Questões de Concurso Sobre interpretação de texto | reading comprehension em inglês

Foram encontradas 9.434 questões

Q2328566 Inglês
Interesting facts about Mona Lisa that will surprise you  

[...]

● A heist helped cement its “masterpiece” status
Even though the Mona Lisa has always been popular in the art sphere, it hasn’t always been world-famous, but everything changed in the summer of 1911 when the painting was stolen. 
 
Thanks to massive reporting by the media, the Mona Lisa became a worldwide news sensation overnight.  

Even those who barely had any interest in art followed the story of the masterpiece’s disappearance.  

Gossips about the heist also surfaced, further cementing the Mona Lisa’s status as a household name. Even Pablo Picasso was once accused of stealing the painting! 

And when Mona Lisa was returned, everyone instantly flocked to the Louvre to see the famed da Vinci masterpiece.  


● The public mourned when she was stolen 
 
The heist made Mona Lisa so popular that the public mourned when she was gone.

After the painting was stolen, thousands immediately came to the Louvre Museum to stare at the blank wall where it once hung. People also left countless notes, flowers, and other mementos to honor the missing painting.

Later, the New York Times would compare this public display of grief to the one seen after Princess Diana’s death in 1997. 


● Painter Pablo Picasso was a prime suspect in this theft
 
One of the interesting Mona Lisa facts is that Pablo Picasso who was a famous painter at the time was initially accused of stealing the painting.

In fact, he was the prime suspect and was taken in front of a judge together with his then-friend and French writer, Guillaume Apollinaire.

How did all this come to be? Well, Guillaume Apollinaire’s former secretary, Honore-Joseph Géry Pieret testified that he had previously stolen some art pieces from the Louvre and sold them to his “friends” and those friends happen to be Pablo Picasso and Guillaume Apollinaire.

Of course, it didn’t seem far-fetched that the people who had initially bought stolen art from the Louvre could possibly also have the Mona Lisa and that’s why they were prime suspects.

Two years later, the thief, an Italian handyman, Vincenzo Peruggia, was finally caught. [...] 

Disponível em: https://dreamsinparis.com/facts-about-mona-lisa/. Acesso em: 27 set. 2023. Adaptado.  
A obra-prima conhecida como Mona Lisa, intitulada A Gioconda em italiano, que significa “a sorridente”, foi criada por Leonardo da Vinci, no século XVI. De acordo com o texto, é CORRETO afirmar: 
Alternativas
Q2328565 Inglês

INSTRUÇÃO: Leia o texto a seguir para responder à questão.  


What does the hurricane scale tell us?  


Hurricanes are categorized by their wind speeds on the Saffir-Simpson Hurricane Scale. The scale was first developed by Herb Saffir, a structural engineer, and Bob Simpson, a meteorologist.

Hurricanes are split into five categories based on the wind speeds they produce.

To be considered a “major” hurricane, according to the National Hurricane Center, a storm must reach Category 3 or above.

A hurricane’s strength matters because it helps meteorologists give residents in its path an idea of what type of damage is possible.

A Category 2 hurricane, for example, has the potential to cause major roof damage to homes, snap or uproot shallowly rooted trees, and knock out power in an area for days to weeks.

When a hurricane reaches Category 5 strength, the center can predict that “catastrophic damage will occur,” according to the Saffir-Simpson scale. Winds from a Category 5 hurricane can destroy homes, fell trees and power lines and possibly leave an area without power for weeks or months.

Because the hurricane category scale is based only on wind speeds, a number of factors are not considered.

“Wind is only one of four hazards, four primary hazards, associated with a tropical cyclone,” said Dr. Michael Brennan, the acting deputy director of the National Hurricane Center, using the broader term for a hurricane. “You can also have rainfall and flooding, storm surge, tornadoes, rip currents.”

Other hurricane-related dangers can occur after the storms have moved through an area.

When an affected area loses power, for example, many people often turn to portable generators to produce electricity. But when they are used improperly, they can lead to carbon monoxide poisoning.

And a weak Category 1 hurricane, or even a tropical storm, can still cause serious damage. A tropical storm can have wind speeds between 39 m.p.h. and 73 m.p.h. If the storm strengthens and produces winds up to 74 m.p.h., it becomes a Category 1 hurricane. 


Disponível em: https://www.nytimes.com/2023/08/29/climate/hurricane-categories-scale-saffir-simpson.html. Acesso em: 27 set. 2023. Adaptado.  
O furacão é um fenômeno atmosférico constituído por ventos giratórios que se deslocam em alta velocidade formado em regiões oceânicas, especialmente em zonas tropicais, constituídas por elevados níveis de umidade. De acordo com a reportagem, pode-se considerar:
Alternativas
Q2328564 Inglês

INSTRUÇÃO: Analise a campanha publicitária a seguir para responder à questão.  



Disponível em: https://www.canva.com/learn/clever-advertising/. Acesso em: 24 set. 2023.  

Ricola é uma marca suíça renomada por seus produtos dedicados ao cuidado da garganta, como balas e pastilhas para tosse. Fundada em 1930, a empresa ganhou destaque ao empregar ervas naturais, muitas delas cultivadas nos Alpes suíços, em suas fórmulas. Os produtos da Ricola são reconhecidos pelo seu sabor distintivo e pela garantia de proporcionar alívio suave e eficaz para irritações na garganta.
As aspas (“ ”), podem ser utilizadas na linguagem escrita para delimitar e destacar um trecho de texto que reproduz fielmente a fala ou expressão de uma pessoa. Nessa companha publicitária de pastilhas para a tosse da marca Ricola, a frase entre aspas é empregada para demarcar a citação direta da fala de um indivíduo. Qual é a intenção do autor ao incorporar a expressão “cough” no texto? 
Alternativas
Q2328563 Inglês

INSTRUÇÃO: Leia o texto a seguir para responder à questão.  


Brazil’s Supreme Court to vote on decriminalising abortion  

By Katy Watson 


Brazil’s Supreme Court has started voting on whether to decriminalise abortion. However, the session was quickly postponed after a minister called for the vote to take place in person instead of via video – and no new date has yet been set.  


Currently, abortion is only allowed in three cases: that of rape, risk to the woman's life and anencephaly – when the foetus has an undeveloped brain. 


If the Supreme Court votes in favour, abortion will be decriminalised up to 12 weeks of pregnancy. [...] 


Disponível em: https://www.bbc.com/news/world-latin-america-66881900. Acesso em: 25 set. 2023. Adaptado.  

As orações condicionais permitem explorar cenários hipotéticos e possíveis, pois possibilita analisar diferentes desdobramentos de uma situação, além de examinar as possíveis consequências de certas ações ou eventos. Considerando o trecho “If the Supreme Court votes in favour, abortion will be decriminalised up to 12 weeks of pregnancy.”, qual ideia o autor deseja expressar nele? 
Alternativas
Q2328562 Inglês
Convicted Brazilian fugitive captured, ending two-week manhunt in US
Harrisburg: A convicted murderer who escaped from a Pennsylvania jail has been captured with help from a heatsensing aircraft and a police dog, ending an intense, two-week manhunt that unnerved residents in the Philadelphia suburbs, authorities said.
Tactical teams surrounded the fugitive, Danelo Cavalcante, at around 8am in a rural area about 50 kilometres west of Philadelphia. As he tried to crawl away, a police dog subdued him and he was forcibly taken into custody, Pennsylvania State Police Lieutenant Colonel George Bivens said.
Cavalcante, who was armed with a rifle that he had stolen from a garage, was taken into custody without further incident. Bivens said he did not have the opportunity to use the firearm.
Cavalcante broke out of the Chester County Prison two weeks earlier by climbing between two walls that formed a narrow corridor in the jailhouse yard and scrambling onto the roof, according to police.
“It’s never easy to find someone who doesn’t want to be found in a large area,” Bivens said in response to a question about the extended manhunt during a Wednesday news briefing.

Disponível em: https://www.smh.com.au/world/north-america/fugitive-captured-ending-two-week-manhunt-in-us-20230914-p5e4im.html. Acesso em: 15 set. 2023. Adaptado.  


A seleção apropriada dos tempos verbais na redação assume um caráter crucial, visto que visa assegurar a clareza e a coesão do texto, fomentando assim a fluidez da leitura. Esse aspecto é de particular relevância em uma composição jornalística, em que se impõe a necessidade de determinar com exatidão a temporalidade das informações veiculadas, o que, por sua vez, confere credibilidade à reportagem, manifestando um zelo pelo rigor e precisão na exposição dos fatos.
Considerando as duas passagens negritadas no texto, o que indica a escolha das estruturas verbais nesses trechos destacados? 
Alternativas
Q2328561 Inglês

INSTRUÇÃO: Leia o texto a seguir para responder à questão 06.  


Convicted Brazilian fugitive captured, ending two-week manhunt in US  


Harrisburg: A convicted murderer who escaped from a Pennsylvania jail has been captured with help from a heat-sensing aircraft and a police dog, ending an intense, two-week manhunt that unnerved residents in the Philadelphia suburbs, authorities said. 


Tactical teams surrounded the fugitive, Danelo Cavalcante, at around 8am in a rural area about 50 kilometres west of Philadelphia. As he tried to crawl away, a police dog subdued him and he was forcibly taken into custody, Pennsylvania State Police Lieutenant Colonel George Bivens said. 


Cavalcante, who was armed with a rifle that he had stolen from a garage, was taken into custody without further incident. Bivens said he did not have the opportunity to use the firearm. 


Cavalcante broke out of the Chester County Prison two weeks earlier by climbing between two walls that formed a narrow corridor in the jailhouse yard and scrambling onto the roof, according to police. 


“It’s never easy to find someone who doesn’t want to be found in a large area,” Bivens said in response to a question about the extended manhunt during a Wednesday news briefing. 


Disponível em: https://www.smh.com.au/world/north-america/fugitive-captured-ending-two-week-manhunt-in-us-20230914-p5e4im.html. Acesso em: 15 set. 2023. Adaptado. 

Os filmes de Hollywood muitas vezes abordam uma ampla variedade de questões sociais por meio de suas narrativas, mas às vezes as próprias produções cinematográficas estadunidenses são criticadas pela insensibilidade a esses temas. Assinale a alternativa que apresenta a crítica apresentada no texto. 
Alternativas
Q2328560 Inglês

INSTRUÇÃO: Leia o texto a seguir para responder à questão. 




Disponível em: https://www.poetryfoundation.org/poems/44272/the-road-not-taken. Acesso em: 23 set. 2023.  

Robert Lee Frost foi um dos poetas mais influentes do século XX, nos Estados Unidos. Ele foi agraciado com quatro prêmios Pulitzer. A obra literária de Frost é vasta e diversificada, abrangendo desde sonetos até poemas em forma de diálogo. Seu poema “The Road Not Taken” aborda qual temática? 
Alternativas
Q2328559 Inglês

INSTRUÇÃO: O texto a seguir refere-se à questão. Leia-o atentamente. 



Disponível em: https://alidropship.com/funny-tweets-for-brand-engagement/. Acesso em: 23 set. 2023.  

Tanto o Wendy’s quanto o McDonald’s são redes de restaurantes de “fast food” que oferecem refeições preparadas rapidamente para consumo no local, para viagem ou por meio de serviços de entrega. Em 24 de novembro de 2017, a rede McDonald's realizou uma postagem na sua conta, em uma rede social, e foi prontamente respondida pela franquia concorrente, Wendy’s. Baseando-se na imagem, qual foi a intenção da rede Wendy’s? 

Alternativas
Q2328557 Inglês

INSTRUÇÃO: Leia o texto a seguir para responder à questão. 


The counteroffensive may be flagging, but Crimea attack shows Ukraine can still inflict serious damage on the Russian military


On Wednesday, a large plume of smoke rose from a naval base near Sevastopol. Local authorities played down the incident, saying that a number of drones were brought down. But the Ukrainian military says it successfully hit a Russian command post near Verkhniosadove, a few kilometers from Sevastopol.

The Institute for the Study of War (ISW) noted that satellite imagery confirmed that Ukrainian forces “struck the 744th Communications Center of the Command of the Black Sea FleetD as part of an apparent Ukrainian effort to target Black Sea Fleet facilities.”


Fonte: LISTER, T. Disponível em: https://edition.cnn.com/2023/09/22/europe/ukraine-crimea-russia-black-sea-intl-cmd/index.html. Acesso em: 23 set. 2023. Adaptado.

O texto aborda a guerra entre a Rússia e a Ucrânia, e, nele, o autor usa a expressão “played down”. Qual o sentido dessa expressão no contexto empregado? 
Alternativas
Q2326035 Inglês
Read Text II and answer the question that follow it


Text II


Boy cries Wolf


     After astonishing breakthroughs in artificial intelligence, many people worry that they will end up on the economic scrapheap. Global Google searches for “is my job safe?” have doubled in recent months, as people fear that they will be replaced with large language models (LLMS). Some evidence suggests that widespread disruption is coming. In a recent paper Tyna Eloundou of OpenAI and colleagues say that “around 80% of the US workforce could have at least 10% of their work tasks affected by the introduction of LLMS”. Another paper suggests that legal services, accountancy and travel agencies will face unprecedented upheaval.


     Economists, however, tend to enjoy making predictions about automation more than they enjoy testing them. In the early 2010s many of them loudly predicted that robots would kill jobs by the millions, only to fall silent when employment rates across the rich world rose to all-time highs. Few of the doom-mongers have a good explanation for why countries with the highest rates of tech usage around the globe, such as Japan, Singapore and South Korea, consistently have among the lowest rates of unemployment.


     Here we introduce our first attempt at tracking AI’s impact on jobs. Using American data on employment by occupation, we single out white-collar workers. These include people working in everything from back-office support and financial operations to copy-writers. White-collar roles are thought to be especially vulnerable to generative AI, which is becoming ever better at logical reasoning and creativity.


     However, there is as yet little evidence of an AI hit to employment. In the spring of 2020 white-collar jobs rose as a share of the total, as many people in service occupations lost their job at the start of the covid-19 pandemic. The white-collar share is lower today, as leisure and hospitality have recovered. Yet in the past year the share of employment in professions supposedly at risk from generative AI has risen by half a percentage point.


     It is, of course, early days. Few firms yet use generative-AI tools at scale, so the impact on jobs could merely be delayed. Another possibility, however, is that these new technologies will end up destroying only a small number of roles. While AI may be efficient at some tasks, it may be less good at others, such as management and working out what others need.


     AI could even have a positive effect on jobs. If workers using it become more efficient, profits at their company could rise which would then allow bosses to ramp up hiring. A recent survey by Experis, an IT-recruitment firm, points to this possibility. More than half of Britain’s employers expect AI technologies to have a positive impact on their headcount over the next two years, it finds.


     To see how it all shakes out, we will publish updates to this analysis every few months. But for now, a jobs apocalypse seems a way off.


From The Economist June 17th 2023, p. 71
In the last sentence of the first paragraph, when the paper mentions an “upheaval”, it refers to the possibility of a future 
Alternativas
Q2326034 Inglês
Read Text II and answer the question that follow it


Text II


Boy cries Wolf


     After astonishing breakthroughs in artificial intelligence, many people worry that they will end up on the economic scrapheap. Global Google searches for “is my job safe?” have doubled in recent months, as people fear that they will be replaced with large language models (LLMS). Some evidence suggests that widespread disruption is coming. In a recent paper Tyna Eloundou of OpenAI and colleagues say that “around 80% of the US workforce could have at least 10% of their work tasks affected by the introduction of LLMS”. Another paper suggests that legal services, accountancy and travel agencies will face unprecedented upheaval.


     Economists, however, tend to enjoy making predictions about automation more than they enjoy testing them. In the early 2010s many of them loudly predicted that robots would kill jobs by the millions, only to fall silent when employment rates across the rich world rose to all-time highs. Few of the doom-mongers have a good explanation for why countries with the highest rates of tech usage around the globe, such as Japan, Singapore and South Korea, consistently have among the lowest rates of unemployment.


     Here we introduce our first attempt at tracking AI’s impact on jobs. Using American data on employment by occupation, we single out white-collar workers. These include people working in everything from back-office support and financial operations to copy-writers. White-collar roles are thought to be especially vulnerable to generative AI, which is becoming ever better at logical reasoning and creativity.


     However, there is as yet little evidence of an AI hit to employment. In the spring of 2020 white-collar jobs rose as a share of the total, as many people in service occupations lost their job at the start of the covid-19 pandemic. The white-collar share is lower today, as leisure and hospitality have recovered. Yet in the past year the share of employment in professions supposedly at risk from generative AI has risen by half a percentage point.


     It is, of course, early days. Few firms yet use generative-AI tools at scale, so the impact on jobs could merely be delayed. Another possibility, however, is that these new technologies will end up destroying only a small number of roles. While AI may be efficient at some tasks, it may be less good at others, such as management and working out what others need.


     AI could even have a positive effect on jobs. If workers using it become more efficient, profits at their company could rise which would then allow bosses to ramp up hiring. A recent survey by Experis, an IT-recruitment firm, points to this possibility. More than half of Britain’s employers expect AI technologies to have a positive impact on their headcount over the next two years, it finds.


     To see how it all shakes out, we will publish updates to this analysis every few months. But for now, a jobs apocalypse seems a way off.


From The Economist June 17th 2023, p. 71
By calling some economists “doom-mongers” in “Few of the doom-mongers have a good explanation” (2nd paragraph), the authors
Alternativas
Q2326033 Inglês
Read Text II and answer the question that follow it


Text II


Boy cries Wolf


     After astonishing breakthroughs in artificial intelligence, many people worry that they will end up on the economic scrapheap. Global Google searches for “is my job safe?” have doubled in recent months, as people fear that they will be replaced with large language models (LLMS). Some evidence suggests that widespread disruption is coming. In a recent paper Tyna Eloundou of OpenAI and colleagues say that “around 80% of the US workforce could have at least 10% of their work tasks affected by the introduction of LLMS”. Another paper suggests that legal services, accountancy and travel agencies will face unprecedented upheaval.


     Economists, however, tend to enjoy making predictions about automation more than they enjoy testing them. In the early 2010s many of them loudly predicted that robots would kill jobs by the millions, only to fall silent when employment rates across the rich world rose to all-time highs. Few of the doom-mongers have a good explanation for why countries with the highest rates of tech usage around the globe, such as Japan, Singapore and South Korea, consistently have among the lowest rates of unemployment.


     Here we introduce our first attempt at tracking AI’s impact on jobs. Using American data on employment by occupation, we single out white-collar workers. These include people working in everything from back-office support and financial operations to copy-writers. White-collar roles are thought to be especially vulnerable to generative AI, which is becoming ever better at logical reasoning and creativity.


     However, there is as yet little evidence of an AI hit to employment. In the spring of 2020 white-collar jobs rose as a share of the total, as many people in service occupations lost their job at the start of the covid-19 pandemic. The white-collar share is lower today, as leisure and hospitality have recovered. Yet in the past year the share of employment in professions supposedly at risk from generative AI has risen by half a percentage point.


     It is, of course, early days. Few firms yet use generative-AI tools at scale, so the impact on jobs could merely be delayed. Another possibility, however, is that these new technologies will end up destroying only a small number of roles. While AI may be efficient at some tasks, it may be less good at others, such as management and working out what others need.


     AI could even have a positive effect on jobs. If workers using it become more efficient, profits at their company could rise which would then allow bosses to ramp up hiring. A recent survey by Experis, an IT-recruitment firm, points to this possibility. More than half of Britain’s employers expect AI technologies to have a positive impact on their headcount over the next two years, it finds.


     To see how it all shakes out, we will publish updates to this analysis every few months. But for now, a jobs apocalypse seems a way off.


From The Economist June 17th 2023, p. 71
If someone ends up “on the economic scrapheap” (1st paragraph), this person will feel
Alternativas
Q2326030 Inglês
Read Text II and answer the question that follow it


Text II


Boy cries Wolf


     After astonishing breakthroughs in artificial intelligence, many people worry that they will end up on the economic scrapheap. Global Google searches for “is my job safe?” have doubled in recent months, as people fear that they will be replaced with large language models (LLMS). Some evidence suggests that widespread disruption is coming. In a recent paper Tyna Eloundou of OpenAI and colleagues say that “around 80% of the US workforce could have at least 10% of their work tasks affected by the introduction of LLMS”. Another paper suggests that legal services, accountancy and travel agencies will face unprecedented upheaval.


     Economists, however, tend to enjoy making predictions about automation more than they enjoy testing them. In the early 2010s many of them loudly predicted that robots would kill jobs by the millions, only to fall silent when employment rates across the rich world rose to all-time highs. Few of the doom-mongers have a good explanation for why countries with the highest rates of tech usage around the globe, such as Japan, Singapore and South Korea, consistently have among the lowest rates of unemployment.


     Here we introduce our first attempt at tracking AI’s impact on jobs. Using American data on employment by occupation, we single out white-collar workers. These include people working in everything from back-office support and financial operations to copy-writers. White-collar roles are thought to be especially vulnerable to generative AI, which is becoming ever better at logical reasoning and creativity.


     However, there is as yet little evidence of an AI hit to employment. In the spring of 2020 white-collar jobs rose as a share of the total, as many people in service occupations lost their job at the start of the covid-19 pandemic. The white-collar share is lower today, as leisure and hospitality have recovered. Yet in the past year the share of employment in professions supposedly at risk from generative AI has risen by half a percentage point.


     It is, of course, early days. Few firms yet use generative-AI tools at scale, so the impact on jobs could merely be delayed. Another possibility, however, is that these new technologies will end up destroying only a small number of roles. While AI may be efficient at some tasks, it may be less good at others, such as management and working out what others need.


     AI could even have a positive effect on jobs. If workers using it become more efficient, profits at their company could rise which would then allow bosses to ramp up hiring. A recent survey by Experis, an IT-recruitment firm, points to this possibility. More than half of Britain’s employers expect AI technologies to have a positive impact on their headcount over the next two years, it finds.


     To see how it all shakes out, we will publish updates to this analysis every few months. But for now, a jobs apocalypse seems a way off.


From The Economist June 17th 2023, p. 71
Based on Text II, mark the statements below as TRUE (T) or FALSE (F).

( ) Many believe AI will eventually make jobs redundant.
( ) The conclusion of the text is that the current outlook regarding employment is rather bleak.
( ) The authors prefer to probe forthcoming evidence before issuing unequivocal accounts.

The statements are, respectively,
Alternativas
Q2326027 Inglês
Read Text I and answer the question that follow it.


Text I



Generative Art – What’s real?


     There is nothing new about the concept and creation of ‘artificial intelligence art’ or ‘generative art’. However, discussion of its legal and ethical or societal implications (both intended and unintended) hit the headlines last week.


     Boris Eldagsen refused his Sony World Photography Award 2023 prize in the creative open category on the basis that his entry was the product of artificial intelligence. Mr Eldagsen himself has sparked the latest debate by claiming that “AI is not photography” and that the rationale for entering the Awards with the work in question was “…to find out if the competitions are prepared for AI images to enter. They are not”.


     The reaction of the World Photography Organisation (running the Sony Awards) has been to acknowledge the need for an element of human involvement, which is the crux of the debate: “While elements of AI practices are relevant in artistic contexts of image-making, the Awards always have been and will continue to be a platform for championing the excellence and skill of photographers and artists working in this medium”.


     […]


     The conventional (and long assumed) approach has been to recognise the importance of the human hand to an artwork. The question then is: to what extent is the human creator or inputter the ‘artist’ as opposed to the generative system or is the system merely representing the human creator or inputter’s artistic idea? Flowing from that question is what that might then mean in terms of the ownership and value of such works. The debate looks set to continue in this particular context of imagery creation and reproduction coinciding with the increasing availability and use of consumer-grade AI image generation programmes, and the natural inclination of artists to continue to create.


Adapted from https://www.rosenblatt-law.co.uk/insight/generative-art-whats-real/
Based on Text I, mark the statements below as true (T) or false (F).

( ) The dawning of generative art has given rise to a quandary.
( ) The winner mentioned was thrilled with the prize he was awarded.
( ) The organization responsible for the award stood by their earlier statement that AI yields finer art than that of humans.

The statements are, respectively,
Alternativas
Q2324511 Inglês
Text 1A2-II


       I have often thought how interesting a magazine paper might be written by any author who would—that is to say, who could—detail, step by step, the processes by which any one of his compositions attained its ultimate point of completion. Why such a paper has never been given to the world, I am much at a loss to say—but, perhaps, the authorial vanity has had more to do with the omission than any one other cause. Most writers—poets in especial—prefer having it understood that they compose by a species of fine frenzy—an ecstatic intuition—and would positively shudder at letting the public take a peep behind the scenes, at the elaborate and vacillating crudities of thought—at the true purposes seized only at the last moment—at the innumerable glimpses of idea that arrived not at the maturity of full view—at the fully-matured fancies discarded in despair as unmanageable—at the cautious selections and rejections—at the painful erasures and interpolations—in a word, at the wheels and pinions—the tackle for scene-shifting—the step-ladders, and demon-traps—the cock’s feathers, the red paint and the black patches, which, in ninety-nine cases out of a hundred, constitute the properties of the literary histrio.

        I am aware, on the other hand, that the case is by no means common, in which an author is at all in condition to retrace the steps by which his conclusions have been attained. In general, suggestions, having arisen pell-mell are pursued and forgotten in a similar manner.

       For my own part, I have neither sympathy with the repugnance alluded to, nor, at any time, the least difficulty in recalling to mind the progressive steps of any of my compositions, and, since the interest of an analysis or reconstruction, such as I have considered a desideratum, is quite independent of any real or fancied interest in the thing analysed, it will not be regarded as a breach of decorum on my part to show the modus operandi by which some one of my own works was put together. I select The Raven as most generally known. It is my design to render it manifest that no one point in its composition is referable either to accident or intuition—that the work proceeded step by step, to its completion, with the precision and rigid consequence of a mathematical problem.

Edgar Allan Poe. The Philosophy of Composition, 1846 (adapted)
In text 1A2-II, Poe affirms that
Alternativas
Q2324510 Inglês
Text 1A2-II


       I have often thought how interesting a magazine paper might be written by any author who would—that is to say, who could—detail, step by step, the processes by which any one of his compositions attained its ultimate point of completion. Why such a paper has never been given to the world, I am much at a loss to say—but, perhaps, the authorial vanity has had more to do with the omission than any one other cause. Most writers—poets in especial—prefer having it understood that they compose by a species of fine frenzy—an ecstatic intuition—and would positively shudder at letting the public take a peep behind the scenes, at the elaborate and vacillating crudities of thought—at the true purposes seized only at the last moment—at the innumerable glimpses of idea that arrived not at the maturity of full view—at the fully-matured fancies discarded in despair as unmanageable—at the cautious selections and rejections—at the painful erasures and interpolations—in a word, at the wheels and pinions—the tackle for scene-shifting—the step-ladders, and demon-traps—the cock’s feathers, the red paint and the black patches, which, in ninety-nine cases out of a hundred, constitute the properties of the literary histrio.

        I am aware, on the other hand, that the case is by no means common, in which an author is at all in condition to retrace the steps by which his conclusions have been attained. In general, suggestions, having arisen pell-mell are pursued and forgotten in a similar manner.

       For my own part, I have neither sympathy with the repugnance alluded to, nor, at any time, the least difficulty in recalling to mind the progressive steps of any of my compositions, and, since the interest of an analysis or reconstruction, such as I have considered a desideratum, is quite independent of any real or fancied interest in the thing analysed, it will not be regarded as a breach of decorum on my part to show the modus operandi by which some one of my own works was put together. I select The Raven as most generally known. It is my design to render it manifest that no one point in its composition is referable either to accident or intuition—that the work proceeded step by step, to its completion, with the precision and rigid consequence of a mathematical problem.

Edgar Allan Poe. The Philosophy of Composition, 1846 (adapted)
It can be inferred from the ideas of text 1A2-II that
Alternativas
Q2324509 Inglês
Text 1A2-II


       I have often thought how interesting a magazine paper might be written by any author who would—that is to say, who could—detail, step by step, the processes by which any one of his compositions attained its ultimate point of completion. Why such a paper has never been given to the world, I am much at a loss to say—but, perhaps, the authorial vanity has had more to do with the omission than any one other cause. Most writers—poets in especial—prefer having it understood that they compose by a species of fine frenzy—an ecstatic intuition—and would positively shudder at letting the public take a peep behind the scenes, at the elaborate and vacillating crudities of thought—at the true purposes seized only at the last moment—at the innumerable glimpses of idea that arrived not at the maturity of full view—at the fully-matured fancies discarded in despair as unmanageable—at the cautious selections and rejections—at the painful erasures and interpolations—in a word, at the wheels and pinions—the tackle for scene-shifting—the step-ladders, and demon-traps—the cock’s feathers, the red paint and the black patches, which, in ninety-nine cases out of a hundred, constitute the properties of the literary histrio.

        I am aware, on the other hand, that the case is by no means common, in which an author is at all in condition to retrace the steps by which his conclusions have been attained. In general, suggestions, having arisen pell-mell are pursued and forgotten in a similar manner.

       For my own part, I have neither sympathy with the repugnance alluded to, nor, at any time, the least difficulty in recalling to mind the progressive steps of any of my compositions, and, since the interest of an analysis or reconstruction, such as I have considered a desideratum, is quite independent of any real or fancied interest in the thing analysed, it will not be regarded as a breach of decorum on my part to show the modus operandi by which some one of my own works was put together. I select The Raven as most generally known. It is my design to render it manifest that no one point in its composition is referable either to accident or intuition—that the work proceeded step by step, to its completion, with the precision and rigid consequence of a mathematical problem.

Edgar Allan Poe. The Philosophy of Composition, 1846 (adapted)
According to Edgar Allan Poe’s point of view, portrayed in text 1A2-II, behind the scenes of writing,
Alternativas
Q2324506 Inglês
Text 1A2-I


       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)
For the author of text 1A2-I,
Alternativas
Q2324505 Inglês
Text 1A2-I


       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)
According to the ideas of text 1A2-I, choose the correct option.
Alternativas
Ano: 2023 Banca: CESGRANRIO Órgão: Transpetro Provas: CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 1: Administração | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 2: Advocacia | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase: 3: Análise Ambiental | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase: 5: Análise de Sistemas: Segurança Cibernética e da Informação | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase: 4: Análise de Sistemas - Infraestrutura | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 6: Processos de Negócios | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 7: Análise de Sistemas - Sap - Finanças e Contabilidade | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 8: Comercialização e Logística - Comércio e Suprimentos | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 9: Comercialização e Logística - Transporte Marítimo | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Jornalismo Junior: Ênfase: 10: Comunicador Social - Jornalismo | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 11: Comunicador Social - Publicidade e Propaganda | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 12: Comunicador Social - Relações Públicas | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 13: Contabilidade | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 19: Engenharia de Produção | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 24: Engenharia Mecânica | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 20: Engenharia de Segurança | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 21: Engenharia de Telecomunicações | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 14: Enfermagem do Trabalho | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 15: Engenharia Ambiental | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 16: Engenharia Civil | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 22: Engenharia Elétrica | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 28 Serviço Social | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 27: Pedagogia | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 23: Engenharia Geotécnica | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 17: Engenharia de Automação | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 18: Engenharia de Inspeção | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 25: Engenharia Naval | CESGRANRIO - 2023 - Transpetro - Profissional Transpetro de Nível Superior - Junior: Ênfase 26: Engenharia Química |
Q2324389 Inglês
How space technology is bringing
green wins for transport


1     Space technology is developing fast, and, with every advance, it is becoming more accessible to industry. Today, satellite communications (satcoms) and space-based data are underpinning new ways of operating that boost both sustainability and profitability. Some projects are still in the planning stages, offering great promise for the future. However, others are already delivering practical results.

2     The benefits of space technology broadly fall into two categories: connectivity that can reach into situations where terrestrial technologies struggle to deliver and the deep, unique insights delivered by Earth Observation (EO) data. Both depend on access to satellite networks, particularly medium earth orbit (MEO) and low earth orbit (LEO) satellites that offer low-latency connectivity and frequently updated data. Right now, the satellite supplier market is booming, driving down the cost of access to satellites. Suppliers are increasingly tailoring their services to emerging customer needs and the potential applications are incredible – as a look at the transportation sector shows.

3    Satellite technology is a critical part of revolutionizing connectivity on trains. The Satellites for Digitalization of Railways (SODOR) project will provide low latency, highly reliable connectivity that, combined with monitoring sensors, will mean near realtime data guides operational decisions. This insight will help trains run more efficiently with fewer delays for passengers. Launching this year, SODOR will help operators reduce emissions by using the network more efficiently, allowing preventative maintenance and extending the lifetime of some existing trains. It will also make rail travel more attractive and help shift more passengers from road to rail (that typically emits even less CO2 per passenger than electric cars do).

4      Satellite data and communications will also play a fundamental role in shaping a sustainable future for road vehicles. Right now, the transport sector contributes around 14% of the UK’s greenhouse gas emissions, of which 91% is from road vehicles – and this needs to change.

5     A future where Electric Vehicles (EV) dominate will need a smart infrastructure to monitor and control the electricity network, managing highly variable supply and demand, as well as a large network of EV charging points. EO data will be critical in future forecasting models for wind and solar production, to help manage a consistent flow of green energy.

6      Satellite communications will also be pivotal. As more wind and solar installations join the electricity network – often in remote locations – satcoms will  step in to deliver highly reliable connectivity where 4G struggles to reach. It will underpin a growing network of EV charging points, connecting each point to the internet for operational management purposes, for billing and access app functionality and for the users’ comfort, they may access the system wherever they are.

7   Satellite technology will increasingly be a part of the vehicles themselves, particularly when automated driving becomes more mainstream. It will be essential for every vehicle to have continuous connectivity to support real-time software patches, map updates and inter-vehicle communications. Already, satellites provide regular software updates to vehicles and enhanced safety through an in-car emergency call service.

8       At our company, we have been deeply embedded in the space engineering for more than 40 years – and we continue to be involved with the state-of-the-art technologies and use cases. We have a strong track record of translating these advances into practical benefits for our customers that make sense on both a business and a sustainability level.


Available at: https://www.cgi.com/uk/en-gb/blog/space/how-space-technology-is-bringing-green-wins-to-transport. Retrieved on April 25, 2023. Adapted.
In the eighth paragraph of the text, the author states that, for the last 40 years, the company where he works has been 
Alternativas
Respostas
2041: B
2042: E
2043: C
2044: D
2045: A
2046: E
2047: B
2048: C
2049: D
2050: E
2051: D
2052: B
2053: E
2054: C
2055: C
2056: B
2057: A
2058: B
2059: E
2060: C