Questões de Vestibular
Sobre interpretação de texto | reading comprehension em inglês
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SOURCE: http://www.englishact.com.br/2018/04/calvin-and-hobbes-comic-strips.html
access on Oct 7th, 2019.

SOURCE: http://www.englishact.com.br/2018/04/calvin-and-hobbes-comic-strips.html access on Oct 7th, 2019.
From the strip we can infer that:
Read the text and asnwer questions:
HOME
They rose up like men. We saw them. Like men they stood.
We shouldn’t have been anywhere near that place. Like most farmland outside Lotus, Georgia, this here one had plenty scary warning signs. The threats hung from wire mesh fences with wooden stakes every fifty or so feet. But when we saw a crawl space that some animal had dug—a coyote maybe, or a coon dog—we couldn’t resist. Just kids we were. The grass was shoulder high for her and waist high for me so, looking out for snakes, we crawled through it on our bellies. The reward was worth the harm grass juice and clouds of gnats did to our eyes, because there right in front of us, about fifty yards off, they stood like men. Their raised hooves crashing and striking, their manes tossing back from wild white eyes. They bit each other like dogs but when they stood, reared up on their hind legs, their forelegs around the withers of the other, we held our breath in wonder. One was rust-colored, the other deep black, both sunny with sweat. The neighs were not as frightening as the silence following a kick of hind legs into the lifted lips of the opponent. Nearby, colts and mares, indifferent, nibbled grass or looked away. Then it stopped. The rust-colored one dropped his head and pawed the ground while the winner loped off in an arc, nudging the mares before him.
As we elbowed back through the grass looking for the dug-out place, avoiding the line of parked trucks beyond, we lost our way. Although it took forever to re-sight the fence, neither of us panicked until we heard voices, urgent but low. I grabbed her arm and put a finger to my lips. Never lifting our heads, just peeping through the grass, we saw them pull a body from a wheelbarrow and throw it into a hole already waiting. One foot stuck up over the edge and quivered, as though it could get out, as though with a little effort it could break through the dirt being shoveled in. We could not see the faces of the men doing the burying, only their trousers; but we saw the edge of a spade drive the jerking foot down to join the rest of itself. When she saw that black foot with its creamy pink and mud-streaked sole being whacked into the grave, her whole body began to shake. I hugged her shoulders tight and tried to pull her trembling into my own bones because, as a brother four years older, I thought I could handle it. The men were long gone and the moon was a cantaloupe by the time we felt safe enough to disturb even one blade of grass and move on our stomachs, searching for the scooped-out part under the fence. When we got home we expected to be whipped or at least scolded for staying out so late, but the grown-ups did not notice us. Some disturbance had their attention.
Since you’re set on telling my story, whatever you think and whatever you write down, know this: I really forgot about the burial. I only remembered the horses. They were so beautiful. So brutal. And they stood like men.
SOURCE: Excerpted from MORRISON, Toni. Home (2012), Harmondsworth: Penguin, 2012.
Read the text and asnwer questions:
HOME
They rose up like men. We saw them. Like men they stood.
We shouldn’t have been anywhere near that place. Like most farmland outside Lotus, Georgia, this here one had plenty scary warning signs. The threats hung from wire mesh fences with wooden stakes every fifty or so feet. But when we saw a crawl space that some animal had dug—a coyote maybe, or a coon dog—we couldn’t resist. Just kids we were. The grass was shoulder high for her and waist high for me so, looking out for snakes, we crawled through it on our bellies. The reward was worth the harm grass juice and clouds of gnats did to our eyes, because there right in front of us, about fifty yards off, they stood like men. Their raised hooves crashing and striking, their manes tossing back from wild white eyes. They bit each other like dogs but when they stood, reared up on their hind legs, their forelegs around the withers of the other, we held our breath in wonder. One was rust-colored, the other deep black, both sunny with sweat. The neighs were not as frightening as the silence following a kick of hind legs into the lifted lips of the opponent. Nearby, colts and mares, indifferent, nibbled grass or looked away. Then it stopped. The rust-colored one dropped his head and pawed the ground while the winner loped off in an arc, nudging the mares before him.
As we elbowed back through the grass looking for the dug-out place, avoiding the line of parked trucks beyond, we lost our way. Although it took forever to re-sight the fence, neither of us panicked until we heard voices, urgent but low. I grabbed her arm and put a finger to my lips. Never lifting our heads, just peeping through the grass, we saw them pull a body from a wheelbarrow and throw it into a hole already waiting. One foot stuck up over the edge and quivered, as though it could get out, as though with a little effort it could break through the dirt being shoveled in. We could not see the faces of the men doing the burying, only their trousers; but we saw the edge of a spade drive the jerking foot down to join the rest of itself. When she saw that black foot with its creamy pink and mud-streaked sole being whacked into the grave, her whole body began to shake. I hugged her shoulders tight and tried to pull her trembling into my own bones because, as a brother four years older, I thought I could handle it. The men were long gone and the moon was a cantaloupe by the time we felt safe enough to disturb even one blade of grass and move on our stomachs, searching for the scooped-out part under the fence. When we got home we expected to be whipped or at least scolded for staying out so late, but the grown-ups did not notice us. Some disturbance had their attention.
Since you’re set on telling my story, whatever you think and whatever you write down, know this: I really forgot about the burial. I only remembered the horses. They were so beautiful. So brutal. And they stood like men.
SOURCE: Excerpted from MORRISON, Toni. Home (2012), Harmondsworth: Penguin, 2012.
Doctor: Have you ever fainted before? Patient: Yes, the last time you told me your fees.
(Available in:https://pages2cool.blogspot.com.)
Mark the item that does NOT match the dialogue:
Doctor: Please, take your seat. What is your problem? Patient: Hello Doctor, please, can you give me your certificate? Doctor: Why? Patient: I took two weeks leave in my office. They asked me to get a “Doctor Certificate”.
(Available in: https://pages2cool.blogspot.com.)
We learn from the dialogue that:


I - Content still comes first regardless of whether we conceive of the work of an art on the model of a picture or on the model of a statement. II - Content, whether conceived on the model of a picture ar on the model of a statement, still comes first. III - Whether being conceived the work of art on the model of a picture or on the model of a statement, content still comes first.
If applied to the text, which ones would be correct and keep the literal meaning?


I -The word it(I. 22) refers to art(I. 21) II -The word lt (I. 39) refers to the defense of art (I. 39) III- The word its (I. 56) refers to art (I. 57)
Which ones are correct?




I - ln must have been that it was incantatory(I. 01-02), it belongs to the sarne word class as in that of the Greek philosophers (I. 04). II - ln that of the Greek phi/osophers (I. 04), it belongs to the sarne word class as in proposed that art was mlmesls, lmitation of reality (I. 04-05). III- ln must have been that lt was incantatory (I. 01-02), it belongs to the sarne word class as in proposed that art was mlmesls, lmitation of reality (I. 04-05).
Which ones are correct?


( ) Plato's theory suggests that the value of art is questionable. ( ) Art has been expected to justify itself since people had their earliest experience with it. ( ) Rather than seen as a representation of reality, art is nowadays regarded as a subjective expression by most artists. ( ) The dichotomy between form and content does not prevail, regardless of the contemporary view of art as subjective expression.
The sequence should read, from top to bottom,




I - Roupas novas nos dão satisfação e nos fazem sentir inteligentes desde o momento em que as compramos. II - A expressão waltlng for f/esh and blood (l. 46-47) denota a expectativa por parte das mulheres de que a roupa se ajuste ao corpo. III - O vestido é apresentado como uma peça de vestuário associada a diferentes situações da vida da mulher e a aspectos de sua identidade.
Quais estão corretas?


( ) O trecho Bari wants us to think not so much about what clothes say as how they make us feel (l. 20-21) pode ser substituído por Bari wants us to think more of how clothes make us feel rather than of what they say, sem prejuízo da correção gramatical e do significado original do texto. ( ) O segmento it is (l. 47) pode ser omitido, sem prejuízo da correção gramatical e do significado original do texto. ( ) O trecho It is this sense of the dress as an alternative se/f that(I. 47-48) pode ser substituído por This sense of the dress as an alternative self is what, sem prejuízo da correção gramatical e do significado original do texto. ( ) A palavra since (l. 29) pode ser substituída por as from, sem prejuízo de correção gramatical e do significado original do texto.
A sequência correta de preenchimento dos parênteses, de cima para baixo, é


I - A expressão give yellow a go (l. 08) indica que amarelo não é uma cor popular para roupas. II - A expressão wear and tear (l. 30) diz respeito aos vários ternos rasgados durante a gravação do filme em que Cary Grant atuou. IlI - O paralelismo das ocorrências da palavra enough permite afirmar que, na construção enough enough (l. 57), o primeiro termo funciona como um adjetivo, ao passo que o segundo é um advérbio.
Quais estão corretas?




( ) A palavra would (l. 32) indica a recorrência de uma situação. ( ) A palavra as (l. 43) poderia ser substituída tanto por given that quanto por due to, sem prejuízo da correção gramatical e do significado original do texto. ( ) O segmento who needed them more, since they had families to support (l. 49-50) poderia ser substituído por who needed them more, inasmuch as they had families to support, sem prejuízo da correção gramatical e do significado original do texto. ( ) o easier segmento Odd choices were simply for men, most of whom would sti/1 find women g/ad to marry them (l. 55-57) poderia ser substituído por Odd choices were simply easier for those men who would still find women glad to marry them, sem prejuízo da correção gramatical e do significado original do texto.
A sequência correta de preenchimento dos parênteses, de cima para baixo, é


I - O cabelo de Juliet não consegue manter um determinado penteado, mesmo com o auxílio de produto específico. II - Os adjetivos fair-skinned (l. 31), light-brown (1. 32) e bright (l. 36) denotam cores claras. III- A timidez e a retração de Juliet são sugeridas pela cabeça baixa e pela facilidade com que seu rosto fica corado.
Quais estão corretas?