Questões de Vestibular de Inglês
Foram encontradas 5.955 questões
Ano: 2019
Banca:
VUNESP
Órgão:
SÃO CAMILO
Prova:
VUNESP - 2019 - SÃO CAMILO - Processo Seletivo - 1º Semestre de 2020- Medicina Prova II |
Q1797675
Inglês
Texto associado
Leia a tirinha para responder à questão.
(Stephan Pastis. “Pearls Before Swine”. www.gocomics.com, 22.04.2019.)
No diálogo entre as personagens Pig (porco) e Goat (cabrito), Pig
Ano: 2019
Banca:
VUNESP
Órgão:
SÃO CAMILO
Prova:
VUNESP - 2019 - SÃO CAMILO - Processo Seletivo - 1º Semestre de 2020- Medicina Prova II |
Q1797674
Inglês
Texto associado
Leia o texto para responder à questão.
The fantastic appeal of fantasy
The fantasy genre starts where science ends
Few things can brighten up a dark morning in a Scottish
seaside resort during an Atlantic storm. Yet while sheltering in
a bookshop from the rain, I had a moment of sunny revelation.
Stacked almost as high as my 11-year-old self were copies of
The Lord of the Rings, with a cover illustration that promised
mystery and magic. That chance discovery started a lifelong
love of the fantasy genre1
, both as reader and writer.
The fantasy genre has had more and more success, but
today we’re in the middle of an unprecedented fantasy boom.
Sales continue to rise and it is now the biggest genre in
publishing. The more rational the world gets, with super-science
all around us, the more we demand the irrational in our fiction.
Fantasy is not simply a case of swords2
and sorcery3
.
Yes, there is that by the shelf. But the genre is as broad as the
imagination. The genre starts where science ends.
“In these modern times, where most of us sit at computers,
fantasy books offer a chance to break out of mundane
moments,” says Mark Newton, an editor with the genre.
“People like to explore themes that go beyond the limited
palette that literary fiction claims to offer.”
A search for the origins of fantasy will usually have
academics muttering about Beowulf or Homer’s The Iliad, but
they come from a time when all stories were fantasy: gods and
monsters and supernatural artefacts with humanity caught in
the middle. The first modern fantasy writer is usually considered
to be William Morris, in the late 19th Century. But it was the
early 20th Century where fantasy really started to gain status.
Fantasy fiction has always been about visionary ideas.
You can get artful words in plenty of literary fiction, but being
able to see beyond the boundaries4
of the world around us —
now that’s a special skill.
I don’t write fantasy fiction simply to provide a trapdoor5
from the real world. For me, the genre is about the reality. But
instead of coming up against it, fantasy maps the unconscious
aspirations of our modern society through allegory in story-
-forms as old as humanity. It’s about turning off the mobile
phone and the computer and remembering who we are in the
deepest parts of ourselves.
(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)
1genre: gênero. Categoria distintiva de composição literária, como romance,
poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
No trecho “But instead of coming up against it, fantasy maps
the unconscious aspirations of our modern society” (7° parágrafo), a expressão sublinhada tem sentido equivalente, em
português, a
Ano: 2019
Banca:
VUNESP
Órgão:
SÃO CAMILO
Prova:
VUNESP - 2019 - SÃO CAMILO - Processo Seletivo - 1º Semestre de 2020- Medicina Prova II |
Q1797673
Inglês
Texto associado
Leia o texto para responder à questão.
The fantastic appeal of fantasy
The fantasy genre starts where science ends
Few things can brighten up a dark morning in a Scottish
seaside resort during an Atlantic storm. Yet while sheltering in
a bookshop from the rain, I had a moment of sunny revelation.
Stacked almost as high as my 11-year-old self were copies of
The Lord of the Rings, with a cover illustration that promised
mystery and magic. That chance discovery started a lifelong
love of the fantasy genre1
, both as reader and writer.
The fantasy genre has had more and more success, but
today we’re in the middle of an unprecedented fantasy boom.
Sales continue to rise and it is now the biggest genre in
publishing. The more rational the world gets, with super-science
all around us, the more we demand the irrational in our fiction.
Fantasy is not simply a case of swords2
and sorcery3
.
Yes, there is that by the shelf. But the genre is as broad as the
imagination. The genre starts where science ends.
“In these modern times, where most of us sit at computers,
fantasy books offer a chance to break out of mundane
moments,” says Mark Newton, an editor with the genre.
“People like to explore themes that go beyond the limited
palette that literary fiction claims to offer.”
A search for the origins of fantasy will usually have
academics muttering about Beowulf or Homer’s The Iliad, but
they come from a time when all stories were fantasy: gods and
monsters and supernatural artefacts with humanity caught in
the middle. The first modern fantasy writer is usually considered
to be William Morris, in the late 19th Century. But it was the
early 20th Century where fantasy really started to gain status.
Fantasy fiction has always been about visionary ideas.
You can get artful words in plenty of literary fiction, but being
able to see beyond the boundaries4
of the world around us —
now that’s a special skill.
I don’t write fantasy fiction simply to provide a trapdoor5
from the real world. For me, the genre is about the reality. But
instead of coming up against it, fantasy maps the unconscious
aspirations of our modern society through allegory in story-
-forms as old as humanity. It’s about turning off the mobile
phone and the computer and remembering who we are in the
deepest parts of ourselves.
(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)
1genre: gênero. Categoria distintiva de composição literária, como romance,
poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
In the excerpt “that’s a special skill” (6th paragraph), the
underlined word can be replaced, without changing the
meaning of the sentence, by
Ano: 2019
Banca:
VUNESP
Órgão:
SÃO CAMILO
Prova:
VUNESP - 2019 - SÃO CAMILO - Processo Seletivo - 1º Semestre de 2020- Medicina Prova II |
Q1797672
Inglês
Texto associado
Leia o texto para responder à questão.
The fantastic appeal of fantasy
The fantasy genre starts where science ends
Few things can brighten up a dark morning in a Scottish
seaside resort during an Atlantic storm. Yet while sheltering in
a bookshop from the rain, I had a moment of sunny revelation.
Stacked almost as high as my 11-year-old self were copies of
The Lord of the Rings, with a cover illustration that promised
mystery and magic. That chance discovery started a lifelong
love of the fantasy genre1
, both as reader and writer.
The fantasy genre has had more and more success, but
today we’re in the middle of an unprecedented fantasy boom.
Sales continue to rise and it is now the biggest genre in
publishing. The more rational the world gets, with super-science
all around us, the more we demand the irrational in our fiction.
Fantasy is not simply a case of swords2
and sorcery3
.
Yes, there is that by the shelf. But the genre is as broad as the
imagination. The genre starts where science ends.
“In these modern times, where most of us sit at computers,
fantasy books offer a chance to break out of mundane
moments,” says Mark Newton, an editor with the genre.
“People like to explore themes that go beyond the limited
palette that literary fiction claims to offer.”
A search for the origins of fantasy will usually have
academics muttering about Beowulf or Homer’s The Iliad, but
they come from a time when all stories were fantasy: gods and
monsters and supernatural artefacts with humanity caught in
the middle. The first modern fantasy writer is usually considered
to be William Morris, in the late 19th Century. But it was the
early 20th Century where fantasy really started to gain status.
Fantasy fiction has always been about visionary ideas.
You can get artful words in plenty of literary fiction, but being
able to see beyond the boundaries4
of the world around us —
now that’s a special skill.
I don’t write fantasy fiction simply to provide a trapdoor5
from the real world. For me, the genre is about the reality. But
instead of coming up against it, fantasy maps the unconscious
aspirations of our modern society through allegory in story-
-forms as old as humanity. It’s about turning off the mobile
phone and the computer and remembering who we are in the
deepest parts of ourselves.
(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)
1genre: gênero. Categoria distintiva de composição literária, como romance,
poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
No trecho “they come from a time when all stories were
fantasy” (5°
parágrafo), o termo sublinhado refere-se a
Ano: 2019
Banca:
VUNESP
Órgão:
SÃO CAMILO
Prova:
VUNESP - 2019 - SÃO CAMILO - Processo Seletivo - 1º Semestre de 2020- Medicina Prova II |
Q1797671
Inglês
Texto associado
Leia o texto para responder à questão.
The fantastic appeal of fantasy
The fantasy genre starts where science ends
Few things can brighten up a dark morning in a Scottish
seaside resort during an Atlantic storm. Yet while sheltering in
a bookshop from the rain, I had a moment of sunny revelation.
Stacked almost as high as my 11-year-old self were copies of
The Lord of the Rings, with a cover illustration that promised
mystery and magic. That chance discovery started a lifelong
love of the fantasy genre1
, both as reader and writer.
The fantasy genre has had more and more success, but
today we’re in the middle of an unprecedented fantasy boom.
Sales continue to rise and it is now the biggest genre in
publishing. The more rational the world gets, with super-science
all around us, the more we demand the irrational in our fiction.
Fantasy is not simply a case of swords2
and sorcery3
.
Yes, there is that by the shelf. But the genre is as broad as the
imagination. The genre starts where science ends.
“In these modern times, where most of us sit at computers,
fantasy books offer a chance to break out of mundane
moments,” says Mark Newton, an editor with the genre.
“People like to explore themes that go beyond the limited
palette that literary fiction claims to offer.”
A search for the origins of fantasy will usually have
academics muttering about Beowulf or Homer’s The Iliad, but
they come from a time when all stories were fantasy: gods and
monsters and supernatural artefacts with humanity caught in
the middle. The first modern fantasy writer is usually considered
to be William Morris, in the late 19th Century. But it was the
early 20th Century where fantasy really started to gain status.
Fantasy fiction has always been about visionary ideas.
You can get artful words in plenty of literary fiction, but being
able to see beyond the boundaries4
of the world around us —
now that’s a special skill.
I don’t write fantasy fiction simply to provide a trapdoor5
from the real world. For me, the genre is about the reality. But
instead of coming up against it, fantasy maps the unconscious
aspirations of our modern society through allegory in story-
-forms as old as humanity. It’s about turning off the mobile
phone and the computer and remembering who we are in the
deepest parts of ourselves.
(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)
1genre: gênero. Categoria distintiva de composição literária, como romance,
poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
O sentido do trecho sublinhado em “fantasy books offer a
chance to break out of mundane moments” (4°
parágrafo)
está mantido, em português, do seguinte modo:
Ano: 2019
Banca:
VUNESP
Órgão:
SÃO CAMILO
Prova:
VUNESP - 2019 - SÃO CAMILO - Processo Seletivo - 1º Semestre de 2020- Medicina Prova II |
Q1797670
Inglês
Texto associado
Leia o texto para responder à questão.
The fantastic appeal of fantasy
The fantasy genre starts where science ends
Few things can brighten up a dark morning in a Scottish
seaside resort during an Atlantic storm. Yet while sheltering in
a bookshop from the rain, I had a moment of sunny revelation.
Stacked almost as high as my 11-year-old self were copies of
The Lord of the Rings, with a cover illustration that promised
mystery and magic. That chance discovery started a lifelong
love of the fantasy genre1
, both as reader and writer.
The fantasy genre has had more and more success, but
today we’re in the middle of an unprecedented fantasy boom.
Sales continue to rise and it is now the biggest genre in
publishing. The more rational the world gets, with super-science
all around us, the more we demand the irrational in our fiction.
Fantasy is not simply a case of swords2
and sorcery3
.
Yes, there is that by the shelf. But the genre is as broad as the
imagination. The genre starts where science ends.
“In these modern times, where most of us sit at computers,
fantasy books offer a chance to break out of mundane
moments,” says Mark Newton, an editor with the genre.
“People like to explore themes that go beyond the limited
palette that literary fiction claims to offer.”
A search for the origins of fantasy will usually have
academics muttering about Beowulf or Homer’s The Iliad, but
they come from a time when all stories were fantasy: gods and
monsters and supernatural artefacts with humanity caught in
the middle. The first modern fantasy writer is usually considered
to be William Morris, in the late 19th Century. But it was the
early 20th Century where fantasy really started to gain status.
Fantasy fiction has always been about visionary ideas.
You can get artful words in plenty of literary fiction, but being
able to see beyond the boundaries4
of the world around us —
now that’s a special skill.
I don’t write fantasy fiction simply to provide a trapdoor5
from the real world. For me, the genre is about the reality. But
instead of coming up against it, fantasy maps the unconscious
aspirations of our modern society through allegory in story-
-forms as old as humanity. It’s about turning off the mobile
phone and the computer and remembering who we are in the
deepest parts of ourselves.
(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)
1genre: gênero. Categoria distintiva de composição literária, como romance,
poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
O trecho sublinhado em “the genre is as broad as the
imagination” (3°
parágrafo) expressa uma
Ano: 2019
Banca:
VUNESP
Órgão:
SÃO CAMILO
Prova:
VUNESP - 2019 - SÃO CAMILO - Processo Seletivo - 1º Semestre de 2020- Medicina Prova II |
Q1797669
Inglês
Texto associado
Leia o texto para responder à questão.
The fantastic appeal of fantasy
The fantasy genre starts where science ends
Few things can brighten up a dark morning in a Scottish
seaside resort during an Atlantic storm. Yet while sheltering in
a bookshop from the rain, I had a moment of sunny revelation.
Stacked almost as high as my 11-year-old self were copies of
The Lord of the Rings, with a cover illustration that promised
mystery and magic. That chance discovery started a lifelong
love of the fantasy genre1
, both as reader and writer.
The fantasy genre has had more and more success, but
today we’re in the middle of an unprecedented fantasy boom.
Sales continue to rise and it is now the biggest genre in
publishing. The more rational the world gets, with super-science
all around us, the more we demand the irrational in our fiction.
Fantasy is not simply a case of swords2
and sorcery3
.
Yes, there is that by the shelf. But the genre is as broad as the
imagination. The genre starts where science ends.
“In these modern times, where most of us sit at computers,
fantasy books offer a chance to break out of mundane
moments,” says Mark Newton, an editor with the genre.
“People like to explore themes that go beyond the limited
palette that literary fiction claims to offer.”
A search for the origins of fantasy will usually have
academics muttering about Beowulf or Homer’s The Iliad, but
they come from a time when all stories were fantasy: gods and
monsters and supernatural artefacts with humanity caught in
the middle. The first modern fantasy writer is usually considered
to be William Morris, in the late 19th Century. But it was the
early 20th Century where fantasy really started to gain status.
Fantasy fiction has always been about visionary ideas.
You can get artful words in plenty of literary fiction, but being
able to see beyond the boundaries4
of the world around us —
now that’s a special skill.
I don’t write fantasy fiction simply to provide a trapdoor5
from the real world. For me, the genre is about the reality. But
instead of coming up against it, fantasy maps the unconscious
aspirations of our modern society through allegory in story-
-forms as old as humanity. It’s about turning off the mobile
phone and the computer and remembering who we are in the
deepest parts of ourselves.
(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)
1genre: gênero. Categoria distintiva de composição literária, como romance,
poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
According to the author, the “unprecedented fantasy boom”
(2nd paragraph) is related to the fact that
Ano: 2019
Banca:
VUNESP
Órgão:
SÃO CAMILO
Prova:
VUNESP - 2019 - SÃO CAMILO - Processo Seletivo - 1º Semestre de 2020- Medicina Prova II |
Q1797668
Inglês
Texto associado
Leia o texto para responder à questão.
The fantastic appeal of fantasy
The fantasy genre starts where science ends
Few things can brighten up a dark morning in a Scottish
seaside resort during an Atlantic storm. Yet while sheltering in
a bookshop from the rain, I had a moment of sunny revelation.
Stacked almost as high as my 11-year-old self were copies of
The Lord of the Rings, with a cover illustration that promised
mystery and magic. That chance discovery started a lifelong
love of the fantasy genre1
, both as reader and writer.
The fantasy genre has had more and more success, but
today we’re in the middle of an unprecedented fantasy boom.
Sales continue to rise and it is now the biggest genre in
publishing. The more rational the world gets, with super-science
all around us, the more we demand the irrational in our fiction.
Fantasy is not simply a case of swords2
and sorcery3
.
Yes, there is that by the shelf. But the genre is as broad as the
imagination. The genre starts where science ends.
“In these modern times, where most of us sit at computers,
fantasy books offer a chance to break out of mundane
moments,” says Mark Newton, an editor with the genre.
“People like to explore themes that go beyond the limited
palette that literary fiction claims to offer.”
A search for the origins of fantasy will usually have
academics muttering about Beowulf or Homer’s The Iliad, but
they come from a time when all stories were fantasy: gods and
monsters and supernatural artefacts with humanity caught in
the middle. The first modern fantasy writer is usually considered
to be William Morris, in the late 19th Century. But it was the
early 20th Century where fantasy really started to gain status.
Fantasy fiction has always been about visionary ideas.
You can get artful words in plenty of literary fiction, but being
able to see beyond the boundaries4
of the world around us —
now that’s a special skill.
I don’t write fantasy fiction simply to provide a trapdoor5
from the real world. For me, the genre is about the reality. But
instead of coming up against it, fantasy maps the unconscious
aspirations of our modern society through allegory in story-
-forms as old as humanity. It’s about turning off the mobile
phone and the computer and remembering who we are in the
deepest parts of ourselves.
(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)
1genre: gênero. Categoria distintiva de composição literária, como romance,
poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
No trecho “Yet while sheltering in a bookshop from the rain”
(1°
parágrafo), o termo sublinhado indica ideia de
Ano: 2019
Banca:
VUNESP
Órgão:
SÃO CAMILO
Prova:
VUNESP - 2019 - SÃO CAMILO - Processo Seletivo - 1º Semestre de 2020- Medicina Prova II |
Q1797667
Inglês
Texto associado
Leia o texto para responder à questão.
The fantastic appeal of fantasy
The fantasy genre starts where science ends
Few things can brighten up a dark morning in a Scottish
seaside resort during an Atlantic storm. Yet while sheltering in
a bookshop from the rain, I had a moment of sunny revelation.
Stacked almost as high as my 11-year-old self were copies of
The Lord of the Rings, with a cover illustration that promised
mystery and magic. That chance discovery started a lifelong
love of the fantasy genre1
, both as reader and writer.
The fantasy genre has had more and more success, but
today we’re in the middle of an unprecedented fantasy boom.
Sales continue to rise and it is now the biggest genre in
publishing. The more rational the world gets, with super-science
all around us, the more we demand the irrational in our fiction.
Fantasy is not simply a case of swords2
and sorcery3
.
Yes, there is that by the shelf. But the genre is as broad as the
imagination. The genre starts where science ends.
“In these modern times, where most of us sit at computers,
fantasy books offer a chance to break out of mundane
moments,” says Mark Newton, an editor with the genre.
“People like to explore themes that go beyond the limited
palette that literary fiction claims to offer.”
A search for the origins of fantasy will usually have
academics muttering about Beowulf or Homer’s The Iliad, but
they come from a time when all stories were fantasy: gods and
monsters and supernatural artefacts with humanity caught in
the middle. The first modern fantasy writer is usually considered
to be William Morris, in the late 19th Century. But it was the
early 20th Century where fantasy really started to gain status.
Fantasy fiction has always been about visionary ideas.
You can get artful words in plenty of literary fiction, but being
able to see beyond the boundaries4
of the world around us —
now that’s a special skill.
I don’t write fantasy fiction simply to provide a trapdoor5
from the real world. For me, the genre is about the reality. But
instead of coming up against it, fantasy maps the unconscious
aspirations of our modern society through allegory in story-
-forms as old as humanity. It’s about turning off the mobile
phone and the computer and remembering who we are in the
deepest parts of ourselves.
(Mark Chadbourn. www.telegraph.co.uk, 12.04.2008. Adaptado.)
1genre: gênero. Categoria distintiva de composição literária, como romance,
poesia etc.
2sword: espada.
3sorcery: feitiçaria.
4boundary: fronteira.
5trapdoor: alçapão
According to the first paragraph, the author reveals that he
first got interested in the literary fantasy genre
Q1797187
Inglês
Read the graph below and answer the following question.
According to the graph above we can assert that
Q1797186
Inglês
Read the graph below and answer the following question.
According to the graph above it is true to assert that
Q1797185
Inglês
Texto associado
Read the text below and answer the following question.
Is it time you went on a social media detox?
In today's world, social media is central to our lives. It helps
us to stay in touch with our friends, promote our work, and
follow the latest news. How do these networks impact our
mental and physical health?
A number of studies have linked social media use with
increased levels of depression, anxiety, and isolation.
Social media lovers have twice the risk of depression,
compared with their less enthusiastic peers.
Research has revealed that younger and older users alike
are in danger of breaking under the pressure of
unachievable standards of beauty and success.
Among young adult users, social media notably increases
the incidence of anxiety and depression, according to the
results of a sizeable study conducted in 2016.
In fact, the researchers saw that users who frequently
checked their accounts had a more than twice as high a risk
of depression than their less social media-oriented peers.
This may partly be due to the fact that social networks
create an artificial need to be available 24/7, to respond to
messages and emoji reactions instantly. But this attitude
creates an unnecessary amount of low-key stress that takes
its toll on our emotional well-being.
And, despite the fact that such platforms are supposed to
enhance our sense of connectedness with other people,
research has found that they actually have the opposite
effect: they render dedicated users lonelier and more
isolated.
However, this shouldn't really surprise us. The
hyperconnectedness takes place at a superficial level,
eliminating all of the extra elements that make
communication more valuable and psychologically
constructive.
Such elements include eye contact, body language, the
possibility of listening for changes in our interlocutor's tone
of voice, or the possibility of physical touch.
An over-active social media presence can leave its mark not
just on our mental health, but also on our physical health —
particularly by altering our sleep patterns.
Lastly, researchers have proven that our commitment to
social media platforms can negatively affect our
commitment to our own creative and professional lives in
complex ways.
Adaptado de: <
https://www.medicalnewstoday.com/articles/321498.php?sr>
Acessado em 19 de outubro de 2018.
The pernicious effects of social media
Q1797184
Inglês
Texto associado
Read the text below and answer the following question.
Is it time you went on a social media detox?
In today's world, social media is central to our lives. It helps
us to stay in touch with our friends, promote our work, and
follow the latest news. How do these networks impact our
mental and physical health?
A number of studies have linked social media use with
increased levels of depression, anxiety, and isolation.
Social media lovers have twice the risk of depression,
compared with their less enthusiastic peers.
Research has revealed that younger and older users alike
are in danger of breaking under the pressure of
unachievable standards of beauty and success.
Among young adult users, social media notably increases
the incidence of anxiety and depression, according to the
results of a sizeable study conducted in 2016.
In fact, the researchers saw that users who frequently
checked their accounts had a more than twice as high a risk
of depression than their less social media-oriented peers.
This may partly be due to the fact that social networks
create an artificial need to be available 24/7, to respond to
messages and emoji reactions instantly. But this attitude
creates an unnecessary amount of low-key stress that takes
its toll on our emotional well-being.
And, despite the fact that such platforms are supposed to
enhance our sense of connectedness with other people,
research has found that they actually have the opposite
effect: they render dedicated users lonelier and more
isolated.
However, this shouldn't really surprise us. The
hyperconnectedness takes place at a superficial level,
eliminating all of the extra elements that make
communication more valuable and psychologically
constructive.
Such elements include eye contact, body language, the
possibility of listening for changes in our interlocutor's tone
of voice, or the possibility of physical touch.
An over-active social media presence can leave its mark not
just on our mental health, but also on our physical health —
particularly by altering our sleep patterns.
Lastly, researchers have proven that our commitment to
social media platforms can negatively affect our
commitment to our own creative and professional lives in
complex ways.
Adaptado de: <
https://www.medicalnewstoday.com/articles/321498.php?sr>
Acessado em 19 de outubro de 2018.
Not so enthusiastic social media users
Q1797183
Inglês
Texto associado
Read the text below and answer the following question.
Is it time you went on a social media detox?
In today's world, social media is central to our lives. It helps
us to stay in touch with our friends, promote our work, and
follow the latest news. How do these networks impact our
mental and physical health?
A number of studies have linked social media use with
increased levels of depression, anxiety, and isolation.
Social media lovers have twice the risk of depression,
compared with their less enthusiastic peers.
Research has revealed that younger and older users alike
are in danger of breaking under the pressure of
unachievable standards of beauty and success.
Among young adult users, social media notably increases
the incidence of anxiety and depression, according to the
results of a sizeable study conducted in 2016.
In fact, the researchers saw that users who frequently
checked their accounts had a more than twice as high a risk
of depression than their less social media-oriented peers.
This may partly be due to the fact that social networks
create an artificial need to be available 24/7, to respond to
messages and emoji reactions instantly. But this attitude
creates an unnecessary amount of low-key stress that takes
its toll on our emotional well-being.
And, despite the fact that such platforms are supposed to
enhance our sense of connectedness with other people,
research has found that they actually have the opposite
effect: they render dedicated users lonelier and more
isolated.
However, this shouldn't really surprise us. The
hyperconnectedness takes place at a superficial level,
eliminating all of the extra elements that make
communication more valuable and psychologically
constructive.
Such elements include eye contact, body language, the
possibility of listening for changes in our interlocutor's tone
of voice, or the possibility of physical touch.
An over-active social media presence can leave its mark not
just on our mental health, but also on our physical health —
particularly by altering our sleep patterns.
Lastly, researchers have proven that our commitment to
social media platforms can negatively affect our
commitment to our own creative and professional lives in
complex ways.
Adaptado de: <
https://www.medicalnewstoday.com/articles/321498.php?sr>
Acessado em 19 de outubro de 2018.
The use of social media
Q1797182
Inglês
Texto associado
Read the text below and answer the following question.
Can Cellular Agriculture Feed the World?
Within 20 years, there will be 2 billion more people than today — over 9 billion people in total. The impact to the environment could be severe. Just feeding that population using current methods is problematic.
On average, cattle ranchers need 100 times more land than corn growers to produce a gram of food. So, if that hungry world continues to eat meat like we do, the demand for land — and fresh water — will be alarming, not to mention the environmental impact of raising so many animals. Meat production aside, the large-scale monoculture of crops like corn usually results in damaging terrestrial pollution from pesticides and soil depletion. The impact to the oceans is equally perilous.
Instead of farming animals, fish and plants, cellular agriculture grows the proteins and nutrients we consume from a culture, cell by cell. With this alternative approach, the consumable meat and plant tissues produced don’t need to be harvested from animals or plants. It’s food production on an industrial scale.
The technology to do this is not new. Growing meat from a scaffold embedded in growth culture is no different in theory than making bread from yeast. The vast majority of insulin for diabetics is already manufactured by genetically engineered bacteria, as is the rennet used to culture cheese. In the past 10 years, this approach has been pioneered with a variety of foodstuffs: milk, eggs, beef, chicken, fish — even coffee.
To succeed, cellular agriculture must overcome 6,000 years of established dependence on traditional agriculture, and it has to do so via one of the most finicky human senses: taste. No one will eat manufactured meat or fish if it doesn’t have the same sensual satisfaction generated by the grown version. So, in addition to all the technical challenges in creating edible tissues from cultures, the startups pioneering this approach are working diligently to make their products tasty.
The possibilities for cellular agriculture are seemingly limitless; it may be possible to grow human organs for transplant using the method. But it is still early days.
Adaptado de: <https://earth911.com/business-policy/cellular-agriculture/>
All of the following are synonyms of perilous except for
Q1797181
Inglês
Texto associado
Read the text below and answer the following question.
Can Cellular Agriculture Feed the World?
Within 20 years, there will be 2 billion more people than today — over 9 billion people in total. The impact to the environment could be severe. Just feeding that population using current methods is problematic.
On average, cattle ranchers need 100 times more land than corn growers to produce a gram of food. So, if that hungry world continues to eat meat like we do, the demand for land — and fresh water — will be alarming, not to mention the environmental impact of raising so many animals. Meat production aside, the large-scale monoculture of crops like corn usually results in damaging terrestrial pollution from pesticides and soil depletion. The impact to the oceans is equally perilous.
Instead of farming animals, fish and plants, cellular agriculture grows the proteins and nutrients we consume from a culture, cell by cell. With this alternative approach, the consumable meat and plant tissues produced don’t need to be harvested from animals or plants. It’s food production on an industrial scale.
The technology to do this is not new. Growing meat from a scaffold embedded in growth culture is no different in theory than making bread from yeast. The vast majority of insulin for diabetics is already manufactured by genetically engineered bacteria, as is the rennet used to culture cheese. In the past 10 years, this approach has been pioneered with a variety of foodstuffs: milk, eggs, beef, chicken, fish — even coffee.
To succeed, cellular agriculture must overcome 6,000 years of established dependence on traditional agriculture, and it has to do so via one of the most finicky human senses: taste. No one will eat manufactured meat or fish if it doesn’t have the same sensual satisfaction generated by the grown version. So, in addition to all the technical challenges in creating edible tissues from cultures, the startups pioneering this approach are working diligently to make their products tasty.
The possibilities for cellular agriculture are seemingly limitless; it may be possible to grow human organs for transplant using the method. But it is still early days.
Adaptado de: <https://earth911.com/business-policy/cellular-agriculture/>
One of the things that makes cellular culture hard to
succeed is
Q1797180
Inglês
Texto associado
Read the text below and answer the following question.
Can Cellular Agriculture Feed the World?
Within 20 years, there will be 2 billion more people than today — over 9 billion people in total. The impact to the environment could be severe. Just feeding that population using current methods is problematic.
On average, cattle ranchers need 100 times more land than corn growers to produce a gram of food. So, if that hungry world continues to eat meat like we do, the demand for land — and fresh water — will be alarming, not to mention the environmental impact of raising so many animals. Meat production aside, the large-scale monoculture of crops like corn usually results in damaging terrestrial pollution from pesticides and soil depletion. The impact to the oceans is equally perilous.
Instead of farming animals, fish and plants, cellular agriculture grows the proteins and nutrients we consume from a culture, cell by cell. With this alternative approach, the consumable meat and plant tissues produced don’t need to be harvested from animals or plants. It’s food production on an industrial scale.
The technology to do this is not new. Growing meat from a scaffold embedded in growth culture is no different in theory than making bread from yeast. The vast majority of insulin for diabetics is already manufactured by genetically engineered bacteria, as is the rennet used to culture cheese. In the past 10 years, this approach has been pioneered with a variety of foodstuffs: milk, eggs, beef, chicken, fish — even coffee.
To succeed, cellular agriculture must overcome 6,000 years of established dependence on traditional agriculture, and it has to do so via one of the most finicky human senses: taste. No one will eat manufactured meat or fish if it doesn’t have the same sensual satisfaction generated by the grown version. So, in addition to all the technical challenges in creating edible tissues from cultures, the startups pioneering this approach are working diligently to make their products tasty.
The possibilities for cellular agriculture are seemingly limitless; it may be possible to grow human organs for transplant using the method. But it is still early days.
Adaptado de: <https://earth911.com/business-policy/cellular-agriculture/>
Cellular agriculture
Ano: 2020
Banca:
FGV
Órgão:
FGV
Prova:
FGV - 2020 - FGV - Graduação em Economia - Inglês e Física - 1° Dia |
Q1796833
Inglês
Texto associado
Read the text to answer question.
The formula for calculating people’s environmental footprint is simple, but widely misunderstood:
Impact = Population x Affluence x Technology (I = PAT). The global rate of consumption growth, before
the pandemic, was 3% a year. Population growth is 1%. Some people assume this means that the rise in
population bears one-third of the responsibility for increased consumption. But population growth is
overwhelmingly concentrated among the world’s poorest people, who have scarcely any A or T to
multiply their P.
Yet it is widely used as a blanket explanation of environment breakdown. Panic about population
growth enables the people most responsible for the impacts of rising consumption (the affluent) to blame
those who are least responsible.
(George Monbiot. www.theguardian.com, 26.08.2020. Adapted.)
The formula for calculating people’s environmental footprint
Ano: 2020
Banca:
FGV
Órgão:
FGV
Prova:
FGV - 2020 - FGV - Graduação em Economia - Inglês e Física - 1° Dia |
Q1796832
Inglês
Texto associado
Read the text to answer question.
The formula for calculating people’s environmental footprint is simple, but widely misunderstood:
Impact = Population x Affluence x Technology (I = PAT). The global rate of consumption growth, before
the pandemic, was 3% a year. Population growth is 1%. Some people assume this means that the rise in
population bears one-third of the responsibility for increased consumption. But population growth is
overwhelmingly concentrated among the world’s poorest people, who have scarcely any A or T to
multiply their P.
Yet it is widely used as a blanket explanation of environment breakdown. Panic about population
growth enables the people most responsible for the impacts of rising consumption (the affluent) to blame
those who are least responsible.
(George Monbiot. www.theguardian.com, 26.08.2020. Adapted.)
The text states that
Ano: 2020
Banca:
FGV
Órgão:
FGV
Prova:
FGV - 2020 - FGV - Graduação em Economia - Inglês e Física - 1° Dia |
Q1796831
Inglês
(nytimes.com)
Shimmering white and gracefully statuesque, the Mount Washington Hotel is a granite fortress, a manmade anomaly among the raw wilderness of the surrounding White Mountains in remote northern New Hampshire, U.S. Even to this day, the hotel is geographically secured by 800,000 acres of the White Mountain National Forest around it. This was the main reason why the Hotel was chosen for a World War Two meeting – a meeting that shaped present-day global economic policies.
(Linda Laban. www.bbc.com, 26.08.2020. Adapted.)
The term “this”, which introduces the last sentence in the text, refers to the fact that the Mount Washington Hotel
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