UnB – 2018 – VESTIBULAR – UNIVERSIDADE DE BRASÍLIA – PROVA COM GABARITO.

❑ PROVA DE LÍNGUA INGLESA: UnB-CESPE/CEBRASPE-2018-VESTIBULAR-02/06/2018.

https://www.unb.br/

http://www.cespe.unb.br/vestibular

❑ ESTRUTURA-PROVA:

➭ 28 True False Questions.

➭ 02 Multiple Choice Questions / 4 Options Each Question.

➭ Text (1) – | Newstatesman |

➭ Text (2) – A century later, why does Chaplin still matters? | https://film.avclub.com |

➭ Text (3) – | www nytimes com |

➭ Text (4) – | Cartoon |

➭ Text (5) – | Cartoon |

❑ PROVA:

TEXTO 1:

(...)

1

Guillermo del Toros's The Shape of Water is the latest meeting of the whimsical and the grotesque. The plot unfolds as follows: in the 1950s, Elisa is a cleaner at a military research laboratory, who happens also to be mute, which places her among other minorities without a say: there is her African-American colleague Zelda and her neighbour, the artist Giles, who is gay. The screenplay brings together the disenfranchised to save a fellow outcast. The amphibious monster kept captive at the lab doesn’t have a name, and his idea of a witty and humorous conversation is to roar in your face. But Elisa takes a shine to him. "When he looks at me, he doesn't know what I lack or how I am incomplete."

2

In this film watertight ideas fight for space with flawed ones. It begins with a dream sequence in which Elisa’s apartment is submerged. When the scene is repeated later for real, causing only a minor leak in the house below, the rational mind has too many objections (the floor would collapse!) for the fantasy to survive. An amphibious humanoid with magic powers we can believe, but a flooded apartment that is as good as new one scene later doesn’t stand up. There are other discrepancies too — like the sophisticated CCTV system in 1962, or the creature’s ability to wipe away the bulletholes in his own body, sealing up the wounds, ET-style.

Newstatesman, February 9th, 2018 (adapted)

(...)

Based on the text above, judge the following items.
1 "The plot unfolds as follows" (l. 2 and 3) can be correctly rewritten as This is the moral of the story.
2 The expression "without a say" (l.5) refers to the fact that Elisa can’t speak.
3 Elisa, Zelda, Giles and the monster share a common feature: they have all been deprived of power and marginalized.
4 In the text, the words "watertight" (l.14) and "flawed" (l.14) mean respectively incontestable and erroneous.
5 One weak point in the film is the real-life sequence of the submerged apartment.
6 According to the author, one of the strong points of the film is the way del Toro strikes a fair balance between watertight ideas and improbable ideas.
7 The effect on the spectator of the real-life scene of the submerged room is the destruction of the fantasy del Toro tried to create.
8 In the film the recreation of an early 1960s scientific laboratory was historically accurate.
9 According to the text, the monster in The Shape of Water shares many of the characteristics of the alien creature of the film ET.
10 The monster believes Elisa can complement him.
👉 Questão-Item  1-Errada :
"The plot unfolds as follows" (l. 2 and 3) can be correctly rewritten as This is the moral of the story.
("A trama se desenrola da seguinte maneira " pode ser reescrita corretamente como 'Esta é a moral da história'.)

•TÓPICO-Expressões Contextuais:

• As expressões transmitem ideias diferentes e portanto não são intercambiáveis.
• "The plot unfolds as follows" transmite a ideia de "desenvolvimento de uma determinada trama".
•"This is the moral of the story" transmite a ideia de "A moral da estória".
👉 Questão-Item  2-Errada :
The expression "without a say" (l.5) refers to the fact that Elisa can't speak.
(A expressão "é obvio" refere-se ao fato de Elisa não poder falar.)

• TÓPICO-Expressão Idiomática(without a say):

• A expressão idiomática "Without a say" quer dizer que a situação é clara, óbvia.

• Contextualmente, "Without a say" refere-se que todos os personagens mencionados na sequência são claramente parte de minorias.
"[...] The plot unfolds as follows: in the 1950s, Elisa is a cleaner at a military research laboratory, who happens also to be mute, which places her among other minorities without a say: there is her African-American colleague Zelda and her neighbour, the artist Giles, who is gay."
(A trama se desenrola da seguinte maneira: na década de 1950, Elisa é faxineira em um laboratório de pesquisa militar, que também é muda, o que a coloca entre outras minorias, é óbvio: há sua colega afro-americana Zelda e sua vizinha, a artista Giles, que é gay.)
👉 Questão-Item  3-Errada :
Elisa, Zelda, Giles and the monster share a common feature: they have all been deprived of power and marginalized.
(Elisa, Zelda, Giles e o monstro compartilham uma característica comum: todos foram privados de poder e marginalizados.)

• TÓPICO-Informação dentro do texto:

• O texto não faz menção que os personagens foram privados de seus poderes. Eles são considerados minorias.
👉 Questão-Item  4-Correta :
In the text, the words "watertight" (l.14) and "flawed" (l.14) mean respectively incontestable and erroneous.
(No texto, as palavras "watertight"(impermeável à água, inequívoco) e "flawed"(defeituoso, danificado) significam, respectivamente, incontestáveis e errôneas.)

• TÓPICO-Vocabulário Contextual Sinônimo:

• No texto:
"[...] In this film watertight ideas fight for space with flawed ones."
(Neste filme, as idéias incontestáveis lutam pelo espaço com as ideias errôneas.)
👉 Questão-Item  5-Correta :
One weak point in the film is the real-life sequence of the submerged apartment.
(Um ponto fraco do filme é a sequência da vida real do apartamento submerso.)

• TÓPICO-Informação dentro do texto:

• Item (5) alinhado com o 2º parágrafo:
"[...]  It begins with a dream sequence in which Elisa’s apartment is submerged. When the scene is repeated later for real, causing only a minor leak in the house below, the rational mind has too many objections (the floor would collapse!) for the fantasy to survive."
(Começa com uma sequência de sonhos em que o apartamento de Elisa está submerso. Quando a cena é repetida mais tarde de verdade, causando apenas um pequeno vazamento na casa abaixo, a mente racional tem muitas objeções (o chão entraria em colapso!) para a fantasia sobreviver.)
👉 Questão-Item  6-Correta :
According to the author, one of the strong points of the film is the way del Toro strikes a fair balance between watertight ideas and improbable ideas.
(Segundo o autor, um dos pontos fortes do filme é a maneira como del Toro consegue um equilíbrio justo entre idéias incontestáveis e idéias improváveis.)
👉 Questão-Item  7-Correta :
The effect on the spectator of the real-life scene of the submerged room is the destruction of the fantasy del Toro tried to create.
(O efeito no espectador da cena da vida real da sala submersa é a destruição da fantasia que del Toro tentou criar.)

👉 Questão-Item  8-Errada :

In the film the recreation of an early 1960s scientific laboratory was historically accurate.
(No filme, a recriação de um laboratório científico do início dos anos 1960 foi historicamente precisa.)

• TÓPICO-Informação dentro do texto:

• O texto expressa que o sistema de câmeras de segurança instalado no laboratório é incompatível com o ano de 1962.
"[...] There are other discrepancies too — like the sophisticated CCTV system in 1962, or the creature’s ability to wipe away the bulletholes in his own body, sealing up the wounds, ET-style."
(Também existem outras discrepâncias - como o sofisticado sistema de CFTV em 1962, ou a capacidade da criatura de limpar os buracos do próprio corpo, selando as feridas ao estilo ET.)
👉 Questão-Item  9-Errada :
According to the text, the monster in The Shape of Water shares many of the characteristics of the alien creature of the film ET.
(Segundo o texto, o monstro de The Shape of Water compartilha muitas das características da criatura alienígena do filme ET.)

• TÓPICO-Informação dentro do texto:

• O texto expressa que a única característica mencionada que o compara ao ET é sua capacidade de fechar, curar os ferimentos feitos por buracos de bala em seu próprio corpo.
"[...] There are other discrepancies too — like the sophisticated CCTV system in 1962, or the creature’s ability to wipe away the bulletholes in his own body, sealing up the wounds, ET-style."
(Também existem outras discrepâncias - como o sofisticado sistema de CFTV em 1962, ou a capacidade da criatura de limpar os buracos do próprio corpo, selando as feridas ao estilo ET.)
👉 Questão-Item  10-Errada :
The monster believes Elisa can complement him.
(O monstro acredita que Elisa pode complementá-lo.)

• TÓPICO-Informação dentro do texto:

• O texto não faz menção do que o monstro acredita. O texto apenas fala sobre a incapacidade de o monstro perceber quão incompleta Elisa é.
"[...] The amphibious monster kept captive at the lab doesn’t have a name, and his idea of a witty and humorous conversation is to roar in your face. But Elisa takes a shine to him. "When he looks at me, he doesn't know what I lack or how I am incomplete."
(O monstro anfíbio mantido em cativeiro no laboratório não tem nome, e sua ideia de uma conversa espirituosa e bem-humorada é rugir na sua cara. Mas Elisa começa a gostar muito dele. 'Quando ele olha para mim, ele não percebe o que me falta ou como estou incompleta.')

TEXTO 2:

(...)

Chaplin was famous in a way that no one had been before; arguably, no one has been as famous since. At the peak of his popularity, his screen persona, the Tramp, was the most recognized image in the world. His name came first in discussions of the new medium as popular entertainment, and in defences of it as a distinct art form — a cultural position occupied afterwards only by the Beatles, whose own era-defining popularity never equalled Chaplin’s. He's the closest thing the 20th century produced to a universal cultural touchstone.

Film histories will invariably assert that Chaplin’s mass popularity was owed to the way in which the Tramp represented a destitute everyman. His films turned hunger, laziness, and the feeling of being unwanted into comedy. He was an ego artist, a performer with an uncanny relationship to the camera who spent the early part of his career refining his screen persona and the latter part of it deconstructing it.

Many a film critic raises the issue of Chaplin’s actual relationship to the cultural moment of the time — and the fact that his popularity survived several periods of sweeping cultural change. His post-silent films — which include his two most enduringly popular features, Modern Times and The Great Dictator — reflect his own attitudes more than the feelings of American audiences at the time. His mature work is deliberately artificial, set in a world pieced together from chunks of European and American past, present, and, in the case of Modern Times, future.

Ignaty Vishnevetsky
A century later, why does Chaplin still matters?

Internet: <https://film.avclub.com> (adapted)

(...)

According to the text above, judge the following statements.
11 In the author's opinion, it is fair to say that nobody after Chaplin managed to be as successful as he was.
12 "At the peak of" (l. 2 and 3) can be correctly rewritten as At the height of.
13 In line 5, “new medium” is the same as new means.
14 Charlie Chaplin and The Beatles played similar historical roles but his impact on the general cultural scene was far more profound than theirs.
15 Chaplin’s extraordinary talent helped cinema achieve the status of an individual art form.
16 The word “touchstone” (l.10) means a basis or criterion for comparison.
17 Chaplin’s main goal as a film director was to eradicate starvation, laziness and lack of love by means of humour.
18 Due to his inflated ego, Chaplin tried very hard to select the best possible angles for the cameras.
19 Throughout his career, Chaplin stuck to his original acting methods and goals, keeping alive the figure of the Tramp.
20 The passage “enduringly popular features” (l.22) can be correctly paraphrased as films that have continuously been well-liked and admired.
👉 Questão-Item  11-Errada :
In the author's opinion, it is fair to say that nobody after Chaplin managed to be as successful as he was.
(Na opinião do autor, é justo dizer que ninguém depois de Chaplin conseguiu ser tão bem-sucedido quanto ele.)

• TÓPICO-Ideia Contextual ou Informação dentro do texto:

➽No texto, o autor apenas expressa sua opinião. O texto não faz menção que o autor está julgando ser justa ou não.
"[...] Chaplin was famous in a way that no one had been before; arguably, no one has been as famous since."
(Chaplin era famoso de uma maneira que ninguém havia sido antes; indiscutivelmente, ninguém tem sido tão famoso desde então.)
👉 Questão-Item  12-Correta :
"At the peak of" (l. 2 and 3) can be correctly rewritten as At the height of.
("No pico de" pode ser reescrito corretamente como Na altura de.)

• TÓPICO-Expressão Contextual Sinônima ou Intercambiável:

➽A expressão "at the peak"(no pico, no auge) é sinônima de "at the height of"(no auge de...uma carreira de trabalho)
"[...] At the peak of his popularity, his screen persona, the Tramp, was the most recognized image in the world."
(No auge de sua popularidade, sua personagem na tela, o Tramp, era a imagem mais reconhecida no mundo.)
*"at the height of him career"(no auge de sua carreira).
👉 Questão-Item  13-Errada :
In line 5, "new medium” is the same as new means.
(Na linha 5, "new medium"(veículo transmissor) é o mesmo que novos meios.)

• TÓPICO-Vocabulário Contextual:

➽O substantivo MEDIUM contextualmente significa 'veículo transmissor', e means significa "meios, modos, formas".
"[...] His name came first in discussions of the NEW MEDIUM as popular entertainment,"
(Seu nome ficou em primeiro lugar nas discussões sobre o novo veículo transmissor como entretenimento popular.)
👉 Questão-Item  14-Correta :
Charlie Chaplin and The Beatles played similar historical roles but his impact on the general cultural scene was far more profound than theirs.
(Charlie Chaplin e The Beatles tiveram papéis históricos semelhantes, mas seu impacto no cenário cultural geral foi muito mais profundo que o deles.)

• TÓPICO-Ideia Contextual ou Informação dentro do texto:

➽O autor expressa que:
"[...] His name came first in discussions of the new medium as popular entertainment, and in defences of it as a distinct art form — a cultural position occupied afterwards only by the Beatles, whose own era-defining popularity never equalled Chaplin’s."
(Seu nome ficou em primeiro lugar nas discussões sobre o novo veículo transmissor como entretenimento popular, e nas defesas dele como uma forma de arte distinta - uma posição cultural ocupada depois apenas pelos Beatles, cuja popularidade que definiu a era nunca se igualou à de Chaplin.)
👉 Questão-Item  15-Errada :
Chaplin’s extraordinary talent helped cinema achieve the status of an individual art form.
(O talento extraordinário de Chaplin ajudou o cinema a alcançar o status de uma forma de arte individual.)

• TÓPICO-Ideia Contextual ou Informação dentro do texto:

➽O autor expressa que o cinema não recebeu o status de única forma de arte, mas de uma inquestionável forma de cultura universal.
"[...] He's the closest thing the 20th century produced to a universal cultural touchstone."
(Ele é a coisa mais próxima que o século XX produziu para uma base cultural universal.)
👉 Questão-Item  16-Correta :
The word "touchstone" (l.10) means a basis or criterion for comparison.
(A palavra "touchstone" significa uma base ou critério para comparação.)

• TÓPICO-Vocabulário Contextual:

➽O texto expressa que:
"[...] He's the closest thing the 20th century produced to a universal cultural touchstone."
(Ele é a coisa mais próxima que o século XX produziu para uma base cultural universal.)
👉 Questão-Item  17-Errada :
Chaplin's main goal as a film director was to eradicate starvation, laziness and lack of love by means of humour.
(O principal objetivo de Chaplin como diretor de cinema era erradicar a fome, a preguiça e a falta de amor por meio do humor.)

• TÓPICO-Ideia Contextual ou Informação dentro do texto:

➽O texto expressa que Chaplin transformava tais sentimentos(fome, a preguiça e a falta de amor) em comédia, mas não tinha como objetivo erradicá-los.
"[...] Film histories will invariably assert that Chaplin’s mass popularity was owed to the way in which the Tramp represented a destitute everyman. His films turned hunger, laziness, and the feeling of being unwanted into comedy."
(As histórias do cinema invariavelmente afirmam que a popularidade em massa de Chaplin se deve à maneira como o Tramp representava um homem carente. Seus filmes transformaram fome, preguiça e a sensação de ser indesejado em comédia.)
👉 Questão-Item  18-Errada :
Due to his inflated ego, Chaplin tried very hard to select the best possible angles for the cameras.
(Devido ao seu ego inflado, Chaplin tentou arduamente selecionar os melhores ângulos possíveis para as câmeras.)

• TÓPICO-Ideia Contextual ou Informação dentro do texto:

➽O texto não relata que Chaplin tinha um ego inflado mas sim que tinha uma preocupação e uma relação extraordinária com as câmeras.
"[...] He was an ego artist, a performer with an uncanny relationship to the camera who spent the early part of his career refining his screen persona and the latter part of it deconstructing it."
(Ele era um artista do ego, um artista com um relacionamento misterioso com a câmera que passou o início de sua carreira refinando sua personalidade na tela e a última parte desconstruindo-a.)
👉 Questão-Item  19-Errada :
Throughout his career, Chaplin stuck to his original acting methods and goals, keeping alive the figure of the Tramp.
(Ao longo de sua carreira, Chaplin manteve seus métodos e objetivos originais de atuação, mantendo viva a figura do vagabundo.)

👉 Questão-Item  20-Correta :

The passage “enduringly popular features” (l.22) can be correctly paraphrased as films that have continuously been well-liked and admired.
(A passagem “características duradouras populares”  pode ser parafraseada corretamente como filmes que são continuamente apreciados e admirados.)

TEXTO 3:

(...)

By Walt Disney Pictures Internet:

1

Don't let that scare you away. There is a murder and a fatal church-bell-related accident, but the afterlife in Coco is a warm and hectic place, more comical than creepy. The story happens during the Day of the Dead, when the border controls between life and death relax and the departed are allowed temporary passage to the land of the living. A boy named Miguel makes the trip in reverse, which is not to say that he dies, but rather that his living self, through one of several metaphysical loopholes that the movie explains, is transported into a fantastical world of specters and skeletons, who hold fabulous parties and raucous outdoor concerts.
2
Nearly as enchanting as that magical realm is the Mexican village of Santa Cecilia, Miguel's hometown, where he is part of a prosperous clan of shoemakers. The cultural vibe of Coco is inclusive rather than exoticizing, pre-empting inevitable concerns about authenticity and appropriation with the mixture of charm and sensitivity that has become something of a 21st-century Disney hallmark. Here, the importance of family — the multigenerational household that sustains and constrains the hero — is both specific and universal. It’s what explains the particular beats of Miguel’s story and what connects him to viewers regardless of background. 
3
He shows a certain kinship with other well-known recent cartoon characters. A gifted musician in a family that forbids music, he is a bit like Remy, the “Ratatouille” rat whose kin were hostile to his artistic ambition, and like Mumble, the misfit penguin in “Happy Feet.” Miguel’s quest — a search for roots, lost ancestors and information that might explain who he is — resembles Dory’s journey in Finding Dory. The sidekicks who accompany him, animal and (formerly) human, 31 are drawn from a familiar well of archetypes, and the final round of lesson-learning and reconciliation hits notes we have heard many times before.

Internet: <www nytimes com>(adapted)

(...)

Based on the text above, judge the items from 21 through 28.
21 In the film, death is not so morbid a subject that it should discourage people from watching it.
22 In the fragment "hold fabulous parties and raucous outdoor concerts"(l. 10 e 11), the verb “to hold” can be correctly replaced with to throw.
23 The author mentions that the story in Coco takes place in at least three distinct spheres.
24 In "the land of the living" (l.6) and in "his living self" (l.8), the word "living" plays the same grammar role.
25 The word "loopholes" (l.9) is synonymous with events.
26 In the film, the use of the strange and picturesque features of the Mexican culture is exploitative.
27 The sentence "He shows a certain kinship with other well-known recent cartoon characters." (l. 23 and 24) can be correctly paraphrased as There are similarities between Miguel and some other recent cartoon characters.
28 What connects Coco to the long tradition of recent cartoon characters is their obsession with the idea of death.
👉 Questão-Item  21-Correta :
In the film, death is not so morbid a subject that it should discourage people from watching it.
(No filme, a morte não é um assunto tão mórbido que deve desencorajar as pessoas de assisti-lo..)

👉 Questão-Item  22-Correta :

In the fragment "hold fabulous parties and raucous outdoor concerts"(l. 10 e 11), the verb “to hold” can be correctly replaced with to throw.
(No fragmento "faça festas fabulosas e concertos ao ar livre estridentes" (l. 10 e 11), o verbo "segurar" pode ser corretamente substituído por "jogar".)

👉 Questão-Item  23-Errada :

The author mentions that the story in Coco takes place in at least three distinct spheres.
(O autor menciona que a história em Coco se passa em pelo menos três esferas distintas.)

👉 Questão-Item  24-Errada :

In "the land of the living" (l.6) and in "his living self" (l.8), the word "living" plays the same grammar role.
(Na "terra dos vivos" e no "seu eu vivo", a palavra "vivo" desempenha o mesmo papel gramatical.)

👉 Questão-Item  25-Errada :

The word "loopholes" (l.9) is synonymous with events.
(A palavra "brechas" é sinônimo de eventos.)

👉 Questão-Item  26-Errada :

In the film, the use of the strange and picturesque features of the Mexican culture is exploitative.
(No filme, o uso das características estranhas e pitorescas da cultura mexicana é explorador.)

👉 Questão-Item  27-Correta :

The sentence "He shows a certain kinship with other well-known recent cartoon characters." (l. 23 and 24) can be correctly paraphrased as There are similarities between Miguel and some other recent cartoon characters.
(O.A frase "Ele mostra um certo parentesco com outros conhecidos personagens de desenhos animados recentes"  pode ser parafraseada corretamente, pois existem semelhanças entre Miguel e alguns outros personagens de desenhos animados recentes.)

👉 Questão-Item  28-Errada :

What connects Coco to the long tradition of recent cartoon characters is their obsession with the idea of death.
(O que liga Coco à longa tradição dos personagens de desenhos animados recentes é sua obsessão pela idéia da morte.)

CARTOON 1:

(...)

👉 Questão  29 :
The message conveyed by this cartoon — which is based on the film The Shape of Water and presents Neptune (on the right), a sea creature and a man — is that
(A) political correctness requires that a female version of the sea monster be created.
(B) Neptune feels a deep distrust of men who behave childishly.
(C) human beings are not on the list of creatures that Neptune allows to inhabit his underwater kingdom.
(D) a love affair between a human being and a sea creature is likely to cause disbelief and confusion.
👍 Comentários e Gabarito  D 
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:
A mensagem transmitida por esse Cartoon - baseado no filme The Shape of Water(A Forma da Água) e apresenta Netuno (à direita), uma criatura marinha e um homem - é que...
(A) o politicamente correto exige que uma versão feminina do monstro marinho seja criada.
(B) Netuno sente uma profunda desconfiança dos homens que se comportam infantilmente.
(C) os seres humanos não estão na lista de criaturas que Netuno permite habitar seu reino subaquático.
(D) é provável que um caso de amor entre um ser humano e uma criatura do mar cause descrença e confusão.

CARTOON 2:

(...)

👉 Questão  30 :
The idea that best matches the cartoon above is that
(A) people must assert their rights as patients and tell doctors that they must not behave as if they were God.
(B) the Internet is far more precise in making diagnoses and, therefore, far more reliable than doctors can ever be.
(C) patients should only seek a second opinion when their tentative diagnosis is unfavourable to them.
(D) the widespread use of the Internet has had an effect on the nature of centuries-old doctor-patient relationships.
👍 Comentários e Gabarito  D 
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:
A ideia que melhor combina com o cartoon acima é que...
(A) as pessoas tem que afirmar seus direitos como pacientes e dizer aos médicos que não devem se comportar como se fossem Deus.
(B) a Internet é muito mais precisa no diagnóstico e, portanto, muito mais confiável do que os médicos podem ser.
(C) os pacientes só devem procurar uma segunda opinião quando seu diagnóstico provisório lhes é desfavorável.
(D) o uso generalizado da Internet afetou a natureza das relações médico-paciente de séculos.