Postagens
❑ PROVA DE LÍNGUA INGLESA: UFRGS-2017-VESTIBULAR.
❑ ESTRUTURA-PROVA:
➭ 25 Multiple Choice Questions / 5 Options Each Question.
➭ Text (1) – | Antony's lines from Act III, Scene 2 of
Julius Caesar | http://shakespeare.mit.edu |
Julius Caesar | http://shakespeare.mit.edu |
➭ Text (2) – | Old Light | HOGAN, Linda. Sightings: The Gray Whales’ Mysterious Journey. Washington, D.C.: National Geographic, 2002. p. 29-30.|
➭ Text (3) – | REMNICK, D. Leonard Cohen makes it Darker. Available at: www.TAGARCHIVES: Leonard Cohen – Bob Dylan Interface. Accessed on Nov. 9th, 2016. |
❑ GABARITO:
51-C, 52-E, 53-E, 54-A, 55-C
56-C, 57-B, 58-C, 59-B, 60-D
61-B, 62-B, 63-D, 64-B, 65-A
66-E, 67-C, 68-B, 69-A, 70-D
71-C, 72-E, 73-B, 74-A, 75-D
➧ TEXT:
❑ PROVA:
❑ TRADUÇÃO - TEXTO 1:
Antony's lines from Act III, Scene 2 of
Julius Caesar
Linhas de Antônio do Ato III, Cena 2 de Júlio César
02. I come to bury Caesar, not to praise him.
01. Amigos, romanos, compatriotas, emprestem-me seus ouvidos;
02. Venho enterrar César, não para elogiá-lo.
03. The evil that men do lives after them;04. The good is often interred with their bones;
03. O mal que os homens fazem perdura depois deles;
04. Muitas vezes os bons são enterrados com seus ossos;
05. So let it be with Caesar. The noble Brutus06. Has told you Caesar was ambitious:
05. Assim seja com César. O nobre Brutus
06. Disse a vocês que César era ambicioso:
07. If it were so, it was a grievous fault,08. And grievously has Caesar answered it.
07. Se assim fosse, era falta grave,
08. E gravemente César respondeu.
09. Here, under leave of Brutus and the rest–10. For Brutus is an honourable man;
09. Aqui, com licença de Brutus e do resto–
10. Pois Brutus é um homem honrado;
11. So are they all, all honourable men–12. Come I to speak in Caesar's funeral.
11. Assim são todos eles, todos os homens honrados -
12. Venho falar no funeral de César.
13. He was my friend, faithful and just to me:14. But Brutus says he was ambitious;
13. Ele era meu amigo, fiel e justo comigo:
14. Mas Brutus diz que era ambicioso;
15. And Brutus is an honourable man.16. He has brought many captives home to Rome
17. Whose ransoms did the general coffers fill:
15. E Brutus é um homem honrado.
16. Ele trouxe muitos cativos para casa em Roma
17. Cujos resgates os cofres gerais preencheram:
18. Did this in Caesar seem ambitious?19. When the poor have cried, Caesar has wept:
20. Ambition should be made of sterner stuff:
18. Isso em César parecia ambicioso?
19. Quando os pobres choraram, César chorou:
20. A ambição deve ser feita de material mais rígido:
21. Yet Brutus says he was ambitious;22. And Brutus is an honourable man.
23. You all did see that on the Lupercal
24. I thrice presented him a kingly crown,
25. Which he did thrice refuse: was this ambition?
21. No entanto, Brutus diz que era ambicioso;
22. E Brutus é um homem honrado.
23. Vocês todos viram isso no Lupercal
24. Eu três vezes apresentei a ele uma coroa real,
25. O que ele recusou três vezes: isso era ambição?
26. Yet Brutus says he was ambitious;27. And, sure, he is an honourable man.
28. I speak not to disprove what Brutus spoke,
29. But here I am to speak what I do know.
26. No entanto, Brutus diz que era ambicioso;
27. E, com certeza, ele é um homem honrado.
28. Falo não para refutar o que Brutus falou,
29. Mas aqui estou para falar o que sei.
30. You all did love him once, not without cause:31. What cause withholds you then, to mourn for him?
30. Todos vocês o amaram uma vez, não sem motivo:
31. Que causa retém você, então, para lamentar por ele?
32. O judgment! you are fled to brutish beasts,33. And men have lost their reason. Bear with me;
34. My heart is in the coffin there with Caesar,
35. And I must pause till it come back to me.
32. Ó julgamento! você fugiu para bestas brutais,
33. E os homens perderam a razão. Tenha paciencia comigo;
34. Meu coração está no caixão lá com César,
35. E devo fazer uma pausa até que volte para mim.
Adaptado de: SHAKESPEARE, W. The Life and Death of Julius Caesar. Disponível em:<http://shakespeare.mit.edu/julius_caesar/full.html>.Acesso em: 12 nov. 2016.
👉 Questão 51 :
I - Antony dissimula seu propósito ao longo de sua fala.
II - Os prisioneiros romanos foram enviados de volta para Roma.
III - Antony, em discurso indireto, questiona a veracidade das asserções de Brutus (L.05-06, 14, 21 e 26).
Quais estão corretas?
(A) Apenas I.
(B) Apenas II.
(C) Apenas I e III.
(D) Apenas II e III.
(E) I, II, III.
👍 Comentários e Gabarito C
*Afirmativa(I): Antony dissimula seu propósito ao longo de sua fala.
*
➦ Muitos foram feitos prisioneiros em seus lares e levados para Roma.
➦ O testo não fala que os prisioneiros eram romanos:
"[...] He has brought many captives home to Rome whose ransoms did the general coffers fill"
(Ele levou muitos prisioneiros de casa para Roma, cujos resgates foram preenchidos pelos cofres gerais)
*
👉 Questão 52 :
De acordo com o texto, Antony
(A) afirma que os erros de Caesar deixarão de afetar a vida dos romanos após sua morte.
(B) considera a ambição de Caesar um defeito devidamente punido.
(C) foi convidado por Brutus a falar sobre Caesar.
(D) está desolado, porque Caesar fez o povo chorar devido a sua ambição.
(E) contesta a atitude de seus conterrâneos.
👍 Comentários e Gabarito E
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
*Alternativa (A): afirma que os erros de Caesar deixarão de afetar a vida dos romanos após sua morte.
*Alternativa (B): considera a ambição de Caesar um defeito devidamente punido.
*Alternativa (C): foi convidado por Brutus a falar sobre Caesar.
*Alternativa (D): está desolado, porque Caesar fez o povo chorar devido a sua ambição.
*Alternativa (E): contesta a atitude de seus conterrâneos.
👉 Questão 53 :
Assinale com V (verdadeiro) ou F (falso) as afirmações abaixo, acerca do texto.
( ) A expressão If it were (L.07) pode ser substituída por Were it sem prejuízo de sentido e de correção gramatical.
( ) A repetição da palavra honourable ao longo da fala (L.10, 11, 15, 22 e 27) reforça o sentido original da palavra.
( ) A palavra which no segmento Which he did thrice refuse (L.25) pode ser substituída, sem prejuízo de sentido e de correção gramatical, pela palavra that.
( ) A palavra you (L.32) refere-se a Caesar.
A sequência correta de preenchimento dos parênteses, de cima para baixo, é
(A) V – F – F – V.
(B) F – F – F – V.
(C) F – V – V – V.
(D) V – V – V – F.
(E) V – F – F – F.
👍 Comentários e Gabarito E
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
*Afirmativa (V): A expressão If it were (L.07) pode ser substituída por Were it sem prejuízo de sentido e de correção gramatical.
➦A supressão de If em "If it were" pede a inversão de sujeito e verbo, tornando "Were it".
"If it were so, it was a grievous fault,"
(Se assim fosse, era uma falha grave,)
*Afirmativa (F): A repetição da palavra honourable ao longo da fala (L.10, 11, 15, 22 e 27) reforça o sentido original da palavra.
*Afirmativa (F): A palavra which no segmento Which he did thrice refuse (L.25) pode ser substituída, sem prejuízo de sentido e de correção gramatical, pela palavra that.
*Afirmativa (F): A palavra YOU (L.32) refere-se a Caesar.
➦ you ➝ Friends, Romans, countrymen,
"Oh judgment! you are fled to brutish beasts,"
(Ó julgamento! vocês fogem para bestas brutais,)
👉 Questão 54 :
Associe as palavras da coluna da esquerda aos seus respectivos sinônimos, na coluna da direita, de acordo com o sentido que têm no texto.
( ) grievous (L.07)
( ) faithful (L.13)
( ) just (L.13)
1 - equanimous
2 - weird
3 - dreadful
4 - peculiar
5 - meticulous
6 - trustworthy
A sequência correta de preenchimento dos parênteses, de cima para baixo, é
(A) 3 – 6 – 1.
(B) 2 – 4 – 5.
(C) 2 – 1 – 6.
(D) 4 – 5 – 1.
(E) 3 – 6 – 5.
👍 Comentários e Gabarito A
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
➦ GRIEVOUS(Gríivês) pode ser serious(Síurias)(séria), dreadful(drédFôl)(terrível), awful(óFôl)(horrível).
"[...] If it were so, it was a grievous fault, and grievously has Caesar answered it."
(Se assim fosse, era uma falha grave, e Caesar atendeu gravemente.)
➦ FAITHFUL(fêiFôl) pode ser loyal(Lói'ól)(fiel), sincere(senSíôr)(sincero), trustworthy(trást'uódi)(confiável).
"[...] He was my friend, faithful and just to me."
(Ele era meu amigo, fiel e justo comigo.)
➦ JUST(Djást) pode ser equanimous (aKuênêmês)(equânime), correct (correto), self-contained (independente), (sincero), trustworthy(trást'uódi)(confiável).
"[...] He was my friend, faithful and just to me."
(Ele era meu amigo, fiel e correto comigo.)
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
➦IDEIA CONTEXTUAL: Em todo seu discurso, Antony, ironiza o que é dito por Brutus e contesta a atitude de seus conterrâneos, ao julgar Caesar como ambicioso. SURE(certeza) no texto expressa ideia de sarcasmo, de zombaria.
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
01. I heard a tale that the sun god was said
02. to live in a whale and that’s why light seems
03. to come out of its eyes and why rainbows
04. form in the mist of the gray whale’s breath.
05. It’s true, light comes, but it is an old light,
06. seeing. They look. The way they lift
07. themselves from the sea: they are shining,
08. water falling from them as they rise, exhale,
09. inhale and return below the surface of the
10. water.
11. The gray whales themselves are an
12. intelligence we haven’t yet grasped, Lifecovered 13. with several hundred pounds of
14. barnacles and small-eyed. If we could see
15. them ........ the brief timescale of the planet,
16. they would look like shape-shifters. If we
17. thought of time by something other than our
18. own notions, million-fold years ago, before
19. our own knowledge of evolution, we’d see
20. these whales …….. they walked on land.
21. Even now, existing within their immense
22. bones, there is body evidence, a hand,
23. human; vestigial hipbones; and remnants of
24. legs they no longer need. They lived ……..
25. land when we lived in water. When we look
26. at them we see our own future.
27. And when they come up again for air
28. and the water falls from them back into the
29. seawater, it is a shine of beauty in a world of
30. desert, dunes in the background. As their
31. hind legs have disappeared into them, out of
32. our sight, and their hands have become
33. hidden, the compass set into their brains,
34. you’d think you might be able to be one with
35. them, as with a cousin, but it’s a cousin lost
36. in time. It makes us so small in the
37. firmament. It makes us remember something
38. we can’t quite name, only feel.
39. Looking at these whales in the shallow
40. water, thinking of the great turn of evolution
41. and change on earth, we wonder if one day
42. we will return to the seawater, along with
43. these long-enduring, longest-living mammals
44. on Earth.
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
👉 Questão 63 :
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
I - A capacidade das baleias de serem animais que vivem no mar, mas que necessitam emergir para respirar.
II - A transformação das baleias ao longo do processo evolutivo.
III- O conhecimento do homem sobre a evolução das baleias cinzentas permite percebê-las sob nova perspectiva.
Quais estão corretas?
(A) Apenas I.
(B) Apenas II.
(C) Apenas III.
(D) Apenas I e II.
(E) I, II e III.
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
I - A capacidade das baleias de serem animais que vivem no mar, mas que necessitam emergir para respirar.
II - A transformação das baleias ao longo do processo evolutivo.
III- O conhecimento do homem sobre a evolução das baleias cinzentas permite percebê-las sob nova perspectiva.
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
👉 Questão 66 :
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
❑ TEXTO 3: Instrução: As questões 67 a 75 referem-se ao texto abaixo
01. In Leonard Cohen Makes it Darker, in the
02. October 17, 2016 edition of The New Yorker,
03. David Remnick provides a succinct historyby-04. anecdote of the Canadian singersongwriter´s 05. impending album, You Want It
06. Darker, an intriguing section devoted to Bob
07. Dylan’s take on Cohen, and a witty
08. perspective on the old icon.
09. Remnick suggests that there are deep
10. connections between the two old bards when
11. he quotes Dylan: ―When people talk about
12. Leonard, they fail to mention his melodies,
13. which to me, along with his lyrics, are his
14. greatest genius. […] Even the counterpoint
15. lines—they give a celestial character and
16. melodic lift to every one of his songs. As far
17. as I know, no one else comes close to this in
18. modern music. [..] His gift or genius is in
19. connection to the music of the spheres. In
20. Sisters of Mercy, for instance, the verses are
21. four elemental lines which change and move
22. at predictable intervals . . . but the tune is
23. anything but predictable. The song just
24. comes in and states a fact. And after that
25. anything can happen and it does, and
26. Leonard allows it to happen. His tone is far
27. from condescending or mocking. He is a
28. tough-minded lover who doesn’t recognize
29. the brush-off. Leonard’s always above it all.
30. Sisters of Mercy is in perfect meter, with no
31. chorus, quivering with drama. This is an
32. example of a deceptively unusual musical
33. theme, with or without lyrics. But it’s so
34. subtle a listener doesn’t realize he’s been
35. taken on a musical journey and dropped off
36. somewhere, with or without lyrics.‖
37. And it is Cohen who says that ―Dylan has
38. lines, hundreds of great lines, that have the
39. feel of unhewn stone. But they really fit in
40. there. But they’re not smoothed out. They’re
41. inspired but not polished. That is not to say
42. he doesn’t have lyrics of great polish. That
43. kind of genius can manifest all the forms and
44. all the styles.‖
45. For some odd reason, Cohen also says: ―I
46. have all my marbles, so far. I have many
47. resources, some cultivated on a personal
48. level, but circumstantial, too: my children
49. and grandchildren live nearby. So I am
50. extremely blessed. At a certain point, if you
51. still have your marbles and are not faced
52. with serious financial challenges, you have a
53. chance to put your house in order. It’s a
54. cliché, but it’s underestimated as an
55. analgesic on all levels. Putting your house in
56. order, if you can do it, is one of the most
57. comforting activities and the benefits of it are
58. incalculable.‖
59. When asked about the devotional tones of
60. his verses Cohen declares: ―I start with
61. artistic dedication. I know that if the spirit is
62. on you, it will touch on to the other human
63. receptors. But I dare not begin from the
64. other side. It’s like pronouncing the holy
65. name—you don’t do it. But if you are lucky,
66. and you are graced, and the audience is in a
67. particular salutary condition, then these
68. deeper responses will be produced.‖
REMNICK, D. Leonard Cohen makes it Darker. Available
at: www.TAGARCHIVES: Leonard Cohen – Bob Dylan
Interface. Accessed on Nov. 9th, 2016.
👉 Questão 67 :
Consider if the statements below are true (T) or false (F), according to the text.
( ) Dylan foregrounds the transcendence of Cohen’s tunes.
( ) According to Cohen, Dylan’s rough expression is detrimental to his otherwise genius.
( ) According to Cohen, the spiritual impact of his music also depends on the audience.
( ) According to Dylan, it is the subtlety of Cohen’s lyrics that take the listener on a musical journey.
The correct sequence of filling in the parenthesis, from top to bottom, is
(A) F – F – T – T.
(B) T – F – T – T.
(C) T – F – T – F.
(D) F – T – F – T.
(E) T – T – F – F.
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
( ) Dylan foregrounds the transcendence of Cohen’s tunes.
( ) According to Cohen, Dylan’s rough expression is detrimental to his otherwise genius.
( ) According to Cohen, the spiritual impact of his music also depends on the audience.
( ) According to Dylan, it is the subtlety of Cohen’s lyrics that take the listener on a musical journey.
( ) Dylan foregrounds the transcendence of Cohen’s tunes.
👉 Questão 68 :
Consider the following statements.
I - In the segment…but the tune is anything but predictable (L.22-23), Dylan asserts that Cohen’s songs can be foretold.
II - The expression I have all my marbles (L.45-46) denotes the integrity of the singer´s intellectual and creative capacity.
III - Leonard Cohen declares that his lyrics are solely mundane.
Which are correct according to the text?
(A) Only I.
(B) Only II.
(C) Only III.
(D) Only I and II.
(E) I, II and III.
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
I - In the segment…but the tune is anything but predictable (L.22-23), Dylan asserts that Cohen’s songs can be foretold.
II - The expression I have all my marbles (L.45-46) denotes the integrity of the singer´s intellectual and creative capacity.
III - Leonard Cohen declares that his lyrics are solely mundane.
👉 Questão 69 :
The expression succinct history-by-anecdote (l. 03-04) refers to
(A) Remnick’s article.
(B) Cohen’s life history.
(C) Cohen’s album.
(D) Dylan’s witty perspective.
(E) The old icon.
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
(A) Remnick’s article.
(B) Cohen’s life history.
(C) Cohen’s album.
(D) Dylan’s witty perspective.
(E) The old icon.
👉 Questão 70 :
The words impending (L.5), quivering (L.31) and unhewn (L.39) can be substituted, without change in meaning, by
(A) upcoming – shaking – matching
(B) upcoming – controlled – matching
(C) recent – settled – unpolished
(D) forthcoming – vibrating – rough
(E) recent – trembling – uniform
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
(A) upcoming – shaking – matching
(B) upcoming – controlled – matching
(C) recent – settled – unpolished
(D) forthcoming – vibrating – rough
(E) recent – trembling – uniform
👉 Questão 71 :
Select the alternative in which the word take in the fragment an intriguing section devoted to Bob Dylan’s take on Cohen (L.6-7) has the same meaning and grammatical class.
(A) The idea somehow failed to take on.
(B) The train stops only to take on passengers.
(C) She was asked for her take on the recent developments.
(D) I always take him on the same spot at the same time.
(E) They take on a new job every two years.
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
(A) The idea somehow failed to take on.
(B) The train stops only to take on passengers.
(C) She was asked for her take on the recent developments.
(D) I always take him on the same spot at the same time.
(E) They take on a new job every two years.
👉 Questão 72 :
Select the alternative which presents the word and its respective synonym.
(A) witty (l. 7) – enticing
(B) condescending (l. 27) – welcoming
(C) smoothed out (l. 40) – tangled
(D) deceptively (l. 32) – undeniably
(E) brush-off (l. 29) – disregard
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
*Alternativa (A): witty (l. 7) – enticing
*Alternativa (B): condescending (l. 27) – welcoming
*Alternativa (C): smoothed out (l. 40) – tangled
*Alternativa (D): deceptively (l. 32) – undeniably
*Alternativa (E): brush-off (l. 29) – disregard
👉 Questão 73 :
Select the alternative to which the words THIS (L.17), WHICH (L.21) and THEY (L.39) refer, respectively,
(A) his songs – the music of the spheres – hundreds of great lines
(B) a celestial character and melodic lift – four elemental lines – hundreds of great lines
(C) greatest genius – lines – hundreds of great lines
(D) a celestial character and melodic lift – the verses – lyrics of great polish
(E) his songs – four elemental lines – great lines
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
(Até as linhas de contraponto - elas dão um caráter celestial e elevação melódica a todas as suas músicas. Até onde eu sei, ninguém mais se aproxima disso na música moderna.)
(E é Cohen quem diz que “Dylan tem linhas, centenas de grandes linhas, que têm a sensação de pedra não caída. Mas elas realmente se encaixam lá.)
*Alternativa (A): his songs – the music of the spheres – hundreds of great lines
*Alternativa (B): a celestial character and melodic lift – four elemental lines – hundreds of great lines
*Alternativa (C): greatest genius – lines – hundreds of great lines
*Alternativa (D): a celestial character and melodic lift – the verses – lyrics of great polish
*Alternativa (E): his songs – four elemental lines – great lines
👉 Questão 74 :
Consider the following propositions of rewriting the segment:
the verses are four elemental lines which change and move at predictable intervals (L.20-22).
I - the verses are four elemental lines, changing and moving at predictable intervals.
II - the verses are four basic lines which can change and move at predictable intervals.
III - the verses are four elemental lines, subject to be changed and moved at predictable intervals.
Which are correct?
(A) Only I.
(B) Only II.
(C) Only III.
(D) Only I and II.
(E) I, II and III.
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO :
*Afirmativa (I): the verses are four elemental lines, changing and moving at predictable intervals.
*Afirmativa (II): the verses are four basic lines which can change and move at predictable intervals.(os versos são quatro linhas básicas que podem mudar e se mover em intervalos previsíveis.)
*Afirmativa (III): the verses are four elemental lines, subject to be changed and moved at predictable intervals.(os versos são quatro linhas elementares, sujeitas a serem alteradas e movidas em intervalos previsíveis.)
👉 Questão 75 :
Select the alternative in which the word dare (L.63) presents the same meaning and grammatical function as used in the text.
(A) You should try it if you dare.
(B) The singer did not dare a new rendition of his famous song.
(C) She dared the anger of her family.
(D) She dares not let herself tamed.
(E) He would not be so foolish to take a dare.
TÓPICO - GRAMMAR :
De acordo com o texto, Antony
(A) afirma que os erros de Caesar deixarão de afetar a vida dos romanos após sua morte.
(B) considera a ambição de Caesar um defeito devidamente punido.
(C) foi convidado por Brutus a falar sobre Caesar.
(D) está desolado, porque Caesar fez o povo chorar devido a sua ambição.
(E) contesta a atitude de seus conterrâneos.
👍 Comentários e Gabarito E
*
*
*
*
*Alternativa (E): contesta a atitude de seus conterrâneos.
Assinale com V (verdadeiro) ou F (falso) as afirmações abaixo, acerca do texto.
( ) A expressão If it were (L.07) pode ser substituída por Were it sem prejuízo de sentido e de correção gramatical.
( ) A repetição da palavra honourable ao longo da fala (L.10, 11, 15, 22 e 27) reforça o sentido original da palavra.
( ) A palavra which no segmento Which he did thrice refuse (L.25) pode ser substituída, sem prejuízo de sentido e de correção gramatical, pela palavra that.
( ) A palavra you (L.32) refere-se a Caesar.
A sequência correta de preenchimento dos parênteses, de cima para baixo, é
(A) V – F – F – V.
(B) F – F – F – V.
(C) F – V – V – V.
(D) V – V – V – F.
(E) V – F – F – F.
👍 Comentários e Gabarito E
*Afirmativa (V): A expressão If it were (L.07) pode ser substituída por Were it sem prejuízo de sentido e de correção gramatical.
➦A supressão de If em "If it were" pede a inversão de sujeito e verbo, tornando "Were it".
"If it were so, it was a grievous fault,"
(Se assim fosse, era uma falha grave,)
*
*
*
➦ you ➝ Friends, Romans, countrymen,
"Oh judgment! you are fled to brutish beasts,"
(Ó julgamento! vocês fogem para bestas brutais,)
Associe as palavras da coluna da esquerda aos seus respectivos sinônimos, na coluna da direita, de acordo com o sentido que têm no texto.
( ) grievous (L.07)
( ) faithful (L.13)
( ) just (L.13)
1 - equanimous
2 - weird
3 - dreadful
4 - peculiar
5 - meticulous
6 - trustworthy
A sequência correta de preenchimento dos parênteses, de cima para baixo, é
(A) 3 – 6 – 1.
(B) 2 – 4 – 5.
(C) 2 – 1 – 6.
(D) 4 – 5 – 1.
(E) 3 – 6 – 5.
👍 Comentários e Gabarito A
➦ GRIEVOUS(Gríivês) pode ser serious(Síurias)(séria), dreadful(drédFôl)(terrível), awful(óFôl)(horrível).
"[...] If it were so, it was a grievous fault, and grievously has Caesar answered it."
(Se assim fosse, era uma falha grave, e Caesar atendeu gravemente.)
➦ FAITHFUL(fêiFôl) pode ser loyal(Lói'ól)(fiel), sincere(senSíôr)(sincero), trustworthy(trást'uódi)(confiável).
"[...] He was my friend, faithful and just to me."
(Ele era meu amigo, fiel e justo comigo.)
➦ JUST(Djást) pode ser equanimous (aKuênêmês)(equânime), correct (correto), self-contained (independente), (sincero), trustworthy(trást'uódi)(confiável).
"[...] He was my friend, faithful and just to me."
(Ele era meu amigo, fiel e correto comigo.)
👉 Questão 55 :
Considere o segmento
For Brutus is an honourable man (L.10).
Assinale a alternativa em que a palavra for, nas frases abaixo, é utilizada com o mesmo significado
e função gramatical do segmento acima.
(A) But for John, we should have lost the game.
(B) She will do anything for the sake of her children.
(C) The bill should be listed as paid, for I mailed it on time.
(D) He lost the fight, for all his boasting.
(E) For an amateur, he sings rather well.
👍 Comentários e Gabarito C
(A) But for John, we should have lost the game.
(B) She will do anything for the sake of her children.
(C) The bill should be listed as paid, for I mailed it on time.
(D) He lost the fight, for all his boasting.
(E) For an amateur, he sings rather well.
👉 Questão 56 :
Assinale com V (verdadeiro) ou F (falso) as afirmações abaixo, acerca do texto.
( ) A palavra Yet (L.21 e 26) pode ser substituída, sem alteração de sentido e de correção
gramatical, por Even.
( ) As palavras did (L.23, 25 e 30) e do (L.29) são utilizadas para dar ênfase ao enunciado.
( ) Os exemplos das ações praticadas por Caesar corroboram as afirmações atribuídas a Brutus.
( ) A intenção de Anthony é fazer os ouvintes refletirem.
A sequência correta de preenchimento dos parênteses, de cima para baixo, é
(A) F – F – V – V.
(B) V – V – F – F.
(C) F – V – F – V.
(D) V – F – F – V.
(E) F – V – V – F
👍 Comentários e Gabarito C
( ) A palavra YET(L.21 e 26) pode ser substituída, sem alteração de sentido e de correção gramatical, por Even.
( ) As palavras DID(L.23, 25 e 30) e DO(L.29) são utilizadas para dar ênfase ao enunciado.
( ) Os exemplos das ações praticadas por Caesar corroboram as afirmações atribuídas a Brutus.
( ) A intenção de Anthony é fazer os ouvintes refletirem.
👉 Questão 57 :
Considere as afirmações abaixo.
I - As expressões a kingly crown (l. 24) e a good leader, na frase They considered him a
good leader, possuem a mesma estrutura e função gramatical.
II - As palavras thrice (l. 24 e 25) e once (l. 30) podem ser substituídas por three times e one day,
respectivamente.
III - A palavra must, no segmento And I must pause till it come back to me (l. 35), pode ser
substituída, sem prejuízo do sentido, pela expressão have to.
Quais estão corretas?
(A) Apenas I.
(B) Apenas II.
(C) Apenas III.
(D) Apenas I e III.
(E) I, II e III.
👍 Comentários e Gabarito B
I - As expressões a kingly crown (l. 24) e a good leader, na frase They considered him a good leader, possuem a mesma estrutura e função gramatical.
II - As palavras thrice (l. 24 e 25) e once (l. 30) podem ser substituídas por three times e one day, respectivamente.
III - A palavra must, no segmento And I must pause till it come back to me (l. 35), pode ser substituída, sem prejuízo do sentido, pela expressão have to.
👉 Questão 58 :
A palavra SURE (L.27), como empregada no texto, manifesta
(A) hesitação.
(B) certeza.
(C) sarcasmo.
(D) louvor.
(E) conformidade.
👍 Comentários e Gabarito C
"[...] Yet Brutus says he was ambitious; And, sure, he is an honourable man."
(No entanto, Brutus diz que era ambicioso; E, claro, ele é um homem honrado.)
*Alternativa (A): hesitação.
*Alternativa (B): certeza.
*Alternativa (C): sarcasmo.
*Alternativa (D): louvor.
*Alternativa (E): conformidade.
👉 Questão 59 :
Em qual das alternativas abaixo o segmento grifado apresenta a mesma função gramatical de
what I do know (L.29)?
(A) I'm not sure what to do.
(B) You can borrow what I have.
(C) What he did was unforgivable.
(D) I listened to what you said.
(E) The only question is what remains to be done.
👍 Comentários e Gabarito B
*Alternativa (A): I’m not sure what to do.
*Alternativa (B): You can borrow what I have.
*Alternativa (C): What he did was unforgivable.
*Alternativa (D): I listened to what you said.
*Alternativa (E): The only question is what remains to be done.
❑ TEXTO 2: Instrução: As questões 60 a 66 referem-se ao texto abaixo.
Old Light
01. I heard a tale that the sun god was said
02. to live in a whale and that’s why light seems
03. to come out of its eyes and why rainbows
04. form in the mist of the gray whale’s breath.
05. It’s true, light comes, but it is an old light,
06. seeing. They look. The way they lift
07. themselves from the sea: they are shining,
08. water falling from them as they rise, exhale,
09. inhale and return below the surface of the
10. water.
11. The gray whales themselves are an
12. intelligence we haven’t yet grasped, Lifecovered 13. with several hundred pounds of
14. barnacles and small-eyed. If we could see
15. them ........ the brief timescale of the planet,
16. they would look like shape-shifters. If we
17. thought of time by something other than our
18. own notions, million-fold years ago, before
19. our own knowledge of evolution, we’d see
20. these whales …….. they walked on land.
21. Even now, existing within their immense
22. bones, there is body evidence, a hand,
23. human; vestigial hipbones; and remnants of
24. legs they no longer need. They lived ……..
25. land when we lived in water. When we look
26. at them we see our own future.
27. And when they come up again for air
28. and the water falls from them back into the
29. seawater, it is a shine of beauty in a world of
30. desert, dunes in the background. As their
31. hind legs have disappeared into them, out of
32. our sight, and their hands have become
33. hidden, the compass set into their brains,
34. you’d think you might be able to be one with
35. them, as with a cousin, but it’s a cousin lost
36. in time. It makes us so small in the
37. firmament. It makes us remember something
38. we can’t quite name, only feel.
39. Looking at these whales in the shallow
40. water, thinking of the great turn of evolution
41. and change on earth, we wonder if one day
42. we will return to the seawater, along with
43. these long-enduring, longest-living mammals
44. on Earth.
Adaptado de: HOGAN, Linda. Sightings: The Gray Whales' Mysterious Journey. Washington, D.C.: National Geographic, 2002. p. 29-30.
👉 Questão 60 :
Assinale a alternativa que preenche, correta
e respectivamente, as lacunas das linhas 15,
20 e 24.
(A) across – how – on
(B) on – like – above
(C) over – like – above
(D) over – as – on
(E) across – as – over
👍 Comentários e Gabarito D
*Alternativa (A): across – how – on
*Alternativa (B): on – like – above
*Alternativa (C): over – like – above
*Alternativa (D): over – as – on
*Alternativa (E): across – as – over
👉 Questão 61 :
Assinale com V (verdadeiro) ou F (falso) as
afirmações abaixo, acerca do texto.
( ) As baleias, de acordo com indícios
morfológicos, já apresentaram
características que, hoje, são
consideradas humanas.
( ) O atual habitat das baleias cinzentas
revela que não há um único caminho
para a evolução.
( ) A observação das baleias cinzentas leva
a autora a centenas de milhas da costa,
onde as baleias, ao emergirem, adquirem
um esplendor ímpar.
( ) A autora, ao observar a emergência das
baleias cinzentas, compara a visão que
tem diante de si à imagem de um
deserto coberto de dunas.
A sequência correta para o preenchimento
dos parênteses, de cima para baixo, é
(A) F – F – V – F.
(B) V – V – F – F.
(C) F – V – F – V.
(D) V – F – V – F.
(E) F – F – F – V.
👍 Comentários e Gabarito B
( ) As baleias, de acordo com indícios morfológicos, já apresentaram características que, hoje, são consideradas humanas.
( ) O atual habitat das baleias cinzentas revela que não há um único caminho para a evolução.
( ) A observação das baleias cinzentas leva a autora a centenas de milhas da costa, onde as baleias, ao emergirem, adquirem um esplendor ímpar.
( ) A autora, ao observar a emergência das baleias cinzentas, compara a visão que tem diante de si à imagem de um deserto coberto de dunas.
👉 Questão 62 :
A alternativa que apresenta o sinônimo mais
adequado para a palavra GRASPED(L.12),
como empregada no texto, é
(A) rescued.
(B) appreciated.
(C) cherished.
(D) relinquished.
(E) adopted.
👍 Comentários e Gabarito B
*Alternativa (A): rescued.
*Alternativa (B): appreciated.
*Alternativa (C): cherished.
*Alternativa (D): relinquished.
*Alternativa (E): adopted.
Considere os segmentos retirados do texto e
as respectivas propostas de reescrita.
I - If you could see them (l. 14-15) –
Could you see them.
II - the water falls from them back into
the seawater (l. 28-29) – the water
falls from their back into the seawater.
III - we wonder if one day we will return
to the seawater (l. 41-42) – we
wonder whether one day we will return
to the seawater.
Quais estão corretas?
(A) Apenas I.
(B) Apenas II.
(C) Apenas III.
(D) Apenas I e III.
(E) I, II e III.
👍 Comentários e Gabarito D
I - If you could see them (l. 14-15) – Could you see them.
II - the water falls from them back into the seawater (l. 28-29) – the water falls from their back into the seawater.
III - we wonder if one day we will return to the seawater (l. 41-42) – we wonder whether one day we will return to the seawater.
👉 Questão 64 :
Considere as afirmações sobre o significado da expressão shape-shifters (L.16), no contexto em que se encontra.I - A capacidade das baleias de serem animais que vivem no mar, mas que necessitam emergir para respirar.
II - A transformação das baleias ao longo do processo evolutivo.
III- O conhecimento do homem sobre a evolução das baleias cinzentas permite percebê-las sob nova perspectiva.
Quais estão corretas?
(A) Apenas I.
(B) Apenas II.
(C) Apenas III.
(D) Apenas I e II.
(E) I, II e III.
👍 Comentários e Gabarito B
II - A transformação das baleias ao longo do processo evolutivo.
👉 Questão 65 :
Considere as propostas de reescrita do
segmento As their hind legs have
disappeared into them [...], the
compass set into their brains (l. 30-33).
I - While their hind legs were disappearing
into them [...], the compass set into their
brains
II - Because their hind legs have disappeared
into them [...], a compass set into their
brains..
III - In the same way that their hind legs
have disappeared into them [...], the
compass set into their brains.
Quais poderiam substituir o segmento acima,
sem prejuízo do sentido literal e da correção
gramatical?
(A) Apenas I.
(B) Apenas II.
(C) Apenas III.
(D) Apenas II e III.
(E) I, II e III.
👍 Comentários e Gabarito A
I - While their hind legs were disappearing into them [...], the compass set into their brains
II - Because their hind legs have disappeared into them [...], a compass set into their brains..
III - In the same way that their hind legs have disappeared into them [...], the compass set into their brains.
A tradução mais adequada para a expressão
you’d think you might be able to (L.34),
como empregada no texto, é
(A) você gostaria de pensar que seria
possível.
(B) você deveria pensar na capacidade.
(C) você poderia pensar em.
(D) você desejaria poder.
(E) você pensaria que poderia.
👍 Comentários e Gabarito E
*Alternativa (A): você gostaria de pensar que seria possível.
*Alternativa (B): você deveria pensar na capacidade.
*Alternativa (C): você poderia pensar em.
*Alternativa (D): você desejaria poder.
*Alternativa (E): você pensaria que poderia.
02. October 17, 2016 edition of The New Yorker,
03. David Remnick provides a succinct historyby-04. anecdote of the Canadian singersongwriter´s 05. impending album, You Want It
06. Darker, an intriguing section devoted to Bob
07. Dylan’s take on Cohen, and a witty
08. perspective on the old icon.
09. Remnick suggests that there are deep
10. connections between the two old bards when
11. he quotes Dylan: ―When people talk about
12. Leonard, they fail to mention his melodies,
13. which to me, along with his lyrics, are his
14. greatest genius. […] Even the counterpoint
15. lines—they give a celestial character and
16. melodic lift to every one of his songs. As far
17. as I know, no one else comes close to this in
18. modern music. [..] His gift or genius is in
19. connection to the music of the spheres. In
20. Sisters of Mercy, for instance, the verses are
21. four elemental lines which change and move
22. at predictable intervals . . . but the tune is
23. anything but predictable. The song just
24. comes in and states a fact. And after that
25. anything can happen and it does, and
26. Leonard allows it to happen. His tone is far
27. from condescending or mocking. He is a
28. tough-minded lover who doesn’t recognize
29. the brush-off. Leonard’s always above it all.
30. Sisters of Mercy is in perfect meter, with no
31. chorus, quivering with drama. This is an
32. example of a deceptively unusual musical
33. theme, with or without lyrics. But it’s so
34. subtle a listener doesn’t realize he’s been
35. taken on a musical journey and dropped off
36. somewhere, with or without lyrics.‖
37. And it is Cohen who says that ―Dylan has
38. lines, hundreds of great lines, that have the
39. feel of unhewn stone. But they really fit in
40. there. But they’re not smoothed out. They’re
41. inspired but not polished. That is not to say
42. he doesn’t have lyrics of great polish. That
43. kind of genius can manifest all the forms and
44. all the styles.‖
45. For some odd reason, Cohen also says: ―I
46. have all my marbles, so far. I have many
47. resources, some cultivated on a personal
48. level, but circumstantial, too: my children
49. and grandchildren live nearby. So I am
50. extremely blessed. At a certain point, if you
51. still have your marbles and are not faced
52. with serious financial challenges, you have a
53. chance to put your house in order. It’s a
54. cliché, but it’s underestimated as an
55. analgesic on all levels. Putting your house in
56. order, if you can do it, is one of the most
57. comforting activities and the benefits of it are
58. incalculable.‖
59. When asked about the devotional tones of
60. his verses Cohen declares: ―I start with
61. artistic dedication. I know that if the spirit is
62. on you, it will touch on to the other human
63. receptors. But I dare not begin from the
64. other side. It’s like pronouncing the holy
65. name—you don’t do it. But if you are lucky,
66. and you are graced, and the audience is in a
67. particular salutary condition, then these
68. deeper responses will be produced.‖
REMNICK, D. Leonard Cohen makes it Darker. Available
at: www.TAGARCHIVES: Leonard Cohen – Bob Dylan
Interface. Accessed on Nov. 9th, 2016.
Consider if the statements below are true (T) or false (F), according to the text.
( ) Dylan foregrounds the transcendence of Cohen’s tunes.
( ) According to Cohen, Dylan’s rough expression is detrimental to his otherwise genius.
( ) According to Cohen, the spiritual impact of his music also depends on the audience.
( ) According to Dylan, it is the subtlety of Cohen’s lyrics that take the listener on a musical journey.
The correct sequence of filling in the parenthesis, from top to bottom, is
(A) F – F – T – T.
(B) T – F – T – T.
(C) T – F – T – F.
(D) F – T – F – T.
(E) T – T – F – F.
👍 Comentários e Gabarito C
( ) According to Cohen, Dylan’s rough expression is detrimental to his otherwise genius.
( ) According to Cohen, the spiritual impact of his music also depends on the audience.
( ) According to Dylan, it is the subtlety of Cohen’s lyrics that take the listener on a musical journey.
( ) Dylan foregrounds the transcendence of Cohen’s tunes.
Consider the following statements.
I - In the segment…but the tune is anything but predictable (L.22-23), Dylan asserts that Cohen’s songs can be foretold.
II - The expression I have all my marbles (L.45-46) denotes the integrity of the singer´s intellectual and creative capacity.
III - Leonard Cohen declares that his lyrics are solely mundane.
Which are correct according to the text?
(A) Only I.
(B) Only II.
(C) Only III.
(D) Only I and II.
(E) I, II and III.
👍 Comentários e Gabarito B
II - The expression I have all my marbles (L.45-46) denotes the integrity of the singer´s intellectual and creative capacity.
III - Leonard Cohen declares that his lyrics are solely mundane.
The expression succinct history-by-anecdote (l. 03-04) refers to
(A) Remnick’s article.
(B) Cohen’s life history.
(C) Cohen’s album.
(D) Dylan’s witty perspective.
(E) The old icon.
👍 Comentários e Gabarito A
(B) Cohen’s life history.
(C) Cohen’s album.
(D) Dylan’s witty perspective.
(E) The old icon.
The words impending (L.5), quivering (L.31) and unhewn (L.39) can be substituted, without change in meaning, by
(A) upcoming – shaking – matching
(B) upcoming – controlled – matching
(C) recent – settled – unpolished
(D) forthcoming – vibrating – rough
(E) recent – trembling – uniform
👍 Comentários e Gabarito D
(B) upcoming – controlled – matching
(C) recent – settled – unpolished
(D) forthcoming – vibrating – rough
(E) recent – trembling – uniform
Select the alternative in which the word take in the fragment an intriguing section devoted to Bob Dylan’s take on Cohen (L.6-7) has the same meaning and grammatical class.
(A) The idea somehow failed to take on.
(B) The train stops only to take on passengers.
(C) She was asked for her take on the recent developments.
(D) I always take him on the same spot at the same time.
(E) They take on a new job every two years.
👍 Comentários e Gabarito C
(B) The train stops only to take on passengers.
(C) She was asked for her take on the recent developments.
(D) I always take him on the same spot at the same time.
(E) They take on a new job every two years.
Select the alternative which presents the word and its respective synonym.
(A) witty (l. 7) – enticing
(B) condescending (l. 27) – welcoming
(C) smoothed out (l. 40) – tangled
(D) deceptively (l. 32) – undeniably
(E) brush-off (l. 29) – disregard
👍 Comentários e Gabarito E
*
*
*
*Alternativa (E): brush-off (l. 29) – disregard
Select the alternative to which the words THIS (L.17), WHICH (L.21) and THEY (L.39) refer, respectively,
(A) his songs – the music of the spheres – hundreds of great lines
(B) a celestial character and melodic lift – four elemental lines – hundreds of great lines
(C) greatest genius – lines – hundreds of great lines
(D) a celestial character and melodic lift – the verses – lyrics of great polish
(E) his songs – four elemental lines – great lines
👍 Comentários e Gabarito B
➦THIS(pronome singular) ➝ a celestial character and melodic lift:
"[...] Even the counterpoint lines—they give a celestial character and melodic lift to every one of his songs. As far as I know, no one else comes close to this in modern music."(Até as linhas de contraponto - elas dão um caráter celestial e elevação melódica a todas as suas músicas. Até onde eu sei, ninguém mais se aproxima disso na música moderna.)
➦WHICH(pronome relativo) ➝ four elemental lines:
"[...] In Sisters of Mercy, for instance, the verses are four elemental lines which change and move at predictable intervals."
➦THEY ➝ hundreds of great lines:
"[...] And it is Cohen who says that ―Dylan has lines, hundreds of great lines, that have the feel of unhewn stone. But they really fit in there."(E é Cohen quem diz que “Dylan tem linhas, centenas de grandes linhas, que têm a sensação de pedra não caída. Mas elas realmente se encaixam lá.)
*Alternativa (B): a celestial character and melodic lift – four elemental lines – hundreds of great lines
*
*
Consider the following propositions of rewriting the segment:
the verses are four elemental lines which change and move at predictable intervals (L.20-22).
I - the verses are four elemental lines, changing and moving at predictable intervals.
II - the verses are four basic lines which can change and move at predictable intervals.
III - the verses are four elemental lines, subject to be changed and moved at predictable intervals.
Which are correct?
(A) Only I.
(B) Only II.
(C) Only III.
(D) Only I and II.
(E) I, II and III.
👍 Comentários e Gabarito A
➦IDEIA CONTEXTUAL da sentença dada: Ideia de mudança real dos versos.
"the verses are four elemental lines which change and move at predictable intervals"
(os versos são quatro linhas elementares que mudam e se movem em intervalos previsíveis)*
Select the alternative in which the word dare (L.63) presents the same meaning and grammatical function as used in the text.
(A) You should try it if you dare.
(B) The singer did not dare a new rendition of his famous song.
(C) She dared the anger of her family.
(D) She dares not let herself tamed.
(E) He would not be so foolish to take a dare.
👍 Comentários e Gabarito D
❑ ESTRUTURA-PROVA:
➭ "[...] But I dare not begin from the other side." - Mas não ouso começar do outro lado. (DARE – verbo modal - OUSAR, ATREVER-SE)
❑ Selecione a alternativa em que a palavra DARE (L.63) apresenta o mesmo significado e função gramatical utilizada no texto.
*Alternativa (A): You should try it if you dare. – Você deveria experimentar se tiver coragem. (DARE – verbo - OUSAR, ATREVER-SE)
*Alternativa (B): The singer did not dare a new rendition of his famous song. – O cantor não ousou uma nova versão de sua famosa canção. (DARE – verbo - OUSAR, ATREVER-SE)
*Alternativa (C): She dared the anger of her family. – Ela ousou a raiva de sua família. (DARE – verbo - OUSAR, ATREVER-SE)
*Alternativa (D): She dares not let herself tamed. – Ela não ousa se deixar domar. (DARE – verbo modal - OUSAR, ATREVER-SE)
*Alternativa (E): He would not be so foolish to take a dare. – Ele não seria tão tolo em aceitar um desafio. (DARE – substantivo - DESAFIO)
*
*
*Alternativa (D): She dares not let herself tamed. – Ela não ousa se deixar domar. (DARE – verbo modal - OUSAR, ATREVER-SE)
*
❑ PADRÕES - to dare: Dare é um verbo principal e um verbo semimodal.
