Questões de Concursos Análise sintática Syntax Parsing

Birth of Venus is one of the most famous paintings in the world. It was painted by Alessandro di Mariano Filipepi, known as Sandro Botticelli, who was an Italian painter of the Florentine School that emerged in the early Renaissance period. In mythology, Venus wasconceived when the Titan Cronus castrated his father, thegod Uranus, whose severed genitals fertilized the sea.

Venus was conceived when the Titan Cronus castrated his father, the god Uranus, whose severed genitals fertilized the sea. Venus is an arrestingly beautiful figure with her delicate skin and soft-flowing curls fresh from the sea. Historically, this is the most important depicted nude since classical antiquity.

Apart from its artistic quality, Birth of Venus is noteworthy for having been the first known Tuscan work of art to be painted on canvas, which is now standard but was then revolutionary, with paintings customarily done on more expensive wood panels. It was restored in 1987 to heighten the bright vividness of the painting as it first appeared, an effect achieved by the use of lustrous alabaster powder and gold leaf.

(Source: Encyclopaedia Britannica — adaptation.)

This book wants to show the newcomer the lie of the land without confusing him with details. In writing it I thought first and foremost of readers in their teens. But I have never believed that books for young people should differ from books for adults except for the fact that they must reckon with the most exacting class of critics, critics who are quick to detect and resent any trace of pretentious jargon or bogus sentiment. I know from experience that these are the vices which may render people suspicious of all writings. I have striven to use plain language even at the risk of sounding casual or unprofessional. I hope that no reader will attribute my decision to get along with a minimum of the art historian’s conventional terms to any desire on my part of ‘talking down’ to him. Apart from this decision, I have tried to follow a number of more specific self-imposed rules, such as limiting myself to real works of art and cutting out anything which might merely be interesting as a specimen of taste or fashion. This decision entailed a considerable sacrifice of literary effects. Praise is so much duller than criticism, and the inclusion of some amusing monstrosities might have offered some light relief. Thus, while I do not claim that all the works illustrated represent the highest standard of perfection, I did make an effort not to include anything which I considered to be without a peculiar merit of its own.

A second rule also demanded a little self-denial. I vowed to resist any temptation to be original in my selection, lest the well-known masterpieces be crowded out by my own personal favourites. This book, after all, is not intended merely as an anthology of beautiful things; it is meant for those who look for bearings in a new field, and for them the familiar appearance of apparently ‘hackneyed’ examples may serve as welcome landmarks.

One more rule I have followed. When in doubt I have always preferred to discuss a work which I had seen in the original rather than one I knew only from photographs. I should have liked to make this an absolute rule, but I did not want the reader to be penalized by the accidents of travel restrictions which sometimes dog the life of the art-lover.

E. H. Gombrich. The Story of Art. Phaidon, New York – London: 1995, p. 7-8 (adapted).

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Language learning styles and strategies are among the main factors that help determine how – and how well – our students learn a second or foreign language. The term L2 is used in this text to refer to either a second or a foreign language, following the tradition in our field.

Learning styles are the general approaches – global or analytic, auditory or visual – that students use in acquiring a new language or in learning any other subject. These styles are “the overall patterns that give general direction to learning behavior” (Cornett 1983, p. 9). Of great relevance is this statement: “Learning style is the biologically and developmentally imposed set of characteristics that make the same teaching method wonderful for some and terrible for others” (Dunn and Griggs 1988, p. 3).

Learning strategies are defined as “specific actions, behaviors, steps, or techniques – such as seeking out conversation partners, or giving oneself encouragement to tackle a difficult language task – used by students to enhance their own learning” (Scarcella and Oxford 1992, p. 63). When the learner consciously chooses strategies that fit his or her learning style and the L2 task at hand, these strategies become a useful tool-kit for active, conscious, and purposeful self-regulation of learning. Learning strategies can be classified into six types: cognitive, metacognitive, memoryrelated, compensatory, affective, and social.

(M. Celce-Murcia, 2001. Adaptado)

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In foreign language education, the teaching of culture remains a hotly debated issue. What is culture? What is its relation to language? Which and whose culture should be taught? What role should the learners’ culture play in the acquisition of knowledge of the target culture? How can we avoid essentializing cultures and teaching stereotypes? And how can we develop in the learners an intercultural competence that would shortchange neither their own culture nor the target culture, but would make them into cultural mediators in a globalized world? This paper explores these issues from the perspective of the large body of research done in Australia, Europe and the U.S. in the last twenty years. It links the study of culture to the study of discourse (see, e.g., Kramsch 1993, 1998, 2004) and to the concept of translingual and transcultural competence proposed by theModern Language Association (e.g., Kramsch, 2010). Special attention will be given to the unique role that the age-old Persian culture can play in fostering the cultural mediators of tomorrow.

(KRAMASCH, Claire. Cultura no ensino de língua estrangeira. Bakhtiniana: Revista de Estudos do Discurso, São Paulo, LAEL/PUC-SP, v. 19, n. 4, 2024)

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It is suggested that the field of language teaching has moved away from a reliance on prescriptive methods towards a more nuanced understanding of the complexities of language learning. For example, Richards and Rodgers (1986) note that there have been calls to abandon the search for a single “supermethod” and to instead focus on equipping teachers with “a repertoire of methods and skills that can be used selectively in different contexts”. This reflects a move away from the idea that there is one “right” way to teach language, and towards an approach that values flexibility, adaptability, and a recognition of the diverse contexts in which language learning takes place (Richards, 2001).

Realistically speaking, each method has its own advantages and disadvantages; up till now, no method has been empirically proven the best for all language educators to blindly adopt without discussion. For example, the current great enthusiasm for (and wide adoption of) the Communicative Language Teaching (CLT) method in Egypt can be attributed to the failure of the previously adopted method (i.e. the Grammar-Translation Method) to meet the national language learning goals. It failed to develop a language learner who can communicate properly in English. This does not mean that the CLT will stay forever, especially in this Information and Communication Technology-dominated age (ICT) that has been changing the nature of language and how it should be taught (Abdallah, 2011).

(M. Abdallah, 2024. Disponível em: https://files.eric.ed.gov/fulltext/ED660475.pdf. Adaptado)

Read the text to answer question:

It is suggested that the field of language teaching has moved away from a reliance on prescriptive methods towards a more nuanced understanding of the complexities of language learning. For example, Richards and Rodgers (1986) note that there have been calls to abandon the search for a single “supermethod” and to instead focus on equipping teachers with “a repertoire of methods and skills that can be used selectively in different contexts”. This reflects a move away from the idea that there is one “right” way to teach language, and towards an approach that values flexibility, adaptability, and a recognition of the diverse contexts in which language learning takes place (Richards, 2001).

Realistically speaking, each method has its own advantages and disadvantages; up till now, no method has been empirically proven the best for all language educators to blindly adopt without discussion. For example, the current great enthusiasm for (and wide adoption of) the Communicative Language Teaching (CLT) method in Egypt can be attributed to the failure of the previously adopted method (i.e. the Grammar-Translation Method) to meet the national language learning goals. It failed to develop a language learner who can communicate properly in English. This does not mean that the CLT will stay forever, especially in this Information and Communication Technology-dominated age (ICT) that has been changing the nature of language and how it should be taught (Abdallah, 2011).

(M. Abdallah, 2024. Disponível em: https://files.eric.ed.gov/fulltext/ED660475.pdf. Adaptado)

This book wants to show the newcomer the lie of the land without confusing him with details. In writing it I thought first and foremost of readers in their teens. But I have never believed that books for young people should differ from books for adults except for the fact that they must reckon with the most exacting class of critics, critics who are quick to detect and resent any trace of pretentious jargon or bogus sentiment. I know from experience that these are the vices which may render people suspicious of all writings. I have striven to use plain language even at the risk of sounding casual or unprofessional. I hope that no reader will attribute my decision to get along with a minimum of the art historian’s conventional terms to any desire on my part of ‘talking down’ to him. Apart from this decision, I have tried to follow a number of more specific self-imposed rules, such as limiting myself to real works of art and cutting out anything which might merely be interesting as a specimen of taste or fashion. This decision entailed a considerable sacrifice of literary effects. Praise is so much duller than criticism, and the inclusion of some amusing monstrosities might have offered some light relief. Thus, while I do not claim that all the works illustrated represent the highest standard of perfection, I did make an effort not to include anything which I considered to be without a peculiar merit of its own.

A second rule also demanded a little self-denial. I vowed to resist any temptation to be original in my selection, lest the well-known masterpieces be crowded out by my own personal favourites. This book, after all, is not intended merely as an anthology of beautiful things; it is meant for those who look for bearings in a new field, and for them the familiar appearance of apparently ‘hackneyed’ examples may serve as welcome landmarks.

One more rule I have followed. When in doubt I have always preferred to discuss a work which I had seen in the original rather than one I knew only from photographs. I should have liked to make this an absolute rule, but I did not want the reader to be penalized by the accidents of travel restrictions which sometimes dog the life of the art-lover.

E. H. Gombrich. The Story of Art. Phaidon, New York – London: 1995, p. 7-8 (adapted).

Text 1A1-II

Brazil’s first scientific expedition to the Arctic aims to explore the biodiversity of one of the planet’s coldest territories, learn more about its ecological importance and its role in global climate change, and contribute to its preservation. The Brazilian team of scientists from the University of Brasília and the Federal University of Minas Gerais has been in the Svalbard archipelago—a section of the Arctic Circle that belongs to Norway—since July 8.

According to the expert, research in the region is crucial in monitoring relevant developments in Brazil as well as worldwide. “What happens here in the Arctic affects Brazil, so we should have the right to speak and vote, which is not happening.”

Brazil is the only among the ten largest global economies without a voice on issues related to the region. Therefore, Brazil’s scientific presence in the Arctic—a region covering more than 16 million square kilometers—can prove significant for the inclusion of the nation as an observer member of the Arctic Council, the international cooperation body on environmental strategies for the territory. The country should also join the Svalbard Treaty, which not only recognizes Norway’s sovereignty over the archipelago, but also grants access to the area’s resources for signatory nations.

Internet: <agenciabrasil.ebc.com.br> (adapted).

Text 1A1-II

Brazil’s first scientific expedition to the Arctic aims to explore the biodiversity of one of the planet’s coldest territories, learn more about its ecological importance and its role in global climate change, and contribute to its preservation. The Brazilian team of scientists from the University of Brasília and the Federal University of Minas Gerais has been in the Svalbard archipelago—a section of the Arctic Circle that belongs to Norway—since July 8.

According to the expert, research in the region is crucial in monitoring relevant developments in Brazil as well as worldwide. “What happens here in the Arctic affects Brazil, so we should have the right to speak and vote, which is not happening.”

Brazil is the only among the ten largest global economies without a voice on issues related to the region. Therefore, Brazil’s scientific presence in the Arctic—a region covering more than 16 million square kilometers—can prove significant for the inclusion of the nation as an observer member of the Arctic Council, the international cooperation body on environmental strategies for the territory. The country should also join the Svalbard Treaty, which not only recognizes Norway’s sovereignty over the archipelago, but also grants access to the area’s resources for signatory nations.

Internet: <agenciabrasil.ebc.com.br> (adapted).

Source: https://jpia.princeton.edu/news/do-what-i-say-not-what-i-do-decolonizinglanguage-international-development

Despite the tricky and life-threatening relationship between Paleolithic humans and the megafauna that comprised so much of their environment, twentieth-century scholars tended to claim cave art as evidence of an unalloyed triumph for our species. It was a “great spiritual symbol,” of a time when “man had just emerged from a purely zoological existence, when instead of being dominated by animals, he began to dominate them.” But the child-like and highly stylized stick figures found in caves do not radiate triumph. By the standards of our own time, they are excessively self-effacing and, compared to the animals portrayed around them, pathetically weak.

While twentieth-century archeologists tended to solemnize prehistoric art as “magico-religious” or “shamanic,” today’s more secular viewers sometimes detect a vein of sheer silliness. India’s Mesolithic rock art portrays few human stick figures; those that are portrayed have been described by modern viewers as “comical,” “animalized” and “grotesque.” As Judith Thurman wrote about the artists, “despite their penchant for naturalism, rarely did they choose to depict human beings, and then did so with a crudeness that smacks of mockery.”

But who are they mocking, other than themselves and, by extension, their distant descendants, ourselves? Of course, our reactions to Paleolithic art may bear no connection to the intentions or feelings of the artists. Yet there are reasons to believe that Paleolithic people had a sense of humor not all that dissimilar from our own.

Barbara Ehrenreich. The Humanoid Stain. Later on. Internet: (adapted).

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William Shakespeare (23 April 1564 – 23 April 1616), who was an English playwright, poet and actor, is regarded as the greatest writer in the English language and one of the most famous in the history of humanity. He was very fond of creating words, of which Arch-villain is an example. He also created words by attaching prefixes or suffixes to existing phrases. In Romeo and Juliet, Shakespeare popped ‘un’ in front of ‘comfortable’ to create a word that’s now used every day by people around the world.

(https://www.shakespeare.org.uk/explore. Adaptado)