Questões de Concurso Comentadas sobre aspectos linguísticos | linguistic aspects em inglês

Foram encontradas 796 questões

Q3607748 Inglês
What phonological phenomenon is demonstrated when a word like "warmth" is pronounced as "wawrmth," involving the addition of a vowel sound to ease the transition between consonant sounds? 
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Q2645252 Inglês

Considering the linguistic aspects of the text, choose the incorrect alternative:


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Q2639819 Inglês

Instruction: answer questions 31 to 40 based on the following text. The highlights throughout the text are cited in the questions.


Carnival


  1. ______ Carnival is ____ festival celebrated in _____countries of Catholic tradition, often
  2. with public parades of playful, imaginative wagons typically called "floats, masking, jokes and
  3. feasts”.
  4. Etymology
  5. The word carnival comes from the Latin "carnem levare" (=eliminate meat) and
  6. originally indicated the banquet that was held on the last day of Carnival (Mardi Gras),
  7. immediately before Lent, the period of fasting and abstinence when Christians would abstain
  8. _____ meat. The first evidence of the use of the word "carnevale" (or "carnevalo") are the texts
  9. of minstrel Matazone da Caligano of the late 13th century and writer Giovanni Sercambi around
  10. 1400.
  11. Carnival period
  12. In Catholic countries, traditionally Carnival begins on the Septuagesima Sunday (70
  13. days to Easter, it was the first of the nine Sundays before the Holy Week in the Gregorian
  14. calendar), and in the Roman rite ends on the Tuesday before Ash Wednesday, which marks the
  15. beginning of Lent. The climax is usually from Thursday until Tuesday, the last day of Carnival.
  16. Being connected with Easter which is a moveable feast, the final dates of Carnival vary each
  17. year, though in some places it may begin already on 17th January. Since Catholic Easter is on
  18. the Sunday after the 17first full moon of spring, therefore from 22 March to 25 April, and since
  19. there are 46 days between Ash Wednesday and Easter, then in non-leap years the last day of
  20. Carnival, Mardi Gras, can fall any time within February 3 to March 9.
  21. In the Ambrosian rite, which is followed in the Archdiocese of Milan and in some
  22. neighboring dioceses, Lent begins with the first Sunday of Lent, therefore the last day of
  23. Carnival is on Saturday, four days later than the Mardi Gras in other areas of Italy.
  24. Carnival in antiquity
  25. Although present in the Catholic tradition, Carnival has its origins in much older
  26. celebrations, such as the Greek Dionysian festivals ("Anthesteria") or the Roman "Saturnalia".
  27. During these ancient rites a temporary dissolution of the social obligations and hierarchies took
  28. place in favor of chaos, jokes and even debauchery. From a historical and religious point of
  29. view Carnival represented, therefore, a period of renewal, when chaos replaced the established
  30. order, but once festive period was over, a new or the old order re-emerged for another cycle
  31. until the next carnival.
  32. In Babylon, shortly after the vernal equinox the process of the foundation of the cosmos
  33. was re-enacted, described with the myth of the struggle of Marduk, the savior-god with Tiamat
  34. the dragon, which ended with the victory of the former. During these ceremonies a procession
  35. was held in which the forces of chaos were allegorically represented fighting the recreation of
  36. the universe, that is the myth of the death and resurrection of Marduk, the savior. In the parade
  37. there was a ship on wheels where the deities Moon and Sun were carried along a large avenue
  38. - a symbol of the Zodiac - to the sanctuary of Babylon, symbol of the earth. This period was
  39. accompanied by an unbridled freedom and a reversal of social order and morality.
  40. In the Roman world the feast in honor of the Egyptian goddess Isis involved the presence
  41. of masked groups, as told by Lucius Apuleius in the Metamorphoses (Book XI). Among the
  42. Romans the end of the old year was represented by a man covered with goat skins, carried in
  43. procession, hit with sticks and called Mamurius Veturius.
  44. Carnival is therefore a moment in a mythic cycle, it is the movement of spirits between
  45. heaven, earth and the underworld. In the spring, when the earth begins to show its power,
  46. Carnival opens a passage between the earth and the underworld, whose souls must be honored
  47. and for a short period the living lend them their bodies wearing masks. Masks therefore have
  48. often an apotropaic meaning, as the wearer takes on the features of the spirit represented.
  49. In the 15th and 16th centuries, the Medici in Florence organized large masked carts
  50. called "Trionfi" accompanied by carnival songs and dances one, the "Trionfo di Bacco e Arianna"
  51. also written by Lorenzo the Magnificent. In Rome under the Popes horse races took place and
  52. a called the "race of moccoletti" where runners bearing lit candles tried to blow out each other's
  53. candles.


(Available at: http://www.italyheritage.com/traditions/carnival/2023/04/14/ – text especially adapted for this test).

Analyze the bold verbs in the following statements about the excerpt “The word carnival comes from the Latin ‘carnem levare’ (=eliminate meat) and originally indicated the banquet that was held …” (lines 05-06) and mark T, if true, or F, if false.


( ) The past form ‘was’ followed by the past participle ‘held’ indicates a past action.

( ) The past form ‘held’ indicates a repeated action in the past.

( ) The past form ‘was’ is the auxiliary verb of this passive voice structure ‘was held’.

( ) The past participle form ‘held’ is the main verb of this passive voice structure.


The correct order of filling the parentheses, from top to bottom, is:

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Q2638351 Inglês

O texto seguinte servirá de base para responder às questões de 21 a 25.


PUCKER UP I'm a dermatologist - you've been using lip balm all wrong - here's why your pout is still chapped


(1º§)YOU might be reaching for your lip balm more and more through these winter months. But are your lips still sore and chapped, no matter how much of the stuff you slather on? According to dermatology experts, the type of balm you put on your pout might be more important than the amount.

(2º§)Dr. Mona Gohara, an associate clinical professor of dermatology at the Yale School of Medicine, and Dr. Brendan Camp, a dermatologist at MDCS Dermatology in New York, told TODAY why some lip balms could do more harm than good.

(3º§)To start with, they discussed why your lips might be chapped in the first place. The cold weather can wreak havoc on them as the skin is very thin, so they're more likely to dry out, Dr Gohara said. Meanwhile, Dr Camp noted that the delicate skin of your pout can easily be irritated by ingredients in skincare or food, yeast or bacteria, and even enzymes in saliva.

(4º§)You might also not be giving them enough love: lot's of people forget about their lips when they're moisturising their face. But if your lips are dry and chapped not long after you apply your balm, you just might be using the wrong kind.

(5º§)Four things to avoid in a lip balm:

1.Tingly balms

2. Fragrances

3. Flavouring agents

4. Dyes

(6º§)Dr Camp said these might cause allergic contact dermatitis, a type of eczema triggered by contact with a particular substance. And if your lips are dry, cracked, red, scaly and itchy, you might have developed a sensitivity to an ingredient in your lip balm, he added. Moral of the story, check your lip balm ingredients.

(7º§)Since you're doing that, there are a few ingredients that will help hydrate your pout. Dr Camp said you want to look for ingredients that will help trap water in the skin while keeping it moisturized for a long period of time. "Ingredients like beeswax, olive oil, castor oil, coconut oil, and shea butter are often used for this purpose," he said.

(8º§)You should also be wearing a salve with SPF to protect your lips from the sun. Meanwhile, Dr Gohara said that your ideal balm will have a combination of humectants (like hyaluronic acid and glycerin), which draw moisture into the skin, and occlusives (such as shea butter and mineral oil), which lock moisture in.

(9º§)The NHS recommended you use one containing petroleum jelly or beeswax. It said: "Try a few different lip balms if one is not working for you - some people may be sensitive to some fragrances, dyes or cosmetic ingredients."

(10º§)As long as you're using the right type of balm, Dr Gohara said you can apply it multiple times a day. According to Dr Camp, it's best to put on lip balm once in the morning and once before bed. There are other ways of preventing dry lips too.

(11º§)Lisa Borg, skin specialist and nutritionist at the Pulse Light Clinc, said the best thing you can do is drink plenty of fluids throughout the day. Preferably quality water as opposed to dehydrating coffee and fizzy drinks, she noted.

(12º§)Lisa also recommended eating foods that simulate saliva production, such as apples, cucumbers, tomatoes, courgettes, watermelon, lemons, and crunchy fibrous vegetables like carrots and celery. Meanwhile, the NHS said you should wash your hands before applying lip balm and cover your lips with a scarf when you're outside in cold weather. If you're outdoors, use a balm with SPF 15 or more every two hours, it added.

(13º§)Common causes of dry lips: cold weather, dry air or wind; damage from the sun; dehydration; a lip injury; allergies; and lack of vitamins and minerals. If you have sore or dry lips, you should avoid: picking or biting any flaky skin on your lips - this can slow down healing; licking dry or cracked lips - this can make them sore; and sharing lip balms with other people - this can spread germs.


(adapted) -wwrongg-pu--chappeed .uk/health/21661055/dermatologist-using-lip-balm-wrong-pout-chapped/

Choose the alternative that presents an example of anaphora.

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Q2379792 Inglês
In addition to the physical production of sounds, phonology also studies:
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Q2379791 Inglês
What are phonemes?
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Q2379790 Inglês
Definition and scope of phonology

In order to delve into the basics of English phonology, it is important to establish a clear understanding of what phonology is and its scope of study. Phonology is a subfield of linguistics that focuses on the systematic study of sounds within a particular language or languages. It examines the patterns, organization, and rules governing the sounds and their usage in speech.
The scope of phonology encompasses several key aspects. Firstly, it examines the inventory of sounds in a language, identifying the distinct phonemes and their distribution within words. It also investigates the rules and patterns governing the combination and sequencing of sounds, known as phonotactics. These rules determine which sounds can appear in specific positions within words or syllables (Dodd, et al, 2003).



What is the main objective of phonology?
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Q2379789 Inglês
Teacher asked the following taks to students:

“Imagining that you are a web journalist, your job is to create interesting and engaging news articles about various topics for your online readers. You have been tasked with writing a news article about a recent technological discovery that has the potential to change everyday life.”

In order to create an effective and enticing article for a target audience, which of the following aspects should your students prioritize in their writing?
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Q2359887 Inglês
Considere o trecho e analise as assertivas a seguir:


Brazilian language policies have historically contributed to the invention of a monolingual ideology that served the purposes of the colonial project, that is, the erasure of indigenous languages and the establishment of Portuguese as the national language under the premise ‘one language-one nation-one culture’ as pre-condition for the creation of a supposedly homogenous nation-State (Duboc; Siqueira, 2020).


I. A problemática apresentada no trecho perpetua visões de identidade, cultura e língua fundamentadas em aspirações de pureza, estabilidade e uniformização das noções de língua(gem). 
II. As questões trazidas pelos autores negligenciam o caráter híbrido, fluido e complexo que as língua(gens) têm na construção de sentidos.
III. O debate trazido pelos autores celebra a visão multilíngue e multicultural da(s) língua(gens).



Quais estão corretas?
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Q2359886 Inglês
Considere os trechos abaixo:


Cultures are not characterised as bounded entities within national borders, but fluid and dynamic with blurred boundaries. Furthermore, cultures are viewed as heterogeneous, containing a great deal of variety among members (Baker, 2018).
ELF (as in English as a Lingua Franca) is by definition intercultural in nature since ELF communication is typically defined as involving speakers from different linguacultures (Baker,2015).
ELF research demonstrates how problematic it is to posit an inexorable link between particular languages and cultures, especially at the national level in intercultural communication (Baker,2018).


Sobre a relação entre língua e cultura, é correto afirmar que:
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Q2359884 Inglês
Considere o seguinte trecho:


Translanguaging is a theoretical lens that offers a different view of bilingualism and multilingualism (Vogel; Garcia; 2017).
Acerca do construto translanguaging, analise as assertivas a seguir, assinalando V, se verdadeiras, ou F, se falsas.
( ) Ao mencionar que a translanguaging oferece uma visão diferente de bilinguismo e multilinguismo, os autores se referem à ruptura da visão estanque e compartimentalizada de línguas.
( )   A translanguaging implica a concepção de um repertório linguístico único para comunicação.
( ) As visões de translanguaging e code-switching são sinônimas, não havendo, portanto, diferenças epistemológicas entre os termos.


A ordem correta de preenchimento dos parênteses, de cima para baixo, é:
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Q2326029 Inglês
Read Text I and answer the question that follow it.


Text I



Generative Art – What’s real?


     There is nothing new about the concept and creation of ‘artificial intelligence art’ or ‘generative art’. However, discussion of its legal and ethical or societal implications (both intended and unintended) hit the headlines last week.


     Boris Eldagsen refused his Sony World Photography Award 2023 prize in the creative open category on the basis that his entry was the product of artificial intelligence. Mr Eldagsen himself has sparked the latest debate by claiming that “AI is not photography” and that the rationale for entering the Awards with the work in question was “…to find out if the competitions are prepared for AI images to enter. They are not”.


     The reaction of the World Photography Organisation (running the Sony Awards) has been to acknowledge the need for an element of human involvement, which is the crux of the debate: “While elements of AI practices are relevant in artistic contexts of image-making, the Awards always have been and will continue to be a platform for championing the excellence and skill of photographers and artists working in this medium”.


     […]


     The conventional (and long assumed) approach has been to recognise the importance of the human hand to an artwork. The question then is: to what extent is the human creator or inputter the ‘artist’ as opposed to the generative system or is the system merely representing the human creator or inputter’s artistic idea? Flowing from that question is what that might then mean in terms of the ownership and value of such works. The debate looks set to continue in this particular context of imagery creation and reproduction coinciding with the increasing availability and use of consumer-grade AI image generation programmes, and the natural inclination of artists to continue to create.


Adapted from https://www.rosenblatt-law.co.uk/insight/generative-art-whats-real/
The phrase “The crux of the debate” (3rd paragraph) is the same as the 
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Q2326028 Inglês
Read Text I and answer the question that follow it.


Text I



Generative Art – What’s real?


     There is nothing new about the concept and creation of ‘artificial intelligence art’ or ‘generative art’. However, discussion of its legal and ethical or societal implications (both intended and unintended) hit the headlines last week.


     Boris Eldagsen refused his Sony World Photography Award 2023 prize in the creative open category on the basis that his entry was the product of artificial intelligence. Mr Eldagsen himself has sparked the latest debate by claiming that “AI is not photography” and that the rationale for entering the Awards with the work in question was “…to find out if the competitions are prepared for AI images to enter. They are not”.


     The reaction of the World Photography Organisation (running the Sony Awards) has been to acknowledge the need for an element of human involvement, which is the crux of the debate: “While elements of AI practices are relevant in artistic contexts of image-making, the Awards always have been and will continue to be a platform for championing the excellence and skill of photographers and artists working in this medium”.


     […]


     The conventional (and long assumed) approach has been to recognise the importance of the human hand to an artwork. The question then is: to what extent is the human creator or inputter the ‘artist’ as opposed to the generative system or is the system merely representing the human creator or inputter’s artistic idea? Flowing from that question is what that might then mean in terms of the ownership and value of such works. The debate looks set to continue in this particular context of imagery creation and reproduction coinciding with the increasing availability and use of consumer-grade AI image generation programmes, and the natural inclination of artists to continue to create.


Adapted from https://www.rosenblatt-law.co.uk/insight/generative-art-whats-real/
In the first paragraph, the relation between the two sentences is one of
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Q2320148 Inglês

Identify the type of Figurative Language used in the following sentences:


I. I am a deeply superficial person.

II. Round the rugged rocks the ragged rascal ran.

III. Mellow wedding bells.

IV. The mind is an ocean.


Select the alternative that identifies correctly them: 

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Q2316907 Inglês

Julgue o item subsequente. 


Intonation, the rise and fall of pitch in speech, plays a crucial role in conveying the speaker's attitude, mood, and intended meaning in American English. Different intonation patterns can distinguish between statements, questions, and exclamations, contributing significantly to effective communication.

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Q2316892 Inglês

Julgue o item subsequente. 


Word stress in American English is a crucial aspect of pronunciation. It involves emphasizing a specific syllable within a word, and its correct application plays a significant role in conveying meaning and maintaining intelligibility. 

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Q2316890 Inglês

Julgue o item subsequente. 


Elliptical syntactic structures, involving the intentional omission of elements in sentence construction, challenge conventional linguistic comprehension. Mastering the interpretation and production of elliptical phrases demands a deep understanding of underlying grammatical relationships and ellipsis strategies, representing an advanced domain of syntax. 

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Q2316879 Inglês

Julgue o item subsequente. 


Sentence stress, also known as prosody, is essential in American English for conveying the intended meaning of a sentence. It involves emphasizing certain words or syllables to communicate nuances such as importance, contrast, or emotion. Mastering sentence stress contributes to effective communication in spoken English.

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Q2316858 Inglês

Julgue o item subsequente. 


Central to effective text interpretation is the discernment of the author's purpose and perspective. Scrutinizing linguistic choices, tonal variations, and structural elements provides valuable insights into the author's intentions, allowing readers to engage meaningfully with the material and appreciate the text's overarching significance.

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Q2316857 Inglês

Julgue o item subsequente. 


Syntactic ambiguity, arising from grammatical structures that allow for multiple interpretations, is an intriguing linguistic phenomenon. Recognizing and mitigating syntactic ambiguity requires a profound understanding of the structural nuances of language, highlighting the underlying complexity in the formation of sentences in contemporary English.

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Respostas
241: B
242: D
243: A
244: E
245: C
246: B
247: C
248: E
249: E
250: B
251: A
252: B
253: A
254: B
255: C
256: C
257: C
258: C
259: C
260: C