Postagens
Welcome back to another post!
➧ PROVA DE LÍNGUA INGLESA: UECE-2010/2- VESTIBULAR-2ª FASE-APLICAÇÃO-21/01/2023.
➧ GABARITO:
01-E, 02-B, 03-B, 04-A, 05-A
06-D, 07-X, 08-A, 09-A, 10-C
11-D, 12-A, 13-E, 14-C, 15-A
16-D, 17-B, 18-B, 19-E, 20-A
➧ PROVA:
➧ TEXT:
01 – (IBFC-2023-SEC/BA-PROFESSOR)
Neste post, veremos a Prova de INGLÊS - Vestibular UECE-2010.2 - 2ª FASE - 18/07/2010.
[a]Banca/Organizadora:
[b]Padrão/Composição da prova
➦01 Texto.
➦20 Questões do tipo (A,B,C,D)
➦ Interpretação Textual de temas da atualidade e/ou polêmicos;
➦ Vocabulary, Collocations, Idioms; Phrasal Verbs and False Frends;
🔄 FONTES DOS TEXTOS:
➦ Livro: The Penguin Dictionary of Literary Terms and Literary Theory. London: Penguin, 1999.
🔄 TEXTO/TEMA ABORDADOS:
👉 Texto sem título
➦ Tema abordado: A história de terror
[c]Dictionary:
➦20 Questões do tipo (A,B,C,D)
➦ Interpretação Textual de temas da atualidade e/ou polêmicos;
➦ Vocabulary, Collocations, Idioms; Phrasal Verbs and False Frends;
🔄 FONTES DOS TEXTOS:
➦ Livro: The Penguin Dictionary of Literary Terms and Literary Theory. London: Penguin, 1999.
🔄 TEXTO/TEMA ABORDADOS:
👉 Texto sem título
Caso necessário,sugiro que consulte os 02(dois) excelentes dicionários a seguir:
http://www.thefreedictionary.com/
http:/www.macmillandictionary.com/
http://www.thefreedictionary.com/
http:/www.macmillandictionary.com/
[d]VOCABULÁRIO:
➽[short story=conto]
Apart from being about murder, suicide, torture, fear and madness, horror stories are also concerned with ghosts, vampires, succubi, incubi, poltergeists, demonic pacts, diabolic possession and exorcism, witchcraft, spiritualism, voodoo, lycanthropy and the macabre, plus such occult or quasi occult practices as telekinesis and hylomancy. Some horror stories are serio-comic or comicgrotesque, but none the less alarming or frightening for that.
From late in the 18th c. until the present day – in short, for some two hundred years – the horror story (which is perhaps a mode rather than an identifiable genre) in its many and various forms has been a diachronic feature of British and American literature and is of considerable importance in literary history, especially in the evolution of the short story. It is also important because of its connections with the Gothic novel and with a multitude of fiction associated with tales of mystery, suspense, terror and the supernatural, with the ghost story and the thriller and with numerous stories in the 19th and 20th c. in which crime is a central theme.
The horror story is part of a long process by which people have tried to come to terms with and find adequate descriptions and symbols for deeply rooted, primitive and powerful forces, energies and fears which are related to death, afterlife, punishment, darkness, evil, violence and destruction.
Writers have long been aware of the magnetic attraction of the horrific and have seen how to exploit or appeal to particular inclinations and appetites. It was the poets and artists of the late medieval period who figured out and expressed some of the innermost fears and some of the ultimate horrors (real and imaginary) of human consciousness. Fear created horrors enough and the eschatological order was never far from people‟s minds. Poets dwelt on and amplified the ubi sunt motif and artists depicted the spectre of death in paint, through sculpture and by means of woodcut. The most potent and frightening image of all was that of hell: the abode of eternal loss, pain and damnation. There were numerous 'visions' of hell in literature.
Gradually, imperceptibly, during the 16th c. hell was 'moved' from its traditional site in the center of the earth. It came to be located in the mind; it was a part of a state of consciousness. This was the beginning of the growth of the idea of a subjective, inner hell, a psychological hell; a personal and individual source of horror and terror, such as the chaos of a disturbed and tormented mind, the pandaemonium of psychopathic conditions, rather than the abode of lux atra and everlasting pain with its definite location in a measurable cosmological system.
The horror stories of the late 16th and early 17th c. (like the ghost stories) are provided for us by the playwrights. The Elizabethan and Jacobean tragedians were deeply interested in evil, crime, murder, suicide and violence. They were also very interested in states of extreme suffering: pain, fear and madness. They found new modes, new metaphors and images, for presenting the horrific and in doing so they created simulacra of hell.
One might cite perhaps a thousand or more instances from plays in the period c. 1580 to c. 1642 in which hell is an allpurpose, variable and diachronic image of horror whether as a place of punishment or as a state of mind and spirit. Horrific action on stage was commonplace in the tragedy and revenge tragedy of the period. The satiety which Macbeth claimed to have experienced when he said: “I have supp‟d full of horrors;/ Direness, familiar to my slaughterous thoughts, /Cannot once start me…” was representative of it.
During the 18th c. (as during the 19th ), in orthodox doctrine taught by various "churches" and sects, hell remained a place of eternal fire and punishment and the abode of the Devil. For the most part writers of the Romantic period and thereafter did not re-create it as a visitable place. However, artists were drawn to “illustrate” earlier conceptions of hell. William Blake did 102 engravings for Dante‟s Inferno. John Martin illustrated Paradise Lost and Gustave Doré applied himself to Dante and Milton. The actual hells of the 18th and 19th c. were the gaols, the madhouses, the slums and bedlams and those lanes and alleys where vice, squalor, depravity and unspeakable misery created a social and moral chaos: terrestrial counterparts to the horrors of Dante's Circles.
Gothic influence traveled to America and affected writers such as Edgar Allan Poe, whose tales are short, intense, sensational and have the power to inspire horror and terror. He depicts extremes of fear and insanity and, through the perations of evil, gives us glimpses of hell.
Poe's long-term influence was immeasurable (and in the case of some writers not altogether for their good), and one can detect it persisting through the
19th c.; in, for example the French symbolistes (Baudelaire published translations of his tales in 1856 and 1857), in such British writers as Rossetti, Swinburne, Dowson and R. L. Stevenson, and in such Americans as Ambrose Bierce, Hart Crane and H.P. Lovecraft.
Towards the end of the 19th c. a number of British and American writers were experimenting with different modes of horror story, and this was at a time when there had been a steadily growing interest in the occult, in supernatural agencies, in psychic phenomena, in psychotherapy, in extreme psychological states and also in spiritualism.
The enormous increase in science fiction since the 1950s has diversified horror fiction even more than might at first be supposed. New maps of hell have been drawn and are being drawn; new dimensions of the horrific exposed and explored; new simulacra and exempla created. Fear, pain, suffering, guilt and madness (what has already been touched on in miscellaneous 'hells') remain powerful and emotive elements in horror stories. In a chaotic world, which many see to be on a disaster course, through the cracks, 'the faults in reality', we and our writers catch other vertiginous glimpses of 'chaos and old night', fissiparating images of death and destruction.
01 – (UECE-2010/2-VESTIBULAR-2ª FASE)
No final dos anos 1500 e início dos anos 1600, o horror foi explorado na literatura principalmente através de...
*Alternativa (A): romances.
*Alternativa (B): contos.
*Alternativa (C): peças.
*Alternativa (D): óperas.
➽O texto relata:
"[...] One might cite perhaps a thousand or more instances from plays in the period c. 1580 to c. 1642 in which hell is an all-purpose, variable and diachronic image of horror whether as a place of punishment or as a state of mind and spirit."
(Pode-se citar, talvez, mil ou mais exemplos de peças no período entre 1580 e 1642, em que o inferno é uma imagem universal, variável e diacrônica do horror, seja como lugar de castigo, seja como estado de mente e espírito.)
02 – (UECE-2010/2-VESTIBULAR-2ª FASE)
Um fragmento de um discurso de Macbeth é mencionado no texto como um EXEMPLO de...
*Alternativa (A): uso de cenas de terror em tragédias.
*Alternativa (B): uso constante de horror na 15ª c. romances.
*Alternativa (C): rara presença de horror nas comédias.
*Alternativa (D): uso incomum de horror por Marlowe.
➽ O texto relata:
"[...] Horrific action on stage was commonplace in the tragedy and revenge tragedy of the period. The satiety which Macbeth claimed to have experienced when he said: "I have supp'd full of horrors;/ Direness, familiar to my slaughterous thoughts, /Cannot once start me…” was representative of it."
(Uma ação horrível no palco foi lugar-comum na tragédia e na tragédia da vingança do período. A saciedade que Macbeth alegou ter experimentado quando ele disse: "Eu supoi cheio de horrores; / Direção, familiar aos meus pensamentos carniceiros, / Não posso uma vez me iniciar ..." foi representativo disso.)
03 – (UECE-2010/2-VESTIBULAR-2ª FASE)
Among other reasons, the horror story has been quite important in its various forms because of
Entre outras razões, a história de horror tem sido bastante importante em suas várias formas por causa de
*Alternativa (A): seu aspecto cômico-grotesco.
*Alternativa (B): a evolução do conto e suas conexões com o romance gótico.
*Alternativa (C): possessão diabólica e exorcismo.
*Alternativa (D): a dor final e danação do inferno.
➽ O texto relata:
"[...] From late in the 18th c. until the present day – in short, for some two hundred years – the horror story (which is perhaps a mode rather than an identifiable genre) in its many and various forms has been a diachronic feature of British and American literature and is of considerable importance in literary history, especially in the evolution of the short story. It is also important because of its connections with the Gothic novel and with a multitude of fiction associated with tales of mystery, suspense, terror and the supernatural, with the ghost story and the thriller and with numerous stories in the 19th and 20th c. in which crime is a central theme."
(A partir do final do século 18 até os dias de hoje - em suma, por cerca de duzentos anos - a história de horror (que é talvez um modo mais do que um gênero identificável) em suas muitas e variadas formas tem sido uma característica diacrônica da literatura britânica e americana e é de considerável importância. na história literária, especialmente na evolução do conto. Também é importante por causa de suas conexões com o romance gótico e com uma infinidade de ficção associada a contos de mistério, suspense, terror e sobrenatural, com a história de fantasmas e o suspense e com inúmeras histórias nos séculos XIX e XX. em que o CRIME/DELITO é um tema central.)
04 – (UECE-2010/2-VESTIBULAR-2ª FASE)
Many of the innermost fears and ultimate horrors of our awareness were revealed by
A) British writers.
B) writers of the Romantic period.
C) illustrators of fairy tales.
D) artists and poets of the middle ages.
Muitos dos MEDOS MAIS ÍNTIMOS e HORRORES PRINCIPAIS de nossa consciência foram revelados por...
*Alternativa (A): escritores britânicos.
*Alternativa (B): escritores do período romântico.
*Alternativa (C): ilustradores de contos de fadas.
*Alternativa (D): artistas e poetas da idade média.
➽ O texto relata:
"[...] Writers have long been aware of the magnetic attraction of the horrific and have seen how to exploit or appeal to particular inclinations and appetites. It was the poets and artists of the late medieval period who figured out and expressed some of the innermost fears and some of the ultimate horrors (real and imaginary) of human consciousness."
(Há muito, os escritores têm tido consciência da atração magnética do horrível e viram como explorar ou apelar para inclinações e apetites particulares. Foram os poetas e artistas dos últimos anos do PERÍODO MEDIEVAL que descobriram e expressaram alguns dos medos mais íntimos e alguns dos horrores principais (reais e imaginários) da consciência humana.)
05 – (UECE-2010/2-VESTIBULAR-2ª FASE)
As to the French "symbolistes", the text says that they were
A) determined to discuss depravity and misery.
B) experimenting with different kinds of poetry.
C) translators of Baudelaire's tales.
D) influenced by Edgar Poe's tales.
Quanto aos "simbolistas" franceses, o texto diz que eles eram...
*Alternativa (A): determinado a discutir depravação e miséria.
*Alternativa (B): experimentando diferentes tipos de poesia.
*Alternativa (C): tradutores dos contos de Baudelaire.
*Alternativa (D): influenciado pelos contos de Edgar Poe.
06 – (UECE-2010/2-VESTIBULAR-2ª FASE)
In the sixteenth century, "hell" was
A) the center of attention among European writers.
B) turned into a diachronic feature of American literature.
C) displaced from its traditional location to the mind itself.
D) considered the spectre of death.
No século XVI, o "inferno" era
*Alternativa (A): o centro das atenções entre os escritores europeus.
*Alternativa (B): se transformou em uma característica diacrônica da literatura americana.
*Alternativa (C): deslocado de sua localização tradicional para a própria mente.
*Alternativa (D): considerou o espectro da morte.
➽ O texto relata:
"[...] Gradually, imperceptibly, during the 16th c. hell was 'moved' from its traditional site in the center of the earth. It came to be located in the mind; it was a part of a state of consciousness."
(Gradualmente, imperceptivelmente, durante o SÉCULO XVI, o inferno foi "movido" de seu local tradicional no centro da terra. Chegou a ser localizado na mente; era parte de um estado de consciência.)
07 – (UECE-2010/2-VESTIBULAR-2ª FASE)
The concept of an inner hell was then considered
A) the abode of lux atra and eternal pain.
B) a psychological kind of horror and terror.
C) a horrible location in the cosmological system.
D) a place for voodoo, succubi, incubi, and poltergeists.
O conceito de um inferno interior foi então considerado
*Alternativa (A): a morada de lux atra e a dor eterna.
*Alternativa (B): um tipo psicológico de HORROR e TERROR.
*Alternativa (C): uma localização horrível no sistema cosmológico.
*Alternativa (D): um lugar para vodu, súcubos, íncubos e poltergeists.
08 – (UECE-2010/2-VESTIBULAR-2ª FASE)
For some religious groups, in the eighteenth century, the idea of hell
A) was re-created as a visitable place.
B) had an enormous influence on readers.
C) persisted as a site of lasting fire, punishment, and the devil's home.
D) disappeared completely from literature.
Para alguns grupos religiosos, no século XVIII, a ideia do inferno...
*Alternativa (A): foi recriada como um lugar visitável.
*Alternativa (B): teve uma enorme influência sobre os leitores.
*Alternativa (C): persistiu como um local de fogo duradouro, castigo e da morada do diabo.
*Alternativa (D): desapareceu completamente da literatura.
➽ O texto relata:
"[...] During the 18th c. (as during the 19th ), in orthodox doctrine taught by various "churches" and sects, hell remained a place of eternal fire and punishment and the abode of the Devil."
(Durante o SÉCULO XVIII (como durante o século 19), na doutrina ortodoxa ensinada por várias "igrejas" e seitas, o inferno permaneceu como um lugar de fogo e castigo eternos e da morada do diabo.)
09 – (UECE-2010/2-VESTIBULAR-2ª FASE)
The true hells in the 18th and 19th centuries were, among other things
A) illustrated in Paradise Lost.
B) celestial counterparts to the horrors of psychopathic conditions.
C) 102 engravings made by William Blake.
D) slums, bedlams, gaols and asylums.
Os INFERNOS VERDADEIROS nos séculos XVIII e XIX foram, entre outras coisas
*Alternativa (A): ilustrado em Paradise Lost.
*Alternativa (B): contrapartes celestes aos horrores das condições psicopáticas.
*Alternativa (C): 102 gravuras feitas por William Blake.
*Alternativa (D): favelas, cenas de tumulto, prisões e asilos.
➽ O texto relata:
"[...] The actual hells of the 18th and 19th c. were the gaols, the madhouses, the slums and bedlams and those lanes and alleys where vice, squalor, depravity and unspeakable misery created a social and moral chaos: terrestrial counterparts to the horrors of Dante's Circles."
(Os infernos reais dos séculos XVIII e XIX eram as prisões, os manicômios, as favelas e as cenas de tumulto e aquelas ruas e becos onde o vício, a miséria, a depravação e a indescritível miséria criavam um caos moral e social: contrapartes terrestres dos horrores dos Círculos de Dante.)
10 – (UECE-2010/2-VESTIBULAR-2ª FASE)
Near the end of the nineteenth century
A) Ambrose Bierce translated Poe‟s short stories into French.
B) there was an increased interest in the supernatural, in psychic phenomena, in psychotherapy and in spiritualism.
C) Gustave Doré applied himself to Dante and Milton.
D) artists depicted the spectre of death in paint, through sculpture and woodcutting.
Perto do final do século XIX...
*Alternativa (A): Ambrose Bierce traduziu os contos de Poe para o francês.
*Alternativa (B): houve um interesse crescente no sobrenatural, nos fenômenos psíquicos, na psicoterapia e no espiritualismo.
*Alternativa (C): Gustave Doré se aplicou a Dante e Milton.
*Alternativa (D): artistas retrataram o espectro da morte na pintura, através de escultura e xilogravura.
➽ O texto relata:
"[...] Towards the end of the 19th c. a number of British and American writers were experimenting with different modes of horror story, and this was at a time when there had been a steadily growing interest in the occult, in supernatural agencies, in psychic phenomena, in psychotherapy, in extreme psychological states and also in spiritualism."
(No final do SÉCULO XIX, vários escritores britânicos e americanos estavam experimentando diferentes modos de história de horror, e isso foi em um momento em que houve um crescente interesse no ocultismo, em agências do sobrenatural, em fenômenos psíquicos, na psicoterapia, em estados psicológicos extremos e também no espiritualismo.)
11 – (UECE-2010/2-VESTIBULAR-2ª FASE)
Among the many writers influenced by Edgar Allan Poe, the text mentions
A) Myers and Blake.
B) John Martin and Milton.
C) Bierce and Lovecraft.
D) Gustave Doré and Milton.
Entre os muitos escritores influenciados por Edgar Allan Poe, o texto menciona
*Alternativa (A): Myers e Blake.
*Alternativa (B): John Martin e Milton.
*Alternativa (C): Bierce e Lovecraft.
*Alternativa (D): Gustave Doré e Milton.
➽ O texto relata:
"[...] and in such Americans as Ambrose Bierce,
Hart Crane and H.P. Lovecraft."
(e americanos como Ambrose Bierce,
Hart Crane e H.P. Lovecraft)
12 – (UECE-2010/2-VESTIBULAR-2ª FASE)
Among the many themes explored in horror stories, one can include
A) witchcraft, lycanthropy, and occult practices.
B) vampires, hylomancy, psychical research.
C) occult practices, betrayal and madhouses.
D) the slums, moral chaos and depravity.
Entre os muitos temas explorados em histórias de horror, pode-se incluir...
*Alternativa (A): feitiçaria, licantropia e práticas ocultas.
*Alternativa (B): vampiros, hilomancia, pesquisa psíquica.
*Alternativa (C): práticas ocultas, traição e manicômios.
*Alternativa (D): as favelas, o caos moral e a depravação.
13 – (UECE-2010/2-VESTIBULAR-2ª FASE)
The sentences
A) passive voice and active voice.
B) active voice and passive voice.
C) passive voice and passive voice.
D) active voice and active voice.
➽ 1ª SENTENÇA: was 'moved' → passive voice
"Gradually, imperceptibly, during the 16th c. hell was 'moved' from its traditional site in the center of the earth."
("Gradualmente, imperceptivelmente, durante o século XVI o inferno foi 'movido' de seu local tradicional no centro da Terra.")
➽ 2ª SENTENÇA: are provided → passive voice
"The horror stories of the late 16th and early 17th c. (like the ghost stories) are provided for us by the playwrights."
("As histórias de horror do final do século 16 e início do século 17 (como as histórias de fantasmas) são fornecidas pelos dramaturgos.")
Questão 14
In the sentence "Gothic influence traveled to America and affected writers such as Edgar Allan Poe, whose tales are short, intense, sensational and have the power to inspire horror and terror." one may find at least one
A) noun clause.
B) adjective clause.
C) time clause.
D) contrast clause.
➽ SENTENÇA: whose → adjective clause.
"Gothic influence traveled to America and affected writers such as Edgar Allan Poe, WHOSE tales are short, intense, sensational and have the power to inspire horror and terror."
("A influência gótica viajou para a América e afetou escritores como Edgar Allan Poe, cujos contos são curtos, intensos, sensacionais e têm o poder de inspirar horror e terror.")
Questão 15
The sentences "He depicts extremes of fear and insanity and, through the operations of evil, gives us glimpses of hell." "Fear created horrors enough and the eschatological order was never far from people's minds." and "From late in the 18th c. until the present day – in short, for some two hundred years – the horror story in its many and various forms has been a diachronic feature of British and American literature…" should be classified respectively as
A) complex, complex, compound.
B) simple, compound, complex.
C) compound, compound, simple.
D) compound, compound, complex.
➽ 1ª SENTENÇA: and → compound clause
"He depicts extremes of fear and insanity and, through the operations of evil, gives us glimpses of hell."
("Ele descreve extremos de medo e insanidade e, através das operações do mal, nos dá vislumbres do inferno.")
➽ 2ª SENTENÇA: and → compound clause
"Fear created horrors enough and the eschatological order was never far from people's minds."
("O medo criou horrores suficientes e a ordem escatológica nunca esteve longe das mentes das pessoas.")
➽ 3ª SENTENÇA: somente uma oração (has been) → simple clause.
"From late in the 18th c. until the present day – in short, for some two hundred years – the horror story in its many and various forms has been a diachronic feature of British and American literature…"
("Do final do século 18 até os dias atuais - em suma, por cerca de duzentos anos - a história de horror em suas muitas e variadas formas tem sido uma característica diacrônica da literatura britânica e americana ...")
Questão 16
The sentences "New maps of hell have been drawn…", "John Martin illustrated Paradise Lost…" and "The enormous increase in science fiction since the 1950s has diversified horror fiction…" are respectively in the
A) present perfect, present perfect, simple past.
B) past perfect, simple past, present perfect.
C) simple past, present perfect passive, past perfect.
D) present perfect passive, simple past, present perfect.
➽ 1ª SENTENÇA: HAVE BEEN DRAWN → PRESENT PERFECT PASSIVE(HAVE + BEEN+Past Participle de um verbo principal)
"New maps of hell have been drawn…"
(Novos mapas do inferno TÊM SIDO desenhados)
➽ 2ª SENTENÇA: ILLUSTRATED → SIMPLE PAST
"John Martin illustrated Paradise Lost…"
("John Martin ILUSTROU Paradise Lost ...")
➽ 3ª SENTENÇA: HAS DIVERSIFIELD → PRESENT PERFECT (HAS + Past Participle de um verbo principal)
"The enormous increase in science fiction since the 1950s has diversified horror fiction…"
("O enorme aumento da ficção científica desde os anos 1950 TEM DIVERSIFICADO a ficção de horror ...")
Questão 17
If the author knew then what he knows now, he
A) will find another ending for his novel.
B) would have found another ending for his novel.
C) would found another ending for his novel.
D) can have found another ending for his novel.
➽ IF CLAUSE está no SIMPLE PAST, veja:
"If the author knew then what he knows now, he..."
(Se o autor sabia então o que ele sabe agora, ele...)
➽ IF CLAUSE no SIMPLE PAST exige MAIN CLAUSE com MODAL(would):
"would have found another ending for his novel"
(teria encontrado outro final para seu romance.)
➽ Não se usa verbo no passado(found) após WOULD.
Questão 18
According to their function in the text, the words frightening (line 52), beginning (line 62), everlasting (line 69), experimenting (line 137) and suffering (line 79) are classified as
A) noun, adjective, verb, verb, noun.
B) verb, verb, adjective, noun, verb.
C) noun, adjective, noun, verb, noun.
D) adjective, noun, adjective, verb, noun.
➽ frightening(assustador) → NOUN
➽ beginning(começando) → VERB
➽ everlasting(eterno) → ADJECTIVE
➽ experimenting(experimentando) → VERB
➽ suffering(sofrimento) → NOUN
Questão 19
In the sentences "In a chaotic world, which many see to be on a disaster course, through the cracks, 'the faults in reality', we and our writers catch other vertiginous glimpses of 'chaos and old night'", "The satiety which Macbeth claimed to have experienced (… ) was representative of it." and "…people have tried to come to terms with and find adequate descriptions and symbols for deeply rooted, primitive and powerful forces, energies and fears which are related to death, afterlife, punishment, darkness, evil, violence and destruction." one finds relative clauses classified respectively as
A) defining, non-defining, defining.
B) non-defining, defining, non-defining.
C) defining, non-defining, defining.
D) non-defining, defining, defining.
➽ 1ª SENTENÇA: , which many → NON-DEFINING CLAUSE(pronome which COM VÍRGULA PRECEDIDA)
"In a chaotic world, which many see to be on a disaster course, through the cracks, 'the faults in reality', we and our writers catch other vertiginous glimpses of 'chaos and old night'"
("Em um mundo caótico, que muitos vêem estar em um curso de desastre, através das rachaduras, 'as falhas na realidade', nós e nossos escritores captamos outros vislumbres vertiginosos do 'caos e da velha noite'")
➽ 2ª SENTENÇA: which Macbeth → DEFINING CLAUSE(pronome which SEM VÍRGULA PRECEDIDA)
"The satiety which Macbeth claimed to have experienced (… ) was representative of it."
("A saciedade que Macbeth alegou ter experimentado (...) era representativa disso".)
➽ 3ª SENTENÇA: which are → DEFINING CLAUSE(pronome which SEM VÍRGULA PRECEDIDA)
"…people have tried to come to terms with and find adequate descriptions and symbols for deeply rooted, primitive and powerful forces, energies and fears which are related to death, afterlife, punishment, darkness, evil, violence and destruction."
("... as pessoas tentaram chegar a um acordo e encontrar descrições e símbolos adequados para forças profundamente enraizadas, primitivas e poderosas, energias e medos que estão relacionados à morte, vida após a morte, castigo, escuridão, maldade, violência e destruição.")
Questão 20
The sentences "Fear created horrors enough and the eschatological order was never far from people's minds.", "…artists depicted the spectre of death in paint, through sculpture and by means of woodcut." and "we and our writers catch other vertiginous glimpses of 'chaos and old night'" contain respectively a/an
A) direct object, an indirect object, an indirect object.
B) indirect object, an indirect object, a direct object.
C) indirect object, a direct object, a direct object.
D) direct object, a direct object, a direct object.
➽ 1ª SENTENÇA:
"Fear created horrors enough and the eschatological order was never far from people's minds."
("O medo criou horrores suficientes e a ordem escatológica nunca esteve longe das mentes das pessoas.")
➽ 2ª SENTENÇA:
"…artists depicted the spectre of death in paint, through sculpture and by means of woodcut."
("… Os artistas retratam o espectro da morte na pintura, através da escultura e por meio da xilogravura.")
➽ 3ª SENTENÇA:
"we and our writers catch other vertiginous glimpses of 'chaos and old night'"
("nós e nossos escritores captamos outros vislumbres vertiginosos do 'caos e da velha noite'")
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➽[crime is a central theme=crime é um tema central]
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➽[has been a diachronic feature of British and American literature=tem sido uma característica diacrônica da literatura britânica e americana]
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🔄Substantivos(NOUNS):
➽[exorcism(éksôrSSízãm)=exorcismo]
➽[horror(RRôrô)=horror]
➽[literature(LerôrêTchô)=literatura]
➽[murder(Môrdô)=assassination(assassinato)]
➽[poltergeists(pôltêGáit)=demon(diÍmên)=demônio]
➽[suicide(súiSSáiri)=self-murder(Sélf-Môrdô)=suicídio]
➽[spiritualism(sPíruxuLêzãm)=espiritualismo]
➽[torture(Tôrtchôr)=tortura]
➽[witchcraft=feitiçaria/bruxaria]
➽[witch(uêtch)=bruxa]
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🔄Advérbios/Locução adverbial :
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➽[crime is a central theme=crime é um tema central]
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➽[has been a diachronic feature of British and American literature=tem sido uma característica diacrônica da literatura britânica e americana]
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➽[exorcism(éksôrSSízãm)=exorcismo]
➽[horror(RRôrô)=horror]
➽[literature(LerôrêTchô)=literatura]
➽[murder(Môrdô)=assassination(assassinato)]
➽[poltergeists(pôltêGáit)=demon(diÍmên)=demônio]
➽[suicide(súiSSáiri)=self-murder(Sélf-Môrdô)=suicídio]
➽[spiritualism(sPíruxuLêzãm)=espiritualismo]
➽[torture(Tôrtchôr)=tortura]
➽[witchcraft=feitiçaria/bruxaria]
➽[witch(uêtch)=bruxa]
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➽[As to the=quanto ao(s)]
➽[Apart from being about=Além de ser sobre]
➽[in its many and various forms=em suas muitas e variadas formas]
🔄Expressões ADJETIVO+SUBSTANTIVO :
➽[demonic pacts=pactos demoníacos]
➽[innermost fears=medos mais íntimos]
🔄Expressões/Vocábulos técnicos: HEALYTH ENGLISH(Inglês da área de Saúde/social) :
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➽[for some two hundred years=por cerca de duzentos anos]
➽[From late in the 18th c. until the present day=A partir do final do século XVIII até os dias atuais]
➽[in the period c. 1580 to c. 1642=no período entre o SÉCULO XVI e o SÉCULO XVII]
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➽[As to the=quanto ao(s)]
➽[Apart from being about=Além de ser sobre]
➽[in its many and various forms=em suas muitas e variadas formas]
🔄Expressões ADJETIVO+SUBSTANTIVO :
➽[demonic pacts=pactos demoníacos]
➽[innermost fears=medos mais íntimos]
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🔄Expressões/Vocábulos técnicos: ÁREA DE EDUCAÇÃO :
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🔄Expressões/Vocábulos técnicos: TAX ENGLISH(Inglês Tributário) :
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🔄Expressões/Vocábulos técnicos: ECONOMY ENGLISH(Inglês da área de Economia) :
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🔄Expressões com 'S (Genitive case=indica posse):
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🔄Expressões com frações/números:
➽[for some two hundred years=por cerca de duzentos anos]
➽[From late in the 18th c. until the present day=A partir do final do século XVIII até os dias atuais]
➽[in the period c. 1580 to c. 1642=no período entre o SÉCULO XVI e o SÉCULO XVII]
🔄Questions:
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🔄False Friends(Falsos cognatos):
Text
Apart from being about murder, suicide, torture, fear and madness, horror stories are also concerned with ghosts, vampires, succubi, incubi, poltergeists, demonic pacts, diabolic possession and exorcism, witchcraft, spiritualism, voodoo, lycanthropy and the macabre, plus such occult or quasi occult practices as telekinesis and hylomancy. Some horror stories are serio-comic or comicgrotesque, but none the less alarming or frightening for that.
From late in the 18th c. until the present day – in short, for some two hundred years – the horror story (which is perhaps a mode rather than an identifiable genre) in its many and various forms has been a diachronic feature of British and American literature and is of considerable importance in literary history, especially in the evolution of the short story. It is also important because of its connections with the Gothic novel and with a multitude of fiction associated with tales of mystery, suspense, terror and the supernatural, with the ghost story and the thriller and with numerous stories in the 19th and 20th c. in which crime is a central theme.
The horror story is part of a long process by which people have tried to come to terms with and find adequate descriptions and symbols for deeply rooted, primitive and powerful forces, energies and fears which are related to death, afterlife, punishment, darkness, evil, violence and destruction.
Writers have long been aware of the magnetic attraction of the horrific and have seen how to exploit or appeal to particular inclinations and appetites. It was the poets and artists of the late medieval period who figured out and expressed some of the innermost fears and some of the ultimate horrors (real and imaginary) of human consciousness. Fear created horrors enough and the eschatological order was never far from people‟s minds. Poets dwelt on and amplified the ubi sunt motif and artists depicted the spectre of death in paint, through sculpture and by means of woodcut. The most potent and frightening image of all was that of hell: the abode of eternal loss, pain and damnation. There were numerous 'visions' of hell in literature.
Gradually, imperceptibly, during the 16th c. hell was 'moved' from its traditional site in the center of the earth. It came to be located in the mind; it was a part of a state of consciousness. This was the beginning of the growth of the idea of a subjective, inner hell, a psychological hell; a personal and individual source of horror and terror, such as the chaos of a disturbed and tormented mind, the pandaemonium of psychopathic conditions, rather than the abode of lux atra and everlasting pain with its definite location in a measurable cosmological system.
The horror stories of the late 16th and early 17th c. (like the ghost stories) are provided for us by the playwrights. The Elizabethan and Jacobean tragedians were deeply interested in evil, crime, murder, suicide and violence. They were also very interested in states of extreme suffering: pain, fear and madness. They found new modes, new metaphors and images, for presenting the horrific and in doing so they created simulacra of hell.
One might cite perhaps a thousand or more instances from plays in the period c. 1580 to c. 1642 in which hell is an allpurpose, variable and diachronic image of horror whether as a place of punishment or as a state of mind and spirit. Horrific action on stage was commonplace in the tragedy and revenge tragedy of the period. The satiety which Macbeth claimed to have experienced when he said: “I have supp‟d full of horrors;/ Direness, familiar to my slaughterous thoughts, /Cannot once start me…” was representative of it.
During the 18th c. (as during the 19th ), in orthodox doctrine taught by various "churches" and sects, hell remained a place of eternal fire and punishment and the abode of the Devil. For the most part writers of the Romantic period and thereafter did not re-create it as a visitable place. However, artists were drawn to “illustrate” earlier conceptions of hell. William Blake did 102 engravings for Dante‟s Inferno. John Martin illustrated Paradise Lost and Gustave Doré applied himself to Dante and Milton. The actual hells of the 18th and 19th c. were the gaols, the madhouses, the slums and bedlams and those lanes and alleys where vice, squalor, depravity and unspeakable misery created a social and moral chaos: terrestrial counterparts to the horrors of Dante's Circles.
Gothic influence traveled to America and affected writers such as Edgar Allan Poe, whose tales are short, intense, sensational and have the power to inspire horror and terror. He depicts extremes of fear and insanity and, through the perations of evil, gives us glimpses of hell.
Poe's long-term influence was immeasurable (and in the case of some writers not altogether for their good), and one can detect it persisting through the
19th c.; in, for example the French symbolistes (Baudelaire published translations of his tales in 1856 and 1857), in such British writers as Rossetti, Swinburne, Dowson and R. L. Stevenson, and in such Americans as Ambrose Bierce, Hart Crane and H.P. Lovecraft.
Towards the end of the 19th c. a number of British and American writers were experimenting with different modes of horror story, and this was at a time when there had been a steadily growing interest in the occult, in supernatural agencies, in psychic phenomena, in psychotherapy, in extreme psychological states and also in spiritualism.
The enormous increase in science fiction since the 1950s has diversified horror fiction even more than might at first be supposed. New maps of hell have been drawn and are being drawn; new dimensions of the horrific exposed and explored; new simulacra and exempla created. Fear, pain, suffering, guilt and madness (what has already been touched on in miscellaneous 'hells') remain powerful and emotive elements in horror stories. In a chaotic world, which many see to be on a disaster course, through the cracks, 'the faults in reality', we and our writers catch other vertiginous glimpses of 'chaos and old night', fissiparating images of death and destruction.
From:
CUDDON, J. A. The Penguin Dictionary of Literary
Terms and Literary Theory. London: Penguin,1999.
In the end of the 1500s and beginning of the 1600s horror was explored in literature mainly through
A) novels.
B) short stories.
C) plays.
D) operas.
B) short stories.
C) plays.
D) operas.
👍 Comentários e Gabarito C
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:No final dos anos 1500 e início dos anos 1600, o horror foi explorado na literatura principalmente através de...
*Alternativa (A): romances.
*Alternativa (B): contos.
*Alternativa (C): peças.
*Alternativa (D): óperas.
➽O texto relata:
"[...] One might cite perhaps a thousand or more instances from plays in the period c. 1580 to c. 1642 in which hell is an all-purpose, variable and diachronic image of horror whether as a place of punishment or as a state of mind and spirit."
(Pode-se citar, talvez, mil ou mais exemplos de peças no período entre 1580 e 1642, em que o inferno é uma imagem universal, variável e diacrônica do horror, seja como lugar de castigo, seja como estado de mente e espírito.)
02 – (UECE-2010/2-VESTIBULAR-2ª FASE)
A fragment of a speech from Macbeth is mentioned in the text as an instance of the
A) use of horror scenes in tragedies.
B) constant use of horror in 15th c. novels.
C) rare presence of horror in comedies.
D) unusual use of horror by Marlowe.
B) constant use of horror in 15th c. novels.
C) rare presence of horror in comedies.
D) unusual use of horror by Marlowe.
👍 Comentários e Gabarito A
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:Um fragmento de um discurso de Macbeth é mencionado no texto como um EXEMPLO de...
*Alternativa (A): uso de cenas de terror em tragédias.
*Alternativa (B): uso constante de horror na 15ª c. romances.
*Alternativa (C): rara presença de horror nas comédias.
*Alternativa (D): uso incomum de horror por Marlowe.
➽ O texto relata:
"[...] Horrific action on stage was commonplace in the tragedy and revenge tragedy of the period. The satiety which Macbeth claimed to have experienced when he said: "I have supp'd full of horrors;/ Direness, familiar to my slaughterous thoughts, /Cannot once start me…” was representative of it."
(Uma ação horrível no palco foi lugar-comum na tragédia e na tragédia da vingança do período. A saciedade que Macbeth alegou ter experimentado quando ele disse: "Eu supoi cheio de horrores; / Direção, familiar aos meus pensamentos carniceiros, / Não posso uma vez me iniciar ..." foi representativo disso.)
03 – (UECE-2010/2-VESTIBULAR-2ª FASE)
A) its comic-grotesque aspect.
B) the evolution of the short story and its connections with the gothic novel.
C) diabolic possession and exorcism.
D) the ultimate pain and damnation of hell.
B) the evolution of the short story and its connections with the gothic novel.
C) diabolic possession and exorcism.
D) the ultimate pain and damnation of hell.
👍 Comentários e Gabarito B
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:Entre outras razões, a história de horror tem sido bastante importante em suas várias formas por causa de
*Alternativa (A): seu aspecto cômico-grotesco.
*Alternativa (B): a evolução do conto e suas conexões com o romance gótico.
*Alternativa (C): possessão diabólica e exorcismo.
*Alternativa (D): a dor final e danação do inferno.
➽ O texto relata:
"[...] From late in the 18th c. until the present day – in short, for some two hundred years – the horror story (which is perhaps a mode rather than an identifiable genre) in its many and various forms has been a diachronic feature of British and American literature and is of considerable importance in literary history, especially in the evolution of the short story. It is also important because of its connections with the Gothic novel and with a multitude of fiction associated with tales of mystery, suspense, terror and the supernatural, with the ghost story and the thriller and with numerous stories in the 19th and 20th c. in which crime is a central theme."
(A partir do final do século 18 até os dias de hoje - em suma, por cerca de duzentos anos - a história de horror (que é talvez um modo mais do que um gênero identificável) em suas muitas e variadas formas tem sido uma característica diacrônica da literatura britânica e americana e é de considerável importância. na história literária, especialmente na evolução do conto. Também é importante por causa de suas conexões com o romance gótico e com uma infinidade de ficção associada a contos de mistério, suspense, terror e sobrenatural, com a história de fantasmas e o suspense e com inúmeras histórias nos séculos XIX e XX. em que o CRIME/DELITO é um tema central.)
04 – (UECE-2010/2-VESTIBULAR-2ª FASE)
A) British writers.
B) writers of the Romantic period.
C) illustrators of fairy tales.
D) artists and poets of the middle ages.
👍 Comentários e Gabarito D
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL e EXPRESSÕES(medieval period=the middle ages):Muitos dos MEDOS MAIS ÍNTIMOS e HORRORES PRINCIPAIS de nossa consciência foram revelados por...
*Alternativa (A): escritores britânicos.
*Alternativa (B): escritores do período romântico.
*Alternativa (C): ilustradores de contos de fadas.
*Alternativa (D): artistas e poetas da idade média.
➽ O texto relata:
"[...] Writers have long been aware of the magnetic attraction of the horrific and have seen how to exploit or appeal to particular inclinations and appetites. It was the poets and artists of the late medieval period who figured out and expressed some of the innermost fears and some of the ultimate horrors (real and imaginary) of human consciousness."
(Há muito, os escritores têm tido consciência da atração magnética do horrível e viram como explorar ou apelar para inclinações e apetites particulares. Foram os poetas e artistas dos últimos anos do PERÍODO MEDIEVAL que descobriram e expressaram alguns dos medos mais íntimos e alguns dos horrores principais (reais e imaginários) da consciência humana.)
05 – (UECE-2010/2-VESTIBULAR-2ª FASE)
A) determined to discuss depravity and misery.
B) experimenting with different kinds of poetry.
C) translators of Baudelaire's tales.
D) influenced by Edgar Poe's tales.
👍 Comentários e Gabarito D
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:Quanto aos "simbolistas" franceses, o texto diz que eles eram...
*Alternativa (A): determinado a discutir depravação e miséria.
*Alternativa (B): experimentando diferentes tipos de poesia.
*Alternativa (C): tradutores dos contos de Baudelaire.
*Alternativa (D): influenciado pelos contos de Edgar Poe.
06 – (UECE-2010/2-VESTIBULAR-2ª FASE)
A) the center of attention among European writers.
B) turned into a diachronic feature of American literature.
C) displaced from its traditional location to the mind itself.
D) considered the spectre of death.
👍 Comentários e Gabarito C
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:No século XVI, o "inferno" era
*Alternativa (A): o centro das atenções entre os escritores europeus.
*Alternativa (B): se transformou em uma característica diacrônica da literatura americana.
*Alternativa (C): deslocado de sua localização tradicional para a própria mente.
*Alternativa (D): considerou o espectro da morte.
➽ O texto relata:
"[...] Gradually, imperceptibly, during the 16th c. hell was 'moved' from its traditional site in the center of the earth. It came to be located in the mind; it was a part of a state of consciousness."
(Gradualmente, imperceptivelmente, durante o SÉCULO XVI, o inferno foi "movido" de seu local tradicional no centro da terra. Chegou a ser localizado na mente; era parte de um estado de consciência.)
07 – (UECE-2010/2-VESTIBULAR-2ª FASE)
A) the abode of lux atra and eternal pain.
B) a psychological kind of horror and terror.
C) a horrible location in the cosmological system.
D) a place for voodoo, succubi, incubi, and poltergeists.
👍 Comentários e Gabarito B
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:O conceito de um inferno interior foi então considerado
*Alternativa (A): a morada de lux atra e a dor eterna.
*Alternativa (B): um tipo psicológico de HORROR e TERROR.
*Alternativa (C): uma localização horrível no sistema cosmológico.
*Alternativa (D): um lugar para vodu, súcubos, íncubos e poltergeists.
08 – (UECE-2010/2-VESTIBULAR-2ª FASE)
A) was re-created as a visitable place.
B) had an enormous influence on readers.
C) persisted as a site of lasting fire, punishment, and the devil's home.
D) disappeared completely from literature.
👍 Comentários e Gabarito C
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:Para alguns grupos religiosos, no século XVIII, a ideia do inferno...
*Alternativa (A): foi recriada como um lugar visitável.
*Alternativa (B): teve uma enorme influência sobre os leitores.
*Alternativa (C): persistiu como um local de fogo duradouro, castigo e da morada do diabo.
*Alternativa (D): desapareceu completamente da literatura.
➽ O texto relata:
"[...] During the 18th c. (as during the 19th ), in orthodox doctrine taught by various "churches" and sects, hell remained a place of eternal fire and punishment and the abode of the Devil."
(Durante o SÉCULO XVIII (como durante o século 19), na doutrina ortodoxa ensinada por várias "igrejas" e seitas, o inferno permaneceu como um lugar de fogo e castigo eternos e da morada do diabo.)
09 – (UECE-2010/2-VESTIBULAR-2ª FASE)
A) illustrated in Paradise Lost.
B) celestial counterparts to the horrors of psychopathic conditions.
C) 102 engravings made by William Blake.
D) slums, bedlams, gaols and asylums.
👍 Comentários e Gabarito D
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:Os INFERNOS VERDADEIROS nos séculos XVIII e XIX foram, entre outras coisas
*Alternativa (A): ilustrado em Paradise Lost.
*Alternativa (B): contrapartes celestes aos horrores das condições psicopáticas.
*Alternativa (C): 102 gravuras feitas por William Blake.
*Alternativa (D): favelas, cenas de tumulto, prisões e asilos.
➽ O texto relata:
"[...] The actual hells of the 18th and 19th c. were the gaols, the madhouses, the slums and bedlams and those lanes and alleys where vice, squalor, depravity and unspeakable misery created a social and moral chaos: terrestrial counterparts to the horrors of Dante's Circles."
(Os infernos reais dos séculos XVIII e XIX eram as prisões, os manicômios, as favelas e as cenas de tumulto e aquelas ruas e becos onde o vício, a miséria, a depravação e a indescritível miséria criavam um caos moral e social: contrapartes terrestres dos horrores dos Círculos de Dante.)
10 – (UECE-2010/2-VESTIBULAR-2ª FASE)
A) Ambrose Bierce translated Poe‟s short stories into French.
B) there was an increased interest in the supernatural, in psychic phenomena, in psychotherapy and in spiritualism.
C) Gustave Doré applied himself to Dante and Milton.
D) artists depicted the spectre of death in paint, through sculpture and woodcutting.
👍 Comentários e Gabarito B
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:Perto do final do século XIX...
*Alternativa (A): Ambrose Bierce traduziu os contos de Poe para o francês.
*Alternativa (B): houve um interesse crescente no sobrenatural, nos fenômenos psíquicos, na psicoterapia e no espiritualismo.
*Alternativa (C): Gustave Doré se aplicou a Dante e Milton.
*Alternativa (D): artistas retrataram o espectro da morte na pintura, através de escultura e xilogravura.
➽ O texto relata:
"[...] Towards the end of the 19th c. a number of British and American writers were experimenting with different modes of horror story, and this was at a time when there had been a steadily growing interest in the occult, in supernatural agencies, in psychic phenomena, in psychotherapy, in extreme psychological states and also in spiritualism."
(No final do SÉCULO XIX, vários escritores britânicos e americanos estavam experimentando diferentes modos de história de horror, e isso foi em um momento em que houve um crescente interesse no ocultismo, em agências do sobrenatural, em fenômenos psíquicos, na psicoterapia, em estados psicológicos extremos e também no espiritualismo.)
11 – (UECE-2010/2-VESTIBULAR-2ª FASE)
A) Myers and Blake.
B) John Martin and Milton.
C) Bierce and Lovecraft.
D) Gustave Doré and Milton.
👍 Comentários e Gabarito C
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:Entre os muitos escritores influenciados por Edgar Allan Poe, o texto menciona
*Alternativa (A): Myers e Blake.
*Alternativa (B): John Martin e Milton.
*Alternativa (C): Bierce e Lovecraft.
*Alternativa (D): Gustave Doré e Milton.
➽ O texto relata:
"[...] and in such Americans as Ambrose Bierce,
Hart Crane and H.P. Lovecraft."
(e americanos como Ambrose Bierce,
Hart Crane e H.P. Lovecraft)
12 – (UECE-2010/2-VESTIBULAR-2ª FASE)
A) witchcraft, lycanthropy, and occult practices.
B) vampires, hylomancy, psychical research.
C) occult practices, betrayal and madhouses.
D) the slums, moral chaos and depravity.
👍 Comentários e Gabarito A
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:Entre os muitos temas explorados em histórias de horror, pode-se incluir...
*Alternativa (A): feitiçaria, licantropia e práticas ocultas.
*Alternativa (B): vampiros, hilomancia, pesquisa psíquica.
*Alternativa (C): práticas ocultas, traição e manicômios.
*Alternativa (D): as favelas, o caos moral e a depravação.
13 – (UECE-2010/2-VESTIBULAR-2ª FASE)
"Gradually, imperceptibly, during the 16th c. hell was 'moved' from its traditional site in the center of the earth."
and
"The horror stories of the late 16th and early 17th c. (like the ghost stories) are provided for us by the playwrights."
are respectively in the
A) passive voice and active voice.
B) active voice and passive voice.
C) passive voice and passive voice.
D) active voice and active voice.
👍 Comentários e Gabarito C
TÓPICO - Questão sobre PASSIVE VOICE(TO BE + PAST PARTICIPLE de um verbo principal):➽ 1ª SENTENÇA: was 'moved' → passive voice
"Gradually, imperceptibly, during the 16th c. hell was 'moved' from its traditional site in the center of the earth."
("Gradualmente, imperceptivelmente, durante o século XVI o inferno foi 'movido' de seu local tradicional no centro da Terra.")
➽ 2ª SENTENÇA: are provided → passive voice
"The horror stories of the late 16th and early 17th c. (like the ghost stories) are provided for us by the playwrights."
("As histórias de horror do final do século 16 e início do século 17 (como as histórias de fantasmas) são fornecidas pelos dramaturgos.")
Questão 14
In the sentence "Gothic influence traveled to America and affected writers such as Edgar Allan Poe, whose tales are short, intense, sensational and have the power to inspire horror and terror." one may find at least one
A) noun clause.
B) adjective clause.
C) time clause.
D) contrast clause.
👍 Comentários e Gabarito B
TÓPICO - Questão sobre "ADJECTIVE CLAUSE"(oração iniciada com pronome relativo):➽ SENTENÇA: whose → adjective clause.
"Gothic influence traveled to America and affected writers such as Edgar Allan Poe, WHOSE tales are short, intense, sensational and have the power to inspire horror and terror."
("A influência gótica viajou para a América e afetou escritores como Edgar Allan Poe, cujos contos são curtos, intensos, sensacionais e têm o poder de inspirar horror e terror.")
Questão 15
The sentences "He depicts extremes of fear and insanity and, through the operations of evil, gives us glimpses of hell." "Fear created horrors enough and the eschatological order was never far from people's minds." and "From late in the 18th c. until the present day – in short, for some two hundred years – the horror story in its many and various forms has been a diachronic feature of British and American literature…" should be classified respectively as
A) complex, complex, compound.
B) simple, compound, complex.
C) compound, compound, simple.
D) compound, compound, complex.
👍 Comentários e Gabarito C
TÓPICO - Questão sobre COMPOUND CLAUSE(caracterizada pela conjunção AND):➽ 1ª SENTENÇA: and → compound clause
"He depicts extremes of fear and insanity and, through the operations of evil, gives us glimpses of hell."
("Ele descreve extremos de medo e insanidade e, através das operações do mal, nos dá vislumbres do inferno.")
➽ 2ª SENTENÇA: and → compound clause
"Fear created horrors enough and the eschatological order was never far from people's minds."
("O medo criou horrores suficientes e a ordem escatológica nunca esteve longe das mentes das pessoas.")
➽ 3ª SENTENÇA: somente uma oração (has been) → simple clause.
"From late in the 18th c. until the present day – in short, for some two hundred years – the horror story in its many and various forms has been a diachronic feature of British and American literature…"
("Do final do século 18 até os dias atuais - em suma, por cerca de duzentos anos - a história de horror em suas muitas e variadas formas tem sido uma característica diacrônica da literatura britânica e americana ...")
Questão 16
The sentences "New maps of hell have been drawn…", "John Martin illustrated Paradise Lost…" and "The enormous increase in science fiction since the 1950s has diversified horror fiction…" are respectively in the
A) present perfect, present perfect, simple past.
B) past perfect, simple past, present perfect.
C) simple past, present perfect passive, past perfect.
D) present perfect passive, simple past, present perfect.
👍 Comentários e Gabarito D
TÓPICO - Questão sobre VERBAL TENSES(tempos verbais):➽ 1ª SENTENÇA: HAVE BEEN DRAWN → PRESENT PERFECT PASSIVE(HAVE + BEEN+Past Participle de um verbo principal)
"New maps of hell have been drawn…"
(Novos mapas do inferno TÊM SIDO desenhados)
➽ 2ª SENTENÇA: ILLUSTRATED → SIMPLE PAST
"John Martin illustrated Paradise Lost…"
("John Martin ILUSTROU Paradise Lost ...")
➽ 3ª SENTENÇA: HAS DIVERSIFIELD → PRESENT PERFECT (HAS + Past Participle de um verbo principal)
"The enormous increase in science fiction since the 1950s has diversified horror fiction…"
("O enorme aumento da ficção científica desde os anos 1950 TEM DIVERSIFICADO a ficção de horror ...")
Questão 17
If the author knew then what he knows now, he
A) will find another ending for his novel.
B) would have found another ending for his novel.
C) would found another ending for his novel.
D) can have found another ending for his novel.
👍 Comentários e Gabarito B
TÓPICO - Questão sobre IF CLAUSE(oração subordinada condicional):➽ IF CLAUSE está no SIMPLE PAST, veja:
"If the author knew then what he knows now, he..."
(Se o autor sabia então o que ele sabe agora, ele...)
➽ IF CLAUSE no SIMPLE PAST exige MAIN CLAUSE com MODAL(would):
"would have found another ending for his novel"
(teria encontrado outro final para seu romance.)
➽ Não se usa verbo no passado(found) após WOULD.
Questão 18
According to their function in the text, the words frightening (line 52), beginning (line 62), everlasting (line 69), experimenting (line 137) and suffering (line 79) are classified as
A) noun, adjective, verb, verb, noun.
B) verb, verb, adjective, noun, verb.
C) noun, adjective, noun, verb, noun.
D) adjective, noun, adjective, verb, noun.
👍 Comentários e Gabarito D
TÓPICO - Questão sobre ANÁLISE MORFOLÓGICA:➽ frightening(assustador) → NOUN
➽ beginning(começando) → VERB
➽ everlasting(eterno) → ADJECTIVE
➽ experimenting(experimentando) → VERB
➽ suffering(sofrimento) → NOUN
Questão 19
In the sentences "In a chaotic world, which many see to be on a disaster course, through the cracks, 'the faults in reality', we and our writers catch other vertiginous glimpses of 'chaos and old night'", "The satiety which Macbeth claimed to have experienced (… ) was representative of it." and "…people have tried to come to terms with and find adequate descriptions and symbols for deeply rooted, primitive and powerful forces, energies and fears which are related to death, afterlife, punishment, darkness, evil, violence and destruction." one finds relative clauses classified respectively as
A) defining, non-defining, defining.
B) non-defining, defining, non-defining.
C) defining, non-defining, defining.
D) non-defining, defining, defining.
👍 Comentários e Gabarito D
TÓPICO - Questão sobre DEFINING CLAUSE= RELATIVE CLAUSE(orações iniciadas com pronomes relativos) podem ser NON-DEFINING CLAUSE(oração adjetiva explicativa/com vírgula precedida) ou DEFINING CLAUSE(oração adjetiva restritiva/sem vírgula precedida) :➽ 1ª SENTENÇA: , which many → NON-DEFINING CLAUSE(pronome which COM VÍRGULA PRECEDIDA)
"In a chaotic world, which many see to be on a disaster course, through the cracks, 'the faults in reality', we and our writers catch other vertiginous glimpses of 'chaos and old night'"
("Em um mundo caótico, que muitos vêem estar em um curso de desastre, através das rachaduras, 'as falhas na realidade', nós e nossos escritores captamos outros vislumbres vertiginosos do 'caos e da velha noite'")
➽ 2ª SENTENÇA: which Macbeth → DEFINING CLAUSE(pronome which SEM VÍRGULA PRECEDIDA)
"The satiety which Macbeth claimed to have experienced (… ) was representative of it."
("A saciedade que Macbeth alegou ter experimentado (...) era representativa disso".)
➽ 3ª SENTENÇA: which are → DEFINING CLAUSE(pronome which SEM VÍRGULA PRECEDIDA)
"…people have tried to come to terms with and find adequate descriptions and symbols for deeply rooted, primitive and powerful forces, energies and fears which are related to death, afterlife, punishment, darkness, evil, violence and destruction."
("... as pessoas tentaram chegar a um acordo e encontrar descrições e símbolos adequados para forças profundamente enraizadas, primitivas e poderosas, energias e medos que estão relacionados à morte, vida após a morte, castigo, escuridão, maldade, violência e destruição.")
Questão 20
The sentences "Fear created horrors enough and the eschatological order was never far from people's minds.", "…artists depicted the spectre of death in paint, through sculpture and by means of woodcut." and "we and our writers catch other vertiginous glimpses of 'chaos and old night'" contain respectively a/an
A) direct object, an indirect object, an indirect object.
B) indirect object, an indirect object, a direct object.
C) indirect object, a direct object, a direct object.
D) direct object, a direct object, a direct object.
👍 Comentários e Gabarito D
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:➽ 1ª SENTENÇA:
"Fear created horrors enough and the eschatological order was never far from people's minds."
("O medo criou horrores suficientes e a ordem escatológica nunca esteve longe das mentes das pessoas.")
➽ 2ª SENTENÇA:
"…artists depicted the spectre of death in paint, through sculpture and by means of woodcut."
("… Os artistas retratam o espectro da morte na pintura, através da escultura e por meio da xilogravura.")
➽ 3ª SENTENÇA:
"we and our writers catch other vertiginous glimpses of 'chaos and old night'"
("nós e nossos escritores captamos outros vislumbres vertiginosos do 'caos e da velha noite'")
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