 05,=. 3! 7! # 5*= . !* 02!, : )! ! *.3 *5+,.3 ! 35 !,=2. 0.2 *.3 3 $5 !,=!3 # =.2!3?

D + 0 +: +*. . , =E

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7. 2 2#5 1 & 1 (,1 .0, 1,0 1 0 1. 2, (,1 (3)*,1B

7 1 *2#1), (,1 (3)*,1B

( 1 0 ( #,* 1 (3)*,E.0, 1,0B

( ,).,02 )# *2, (,1 (3)*,1 * ( 1 ( 1 1B

3 (,1 .0, 1,0 1 *, 2# * * ( 1 * 1# 1 #* #5# 3 ( 1 (,1 (3)*,1B

7 1 *2#1), (,1 .0, 1,0 1B

,5#((,1 .,0 . 02 (,1 (3)*,1B

(2 0 1. 2, (,1 .0, 1,0 1 .,0 . 02 (,1 (3)*,1B

[ 1#12 * # ( ) #, .,0 . 02 ( . 01,* (B

#,*13), ( ,",( , 0,! 1 #( ! ( 1 .,0 . 02 (,1 (3)*,1B

3 (,1 .0, 1,0 1 1 * 7 1#5 ) *2 120# 2,1 ,* (,1 (3)*,1B

3 (,1 (3)*,1 #*2#)# * , ,1 * ,20,1 (3)*,1B

3 *, 1 ),2#5 (,1 (3)*,1 . 0 /3 1 00,(( * 2, , 13 .,2 * # (B

Kϰϲ

.

N

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V7 V #WY[7 \ 4687 ]^^-=

JQ

@ 5 * ! * 3 3 $5 !,=!3 # 2+ .,!3 !3 2 ! ., + 9.2 02! 3 /, * 3 !80! = = 7 3 ! *.3 0 2!3 ., 2!30! =. * !,=2.?

D + 0 +: +*. , . , =E

7#12 . + , ,- - .,0 . 02 )3 ",1 . 0 1? /3# * 1 1. 0 * ( *20, /3 12 ( 9 3* *#5 ( )# , )38 ( 5 , 8 ,*1#! /3 (,1 (3)*,1 (, ( * *B

+ + , & 0 .0 1#-* 1, 0 ( *20, . 0 /3 1 ( * 3* *#5 ( )# , ) 1 ( 5 , *20 (,1 (3)*,1B

, . ,- + , .,0 . 02 (,1 . 0 1 1, 0 ( *20, . 0 /3 1 ( * 3* *#5 (

)# , ) 1 ( 5 , *20 (,1 (3)*,1B

N

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,!8. ). Kϰϳ

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# B ( # # *

Jp

@ ., 15" #2! 5!, 3! = !,!, !, .,3 !2 /, *.3 3 $5 !,=!3 # =.2!3 * %.2 ! + = 2 *5+,.3 !, !* !,=2.?

D + 0 +: +*. . , =E

H

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0 ,) * #-* (,1 *20,1 .0, * # B

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20,1 )# ) 0,1 ( )#(# 1,* , " * 1# , (3)*,1 ( *20,B

20,1B

0 , .

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+

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0.2 *$5, ! * 3 3 $5 !,=!3 2 :.,!3?

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, !* !,=2.A @15 ", !3 !* 2!30.,3 *! ! * 3 3 $5 !,=!3 #5, .,!3?

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@ , 15" .+5, . 0 '3 , 3=! 3 =6 9 =53 0 2!3?

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# OB * 4

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LP

@ ., 15" #2! 5!, . 522! *. 3 $5 !,=! !, =53 * 3!3 ! !,$5 ?

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( .0, 1,0 *1 + (,1 (3)*,1 -), ( #* ,0) #-* (,1 2 72,1 1 1 * (, /3 8 ,*, *B

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V7 V #WY[7 \ 4687 ]^^-=

LQ

@ ., 15" #2! 5!, . 522! *. 3 $5 !,=! !, =53 * 3!3 ! !,$5 ?

D + 0 +: + . , =E

( .0, 1,0 7.(# ,* *2 ( #-* /3 1 1. 0 (,1 (3)*,1B

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( .0, 1,0 ,) *2 ( 20 &, (,1 (3)*,1?

3* 5 9 /3 " * 2 0)#* , 131 2 0 1 ( 230 B

( .0, 1,0 7.(# (,1 (3)*,1 ,* *2 ( #-* -), 1 5 5 (3 0 13 20 &,B

( .0, 1,0 .0 !3*2 1# 2, ,1 (,1 (3)*,1 " * *2 * # , -), * 0 (#9 0 131 2 0 1 ( 230 B

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( .0, 1,0 .( *2 .0 !3*2 1 /3 ),2#5 * (,1 (3)*,1 . 02# #. 0 ,0) 2#5 B

( .0, 1,0 # (,1 (3)*,1 (,1 0 13(2 ,1 131 2 0 1 ( 230 #*) # 2 ) *2 1.3 1B

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# PB )#) #

,- , , - ( + -. - , , + ,

- ,= ,- , . ,- + + -+ . + ,- =

Lp

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D + 0 +: + , . , =E

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Y1 0 *2 0* 2B

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V7 V #WY[7 \ 4687 ]^^-=

# QB 4# *

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MJ

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Kϳϴ

DJE

N

N

N

N

N

N

DKE

DLE

O

O

O

O

O

O

P

P

P

P

P

P

. /-

DME

Q

Q

Q

Q

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DNE

R

R

R

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R

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S

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S

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V7 V #WY[7 \ 4687 ]^^-=

MK

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*2 *2, ,.# 0 ( .# ( ( 20 2, 1 ( 1 0 1 1 /3 .3 ,B

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5,=5 /,

/-

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N

N

DJE

DKE

DLE

DME

N

N

N

O

O

O

O

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P

P

P

P

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Q

Q

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15 0 + !,=. =! ,.*/$ . 30., *!

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Y* #).0 1,0 B

N

N

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N

N

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Y* ( .#9 ) ),0# Y8 B

O

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: .-

: + .-

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N

N

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Y* ( .#9 ) ),0# Y8 B

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O

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V7 V #WY[7 \ 4687 ]^^-=

= * : /, ! .2 !, .2!3 !, $!,!2 *

MN

@0 3 5= * : . *$5, 7!: 5, .2 !, .2?

D + 0 +: + , . , =E

N

O

( , - ,- > ? + -. - - + +: + 0 + - / + . ,- + =

( , - ,- > ?: ( , - +

. ,- + = + 0 +: - ,-. + + ( ,- *. -.,

+ + , - +

+. = . ( , -+ ,=

3. ! * 3 =! ,.*.$' 3 ! * ,#.2+ /, 9 * .+5, /, !, 3

MO

@ ., 15" #2! 5!, 5= * : 3 5, .2 !, .2 !, 3 0 2 2! * : 2 * 3 3 $5 !,=!3 = 7 !3?

D + 0 +: + . , =E

H

H

H

H

H H

!H

"H

#H

3! 0 &3 !,1 3* 1,(, &3! ,0B

3! 0 ,*(#* &3 !,1 !03.,B

0 (,1 0 1 * ( ,0 * ,0B

Y1 0 ( ,00 , ( 20-*# , G ) #(HB

#" 2 0 G.,0 & ).(,? 11 *! 0IHB

. , .

5 ! 0 .,0 *2 0* 2 . 0 #5 02#0) G.B &B? . 0 5 0 5$ ,1? ,3W3 JHB

% 1 0! 0) )41# ? . ($ 3( 1? &3 !,1 , 1, 26 0 *2 0* 2B

3 (# 0 8 ) *2 * 0 3* . !#* 6 ? 3* 6 (,! , 3* (,! . 01,* (B

02# #. 0 * ,0,1 ,*(#* ? ,)3*# 1 , 1. #,1 5#023 ( 1 G.,0 & ).(,? 8 ,* # I , 88. JHB

, , 3 , , 0 , 0 , , ,

, - , , ,

,

N

N

N

N

N

N

N

N

N

O

O

O

O

O

O

O

O

O

P

P

P

P

P

P

P

P

P

Q

Q

Q

Q

Q

Q

Q

Q

Q

,!8. )Í&#x2DC; KÏ´Ï­

7

#WY[7

87 OMMVB 2 .3 9 025! 3 ! * !7 *5 /,

MP

@ ., 15" #2! 5!, 2! * : 3 * 3 3 $5 !,=!3 = 7 !3 !, 3 ?

D + 0 +: + . , =E

H

H

H

H

H

KÏ´Ï®

. , .

5 ! 0 .,0 *2 0* 2 . 0 " 0 (,1 0 1 G.,0 & ).(,? .0 . 0 0 3* 0 #-* , .0 1 *2 #-*HB

Y1 0 ( ,00 , ( 20-*# , . 0 ,)3*# 0) ,* ,20,1 (3)*,1 1, 0 (,1 0 1B

Y1 0 ( ,00 , ( 20-*# , . 0 ,)3*# 0) ,* .0, 1,0 1 8 *20 ! 0 (,1 0 1 3 ,20,1 20 &,1B

% 1 0! 0? 13 #0 , ,*13(2 0 , 3) *2,1 * ( . !#* ( *20, G.,0 & ).(,? ",0 0#,1 , ) 2 0# ( 1 ( 301,HB

#,*13(2 0 ( . !#* 6 ( *20, . 0 5 0 *,2 1 5#1, G.,0 & ).(,? 31 * # 1 .0, 1,0 1HB

, , 3 , , 0 , 0 , , ,

, - , , ,

,

N

N

N

N

N

O

O

O

O

O

P

P

P

P

P

Q

Q

Q

Q

Q

V7 V #WY[7 \ 4687 ]^^-=

3. ! * 3 =! ,.*.$' 3 ! * .+5, /, 9 * ,#.2+ /, !, !* !,=2.

MQ

@ ., 15" #2! 5!, 5= * : 3 5, .2 !, .2 0 2 2! * : 2 * 3 3 $5 !,=!3 = 7 !3 !, !* !,=2.?

D + 0 +: + . , =E

H

H H

H

H

H

!H

"H #H

#" 2 0 * ( *20,B

Y1 0 ( ,00 , ( 20-*# , * ( *20,B

. , .

5 ! 0 .,0 *2 0* 2 . 0 0 (#9 0 (,1 20 &,1 ( 1 B

% 1 0! 0? 13 #0 , ,*13(2 0 ) 2 0# ( ( . !#* 6 ( ,( !#, G.B &B? * ( #*20 * 2HB

#,(! 0 23 20 &, * ( . !#* 6 ( *20,B

Y2#(#9 0 1, 26 0 ,* &3 !,1 1#)3( #-* * ( *20,B

0 & 0 # #,1 .0 2# G.,0 & ).(,? . 0 ( .0 * #9 & ( *!3 1 720 *& 0 1 , ) 2 ) 2# 1HB

0 (,1 0 1 * 3* ,0 * ,0 ( *20,B

Y1 0 ,0 * ,0 1 ( *20, . 0 " 0 20 &,1 * !03., , . 0 ,)3*# 0) ,* ,20,1 (3)*,1B

, , 3 , , 0 , 0 , , ,

, - , , ,

,

N

N

N

N

N

N

N

N

N

O

O

O

O

O

O

O

O

O

P

P

P

P

P

P

P

P

P

Q

Q

Q

Q

Q

Q

Q

Q

Q

,!8. )Í&#x2DC; Kϴϯ

7

#WY[7

87 OMMVB 2 .3 9 025! 3 ! * !7 *5 /,

Mp

, 5, 3!+ , ,.2+ *A @ 5 ,=. = !+0. 0 3 3 5= * : , . 5, .2 !, .2 52 ,=! * 3 * 3!3?

D + 0 +: + . , =E

H

H

H

H

Y2#(#9, 3* ,0 * ,0 30 *2 ( 1 ( 1 1

*!3 B

Y2#(#9, 3* ,0 * ,0 30 *2 ( 1 ( 1 1 2 ) 2# 1B

Y2#(#9, 3* ,0 * ,0 30 *2 ( 1 ( 1 1 ## * # 1B

Y2#(#9, 3* ,0 * ,0 30 *2 ( 1 ( 1 1

*!3 720 *& 0 B

H B KH

.- , ,

N

N

N

N

KI B NH

.- , ,

O

O

O

O

, NH

.- , ,

P

P

P

P

Q

Q

Q

Q

NI

@0 3= 15" 05,=. !2!3 0 : ! 2! * : 2 * 3 3 $5 !,=!3 = 2! 3 !, 5, .2 !, .2?

D + 0 +: + . , =E

. . *. ( + ( + ,: +

. . , , ( + -.

H

[ 2, 0 ,2,!0 $ 1 #!#2 ( 1 3 ,20 1 #) ! * 1 !0 # 1B

H

#0 0 3* 1 2,1 G.,0 & ).(,? 32#(#9 * , # 0,1, 2 7 11IHB

H

Y1 0 3* ",& ( 3(, . 0 0 .0 1 *2 0 3* !0 # ,B

H

0 . 0 0 3* .0 1 *2 #-* G.,0 & ).(,? 32#(#9 * , # 0,1, 2 ,6 0 ,#*2IHB

0 . 0 0 3* .0 1 *2 #-* )3(2#) # G ,* 1,*# ,? #) ! * 1? 5$ ,HB

H

K KÏ´Ï°

N

N

N

N

N

O

O

O

O

O

, *. ,

P

P

P

P

P

Q

Q

Q

Q

Q

V7 V #WY[7 \ 4687 ]^^-=

NJ

, 5, 3!+ , ,.2+ *A @ 5 ,=. = !+0. 0 3 3 5= * : , . !* .2 !, .2 !, !* !,=2.A 0!2. #5!2 ! * 3 * 3!3A 0.2 !)!+0*.A !, * * .=! . !, 5, 3 * ! .2 !, .2!3?

D + 0 +: + , . , =E

* ( *20,? *3* 32#(#9, ( ,0 * ,0 3 0

( 1 ( 1 1B

7(0 ,0 ) # ",0 ( 1 ) * B

7(0 ,0 3* ",0 ( 1 ) * B

7(0 ,0 ,1 ",0 1 ( 1 ) * B

7(0 ,0 20 1 ",0 1 ( 1 ) * B 7(0 ,0 3 20, ",0 1 ( 1 ) * , ) 1B

N

O

P

Q

R

S

5 = =5 % *.3 .2 !, .2!3

NK

" @% 3= 15" 05,=. !3= 3 ! 5!2 . ., * 3 3 $5 !,=!3 # 2+ .,!3?

H

H

H

H

D + 0 +: + . , =E

3 - - , . +

, . +

0 )$ 1 )38 #).,02 *2 20 & 0 ,* ( ,0 * ,0B

. 0 )38 #5 02# , &3! 0 , 20 & 0 ,* ( ,0 * ,0B

Y2#(#9, ( ,0 * ,0 .,0/3 ) #*2 0 1 )3 ",B

#3 * , 20 &, ,* ( ,0 * ,0? .# 0 , ( *, #-* ( 2# ).,B

N

N

N

N

. +

O

O

O

O

3 - - . +

P

P

P

P

Q

Q

Q

Q

!

,!8. )Í&#x2DC; Kϴϱ

Pisa:Maquetación 1 01/12/10 16:02 Página 1

LA LECTURA EN PISA 2009 Marcos y pruebas de la evaluación

MINISTERIO GOBIERNO GOBIERNO MINISTERIO DE EDUCACIÓN DE ESPAÑA DE ESPAÑA DE EDUCACIÓN

GOBIERNO DE ESPAÑA

MINISTERIO DE EDUCACIÓN

LA LECTURA EN PISA 2009 Marcos y pruebas de la evaluación

INSTITUTO DE EVALUACIÓN

educacion.es

9