Inglês

I was invited to a party which was not very excited.
(Fui convidado para uma festa que não estava muito
animada.)
I was introduced to a woman who can speak six
languages. (Conheci uma mulher que sabe falar seis
idiomas.)
Christopher Columbus was the
man who discovered America.
(Cristóvão Colombo foi o homem que descobriu a
América.)
Gustavo is the journalist who writes for the Times.
(Gustavo é o jornalista que escreve para o Times.)
The man who lives next door is my grandfather. (O
homem que mora na casa ao lado é meu avô.)
Orações Apositivas. (EXPLICATIVAS)
Non-defining Relative Clauses - Orações Explicativas
Fornecem informações adicionais, mas não essenciais
sobre o antecedente. Observe suas características:
As orações explicativas (non-defining) são usadas entre
vírgulas. Pode haver apenas uma vírgula quando a
oração relativa for a segunda.
John's mother, who lives in Scotland, has six
grandchildren. (A mãe do João, que mora na Escócia,
tem seis netos.)
Tony's sister, who smokes like a chimney, is a painter.
(A irmã do Tony, que fuma como um chaminé, é
pintora.)
You should take up swimming, which is a good sport.
(Você deveria dedicar-se à natação, que é um bom
esporte.)
As orações adjetivas podem ser omitidas, uma vez que
contêm informações adicionais que não são necessárias
para a compreensão da oração.
1. WHO Deve ser usado se o antecedente for pessoa.
2. WHICH Deve ser usado se o antecedente não for
pessoa
68
E.g.
Her son, who lives in Campinas, sold me the camera.
Bats, which in their majority are black, like to
hunt at night.
OBSERVAÇÃO IMPORTANTE.
No caso de orações apositivas o pronome usado NÃO
poderá ser omitido nem substituído por THAT.
EXERCISES
Apart from being about murder, suicide, torture, fear and
madness, horror stories are also concerned with ghosts,
vampires, succubi, incubi, poltergeists, demonic pacts,
diabolic possession and exorcism, witchcraft,
spiritualism, voodoo, lycanthropy and the macabre, plus
such occult or quasi occult practices as telekinesis and
hylomancy. Some horror stories are serio-comic or
comic- grotesque, but none the less alarming or
frightening for that.
From late in the 18th c. until the present day – in short,
for some two hundred years – the horror story (which is
perhaps a mode rather than an identifiable genre) in its
many and various forms has been a diachronic feature of
British and American literature and is of considerable
importance in literary history, especially in the evolution
of the short story. It is also important because of its
connections with the Gothic novel and with a multitude
of fiction associated with tales of mystery, suspense,
terror and the supernatural, with the ghost story and the
thriller and with numerous stories in the 19th and 20th c.
in which crime is a central theme.
The horror story is part of a long process by which
people have tried to come to terms with and find
adequate descriptions and symbols for deeply rooted,
primitive and powerful forces, energies and fears which
are related to death, afterlife, punishment, darkness, evil,
violence and destruction.
Writers have long been aware of the magnetic attraction
of the horrific and have seen how to exploit or appeal to
particular inclinations and appetites. It was the poets and
artists of the late medieval period who figured out and
expressed some of the innermost fears and some of the