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Texto 1
FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR
I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.
__(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.
___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.
In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.
While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)
CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em:
Texto 1
FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR
I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.
__(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.
___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.
In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.
While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)
CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em:
Texto 1
FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR
I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.
__(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.
___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.
In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.
While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)
CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em:
Texto 1
FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR
I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.
__(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.
___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.
In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.
While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)
CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em:
Texto 1
FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR
I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.
__(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.
___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.
In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.
While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)
CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em:
Texto 1
FROM FILM STAR TO FREQUENCY-HOPPING INVENTOR
I’m guessing that some younger readers __(21)_ who Hedy Lamarr was. Old-timers remember her as a popular Hollywood star of the mid-20th century. Characterized by MGM studio mogul Louis B. Mayer as “the most beautiful girl in the world,” a title said to originally have been bestowed by stage director Max Reinhardt, she appeared in some 25 Hollywood films between 1938 and 1958.
__(22)__ her fans and many of her Hollywood colleagues was her creative side. They were unaware that __(23)__ the cameras were not rolling, Ms. Lamarr might be at home at her drawing board, diligently working at some concept that might lead to a commercial product or a patentable invention.
___(24)_ an admirer of Hedy Lamarr the movie star (I particularly remember her in “Ziegfeld Girl,” costarring James Stewart, Judy Garland, Lana Turner, and Tony Martin, and “H. M. Pulham, Esq.,” with Robert Young and Van Heflen), I too was unaware of her innovative proclivities until 1984, when historian of cryptology David Kahn authored an article in IEEE Spectrum. It revealed to the uninitiated the existence of a 1941 patent __(25)__ to Lamarr and her co-inventor, George Antheil, based on frequency-hopping and titled “Secret Communication System.” World War II __(26)__ in Europe, and Hedy, a native Austrian, left her munitions magnate husband Friedrich Mandl and relocated to the United States in 1937. As Hitler moved relentlessly in his attempt to conquer most of northern Europe, she was appalled by the German U-boat sinking of the SS City of Benarus. (…). She considered quitting the movie business and offering her services to the newly organized National Inventors Council (NIC), __(27)__ to evaluate technology that could be useful in wartime, and chaired by inventor Charles Kettering. She did __(28)__, however.
In Hollywood, Hedy had met George Antheil, not an engineer but a composer with “a fair grasp of electronics,” as historian Kahn expressed it. Antheil joined her in her attempt to devise a jamproof guidance system for Allied torpedoes. A year before Pearl Harbor, she told Antheil she knew “a good deal about new munitions and various secret weapons,” presumably knowledge acquired while she was privy to discussions between Mandl and his munitions agents.
While not on the movie set, Lamarr would work with Antheil in her apartment to move her idea from concept to a practical system. In her early working documents a reference is made to the 116RX, the 1939 Philco radio console that featured the first wireless remote control (termed the Mystery Control and offering the listener options to select up to eight stations, a volume control, and an off switch). This ___29__ just one among several inputs that inspired her to __30__ the idea she called “hopping of frequencies” (...)
CHRISTIANSEN, D. Adaptado de From Film Star to Frequency-Hopping Inventor. In: Institute of Electrical and Electronics Engineers. Disponível em:
A respeito do “conceito de erro em língua”, o gramático Luiz Antônio Sacconi, em sua obra “Nossa Gramática – Teoria e Prática”, afirma:
“Em rigor, ninguém comete erro em língua, exceto nos casos de ortografia. O que se comete são transgressões da norma culta. De fato, aquele que, num momento íntimo do discurso, diz: “Ninguém deixou ele falar”, não comete propriamente erro; na verdade, transgride a norma culta. (…) Vale lembrar, finalmente, que a língua é um costume. Como tal, qualquer transgressão, ou chamado erro, deixa de sê-lo no exato instante em que a maioria absoluta o comete, passando, assim, a constituir fato linguístico (registro de linguagem definitivamente consagrado pelo uso, ainda que não tenha amparo gramatical).”
SACCONI, Luiz Antônio. Nossa Gramática – Teoria e Prática – 18ª ed. Reformada e atual. São Paulo: Atual, 1994. pp. 8 e 9.
Considerando o conceito de “erro em língua”, exposto acima, assinale a alternativa em que se apresenta uma transgressão da norma culta considerada “fato linguístico”?
Sobre os textos 1 e 2, analise as afirmações abaixo:
I. descrevem um exterior cuja aparência pode ser vista como deselegante, guardando, porém, tanto os becos quanto o elefante, um interior rico em poesia e vida.
II. revelam uma construção erudita, rígida e intelectualizada de uma narrativa poética cuja forma apresenta estrofes regulares e longas, intercaladas por estribilho.
III. há uma relação estreita entre prosa e poesia revelada no encadeamento que oscila entre a descrição e a narração.
Está(ão) correta(s) a(s) afirmação(ões)
Assinale a alternativa em que os vocábulos são acentuados de acordo com as mesmas regras de acentuação gráfica das palavras abaixo transcritas, respectivamente:
sandália (verso 7, texto 1); úmida (verso 17, texto 1); só (verso 28, texto 1); sensível (verso 55, texto 2); conteúdo (verso 95, texto 2).
Considere os versos 19 a 23 do texto 2, transcritos abaixo:
“E há por fim os olhos,
onde se deposita
a parte do elefante
mais fluida e permanente,
alheia a toda fraude.”
Abaixo, você encontrará alguns ditados populares elencados. Qual destes ditados mais se aproxima da ideia veiculada no verso 23, “alheia a toda fraude”?
Observe os vocábulos destacados em negrito nos versos 39 a 44 do texto 2, transcritos abaixo:
“Vai o meu elefante
pela rua povoada,
mas não o querem ver
nem mesmo para rir
da cauda que ameaça
deixa-lo ir sozinho.”
Sobre esses vocábulos, de acordo com a gramática normativa, considere as seguintes afirmações:
I – o primeiro “o” é um artigo definido e o segundo é uma forma pronominal oblíqua, assim como a forma “lo” em “deixá-lo”.
II – a colocação do segundo “o” junto ao advérbio de negação aproxima-se do registro mais utilizado no português falado no Brasil.
III – “o” e “lo” nos versos “mas não o querem ver” e “deixá-lo ir sozinho” são formas pronominais que garantem a coesão referencial anafórica.
Está(ão) correta(s) a(s) afirmação(ões)
Considere os versos 95 a 98 do texto 2, transcritos abaixo:
“e todo o seu conteúdo
de perdão, de carícia,
de pluma, de algodão,
jorra sobre o tapete,”
A figura de linguagem construída a partir de uma relação entre os campos semânticos evocados pelo título do poema e de seus versos acima destacados é a (o)
Considere os versos 68 a 80 do texto 2, transcritos abaixo:
“Esse passo que vai
sem esmagar as plantas
no campo de batalha,
à procura de sítios,
segredos, episódios
não contados em livro,
de que apenas o vento,
as folhas, a formiga
reconhecem o talhe,
mas que os homens ignoram,
pois só ousam mostrar-se
sob a paz das cortinas
à pálpebra cerrada.”
Acerca de “vento”, “folhas” e “formiga”, pode-se afirmar que
O valor semântico do vocábulo “errado”, exaltado pela autora no texto 1 em
“Amo e canto com ternura
todo o errado da minha terra.” (versos 29 e 30)
não se aplica a
Conheça nossos planos