Questões de Vestibular
Comentadas sobre interpretação de texto | reading comprehension em inglês
Foram encontradas 2.261 questões
Ano: 2015
Banca:
PUC - GO
Órgão:
PUC-GO
Prova:
PUC - GO - 2015 - PUC-GO - Vestibular - Segundo Semestre |
Q533996
Inglês
Texto associado
TEXTO 4
Lua de mel! Lua de fel. Bebi meu cálice de amargura,
cumprindo cada uma das estações da dor. Fui
para a cama com um rapaz decente, um amigo fiel,
porém insípido, insosso, desenxabido como a sopa
que agora engulo todas as noites. Enquanto isso, perto
dali, o homem pelo qual meu corpo inteiro latejava,
que eu queria e que me desejava, entrava debaixo dos
lençóis de outra mulher, minha irmã. Amor, paixão,
revolta. Ódio. Com que fúria maldisse meu pai, minha
mãe. Ana Alice, minha irmã, tão apaixonada pelo
Vítor quanto eu, e com a vantagem daquele odioso arzinho
de fragilidade, o trunfo que acabou lhe garantindo
a vitória. Na batalha da força contra a fraqueza,
a última saiu vitoriosa. Quem diria! Com tão escassa
munição, a sonsa Ana Alice venceu a peleja.
O castigo tem pressa, não se faz esperar. Aqui
se faz, aqui se paga. O preço foi alto; durante anos,
minha irmã permaneceu chafurdada no inferno do
ciúme. Chamuscou na labareda da inveja a pureza de
suas lindas asas de anjo. Encontrou, um dia, a felicidade?
Não encontrou? Uma coisa é certa: ninguém
pode dizer que Ana Alice tenha sido rejeitada. E, ao
seu modo, talvez tenha sido feliz sim, não sei. No final,
acomodou-se nos braços de um amor maduro, se
morno ou não, quem há de saber? Morreu tranquila
ao lado do marido. Naqueles tempos em que a palavra
dada tinha peso de assinatura, ninguém ponderou
a força da paixão que unia o Vítor a mim. Não
avaliaram a ameaça que representava nossa cumplicidade,
o gosto pelas mesmas coisas, um amor jovem
demais desabrochado na clandestinidade. No início
de nossos casamentos, resistimos. Permanecemos
aparentemente acomodados em nossos compromissos
arranjados. Antes de tudo, vinha a arraigada convicção
de que era necessário manter as aparências.
(BARROS, Adelice da Silveira. Mesa dos inocentes.
Goiânia: Kelps, 2010. p. 19.)
In the following excerpt from Text 4, we note
the narrator's acute awareness of social expectations
with regards to marriage and adhering to these social
norms: “Permanecemos aparentemente acomodados em
nossos compromissos arranjados. Antes de tudo, vinha
a arraigada convicção de que era necessário manter
as aparências". “Manter as aparências" or “to keep
up appearances" is an idiom in English that means,
according to the MacGraw-Hill Dictionary of American
Idioms and Phrasal Verbs (2002), to make things look
alright whether they are or not.
When we consider other common idioms such as, for example, “let the cat out of the bag", “break a leg", and “you can't judge a book by its cover", which of the following sentences best defines “idiom" in the English language:
When we consider other common idioms such as, for example, “let the cat out of the bag", “break a leg", and “you can't judge a book by its cover", which of the following sentences best defines “idiom" in the English language:
Q518447
Inglês
Texto associado
images1.fanpop.com
In the speech balloon of panel 1, the word that appears twice.
The second that fulfils the following cohesive function:
The second that fulfils the following cohesive function:
Q518446
Inglês
Texto associado
images1.fanpop.com
Consider the visual representation of the tiger in the comic strip.
The effect of closeness between the tiger and the viewer is obtained in the panel below:
The effect of closeness between the tiger and the viewer is obtained in the panel below:
Q518445
Inglês
Texto associado
images1.fanpop.com
Besides being funny, comics often expresses criticism.
The comic strip criticizes men’s incapacity to take the following action:
Q1388777
Inglês
Texto associado
Read the questions. Look at the return-and-refund policy. Circle the answers.
Return-and-Refund Policy
Full refunds:
We will refund 100% of the price for all books and for other new,
Unopened merchandise that is returned within 30 days. Items should be returned in their original
product packaging. You will receive your refund check in six weeks.
Partial refunds:
We will refund less than 100% of the price for:
- Any items that are returned after more than 30 days.
- Any CD, DVD, or video game that is not in its plastic wrapping.
- Any item not in perfect condition.
How to send your return:
1.Call 1-800-555-3132 and ask for a shipping label.
2.Pack the items along with the receipt in a box. You can use the box that the arrived in or
another box.
3.Put the shipping label on the outside of the box.
4.Bring the package to the post office.
Leia o texto e responda a questão, apenas uma alternativa.
I_____________late for work if the bus doesn’t arrive soon.
Q1388776
Inglês
Texto associado
Read the questions. Look at the return-and-refund policy. Circle the answers.
Return-and-Refund Policy
Full refunds:
We will refund 100% of the price for all books and for other new,
Unopened merchandise that is returned within 30 days. Items should be returned in their original
product packaging. You will receive your refund check in six weeks.
Partial refunds:
We will refund less than 100% of the price for:
- Any items that are returned after more than 30 days.
- Any CD, DVD, or video game that is not in its plastic wrapping.
- Any item not in perfect condition.
How to send your return:
1.Call 1-800-555-3132 and ask for a shipping label.
2.Pack the items along with the receipt in a box. You can use the box that the arrived in or
another box.
3.Put the shipping label on the outside of the box.
4.Bring the package to the post office.
Leia o texto e responda a questão, apenas uma alternativa.
I’d rather____________the movie. It’s supposed to be good.
Q1388774
Inglês
Texto associado
Read the questions. Look at the return-and-refund policy. Circle the answers.
Return-and-Refund Policy
Full refunds:
We will refund 100% of the price for all books and for other new,
Unopened merchandise that is returned within 30 days. Items should be returned in their original
product packaging. You will receive your refund check in six weeks.
Partial refunds:
We will refund less than 100% of the price for:
- Any items that are returned after more than 30 days.
- Any CD, DVD, or video game that is not in its plastic wrapping.
- Any item not in perfect condition.
How to send your return:
1.Call 1-800-555-3132 and ask for a shipping label.
2.Pack the items along with the receipt in a box. You can use the box that the arrived in or
another box.
3.Put the shipping label on the outside of the box.
4.Bring the package to the post office.
Leia o texto e responda a questão, apenas uma alternativa.
Read the numbered sentence. Then circle the letter of the two sentences that have a
similar meaning.
Amber will open her own business when she finishes school.
Q1388773
Inglês
Texto associado
Read the questions. Look at the return-and-refund policy. Circle the answers.
Return-and-Refund Policy
Full refunds:
We will refund 100% of the price for all books and for other new,
Unopened merchandise that is returned within 30 days. Items should be returned in their original
product packaging. You will receive your refund check in six weeks.
Partial refunds:
We will refund less than 100% of the price for:
- Any items that are returned after more than 30 days.
- Any CD, DVD, or video game that is not in its plastic wrapping.
- Any item not in perfect condition.
How to send your return:
1.Call 1-800-555-3132 and ask for a shipping label.
2.Pack the items along with the receipt in a box. You can use the box that the arrived in or
another box.
3.Put the shipping label on the outside of the box.
4.Bring the package to the post office.
Leia o texto e responda a questão, apenas uma alternativa.
If you get a full refund, the company will send you a refund check in _____.
Q1388772
Inglês
Texto associado
Read the questions. Look at the return-and-refund policy. Circle the answers.
Return-and-Refund Policy
Full refunds:
We will refund 100% of the price for all books and for other new,
Unopened merchandise that is returned within 30 days. Items should be returned in their original
product packaging. You will receive your refund check in six weeks.
Partial refunds:
We will refund less than 100% of the price for:
- Any items that are returned after more than 30 days.
- Any CD, DVD, or video game that is not in its plastic wrapping.
- Any item not in perfect condition.
How to send your return:
1.Call 1-800-555-3132 and ask for a shipping label.
2.Pack the items along with the receipt in a box. You can use the box that the arrived in or
another box.
3.Put the shipping label on the outside of the box.
4.Bring the package to the post office.
Leia o texto e responda a questão, apenas uma alternativa.
You bought a DVD and opened the wrapping. If you return it, you can
get____________.
Q1388771
Inglês
Texto associado
Read the questions. Look at the return-and-refund policy. Circle the answers.
Return-and-Refund Policy
Full refunds:
We will refund 100% of the price for all books and for other new,
Unopened merchandise that is returned within 30 days. Items should be returned in their original
product packaging. You will receive your refund check in six weeks.
Partial refunds:
We will refund less than 100% of the price for:
- Any items that are returned after more than 30 days.
- Any CD, DVD, or video game that is not in its plastic wrapping.
- Any item not in perfect condition.
How to send your return:
1.Call 1-800-555-3132 and ask for a shipping label.
2.Pack the items along with the receipt in a box. You can use the box that the arrived in or
another box.
3.Put the shipping label on the outside of the box.
4.Bring the package to the post office.
Leia o texto e responda a questão, apenas uma alternativa.
If you don’t want a video game that you bought, the first thing you should do
is____________.
Q1388770
Inglês
Texto associado
Read the questions. Look at the return-and-refund policy. Circle the answers.
Return-and-Refund Policy
Full refunds:
We will refund 100% of the price for all books and for other new,
Unopened merchandise that is returned within 30 days. Items should be returned in their original
product packaging. You will receive your refund check in six weeks.
Partial refunds:
We will refund less than 100% of the price for:
- Any items that are returned after more than 30 days.
- Any CD, DVD, or video game that is not in its plastic wrapping.
- Any item not in perfect condition.
How to send your return:
1.Call 1-800-555-3132 and ask for a shipping label.
2.Pack the items along with the receipt in a box. You can use the box that the arrived in or
another box.
3.Put the shipping label on the outside of the box.
4.Bring the package to the post office.
Leia o texto e responda a questão, apenas uma alternativa.
This Web page tells about__________.
Ano: 2014
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2014 - CÁSPER LÍBERO - Vestibular |
Q1372581
Inglês
Texto associado
A brief survey of the short story part 47: Machado de Assis
Still neglected by English readers, the Brazilian writer is one of the very greatest of the
early modern era
The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most
obscure of world literature’s great short-story writers. Producing work between 1869 and 1908,
Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter
appearing after 1880. This date marks the point at which Machado metamorphosed from a
writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian
poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier
works and Moby-Dick.
The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed,
many uncertainties surround the biography of Machado, who was an intensely private person.
Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above
the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake
Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic
world view, in which truth and reality, which are never absolutes, can only be approximated;
no character relationships are stable, no issues are clear-cut, and the nature of everything is
tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the
straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
(...)
Machado’s most recent English translator, John Gledson, says the difficulty of translating him
is capturing the right balance of distance, understanding and sympathy. Trapdoors to the
unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak
violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet,
complicated humour”. Reading him prompts thoughts of so many different writers that he can
only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”.
“The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of
view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral
ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary
mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the
Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to
some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder
that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented
literary modernity, sui generis”.
(...)
At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves
impossible to meaningfully access.
This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary
in Machado’s interest in the duality of the self, and the exploration of characters whose outer and
inner personae differ radically. In “The Diplomat” this idea is expressed through the description
of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful
composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier
treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most
memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National
Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into
focus, and thus cling to reality, is to spend a period several hours each day standing before
the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place
alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves
leave them trapped in a limbo between their public and private personae. Just as the characters
belong together, so do their creators; writing about Machado in 2002 Michael Wood complained,
“Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?”
Not nearly so many as he deserves.
Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT
http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado
(Adapted) Access November, 2014
An attribute of Machado’s work seen on the post is:
Ano: 2014
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2014 - CÁSPER LÍBERO - Vestibular |
Q1372580
Inglês
Texto associado
A brief survey of the short story part 47: Machado de Assis
Still neglected by English readers, the Brazilian writer is one of the very greatest of the
early modern era
The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most
obscure of world literature’s great short-story writers. Producing work between 1869 and 1908,
Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter
appearing after 1880. This date marks the point at which Machado metamorphosed from a
writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian
poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier
works and Moby-Dick.
The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed,
many uncertainties surround the biography of Machado, who was an intensely private person.
Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above
the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake
Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic
world view, in which truth and reality, which are never absolutes, can only be approximated;
no character relationships are stable, no issues are clear-cut, and the nature of everything is
tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the
straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
(...)
Machado’s most recent English translator, John Gledson, says the difficulty of translating him
is capturing the right balance of distance, understanding and sympathy. Trapdoors to the
unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak
violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet,
complicated humour”. Reading him prompts thoughts of so many different writers that he can
only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”.
“The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of
view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral
ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary
mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the
Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to
some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder
that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented
literary modernity, sui generis”.
(...)
At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves
impossible to meaningfully access.
This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary
in Machado’s interest in the duality of the self, and the exploration of characters whose outer and
inner personae differ radically. In “The Diplomat” this idea is expressed through the description
of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful
composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier
treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most
memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National
Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into
focus, and thus cling to reality, is to spend a period several hours each day standing before
the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place
alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves
leave them trapped in a limbo between their public and private personae. Just as the characters
belong together, so do their creators; writing about Machado in 2002 Michael Wood complained,
“Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?”
Not nearly so many as he deserves.
Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT
http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado
(Adapted) Access November, 2014
The references to other writers on the text were, for Chris Power,
Ano: 2014
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2014 - CÁSPER LÍBERO - Vestibular |
Q1372579
Inglês
Texto associado
A brief survey of the short story part 47: Machado de Assis
Still neglected by English readers, the Brazilian writer is one of the very greatest of the
early modern era
The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most
obscure of world literature’s great short-story writers. Producing work between 1869 and 1908,
Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter
appearing after 1880. This date marks the point at which Machado metamorphosed from a
writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian
poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier
works and Moby-Dick.
The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed,
many uncertainties surround the biography of Machado, who was an intensely private person.
Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above
the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake
Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic
world view, in which truth and reality, which are never absolutes, can only be approximated;
no character relationships are stable, no issues are clear-cut, and the nature of everything is
tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the
straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
(...)
Machado’s most recent English translator, John Gledson, says the difficulty of translating him
is capturing the right balance of distance, understanding and sympathy. Trapdoors to the
unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak
violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet,
complicated humour”. Reading him prompts thoughts of so many different writers that he can
only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”.
“The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of
view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral
ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary
mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the
Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to
some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder
that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented
literary modernity, sui generis”.
(...)
At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves
impossible to meaningfully access.
This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary
in Machado’s interest in the duality of the self, and the exploration of characters whose outer and
inner personae differ radically. In “The Diplomat” this idea is expressed through the description
of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful
composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier
treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most
memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National
Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into
focus, and thus cling to reality, is to spend a period several hours each day standing before
the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place
alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves
leave them trapped in a limbo between their public and private personae. Just as the characters
belong together, so do their creators; writing about Machado in 2002 Michael Wood complained,
“Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?”
Not nearly so many as he deserves.
Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT
http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado
(Adapted) Access November, 2014
On the post, the phenomenon described as to have been captured most
memorably by Machado
Ano: 2014
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2014 - CÁSPER LÍBERO - Vestibular |
Q1372578
Inglês
Texto associado
A brief survey of the short story part 47: Machado de Assis
Still neglected by English readers, the Brazilian writer is one of the very greatest of the
early modern era
The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most
obscure of world literature’s great short-story writers. Producing work between 1869 and 1908,
Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter
appearing after 1880. This date marks the point at which Machado metamorphosed from a
writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian
poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier
works and Moby-Dick.
The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed,
many uncertainties surround the biography of Machado, who was an intensely private person.
Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above
the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake
Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic
world view, in which truth and reality, which are never absolutes, can only be approximated;
no character relationships are stable, no issues are clear-cut, and the nature of everything is
tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the
straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
(...)
Machado’s most recent English translator, John Gledson, says the difficulty of translating him
is capturing the right balance of distance, understanding and sympathy. Trapdoors to the
unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak
violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet,
complicated humour”. Reading him prompts thoughts of so many different writers that he can
only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”.
“The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of
view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral
ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary
mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the
Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to
some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder
that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented
literary modernity, sui generis”.
(...)
At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves
impossible to meaningfully access.
This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary
in Machado’s interest in the duality of the self, and the exploration of characters whose outer and
inner personae differ radically. In “The Diplomat” this idea is expressed through the description
of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful
composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier
treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most
memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National
Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into
focus, and thus cling to reality, is to spend a period several hours each day standing before
the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place
alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves
leave them trapped in a limbo between their public and private personae. Just as the characters
belong together, so do their creators; writing about Machado in 2002 Michael Wood complained,
“Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?”
Not nearly so many as he deserves.
Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT
http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado
(Adapted) Access November, 2014
Augusto Meyer, Jake Schmitt and Lorie Ishimatsu
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A brief survey of the short story part 47: Machado de Assis
Still neglected by English readers, the Brazilian writer is one of the very greatest of the
early modern era
The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most
obscure of world literature’s great short-story writers. Producing work between 1869 and 1908,
Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter
appearing after 1880. This date marks the point at which Machado metamorphosed from a
writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian
poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier
works and Moby-Dick.
The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed,
many uncertainties surround the biography of Machado, who was an intensely private person.
Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above
the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake
Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic
world view, in which truth and reality, which are never absolutes, can only be approximated;
no character relationships are stable, no issues are clear-cut, and the nature of everything is
tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the
straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
(...)
Machado’s most recent English translator, John Gledson, says the difficulty of translating him
is capturing the right balance of distance, understanding and sympathy. Trapdoors to the
unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak
violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet,
complicated humour”. Reading him prompts thoughts of so many different writers that he can
only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”.
“The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of
view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral
ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary
mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the
Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to
some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder
that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented
literary modernity, sui generis”.
(...)
At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves
impossible to meaningfully access.
This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary
in Machado’s interest in the duality of the self, and the exploration of characters whose outer and
inner personae differ radically. In “The Diplomat” this idea is expressed through the description
of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful
composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier
treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most
memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National
Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into
focus, and thus cling to reality, is to spend a period several hours each day standing before
the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place
alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves
leave them trapped in a limbo between their public and private personae. Just as the characters
belong together, so do their creators; writing about Machado in 2002 Michael Wood complained,
“Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?”
Not nearly so many as he deserves.
Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT
http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado
(Adapted) Access November, 2014
The noun ‘shift’ on the first paragraph was used by
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Leia o trecho abaixo.
A fix for handbag addicts
A Miami-based web site has come up with a clever – and cost effective – solution for women who are addicted to designer handbags. It’s called www.bagborroworsteal.com, a business that charges members a monthly fee to borrow handbags from Prada, Gucci, Yves Saint Laurent, among others, for as long as they like. The members are divided into three categories – Trendsetters ($19,95 a month), Princess ($49,95 a month), and Diva ($99,95 a month) – each offering different access to different bags. (Speak up n°210).
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A fix for handbag addicts
A Miami-based web site has come up with a clever – and cost effective – solution for women who are addicted to designer handbags. It’s called www.bagborroworsteal.com, a business that charges members a monthly fee to borrow handbags from Prada, Gucci, Yves Saint Laurent, among others, for as long as they like. The members are divided into three categories – Trendsetters ($19,95 a month), Princess ($49,95 a month), and Diva ($99,95 a month) – each offering different access to different bags. (Speak up n°210).
Assinale a opção que não está de acordo com o texto:
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Cycling
What's the furthest you have ever cycled?
Perhaps you cycle to school or to work, or maybe at most a short cycling trip with friends? How would you feel about spending months on the road travelling solo from the UK to China, by bike?
For British cyclist Pete Jones, camping rough and cycling long distances through inhospitable terrain are second nature. Mr Jones is currently undertaking a mammoth trip across the Eurasian continent from Britain to China. Pete Jones is no stranger to China. But he says many people there are puzzled by his passion for cycling, asking why he would choose to cycle when he can afford a car. Indeed, while there are an estimated 400 million bicycles in China, where it has long been the preferred form of transport, rapid economic growth has fuelled an explosive expansion in car ownership.
Edward Genochio, another British cyclist who completed a 41,000km trip to China and back, said one of his aims was to "promote cycling as a safe, sustainable and environmentally benign means of getting about". In the UK, the last few years have seen a rise in the number of people choosing two wheels over four, with some estimates saying the number of people cycling to work has almost doubled in the last five years. Politicians also see cycling as a way to boost their eco-credentials, with people such as London mayor Boris Johnson often riding to work under his own steam. But we may have to wait some time before we see him emulating Pete Jones in attempting to cycle all the way to China!
Fonte: www.bbc.co.uk/worldservice/...
According to the information from the text, it is correct to say that:
I- for Pete Jones, camping rough and cycling long distances through inhospitable terrain are the most common activity for British people. II- despite cycling has long been the preferred form of transport in China, car ownership has increased a lot because of country’s economic growth. III- it’s very important to wear a helmet while cycling. IV- in the UK, some estimates say the number of people cycling to work has almost doubled in the last twenty five years. V- London mayor often cycles to work.
I- for Pete Jones, camping rough and cycling long distances through inhospitable terrain are the most common activity for British people. II- despite cycling has long been the preferred form of transport in China, car ownership has increased a lot because of country’s economic growth. III- it’s very important to wear a helmet while cycling. IV- in the UK, some estimates say the number of people cycling to work has almost doubled in the last twenty five years. V- London mayor often cycles to work.
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Texto 2
Most people would agree that learning a second language in a natural acquisition contexto or “on the street” is not the
same as learning it in the classroom. Many believe that learning “on the street” is more effective.The traditional
instruction environment is one where the language is being taught to a group of second or foreign language learners. In
this case, the focus is on the language itself, rather than on information which is carried by the language. The teacher´s
goal is to see to it that the students learn the vocabulary and grammatical rules of the target language. The goal of
learners in such courses is often to pass an examination rather than to use the language for daily communicative
interaction. Communicative instruction environments also involve learners whose goal is learning the language itself,
but the style of instruction places an emphasis on interaction, conversation, and language use, rather than on learning
about the language. The topics which are discussed in the communicative instruction environment are often topics of
general interest to the learner. In these classes, the focus is not selected on the basis of teaching a specific feature of
the language, but on teaching learners to use the language in a variety of contexts. Students´ success in these courses
is measured in terms of their ability to ‘get things done’ in the second language, rather than on their accuracy in using
certain grammatical features.
(How Languages Are Learned, Oxford University Press, 1998)
In the text, the expression target language means:
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The right to drive or the right to breathe?
Politicians have taken some steps to cut deaths from dirty air, but more are needed.
In 1554, a band of wandering Jesuits, after sweating through southern Brazil’s forested coastal hills, stopped by a river on the high Piratininga plateau and, delighted at its fresh, cool air, founded the city of São Paulo. Were they to return now, for much of the year they would find a grey-brown smog shrouding a metropolis of 18m people and 6m vehicles. The foul air kills thousands of people a year and inflicts chronic illness on countless others. Mexico city has long been notorious for its polluted air. Fuel burns less efficiently at high altitudes, and thermal inversions mean that the surrounding mountains trap a layer of cold air above the city, preventing the dispersal of fumes. But the surge in car ownership throughout Latin America since the 1970s means that São Paulo and other Latin American capitals are no longer far behind. Though at lower altitudes, both São Paulo and Santiago suffer from thermal inversions, too. http://www.economist.com/node/1021580. Acesso em 30 de Abril de 2014.
The pollution in São Paulo has worsened because of:
The right to drive or the right to breathe?
Politicians have taken some steps to cut deaths from dirty air, but more are needed.
In 1554, a band of wandering Jesuits, after sweating through southern Brazil’s forested coastal hills, stopped by a river on the high Piratininga plateau and, delighted at its fresh, cool air, founded the city of São Paulo. Were they to return now, for much of the year they would find a grey-brown smog shrouding a metropolis of 18m people and 6m vehicles. The foul air kills thousands of people a year and inflicts chronic illness on countless others. Mexico city has long been notorious for its polluted air. Fuel burns less efficiently at high altitudes, and thermal inversions mean that the surrounding mountains trap a layer of cold air above the city, preventing the dispersal of fumes. But the surge in car ownership throughout Latin America since the 1970s means that São Paulo and other Latin American capitals are no longer far behind. Though at lower altitudes, both São Paulo and Santiago suffer from thermal inversions, too. http://www.economist.com/node/1021580. Acesso em 30 de Abril de 2014.
The pollution in São Paulo has worsened because of:
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