Questões de Vestibular Comentadas sobre inglês
Foram encontradas 2.807 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:
Ano: 2015
Banca:
PUC - GO
Órgão:
PUC-GO
Prova:
PUC - GO - 2015 - PUC-GO - Vestibular - Segundo Semestre |
Q533987
Inglês
Texto associado
TEXTO 3
O outro
Ele me olhou como se estivesse descobrindo o mundo. Me olhou e reolhou em fração de segundo. Só vi isso porque estava olhando-o na mesma sintonia. A singularização do olhar. Tentei disfarçar virando o pescoço para a direita e para a esquerda, como se estivesse fazendo um exercício, e numa dessas viradas olhei rapidamente para ele no volante. Ele me olhava e volveu rapidamente os olhos, fingindo estar tirando um cisco da camisa. Era um ser de meia idade, os cabelos com alguns fios grisalhos, postura de gente séria, camisa branca, um cidadão comum que jamais flertaria com outra pessoa no trânsito. E assim, enquanto o semáforo estava no vermelho para nós, ficou esse jogo de olhares que não queriam se fixar, mas observar o outro espécime que nada tinha de diferente e ao mesmo tempo tinha tudo de diferente. Ele era o outro e isso era tudo. É como se, na igualdade de milhares de humanos, de repente, o ser se redescobrisse num outro espécime. Quando o semáforo ficou verde, nós nos olhamos e acionamos os motores.
(GONÇALVES, Aguinaldo. Das estampas. São Paulo: Nankin, 2013. p. 130.)
O outro
Ele me olhou como se estivesse descobrindo o mundo. Me olhou e reolhou em fração de segundo. Só vi isso porque estava olhando-o na mesma sintonia. A singularização do olhar. Tentei disfarçar virando o pescoço para a direita e para a esquerda, como se estivesse fazendo um exercício, e numa dessas viradas olhei rapidamente para ele no volante. Ele me olhava e volveu rapidamente os olhos, fingindo estar tirando um cisco da camisa. Era um ser de meia idade, os cabelos com alguns fios grisalhos, postura de gente séria, camisa branca, um cidadão comum que jamais flertaria com outra pessoa no trânsito. E assim, enquanto o semáforo estava no vermelho para nós, ficou esse jogo de olhares que não queriam se fixar, mas observar o outro espécime que nada tinha de diferente e ao mesmo tempo tinha tudo de diferente. Ele era o outro e isso era tudo. É como se, na igualdade de milhares de humanos, de repente, o ser se redescobrisse num outro espécime. Quando o semáforo ficou verde, nós nos olhamos e acionamos os motores.
(GONÇALVES, Aguinaldo. Das estampas. São Paulo: Nankin, 2013. p. 130.)
In Text 3 the action of seeing is repeatedly used.
Choose the alternative in which all the verbs are
connected with the idea of seeing
Q518449
Inglês
Texto associado
images1.fanpop.com
By establishing links between different parts of a text, one might guess the meaning of an unknown word.
Based on Calvin’s evaluation of the show he is watching, the meaning of the word tripe, in panel 8, is:
Based on Calvin’s evaluation of the show he is watching, the meaning of the word tripe, in panel 8, is:
Q518448
Inglês
Texto associado
images1.fanpop.com
And I should know. (panel 4)
Modal verbs can be used to refer to a speaker’s attitude.
The modal should indicates that Calvin believes his knowledge of the bad quality of the TV show would be characterized as:
Modal verbs can be used to refer to a speaker’s attitude.
The modal should indicates that Calvin believes his knowledge of the bad quality of the TV show would be characterized as:
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.
Q1388775
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.
Circle the letter of the correct answer to complete each sentence.
1. Maria often goes to the movies by____________.
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:
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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
Ano: 2014
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2014 - CÁSPER LÍBERO - Vestibular |
Q1372577
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 noun ‘shift’ on the first paragraph was used by
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