UERJ-2014 – VESTIBULAR ESTADUAL - 2ª FASE – 2º EXAME DE QUALIFICAÇÃO – LÍNGUA INGLESA – UNIVERSIDADE ESTADUAL DO ESTADO DO RIO DE JANEIRO – PROVA COM GABARITO.

❑ PROVA DE LÍNGUA INGLESA: UERJ-2014-VESTIBULAR ESTADUAL-2º EXAME DE QUALIFICAÇÃO-LÍNGUA INGLESA-08/09/2013.

https://www.uerj.br

❑ ESTRUTURA-PROVA:

➭ 5 MCQs (Multiple Choice Questions) / 4 Options Each Question.

• Text – | Brazilian protest songs: “Peace without a voice is no peace but fear” | 

❑ TEXTO:

Brazilian protest songs: “Peace without a voice is no peace but fear”

I was born a year after the military coup in Brazil. The dictatorship that followed lasted from 1964 until 1985 - all my childhood and teenage years. But until I was 13 or 14 years old, I had no clue of what was going on in my country. I lived in a small town and my parents were not involved in politics. We listened to the radio, watched the news on TV and had a subscription to a national newspaper, but all the media were completely censored at that time. The fact that the newspaper was sometimes printed with a blank space or a cake recipe in the middle of the news never really caught my attention. It was always like that and I didn’t know any better.

I had my first glimpse of what it really meant to have a military government and what kind of things were going on through songs. There was a song that I liked a lot, O bêbado e a equilibrista, although the lyrics didn’t make much sense to me: “My Brazil… / that dreams of the return / of Henfil’s brother / and so many people that left / on rocket fins”. Henfil was a famous cartoonist, but who was his brother? Who were the people who left? What were they singing about? This was in 1979 and I was 13.

Thanks to this song by João Bosco and Aldir Blanc (sung by Elis Regina) and the questions I started to ask, I heard for the first time about all the artists, journalists and activists that had been persecuted, imprisoned, tortured and exiled. Many had disappeared or been killed by the military regime. This song became an anthem for the amnesty of political prisoners and activists in exile, which was announced later in that same year.

In fact, due to the extreme censorship during the period of military dictatorship in Brazil, songs were one of the few ways to send political messages. Despite the tight surveillance of the censors, they flourished, giving a voice to the resistance movement. Like Para não dizer que não falei das flores, by Geraldo Vandré, which was interpreted as a call for armed struggle.

Words and phrases with double meanings were used to escape censorship and persecution. The greatest master in this art was Chico Buarque de Holanda. His clever lyrics were often approved by the censors, who would only later realise what the songs were really about. But then, of course, it was too late. That was the case with Apesar de você, which was censored only after it had already become an anthem on the streets. At first sight, it appears to be a samba about a lover’s quarrel. Actually, it was a sharp critique of the authoritarian regime and an act of direct defiance aimed at the dictators.

With the advent of democracy and the new freedom of expression in the late 1980s, protest songs played less of a role in Brazil for a while, but in the 1990s they once again became a powerful channel to voice social discontent. One of bands active in this period was O Rappa, with the song A paz que eu não quero. The fight against social inequality, urban and police violence and racial discrimination are the most common themes. Nowadays, the lyrics are explicit and the messages are clear.

Mariângela Guimarães

rnw.nl

👉 Questão  17 :
"Peace without a voice is no peace but fear"(title) is a line from the song A paz que eu não quero, by the Brazilian band O Rappa. This line is an example of intertextuality.
The resource used by the author that signals this process of intertextuality is:
(A) parody
(B) summary
(C) quotation
(D) paraphrase

-ANSWER (C)

"Peace without a voice is no peace but fear"(title) é uma linha da música 'A paz que eu não quero', pela banda brasileira O Rappa. Esta linha é um exemplo de intertextualidade.
O recurso utilizado pelo autor que sinaliza esse processo de intertextualidade é:
(A) parody
(B) summary
(C) quotation
(D) paraphrase

- A questão 17 é sobre processo de intertextualidade, citação, identificação do recurso associado a um processo de intertextualidade.

- EXPLANATION:

- Note que o processo de intertextualidade se manifesta no título através de uma trecho retirada da letra de uma música.

- O trecho acima destacado aparece entre aspas, indicando o uso de uma 'quotation'(citação).

👉 Questão  18 :
Besides describing the effect of the Brazilian political situation on the media, the first paragraph also mentions that the author had no idea of this situation at the time.
The author's complete lack of knowledge is best established by means of the following sentence:
(A) I was born a year after the military coup in Brazil. (l. 1)
(B) I had no clue of what was going on in my country. (l. 2-3)
(C) all the media were completely censored at that time. (l. 5)
(D) a cake recipe in the middle of the news never really caught my attention. (l. 6-7)

-ANSWER (B)

Além de descrever o efeito da situação política brasileira na mídia, o primeiro parágrafo também menciona que o autor não tinha noção dessa situação na época.

- O completo desconhecimento do autor é mais bem estabelecido por meio da seguinte sentença:

(A) I was born a year after the military coup in Brazil. (Eu nasci um ano após o golpe militar no Brasil)
(B) I had no clue of what was going on in my country. (Eu não tinha nenhuma ideia do que estava acontecendo em meu país.)
(C) all the media were completely censored at that time. (todos os meios de comunicação foram completamente censurados naquela época.)
(D) a cake recipe in the middle of the news never really caught my attention. (uma receita de bolo no meio do noticiário nunca me chamou a atenção.)

- A questão 18 é sobre identificação semântica de uma sentença, uso de expressão idiomática, conhecimento léxico.

- EXPLANATION:

- Quando se quer dizer que 'Eu não faço a menor ideia' or 'Eu não faço a menor ideia', dizemos: 'I have no ideia' ou 'I have no clue'.

- 'I have no ideia' ou 'I have no clue' são idioms utilizadas no contexto acima.

- Portanto a opção (B) transmite a ideia do autor quando afirmara que ele não tinha noção da situação, no caso da política do país.

👉 Questão  19 :
According to the author, Chico Buarque de Holanda was an expert in the art of writing songs with double meanings.
He did that with the following aim:
(A) inflict torture
(B) resist change
(C) overcome failure
(D) avoid repression

-ANSWER (D)

- Segundo o autor, Chico Buarque de Holanda era um especialista na arte de escrever canções com duplo sentido.

- Ele fez isso com o seguinte objetivo:

(A) inflict torture(infligir a tortura)

(B) resist change(resistir à mudança)

(C) overcome failure(superar o fracasso)

(D) avoid repression(evitar a repressão)

- A questão 19 é sobre recurso de linguagem, expressões semanticamente equivalentes.

- EXPLANATION:

- No texto:

'[...] Words and phrases with double meanings were used to escape censorship and persecution.'

- 'escape censorship and persecution' e 'avoid repression' são expressões semanticamente equivalentes.

👉 Questão  20 :
At first sight, it appears to be a samba about a lover’s quarrel. Actually, it was a sharp critique of the authoritarian regime (l. 27-28)
If the two sentences above are rewritten as one, the result is:
(A) It appears to be a samba about a lover’s quarrel, therefore it was a sharp critique of the authoritarian regime.
(B) As long as it appears to be a samba about a lover’s quarrel, it was a sharp critique of the authoritarian regime.
(C) It appears to be a samba about a lover’s quarrel, because it was a sharp critique of the authoritarian regime.
(D) Even though it appears to be a samba about a lover’s quarrel, it was a sharp critique of the authoritarian regime.

-ANSWER (D)

- At first sight, it appears to be a samba about a lover’s quarrel. Actually, it was a sharp critique of the authoritarian regime (l. 27-28)
- Se as duas frases acima forem reescritas como uma, o resultado será:
(A) It appears to be a samba about a lover’s quarrel, therefore it was a sharp critique of the authoritarian regime.
(B) As long as it appears to be a samba about a lover’s quarrel, it was a sharp critique of the authoritarian regime.
(C) It appears to be a samba about a lover’s quarrel, because it was a sharp critique of the authoritarian regime.
(D) Even though it appears to be a samba about a lover’s quarrel, it was a sharp critique of the authoritarian regime.

- A questão 20 é sobre uso de conectores, relação semântica de concessão.

- EXPLANATION:

1) At first sight, it appears to be a samba about a lover’s quarrel.

2) Actually, it was a sharp critique of the authoritarian regime.

3) Note que há uma ideia de contraste às duas sentença acima, a 1ª sentença afirma algo e a 2ª sentença contrasta, ou seja, afirma algo diferente da 1ª sentença.

4) Se as duas sentenças acima forem reescritas como uma, deveremos usar um conector que apresente uma ideia de contraste entre duas coisas, ou seja, poderemos usar though, although ou even though. 

- Qualquer uma destas , pode servir para linkar as duas sentenças, visto que seguem a estrutura:

• though/although/even though + sujeito + verbo

- Portanto marque a opção (D) sem medo de ser feliz!

👉 Questão  21 :
The context often helps if one needs to guess the meaning of an unknown word. For example, the word lyrics appears in three sentences from the text:
although the lyrics didn’t make much sense to me: (l. 10)
His clever lyrics were often approved by the censors, (l. 24-25)
Nowadays, the lyrics are explicit (l. 34)
Based on these examples, lyrics is translated as:
(A) letras
(B) poesias
(C) músicas
(D) melodias

-ANSWER (A)

- although the lyrics didn’t make much sense to me: (l. 10)
- His clever lyrics were often approved by the censors, (l. 24-25)
- Nowadays, the lyrics are explicit (l. 34)
- Com base nesses exemplos, lyrics são traduzidas como:

(A) letras (lyrics)
(B) poesias (poesies)
(C) músicas (songs)

(D) melodias (melodies)

- EXPLANATION:

- A questão 21 é sobre tradução, sinonímia, conhecimento lexical.

- LYRICS(noun) means the words of a song, especially a pop song.

- Lyrics = letras( de música)