Questões de Vestibular
Sobre interpretação de texto | reading comprehension em inglês
Foram encontradas 4.863 questões
Ano: 2017
Banca:
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Prova:
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Q1386203
Inglês
Texto associado
Read the following interview to answer question.
Giving Capitalism a Social Conscience
David Bornstein
For more than 40 years, Muhammad Yunus, the Bangladeshi founder of the Grameen Bank and
recipient of the 2006 Nobel Peace Prize, has been asserting that the most powerful way to eradicate
poverty is to unleash the untapped entrepreneurial
capacity of people everywhere. “Poverty is not
created by poor people,” he says. “It’s created by
the system we built. Poor people are like a bonsai
tree. You take the best seed from the tallest tree in
the forest, but if you put it in a flower pot to grow,
it grows only a meter high. There’s nothing wrong
with the seed. The problem is the size of the pot.
Society doesn’t give poor people the space to grow
as tall as everybody else. This is the crux of the matter.”
Yunus has recently written a new book, “A World of Three Zeros: The New Economics of Zero
Poverty, Zero Unemployment, and Zero Net Carbon Emissions,” in which he argues that capitalism is
in crisis and remains moored in a flawed conception of human motivation. He proposes a far more
robust role in the economy for “social businesses,” which he defines as “non-dividend” companies
“dedicated to solving human problems.”
At 77, Yunus shows no signs of slowing down. He reports on an astonishing array of work
he has been involved in — supporting and codeveloping social businesses (often in partnership
with large corporations) in Bangladesh, Brazil, Colombia, France, Haiti, India, Japan, Uganda and
numerous other countries.
“We need to abandon our unquestioning faith in the power of personal-profit-centered
markets to solve all problems and confess that the problems of inequality are not going to be solved
by the natural working of the economy as it is currently structured,” Yunus writes.
“This is not a comfortable situation for anyone, including those who are on top of the social
heap at any given time. Do the wealthy and powerful … like having to avert their eyes from the
homeless and hungry people they pass on the street? Do they enjoy using the tools of the state
— including its police powers and other forms of coercion — to suppress the inevitable protests
mounted by those on the bottom? Do they really want their own children and grandchildren to
inherit this kind of world?”
Fonte: New York Times. Publicado em 10/10/2017. Disponível em: https://www.nytimes.com/2017/10/10/ opinion/giving-capitalism-a-social-conscience.html . Acesso em 06/11/2017. [Excerpt]
What does Yunus mean by “Poor people are like a bonsai tree”?
Ano: 2017
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
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CÁSPER LÍBERO - 2017 - CÁSPER LÍBERO - Vestibular |
Q1386202
Inglês
Texto associado
Read the following interview to answer question.
Drugs and Democracy in Rio de Janeiro:
Trafficking, Social Networks, and Public Security
INTRODUCTION: Thinking about Social Violence in Brazil
Recently, drug traffickers based in Rio de Janeiro’s favelas have attacked government
buildings, bombed buses, and successfully ordered widespread business closings. Over the past
decade, murder rates have averaged 50 per 100,000, in line with the most violent U.S. cities,
and overall rates may actually be even higher as a result of increasing rates of disappearances.
In poor districts, murder rates can exceed 150 per 100,000 inhabitants. Indeed, riding this wave
of criminal and police violence, human rights abuse has increased in Brazil since its transition to
democracy two decades ago.
Fonte: ARIAS, Enrique Desmond. Drugs and Democracy in Rio de Janeiro: Trafficking, Social Networks,
and Public Security. Chapel Hill: University of North Carolina Press, 2006. Disponível em: www.jstor.
org/stable/10.5149/9780807877371_arias. Acesso em 06/11/2017. [Introduction: p. 1-17]
Which of the statements below is FALSE according to the text above?
Ano: 2017
Banca:
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Q1386201
Inglês
Texto associado
Read the following interview to answer question.
Drugs and Democracy in Rio de Janeiro:
Trafficking, Social Networks, and Public Security
INTRODUCTION: Thinking about Social Violence in Brazil
Recently, drug traffickers based in Rio de Janeiro’s favelas have attacked government
buildings, bombed buses, and successfully ordered widespread business closings. Over the past
decade, murder rates have averaged 50 per 100,000, in line with the most violent U.S. cities,
and overall rates may actually be even higher as a result of increasing rates of disappearances.
In poor districts, murder rates can exceed 150 per 100,000 inhabitants. Indeed, riding this wave
of criminal and police violence, human rights abuse has increased in Brazil since its transition to
democracy two decades ago.
Fonte: ARIAS, Enrique Desmond. Drugs and Democracy in Rio de Janeiro: Trafficking, Social Networks,
and Public Security. Chapel Hill: University of North Carolina Press, 2006. Disponível em: www.jstor.
org/stable/10.5149/9780807877371_arias. Acesso em 06/11/2017. [Introduction: p. 1-17]
According to the text, it is possible to imply that:
Ano: 2015
Banca:
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Órgão:
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Prova:
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Q1386154
Inglês
Storyline
This film recounts the history and attitudes of the opposing sides of the Vietnam War using archival news footage as well as its own film and interviews. A key theme is how attitudes of American racism and self-righteous militarism helped create and prolong this bloody conflict. The film also endeavors to give voice to the Vietnamese people themselves as to how the war has affected them and their reasons why they fight the United States and other western powers while showing the basic humanity of the people that US propaganda tried to dismiss. Written by Kenneth Chisholm
Source: http://www.imdb.com/title/tt0071604/accessed on October 10, 2015
According to the storyline above, the film Hearts & Minds:
Ano: 2015
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2015 - CÁSPER LÍBERO - Vestibular |
Q1386153
Inglês
Texto associado
Read the film review below and answer the questions that follow.
INSIDE JOB – REVIEW - 4/5 STARS
How did the financial crash of 2008 happen? This documentary, narrated by Matt Damon, does
a good job of explaining a complex story of credit and discredit.
(…)
This film is as gripping as any thriller. Aided by some fascinating interviews, Ferguson lays out an awful
story. In the 1980s, the markets and financial services were deregulated, and the driving force for this
liberalisation was Alan Greenspan, formidable chairman of the US federal reserve board from 1987 to
2006. Banks and loan companies were freer to gamble with their depositors' money; they were themselves freer to borrow more; they were free to offer investors dizzyingly complex financial instruments,
with income streams from different debts bundled up, including high-interest home loans offered to
high-risk borrowers – the so-called "sub-prime" market that offered mouthwateringly high returns.
(…)
Perhaps the most sensational aspect of this film is Ferguson's contention that the crash corrupted
the discipline of economics itself. Distinguished economists from America's Ivy League universities were drafted in by banks to compose reports sycophantically supporting reckless deregulation.
They were massively paid for these consultancies. The banks bought the prestige of the academics,
and their universities' prestige, too. Ferguson speaks to many of these economists, who clearly
thought they were going to be interviewed as wry, dispassionate observers. It is really something
to see the expression of shock, outrage and fear on their faces as they realise they're in the dock.
One splutters with vexation; another gives vent to a ripe Freudian slip. Asked by Ferguson if he has
any regrets about his behaviour, he says: "I have no comments … uh, no regrets."
This is what Ferguson means by "inside job". There is a revolving door between the banks and
the higher reaches of government, and to some extent the groves of academe. Bank CEOs become
government officials, creating laws convenient for their once and future employers.
Perhaps only the pen of Tom Wolfe could do justice to these harassed, bald, middle-aged masters of the universe, as they appear in Ferguson's film. The director shows how their body-language is always the same: somehow more guilty-looking when they are in the White House rose
garden in their career pomp, being introduced to the press, than when they are facing openly
hostile Senate hearings. They look uneasy, shifty, in weirdly ill-fitting suits, as if they are oppressed by the scrutiny, and worn out, possibly, by the strain of suppressing their own scruples.
Their financial capacity far outstrips their capacity for enjoying themselves. They look very unhappy. Occasionally, British figures including Mervyn King and Alistair Darling are to be glimpsed in
these photos, reminding us that we Brits have been ardent deregulators, as well.
(…)
I was reminded of Michael Lewis's Liar's Poker, his very funny book about the financial mentality of
the 80s boom. He noted that if a regular person won the lottery, he might roll around on the floor,
kicking his legs up with glee, but when bankers won their arbitrary lottery, they instead became
solemn, pompous, overwhelmed with their own importance and stateliness. Their recklessness
and excess coexisted with an almost priestly sense of worth. Even more than rich lawyers, rich
bankers felt that their money proved their superior cleverness and also moral worthiness as the
generators of prosperity. Yet that prosperity didn't trickle down very far.
Source: http://www.theguardian.com/film/2011/feb/17/inside-job-review Access October 10, 2015.
‘The groves of academe’, on the review:
Ano: 2015
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2015 - CÁSPER LÍBERO - Vestibular |
Q1386152
Inglês
Texto associado
Read the film review below and answer the questions that follow.
INSIDE JOB – REVIEW - 4/5 STARS
How did the financial crash of 2008 happen? This documentary, narrated by Matt Damon, does
a good job of explaining a complex story of credit and discredit.
(…)
This film is as gripping as any thriller. Aided by some fascinating interviews, Ferguson lays out an awful
story. In the 1980s, the markets and financial services were deregulated, and the driving force for this
liberalisation was Alan Greenspan, formidable chairman of the US federal reserve board from 1987 to
2006. Banks and loan companies were freer to gamble with their depositors' money; they were themselves freer to borrow more; they were free to offer investors dizzyingly complex financial instruments,
with income streams from different debts bundled up, including high-interest home loans offered to
high-risk borrowers – the so-called "sub-prime" market that offered mouthwateringly high returns.
(…)
Perhaps the most sensational aspect of this film is Ferguson's contention that the crash corrupted
the discipline of economics itself. Distinguished economists from America's Ivy League universities were drafted in by banks to compose reports sycophantically supporting reckless deregulation.
They were massively paid for these consultancies. The banks bought the prestige of the academics,
and their universities' prestige, too. Ferguson speaks to many of these economists, who clearly
thought they were going to be interviewed as wry, dispassionate observers. It is really something
to see the expression of shock, outrage and fear on their faces as they realise they're in the dock.
One splutters with vexation; another gives vent to a ripe Freudian slip. Asked by Ferguson if he has
any regrets about his behaviour, he says: "I have no comments … uh, no regrets."
This is what Ferguson means by "inside job". There is a revolving door between the banks and
the higher reaches of government, and to some extent the groves of academe. Bank CEOs become
government officials, creating laws convenient for their once and future employers.
Perhaps only the pen of Tom Wolfe could do justice to these harassed, bald, middle-aged masters of the universe, as they appear in Ferguson's film. The director shows how their body-language is always the same: somehow more guilty-looking when they are in the White House rose
garden in their career pomp, being introduced to the press, than when they are facing openly
hostile Senate hearings. They look uneasy, shifty, in weirdly ill-fitting suits, as if they are oppressed by the scrutiny, and worn out, possibly, by the strain of suppressing their own scruples.
Their financial capacity far outstrips their capacity for enjoying themselves. They look very unhappy. Occasionally, British figures including Mervyn King and Alistair Darling are to be glimpsed in
these photos, reminding us that we Brits have been ardent deregulators, as well.
(…)
I was reminded of Michael Lewis's Liar's Poker, his very funny book about the financial mentality of
the 80s boom. He noted that if a regular person won the lottery, he might roll around on the floor,
kicking his legs up with glee, but when bankers won their arbitrary lottery, they instead became
solemn, pompous, overwhelmed with their own importance and stateliness. Their recklessness
and excess coexisted with an almost priestly sense of worth. Even more than rich lawyers, rich
bankers felt that their money proved their superior cleverness and also moral worthiness as the
generators of prosperity. Yet that prosperity didn't trickle down very far.
Source: http://www.theguardian.com/film/2011/feb/17/inside-job-review Access October 10, 2015.
On the sentence ‘There is a revolving door between the banks and the higher reaches of government.’, the expression underlined and in italic means:
Ano: 2015
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2015 - CÁSPER LÍBERO - Vestibular |
Q1386151
Inglês
Texto associado
Read the film review below and answer the questions that follow.
INSIDE JOB – REVIEW - 4/5 STARS
How did the financial crash of 2008 happen? This documentary, narrated by Matt Damon, does
a good job of explaining a complex story of credit and discredit.
(…)
This film is as gripping as any thriller. Aided by some fascinating interviews, Ferguson lays out an awful
story. In the 1980s, the markets and financial services were deregulated, and the driving force for this
liberalisation was Alan Greenspan, formidable chairman of the US federal reserve board from 1987 to
2006. Banks and loan companies were freer to gamble with their depositors' money; they were themselves freer to borrow more; they were free to offer investors dizzyingly complex financial instruments,
with income streams from different debts bundled up, including high-interest home loans offered to
high-risk borrowers – the so-called "sub-prime" market that offered mouthwateringly high returns.
(…)
Perhaps the most sensational aspect of this film is Ferguson's contention that the crash corrupted
the discipline of economics itself. Distinguished economists from America's Ivy League universities were drafted in by banks to compose reports sycophantically supporting reckless deregulation.
They were massively paid for these consultancies. The banks bought the prestige of the academics,
and their universities' prestige, too. Ferguson speaks to many of these economists, who clearly
thought they were going to be interviewed as wry, dispassionate observers. It is really something
to see the expression of shock, outrage and fear on their faces as they realise they're in the dock.
One splutters with vexation; another gives vent to a ripe Freudian slip. Asked by Ferguson if he has
any regrets about his behaviour, he says: "I have no comments … uh, no regrets."
This is what Ferguson means by "inside job". There is a revolving door between the banks and
the higher reaches of government, and to some extent the groves of academe. Bank CEOs become
government officials, creating laws convenient for their once and future employers.
Perhaps only the pen of Tom Wolfe could do justice to these harassed, bald, middle-aged masters of the universe, as they appear in Ferguson's film. The director shows how their body-language is always the same: somehow more guilty-looking when they are in the White House rose
garden in their career pomp, being introduced to the press, than when they are facing openly
hostile Senate hearings. They look uneasy, shifty, in weirdly ill-fitting suits, as if they are oppressed by the scrutiny, and worn out, possibly, by the strain of suppressing their own scruples.
Their financial capacity far outstrips their capacity for enjoying themselves. They look very unhappy. Occasionally, British figures including Mervyn King and Alistair Darling are to be glimpsed in
these photos, reminding us that we Brits have been ardent deregulators, as well.
(…)
I was reminded of Michael Lewis's Liar's Poker, his very funny book about the financial mentality of
the 80s boom. He noted that if a regular person won the lottery, he might roll around on the floor,
kicking his legs up with glee, but when bankers won their arbitrary lottery, they instead became
solemn, pompous, overwhelmed with their own importance and stateliness. Their recklessness
and excess coexisted with an almost priestly sense of worth. Even more than rich lawyers, rich
bankers felt that their money proved their superior cleverness and also moral worthiness as the
generators of prosperity. Yet that prosperity didn't trickle down very far.
Source: http://www.theguardian.com/film/2011/feb/17/inside-job-review Access October 10, 2015.
The review of the documentary Inside Job states that:
Ano: 2013
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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: 2012
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2012 - CÁSPER LÍBERO - Vestibular |
Q1383020
Inglês
Texto associado
Leia o texto a seguir e responda à questão.
A schematic summary would say as follows: At a founding time, romantic fiction saw the
peculiarities of the Brazilian family life under the picturesque and the national identity signs, over
which it laid some more or less feuilletonist fabling. The combination, in line with the needs of
the young country, was very successful. Although irreverent, the emphasis on mirroring and its
somewhat regressive accomplice character formed a positive sign on our particular traits. One
generation later, Machado used in a different manner the same thematic, ideological, and aesthetic complexity, this time without the covering mists of local color and patriotic self-congratulation. The
large Brazilian family was now observed from the point of view of the enlightened dependent,
who was part of it and transformed it into a problem. This is a special system of relationships, with
its own structure, resources and problems, which needed to be analyzed. Its difference was a sign
of primitiveness, because the tacit measure of the dependent was the Rights of Man, which were
effective, in principle, in other regions. The narrator’s fondness shifted to the heroine’s struggles
against injustice, which was also portrayed in a feuilletonist fashion. As for the opposing side, it was
inevitable that the conflict arrangement, as it developed from book to book, made more visible the
negative traits of the landowner. These traits absorbed and reflected precisely, as a fault, the absurd
lack of balance between the classes. Using the consequences of this very lack of balance, which
gave no signs of internal regeneration, Machado invented the formula that would characterize his
mature works and make him a great writer. He did not surrender to the easy delights of romantic
picturesqueness. Likewise, he now renounced the unanimous fondness towards the moderate
narrator and his good causes.
The new artistic device dealt indirectly with dependents’ frustrations and directly with their
abandonment by landowners – the peripheral society incapable of integration resonated. The
scope of the formal arrangement, which challenged the secular spirit’s superstitions, especially the
trust in progress and in benevolence, is uncomfortable to this day. The insinuating personification
of an elite narrator enviably civilized and deeply involved in oppressive relationships, which he
arranges and judges himself, is a chess move that disarranges the narrative board, making the game
more real. The process challenges readers in every line: it teaches them to think by themselves; to
discuss not only the issues, but also their presentation; to consider the narrators and authorities
– always the interested party – from a distance, even if they are eloquent; to doubt the civilizing
and national commitment of the privileged, particularly in young countries, where this intention
plays a major role; to feel an aversion to the imaginary consolations of romanticism, manipulated
by the narrative authority to its own benefit. The process teaches, above all, that the combination
of the cosmopolitan and the excluded spheres may be stable, without a feasible solution. This
demonstration is a juicy one because it illustrates and examines the nation’s “delicious” mechanisms
– to use the Machadian term – of the non-bourgeois reproduction of the bourgeois order. However,
the demonstration is also universal to some extent, because globally, unlike what it seems, this
reproduction is the rule, not the exception.
The heroines of the first novels are not very interesting because their precarious social status is
distorted by the romantic cliché. Their vicissitudes, however, stress the antagonistic class traits, whose
figure has literary originality. In the novels of the second phase, once the angle is inverted, it is the
poor who appear in the subjective mirror of owners, where the prisms are either that of bourgeois
individualism or of paternalistic domination, according to the selfish convenience impudence. The dependent becomes extraordinarily relevant in that light. They are portraits of the powerless that
get no recognition for the value of work, no rights protected, and no compensation by divine
providence. It is the social vacuum generated by modern slavery to freedom without possessions,
another issue that, mutatis mutandis, lives on.
In the same line of advanced resonance of the primitiveness, notice how the extra bourgeois aspect
of local issues works, and also the narrative relationship itself: at times it is only a shift in the rule;
at times it is a movement in its own right, which escapes the dominating definitions and discovers
unknown land. To give an idea, compare the part of authority in the definition and dissolution of
characters, themselves or others; the relationships between personal separation and the experience
of time, between command and insanity – often by the ones in charge; the extra scientific
dimensions of science, with its authoritarian and sadistic roles; the overall difference that generates
a point of view, etc. In this manner, Machadian fiction and the advanced literature of his time
converged – both tried to release other realities under the bourgeois reality. As a mere indication, it
is worth mentioning a few similarities, rather at random, in the innovative field, such as Dostoievski,
Baudelaire, Henry James, Tchekov, Proust, Kafka, and Borges. Machado’s classical derivations are
countless and have led critics to find his merit there, which hinders the understanding of the up-todateness and advanced character of his experimentation.
Choose the alternative that best answers the question: Does the Machadian prose
reflect any kind of social criticism?
Ano: 2012
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2012 - CÁSPER LÍBERO - Vestibular |
Q1383019
Inglês
Texto associado
Leia o texto a seguir e responda à questão.
A schematic summary would say as follows: At a founding time, romantic fiction saw the
peculiarities of the Brazilian family life under the picturesque and the national identity signs, over
which it laid some more or less feuilletonist fabling. The combination, in line with the needs of
the young country, was very successful. Although irreverent, the emphasis on mirroring and its
somewhat regressive accomplice character formed a positive sign on our particular traits. One
generation later, Machado used in a different manner the same thematic, ideological, and aesthetic complexity, this time without the covering mists of local color and patriotic self-congratulation. The
large Brazilian family was now observed from the point of view of the enlightened dependent,
who was part of it and transformed it into a problem. This is a special system of relationships, with
its own structure, resources and problems, which needed to be analyzed. Its difference was a sign
of primitiveness, because the tacit measure of the dependent was the Rights of Man, which were
effective, in principle, in other regions. The narrator’s fondness shifted to the heroine’s struggles
against injustice, which was also portrayed in a feuilletonist fashion. As for the opposing side, it was
inevitable that the conflict arrangement, as it developed from book to book, made more visible the
negative traits of the landowner. These traits absorbed and reflected precisely, as a fault, the absurd
lack of balance between the classes. Using the consequences of this very lack of balance, which
gave no signs of internal regeneration, Machado invented the formula that would characterize his
mature works and make him a great writer. He did not surrender to the easy delights of romantic
picturesqueness. Likewise, he now renounced the unanimous fondness towards the moderate
narrator and his good causes.
The new artistic device dealt indirectly with dependents’ frustrations and directly with their
abandonment by landowners – the peripheral society incapable of integration resonated. The
scope of the formal arrangement, which challenged the secular spirit’s superstitions, especially the
trust in progress and in benevolence, is uncomfortable to this day. The insinuating personification
of an elite narrator enviably civilized and deeply involved in oppressive relationships, which he
arranges and judges himself, is a chess move that disarranges the narrative board, making the game
more real. The process challenges readers in every line: it teaches them to think by themselves; to
discuss not only the issues, but also their presentation; to consider the narrators and authorities
– always the interested party – from a distance, even if they are eloquent; to doubt the civilizing
and national commitment of the privileged, particularly in young countries, where this intention
plays a major role; to feel an aversion to the imaginary consolations of romanticism, manipulated
by the narrative authority to its own benefit. The process teaches, above all, that the combination
of the cosmopolitan and the excluded spheres may be stable, without a feasible solution. This
demonstration is a juicy one because it illustrates and examines the nation’s “delicious” mechanisms
– to use the Machadian term – of the non-bourgeois reproduction of the bourgeois order. However,
the demonstration is also universal to some extent, because globally, unlike what it seems, this
reproduction is the rule, not the exception.
The heroines of the first novels are not very interesting because their precarious social status is
distorted by the romantic cliché. Their vicissitudes, however, stress the antagonistic class traits, whose
figure has literary originality. In the novels of the second phase, once the angle is inverted, it is the
poor who appear in the subjective mirror of owners, where the prisms are either that of bourgeois
individualism or of paternalistic domination, according to the selfish convenience impudence. The dependent becomes extraordinarily relevant in that light. They are portraits of the powerless that
get no recognition for the value of work, no rights protected, and no compensation by divine
providence. It is the social vacuum generated by modern slavery to freedom without possessions,
another issue that, mutatis mutandis, lives on.
In the same line of advanced resonance of the primitiveness, notice how the extra bourgeois aspect
of local issues works, and also the narrative relationship itself: at times it is only a shift in the rule;
at times it is a movement in its own right, which escapes the dominating definitions and discovers
unknown land. To give an idea, compare the part of authority in the definition and dissolution of
characters, themselves or others; the relationships between personal separation and the experience
of time, between command and insanity – often by the ones in charge; the extra scientific
dimensions of science, with its authoritarian and sadistic roles; the overall difference that generates
a point of view, etc. In this manner, Machadian fiction and the advanced literature of his time
converged – both tried to release other realities under the bourgeois reality. As a mere indication, it
is worth mentioning a few similarities, rather at random, in the innovative field, such as Dostoievski,
Baudelaire, Henry James, Tchekov, Proust, Kafka, and Borges. Machado’s classical derivations are
countless and have led critics to find his merit there, which hinders the understanding of the up-todateness and advanced character of his experimentation.
“These traits absorbed and reflected precisely, as a fault, the absurd lack of balance
between the classes.” This statement taken from the text might be interpreted as:
Ano: 2012
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2012 - CÁSPER LÍBERO - Vestibular |
Q1383018
Inglês
Texto associado
Leia o texto a seguir e responda à questão.
A schematic summary would say as follows: At a founding time, romantic fiction saw the
peculiarities of the Brazilian family life under the picturesque and the national identity signs, over
which it laid some more or less feuilletonist fabling. The combination, in line with the needs of
the young country, was very successful. Although irreverent, the emphasis on mirroring and its
somewhat regressive accomplice character formed a positive sign on our particular traits. One
generation later, Machado used in a different manner the same thematic, ideological, and aesthetic complexity, this time without the covering mists of local color and patriotic self-congratulation. The
large Brazilian family was now observed from the point of view of the enlightened dependent,
who was part of it and transformed it into a problem. This is a special system of relationships, with
its own structure, resources and problems, which needed to be analyzed. Its difference was a sign
of primitiveness, because the tacit measure of the dependent was the Rights of Man, which were
effective, in principle, in other regions. The narrator’s fondness shifted to the heroine’s struggles
against injustice, which was also portrayed in a feuilletonist fashion. As for the opposing side, it was
inevitable that the conflict arrangement, as it developed from book to book, made more visible the
negative traits of the landowner. These traits absorbed and reflected precisely, as a fault, the absurd
lack of balance between the classes. Using the consequences of this very lack of balance, which
gave no signs of internal regeneration, Machado invented the formula that would characterize his
mature works and make him a great writer. He did not surrender to the easy delights of romantic
picturesqueness. Likewise, he now renounced the unanimous fondness towards the moderate
narrator and his good causes.
The new artistic device dealt indirectly with dependents’ frustrations and directly with their
abandonment by landowners – the peripheral society incapable of integration resonated. The
scope of the formal arrangement, which challenged the secular spirit’s superstitions, especially the
trust in progress and in benevolence, is uncomfortable to this day. The insinuating personification
of an elite narrator enviably civilized and deeply involved in oppressive relationships, which he
arranges and judges himself, is a chess move that disarranges the narrative board, making the game
more real. The process challenges readers in every line: it teaches them to think by themselves; to
discuss not only the issues, but also their presentation; to consider the narrators and authorities
– always the interested party – from a distance, even if they are eloquent; to doubt the civilizing
and national commitment of the privileged, particularly in young countries, where this intention
plays a major role; to feel an aversion to the imaginary consolations of romanticism, manipulated
by the narrative authority to its own benefit. The process teaches, above all, that the combination
of the cosmopolitan and the excluded spheres may be stable, without a feasible solution. This
demonstration is a juicy one because it illustrates and examines the nation’s “delicious” mechanisms
– to use the Machadian term – of the non-bourgeois reproduction of the bourgeois order. However,
the demonstration is also universal to some extent, because globally, unlike what it seems, this
reproduction is the rule, not the exception.
The heroines of the first novels are not very interesting because their precarious social status is
distorted by the romantic cliché. Their vicissitudes, however, stress the antagonistic class traits, whose
figure has literary originality. In the novels of the second phase, once the angle is inverted, it is the
poor who appear in the subjective mirror of owners, where the prisms are either that of bourgeois
individualism or of paternalistic domination, according to the selfish convenience impudence. The dependent becomes extraordinarily relevant in that light. They are portraits of the powerless that
get no recognition for the value of work, no rights protected, and no compensation by divine
providence. It is the social vacuum generated by modern slavery to freedom without possessions,
another issue that, mutatis mutandis, lives on.
In the same line of advanced resonance of the primitiveness, notice how the extra bourgeois aspect
of local issues works, and also the narrative relationship itself: at times it is only a shift in the rule;
at times it is a movement in its own right, which escapes the dominating definitions and discovers
unknown land. To give an idea, compare the part of authority in the definition and dissolution of
characters, themselves or others; the relationships between personal separation and the experience
of time, between command and insanity – often by the ones in charge; the extra scientific
dimensions of science, with its authoritarian and sadistic roles; the overall difference that generates
a point of view, etc. In this manner, Machadian fiction and the advanced literature of his time
converged – both tried to release other realities under the bourgeois reality. As a mere indication, it
is worth mentioning a few similarities, rather at random, in the innovative field, such as Dostoievski,
Baudelaire, Henry James, Tchekov, Proust, Kafka, and Borges. Machado’s classical derivations are
countless and have led critics to find his merit there, which hinders the understanding of the up-todateness and advanced character of his experimentation.
According to the text, Machado de Assis’ prose might be considered different
because:
Ano: 2012
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2012 - CÁSPER LÍBERO - Vestibular |
Q1383017
Inglês
Texto associado
Leia o texto a seguir e responda à questão.
A schematic summary would say as follows: At a founding time, romantic fiction saw the
peculiarities of the Brazilian family life under the picturesque and the national identity signs, over
which it laid some more or less feuilletonist fabling. The combination, in line with the needs of
the young country, was very successful. Although irreverent, the emphasis on mirroring and its
somewhat regressive accomplice character formed a positive sign on our particular traits. One
generation later, Machado used in a different manner the same thematic, ideological, and aesthetic complexity, this time without the covering mists of local color and patriotic self-congratulation. The
large Brazilian family was now observed from the point of view of the enlightened dependent,
who was part of it and transformed it into a problem. This is a special system of relationships, with
its own structure, resources and problems, which needed to be analyzed. Its difference was a sign
of primitiveness, because the tacit measure of the dependent was the Rights of Man, which were
effective, in principle, in other regions. The narrator’s fondness shifted to the heroine’s struggles
against injustice, which was also portrayed in a feuilletonist fashion. As for the opposing side, it was
inevitable that the conflict arrangement, as it developed from book to book, made more visible the
negative traits of the landowner. These traits absorbed and reflected precisely, as a fault, the absurd
lack of balance between the classes. Using the consequences of this very lack of balance, which
gave no signs of internal regeneration, Machado invented the formula that would characterize his
mature works and make him a great writer. He did not surrender to the easy delights of romantic
picturesqueness. Likewise, he now renounced the unanimous fondness towards the moderate
narrator and his good causes.
The new artistic device dealt indirectly with dependents’ frustrations and directly with their
abandonment by landowners – the peripheral society incapable of integration resonated. The
scope of the formal arrangement, which challenged the secular spirit’s superstitions, especially the
trust in progress and in benevolence, is uncomfortable to this day. The insinuating personification
of an elite narrator enviably civilized and deeply involved in oppressive relationships, which he
arranges and judges himself, is a chess move that disarranges the narrative board, making the game
more real. The process challenges readers in every line: it teaches them to think by themselves; to
discuss not only the issues, but also their presentation; to consider the narrators and authorities
– always the interested party – from a distance, even if they are eloquent; to doubt the civilizing
and national commitment of the privileged, particularly in young countries, where this intention
plays a major role; to feel an aversion to the imaginary consolations of romanticism, manipulated
by the narrative authority to its own benefit. The process teaches, above all, that the combination
of the cosmopolitan and the excluded spheres may be stable, without a feasible solution. This
demonstration is a juicy one because it illustrates and examines the nation’s “delicious” mechanisms
– to use the Machadian term – of the non-bourgeois reproduction of the bourgeois order. However,
the demonstration is also universal to some extent, because globally, unlike what it seems, this
reproduction is the rule, not the exception.
The heroines of the first novels are not very interesting because their precarious social status is
distorted by the romantic cliché. Their vicissitudes, however, stress the antagonistic class traits, whose
figure has literary originality. In the novels of the second phase, once the angle is inverted, it is the
poor who appear in the subjective mirror of owners, where the prisms are either that of bourgeois
individualism or of paternalistic domination, according to the selfish convenience impudence. The dependent becomes extraordinarily relevant in that light. They are portraits of the powerless that
get no recognition for the value of work, no rights protected, and no compensation by divine
providence. It is the social vacuum generated by modern slavery to freedom without possessions,
another issue that, mutatis mutandis, lives on.
In the same line of advanced resonance of the primitiveness, notice how the extra bourgeois aspect
of local issues works, and also the narrative relationship itself: at times it is only a shift in the rule;
at times it is a movement in its own right, which escapes the dominating definitions and discovers
unknown land. To give an idea, compare the part of authority in the definition and dissolution of
characters, themselves or others; the relationships between personal separation and the experience
of time, between command and insanity – often by the ones in charge; the extra scientific
dimensions of science, with its authoritarian and sadistic roles; the overall difference that generates
a point of view, etc. In this manner, Machadian fiction and the advanced literature of his time
converged – both tried to release other realities under the bourgeois reality. As a mere indication, it
is worth mentioning a few similarities, rather at random, in the innovative field, such as Dostoievski,
Baudelaire, Henry James, Tchekov, Proust, Kafka, and Borges. Machado’s classical derivations are
countless and have led critics to find his merit there, which hinders the understanding of the up-todateness and advanced character of his experimentation.
“The romantic fiction saw the peculiarities of the Brazilian family life under the
picturesque and the national identity signs, over which it laid some more or less
feuilletonist fabling”. By this proposition we could deduce that:
Ano: 2011
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2011 - CÁSPER LÍBERO - Vestibular |
Q1381601
Inglês
Texto associado
Read the following passage from “The Chicken”, by Clarice Lispector, and answer question.
“But when everyone was quiet in the house and seemed to have forgotten her, she puffed up
with modest courage, the last traces of her great escape. She circled the tiled floor, her body
advancing behind her head, as unhurried as if in an open field, although her small head betrayed
her, darting back and forth in rapid vibrant movements, with the age-old fear of her species now
ingrained. Once in a while, but ever more infrequently, she remembered how she had stood out
against the sky on the roof edge ready to cry out. At such moments, she filled her lungs with the
stuffy atmosphere of the kitchen and, had females been given the power to crow, she would not
have crowed but would have felt much happier. Not even at those moments, however, did the
expression on her empty head alter. In flight or in repose, when she gave birth or while pecking
grain, hers was a chicken head, identical to that drawn at the beginning of time.”
According to the text, the chicken:
Ano: 2011
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2011 - CÁSPER LÍBERO - Vestibular |
Q1381600
Inglês
Texto associado
Read the following passage from “The Chicken”, by Clarice Lispector, and answer question.
“But when everyone was quiet in the house and seemed to have forgotten her, she puffed up
with modest courage, the last traces of her great escape. She circled the tiled floor, her body
advancing behind her head, as unhurried as if in an open field, although her small head betrayed
her, darting back and forth in rapid vibrant movements, with the age-old fear of her species now
ingrained. Once in a while, but ever more infrequently, she remembered how she had stood out
against the sky on the roof edge ready to cry out. At such moments, she filled her lungs with the
stuffy atmosphere of the kitchen and, had females been given the power to crow, she would not
have crowed but would have felt much happier. Not even at those moments, however, did the
expression on her empty head alter. In flight or in repose, when she gave birth or while pecking
grain, hers was a chicken head, identical to that drawn at the beginning of time.”
Without loss of meaning, the word “ingrained” could be replaced by:
Ano: 2011
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2011 - CÁSPER LÍBERO - Vestibular |
Q1381599
Inglês
The sentence “And no matter how abject the prey, the cry of victory was in the air”
means that:
Ano: 2011
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2011 - CÁSPER LÍBERO - Vestibular |
Q1381598
Inglês
Read the following extract from “The Chicken”, by Clarice Lispector, and answer
question.
“The master of the house, reminding himself of the twofold necessity of sporadically engaging in sport and of getting the family some lunch, appeared resplendent in a pair of swimming trunks and resolved to follow the path traced by the chicken: in cautious leaps and bounds, he scaled the roof where the chicken, hesitant and tremulous, urgently decided on another route. The chase now intensified. From roof to roof, more than a block along the road was covered. Little accustomed to such a savage struggle for survival, the chicken had to decide for herself the paths she must follow without any assistance from her race. The man, however, was a natural hunter. And no matter how abject the prey, the cry of victory was in the air.”
According to the text, the father:
“The master of the house, reminding himself of the twofold necessity of sporadically engaging in sport and of getting the family some lunch, appeared resplendent in a pair of swimming trunks and resolved to follow the path traced by the chicken: in cautious leaps and bounds, he scaled the roof where the chicken, hesitant and tremulous, urgently decided on another route. The chase now intensified. From roof to roof, more than a block along the road was covered. Little accustomed to such a savage struggle for survival, the chicken had to decide for herself the paths she must follow without any assistance from her race. The man, however, was a natural hunter. And no matter how abject the prey, the cry of victory was in the air.”
According to the text, the father:
Ano: 2010
Banca:
CÁSPER LÍBERO
Órgão:
CÁSPER LÍBERO
Prova:
CÁSPER LÍBERO - 2010 - CÁSPER LÍBERO - Vestibular |
Q1381473
Inglês
Texto associado
Read the following passage of “The Dinner”, by Clarice Lispector, and answer question.
“I leaned over my meal, lost. When I finally managed to confront him from the depths of my pallid face, I observed that he, too, was leaning forward, his elbows resting on the table, his head between his hands. And obviously he could bear it no longer. His bushy eyebrows were touching. His food must have lodged just below his throat under the stress of his emotion, for when he was able to continue, he made a visible effort to swallow, dabbing his forehead with his napkin. I could bear it no longer, the meat on my plate was raw… and I really could not bear it another minute. But he – he was eating.
The waiter brought a bottle in a bucket of ice. I noted every detail without being capable of discrimination. The bottle was different, the waiter in tails, and the light haloed the robust head of Pluto which was now moving with curiosity, greedy and attentive. For a second the waiter obliterated my view of the elderly gentleman and I could only see his black coattails hovering over the table as he poured red wine into the glass and waited with ardent eyes – because here was a surely man who would tip generously, one of those elderly gentlemen who still command attention… and power. The elderly gentleman, who now seemed larger, confidently took a sip, lowered his glass, and sourly considered the taste in his mouth. He compressed his lips and smacked them with distaste, as if the good were also intolerable. I waited, the waiter waited, and we both leaned forward in suspense. Finally he made a grimace of approval. The waiter curved his shiny head in submission to the man’s words of thanks and went off with lowered head, while I sighed with relief.
He now mingled gulps of wine with the meat in his great mouth and his false teeth
ponderously chewed while I observed him… in vain. Nothing more happened. The
restaurant appeared to radiate with renewed intensity under the tinkling of glass and
cutlery; in the brightly lit dome of the room the whispered conversation rose and fell
in gentle waves; the woman in the large hat smiled with half closed eyes, looking
slender and beautiful as the waiter carefully poured the wine into her glass. But now
he was making another gesture.”
The sentence “while I observed him… in vain” suggests that the narrator:
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