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Choose the CORRECT affirmation about the sentence below:
Pedro is selling home insurance and he wants our help to spread the word.
I. What a blue beautiful skirt. II. He has short brown hair. III. José wants to buy a round wooden table.
The sentence(s) in which the adjectives are NOT placed in the correct order is(are):
As regards the sentence
“After analyzing the my profile, they told me I was not suitable ___ the management position”
choose the CORRECT answer.
Read the following dialogue.
Caio: Have you seen Joana lately?
Ramon: I hadn’t, but I heard she borrowed some money from the bank.
Caio: But what about her inheritance?
Ramon: Word has it she frittered all away.
Caio: That’s crazy!
Ramon: Yeah, I know.
Based on this dialogue, analyze the assertions below.
I. In “she frittered all away”, Ramon intends to say that Joana squandered all her inheritance.
II. Ramon correctly uses auxiliary verbs in his first and last lines.
III. “Lately” is a time adverb in Caio’s fist line.
The CORRECT assertion(s) is(are):
I. Carla always pretends to care.
II. I can’t stand his comments, they’re full of all types of prejudice.
III. It’s an important topic to discuss.
IV. How much times do we have to go over this project?
Mark these statements as True (T) or False (F).
( ) “Care” and “stand” are regular verbs in sentences I and II, respectively.
( ) “Go over” is a phrasal verb in sentence IV.
( ) Even though “pretend”, “important” and “prejudice” are similar in spelling to words in Portuguese, they are all false cognates.
( ) In sentences II and IV, the use of quantifiers is correct.
The statements are, in the order presented, respectively:
I. “… or to take care of oneself” [Reflexive pronoun].
II. “In 2020, the COVID-19 pandemic …” [Preposition].
III. “… with a glaring loophole that allows…” [Superlative adverb].
IV. “…and professional lives differently to manage burnout” [Phrasal verb].
The information in brackets correctly describes the underlined word/expression in the excerpt(s):
Read the excerpts from Text I and analyze the assertions.
A. “… that the third quarter of 2021…”
B. “…it doesn't work as well as it should...”
C. “Clocking out at 5 p.m. on the dot…”
D. “… evoking images of a slacker…”
I. Used as a discourse marker, “should” is also an auxiliary modal verb that refers to a past situation in sentence B.
II. In sentence A, “third” is a cardinal number.
III. “Slacker” is a countable noun in sentence D.
IV. “On the dot”, in sentence C, means “exactly at the stated or expected time”.
The CORRECT assertion(s) is(are):
( ) By referring to “quiet quitting” as a misnomer, Karen K. Ho means that the ups and downs of everyday life do not make viral trends on TikTok.
( ) According to Zaid Khan, the idea behind “quiet quitting” is to lead people to completely quit their jobs.
( ) In a nutshell, “quiet quitting” is a renewed commitment to life beyond the workplace.
The statements are, in the order presented, respectively:
Responsible state fiscal policy requires more than just balancing the current year’s budget. It must also include ensuring that the budget is on a sustainable path. Otherwise, policymakers cannot have the lasting impact they hope for. This risk is especially high in the aftermath of the COVID-19 pandemic. Record budget surpluses, driven largely by federal pandemic aid, empowered states to adopt historically large tax cuts and spending increases from 2021 to 2023.
State leaders must be able to assess whether their decisions will be affordable over the long term or will jeopardize their ability to solve state problems or even sustain programs and services in the future. Unfortunately, the nature of state budget processes discourages such long-term thinking. State policymakers devote much of their time to developing, enacting, and implementing annual or biennial budgets, a prime opportunity to achieve immediate policy goals.
One key strategy for changing this short-term focus is for states to use long-term budget assessments and budget stress tests to regularly measure risks, anticipate potential shortfalls, and identify ways to address impending challenges. Long-term budget assessments project revenue and spending several years into the future, and stress tests estimate the size of temporary budget shortfalls that would result from recessions or other economic events and gauge whether states are prepared for these events.
Internet: <https://www.pewtrusts.org> (adapted).
Considering the ideas conveyed in the previous text, as well as its linguistic aspects, judge the following item.
Without harming the meaning and the correctness of the text,
the word “ensuring” (second sentence of the text) could be
correctly replaced with to make sure.
Read the text to aswer the question.
The enduring joy of Golden Girls: a wildly sassy sitcom that will always cheer you up
A comedic masterclass with the best sitcom theme song of all time, Golden Girls pulled back the curtains on ageing and dealt with big-ticket issues.
A zinger-infused maelstrom of shoulder pads, pastels and perms. Rattan furniture, DayGlo linen and Formica. There’s such a distinctive look, feel and vibe to The Golden Girls, the iconic sitcom that ran from 1985 to 1992, scooping up 68 Emmy nominations and 11 wins in the process. The brainchild of producer Susan Harris, the show spawned several acclaimed spinoffs and became an enduring work of high camp in the process.
The premise? Three older women decide to live together: the stern, witty ex-teacher Dorothy Zbornak (Bea Arthur), the sweet but fantastically dense Rose Nylund (Betty White) and southern hornbag Blanche Devereaux (Rue McClanahan). At first it’s a matter of convenience, but before long, they become fast friends. During the pilot they’re joined by a fourth: Dorothy’s mother Sophia Petrillo (Estelle Getty), a nitpicky little shrew whose ability to cockblock our heroines saw her gradually become the Scrappy-Doo of the house. (Don’t @ me, Goldies, you know I’m right.)
For a comedy that primarily took place within a Floridian kitchen, The Golden Girls boasted some serious talent. The four leads were all astoundingly adept at their craft.
The golden girls themselves proved that the family you make is sometimes stronger than the one you’re born with. Dorothy, Rose and Blanche feel, at times, aged out of their previous lives. Careers, spouses, the world: all seem to be pushing them away. But the girls are proof that you can – and should – forge new bonds, even if it seems like your old life is done for. That you can make a new family, even if your old one rejects you.
The Golden Girls pulled back the curtains on ageing, showing the ways in which old people can be flawed, passionate, monumentally stupid, brave – even at times, almost heroically horny. And it did so with an almost reckless willingness to be as wildly funny as it possibly could.
The show ended up doing what many sitcoms do: use antagonism as heat to push the plot forward. It takes truly hack writers to defend needless antagonism as the only source of fuel to propel a story (I’m looking at you, post-Sorkin West Wing). The last two seasons of The Golden Girls aren’t terrible, but Sophia morphs from an old lady without boundaries to an ancient sociopathic prankster. But even with this odd acceleration towards a caricatured sitcom event horizon, the show still manages to roll out the hits. The two-part finale, written by Mitch Hurwitz (the creator of Arrested Development) and starring Leslie Nielsen as Dorothy’s love interest, ranks as some of the best in the show’s history.
It also has – and I cannot stress this enough – the best sitcom theme song in the history of sitcom theme songs. In 2023, there are few things that will haul you out of whatever psychic muck you find yourself in than whacking on an episode of The Golden Girls. I promise you, once the credits roll, you’ll find yourself lying on the lanai in your mind, feeling somehow much lighter than you did before.
(The Guardian 2024, The Guardian website. Accessed: 06 February 2024. Available: <https://www.theguardian.com/tv-and-radio/2023/aug/02/goldengirls-tv-sitcom-enduring-joy-dorothy-rose-betty-white-blanche>. Adapted.)
Read the text to aswer the question.
The enduring joy of Golden Girls: a wildly sassy sitcom that will always cheer you up
A comedic masterclass with the best sitcom theme song of all time, Golden Girls pulled back the curtains on ageing and dealt with big-ticket issues.
A zinger-infused maelstrom of shoulder pads, pastels and perms. Rattan furniture, DayGlo linen and Formica. There’s such a distinctive look, feel and vibe to The Golden Girls, the iconic sitcom that ran from 1985 to 1992, scooping up 68 Emmy nominations and 11 wins in the process. The brainchild of producer Susan Harris, the show spawned several acclaimed spinoffs and became an enduring work of high camp in the process.
The premise? Three older women decide to live together: the stern, witty ex-teacher Dorothy Zbornak (Bea Arthur), the sweet but fantastically dense Rose Nylund (Betty White) and southern hornbag Blanche Devereaux (Rue McClanahan). At first it’s a matter of convenience, but before long, they become fast friends. During the pilot they’re joined by a fourth: Dorothy’s mother Sophia Petrillo (Estelle Getty), a nitpicky little shrew whose ability to cockblock our heroines saw her gradually become the Scrappy-Doo of the house. (Don’t @ me, Goldies, you know I’m right.)
For a comedy that primarily took place within a Floridian kitchen, The Golden Girls boasted some serious talent. The four leads were all astoundingly adept at their craft.
The golden girls themselves proved that the family you make is sometimes stronger than the one you’re born with. Dorothy, Rose and Blanche feel, at times, aged out of their previous lives. Careers, spouses, the world: all seem to be pushing them away. But the girls are proof that you can – and should – forge new bonds, even if it seems like your old life is done for. That you can make a new family, even if your old one rejects you.
The Golden Girls pulled back the curtains on ageing, showing the ways in which old people can be flawed, passionate, monumentally stupid, brave – even at times, almost heroically horny. And it did so with an almost reckless willingness to be as wildly funny as it possibly could.
The show ended up doing what many sitcoms do: use antagonism as heat to push the plot forward. It takes truly hack writers to defend needless antagonism as the only source of fuel to propel a story (I’m looking at you, post-Sorkin West Wing). The last two seasons of The Golden Girls aren’t terrible, but Sophia morphs from an old lady without boundaries to an ancient sociopathic prankster. But even with this odd acceleration towards a caricatured sitcom event horizon, the show still manages to roll out the hits. The two-part finale, written by Mitch Hurwitz (the creator of Arrested Development) and starring Leslie Nielsen as Dorothy’s love interest, ranks as some of the best in the show’s history.
It also has – and I cannot stress this enough – the best sitcom theme song in the history of sitcom theme songs. In 2023, there are few things that will haul you out of whatever psychic muck you find yourself in than whacking on an episode of The Golden Girls. I promise you, once the credits roll, you’ll find yourself lying on the lanai in your mind, feeling somehow much lighter than you did before.
(The Guardian 2024, The Guardian website. Accessed: 06 February 2024. Available: <https://www.theguardian.com/tv-and-radio/2023/aug/02/goldengirls-tv-sitcom-enduring-joy-dorothy-rose-betty-white-blanche>. Adapted.)
Read the text to aswer the question.
The enduring joy of Golden Girls: a wildly sassy sitcom that will always cheer you up
A comedic masterclass with the best sitcom theme song of all time, Golden Girls pulled back the curtains on ageing and dealt with big-ticket issues.
A zinger-infused maelstrom of shoulder pads, pastels and perms. Rattan furniture, DayGlo linen and Formica. There’s such a distinctive look, feel and vibe to The Golden Girls, the iconic sitcom that ran from 1985 to 1992, scooping up 68 Emmy nominations and 11 wins in the process. The brainchild of producer Susan Harris, the show spawned several acclaimed spinoffs and became an enduring work of high camp in the process.
The premise? Three older women decide to live together: the stern, witty ex-teacher Dorothy Zbornak (Bea Arthur), the sweet but fantastically dense Rose Nylund (Betty White) and southern hornbag Blanche Devereaux (Rue McClanahan). At first it’s a matter of convenience, but before long, they become fast friends. During the pilot they’re joined by a fourth: Dorothy’s mother Sophia Petrillo (Estelle Getty), a nitpicky little shrew whose ability to cockblock our heroines saw her gradually become the Scrappy-Doo of the house. (Don’t @ me, Goldies, you know I’m right.)
For a comedy that primarily took place within a Floridian kitchen, The Golden Girls boasted some serious talent. The four leads were all astoundingly adept at their craft.
The golden girls themselves proved that the family you make is sometimes stronger than the one you’re born with. Dorothy, Rose and Blanche feel, at times, aged out of their previous lives. Careers, spouses, the world: all seem to be pushing them away. But the girls are proof that you can – and should – forge new bonds, even if it seems like your old life is done for. That you can make a new family, even if your old one rejects you.
The Golden Girls pulled back the curtains on ageing, showing the ways in which old people can be flawed, passionate, monumentally stupid, brave – even at times, almost heroically horny. And it did so with an almost reckless willingness to be as wildly funny as it possibly could.
The show ended up doing what many sitcoms do: use antagonism as heat to push the plot forward. It takes truly hack writers to defend needless antagonism as the only source of fuel to propel a story (I’m looking at you, post-Sorkin West Wing). The last two seasons of The Golden Girls aren’t terrible, but Sophia morphs from an old lady without boundaries to an ancient sociopathic prankster. But even with this odd acceleration towards a caricatured sitcom event horizon, the show still manages to roll out the hits. The two-part finale, written by Mitch Hurwitz (the creator of Arrested Development) and starring Leslie Nielsen as Dorothy’s love interest, ranks as some of the best in the show’s history.
It also has – and I cannot stress this enough – the best sitcom theme song in the history of sitcom theme songs. In 2023, there are few things that will haul you out of whatever psychic muck you find yourself in than whacking on an episode of The Golden Girls. I promise you, once the credits roll, you’ll find yourself lying on the lanai in your mind, feeling somehow much lighter than you did before.
(The Guardian 2024, The Guardian website. Accessed: 06 February 2024. Available: <https://www.theguardian.com/tv-and-radio/2023/aug/02/goldengirls-tv-sitcom-enduring-joy-dorothy-rose-betty-white-blanche>. Adapted.)
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