Questões de Vestibular
Sobre interpretação de texto | reading comprehension em inglês
Foram encontradas 4.863 questões
Q534786
Inglês
No segundo quadrinho, this stuff refere-se a
Q534784
Inglês
Segundo as informações presentes na tira, os dois homens
Ano: 2015
Banca:
PUC - GO
Órgão:
PUC-GO
Prova:
PUC - GO - 2015 - PUC-GO - Vestibular - Segundo Semestre |
Q534025
Inglês
Texto associado
TEXTO 8
CAPÍTULO XVIII
Rubião e o cachorro, entrando em casa, sentiram, ouviram a pessoa e as vozes do finado amigo. Enquanto o cachorro farejava por toda a parte, Rubião foi sentar-se na cadeira, onde estivera quando Quincas Borba referiu a morte da avó com explicações científicas. A memória dele recompôs, ainda que de embrulho e esgarçadamente, os argumentos do filósofo. Pela primeira vez, atentou bem na alegoria das tribos famintas e compreendeu a conclusão: “Ao vencedor, as batatas!”. Ouviu distintamente a voz roufenha do finado expor a situação das tribos, a luta e a razão da luta, o extermínio de uma e a vitória da outra, e murmurou baixinho:
— Ao vencedor, as batatas!
Tão simples! tão claro! Olhou para as calças de brim surrado e o rodaque cerzido, e notou que até há pouco fora, por assim dizer, um exterminado, uma bolha; mas que ora não, era um vencedor. Não havia dúvida; as batatas fizeram-se para a tribo que elimina a outra a fim de transpor a montanha e ir às batatas do outro lado. Justamente o seu caso. Ia descer de Barbacena para arrancar e comer as batatas da capital. Cumpria-lhe ser duro e implacável, era poderoso e forte. E levantando-se de golpe, alvoroçado, ergueu os braços exclamando:
— Ao vencedor, as batatas!
Gostava da fórmula, achava-a engenhosa, compendiosa e eloquente, além de verdadeira e profunda. Ideou as batatas em suas várias formas, classificou-as pelo sabor, pelo aspecto, pelo poder nutritivo, fartou- -se antemão do banquete da vida. Era tempo de acabar com as raízes pobres e secas, que apenas enganavam o estômago, triste comida de longos anos; agora o farto, o sólido, o perpétuo, comer até morrer, e morrer em colchas de seda, que é melhor que trapos. E voltava à afirmação de ser duro e implacável, e à fórmula da alegoria. Chegou a compor de cabeça um sinete para seu uso, com este lema: AO VENCEDOR AS BATATAS.
Esqueceu o projeto do sinete; mas a fórmula viveu no espírito de Rubião, por alguns dias: — Ao vencedor as batatas! Não a compreenderia antes do testamento; ao contrário, vimos que a achou obscura e sem explicação. Tão certo é que a paisagem depende do ponto de vista, e que o melhor modo de apreciar o chicote é ter-lhe o cabo na mão.
(ASSIS, Machado de. Quincas Borba. São Paulo: Ática,
2011. p. 38-39.)
In Text 8, the expression “Ao vencedor as batatas"
is similar in meaning to the English expression “To the
victor belong the spoils". Published originally only four
years after the official end of slavery in Brazil, when we
consider the last part of the excerpt from Quincas Borba,
“Tão certo é que a paisagem depende do ponto de vista, e
que o melhor modo de apreciar o chicote é ter-lhe o cabo
na mão", we note a sociopolitical undertone to the text.
Reflecting upon the idea that we understand literature through society, and society through its literature, which of the texts below gives us a similar window on the historical moment of slavery throughout the Americas?
I - “There was much activity in the year – men unhitching horses, curious children scurrying about, Romero assigning quarters to the new slaves [...] Never known for patience, Romero snatched his whip and swung it overhead. But his hand froze in midair, the whip swinging impotently in the morning breeze" (Llanos-Figueroa, Dahlma. Daughters of the stone. New York: St. Martin's Press, 2009. p. 6.).
II - “They unhitched from schoolteacher's horse the borrowed mule that was to carry the fugitive woman back to where she belonged, and tied it to the fence […] All testimony to the results of a little so-called freedom imposed on people who needed every care and guidance in the world to keep them from the cannibal life they preferred" (Morrison, Toni. Beloved. New York: Vintage Books, 1987. p. 177.).
III - “What fueled those who were leaving was less fear of communism, which Fidel had only hinted at at that point, or shortages of any kind, because the U.S. embargo was still a distant concern, but the persistent rumors of invasions and imminent combat that were sweeping Havana" (Obejas, Achy. Days of awe. New York: Ballantine Books, 2001. p. 6.).
Choose from the following options:
Reflecting upon the idea that we understand literature through society, and society through its literature, which of the texts below gives us a similar window on the historical moment of slavery throughout the Americas?
I - “There was much activity in the year – men unhitching horses, curious children scurrying about, Romero assigning quarters to the new slaves [...] Never known for patience, Romero snatched his whip and swung it overhead. But his hand froze in midair, the whip swinging impotently in the morning breeze" (Llanos-Figueroa, Dahlma. Daughters of the stone. New York: St. Martin's Press, 2009. p. 6.).
II - “They unhitched from schoolteacher's horse the borrowed mule that was to carry the fugitive woman back to where she belonged, and tied it to the fence […] All testimony to the results of a little so-called freedom imposed on people who needed every care and guidance in the world to keep them from the cannibal life they preferred" (Morrison, Toni. Beloved. New York: Vintage Books, 1987. p. 177.).
III - “What fueled those who were leaving was less fear of communism, which Fidel had only hinted at at that point, or shortages of any kind, because the U.S. embargo was still a distant concern, but the persistent rumors of invasions and imminent combat that were sweeping Havana" (Obejas, Achy. Days of awe. New York: Ballantine Books, 2001. p. 6.).
Choose from the following options:
Ano: 2015
Banca:
PUC - GO
Órgão:
PUC-GO
Prova:
PUC - GO - 2015 - PUC-GO - Vestibular - Segundo Semestre |
Q534004
Inglês
Texto associado
TEXTO 5
TODO PIONEIRO É UM FORTE, pensava Bambico. Acredita nos sonhos. Se não fosse por ele, o mundo ainda estaria no tempo das cavernas... Quanto mais pensava nisso, mais se fortalecia.
Bambico chegara à Amazônia com as mãos vazias, vindo do Sul. Mas tinha na cabeça projetos grandiosos. Queria extrair da natureza toda a riqueza intacta, como o garimpeiro faz. Não desejava, entretanto, cavar rio e terra para achar pepitas de ouro. Não tinha vocação para tatu. Não faria como os garimpeiros: quando não havia mais nada, eles se mudavam, atrás de outros garimpos.
— Garimpeiro vive de ilusões. Eu gosto de projetos!
Que projetos grandiosos eram? Cortar árvores, exportar madeiras preciosas para a casa e a mobília dos ricos. Em seguida, semear capim, povoando os campos com as boiadas de nelore brilhando de tanta saúde. A riqueza estava acima do chão. A imensidão verde desaparecia no horizonte. Só de olhar para uma árvore, sabia quantos dólares cairia em seus bolsos. Quando ouvia os roncos das motosserras, costumava dizer, orgulhoso:
— Eis o barulho da fortuna!
Montes de serragem eram avistados de longe quando o visitante chegava às pequenas comunidades. Os caminhões de toras gemiam nas estradas esburacadas. Índios e caboclos eram afugentados à bala. A floresta se transformava num pó fino, que logo apodrecia. Quando os montes de serragem não apodreciam, eram queimados, sempre apressadamente. Por dias, os canudos negros de fumaça subindo pesadamente ao céu. Havia o medo dos fiscais. Quando apareciam, quase nunca eram vistos, era conveniente que houvesse pouca serragem...
Que história, a de Bambico! Teria muita coisa a contar para os netos que haveriam de chegar.
Em seu escritório, fumando um Havana, que um importador americano lhe presenteara, estufou o peito, vaidoso.
— Sim, muitas coisas! Quem te viu, quem te vê!
[...]
Sentia prazer com seus projetos grandiosos. Toda manhã se levantava para conquistar o mundo. Vereança era merreca. Não se rastejava em pequenos projetos. Muito menos desejava ser deputado... Ambicionava altos voos. Todo deputado era pau-mandado dos ricos. O Senado, sim, era o grande alvo. Lá, ele poderia afrontar esses “falsos profetas protetores da natureza". Essas ONGs de fachada... Lá, o seu cajado cairia sem dó, como um verdugo, sobre o costado dessa gente tola. Enquanto isso, ele poderia continuar seus projetos grandiosos. Cortar árvores, exportar madeiras preciosas para a casa e a mobília dos ricos, e semear capim.
Sonhara em ter uma dúzia de filhos, mas o destino lhe dera apenas dois. Sua mulher, após o segundo parto, ficara impossibilitada de procriar. Não queria fêmea entre os seus descendentes, mas logo no primeiro parto veio a decepção. Uma menina. Decepcionado, nada comentou com a esposa. No segundo, depois de uma gravidez tumultuada, veio o varão. Encheu-se de alegria. Com certeza, mais varões estavam para vir... [...]
(GONÇALVES, David. Sangue verde. São Paulo: Sucesso Pocket, 2014. p. 114-115.)
TODO PIONEIRO É UM FORTE, pensava Bambico. Acredita nos sonhos. Se não fosse por ele, o mundo ainda estaria no tempo das cavernas... Quanto mais pensava nisso, mais se fortalecia.
Bambico chegara à Amazônia com as mãos vazias, vindo do Sul. Mas tinha na cabeça projetos grandiosos. Queria extrair da natureza toda a riqueza intacta, como o garimpeiro faz. Não desejava, entretanto, cavar rio e terra para achar pepitas de ouro. Não tinha vocação para tatu. Não faria como os garimpeiros: quando não havia mais nada, eles se mudavam, atrás de outros garimpos.
— Garimpeiro vive de ilusões. Eu gosto de projetos!
Que projetos grandiosos eram? Cortar árvores, exportar madeiras preciosas para a casa e a mobília dos ricos. Em seguida, semear capim, povoando os campos com as boiadas de nelore brilhando de tanta saúde. A riqueza estava acima do chão. A imensidão verde desaparecia no horizonte. Só de olhar para uma árvore, sabia quantos dólares cairia em seus bolsos. Quando ouvia os roncos das motosserras, costumava dizer, orgulhoso:
— Eis o barulho da fortuna!
Montes de serragem eram avistados de longe quando o visitante chegava às pequenas comunidades. Os caminhões de toras gemiam nas estradas esburacadas. Índios e caboclos eram afugentados à bala. A floresta se transformava num pó fino, que logo apodrecia. Quando os montes de serragem não apodreciam, eram queimados, sempre apressadamente. Por dias, os canudos negros de fumaça subindo pesadamente ao céu. Havia o medo dos fiscais. Quando apareciam, quase nunca eram vistos, era conveniente que houvesse pouca serragem...
Que história, a de Bambico! Teria muita coisa a contar para os netos que haveriam de chegar.
Em seu escritório, fumando um Havana, que um importador americano lhe presenteara, estufou o peito, vaidoso.
— Sim, muitas coisas! Quem te viu, quem te vê!
[...]
Sentia prazer com seus projetos grandiosos. Toda manhã se levantava para conquistar o mundo. Vereança era merreca. Não se rastejava em pequenos projetos. Muito menos desejava ser deputado... Ambicionava altos voos. Todo deputado era pau-mandado dos ricos. O Senado, sim, era o grande alvo. Lá, ele poderia afrontar esses “falsos profetas protetores da natureza". Essas ONGs de fachada... Lá, o seu cajado cairia sem dó, como um verdugo, sobre o costado dessa gente tola. Enquanto isso, ele poderia continuar seus projetos grandiosos. Cortar árvores, exportar madeiras preciosas para a casa e a mobília dos ricos, e semear capim.
Sonhara em ter uma dúzia de filhos, mas o destino lhe dera apenas dois. Sua mulher, após o segundo parto, ficara impossibilitada de procriar. Não queria fêmea entre os seus descendentes, mas logo no primeiro parto veio a decepção. Uma menina. Decepcionado, nada comentou com a esposa. No segundo, depois de uma gravidez tumultuada, veio o varão. Encheu-se de alegria. Com certeza, mais varões estavam para vir... [...]
(GONÇALVES, David. Sangue verde. São Paulo: Sucesso Pocket, 2014. p. 114-115.)
Pick out the sentence which is correct according to
Text 5.
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 - SP
Órgão:
PUC - SP
Prova:
PUC - SP - 2015 - PUC - SP - Vestibular - Segundo Semestre |
Q533848
Inglês
No parágrafo 5, o conselho do National Health
Service (NHS) é que
Ano: 2015
Banca:
PUC - SP
Órgão:
PUC - SP
Prova:
PUC - SP - 2015 - PUC - SP - Vestibular - Segundo Semestre |
Q533847
Inglês
No parágrafo 4, os números relacionados às pessoas
com demência no Reino Unido hoje dizem que
Ano: 2015
Banca:
PUC - SP
Órgão:
PUC - SP
Prova:
PUC - SP - 2015 - PUC - SP - Vestibular - Segundo Semestre |
Q533846
Inglês
No parágrafo 2, a sentença “I could have wept with
gratitude and relief,” said novelist Nicci Gerrard,
whose experiences with her father's hospital care led
her to launch John's Campaign, nos diz que
Ano: 2015
Banca:
PUC - SP
Órgão:
PUC - SP
Prova:
PUC - SP - 2015 - PUC - SP - Vestibular - Segundo Semestre |
Q533845
Inglês
As autoridades citadas no parágrafo 1
Ano: 2015
Banca:
PUC - SP
Órgão:
PUC - SP
Prova:
PUC - SP - 2015 - PUC - SP - Vestibular - Segundo Semestre |
Q533844
Inglês
Lendo o título, os subtítulos e o 1º parágrafo do texto,
escolha a alternativa que apresenta somente
apoiadores da campanha:
Q524693
Inglês
Medical science has achieved great feats, improved and saved the lives of many. ...... when it comes to assisted reproductive technologies, science fails far more often than is generally believed.
A palavra que, no contexto acima, preenche corretamente a lacuna é:
A palavra que, no contexto acima, preenche corretamente a lacuna é:
Q524692
Inglês
Texto associado
Atenção: A questão refere-se ao texto apresentado abaixo.
The stories behind the black opera stars of 'I Live to Sing'
Washington Post − Saturday, August 24, 2013
Julie Cohen and Kamal Khan met in elementary school in Fairfax County about 40 years
. Today, Cohen, 49, is the Brooklyn-based founder of BetterThanFiction Productions, a documentary film company; Khan is the director of the University of Cape Town Opera School. “I Live to Sing," a feature-length documentary directed and produced by Cohen, focuses on three of Khan's black students who made their way from humble beginnings in often poverty-ridden townships to excel in opera ‒an art form most closely associated with white, elite audiences and performers.
. Today, Cohen, 49, is the Brooklyn-based founder of BetterThanFiction Productions, a documentary film company; Khan is the director of the University of Cape Town Opera School. “I Live to Sing," a feature-length documentary directed and produced by Cohen, focuses on three of Khan's black students who made their way from humble beginnings in often poverty-ridden townships to excel in opera ‒an art form most closely associated with white, elite audiences and performers.
How did you come to do this project?
It was just the fortuitous situation of knowing Kamal Khan. I met Kamal in third grade at Pine Ridge Elementary School in Fairfax County. He was unusual in that even at age 9 his prime interests seemed to be opera, classical music, Shakespeare. These are interests that when you're 40 and living in New York are not so strange! He became James Levine's assistant conductor at the Metropolitan Opera and he still now does a lot of conducting internationally, although his home base is at the University of Cape Town. In the meantime I started doing several documentaries about the human side behind the performing arts. Knowing what Kamal was up to I realized that his fascinating work − from an artistic, political and social context − was just the sort of thing I was interested in making films about.
Why is it interesting to you to document performing artists?
We're all so steeped in the relatively small circle of people who become really famous or really big deals. But it's also, I think, wonderful to see the work of and hear the life stories of the majority of performing artists who are toiling away, many of whom are supremely talented, but the world doesn't necessarily get to know.
Tell me about Linda's life, the young soprano featured in your film.
Linda Nteleza comes from a huge township adjacent to Cape Town that has a lot of problems − poverty, health-care issues, education issues, huge unemployment. I believe it has the fastest-growing rate of tuberculosis in the world, and Linda has suffered from the consequences of that. Linda learned to sing in school and then followed by her work in community choir, and through the teachers and coaches learned about University of Cape Town and its music program. She lived only a half-hour from the university but hadn't been aware that music was something that was out there. She was encouraged to go and apply. I think she didn't expect to get it, but to her joy andnamazement she did.
When Linda told her mother that “I want to go to college to study opera," her mother's immediate response was, “What's opera?" It wasn't that she wasn't well-versed in the art form; she didn't know what it was. Linda herself had first heard opera in a TV commercial for Shell Oil that had a beautiful soprano opera singer as background music and she was completely entranced, like, “That's what I want to sing."
Were you an opera fan before this?
[Laughs] I . . . must . . . confess that I was not only not an opera fan, but really almost actively probably disliked opera before this project. That's actually not something that I mentioned to Kamal when I pitched the idea of “Can I follow your program around? Can I bring cameras to your school?" [Laughs] . . . But as often when you delve into different art forms, particularly classical art forms that you are ignorant of, the more you get to know it, the
it starts to sound.
it starts to sound.
(Adapted from http://www.washingtonpost.com/lifestyle/style/qanda-the-stories-behind-the-black-opera-stars-of-i-live-to sing/2013/08/23)
Infere-se do texto que:
Q524691
Inglês
Texto associado
Atenção: A questão refere-se ao texto apresentado abaixo.
The stories behind the black opera stars of 'I Live to Sing'
Washington Post − Saturday, August 24, 2013
Julie Cohen and Kamal Khan met in elementary school in Fairfax County about 40 years . Today, Cohen, 49, is the Brooklyn-based founder of BetterThanFiction Productions, a documentary film company; Khan is the director of the University of Cape Town Opera School. “I Live to Sing," a feature-length documentary directed and produced by Cohen, focuses on three of Khan's black students who made their way from humble beginnings in often poverty-ridden townships to excel in opera ‒an art form most closely associated with white, elite audiences and performers.
. Today, Cohen, 49, is the Brooklyn-based founder of BetterThanFiction Productions, a documentary film company; Khan is the director of the University of Cape Town Opera School. “I Live to Sing," a feature-length documentary directed and produced by Cohen, focuses on three of Khan's black students who made their way from humble beginnings in often poverty-ridden townships to excel in opera ‒an art form most closely associated with white, elite audiences and performers.
How did you come to do this project?
It was just the fortuitous situation of knowing Kamal Khan. I met Kamal in third grade at Pine Ridge Elementary School in Fairfax County. He was unusual in that even at age 9 his prime interests seemed to be opera, classical music, Shakespeare. These are interests that when you're 40 and living in New York are not so strange! He became James Levine's assistant conductor at the Metropolitan Opera and he still now does a lot of conducting internationally, although his home base is at the University of Cape Town. In the meantime I started doing several documentaries about the human side behind the performing arts. Knowing what Kamal was up to I realized that his fascinating work − from an artistic, political and social context − was just the sort of thing I was interested in making films about.
Why is it interesting to you to document performing artists?
We're all so steeped in the relatively small circle of people who become really famous or really big deals. But it's also, I think, wonderful to see the work of and hear the life stories of the majority of performing artists who are toiling away, many of whom are supremely talented, but the world doesn't necessarily get to know.
Tell me about Linda's life, the young soprano featured in your film.
Linda Nteleza comes from a huge township adjacent to Cape Town that has a lot of problems − poverty, health-care issues, education issues, huge unemployment. I believe it has the fastest-growing rate of tuberculosis in the world, and Linda has suffered from the consequences of that. Linda learned to sing in school and then followed by her work in community choir, and through the teachers and coaches learned about University of Cape Town and its music program. She lived only a half-hour from the university but hadn't been aware that music was something that was out there. She was encouraged to go and apply. I think she didn't expect to get it, but to her joy andnamazement she did.
When Linda told her mother that “I want to go to college to study opera," her mother's immediate response was, “What's opera?" It wasn't that she wasn't well-versed in the art form; she didn't know what it was. Linda herself had first heard opera in a TV commercial for Shell Oil that had a beautiful soprano opera singer as background music and she was completely entranced, like, “That's what I want to sing."
Were you an opera fan before this?
[Laughs] I . . . must . . . confess that I was not only not an opera fan, but really almost actively probably disliked opera before this project. That's actually not something that I mentioned to Kamal when I pitched the idea of “Can I follow your program around? Can I bring cameras to your school?" [Laughs] . . . But as often when you delve into different art forms, particularly classical art forms that you are ignorant of, the more you get to know it, the it starts to sound.
it starts to sound.
(Adapted from http://www.washingtonpost.com/lifestyle/style/qanda-the-stories-behind-the-black-opera-stars-of-i-live-to sing/2013/08/23)
Segundo o texto,
Q524690
Inglês
Texto associado
Atenção: A questão refere-se ao texto apresentado abaixo.
The stories behind the black opera stars of 'I Live to Sing'
Washington Post − Saturday, August 24, 2013
Julie Cohen and Kamal Khan met in elementary school in Fairfax County about 40 years . Today, Cohen, 49, is the Brooklyn-based founder of BetterThanFiction Productions, a documentary film company; Khan is the director of the University of Cape Town Opera School. “I Live to Sing," a feature-length documentary directed and produced by Cohen, focuses on three of Khan's black students who made their way from humble beginnings in often poverty-ridden townships to excel in opera ‒an art form most closely associated with white, elite audiences and performers.
. Today, Cohen, 49, is the Brooklyn-based founder of BetterThanFiction Productions, a documentary film company; Khan is the director of the University of Cape Town Opera School. “I Live to Sing," a feature-length documentary directed and produced by Cohen, focuses on three of Khan's black students who made their way from humble beginnings in often poverty-ridden townships to excel in opera ‒an art form most closely associated with white, elite audiences and performers.
How did you come to do this project?
It was just the fortuitous situation of knowing Kamal Khan. I met Kamal in third grade at Pine Ridge Elementary School in Fairfax County. He was unusual in that even at age 9 his prime interests seemed to be opera, classical music, Shakespeare. These are interests that when you're 40 and living in New York are not so strange! He became James Levine's assistant conductor at the Metropolitan Opera and he still now does a lot of conducting internationally, although his home base is at the University of Cape Town. In the meantime I started doing several documentaries about the human side behind the performing arts. Knowing what Kamal was up to I realized that his fascinating work − from an artistic, political and social context − was just the sort of thing I was interested in making films about.
Why is it interesting to you to document performing artists?
We're all so steeped in the relatively small circle of people who become really famous or really big deals. But it's also, I think, wonderful to see the work of and hear the life stories of the majority of performing artists who are toiling away, many of whom are supremely talented, but the world doesn't necessarily get to know.
Tell me about Linda's life, the young soprano featured in your film.
Linda Nteleza comes from a huge township adjacent to Cape Town that has a lot of problems − poverty, health-care issues, education issues, huge unemployment. I believe it has the fastest-growing rate of tuberculosis in the world, and Linda has suffered from the consequences of that. Linda learned to sing in school and then followed by her work in community choir, and through the teachers and coaches learned about University of Cape Town and its music program. She lived only a half-hour from the university but hadn't been aware that music was something that was out there. She was encouraged to go and apply. I think she didn't expect to get it, but to her joy andnamazement she did.
When Linda told her mother that “I want to go to college to study opera," her mother's immediate response was, “What's opera?" It wasn't that she wasn't well-versed in the art form; she didn't know what it was. Linda herself had first heard opera in a TV commercial for Shell Oil that had a beautiful soprano opera singer as background music and she was completely entranced, like, “That's what I want to sing."
Were you an opera fan before this?
[Laughs] I . . . must . . . confess that I was not only not an opera fan, but really almost actively probably disliked opera before this project. That's actually not something that I mentioned to Kamal when I pitched the idea of “Can I follow your program around? Can I bring cameras to your school?" [Laughs] . . . But as often when you delve into different art forms, particularly classical art forms that you are ignorant of, the more you get to know it, the it starts to sound.
it starts to sound.
(Adapted from http://www.washingtonpost.com/lifestyle/style/qanda-the-stories-behind-the-black-opera-stars-of-i-live-to sing/2013/08/23)
According to the text,
Q518447
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Texto associado
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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:
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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:
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Besides being funny, comics often expresses criticism.
The comic strip criticizes men’s incapacity to take the following action:
Ano: 2014
Banca:
UniCEUB
Órgão:
UniCEUB
Prova:
UniCEUB - 2014 - UniCEUB - Vestibular - 2º Vestibular |
Q516029
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When I ..................... a long time, very patiently, without ..................... him lie down, I resolved to open a little — a very, very little crevice in the lantern. So I opened it — you cannot imagine how stealthily,
stealthily — until, at length, a single dim ray, like the thread of the spider, shot from out the crevice and full upon the vulture eye.
Extracted from The Tell-Tale Heart by Edgar Allan Poe
When I ..................... a long time, very patiently, without ..................... him lie down, I resolved to open a little — a very, very little crevice in the lantern. So I opened it — you cannot imagine how stealthily,
stealthily — until, at length, a single dim ray, like the thread of the spider, shot from out the crevice and full upon the vulture eye.
Extracted from The Tell-Tale Heart by Edgar Allan Poe
Choose the words that best keep the meaning of the original sentence if they are substituted for the underlined words.
Ano: 2014
Banca:
UniCEUB
Órgão:
UniCEUB
Prova:
UniCEUB - 2014 - UniCEUB - Vestibular - 2º Vestibular |
Q516027
Inglês
Texto associado
TEXT 2
Gabriel García Márquez was a Literary Giant
With a Passion for Journalism
By Karla Zabludovsky Friday, April 18,2014
The late Gabriel García Márquez holds a special place in the hearts of journalists.
Like Charles Dickens, Mark Twain and Ernest Hemingway — or contemporaries like Pete Hamill and Tom Wolfe — García Márquez, a titan of 20th century literature, honed his writing skills as a reporter
before he became a celebrated novelist.
Even as his literary star rose, García Márquez, known colloquially across Latin America as Gabo, spoke proudly, tenderly and frequently about journalism.
“Those who are self-taught are avid and quick, and during those bygone times, we were that to a great extent in order to keep paving the way for the best profession in the world… as we ourselves called
it," said García Márquez during a speech about journalism at the 52nd Assembly of the Inter American Press Association in 1996.
Newsweek Magazine
Gabriel García Márquez was a Literary Giant
With a Passion for Journalism
By Karla Zabludovsky Friday, April 18,2014
The late Gabriel García Márquez holds a special place in the hearts of journalists.
Like Charles Dickens, Mark Twain and Ernest Hemingway — or contemporaries like Pete Hamill and Tom Wolfe — García Márquez, a titan of 20th century literature, honed his writing skills as a reporter
before he became a celebrated novelist.
Even as his literary star rose, García Márquez, known colloquially across Latin America as Gabo, spoke proudly, tenderly and frequently about journalism.
“Those who are self-taught are avid and quick, and during those bygone times, we were that to a great extent in order to keep paving the way for the best profession in the world… as we ourselves called
it," said García Márquez during a speech about journalism at the 52nd Assembly of the Inter American Press Association in 1996.
Newsweek Magazine
Choose the letter that best defines the phrase bygone times in the passage.
Ano: 2014
Banca:
UniCEUB
Órgão:
UniCEUB
Prova:
UniCEUB - 2014 - UniCEUB - Vestibular - 2º Vestibular |
Q516025
Inglês
Texto associado
TEXT 2
Gabriel García Márquez was a Literary Giant
With a Passion for Journalism
By Karla Zabludovsky Friday, April 18,2014
The late Gabriel García Márquez holds a special place in the hearts of journalists.
Like Charles Dickens, Mark Twain and Ernest Hemingway — or contemporaries like Pete Hamill and Tom Wolfe — García Márquez, a titan of 20th century literature, honed his writing skills as a reporter
before he became a celebrated novelist.
Even as his literary star rose, García Márquez, known colloquially across Latin America as Gabo, spoke proudly, tenderly and frequently about journalism.
“Those who are self-taught are avid and quick, and during those bygone times, we were that to a great extent in order to keep paving the way for the best profession in the world… as we ourselves called
it," said García Márquez during a speech about journalism at the 52nd Assembly of the Inter American Press Association in 1996.
Newsweek Magazine
Gabriel García Márquez was a Literary Giant
With a Passion for Journalism
By Karla Zabludovsky Friday, April 18,2014
The late Gabriel García Márquez holds a special place in the hearts of journalists.
Like Charles Dickens, Mark Twain and Ernest Hemingway — or contemporaries like Pete Hamill and Tom Wolfe — García Márquez, a titan of 20th century literature, honed his writing skills as a reporter
before he became a celebrated novelist.
Even as his literary star rose, García Márquez, known colloquially across Latin America as Gabo, spoke proudly, tenderly and frequently about journalism.
“Those who are self-taught are avid and quick, and during those bygone times, we were that to a great extent in order to keep paving the way for the best profession in the world… as we ourselves called
it," said García Márquez during a speech about journalism at the 52nd Assembly of the Inter American Press Association in 1996.
Newsweek Magazine
It is stated in the text that
Conheça nossos planos