Questões de Concursos Análise Sintática Syntax Parsing

Text 7A3-I

As a science fiction writer, Octavia Butler forged a new path and envisioned bold possibilities. The future she wrote about is now our present moment. She wrote 12 novels and won each of science fiction’s highest honors. In 1995, she became the first science fiction writer to be awarded a MacArthur “genius” grant. She is also, increasingly, a writer recognized as one of the most important voices and visionaries of the 20^th century, and now the 21^st. As a Black woman and a writer, Butler demolished walls that seemed impermeable, writing on themes that seemed uncategorizable. Her ideas and characters continue to resonate with new readers when so many are looking for, if not hope, then a map for a way forward.

Her vision about the climate crisis, political and societal upheaval and the brutality and consequences of power hierarchies seems both sobering and prescient. However, as Butler often noted, being right was never the point. She didn’t want to be right — far from it. She wanted to give us time, and tools, to correct the course.

Lynell George. The Visions of Octavia Butler. Internet: <www.nytimes.com> (adapted).

Read the text and answer question.

Education in a language which is not the first language of the learner is as old as education itself. As individuals from different language groups have lived together, some have been educated in an additional language. This is as true of Ancient Rome as it is of the increasingly multilingual societies being created through mobility and globalization in the 21th century.

Two thousand years ago, provision of an educational curriculum in an additional language happened as the Roman Empire expanded and absorbed Greek territory, language and culture. Families in Rome educated their children in Greek to ensure that they would have access to not only the language, but also the social and professional opportunities it would provide for them in their future lives, including living in Greek-speaking educational communities. This historical experience has been replicated across the world through the centuries, and is now particularly true of the global uptake of English language learning.

Researchers and educators have sought new practices in education that will suit the demands of the present day. Globalization and the forces of economic and social convergence have had a significant impact on who learns which language, at what stage in their development, and in which way. The driving forces for language learning differ according to country and region, but they share the objective of wanting to achieve the best possible results in the shortest time. This need has often dovetailed with the need to adapt content-teaching methodologies so as to raise overall levels of proficiency.

(COYLE, Do; HOOD, Philip; MARSH, David. 2010. Adaptado)

Text 2

(Part II) Students’ skills

But graduation rates, while important, speak little to the quality of education received. The OECD’s Programme for International Student Assessment (PISA) reviews the extent to which students near the end of their compulsory education (usually around age 15) have acquired some of the knowledge and skills that are essential for full participation in modern societies, particularly in reading, mathematics and science.

In 2018, PISA tested students from 79 countries, including OECD countries, Brazil, the Russian Federation and South Africa. The students were tested on their reading ability, their skills in maths and level in sciences. Research shows that these skills are more reliable predictors of economic and social well-being than the number of years spent in school or in post -formal education. The average student in the OECD area scored 488. On average in the OECD, girls scored 491 compared with 485 for boys.

Estonia is the highest-performing OECD country, with average PISA scores of 526, followed by Japan and Korea with 520 points. The lowest performing OECD country, Colombia, has an average score of 406. This means that the gap between the highest and lowest performing OECD countries is 120 points.

The best-performing school systems manage to provide highquality education to all students. In Canada, Estonia, Finland and Ireland for example, students tend to perform well regardless of their social background. In Israel and Luxembourg however, the gap between the students with the lowest socio-economic background and the students with the highest socio-economic background reaches more than 120 points, suggesting students’ socio-economic background tends to have an impact on their results. On average across OECD countries, there is a widening 89-point difference in PISA scores between the students with the highest and lowest socio-economic background.

https://www.oecdbetterlifeindex.org/topics/education/

O texto seguinte servirá de base para responder às questões de 21 a 25.

PUCKER UP I'm a dermatologist - you've been using lip balm all wrong - here's why your pout is still chapped

(1º§)YOU might be reaching for your lip balm more and more through these winter months. But are your lips still sore and chapped, no matter how much of the stuff you slather on? According to dermatology experts, the type of balm you put on your pout might be more important than the amount.

(2º§)Dr. Mona Gohara, an associate clinical professor of dermatology at the Yale School of Medicine, and Dr. Brendan Camp, a dermatologist at MDCS Dermatology in New York, told TODAY why some lip balms could do more harm than good.

(3º§)To start with, they discussed why your lips might be chapped in the first place. The cold weather can wreak havoc on them as the skin is very thin, so they're more likely to dry out, Dr Gohara said. Meanwhile, Dr Camp noted that the delicate skin of your pout can easily be irritated by ingredients in skincare or food, yeast or bacteria, and even enzymes in saliva.

(4º§)You might also not be giving them enough love: lot's of people forget about their lips when they're moisturising their face. But if your lips are dry and chapped not long after you apply your balm, you just might be using the wrong kind.

(5º§)Four things to avoid in a lip balm:

1.Tingly balms

2. Fragrances

3. Flavouring agents

4. Dyes

(6º§)Dr Camp said these might cause allergic contact dermatitis, a type of eczema triggered by contact with a particular substance. And if your lips are dry, cracked, red, scaly and itchy, you might have developed a sensitivity to an ingredient in your lip balm, he added. Moral of the story, check your lip balm ingredients.

(7º§)Since you're doing that, there are a few ingredients that will help hydrate your pout. Dr Camp said you want to look for ingredients that will help trap water in the skin while keeping it moisturized for a long period of time. "Ingredients like beeswax, olive oil, castor oil, coconut oil, and shea butter are often used for this purpose," he said.

(8º§)You should also be wearing a salve with SPF to protect your lips from the sun. Meanwhile, Dr Gohara said that your ideal balm will have a combination of humectants (like hyaluronic acid and glycerin), which draw moisture into the skin, and occlusives (such as shea butter and mineral oil), which lock moisture in.

(9º§)The NHS recommended you use one containing petroleum jelly or beeswax. It said: "Try a few different lip balms if one is not working for you - some people may be sensitive to some fragrances, dyes or cosmetic ingredients."

(10º§)As long as you're using the right type of balm, Dr Gohara said you can apply it multiple times a day. According to Dr Camp, it's best to put on lip balm once in the morning and once before bed. There are other ways of preventing dry lips too.

(11º§)Lisa Borg, skin specialist and nutritionist at the Pulse Light Clinc, said the best thing you can do is drink plenty of fluids throughout the day. Preferably quality water as opposed to dehydrating coffee and fizzy drinks, she noted.

(12º§)Lisa also recommended eating foods that simulate saliva production, such as apples, cucumbers, tomatoes, courgettes, watermelon, lemons, and crunchy fibrous vegetables like carrots and celery. Meanwhile, the NHS said you should wash your hands before applying lip balm and cover your lips with a scarf when you're outside in cold weather. If you're outdoors, use a balm with SPF 15 or more every two hours, it added.

(13º§)Common causes of dry lips: cold weather, dry air or wind; damage from the sun; dehydration; a lip injury; allergies; and lack of vitamins and minerals. If you have sore or dry lips, you should avoid: picking or biting any flaky skin on your lips - this can slow down healing; licking dry or cracked lips - this can make them sore; and sharing lip balms with other people - this can spread germs.

(adapted) -wwrongg-pu--chappeed .uk/health/21661055/dermatologist-using-lip-balm-wrong-pout-chapped/

Text 7A2-II

In October 1971, a gentleman called Frieder Nake published a note entitled, There Should Be No Computer Art, which I quote here. “Soon after the advent of computers, it became clear that there was a great potential application for them in the area of artistic creation”, he began. “Before 1960, amazing, large, expensive, digital computers helped to produce poetic text and music. Analog computers, or only oscilloscopes, generated drawings of sets of mathematical curves and representations of oscillations. It was not before the first exhibitions of computer produced pictures were held in 1965 that a greater public took notice of this threat, as some said, progress, as some thought. I was involved in this development from its beginning.

I think that the way the art scene reacted to the new creations is interesting, pleasing, and stupid. I stated in 1970 that I was no longer going to take part in exhibitions. I find it easy to admit that computer art did not contribute to the advancement of art if we compare the computer products to all existing works of art. In other words, the repertoire of results of aesthetic behavior has not been changed by the use of computers. This point of view, namely, that of art history, is shared and held against computer art by many art critics. There is no doubt in my mind”, Frieder Nake said, “that interesting new methods have been found in the last decade which can be of some significance for the creative artist”.

As you might imagine, this was a bit of a controversial take. Here was a man who had for part of the previous decade been an insider, an advocate for the use of algorithmic and generative processes to create art. However, he was now seeing things from another perspective. I’ll just finish with another piece from what he posted in that article: “Questions like ‘is a computer creative’, or ‘is a computer an artist’, or the like, should not be considered serious questions, period. In the light of what we are facing at the end of the 20th century, those irrelevant questions do not matter”.

Where is the Art? A History in Technology.

Internet: <https://www.infoq.com> (adapted).

Text 7A2-II

In October 1971, a gentleman called Frieder Nake published a note entitled, There Should Be No Computer Art, which I quote here. “Soon after the advent of computers, it became clear that there was a great potential application for them in the area of artistic creation”, he began. “Before 1960, amazing, large, expensive, digital computers helped to produce poetic text and music. Analog computers, or only oscilloscopes, generated drawings of sets of mathematical curves and representations of oscillations. It was not before the first exhibitions of computer produced pictures were held in 1965 that a greater public took notice of this threat, as some said, progress, as some thought. I was involved in this development from its beginning.

I think that the way the art scene reacted to the new creations is interesting, pleasing, and stupid. I stated in 1970 that I was no longer going to take part in exhibitions. I find it easy to admit that computer art did not contribute to the advancement of art if we compare the computer products to all existing works of art. In other words, the repertoire of results of aesthetic behavior has not been changed by the use of computers. This point of view, namely, that of art history, is shared and held against computer art by many art critics. There is no doubt in my mind”, Frieder Nake said, “that interesting new methods have been found in the last decade which can be of some significance for the creative artist”.

As you might imagine, this was a bit of a controversial take. Here was a man who had for part of the previous decade been an insider, an advocate for the use of algorithmic and generative processes to create art. However, he was now seeing things from another perspective. I’ll just finish with another piece from what he posted in that article: “Questions like ‘is a computer creative’, or ‘is a computer an artist’, or the like, should not be considered serious questions, period. In the light of what we are facing at the end of the 20th century, those irrelevant questions do not matter”.

Where is the Art? A History in Technology.

Internet: <https://www.infoq.com> (adapted).

Text 7A2-I

If we believe that our own information age is defined by the digital structures of electronic communication, we must take early modern culture as inextricably bound to the medium of print. Printed text and image arose within a few years of each other in the mid-fifteenth century, credited to the German goldsmith Johannes Gutenberg, who seemingly drew together a series of extant yet disparate technologies into a new machine that could print several thousand sheets a day. The ancient oil or wine press, the goldsmith’s craft in fine metal carving, the late-medieval development of plentiful rag paper, and the recent formulation of more stable oil-based inks enabled Gutenberg’s ‘revolution’.

Similarly, early photography developed from a coming together of two otherwise disparate technologies: on the one hand, the pinhole camera through which capture a refected view of the world as an image, and on the other the chemical means to fix the effects of light exposure on paper. In both cases, these technologies shared aesthetic resources with other media available at the time, while also producing forms of representation that were uniquely theirs, and which offered access to new ways of seeing, and enabled new forms of subjectivity. The greatly expanded flow of visual information facilitated by these technological breakthroughs worked to quicken the circulation of knowledge, and the foundations of thought itself.

Genevieve Warwick and Richard Taws. After Prometheus:

Art and Technology in Early Modern Europe. In:

Art History – Journal of the Association of Art Historians.

Special Edition: Art and Technology in Early Modern Europe. p. 201 (adapted)