❑ Welcome back to another post!
❑ PROVA DE LÍNGUA INGLESA: UECE-2018/2-VESTIBULAR-2ª FASE-29/07/2018.
❑ ORGANIZADOR: www.uece.br/cev.
❑ ESTRUTURA-PROVA:
➭ 20 Multiple Choice Questions / 4 Options Each Question.
➭ Text – A Master Storyteller from 19th-Century Brazil, Heir to the Greats and Entirely Sui Generis | www.nytimes.com |
❑ GABARITO:
A Master Storyteller from 19th-Century
Brazil, Heir to the Greats and
Entirely Sui Generis
(Um mestre contador de histórias do Brasil do século XIX, herdeiro dos grandes e totalmente sui generis)
In a famous Hindu parable, three
blind men encounter an elephant for the
first time and try to describe it, each
touching a different part. “An elephant is
like a snake,” says one, grasping the
trunk. “Nonsense; an elephant is a fan,”
says another, who holds an ear. “A tree
trunk,” insists a third, feeling his way
around a leg.
(Numa famosa parábola hindu, três homens cegos encontram um elefante pela primeira vez e tentam descrevê-lo, cada um tocando numa parte diferente. "Um elefante é como uma cobra", diz um, agarrando na tromba. "Disparate; um elefante é um leque", diz outro, que segura numa orelha. "Um tronco de árvore", insiste um terceiro, apalpando uma perna.)
In the Anglophone world, a similar
kind of confusion surrounds Joaquim
Maria Machado de Assis (1839-1908),
the son and sly chronicler of Rio de
Janeiro whom Susan Sontag once called
“the greatest writer ever produced in
Latin America.” To Stefan Zweig,
Machado was Brazil’s answer to Dickens.
To Allen Ginsberg, he was another
Kafka. Harold Bloom called him a
descendant of Laurence Sterne, and
Philip Roth compared him to Beckett.
Others cite Gogol, Poe, Borges and
Joyce. In the foreword to “The Collected
Stories of Machado de Assis,” published
this month, the critic Michael Wood
invokes Henry James, Henry Fielding,
Chekhov, Sterne, Nabokov and Calvino
— all in two paragraphs.
(No mundo anglófono, um tipo semelhante de confusão cerca Joaquim Maria Machado de Assis (1839-1908), o filho e cronista astuto do Rio de Janeiro que Susan Sontag chamou uma vez de "o maior escritor já produzido na América Latina". Para Stefan Zweig, Machado era a resposta do Brasil a Dickens. Para Allen Ginsberg, ele era outro Kafka. Harold Bloom chamou-o de descendente de Laurence Sterne, e Philip Roth comparou-o a Beckett. Outros citam Gogol, Poe, Borges e Joyce. No prefácio de "The Collected Stories of Machado de Assis", publicado este mês, o crítico Michael Wood invoca Henry James, Henry Fielding, Chekhov, Sterne, Nabokov e Calvino - tudo em dois parágrafos.)
To further complicate matters,
Machado has always reminded me of
Alice Munro. What’s going on here? What kind of writer induces such
rapturous and wildly inconsistent characterizations? What kind of writer
can star in so many different fantasies?
(Para complicar ainda mais as coisas, Machado sempre me fez lembrar Alice Munro. O que é que se passa aqui? Que tipo de escritor induz a caracterizações tão arrebatadoras e descontroladamente inconsistentes? Que tipo de escritor consegue protagonizar tantas fantasias diferentes?)
The protean, stubbornly
unclassifiable Machado was born into
poverty, the mixed-race grandson of
freed slaves. He had no formal education
or training; like Twain, his
contemporary, he got his start as a
printer’s apprentice. Out of a regimen of
ferocious self-education, he established
himself, initially as a writer of slender
romances for and about the women of
the ruling elite.
(O proteano e teimosamente inclassificável Machado nasceu na pobreza, neto mestiço de escravos libertados. Não teve qualquer educação ou formação formal; tal como Twain, seu contemporâneo, começou como aprendiz de tipógrafo. A partir de um regime de feroz autoeducação, estabeleceu-se, inicialmente, como escritor de romances esguios para e sobre as mulheres da elite dominante.)
But in 1879, his style changed —
or rather, it arrived. Prolonged illness
(Machado was epileptic), and the near
loss of his sight, snapped him to
attention. The gentle romantic
blossomed into a wicked ironist whose
authorial intrusions, jump cuts and sheer
mischief influenced American
experimentalists like John Barth and
Donald Barthelme.
(Mas em 1879, seu estilo mudou - ou melhor, chegou. Uma doença prolongada (Machado era epilético) e a quase perda da visão despertaram-lhe a atenção. O romântico gentil transformou-se num ironista perverso, cujas intrusões autorais, saltos e pura malícia influenciaram experimentalistas americanos como John Barth e Donald Barthelme.)
Five novels produced in this
period — including his masterpiece, “The
Posthumous Memoirs of Brás Cubas”
(1881) — cemented his reputation. If
this collection of 76 stories (culled from
more than 200) cannot rise to their
ranks, it still offers a different and
valuable vantage point — especially for
readers who like to keep an eye on the
life as well as the art.
(Cinco romances produzidos neste período - incluindo a sua obra-prima, "Memórias Póstumas de Brás Cubas" (1881) - cimentaram a sua reputação. Se esta coletânea de 76 contos (seleccionados de entre mais de 200) não pode estar à altura desses romances, não deixa de oferecer um ponto de vista diferente e valioso - especialmente para os leitores que gostam de estar atentos à vida e à arte.)
“The Collected Stories” reveals
the arc of Machado’s career, from the
straightforward love stories to the
cerebral and unpredictable later works.
One story is told from the point of view
of a needle. Political satire begins to
appear. In one tale, a dictator, bald
since youth, decrees that all his subjects
must also shave their heads, arguing
that the “moral unity of the state
depended on all heads looking the
same.”
("The Collected Stories" revela o arco da carreira de Machado, desde as simples histórias de amor até às cerebrais e imprevisíveis obras posteriores. Uma história é contada do ponto de vista de uma agulha. A sátira política começa a aparecer. Num conto, um ditador, careca desde a juventude, decreta que todos os seus súbditos devem rapar também a cabeça, argumentando que "a unidade moral do Estado dependia de todas as cabeças terem o mesmo aspeto".)
Machado’s stories pulse with life.
The endings are frequently murky and
strange, often abruptly truncated. The
title of an early work characterizes them
well: “Much Heat, Little Light.” Certain
preoccupations persist: alluring widows,
naïve young men, a fondness for
coincidence. Machado remained
fascinated by femininity and the
strictures governing the lives of women
— it’s why he reminds me of Munro. Like
chess pieces, Rio’s well-born ladies could
make only a few authorized moves
(Machado was a chess fanatic), but
everything was theirs to win or lose.
(As histórias de Machado pulsam com vida. Os finais são frequentemente obscuros e estranhos, muitas vezes abruptamente truncados. O título de um dos primeiros trabalhos caracteriza-os bem: "Muito calor, pouca luz". Certas preocupações persistem: viúvas sedutoras, jovens ingénuos, um gosto pela coincidência. Machado continuou fascinado pela feminilidade e pelas restrições que regem a vida das mulheres - é por isso que me faz lembrar Munro. Como peças de xadrez, as damas bem-nascidas do Rio podiam fazer apenas alguns movimentos autorizados (Machado era fanático por xadrez), mas tudo era delas para ganhar ou perder.)
Above all looms the figure of the
bibliomane. “This is my family,” one
says, pointing to his bookshelf. These are characters shaped by their reading,
sometimes even physically (“his head
jutted forward slightly from his long
habit”).
(Acima de tudo, ergue-se a figura do bibliomane. "Esta é a minha família", diz um deles, apontando para a sua estante. São personagens moldadas pela sua leitura, por vezes até fisicamente ("a sua cabeça inclinava-se ligeiramente para a frente devido ao seu longo hábito").)
It’s a curious feature of Machado’s
stories that Brazil is so absent. There are
few landmarks, few mentions of the
weather. But there are allusions to
Molière and Goethe. Novels and authors
are the signposts. Like his characters,
Machado was a creature of literature;
ink ran in his veins. Though he never
roved far from his hometown he read
widely, claiming all of culture, all of
Europe — giving his work that
remarkably open, cosmopolitan feel.
(Uma caraterística curiosa das histórias de Machado é o fato de o Brasil estar tão ausente. São poucos os pontos de referência, poucas as menções ao clima. Mas há alusões a Molière e Goethe. Os romances e os autores são as placas de sinalização. Como seus personagens, Machado era uma criatura da literatura; a tinta corria em suas veias. Apesar de nunca se ter afastado muito da sua cidade natal, leu muito, reivindicando toda a cultura, toda a Europa - dando à sua obra um carácter notavelmente aberto e cosmopolita.)
This creation of a personal
cartography — of anchoring himself in
the life of the mind — might explain one
of the lingering frustrations with
Machado’s work: namely, his refusal to
write more explicitly about slavery. He
might not have dared; slavery ended in
Brazil only in 1888. His stories stay
trained, sometimes monotonously, on
the elite, slaves flitting through in
silence.
(Essa criação de uma cartografia pessoal - de se ancorar na vida da mente - pode explicar uma das frustrações persistentes com a obra de Machado: a saber, sua recusa em escrever mais explicitamente sobre a escravidão. Talvez não tenha ousado; a escravatura só terminou no Brasil em 1888. As suas histórias mantêm-se concentradas, por vezes monotonamente, na elite, com os escravos a esvoaçar em silêncio.)
Yet Machado is always writing
about liberation in his way, which to him
begins with the freedom — the
obligation — to think. Few fiction writers
have written so affectionately about
ideas, as if they were real people; he is
always describing how ideas emerge and
move, the way they can lose their way
and get caught in a crush with others.
The way they can appear “fully formed
and beautiful” at times, or grow
“pregnant” with other ideas.
(Mas Machado está sempre escrevendo, à sua maneira, sobre a libertação, que para ele começa com a liberdade - a obrigação - de pensar. Poucos escritores de ficção escreveram com tanto carinho sobre as ideias, como se fossem pessoas reais. Ele está sempre descrevendo como as ideias surgem e se movem, como podem perder o rumo e ficar presas num enrosco com outras. A forma como, por vezes, podem aparecer "totalmente formadas e belas" ou ficar "grávidas" de outras ideias.)
Ideas and fixations elevate and
distort in these stories. In one, a man
consumed by his pet bird becomes “pure
canary.” In another, a father intent on
grooming his son to become “a bigwig”
demands he cultivate the necessary
vapidity: “I forbid you to arrive at any
conclusions that have not already been
reached by others. Avoid anything that
has about it so much as a whiff of
reflection, originality or the like.”
(As ideias e as fixações elevam-se e distorcem-se nestas histórias. Numa delas, um homem consumido pelo seu pássaro de estimação torna-se "canário puro". Noutra, um pai que pretende preparar o filho para se tornar "um manda-chuva" exige que ele cultive a vapidez necessária: "Proíbo-te de chegar a conclusões que não tenham já sido alcançadas por outros. Evita tudo o que tenha um mínimo de reflexão, originalidade ou algo do gênero".)
To Machado, your identity and the
contours of your world are formed not
just by your circumstances but by what
you think about habitually. You are what
you contemplate, so choose wisely.
These stories are a spectacular place to
start.
(Para Machado, a nossa identidade e os contornos do nosso mundo são formados não só pelas nossas circunstâncias, mas também por aquilo em que pensamos habitualmente. Tu és o que contemplas, por isso escolhe sabiamente. Estas histórias são um ponto de partida espetacular.)
From: www.nytimes.com/June 6, 2018
❑ QUESTIONÁRIO:
01 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
According to the text, Machado de Assis’s
writing style went through a significant change
A) before he turned eighteen.
B) after he visited the poor areas of Rio.
C) after he had some health problems.
D) because of his friendship with Dickens.
02 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
By saying that “ink ran in his veins” the
author means that Machado
A) had two uncles who were writers.
B) was like a fictional character himself.
C) had the soul of a poet.
D) was fascinated by femininity.
03 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
As to his characters, we can say
A) their shape comes from their reading.
B) they are usually round ones.
C) they resemble Edgar Allan Poe’s.
D) naive young girls are his favorite.
04 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
A curious thing about this fabulous Brazilian
writer is the fact that he
A) was very fond of golf.
B) married twice.
C) loved playing chess.
D) adopted an orphan girl.
05 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
Machado thought that not only our
circumstances form our identity and world contours,
but also our
A) choice of books.
B) childhood memories.
C) school years.
D) habitual thoughts.
06 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
What gave Machado’s work an open
cosmopolitan texture was
A) working as a teacher for ten years.
B) being an avid reader.
C) creating strange fantasies.
D) living in Europe for a decade.
07 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
Among his worries as a writer, we can include
A) strictures imposed upon women.
B) slaves and their suffering.
C) the death of young ladies.
D) uncaring husbands and lovers.
08 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
It is surprising that Machado, considered the
greatest Latin American writer by Sontag, was
never
A) interested in ideas.
B) formally educated.
C) a gentle romantic.
D) compared to Beckett.
09 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
According to the author of the text, Machado
de Assis
A) can easily fit into the Realist school.
B) was a member of an obscure organization.
C) always included a discussion of slavery in his
works.
D) is a writer that cannot be classified.
10 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
The author mentions a point of connection
that he personally sees in the works of Machado de
Assis and Alice Munro, which is the fact that they
both
A) approach the constraints of women in society.
B) seem fond of creating vulgar female
characters.
C) provide their female characters with too much
power.
D) never include genre issues in their books.
11 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
The sentences
“Out of a regimen of
ferocious self-education, he established himself,
initially as a writer of slender romances for and
about the women of the ruling elite” (lines 42-46)
and
“In the Anglophone world, a similar kind of
confusion surrounds Joaquim Maria Machado de
Assis (1839-1908), the son and sly chronicler of
Rio de Janeiro” (lines 10-14)
are classified,
respectively, as
A) compound and simple.
B) simple and compound.
C) simple and simple.
D) compound and compound.
__Gabarito: (C)__
❑ SENTENÇA 1:
- “Out of a regimen of ferocious self-education, he established himself, initially as a writer of slender romances for and about the women of the ruling elite.”
- "A partir de um regime de autoeducação feroz, estabeleceu-se, inicialmente, como escritor de romances delicados para e sobre as mulheres da elite governante."
❑ SIMPLE SENTENCE – contém apenas UMA ORAÇÃO (1 verbo ou 1 locução verbal) – established.
❑ SENTENÇA 2:
- “In the Anglophone world, a similar kind of confusion surrounds Joaquim Maria Machado de Assis (1839-1908), the son and sly chronicler of Rio de Janeiro”.
- "No mundo anglófono, um tipo semelhante de confusão envolve Joaquim Maria Machado de Assis (1839-1908), o filho e cronista astuto do Rio de Janeiro".
❑ SIMPLE SENTENCE – contém apenas UMA ORAÇÃO (1 verbo ou 1 locução verbal) – surrounds.
➭ VOCABULÁRIO – TO SURROUND – CERCAR, CIRCUNDAR, RODEAR, ENVOLVER. [www.linguee.com.br]
12 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
The sentences
“Though he never roved far
from his hometown he read widely” (lines 108-
110) and
“The gentle romantic blossomed into a
wicked ironist whose authorial intrusions, jump
cuts and sheer mischief influenced American
experimentalists like John Barth and Donald
Barthelme” (lines 51-56)
are classified,
respectively, as
A) complex and complex.
B) compound and compound.
C) compound and complex.
D) complex and compound.
__Gabarito: (A)__
❑ SENTENÇA 1:
- “Though he never roved far from his hometown he read widely”
- "Apesar de nunca se ter afastado muito da sua terra natal, ele lia muito".
❑ COMPLEX SENTENCE – contém 2 VERBOS (roved, read ) ou 2 ORAÇÕES conectados pela conjunção THOUGH.
➭ VOCABULÁRIO – TO ROVE – viajar por uma grande área. Sinônimo de TO ROAM (vagar). [www.oxfordlearnersdictionaries.com]
❑ SENTENÇA 2:
- “The gentle romantic blossomed into a wicked ironist whose authorial intrusions, jump cuts and sheer mischief influenced American experimentalists like John Barth and Donald Barthelme”
- "O romântico gentil transformou-se num ironista perverso cujas intrusões autorais, cortes e pura malícia influenciaram experimentalistas americanos como John Barth e Donald Barthelme"
❑ COMPLEX SENTENCE – contém 2 VERBOS (blossomed, influenced ) ou 2 ORAÇÕES conectados pelo pronome relativo WHOSE.
➭ TO BLOSSOM INTO - TRANSFORMAR-SE EM. [https://idioms.thefreedictionary.com]
13 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
The sentence
“The Collected Stories reveals
the arc of Machado’s career…” (lines 67-68) and
“This creation of a personal cartography… might
explain one of the lingering frustrations with
Machado’s work” (lines 113-117)
contain,
respectively, a/an
A) direct object and an indirect object.
B) indirect object and a direct object.
C) indirect object and an indirect object.
D) direct object and a direct object.
__Gabarito: (D)__
❑ SENTENÇA 1:
- “The Collected Stories reveals the arc of Machado’s career…”
- The Collected Stories revela o arco da carreira de Machado
➭ TO REVEAL (transitividade direta sem preposição) – reveal something to somebody – reveal that… – it is revealed that… – reveal who, how… – reveal the ... – reveal the truth to him – reveal somebody/something as something, [www.oxfordlearnersdictionaries.com]
❑ SENTENÇA 2:
- “This creation of a personal cartography… might explain one of the lingering frustrations with Machado’s work”
- "Esta criação de uma cartografia pessoal... pode explicar uma das frustrações que persistem na obra de Machado"
➭ TO EXPLAIN (transitividade direta sem preposição) – explain (something) to somebody – explain that… – it is revealed that… – explain who, how… – explain to somebody who, how, etc… – it is explained that… [www.oxfordlearnersdictionaries.com]
14 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
The sentences
“The endings are frequently
murky and strange, often abruptly truncated”
(lines 80-81) and
“Like his characters, Machado
was a creature of literature” (lines 106-107)
contain, respectively, a/an
A) subject complement and an object
complement.
B) subject complement and a subject
complement.
C) object complement and a subject
complement.
D) object complement and an object
complement.
__Gabarito: (B)__
❑ SENTENÇA 1:
- “The endings are frequently murky and strange, often abruptly truncated”
- "Os finais são frequentemente obscuros e estranhos, muitas vezes abruptamente truncados".
➭ TO BE (link verb) – na forma ARE e no "simple present".
➭ SUBJECT COMPLEMENT – complemento de verbo de ligação.
❑ SENTENÇA 2:
- “Like his characters, Machado was a creature of literature”.
- "Tal como as suas personagens, Machado era uma criatura da literatura".
➭ TO BE (link verb) – na forma WAS e no "simple past".
➭ SUBJECT COMPLEMENT – complemento de verbo de ligação.
15 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
The sentences “In one tale, a dictator, bald
since youth, decrees that all his subjects must
also shave their heads” (lines 73-75) and
“In
another, a father intent on grooming his son to
become ‘a bigwig’ demands he cultivate the
necessary vapidity” (139-142)
contain,
respectively, a/an
A) subject noun clause and an object noun clause.
B) subject noun clause and a subject noun clause.
C) object noun clause and an object noun clause.
D) object noun clause and a subject noun clause.
__Gabarito: (C)__
❑ SENTENÇA 1:
- “In one tale, a dictator, bald since youth, decrees that all his subjects must also shave their heads”
- "Num conto, um ditador, careca desde a juventude, decreta que todos os seus súditos devem raspar a cabeça"
➭ PRONOME RELATIVO (THAT) – indicativo de oração subordinada, chamada também, em inglês, de "object noun clause".
➭ OBJECT NOUN CLAUSE – Oração subordinada, iniciada por PRONOME RELATIVO PRESENTE OU OCULTO.
❑ SENTENÇA 2:
- “In another, a father intent on grooming his son to become ‘a bigwig’ demands he cultivate the necessary vapidity”
- "Noutro, um pai que pretende preparar o filho para se tornar 'um manda-chuva' exige que ele cultive a insipidez necessária”
➭ PRONOME RELATIVO (OCULTO entre os vocábulos "demands" e "he") – indicativo de oração subordinada, chamada também, em inglês, de "object noun clause".
➭ OBJECT NOUN CLAUSE – Oração subordinada, iniciada por PRONOME RELATIVO PRESENTE OU OCULTO.
➭ OMMITING RELATIVE PRONOUN – Pronome Relativo pode ser omitido quando:
(1) ANTES DE PRONOME PESSOAL (I, YOU, HE, SHE, IT, WE, THEY) - The book (that) I'm reading is fascinating.
(2) FUNCIONANDO COMO CONJUNÇÃO INTEGRANTE ANTES DE UMA CLAUSE(Oração) ou PHRASE(frase).– It’s a song (that) my mother taught me.
16 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
The verb tenses in
“Machado’s stories pulse
with life” (line 79) and
“Yet Machado is always
writing...” (line 124), are
A) simple present and present perfect.
B) simple past and past continuous.
C) present perfect and simple present.
D) simple present and present continuous.
__Gabarito: (D)__
❑ SENTENÇA 1:
- “Machado’s stories pulse with life”
- "As histórias de Machado pulsam com vida"
➭ FORMA VERBAL – verbo "to pulse" na forma verbal PULSE (3ªpp) pertencente ao tempo verbal SIMPLE PRESENT.
❑ SENTENÇA 2:
- “Yet Machado is always writing...”
- "Mas Machado está sempre escrevendo..."
➭ ESTRUTURA VERBAL PROGRESSIVA (is writing) –verbo "to be"(is) mais PARTICIPLE PRESENT(writing) do verbo "to write", pertencente ao tempo verbal PRESENT CONTINUOUS ou PRESENT PROGRESSIVE.
17 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
In terms of voice of the verb, the sentences
“To Machado, your identity and the contours of your
world are formed not just by your circumstances
but by what you think about habitually” (lines 147-
150) and
“Prolonged illness (Machado was
epileptic), and the near loss of his sight, snapped
him to attention” (lines 48-51)
are classified,
respectively as
A) active and passive.
B) passive and active.
C) passive and passive.
D) active and active.
__Gabarito: (D)__
❑ SENTENÇA 1:
- “To Machado, your identity and the contours of your world are formed not just by your circumstances but by what you think about habitually”
- "Para Machado, a nossa identidade e os contornos do nosso mundo são formados não só pelas nossas circunstâncias, mas também por aquilo em que pensamos habitualmente".
➭ ESTRUTURA VERBAL PASSIVA (are formed) – verbo "to be"(are) mais PARTICIPLE PAST(formed) do verbo "to forme".
❑ SENTENÇA 2:
- “Prolonged illness (Machado was epileptic), and the near loss of his sight, snapped him to attention”.
- "A doença prolongada (Machado era epilético), e a quase perda da visão, despertaram-lhe a atenção"
➭ FORMA VERBAL ATIVA (snapped) – verbo "to snap" na forma do "past" sem o uso do verbo "to be"
18 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
The sentences
“...it still offers a different
and valuable vantage point — especially for
readers who like to keep an eye on the life as
well as the art” (lines 63-66) and
“The gentle
romantic blossomed into a wicked ironist whose
authorial intrusions, jump cuts and sheer mischief
influenced American experimentalists like John
Barth and Donald Barthelme” (lines 51-56)
contain, respectively, relative clauses which are
A) defining and defining.
B) defining and non-defining.
C) non-defining and defining.
D) non-defining and non-defining.
__Gabarito: (A)__
❑ SENTENÇA 1:
- “...it still offers a different and valuable vantage point — especially for readers who like to keep an eye on the life as well as the art”
- "... continua a oferecer um ponto de vista diferente e valioso - especialmente para os leitores que gostam de estar atentos à vida e à arte"
➭ PRONOME RELATIVO (who) – introduzindo oração adjetiva com informação essencial ao contexto.
➭ DEFINING CLAUSE – É uma oração subordinada adjetiva com informação essencial ao contexto da sentença.
❑ SENTENÇA 2:
- “The gentle romantic blossomed into a wicked ironist whose authorial intrusions, jump cuts and sheer mischief influenced American experimentalists like John Barth and Donald Barthelme”
- "O romântico gentil transformou-se num ironista perverso cujas intrusões autorais, cortes e pura malícia influenciaram experimentalistas americanos como John Barth e Donald Barthelme"
➭ PRONOME RELATIVO (whose) – introduzindo oração adjetiva com informação essencial ao contexto.
➭ DEFINING CLAUSE – É uma oração subordinada adjetiva com informação essencial ao contexto da sentença.
19 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
As to the sentences
“Few fiction writers have
written so affectionately about ideas” (127-129),
“You are what you contemplate, so choose
wisely” (lines 150-151),
“slavery ended in Brazil
only in 1888” (lines 119-120) and
“Above all
looms the figure of the bibliomane” (lines 94-95),
it is correct to state that
A) they are all in the same verb tense.
B) two of them are in the past perfect tense.
C) only one of them is in the present perfect
tense.
D) only one is in the present tense.
__Gabarito: (C)__
❑ SENTENÇA 1:
- “Few fiction writers have written so affectionately about ideas”.
- "Poucos escritores de ficção escreveram de forma tão afectuosa sobre ideias".
➭ HAVE WRITTEN ( "have" + participle past) – estrutura padrão do PRESENT PERFECT.
❑ SENTENÇA 2:
- “You are what you contemplate, so choose wisely”
- "Tu és o que contemplas, por isso escolhe sabiamente"
➭ ARE ( SIMPLE PRESENT)
➭ COMTEMPLATE ( SIMPLE PRESENT)
➭ CHOOSE ( MODO IMPERATIVO)
❑ SENTENÇA 3:
- “slavery ended in Brazil only in 1888”
- "a escravatura só terminou no Brasil em 1888"
➭ ENDED (SIMPLE PAST).
❑ SENTENÇA 4:
- “Above all looms the figure of the bibliomane”
- "Acima de tudo paira a figura do bibliomane"
➭ LOOMS (SIMPLE PRESENT).
20 – (UECE-2018/2-VESTIBULAR-2ª FASE-LÍNGUA INGLESA)
The –ING words “training” (line 40), “ruling”
(line 46), and “flitting” (line122) function
respectively as
A) verb, noun, adjective.
B) noun, adjective, verb.
C) noun, verb, noun.
D) adjective, noun, noun.
__Gabarito: (B)__
❑ SENTENÇA 1:
- He had no formal education or training;
- Não tinha qualquer educação ou formação formal;
➭ TRAINING (noun) – TREINAMENTO, FORMAÇÃO.
❑ SENTENÇA 2:
- Out of a regimen of ferocious self-education, he established himself, initially as a writer of slender romances for and about the women of the ruling elite.
- A partir de um regime de autoeducação feroz, estabeleceu-se, inicialmente, como escritor de romances esguios para e sobre as mulheres da elite dominante.
❑ SENTENÇA 3:
- His stories stay trained, sometimes monotonously, on the elite, slaves flitting through in silence.
- As suas histórias mantêm-se concentradas, por vezes monotonamente, na elite, nos escravos que passam em silêncio.
➭ FLITTING (verbo) – ESVOAÇANDO, PAIRANDO.
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