Questões de Vestibular Sobre inglês
Foram encontradas 6.336 questões
Q1387149
Inglês
Texto associado
Survey of Student Behaviors at La Costa Community College, 2007.
Have lied to their parents 45%
Have copied a friend’s term paper 20%
Have a body piercing 25%
Share music files 65%
Have a tattoo 40%
Exercise weekly 80%
Conforme os dados acima, marque as respostas corretas.
According to the survey, the highest percentage of student…………….
Q1387148
Inglês
Texto associado
Survey of Student Behaviors at La Costa Community College, 2007.
Have lied to their parents 45%
Have copied a friend’s term paper 20%
Have a body piercing 25%
Share music files 65%
Have a tattoo 40%
Exercise weekly 80%
Conforme os dados acima, marque as respostas corretas.
what percentage of the people in the survey said they exercise weekly?
Q1387147
Inglês
Texto associado
Survey of Student Behaviors at La Costa Community College, 2007.
Have lied to their parents 45%
Have copied a friend’s term paper 20%
Have a body piercing 25%
Share music files 65%
Have a tattoo 40%
Exercise weekly 80%
Conforme os dados acima, marque as respostas corretas.
What was the population surveyed in this study?
Ano: 2013
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2013 - CÁSPER LÍBERO - Vestibular |
Q1383536
Inglês
The ad on the left,
produced by the Agency DDB,
Paris, was considered one of
the best print ads 2012-2013
and has earned it a Gold
Lion. Read it and choose the
alternative that best shows its
main idea.
(Source: http://www.adweek.com/news-gallery/advertising-branding/ worlds-best-print-ads-2012-13-150758#gold-lion-anlci-1-of-6-42)
(Source: http://www.adweek.com/news-gallery/advertising-branding/ worlds-best-print-ads-2012-13-150758#gold-lion-anlci-1-of-6-42)
Ano: 2013
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2013 - CÁSPER LÍBERO - Vestibular |
Q1383535
Inglês
Texto associado
Read the following text to answer question
Spilt Milk by Chico Buarque: review
A mishmash of influences gives rise to a vivid portrait of Brazil
Chico Buarque, bossanovista and novelist, whose latest book is ‘Spilt Milk’ Photo: Sipa Press / Rex Features
By Ian Thomson
Back in the Sixties, Brazil thrilled to a new dance beat called bossa nova. With its languid
jazz tones, the music had a hushed intensity and underlying air of sadness. Chico Buarque, a
leading bossanovistasongwriter and novelist, is revered in Brazil as a political hero. In 1968, he
was imprisoned by the military for “counter-culture activities”.
Spilt Milk, Buarque’s fourth novel, displays a typically Brazilian mishmash of influences ranging from memoir to adventure to political diatribe. A crotchety old man, Eulálio d’Assumpção, lies
moribund in a Rio de Janeiro hospital, musing on his life while lashing out at stenographers
and “spiteful” orderlies. The food, we learn, reeks unpleasantly of garlic (“Wait till my mother
finds out”).
Aged 150, he has come down in the world wretchedly. In pages of rambling monologue, the
improbably old narrator describes the decline of his family over generations of Brazilian history.
Amid sagas of political tribalism and grievous dictatorship, plantation-owning forebears have
squandered fortunes on drink, drugs and armament deals. A souring smell of “spilt milk” hangs
over the narrative as it twists round half-remembered family feuds and hatreds.
Along the way, Buarque paints an exceptionally vivid picture of Brazilian high society in the
1890s, with its German governesses, imported French clothes and Chopin waltzes. Though bedbound and drugged, Eulálio recalls the love of his life, Matilde, whose cinnamon-coloured skin
and “Moorish eyes” had worked a fatal charm on him years ago. Where is she now?
At first glance, Spilt Milk appears to be in narrative disarray, as the book wanders backwards and
forwards in time. Eventually, though, the inchoate strands cohere into an absorbing, if bitter,
meditation on Brazil.
Just as bossa nova had borrowed from samba and West Coast jazz, so Buarque borrows from
Samuel Beckett, Gabriel García Marquez and others. In a now-famous book of 1928, Manifesto
Antropófago, Brazil’s leading modernist poet Oswald de Andrade had defined Brazilian literature
as anthropophagic, or cannibalistic, “eating” other forms of European and African writing. Spilt
Milk, brocaded with a range of literary influences, conforms to the ideal beautifully.
Source: http://www.telegraph.co.uk/culture/books/fictionreviews/9573627/Spilt-Milk-by-Chico-Buarque-review.html
Based on the book review, it is correct to affirm about Chico Buarque that
Ano: 2013
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2013 - CÁSPER LÍBERO - Vestibular |
Q1383534
Inglês
Texto associado
Read the following text to answer question
Spilt Milk by Chico Buarque: review
A mishmash of influences gives rise to a vivid portrait of Brazil
Chico Buarque, bossanovista and novelist, whose latest book is ‘Spilt Milk’ Photo: Sipa Press / Rex Features
By Ian Thomson
Back in the Sixties, Brazil thrilled to a new dance beat called bossa nova. With its languid
jazz tones, the music had a hushed intensity and underlying air of sadness. Chico Buarque, a
leading bossanovistasongwriter and novelist, is revered in Brazil as a political hero. In 1968, he
was imprisoned by the military for “counter-culture activities”.
Spilt Milk, Buarque’s fourth novel, displays a typically Brazilian mishmash of influences ranging from memoir to adventure to political diatribe. A crotchety old man, Eulálio d’Assumpção, lies
moribund in a Rio de Janeiro hospital, musing on his life while lashing out at stenographers
and “spiteful” orderlies. The food, we learn, reeks unpleasantly of garlic (“Wait till my mother
finds out”).
Aged 150, he has come down in the world wretchedly. In pages of rambling monologue, the
improbably old narrator describes the decline of his family over generations of Brazilian history.
Amid sagas of political tribalism and grievous dictatorship, plantation-owning forebears have
squandered fortunes on drink, drugs and armament deals. A souring smell of “spilt milk” hangs
over the narrative as it twists round half-remembered family feuds and hatreds.
Along the way, Buarque paints an exceptionally vivid picture of Brazilian high society in the
1890s, with its German governesses, imported French clothes and Chopin waltzes. Though bedbound and drugged, Eulálio recalls the love of his life, Matilde, whose cinnamon-coloured skin
and “Moorish eyes” had worked a fatal charm on him years ago. Where is she now?
At first glance, Spilt Milk appears to be in narrative disarray, as the book wanders backwards and
forwards in time. Eventually, though, the inchoate strands cohere into an absorbing, if bitter,
meditation on Brazil.
Just as bossa nova had borrowed from samba and West Coast jazz, so Buarque borrows from
Samuel Beckett, Gabriel García Marquez and others. In a now-famous book of 1928, Manifesto
Antropófago, Brazil’s leading modernist poet Oswald de Andrade had defined Brazilian literature
as anthropophagic, or cannibalistic, “eating” other forms of European and African writing. Spilt
Milk, brocaded with a range of literary influences, conforms to the ideal beautifully.
Source: http://www.telegraph.co.uk/culture/books/fictionreviews/9573627/Spilt-Milk-by-Chico-Buarque-review.html
The word ideal in the last sentence of the book review refers to
Ano: 2013
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2013 - CÁSPER LÍBERO - Vestibular |
Q1383533
Inglês
Texto associado
Read the following text to answer question
Spilt Milk by Chico Buarque: review
A mishmash of influences gives rise to a vivid portrait of Brazil
Chico Buarque, bossanovista and novelist, whose latest book is ‘Spilt Milk’ Photo: Sipa Press / Rex Features
By Ian Thomson
Back in the Sixties, Brazil thrilled to a new dance beat called bossa nova. With its languid
jazz tones, the music had a hushed intensity and underlying air of sadness. Chico Buarque, a
leading bossanovistasongwriter and novelist, is revered in Brazil as a political hero. In 1968, he
was imprisoned by the military for “counter-culture activities”.
Spilt Milk, Buarque’s fourth novel, displays a typically Brazilian mishmash of influences ranging from memoir to adventure to political diatribe. A crotchety old man, Eulálio d’Assumpção, lies
moribund in a Rio de Janeiro hospital, musing on his life while lashing out at stenographers
and “spiteful” orderlies. The food, we learn, reeks unpleasantly of garlic (“Wait till my mother
finds out”).
Aged 150, he has come down in the world wretchedly. In pages of rambling monologue, the
improbably old narrator describes the decline of his family over generations of Brazilian history.
Amid sagas of political tribalism and grievous dictatorship, plantation-owning forebears have
squandered fortunes on drink, drugs and armament deals. A souring smell of “spilt milk” hangs
over the narrative as it twists round half-remembered family feuds and hatreds.
Along the way, Buarque paints an exceptionally vivid picture of Brazilian high society in the
1890s, with its German governesses, imported French clothes and Chopin waltzes. Though bedbound and drugged, Eulálio recalls the love of his life, Matilde, whose cinnamon-coloured skin
and “Moorish eyes” had worked a fatal charm on him years ago. Where is she now?
At first glance, Spilt Milk appears to be in narrative disarray, as the book wanders backwards and
forwards in time. Eventually, though, the inchoate strands cohere into an absorbing, if bitter,
meditation on Brazil.
Just as bossa nova had borrowed from samba and West Coast jazz, so Buarque borrows from
Samuel Beckett, Gabriel García Marquez and others. In a now-famous book of 1928, Manifesto
Antropófago, Brazil’s leading modernist poet Oswald de Andrade had defined Brazilian literature
as anthropophagic, or cannibalistic, “eating” other forms of European and African writing. Spilt
Milk, brocaded with a range of literary influences, conforms to the ideal beautifully.
Source: http://www.telegraph.co.uk/culture/books/fictionreviews/9573627/Spilt-Milk-by-Chico-Buarque-review.html
Choose the statement that is true about the book review.
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377323
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
In the last paragraph, one can infer that the most important thing
for Sebastião Salgado is
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377322
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
Segundo o texto, a tribo Zo’e
Q1377321
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
No trecho do sétimo parágrafo – the chief asked me whether I
was part of the white people clan that usually came from that
direction –, a palavra whether equivale, em português, a
Q1377319
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
No trecho do quinto parágrafo – I would put it inside my clothes,
my assistant would give me another one –, a palavra one referese, no texto, a
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377318
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
The Yamal peninsula
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377317
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
One of the problems Salgado had when photographing Genesis
was
Ano: 2013
Banca:
VUNESP
Órgão:
UFTM
Provas:
VUNESP - 2013 - UFTM - Vestibular - Prova 01
|
VUNESP - 2013 - UFTM - Vestibular De Inverno |
Q1377316
Inglês
Texto associado
Up Close With Sebastião Salgado, Brazil’s Legendary
Photographer-Activist
By Fernanda Ezabella (Folha de S.Paulo/Worldcrunch)
(Alto Xingu Indians in Central Brazil.
Sebastião Salgado/Amazonas Images)
Sebastião Salgado’s blue eyes have seen a bit of everything
in this world – and this might not even be an exaggeration. For
the past eight years in particular, the 69-year-old Brazilian
photographer has travelled to more than 30 isolated regions
of the world, collecting images of dozens of remote tribes,
endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey
that began in 2004 and ended in 2012, at a cost of one million
Euros a year. The result will be shown in magazines, books, a
documentary by Wim Wenders and a series of exhibitions around
the world, each displaying some 250 black-and-white photos.
The first exhibition will open in London on April 11, with
former Brazilian President Lula – Salgado’s long-time friend –
as special guest. “We want to create a little movement around
these photos to provoke a debate on what we need to preserve,”
he says. Salgado defends environmental causes through his
organization, Instituto Terra. Even after travelling to so many
exotic places, Salgado, now living in Paris, still takes vacations
in Brazil. Here are excerpts from a conversation Salgado had
with Folha, with new details about his travels, photographic
techniques and new environmental projects.
• Coldest trip
I visited the Nenets, in the Yamal peninsula, in northern
Siberia, Russia. They are a nomadic tribe who raise reindeer in
extreme Arctic conditions. When I went there it was spring and
weather ranged between -35ºC and -45ºC. I didn’t wash myself
for 45 days. They don’t take baths because there is no water. The
only way to get water is to break off a piece of ice and warm it
in a pot.
• Frozen equipment
I used a Canon, an EOS1 Mark III, a very powerful machine.
The problem was the batteries. In the Siberian temperatures, they
quickly lost power. On average, I take 2,500 shots per battery,
but this time I could only take 300-400 photos before the battery
stopped working. I would put it inside my clothes, my assistant
would give me another one, I would take 300 more pictures and,
when that battery ran out energy, I would take out the other one
and it would work again.
• Going digital for the first time
I started Genesis with film and changed to digital. The
airport X-Ray scanners degrade the quality of film, and so I
decided to change to digital and was quite surprised. Quality
was better than the one I had with negatives in medium format.
I turned off the screen on the back of the camera, and used my
camera as I have always done. When I came back to Paris, I
printed contact sheets and edited the photos using a magnifying
glass, because I don’t know how to do it in the computer.
• Stone Ages
I met tribes that are still living in the Stone Ages, with
working tools such as stone hammers. There were clans of about
10 people living in treetops. They had already seen white people
before. They looked towards the direction I had come from and
the chief asked me whether I was part of the white people clan
that usually came from that direction. Because, for them, the
world is all made of clans.
• Brazilian arrows
I met the Zo’e tribe, in Brazil, who were first discovered
15 years ago and live in a state of total purity. You see the guy
working with an arrow. He warms it, put some weight on it, a
straight feather if he wants a quicker arrow, a rounder one to
have it slower. It is the same science as for rockets. And he’s got
the same problem as in Cape Canaveral, to recover his rockets.
If his ballistic calculations are wrong, he loses his arrow. He
takes only 10 arrows with him when he goes hunting, no more
than that.
• Activist or photographer?
Photography is my life. When I am taking photos, I am in
a deep trance. When I have my camera and am travelling with
the Nenets, it’s my life, morning to night. I have taken incredible
photos, but my life is also the environment and Instituto Terra.
(www.worldcrunch.com. Adaptado.)
Sebastião Salgado
Q1362935
Inglês
Texto associado
TEXT
KIRKUS REVIEW
(Disponível em <http://www.kirkusreviews.com/bookreviews/joaquim-maria-machado-de-assis/domcasmurro/>. Acesso em 10/06/2013.)
Choose the correct alternative, according to text.
The word “myriad” (line 10) means a large number of something.
The word “myriad” (line 10) means a large number of something.
Q1362934
Inglês
Texto associado
TEXT
KIRKUS REVIEW
(Disponível em <http://www.kirkusreviews.com/bookreviews/joaquim-maria-machado-de-assis/domcasmurro/>. Acesso em 10/06/2013.)
Choose the correct alternative, according to text.
The adjectives “middle-aged” (line 7), “delightful” (line 9), “self-tormenting” (line 11) and “wry” (line 15) are describing only the character Bento Santiago.
The adjectives “middle-aged” (line 7), “delightful” (line 9), “self-tormenting” (line 11) and “wry” (line 15) are describing only the character Bento Santiago.
Q1362933
Inglês
Texto associado
TEXT
KIRKUS REVIEW
(Disponível em <http://www.kirkusreviews.com/bookreviews/joaquim-maria-machado-de-assis/domcasmurro/>. Acesso em 10/06/2013.)
Choose the correct alternative, according to text.
“this novel” (lines 5-6) refers to the “Library of Latin America”.
“this novel” (lines 5-6) refers to the “Library of Latin America”.
Q1362932
Inglês
Texto associado
TEXT
KIRKUS REVIEW
(Disponível em <http://www.kirkusreviews.com/bookreviews/joaquim-maria-machado-de-assis/domcasmurro/>. Acesso em 10/06/2013.)
Choose the correct alternative, according to text.
“1900” (line 5) is the year when Dom Casmurro was launched in English by Oxford.
“1900” (line 5) is the year when Dom Casmurro was launched in English by Oxford.
Q1362931
Inglês
Texto associado
TEXT
KIRKUS REVIEW
(Disponível em <http://www.kirkusreviews.com/bookreviews/joaquim-maria-machado-de-assis/domcasmurro/>. Acesso em 10/06/2013.)
Choose the correct alternative, according to
text.
The verbs “begins” (line 3), “is” (line 6) and “fails” (line 10) are all in the simple present tense.
The verbs “begins” (line 3), “is” (line 6) and “fails” (line 10) are all in the simple present tense.
Q1362930
Inglês
Texto associado
TEXT
KIRKUS REVIEW
(Disponível em <http://www.kirkusreviews.com/bookreviews/joaquim-maria-machado-de-assis/domcasmurro/>. Acesso em 10/06/2013.)
According to text, it is correct to affirm that
it is possible to know so many details about the character Capitu because of the rich descriptions the text gives about her.
it is possible to know so many details about the character Capitu because of the rich descriptions the text gives about her.
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