Questões de Concurso Sobre inglês
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Judge the following items based on the text above.
One of the strategies proposed focuses on specific systems for both soil health and water retention improvement.
Judge the following items based on the text above.
The sentence: “If we don’t have conscious of the impact of climate change in our agriculture, we will soon have irreversible consequences.” is the correct English version for the following information in Portuguese: Se não tivermos consciência do impacto das mudanças climáticas em nossa agricultura, logo teremos consequências irreversíveis.
Text 7A3-II
400 million people speak English as their first language; another 1.4 billion as a second tongue. Born 1,600 years ago among the Germanic tribes of northern Europe, English became global. A new exhibition at the British Library, named Evolving English, traces for the first time the incredible journey launched by the Frisians, Saxons, Angles and Jutes who sailed to southeast England, and whose descendants created the Vespasian Psalter in the eighth century. From the Vespasian Psalter the journey moves on through England’s early literary heroes, Beowulf, Sir Gawayne and the Grene Knight, and on to Jonathan Swift.
The curators of Evolving English have been clever to focus not just on English at school and English at work, but English at play, from spoonerisms to malapropisms, puns and palindromes and the 1,800 words invented by William Shakespeare — among them “green-eyed”, “go-between”, “well-read” and “zany”. Not only was Shakespeare the greatest English writer, he could have been no other kind.
Internet:
Lecture strategies might include teaching reading strategies. In order to answer the question “How many words did Shakespeare create?”, the reading strategy required, in approaching text 7A3-II, would be
Text 7A3-II
400 million people speak English as their first language; another 1.4 billion as a second tongue. Born 1,600 years ago among the Germanic tribes of northern Europe, English became global. A new exhibition at the British Library, named Evolving English, traces for the first time the incredible journey launched by the Frisians, Saxons, Angles and Jutes who sailed to southeast England, and whose descendants created the Vespasian Psalter in the eighth century. From the Vespasian Psalter the journey moves on through England’s early literary heroes, Beowulf, Sir Gawayne and the Grene Knight, and on to Jonathan Swift.
The curators of Evolving English have been clever to focus not just on English at school and English at work, but English at play, from spoonerisms to malapropisms, puns and palindromes and the 1,800 words invented by William Shakespeare — among them “green-eyed”, “go-between”, “well-read” and “zany”. Not only was Shakespeare the greatest English writer, he could have been no other kind.
Internet:
Beowulf, mentioned in text 7A3-II, is notoriously considered
• Classes are taught in the mother tongue, with little active use of the target language.
• Much vocabulary is taught in the form of lists of isolated words.
• Long elaborate explanations of the intricacies of grammar are given.
• Grammar provides the rules for putting words together.
• Reading of difficult classical texts is begun early.
• Little attention is paid to the content of texts, which are treated as exercises in translating disconnected sentences from the target language into the mother tongue.
• Little or no attention is given to pronunciation.
Aaron Ugwu Ifeanyi. Language Teaching Methods: A Conceptual Approach. 2015 (adapted).
Considering the language teaching methods, it is correct to affirm that the aspects presented in the previous text correspond to the
The audiolingual method, also known as fundamental skill method, aural-oral method or Army method, came as a result of the need for American soldiers who were to travel overseas to communicate in foreign languages during the Second World War. To this end, bits and pieces of the Direct Method were appropriated in order to enhance this method. The audiolingual method draws its practices from linguistic and psychological theory that investigates different language using scientific descriptive analytic approach.
Aaron Ugwu Ifeanyi. Language Teaching Methods: A Conceptual Approach. 2015 (adapted).
Considering the previous excerpt as a context, it is correct to affirm that, in the audiolingual method,
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).
Text 7A3-I mentions the work of Octavia Butler, an important American writer. Choose the option that correctly presents the literary movement of which Butler is considered a precursor.
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-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).
Each of the following options presents a different version of the last sentence of the second paragraph of text 7A2-II. Choose the option in which not only are the correctness and the original meaning of the fragment maintained, but also is the reported indirect speech used correctly.
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 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)
Used in text 7A2-I, the words “Printed” (second sentence of the first paragraph) “carving” (third sentence of the first paragraph), and “producing” (second 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 last two sentences of text 7A2-I, the word
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)
The words “inextricably” (first sentence of text 7A2-I) and “goldsmith” (second sentence of text 7A2-I) are respectively formed by the word formation processes known as
Text 7A1-II
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
Robert Frost. The Road Not Taken. 1916 (adapted).
In text 7A1-II, the modal verb “should”, in “I doubted if I should ever come back.” (fifteenth verse), expresses
Text 7A1-II
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
Robert Frost. The Road Not Taken. 1916 (adapted).
In the 4th verse of text 7A1-II, the fragment “looked down” is classified as a
Text 7A1-II
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
Robert Frost. The Road Not Taken. 1916 (adapted).
In the last verse of text 7A1-II, the author uses the present perfect tense to
Conheça nossos planos