Questões de Vestibular Sobre inglês
Foram encontradas 6.472 questões
‘Yes, I’m Italian – but I’m not loud, I don’t gesticulate and I’m not good with pizza’
Elena Ferrante
I love my country, but I have no patriotic spirit and no national pride. What’s more, I digest pizza poorly, I eat very little spaghetti, I don’t speak in a loud voice, I don’t gesticulate, I hate all mafias, I don’t exclaim “Mamma mia!” National characteristics are simplifications that should be contested. Being Italian, for me, begins and ends with the fact that I speak and write in the Italian language.
Put that way it doesn’t seem like much, but really it’s a lot. A language is a compendium of the history, geography, material and spiritual life, the vices and virtues, not only of those who speak it, but also of those who have spoken it through the centuries. When I say that I’m Italian because I write in Italian, I mean that I’m fully Italian in the only way that I’m willing to attribute to myself a nationality. I don’t like the other ways, especially when they become nationalism, chauvinism, and imperialism.
(Adaptado de Elena Ferrante, ‘Yes, I´m Italian – but I´m not loud, I don´t gesticulate and I´m not good with pizza’, The Guardian, 24/02/2018.)
Transcrevem-se, a seguir, versos de canções brasileiras e de um poema de Vinícius de Moraes. Assinale a alternativa que melhor exemplifica as afirmações de Elena Ferrante.
Os dizeres da camiseta
We raise girls to cater to the fragile
egos of men. We teach girls do shrink themselves, to make themselves
smaller. We tell girls ‘You can have
ambition, but not too much’. ‘You
should aim to be successful, but not too successful,
otherwise you will threaten the man’. (…) We teach girls
shame – ‘Close your legs, cover yourself!’. We make them
feel as though by being born female, they’re already guilty
of something. And so, girls grow up to be women who
cannot see they have desire. They grow up to be women
who silence themselves. They grow up to be women who
cannot say what they truly think. And they grow up – and
this is the worst thing we do to girls – to be women who
turn pretense into an art form.
(Adaptado da palestra “We should all be feminists”, 15/07/2009. Disponível em https://www.youtube.com/watch?v=hg3umXU_qWc&t=797s. Acessado em 14/05/2018.)
O texto anterior reproduz trechos de uma palestra proferida pela escritora nigeriana Chimamanda Adichie em 2009. Segundo a autora, o fato de serem criadas para agradar aos homens faz com que as mulheres
Este cartum foi criado pelo norte-americano Bruce Beattie,
em 2011. Nele, o cartunista faz uso da ironia para
O post anterior aponta
Largest prime number discovered: with more than 23m digits
Known simply as M77232917, the figure is arrived at by calculating two to the power of 77,232,917 and subtracting one, leaving a gargantuan string of 23,249,425 digits. The result is nearly one million digits longer than the previous record holder discovered in January 2016. The number belongs to a rare group of so-called Mersenne prime numbers, named after the 17th century French monk Marin Mersenne. Like any prime number, a Mersenne prime is divisible only by itself and one, but is derived by multiplying twos together over and over before taking away one. The previous record-holding number was the 49th Mersenne prime ever found, making the new one the 50th.
(Adaptado de Ian Sample, “Largest prime number discovered: with more than 23m digits”. The Guardian, 04/ 01/2018.)
Considerando as informações contidas no excerto anterior, qual dos números a seguir é um primo de Mersenne?
Touching thermal-paper receipts could extend BPA retention in the body
When people handle receipts printed on thermal paper containing the endocrine disruptor bisphenol A (BPA), the toxic chemical could linger in the body for a week or more. Jonathan W. Martin of Stockholm University and Jiaying Liu of the University of Alberta asked six male volunteers to handle paper containing isotopically labeled BPA for five minutes. The volunteers then put on nitrile gloves, wore them for two hours, removed them, and washed their hands with soap. Afterward, the researchers measured the labeled BPA and its metabolites in the volunteers’ urine regularly for two days and then once again a week later. The study only traced the isotopically labeled (deuterated) BPA and its metabolites, so any additional BPA exposure from other sources was not monitored.
(Deirdre Lockwood, Touching thermal-paper receipts could extend BPA retention in the body. Chemical & Engineering News, 04/09/2017.)
O texto discorre sobre uma pesquisa cujo objetivo foi
O texto a seguir é referência para a questão.
How the American Dream has changed
The phrase ‘American Dream’ was officially coined just under 90 years ago in a book called The Epic of America by James Truslow Adams. He argued it was “that dream of a land in which life should be better and richer and fuller for everyone, with opportunity for each according to ability or achievement.”
Today: No single American Dream?
For some today the American Dream means a chance for fame and celebrity, while for others it means succeeding through the old adage of family values and hard work. Still others believe that the American Dream just represents a world closed to all but the elite with their wealth and contacts […]. Meanwhile, surveys have found that almost half of all millennials believe the American Dream is dead. In an ever-changing country, the idea of what the American Dream means to different people is changing too.
(Disponível em: https://www.msn.com/en-us/news/other/what-the-american-dream-looked-like-the-decade-you-were-born/ss-AABbxjy)
O texto a seguir é referência para a questão.
How the American Dream has changed
The phrase ‘American Dream’ was officially coined just under 90 years ago in a book called The Epic of America by James Truslow Adams. He argued it was “that dream of a land in which life should be better and richer and fuller for everyone, with opportunity for each according to ability or achievement.”
Today: No single American Dream?
For some today the American Dream means a chance for fame and celebrity, while for others it means succeeding through the old adage of family values and hard work. Still others believe that the American Dream just represents a world closed to all but the elite with their wealth and contacts […]. Meanwhile, surveys have found that almost half of all millennials believe the American Dream is dead. In an ever-changing country, the idea of what the American Dream means to different people is changing too.
(Disponível em: https://www.msn.com/en-us/news/other/what-the-american-dream-looked-like-the-decade-you-were-born/ss-AABbxjy)
O texto a seguir é referência para a questão.
More Than Just Children's Books
Krumulus, a small bookstore in Germany, has everything a kid could want: parties, readings, concerts, plays, puppet shows, workshops and book clubs.
“I knew it was going to be very difficult to open a bookstore, everyone tells you you're crazy, there will be no future,” says Anna Morlinghaus, Krumulus's founder. Still, she wanted to try. A month before her third son was born, she opened the store in Berlin's Kreuzberg district.
BERLIN — On a recent Saturday afternoon, a hush fell in the bright, airy “reading-aloud” room at Krumulus, a small children's bookstore in Berlin, as Sven Wallrodt, one of the store's employees, stood up to speak. Brandishing a newly published illustrated children's book about the life of Johannes Gutenberg, the inventor of the printing press, he looked at the crowd of eager, mo stly school-aged children and their parents. “Welcome to this book presentation”, he said. “If you fall asleep, snore quietly”. Everyone laughed, but no one fell asleep. An hour later, the children followed Wallrodt down to the bookstore's basement workshop, whe re he showed them how Gutenberg fit leaden block letters into a metal plate. Then the children printed their own bookmark using a technique similar to Gutenberg's, everyone was thrilled.
(Disponível em: https://www.nytimes.com/2019/05/20/books/berlin-germany-krumulus.html)
O texto a seguir é referência para a questão.
More Than Just Children's Books
Krumulus, a small bookstore in Germany, has everything a kid could want: parties, readings, concerts, plays, puppet shows, workshops and book clubs.
“I knew it was going to be very difficult to open a bookstore, everyone tells you you're crazy, there will be no future,” says Anna Morlinghaus, Krumulus's founder. Still, she wanted to try. A month before her third son was born, she opened the store in Berlin's Kreuzberg district.
BERLIN — On a recent Saturday afternoon, a hush fell in the bright, airy “reading-aloud” room at Krumulus, a small children's bookstore in Berlin, as Sven Wallrodt, one of the store's employees, stood up to speak. Brandishing a newly published illustrated children's book about the life of Johannes Gutenberg, the inventor of the printing press, he looked at the crowd of eager, mo stly school-aged children and their parents. “Welcome to this book presentation”, he said. “If you fall asleep, snore quietly”. Everyone laughed, but no one fell asleep. An hour later, the children followed Wallrodt down to the bookstore's basement workshop, whe re he showed them how Gutenberg fit leaden block letters into a metal plate. Then the children printed their own bookmark using a technique similar to Gutenberg's, everyone was thrilled.
(Disponível em: https://www.nytimes.com/2019/05/20/books/berlin-germany-krumulus.html)
Tate Modern – London
Hélio Oiticica
Until Summer 2019
Tropicália
Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a re-articulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.
(www.tate.org.uk. Adaptado.)
Tate Modern – London
Hélio Oiticica
Until Summer 2019
Tropicália
Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a re-articulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.
(www.tate.org.uk. Adaptado.)
Tate Modern – London
Hélio Oiticica
Until Summer 2019
Tropicália
Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a re-articulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.
(www.tate.org.uk. Adaptado.)
Tate Modern – London
Hélio Oiticica
Until Summer 2019
Tropicália
Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a re-articulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.
(www.tate.org.uk. Adaptado.)
Analyse the following comic.
(http://iniscommunication.com)
The objective of the comic is to
The future is largely urban
By 2030, there will be 5 billion people living in
urban areas (61% of the estimated world
population of 8.2 billion)
(http://esa.un.org. Adaptado.)
The chart shows that the approximate period of time when both urban and rural estimated populations were equal was
Cerrado
Located between the Amazon, Atlantic Forests and Pantanal, the Cerrado is the largest savanna region in South America.
The Cerrado is one of the most threatened and overexploited regions in Brazil, second only to the Atlantic Forests in vegetation loss and deforestation. Unsustainable agricultural activities, particularly soy production and cattle ranching, as well as burning of vegetation for charcoal, continue to pose a major threat to the Cerrado’s biodiversity. Despite its environmental importance, it is one of the least protected regions in Brazil.
Facts & Figures
• Covering 2 million km2 , or 21% of the country’s territory, the Cerrado is the second largest vegetation type in Brazil.
• The area is equivalent to the size of England, France, Germany, Italy and Spain combined.
• More than 1,600 species of mammals, birds and reptiles have been identified in the Cerrado.
• Annual rainfall is around 800 to 1600 mm.
• The capital of Brazil, Brasilia, is located in the heart of the Cerrado. • Only 20% of the Cerrado’s original vegetation remains intact; less than 3% of the area is currently guarded by law.
(http://wwf.panda.org. Adaptado.)
Cerrado
Located between the Amazon, Atlantic Forests and Pantanal, the Cerrado is the largest savanna region in South America.
The Cerrado is one of the most threatened and overexploited regions in Brazil, second only to the Atlantic Forests in vegetation loss and deforestation. Unsustainable agricultural activities, particularly soy production and cattle ranching, as well as burning of vegetation for charcoal, continue to pose a major threat to the Cerrado’s biodiversity. Despite its environmental importance, it is one of the least protected regions in Brazil.
Facts & Figures
• Covering 2 million km2 , or 21% of the country’s territory, the Cerrado is the second largest vegetation type in Brazil.
• The area is equivalent to the size of England, France, Germany, Italy and Spain combined.
• More than 1,600 species of mammals, birds and reptiles have been identified in the Cerrado.
• Annual rainfall is around 800 to 1600 mm.
• The capital of Brazil, Brasilia, is located in the heart of the Cerrado. • Only 20% of the Cerrado’s original vegetation remains intact; less than 3% of the area is currently guarded by law.
(http://wwf.panda.org. Adaptado.)
Cerrado
Located between the Amazon, Atlantic Forests and Pantanal, the Cerrado is the largest savanna region in South America.
The Cerrado is one of the most threatened and overexploited regions in Brazil, second only to the Atlantic Forests in vegetation loss and deforestation. Unsustainable agricultural activities, particularly soy production and cattle ranching, as well as burning of vegetation for charcoal, continue to pose a major threat to the Cerrado’s biodiversity. Despite its environmental importance, it is one of the least protected regions in Brazil.
Facts & Figures
• Covering 2 million km2 , or 21% of the country’s territory, the Cerrado is the second largest vegetation type in Brazil.
• The area is equivalent to the size of England, France, Germany, Italy and Spain combined.
• More than 1,600 species of mammals, birds and reptiles have been identified in the Cerrado.
• Annual rainfall is around 800 to 1600 mm.
• The capital of Brazil, Brasilia, is located in the heart of the Cerrado. • Only 20% of the Cerrado’s original vegetation remains intact; less than 3% of the area is currently guarded by law.
(http://wwf.panda.org. Adaptado.)
Conheça nossos planos