To answer question, read the following text.
The movies that rose from the gave
It may disappear for a while, stay out of sight, out of mind, but sooner or later it will
rise again, and no matter what we do, or how hard we try, it will never, ever die. A
zombie? Hardly, rather our own fascination with what popular culture now refers to
as “the living dead”.
Zombies have dominated mainstream horror for more than half a decade. They’re
everywhere: movies, books, videogames, comics, even a new Broadway musical
adaptation of Sam Raimi’s The Evil Dead. Not only have they replaced previous
alpha-monsters such as vampires and werewolves, (1) ___________ are continuing to
generate more interest (and revenue) than almost all other creatures put together.
Given that several years ago the living dead were considered an obscure and largely
underground sub-genre, it would not be an exaggeration to state that they have
enjoyed a spectacular rebirth (2) ___________ anything in the history of modern
horror.
Where did these creatures come from? Why are they so popular now? And when, if
ever, will their reign of terror cease?
(3) ___________ many cultures have their own myths concerning the raising of the
dead (one going as far back as the epic of Gilgamesh), the word “zombie” can trace
its origins back to west Africa. The legend involves a “houngan” (wizard) using a
magical elixir to transform a living human into a mobile, docile and obedient corpse.
The fact that this legend is deeply rooted in reality (Haitian zombie powder was
discovered to contain a powerful neuro-toxin that caused a live victim to behave like
a resurrected corpse) may explain why, when African slaves were brought to the Americas, European colonists also embraced the notion of the living dead.
For several centuries the voodoo zombie remained the staple of tall tales, stage
productions, and even early Hollywood movies (4) ___________White Zombie
(1932) and I Walked With a Zombie (1943). It wasn’t until 1968 that up-and-coming
film maker George A Romero gave us a whole new reason to be afraid. Night of the
Living Dead replaced the image of a harmless voodoo-created zombie with a hostile,
flesh-eating ghoul that swelled its numbers to pandemic proportions. This new ghoul
was the result of science, not magic, specifically radiation from a returning space
probe. This new ghoul could, likewise, only be dispatched by a scientific solution:
destroying the brain or severing it from the rest of the body. This new ghoul obeyed
no one, (5) ___________its own insatiable craving for living, human flesh. In fact,
this new ghoul was only referred to throughout the movie as a ghoul. The word
zombie was never mentioned.
Available at :< https://www.theguardian.com/film/2006/nov/10/1>. Acess on: 23 mar. 2018.
Check the alternative that shows the sequence of words that CORRECTLY fill in the
spaces 1-5.
To answer question, read the following text.
The movies that rose from the gave
It may disappear for a while, stay out of sight, out of mind, but sooner or later it will rise again, and no matter what we do, or how hard we try, it will never, ever die. A zombie? Hardly, rather our own fascination with what popular culture now refers to as “the living dead”.
Zombies have dominated mainstream horror for more than half a decade. They’re everywhere: movies, books, videogames, comics, even a new Broadway musical adaptation of Sam Raimi’s The Evil Dead. Not only have they replaced previous alpha-monsters such as vampires and werewolves, (1) ___________ are continuing to generate more interest (and revenue) than almost all other creatures put together. Given that several years ago the living dead were considered an obscure and largely underground sub-genre, it would not be an exaggeration to state that they have enjoyed a spectacular rebirth (2) ___________ anything in the history of modern horror.
Where did these creatures come from? Why are they so popular now? And when, if ever, will their reign of terror cease?
(3) ___________ many cultures have their own myths concerning the raising of the dead (one going as far back as the epic of Gilgamesh), the word “zombie” can trace its origins back to west Africa. The legend involves a “houngan” (wizard) using a magical elixir to transform a living human into a mobile, docile and obedient corpse. The fact that this legend is deeply rooted in reality (Haitian zombie powder was discovered to contain a powerful neuro-toxin that caused a live victim to behave like a resurrected corpse) may explain why, when African slaves were brought to the Americas, European colonists also embraced the notion of the living dead.
For several centuries the voodoo zombie remained the staple of tall tales, stage productions, and even early Hollywood movies (4) ___________White Zombie (1932) and I Walked With a Zombie (1943). It wasn’t until 1968 that up-and-coming film maker George A Romero gave us a whole new reason to be afraid. Night of the Living Dead replaced the image of a harmless voodoo-created zombie with a hostile, flesh-eating ghoul that swelled its numbers to pandemic proportions. This new ghoul was the result of science, not magic, specifically radiation from a returning space probe. This new ghoul could, likewise, only be dispatched by a scientific solution: destroying the brain or severing it from the rest of the body. This new ghoul obeyed no one, (5) ___________its own insatiable craving for living, human flesh. In fact, this new ghoul was only referred to throughout the movie as a ghoul. The word zombie was never mentioned.
Available at :< https://www.theguardian.com/film/2006/nov/10/1>. Acess on: 23 mar. 2018.
Check the alternative that shows the sequence of words that CORRECTLY fill in the spaces 1-5.
Gabarito comentado
Alternativa correta: B
Tema central: uso de conjunções e locuções conectivas para ligar ideias (contraste, exceção, exemplificação) e estruturas correlativas como not only ... but. Essas escolhas dependem tanto da gramática quanto do sentido global do texto.
Resumo teórico curto e útil: - Conjunções coordenativas e correlativas ligam orações de mesma hierarquia: ex. not only ... but. - Conjunções subordinativas introduzem contraste ou concessão: ex. although/though. - Preposições/locuções como unlike indicam comparação/contraste; such as dá exemplos; other than expressa exceção. (Fonte: Michael Swan, Practical English Usage; Cambridge Grammar of English.)
Justificativa da alternativa B, palavra a palavra: - (1) but: completa a correalção iniciada por Not only ... → “Not only have they replaced..., but are continuing...” (correto e idiomático). - (2) unlike: encaixa em “a spectacular rebirth unlike anything in the history...” — contraste comparativo esperado. - (3) Although: introduz concessão: “Although many cultures have their own myths...” (conecta com ideia seguinte). - (4) such as: marca exemplos: “early Hollywood movies such as White Zombie and I Walked With a Zombie.” - (5) other than: indica exceção: “obeyed no one, other than its own insatiable craving...” (sentido: só obedece à fome).
Análise das alternativas incorretas (por que falham): - A: “therefore” não se ajusta após “Not only...” (quebra a correlação); “even” e “much less” estão fora de sentido/estrutura. - C: mistura palavras erradas para os contextos: “however” e “likewise” soariam estranhas na sequência que exige correlação e exemplificação; “ever” não encaixa no lugar do 2; “rather than” mudaria sentido final. - D: opção incompleta (só 4 itens) e “nonetheless/Though/or rather” não respeitam todas as necessidades do texto (ex.: falta a palavra que expressa exemplificação “such as”). - E: “Notwithstanding” (no 3) é estilisticamente pesado e não tão natural quanto “Although”; ordem/adequação semântica dos demais itens falha ("unless" no final é incompatível).
Dica prática para provas: identifique palavras-chave ao redor do espaço em branco (ex.: “Not only” pede “but”); cheque a função semântica — contraste, exemplo, concessão, exceção — antes de escolher; elimine opções que quebram correlações ou mudam o tempo/mood.
Fontes sugeridas para estudo: Michael Swan, Practical English Usage; Cambridge Grammar of the English Language (para estrutura e uso).
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