ATIVIDADE 2 – LET – LÍNGUA INGLESA II – 53_2024
ATIVIDADE 2 – LET – LÍNGUA INGLESA II – 53_2024
QUESTÃO 1
Read the text below:
| THE HUMAN ODOMETER. HOW FAR CAN WE RUN?
With a good wind, the best of health, and an immortal mindset how far could someone run in a lifetime? TLDR: 2,384,112 km (1,481,419 miles). That’s 90 times around the world. Here are my workings: D = Days Able to run This basic equation is simple, yet those two factors represent multiple variables that cut into life, possibility, and sheer opportunity cost. Days Able to Run Taking a generous lifespan of 81 years there are 29,565 days in a lifetime. Even the best among us will concede it is not possible to run every day. […] Even in laboratory conditions there will be times at the start and end of life when it’s not possible to run. Combining this with an expectation of education and we can discount the first 16 years, leaving 23,725 days. […] Injury and recovery cut into this total. Because this is a maxim I am assuming peak possible health. While novices carry higher injury rates, a Dutch study found that even experienced runners received an average of 4.11 injuries per 1000 hours. The good news is that ultra-marathoners get off lightly in the injury room — the American College of Sports Medicine found 95% of injuries were minor in nature and mostly due to skin-related disorders (74.3%). Even taking a best-case scenario, the greatest athlete running continuously can chalk off an average of 2 days per month for injury. These days will have a higher instance in the earlier and twilight years of the runner’s lifetime. This leaves 22,165 days. […] Finally, there should be some consideration that runners take rest days, even at the peak of their careers. Paula Radcliff, the fastest female marathoner of her generation, took one day a week. As a maxim, let’s quarter that, discounting one day every month. Leaving 21,436 days of active running. […] Fonte: adapted from: https://medium.com/runners-life/the-human-odometer-how-far-can-we-run-d3c1b4651196. Acesso em: 6 abr. 2023. |
Com base no exposto, analise as afirmativas a seguir:
- O trecho “Paula Radcliff, the fastest female marathoner of her generation, took one day a week” responde à pergunta: “How many rest days did Paula Radcliff take per week?”.
II. O trecho “TLDR: 2,384,112 km (1,481,419 miles), That’s 90 times around the world.” responde à pergunta “With a good wind, the best of health, and an immortal mindset how far could someone run in a lifetime?”.
III. O trecho “Even in laboratory conditions there will be times at the start and end of life when it’s not possible to run. Combining this with an expectation of education and we can discount the first 16 years, leaving 23,725 days” responde à pergunta: “How many days, in average, can a person run in their life?”.
IV. O trecho “Even taking a best-case scenario, the greatest athlete running continuously can chalk off an average of 2 days per month for injury” responde à seguinte pergunta: How many days per month, in average, can the greatest athlete who runs continuously be prevented from running because due to injury?.
É correto o que se afirma em:
Alternativas
Alternativa 1 – I, apenas.
Alternativa 2 – I e III, apenas.
Alternativa 3 – II e IV, apenas.
Alternativa 4 – I, III e IV, apenas.
Alternativa 5 – I, II, III e IV.
QUESTÃO 2
Um resumo gráfico (graphical abstract, em inglês) é um breve resumo visual de um trabalho científico (artigo de pesquisa, dissertação, tese, apresentação de conferência etc). Trata-se geralmente de uma imagem que inclui as principais descobertas ou conceitos apresentados no estudo. O objetivo de um resumo gráfico é ajudar os leitores a entender rapidamente os principais pontos da pesquisa e atrair sua atenção para ler o trabalho completo. No texto a seguir encontram-se algumas orientações sobre a produção e o envio de um resumo gráfico para uma empresa editorial de revistas científicas, a Elsevier.
| GRAPHICAL ABSTRACTS
Journals are increasingly requesting the submission of a “graphical” or “visual abstract” alongside the body of the article. This is a single, concise, pictorial and visual summary of the main findings of the article. It could either be the concluding figure from the article or better still a figure that is specially designed for the purpose, which captures the content of the article for readers at a single glance. […] The graphical abstract will be displayed in online search result lists, the online contents list and the article on ScienceDirect, but will typically not appear in the article PDF file or print. […] Instructions Authors must provide an original image that clearly represents the work described in the paper. Graphical abstracts should be submitted as a separate file in the submission system by selecting “graphical abstracts” from the drop-down list when uploading files. Please note that, just as each paper should be unique, so each graphical abstract should also be unique. […] For ease of browsing, the graphical abstract should have a clear start and end, preferably “reading” from top to bottom or left to right. Try to reduce distracting and cluttering elements as much as possible. Image size: please provide an image with a minimum of 1328 x 531 pixels (w x h) using a minimum resolution of 300 dpi. […] File type: preferred file types are TIFF, EPS, PDF or MS Office files. No additional text, outline or synopsis should be included. Any text or label must be part of the image file. Please do not use unnecessary white space or a heading “graphical abstract” within the image file. A basic visual/graphical abstract template is provided below in the”further reading & resources” section along with advice and further tips on how to create one. Fonte: https://www.elsevier.com/authors/tools-and-resources/visual-abstract. Acesso em: 5 jun. 2023. |
Sobre o exposto, assinale a alternativa correta:
Alternativas
Alternativa 1 – Tipicamente, o<em> graphical abstract</em> aparece na versão impressa do artigo.
Alternativa 2 – O resumo gráfico deve ser inserido no mesmo arquivo em que está o artigo encaminhado à revista.
Alternativa 3 – Elementos que possam causar distração ou sensação de desordem devem ser evitados tanto quanto possível.
Alternativa 4 – A altura máxima da imagem deve ser de 1328 pixels, e a largura deve ter o máximo de 531 pixels, com a resolução de até 300 dpi.
Alternativa 5 – A inscrição “<em>graphical abstract</em>” deve constar, como item obrigatório, junto ao arquivo de imagem do resumo gráfico encaminhado à revista.
QUESTÃO 3
| Children and social media
Kara Swisher is a tech journalist, a podcast host, and a mother of four. She wrote a popular book called ‘Burn Book: A Tech Love Story’. She talks about a new measure that says children under 14 can’t have social media without permission. According to Swisher, social media can be addictive just like cigarettes, and they aren’t good for young people. It’s important to understand how social media affects them, especially girls. The government must make rules about social media. Swisher expresses concerns about the addictive nature of social media and its impact on adolescent mental health. She also talks about the ongoing debate about TikTok and why some people want to ban it in the US. The government needs to take more proactive regulatory measures regarding foreign-owned tech platforms in the country. Swisher ended the interview by saying she hopes the future will be more like Star Trek than Star Wars. Fonte: CHILDREN and social media. News in Levels, 4 de abr. 2024. Disponível em: https://www.newsinlevels.com/products/children-and-social-media-level-3/. Acesso em: 08 abr. 2024. |
Considerando as informações contidas no texto, analise as afirmativas a seguir.
- No trecho “It’s important to understand how social media affects them”, o pronome “them” refere-se a “social media”.
- No trecho “She also talks about the ongoing debate about TikTok and why some people want to ban it in the US”, a palavra “it” é um pronome objeto, que se refere a “TikTok”.
III. No trecho “Swisher expresses concerns about the addictive nature of social media and its impact on adolescent mental health”, a palavra “its” é um pronome objeto, que refere-se a “addictive nature”.
É correto o que se afirma em:
Alternativas
Alternativa 1 – I, apenas.
Alternativa 2 – II, apenas.
Alternativa 3 – I e III, apenas.
Alternativa 4 – II e III, apenas.
Alternativa 5 – I, II e III.
QUESTÃO 4
Observe a tirinha a seguir:
Fonte: https://www.denverpost.com/comics/. Acesso em: 20 jun. 2024.
De acordo com as informações contidas na tirinha, assinale a alternativa correta:
Alternativas
Alternativa 1 – O personagem não concorda com o conteúdo de sua lista de afazeres.
Alternativa 2 – A chuva atrapalhou os planos que o personagem tinha para a quele dia.
Alternativa 3 – De acordo com sua lista de afazeres, o personagem pretende sair de casa naquele dia.
Alternativa 4 – O personagem pretende informar um amigo sobre os afazeres que tal amigo deve realizar naquele dia.
Alternativa 5 – O personagem considera que sua lista de afazeres está alinhada com as condições climáticas daquele dia.
QUESTÃO 5
Missy Elliot says her mother has never seen her perform live before
Missy Elliott says that her mother has never seen her perform live before.
The 52-year-old hip-hop star appeared on “Good Morning America” to discuss her upcoming induction into the Rock & Roll Hall of Fame during a ceremony in Brooklyn, New York, on Friday.
In the interview, Elliott revealed that her mother would be in the audience watching her perform live for the first time in her decades-long career.
“My mother is coming, and my mother never seen me perform before,” Elliott told GMA host Robin Roberts, to her surprise.
[…]
Fonte: : https://www.businessinsider.com/missy-elliot-mother-never-seen-her-perform-live-2023-11. Acesso em: 20 jun. 2024.
Considerando as informações apresentadas, avalie as asserções a seguir e a relação proposta entre elas.
- Na frase “Missy Elliott says that her mother has never seen her perform live before”, o verbo “see” encontra-se conjugado no “Present Perfect”
PORQUE
- Durante toda a carreira de Elliot, sua mãe a tem assistido performar ao vivo em quase todas as suas apresentações.
A respeito dessas asserções, assinale a alternativa correta:
Alternativas
Alternativa 1 – As asserções I e II são proposições verdadeiras, e a II é uma justificativa correta da I.
Alternativa 2 – As asserções I e II são proposições verdadeiras, mas a II não é uma justificativa correta da I.
Alternativa 3 – A asserção I é uma proposição verdadeira, e a II é uma proposição falsa.
Alternativa 4 – A asserção I é uma proposição falsa, e a II é uma proposição verdadeira.
Alternativa 5 – As asserções I e II são proposições falsas.
QUESTÃO 6
What Learned from 5 Years of Cold Showers (That I Didn’t After a Year)
[…]
(This is just for informational purposes. Talk to your doctor before giving cold water therapy a try.)[…]
- It gives you an instant, free, dopamine hit
At the height of the pandemic, I suspected that I […] had many of the symptoms of dopamine dysfunction. I lacked motivation, had a really hard time focusing, became addicted to my phone, and just had a general malaise that was hard to shake. There were two things that worked consistently to pull me out of my funk — heart-racing exercise or a cold shower. But only one could work within one minute and with no exertion.
- It flips the switch on procrastination every single time
Something I struggled with more since the pandemic than I had my entire life was procrastination. […] I found that if I took a cold shower early in the day, it was as if the switch had been flipped and it made the rest of my day more focused and more energized. I procrastinated less for that entire day, not just immediately after. It was as though someone had broken the circuit. To this day, I still call it my circuit breaker.
- It helps you understand that maintaining a habit takes a lot less energy than activating it
I strongly believe that one of the reasons most people give up on new habits is because they don’t understand this fundamental principle of life — it always takes far more emotional energy and willpower to establish a new habit than to maintain it. […] Every time I start a new habit, I always remind myself how much harder cold showers felt in the first year versus the second year versus now. Each subsequent year is significantly easier. It motivates me to ride through the activation phase of any new endeavor.
- It will show you that the dread in your mind is often worse than the act itself
Five years of taking cold showers have shown me that I’ve never once struggled as much once I’ve stepped into the shower as I had just thinking about it. […] I’ve heard the phrase, “Do the hardest thing first” aka “Eat that frog” for years and have never been able to consistently implement it in my life because well…it’s hard. But several years after I started taking cold showers it changed. Now, every time I put something off because I dread it, I remind myself how I actually feel once I’ve actually stepped into the shower, and it motivates me to actually do the hard things first because I know it’s never as bad as I think it is.
- It teaches you how to breathe through distress
Even as I write this, I realize how trite this advice sounds. But there is a reason why breathing techniques and literature is the hallmark of so many cultures. It’s because it plays a huge part in controlling our physiology AND most of us don’t think twice about it. […] A cold shower does give you an easy and consistent way to create controlled stress that you can instantly practice breathing through and observe the effectiveness of your breathing. Having methods to calm your body through small stressors will prepare it to automatically know what to do when bigger stressors inevitably arrive.
Fonte: https://betterhumans.pub/what-i-learned-from-5-years-of-cold-showers-that-i-didnt-after-a-year-4d170de0eaf4. Acesso em: 6 abr. 2023. Adaptado.
Taking the text into account, analyze the following statements and the relationship between them.
I. The author states that she prefers taking a cold shower to doing heart-racing exercises to improve her mood.
BECAUSE
A cold shower works faster and more efficiently than heart-racing exercise in pulling her out of a funk.
According to the texts, choose the correct option.
Alternativas
Alternativa 1 – Statements I and II are true propositions, and II is a correct justification for I.
Alternativa 2 – Statements I and II are true propositions, but II is not a correct justification for I.
Alternativa 3 – Statement I is a true proposition, and II is a false proposition.
Alternativa 4 – Statement I is a false proposition, and II is a true proposition.
Alternativa 5 – Statements I and II are false propositions.
QUESTÃO 7
| “One Step at a Time”: An Interview with Coletivo LEVANTE
Centered on the development of architectural projects in favelas and peripheries, the work of Coletivo LEVANTE showcases a deep sensitivity to the unique characteristics and nuances of these environments. According to the group, “the recognition of what already exists and is attributed with values lived and earned by the favela residents — landscapes, constructions, identities, and relationships” is what they seek as the raw material for their projects. This approach is evident in projects such as Centro Cultural Lá da Favelinha and House in Pomar do Cafezal, winner of the 2023 Building of the Year Award by ArchDaily. (…) The network of professionals, suppliers, partners, and collaborators extends beyond the collective itself, proving to be a valuable factor in realizing their projects. In an interview with ArchDaily, they discussed the challenges of working in peripheral contexts. Still, more importantly, they highlighted the opportunities and shared the learnings and experiences gathered over their six years of existence. Check out the interview below: Susanna Moreira (ArchDaily): How did Coletivo LEVANTE come about? Coletivo Levante: The origin stems from the convergence of two distinct actions. In 2007, Fernando Maculan, Rafael Yanni, and Mariza Machado Coelho initiated a series of projects in the Aglomerado da Serra and Morro das Pedras neighborhoods in Belo Horizonte through the firm MACh Arquitetos. Among these projects, the revitalization of Beco São Vicente stands out. It combined the creation of three small squares with spaces dedicated to the Association of Seamstresses of Aglomerado da Serra. During this same period, Maculan joined Laboratório Piracema de Design, led by the artist Heloísa Crocco, which proposes research into form in Brazilian culture through knowledge exchanges between professionals with diverse academic backgrounds and artisans holding traditional knowledge and skills. As one of the outcomes of Piracema, in 2017 Maculan was invited by SEBRAE-MG to work with urban communities and organize a fashion upcycling workshop in Aglomerado da Serra. The REMEXE brand emerged from this initiative, which now, directly and indirectly, impacts dozens of residents. (…) In organizing the workshop, Maculan first encountered Kdu dos Anjos, the artist behind the Lá da Favelinha Cultural Center. To give the building as much freedom as possible in the face of the imagined uses for the center, Maculan proposed a joint action of architects to rethink the project and form a network of partnerships for the feasibility of the works. At that moment, the collective was conceptualized, a small nucleus formed by Fernando Maculan, Joana Magalhães, and Paula Zasnicoff. SM: What are your areas of operation? CL: Coletivo LEVANTE has been dedicated to architectural projects in favela and periphery contexts, with an emphasis on programs of a collective nature or, even in private contexts, those that can manifest as an expandable or replicable process to a larger number of people in these territories and communities. We have also embraced the idea of recycling in different forms of operation, such as in the design of furniture for the Cultural Center and the parklet in front of it, built with metal desks from the municipality’s unusable stockpile, as part of a partnership with Movimento Gentileza and Coletivo Micrópolis. In both cases, residents of the community, mostly children and young people, were directly involved in the creation and production processes. Coletivo LEVANTE also organizes and designs exhibitions, such as the one presenting the work of Lá da Favelinha at the Museum of Fashion in Belo Horizonte (MUMO). Our areas of operation are constantly evolving, guided by the opportunities that the time spent in each territory can bring to light. SM: LEVANTE defines itself as a collective focused on developing projects in favelas and peripheries. What are the main challenges and the biggest learnings from designing in this context? CL: The most sensitive challenge is to establish bridges over the barriers between favelas and other parts of the city. We seek to overcome it through presence, listening, and affection. There are also physical and spatial challenges in dealing with the precariousness of access, mobility, and infrastructure. […] SM: How does the collective’s design process work? In what way, or to what extent, do the dynamics between the favela and community life influence this work? CL: For everything we have done so far, whether due to the intermittent availability of the collective’s members and their voluntary collaborators or due to the discontinuous financial flow in the execution of the works, we like to repeat an expression that carries a pun with a dance style very present in the favela: one step at a time. Regarding the influence of community life dynamics on our work, we highlight two approaches that particularly interest us: subverting our professional practice and including recycling as a way to save resources and value what already exists, a culture that can be identified in the favelas, where upcycling was already established long before this term became commonly adopted. […] SM: How do you perceive the relationships between the center and periphery in the context of architecture and cities? How to seek strategies that distance themselves from the imposing and hegemonic logics of acting in peripheral contexts? CL: It is essential to reverse the understanding of people and places in Brazil that are labeled as “marginalized” due to economic, racial, gender, or territorial issues, leading them to occupy their center, a symbolic place of belonging and identity. Today, more than 17 million Brazilians live in favelas. The certainty that Brazil can become an example of social transformation and exaltation of the values of historically overlooked communities, whose practices can be highlighted and strengthened by actions like ours, is what drives us today. What distances us from the imposing and hegemonic models of acting in peripheral contexts is, first and foremost, the way we enter the community, which is through local leadership whose work is already affirmed and recognized by residents. Next, we seek to establish a relationship governed by the continued presence of Collective members, from the initial movement of decision-making with the community, through the elaboration, development, and feasibility of projects, to post-occupation actions of the buildings. […] SM: Could you talk about some of the ongoing projects? CL: In Serrão, the priority projects for 2023 include the House at Beco Dourado, the Favelinha Records music studio, the Torre de Bebel Art Gallery, and the Canão Sports Court, a space dedicated to sports and culture that can serve as a complementary structure for the integrated education of nearby municipal schools. The collective also conducted a study for the Favelinha Shopping Center at Belo Horizonte’s City Market to bring to other audiences what is produced in the favela through the actions of the Cultural Center. […] Fonte: https://www.archdaily.com/1013765/one-step-at-a-time-an-interview-with-coletivo-levante. Acesso em: 20 jun. 2024. |
De acordo com as informações contidas no texto, analise as afirmativas a seguir.
- Uma das ações que originou o Coletivo Levante inclui projetos em bairros na cidade de Belo Horizonte.
- O Coletivo Levante opera em áreas centrais de grandes cidades na construção de prédios exclusivos, com a utilização de materiais produzidos a partir do reflorestamento.
III. Dentre os desafios encontrados pelo Coletivo Levante, pode-se mencionar a realização de conexões entre as favelas e outras partes da cidade.
- Para distanciar-se da lógica hegemônica de ações em contextos periféricos, para adentrar a comunidade na qual os projetos serão realizados, o Coletivo Levante elege um grupo de moradores antigos daquela área.
É correto o que se afirma em:
Alternativas
Alternativa 1 – I, apenas.
Alternativa 2 – I e III, apenas.
Alternativa 3 – II e IV, apenas.
Alternativa 4 – I, III e IV, apenas.
Alternativa 5 – I, II, III e IV.
QUESTÃO 8
CHRIS PRATT WOULD RETURN AS STAR-LORD “IF SOMETHING MAKES SENSE”
The next Marvel movie, Guardians of the Galaxy Vol. 3, marks the end of an almost decade-long run for the titular team of cosmic misfits. Lead man Chris Pratt, who plays Peter Quill, aka Star-Lord, has revealed that while he’s down to return to the role in the future, he won’t pursue anything unless “something makes sense”.
All three Guardians movies have been directed by James Gunn, who is now switching to DC so he can build out that franchise. Without having Gunn by his side, Pratt is unsure whether it would feel right to continue on as Star-Lord. “It would be strange to continue [Star Lord’s] story without James,” Pratt told Total Film. “He’s done such a masterful job in the first three films. We really found the voice of Peter Quill together and without him, obviously, I would never have had this opportunity. He writes it, he directs it, he dreams up the music, it’s his imagination on screen. So, to continue to tell the story, it would really be important to honor what he’s done in the first three films and to honor what the fans have grown to love about the character and not simply do it because people might show up to pay for it, you know? I don’t want to be cynical in the approach and if that’s the case, I just wouldn’t do it at all. So maybe down the road if something makes sense I would do it but it would really have to check a lot of the right boxes”.
Whether or not that comes to pass, Pratt assures fans that the threequel is a perfect sendoff for the heroes, especially for the set of fans who grew up with the Guardians movies. “I really love the idea that 10 years have passed since the first film and fans will have grown up watching these movies,” he said. “I think it’s a more emotional ride than the previous two [but] it’s exciting to me that people who were kids when the first movie came out are now young adults and will emotionally be ready. They’ve matured alongside the franchise in a way. This is an emotional send-off that feels like it’s specifically made for them”.
Fonte: https://winteriscoming.net/2023/05/03/james-gunn-almost-killed-off-gamora-guardians-of-the-galaxy-vol-2-zoe-saldana. Acesso em: 4 abr. 2023. Adaptado.
Taking the text into account, analyze the following statements and the relationship between them:
I. According to Chris Pratt, he will only return as Star-Lord if it makes sense to continue the story without Gunn.
BECAUSE
He (Pratt) believes it would be important to honor James Gunn’s work and the fans’ love for the character.
Considering the statements, choose the correct option:
Alternativas
Alternativa 1 – Statements I and II are true propositions, and II is a correct justification for I.
Alternativa 2 – Statements I and II are true propositions, but II is not a correct justification for I.
Alternativa 3 – Statement I is a true proposition, and II is a false proposition.
Alternativa 4 – Statement I is a false proposition, and II is a true proposition.
Alternativa 5 – Statements I and II are false propositions.
QUESTÃO 9
Speaker A: That movie was great, wasn’t it?
Speaker B: It was interesting. But I didn’t understand all of it. The guy with the limp was the bad guy, wasn’t he?
Speaker A: Yes. It showed him walking without a limp at the end. He controlled everything. You didn’t fall asleep, did you?
Speaker B: No! I didn’t fall asleep. But if he was the real bad guy, why talk so much to the police? It doesn’t make sense, does it?
Fonte: https://www.busuu.com/en/english/tag-questions. Acesso em: 20 jun. 2024.
Considerando as informações apresentadas, avalie as asserções a seguir e a relação proposta entre elas:
- No trecho “You didn’t fall asleep, did you?”, a tag question está no Past Simple.
PORQUE
- Tal tag question refere-se à oração, “He controlled everything” que se encontra também no Past Simple.
A respeito dessas asserções, assinale a alternativa correta:
Alternativas
Alternativa 1 – As asserções I e II são proposições verdadeiras, e a II é uma justificativa correta da I.
Alternativa 2 – As asserções I e II são proposições verdadeiras, mas a II não é uma justificativa correta da I.
Alternativa 3 – A asserção I é uma proposição verdadeira, e a II é uma proposição falsa.
Alternativa 4 – A asserção I é uma proposição falsa, e a II é uma proposição verdadeira.
Alternativa 5 – As asserções I e II são proposições falsas.
QUESTÃO 10
Fonte: https://www.dieselsweeties.com. Acesso em: 5 jun. 2023.
Sobre o exposto, analise as afirmativas a seguir:
I. Uma das personagens afirma que o café está em todo lugar.
II. O texto apresenta uma crítica ao problema de falta de infraestrutura nos países do sul global.
III. No texto, uma das personagens apresenta características comuns que podem ser atribuídas tanto ao café quanto à infraestrutura.
IV. O objetivo do texto é apresentar críticas a outras obras do mesmo gênero textual que fazem apologia ao consumo de drogas ilícitas.
É correto o que se afirma em:
Alternativas
Alternativa 1 – I, apenas.
Alternativa 2 – I e III, apenas.
Alternativa 3 – II e IV, apenas.
Alternativa 4 – I, III e IV, apenas.
Alternativa 5 – I, II, III e IV.
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