Inglês
Interpretação de texto | Reading comprehensionPUC - SP · 2015MédioEntre para guardar nos favoritos
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O título do texto nos informa queDF19E9A8-F1 Inglês
Aspectos linguísticos | Linguistic aspectsFaculdade Adventista da Bahia · 2014MédioEntre para guardar nos favoritosRead the questions. Look at the return-and-refund policy. Circle the answers. Return-and-Refund PolicyFull refunds:We will refund 100% of the price for all books and for other new,Unopened merchandise that is returned within 30 days. Items should be returned in their original product packaging. You will receive your refund check in six weeks.Partial refunds:We will refund less than 100% of the price for:- Any items that are returned after more than 30 days.
- Any CD, DVD, or video game that is not in its plastic wrapping.
- Any item not in perfect condition.
How to send your return:1.Call 1-800-555-3132 and ask for a shipping label.2.Pack the items along with the receipt in a box. You can use the box that the arrived in or another box.3.Put the shipping label on the outside of the box.4.Bring the package to the post office.Leia o texto e responda a questão, apenas uma alternativa.I_____________late for work if the bus doesn’t arrive soon.
DF16802D-F1 Inglês
Aspectos linguísticos | Linguistic aspectsFaculdade Adventista da Bahia · 2014MédioEntre para guardar nos favoritosRead the questions. Look at the return-and-refund policy. Circle the answers. Return-and-Refund PolicyFull refunds:We will refund 100% of the price for all books and for other new,Unopened merchandise that is returned within 30 days. Items should be returned in their original product packaging. You will receive your refund check in six weeks.Partial refunds:We will refund less than 100% of the price for:- Any items that are returned after more than 30 days.
- Any CD, DVD, or video game that is not in its plastic wrapping.
- Any item not in perfect condition.
How to send your return:1.Call 1-800-555-3132 and ask for a shipping label.2.Pack the items along with the receipt in a box. You can use the box that the arrived in or another box.3.Put the shipping label on the outside of the box.4.Bring the package to the post office.Leia o texto e responda a questão, apenas uma alternativa.I’d rather____________the movie. It’s supposed to be good.
DF102A5B-F1 Inglês
Interpretação de texto | Reading comprehensionFaculdade Adventista da Bahia · 2014MédioEntre para guardar nos favoritosRead the questions. Look at the return-and-refund policy. Circle the answers. Return-and-Refund PolicyFull refunds:We will refund 100% of the price for all books and for other new,Unopened merchandise that is returned within 30 days. Items should be returned in their original product packaging. You will receive your refund check in six weeks.Partial refunds:We will refund less than 100% of the price for:- Any items that are returned after more than 30 days.
- Any CD, DVD, or video game that is not in its plastic wrapping.
- Any item not in perfect condition.
How to send your return:1.Call 1-800-555-3132 and ask for a shipping label.2.Pack the items along with the receipt in a box. You can use the box that the arrived in or another box.3.Put the shipping label on the outside of the box.4.Bring the package to the post office.Leia o texto e responda a questão, apenas uma alternativa.
Read the numbered sentence. Then circle the letter of the two sentences that have a similar meaning.Amber will open her own business when she finishes school.EF7D8315-EF Inglês
Interpretação de texto | Reading comprehensionInstituto Federal de Educação, Ciência e Tecnologia do Rio Grande do Sul · 2014DifícilEntre para guardar nos favoritos
Considere as afirmativas abaixo.
I - O texto afirma que as culturas não são estáticas e que ao longo dos anos o mundo tem experimentado trocas culturais, mas que se tornaram mais intensas por causa da tecnologia recente.
II - Os críticos da globalização dizem que as culturas em contato favorecem o intercâmbio cultural, isto é, intensificam as trocas culturais de comidas, músicas e esportes.
III - Culturas evoluindo através do contato com outras culturas, ocorre há milhares de anos, mas recentemente isso tem se intensificado.
IV- Atualmente as influências culturais podem se espalhar pelo planeta tão rápido quanto o clique do mouse.
São corretas apenas
FEB555E5-E7 Inglês
Interpretação de texto | Reading comprehensionFaculdade Cásper Líbero · 2014DifícilEntre para guardar nos favoritosA brief survey of the short story part 47: Machado de AssisStill neglected by English readers, the Brazilian writer is one of the very greatest of the early modern eraThe Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.(...)Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.(...)At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014
An attribute of Machado’s work seen on the post is:FEB16BB3-E7 Inglês
Interpretação de texto | Reading comprehensionFaculdade Cásper Líbero · 2014MédioEntre para guardar nos favoritosA brief survey of the short story part 47: Machado de AssisStill neglected by English readers, the Brazilian writer is one of the very greatest of the early modern eraThe Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.(...)Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.(...)At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014
The references to other writers on the text were, for Chris Power,FEACD1A0-E7 Inglês
Interpretação de texto | Reading comprehensionFaculdade Cásper Líbero · 2014MédioEntre para guardar nos favoritosA brief survey of the short story part 47: Machado de AssisStill neglected by English readers, the Brazilian writer is one of the very greatest of the early modern eraThe Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.(...)Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.(...)At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014
On the post, the phenomenon described as to have been captured most memorably by MachadoFEA90AA1-E7 Inglês
Interpretação de texto | Reading comprehensionFaculdade Cásper Líbero · 2014Muito difícilEntre para guardar nos favoritosA brief survey of the short story part 47: Machado de AssisStill neglected by English readers, the Brazilian writer is one of the very greatest of the early modern eraThe Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.(...)Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.(...)At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014
Augusto Meyer, Jake Schmitt and Lorie IshimatsuFEA5AEA2-E7 Inglês
Interpretação de texto | Reading comprehensionFaculdade Cásper Líbero · 2014Muito difícilEntre para guardar nos favoritosA brief survey of the short story part 47: Machado de AssisStill neglected by English readers, the Brazilian writer is one of the very greatest of the early modern eraThe Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.(...)Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.(...)At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014
The noun ‘shift’ on the first paragraph was used byE2CDDAB0-E6 Inglês
Interpretação de texto | Reading comprehensionIF-BA · 2014MédioEntre para guardar nos favoritos
Consider the statements given and mark the correct option, according to their grammar features:I. In the sentence “President Lula took part in a ceremony that focused firmly on the future” the relative pronoun that can be replaced by which without changing the meaning of the sentence.II. In the sentence “We have a chip, we have a level that can be used on frontier control, we can guarantee citizenship, and it can guarantee transactions in the virtual world” the modal verb can indicates an ability.III. The word currently in the sentence “Currently, Brazilians have to deal with a confusing array of identity numbers” can be substituted by the word nowadays without changing the meaning of the sentence.E2CA479F-E6 Inglês
Interpretação de texto | Reading comprehensionIF-BA · 2014DifícilEntre para guardar nos favoritos
According to the text, it's correct to say that:E2C1E27A-E6 Inglês
Aspectos linguísticos | Linguistic aspectsIF-BA · 2014MédioEntre para guardar nos favoritos
All these sentences represent an action that is still in progress, EXCEPT:E2BD4928-E6 Inglês
Interpretação de texto | Reading comprehensionIF-BA · 2014MédioEntre para guardar nos favoritos
Consider the sentences given and mark the correct option, according to the text:I. Children educators firstly noticed how text-tospeech softwares could benefit English Learners;II. The introduction of personal computers in our society is considered a landmark for the use of technology in education;III. Virtual teacher-student communication is not effective since it relies on the use of the Internet.E2B99676-E6 Inglês
Interpretação de texto | Reading comprehensionIF-BA · 2014MédioEntre para guardar nos favoritos
In the text, the verb mirrored (line 02) can be substituted by the verb:E2B2D676-E6 Inglês
Interpretação de texto | Reading comprehensionIF-BA · 2014MédioEntre para guardar nos favoritos
According to the text, it's correct to say that:4D8BF628-E6 Inglês
Interpretação de texto | Reading comprehensionIF-BA · 2014FácilEntre para guardar nos favoritos
Excerpt 03: "You can't go to hospital; you can't see your friends; you can't go to school; you can't go to work…”Observing the context, it's correct to say that Excerpt 03 from Text 01 shows4D88C4A4-E6 Inglês
Interpretação de texto | Reading comprehensionIF-BA · 2014MédioEntre para guardar nos favoritos
Observe the excerpt from Text 01 that follows. Mark the correct alternative about the use of “where”.Excerpt 02: “One death was reported in São Paulo state, where a young man was run over by a SUV at an intersection during a demonstration, state police said.”4D850C50-E6 Inglês
Adjetivos | AdjectivesIF-BA · 2014DifícilEntre para guardar nos favoritos
Observe the propositions that follow. Decide if they are correct or incorrect according to Text 01 and mark the alternative in which there are only correct propositions.Excerpt 01: "Protesters say the poorest are being short-changed while the government spends the large bills on new stadiums and glitzy infrastructure for the soccer competition Brazil is hosting next year and the Olympic Games coming in 2016."I – There is an example of passive voice.II – There is an example of comparative of adjectives.III – The noun phrase “glitzy infrastructure for the soccer competition” is formed by a determiner, a pre modifier, a noun and a post modifier.IV - “while” indicates simultaneous actions.4D80B1A1-E6 Inglês
Interpretação de texto | Reading comprehensionIF-BA · 2014MédioEntre para guardar nos favoritos
An answer by the government to the people on the streets mentioned in Text 01 could be