Questões de Concurso
Sobre vocabulário | vocabulary em inglês
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How Long Does It Take to Get Fit Again?
When it comes to cardiovascular fitness and muscle strength, the adage is true: Use it or lose it. While regular exercise can improve heart health and increase strength and mobility, taking weeks or months off can reverse many of those benefits.
That’s not to say that rest days are not important. In general, short breaks can help you physically and mentally recharge, but whenever possible, you should avoid extending your time off for too long so that hopping back on the wagon doesn’t feel too daunting or miserable.
“Your body adapts to the stimulus you provide,” said Dr. Kevin Stone, an orthopedic surgeon and the author of the book “Play Forever: How to Recover From Injury and Thrive.” “Your muscles become used to the stress and the testosterone, the adrenaline and endorphins — all the wonderful things that circulate from exercise. When you take that away, the body initiates a muscle loss program.”
Source: https://www.nytimes.com/2023/01/30/well/move/fitness-loss
exercise.html
"After many months of training, the girls' soccer team pulled off an unexpected victory against their strongest adversary in the finals."
“The new manager was eventually introduced to the company’s actual policies, which surprised her deeply.”
Considering general aspects of the English language, judge the following item.
The word network can mean both a system of computers and a group of connected people.
Considering general aspects of the English language, judge the following item.
The word hardware refers to computer programs and operating systems.
“I couldn’t hear you clearly. Your voice began to ______ right before the call ended.”
The comic strip presents a dialogue using some common digital communication abbreviations. The abbreviation "ASAP", means:
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.
False cognates (or "false friends") are words that look similar in Portuguese and English but have different meanings. Analyze the following statements about common false cognates:
I. "Library" in English means "biblioteca" (a place to borrow books), not "livraria" (a place to buy books, which is "bookstore").
II. "Parents" in English means "pais" (father and mother), not "parentes" (which is "relatives").
III. "Actually" in English means "na verdade" or "de fato", not "atualmente" (which is "currently" or "nowadays").
What is stated in the following is correct:
(__) The verb "make" is correctly collocated in expressions such as "make a decision", "make an effort", and "make progress", often implying creation or producing a result.
(__) The verb "do" is typically used with tasks, work, and general activities, forming correct collocations in "do a favor", "do business", and "do research".
(__) The expression "take a mistake" is a standard collocation in academic English, synonymous with "commit an error".
(__) The verb "have" is used to describe events or experiences, as seen in "have a look", "have a party", and "have a meeting".
After analysis, select the alternative that presents the correct sequence of the items above, from top to bottom:



( ) The word “feasible” (l. 28) could be replaced by “achievable” without changing the meaning.
( ) The prefix un– in “uncertain” (l. 38) and “unrealistic” (l. 17) indicates reversal of action, similar to the verb “undo”.
( ) The word “viable” (l. 32) refers to something that can function successfully.
( ) The term “renewable” (l. 14) is formed by the addition of the prefix re- and the suffix -able, which mean, respectively, “not” and “capability/possibility”.
The correct order of filling in the parentheses, from top to bottom, is:

