Questões de Concurso
Sobre análise sintática | syntax parsing em inglês
Foram encontradas 579 questões
Read the text to answer the question.
The archetype of the classic witch is a cornerstone of global folklore and fiction, often depicted as a formidable and sinister antagonist. These figures are deeply embedded in collective storytelling, usually characterized by their malevolent intentions towards protagonists, especially innocent children or virtuous heroes. Their narrative role is fundamentally to embody the forces of darkness, chaos, or forbidden knowledge, creating a clear moral contrast and a formidable obstacle for the main characters to overcome. From European fairy tales to modern pop culture, the classic witch serves as a powerful symbol of fear and the supernatural.
Physically, the traditional witch is frequently described as an old, haggard woman with exaggeratedly ugly features, which visually symbolizes her inner corruption and alienation from societal norms. Common traits include a long, hooked nose, warts, disheveled gray hair, and crooked fingers. She is typically clothed in dark, ragged robes and a pointed, wide-brimmed hat, an image popularized and solidified by Western media. This distinct and fearsome appearance is designed to evoke immediate unease and signal her dangerous nature to the audience.
The classic witch's power is intrinsically linked to specific magical tools and practices. The bubbling cauldron is her quintessential instrument, used for brewing potent potions, casting spells, and concocting mysterious elixirs. Her magic often involves ancient books ofspells, enchanted mirrors that show more than mere reflections, and the command over supernatural familiars like black cats, crows, or toads. These elements are not just props; they are extensions of her will and the sources of her power, which she uses to curse, transform, or deceive those who cross her path.
This archetype finds vivid expression in some of the most famous villains of literature and film. The Wicked Witch of the West from The Wizard of Oz menaces Dorothy with her command over flying monkeys and her thirst for revenge. The Evil Queen from Snow White, obsessed with being the "fairest of them all," uses a poisoned apple in her deadly scheme. Similarly, Maleficent from Sleeping Beauty is a figure of pure vengeance, cursing an infant princess to a sleep-like death. Beyond Anglo-American tales, other cultures have their own versions, such as Brazil's Cuca, a child-eating alligator-witch from Sítio do Picapau Amarelo.
However, the portrayal of the witch is not monolithic and has evolved to include more nuanced or comedic figures. In the Mexican sitcom El Chavo del Ocho, Doña Clotilde, nicknamed "La Bruja del 71," is a neighborhood eccentric whose witch persona is more a source of gossip and lighthearted fear than genuine evil. Furthermore, modern narratives like the film Hocus Pocus present the Sanderson sisters as a blend of the classic tropes—complete with spell books and a thirst for youth—but with a comedic and less terrifying demeanor, showcasing the adaptability and enduring fascination with this iconic character type.
Read the text to answer the question.
The archetype of the classic witch is a cornerstone of global folklore and fiction, often depicted as a formidable and sinister antagonist. These figures are deeply embedded in collective storytelling, usually characterized by their malevolent intentions towards protagonists, especially innocent children or virtuous heroes. Their narrative role is fundamentally to embody the forces of darkness, chaos, or forbidden knowledge, creating a clear moral contrast and a formidable obstacle for the main characters to overcome. From European fairy tales to modern pop culture, the classic witch serves as a powerful symbol of fear and the supernatural.
Physically, the traditional witch is frequently described as an old, haggard woman with exaggeratedly ugly features, which visually symbolizes her inner corruption and alienation from societal norms. Common traits include a long, hooked nose, warts, disheveled gray hair, and crooked fingers. She is typically clothed in dark, ragged robes and a pointed, wide-brimmed hat, an image popularized and solidified by Western media. This distinct and fearsome appearance is designed to evoke immediate unease and signal her dangerous nature to the audience.
The classic witch's power is intrinsically linked to specific magical tools and practices. The bubbling cauldron is her quintessential instrument, used for brewing potent potions, casting spells, and concocting mysterious elixirs. Her magic often involves ancient books ofspells, enchanted mirrors that show more than mere reflections, and the command over supernatural familiars like black cats, crows, or toads. These elements are not just props; they are extensions of her will and the sources of her power, which she uses to curse, transform, or deceive those who cross her path.
This archetype finds vivid expression in some of the most famous villains of literature and film. The Wicked Witch of the West from The Wizard of Oz menaces Dorothy with her command over flying monkeys and her thirst for revenge. The Evil Queen from Snow White, obsessed with being the "fairest of them all," uses a poisoned apple in her deadly scheme. Similarly, Maleficent from Sleeping Beauty is a figure of pure vengeance, cursing an infant princess to a sleep-like death. Beyond Anglo-American tales, other cultures have their own versions, such as Brazil's Cuca, a child-eating alligator-witch from Sítio do Picapau Amarelo.
However, the portrayal of the witch is not monolithic and has evolved to include more nuanced or comedic figures. In the Mexican sitcom El Chavo del Ocho, Doña Clotilde, nicknamed "La Bruja del 71," is a neighborhood eccentric whose witch persona is more a source of gossip and lighthearted fear than genuine evil. Furthermore, modern narratives like the film Hocus Pocus present the Sanderson sisters as a blend of the classic tropes—complete with spell books and a thirst for youth—but with a comedic and less terrifying demeanor, showcasing the adaptability and enduring fascination with this iconic character type.
Analyze the sentence below: "Frankly, you should have accepted the offer."
Syntactically, the underlined word ("Frankly") is classified as:
The policy will significantly reshape how teachers evaluate multimodal assignments.
O advérbio significantly tem escopo sobre:
I. "Seldom have I seen such a remarkable display of talent" is a grammatically correct example of inversion triggered by a negative adverb.
II. "Hardly had he arrived when the phone rang" demonstrates the correct use of inversion with a time-relationship adverbial.
III. "Little she knows about the surprise" is the correct emphatic form of the sentence "She knows little about the surprise".
It is correct what is stated
(__) "Look up" (meaning to search for information) is a transitive separable phrasal verb, allowing the object to be placed between the verb and the particle (e.g., "Look the word up").
(__) "Run into" (meaning to meet by chance) is a transitive inseparable phrasal verb, meaning the object must follow the particle (e.g., "I ran into him", not "I ran him into").
(__) "Wake up" is exclusively intransitive and can never take a direct object in any context.
(__) If the object of a separable phrasal verb is a pronoun (e.g., it, them), it must be placed between the verb and the particle (e.g., "Turn it on", not "Turn on it").
After analysis, select the alternative that presents the correct sequence of the items above, from top to bottom:
I. "Despite the weather was cold, they decided to go swimming."
II. "Not only did he finish the project on time, but he also exceeded all quality expectations."
III. "She studied hard for the exam; however, she failed to achieve the necessary grade."
It is correct what is stated


I. The clause “have made it more feasible” (l. 27-28) expresses an action that began in the past and continues to have effects in the present.
II. In the sentence “It would require enormous satellite structures” (l. 21), the verb form “would require” indicates a hypothetical situation rather than a real one.
III. In the sentence “making it work is no small task” (l. 21), the structure “making it work” functions as the subject of the sentence.
IV. The structure “it was dismissed as too costly” (l. 26) refers to a past passive construction in the simple past.
Which ones are correct?
Assinale a alternativa que apresenta a estrutura básica correta de uma frase afirmativa em inglês no tempo presente simples:
Space power: The dream of beaming solar energy from orbit


(Available at: www.bbc.com/future/article/20251029-the-beam-dream-should-we-build-solar-farms-in-space–
text specially adapted for this test).
I. The clause “have made it more feasible” (l. 27-28) expresses an action that began in the past and continues to have effects in the present.
II. In the sentence “It would require enormous satellite structures” (l. 21), the verb form “would require” indicates a hypothetical situation rather than a real one.
III. In the sentence “making it work is no small task” (l. 21), the structure “making it work” functions as the subject of the sentence.
IV.The structure “it was dismissed as too costly” (l. 26) refers to a past passive construction in the simple past.
Which ones are correct?
I."Cars" is the head noun of the phrase, determining the number and gender of the phrase.
II."The" acts as a determiner (definite article), identifying the specific group of cars being referred to.
III."Three" and "expensive" function as pre-modifiers (numeral and adjective) that describe the head noun.
Choose the alternative that indicates the correct statement(s).