ID: 1022240•
Inglês•
Análise sintática Syntax Parsing•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

Girls play outside in nature less than boys do, even at the age of two, according to the first national survey of play among preschool-age children in Britain. While researchers expect to see older children socialised to particular gender roles, they were shocked to see similar patterns of behaviour starting to emerge at such a young age. They fear it could have long-term implications for girls’ health, as girls are less physically active as they get older and are more likely than boys to have difficulties with their mental health.

The study also found that preschool-age children from a minority ethnic background play less outdoors than their white counterparts, and children in urban areas play less outdoors than those in rural areas. “The results highlight inequalities in play even in the youngest age group, which may exacerbate existing inequalities in health,” the report concluded.

The research surveyed more than 1,100 parents and carers of children aged two, three and four. They found that preschool children spent approximately four hours a day at play, of which one hour and 45 minutes was spent playing outdoors, mainly in back gardens at home. Away from home, children played in playgrounds and green spaces, with the most adventurous play usually associated with indoor play centres.

“The popularity of these play centers is growing,” the report said. “This may be driven by indoor play centres providing adventurous play experiences that overcome some of the barriers to outdoor adventurous play such as traffic, weather and safety concerns.”

Sally Weale. Girls play outside less than boys even at two years old, UK survey reveals.
In: The Guardian. Internet:<theguardian.com> (adapted).

According to the preceding text, judge the following item.

Children’s parents were not considered a source of information in the research mentioned in the text.

ID: 1022241•
Inglês•
Preposições Prepositions•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

Girls play outside in nature less than boys do, even at the age of two, according to the first national survey of play among preschool-age children in Britain. While researchers expect to see older children socialised to particular gender roles, they were shocked to see similar patterns of behaviour starting to emerge at such a young age. They fear it could have long-term implications for girls’ health, as girls are less physically active as they get older and are more likely than boys to have difficulties with their mental health.

The study also found that preschool-age children from a minority ethnic background play less outdoors than their white counterparts, and children in urban areas play less outdoors than those in rural areas. “The results highlight inequalities in play even in the youngest age group, which may exacerbate existing inequalities in health,” the report concluded.

The research surveyed more than 1,100 parents and carers of children aged two, three and four. They found that preschool children spent approximately four hours a day at play, of which one hour and 45 minutes was spent playing outdoors, mainly in back gardens at home. Away from home, children played in playgrounds and green spaces, with the most adventurous play usually associated with indoor play centres.

“The popularity of these play centers is growing,” the report said. “This may be driven by indoor play centres providing adventurous play experiences that overcome some of the barriers to outdoor adventurous play such as traffic, weather and safety concerns.”

Sally Weale. Girls play outside less than boys even at two years old, UK survey reveals.
In: The Guardian. Internet:<theguardian.com> (adapted).

According to the preceding text, judge the following item.

It is correct to infer from the text that safety is a factor that stops parents from letting their children play in indoor play centers.

ID: 1022244•
Inglês•
Análise sintática Syntax Parsing•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

“The High Priestess of Soul,” Nina Simone was a singer, pianist, songwriter, and civil rights activist. Mostly known as a jazz singer, her music blended gospel, blues, folk, pop, and classical styles. No popular singer was more closely associated with the Civil Rights Movement than Simone.

Nina Simone was born Eunice Kathleen Waymon on February 21st, 1933, in Tryon, North Carolina. Her mother, Mary Kate Irvin, was a Methodist preacher and housekeeper, and her father, John Divine Waymon, worked as an entertainer, barber, and dry-cleaner. The family’s home was filled with music and Simone’s mother encouraged her musical pursuits but she did not approve of nonreligious music like blues and jazz. Simone took up the piano before her feet could reach the pedals, and by the age of six, she was playing during church services.

In 2008, Rolling Stone named Simone to its list of the 100 Greatest Singers of All Time, and, in 2018, Simone was inducted into the Rock & Roll Hall of Fame.

Internet:<womenshistory.org> (adapted).

Based on the previous text, judge the following item.

The words “preacher”, “housekeeper”, “entertainer”, “barber”, and “dry-cleaner” (second paragraph) belong to the same grammatical class and serve the same purpose in the discourse.

ID: 1022246•
Inglês•
Análise sintática Syntax Parsing•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

Gabriele Tinti’s Hungry Ghosts is a cycle of 51 poems written in collaboration with the photographer Roger Ballen, whose photographic negatives are reproduced in the book. The images are mostly terrifying, in keeping with the otherworldly inclination of the poems. This bilingual edition includes Tinti’s original Italian poems with English translations by David Graham, interspersed with Greek lines taken from inscriptions found on archaeological objects and from ancient Greek texts.

The book is inspired by the Petavatthu, a Theravada Buddhist scripture that includes stories about the realm of the “hungry ghosts,” a category of supernatural beings ubiquitous in East and South Asian religions, with section headings such as “Abandoned Ghosts,” “Protectors,” “Guardians,” and “Hungry Ghosts.” T he poems are quite short and try to emulate the obscure, esoteric quality of scriptural language, though they struggle, at times, under the weight of too many venerable references drawn from both Buddhist and Greek traditions.

Internet:<poetryfoundation.org>(adapted).

About the linguistic and lexical features of the preceding text, judge the following item.

Both “written” and “reproduced” (first sentence) are past participles and are used, in the text, in passive voice constructions.

ID: 1022245•
Inglês•
Análise sintática Syntax Parsing•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

Gabriele Tinti’s Hungry Ghosts is a cycle of 51 poems written in collaboration with the photographer Roger Ballen, whose photographic negatives are reproduced in the book. The images are mostly terrifying, in keeping with the otherworldly inclination of the poems. This bilingual edition includes Tinti’s original Italian poems with English translations by David Graham, interspersed with Greek lines taken from inscriptions found on archaeological objects and from ancient Greek texts.

The book is inspired by the Petavatthu, a Theravada Buddhist scripture that includes stories about the realm of the “hungry ghosts,” a category of supernatural beings ubiquitous in East and South Asian religions, with section headings such as “Abandoned Ghosts,” “Protectors,” “Guardians,” and “Hungry Ghosts.” T he poems are quite short and try to emulate the obscure, esoteric quality of scriptural language, though they struggle, at times, under the weight of too many venerable references drawn from both Buddhist and Greek traditions.

Internet:<poetryfoundation.org>(adapted).

About the linguistic and lexical features of the preceding text, judge the following item.

The phrase “emulate the obscure, esoteric quality” (last sentence of the second paragraph) represents an incorrect or awkward collocation in English.

ID: 1022251•
Inglês•
Aspectos linguísticos Linguistic aspects•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

O hábito de buscar referências na língua materna pode ser uma das principais armadilhas no aprendizado de um novo idioma. Embora a língua inglesa esteja presente em boa parte do mundo por meio da Internet, dos livros, dos filmes e das séries, para muitas pessoas a compreensão do idioma ainda é um bicho de sete cabeças. Por esse motivo, é comum ouvir queixas durante as aulas como “não consigo aprender inglês” ou “inglês não é para mim”.

A diferença da língua materna é o que mais causa dificuldade para os estudantes lusófonos, principalmente pelo fato de a principal origem do português ser o latim e a do inglês ser o anglo-saxão. Essa disparidade causa impactos no som, na escrita e na estrutura do idioma. Pela mistura do anglo-saxão com outros idiomas e culturas, o inglês difere-se do português não apenas na escrita, mas também na pronúncia. Se desprender do habitual idioma materno e precisar falar palavras de uma outra forma é uma dificuldade recorrente entre os estudantes.

Internet:<rubyacademy.com.br> (com adaptações).

Considerando os aspectos suscitados pelo texto precedente no que concerne à aquisição de língua inglesa por pessoas lusófonas, julgue o próximo item.

A complexidade da conjugação verbal da língua portuguesa ajuda os lusofalantes a compreenderem rapidamente os tempos verbais e suas concordâncias em inglês.

ID: 1022238•
Inglês•
Interpretação de texto Reading comprehension•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

Girls play outside in nature less than boys do, even at the age of two, according to the first national survey of play among preschool-age children in Britain. While researchers expect to see older children socialised to particular gender roles, they were shocked to see similar patterns of behaviour starting to emerge at such a young age. They fear it could have long-term implications for girls’ health, as girls are less physically active as they get older and are more likely than boys to have difficulties with their mental health.

The study also found that preschool-age children from a minority ethnic background play less outdoors than their white counterparts, and children in urban areas play less outdoors than those in rural areas. “The results highlight inequalities in play even in the youngest age group, which may exacerbate existing inequalities in health,” the report concluded.

The research surveyed more than 1,100 parents and carers of children aged two, three and four. They found that preschool children spent approximately four hours a day at play, of which one hour and 45 minutes was spent playing outdoors, mainly in back gardens at home. Away from home, children played in playgrounds and green spaces, with the most adventurous play usually associated with indoor play centres.

“The popularity of these play centers is growing,” the report said. “This may be driven by indoor play centres providing adventurous play experiences that overcome some of the barriers to outdoor adventurous play such as traffic, weather and safety concerns.”

Sally Weale. Girls play outside less than boys even at two years old, UK survey reveals.
In: The Guardian. Internet:<theguardian.com> (adapted).

According to the preceding text, judge the following item.

Based on the text, it is correct to infer that black girls are less likely to play outdoors than white boys are.

ID: 1022247•
Inglês•
Vocabulário Vocabulary•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

Gabriele Tinti’s Hungry Ghosts is a cycle of 51 poems written in collaboration with the photographer Roger Ballen, whose photographic negatives are reproduced in the book. The images are mostly terrifying, in keeping with the otherworldly inclination of the poems. This bilingual edition includes Tinti’s original Italian poems with English translations by David Graham, interspersed with Greek lines taken from inscriptions found on archaeological objects and from ancient Greek texts.

The book is inspired by the Petavatthu, a Theravada Buddhist scripture that includes stories about the realm of the “hungry ghosts,” a category of supernatural beings ubiquitous in East and South Asian religions, with section headings such as “Abandoned Ghosts,” “Protectors,” “Guardians,” and “Hungry Ghosts.” T he poems are quite short and try to emulate the obscure, esoteric quality of scriptural language, though they struggle, at times, under the weight of too many venerable references drawn from both Buddhist and Greek traditions.

Internet:<poetryfoundation.org>(adapted).

About the linguistic and lexical features of the preceding text, judge the following item.

In the text, the word “terrifying” (second sentence of the first paragraph) conveys a sense of intense fear and is an adjective formed from the verb to terrify.

ID: 1022235•
Inglês•
Vocabulário Vocabulary•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function.

Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic.

E. H. Gombrich. The story of art.
New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted).

Based on the previous text, its ideas and its linguistic aspects, judge the following item.

In the fragment “which had a definite function” (last sentence of the first paragraph), the word “definite” could be replaced with clear without harming the coherence of the text.

ID: 1022232•
Inglês•
Interpretação de texto Reading comprehension•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function.

Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic.

E. H. Gombrich. The story of art.
New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted).

Based on the previous text, its ideas and its linguistic aspects, judge the following item.

According to the author, works of art of the past were produced for purposes which went beyond being beautiful.

ID: 1022230•
Inglês•
Interpretação de texto Reading comprehension•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function.

Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic.

E. H. Gombrich. The story of art.
New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted).

Based on the previous text, its ideas and its linguistic aspects, judge the following item.

The information presented in the last sentence of the text means that, to the peoples mentioned by the author in the end of the second paragraph, art objects, like pictures and statues, have supernatural powers.

ID: 1022250•
Inglês•
Advérbios e conjunções Adverbs and conjunctions•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

Gabriele Tinti’s Hungry Ghosts is a cycle of 51 poems written in collaboration with the photographer Roger Ballen, whose photographic negatives are reproduced in the book. The images are mostly terrifying, in keeping with the otherworldly inclination of the poems. This bilingual edition includes Tinti’s original Italian poems with English translations by David Graham, interspersed with Greek lines taken from inscriptions found on archaeological objects and from ancient Greek texts.

The book is inspired by the Petavatthu, a Theravada Buddhist scripture that includes stories about the realm of the “hungry ghosts,” a category of supernatural beings ubiquitous in East and South Asian religions, with section headings such as “Abandoned Ghosts,” “Protectors,” “Guardians,” and “Hungry Ghosts.” T he poems are quite short and try to emulate the obscure, esoteric quality of scriptural language, though they struggle, at times, under the weight of too many venerable references drawn from both Buddhist and Greek traditions.

Internet:<poetryfoundation.org>(adapted).

About the linguistic and lexical features of the preceding text, judge the following item.

The word “though” (last sentence of the second paragraph) is used to introduce a concessive clause.

ID: 1022253•
Inglês•
Aspectos linguísticos Linguistic aspects•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

O hábito de buscar referências na língua materna pode ser uma das principais armadilhas no aprendizado de um novo idioma. Embora a língua inglesa esteja presente em boa parte do mundo por meio da Internet, dos livros, dos filmes e das séries, para muitas pessoas a compreensão do idioma ainda é um bicho de sete cabeças. Por esse motivo, é comum ouvir queixas durante as aulas como “não consigo aprender inglês” ou “inglês não é para mim”.

A diferença da língua materna é o que mais causa dificuldade para os estudantes lusófonos, principalmente pelo fato de a principal origem do português ser o latim e a do inglês ser o anglo-saxão. Essa disparidade causa impactos no som, na escrita e na estrutura do idioma. Pela mistura do anglo-saxão com outros idiomas e culturas, o inglês difere-se do português não apenas na escrita, mas também na pronúncia. Se desprender do habitual idioma materno e precisar falar palavras de uma outra forma é uma dificuldade recorrente entre os estudantes.

Internet:<rubyacademy.com.br> (com adaptações).

Considerando os aspectos suscitados pelo texto precedente no que concerne à aquisição de língua inglesa por pessoas lusófonas, julgue o próximo item.

Falantes lusófonos de inglês têm dificuldade de pronunciar os sons consonantais que iniciam palavras como think e this porque esses sons não existem na língua portuguesa, o que os leva a substituí-los por sons aproximados existentes em português.

ID: 1022236•
Inglês•
Vocabulário Vocabulary•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

Girls play outside in nature less than boys do, even at the age of two, according to the first national survey of play among preschool-age children in Britain. While researchers expect to see older children socialised to particular gender roles, they were shocked to see similar patterns of behaviour starting to emerge at such a young age. They fear it could have long-term implications for girls’ health, as girls are less physically active as they get older and are more likely than boys to have difficulties with their mental health.

The study also found that preschool-age children from a minority ethnic background play less outdoors than their white counterparts, and children in urban areas play less outdoors than those in rural areas. “The results highlight inequalities in play even in the youngest age group, which may exacerbate existing inequalities in health,” the report concluded.

The research surveyed more than 1,100 parents and carers of children aged two, three and four. They found that preschool children spent approximately four hours a day at play, of which one hour and 45 minutes was spent playing outdoors, mainly in back gardens at home. Away from home, children played in playgrounds and green spaces, with the most adventurous play usually associated with indoor play centres.

“The popularity of these play centers is growing,” the report said. “This may be driven by indoor play centres providing adventurous play experiences that overcome some of the barriers to outdoor adventurous play such as traffic, weather and safety concerns.”

Sally Weale. Girls play outside less than boys even at two years old, UK survey reveals.
In: The Guardian. Internet:<theguardian.com> (adapted).

According to the preceding text, judge the following item.

In the text, the words “survey” (first sentence of the text), “study” (first sentence of the second paragraph), and “research” (first sentence of the third paragraph) were used to refer to the same thing.

ID: 1022239•
Inglês•
Vocabulário Vocabulary•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

Girls play outside in nature less than boys do, even at the age of two, according to the first national survey of play among preschool-age children in Britain. While researchers expect to see older children socialised to particular gender roles, they were shocked to see similar patterns of behaviour starting to emerge at such a young age. They fear it could have long-term implications for girls’ health, as girls are less physically active as they get older and are more likely than boys to have difficulties with their mental health.

The study also found that preschool-age children from a minority ethnic background play less outdoors than their white counterparts, and children in urban areas play less outdoors than those in rural areas. “The results highlight inequalities in play even in the youngest age group, which may exacerbate existing inequalities in health,” the report concluded.

The research surveyed more than 1,100 parents and carers of children aged two, three and four. They found that preschool children spent approximately four hours a day at play, of which one hour and 45 minutes was spent playing outdoors, mainly in back gardens at home. Away from home, children played in playgrounds and green spaces, with the most adventurous play usually associated with indoor play centres.

“The popularity of these play centers is growing,” the report said. “This may be driven by indoor play centres providing adventurous play experiences that overcome some of the barriers to outdoor adventurous play such as traffic, weather and safety concerns.”

Sally Weale. Girls play outside less than boys even at two years old, UK survey reveals.
In: The Guardian. Internet:<theguardian.com> (adapted).

According to the preceding text, judge the following item.

From the research mentioned, it is possible to conclude that young age playing habits may have consequences in adult life in terms of physical and mental health.

ID: 1022252•
Inglês•
Aspectos linguísticos Linguistic aspects•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

O hábito de buscar referências na língua materna pode ser uma das principais armadilhas no aprendizado de um novo idioma. Embora a língua inglesa esteja presente em boa parte do mundo por meio da Internet, dos livros, dos filmes e das séries, para muitas pessoas a compreensão do idioma ainda é um bicho de sete cabeças. Por esse motivo, é comum ouvir queixas durante as aulas como “não consigo aprender inglês” ou “inglês não é para mim”.

A diferença da língua materna é o que mais causa dificuldade para os estudantes lusófonos, principalmente pelo fato de a principal origem do português ser o latim e a do inglês ser o anglo-saxão. Essa disparidade causa impactos no som, na escrita e na estrutura do idioma. Pela mistura do anglo-saxão com outros idiomas e culturas, o inglês difere-se do português não apenas na escrita, mas também na pronúncia. Se desprender do habitual idioma materno e precisar falar palavras de uma outra forma é uma dificuldade recorrente entre os estudantes.

Internet:<rubyacademy.com.br> (com adaptações).

Considerando os aspectos suscitados pelo texto precedente no que concerne à aquisição de língua inglesa por pessoas lusófonas, julgue o próximo item.

O português permite maior flexibilidade no que se refere à ordem das palavras em uma frase, o que pode levar os lusofalantes a cometerem erros de estruturação de frases no inglês, cuja ordem é mais rígida.

ID: 1022254•
Inglês•
Aspectos linguísticos Linguistic aspects•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

O hábito de buscar referências na língua materna pode ser uma das principais armadilhas no aprendizado de um novo idioma. Embora a língua inglesa esteja presente em boa parte do mundo por meio da Internet, dos livros, dos filmes e das séries, para muitas pessoas a compreensão do idioma ainda é um bicho de sete cabeças. Por esse motivo, é comum ouvir queixas durante as aulas como “não consigo aprender inglês” ou “inglês não é para mim”.

A diferença da língua materna é o que mais causa dificuldade para os estudantes lusófonos, principalmente pelo fato de a principal origem do português ser o latim e a do inglês ser o anglo-saxão. Essa disparidade causa impactos no som, na escrita e na estrutura do idioma. Pela mistura do anglo-saxão com outros idiomas e culturas, o inglês difere-se do português não apenas na escrita, mas também na pronúncia. Se desprender do habitual idioma materno e precisar falar palavras de uma outra forma é uma dificuldade recorrente entre os estudantes.

Internet:<rubyacademy.com.br> (com adaptações).

Considerando os aspectos suscitados pelo texto precedente no que concerne à aquisição de língua inglesa por pessoas lusófonas, julgue o próximo item.

A ortografia da língua inglesa é mais regular que a do português, o que facilita a leitura do inglês para os lusofalantes, uma vez que as palavras são, em sua maioria, pronunciadas conforme são escritas.

ID: 1022233•
Inglês•
Interpretação de texto Reading comprehension•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

We do not know how art began any more than we know how language started. If we take art to mean such activities as building temples and houses, making pictures and sculptures, or weaving patterns, there is no people in all the world without art. If, on the other hand, we mean by art some kind of beautiful luxury, something to enjoy in museums and exhibitions or something special to use as a precious decoration in the best parlour, we must realize that this use of the word is a very recent development. We can best understand this difference if we think of architecture. There is scarcely any building in the world which was not erected for a particular purpose. Those who use these buildings as places of worship or entertainment, or as dwellings, judge them first and foremost by standards of utility. But apart from this, they may like or dislike the design or the proportions of the structure, and appreciate the efforts of the good architect to make it not only practical but right. In the past the attitude to paintings and statues was often similar. They were not thought of as mere works of art but as objects which had a definite function.

Similarly, we are not likely to understand the art of the past if we are quite ignorant of the aims it had to serve. The further we go back in history, the more definite but also the more strange are the aims which art was supposed to serve. The same applies if we leave towns and cities and go to the peasants or, better still, if we travel to the peoples whose ways of life still resemble the conditions in which our remote ancestors lived. Among them there is no difference between building and image-making as far as usefulness is concerned. Their huts are there to shelter them from rain, wind and sunshine and the spirits which produce them; images are made to protect them against other powers which are, to them, as real as the forces of nature. Pictures and statues, in other words, are used to work magic.

E. H. Gombrich. The story of art.
New York, Phaidon, 2024. 16th ed. p. 9-10 (adapted).

Based on the previous text, its ideas and its linguistic aspects, judge the following item.

The author distinguishes between two different notions of art, one of which he points out to be a recent development.

ID: 1022248•
Inglês•
Vocabulário Vocabulary•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

Gabriele Tinti’s Hungry Ghosts is a cycle of 51 poems written in collaboration with the photographer Roger Ballen, whose photographic negatives are reproduced in the book. The images are mostly terrifying, in keeping with the otherworldly inclination of the poems. This bilingual edition includes Tinti’s original Italian poems with English translations by David Graham, interspersed with Greek lines taken from inscriptions found on archaeological objects and from ancient Greek texts.

The book is inspired by the Petavatthu, a Theravada Buddhist scripture that includes stories about the realm of the “hungry ghosts,” a category of supernatural beings ubiquitous in East and South Asian religions, with section headings such as “Abandoned Ghosts,” “Protectors,” “Guardians,” and “Hungry Ghosts.” T he poems are quite short and try to emulate the obscure, esoteric quality of scriptural language, though they struggle, at times, under the weight of too many venerable references drawn from both Buddhist and Greek traditions.

Internet:<poetryfoundation.org>(adapted).

About the linguistic and lexical features of the preceding text, judge the following item.

The word “otherworldly” (second sentence of the first paragraph) is a synonym for abstract.

ID: 1022249•
Inglês•
Advérbios e conjunções Adverbs and conjunctions•
CESPE CEBRASPE•
InoversaSul•
Ensino Fundamental•
2025

Gabriele Tinti’s Hungry Ghosts is a cycle of 51 poems written in collaboration with the photographer Roger Ballen, whose photographic negatives are reproduced in the book. The images are mostly terrifying, in keeping with the otherworldly inclination of the poems. This bilingual edition includes Tinti’s original Italian poems with English translations by David Graham, interspersed with Greek lines taken from inscriptions found on archaeological objects and from ancient Greek texts.

The book is inspired by the Petavatthu, a Theravada Buddhist scripture that includes stories about the realm of the “hungry ghosts,” a category of supernatural beings ubiquitous in East and South Asian religions, with section headings such as “Abandoned Ghosts,” “Protectors,” “Guardians,” and “Hungry Ghosts.” T he poems are quite short and try to emulate the obscure, esoteric quality of scriptural language, though they struggle, at times, under the weight of too many venerable references drawn from both Buddhist and Greek traditions.

Internet:<poetryfoundation.org>(adapted).

About the linguistic and lexical features of the preceding text, judge the following item.

In the sentence “The poems are quite short” (last sentence of the second paragraph), “quite” is a degree adverb modifying the adjective “short”.

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