Questões de Concurso Comentadas sobre tradução | translation em inglês

Foram encontradas 499 questões

Q4020430 Inglês
Analyze the following statements regarding the practice of translation:
I.Compensation is a translation technique used to make up for the loss of a particular effect in the source text by recreating a similar effect elsewhere in the target text.
II.Transcreation is a concept often used in advertising and poetry where the translator has the freedom to reinvent the text while maintaining the original emotional impact.
III.Machine translation has currently reached a level of perfection that eliminates the need for human post-editing or any cultural adaptation in literary works.
Which of the statements above is/are CORRECT?
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Q4020425 Inglês
Translation theory has evolved from a prescriptive view to a functionalist perspective. Mark the CORRECT alternative.
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Q3884140 Inglês
A tradução não é uma mera substituição de etiquetas linguísticas, mas uma retextualização. Ao traduzir um texto literário mantendo a fidelidade ao "sentido pretendido" em vez da "forma literal", o tradutor deve: 
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Q3862005 Inglês
Choose the alternative that correctly expresses a fundamental principle of translation and interpretation applicable to academic, technical, and journalistic texts. 
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Q4037204 Inglês
When translating from English into Portuguese, certain idiomatic expressions resist literal transfer due to cultural specificity. According to modern translation theory, which strategy best addresses cases where semantic equivalence is impossible, but functional equivalence can be achieved?
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Q4037194 Inglês
O texto seguinte servirá de base para responder à questão.

We can learn a lot from Troy's trash

Beneath the epic tales of heroes and gods, Troy's true story is written in something far less glamorous − its rubbish.

When we think of Troy, we imagine epic battles, valiant deeds, cunning tricks and the wrath of gods. Thanks to Homer's Iliad, the city is remembered as a stage for romance and heroism.

But long before Paris stole Helen and Achilles raged on the battlefield, the people of bronze age Troy lived ordinary lives − with extraordinary consequences. They built, cooked, stored, traded and, crucially, threw things away. And they did it right where they lived.

Today, waste is whisked away quickly − out of sight, out of mind. But in bronze age Troy (3000−1000BC), trash stayed close, often accumulating in domestic dumping grounds for generations.

Having spent more than 16 summers excavating and analysing the bronze age layers of Troy, I've learned to read the city's history this waste.

Hundreds of thousands of animal bones from cattle, sheep, fish − even turtles − were found alongside vast quantities of pottery shards, ash, food scraps, and human waste. Sometimes, these layers were reused to level floors or build walls, showing how closely intertwined daily life and refuse management were.

This wasn't laziness or neglect, it was pure pragmatism. In a world without rubbish trucks or sanitation systems, managing refuse was neither chaotic nor careless, but a collective, spatially negotiated − and surprisingly strategic − effort.

The excavations I have worked on as part of the University of Tübingen's Troy Project, which has been going on since 1988, have revealed just how deliberate these routines were. Where people chose to dump, or not to dump, speaks volumes about status, social roles, and community boundaries. Waste is the diary no one meant to write, yet it records the intimate rhythms of daily life with unfiltered clarity.

Far from a nuisance, Troy's waste is an archaeologist's treasure trove.

Over nearly 2,000 years, Troy ended up with 15 meters of built-up debris. Archaeologists can see nine major building phases in it, each made up of hundreds of thin layers, which formed as people lived their everyday lives. These layers act like snapshots, quietly recording how the city changed over time. Some capture hearth cleanings, others record the rebuilding of entire city quarters.

By analysing the layers and their ratios of bones to pottery, ash concentration, presence of storage jars, grinding stones, or production debris, specific spaces of activity become visible: kitchens, workshops, storage areas, rubbish pits. What appears chaotic turns out to be a carefully structured map of everyday routines − showing where meals were prepared, tools made, and discarded objects left behind.

The story these remains tell is one of profound transformation. Troy began as a modest agrarian settlement, shaped by the steady rhythms of farming, herding, and small-scale craft. Over time, it grew into a thriving regional centre.

The archaeological record, rich in refuse, traces this long arc of change. Exotic imports fashioned from stones such as carnelian and lapis lazuli begin to appear, revealing distant trade connections. Specialised metalworking tools emerge alongside monumental architecture. some buildings stretched nearly 30 metres, signalling growing ambitions and expanding capabilities.

This rise unfolded gradually, reflected not just in grander buildings, but in shifting tools, trade, and how people dealt with what they left behind. Waste management became more organised, with designated areas for different types of waste. This reflects broader shifts in how the community structured space and managed its economy. 

Yet this ascent was interrupted. By the mid-third millennium BC, signs that things were becoming smaller appear. Architecture simplifies, household inventories shrink, production debris declines suggesting economic slowdown or political instability.

Still, Troy endured. By the mid-second millennium BC, the city revived. Refined ceramics, luxury imports and evidence of social complexity marked a new chapter of recovery and reinvention. This splendid settlement later became the stage for Homer's Trojan War where Greek warriors faced the daunting task of climbing towering mounds of debris built up over centuries just to reach the palaces.

These insights allow us to see Troy not just as a city of walls and towers, but as a living organism shaped by daily routines, unspoken norms and social negotiation. The waste left behind is a remarkably honest archive of bronze age society − beneath myths, stones, and poetry.

Troy's trash heaps are the bronze age's search history. To know what mattered 4,500 years ago, don't ask poets − ask the garbage. From broken tools to shared meals, from imported luxuries to scraps, this waste reveals the pulse of everyday life and society's evolving structure.

Ironically, these mundane refuse layers preserved the bronze age world for us. Without them, we'd know far less about early Troy's people. Their depth and composition trace changes in economy, technology, and social structure. From scraps to towers of pottery shards, waste archaeology is key to understanding early urban complexity.

So next time you picture Achilles storming Troy's gates, remember: the heroes might have been divine, but their city smelled very human.


https://theconversation.com/we-can-learn-a-lot-from-troys-trash-260613 
Read the excerpt below:

"Today, waste is whisked away quickly − out of sight, out of mind. But in bronze age Troy (3000−1000BC), trash stayed close, often accumulating in domestic dumping grounds for generations."

A professional translator working on a Brazilian Portuguese edition of this archaeological text must address the idiomatic expression "out of sight, out of mind" and decide between maintaining the English idiom with explanatory footnote, creating a culturally equivalent Portuguese idiom, or providing a descriptive translation. When considering translation strategies that balance semantic fidelity, cultural accessibility, and stylistic naturalness for Brazilian readers while preserving the author's rhetorical impact, the appropriate translation approach would be: 
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Q4034377 Inglês
Read the English sentence and its two possible Portuguese translations:
Source: "She broke down in tears when she heard the news."
(1) "Ela quebrou-se em lágrimas ao ouvir a notícia." (2) "Ela desabou em lágrimas ao ouvir a notícia."
From the perspective of translation theory, the second version is preferable because it illustrates:
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Q4034372 Inglês
Digital archeology

The City Gallery presents Filip Popov with his exhibition "Digital Archeology"

With a large exhibition, including works from his most famous cycles, the visual artist Filip Popov will exhibit in the Hall "2019" at 32 Gladstone Street from March 2 to 31.

For the first time the artist makes such a large-scale performance in the city where he was born.

The opening will be on March 2 from 17:00 to 19:30.

The topics that excite the author of the exhibition "Digital Archeology" can be deciphered in the titles of the series of works created over the past 8 years: TransOrganic, Para Bellum, Order, Posthuman, Paleomatic Monologues and Prayers to the latest series - Bunker City and Zero City. As Velizara Ivanova emphasizes in her analysis:

Combining works dating back to 2014, Digital Archeology reflects Philip Popov's continuing focus on the posthumanism and transhumanism, confronting technology and our uncertain future and insight into the way machines are woven into our tomorrow's world. "

Born in 1964 in Plovdiv, Filip Popov spent several years of his childhood in Germany, where he formed his ideas for unity between art, architecture, design and technology. He studied art at the National Academy of Arts in Sofia, moved to Basel to study at the Kunstgewerbeschule, and later lived in Zurich.

He has had solo exhibitions at EASA, West Berlin (1988), EKG, Wetzikon, CH (1993), Binz Foundation 39, Zurich (1994), Kunsthalle Liesthal, CH (1996), ArtFront Gallery, Tokyo (2005). It is presented in the most famous galleries in Sofia and the country. In 2014 he participated in the National Autumn Exhibitions in Plovdiv. Filip Popov exhibits his works in numerous group exhibitions in Bulgaria, Switzerland, Austria, France.


https://www.visitplovdiv.com/en/node/10577
Read the excerpt below:
"For the first time the artist makes such a large-scale performance in the city where he was born."
An English teacher analyzing this sentence with advanced students identifies a potential ambiguity in the noun "performance" within this artistic context. When discussing polysemy, context-dependent meaning, and the semantic challenges this presents for translation into Portuguese, particularly distinguishing between "performance" as artistic presentation versus "performance" as theatrical/live art form, the most linguistically precise interpretation considering the broader textual context of an art exhibition would be_________.

Fill in the blank above and select the correct alternative.
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Q3783744 Inglês
Na frase "She understood the instructions clearly", o vocábulo destacado apresenta a classe e tradução seguintes: 
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Q3783741 Inglês
No segmento "They bought a new car yesterday", o termo destacado apresenta a seguinte classificação e tradução:
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Q3783684 Inglês
Na frase "She understood the instructions clearly", o vocábulo destacado apresenta a classe e tradução seguintes:
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Q3783682 Inglês
No trecho "I will call you later", observa-se o seguinte uso e tradução para o português:
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Q3783681 Inglês
No segmento "They bought a new car yesterday", o termo destacado apresenta a seguinte classificação e tradução: 
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Q3783680 Inglês
No enunciado "She quickly solved the problem", a palavra destacada apresenta a seguinte classe gramatical e tradução para o português:
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Q3758301 Inglês
Classical models (cf. Nida, Vinay & Darbelnet, Baker) distinguish formal and dynamic equivalence and enumerate procedures (borrowing, calque, modulation). For pedagogy, purpose (skopos) and audience govern choices. Select the correct option.
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Q3757728 Inglês
READ TEXT III AND ANSWER THE QUESTION:

TEXT III

Original: Maciços rochosos constituídos por arenitos eólicos muitas vezes são considerados depósitos homogêneos com relação às suas propriedades hidráulicas em função das suas características texturais. Source: https://www.abge.org.br/arquivos/ARTIGO%201%20-%20RevistaABGE-14- 2_Ok.pdf

Virtual Translator: Rock masses made up of aeolian sandstones are often considered homogeneous deposits in relation to its hydraulic properties depending on its textural characteristics.
By opting for “made up of”, the translator has introduced a phrasal verb that is more
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Q3757727 Inglês
READ TEXT III AND ANSWER THE QUESTION:

TEXT III

Original: Maciços rochosos constituídos por arenitos eólicos muitas vezes são considerados depósitos homogêneos com relação às suas propriedades hidráulicas em função das suas características texturais. Source: https://www.abge.org.br/arquivos/ARTIGO%201%20-%20RevistaABGE-14- 2_Ok.pdf

Virtual Translator: Rock masses made up of aeolian sandstones are often considered homogeneous deposits in relation to its hydraulic properties depending on its textural characteristics.
In Text III, instead of “depending on”, the translator should have chosen
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Q3757722 Inglês
READ TEXT I AND ANSWER THE  QUESTION:

TEXT I

Products and dynamics of lava-snow explosions: The 16 March 2017 explosion at Mount Etna, Italy

Abstract

Volcanic hazards associated with lava flows advancing on snow cover are often underrated, although sudden explosions related to different processes of lava-snow/ice contact can occur rapidly and are only preceded by small, easily underrated precursors. On 16 March 2017, during a mildly effusive and explosive eruption at Mount Etna, Italy, a slowly advancing lava lobe interacted with the snow cover to produce a sudden, brief sequence of explosions. White vapor, brown ash, and coarse material were suddenly ejected, and the products struck a group of people, injuring some of them. The proximal deposit formed a continuous mantle of ash, lapilli, and decimeter-sized bombs, while the ballistic material travelled up to 200 m from the lava edge. The deposit was estimated to have a mass of 7.1 ± 0.8 × 104 kg, which corresponds to a volume of 32.0 ± 3.6 m3 of lava being removed by the explosion. Data related to the texture and morphology of the ejected clasts were used to constrain a model of lava-snow interaction. The results suggest that the mechanism causing the explosions was the progressive build-up of pressure due to vapor accumulation under the lava flow, while no evidence was found for the occurrence of fuel-coolant interaction processes. Although these low-intensity explosions are not particularly frequent, the data set collected provides, for the first time, quantitative information about the processes involved and the associated hazard and suggests that mitigation measures should be established to prevent potentially dramatic accidents at worldwide volcanoes frequented by tourists and with fairly easy access, such as Etna.

Source: GSA Bulletin (2024) 136 (5-6): 2325–2342. Available at https://pubs.geoscienceworld.org/gsa/gsabulletin/article/136/5- 6/2325/628546/Products-and-dynamics-of-lava-snow-explosions-The
When the fragment “were suddenly ejected” is translated into “foram ejetados de forma muito súbita”, the strategy used was 
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Q3757721 Inglês
READ TEXT I AND ANSWER THE  QUESTION:

TEXT I

Products and dynamics of lava-snow explosions: The 16 March 2017 explosion at Mount Etna, Italy

Abstract

Volcanic hazards associated with lava flows advancing on snow cover are often underrated, although sudden explosions related to different processes of lava-snow/ice contact can occur rapidly and are only preceded by small, easily underrated precursors. On 16 March 2017, during a mildly effusive and explosive eruption at Mount Etna, Italy, a slowly advancing lava lobe interacted with the snow cover to produce a sudden, brief sequence of explosions. White vapor, brown ash, and coarse material were suddenly ejected, and the products struck a group of people, injuring some of them. The proximal deposit formed a continuous mantle of ash, lapilli, and decimeter-sized bombs, while the ballistic material travelled up to 200 m from the lava edge. The deposit was estimated to have a mass of 7.1 ± 0.8 × 104 kg, which corresponds to a volume of 32.0 ± 3.6 m3 of lava being removed by the explosion. Data related to the texture and morphology of the ejected clasts were used to constrain a model of lava-snow interaction. The results suggest that the mechanism causing the explosions was the progressive build-up of pressure due to vapor accumulation under the lava flow, while no evidence was found for the occurrence of fuel-coolant interaction processes. Although these low-intensity explosions are not particularly frequent, the data set collected provides, for the first time, quantitative information about the processes involved and the associated hazard and suggests that mitigation measures should be established to prevent potentially dramatic accidents at worldwide volcanoes frequented by tourists and with fairly easy access, such as Etna.

Source: GSA Bulletin (2024) 136 (5-6): 2325–2342. Available at https://pubs.geoscienceworld.org/gsa/gsabulletin/article/136/5- 6/2325/628546/Products-and-dynamics-of-lava-snow-explosions-The
The closest translation into Portuguese of “Volcanic hazards associated with lava flows advancing on snow cover are often underrated” is 
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Q3747832 Inglês
    We might be confronted on a weekly basis by a different trend or TikTok 'aesthetic' to try, but all the bestdressed people in the world stick to what they know works best. Having distinctive personal style is all about defining what suits you and never venturing too far from it. Of course, this makes getting dressed every morning easier and leads to a lot less stress when shopping – but embracing your own uniqueness in fashion can have a positive impact on your mental health more generally.

    According to the fashion psychologist Shakaila Forbes-Bell, standing out via your clothing is all about gaining validation, and this can boost your confidence and change the way that others interact with you.

    “As humans, our desire to stand out is ingrained because achieving special recognition and validation boosts our self-image and increases our likelihood of being rewarded,” she explains.

Source: Harper’s Bazaar. Adaptation.
Mark the item that displays the CORRECT translation for the text below.

Having distinctive personal style is all about defining what suits you and never venturing too far from it.
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Respostas
1: D
2: B
3: B
4: A
5: B
6: A
7: B
8: A
9: D
10: C
11: D
12: A
13: C
14: B
15: A
16: C
17: A
18: A
19: E
20: A