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Q1108066 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. 
Look at the following sentence, found in the text: “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.” All of the words or phrases underlined in the sentence are
Alternativas
Q1086675 Inglês

TEXT 8


“As far as practical conditions and educational relevance are concerned, virtually no major change has occurred in order to justify reframing our teaching. However, in what concerns social relevance, it is undeniable that the growth of the Internet has provided a new context for the use of the English language outside schools. For that reason, it is my belief that skills other than reading may now be taught in our classes without representing a return to a rationale that is alien to our schools. The teaching of writing in the context of Internet genres and practices is definitely necessary, if we want our students to have their own voice, becoming able to project their own local identities in global contexts.”

ALMEIDA, R. L. T. The teaching of English as a foreign language in the context of Brazilian regular schools: a retrospective and prospective view of policies and practices. Revista Brasileira de Linguística Aplicada, Belo Horizonte, v. 12, n. 2, 2012, p. 347. 

The same word may belong to different word classes. In text 8, for example, the word "alien" is an adjective, but it could also be a noun in another context.


Select the group of words below in which there is ONE element that belongs to only one word class.

Alternativas
Q1086667 Inglês

TEXT 4


“It must be fairly obvious from the discussion in the foregoing paragraphs that the very concept of ‘World Englishes’ throws a number of challenges at all those of us who are in one way or another involved in it. For ELT professionals all over the world, it means, among other things, having to take a fresh look at many of the things that have been taken for granted for long.

Consider, for instance, the following. World English is not the mother-tongue of anyone – and this includes even those who used to rejoice in their status as the ‘native-speakers’ of their own varieties of English. This is so because World English is a language that is in the making and, from the looks of it is bound to remain so for the foreseeable future. Incidentally, any temptation to consider World English a pidgin would be totally misguided in that it is not a make-shift language, nor one that is progressing towards a full-fledged language in its own right. Nor, for that matter, is it gathering a new generation of native speakers. Rather, it is resistant to the very terminology that the linguists resort to in describing conventional ‘natural’ languages.”

RAJAGOPALAN, K. The identity of "World English”: New Challenges in Language and Literature. Belo Horizonte: FALE/UFMG, 2009, p.104. 

The word “SO” is used anaphorically in two instances in the excerpt: “This is so because World English is a language that is in the making and, from the looks of it is bound to remain so for the foreseeable future.” They were used to refer respectively to the fact that
Alternativas
Q1086665 Inglês

TEXT 3


“Despite the contemporary calling of the speech/textual genre conceptions to deal with privations in the educational system (ROJO, 2008), the treatment given to genre, especially in theories operating with the notion of textual genre, has mainly focused on genre’s stable characteristics and on the development of competencies/capacities that lead to the comprehension and production of the oral and written genres circulating in the social world.

One of the implications of this kind of treatment for the literacy practices at school has considerably often been the genre displacement from micro and macrolinguistic contexts that interact in meaning construction to abstractly focus on the stable characteristics defining news, comics, recipes, editorial, blogs etc. Another, and maybe more serious, unfolding is that since it doesn’t look at how genres mingle and hybridize with other genres and semiosis in processes of constant (re)designing meanings, such a treatment can end up contributing to the mere (re)production of genres legitimized by school, leaving little or no space at all for the innovations and destabilization that mingling and transgression processes print to texts in contemporaneity and, as a consequence, for a critical position in relation to meanings constructed in the margins of what school validates as acceptable literacy practices.”

OLIVEIRA, M. B. F.; SZUNDI, P. T. C. Multiliteracies Practices at School: for a responsive education to contemporaneity.

                                   Bakhtiniana, São Paulo, v. 9, n. 2, Jul./Dec. 2014, p. 206,207.

In the excerpt “the treatment given to genre, especially in theories operating with the notion of textual genre, has mainly focused on genre’s stable characteristics”, the present perfect tense has been used to express the idea that the treatment given to genre
Alternativas
Respostas
281: C
282: C
283: D
284: A
285: C