UFRGS – 2019 – VESTIBULAR – LÍNGUA INGLESA – UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL – PROVA COM GABARITO.

❑ PROVA DE LÍNGUA INGLESA: UFRGS-2019-VESTIBULAR.

www.ufrgs.br/coperse/concurso-vestibular

❑ ESTRUTURA-PROVA:

➭ 18 Multiple Choice Questions / 5 Options Each Question.

➭ Text (1)  – | No Longer at Ease | London: Everyman’s Library |

➭ Text (2)  – | The academy announces a misguided newcategory | www.economist.com |

➭ Text (3)  – | The academy announces a misguided newcategory |  www.economist.com |

❑ GABARITO:

01-A, 02-B, 03-D, 04-E, 05-C, 06-E

07-X, 08-C, 09-E, 10-A, 11-B, 12-E

13-D, 14-B, 15-A, 16-D, 17-C, 18-B

➧ TEXT:

05 – (UFRGS-2019-VESTIBULAR)

Assinale a alternativa que apresenta termos que, conforme empregados no texto, operam como membros de uma mesma classe de palavras.

(A) away (l. 01) – sometimes (l. 02) – years (l. 04)

(B) on (l. 22) – but (l. 23) – Besides (l. 32)

(C) neighbouring (l. 27) – admiring (l. 38) – walking (l. 40)

(D) leave (l. 19) – electric (l. 39) – wonderment (l. 44)

(E) pleasure (l. 42) – digression (l. 44) – mould (l. 47)

06 – (UFRGS-2019-VESTIBULAR)

Associe as palavras da coluna da esquerda aos seus respectivos sinônimos, na coluna da direita, de acordo com o sentido com que são empregadas no texto.

(  ) longing (l. 05)

(  ) sharpness (l. 06)

(  ) digression (l. 44)

1. yearning

2. intensity

3. lengthening

4. diversion

5. delay

6. excuse

A sequência correta de preenchimento dos parênteses, de cima para baixo, é

(A) 1 – 2 – 4.

(B) 1 – 3 – 4.

(C) 2 – 1 – 6.

(D) 5 – 2 – 4.

(E) 5 – 3 – 6.

07 – (UFRGS-2019-VESTIBULAR)

Considere as seguintes afirmações acerca do texto.

I - O segmento took on (l. 06) poderia ser substituído por assumed.

II - A expressão ne’er-do-wells (l. 23) confere um sentido enaltecedor aos soldados.

III- A palavra wonderment (l. 44) enfatiza a dúvida por parte das pessoas que ouviam o soldado.

Quais estão corretas?

(A) Apenas I.

(B) Apenas II.

(C) Apenas III.

(D) Apenas I e III.

(E) I, II e III.

08 – (UFRGS-2019-VESTIBULAR)

Assinale com V (verdadeiro) ou F (falso) as afirmações abaixo, acerca da estrutura do texto.

(  ) A palavra But (l. 10) poderia ser substituída por However, seguida por vírgula, sem prejuízo da correção gramatical e do significado original do texto.

(  ) O trecho the Nigeria he returned to (l. 10) poderia ser susbstituído por the Nigeria to which he returned, sem prejuízo da correção gramatical e do significado original do texto.

(  ) A palavra Besides (l. 32) poderia ser substituída por Notwithstanding, sem prejuízo da correção gramatical e do significado original do texto.

(  ) O trecho a pleasure car stops for you (l. 42-43) poderia ser substituído por a pleasure car will stop for you, sem prejuízo da correção gramatical e do significado original do texto.

A sequência correta de preenchimento dos parênteses, de cima para baixo, é

(A) F – V – F – V.

(B) F – F – V – V.

(C) V – V – F – V.

(D) V – V – V – F.

(E) V – F – F – F.

09 – (UFRGS-2019-VESTIBULAR)

Assinale a alternativa que apresenta reescrita adequada, em discurso indireto, para a frase

Then by way of digression he said: 'If you see a white man, take off your hat for him' (l. 44-46).

(A) Then by way of digression he warned one to take off one’s hat if one had seen a white man.

(B) Then by way of digression he said that if we saw a white man, we should take off our hats for him.

(C) Then by way of digression he advised us to see a white man and take off our hats for him.

(D) Then by way of digression he told us that if we saw a white man, we should take off his hat for him.

(E) Then by way of digression he told that when we saw a white man, we must take off our hats for him.

10 – (UFRGS-2019-VESTIBULAR)

Select the alternative that adequately fills in the gaps in lines 07, 11 and 18.

(A) as long as – For – but

(B) if – Once – yet

(C) provided – Therefore – however

(D) whereas – Because – but

(E) so – Since – despite

11 – (UFRGS-2019-VESTIBULAR)

According to the text,

(A) it is impossible to say what Art is because many times what artists call “art” is at odds with what people assume art to be.

(B) artists are often crushed by criticism because, at the end of the day, for an artwork to be acknowledged as such it must please the public.

(C) Art is an abstraction, and people often respond to it based on very subjective criteria, which may lead to prejudiced critical evaluations.

(D) a person who does not find beauty in an artwork does so out of prejudiced views based on irrelevant memories.

(E) the quality of an artwork lies on the beauty of its subject-matter, but some people are unable to perceive this due to prejudiced views. 

12 – (UFRGS-2019-VESTIBULAR)

Mark the statements below with T (true) or F (false), according to the text.

(  ) The indefinition of what Art is allows different interpretations of what is beautiful or not.

(  ) The author believes that liking an artwork needs no justification, but disliking it does.

(  ) Representations of beautiful things are easily perceived as good art.

(  ) An artist can make a great picture out of a repugnant subject-matter.

The correct sequence of filling in the parentheses, from top to bottom, is 

(A) T – T – T – T.

(B) T – T – F – F.

(C) F – F – F – T.

(D) F – T – T – T.

(E) F – F – F – F.

13 – (UFRGS-2019-VESTIBULAR)

Consider the segment you may crush an artist by telling him that what he has just done may be quite good (l. 13-15).

If the word artist were replaced by its plural form, how many additional alterations would have to be made to keep the segment grammatically correct?

(A) 3.

(B) 4.

(C) 5.

(D) 6.

(E) 7.

14 – (UFRGS-2019-VESTIBULAR)

Select the alternative that offers adequate synonyms to the words crush (l. 13), magnificent (l. 31) and rebuffed (l. 42) as used in the text.

(A) crash – terrific – criticized

(B) defeat – dreadful – praised

(C) hurt – outstanding – censured

(D) crumble – awesome – despised

(E) overwhelm – appalling – loathed

15 – (UFRGS-2019-VESTIBULAR)

Consider the following statements.

I - The pronoun its (l. 15) refers to what he has just done (l. 14).

II - The pronoun it (l. 23) refers to Someone (l. 21).

III- The pronoun It (l. 29) refers to when some irrelevant memory makes us prejudiced (l. 29-30).

Which ones are correct?

(A) Only I.

(B) Only II.

(C) Only III.

(D) Only II and III.

(E) I, II and III.

16 – (UFRGS-2019-VESTIBULAR)

Consider the following propositions for rephrasing the sentence All of us, when we see a painting, are bound to be reminded of a hundred-and-one things which influence our likes and dislikes (l. 24-27).

I - When we see a painting, all of us are bound to be reminded of a hundred-and-one things which influence our likes and dislikes.

II - All of us are bound to be reminded of a hundred-and-one things which influence our likes and dislikes when we see a painting.

III- A hundred-and-one things which influence our likes and dislikes are bound to be reminded by all of us when we see a painting.

If applied to the text, which ones would be correct and keep the literal meaning?

(A) Only I.

(B) Only II.

(C) Only III.

(D) Only I and II.

(E) I, II and III.

17 – (UFRGS-2019-VESTIBULAR)

Select the alternative that could replace the segment are bound to (l. 25) without changing the literal meaning of the sentence.

(A) are restricted to

(B) are likely to

(C) are obliged to

(D) are willing to

(E) are beholden to

18 – (UFRGS-2019-VESTIBULAR)

Consider the following sentence.

It is only when some irrelevant memory makes us prejudiced that we should search our mind for the reason for the aversion.

Select the alternative with the proposition that best rephrases it.

(A) Only when does some irrelevant memory make us prejudiced is it that we should search our mind for the reason for the aversion.

(B) Only when does some irrelevant memory make us prejudiced should we search our mind for the reason for the aversion.

(C) Only when does some irrelevant memory make us prejudiced we should search our mind for the reason for the aversion.

(D) Only when some irrelevant memory makes us prejudiced we search our mind for the reason for aversion.

(E) Only when some irrelevant memory makes us prejudiced should we search our mind for the reason for aversion.

UFRGS–COPERSE–VESTIBULAR–2017–COLLEGE ENTRANCE EXAMINATION, ANSWERS & LEXICAL APPROACH.

www.inglesparaconcursos.blog.br

❑ PROVA DE LÍNGUA INGLESA:

• UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL-COPERSE-VESTIBULAR-2017.

❑ ESTRUTURA-PROVA:

• 25 MCQs (Multiple Choice Questions) / 5 Options Each Question.

❑ PROVA:

❑ 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

01. Friends, Romans, countrymen, lend me your ears;
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 Brutus
06. 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 :

Considere as seguintes afirmações acerca do texto.
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 
TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:
*Afirmativa(I): Antony dissimula seu propósito ao longo de sua fala.
*Afirmativa(II): Os prisioneiros romanos foram enviados de volta para Roma.
➦ 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)
*Afirmativa(III): Antony, em discurso indireto, questiona a veracidade das asserções de Brutus (L. 05-06, 14, 21 e 26).

👉 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.) 

👉 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 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:

(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 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO 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.

👉 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 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:

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 

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.

"[...] 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 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:

*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 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:

*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 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO 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.

👉 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 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:

*Alternativa (A): rescued.

*Alternativa (B): appreciated.

*Alternativa (C): cherished.

*Alternativa (D): relinquished.

*Alternativa (E): adopted.

👉 Questão  63 :

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 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:

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 

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.

👉 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 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO: 

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.

👉 Questão  66 :

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 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:

*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.

❑ 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.

👍 Comentários e Gabarito  C 

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.

👍 Comentários e Gabarito  B 

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.

👍 Comentários e Gabarito  A 

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

👍 Comentários e Gabarito  D 

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.

👍 Comentários e Gabarito  C 

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

👍 Comentários e Gabarito  E 

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

👍 Comentários e Gabarito  B 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:

➦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 (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.

👍 Comentários e Gabarito  A 

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:

➦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)

*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.

👍 Comentários e Gabarito  D 

TÓPICO - GRAMMAR:

❑ 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)

❑ PADRÕES - to dare: Dare é um verbo principal e um verbo semimodal.

https://dictionary.cambridge.org/

grammar/british-grammar/dare

https://www.ldoceonline.com/dictionary/dare