Questões de Concurso Sobre inglês

Filtrar por:
Os seus filtros aparecerão aqui.

Foram encontradas 17.476 questões

Resolva questões gratuitamente!

Junte-se a mais de 4 milhões de concurseiros!

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
Q2326036 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
“as yet” in “there is as yet little evidence” (4th paragraph) can be replaced without significant change of meaning by
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
Q2326032 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
The adjective in “astonishing breakthroughs” (1st paragraph) is similar in meaning to 
Alternativas
Q2326031 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
The title of the article means to 
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
Q2326029 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/
The phrase “The crux of the debate” (3rd paragraph) is the same as the 
Alternativas
Q2326028 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/
In the first paragraph, the relation between the two sentences is one of
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
Q2324514 Inglês
Text 1A2-III


     In January 1948, before three pistol shots put an end to his life, Gandhi had been on the political stage for more than fifty years. He had inspired two generations of Indian patriots, shaken an empire and sparked off a revolution which was to change the face of Africa and Asia. To millions of his own people, he was the Mahatma — the great soul — whose sacred glimpse was a reward in itself.

       By the end of 1947 he had lived down much of the suspicion, ridicule and opposition which he had to face, when he first raised the banner of revolt against racial exclusiveness and imperial domination. His ideas, once dismissed as quaint and utopian, had begun to strike answering chords in some of the finest minds in the world. “Generations to come, it may be,” Einstein had said of Gandhi in July 1944, “will scarcely believe that such a one as this ever in flesh and blood walked upon earth.”

      Though his life had been a continual unfolding of an endless drama, Gandhi himself seemed the least dramatic of men. It would be difficult to imagine a man with fewer trappings of political eminence or with less of the popular image of a heroic figure. With his loin cloth, steel-rimmed glasses, rough sandals, a toothless smile and a voice which rarely rose above a whisper, he had a disarming humility. He was, if one were to use the famous words of the Buddha, a man who had “by rousing himself, by earnestness, by restraint and control, made for himself an island which no flood could overwhelm.”

        Gandhi’s deepest strivings were spiritual, but he did not — as had been the custom in his country — retire to a cave in the Himalayas to seek his salvation. He carried his cave within him. He did not know, he said, any religion apart from human activity; the spiritual law did not work in a vacuum, but expressed itself through the ordinary activities of life.

       This aspiration to relate the spirit of religion to the problems of everyday life runs like a thread through Gandhi’s career: his uneventful childhood, the slow unfolding and the near-failure of his youth, the reluctant plunge into the politics of Natal, the long unequal struggle in South Africa, and the vicissitudes of the Indian struggle for freedom, which under his leadership was to culminate in a triumph not untinged with tragedy.

B. R. Nanda. Gandhi: a pictorial biography, 1972 (adapted). 
The word “quaint” (second sentence of the second paragraph), in its use in text 1A2-III, means 
Alternativas
Q2324513 Inglês
Text 1A2-III


     In January 1948, before three pistol shots put an end to his life, Gandhi had been on the political stage for more than fifty years. He had inspired two generations of Indian patriots, shaken an empire and sparked off a revolution which was to change the face of Africa and Asia. To millions of his own people, he was the Mahatma — the great soul — whose sacred glimpse was a reward in itself.

       By the end of 1947 he had lived down much of the suspicion, ridicule and opposition which he had to face, when he first raised the banner of revolt against racial exclusiveness and imperial domination. His ideas, once dismissed as quaint and utopian, had begun to strike answering chords in some of the finest minds in the world. “Generations to come, it may be,” Einstein had said of Gandhi in July 1944, “will scarcely believe that such a one as this ever in flesh and blood walked upon earth.”

      Though his life had been a continual unfolding of an endless drama, Gandhi himself seemed the least dramatic of men. It would be difficult to imagine a man with fewer trappings of political eminence or with less of the popular image of a heroic figure. With his loin cloth, steel-rimmed glasses, rough sandals, a toothless smile and a voice which rarely rose above a whisper, he had a disarming humility. He was, if one were to use the famous words of the Buddha, a man who had “by rousing himself, by earnestness, by restraint and control, made for himself an island which no flood could overwhelm.”

        Gandhi’s deepest strivings were spiritual, but he did not — as had been the custom in his country — retire to a cave in the Himalayas to seek his salvation. He carried his cave within him. He did not know, he said, any religion apart from human activity; the spiritual law did not work in a vacuum, but expressed itself through the ordinary activities of life.

       This aspiration to relate the spirit of religion to the problems of everyday life runs like a thread through Gandhi’s career: his uneventful childhood, the slow unfolding and the near-failure of his youth, the reluctant plunge into the politics of Natal, the long unequal struggle in South Africa, and the vicissitudes of the Indian struggle for freedom, which under his leadership was to culminate in a triumph not untinged with tragedy.

B. R. Nanda. Gandhi: a pictorial biography, 1972 (adapted). 
The expression “lived down” (first sentence of the second paragraph of text 1A2-III) means 
Alternativas
Q2324512 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 the third sentence of text 1A2-II, the fragment “shudder at” can be correctly replaced by
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
Q2324508 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)
The word “oblivious”, in the fragment “oblivious of the existence of an alien atmosphere” (fifth sentence of the second paragraph) is being used, in text 1A2-I, with the same meaning as
Alternativas
Q2324507 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)
Choose the option in which the fragment “No sooner, however, does the artist transgress the law of his medium than we realize” (last sentence of the second paragraph of text 1A2-I) is correctly rewritten, without changing its meaning or harming its correctness.
Alternativas
Respostas
4641: C
4642: D
4643: C
4644: E
4645: D
4646: B
4647: D
4648: A
4649: E
4650: B
4651: A
4652: C
4653: D
4654: E
4655: A
4656: C
4657: B
4658: A
4659: D
4660: D