UECE–2011.1–VESTIBULAR–2ª FASE–UNIVERSIDADE ESTADUAL DO CEARÁ–LÍNGUA INGLESA–GABARITO, TEXTO TRADUZIDO & MUITO VOCABULÁRIO.

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❑ PROVA DE LÍNGUA INGLESA:

• UECE-2011.1-VESTIBULAR-2ª FASE-LÍNGUA INGLESA- 19/12/10.
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❑ ESTRUTURA-PROVA:

• 20 MCQs (Multiple Choice Question) / 4 Options Each Question.

• Texto –  | The Nobel Prize in Literature | www.nobelprize.org |

PROVA, TRADUÇÃO, GABARITO & MUITO VOCABULÁRIO

❑  TEXTO:

01-C,  02-A,  03-C,  04-B,  05-B

06-D,  07-C,  08-D,  09-C,  10-B

11-B,  12-C,  13-D,  14-A,  15-B

16-B,  17-A,  18-C,  19-B,  20-C

Among the five prizes provided for in Alfred Nobel's will (1895), one was intended for the person who, in the literary field, had produced "the most outstanding work in an ideal direction". The Laureate should be determined by "the Academy in Stockholm", which was specified by the statutes of the Nobel Foundation to mean the Swedish Academy. These statutes defined literature as "not only belles-lettres, but also other writings which, by virtue of their form and style, possess literary value".

As guidelines for the distribution of the Literature Prize, the Swedish Academy had the general requirement for all the prizes – the candidate should have bestowed "the greatest benefit on mankind" – and the special condition for literature, "in an ideal direction". Both prescriptions are vague and the second, in particular, was to cause much discussion. What did Nobel actually mean by ideal? In fact, the history of the Literature Prize appears as a series of attempts to interpret an imprecisely worded will. The consecutive phases in that history reflect the changing sensibility of an Academy continuously renewing itself. The main source of knowledge of the principles and criteria applied is the annual reports which the Committee presented to the Academy. Also the correspondence between the members is often enlightening. There is an obstacle though: all Nobel information is to be secret for 50 years.

A chapter in the history of the Literary Prize could be entitled "A Literary Policy of Neutrality". The objectives laid down by the new chairman of the Academy's Nobel Committee at the beginning of the First World War kept the belligerent powers outside, giving the small nations a chance. This policy partly explains the Scandinavian overrepresentation on the list in this period.

Another period, approximately coinciding with the 1920s, could be labeled "The Great Style". This key concept in the reports of the Committee reveals the connections with Wirsén's epoch and its traits of classicism. With such a standard the Academy was, of course, out of touch with what happened in contemporary literature. It could appreciate Thomas Mann's Buddenbrooks – a masterpiece "approaching the classical realism in Tolstoy" – but passed his Magic Mountain over in silence.

In line with the requirement "the greatest benefit on mankind", the Academy of the 1930s tried a new approach, equating this "mankind" with the immediate readership of the works in question. A report of its Committee stated "universal interest" as a criterion and the Academy decided on writers within everybody's reach, from Sinclair Lewis to Pearl Buck, repudiating exclusive poets like Paul Valéry and Paul Claudel.

Given a pause for renewal by the Second World War and inspired by its new secretary, Anders Österling, the post-war Academy finished this excursion into popular taste, focusing instead on what was called "the pioneers". Like in the sciences, the Laureates were to be found among those who paved the way for new developments. In a way, this is another interpretation of the formula "the greatest benefit on mankind": the perfect candidate was the one who had provided world literature with new possibilities in outlook and language.

The "pioneers" criterion lost weight, however, as the heroic period of the international avant-garde turned into history and literary innovation became less ostentatious. Instead, the instruments pointed at the "pioneers" of specific linguistic areas. The 1988 Prize was awarded a writer who, from a Western point of view, rather administers the heritage from Flaubert and Thomas Mann. In the Arabic world, on the other hand, Naguib Mahfouz appears as the creator of

its contemporary novel.

Another policy, partly coinciding with the one just outlined, partly replacing it, is "the pragmatic consideration". A growing number within the Academy wanted to call attention to important but unnoticed writers and literatures, thus giving the world audience masterpieces they would otherwise miss, and at the same time, giving an important writer due attention. The criterion gives poetry a prominent place. In no other period were the poets so well provided for as in the years 1990-1996 when four of the seven prizes went to Octavio Paz, Derek Walcott, Seamus Heaney, and Wislawa Szymborska, all of them earlier unknown to the world audience.

The criteria discussed sometimes alternate, sometimes coincide. The spotlight on the unknown master Canetti in 1981 is thus followed by the laurel to the universally hailed "pioneer" of magic realism, Gabriel García Márquez, in 1982. Some Laureates answer both requirements, like Faulkner, who was not only "the great experimentalist among twentieth-century novelists" – the Academy was here fortunate enough to anticipate Faulkner's enormous importance to later fiction - but also, in 1950, a fairly unknown writer.

It is also realized that on the whole the serious literature that is worthy of a prize furthers knowledge of man and his condition and endeavours to enrich and improve his life.

The Literary Prize has often given rise to discussion of its political implications. The Swedish Academy, for its part, has on many occasions expressed a desire to stand apart from political antagonisms. The guiding principle, in Lars Gyllensten's words, has been "political integrity". This has quite often not been understood.

The history of the Literature Prize is also the history of its reception in the press and in other media. Apart from overlooking the changes in outlooks and criteria within the Swedish Academy, international criticism has tended to neglect the crowd of likely names around the Prize a specific year. The Academy cannot have the ambition to crown all worthy writers. What it cannot afford is giving Nobel's laurel to a minor talent. Its practice during the last full half-century

has also largely escaped criticism on that point.

Adapted from

the text by Kjell Espmark nobelprize.org/nobel_prizes/literature

01 – (UECE-2011/1-VESTIBULAR-2ª FASE)

According to the text, the Swedish Academy is an institution that

A) has never changed over the years.

B) changes its criteria of choice every year.

C) is in a continuous process of renewal.

D) may come to change in a near future.

Segundo o texto, a Academia Sueca é uma instituição que
•Afirmativa (A): nunca mudou ao longo dos anos.
•Afirmativa (B): muda seus critérios de escolha a cada ano.
•Afirmativa (C): está em um processo contínuo de renovação.
•Afirmativa (D): pode vir a mudar em um futuro próximo.

02 – (UECE-2011/1-VESTIBULAR-2ª FASE)

As to the policy adopted by the Swedish Academy during the First World War, the text states that it

A) excluded the countries involved in the conflict.

B) gave a chance to authors from the belligerent nations.

C) refused to accept nominations of Scandinavians.

D) maintained its neutrality position as it had done before.

Quanto à política adotada pela Academia Sueca durante a Primeira Guerra Mundial, o texto afirma que
•Afirmativa (A): excluiu os países envolvidos no conflito.
•Afirmativa (B): deu uma chance aos autores das nações beligerantes.
•Afirmativa (C): recusou-se a aceitar nomeações de escandinavos.
•Afirmativa (D): manteve sua posição de neutralidade como havia feito anteriormente.

03 – (UECE-2011/1-VESTIBULAR-2ª FASE)

As to the French poet Paul Valéry, it is stated in the text that he was not awarded the Nobel Prize because of

A) an old quarrel between the French and the Swedish.

B) the fact that he was Paul Claudel's contemporary.

C) the policy of that period which focused on popular taste.

D) his disapproving position towards the Academy.

Quanto ao poeta francês Paul Valéry, afirma-se no texto que ele não recebeu o Prêmio Nobel por causa de
•Afirmativa (A): uma velha briga entre os franceses e os suecos.
•Afirmativa (B): o fato de ele ser contemporâneo de Paul Claudel.
•Afirmativa (C): a política desse período que se concentrou no gosto popular.
•Afirmativa (D): sua posição de desaprovação em relação à Academia.

04 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The choice of Gabriel García Márquez for the Nobel in 1982 is mentioned in the text as an example of a criterion which focused on

A) unknown magic realism novelists.

B) an already widely acclaimed "pioneer" writer.

C) authors from non-European countries.

D) a new generation of modern poets.

A escolha de Gabriel García Márquez para o Nobel em 1982 é mencionada no texto como um exemplo de um critério que focalizou
•Afirmativa (A): romancistas desconhecidos do realismo mágico.
•Afirmativa (B): um escritor "pioneiro" já amplamente aclamado.
•Afirmativa (C): autores de países não europeus.
•Afirmativa (D): uma nova geração de poetas modernos.

05 – (UECE-2011/1-VESTIBULAR-2ª FASE)

As to criticism toward the Academy, the author of the text says that they tend not to take into account

A) some special moments in the history of mankind and also the Academy’s ambition to include minor talents.

B) all the changes it has gone through and the difficulty in choosing from too many names sometimes.

C) the hardships of war periods and the attempt to always reward all deserving authors from different parts of the world.

D) the difficulty in following exactly the same criteria over a period of more than a hundred years and the disillusion with the lack of talents recently.

Quanto à crítica em relação à Academia, o autor do texto diz que eles tendem a não levar em conta
•Afirmativa (A): alguns momentos especiais na história da humanidade e também a ambição da Academia de incluir talentos menores.
•Afirmativa (B): todas as mudanças que passou e a dificuldade em escolher nomes demais.
•Afirmativa (C): as dificuldades dos períodos de guerra e a tentativa de sempre recompensar todos os autores merecedores de diferentes partes do mundo.
•Afirmativa (D): a dificuldade em seguir exatamente os mesmos critérios ao longo de um período de mais de cem anos e a desilusão com a falta de talentos recentemente.

06 – (UECE-2011/1-VESTIBULAR-2ª FASE)

With the secretary Anders Osterling at the Academy, the so-called Laureates would be writers who could

A) be found in developed countries.

B) begin an excursion into popular preferences.

C) approach a realism similar to Tolstoy's.

D) start a path toward new developments.

Com o secretário Anders Osterling na Academia, os chamados Laureados seriam escritores que poderiam
•Afirmativa (A): ser encontrado em países desenvolvidos.
•Afirmativa (B): começar uma excursão em preferências populares.
•Afirmativa (C): aproximar-se de um realismo semelhante ao de Tolstoi.
•Afirmativa (D): iniciar um caminho em direção a novos desenvolvimentos.

07 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The writer who won the Prize in 1988

A) published less ostentatious literature.

B) created happy-ending stories with universal interest.

C) introduced the Arabian contemporary novel.

D) discussed relevant political issues.

O escritor que ganhou o prêmio em 1988
•Afirmativa (A): publicou literatura menos ostensiva.
•Afirmativa (B): criou histórias de final feliz com interesse universal.
•Afirmativa (C): introduziu o romance contemporâneo árabe.
•Afirmativa (D): discutiu questões políticas relevantes.

08 – (UECE-2011/1-VESTIBULAR-2ª FASE)

An Academy's principle that has frequently been misunderstood is the one concerning

A) universal interest.

B) linguistic relevance.

C) contemporary renewal.

D) political integrity.

O princípio de uma academia que freqüentemente é mal entendido é aquele relativo a...
•Afirmativa (A): interesse universal.
•Afirmativa (B): relevância linguística.
•Afirmativa (C): renovação contemporânea.
•Afirmativa (D): integridade política.

09 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The policy of pragmatic consideration

A) anticipated Faulkner’s enormous importance.

B) has not escaped worldwide criticism.

C) awarded many previously unknown authors.

D) stood apart from political implications.

A política de consideração pragmática
•Afirmativa (A): antecipou a enorme importância de Faulkner.
•Afirmativa (B): não escapou das críticas mundiais.
•Afirmativa (C): premiou muitos autores outrora desconhecidos.
•Afirmativa (D): se destacou das implicações políticas.

10 – (UECE-2011/1-VESTIBULAR-2ª FASE)

A prize-deserving serious literature should not only further people’s knowledge and their condition, but also try to

A) contribute to political integrity.

B) enrich and improve their lives.

C) discuss environmental issues.

D) give them literary masterpieces only.

Uma literatura séria merecedora de prêmios deve não apenas aprofundar o conhecimento das pessoas e sua condição, mas também tentar
•Afirmativa (A): contribuir para a integridade política.
•Afirmativa (B): enriquecer e melhorar suas vidas.
•Afirmativa (C): discutir questões ambientais.
•Afirmativa (D): dar-lhes apenas obras literárias.

11 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The period that could be considered as "The Great Style"

A) awarded many Scandinavian writers.

B) showed links with Wirsen’s era and its aspects of classicism.

C) started in 1895 and ended in the 1920’s.

D) paused for renewal during the Second World War.

O período que poderia ser considerado como "O Grande Estilo"
•Afirmativa (A): premiou muitos escritores escandinavos.
•Afirmativa (B): mostrou ligações com a era de Wirsen e seus aspectos do classicismo.
•Afirmativa (C): começou em 1895 e terminou na década de 1920.
•Afirmativa (D): fez uma pausa para renovação durante a Segunda Guerra Mundial.

12 – (UECE-2011/1-VESTIBULAR-2ª FASE)

According to the text, one of the things the Swedish Academy should not do is to

A) choose a writer from remote regions.

B) call attention to unnoticed authors.

C) award the Nobel Prize to minor talents.

D) criticize unknown writers.

De acordo com o texto, uma das coisas que a Academia Sueca não deve fazer é...
•Afirmativa (A): escolha um escritor de regiões remotas.
•Afirmativa (B): chamar a atenção para autores não notados.
•Afirmativa (C): agraciar o Prêmio Nobel a talentos inferiores.
•Afirmativa (D): criticar escritores desconhecidos.

➧ TEXT II: All the quotes in questions 13-20 are by Mario

Vargas Llosa, from his book The Truth of Lies.

13 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The sentences

"I will offer a few arguments in favor of the view of literature as one of the most primary and necessary undertakings of the mind, an irreplaceable activity for the formation of citizens in a modern and democratic society, a society of free individuals."

and

"Literature has been, and will continue to be, as long as it exists, one of the common denominators of human experience through which human beings may recognize themselves and converse with each other, no matter how different their professions, their life plans, their geographical and cultural locations, their personal circumstances."

should be classified respectively as

A) compound and complex.

B) simple and compound.

C) complex and simple.

D) simple and compound-complex.

14 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The sentences

"No other discipline or branch of the arts can substitute for literature in crafting the language that people need to communicate.",
"Without it (literature), the critical mind, which is the real engine of historical change and the best protector of liberty, would suffer an irreparable loss."

and

"…this world without literature, this nightmare that I am delineating, would have as its principal traits conformism and the universal submission of humankind to power."

contain, respectively, relative clauses of the following types

A) defining, non-defining, defining.

B) defining, defining, non-defining.

C) non-defining, defining, defining.

D) non-defining, non-defining, defining.

15 – (UECE-2011/1-VESTIBULAR-2ª FASE)

In the sentences

"as readers of Cervantes, Shakespeare, Dante, and Tolstoy, we understand each other across space and time as members of the same species…"

and

"in the works of these writers, we learn what we share as human beings, what remains common in all of us under the broad range of differences that separate us."

one finds respectively

A) an indirect object and an object noun clause.

B) a direct object and two object noun clauses.

C) a relative clause and a subject noun clause.

D) a direct object and three subject noun clauses.

16 – (UECE-2011/1-VESTIBULAR-2ª FASE)

In terms of voice, the verbs in these three sentences

“Literary works are born, as shapeless ghosts, in the intimacy of a writer's consciousness, projected into it by the combined strength of the unconscious, and the writer's sensitivity to the world around him, and the writer's emotions…”,

“literature has been relegated--like some hidden vice--to the margins of social and personal life, and transformed into something like a sectarian cult…”

and

“Nothing better protects a human being against the stupidity

of prejudice, racism, religious or political sectarianism, and exclusivist nationalism than this truth that invariably appears in great literature: that men and women of all nations and places are essentially equal.”

are respectively in the

A) active, passive, passive.

B) passive, passive, active.

C) active, passive, active.

D) pasive, active, passive.

17 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The extract

“A community without a written literature expresses itself with less precision, with less richness of nuance, and with less clarity than a community whose principal instrument of communication, the word, has been cultivated and perfected by means of literary texts. … A person who does not read, or reads little, or reads only trash, is a person with an impediment: he can speak much but he will say little, because his vocabulary is deficient in the means for self-expression.”

contains verbs in the following tenses (irrespective of the sequence)

A) simple present, present perfect passive, simple future.

B) simple present, present perfect, future perfect.

C) simple past, present perfect passive, future continuous.

D) past perfect, present perfect, simple future.

18 – (UECE-2011/1-VESTIBULAR-2ª FASE)

In the sentences

“Reading good literature is an experience of pleasure, of course; but it is also an experience of learning what and how we are,”

and

“In today's world, this totalizing and living

knowledge of a human being may be found only in

literature.”,

the -ing words reading, learning, totalizing and living play the function respectively of

A) noun, adjective, adjective, verb.

B) adjective, verb, noun, noun.

C) verb, verb, adjective, adjective.

D) verb, noun, verb, verb.

19 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The alternative which correctly completes the sentence

“We learn how to speak _______ – and _______ and _______ – from good literature, and only from good literature.” 

is

A) correct, deep, rigourous, subtle.

B) correctly, deeply, rigorously, subtly.

C) correctness, depth, rigour, subtlety.

D) corrects, deepens, rigourous, subtle.

20 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The alternative which correctly completes the sentence

“Without rebellion against the mediocrity and the squalor of life, we would still live in a primitive state, and history _______ .”

is

A) has been stopped.

B) will have stopped.

C) would have stopped.

D) would has stopped.

UECE 2011 – LÍNGUA INGLESA – VESTIBULAR 2º SEMESTRE – 2ª FASE

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❑ PROVA DE LÍNGUA INGLESA:

• UECE-2011.2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA- 03/07/2011.

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www.cev.uece.br

❑ ESTRUTURA-PROVA:

• 20 MCQs (Multiple Choice Question) / 4 Options Each Question.

• Texto –  |  | www.nytimes.com |

PROVA, TRADUÇÃO, GABARITO & MUITO VOCABULÁRIO

❑ FONTE DO TEXTO:

* The New York Times é um jornal diário estadunidense. A versão impressa do jornal tem a segunda maior circulação, atrás do The Wall Street Journal. Apelidado de "The Lady Gray", o New York Times há muito tempo tem sido considerado um "jornal de referência" nacional. 

❑ TEXTO:

01-B, 02-C, 03-B, 04-C, 05-D

06-X, 07-D, 08-D, 09-B, 10-A

11-B, 12-C, 13-B, 14-A, 15-B

16-A, 17-B, 18-B, 19-C, 20-D

➧ TEXT I:

          

Prof. Katherine Rowe's blue-haired avatar was flying across a grassy landscape to a virtual three-dimensional re-creation of the Globe Theater, where some students from her introductory Shakespeare class at Bryn Mawr College had already gathered online. Their assignment was to create characters on the Web site Theatron3 and use them to block scenes from the gory revenge tragedy "Titus Andronicus," to see how setting can heighten the drama. "I've done this class before in a theater and a lecture hall, but it doesn't work as well," Ms. Rowe said, explaining that it was difficult for students to imagine what it would be like to put on a production in the 16th-century Globe, a circular open-air theater without electric lights, microphones and a curtain.
           
Jennifer Cook, a senior, used her laptop to move a black-clad avatar center stage. She and the other half-dozen students agreed that in "Titus," the rape, murders and final banquet — when the Queen unknowingly eats the remains of her two children — should all take place in the same spot. "Every time someone is in that space,"Ms. Cook said, ― the audience is going to say, Uh oh, you don‘t want to be there.'"
            
Students like Ms. Cook are among the first generation of undergraduates at dozens of colleges to take humanities courses — even Shakespeare — that are deeply influenced by a new array of powerful digital tools and vast online archives. Ms. Rowe's students, who have occasionally met with her on the virtual Globe stage while wearing pajamas in their dorm rooms, are enthusiastic about the technology.
            
At the University of Virginia, history undergraduates have produced a digital visualization of the college‘s first library collection, allowing them to consider what the selection of books says about how knowledge was classified in the early 18th century. At Hamilton College, students can explore a virtual re-creation of the South African township of Soweto during the 1976 student uprisings, or sign up for "e-lack studies" to examine how cyberspace reflects and shapes the portrayal of minorities.
           
Many teachers and administrators are only beginning to figure out the contours of this emerging field of digital humanities, and how it should be taught. In the classroom, however, digitally savvy undergraduates are not just ready to adapt to the tools but also to explore how new media may alter the very process of reading, interpretation and analysis. "There's a very exciting generation gap in the classroom," said Ms. Rowe, who developed the digital components of her Shakespeare course with a graduate student who now works at Google. "Students are fluent in new media, and the faculty bring sophisticated knowledge of a subject. It‘s a gap that won't last more than a decade. In 10 years these students will be my colleagues, but now it presents unusual learning opportunities." As Ms. Cook said, "The Internet is less foreign to me than a Shakespeare play written 500 years ago."
            
Bryn Mawr's unusually close partnership with Haverford College and Swarthmore College has enabled the three institutions to pool their resources, students and faculty. In November students from all three participated in the first Digital Humanities Conference for Undergraduates.
            
Jen Rajchel, one of the conference organizers, is the first undergraduate at Bryn Mawr to have a digital senior thesis accepted by the English department: a Web site and archive on the American poet Marianne Moore, who attended the college nearly a century ago. Presenting a Moore poem on the Web site while simultaneously displaying commentary in different windows next to the text (as opposed to listing them in a paper) more accurately reflects the work‘s multiple meanings, according to Ms. Rajchel. After all, she argued in the thesis, Moore was acutely aware of her audience and made subtle alterations in her poems for different publications — changes that are more easily illustrated by displaying the various versions. The Web presentation of Moore‘s poetry also allows readers to add comments and talk to one another, which Ms. Rajchel believes matches the poet‘s interest in opening a dialogue with her readers.
            
Particularly inspiring to Ms. Rajchel is that her work doesn't disappear after being deposited in a professor‘s in box. The site, which includes scans of original documents from Bryn Mawr‘s library, was (and remains) viewable. "It really can go outside of the classroom," she said, adding that an established Marianne Moore scholar at another university had left a comment.
            
Doing research that lives outside the classroom is also what drew Anna Levine, a junior at Swarthmore, to digital humanities. Over the summer and after class, she and Richard Li, a senior at Swarthmore, worked with Rachel Buurma, an assistant professor of literature there, to develop the Early Novels Database for the University of Pennsylvania's Rare Book and Manuscript Library, which enables users to search more thoroughly through fiction published between 1660 and 1830. "I am the one doing all the grunt work,"Ms. Levine said of her tasks, which largely involve entering details about a novel into the database. "But one of the great things is as an undergraduate, it really enables me to participate in a scholarly community."
            
In a Swarthmore lounge where Ms. Buurma‘s weekly research seminar on Victorian literature and culture meets, Ms. Levine and a handful of other students recently settled into a cozy circle on stuffed chairs and couches. As part of their class work, they have been helping to correct the transcribed online versions of Household Words and All the Year Round, two 19thcentury periodicals in which Charles Dickens initially published some novels, including "Great Expectations," in serial form. On a square coffee table sat a short stack of original issues of the magazine that a librarian had brought from the college‘s collection to show the class. Students discussed how the experience of reading differs, depending on whether the text is presented in discrete segments, surrounded by advertisements or in a leather binding; whether you are working in an archive, editing online or reading for pleasure.
            
Those skeptical of the digital humanities worry that the emphasis on data analysis will distract students from delving deeply into the heart and soul of literary texts. But Ms. Buurma contends that these undergraduates are in fact reading quite closely.

Source: http://www.nytimes.com/March 21, 2011.

01 – (UECE-2011.2-VESTIBULAR-2ª FASE)

According to Katherine Rowe, the generation gap that exists in classrooms today will

(A) last for at least twenty years.

(B) not last more than ten years.
(C) remain until digital illiteracy is over.
(D) continue until more colleges use new media.

👍 Comentários e Gabarito   B 

De acordo com Katherine Rowe, a diferença entre gerações existente nas salas de aula hoje...
*Alternativa (A): vai durar pelo menos vinte anos.
*Alternativa (B): não durará mais que dez anos.
*Alternativa (C): vai permanecer até que o analfabetismo digital acabe.
*Alternativa (D): incorreto: vai continuar até que mais faculdades utilizem novas mídias.
➽ Veja no 3º parágrafo:
[...] "Students are fluent in new media, and the faculty bring sophisticated knowledge of a subject. It‘s a gap that won't last more than a decade. In 10 years these students will be my colleagues, but now it presents unusual learning opportunities." As Ms. Cook said, "The Internet is less foreign to me than a Shakespeare play written 500 years ago."
("Os alunos são fluentes em novas mídias, e os professores trazem um conhecimento sofisticado de um assunto. É uma lacuna que não durará mais de uma década. Em 10 anos, esses alunos serão meus colegas, mas agora apresentam oportunidades incomuns de aprendizado. " Como disse Cook, "a Internet é menos estranha para mim do que uma peça de Shakespeare escrita há 500 anos".)

02 – (UECE-2011.2-VESTIBULAR-2ª FASE)

Ms. Rowe's students are excited about

A) being able to perform "Romeo and Juliet" in class.
B) figuring out how Google works.
C) using digital tools and numerous online archives.
D) being involved in the partnership with Hamilton College.

👍 Comentários e Gabarito   C 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:
Os alunos de Rowe ESTÃO ANIMADOS(are excited) em ...
*Alternativa (A): ser capaz de representar "Romeu e Julieta" em sala de aula.
*Alternativa (B): descobrir como o Google funciona.
*Alternativa (C): usar ferramentas digitais e inúmeros arquivos on-line.
*Alternativa (D): estar envolvido na parceria com o Hamilton College.
O texto relata no 3º parágrafo:
[...] Students like Ms. Cook are among the first generation of undergraduates at dozens of colleges to take humanities courses — even Shakespeare — that are deeply influenced by a new array of powerful digital tools and vast online archives. Ms. Rowe‘s students, who have occasionally met with her on the virtual Globe stage while wearing pajamas in their dorm rooms, are enthusiastic about the technology.
(Estudantes como a Sra. Cook estão entre a primeira geração de alunos de graduação em dezenas de faculdades para cursos de humanidades - até mesmo Shakespeare - que ESTÃO PROFUNDAMENTO INFLUENCIADOS POR UMA NOVA GAMA DE PODEROSAS FERRAMENTAS DIGITAIS E VASTOS ARQUIVOS ON-LINE. Os alunos de Rowe, que ocasionalmente se encontraram com ela no palco virtual do Globe enquanto usavam pijamas em seus dormitórios, estão entusiasmados com a tecnologia.)

03 – (UECE-2011.2-VESTIBULAR-2ª FASE)

Jen Rajchel, who helped to organize the Digital Humanities Conference for Undergraduates, considered very positive that her senior thesis

A) can be displayed online the first time in US.
B) does not vanish after being put in an in box.
C) is discussed by students in a cozy environment.
D) is included in the Early Novel Database.

👍 Comentários e Gabarito   B 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:
Jen Rajchel, que ajudou a organizar a Conferência Digital de Humanidades para ESTUDANTES UNIVERSITÁRIOS(undergraduates), considerou muito positivo que sua tese sênior...
*Alternativa (A): PODER SER EXIBIDA on-line pela primeira vez nos EUA.
*Alternativa (B): NÃO DESAPARECER depois de ser posta em uma caixa.
*Alternativa (C): SER DISCUTIDA pelos alunos em um ambiente acolhedor.
*Alternativa (D): ESTAR INCLUÍDA no Early Novel Database.
➽ O texto relata no penúltimo parágrafo:
"[...] Particularly inspiring to Ms. Rajchel is that her work doesn't disappear after being deposited in a professor's in box."
(Particularmente inspirador para a Sra. Rajchel é
que seu trabalho não desaparece depois de ser
depositado em uma caixa do professor.)
 ➽ TO DISAPPEAR=TO VANISH=desaparecer.

04 – (UECE-2011.2-VESTIBULAR-2ª FASE)

As to the field of digital humanities, the text mentions that digitally canny undergraduates are not only able to

A) create new computer games on Web sites but also to block incestuous scenes from Shakespeare‘s tragedies.
B) develop the digital components of Arthur Miller‘s plays but also to correct Dicken‘s 19th century periodicals.
C) adjust to the new tools but also to explore how new media can change the way one reads, interprets, and analyzes texts.
D) disregard data analysis but also to delve into the grammar of a literary text.

👍 Comentários e Gabarito   C 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO e VOCABULÁRIO(canny, savvy):
Quanto ao campo das humanidades digitais, o texto menciona que os universitários perspicazes não apenas são capazes de ...
*Alternativa (A): CRIAR novos jogos de computador em sites, mas também para bloquear cenas incestuosas das tragédias de Shakespeare.
*Alternativa (B): DESENVOLVER os componentes digitais das peças de Arthur Miller, mas também para corrigir os periódicos do século XIX de Dicken.
*Alternativa (C): AJUSTAR-SE às novas ferramentas, mas também explorar como as novas mídias podem mudar a forma como se lê, interpreta e analisa textos.
*Alternativa (D): DESCONSIDERAR a análise de dados, mas também mergulhe na gramática de um texto literário.
➽ Veja no 5º parágrafo:
"[...] Many teachers and administrators are only beginning to figure out the contours of this emerging field of digital humanities, and how it should be taught. In the classroom, however, digitally savvy undergraduates are not just ready to adapt to the tools but also to explore how new media may alter the very process of reading, interpretation and analysis."
(Muitos professores e administradores estão apenas começando a descobrir os contornos desse campo emergente de humanidades digitais e como isso deve ser ensinado. Na sala de aula, no entanto, alunos de graduação digitalmente experientes não estão apenas prontos para se adaptar às ferramentas, mas também para explorar como as novas mídias podem alterar o próprio processo de leitura, interpretação e análise.)

05 – (UECE-2011.2-VESTIBULAR-2ª FASE)

According to the text, students at the University of Virginia have been able to

A) produce a virtual Shakespearean theater.
B) make a black-clad avatar center stage.
C) present poetry online for readers to make comments.
D) digitally visualize the college's first library collection.

👍 Comentários e Gabarito   D 

TÓPICO - IDEIA CONTEXTUAL e USO DO GENITIVE CASE:
Segundo o texto, os estudantes da Universidade da Virginia têm sido capazes de ...
*Alternativa (A): PRODUZIR um teatro virtual de Shakespeare.
*Alternativa (B): FAZER um palco central de avatar vestido de preto.
*Alternativa (C): APRESENTAR poesia on-line para os leitores fazerem comentários.
*Alternativa (D): VISUALIZAR digitalmente a 1ª coleção da biblioteca da faculdade.
➽ Veja no 4º parágrafo:
"[...] At the University of Virginia, history undergraduates have produced a digital visualization of the college's first library collection, allowing them to consider what the selection of books says about how knowledge was classified in the early 18th century."
(Na Universidade da Virgínia, universitários de história produziram uma visualização digital da primeira coleção da biblioteca da faculdade, permitindo-lhes considerar o que a seleção de livros diz sobre como o conhecimento foi classificado no início do século XVIII.)

06 – (UECE-2011.2-VESTIBULAR-2ª FASE)

The Early Novels Database has enabled users to

A) use their laptops and tablets in classrooms on a daily basis.
B) discuss a selection of books from the twentieth century.
C) research literary works from the second half of the 15th century to the early 17th century.
D) scan original documents from Bryn Mawr‘s Library.

👍 Comentários e Gabarito   X 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:
O Early Novels Database permitiu que os usuários ...
*Alternativa (A): USEM seus laptops e tablets nas salas de aula diariamente.
*Alternativa (B): DISCUTAM uma seleção de livros do século XX.
*Alternativa (C): PESQUISEM obras literárias da segunda metade do século XV ao início do século XVII.
*Alternativa (D): DIGITALIZEM documentos originais da Biblioteca Bryn Mawr.
➽ O texto relata:
"[...] Over the summer and after class, she and Richard Li, a senior at Swarthmore, worked with Rachel Buurma, an assistant professor of literature there, to develop the Early Novels Database for the University of Pennsylvania's Rare Book and Manuscript Library, which enables users to search more thoroughly through fiction published between 1660 and 1830."
(Durante o verão e depois da aula, ela e Richard Li, um sênior da Swarthmore, trabalharam com Rachel Buurma, professora assistente de literatura da cidade, para desenvolver o Early Novels Database da Biblioteca de Manuscritos e Livros Raros da Universidade da Pensilvânia, que permite aos usuários procurarem mais completamente através da ficção publicada entre 1660 e 1830.)
➽ 1660 → sec. XVII
➽ 1830 → sec. XIX

07 – (UECE-2011.2-VESTIBULAR-2ª FASE)

One of the reasons why Anna Levine was attracted to digital humanities was the fact that it

A) discusses Victorian literature.
B) emphasizes data analysis.
C) presents Moore's poems on the Web.
D) does research that goes beyond the classroom.

👍 Comentários e Gabarito   D  

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:
Uma das razões pelas quais Anna Levine foi atraída por humanidades digitais foi o fato de ...
*Alternativa (A): discutir literatura vitoriana.
*Alternativa (B): enfatizar a análise de dados.
*Alternativa (C): apresentar poemas de Moore na Web.
*Alternativa (D): fazer pesquisa que vai além da sala de aula.
➽ O texto relata:
"[...] Doing research that lives outside the classroom is also what drew Anna Levine, a junior at Swarthmore, to digital humanities. "
(Fazer pesquisa que vive fora da sala de aula é também o que atraiu Anna Levine, uma jovem em Swarthmore, para humanidades digitais.)

08 – (UECE-2011.2-VESTIBULAR-2ª FASE)

As to the question of whether the digital humanities approach might take undergraduate students' attention away from the core aspects of literary works, Ms. Buurma argues that they

A) get carried away by other attractions.
B) are not able to focus entirely on the text.
C) are indifferent to the text and to the new media.
D) are really reading carefully.

👍 Comentários e Gabarito   D  

TÓPICO - IDEIA CONTEXTUAL e EXPRESSÕES SINÔNIMAS(are really reading carefully=are in fact reading quite closely):
Quanto à questão de saber se a abordagem das humanidades digitais pode levar a atenção dos UNIVERSITÁRIOS para os aspectos centrais das obras literárias, a Sra. Buurma argumenta que... 
*Alternativa (A): eles se deixam levar por outras atrações.
*Alternativa (B): eles não são capazes de se concentrar inteiramente no texto.
*Alternativa (C): eles são indiferentes ao texto e às novas mídias.
*Alternativa (D): eles estão realmente lendo atentamente.
➽ O texto relata:
"[...] But Ms. Buurma contends that these undergraduates are in fact reading quite closely."
(Mas Buurma afirma que esses universitários estão de fato lendo ATENTAMENTE(com atenção,bem de perto).

09 – (UECE-2011.2-VESTIBULAR-2ª FASE)

Among the following sentences, only one contains information that is according to the text.

Choose that alternative.

A) In the US, all teachers are comfortably dealing with digital humanities in schools and colleges.
B) Students are more familiarized with the internet than with Shakespeare's plays.
C) Digital senior theses have already become the main stream in American schools.
D) An attempt to make some nineteenth century periodicals available online has not been successful.

👍 Comentários e Gabarito   B 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:
Entre as frases seguintes, apenas uma contém informações que estão de acordo com o texto. Escolha essa alternativa.
*Alternativa (A): Nos EUA, TODOS OS PROFESSORES estão lidando confortavelmente com humanidades digitais em escolas e faculdades.
*Alternativa (B): Os alunos estão mais familiarizados com a internet do que com as peças de Shakespeare.
*Alternativa (C): Teses seniores digitais já se tornaram o fluxo principal nas escolas americanas.
*Alternativa (D): Uma tentativa de disponibilizar alguns periódicos do século dezenove on-line não foi bem-sucedida.

10 – (UECE-2011.2-VESTIBULAR-2ª FASE)

Among the following sentences, only one DOES NOT contain information from the text.

Choose that alternative.

A) Katherine Rowe prefers to teach in a lecture hall, other than through the Web site Theatron3.
B) Ms. Rowe's Shakespeare‘s digital course was made possible with the help of a student. 
C) Students are involved in discussions about reading experiences through various media.
D) Some people are still skeptical of the digital humanities.

👍 Comentários e Gabarito   A 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:
Entre as frases seguintes, apenas uma não contém informações do texto. Escolha essa alternativa.
*Alternativa (A): Katherine Rowe prefere ensinar em uma sala de aula, além do site Theatron3.
*Alternativa (B): O curso digital da Sra. Rowe Shakespeare foi possível com a ajuda de um aluno.
*Alternativa (C): Os alunos estão envolvidos em discussões sobre a leitura de experiências através de vários meios de comunicação.
*Alternativa (D): Algumas pessoas ainda são céticas em relação às humanidades digitais.

11 – (UECE-2011.2-VESTIBULAR-2ª FASE)

The sentences

"Prof. Katherine Rowe’s blue-haired avatar was flying across a grassy landscape to a virtual three-dimensional recreation of the Globe Theater, where some students from her introductory Shakespeare class at Bryn Mawr College had already gathered online.",

"Students are fluent in new media, and the faculty bring sophisticated knowledge of a subject."

and

"In 10 years these students will be my colleagues, but now it presents unusual learning opportunities."

contain clauses that should be classified respectively as

(A) coordinate, subordinate and subordinate.
(B) subordinate, coordinate and coordinate.
(C) coordinate, coordinate and subordinate.
(D) subordinate, subordinate and coordinate.

👍 Comentários e Gabarito   B 

TÓPICO - Questão gramatical "COORDINATE AND SUBORDINATE SENTENCES"(Orações Coordenadas e Subordinadas):
➽ 1ª SENTENÇA: "WHERE" no início da oração →, caracteriza uma ORAÇÃO SUBORDINADA ADJETIVA, veja:
"Prof. Katherine Rowe's blue-haired avatar was flying across a grassy landscape to a virtual three-dimensional recreation of the Globe Theater, where some students from her introductory Shakespeare class at Bryn Mawr College had already gathered online."
(O avatar de cabelos azuis da Prof. Katherine Rowe estava voando através de uma paisagem gramada para uma recriação tridimensional virtual do Globe Theatre, onde alguns alunos de sua classe introdutória de Shakespeare no Bryn Mawr College já haviam se reunido online."
➽ 2ª SENTENÇA: "AND" no início da oração →, caracteriza uma ORAÇÃO COORDENADA ADITIVA, veja:
"Students are fluent in new media, and the faculty bring sophisticated knowledge of a subject."
("Os estudantes são fluentes em novas mídias, e os professores trazem conhecimento sofisticado de um assunto".)
➽ 3ª SENTENÇA: "BUT" no início da oração → caracteriza uma ORAÇÃO COORDENADA ADVERSATIVA, veja:
"In 10 years these students will be my colleagues, but now it presents unusual learning opportunities."
(Em 10 anos, esses alunos serão meus colegas, mas agora apresentam oportunidades de aprendizado incomuns.)

12 – (UECE-2011.2-VESTIBULAR-2ª FASE)

The sentences

"Students like Ms. Cook are among the first generation of undergraduates at dozens of colleges to take humanities courses — even Shakespeare — that are deeply influenced by a new array of powerful digital tools and vast online archives.",

"The site, which includes scans of original documents from Bryn Mawr’s library, was (and remains) viewable."

and

"Ms. Rowe’s students, who have occasionally met with her on the virtual Globe stage while wearing pajamas in their dorm rooms, are enthusiastic about the technology."

contain,  respectively, relative clauses of the following types:

(A) non-defining, defining and  non-defining.

(B) non-defining, non-defining and defining.
(C) defining, non-defining and non-defining.
(D) defining, defining and defining.

      Comentários e Gabarito    C  

TÓPICO - GRAMMAR: RELATIVE CLAUSES:

>> 1ª SENTENÇA :

• "Students like Ms. Cook are among the first generation of undergraduates at dozens of colleges to take humanities courses — even Shakespeare — that are deeply influenced by a new array of powerful digital tools and vast online archives.",
• PRONOME RELATIVO → THAT
• A oração relativa NÃO CONTÉM COMMAS antes do pronome relativo → DEFINING CLAUSE.

>> 2ª SENTENÇA:

• "The site, which includes scans of original documents from Bryn Mawr’s library, was (and remains) viewable."
• PRONOME RELATIVO → ,WHICH
• A oração relativa CONTÉM COMMAS antes do pronome relativo → NON-DEFINING CLAUSE.

>> 3ª SENTENÇA:

• "Ms. Rowe’s students, who have occasionally met with her on the virtual Globe stage while wearing pajamas in their dorm rooms, are enthusiastic about the technology."
• PRONOME RELATIVO → ,WHOM
• A oração relativa CONTÉM COMMAS antes do pronome relativo → NON-DEFINING CLAUSE.

>> "RELATIVE CLAUSE" (Oração relativa) é um tipo de oração subordinada, introduzida por pronome relativo (who, whom, which, that, etc), e  que modifica (define ou descreve) o núcleo de um substantivo precedente:

(1) As orações relativas que definem um substantivo são chamadas de “defining”, ou seja, restritivas, na terminologia em português. 

• She's the woman who cuts my 
• hair. (defining relative clause)
• Ela é a mulher que corta meu cabelo.(oração restritiva)

(2) As orações relativas que descrevem substantivos são chamadas de “non-defining”, ou seja, explicativas, na terminologia em português.

• My grandfather, who's 87, goes swimming every day. (non-defining relative clause)
• Meu avô, de 87 anos, nada todos os dias.(oração explicativa).

>>DICAS PARA DIFERENCIAR:

• Oração relativa CONTÉM COMMAS antes do pronome relativo → NON-DEFINING.
• Oração relativa NÃO CONTÉM COMMAS antes do pronome relativo → DEFINING.

13 – (UECE-2011.2-VESTIBULAR-2ª FASE)

In the sentence

"She and the other halfdozen students agreed that in "Titus," the rape, murders and final banquet — when the Queen unknowingly eats the remains of her two children — should all take place in the same spot."

one finds, irrespective of the sequence a/an

A) adverb clause and a restrictive adjective clause.
B) object noun clause and an adverb clause.
C) nonrestrictive adjective clause and an object noun clause.
D) subject noun clause and a place adverb clause.

👍 Comentários e Gabarito   B 

TÓPICO - Questão gramatical "RELATIVES CLAUSES"(Orações com pronomes relativos):
➽ 1ª SENTENÇA: (agreed that...) → (object noun clause)
"[...] agreed that in "Titus," the rape, murders and final banquet..."
➽ 2ª SENTENÇA: (when the Queen...) → (adverb clause)
"[...] when the Queen unknowingly eats the remains of her two children"
(quando a rainha inconscientemente come os restos de seus dois filhos)

14 – (UECE-2011.2-VESTIBULAR-2ª FASE)

The sentences

"At Hamilton College, students can explore a virtual re-creation of the South African township of Soweto during the 1976 student uprisings,…"

and

"… now it presents unusual learning opportunities." contain grammatical structures that should be classified respectively as

A) direct object and direct object.
B) indirect object and object noun clause.
C) subject noun clause and direct object.
D) direct object and indirect object.

👍 Comentários e Gabarito   A 

TÓPICO - Questão gramatical sobre "DIRECT OBJECT"(objeto direto):
➽ 1ª SENTENÇA: O verbo TO EXPLORE é transitivo direto: 
"At Hamilton College, students can explore a virtual re-creation of the South African township of Soweto during the 1976 student uprisings,…"
(No Hamilton College, os alunos podem explorar uma recriação virtual da cidade sul-africana de Soweto durante as revoltas estudantis de 1976,…)
➽ 2ª SENTENÇA: O verbo TO PRESENT é transitivo direto:
"… now it presents unusual learning opportunities."
("… Agora apresenta oportunidades de aprendizado incomuns.")

15 – (UECE-2011.2-VESTIBULAR-2ª FASE)

The sentences

"Over the summer and after class, she and Richard Li, a senior at Swarthmore, worked with Rachel Buurma, an assistant professor of literature…",

"Moore was acutely aware of her audience and made subtle alterations in her poems for different publications…"

and

"I've done this class before in a theater and a lecture hall, but it doesn't work as well,"

should  be classified respectively as

A) compound, simple, complex.
B) simple, compound, compound.
C) complex, compound, simple.
D) simple, complex, simple.

      Comentários e Gabarito    B  

TÓPICO - GRAMMAR: Simple, Compound and Complex Sentences:

>> 1ª SENTENÇA → contém apenas 1 (uma) oração (worked) → SIMPLE SENTENCE.

• "Over the summer and after class, she and Richard Li, a senior at Swarthmore, worked with Rachel Buurma, an assistant professor of literature…"
• "Durante o verão e depois das aulas, ela e Richard Li, aluno do último ano da Swarthmore, trabalharam com Rachel Buurma, professora assistente de literatura..."
• VERBO → worked

>> 2ª SENTENÇA → contém a conjunção coordenativa AND  → COMPOUND SENTENCE.

• "Moore was acutely aware of her audience and made subtle alterations in her poems for different publications…"
• Moore estava perfeitamente consciente de seu público e fez alterações sutis em seus poemas para diferentes publicações.
• VERBO 1 → was;
• VERBO 2 → made;
• CONJUNÇÃO COORDENATIVA → and.

>> 3ª SENTENÇA → contém a conjunção coordenativa BUT  → COMPOUND SENTENCE.

• "I've done this class before in a theater and a lecture hall, but it doesn't work as well,"
• Já fiz essa aula antes em um teatro e em uma sala de aula, mas não funciona tambem.
• ESTRUTURA VERBAL 1 → have done;
• ESTRUTURA VERBAL 2 → doesn't work;
• CONJUNÇÃO COORDENATIVA → but.

>> DICA DE GRAMÁTICA:

• ∄ Conjunção → SIMPLE SENTENCE;
• ∃ Conjunção Coordenativa → COMPOUND SENTENCE;
• ∃ Conjunção Subordinativa → COMPLEX SENTENCE.

16 – (UECE-2011.2-VESTIBULAR-2ª FASE)

If all the digitally savvy undergraduates could have the chance to choose, they...

A) would prefer to have 3D Shakespeare productions.
B) have just preferred having 3D Shakespeare productions.
C) will prefer to have 3D Shakespeare productions.
D) will really have preferred 3D Shakespeare productions.

👍 Comentários e Gabarito   A 

TÓPICO - Questão gramatical sobre "CONDITIONAL   SENTENCES"(orações condicionais):
Se todos os universitários com experiência digital pudessem ter a chance de escolher, eles...
*Alternativa (A): PREFERIRIAM TER produções em 3D de Shakespeare.
*Alternativa (B): somente TÊM PREFERIDO TER produções em 3D de Shakespeare.
*Alternativa (C): preferirão ter produções em 3D de Shakespeare.
*Alternativa (D): realmente terá preferido produções 3D Shakespeare.
➽ Na oração dada, a IF CLAUSE está no "SIMPLE PAST"(could) e por isso a MAIN CLAUSE deverá ficar na CONDICIONAL SIMPLES(would verbo).

17 – (UECE-2011.2-VESTIBULAR-2ª FASE)

In terms of voice, the sentences

"I've done this class before in a theater and a lecture hall,",

"In November students from all three (institutions) participated in the first Digital Humanities Conference for Undergraduates."

and

"Old periodicals have been transcribed and corrected by students."

are respectively in the

A) active voice, passive voice and active voice.
B) active voice, active voice and  passive voice.
C) passive voice, active voice and passive voice.
D) passive voice, passive voice and active voice.

👍 Comentários e Gabarito   B 

TÓPICO - Questão gramatical sobre "PASSIVE VOICE"(Voz Passiva: verbo TO BE + PAST PARTICIPLE de um verbo principal):
➽ 1ª SENTENÇA: voz ativa
"I've done this class before in a theater and a lecture hall,"
("Eu já fiz essa aula antes em um teatro e uma sala de aula")
➽ 2ª SENTENÇA: voz ativa
"In November students from all three (institutions) participated in the first Digital Humanities Conference for Undergraduates."
("Em novembro, alunos de todas as três instituições participaram da primeira Conferência de Humanidades Digitais para Estudantes de Graduação.")
➽ 3ª SENTENÇA: voz passiva
"Old periodicals have been transcribed and corrected by students."
(Os periódicos antigos tê sido transcritos e corrigidos pelos alunos.)

18 – (UECE-2011.2-VESTIBULAR-2ª FASE)

The following –ing ending words explaining, allowing, reading, exciting, and binding are respectively classified according to their function in the text as

A) adjective, noun, verb, adjective, noun.
B) verb, verb, noun, adjective, noun.
C) noun, verb, adjective, noun, noun.
D) verb, noun, noun, verb, adjective.

👍 Comentários e Gabarito   B 

TÓPICO - Questão gramatical sobre "ANÁLISE MORFOLÓGICA:
➽ explaining → verbo
➽ allowing → verbo
➽ reading(leitura) → substantivo
➽ exciting → adjetivo (está qualificando o substantivo GENERATION)
➽ binding → substantivo

19 – (UECE-2011.2-VESTIBULAR-2ª FASE)

In terms of tense, the sentences

"Katherine Rowe’s blue-haired avatar was flying across a grassy landscape",

"Some students had already gathered online."

and

"On a square coffee table sat a short stack of original issues of the magazine…"

are respectively in the

A) present continuous, present perfect, simple past.
B) past perfect continuous, past perfect, past perfect.
C) past continuous, past perfect, simple past.
D) past continuous, simple past, simple present.

👍 Comentários e Gabarito   C 

TÓPICO - Questão gramatical sobre "VERBAL TENSES"(tempos verbais):
➽ 1ª SENTENÇA: past continuous(TO BE no passado, VERBO PRINCIPAL NO GERÚNDIO)
"Katherine Rowe’s blue-haired avatar was flying across a grassy landscape"
("Avatar de cabelos azuis de Katherine Rowe estava voando em uma paisagem gramada")
➽ 2ª SENTENÇA: past perfect(HAD + PAST PARTICIPLE do verbo principal)
"Some students had already gathered online."
(Alguns alunos já se reuniram online.)
➽ 3ª SENTENÇA: simple past(verbo principal no passado)
"On a square coffee table sat a short stack of original issues of the magazine…"
(Em uma mesa de café quadrada havia uma pequena pilha de edições originais da revista ...)

20 – (UECE-2011.2-VESTIBULAR-2ª FASE)

In the sentence

"Students are enthusiastic about the technology."

a grammatical element that is present is a/an

A) indirect object.
B) direct object.
C) object complement.
D) subject complement.

👍 Comentários e Gabarito   D 

TÓPICO - Questão gramatical sobre "ANÁLISE SINTÁTICA):
➽ SENTENÇA: subject complement ou PREDICATIVO DO SUJEITO(fornece informações sobre o sujeito da oração. Aparecem após os verbo TO BE ou TO SEEM)
"Students are enthusiastic about the technology."