Questões de Concurso Comentadas por alunos sobre sinônimos | synonyms em inglês

(1º§) Located in the arid Peruvian coastal plain, some 400 km south of Lima, the geoglyphs of Nasca and the pampas of Jumana cover about 450 km2 . These lines, which were scratched on the surface of the ground between 500 B.C. and A.D. 500, are among archaeology's greatest enigmas because of their quantity, nature, size and continuity. The geoglyphs depict living creatures, stylized plants and imaginary beings, as well as geometric figures several kilometres long. They are believed to have had ritual astronomical functions.

(2º§) Located in the arid Peruvian coastal plain, some 400 km south of Lima, the Lines and Geoglyphs of Nasca and Pampas de Jumana are one of the most impressive-looking archaeological areas in the world and an extraordinary example of the traditional and millenary magical-religious world of the ancient Pre-Hispanic societies which flourished on the Peruvian south coast between the 8th century BC and the 8th century AD. They are located in the desert plains of the basin river of Rio Grande de Nasca, the archaeological site covers an area of approximately 75,358.47 Ha where for nearly 2,000 uninterrupted years, the region's ancient inhabitants drew on the arid ground a great variety of thousands of large scale zoomorphic and anthropomorphic figures and lines or sweeps with outstanding geometric precision, transforming the vast land into a highly symbolic, ritual and social cultural landscape that remains until today. They represent a remarkable manifestation of a common religion and social homogeneity that lasted a considerable period of time.

(3º§) They are the most outstanding group of geoglyphs anywhere in the world and are unmatched in its extent, magnitude, quantity, size, diversity and ancient tradition to any similar work in the world. The concentration and juxtaposition of the lines, as well as their cultural continuity, demonstrate that this was an important and long-lasting activity, lasting approximately one thousand years. Intensive study of the geoglyphs and comparison with other manifestations of contemporary art forms suggests that they can be divided chronologically from the Middle and Late Formative (500 BC − 200 AD) to the Regional Development Period (200 − 500 AD), highlighting the Paracas phase (400 - 200 BC) and the Nasca phase (200 BC - 500 AD). There are two categories of glyphs: the first group is representational, depicting in schematic form a variety of natural forms including animals, birds, insects, and other living creatures and flowers, plants, and trees, deformed or fantastic figures and objects of everyday life. There are very few anthropomorphic figures. The second group comprises the lines, which are generally straight lines that criss-cross certain parts of the pampas in all directions. Some are several kilometres in length and form designs of many different geometrical figures - triangles, spirals, rectangles, wavy lines, etc. Others radiate from a central promontory or encircle it. Yet another group consists of so-called 'tracks', which appear to have been laid out to accommodate large numbers of people.

(4º§) Criterion (i): The Nasca Lines and Geoglyphs form a unique and magnificent artistic achievement of the Andean culture that is unrivalled in its extension, dimensions and diversity and long existence anywhere in the prehistoric world.

(5º§) Criterion (iii): The Nasca and Pampas de Jumana Lines and Geoglyphs, through its unique form of land use, are an exceptional testimony of the culture and magical-religious tradition and beliefs of the societies that developed in Pre-Columbian South America between the 8th BC and 8th AD centuries.

(6º§) Criterion (iv): The system of lines and geoglyphs, which has survived intact for more than two millennia, evidences an unusual way of using the land and the natural environment that represent a highly symbolic cultural landscape, using a construction technology that allowed them to design large-scale figures with outstanding geometric precision.

(7º§) The Lines and Geoglyphs of Nasca and Pampas de Jumana, with their protection area that extends over 75,358.47 Ha, are well defined and include all physical aspects that convey the Outstanding Universal Value of the property, including its surrounding landscape with which they make up an indivisible unit in a harmonious relationship that has survived virtually unaltered over the centuries.

(8º§) The Pleistocene alluvial terrace, currently with occasional water activity (only during the El Niño Southern Oscillation - ENSO) and the low rainfall rates (the lowest in the world), determine desert climate characteristics and extreme aridity that have favoured the preservation of the Lines and Geoglyphs of Nasca and Pampas de Jumana. Likewise, harmful human activity has caused no severe impact on the property, so the geoglyphs and cultural landscape have remained intact for nearly two millennia, from their design in the 8th century BC to nowadays. The cleaning and preservation works performed have not affected the property's integrity and have promoted their conservation.

(9º§) The construction of the South Pan-American Highway, which directly crosses the property, has caused damages in some lines and figures sectors. However, most of the lines and figures are in fair condition.

(10º§) The authenticity of the Lines and Geoglyphs of Nasca and Pampas de Jumana is indisputable. The method of their formation, by removing the overlying weathered gravels to reveal the lighter bedrock, is such that their authenticity is assured. The creation, design, morphology, size and variety of the geoglyphs and lines correspond to the original designs produced during the historic evolution of the region's and have remained unchanged. The ideology, symbolism and sacred and ritual character of the geoglyphs and the landscape are clearly represented, and their significance remains intact even today.

(11º§) The concentration and overlapping of lines and figures provide a clear evidence of long and intense activity in the territory, reflecting the millenary magical-religious tradition of this activity by pre-Hispanic societies and the historic continuity in Nasca's Rio Grande river basin. The property also shows different social process stages. Several historic sources and researches confirm the property's originality and its original landscape surroundings still preserved in pristine condition and unaltered.

(12º§) Even though there have been some impacts caused by natural and human factors, these have been minimal and the geoglyphs maintain their authenticity and express their high symbolic and historic value even today.

(13º§) The National Constitution (Art 36) and Law Nº 28296, General Law for National Cultural Heritage are the main legal protection tools for the Lines and Geoglyphs of Nasca and Pampas de Jumana,

(14º§) The protection area boundaries are established by Resolution Nº 421/INC as an Archaeological Reserve. However, it has been recommended to redefine those boundaries according to the lines and geoglyphs' real distribution in the field and submit a new proposal to the World Heritage Committee.

(15º§) Since 1941 foreign scientists (notably Dr. Maria Reiche) and the Ministry of Culture have carried out archaeological investigation, conservation, permanent protection and maintenance measures.

(16º§) The management and protection of the Lines and Geoglyphs of Nasca and Pampas de Jumana is the responsibility of the Peruvian Government represented by the Ministry of Culture. Documentation, research, protection and dissemination activities are being performed through the implementation of national and international research projects and civil associations, in the territory of Nasca and Palpa provinces.

(17º§) A management plan "Sistema de Gestión para el Patrimonio Cultural y Natural del territorio de Nasca y Palpa" for the entire area, which is fundamental in the protection of the Lines and Geoglyphs, has been formulated and is being implemented.

https://whc.unesco.org/en/list/700/

How Will Digital Transformation Impact Accountants?

     In business, as in life, change is the only true constant. From mitigating unprecedented business disruptors to adapting to new operational paradigms, professionals in all industries find themselves dealing with major changes — many of them driven by emerging technologies.

     Accounting is no exception. The profession has moved far beyond mere bookkeeping and payroll, and like its partner procurement, it’s taking an increasingly strategic role for forward-thinking businesses. While some pundits say accounting has a dim future in the digital world of tomorrow, technologies such as cloud-based data management, process automation and advanced analytics are actually poised to further elevate accountants in new and empowering ways.

     As far back as 2015, industry leaders were sounding the death knell for accountants, convinced emerging technologies — particularly automation — would end in death by digital for accountancy as we know it. And as recently as 2019, accountants surveyed by Robert Half on the impact of automation on their profession expressed concerns about being replaced, having fewer opportunities for creative problem-solving and an overdependence on tech in completing daily tasks.

     Yet, the events between then and now, including the Covid-19 pandemic, have instead shown that accountants, like other professionals, need to worry much more about adaptation than replacement.

     There's no question that digital transformation has radically changed the playing field. Big data has become a rich resource that needs to be tapped to compete effectively. But for businesses ready to leverage the potential of digital tools, this shift is an opportunity, not a threat.

     […]

     Both the skill set and the job description for tomorrow's accountant will be greatly expanded, while still hewing to the core competencies of the profession. Supported by technology in a collaborative setting, accounting teams will be populated with both dedicated accounting professionals and subject matter experts from other areas of the business.

     Tomorrow's accountants may play an advisory role, welcoming business intelligence and procurement professionals and working to chart a strategic sourcing plan. They could leverage data management tools, including augmented reality, to humanize and contextualize spend data for the C-suite to make better decisions based on long-term value rather than return on investment alone.

     With more diverse skill sets and greater technical acumen, accountants can bring their own expertise to teams in other business units, providing crucial financial intelligence, refining budgets or ensuring compliance. […]

     As a function, accounting may become less about refining one's skill set through certifications and more about core competencies that grow over time, with a focus on lifelong education and skill development required to take on a complex, ever-changing business environment.

     Automation and other data-driven technologies are poised to free accountants, not constrain them. Organizations that  understand the potential and importance of these technologies — and invest in the tools and training required to help their accountants take full advantage — will be ahead of the curve. Tomorrow's accountants will play a more creative and strategic role in their companies. As a result, their businesses will not only enjoy more efficient workflows and reap more useful insights from their accounting processes, but help strengthen their own resiliency, agility and competitive footing.

Adapted from: https://www.forbes.com/sites/forbestechcouncil/2021/05/19/thefuture-of-accounting-how-will-digital-transformation-impactaccountants/?sh=343b437853fb

       Languages are more to us than systems of thoughttransference. They are invisible garments that drape themselves about our spirit and give a predetermined form to all its symbolic expression. When the expression is of unusual significance, we call it literature. Art is so personal an expression that we do not like to feel that it is bound to predetermined form of any sort. The possibilities of individual expression are infinite, language in particular is the most fluid of mediums. Yet some limitation there must be to this freedom, some resistance of the medium.

       In great art there is the illusion of absolute freedom. The formal restraints imposed by the material are not perceived; it is as though there were a limitless margin of elbow room between the artist’s fullest utilization of form and the most that the material is innately capable of. The artist has intuitively surrendered to the inescapable tyranny of the material, made its brute nature fuse easily with his conception. The material “disappears” precisely because there is nothing in the artist’s conception to indicate that any other material exists. For the time being, he, and we with him, move in the artistic medium as a fish moves in the water, oblivious of the existence of an alien atmosphere. No sooner, however, does the artist transgress the law of his medium than we realize with a start that there is a medium to obey.

          Language is the medium of literature as marble or bronze or clay are the materials of the sculptor. Since every language has its distinctive peculiarities, the innate formal limitations—and possibilities—of one literature are never quite the same as those of another. The literature fashioned out of the form and substance of a language has the color and the texture of its matrix. The literary artist may never be conscious of just how he is hindered or helped or otherwise guided by the matrix, but when it is a question of translating his work into another language, the nature of the original matrix manifests itself at once. All his effects have been calculated, or intuitively felt, with reference to the formal “genius” of his own language; they cannot be carried over without loss or modification. Croce is therefore perfectly right in saying that a work of literary art can never be translated. Nevertheless, literature does get itself translated, sometimes with astonishing adequacy.

Edward Sapir. Language: an introduction to the study of speech. 1921 (adapted)