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Ano: 2024
Banca:
CESGRANRIO
Órgão:
Caixa
Provas:
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - 1° Simulado
|
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - Tecnologia da Informação - 1° Simulado |
Q2486259
Inglês
Texto associado
TEXTO ASSOCIADO
Bob Dylan and the “Hot Hand”
For decades, there’s been a running academic
debate about the question of “the hot hand”—
the notion, in basketball, say, that a player has
a statistically better chance of scoring from
downtown if he’s been shooting that night
with unusual accuracy. Put it this way: Stephen
Curry, the point guard genius for the Golden
State Warriors, who normally hits forty-four
per cent of his threes, will raise his odds to
fifty per cent or better if he’s already on a tear.
He’s got a “hot hand.” If you watch enough
N.B.A. ball, it appears to happen all the time.
But does it? Thirty years ago, Thomas Gilovich,
Amos Tversky, and Robert Vallone seemed to
squelch the hot-hand theory with a stats-laden
paper in the journal Cognitive Psychology,
but, just last year, along came Joshua Miller
and Adam Sanjurjo, marshalling no less
evidence, to insist that an “atypical clustering
of successes” in three-point shooting was not
a “wide spread cognitive illusion” at all, but
rather that it “occurs regularly.”
Steph Curry fans, who have been loyal
witnesses to his improbable streaks from
beyond the arc, surely agree with Professors Miller and Sanjurjo. But let’s assume that the
debate, in basketball or at the blackjack table,
remains open. What’s clear is that when it
comes to the life of the imagination, the hot
hand is a matter of historical fact. Novelists,
composers, painters, and poets are apt to
experience stretches of intense creativity that
might derive from any number of factors —
surrounding historical events, artistic rivalries,
or, most mysteriously, inspiration — but the
streak is undeniably there.
For Dylan, the greatest and most abundant
songwriter who has ever lived, the most
intense period of wild inspiration and creativity
ran from the beginning of 1965 to the summer
of 1966.
Before that fifteen-month period, Bob
Dylan, who was twenty-three, had already
transformed folk music, building on Woody
Guthrie and Hank Williams. Now he was
scribbling lyrics on pads and envelopes all night
and listening to the Stones and the Beatles
and feverishly reading the Surrealists and the
Beats. In short order, he recorded the music for
“Bringing It All Back Home” (the crossover to
rock that ranges from “Mr. Tambourine Man”
to “Subterranean Homesick Blues”); “Highway
61 Revisited” (the best rock album ever made;
again, send your rebuttal to ); and “Blonde
on Blonde” (a double album recorded in New
York and Nashville that includes “Visions of
Johanna” and “Just Like a Woman”).
Full text available on https://www.newyorker.
com/culture/cultural-comment/bob-dylanand-the-hot-hand
[Questão inédita] In the fragment in the fourth paragraph of
the text, “Butlet’s assume that the debate,
in basketball or at the blackjack table, remains
open”, the word in bold refers to
Ano: 2024
Banca:
CESGRANRIO
Órgão:
Caixa
Provas:
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - 1° Simulado
|
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - Tecnologia da Informação - 1° Simulado |
Q2486258
Inglês
Texto associado
TEXTO ASSOCIADO
Bob Dylan and the “Hot Hand”
For decades, there’s been a running academic
debate about the question of “the hot hand”—
the notion, in basketball, say, that a player has
a statistically better chance of scoring from
downtown if he’s been shooting that night
with unusual accuracy. Put it this way: Stephen
Curry, the point guard genius for the Golden
State Warriors, who normally hits forty-four
per cent of his threes, will raise his odds to
fifty per cent or better if he’s already on a tear.
He’s got a “hot hand.” If you watch enough
N.B.A. ball, it appears to happen all the time.
But does it? Thirty years ago, Thomas Gilovich,
Amos Tversky, and Robert Vallone seemed to
squelch the hot-hand theory with a stats-laden
paper in the journal Cognitive Psychology,
but, just last year, along came Joshua Miller
and Adam Sanjurjo, marshalling no less
evidence, to insist that an “atypical clustering
of successes” in three-point shooting was not
a “wide spread cognitive illusion” at all, but
rather that it “occurs regularly.”
Steph Curry fans, who have been loyal
witnesses to his improbable streaks from
beyond the arc, surely agree with Professors Miller and Sanjurjo. But let’s assume that the
debate, in basketball or at the blackjack table,
remains open. What’s clear is that when it
comes to the life of the imagination, the hot
hand is a matter of historical fact. Novelists,
composers, painters, and poets are apt to
experience stretches of intense creativity that
might derive from any number of factors —
surrounding historical events, artistic rivalries,
or, most mysteriously, inspiration — but the
streak is undeniably there.
For Dylan, the greatest and most abundant
songwriter who has ever lived, the most
intense period of wild inspiration and creativity
ran from the beginning of 1965 to the summer
of 1966.
Before that fifteen-month period, Bob
Dylan, who was twenty-three, had already
transformed folk music, building on Woody
Guthrie and Hank Williams. Now he was
scribbling lyrics on pads and envelopes all night
and listening to the Stones and the Beatles
and feverishly reading the Surrealists and the
Beats. In short order, he recorded the music for
“Bringing It All Back Home” (the crossover to
rock that ranges from “Mr. Tambourine Man”
to “Subterranean Homesick Blues”); “Highway
61 Revisited” (the best rock album ever made;
again, send your rebuttal to ); and “Blonde
on Blonde” (a double album recorded in New
York and Nashville that includes “Visions of
Johanna” and “Just Like a Woman”).
Full text available on https://www.newyorker.
com/culture/cultural-comment/bob-dylanand-the-hot-hand
[Questão inédita] In the section “Now he was scribbling
lyrics on pads and envelopes all night and
listening to the Stones and the Beatles and
feverishly reading the Surrealists and the
Beats”, the expression scribbling lyrics is
synonymous with
Ano: 2024
Banca:
CESGRANRIO
Órgão:
Caixa
Provas:
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - 1° Simulado
|
CESGRANRIO - 2024 - Caixa - Técnico Bancário Novo - Tecnologia da Informação - 1° Simulado |
Q2486257
Inglês
Texto associado
TEXTO ASSOCIADO
Bob Dylan and the “Hot Hand”
For decades, there’s been a running academic
debate about the question of “the hot hand”—
the notion, in basketball, say, that a player has
a statistically better chance of scoring from
downtown if he’s been shooting that night
with unusual accuracy. Put it this way: Stephen
Curry, the point guard genius for the Golden
State Warriors, who normally hits forty-four
per cent of his threes, will raise his odds to
fifty per cent or better if he’s already on a tear.
He’s got a “hot hand.” If you watch enough
N.B.A. ball, it appears to happen all the time.
But does it? Thirty years ago, Thomas Gilovich,
Amos Tversky, and Robert Vallone seemed to
squelch the hot-hand theory with a stats-laden
paper in the journal Cognitive Psychology,
but, just last year, along came Joshua Miller
and Adam Sanjurjo, marshalling no less
evidence, to insist that an “atypical clustering
of successes” in three-point shooting was not
a “wide spread cognitive illusion” at all, but
rather that it “occurs regularly.”
Steph Curry fans, who have been loyal
witnesses to his improbable streaks from
beyond the arc, surely agree with Professors Miller and Sanjurjo. But let’s assume that the
debate, in basketball or at the blackjack table,
remains open. What’s clear is that when it
comes to the life of the imagination, the hot
hand is a matter of historical fact. Novelists,
composers, painters, and poets are apt to
experience stretches of intense creativity that
might derive from any number of factors —
surrounding historical events, artistic rivalries,
or, most mysteriously, inspiration — but the
streak is undeniably there.
For Dylan, the greatest and most abundant
songwriter who has ever lived, the most
intense period of wild inspiration and creativity
ran from the beginning of 1965 to the summer
of 1966.
Before that fifteen-month period, Bob
Dylan, who was twenty-three, had already
transformed folk music, building on Woody
Guthrie and Hank Williams. Now he was
scribbling lyrics on pads and envelopes all night
and listening to the Stones and the Beatles
and feverishly reading the Surrealists and the
Beats. In short order, he recorded the music for
“Bringing It All Back Home” (the crossover to
rock that ranges from “Mr. Tambourine Man”
to “Subterranean Homesick Blues”); “Highway
61 Revisited” (the best rock album ever made;
again, send your rebuttal to ); and “Blonde
on Blonde” (a double album recorded in New
York and Nashville that includes “Visions of
Johanna” and “Just Like a Woman”).
Full text available on https://www.newyorker.
com/culture/cultural-comment/bob-dylanand-the-hot-hand
[Questão inédita] Read the following excerpt of the text:
“For Dylan, the greatest and most abundant
song writer who has ever lived, the most
intense period of wild inspiration and creativity
ran from the beginning of 1965 to the summer
of 1966”.
The word in bold is associated with the idea of:
The word in bold is associated with the idea of:
Ano: 2024
Banca:
FUNDATEC
Órgão:
Prefeitura de Paraí - RS
Prova:
FUNDATEC - 2024 - Prefeitura de Paraí - RS - Professor de Inglês |
Q2443648
Inglês
Texto associado
Planes top 800 mph as near-record winds sweep high over Mid-Atlantic
(Available at: www.washingtonpost.com/weather/2024/02/18/record-jet-stream-winds-dc-flights/ – text
specially adapted for this test)
In which of the following excerpts from the text the structure in bold means “the
same”?
Ano: 2024
Banca:
CESPE / CEBRASPE
Órgão:
APEX Brasil
Provas:
CESPE / CEBRASPE - 2024 - APEX Brasil - Analista - Negócios Internacionais
|
CESPE / CEBRASPE - 2024 - APEX Brasil - Analista - Processos Contábeis |
Q2440837
Inglês
Texto associado
Text CB1A7
Whenever a global economic transformation takes place, a single city usually drives it forward. Ghent, in modern-day Belgium, was at the core of the burgeoning global wool trade in the 13th century. The first initial public offering took place in Amsterdam in 1602. London was the financial centre of the first wave of globalisation during the 19th century. Today the city is San Francisco.
California’s commercial capital has no serious rival in generative artificial intelligence (AI), a breakthrough technology that has caused a bull market in American stocks and which, many economists hope, will power a global productivity surge. Almost all big AI start-up companies are based in the Bay Area, which comprises the city of San Francisco and Silicon Valley (largely based in Santa Clara county, to the south). OpenAI is there, of course; so are Anthropic, Databricks and Scale AI. Tech giants, including Meta and Microsoft, are also spending big on AI in San Francisco. According to Brookings Metro, a think tank, last year San Francisco accounted for close to a tenth of generative AI job postings in America, more than any other city of the country. New York, with four times as many residents, was second.
Internet: <www.economist.com> (adapted).
Maintaining the original meaning and the grammatical correctness of text CB1A7, the word “burgeoning” (second sentence) could be replaced with