Questões de Concurso
Comentadas sobre análise sintática | syntax parsing em inglês
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TEXT I
Why do birds sing so loudly in the morning in spring? It’s the ‘dawn chorus’
As spring begins, so does a fresh song at daybreak, unique to the season. Just before the sun rises, birds start singing their melodies, creating a chirpy symphony.
This phenomenon is known as the dawn chorus, and it’s special for a number of reasons: There are more birds singing at this time of year, and they also sing more often. This energetic burst of birdsong is often louder than usual too. The dawn chorus’ early morning explosion of sounds has even inspired multiple poems and songs.
“It's the epitome of spring,” says Jordan E. Rutter, an ornithologist at the American Bird Conservancy. After the long and cold winter, “all of a sudden you have this influx of so many beautiful birds coming back and singing.”
This harmony of birdsong at dawn happens during a fundamental time of the year. The dawn chorus is, in fact, mostly composed of birds of both genders singing to find a mate so they can breed (though males may sing more).
“There is such a large increase in quantity of song by individuals and the collective,” Rutter says. “These birds sing louder to literally be heard. They need to compete with each other as well, and the louder the better in regards to who is the most impressive mate.”
During this time, males also sing to assert their dominance and claim their territory. “Those songs are how they communicate to other males of the same species, or even just other birds and predators in general, and say, ‘This is my home,’” says Rutter.
In the United States and Canada, the dawn chorus can be heard roughly from March through May, when many bird species migrate there from their winter homes to breed. Peak dawn chorus times might depend on where you live, Rutter says. For example, April is peak for the southern U.S., but birds in Washington, D.C., will put on the best show in early May. (Alternatively, in the tropics, the dawn chorus can be heard almost any time of year, as many birds have a prolonged breeding season in those warmer climates.)
Why is it a ‘dawn’ chorus?
But why birds sing in the early morning is still “an open question,” says Mike Webster, an ornithologist at the Cornell Lab of Ornithology. “There's a lot of debate, and I don't think there's any consensus on exactly why it is that everything happens at dawn."
One hypothesis is that weather conditions at daybreak make it easier for birdsong to travel.
“In general, sound travels farther when the air is cooler and more dense. Sound also transmits more clearly (and very slightly faster) when humidity is higher so that details of the song do not degrade as much over distance,” says Heather Williams, a professor at Williams College who has studied the neuroscience of birdsong. She notes that wind may also impede sound transmission. “At dawn, the cooler air results in decreased winds at ground level, so coupled with the higher humidity, sound carries farther and more clearly, with less distortion.”
Extract from
https://www.nationalgeographic.com/animals/article/birds-dawn-chorus (Accessed on 14 April 2025.)
Text 7A3-I
As a science fiction writer, Octavia Butler forged a new path and envisioned bold possibilities. The future she wrote about is now our present moment. She wrote 12 novels and won each of science fiction’s highest honors. In 1995, she became the first science fiction writer to be awarded a MacArthur “genius” grant. She is also, increasingly, a writer recognized as one of the most important voices and visionaries of the 20th century, and now the 21st. As a Black woman and a writer, Butler demolished walls that seemed impermeable, writing on themes that seemed uncategorizable. Her ideas and characters continue to resonate with new readers when so many are looking for, if not hope, then a map for a way forward.
Her vision about the climate crisis, political and societal upheaval and the brutality and consequences of power hierarchies seems both sobering and prescient. However, as Butler often noted, being right was never the point. She didn’t want to be right — far from it. She wanted to give us time, and tools, to correct the course.
Lynell George. The Visions of Octavia Butler. Internet: <www.nytimes.com> (adapted).
In text 7A3-I, the clause “as Butler often noted” (second sentence of the second paragraph) is an adverbial clause that indicates
Text 7A3-I
As a science fiction writer, Octavia Butler forged a new path and envisioned bold possibilities. The future she wrote about is now our present moment. She wrote 12 novels and won each of science fiction’s highest honors. In 1995, she became the first science fiction writer to be awarded a MacArthur “genius” grant. She is also, increasingly, a writer recognized as one of the most important voices and visionaries of the 20th century, and now the 21st. As a Black woman and a writer, Butler demolished walls that seemed impermeable, writing on themes that seemed uncategorizable. Her ideas and characters continue to resonate with new readers when so many are looking for, if not hope, then a map for a way forward.
Her vision about the climate crisis, political and societal upheaval and the brutality and consequences of power hierarchies seems both sobering and prescient. However, as Butler often noted, being right was never the point. She didn’t want to be right — far from it. She wanted to give us time, and tools, to correct the course.
Lynell George. The Visions of Octavia Butler. Internet: <www.nytimes.com> (adapted).
In text 7A3-I, the clause “when so many are looking for, if not hope, then a map for a way forward” (last sentence of the first paragraph) is an adverbial clause that indicates
Text 7A2-II
In October 1971, a gentleman called Frieder Nake published a note entitled, There Should Be No Computer Art, which I quote here. “Soon after the advent of computers, it became clear that there was a great potential application for them in the area of artistic creation”, he began. “Before 1960, amazing, large, expensive, digital computers helped to produce poetic text and music. Analog computers, or only oscilloscopes, generated drawings of sets of mathematical curves and representations of oscillations. It was not before the first exhibitions of computer produced pictures were held in 1965 that a greater public took notice of this threat, as some said, progress, as some thought. I was involved in this development from its beginning.
I think that the way the art scene reacted to the new creations is interesting, pleasing, and stupid. I stated in 1970 that I was no longer going to take part in exhibitions. I find it easy to admit that computer art did not contribute to the advancement of art if we compare the computer products to all existing works of art. In other words, the repertoire of results of aesthetic behavior has not been changed by the use of computers. This point of view, namely, that of art history, is shared and held against computer art by many art critics. There is no doubt in my mind”, Frieder Nake said, “that interesting new methods have been found in the last decade which can be of some significance for the creative artist”.
As you might imagine, this was a bit of a controversial take. Here was a man who had for part of the previous decade been an insider, an advocate for the use of algorithmic and generative processes to create art. However, he was now seeing things from another perspective. I’ll just finish with another piece from what he posted in that article: “Questions like ‘is a computer creative’, or ‘is a computer an artist’, or the like, should not be considered serious questions, period. In the light of what we are facing at the end of the 20th century, those irrelevant questions do not matter”.
Where is the Art? A History in Technology.
Internet: <https://www.infoq.com> (adapted).
In the first paragraph of text 7A2-II, the passage ‘amazing, large, expensive digital computers helped to produce poetic text and music’ (third sentence of the first paragraph) can be correctly rewritten, in terms of grammatical rules, as
Text 7A2-II
In October 1971, a gentleman called Frieder Nake published a note entitled, There Should Be No Computer Art, which I quote here. “Soon after the advent of computers, it became clear that there was a great potential application for them in the area of artistic creation”, he began. “Before 1960, amazing, large, expensive, digital computers helped to produce poetic text and music. Analog computers, or only oscilloscopes, generated drawings of sets of mathematical curves and representations of oscillations. It was not before the first exhibitions of computer produced pictures were held in 1965 that a greater public took notice of this threat, as some said, progress, as some thought. I was involved in this development from its beginning.
I think that the way the art scene reacted to the new creations is interesting, pleasing, and stupid. I stated in 1970 that I was no longer going to take part in exhibitions. I find it easy to admit that computer art did not contribute to the advancement of art if we compare the computer products to all existing works of art. In other words, the repertoire of results of aesthetic behavior has not been changed by the use of computers. This point of view, namely, that of art history, is shared and held against computer art by many art critics. There is no doubt in my mind”, Frieder Nake said, “that interesting new methods have been found in the last decade which can be of some significance for the creative artist”.
As you might imagine, this was a bit of a controversial take. Here was a man who had for part of the previous decade been an insider, an advocate for the use of algorithmic and generative processes to create art. However, he was now seeing things from another perspective. I’ll just finish with another piece from what he posted in that article: “Questions like ‘is a computer creative’, or ‘is a computer an artist’, or the like, should not be considered serious questions, period. In the light of what we are facing at the end of the 20th century, those irrelevant questions do not matter”.
Where is the Art? A History in Technology.
Internet: <https://www.infoq.com> (adapted).
In the sentence “Here was a man who had for part of the previous decade been an insider, an advocate for the use of algorithmic and generative processes to create art.” (second sentence of the third paragraph of text 7A2-II),
Text 7A2-II
In October 1971, a gentleman called Frieder Nake published a note entitled, There Should Be No Computer Art, which I quote here. “Soon after the advent of computers, it became clear that there was a great potential application for them in the area of artistic creation”, he began. “Before 1960, amazing, large, expensive, digital computers helped to produce poetic text and music. Analog computers, or only oscilloscopes, generated drawings of sets of mathematical curves and representations of oscillations. It was not before the first exhibitions of computer produced pictures were held in 1965 that a greater public took notice of this threat, as some said, progress, as some thought. I was involved in this development from its beginning.
I think that the way the art scene reacted to the new creations is interesting, pleasing, and stupid. I stated in 1970 that I was no longer going to take part in exhibitions. I find it easy to admit that computer art did not contribute to the advancement of art if we compare the computer products to all existing works of art. In other words, the repertoire of results of aesthetic behavior has not been changed by the use of computers. This point of view, namely, that of art history, is shared and held against computer art by many art critics. There is no doubt in my mind”, Frieder Nake said, “that interesting new methods have been found in the last decade which can be of some significance for the creative artist”.
As you might imagine, this was a bit of a controversial take. Here was a man who had for part of the previous decade been an insider, an advocate for the use of algorithmic and generative processes to create art. However, he was now seeing things from another perspective. I’ll just finish with another piece from what he posted in that article: “Questions like ‘is a computer creative’, or ‘is a computer an artist’, or the like, should not be considered serious questions, period. In the light of what we are facing at the end of the 20th century, those irrelevant questions do not matter”.
Where is the Art? A History in Technology.
Internet: <https://www.infoq.com> (adapted).
In text 7A2-II, the fragment ‘I think that the way the art sc ene reacted to the new creations is interesting, pleasing, and stupid’ (first sentence of the second paragraph)
Text 7A2-I
If we believe that our own information age is defined by the digital structures of electronic communication, we must take early modern culture as inextricably bound to the medium of print. Printed text and image arose within a few years of each other in the mid-fifteenth century, credited to the German goldsmith Johannes Gutenberg, who seemingly drew together a series of extant yet disparate technologies into a new machine that could print several thousand sheets a day. The ancient oil or wine press, the goldsmith’s craft in fine metal carving, the late-medieval development of plentiful rag paper, and the recent formulation of more stable oil-based inks enabled Gutenberg’s ‘revolution’.
Similarly, early photography developed from a coming together of two otherwise disparate technologies: on the one hand, the pinhole camera through which capture a refected view of the world as an image, and on the other the chemical means to fix the effects of light exposure on paper. In both cases, these technologies shared aesthetic resources with other media available at the time, while also producing forms of representation that were uniquely theirs, and which offered access to new ways of seeing, and enabled new forms of subjectivity. The greatly expanded flow of visual information facilitated by these technological breakthroughs worked to quicken the circulation of knowledge, and the foundations of thought itself.
Genevieve Warwick and Richard Taws. After Prometheus:
Art and Technology in Early Modern Europe. In:
Art History – Journal of the Association of Art Historians.
Special Edition: Art and Technology in Early Modern Europe. p. 201 (adapted)
In the first sentence of text 7A2-I,
Text 1 – How children learn languages
Questions 31 to 39
How long does it take to learn a language?
The aim of the research was to examine important components of foreign language pronunciation instruction. The data consisted of 45 video-recorded (1) lessons in French-as-a-foreign-language in selected (2) secondary schools in Norway and semistructured (3) interviews conducted with the same teachers whose instruction was previously video-recorded (4). Results indicate too little dedicated (5) time for pronunciation practice; and a need for more training in and knowledge of phonetics and pronunciation pedagogy.
READ TEXT I AND ANSWER THE FIVE QUESTION THAT FOLLOW IT
TEXT I
National Assessment Reform: Core Considerations for Brazil
Education has been an integral part of Brazil’s success story. With expanded access to basic education and improvements in literacy rates, young Brazilians are entering today’s workforce with higher levels of education than previous generations. This educational progress has contributed to and benefited from the economic growth that helped improve living standards and, during the first decade of the millennium, lifted more than 29 million people out of poverty. Trend data from the OECD Programme for International Student Assessment (PISA) reveal that Brazil’s increasing school participation rates have been realised alongside progress in education quality. This is a remarkable achievement considering that many of the new students progressing through the education system come from disadvantaged backgrounds and often lack the socio-economic support that helps enable learning. Nevertheless, PISA also reveals that the overall performance of Brazil’s education system is well below the OECD average and other emerging economies, such as parts of China and the Russian Federation. One reason for this is Brazil’s high share of students who do not achieve baseline proficiency, or Level 2 in PISA. Results from PISA 2018 show that 50% of Brazilian students failed to reach Level 2 in reading, meaning they can only complete basic tasks. Brazil’s share of low-performers was even higher in Mathematics and Science (68% and 55%, respectively). At the other end of the spectrum, few students in Brazil were able to answer more difficult PISA questions, like inferring neutrality or bias in a text, which require skills that are increasingly important in today’s world. The new approach to education, set out in the BNCC, aims not only to ensure that all students achieve basic cognitive skills but also develop the higher-order skills needed to solve complex problems of everyday life.
Adapted from: https://www.oecd-ilibrary.org/docserver/333a6e20- en.pdf?expires=1728831657&id=id&accname=guest&checksum=CD292865CAA9F4B A019D2FE4378B5D2D
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