Inglês
LINGUA
ESTRANGEIRA
MODERNA
INGLES
Inglês
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1
Inglês
PREPOSIÇÕES - PREPOSITIONS
Preposição é uma palavra ou grupo de
palavras que liga(m) dois ou mais termos da
oração e que estabelece(m) entre si algumas
relações. Nessas relações, um termo explica
ou completa o sentido do outro. Veja a seguir
um apanhado geral sobre as preposições da
língua inglesa.
ABOUT
Lugar ou Posição
He must be somewhere about the office. Ele
deve estar em algum lugar perto do escritório.
There is a moat about the castle. Há um fosso
ao redor do castelo.
Referente a determinado assunto (acerca de,
relativo a):
Tell me more about your trip. Fale-me mais
sobre sua viagem.
ABOVE
Lugar ou Posição
Read the text above.
Leia o texto acima.
ACROSS
Lugar ou Posição
Look! There is a camel across the street! Olhe!
Há um camelo do outro lado da rua!
Movimento ou Direcionamento
There are a lot of bridges across Tietê river.
Existem muitas pontes que atravessam o rio
Tietê.
AFTER
Tempo
She is going to a party after dinner. Ela vai a
uma festa depois do jantar.
Lugar ou Posição
They were running after him! Elas estavam
correndo atrás dele!
AGAINST
Lugar ou Posição
The man leaned against the tree. O homem
apoiou-se junto à árvore.
Movimento ou Direcionamento
She was against the wall. Ela estava contra a
parede.
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ALL OVER
Lugar ou Posição
There is milk all over the kitchen! Tem leite por
toda a cozinha!
ALONG
Lugar ou Posição
There are trees along the road. Há árvores ao
longo da estrada.
Movimento ou Direcionamento
The runners were running along the street. Os
maratonistas estavam correndo pela/ao longo
da rua.
AMONG
Lugar ou Posição
There was a hut among the trees. Havia uma
cabana entre as árvores.
AROUND
Lugar ou Posição
They were walking around the lake. Eles
estavam caminhando ao redor do lago.
Movimento ou Direcionamento
Stop spinning around, you'll feel dizzy. Pare de
girar. Você vai se sentir tonto.
AS FAR AS
Lugar ou Posição
They walked as far as the lake this morning.
Eles caminharam até o lago essa manhã.
AT
Tempo
It will be fishined at the end of the month. Isso
vai estar acabado no final do mês.
Lugar ou Posição
We live at 389 Park Avenue. Moramos na Park
Avenue, nº 389.
BEFORE
Tempo
Before you go, let me talk to you. Antes de
você ir, deixe-me falar com você.
Lugar ou Posição
The groom was standing before the altar,
waiting for the bride. O noivo estava
posicionado na frente do altar, esperando pela
noiva.
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BEHIND
Lugar ou Posição
The police were behind the door. A polícia
estava atrás da porta.
CLOSE TO
Lugar ou posição
I don't like to sit close to the window. Eu não
gosto de me sentar perto da janela.
BELOW
Lugar ou Posição
Guatemala is below Mexico. A Guatemala fica
abaixo do México.
DURING
Duração
I'll visit you during the afternoon. Eu vou visitálo durante a tarde.
FAR FROM
Lugar ou Posição
We live far from the University campus. Nós
moramos longe do campus universitário.
FOR
Duração
I have studied here for thirteen years. Eu
estudei aqui por treze anos.
BESIDE
Lugar ou Posição
At school, I sit beside my friends. Na escola,
eu sento ao lado de meus amigos.
BETWEEN
Lugar ou Posição
He is sitting between his two best friends. Ele
está sentado entre seus dois melhores amigos.
BEYOND
Lugar ou Posição
The camping site is beyond those hills. O local
de acampamento é além daquelas colinas.
Movimento ou Direcionamento
We drove beyond the city limits. Nós dirigimos
além dos limites do município.
BY
Tempo
By next week I will have handed in my book.
No mais tardar até semana que vem eu vou ter
entregue meu livro.
Lugar ou Posição
The bank is by the supermarket. O banco é ao
lado do supermercado.
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FROM
Duração
I'll be in the office from eight a.m. on. Eu
estarei no escritório das oito horas da manhã
em diante.
Movimento ou Direcionamento
We flew from Paris into São Paulo in eleven
hours. Voamos de Paris a São Paulo em onze
horas.
IN
Tempo
The project will be ready in five weeks. O
projeto estará pronto em cinco semanas.
Lugar ou Posição
Porto Alegre is in the south of Brazil. Porto
Alegre situa-se no sul do Brasil.
Movimento ou Direcionamento
Look yourself in the mirror! Olhe-se no
espelho!
IN FRONT OF
Lugar ou Posição
I parked the car in front of my house.
Estacionei o carro em frente aminha casa.
INSIDE
Lugar ou Posição
We met them inside the theater. Nós os
encontramos dentro do teatro.
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INTO
Movimento ou Direcionamento
We went into the museum together. Nós
entramos no museu juntos.
NEAR
Lugar ou Posição
I live near a big market. Moro perto de um
grande mercado.
NEXT TO
Lugar ou Posição
Sit down here next to me. Sente-se aqui do
meu lado.
OFF
Lugar ou Posição
Please keep off the animal cages. Por favor,
mantenham-se distante das jaulas dos
animais.
ON
Tempo
I'll have dinner with my family on Christmas's
Eve. Irei jantar com minha família na noite de
Natal.
IN X ON X AT
Como justificar a diferença entre: In those days (naqueles dias, no sentido de "naqueles tempos");
On that occasion... (naquela ocasião) e At that time... (naquele tempo, naquela época), se, nesses
três casos, estamos nos referindo a tempo? Confira as diferenças abaixo:
Preposição
Tempo
períodos do dia
(com exceção de night)
In
(em, dentro)
On
(sobre, em)
At
(em)
Inglês
mês
estações do ano
ano
década
século
era
dia do mês
dia da semana
data específica; com day ou eve
(véspera)
período mais específico de um
dia
férias
Exemplos
in the morning
in the evening
in the afternoon
in July
in (the) summer
in 2009
in the 20s (in the twenties)
in the 21st century
in the Middle Ages
on September 20
on Wednesday
on Christmas Day
on New Year's Eve
on Thursday morning
on vacation
at lunchtime (na hora do almoço)
at midday (ao meio-dia)
palavras específicas para
at noon (ao meio-dia)
períodos do dia e se referindo à
at night (à noite)
palavra time (ver exemplos)
at midnight (à meia-noite)
at dawn (ao amanhecer)
hora
at three o'clock
datas específicas
at Christmas, at Easter
(sem a palavra day)
Idade
at (the age of) fifteen
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Inglês
Lugar ou Posição
The book is on the table. O livro está sobre a mesa.
Resumo das aplicações de IN, ON e AT junto a expressões de LUGAR:
IN
ON
AT
LUGARES
Continente (in Africa)
Nome de rua
(on Washington Street)
Rua com número
(at 54 Washington Street)
Avenida
(on Kennedy Avenue)
Local específico
(at school, at church, at the movies.)
País (in England)
Estado (in California)
Cidade (In New York)
Bairro (in Ipanema)
Praça
(on Washington square)
na Rua (in the street)
ONTO
ROUND
Movimento ou Direcionamento
The cat jumped onto the table and scratched it
all. O gato pulou para cima da mesa e
arranhou-a toda.
Movimento ou Direcionamento
She was the first woman to sail round the
world. Ela foi a primeira mulher a velejar ao
redor do mundo.
OPPOSITE
Lugar ou Posição
They were all sitting round the table. Eles
estavam todos sentados ao redor da mesa.
Lugar ou Posição
I sat opposite him during the meal. Sentei na
frente dele durante a refeição.
OUT OF
Movimento ou Direcionamento
The woman came out of her house crying. A
mulher saiu de sua casa chorando.
OUTSIDE
Lugar ou Posição
The dog is outside the kennel. O cachorro
está fora do canil.
OVER
Lugar ou Posição
She has a beautiful shawl over her shoulders.
Ela está vestindo um lindo xale sobre os
ombros.
Movimento ou Direcionamento
I saw the clock from over the door. Eu vi o
relógio por cima da porta.
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SINCE
Duração
John teaches here since 1989. O John ensina
aqui desde 1989.
Movimento ou Direcionamento
I came walking since my house. Eu vim
caminhando desde minha casa.
THROUGH
Movimento ou
Direcionamento
Look through the glass.
Olhe através do vidro.
THROUGHOUT
Lugar ou Posição
Dr. Kilman is famous throughout Europe. O
Dr. Kilman é famoso em toda a Europa.
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Inglês
TO
Duração
I studied English from 2000 to 2007. Eu
estudei Inglês de 2000 a 2007.
Movimento ou Direcionamento
I was going to school when I saw the accident.
Eu estava indo para a escola quando vi o
acidente.
TOWARDS
Movimento ou Direcionamento
I was walking towards the store when I met my
friend. Eu estava caminhando em direção à
loja quando encontrei minha namorada.
Objeto indireto com preposição Prepositional indirect object:
No Inglês, há dois tipos de objetos indiretos: os
com preposição expressa após o verbo e os
objetos
indiretos
com
a
preposição
subtentida, que não vai estar grafada na
oração.
- O objeto indireto com preposição é o termo
que completa o sentido de um verbo de forma
indireta, estando sempre regido de preposição
clara e expressa na oração.
Frank sent some money to his mother. (Frank
enviou dinheiro à sua mãe.)
UNDER
I gave a present to Paul. (Eu dei um presente
a Paul).
Lugar ou Posição
I placed the papers under the radio. Eu
coloquei os documentos sob o rádio.
Doris made a pie for the children. Dóris fez
uma torta para as crianças.
Movimento ou Direcionamento
I saw a light coming from under the door. Eu vi
uma luz vindo debaixo da porta.
- Há verbos que em português são transitivos
diretos (não há preposição após eles) mas que
em Inglês são transitivos indiretos, isto é, são
regidos por preposição.
UNTIL / TILL
Duração
I want it done until tomorrow! Eu quero isto
pronto até amanhã!
UP
Movimento ou Direcionamento
Go up the stairs and tell her dinner is ready.
Suba as escadas e diga à ela que o jantar está
pronto.
He loves to listen to the radio every day. (Ele
ama escutar rádio todos os dias.)
Objeto indireto sem preposição –
Non-prepositional indirect object:
Ao assumir a função de núcleo (palavra
principal) de um objeto indireto, o substantivo
será o termo que irá "receber", complementar
a ação do verbo de forma indireta. No entanto,
diferentemente do que acontece no português,
o objeto indireto pode ocorrer sem a
preposição expressa no seu início, estando ela
subtendida na oração. É o que acontece nas
seguintes orações:
Frank sent his mother some money. (Frank
enviou à sua mãe uma quantia de dinheiro).
I gave Paul a present. (Eu dei a Paul um
presente.)
Theresa made the children a pie. (Theresa fez
para as crianças uma torta.)
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Inglês
Tips! - Dicas!
3 Maneiras de identificar o objeto indireto:
Já que é possível ocorrer no Inglês objetos indiretos tanto com preposição como sem,
vejamos como diferenciar o objeto indireto de um objeto direto:
1. Imagine que o "to" ou o "for" aparece depois do verbo, antes do objeto:
Have you sent (to) your mother a postcard yet? (Você já enviou um cartão postal a sua mãe?)
2. O objeto indireto geralmente vem antes do objeto direto. No exemplo anterior, a
postcard é o objeto direto do verbo "to send". Your mother, então, é o objeto indireto.
3. Alguns verbos são tipicamente regidos pelo objeto indireto, no entanto, são regidos
pelo objeto indireto sem preposição: give, show, buy, lend, send, save, bake, award, knit
etc. Exemplos:
- Paloma tried to hand in (to) her teacher the research paper. (Paloma tentou entregar a seu
professor a pesquisa.)
- Maria showed (to) her girlfriends pictures of his son. (Maria mostrava para suas amigas fotos
do seu filho.)
- Why don't you save (for) your friends seats at Yamandu Costa concert? (Que tal você
guardar lugar para seus amigos no show do Yamandu Costa?)
Fonte: Grupo Virtuous - Tecnologia Educacional
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Inglês
New Math in HIV Fight
this approach." Drs. Baltimore, Korber and
Yeager weren't involved in the new research.
Statistical Method Evolves From Physics to
Wall Street to Battle Against AIDS
One of the most vexing problems in HIV
research is the virus's extreme mutability.
By MARK SCHOOFS
But the researchers found that there are
some HIV sectors, or groups of amino acids,
Scientists using a powerful mathematical tool
that
previously applied to the stock market have
Scientists generally believe that the virus
identified an Achilles` heel in HIV that could
needs to keep such regions intact. Targeting
be a prime target for AIDS vaccines or
such sectors could trap HIV: If it mutated, it
drugs.
would disrupt its own internal machinery and
The research adds weight to a provocative
hypothesis—that an HIV vaccine should
avoid a broadside attack and instead home
rarely
make
multiple
mutations.
sputter out. If it didn't mutate, it would lie
defenseless against a drug or vaccine
attack.
in on a few targets. Indeed, there is a rare
The study was conducted at the Ragon
group of patients who naturally control HIV
Institute, a joint enterprise of Massachusetts
without
"elite
General
Hospital,
controllers" most often assail the virus at
Institute
of
precisely this vulnerable area.
University. The institute was founded in 2009
medication,
and
these
"This is a wonderful piece of science, and it
helps us understand why the elite controllers
the
Technology
Massachusetts
and
Harvard
to convene diverse groups of scientists to
work on HIV/AIDS and other diseases.
keep HIV under control," said Nobel laureate
To find the vulnerable sectors in HIV, Drs.
David Baltimore. Bette Korber, an expert on
Chakraborty and Dahirel reached back to a
HIV mutation at the Los Alamos National
statistical
Laboratory, said the study added "an elegant
theory, which has also been used to analyze
analytical strategy" to HIV vaccine research.
the behavior of stocks. While stock market
"What would be very cool is if they could
apply it to hepatitis C or other viruses that
are huge pathogens—Ebola virus, Marburg
virus," said Mark Yeager, chair of the
method
called random
matrix
sectors are already well defined, the Ragon
researchers didn't necessarily know what
viral sectors they were looking for. Moreover,
they wanted to take a fresh look at the virus.
physiology department at the University of
So
they
defined
the
sectors
purely
Virginia School of Medicine. "The hope
mathematically, using random matrix theory to
would be there would be predictive power in
sift through most of HIV's genetic code for
correlated mutations, without reference to
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Inglês
previously known functions or structures of
Previous research by Dr. Yeager and others
HIV. The segment that could tolerate the
had shown that the capsid, or internal shell,
fewest multiple mutations was dubbed sector
of the virus has a honeycomb structure.
3 on an HIV protein known as Gag.
Part of sector 3, it turns out, helps form the edges of the honeycomb. If the honeycomb suffered too
many mutations, it wouldn't interlock, and the capsid would collapse.
For years, Dr. Walker had studied rare patients, about one in 300, who control HIV without taking
drugs. He went back to see what part of the virus these "elite controllers" were attacking with their
main immune-system assault. The most common target was sector 3.
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Inglês
Dr. Walker's team found that even immune
already infected. Many scientists believe a
systems that fail to control HIV often attack
successful HIV vaccine will also require
sector 3, but they tend to devote only a
antibodies that attack a free-floating virus.
fraction of their resources against it, while
Dr. Chakraborty is teaming up with Dennis
wasting their main assault on parts of the
Burton, an HIV antibody expert at the
virus that easily mutate to evade the attack.
Scripps Research Institute in La Jolla, Calif.,
That suggested what the study's authors
to apply random matrix theory to central
consider
problems in antibody-based vaccines.
the
paper's
most
important
hypothesis: A vaccine shouldn't elicit a
scattershot
attack,
but
surgical
strikes
http://online.wsj.com/article/ WSJ June 21, 2011
against sector 3 and similarly low-mutating
Glossário:
regions of HIV.
"The hypothesis remains to be tested," said
•
Achilles`heel: calcanhar de Aquiles
Dan Barouch,
of
•
Assail : ataca
medicine and a colleague at the Ragon
•
Vexing: problemático
monkeys. Others, such as Oxford professor
•
Sputter out: estalar, quebrar em partículas.
Sir Andrew McMichael, are also testing it.
•
Sift through: verificar
The Ragon team's research focused on one
•
Honeycomb: favo de mel
arm of the immune system—the so-called
•
Scattershot : disperso
a Harvard professor
institute. He is planning to do just that, with
killer T-cells that attack other cells HIV has
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9/11’s Iconic ‘Falling Man’
Sep 8, 2011
By Marlow Stern
On Sept. 11, 2001, AP photographer Richard
Drew witnessed the twin towers imploding
and filmed ‘The Falling Man’—arguably the
most haunting photo from the tragedy. On
the 10th anniversary of the worst terrorist
attack on U.S. soil, Drew recounts what
happened on that fateful day and how he
recorded the iconic image.
“I had been two weeks at the U.S. Open tennis
tournament out in Queens and it finished on a
Sunday, so I had Monday off and then Tuesday
morning was my first day covering fashion
week. It was my first show and I was covering
a maternity fashion show by Liz Lange at
Bryant Park. I was doing hair and makeup
feature photos and it was interesting to see that
they were using pregnant models. I got those
backstage pictures out of the way and then
went to the end of the runway to stake out my
real estate for the fashion show. I was talking
to a CNN cameraman who was shooting the
fashion show and all of a sudden, he puts his
finger to his ear and says, ‘There’s been an
explosion at the world trade center… an
airplane has hit the World Trade Center.’ Then,
I got a call from my editor that said, ‘Bag the
fashion show. You have to go.’ I took the 3
train down to Chambers Street to the World
Trade Center. It was just before 9 a.m.
“When I came up the steps of the subway
station I looked up and saw that both of the
towers were on fire. I only knew of one
airplane. I immediately started photographing
people. I photographed one guy who was
walking towards me with his head bleeding
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because I think it had been hit by debris.
Already, some police had taped off the debris
that had been blown over, cars had windows
knocked out, and I slowly made my way over to
the west side of the building by the West Side
Highway because the wind was blowing westto-east and I didn’t want the smoke obscuring
my view. I ended up at the northwest corner of
West and Vesey Street—where the Goldman
Sachs building is now—where the ambulances
were congregating. I had a perfect view of both
buildings and figured that was where I could
cover the assignment. I had a Nikon DCS-620,
which was one of their early models—a hybrid
Kodak-Nikon camera—and I was using a 70200mm zoom lens. And I did my assignment.
“Myself as a photojournalist I’m like a
first responder, as all journalists are in that
situation, so we run to something instead of
away from it when something happens. When
I’m there I get in a zone and do my job and
capture what’s there. I don’t really think about if
I’m scared or not. You want to make sure you
don’t miss that photograph. You get in a
mindset. You have to commit to journalism,
remember what your job is, and not get
emotionally involved. The camera is like a filter
for me, too. It’s not like I’m experiencing it, I’m
seeing it through my camera. I have to remain
emotionally uninvolved.
“I was standing next to a New York City police
officer and a woman who was an EMT. We
were looking up at the building and I was
photographing it, and the police officer said, ‘I
was here when the second plane hit. It was a
big f—king airplane, like a 737 or something.’
That was the first time I heard of a second
plane, and then he said he heard the Pentagon
may have also gotten hit. I was like, ‘Whoa.’
The EMT then pointed up and said, ‘Oh my
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Inglês
god, look!’ And that’s when we noticed people
coming down from the building. We don’t know
whether they were overcome by smoke. I was
photographing several people coming down
from the building and I have a sequence of
photographs of this guy coming down. The
camera captured the photograph in a
sequence, since it had a motor drive on it, so
the camera captured a moment. If the camera
functioned a fraction of a second earlier, I
wouldn’t have had that picture. It was the
camera that captured the photograph, not my
eye and quick finger. Can you imagine how fast
people fall? They’re falling really fast, and while
you’re photographing this you have to pan
with them so I picked this guy up in my
viewfinder, put my finger on the button, and
kept taking pictures while he was falling. I had
to time my vertical motion of the camera to his
descent.
“After the first building fell, I went down to North
End Avenue where people were leaving the
area and they were all covered in soot, so I
was photographing them. There was a ranking
police officer wearing a white shirt saying, ‘We
have to get everybody back now because the
other building is in jeopardy.’ I didn’t want to
leave the area. I tried to hide myself in a little
traffic median in the street in some bushes and
get out of his view so he wouldn’t see me. I
took off the 70-200mm and put on a smaller
lens—a 35-70mm lens—and put my camera up
to take pictures of the North Tower. I picked up
my camera and just as I started to do that, the
top of the building exploded and mushroomed
out from the North Tower. All that debris
started coming towards me so I said to myself,
‘I think it’s time to go.’ I made my way up North
End and ran into Stuyvesant High School. At
the time, the building was still full of students
because they hadn’t evacuated everybody. I
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was looking at my images in the lobby and a
student over my shoulder said, ‘What’s that?’
And I said, “That’s the second building coming
down.’
“I had to walk all the way back to the AP office
in Rockefeller Center because there was no
public transportation. I remember walking by
St. Vincent’s Hospital at the emergency room
entrance and all these people were waiting for
the injured to show up. Then I made my way up
6th Avenue and got up to 14thStreet and
someone asked, ‘Where were you?’ because I
was covered in dust, and I said, ‘I was at the
World Trade Center.’
“I never counted how many people I
photographed falling from the building that day.
I think there were seven or eight photos in the
‘Falling Man’ sequence. He was wearing a
white tunic and you can see he’s wearing an
orange T-shirt under it. I’m not drawn to want
to figure out who he is. If people are drawn to
want to investigate who it is, that’s okay. For
me, it was never a priority.
“I think people are drawn to it and I guess
repulsed by it in that they feel it could be them
in that situation. For me, it’s a very quiet
moment. It’s not a violent picture in any way. I
think some people are turned off by this picture
because it could be their fate. But it’s not a part
of this man’s death, it’s a part of his life. It’s
also very symmetrical, and I trust that to the
camera. It bisects the north and south tower
and he’s almost like an arrow, in a way.
“I’m not haunted by it. I’m just interested that
people still want to talk about it now. Maybe
we’ve had 10 years of other images that are
out there and it’s become not as shocking 10
years later. But I’m very humbled that people
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Inglês
think of it as such an iconic photograph and
that it will be part of my photographic legacy.
This may sound cold, but it’s one of the images
that I shot that day that’s become an iconic
picture. I have never looked at it as an iconic
picture. I’ve looked at it as an ‘Unknown
Soldier’ that I hope represents everyone who
had that same fate that day.”
http://online.wsj.com/article WSJ September 8, 2011
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Glossário:
•
Stake out : demarcar
•
Debris: escombros
•
Scared: assustado
•
EMT: Técnico em emergências médicas.
•
To pan with: fotografar em panorama
•
Soot: pó, fuligem
•
Jeopardy: em risco, em perigo
•
Drawn: atraído
•
Humbled: deprimido, desapontado.
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