Questões de Vestibular
Comentadas sobre interpretação de texto | reading comprehension em inglês
Foram encontradas 2.261 questões
Ano: 2013
Banca:
COPEVE-UFAL
Órgão:
UNEAL
Prova:
COPEVE-UFAL - 2013 - UNEAL - Vestibular - Prova 1 |
Q291761
Inglês
A charge seguinte serve para responder a questão.
As mensagens passadas nos cartuns visam satirizar comportamentos humanos e proporcionar uma reflexão sobre nossas atitudes. No cartum acima, a professora emite a frase Nw lts bgn, pls trn t pg 122, que está sem algumas letras, a fim de ganhar tempo. Tal frase, que se assemelha às expressões usadas em mensagens de texto, seria grafada em sua maneira completa da seguinte forma:
As mensagens passadas nos cartuns visam satirizar comportamentos humanos e proporcionar uma reflexão sobre nossas atitudes. No cartum acima, a professora emite a frase Nw lts bgn, pls trn t pg 122, que está sem algumas letras, a fim de ganhar tempo. Tal frase, que se assemelha às expressões usadas em mensagens de texto, seria grafada em sua maneira completa da seguinte forma:
Ano: 2013
Banca:
COPEVE-UFAL
Órgão:
UNEAL
Prova:
COPEVE-UFAL - 2013 - UNEAL - Vestibular - Prova 1 |
Q291760
Inglês
O texto seguinte serve para responder a questão 26.
FATHER AND SON
Cat Stevens
Part 1
It's not time to make a change,
Just relax, take it easy.
You're still young, that's your fault,
There's so much you have to know.
Find a girl, settle down,
If you want you can marry.
Look at me, I am old, but I'm happy.
I was once like you are now, and I know that it's not easy,
To be calm when you've found something going on.
But take your time, think a lot,
Why, think of everything you've got.
For you will still be here tomorrow, but your dreams may not.
Part 2
How can I try to explain, when I do he turns away again.
It's always been the same, same old story.
From the moment I could talk I was ordered to listen.
Now there's a way and I know that I have to go away.
I know I have to go.
Part 3
It's not time to make a change,
Just sit down, take it slowly.
You're still young, that's your fault,
There's so much you have to go through.
Find a girl, settle down,
If you want you can marry.
Look at me, I am old, but I'm happy.
(Son-- Away Away Away, I know I have to
Make this decision alone - no)
Part 4
All the times that I cried, keeping all the things I knew inside,
It's hard, but it's harder to ignore it.
If they were right, I'd agree, but it's them They know not me.
Now there's a way and I know that I have to go away.
I know I have to go.
(Father-- Stay Stay Stay, Why must you go and Make this decision alone?)
Na canção Father and Son, escrita e gravada por Cat Stevens (agora chamado Yusuf Islam) em 1970, vemos os pontos de vista de um pai e um filho. Podemos, então afirmar que:
I. a parte 1 é proferida pelo pai;
II. a parte 2 é proferida pelo filho;
III. a parte 3 é proferida pelo filho;
IV. a parte 4 é proferida pelo pai.
Dos itens acima, verifica-se que estão corretos
FATHER AND SON
Cat Stevens
Part 1
It's not time to make a change,
Just relax, take it easy.
You're still young, that's your fault,
There's so much you have to know.
Find a girl, settle down,
If you want you can marry.
Look at me, I am old, but I'm happy.
I was once like you are now, and I know that it's not easy,
To be calm when you've found something going on.
But take your time, think a lot,
Why, think of everything you've got.
For you will still be here tomorrow, but your dreams may not.
Part 2
How can I try to explain, when I do he turns away again.
It's always been the same, same old story.
From the moment I could talk I was ordered to listen.
Now there's a way and I know that I have to go away.
I know I have to go.
Part 3
It's not time to make a change,
Just sit down, take it slowly.
You're still young, that's your fault,
There's so much you have to go through.
Find a girl, settle down,
If you want you can marry.
Look at me, I am old, but I'm happy.
(Son-- Away Away Away, I know I have to
Make this decision alone - no)
Part 4
All the times that I cried, keeping all the things I knew inside,
It's hard, but it's harder to ignore it.
If they were right, I'd agree, but it's them They know not me.
Now there's a way and I know that I have to go away.
I know I have to go.
(Father-- Stay Stay Stay, Why must you go and Make this decision alone?)
Na canção Father and Son, escrita e gravada por Cat Stevens (agora chamado Yusuf Islam) em 1970, vemos os pontos de vista de um pai e um filho. Podemos, então afirmar que:
I. a parte 1 é proferida pelo pai;
II. a parte 2 é proferida pelo filho;
III. a parte 3 é proferida pelo filho;
IV. a parte 4 é proferida pelo pai.
Dos itens acima, verifica-se que estão corretos
Ano: 2013
Banca:
COPEVE-UFAL
Órgão:
UNEAL
Prova:
COPEVE-UFAL - 2013 - UNEAL - Vestibular - Prova 1 |
Q291759
Inglês
O ex-presidente norte-americano George Bush ficou famoso, entre outras coisas, por suas gafes e erros cometidos em seus pronunciamentos oficiais. A citação abaixo, proferida em um discurso sobre o sistema educacional de seu país em Washington em 2001, chamou a atenção porque
"Rarely is the question asked: Is our children learning?"
George Bush
Disponível em: www.quotesstar.com/quotes/r/rarely-is-the-question-asked-88349.html
Acesso em: 06 dez 2012
"Rarely is the question asked: Is our children learning?"
George Bush
Disponível em: www.quotesstar.com/quotes/r/rarely-is-the-question-asked-88349.html
Acesso em: 06 dez 2012
Ano: 2013
Banca:
COPEVE-UFAL
Órgão:
UNEAL
Prova:
COPEVE-UFAL - 2013 - UNEAL - Vestibular - Prova 1 |
Q291758
Inglês
Leia o texto abaixo e responda a questão.
We may take advantage of this pause in the narrative to make certain statements. Orlando had become a woman – there is no denying it. But in every other respect, Orlando remained precisely as he had been. The change of sex, though it altered their future, did nothing whatever to alter their identity. Their faces remained, as their portraits prove, practically the same. His memory – but in future we must, for convention's sake, say 'her' for 'his,' and 'she' for 'he' – her memory then, went back through all the events of her past life without encountering any obstacle. Some slight haziness there may have been, as if a few dark drops had fallen into the clear pool of memory; certain things had become a little dimmed; but that was all. The change seemed to have been accomplished painlessly and completely and in such a way that Orlando herself showed no surprise at it. Many people, taking this into account, and holding that such a change of sex is against nature, have been at great pains to prove that Orlando had always been a woman, that Orlando is at this moment a man. Let biologists and psychologists determine. It is enough for us to state the simple fact; Orlando was a man till the age of thirty; when he became a woman and
has remained so ever since.
Woolf, Virginia. Orlando – A Biography. Londres. Granada. 1984.
Virginia Woolf foi uma escritora inglesa do século 20. Neste parágrafo de seu romance Orlando – Uma Biografia, ela
We may take advantage of this pause in the narrative to make certain statements. Orlando had become a woman – there is no denying it. But in every other respect, Orlando remained precisely as he had been. The change of sex, though it altered their future, did nothing whatever to alter their identity. Their faces remained, as their portraits prove, practically the same. His memory – but in future we must, for convention's sake, say 'her' for 'his,' and 'she' for 'he' – her memory then, went back through all the events of her past life without encountering any obstacle. Some slight haziness there may have been, as if a few dark drops had fallen into the clear pool of memory; certain things had become a little dimmed; but that was all. The change seemed to have been accomplished painlessly and completely and in such a way that Orlando herself showed no surprise at it. Many people, taking this into account, and holding that such a change of sex is against nature, have been at great pains to prove that Orlando had always been a woman, that Orlando is at this moment a man. Let biologists and psychologists determine. It is enough for us to state the simple fact; Orlando was a man till the age of thirty; when he became a woman and
has remained so ever since.
Woolf, Virginia. Orlando – A Biography. Londres. Granada. 1984.
Virginia Woolf foi uma escritora inglesa do século 20. Neste parágrafo de seu romance Orlando – Uma Biografia, ela
Ano: 2013
Banca:
COPEVE-UFAL
Órgão:
UNEAL
Prova:
COPEVE-UFAL - 2013 - UNEAL - Vestibular - Prova 1 |
Q291757
Inglês
A charge seguinte serve para responder a questão.
As mensagens passadas nos cartuns visam satirizar comportamentos humanos e proporcionar uma reflexão sobre nossas atitudes. No cartum acima, o aluno estranha a grafia das palavras you, return e goodbye, uma vez que está acostumado a usar U, BRB e BFN ao invés delas. As expressões BRB e BFN, frequentes em mensagens de texto enviadas por celulares, significam, respectivamente,
As mensagens passadas nos cartuns visam satirizar comportamentos humanos e proporcionar uma reflexão sobre nossas atitudes. No cartum acima, o aluno estranha a grafia das palavras you, return e goodbye, uma vez que está acostumado a usar U, BRB e BFN ao invés delas. As expressões BRB e BFN, frequentes em mensagens de texto enviadas por celulares, significam, respectivamente,
Ano: 2013
Banca:
COPEVE-UFAL
Órgão:
UNEAL
Prova:
COPEVE-UFAL - 2013 - UNEAL - Vestibular - Prova 1 |
Q291755
Inglês
O texto seguinte serve para responder a questão 21.
De acordo com o texto,
De acordo com o texto,
Q1636875
Inglês
With the widespread implementation of automatic call switching (third paragraph), what can be assumed according to the text?
Q1636872
Inglês
Why didn’t Mr. Bell’s discovery catch on at first (second paragraph)?
Q1400706
Inglês
Which of the following options is the correct sequence of the four missing words in the fourth paragraph?
Q1400705
Inglês
Which of the following alternatives is another name for the upcoming UN Conference on Sustainable Development?
Q1400704
Inglês
What do secure, assess and address have in common as they appear in the fifth paragraph of the text?
Ano: 2012
Banca:
COMPERVE - UFRN
Órgão:
UFRN
Prova:
COMPERVE - 2012 - UFRN - Vestibular - Primeiro Dia - Inglês |
Q1391838
Inglês
Texto associado
Why m-learning?
m-Learning is reaching a new kind of user through:
1. Convenience: accessible from anywhere (bus, class, laundry room) to content including
quizzes, journal entries, balance sheets, learning games.
2. Collaboration: best learning takes place when we share and get immediate tips and
feedback.
3. Portability: stacks of books are replaced by RAM with learning experiences customized
and connected (Reviews and summaries chunked for on-the-go access).
4. Compatibility: designed learning especially for mobile devices.
5. Engaging/Fun: combine gaming and learning for a more entertaining and effective
experience.
Disponível em:<http://www.grayharriman.com/mlearning.htm> . Acesso em: 31 maio 2012.
A m-learning permite que
Ano: 2012
Banca:
COMPERVE - UFRN
Órgão:
UFRN
Prova:
COMPERVE - 2012 - UFRN - Vestibular - Primeiro Dia - Inglês |
Q1391837
Inglês
Texto associado
Why m-learning?
m-Learning is reaching a new kind of user through:
1. Convenience: accessible from anywhere (bus, class, laundry room) to content including
quizzes, journal entries, balance sheets, learning games.
2. Collaboration: best learning takes place when we share and get immediate tips and
feedback.
3. Portability: stacks of books are replaced by RAM with learning experiences customized
and connected (Reviews and summaries chunked for on-the-go access).
4. Compatibility: designed learning especially for mobile devices.
5. Engaging/Fun: combine gaming and learning for a more entertaining and effective
experience.
Disponível em:<http://www.grayharriman.com/mlearning.htm> . Acesso em: 31 maio 2012.
A m-learning oferece a um novo usuário a
possibilidade de
Ano: 2012
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2012 - CÁSPER LÍBERO - Vestibular |
Q1383020
Inglês
Texto associado
Leia o texto a seguir e responda à questão.
A schematic summary would say as follows: At a founding time, romantic fiction saw the
peculiarities of the Brazilian family life under the picturesque and the national identity signs, over
which it laid some more or less feuilletonist fabling. The combination, in line with the needs of
the young country, was very successful. Although irreverent, the emphasis on mirroring and its
somewhat regressive accomplice character formed a positive sign on our particular traits. One
generation later, Machado used in a different manner the same thematic, ideological, and aesthetic complexity, this time without the covering mists of local color and patriotic self-congratulation. The
large Brazilian family was now observed from the point of view of the enlightened dependent,
who was part of it and transformed it into a problem. This is a special system of relationships, with
its own structure, resources and problems, which needed to be analyzed. Its difference was a sign
of primitiveness, because the tacit measure of the dependent was the Rights of Man, which were
effective, in principle, in other regions. The narrator’s fondness shifted to the heroine’s struggles
against injustice, which was also portrayed in a feuilletonist fashion. As for the opposing side, it was
inevitable that the conflict arrangement, as it developed from book to book, made more visible the
negative traits of the landowner. These traits absorbed and reflected precisely, as a fault, the absurd
lack of balance between the classes. Using the consequences of this very lack of balance, which
gave no signs of internal regeneration, Machado invented the formula that would characterize his
mature works and make him a great writer. He did not surrender to the easy delights of romantic
picturesqueness. Likewise, he now renounced the unanimous fondness towards the moderate
narrator and his good causes.
The new artistic device dealt indirectly with dependents’ frustrations and directly with their
abandonment by landowners – the peripheral society incapable of integration resonated. The
scope of the formal arrangement, which challenged the secular spirit’s superstitions, especially the
trust in progress and in benevolence, is uncomfortable to this day. The insinuating personification
of an elite narrator enviably civilized and deeply involved in oppressive relationships, which he
arranges and judges himself, is a chess move that disarranges the narrative board, making the game
more real. The process challenges readers in every line: it teaches them to think by themselves; to
discuss not only the issues, but also their presentation; to consider the narrators and authorities
– always the interested party – from a distance, even if they are eloquent; to doubt the civilizing
and national commitment of the privileged, particularly in young countries, where this intention
plays a major role; to feel an aversion to the imaginary consolations of romanticism, manipulated
by the narrative authority to its own benefit. The process teaches, above all, that the combination
of the cosmopolitan and the excluded spheres may be stable, without a feasible solution. This
demonstration is a juicy one because it illustrates and examines the nation’s “delicious” mechanisms
– to use the Machadian term – of the non-bourgeois reproduction of the bourgeois order. However,
the demonstration is also universal to some extent, because globally, unlike what it seems, this
reproduction is the rule, not the exception.
The heroines of the first novels are not very interesting because their precarious social status is
distorted by the romantic cliché. Their vicissitudes, however, stress the antagonistic class traits, whose
figure has literary originality. In the novels of the second phase, once the angle is inverted, it is the
poor who appear in the subjective mirror of owners, where the prisms are either that of bourgeois
individualism or of paternalistic domination, according to the selfish convenience impudence. The dependent becomes extraordinarily relevant in that light. They are portraits of the powerless that
get no recognition for the value of work, no rights protected, and no compensation by divine
providence. It is the social vacuum generated by modern slavery to freedom without possessions,
another issue that, mutatis mutandis, lives on.
In the same line of advanced resonance of the primitiveness, notice how the extra bourgeois aspect
of local issues works, and also the narrative relationship itself: at times it is only a shift in the rule;
at times it is a movement in its own right, which escapes the dominating definitions and discovers
unknown land. To give an idea, compare the part of authority in the definition and dissolution of
characters, themselves or others; the relationships between personal separation and the experience
of time, between command and insanity – often by the ones in charge; the extra scientific
dimensions of science, with its authoritarian and sadistic roles; the overall difference that generates
a point of view, etc. In this manner, Machadian fiction and the advanced literature of his time
converged – both tried to release other realities under the bourgeois reality. As a mere indication, it
is worth mentioning a few similarities, rather at random, in the innovative field, such as Dostoievski,
Baudelaire, Henry James, Tchekov, Proust, Kafka, and Borges. Machado’s classical derivations are
countless and have led critics to find his merit there, which hinders the understanding of the up-todateness and advanced character of his experimentation.
Choose the alternative that best answers the question: Does the Machadian prose
reflect any kind of social criticism?
Ano: 2012
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2012 - CÁSPER LÍBERO - Vestibular |
Q1383019
Inglês
Texto associado
Leia o texto a seguir e responda à questão.
A schematic summary would say as follows: At a founding time, romantic fiction saw the
peculiarities of the Brazilian family life under the picturesque and the national identity signs, over
which it laid some more or less feuilletonist fabling. The combination, in line with the needs of
the young country, was very successful. Although irreverent, the emphasis on mirroring and its
somewhat regressive accomplice character formed a positive sign on our particular traits. One
generation later, Machado used in a different manner the same thematic, ideological, and aesthetic complexity, this time without the covering mists of local color and patriotic self-congratulation. The
large Brazilian family was now observed from the point of view of the enlightened dependent,
who was part of it and transformed it into a problem. This is a special system of relationships, with
its own structure, resources and problems, which needed to be analyzed. Its difference was a sign
of primitiveness, because the tacit measure of the dependent was the Rights of Man, which were
effective, in principle, in other regions. The narrator’s fondness shifted to the heroine’s struggles
against injustice, which was also portrayed in a feuilletonist fashion. As for the opposing side, it was
inevitable that the conflict arrangement, as it developed from book to book, made more visible the
negative traits of the landowner. These traits absorbed and reflected precisely, as a fault, the absurd
lack of balance between the classes. Using the consequences of this very lack of balance, which
gave no signs of internal regeneration, Machado invented the formula that would characterize his
mature works and make him a great writer. He did not surrender to the easy delights of romantic
picturesqueness. Likewise, he now renounced the unanimous fondness towards the moderate
narrator and his good causes.
The new artistic device dealt indirectly with dependents’ frustrations and directly with their
abandonment by landowners – the peripheral society incapable of integration resonated. The
scope of the formal arrangement, which challenged the secular spirit’s superstitions, especially the
trust in progress and in benevolence, is uncomfortable to this day. The insinuating personification
of an elite narrator enviably civilized and deeply involved in oppressive relationships, which he
arranges and judges himself, is a chess move that disarranges the narrative board, making the game
more real. The process challenges readers in every line: it teaches them to think by themselves; to
discuss not only the issues, but also their presentation; to consider the narrators and authorities
– always the interested party – from a distance, even if they are eloquent; to doubt the civilizing
and national commitment of the privileged, particularly in young countries, where this intention
plays a major role; to feel an aversion to the imaginary consolations of romanticism, manipulated
by the narrative authority to its own benefit. The process teaches, above all, that the combination
of the cosmopolitan and the excluded spheres may be stable, without a feasible solution. This
demonstration is a juicy one because it illustrates and examines the nation’s “delicious” mechanisms
– to use the Machadian term – of the non-bourgeois reproduction of the bourgeois order. However,
the demonstration is also universal to some extent, because globally, unlike what it seems, this
reproduction is the rule, not the exception.
The heroines of the first novels are not very interesting because their precarious social status is
distorted by the romantic cliché. Their vicissitudes, however, stress the antagonistic class traits, whose
figure has literary originality. In the novels of the second phase, once the angle is inverted, it is the
poor who appear in the subjective mirror of owners, where the prisms are either that of bourgeois
individualism or of paternalistic domination, according to the selfish convenience impudence. The dependent becomes extraordinarily relevant in that light. They are portraits of the powerless that
get no recognition for the value of work, no rights protected, and no compensation by divine
providence. It is the social vacuum generated by modern slavery to freedom without possessions,
another issue that, mutatis mutandis, lives on.
In the same line of advanced resonance of the primitiveness, notice how the extra bourgeois aspect
of local issues works, and also the narrative relationship itself: at times it is only a shift in the rule;
at times it is a movement in its own right, which escapes the dominating definitions and discovers
unknown land. To give an idea, compare the part of authority in the definition and dissolution of
characters, themselves or others; the relationships between personal separation and the experience
of time, between command and insanity – often by the ones in charge; the extra scientific
dimensions of science, with its authoritarian and sadistic roles; the overall difference that generates
a point of view, etc. In this manner, Machadian fiction and the advanced literature of his time
converged – both tried to release other realities under the bourgeois reality. As a mere indication, it
is worth mentioning a few similarities, rather at random, in the innovative field, such as Dostoievski,
Baudelaire, Henry James, Tchekov, Proust, Kafka, and Borges. Machado’s classical derivations are
countless and have led critics to find his merit there, which hinders the understanding of the up-todateness and advanced character of his experimentation.
“These traits absorbed and reflected precisely, as a fault, the absurd lack of balance
between the classes.” This statement taken from the text might be interpreted as:
Ano: 2012
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2012 - CÁSPER LÍBERO - Vestibular |
Q1383018
Inglês
Texto associado
Leia o texto a seguir e responda à questão.
A schematic summary would say as follows: At a founding time, romantic fiction saw the
peculiarities of the Brazilian family life under the picturesque and the national identity signs, over
which it laid some more or less feuilletonist fabling. The combination, in line with the needs of
the young country, was very successful. Although irreverent, the emphasis on mirroring and its
somewhat regressive accomplice character formed a positive sign on our particular traits. One
generation later, Machado used in a different manner the same thematic, ideological, and aesthetic complexity, this time without the covering mists of local color and patriotic self-congratulation. The
large Brazilian family was now observed from the point of view of the enlightened dependent,
who was part of it and transformed it into a problem. This is a special system of relationships, with
its own structure, resources and problems, which needed to be analyzed. Its difference was a sign
of primitiveness, because the tacit measure of the dependent was the Rights of Man, which were
effective, in principle, in other regions. The narrator’s fondness shifted to the heroine’s struggles
against injustice, which was also portrayed in a feuilletonist fashion. As for the opposing side, it was
inevitable that the conflict arrangement, as it developed from book to book, made more visible the
negative traits of the landowner. These traits absorbed and reflected precisely, as a fault, the absurd
lack of balance between the classes. Using the consequences of this very lack of balance, which
gave no signs of internal regeneration, Machado invented the formula that would characterize his
mature works and make him a great writer. He did not surrender to the easy delights of romantic
picturesqueness. Likewise, he now renounced the unanimous fondness towards the moderate
narrator and his good causes.
The new artistic device dealt indirectly with dependents’ frustrations and directly with their
abandonment by landowners – the peripheral society incapable of integration resonated. The
scope of the formal arrangement, which challenged the secular spirit’s superstitions, especially the
trust in progress and in benevolence, is uncomfortable to this day. The insinuating personification
of an elite narrator enviably civilized and deeply involved in oppressive relationships, which he
arranges and judges himself, is a chess move that disarranges the narrative board, making the game
more real. The process challenges readers in every line: it teaches them to think by themselves; to
discuss not only the issues, but also their presentation; to consider the narrators and authorities
– always the interested party – from a distance, even if they are eloquent; to doubt the civilizing
and national commitment of the privileged, particularly in young countries, where this intention
plays a major role; to feel an aversion to the imaginary consolations of romanticism, manipulated
by the narrative authority to its own benefit. The process teaches, above all, that the combination
of the cosmopolitan and the excluded spheres may be stable, without a feasible solution. This
demonstration is a juicy one because it illustrates and examines the nation’s “delicious” mechanisms
– to use the Machadian term – of the non-bourgeois reproduction of the bourgeois order. However,
the demonstration is also universal to some extent, because globally, unlike what it seems, this
reproduction is the rule, not the exception.
The heroines of the first novels are not very interesting because their precarious social status is
distorted by the romantic cliché. Their vicissitudes, however, stress the antagonistic class traits, whose
figure has literary originality. In the novels of the second phase, once the angle is inverted, it is the
poor who appear in the subjective mirror of owners, where the prisms are either that of bourgeois
individualism or of paternalistic domination, according to the selfish convenience impudence. The dependent becomes extraordinarily relevant in that light. They are portraits of the powerless that
get no recognition for the value of work, no rights protected, and no compensation by divine
providence. It is the social vacuum generated by modern slavery to freedom without possessions,
another issue that, mutatis mutandis, lives on.
In the same line of advanced resonance of the primitiveness, notice how the extra bourgeois aspect
of local issues works, and also the narrative relationship itself: at times it is only a shift in the rule;
at times it is a movement in its own right, which escapes the dominating definitions and discovers
unknown land. To give an idea, compare the part of authority in the definition and dissolution of
characters, themselves or others; the relationships between personal separation and the experience
of time, between command and insanity – often by the ones in charge; the extra scientific
dimensions of science, with its authoritarian and sadistic roles; the overall difference that generates
a point of view, etc. In this manner, Machadian fiction and the advanced literature of his time
converged – both tried to release other realities under the bourgeois reality. As a mere indication, it
is worth mentioning a few similarities, rather at random, in the innovative field, such as Dostoievski,
Baudelaire, Henry James, Tchekov, Proust, Kafka, and Borges. Machado’s classical derivations are
countless and have led critics to find his merit there, which hinders the understanding of the up-todateness and advanced character of his experimentation.
According to the text, Machado de Assis’ prose might be considered different
because:
Ano: 2012
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2012 - CÁSPER LÍBERO - Vestibular |
Q1383017
Inglês
Texto associado
Leia o texto a seguir e responda à questão.
A schematic summary would say as follows: At a founding time, romantic fiction saw the
peculiarities of the Brazilian family life under the picturesque and the national identity signs, over
which it laid some more or less feuilletonist fabling. The combination, in line with the needs of
the young country, was very successful. Although irreverent, the emphasis on mirroring and its
somewhat regressive accomplice character formed a positive sign on our particular traits. One
generation later, Machado used in a different manner the same thematic, ideological, and aesthetic complexity, this time without the covering mists of local color and patriotic self-congratulation. The
large Brazilian family was now observed from the point of view of the enlightened dependent,
who was part of it and transformed it into a problem. This is a special system of relationships, with
its own structure, resources and problems, which needed to be analyzed. Its difference was a sign
of primitiveness, because the tacit measure of the dependent was the Rights of Man, which were
effective, in principle, in other regions. The narrator’s fondness shifted to the heroine’s struggles
against injustice, which was also portrayed in a feuilletonist fashion. As for the opposing side, it was
inevitable that the conflict arrangement, as it developed from book to book, made more visible the
negative traits of the landowner. These traits absorbed and reflected precisely, as a fault, the absurd
lack of balance between the classes. Using the consequences of this very lack of balance, which
gave no signs of internal regeneration, Machado invented the formula that would characterize his
mature works and make him a great writer. He did not surrender to the easy delights of romantic
picturesqueness. Likewise, he now renounced the unanimous fondness towards the moderate
narrator and his good causes.
The new artistic device dealt indirectly with dependents’ frustrations and directly with their
abandonment by landowners – the peripheral society incapable of integration resonated. The
scope of the formal arrangement, which challenged the secular spirit’s superstitions, especially the
trust in progress and in benevolence, is uncomfortable to this day. The insinuating personification
of an elite narrator enviably civilized and deeply involved in oppressive relationships, which he
arranges and judges himself, is a chess move that disarranges the narrative board, making the game
more real. The process challenges readers in every line: it teaches them to think by themselves; to
discuss not only the issues, but also their presentation; to consider the narrators and authorities
– always the interested party – from a distance, even if they are eloquent; to doubt the civilizing
and national commitment of the privileged, particularly in young countries, where this intention
plays a major role; to feel an aversion to the imaginary consolations of romanticism, manipulated
by the narrative authority to its own benefit. The process teaches, above all, that the combination
of the cosmopolitan and the excluded spheres may be stable, without a feasible solution. This
demonstration is a juicy one because it illustrates and examines the nation’s “delicious” mechanisms
– to use the Machadian term – of the non-bourgeois reproduction of the bourgeois order. However,
the demonstration is also universal to some extent, because globally, unlike what it seems, this
reproduction is the rule, not the exception.
The heroines of the first novels are not very interesting because their precarious social status is
distorted by the romantic cliché. Their vicissitudes, however, stress the antagonistic class traits, whose
figure has literary originality. In the novels of the second phase, once the angle is inverted, it is the
poor who appear in the subjective mirror of owners, where the prisms are either that of bourgeois
individualism or of paternalistic domination, according to the selfish convenience impudence. The dependent becomes extraordinarily relevant in that light. They are portraits of the powerless that
get no recognition for the value of work, no rights protected, and no compensation by divine
providence. It is the social vacuum generated by modern slavery to freedom without possessions,
another issue that, mutatis mutandis, lives on.
In the same line of advanced resonance of the primitiveness, notice how the extra bourgeois aspect
of local issues works, and also the narrative relationship itself: at times it is only a shift in the rule;
at times it is a movement in its own right, which escapes the dominating definitions and discovers
unknown land. To give an idea, compare the part of authority in the definition and dissolution of
characters, themselves or others; the relationships between personal separation and the experience
of time, between command and insanity – often by the ones in charge; the extra scientific
dimensions of science, with its authoritarian and sadistic roles; the overall difference that generates
a point of view, etc. In this manner, Machadian fiction and the advanced literature of his time
converged – both tried to release other realities under the bourgeois reality. As a mere indication, it
is worth mentioning a few similarities, rather at random, in the innovative field, such as Dostoievski,
Baudelaire, Henry James, Tchekov, Proust, Kafka, and Borges. Machado’s classical derivations are
countless and have led critics to find his merit there, which hinders the understanding of the up-todateness and advanced character of his experimentation.
“The romantic fiction saw the peculiarities of the Brazilian family life under the
picturesque and the national identity signs, over which it laid some more or less
feuilletonist fabling”. By this proposition we could deduce that:
Ano: 2012
Banca:
IF-BA
Órgão:
IF-BA
Prova:
IF-BA - 2012 - IF-BA - Vestibular - CURSOS SUPERIORES - INGLÊS |
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Inglês
Selecione o trecho musical que melhor se relaciona com a mensagem da citação apresentada no Texto III:
Ano: 2012
Banca:
IF-BA
Órgão:
IF-BA
Prova:
IF-BA - 2012 - IF-BA - Vestibular - CURSOS SUPERIORES - INGLÊS |
Q1369596
Inglês
No discurso indireto, a sentença “Patriotism means to stand
by the country”, presente no Texto II, seria:
Ano: 2012
Banca:
IF-BA
Órgão:
IF-BA
Prova:
IF-BA - 2012 - IF-BA - Curso Técnico - MODALIDADE SUBSEQUENTE - INGLÊS |
Q1369474
Inglês
Segundo o Texto III, podemos afirmar que:
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