Questões de Concurso Sobre inglês
Foram encontradas 25.119 questões
Ano: 2025
Banca:
Instituto JK
Órgão:
Prefeitura de São Raimundo das Mangabeiras - MA
Prova:
Instituto JK - 2025 - Prefeitura de São Raimundo das Mangabeiras - MA - Professor 6º ao 9º Ano - Inglês |
Q3979464
Inglês
Which sentence bellow doesn’t convey the
right meaning of the word “despondently”:
Ano: 2025
Banca:
Instituto JK
Órgão:
Prefeitura de São Raimundo das Mangabeiras - MA
Prova:
Instituto JK - 2025 - Prefeitura de São Raimundo das Mangabeiras - MA - Professor 6º ao 9º Ano - Inglês |
Q3979463
Inglês
What’s the meaning of the expression “we’re in
a fix” in this context?
Ano: 2025
Banca:
Instituto JK
Órgão:
Prefeitura de São Raimundo das Mangabeiras - MA
Prova:
Instituto JK - 2025 - Prefeitura de São Raimundo das Mangabeiras - MA - Professor 6º ao 9º Ano - Inglês |
Q3979462
Inglês
Read the excerpt from “The Lord of the Rings,
the two towers” by J.R.R. Tolkien and answer
the following questions:
“Well, master, we’re in a fix and no mistake’, said Sam Gamgee. He stood despondently with hunched shoulders beside Frodo, and peered out with puckered eyes into the gloom.”
J. R. R. Tolkien - The Lord of the Rings, the two towers - Book four, Chapter I, The taming of Smeagol. p. 787. HarperCollinsPublisher, 2012.
What option best describes what is said in the excerpt above:
“Well, master, we’re in a fix and no mistake’, said Sam Gamgee. He stood despondently with hunched shoulders beside Frodo, and peered out with puckered eyes into the gloom.”
J. R. R. Tolkien - The Lord of the Rings, the two towers - Book four, Chapter I, The taming of Smeagol. p. 787. HarperCollinsPublisher, 2012.
What option best describes what is said in the excerpt above:
Ano: 2025
Banca:
LEGALLE Concursos
Órgão:
Prefeitura de Caxias do Sul - RS
Prova:
LEGALLE Concursos - 2025 - Prefeitura de Caxias do Sul - RS - Professor de Língua Estrangeira – Inglês |
Q3969218
Inglês
From a pedagogical-methodological perspective in advanced second language acquisition, particularly within inferential reading and stylistic hermeneutics, which instructional strategy would optimally cultivate high-order stylistic sensitivity and discursive inference in EFL learners encountering a Clark Ashton Smith text? Mark the CORRECT alternative.
Ano: 2025
Banca:
LEGALLE Concursos
Órgão:
Prefeitura de Caxias do Sul - RS
Prova:
LEGALLE Concursos - 2025 - Prefeitura de Caxias do Sul - RS - Professor de Língua Estrangeira – Inglês |
Q3969217
Inglês
The sentence Vainly, with all these, and many stranger devices, wilder, more wonderful diversions, the slaves and sultanas have sought to alleviate the iron hours (l.25–28) predominantly embodies which semantic-pragmatic relation within the logic of discourse progression? Mark the CORRECT alternative.
Ano: 2025
Banca:
LEGALLE Concursos
Órgão:
Prefeitura de Caxias do Sul - RS
Prova:
LEGALLE Concursos - 2025 - Prefeitura de Caxias do Sul - RS - Professor de Língua Estrangeira – Inglês |
Q3969216
Inglês
Which of the following word pairings in the sentence Even for a new grief, or a subtler pang than any felt before, he thinks, lying on his bed of ebony, that he would give the silver and vermilion of all his mines (l.15–18) forms a collocation?
Ano: 2025
Banca:
LEGALLE Concursos
Órgão:
Prefeitura de Caxias do Sul - RS
Prova:
LEGALLE Concursos - 2025 - Prefeitura de Caxias do Sul - RS - Professor de Língua Estrangeira – Inglês |
Q3969215
Inglês
In the sentence he has dismissed them with a weary gesture (l.28–29), identify the tense, aspect, and mood of the verb phrase, considering its retrospective function within the narrative. Mark the CORRECT alternative.
Ano: 2025
Banca:
LEGALLE Concursos
Órgão:
Prefeitura de Caxias do Sul - RS
Prova:
LEGALLE Concursos - 2025 - Prefeitura de Caxias do Sul - RS - Professor de Língua Estrangeira – Inglês |
Q3969214
Inglês
Considering the lexeme "heart" as used in the phrase with the canker of ennui at his heart (1.30–31), evaluate the following statements regarding its grammatical and lexical properties. Mark the CORRECT alternative, considering T for True and F for False.
(_) Heart functions as a concrete, countable noun referring literally to the anatomical organ within this context.
(_) The word heart here operates metaphorically, denoting the emperor's emotional or spiritual core.
(_) Heart is derived from Old English and retains exclusively physiological meaning in contemporary usage.
(_) In this construction, heart functions as an abstract, uncountable noun expressing cause.
Ano: 2025
Banca:
LEGALLE Concursos
Órgão:
Prefeitura de Caxias do Sul - RS
Prova:
LEGALLE Concursos - 2025 - Prefeitura de Caxias do Sul - RS - Professor de Língua Estrangeira – Inglês |
Q3969213
Inglês
Which of the following grammatical categories are present in the syntactic construction With implacable and weary gaze, from beneath unmoving lids that seem carven of purple-veined onyx (1.5–7)? Mark the CORRECT alternative.
I. Nouns: gaze, lids, onyx.
II. Past participle: carven (archaic/poetic past participle of carve).
III. Adjectives: implacable, weary, unmoving, purple-veined.
I. Nouns: gaze, lids, onyx.
II. Past participle: carven (archaic/poetic past participle of carve).
III. Adjectives: implacable, weary, unmoving, purple-veined.
Ano: 2025
Banca:
LEGALLE Concursos
Órgão:
Prefeitura de Caxias do Sul - RS
Prova:
LEGALLE Concursos - 2025 - Prefeitura de Caxias do Sul - RS - Professor de Língua Estrangeira – Inglês |
Q3969212
Inglês
Within the extended syntactical sequence Vainly, with the verse of the more inventive poets, the fanciful purple-threaded fabrics of the subtlest looms, the unfamiliar gems and minerals from the uttermost land (l.20–23), the function of the prepositional phrase "with the verse of the more inventive poets" is best described as:
Ano: 2025
Banca:
LEGALLE Concursos
Órgão:
Prefeitura de Caxias do Sul - RS
Prova:
LEGALLE Concursos - 2025 - Prefeitura de Caxias do Sul - RS - Professor de Língua Estrangeira – Inglês |
Q3969211
Inglês
Which lexical item among the options below may, through its orthographic or phonetic resemblance to a Portuguese term, mislead an uncritical L2 reader into a false cognate interpretation when considered in isolation? Mark the CORRECT alternative, considering T for True and F for False.
( ) casket (l.30)
( ) mineral (l.23)
( ) mordant (l.31)
( ) crown (l.19)
( ) casket (l.30)
( ) mineral (l.23)
( ) mordant (l.31)
( ) crown (l.19)
Ano: 2025
Banca:
LEGALLE Concursos
Órgão:
Prefeitura de Caxias do Sul - RS
Prova:
LEGALLE Concursos - 2025 - Prefeitura de Caxias do Sul - RS - Professor de Língua Estrangeira – Inglês |
Q3969210
Inglês
In the sentence Oppressive as nightmare, a formless nameless fatigue, heavier than any burden the slaves of the mines must bear, lies forever at his heart (l.9–12), the simile "Oppressive as nightmare" performs a distinct textual function. It primarily acts as a(n) ______, designed to accentuate the atmosphere of metaphysical oppression and existential suffocation permeating the emperor's condition, rather than to ______ or to ______. Which option correctly completes the blanks in order? Mark the CORRECT alternative.
Ano: 2025
Banca:
LEGALLE Concursos
Órgão:
Prefeitura de Caxias do Sul - RS
Prova:
LEGALLE Concursos - 2025 - Prefeitura de Caxias do Sul - RS - Professor de Língua Estrangeira – Inglês |
Q3969209
Inglês
Considering the thematic substratum of the passage, what constitutes the predominant conceptual axis underpinning the text's imagery and narrative exposition? Mark the CORRECT alternative.
Q3929654
Inglês
Texto associado
Text 1A3-II
The argument for the existence of life in different places in
the universe can lead to endless and aimless (but fascinating)
speculation. Why assume that aliens so far advanced
technologically are still bound by the chains of aging bodies?
As we see our own technology advancing, and our minds
becoming ever more entangled with digital devices, we can
envision a kind of transhuman future whereby our mind’s
essence, what we (loosely) identify with our inner self and
memories, becomes immaterial, soullike, tethered to reality
through information alone. In his novel 2001: A Space Odyssey,
Arthur C. Clarke speculated that aliens would have broken away
from carbon-based and robotic machine structures so “that the
mind would eventually free itself from matter (…) and if there is
anything beyond that, its name could only be God.”
This is where astrotheology begins, as we envision aliens
as the techno-version of godlike creatures, with the obvious
subtext that one day we are going to get there too. So, not only is
their technology magic to us, but their very existence becomes
equivalent to a supernatural presence — omniscient,
omnipresent, and undetectable by our feeble human senses and
machines. Such aliens are indistinguishable from gods inhabiting
the heavenly realm, being as elusive as countless deities have
been throughout human history. They exist only in that intangible
dimension of faith.
Marcelo Gleiser. The dawn of a mindful universe: a manifesto for humanity’s future.
HarperOne, San Francisco (CA) (adapted).
The main objective of text 1A3-II is to
Q3929653
Inglês
Texto associado
Text 1A3-II
The argument for the existence of life in different places in
the universe can lead to endless and aimless (but fascinating)
speculation. Why assume that aliens so far advanced
technologically are still bound by the chains of aging bodies?
As we see our own technology advancing, and our minds
becoming ever more entangled with digital devices, we can
envision a kind of transhuman future whereby our mind’s
essence, what we (loosely) identify with our inner self and
memories, becomes immaterial, soullike, tethered to reality
through information alone. In his novel 2001: A Space Odyssey,
Arthur C. Clarke speculated that aliens would have broken away
from carbon-based and robotic machine structures so “that the
mind would eventually free itself from matter (…) and if there is
anything beyond that, its name could only be God.”
This is where astrotheology begins, as we envision aliens
as the techno-version of godlike creatures, with the obvious
subtext that one day we are going to get there too. So, not only is
their technology magic to us, but their very existence becomes
equivalent to a supernatural presence — omniscient,
omnipresent, and undetectable by our feeble human senses and
machines. Such aliens are indistinguishable from gods inhabiting
the heavenly realm, being as elusive as countless deities have
been throughout human history. They exist only in that intangible
dimension of faith.
Marcelo Gleiser. The dawn of a mindful universe: a manifesto for humanity’s future.
HarperOne, San Francisco (CA) (adapted).
The word “envision”, in “as we envision aliens” (first sentence of
the second paragraph of text 1A3-II), has a similar meaning to
Q3929652
Inglês
Texto associado
Text 1A3-II
The argument for the existence of life in different places in
the universe can lead to endless and aimless (but fascinating)
speculation. Why assume that aliens so far advanced
technologically are still bound by the chains of aging bodies?
As we see our own technology advancing, and our minds
becoming ever more entangled with digital devices, we can
envision a kind of transhuman future whereby our mind’s
essence, what we (loosely) identify with our inner self and
memories, becomes immaterial, soullike, tethered to reality
through information alone. In his novel 2001: A Space Odyssey,
Arthur C. Clarke speculated that aliens would have broken away
from carbon-based and robotic machine structures so “that the
mind would eventually free itself from matter (…) and if there is
anything beyond that, its name could only be God.”
This is where astrotheology begins, as we envision aliens
as the techno-version of godlike creatures, with the obvious
subtext that one day we are going to get there too. So, not only is
their technology magic to us, but their very existence becomes
equivalent to a supernatural presence — omniscient,
omnipresent, and undetectable by our feeble human senses and
machines. Such aliens are indistinguishable from gods inhabiting
the heavenly realm, being as elusive as countless deities have
been throughout human history. They exist only in that intangible
dimension of faith.
Marcelo Gleiser. The dawn of a mindful universe: a manifesto for humanity’s future.
HarperOne, San Francisco (CA) (adapted).
With the question “Why assume that aliens so far advanced
technologically are still bound by the chains of aging bodies?”
(second sentence of text 1A3-II), the author is
Q3929651
Inglês
Texto associado
Text 1A3-II
The argument for the existence of life in different places in
the universe can lead to endless and aimless (but fascinating)
speculation. Why assume that aliens so far advanced
technologically are still bound by the chains of aging bodies?
As we see our own technology advancing, and our minds
becoming ever more entangled with digital devices, we can
envision a kind of transhuman future whereby our mind’s
essence, what we (loosely) identify with our inner self and
memories, becomes immaterial, soullike, tethered to reality
through information alone. In his novel 2001: A Space Odyssey,
Arthur C. Clarke speculated that aliens would have broken away
from carbon-based and robotic machine structures so “that the
mind would eventually free itself from matter (…) and if there is
anything beyond that, its name could only be God.”
This is where astrotheology begins, as we envision aliens
as the techno-version of godlike creatures, with the obvious
subtext that one day we are going to get there too. So, not only is
their technology magic to us, but their very existence becomes
equivalent to a supernatural presence — omniscient,
omnipresent, and undetectable by our feeble human senses and
machines. Such aliens are indistinguishable from gods inhabiting
the heavenly realm, being as elusive as countless deities have
been throughout human history. They exist only in that intangible
dimension of faith.
Marcelo Gleiser. The dawn of a mindful universe: a manifesto for humanity’s future.
HarperOne, San Francisco (CA) (adapted).
In text 1A3-II, the author
Q3929650
Inglês
Texto associado
Text 1A3-II
The argument for the existence of life in different places in
the universe can lead to endless and aimless (but fascinating)
speculation. Why assume that aliens so far advanced
technologically are still bound by the chains of aging bodies?
As we see our own technology advancing, and our minds
becoming ever more entangled with digital devices, we can
envision a kind of transhuman future whereby our mind’s
essence, what we (loosely) identify with our inner self and
memories, becomes immaterial, soullike, tethered to reality
through information alone. In his novel 2001: A Space Odyssey,
Arthur C. Clarke speculated that aliens would have broken away
from carbon-based and robotic machine structures so “that the
mind would eventually free itself from matter (…) and if there is
anything beyond that, its name could only be God.”
This is where astrotheology begins, as we envision aliens
as the techno-version of godlike creatures, with the obvious
subtext that one day we are going to get there too. So, not only is
their technology magic to us, but their very existence becomes
equivalent to a supernatural presence — omniscient,
omnipresent, and undetectable by our feeble human senses and
machines. Such aliens are indistinguishable from gods inhabiting
the heavenly realm, being as elusive as countless deities have
been throughout human history. They exist only in that intangible
dimension of faith.
Marcelo Gleiser. The dawn of a mindful universe: a manifesto for humanity’s future.
HarperOne, San Francisco (CA) (adapted).
Maintaining the original meaning of text 1A3-II, the fragment
“but their very existence becomes equivalent to a supernatural
presence” (second sentence of the second paragraph) can be
correctly replaced with
Q3929649
Inglês
Texto associado
Text 1A3-I
Art and technology have long inspired each other, but
recent advancements are driving their fusion like never before.
From AI-generated art and immersive experiences to new
ownership models, the creative landscape is evolving in ways we
could barely imagine a few years ago. This fusion of creativity
and innovation isn’t just adding to the world of art. It’s
redefining it, making us rethink what art can be and who has the
tools to create it. One such innovation is interactive art.
With interactive art, artists can break down traditional
boundaries between the creator and the viewer. Participatory art
involves the audience directly, allowing them to influence the
outcome of the artwork itself. Artists are using technologies like
motion tracking, sensors, and facial recognition to create
installations that change based on viewer movement, expression,
or even mood.
This level of interactivity invites viewers to move from
passive observation to active participation, making them a part of
the artwork’s story. This trend reflects a cultural shift toward
collaboration and personalization, where audiences expect to be
involved in the creative experience. Participatory art installations
are not only transforming gallery experiences but also allowing
viewers to experience art as an unfolding story that changes with
each interaction.
Petra Ivanigova. The Future of Art and Technology:
Key Trends Shaping the Creative Landscape. Internet: <https://medium.com> (adapted).
In the last sentence of text 1A3-I, the author
Q3929648
Inglês
Texto associado
Text 1A3-I
Art and technology have long inspired each other, but
recent advancements are driving their fusion like never before.
From AI-generated art and immersive experiences to new
ownership models, the creative landscape is evolving in ways we
could barely imagine a few years ago. This fusion of creativity
and innovation isn’t just adding to the world of art. It’s
redefining it, making us rethink what art can be and who has the
tools to create it. One such innovation is interactive art.
With interactive art, artists can break down traditional
boundaries between the creator and the viewer. Participatory art
involves the audience directly, allowing them to influence the
outcome of the artwork itself. Artists are using technologies like
motion tracking, sensors, and facial recognition to create
installations that change based on viewer movement, expression,
or even mood.
This level of interactivity invites viewers to move from
passive observation to active participation, making them a part of
the artwork’s story. This trend reflects a cultural shift toward
collaboration and personalization, where audiences expect to be
involved in the creative experience. Participatory art installations
are not only transforming gallery experiences but also allowing
viewers to experience art as an unfolding story that changes with
each interaction.
Petra Ivanigova. The Future of Art and Technology:
Key Trends Shaping the Creative Landscape. Internet: <https://medium.com> (adapted).
In the context of text 1A3-I, the pronoun “it” in “redefining it”
(fourth sentence of the first paragraph)
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