Questões de Vestibular de Inglês

Foram encontradas 5.960 questões

Ano: 2020 Banca: CEPERJ Órgão: CEDERJ Prova: CEPERJ - 2020 - CEDERJ - Vestibular - Inglês |
Q1712826 Inglês

What about the artists?

The Guardian - Wed 14 Oct 2020


The government is deaf to the plight of freelance musicians and othercreatives


      On Monday, a number of British arts organisations finally heard whether they had received grants from the £1.57bn bailout fund announced in July by the chancellor, Rishi Sunak. Not a moment too soon, institutions such as Wigmore Hall in London, Bristol Old Vic and the City of Birmingham Symphony Orchestra have been given a cash bufferthatshould keep them alive until March.

     The welcome announcement has been marred, though, by the failure of the government to address the question of freelancers and self-employed people in the arts. In an interview with ITV last week, Mr. Sunak was asked what he thought professional musicians ought to do, given that they can’t earn enough to live. He answered that up to 3 million people in the country qualified for help under the self-employed support scheme. Pressed on whether musicians oughttofind differentwork, he mentioned retraining schemes that are "providing new and fresh opportunity”. People must adapt, he said. He added that it was untrue that there was no work for musicians. Music lessons, in his own household at least, were still going on.

     The interviewer’s question was specifically about musicians - a third of whom have been ineligible for the selfemployed support scheme. So even if, as he later asserted, Mr Sunak was talking about the workforce as a whole rather than cultural workers in particular when he spoke of the need to retrain, he certainly gave a strong impression of indifference to and ignorance of musicians’ plight. This was reinforced on Monday when a government-backed advertisement went viral, launching hundreds of derisive parodies. Aiming to recruit workers into cybersecurity roles, it showed a dancer doing up her ballet shoes. It read: "Fatima’s next job could be in cyber (she just doesn’t know it yet)”. 
     The culture secretary, Oliver Dowden, was forced to condemn the advertisement as "crass” as his day of good news descended into farce and contumely. The government seems unable to grasp that putting money into the arts infrastructure is only part of the solution; creatives themselves need to be helped to survive economically too. Though some institutions are putting work on stage - and will be helped to do so in the months to come by the rescue package - these events will necessarily be small-scale, representing a drop in the ocean compared with the industry working at full tilt.
     New digital business models are being explored, but they are in their infancy and are not going to pay next month’s rent. Moreover, performance dates in the diary - that is, employment opportunities for freelancers - amount to perilous bets against the future course of the virus. As infections soar, organisations are bound, quite rightly, to be cautious, particularly in the face of the catastrophic failure of the government’s test-and-trace scheme.
     Meanwhile, musicians and others are certainly "adapting” - often to unskilled, low-paid work, though there is not much of that to go around. The government’s continued implication that musicians and other creative workers - many of whom have trained since childhood for some of the most demanding, competitive and highly skilled work in the economy - are somehow not "viable” is both insulting and ignorant. Underlying Mr Sunak’s remarks was the tired old Tory notion that creative jobs are not "real jobs”, and are undertaken by some fantastical species who are not, in fact, real people. Perhaps the chancellor should ask his family’s music teacher what it’s really like for artists right now - and actually listen to the answer.

Source: The Guardian, available at https://www.theguardian. com/commentisfree/2020/oct/14/the-guardian-view-on-saving-thearts-what-about-the-artists, accessed on October21st, 2020.

The second and first paragraphs are linked by a notion of contrast, which is explicitly conveyed by the linking word "though” (2nd paragraph). The contrast refers to the difference in treatment between::
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Ano: 2020 Banca: CEPERJ Órgão: CEDERJ Prova: CEPERJ - 2020 - CEDERJ - Vestibular - Inglês |
Q1712825 Inglês

What about the artists?

The Guardian - Wed 14 Oct 2020


The government is deaf to the plight of freelance musicians and othercreatives


      On Monday, a number of British arts organisations finally heard whether they had received grants from the £1.57bn bailout fund announced in July by the chancellor, Rishi Sunak. Not a moment too soon, institutions such as Wigmore Hall in London, Bristol Old Vic and the City of Birmingham Symphony Orchestra have been given a cash bufferthatshould keep them alive until March.

     The welcome announcement has been marred, though, by the failure of the government to address the question of freelancers and self-employed people in the arts. In an interview with ITV last week, Mr. Sunak was asked what he thought professional musicians ought to do, given that they can’t earn enough to live. He answered that up to 3 million people in the country qualified for help under the self-employed support scheme. Pressed on whether musicians oughttofind differentwork, he mentioned retraining schemes that are "providing new and fresh opportunity”. People must adapt, he said. He added that it was untrue that there was no work for musicians. Music lessons, in his own household at least, were still going on.

     The interviewer’s question was specifically about musicians - a third of whom have been ineligible for the selfemployed support scheme. So even if, as he later asserted, Mr Sunak was talking about the workforce as a whole rather than cultural workers in particular when he spoke of the need to retrain, he certainly gave a strong impression of indifference to and ignorance of musicians’ plight. This was reinforced on Monday when a government-backed advertisement went viral, launching hundreds of derisive parodies. Aiming to recruit workers into cybersecurity roles, it showed a dancer doing up her ballet shoes. It read: "Fatima’s next job could be in cyber (she just doesn’t know it yet)”. 
     The culture secretary, Oliver Dowden, was forced to condemn the advertisement as "crass” as his day of good news descended into farce and contumely. The government seems unable to grasp that putting money into the arts infrastructure is only part of the solution; creatives themselves need to be helped to survive economically too. Though some institutions are putting work on stage - and will be helped to do so in the months to come by the rescue package - these events will necessarily be small-scale, representing a drop in the ocean compared with the industry working at full tilt.
     New digital business models are being explored, but they are in their infancy and are not going to pay next month’s rent. Moreover, performance dates in the diary - that is, employment opportunities for freelancers - amount to perilous bets against the future course of the virus. As infections soar, organisations are bound, quite rightly, to be cautious, particularly in the face of the catastrophic failure of the government’s test-and-trace scheme.
     Meanwhile, musicians and others are certainly "adapting” - often to unskilled, low-paid work, though there is not much of that to go around. The government’s continued implication that musicians and other creative workers - many of whom have trained since childhood for some of the most demanding, competitive and highly skilled work in the economy - are somehow not "viable” is both insulting and ignorant. Underlying Mr Sunak’s remarks was the tired old Tory notion that creative jobs are not "real jobs”, and are undertaken by some fantastical species who are not, in fact, real people. Perhaps the chancellor should ask his family’s music teacher what it’s really like for artists right now - and actually listen to the answer.

Source: The Guardian, available at https://www.theguardian. com/commentisfree/2020/oct/14/the-guardian-view-on-saving-thearts-what-about-the-artists, accessed on October21st, 2020.

The "3 million people in the country qualified for help under the self-employed support scheme” (2nd paragraph) includes the following group of people:
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Ano: 2020 Banca: CEPERJ Órgão: CEDERJ Prova: CEPERJ - 2020 - CEDERJ - Vestibular - Inglês |
Q1712824 Inglês

What about the artists?

The Guardian - Wed 14 Oct 2020


The government is deaf to the plight of freelance musicians and othercreatives


      On Monday, a number of British arts organisations finally heard whether they had received grants from the £1.57bn bailout fund announced in July by the chancellor, Rishi Sunak. Not a moment too soon, institutions such as Wigmore Hall in London, Bristol Old Vic and the City of Birmingham Symphony Orchestra have been given a cash bufferthatshould keep them alive until March.

     The welcome announcement has been marred, though, by the failure of the government to address the question of freelancers and self-employed people in the arts. In an interview with ITV last week, Mr. Sunak was asked what he thought professional musicians ought to do, given that they can’t earn enough to live. He answered that up to 3 million people in the country qualified for help under the self-employed support scheme. Pressed on whether musicians oughttofind differentwork, he mentioned retraining schemes that are "providing new and fresh opportunity”. People must adapt, he said. He added that it was untrue that there was no work for musicians. Music lessons, in his own household at least, were still going on.

     The interviewer’s question was specifically about musicians - a third of whom have been ineligible for the selfemployed support scheme. So even if, as he later asserted, Mr Sunak was talking about the workforce as a whole rather than cultural workers in particular when he spoke of the need to retrain, he certainly gave a strong impression of indifference to and ignorance of musicians’ plight. This was reinforced on Monday when a government-backed advertisement went viral, launching hundreds of derisive parodies. Aiming to recruit workers into cybersecurity roles, it showed a dancer doing up her ballet shoes. It read: "Fatima’s next job could be in cyber (she just doesn’t know it yet)”. 
     The culture secretary, Oliver Dowden, was forced to condemn the advertisement as "crass” as his day of good news descended into farce and contumely. The government seems unable to grasp that putting money into the arts infrastructure is only part of the solution; creatives themselves need to be helped to survive economically too. Though some institutions are putting work on stage - and will be helped to do so in the months to come by the rescue package - these events will necessarily be small-scale, representing a drop in the ocean compared with the industry working at full tilt.
     New digital business models are being explored, but they are in their infancy and are not going to pay next month’s rent. Moreover, performance dates in the diary - that is, employment opportunities for freelancers - amount to perilous bets against the future course of the virus. As infections soar, organisations are bound, quite rightly, to be cautious, particularly in the face of the catastrophic failure of the government’s test-and-trace scheme.
     Meanwhile, musicians and others are certainly "adapting” - often to unskilled, low-paid work, though there is not much of that to go around. The government’s continued implication that musicians and other creative workers - many of whom have trained since childhood for some of the most demanding, competitive and highly skilled work in the economy - are somehow not "viable” is both insulting and ignorant. Underlying Mr Sunak’s remarks was the tired old Tory notion that creative jobs are not "real jobs”, and are undertaken by some fantastical species who are not, in fact, real people. Perhaps the chancellor should ask his family’s music teacher what it’s really like for artists right now - and actually listen to the answer.

Source: The Guardian, available at https://www.theguardian. com/commentisfree/2020/oct/14/the-guardian-view-on-saving-thearts-what-about-the-artists, accessed on October21st, 2020.

The opinion editorial above advances the following position:
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Q1709790 Inglês

‘The Complete Stories,’ by Clarice Lispector

Imagem associada para resolução da questão

By Terrence Rafferty

July 27, 2015


There’s a whiff of madness in the fiction of Clarice Lispector. The “Complete Stories” of the Brazilian writer, edited by Benjamin Moser and sensitively translated by Katrina Dodson, is a dangerous book to read quickly or casually because it’s so consistently delirious. Sentence by sentence, page by page, Lispector is exhilaratingly, arrestingly strange, but her perceptions come so fast, veer so wildly between the mundane and the metaphysical, that after a while you don’t know where you are, either in the book or in the world. So it’s best to approach her with some caution. For the ordinary reader — that is to say, for most of us — immersion in the teeming mind of Clarice Lispector can be an exhausting, even a deranging, experience, not to be undertaken lightly. (Pack food, water, a first aid kit and plenty of sunblock.)


Her stories are full of strange words, in strange combinations, and her “Complete Stories” is a remarkable book, proof that she was — in the company of Jorge Luis Borges, Juan Rulfo and her 19th-century countryman Machado de Assis — one of the true originals of Latin American literature.


THE COMPLETE STORIES

By Clarice Lispector

Edited by Benjamin Moser

Translated by Katrina Dodson

645 pp. New Directions. $28.95.


(Adaptado de https://www.nytimes.com/2015/08/02/books/review/the-completestories-by-clarice-lispector.html. Acessado em 21/07/20.)


No texto acima, o livro de Clarice Lispector recebe uma crítica

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Q1709789 Inglês
“There Will Come Soft Rains” (Sara Teasdale)
There will come soft rains and the smell of the ground, And swallows circling with their shimmering sound; And frogs in the pools singing at night, And wild plum trees in tremulous white; Robins will wear their feathery fire, Whistling their whims on a low fence-wire; And not one will know of the war, not one Will care at last when it is done. Not one would mind, neither bird nor tree, If mankind perished utterly; And Spring herself, when she woke at dawn Would scarcely know that we were gone.
(Disponível em https://poets.org/poem/there-will-come-soft-rains. Acessado em 24/08/2020.)
O poema destaca
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Respostas
471: D
472: C
473: A
474: A
475: A