UECE – 2011 / 1 – VESTIBULAR – 2ª FASE – LÍNGUA INGLESA – UNIVERSIDADE ESTADUAL DO CEARÁ – PROVA COM GABARITO.

Welcome back to another post!

➧ A pauta aqui é MILITARY ENGLISH.

➧ PROVA : UECE-2011/1-VESTIBULAR-2ª FASE-LÍNGUA INGLESA-19/12/2010.

➧ BANCA/ORGANIZADOR: COMISSÃO EXECUTIVA DO VESTIBULAR - CEV.

➧ PADRÃO/COMPOSIÇÃO DA PROVA:  20 questões do tipo (A,B,C,D).

➧ GABARITO:

01-C,  02-A,  03-C,  04-B,  05-B

06-D,  07-C,  08-D,  09-C,  10-B

11-B,  12-C,  13-D,  14-A,  15-B

16-B,  17-A,  18-C,  19-B,  20-C

➧ VOCABULÁRIO:

• literature (lêRêthôr) – literatura.
• renewal – renovação.
• subtle (Sârôl) – suti.
• five prizes – cinco prêmios.

➧ PROVA:

➧ TEXT I:

Among the five prizes provided for in Alfred Nobel's will (1895), one was intended for the person who, in the literary field, had produced "the most outstanding work in an ideal direction". The Laureate should be determined by "the Academy in Stockholm", which was specified by the statutes of the Nobel Foundation to mean the Swedish Academy. These statutes defined literature as "not only belles-lettres, but also other writings which, by virtue of their form and style, possess literary value".

As guidelines for the distribution of the Literature Prize, the Swedish Academy had the general requirement for all the prizes – the candidate should have bestowed "the greatest benefit on mankind" – and the special condition for literature, "in an ideal direction". Both prescriptions are vague and the second, in particular, was to cause much discussion. What did Nobel actually mean by ideal? In fact, the history of the Literature Prize appears as a series of attempts to interpret an imprecisely worded will. The consecutive phases in that history reflect the changing sensibility of an Academy continuously renewing itself. The main source of knowledge of the principles and criteria applied is the annual reports which the Committee presented to the Academy. Also the correspondence between the members is often enlightening. There is an obstacle though: all Nobel information is to be secret for 50 years.

A chapter in the history of the Literary Prize could be entitled "A Literary Policy of Neutrality". The objectives laid down by the new chairman of the Academy's Nobel Committee at the beginning of the First World War kept the belligerent powers outside, giving the small nations a chance. This policy partly explains the Scandinavian overrepresentation on the list in this period.

Another period, approximately coinciding with the 1920s, could be labeled "The Great Style". This key concept in the reports of the Committee reveals the connections with Wirsén's epoch and its traits of classicism. With such a standard the Academy was, of course, out of touch with what happened in contemporary literature. It could appreciate Thomas Mann's Buddenbrooks – a masterpiece "approaching the classical realism in Tolstoy" – but passed his Magic Mountain over in silence.

In line with the requirement "the greatest benefit on mankind", the Academy of the 1930s tried a new approach, equating this "mankind" with the immediate readership of the works in question. A report of its Committee stated "universal interest" as a criterion and the Academy decided on writers within everybody's reach, from Sinclair Lewis to Pearl Buck, repudiating exclusive poets like Paul Valéry and Paul Claudel.

Given a pause for renewal by the Second World War and inspired by its new secretary, Anders Österling, the post-war Academy finished this excursion into popular taste, focusing instead on what was called "the pioneers". Like in the sciences, the Laureates were to be found among those who paved the way for new developments. In a way, this is another interpretation of the formula "the greatest benefit on mankind": the perfect candidate was the one who had provided world literature with new possibilities in outlook and language.

The "pioneers" criterion lost weight, however, as the heroic period of the international avant-garde turned into history and literary innovation became less ostentatious. Instead, the instruments pointed at the "pioneers" of specific linguistic areas. The 1988 Prize was awarded a writer who, from a Western point of view, rather administers the heritage from Flaubert and Thomas Mann. In the Arabic world, on the other hand, Naguib Mahfouz appears as the creator of

its contemporary novel.

Another policy, partly coinciding with the one just outlined, partly replacing it, is "the pragmatic consideration". A growing number within the Academy wanted to call attention to important but unnoticed writers and literatures, thus giving the world audience masterpieces they would otherwise miss, and at the same time, giving an important writer due attention. The criterion gives poetry a prominent place. In no other period were the poets so well provided for as in the years 1990-1996 when four of the seven prizes went to Octavio Paz, Derek Walcott, Seamus Heaney, and Wislawa Szymborska, all of them earlier unknown to the world audience.

The criteria discussed sometimes alternate, sometimes coincide. The spotlight on the unknown master Canetti in 1981 is thus followed by the laurel to the universally hailed "pioneer" of magic realism, Gabriel García Márquez, in 1982. Some Laureates answer both requirements, like Faulkner, who was not only "the great experimentalist among twentieth-century novelists" – the Academy was here fortunate enough to anticipate Faulkner's enormous importance to later fiction - but also, in 1950, a fairly unknown writer.

It is also realized that on the whole the serious literature that is worthy of a prize furthers knowledge of man and his condition and endeavours to enrich and improve his life.

The Literary Prize has often given rise to discussion of its political implications. The Swedish Academy, for its part, has on many occasions expressed a desire to stand apart from political antagonisms. The guiding principle, in Lars Gyllensten's words, has been "political integrity". This has quite often not been understood.

The history of the Literature Prize is also the history of its reception in the press and in other media. Apart from overlooking the changes in outlooks and criteria within the Swedish Academy, international criticism has tended to neglect the crowd of likely names around the Prize a specific year. The Academy cannot have the ambition to crown all worthy writers. What it cannot afford is giving Nobel's laurel to a minor talent. Its practice during the last full half-century

has also largely escaped criticism on that point.

Adapted from

the text by Kjell Espmark nobelprize.org/nobel_prizes/literature

01 – (UECE-2011/1-VESTIBULAR-2ª FASE)

According to the text, the Swedish Academy is an institution that

A) has never changed over the years.

B) changes its criteria of choice every year.

C) is in a continuous process of renewal.

D) may come to change in a near future.

Segundo o texto, a Academia Sueca é uma instituição que
•Afirmativa (A): nunca mudou ao longo dos anos.
•Afirmativa (B): muda seus critérios de escolha a cada ano.
•Afirmativa (C): está em um processo contínuo de renovação.
•Afirmativa (D): pode vir a mudar em um futuro próximo.

02 – (UECE-2011/1-VESTIBULAR-2ª FASE)

As to the policy adopted by the Swedish Academy during the First World War, the text states that it

A) excluded the countries involved in the conflict.

B) gave a chance to authors from the belligerent nations.

C) refused to accept nominations of Scandinavians.

D) maintained its neutrality position as it had done before.

Quanto à política adotada pela Academia Sueca durante a Primeira Guerra Mundial, o texto afirma que
•Afirmativa (A): excluiu os países envolvidos no conflito.
•Afirmativa (B): deu uma chance aos autores das nações beligerantes.
•Afirmativa (C): recusou-se a aceitar nomeações de escandinavos.
•Afirmativa (D): manteve sua posição de neutralidade como havia feito anteriormente.

03 – (UECE-2011/1-VESTIBULAR-2ª FASE)

As to the French poet Paul Valéry, it is stated in the text that he was not awarded the Nobel Prize because of

A) an old quarrel between the French and the Swedish.

B) the fact that he was Paul Claudel's contemporary.

C) the policy of that period which focused on popular taste.

D) his disapproving position towards the Academy.

Quanto ao poeta francês Paul Valéry, afirma-se no texto que ele não recebeu o Prêmio Nobel por causa de
•Afirmativa (A): uma velha briga entre os franceses e os suecos.
•Afirmativa (B): o fato de ele ser contemporâneo de Paul Claudel.
•Afirmativa (C): a política desse período que se concentrou no gosto popular.
•Afirmativa (D): sua posição de desaprovação em relação à Academia.

04 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The choice of Gabriel García Márquez for the Nobel in 1982 is mentioned in the text as an example of a criterion which focused on

A) unknown magic realism novelists.

B) an already widely acclaimed "pioneer" writer.

C) authors from non-European countries.

D) a new generation of modern poets.

A escolha de Gabriel García Márquez para o Nobel em 1982 é mencionada no texto como um exemplo de um critério que focalizou
•Afirmativa (A): romancistas desconhecidos do realismo mágico.
•Afirmativa (B): um escritor "pioneiro" já amplamente aclamado.
•Afirmativa (C): autores de países não europeus.
•Afirmativa (D): uma nova geração de poetas modernos.

05 – (UECE-2011/1-VESTIBULAR-2ª FASE)

As to criticism toward the Academy, the author of the text says that they tend not to take into account

A) some special moments in the history of mankind and also the Academy’s ambition to include minor talents.

B) all the changes it has gone through and the difficulty in choosing from too many names sometimes.

C) the hardships of war periods and the attempt to always reward all deserving authors from different parts of the world.

D) the difficulty in following exactly the same criteria over a period of more than a hundred years and the disillusion with the lack of talents recently.

Quanto à crítica em relação à Academia, o autor do texto diz que eles tendem a não levar em conta
•Afirmativa (A): alguns momentos especiais na história da humanidade e também a ambição da Academia de incluir talentos menores.
•Afirmativa (B): todas as mudanças que passou e a dificuldade em escolher nomes demais.
•Afirmativa (C): as dificuldades dos períodos de guerra e a tentativa de sempre recompensar todos os autores merecedores de diferentes partes do mundo.
•Afirmativa (D): a dificuldade em seguir exatamente os mesmos critérios ao longo de um período de mais de cem anos e a desilusão com a falta de talentos recentemente.

06 – (UECE-2011/1-VESTIBULAR-2ª FASE)

With the secretary Anders Osterling at the Academy, the so-called Laureates would be writers who could

A) be found in developed countries.

B) begin an excursion into popular preferences.

C) approach a realism similar to Tolstoy's.

D) start a path toward new developments.

Com o secretário Anders Osterling na Academia, os chamados Laureados seriam escritores que poderiam
•Afirmativa (A): ser encontrado em países desenvolvidos.
•Afirmativa (B): começar uma excursão em preferências populares.
•Afirmativa (C): aproximar-se de um realismo semelhante ao de Tolstoi.
•Afirmativa (D): iniciar um caminho em direção a novos desenvolvimentos.

07 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The writer who won the Prize in 1988

A) published less ostentatious literature.

B) created happy-ending stories with universal interest.

C) introduced the Arabian contemporary novel.

D) discussed relevant political issues.

O escritor que ganhou o prêmio em 1988
•Afirmativa (A): publicou literatura menos ostensiva.
•Afirmativa (B): criou histórias de final feliz com interesse universal.
•Afirmativa (C): introduziu o romance contemporâneo árabe.
•Afirmativa (D): discutiu questões políticas relevantes.

08 – (UECE-2011/1-VESTIBULAR-2ª FASE)

An Academy's principle that has frequently been misunderstood is the one concerning

A) universal interest.

B) linguistic relevance.

C) contemporary renewal.

D) political integrity.

O princípio de uma academia que freqüentemente é mal entendido é aquele relativo a...
•Afirmativa (A): interesse universal.
•Afirmativa (B): relevância linguística.
•Afirmativa (C): renovação contemporânea.
•Afirmativa (D): integridade política.

09 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The policy of pragmatic consideration

A) anticipated Faulkner’s enormous importance.

B) has not escaped worldwide criticism.

C) awarded many previously unknown authors.

D) stood apart from political implications.

A política de consideração pragmática
•Afirmativa (A): antecipou a enorme importância de Faulkner.
•Afirmativa (B): não escapou das críticas mundiais.
•Afirmativa (C): premiou muitos autores outrora desconhecidos.
•Afirmativa (D): se destacou das implicações políticas.

10 – (UECE-2011/1-VESTIBULAR-2ª FASE)

A prize-deserving serious literature should not only further people’s knowledge and their condition, but also try to

A) contribute to political integrity.

B) enrich and improve their lives.

C) discuss environmental issues.

D) give them literary masterpieces only.

Uma literatura séria merecedora de prêmios deve não apenas aprofundar o conhecimento das pessoas e sua condição, mas também tentar
•Afirmativa (A): contribuir para a integridade política.
•Afirmativa (B): enriquecer e melhorar suas vidas.
•Afirmativa (C): discutir questões ambientais.
•Afirmativa (D): dar-lhes apenas obras literárias.

11 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The period that could be considered as "The Great Style"

A) awarded many Scandinavian writers.

B) showed links with Wirsen’s era and its aspects of classicism.

C) started in 1895 and ended in the 1920’s.

D) paused for renewal during the Second World War.

O período que poderia ser considerado como "O Grande Estilo"
•Afirmativa (A): premiou muitos escritores escandinavos.
•Afirmativa (B): mostrou ligações com a era de Wirsen e seus aspectos do classicismo.
•Afirmativa (C): começou em 1895 e terminou na década de 1920.
•Afirmativa (D): fez uma pausa para renovação durante a Segunda Guerra Mundial.

12 – (UECE-2011/1-VESTIBULAR-2ª FASE)

According to the text, one of the things the Swedish Academy should not do is to

A) choose a writer from remote regions.

B) call attention to unnoticed authors.

C) award the Nobel Prize to minor talents.

D) criticize unknown writers.

De acordo com o texto, uma das coisas que a Academia Sueca não deve fazer é...
•Afirmativa (A): escolha um escritor de regiões remotas.
•Afirmativa (B): chamar a atenção para autores não notados.
•Afirmativa (C): agraciar o Prêmio Nobel a talentos inferiores.
•Afirmativa (D): criticar escritores desconhecidos.

➧ TEXT II: All the quotes in questions 13-20 are by Mario

Vargas Llosa, from his book The Truth of Lies.

13 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The sentences

"I will offer a few arguments in favor of the view of literature as one of the most primary and necessary undertakings of the mind, an irreplaceable activity for the formation of citizens in a modern and democratic society, a society of free individuals."

and

"Literature has been, and will continue to be, as long as it exists, one of the common denominators of human experience through which human beings may recognize themselves and converse with each other, no matter how different their professions, their life plans, their geographical and cultural locations, their personal circumstances."

should be classified respectively as

A) compound and complex.

B) simple and compound.

C) complex and simple.

D) simple and compound-complex.

14 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The sentences

"No other discipline or branch of the arts can substitute for literature in crafting the language that people need to communicate.",
"Without it (literature), the critical mind, which is the real engine of historical change and the best protector of liberty, would suffer an irreparable loss."

and

"…this world without literature, this nightmare that I am delineating, would have as its principal traits conformism and the universal submission of humankind to power."

contain, respectively, relative clauses of the following types

A) defining, non-defining, defining.

B) defining, defining, non-defining.

C) non-defining, defining, defining.

D) non-defining, non-defining, defining.

15 – (UECE-2011/1-VESTIBULAR-2ª FASE)

In the sentences

"as readers of Cervantes, Shakespeare, Dante, and Tolstoy, we understand each other across space and time as members of the same species…"

and

"in the works of these writers, we learn what we share as human beings, what remains common in all of us under the broad range of differences that separate us."

one finds respectively

A) an indirect object and an object noun clause.

B) a direct object and two object noun clauses.

C) a relative clause and a subject noun clause.

D) a direct object and three subject noun clauses.

16 – (UECE-2011/1-VESTIBULAR-2ª FASE)

In terms of voice, the verbs in these three sentences

“Literary works are born, as shapeless ghosts, in the intimacy of a writer's consciousness, projected into it by the combined strength of the unconscious, and the writer's sensitivity to the world around him, and the writer's emotions…”,

“literature has been relegated--like some hidden vice--to the margins of social and personal life, and transformed into something like a sectarian cult…”

and

“Nothing better protects a human being against the stupidity

of prejudice, racism, religious or political sectarianism, and exclusivist nationalism than this truth that invariably appears in great literature: that men and women of all nations and places are essentially equal.”

are respectively in the

A) active, passive, passive.

B) passive, passive, active.

C) active, passive, active.

D) pasive, active, passive.

17 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The extract

“A community without a written literature expresses itself with less precision, with less richness of nuance, and with less clarity than a community whose principal instrument of communication, the word, has been cultivated and perfected by means of literary texts. … A person who does not read, or reads little, or reads only trash, is a person with an impediment: he can speak much but he will say little, because his vocabulary is deficient in the means for self-expression.”

contains verbs in the following tenses (irrespective of the sequence)

A) simple present, present perfect passive, simple future.

B) simple present, present perfect, future perfect.

C) simple past, present perfect passive, future continuous.

D) past perfect, present perfect, simple future.

18 – (UECE-2011/1-VESTIBULAR-2ª FASE)

In the sentences

“Reading good literature is an experience of pleasure, of course; but it is also an experience of learning what and how we are,”

and

“In today's world, this totalizing and living

knowledge of a human being may be found only in

literature.”,

the -ing words reading, learning, totalizing and living play the function respectively of

A) noun, adjective, adjective, verb.

B) adjective, verb, noun, noun.

C) verb, verb, adjective, adjective.

D) verb, noun, verb, verb.

19 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The alternative which correctly completes the sentence

“We learn how to speak _______ – and _______ and _______ – from good literature, and only from good literature.” 

is

A) correct, deep, rigourous, subtle.

B) correctly, deeply, rigorously, subtly.

C) correctness, depth, rigour, subtlety.

D) corrects, deepens, rigourous, subtle.

20 – (UECE-2011/1-VESTIBULAR-2ª FASE)

The alternative which correctly completes the sentence

“Without rebellion against the mediocrity and the squalor of life, we would still live in a primitive state, and history _______ .”

is

A) has been stopped.

B) will have stopped.

C) would have stopped.

D) would has stopped.