Questões de Concursos Inglês

Text 19A4-I

It is a universal fact that cinema is a visual medium. Films have the power to overwhelm our senses as well as our minds, subjecting us to a variety of experiences that can range from the sublime to the devastating. Colours play a crucial role in this interesting phenomenon, forming an integral part of the composition of each frame and dictating how the viewer perceives the spectacle on the screen. Apart from the cinematic medium, colours have always been a part of our experience and how we make sense of the vastly nuanced world around us. Although science has definitively explained what colours are in terms of light, they have always mystified artists and philosophers like Arthur Schopenhauer and Ludwig Wittgenstein, who tried to understand their importance in anthropological frameworks.

More notably, the famous German poet and artist Johann Wolfgang von Goethe published a seminal exploration of colours in his 1810 work Theory of Colours. In it, he examined how each colour corresponds to various psychological states in the minds of human beings. He wrote, “Light and darkness, brightness and obscurity, or if a more general expression is preferred, light and its absence, are necessary to the production of colour… Colour itself is a degree of darkness.” Goethe’s theories might seem baselessly romantic in the 21st century but the underlying ideas have been implemented by filmmakers and cinematographers to curate the voyeuristic experiences of their audiences. Famed cinematographer Vittorio Storaro has based his artistic vision on Goethe’s work, insisting that colours do have a direct connection to the mind of the viewer.

Internet: <https://faroutmagazine.co.uk> (adapted).

The Reasons Why We Dance

1. As a choreographer, I get asked to share my opinion about a myriad of dance-related
2. topics, from the practical, like “How can dance help you get in shape?” to the existential, like “Is
3. my dancing a projection of my self-image?”. But the question I think matters most is: why do
4. people dance? What is about moving our bodies to a song we love that is so joyfully Pavlovian?
5. Why do we watch videos and take lessons on something that could be labeled as trivial? Why do
6. we love it so?
7. There are the obvious answers. We dance for physical fitness, mental clarity, emotional
8. stability, and other such pluses. However, all these benefits could be attained by other means –
9. though I confess I have yet to find a better alternative than a great “cha cha”* to lift both one’s
10. heart rate and spirits. There must be something glorious about dancing that is more than just
11. intangible. We cannot seem to explain it, yet we all know it so well that we do not hesitate to
12. tap our feet to a Gershwin melody or pulse with the percussion of a samba rhythm.
13. Perhaps dance is the way we express ourselves when words are insufficient. The joy we
14. feel over newfound love, the determination we have in the face of great sorrow or adversity, the
15. passionate fire of our youth, and the peacefulness of our softer and more graceful years – maybe
16. they are never expressed more fully than through a waltz, or a tango, or a jive. We all want to
17. be understood, and if we could truly speak the words that describe our feelings, how deep and
18. powerful they would surely be. But alas, those words never seem to come to us just right. Maybe
19. dance is simply a translator for the human heart.
20. Perhaps dance is the medium through which we show the world who we truly are and who
21. we can be. All of us, if we are honest, believe deep down that we are not ordinary. We know
22. ourselves to be wonderfully unique, with many layers of personality and talent woven in such a
23. way that no one on earth could possibly have our same make-up. We know it. We just do not
24. always know how to prove it. Maybe dance gives us the opportunity. And perhaps dance is how
25. we choose to remember, how we hold on to the past. It is how we relive __ fun-filled days of
26. our youth or __ time we looked into their eyes and knew they were the one. It is our tribute to
27. the heroes of yesterday who jitterbugged like carefree boys and girls, when tomorrow they would
28. march as men and women to defend freedom’s cause. It is the chance to be __ princess again,
29. waiting for __ outstretched hand and the call to __ romance that is graceful, true, and not as
30. forgotten as the cynics say. When we dance, we can remember them all a little better, feel the
31. butterflies once again, and if only for a moment, return to the purest part of our lives when time
32. was of no matter…for we were dancing.
33. Why do we dance? Every answer will be different, and that is as it should be. Perhaps the
34. better question is, “Why would we not?”

*Cha Cha: an energetic modern dance.

(Available in: https://dancewithmeusa.com/why-we-dance-the-reasons/ – text especially adapted for this test).

The Reasons Why We Dance

1. As a choreographer, I get asked to share my opinion about a myriad of dance-related
2. topics, from the practical, like “How can dance help you get in shape?” to the existential, like “Is
3. my dancing a projection of my self-image?”. But the question I think matters most is: why do
4. people dance? What is about moving our bodies to a song we love that is so joyfully Pavlovian?
5. Why do we watch videos and take lessons on something that could be labeled as trivial? Why do
6. we love it so?
7. There are the obvious answers. We dance for physical fitness, mental clarity, emotional
8. stability, and other such pluses. However, all these benefits could be attained by other means –
9. though I confess I have yet to find a better alternative than a great “cha cha”* to lift both one’s
10. heart rate and spirits. There must be something glorious about dancing that is more than just
11. intangible. We cannot seem to explain it, yet we all know it so well that we do not hesitate to
12. tap our feet to a Gershwin melody or pulse with the percussion of a samba rhythm.
13. Perhaps dance is the way we express ourselves when words are insufficient. The joy we
14. feel over newfound love, the determination we have in the face of great sorrow or adversity, the
15. passionate fire of our youth, and the peacefulness of our softer and more graceful years – maybe
16. they are never expressed more fully than through a waltz, or a tango, or a jive. We all want to
17. be understood, and if we could truly speak the words that describe our feelings, how deep and
18. powerful they would surely be. But alas, those words never seem to come to us just right. Maybe
19. dance is simply a translator for the human heart.
20. Perhaps dance is the medium through which we show the world who we truly are and who
21. we can be. All of us, if we are honest, believe deep down that we are not ordinary. We know
22. ourselves to be wonderfully unique, with many layers of personality and talent woven in such a
23. way that no one on earth could possibly have our same make-up. We know it. We just do not
24. always know how to prove it. Maybe dance gives us the opportunity. And perhaps dance is how
25. we choose to remember, how we hold on to the past. It is how we relive __ fun-filled days of
26. our youth or __ time we looked into their eyes and knew they were the one. It is our tribute to
27. the heroes of yesterday who jitterbugged like carefree boys and girls, when tomorrow they would
28. march as men and women to defend freedom’s cause. It is the chance to be __ princess again,
29. waiting for __ outstretched hand and the call to __ romance that is graceful, true, and not as
30. forgotten as the cynics say. When we dance, we can remember them all a little better, feel the
31. butterflies once again, and if only for a moment, return to the purest part of our lives when time
32. was of no matter…for we were dancing.
33. Why do we dance? Every answer will be different, and that is as it should be. Perhaps the
34. better question is, “Why would we not?”

*Cha Cha: an energetic modern dance.

(Available in: https://dancewithmeusa.com/why-we-dance-the-reasons/ – text especially adapted for this test).

O texto seguinte servirá de base para responder à questão.

Vianden Castle History

(1º§) The rocky outcrop above the modern town of Vianden was first fortified in late antiquity. Excavations at the foot of the castle chapel in 1994 led to the discovery that parts of the crumbling masonry of the Late Antique tower must have existed in Merovingian times and that this square building, the only surviving structure from the period known as Late Antiquity, was incorporated into the first medieval castle.

(2º§) The first fortification was built at the beginning of Late Antiquity on the castle hill at an ancient crossroads, where a branch of the great Roman road Reims-Cologne through the Ardennes and the valley of Our led to the valley of the Sauer and through Echternach to Bitburg and Trier, at that time a thriving metropolis.

(3º§) After the Vianden fort was abandoned around 430/440 AD, the Roman Tower seems to have been sufficiently usable to remain a decisive element in the subsequent periods of castle building up to the High Middle Ages.

(4º§) The first medieval fortification was erected on the rocky spur overlooking Vianden around the year 1000. The main part of this fortification consisted of an oval ring wall. This defensive wall, meticulously reinforced with small slabs of slate, was exactly one meter wide. As with the ancient wall, this special construction technique allowed archaeologists to retrace it virtually its entire length. The old late antique moat also remained in use during this period. The entire inner surface of the fortification was leveled by filling the lower defensive wall with stones and earth. This complex also included a hall, used for administrative purposes, and a chapel, which was installed in the remains of the late antique tower.

(5º§) Vianden Castle was extensively rebuilt around 1170. The remains of the wooden scaffolding found in the new residential tower made it possible to determine the date of construction using the three-ring dating technique.

(6º§) Important architectural contributions were made, in Gothic style, between the 13th and 14th centuries by the Counts of Vianden. In 1417 the castle became a possession of the Orange-Nassau family who made changes in the Renaissance style. The castle was long in the possession of the grand-ducal family until it became state property in 1977. After this date, it was restored and shines in its former glory. Today, Vianden Castle is one of the most important architectural monuments in Europe being one of the largest and most beautiful feudal residences of the Romanesque and Gothic periods. In the entrance area there is a modern interactive visitor center.

https://www.histouring.com/en/historical-places/vianden-castle/

Read the following text to answer the question.

By Leo Selivan

In this article, informed by the Lexical Approach, I reflect on grammar instruction in the classroom […]. I consider the problems with ‘traditional’ grammar teaching before arguing that what we actually need is more grammar input as well as showing how lexis can provide necessary ‘crutches’ for the learner.

Lexis = vocabulary + grammar

The shift in ELT from grammar to lexis mirrors a similar change in the attitude of linguists. In the past linguists were preoccupied with the grammar of language; however the advances in corpus linguistics have pushed lexis to the forefront. The term ‘lexis’, which was traditionally used by linguists, is a common word these days and frequently used even in textbooks.

Why use a technical term borrowed from the realm of linguistics instead of the word ‘vocabulary’? Quite simply because vocabulary is typically seen as individual words (often presented in lists) whereas lexis is a somewhat wider concept and consists of collocations, chunks and formulaic expressions. It also includes certain patterns that were traditionally associated with the grammar of a language, e.g. If I were you…, I haven’t seen you for ages etc.

Recognising certain grammar structures as lexical items means that they can be introduced much earlier, without structural analysis or elaboration. Indeed, since the concept of notions and functions made its way into language teaching, particularly as Communicative Language Teaching (CLT) gained prominence, some structures associated with grammar started to be taught lexically (or functionally). I’d like to is not taught as ‹the conditional› but as a chunk expressing desire. Similarly many other ‹traditional› grammar items can be introduced lexically relatively early on.

Less grammar or more grammar?

You are, no doubt, all familiar with students who on one hand seem to know the ‘rules’ of grammar but still fail to produce grammatically correct sentences when speaking or, on the other, sound unnatural and foreign-like even when their sentences are grammatically correct. Michael Lewis, who might be considered the founder of the Lexical Approach, once claimed that there was no direct relationship between the knowledge of grammar and speaking. In contrast, the knowledge of formulaic language has been shown by research to have a significant bearing on the natural language production.

Furthermore, certain grammar rules are practically impossible to learn. Dave Willis cites the grammar of orientation (which includes the notoriously difficult present perfect and the uses of certain modal verbs) as particularly resistant to teaching. The only way to grasp their meaning is through continuous exposure and use.

Finally, even the most authoritative English grammars never claim to provide a comprehensive description of all the grammar, hence the word ‘introduction’ often used in their titles (for instance, Huddleston & Pullum’s A Student’s Introduction to English Grammar or Halliday’s An Introduction to Functional Grammar).

If grammarians do not even attempt to address all areas of grammar, how can we, practitioners, cover all the aspects of grammar in our teaching, especially if all we seem to focus on is a limited selection of discrete items, comprised mostly of tenses and a handful of modal verbs? It would seem that we need to expose our students to a lot of naturally occurring language and frequently draw their attention to various grammar points as they arise.

For example, while teaching the expression fall asleep / be asleep you can ask your students:

• Don’t make any noise – she’s fallen asleep.

• Don’t make any noise – she’s asleep.

What does’s stand for in each of these cases (is or has)?

One of the fathers of the Communicative Language Teaching Henry Widdowson advocated using lexical items as a starting point and then ‘showing how they need to be grammatically modified to be communicatively effective’ (1990:95). For example, when exploring a text with your students, you may come across a sentence like this:

• They’ve been married for seven years.

You can ask your students: When did they get married? How should you change the sentence if the couple you are talking about is no longer married?

The above demonstrates how the teacher should be constantly on the ball and take every opportunity to draw students’ attention to grammar. Such short but frequent ‘grammar spots’ will help to slowly raise students’ awareness and build their understanding of the English grammar system.

[…]

Conclusion

So is there room for grammar instruction in the classroom? Certainly yes. But the grammar practice should always start with the exploitation of lexical items. Exposing students to a lot of natural and contextualised examples will offer a lexical way into the grammar of the language.

To sum up, grammar should play some role in language teaching but should not occupy a big part of class time. Instead grammar should be delivered in small but frequent portions. Students should be encouraged to collect a lot of examples of a particular structure before being invited to analyse it. Hence, analysis should be preceded by synthesis.

Lastly, language practitioners should bear in mind that grammar acquisition is an incremental process which requires frequent focus and refocus on the items already studied.

Available at: https://www.teachingenglish.org.uk/professionaldevelopment/teachers/knowing-subject/articles/grammar-vs-lexisor-grammar-through. Accessed on: April 29, 2024.

Researchers have unveiled long “hidden” and finely detailed tattoo designs on the skin of ancient mummies from Peru, a study reports. Tattoos were a prevalent art form in pre-Hispanic South America, as attested by the discovery of mummified human remains in the region with preserved skin decoration that date back centuries, and even millennia.

While such body art works can provide insights into ancient cultures, tattoos are known to fade and bleed over time — a process compounded in mummies by the decay of the body. This often means that the original designs are difficult to make out.

In the latest study, published in the journal Proceedings of the National Academy of Sciences, a team of researchers used a technique known as laser-stimulated fluorescence (LSF) to examine tattoos on mummified individuals belonging to the pre-Hispanic Chancay culture of what is now coastal Peru.

The mummified remains that team of researchers examined were originally discovered in 1981 at the Cerro Colorado cemetery archaeological site in the Huaura Valley of Peru. The LSF technique revealed “exceptionally fine” and previously unknown details of the ancient tattoos.

The team managed to identify intricate geometric and zoomorphic (representing animal forms) designs that were “very surprising” because they demonstrate a higher degree of artistic complexity than any other existing Chancay artwork, including on pottery and the culture's renowned textiles. The art of tattooing was clearly important to the Chancay, as evidenced by the high proportion of tattooed individuals among known mummified remains from the ancient culture.

Hidden Tattoos Revealed on 750-Year-Old Ancient Mummies: ‘Very Surprising’.

Internet: <newsweek.com> (adapted).