Questões de Vestibular UEL 2018 para Vestibular - 2º Fase
Foram encontradas 10 questões
PROJECT DETAILS
* PRINCIPAL SCIENTIST: Peter Kohler, founder and director of The Plastic Tide
* SCIENTIST AFFILIATION: The Scientific Exploration Society and the Royal Geographical Society
* DATES: Ongoing
* PROJECT TYPE: Data Processing
* COST: Free
* GRADE LEVEL: All Ages
* TIME COMMITMENT: variable
* HOW TO JOIN:
REGISTER AT THE ZOONIVERSE WEB SITE. THEN USE YOUR COMPUTER OR MOBILE DEVICE TO ANALYZE IMAGES IN THE PLASTIC TIDE’S DATABASE FOR PLASTICS AND LITTER. TAG EACH PIECE OF PLASTIC YOU SPOT BY DRAWING A RECTANGLE AROUND IT ON YOUR SCREEN AND IDENTIFY IT AS FRAGMENTS, FISHING LINE, DRINK BOTTLES OR SOME OTHER TYPE OF PLASTIC WASTE.
Estimates are currently at trillions of pieces and counting, with over 60 percent of the oceans being heavily contaminated with plastics. With each piece of plastic taking over 400 years to degrade, our oceans, all marine life, and even our own health and livelihoods are in real danger of drowning. Despite this and the 8 million tons of plastics entering our ocean each year, researchers can account for only one percent of that ends up: our ocean surface. Where is the missing 99 percent?
The answer can be found on the seafloor, in marine life, and on our coastlines. The Zooniverse Plastic Tide citizen science project harnesses drone imagery from a series of beaches and the power of computer programs, or machine learning algorithms for the more technically minded, to eventually create a program that can autodetect, measure and monitor the levels of plastics and marine litter washing up on our beaches. Eventually helping us to track where plastics and litter go in our oceans, revealing where the missing 99 percent is in our ocean goes.
By tagging plastics and litter in the images we take with our drone, citizen scientists directly teach our computer program to autodetect, measure and monitor plastics to help researchers answer how much of the missing 99 percent ends up on our beaches. The more you tag, the better the computer program gets at identifying plastics!
GREENEMEIER, L. The Plastic Tide. In: Scientific American (online) Citizen Science. 28 abr. 2018. Disponível em www.scientificamerican.com
PROJECT DETAILS
* PRINCIPAL SCIENTIST: Peter Kohler, founder and director of The Plastic Tide
* SCIENTIST AFFILIATION: The Scientific Exploration Society and the Royal Geographical Society
* DATES: Ongoing
* PROJECT TYPE: Data Processing
* COST: Free
* GRADE LEVEL: All Ages
* TIME COMMITMENT: variable
* HOW TO JOIN:
REGISTER AT THE ZOONIVERSE WEB SITE. THEN USE YOUR COMPUTER OR MOBILE DEVICE TO ANALYZE IMAGES IN THE PLASTIC TIDE’S DATABASE FOR PLASTICS AND LITTER. TAG EACH PIECE OF PLASTIC YOU SPOT BY DRAWING A RECTANGLE AROUND IT ON YOUR SCREEN AND IDENTIFY IT AS FRAGMENTS, FISHING LINE, DRINK BOTTLES OR SOME OTHER TYPE OF PLASTIC WASTE.
Estimates are currently at trillions of pieces and counting, with over 60 percent of the oceans being heavily contaminated with plastics. With each piece of plastic taking over 400 years to degrade, our oceans, all marine life, and even our own health and livelihoods are in real danger of drowning. Despite this and the 8 million tons of plastics entering our ocean each year, researchers can account for only one percent of that ends up: our ocean surface. Where is the missing 99 percent?
The answer can be found on the seafloor, in marine life, and on our coastlines. The Zooniverse Plastic Tide citizen science project harnesses drone imagery from a series of beaches and the power of computer programs, or machine learning algorithms for the more technically minded, to eventually create a program that can autodetect, measure and monitor the levels of plastics and marine litter washing up on our beaches. Eventually helping us to track where plastics and litter go in our oceans, revealing where the missing 99 percent is in our ocean goes.
By tagging plastics and litter in the images we take with our drone, citizen scientists directly teach our computer program to autodetect, measure and monitor plastics to help researchers answer how much of the missing 99 percent ends up on our beaches. The more you tag, the better the computer program gets at identifying plastics!
GREENEMEIER, L. The Plastic Tide. In: Scientific American (online) Citizen Science. 28 abr. 2018. Disponível em www.scientificamerican.com
De acordo com o texto, considere as afirmativas a seguir.
I. A coleta de dados para a pesquisa está em progresso e a participação é isenta de restrições.
II. As fotografias tiradas pelos drones alimentam o banco de dados da pesquisa.
III. Os participantes do projeto auxiliam na catalogação dos resíduos plásticos fotografados, presentes no banco de dados.
IV. Por meio de um aplicativo nos telefones celulares, os participantes enviam fotos de rejeitos plásticos encontrados nas praias.
Assinale a alternativa correta.
PROJECT DETAILS
* PRINCIPAL SCIENTIST: Peter Kohler, founder and director of The Plastic Tide
* SCIENTIST AFFILIATION: The Scientific Exploration Society and the Royal Geographical Society
* DATES: Ongoing
* PROJECT TYPE: Data Processing
* COST: Free
* GRADE LEVEL: All Ages
* TIME COMMITMENT: variable
* HOW TO JOIN:
REGISTER AT THE ZOONIVERSE WEB SITE. THEN USE YOUR COMPUTER OR MOBILE DEVICE TO ANALYZE IMAGES IN THE PLASTIC TIDE’S DATABASE FOR PLASTICS AND LITTER. TAG EACH PIECE OF PLASTIC YOU SPOT BY DRAWING A RECTANGLE AROUND IT ON YOUR SCREEN AND IDENTIFY IT AS FRAGMENTS, FISHING LINE, DRINK BOTTLES OR SOME OTHER TYPE OF PLASTIC WASTE.
Estimates are currently at trillions of pieces and counting, with over 60 percent of the oceans being heavily contaminated with plastics. With each piece of plastic taking over 400 years to degrade, our oceans, all marine life, and even our own health and livelihoods are in real danger of drowning. Despite this and the 8 million tons of plastics entering our ocean each year, researchers can account for only one percent of that ends up: our ocean surface. Where is the missing 99 percent?
The answer can be found on the seafloor, in marine life, and on our coastlines. The Zooniverse Plastic Tide citizen science project harnesses drone imagery from a series of beaches and the power of computer programs, or machine learning algorithms for the more technically minded, to eventually create a program that can autodetect, measure and monitor the levels of plastics and marine litter washing up on our beaches. Eventually helping us to track where plastics and litter go in our oceans, revealing where the missing 99 percent is in our ocean goes.
By tagging plastics and litter in the images we take with our drone, citizen scientists directly teach our computer program to autodetect, measure and monitor plastics to help researchers answer how much of the missing 99 percent ends up on our beaches. The more you tag, the better the computer program gets at identifying plastics!
GREENEMEIER, L. The Plastic Tide. In: Scientific American (online) Citizen Science. 28 abr. 2018. Disponível em www.scientificamerican.com
Com relação à pesquisa, atribua V (verdadeiro) ou F (falso) às afirmativas a seguir.
( ) O objetivo geral da pesquisa é descobrir o paradeiro dos rejeitos plásticos despejados nos oceanos.
( ) Com o auxílio do banco de dados gerado pela pesquisa, cientistas já conseguem identificar o paradeiro de 1% dos rejeitos plásticos.
( ) Os resíduos plásticos que representam uma ameaça urgente são as linhas de pesca e as garrafas plásticas.
( ) O trabalho dos voluntários com as fotografias auxilia o computador a identificar diferentes tipos de resíduos plásticos.
( ) Segundo estimativas, os resíduoas plásticos contaminam mais da metade dos oceanos.
Assinale a alternativa que contém, de cima para baixo, a sequência correta.
IN THE MIDDLE OF THE 19th century, a relatively unknown author named Pedro Carolino rapidly gained intercontinental popularity over a small Portuguese-to-English phrasebook. English as She Is Spoke (or O novo guia da conversação em portuguez e inglez) was originally intended to help Portuguese speakers dabble in the English tongue, but was penned by a man who spoke little to no English himself. And, instead of helping Portuguese speakers learn a second language, it became a cult classic for fans of inept and unintentional humor.
It quickly gained notoriety among English speakers, including author Mark Twain, who wrote the introduction for the first English edition, published in 1883. Twain expressed his approval of the book, saying “Nobody can add to the absurdity of this book, nobody can imitate it successfully, nobody can hope to produce its fellow; it is perfect.”
It is presumed that Carolino wrote the book through the aid of a Portuguese-to-French dictionary and a French-to-English dictionary, using the former for an initial translation of a word or phrase from Portuguese, and the latter to convert it from French into English. The result, of course, is a mishmash of cloudy gibberish.
Perhaps the most notorious section of the book is an appropriately named chapter entitled “Idiotisms and Proverbs,” which again features phrases that vary between barely understandable and completely nonsensical. Examples of Carolino’s twice-translated proverbs include: “it is better be single as a bad company”; “there is no better sauce who the appetite”; and simply “That not says a word, consent”.
The book opens with a preface written in a peculiar style of English. It details the book’s intended audience, stating that it “may be worth the acceptation of the studious persons, and especially of the Youth, of which we dedicate him particularly.” Perhaps predictably, English as She Is Spoke did not become popular among Portuguese-speaking students. In fact, it was never published in Portugal, although it did find an audience 133 years later in Brazil, when it was released as a comedy title.
Adaptado de LEIGHTY-PHILLIPS, Tucker. How a Portuguese-to-English Phrasebook became a cult comedy sensation. In: Atlas Obscura
(online). 29 jun. 2016. Disponível em www.atlasobscura.com
Leia a declaração de Mark Twain sobre o livro English as She is spoke, a seguir.
“Nobody can add to the absurdity of this book, nobody can imitate it successfully, nobody can hope to produce its fellow; it is perfect.”
A respeito desse trecho, assinale a alternativa correta.
IN THE MIDDLE OF THE 19th century, a relatively unknown author named Pedro Carolino rapidly gained intercontinental popularity over a small Portuguese-to-English phrasebook. English as She Is Spoke (or O novo guia da conversação em portuguez e inglez) was originally intended to help Portuguese speakers dabble in the English tongue, but was penned by a man who spoke little to no English himself. And, instead of helping Portuguese speakers learn a second language, it became a cult classic for fans of inept and unintentional humor.
It quickly gained notoriety among English speakers, including author Mark Twain, who wrote the introduction for the first English edition, published in 1883. Twain expressed his approval of the book, saying “Nobody can add to the absurdity of this book, nobody can imitate it successfully, nobody can hope to produce its fellow; it is perfect.”
It is presumed that Carolino wrote the book through the aid of a Portuguese-to-French dictionary and a French-to-English dictionary, using the former for an initial translation of a word or phrase from Portuguese, and the latter to convert it from French into English. The result, of course, is a mishmash of cloudy gibberish.
Perhaps the most notorious section of the book is an appropriately named chapter entitled “Idiotisms and Proverbs,” which again features phrases that vary between barely understandable and completely nonsensical. Examples of Carolino’s twice-translated proverbs include: “it is better be single as a bad company”; “there is no better sauce who the appetite”; and simply “That not says a word, consent”.
The book opens with a preface written in a peculiar style of English. It details the book’s intended audience, stating that it “may be worth the acceptation of the studious persons, and especially of the Youth, of which we dedicate him particularly.” Perhaps predictably, English as She Is Spoke did not become popular among Portuguese-speaking students. In fact, it was never published in Portugal, although it did find an audience 133 years later in Brazil, when it was released as a comedy title.
Adaptado de LEIGHTY-PHILLIPS, Tucker. How a Portuguese-to-English Phrasebook became a cult comedy sensation. In: Atlas Obscura
(online). 29 jun. 2016. Disponível em www.atlasobscura.com
Em relação aos provérbios e expressões idiomáticas presentes no livro English as She Is Spoke, considere as afirmativas a seguir.
I. Os provérbios e expressões trazem jogos de palavras que fazem alusões a expressões em língua portuguesa que são interpretadas como irônicas pelo falante de português.
II. A tradução dos provérbios e expressões transforma as frases em combinações bizarras de palavras que fazem pouco sentido.
III. O efeito cômico também é atingido através de inadequações estruturais como, por exemplo, o uso incorreto de pronomes, como “who” e “ that”, que provocam um estranhamento no leitor falante de inglês.
IV. A escolha lexical inusitada dificulta a compreensão das frases pelo falante nativo de língua inglesa que as considera engraçadas por soarem incoerentes.
Assinale a alternativa correta.
IN THE MIDDLE OF THE 19th century, a relatively unknown author named Pedro Carolino rapidly gained intercontinental popularity over a small Portuguese-to-English phrasebook. English as She Is Spoke (or O novo guia da conversação em portuguez e inglez) was originally intended to help Portuguese speakers dabble in the English tongue, but was penned by a man who spoke little to no English himself. And, instead of helping Portuguese speakers learn a second language, it became a cult classic for fans of inept and unintentional humor.
It quickly gained notoriety among English speakers, including author Mark Twain, who wrote the introduction for the first English edition, published in 1883. Twain expressed his approval of the book, saying “Nobody can add to the absurdity of this book, nobody can imitate it successfully, nobody can hope to produce its fellow; it is perfect.”
It is presumed that Carolino wrote the book through the aid of a Portuguese-to-French dictionary and a French-to-English dictionary, using the former for an initial translation of a word or phrase from Portuguese, and the latter to convert it from French into English. The result, of course, is a mishmash of cloudy gibberish.
Perhaps the most notorious section of the book is an appropriately named chapter entitled “Idiotisms and Proverbs,” which again features phrases that vary between barely understandable and completely nonsensical. Examples of Carolino’s twice-translated proverbs include: “it is better be single as a bad company”; “there is no better sauce who the appetite”; and simply “That not says a word, consent”.
The book opens with a preface written in a peculiar style of English. It details the book’s intended audience, stating that it “may be worth the acceptation of the studious persons, and especially of the Youth, of which we dedicate him particularly.” Perhaps predictably, English as She Is Spoke did not become popular among Portuguese-speaking students. In fact, it was never published in Portugal, although it did find an audience 133 years later in Brazil, when it was released as a comedy title.
Adaptado de LEIGHTY-PHILLIPS, Tucker. How a Portuguese-to-English Phrasebook became a cult comedy sensation. In: Atlas Obscura
(online). 29 jun. 2016. Disponível em www.atlasobscura.com
IN THE MIDDLE OF THE 19th century, a relatively unknown author named Pedro Carolino rapidly gained intercontinental popularity over a small Portuguese-to-English phrasebook. English as She Is Spoke (or O novo guia da conversação em portuguez e inglez) was originally intended to help Portuguese speakers dabble in the English tongue, but was penned by a man who spoke little to no English himself. And, instead of helping Portuguese speakers learn a second language, it became a cult classic for fans of inept and unintentional humor.
It quickly gained notoriety among English speakers, including author Mark Twain, who wrote the introduction for the first English edition, published in 1883. Twain expressed his approval of the book, saying “Nobody can add to the absurdity of this book, nobody can imitate it successfully, nobody can hope to produce its fellow; it is perfect.”
It is presumed that Carolino wrote the book through the aid of a Portuguese-to-French dictionary and a French-to-English dictionary, using the former for an initial translation of a word or phrase from Portuguese, and the latter to convert it from French into English. The result, of course, is a mishmash of cloudy gibberish.
Perhaps the most notorious section of the book is an appropriately named chapter entitled “Idiotisms and Proverbs,” which again features phrases that vary between barely understandable and completely nonsensical. Examples of Carolino’s twice-translated proverbs include: “it is better be single as a bad company”; “there is no better sauce who the appetite”; and simply “That not says a word, consent”.
The book opens with a preface written in a peculiar style of English. It details the book’s intended audience, stating that it “may be worth the acceptation of the studious persons, and especially of the Youth, of which we dedicate him particularly.” Perhaps predictably, English as She Is Spoke did not become popular among Portuguese-speaking students. In fact, it was never published in Portugal, although it did find an audience 133 years later in Brazil, when it was released as a comedy title.
Adaptado de LEIGHTY-PHILLIPS, Tucker. How a Portuguese-to-English Phrasebook became a cult comedy sensation. In: Atlas Obscura
(online). 29 jun. 2016. Disponível em www.atlasobscura.com
Em relação ao livro de Pedro Carolino, considere as afirmativas a seguir.
I. Alcançou fama rapidamente, porém por motivo diverso daquele esperado pelo autor.
II. Foi simultaneamente publicado em Portugal e no Brasil, onde permaneceu por vários anos na lista dos mais vendidos.
III. Tinha o objetivo de satirizar a crescente influência da língua inglesa entre jovens estudantes portugueses.
IV. Foi escrito a partir da tradução de termos do português para o francês e depois para o inglês.
Assinale a alternativa correta.
CAGED BIRD
Maya Angelou
A free bird leaps
on the back of the wind
and floats downstream
till the current ends
and dips his wing
in the orange sun rays
and dares to claim the sky.
But a bird that stalks
down his narrow cage
can seldom see through
his bars of rage
his wings are clipped and
his feet are tied
so he opens his throat to sing.
The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom.
The free bird thinks of another breeze
and the trade winds soft through the sighing trees
and the fat worms waiting on a dawn bright lawn
and he names the sky his own.
But a caged bird stands on the grave of dreams
his shadow shouts on a nightmare scream
his wings are clipped and his feet are tied
so he opens his throat to sing.
Adaptado de ANGELOU, M. “Caged Bird” In: The Poetry Foundation (website). Disponível em www.poetryfoundation.org
Nota sobre a autora: Maya Angelou (1924-2014) foi uma poeta norte-americana que explorou em suas obras
temas como a segregação racial, a desigualdade de gêneros e a opressão social entre outros.
CAGED BIRD
Maya Angelou
A free bird leaps
on the back of the wind
and floats downstream
till the current ends
and dips his wing
in the orange sun rays
and dares to claim the sky.
But a bird that stalks
down his narrow cage
can seldom see through
his bars of rage
his wings are clipped and
his feet are tied
so he opens his throat to sing.
The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom.
The free bird thinks of another breeze
and the trade winds soft through the sighing trees
and the fat worms waiting on a dawn bright lawn
and he names the sky his own.
But a caged bird stands on the grave of dreams
his shadow shouts on a nightmare scream
his wings are clipped and his feet are tied
so he opens his throat to sing.
Adaptado de ANGELOU, M. “Caged Bird” In: The Poetry Foundation (website). Disponível em www.poetryfoundation.org
Nota sobre a autora: Maya Angelou (1924-2014) foi uma poeta norte-americana que explorou em suas obras
temas como a segregação racial, a desigualdade de gêneros e a opressão social entre outros.
Em relação à comparação entre os pássaros presente no poema, considere as afirmativas a seguir.
I. Os verbos “leaps”, “floats” e “dips”, na primeira estrofe, descrevem a relação positiva que o pássaro tem com a natureza, decorrente de sua liberdade.
II. As palavras “narrow” e “seldom”, na segunda estrofe, enfatizam a sensação de aprisionamento do pássaro engaiolado.
III. O uso do adjetivo “fearful” em “fearful trill” remete ao tom ameaçador do canto do pássaro engaiolado.
IV. No verso “and dares to claim the sky”, o verbo “to claim” é utilizado para realçar o egoísmo do pássaro livre.
Assinale a alternativa correta.
CAGED BIRD
Maya Angelou
A free bird leaps
on the back of the wind
and floats downstream
till the current ends
and dips his wing
in the orange sun rays
and dares to claim the sky.
But a bird that stalks
down his narrow cage
can seldom see through
his bars of rage
his wings are clipped and
his feet are tied
so he opens his throat to sing.
The caged bird sings
with a fearful trill
of things unknown
but longed for still
and his tune is heard
on the distant hill
for the caged bird
sings of freedom.
The free bird thinks of another breeze
and the trade winds soft through the sighing trees
and the fat worms waiting on a dawn bright lawn
and he names the sky his own.
But a caged bird stands on the grave of dreams
his shadow shouts on a nightmare scream
his wings are clipped and his feet are tied
so he opens his throat to sing.
Adaptado de ANGELOU, M. “Caged Bird” In: The Poetry Foundation (website). Disponível em www.poetryfoundation.org
Nota sobre a autora: Maya Angelou (1924-2014) foi uma poeta norte-americana que explorou em suas obras
temas como a segregação racial, a desigualdade de gêneros e a opressão social entre outros.
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