domingo, 23 de agosto de 2020

AFA/CFOAV/CFOINT/CFOINF/2020 – OFICIAL – LÍNGUA INGLESA – ACADEMIA DA FORÇA AÉREA – PROVA COM GABARITO.

www.inglesparaconcursos.blog.br

❑ PROVA DE LÍNGUA INGLESA:

• AFA-2020-CFOAV/CFOINT/CFOINF-CURSO DE FORMAÇÃO DE OFICIAIS (Aviador/Infantaria/Intendente)- ACADEMIA DA FORÇA AÉREA.

❑ ESTRUTURA-PROVA:

 16 MCQs (Multiple Choice Questions) / 4 Options Each Question.


 TEXTO 1Read the text below and answer questions 01 to 16 according to it.

 TRADUÇÃO-TEXTO 2
 

Music therapy with cancer patients Musicoterapia com pacientes com câncer

Cancer is the second leading cause of death in the United States, in Germany and in many other industrialized countries. In 2007, about 12 million people were diagnosed with cancer worldwide with a mortality rate of 7.6 million (American Cancer Society, 2007). In the industrial countries, the most commonly diagnosed cancers in men are prostate cancer, lung cancer and colorectal cancer. Women are most commonly diagnosed with breast cancer, gastric cancer and lung cancer. O cancer é a segunda principal causa de morte nos Estados Unidos, na Alemanha e em muitos outros países industrializados. Em 2007, cerca de 12 milhões de pessoas foram diagnosticadas com cancro em todo o mundo, com uma taxa de mortalidade de 7,6 milhões (American Cancer Society, 2007). Nos países industrializados, os cancros mais frequentemente diagnosticados nos homens são o cancro da próstata, o cancro do pulmão e o cancro colorrectal. As mulheres são mais comumente diagnosticadas com câncer de mama, câncer gástrico e câncer de pulmão.

The symptoms of cancer depend on the type of the disease, but there are common symptoms caused by cancer and/or by its medical treatment (e.g., chemotherapy and radiation). Common physical symptoms are pain, fatigue, sleep disturbances, loss of appetite, nausea (feeling sick, vomiting), dizziness, limited physical activity, hair loss, a sore mouth/throat and bowel problems. Cancer also often causes psychological problems such as depression, anxiety, mood disturbances, stress, insecurity, grief and decreased self-esteem. This, in turn, can implicate social consequences. Social isolation can occur due to physical or psychological symptoms (for example, feeling too tired to meet friends, cutting oneself off due to depressive complaints). Os sintomas do câncer dependem do tipo de doença, mas existem sintomas comuns causados pelo câncer e/ou pelo seu tratamento médico (por exemplo, quimioterapia e radiação). Os sintomas físicos comuns são dor, fadiga, distúrbios do sono, perda de apetite, náusea (enjoo, vômito), tontura, atividade física limitada, queda de cabelo, dor na boca/garganta e problemas intestinais. O câncer também costuma causar problemas psicológicos, como depressão, ansiedade, distúrbios de humor, estresse, insegurança, tristeza e diminuição da autoestima. Isto, por sua vez, pode implicar consequências sociais. O isolamento social pode ocorrer devido a sintomas físicos ou psicológicos (por exemplo, sentir-se cansado demais para encontrar amigos, isolar-se devido a queixas depressivas).

Besides conventional pharmacological treatments of cancer, there are treatments to meet psychological and physical needs of the patient. Psychological consequences of cancer, such as depression, anxiety or loss of control, can be counteracted by psychotherapy. For example, within cognitive therapy cancer patients may develop coping strategies to handle the disease. Research indicates that music therapy, which is a form of psychotherapy, can have positive effects on both physiological and psychological symptoms of cancer patients as well as in acute or palliative situations. Além dos tratamentos farmacológicos convencionais do câncer, existem tratamentos para atender às necessidades psicológicas e físicas do paciente. As consequências psicológicas do cancro, como depressão, ansiedade ou perda de controlo, podem ser combatidas pela psicoterapia. Por exemplo, na terapia cognitiva, os pacientes com câncer podem desenvolver estratégias de enfrentamento para lidar com a doença. A investigação indica que a musicoterapia, que é uma forma de psicoterapia, pode ter efeitos positivos tanto nos sintomas fisiológicos como psicológicos dos pacientes com cancro, bem como em situações agudas ou paliativas.

There are several definitions of music therapy. According to the World Federation of Music Therapy (WFMT, 1996), music therapy is: “the use of music and/or its music elements (sound, rhythm, melody and harmony) by a qualified music therapist, with a client or group, in a process designed to facilitate and promote communication, relationship, learning, mobilization, expression, organization, and other relevant therapeutic objectives, in order to meet physical, emotional, mental, social and cognitive needs”. Existem várias definições de musicoterapia. Segundo a Federação Mundial de Musicoterapia (WFMT, 1996), musicoterapia é: “o uso da música e/ou de seus elementos musicais (som, ritmo, melodia e harmonia) por um musicoterapeuta qualificado, com um cliente ou grupo, num processo concebido para facilitar e promover a comunicação, o relacionamento, a aprendizagem, a mobilização, a expressão, a organização e outros objetivos terapêuticos relevantes, a fim de atender às necessidades físicas, emocionais, mentais, sociais e cognitivas”.

The Dutch Music Therapy Association (NVCT, 1999) defines music therapy as “a methodological form of assistance in which musical means are used within a therapeutic relation to manage changes, developments, stabilisation or acceptance on the emotional, behavioural, cognitive, social or on the physical field”. A Associação Holandesa de Musicoterapia (NVCT, 1999) define musicoterapia como “uma forma metodológica de assistência na qual meios musicais são utilizados dentro de uma relação terapêutica para gerenciar mudanças, desenvolvimentos, estabilização ou aceitação nos aspectos emocionais, comportamentais, cognitivos, sociais ou sobre o campo físico”.

The assumption is that the patient's musical behaviour conforms to their general behaviour. The starting points are the features of the patient's specific disorder or disease pattern. There is an analogy between psychological problems and musical behaviour, which means that emotions can be expressed musically. For patients who have difficulties in expressing emotions, music therapy can be a useful medium. Music therapy might be a useful intervention for breast cancer patients in order to facilitate and enhance their emotional expressivity. Besides analogy, there are further qualities of music that can be beneficial within therapeutic treatment. One of these qualities is symbolism: music can symbolize persons, objects, incidents, experiences or memories of daily life. Therefore, music is a reality, which represents another reality. The symbolism of the musical reality enables the patient to deal safely with the other reality for it evokes memories about persons, objects or incidents. These associations can be perceived as positive or negative, so they release emotions in the patient. A suposição é que o comportamento musical do paciente está de acordo com seu comportamento geral. Os pontos de partida são as características do distúrbio ou padrão de doença específico do paciente. Existe uma analogia entre problemas psicológicos e comportamento musical, o que significa que as emoções podem ser expressas musicalmente. Para pacientes que têm dificuldades em expressar emoções, a musicoterapia pode ser um meio útil. A musicoterapia pode ser uma intervenção útil para pacientes com câncer de mama, a fim de facilitar e aumentar sua expressividade emocional. Além da analogia, existem outras qualidades da música que podem ser benéficas no tratamento terapêutico. Uma dessas qualidades é o simbolismo: a música pode simbolizar pessoas, objetos, incidentes, experiências ou memórias da vida cotidiana. Portanto, a música é uma realidade, que representa outra realidade. O simbolismo da realidade musical permite ao paciente lidar com segurança com a outra realidade, pois evoca memórias sobre pessoas, objetos ou incidentes. Essas associações podem ser percebidas como positivas ou negativas, por isso liberam emoções no paciente.

Music therapy both addresses physical and psychological needs of the patient. Numerous studies indicate that music therapy can be beneficial to both acute cancer patients and palliative cancer patients in the final stage of disease. A musicoterapia atende às necessidades físicas e psicológicas do paciente. Numerosos estudos indicam que a musicoterapia pode ser benéfica tanto para pacientes com câncer agudo quanto para pacientes com câncer paliativo na fase final da doença.

Most research with acute cancer patients receiving chemotherapy, surgery or stem cell transplantation examined the effectiveness of receptive music therapy. Listening to music during chemotherapy, either played live by the music therapist or from tape has a positive effect on pain perception, relaxation, anxiety and mood. There was also found a decrease in diastolic blood pressure or heart rate and an improvement in fatigue; insomnia and appetite loss could be significantly decreased in patients older than 45 years. Further improvements by receptive music therapy were found for physical comfort, vitality, dizziness and tolerability of the chemotherapy. A study with patients undergoing surgery found that receptive music therapy led to decreased anxiety, stress and relaxation levels before, during and after surgery. Music therapy can also be applied in palliative situations, for example to patients with terminal cancer who live in hospices. A maioria das pesquisas com pacientes com câncer agudo que receberam quimioterapia, cirurgia ou transplante de células-tronco examinou a eficácia da musicoterapia receptiva. Ouvir música durante a quimioterapia, seja tocada ao vivo pelo musicoterapeuta ou gravada, tem um efeito positivo na percepção da dor, no relaxamento, na ansiedade e no humor. Também foi encontrada uma diminuição da pressão arterial diastólica ou da frequência cardíaca e uma melhora da fadiga; a insônia e a perda de apetite podem diminuir significativamente em pacientes com mais de 45 anos. Outras melhorias pela musicoterapia receptiva foram encontradas para conforto físico, vitalidade, tontura e tolerabilidade à quimioterapia. Um estudo com pacientes submetidos a cirurgias constatou que a musicoterapia receptiva levou à diminuição dos níveis de ansiedade, estresse e relaxamento antes, durante e após a cirurgia. A musicoterapia também pode ser aplicada em situações paliativas, por exemplo, em pacientes com câncer terminal que vivem em hospícios.

Studies indicate that music therapy may be beneficial for cancer patients in acute and palliative situations, but the benefits of music therapy for convalescing cancer patients remain unclear. Estudos indicam que a musicoterapia pode ser benéfica para pacientes com câncer em situações agudas e paliativas, mas os benefícios da musicoterapia para pacientes com câncer convalescentes permanecem obscuros.

Whereas music therapy interventions for acute and palliative patients often focus on physiological and psychosomatic symptoms, such as pain perception and reducing medical side-effects, music therapy with posthospital curative treatment could have its main focus on psychological aspects. Enquanto as intervenções musicoterapêuticas para pacientes agudos e paliativos muitas vezes se concentram em sintomas fisiológicos e psicossomáticos, como percepção da dor e redução de efeitos colaterais médicos, a musicoterapia com tratamento curativo pós-hospitalar poderia ter seu foco principal nos aspectos psicológicos.

A cancer patient is not free from cancer until five years after the tumour ablation. The patient fears that the cancer has not been defeated. In this stage of the disease, patients frequently feel insecure, depressive and are emotionally unstable. How to handle irksome and negative emotions is an important issue for many oncology patients. After the difficult period of the medical treatment, which they often have overcome in a prosaic way by masking emotions, patients often express the wish to become aware of themselves again. They may wish to grapple with negative emotions due to their disease. Other patients wish to experience positive feelings, such as enjoyment and vitality. Um paciente com câncer não está livre do câncer até cinco anos após a ablação do tumor. O paciente teme que o câncer não tenha sido derrotado. Nesta fase da doença, os pacientes frequentemente sentem-se inseguros, deprimidos e emocionalmente instáveis. Como lidar com emoções negativas e cansativas é uma questão importante para muitos pacientes oncológicos. Após o difícil período do tratamento médico, que muitas vezes superaram de forma prosaica, mascarando as emoções, os pacientes muitas vezes expressam o desejo de voltar a ter consciência de si mesmos. Eles podem querer lidar com emoções negativas devido à sua doença. Outros pacientes desejam experimentar sentimentos positivos, como prazer e vitalidade.

The results indicate that music therapy can also have positive influences on well-being of cancer patients in the post-hospital curative stage as well as they offer valuable information about patients' needs in this state of treatment and how effects can be dealt with properly. Os resultados indicam que a musicoterapia também pode ter influências positivas no bem-estar dos pacientes com câncer na fase curativa pós-hospitalar, bem como oferece informações valiosas sobre as necessidades dos pacientes neste estado de tratamento e como os efeitos podem ser tratados adequadamente.

(Adapted from https://essay.utwente.nl/59115/1/scriptie_F_Teiwes.pdf - Access on 25/02/19)

01  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

Cancer is 

(A) the most relevant disease people face.

(B) not related to industrialized countries.

(C) actually restricted to German individuals.

(D) one of the major causes of people's death.

 👍   Comentários e Gabarito    D  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

02  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

The fragment “the most commonly diagnosed cancers” (lines 06 and 07) is an example of 

(A) superlative.

(B) comparative of superiority.

(C) comparative of inferiority.

(D) comparative of equality.

  👍   Gabarito    A  

TÓPICO - ADJETIVES - THE SUPERLATIVE FORM - "THE MOST ...":

➭ THE MOST ... – Indicativo de SUPERLATIVO de adjetivo longo (diagnosed).

➭ ESTRUTURA GERAL (curtos): THE + [Short Adjective]-EST.
➭ EXEMPLOS:  the cheapest – the coldest – the fastest – the nicest – the oldest –  the youngest – the smallest – the tallest – the strongest – the weakest – the biggest – the thinnest – the fattest – the hottest – the saddest – the angriest – the busiest – the craziest – the funniest – the happiest – the tidiest. – the least.
➭ ESTRUTURA GERAL(longos): THE MOST + [long Adjective].
➭ EXEMPLOS:  the most beautiful – the most expensive –  the most different – the most interesting – the most important – the most popular.
➭ EXCEÇÕESthe best (o melhor) – the worst (o pior) – the farthest (o mais distante).

03  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

The second paragraph of the text states that 

(A) social isolation happens as a result of physical effort and medical treatments.

(B) radiation and chemotherapy prove to be ineffective for cancer treatment.

(C) there may be a relation between kinds of disease as well as their symptoms.

(D) dizziness and bowel disturbances could be caused by different tunes.

 👍   Comentários e Gabarito    C  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

04  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

In the phrase "coping strategies" (line 32), the underlined word is a synonym for 

(A) noting.

(B) defining.

(C) managing.

(D) creating.

 👍   Comentários e Gabarito    C  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

05  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

The text 

(A) focuses on the present cancer mortality rates.

(B) aims at presenting a complementary way to deal with cancer.

(C) delves into the mind of worldwide cancer patients.

(D) develops a detailed idea on how to live with cancer.

 👍   Comentários e Gabarito    B  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

06  (AFA-CFO-2019/2020)01  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

The passage

"patient's musical behaviour conforms to their general behaviour"(lines 55 and 56)

suggests that 

(A) one standard complies with the other.

(B) an unstable relation could take place.

(C) some reactions are more predictable than others.

(D) general kinds of behaviour are not very common.

 👍   Comentários e Gabarito    A  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

07  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

Mark the alternative that LACKS the correct synonym for the underlined word. 

(A) Cancer also often causes psychological problems (lines 18 and 19) – generally.

(B) Besides analogy, there are further qualities of music that can be beneficial (lines 65 to 67) – apart from.

(C) Therefore, music is a reality, which represents another reality (lines 70 and 71) – thus.

(D) “For it evokes memories about persons, objects or incidents” (lines 73 and 74) – conversely.

 👍   Comentários e Gabarito    D  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

08  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

Mark one of the statements below that DOESN'T agree with the text. 

(A) Music therapy helps people to express their emotions.

(B) Patient's music behaviour usually varies a lot.

(C) Men and women suffer from different sorts of diseases.

(D) The therapy helps psychological/ physical disorders.

 👍   Comentários e Gabarito    X  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

09  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

According to the text, most patients felt compelled to 

(A) create choruses in order to promote musical learning.

(B) deprive themselves of getting along with people.

(C) join other oncology patients for therapeutic purposes.

(D) distress therapists as part of psychotherapy sessions.

 👍   Comentários e Gabarito    B  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

10  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

The text is mainly concerned with the 

(A) diastolic blood pressure decrease in cancer patients.

(B) studies on music therapy and its different sorts.

(C) relevance of music in cancer patient's welfare.

(D) patient's tolerability of chemotherapy as well as radiation.

 👍   Comentários e Gabarito    C  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

11  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

Mark the sentence in which “that” can correctly replace the pronoun. 

(A) Music therapy, which is a form of psychotherapy, can have positive effects (lines 33 to 35).

(B) A methodological form of assistance in which musical means are used (lines 49 and 50).

(C) For patients who have difficulties in expressing emotions [e] (lines 61 and 62).

(D) Patients often express the wish to become aware of themselves again (lines 118 to 120).

 👍   Comentários e Gabarito    C  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

12  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

According to the text, mark the option which contains the meaning for the word “hospice” (line 99). 

(A) A protocol for dealing with cancer.

(B) A sort of music therapy for cancer patients.

(C) A cancer surgery for palliative medical cases.

(D) A place providing care for ill people.

 👍   Comentários e Gabarito    D  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

13  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

Regarding music therapy in cancer treatment 

(A) good results are still not obvious in some cases.

(B) psychological problems would not be considered.

(C) patients could not benefit from it after surgeries.

(D) relaxation and stressful levels were very high.

 👍   Comentários e Gabarito    A  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

14  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

Read the statement based on paragraph 8 and mark the action that happened first. 

A study discovered that receptive music therapy had decreased anxiety and stress levels before, during and after surgeries. Also, music therapy can be applied to different levels of the disease. 

(A) Discover.

(B) Decrease.

(C) Can.

(D) Apply.

 👍   Comentários e Gabarito    B  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

15  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

In the fragment "music therapy with post-hospital curative treatment could have its main focus on psychological aspects" (lines 107 to 109) the pronoun refers to 

(A) music therapy and post-hospital curative treatment.

(B) curative treatment and main focus.

(C) main focus and psychological aspects.

(D) psychological aspects and music therapy.

 👍   Comentários e Gabarito    A  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

16  (AFA/CFO/OFICIAL/2020-ACADEMIA DA FORÇA AÉREA)

One concludes that

(A) the therapy’s outcome helps out in distinct stages.

(B) some effects are hard to be managed suitably.

(C) healing patients definitely overcome curative course.

(D) cancer welfare has to be faced by means of fierce sounds.

 👍   Comentários e Gabarito    A  
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO: 

AFA/CFOAV/CFOINT/CFOINF/2019 – OFICIAL – LÍNGUA INGLESA – ACADEMIA DA FORÇA AÉREA – PROVA COM GABARITO & TEXTO TRADUZIDO.

www.inglesparaconcursos.blog.br

AFA-2019-CFOAV/CFOINT/CFOINF-24/06/2018.

www.fab.mil.br

❑ ESTRUTURA-PROVA:

 16 MCQs (Multiple Choice Questions) / 4 Options Each Question.
 Texto – | Why do supervillains fascinate us? A psychological perspective  | wired.com |


 TEXTORead the text below and answer questions 01 to 16 according to it.

WHY DO SUPERVILLAINS FASCINATE US?

A PSYCHOLOGICAL PERSPECTIVE 

Why are we fascinated by supervillains? Posing the question is much like asking why evil itself intrigues us, but there's much more to our continued interest in supervillains than meets the eye. Not only do Lex Luthor, Dracula and the Red Skull run unconstrained by conventional morality, they exist outside the limits of reality itself. Their evil, even at its most realistic, retains a touch of the unreal.

But is our fascination with fantastic fiends1 healthy? From a psychological perspective, views vary on what drives our enduring interest in superhuman bad guys.

Shadow confrontation: Psychiatrist Carl Jung believed we need to confront and understand our own hidden nature to grow as human beings. Healthy confrontation with our shadow selves can unearth new strengths (e.g., Bruce Wayne creating his Dark Knight persona to fight crime), whereas unhealthy attempts at confrontation may involve dwelling on or unleashing the worst parts of ourselves.

Wish fulfillment: Sigmund Freud viewed human nature as inherently antisocial, biologically driven by the undisciplined id's pleasure principle to get what we want when we want it – born to be bad but held back by society. Even if the psyche fully develops its ego (source of self-control) and superego (conscience), Freudians say the id still dwells2 underneath, and it wishes for many selfish things – so it would love to be supervillainous.

Hierarchy of needs: Humanistic psychologist Abraham Maslow held that people who haven't met their most basic needs will have difficulty maturing. If starved for food, you're unlikely to feel secure. If starved for love and companionship, you'll have trouble building self-esteem. People who dwell on their deficits may envy and resent others who have more than they do. Some people who are unable to overcome social shortcomings fantasize about obtaining any means, good or bad, to satisfy every need and greed.

Conditioning: Ivan Pavlov would say we can learn to associate supervillains with other things we value – like entertainment, strength, freedom or the heroes themselves. Behaviorist B.F. Skinner would likely argue that we can find it reinforcing to watch or read about supervillains, but without knowing what's reinforcing about them, that's a bit like saying it's rewarding because it's rewarding. 

Our Motivations for Seeking Out Supervillains 

Throughout history, humans have been captivated by stories of heroes facing off against superhuman foes3 . But what specific rewards, needs, wishes and dark dreams do supervillains satisfy?

Freedom: Superpowered characters enjoy freedoms the rest of us don't. Nobody can arrest Superman unless he lets them (at least not without kryptonite handcuffs). As much time as supervillains spend locked up, they seem to escape as often as they please, to run unconstrained by rules and regulations. Cosplayers who dress like Wonder Woman and Captain America can't do any crazy thing that crosses their minds without seeming to mock and insult our heroes, whereas those dressed as villains get to go wild. Supervillainy feels liberating.

Power: Maybe you envy the power these evil characters wield4 . While that's also a reason to adore superheroes, good guys don't ache to dominate. Stories like Watchmen and Kingdom Come show how heroes become menaces5 when they try to take over. So when dreaming of superpowers, maybe you relate to characters who dream of power as well, from the Scarecrow (who controls individuals' fears) to Doctor Doom (who's perpetually out to dominate the world).

Better villain than victim: Physiologically, anger activates us and feels better than anxiety or fear. One who feels victimized and cannot figure out constructive ways to stand up, be strong or become heroic might twist the need for self-assertion into destruction. Alternately, a healthy person simply might focus on how all characters assert themselves in any given story.

Better villain equals better hero: A hero only appears as heroic as the challenge he or she must overcome. Great heroes require great villains. Without supercriminals, the world's finest heroes seem like overpowered brutes nabbing thugs6 unworthy of them. Through myths, legends and lore across time, we have needed heroes who rise to the occasion, overcome great odds7 and take down giants.

Facing our fears: Instead of dreading the darkness, you might reduce that dread by shining a light and seeing what's out there. Fiction can help us feel empowered and enlightened without literally traipsing into mob hangouts8 and poorly lit alleyways9.

Exploring the unknown: Our need to challenge the unknown has driven the human race to cover the globe. This powerful curiosity makes us wonder about everything that baffles10 us, including the world's worst fiends. Knowledge is power, or at least feels like it. When gritty details repulse us, exploring evil through the filter of fiction can help us contemplate humanity's worst without turning away or dwelling almost voyeuristically on real human tragedy. Even when the fiction is about improbable people doing impossible things, the story's fantastic nature reassures us that this cannot happen – and therefore we don't have to turn away. Supervillains' Ultimate Purpose In the end, our interest in supervillains can be healthy or unhealthy. Even the more maladaptive reasons for such fascination tend to arise from motivations that were originally healthy and natural – frustrated drives that went the wrong way. Remember, though, that superheroic fiction ultimately begins and ends with the heroes. Comic book writers and artists create supervillains, who move in and out as guest stars and supporting cast, first and foremost to reveal how heroic the comics' stars can be.

(Adapted from https://www.wired.com/2012/07/why-do-supervillainsfascinate-us/)

Glossary:

1. fiend – an evil and cruel person

2. to dwell – remain

3. foe – an enemy

4. to wield – influence, use power

5. menace – threat

6. to nab thugs – arrest criminals

7. odds – probability

8. to traipse into mob hangouts – walk among places where gangs, criminals meet

9. poorly lit alleyways – narrow road or path with little light

10. to baffle – confuse somebody completely 

33 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

One of the messages below is mentioned in the text. Mark it. 

(A) We have to face and know ourselves deeply in order to become better.

(B) In fact, we are conditioned to expect more from the heroes.

(C) A psychological study states that people have been intrigued by the question whether we are fiends or not.

(D) Superheroes are empowered despite dominating the world.

 👍  Comentários e Gabarito  A 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO:

Uma das mensagens abaixo é mencionada no texto. Marca-lo. 

(A) We have to face and know ourselves deeply in order to become betterTemos que nos enfrentar e nos conhecer profundamente para nos tornarmos melhores.

(B) In fact, we are conditioned to expect more from the heroes. Na verdade, estamos condicionados a esperar mais dos heróis.

(C) A psychological study states that people have been intrigued by the question whether we are fiends or not. Um estudo psicológico afirma que as pessoas ficaram intrigadas com a questão de saber se somos demônios ou não.

(D) Superheroes are empowered despite dominating the world. Os super-heróis têm poder apesar de dominarem o mundo.

34 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

Mark the INCORRECT alternative. 

"[...] there's much more to our continued interest in supervillains than meets the eye."(lines 3 and 4) 

If there’s more to something than meets the eye, it means that 

(A) it’s more difficult to understand.

(B) you are conscious of what is around you.

(C) it involves more things than you thought at the beginning.

(D) the situation is not as simple as it seems to be.

 👍  Comentários e Gabarito  B 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO:

Marque a alternativa INCORRETA.

"[...] there's much more to our continued interest in supervillains than meets the eye."(há muito mais em nosso interesse contínuo em supervilões do que aparenta.) 

Se há mais em algo do que aparenta, isso significa que

(A) it’s more difficult to understand. é mais difícil de entender.

(B) you are conscious of what is around youvocê está consciente do que está ao seu redor.

(C) it involves more things than you thought at the beginning. envolve mais coisas do que você pensava no início.

(D) the situation is not as simple as it seems to be. a situação não é tão simples quanto parece.

35 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

"Not only do Lex Luthor, Dracula and the Red Skull run unconstrained by conventional morality [...]".(lines 5 and 6) 

The highlighted word from the sentence above is used 

(A) to perform an action.

(B) as an auxiliary verb of the clause.

(C) to emphasize the verb.

(D) to avoid repeating a verb.

 👍  Comentários e Gabarito  B 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO:

"Not only do Lex Luthor, Dracula and the Red Skull run unconstrained by conventional morality [...]".(Não apenas Lex Luthor, Drácula e a Caveira Vermelha correm sem restrições pela moralidade convencional) 

A palavra destacada da frase acima é usada

(A) to perform an action. para realizar uma ação.

(B) as an auxiliary verb of the clausecomo verbo auxiliar da oração.

(C) to emphasize the verb. para enfatizar o verbo.

(D) to avoid repeating a verb. para evitar a repetição de um verbo.

36 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

Mark the alternative which has the sentence below correctly reported.

"[...] is our fascination with fantastic fiends healthy?"(lines 9 and 10)  

The author 

(A) replied: "is our fascination with fantastic fiends healthy?"

(B) said that their fascination with fantastic fiends had been healthy.

(C) told the readers their fascination with fantastic fiends has been healthy.

(D) asked if people’s fascination with fantastic fiends was healthy.

 👍  Comentários e Gabarito  D 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO:

Assinale a alternativa que tem a frase abaixo relatada corretamente.

"[...] is our fascination with fantastic fiends healthy?"(nosso fascínio por demônios fantásticos é saudável? 

O autor

(A) replied: "is our fascination with fantastic fiends healthy?"

(B) said that their fascination with fantastic fiends had been healthy.

(C) told the readers their fascination with fantastic fiends has been healthy.

(D) asked if people’s fascination with fantastic fiends was healthy.

37 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

According to what drives people's interest in supervillains, the text mentions 

(A) the conscious knowledge that supervillains reinforce things we value (Pavlov and Skinner).

(B) the negative side people need to hide to grow as human beings (Carl Jung).

(C) the undisciplined principle controlled by society (Sigmund Freud).

(D) people’s lack of necessity of food, security and love (Abraham Maslow).

 👍  Comentários e Gabarito  C 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO:

De acordo com o que desperta o interesse das pessoas pelos supervilões, o texto menciona

(A) the conscious knowledge that supervillains reinforce things we value (Pavlov and Skinner). o conhecimento consciente de que os supervilões reforçam coisas que valorizamos (Pavlov e Skinner).

(B) the negative side people need to hide to grow as human beings (Carl Jung). o lado negativo que as pessoas precisam esconder para crescerem como seres humanos (Carl Jung).

(C) the undisciplined principle controlled by society (Sigmund Freud). o princípio indisciplinado controlado pela sociedade (Sigmund Freud).

(D) people’s lack of necessity of food, security and love (Abraham Maslow). a falta de necessidade de comida, segurança e amor das pessoas (Abraham Maslow). 

38 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

The sentences below are used in the interrogative form.

Mark the one that is grammatically correct. 

(A) Why does evil itself intrigues us? (lines 2 and 3)

(B) Who run unconstrained by conventional morality? (line 6)

(C) Who exist outside the limits of reality itself? (lines 6 and 7)

(D) What drives our enduring interest in superhuman bad guys? (lines 11 and 12)

 👍  Comentários e Gabarito  D 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO: 

39 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

Mark the option in which the underlined word makes it clear that the subject and the object are the same. 

(A) [...] they exist outside the limits of reality itself. (lines 6 and 7)

(B) [...] like entertainment, strength, freedom or the heroes themselves. (lines 42 and 43)

(C) [...] become heroic might twist the need for self-assertion into destruction. (lines 76 and 77)

(D) [...] all characters assert themselves in any given story. (line 79)

 👍  Comentários e Gabarito  D 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO: 

40 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

The sentence

"[...] Abraham Maslow held that people who haven't met their most basic needs will have difficulty maturing."(lines 31 and 32)

means the psychologist believes that

(A) if people don’t become mature, they will have trouble meeting their basic needs.

(B) if Abraham Maslow hadn’t met his basic needs, people would have had difficulty maturing.

(C) unless people fulfill their basic necessities, getting mature won’t be easy for them.

(D) unless one gets their basic necessities, they won’t have difficulty maturing.

 👍  Comentários e Gabarito  C 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO: 

41 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

Identify the option that summarizes the item “freedom” (lines 53 to 63). 

(A) We need to obey rules and regulations that the superpowered characters follow too.

(B) We look for supervillainy in order to feel that we can behave the way we want.

(C) Supervillains shouldn’t insult our heroes.

(D) Nobody can arrest a superhero or a supervillain.

 👍  Comentários e Gabarito  B 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO:

42 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

"[...] Wonder Woman and Captain America can't do any crazy thing [...] whereas those dressed as villains get to go wild."(lines 59 to 63). 

The highlighted word is closest in meaning to 

(A) but.

(B) where.

(C) therefore.

(D) though.

 👍  Comentários e Gabarito  X 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO: 

43 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

Mark the option in which the sentence is an example of passive voice. 

(A) Sigmund Freud viewed human nature as inherently antisocial, biologically driven by the undisciplined id's pleasure principle. (lines 21 to 23)

(B) People who haven't met their most basic needs will have difficulty maturing. (lines 31 and 32)

(C) Humans have been captivated by stories of heroes facing off against superhuman foes. (lines 49 to 51)

(D) We have needed heroes who rise to the occasion, overcome great odds and take down giants.(lines 85 to 87)

 👍  Comentários e Gabarito  C 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO: 

44 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

In the paragraph

"Better villain equals better hero" (lines 80 to 84),

the author DOESN’T 

(A) make a comparison.

(B) count a number of features.

(C) indicate that something is necessary.

(D) describe characters.

 👍  Comentários e Gabarito  B 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO: 

45 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

In the sentence "when gritty details repulse us [...]"(line 98), the underlined word means 

(A) harmful.

(B) unknown.

(C) unpleasant but true.

(D) impossible.

 👍  Comentários e Gabarito  C 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO: 

46 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

Read the statements below and mark the option that contains the correct ones according to the text. 

I. Vulnerable people may have their self-esteem affected.

II. Everybody is infatuated with antagonists.

III. In a psychological perspective, antiheroes aren’t despised at all by the public.

IV. The author reminds us that funny writers created supervillains stories.

V. We have cherished defeated heroes and victorious antiheroes. 

(A) Only sentences I, II and IV are correct.

(B) Only sentences I and III are correct.

(C) Only sentences II, III and V are correct.

(D) Only sentences IV and V are correct.

 👍  Comentários e Gabarito  B 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO: 

47 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

One of the statements below LACKS the content of the text. Mark it. 

(A) Our curiosity makes us wonder what we’ve already understood.

(B) According to the author’s perspective on superheroes, they can be both heroes and fiends.

(C) Heroes depend on villains to succeed.

(D) A part of our unconscious mind would desire to be a villain.

 👍  Comentários e Gabarito  B 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO: 

48 – (AFA/CFO-2019-ACADEMIA DA FORÇA AÉREA)

The author concludes that

 (A) superheroes have been the supporting cast, not the stars anymore.

(B) our motivations for seeking out supervillains are originally unhealthy.

(C) supervillains are created to prove how heroic and powerful the superheroes are.

(D) comic book writers create supervillains to overcome superheroes.

 👍  Comentários e Gabarito  C 
TÓPICO - RELAÇÃO SEMÂNTICA ENTRE PARTES DO TEXTO:
O autor conclui que
(A) superheroes have been the supporting cast, not the stars anymore. os super-heróis têm sido o elenco de apoio, não mais as estrelas.

(B) our motivations for seeking out supervillains are originally unhealthy. nossas motivações para procurar supervilões são originalmente prejudiciais.

(C) supervillains are created to prove how heroic and powerful the superheroes are. supervilões são criados para provar o quão heróicos e poderosos são os super-heróis.

(D) comic book writers create supervillains to overcome superheroes. os escritores de quadrinhos criam supervilões para superar os super-heróis.