Questões de Concurso Comentadas por alunos sobre voz ativa e passiva | passive and active voice em inglês

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Q1108061 Inglês
INSTRUCTIONS: Read the text carefully and then mark the alternatives that answer the questions or complete the sentences presented after it.

TEXT III
The cab had arrived ten minutes late, then had got stuck in a monumental traffic jam on Charing Cross Road. ‘Sorry, love, nothing doing,’ the driver had said. Joanna had looked at her watch, chucked a ten-pound note at him and jumped out of the cab. As she’d hared through the streets towards Covent Garden, her chest laboring and her nose streaming, she’d wondered whether life could get any worse.
Joanna was snapped out of her reverie as the congregation suddenly ceased their chatter. She opened her eyes and turned round as Sir James Harrison’s family members began to file into the church.
Leading the party was Charles Harrison, Sir James’s only child, now well into his sixties. He lived in Los Angeles, and was an acclaimed director of big-budget action films filled with special effects. She vaguely remembered that he had won an Oscar some time ago, but his films weren’t the kind she usually went to see.
By Charles Harrison’s side was Zoe Harrison, his daughter. As Alec had hoped, Zoe looked stunning in a fitted black suit with a short skirt that showed her long legs, and her hair was pulled back in a sleek chignon that set off her classic English-rose beauty to perfection. She was an actress, whose film career was on the rise, and Matthew had been mad about her. He always said Zoe reminded him of Grace Kelly his dream woman, apparently – leading Joanna to wonder why Matthew was going out with a dark-eyed, gangly brunette such as herself. She swallowed a lump in her throat, betting that Winnie the Pooh hot-water bottle that his ‘Samantha” was a petite blonde.
Holding Zoe Harrison’s hand was a young boy of around nine or ten, looking uncomfortable in a black suit and tie: Zoe’s son Jamie Harrison, named after his great-grandfather. Zoe had given birth to Jamie when she was only nineteen and still refused to name the father. Sir
James had loyally defended his granddaughter and her decision to both have the baby and to remain silent about Jamie’s paternity.
Joanna thought how alike Jamie and his mother were: the same fine features, a milk and rose complexion, and huge blue eyes. Zoe Harrison kept him away from the cameras as much as possible – if Steve had got a shot of mother and son together, it would probably make the front page tomorrow morning.
Behind them came Marcus Harrison, Zoe’s brother. Joanna watched him as he drew level with her pew. Even with her thoughts still on Matthew, she had to admit Marcus Harrison was a serious ‘hottie’, as her fellow reporter Alice would say. Joanna recognised him from the gossip columns – most recently squiring a blonde British socialite with a triple-barreled surname. As dark as his sister was fair, but sharing the same blue eyes, Marcus carried himself with louche confidence. His hair almost touched his shoulders and, wearing a crumpled black jacket and a white shirt unbuttoned at the neck, he oozed charisma. Joanna dragged her gaze away from him. Next time, she thought firmly, I’m going for a middle-aged man who likes bird watching and stamp collecting. She struggled to recall what Marcus Harrison did for a living – a fledgling film producer, she thought. Well, he certainly looked the part.
‘Good morning, ladies and gentlemen’. The vicar spoke from the pulpit, a large picture of Sir James Harrison in front of him, surrounded with wreaths of white roses. ‘Sir James’s family welcomes you all here and thanks you for coming to pay tribute to a friend, a colleague, a father, grandfather and great-grandfather, and perhaps the finest actor of this century. For those of us who had the good fortune to know him well, it will not come as a surprise that Sir James was adamant that this was not to be a sombre occasion, but a celebration. Both his family and I have honoured his wishes. Therefore, we start with Sir James’s favourite hymn “I Vow to Thee My Country”. Please stand’.
RILEY, Lucinda. The Love Letter. London: Pan Books, 2018, p. 13-15. 
The correct passive voice for the sentence ‘Sir James’s family welcomes you all here and thanks you for coming to pay tribute to a friend’ will be:
Alternativas
Q1068726 Inglês

Para responder a questão, leia o artigo de jornal a seguir.

Trial with migrants

        The Hungarian Prime Minister Viktor Orban is against migration there. He says that the EU risks losing another country if the migration is not stopped. Nine men were sentenced to nearly a year in jail; however, they were released at the judge’s discretion due to time already served. One of the group was kept behind bars after receiving a three-year sentence for issuing instructions to the rioters through a loudspeaker. After the trial, a United Nations spokesman said that he was worried that a country would criminalize people who are fleeing war zones.

(www.ondemandnews.com – Adaptado)

Assinale a alternativa que apresenta oração na voz ativa.
Alternativas
Q1065543 Inglês

We’re having the house painted next week.

In the passive sentence above, we can understand that:


I. We are not going to paint the house ourselves;

II. Someone else will paint it;

III. The emphasis is on who is painting the house.


Indicate the correct alternative according to the context.

Alternativas
Q1060509 Inglês
An example of passive voice taken from text 9A3BBB is
Alternativas
Q1015052 Inglês

Text II

                               Reading Comprehension Instruction


      There are widespread and erroneous perceptions that children must know all of the words before they can comprehend a text and that they must comprehend it at the literal level before advancing to comprehension at the inferential level.

      Recognizing some words is clearly necessary and central to reading. It is important for children to acquire a set of strategies for figuring out the meanings of words and apply these strategies so that words are recognized automatically. Four groups of strategies exist: (1) common graphophonic patterns (e.g., at in cat, hat, bat), (2) high‐frequency or common words used in sentences (e.g., the, a, or), (3) word building (e.g., morphemes, as play in plays, played, playing, playful), and (4) contextual supports gathered through the meanings of sentences, texts, and illustrations. These word recognition strategies are taught as children are engaged in reading and are considered effective in fluency instruction.

      Vocabulary and reading comprehension growth occurs side by side even for beginning readers. They each require explicit instruction and lots of reading of stories including repeated readings to teach phonics, to develop sight vocabulary, and to teach children how to decode words; guided retelling using questions that prompt children to name the characters, identify the setting (place and time), speak to the problem, tell what happened, and how the story ended; repeated checking for information; and drawing conclusions. Teaching strategies to children early, explicitly, and sequentially are three key characteristics of effective vocabulary and reading comprehension instruction.

      For those who are learning English as second or foreign language, take advantage of their first language knowledge to identify cognate pairs, which are words with similar spellings, pronunciations, and meanings in English. To identify the degree of overlap between the two languages is a strategy that has been demonstrated to be effective for Spanish‐ literate children: learn the words for basic objects (e.g., dog, cat, house, car) that English‐only children already know; review and practice passages and stories through read‐alouds in order to accelerate the rate at which words can be identified and read; and engage in basic reading skills including spelling.

(PHILLIPS, L.M, NORRIS, S. P. & VAVRA, K.L. Reading Comprehension Instruction (pp. 1‐10). Faculty of Education, University of Alberta.   Posted online on 2007‐11‐20 in: http://www.literacyencyclopedia.ca)

An important strategy for understanding and interpreting meanings and intentions in texts is the knowledge of the reasons why the writer opted between active and passive constructions. In this respect, SWAN (2008:410) comments that: “In a passive clause, we usually use a phrase beginning with by if we want to mention the agent ‒ the person or thing that does the action, or that causes what happens. (Note, however, that agents are mentioned in only about 20 per cent of passive clauses.)


In text II, the passive construction is employed several times, as in:


[…] so that words are recognized automatically.” (§ 2)

These word recognition strategies are taught as children […]” (§ 2)

[…] a strategy between the two languages that has been demonstrated to be effective […]” (§ 4)


The explanation for the omission of the passive by‐agent in these sentences is found in:

Alternativas
Respostas
76: D
77: B
78: A
79: E
80: B