www.inglesparaconcursos.blog.br
❑ PROVA DE LÍNGUA INGLESA:
• UECE-2010.1-VESTIBULAR-2ª FASE-LÍNGUA INGLESA-07/02/2010.
❑ ESTRUTURA-PROVA:
• 20 MCQ (Multiple Choice Question) / 4 Options Each Question.
• Texto – | The Penguin Dictionary of Literary Terms and Literary Theory | J. A. Cuddon |
PROVA, TRADUÇÃO, GABARITO & MUITO VOCABULÁRIO
❑ FONTE DO TEXTO:
* J. A. Cuddon foi escritor, professor e acadêmico. Mais conhecido por seu Dicionário de Termos Literários, ele também produziu o grande Dicionário de Esportes e Jogos, bem como diversos romances, peças de teatro e livros de viagens. Ele é autor de sete livros, incluindo A History Of Literary Criticism: From Plato to the Present (2005), e editor do Cambridge History of Literary Criticism, Vol. VI (2013).
❑ TEXTO:
Plato and Aristotle distinguished three basic kinds of narrator: (a) the speaker or poet (or any kind of writer) who uses his own voice; (b) one who assumes the voice of another person or persons, and speaks in a voice not his own; (c) one who uses a mixture of his own voice and that of others. Out of the thousands of examples available to illustrate the three voices the following will serve: In his poem The Statue the poet John Berryman speaks throughout in his own voice. In The Prisoner of Chillon, Byron assumes the voice of François de Bonnivard who was imprisoned in the castle of Chillon in the 16th c. A good example of the combination of the three voices can be found in Paradise Lost. Milton begins in his own voice in the first person to invoke the ‘Heavenly Muse’. In line 34, Book I, the impression is that the Muse (that is the Holy Spirit) responds to Milton’s formal invocation thus beginning the main narrative.
When Satan first speaks the third voice is introduced. Thereafter each different character has his own voice, though all, as it were, are Milton's. At the beginning of Book III Milton draws breath and uses his 'own' voice again.
So anyone telling a story may begin, as narrator, by using his own voice; then introduce a narrator who tells the story – in which there are characters who, in turn, have their own voices and who, in their turn, of course, may narrate. Potentially the progression (or regression) is infinite. Many novelists have employed this technique, one of the most adept being Joseph Conrad.
T. S. Eliot also makes an important distinction in his essay The Three Voices of Poetry (1953): ‘The first voice is the voice of the poet talking to himself – or to nobody. The second is the voice of the poet addressing an audience, whether large or small. The third is the voice of the poet when he attempts to create a dramatic character speaking in verse; when he is saying, not what he would say in his own person, but only what he can say within the limits of one imaginary character addressing another imaginary character.’
What is known as the ‘self-conscious narrator’ is one who employs techniques related to the theories of foregrounding and defamiliarization. By dint of ‘baring the device’ (or devices) the writer reveals to and reminds the reader that the narration is a work of fiction while at the same time pointing out or exposing the discrepancies between the fiction and the reality which it purports or seems to represent. Tristram in Stern’s Tristram Shandy (1760-67) is a notable instance. Others are Marcel in Proust’s A la recherche du temps perdu (1913-27) and the narrator in Byron’s Don Juan (1819-24).
The method of using the self-conscious narrator lends itself to sophisticated and complex refinements in what is known as the ‘reflexive novel’ or the ‘involuted novel’. An outstanding example of this is André Gide’s Les Faux-monnayeurs (1926), in which he uses intricate narrative tactics. This book is the diary of a novelist who is writing a novel – which is going to have the title Les Fauxmonnayeurs (‘The Counterfeiters’) – about a novelist who is keeping a diary about the novel he is actually writing. Gide compounded this ingenuity by keeping a journal while he was composing the novel; this was the Journal of the Counterfeiters, which he published in
the same year as the novel. Vladimir Nabokov's Pale Fire (1962) is another and different instance of the involuted narrative method.
There is also what is known as the 'fallible' or ‘unreliable narrator’. Such a narrator is one whose perception and interpretation of what he or she narrates does not correspond or coincide with the perceptions, interpretations and opinions of the author who is or purports to be the controlling force in the narration. Thus, there is a kind of contrived discrepancy between the narrator (what James called ‘the centre of consciousness’) and the actual author. Henry James was a past-master of this technique.(e.g. in The Aspern Papers, 1888).
When Satan first speaks the third voice is introduced. Thereafter each different character has his own voice, though all, as it were, are Milton's. At the beginning of Book III Milton draws breath and uses his 'own' voice again.
So anyone telling a story may begin, as narrator, by using his own voice; then introduce a narrator who tells the story – in which there are characters who, in turn, have their own voices and who, in their turn, of course, may narrate. Potentially the progression (or regression) is infinite. Many novelists have employed this technique, one of the most adept being Joseph Conrad.
T. S. Eliot also makes an important distinction in his essay The Three Voices of Poetry (1953): ‘The first voice is the voice of the poet talking to himself – or to nobody. The second is the voice of the poet addressing an audience, whether large or small. The third is the voice of the poet when he attempts to create a dramatic character speaking in verse; when he is saying, not what he would say in his own person, but only what he can say within the limits of one imaginary character addressing another imaginary character.’
What is known as the ‘self-conscious narrator’ is one who employs techniques related to the theories of foregrounding and defamiliarization. By dint of ‘baring the device’ (or devices) the writer reveals to and reminds the reader that the narration is a work of fiction while at the same time pointing out or exposing the discrepancies between the fiction and the reality which it purports or seems to represent. Tristram in Stern’s Tristram Shandy (1760-67) is a notable instance. Others are Marcel in Proust’s A la recherche du temps perdu (1913-27) and the narrator in Byron’s Don Juan (1819-24).
The method of using the self-conscious narrator lends itself to sophisticated and complex refinements in what is known as the ‘reflexive novel’ or the ‘involuted novel’. An outstanding example of this is André Gide’s Les Faux-monnayeurs (1926), in which he uses intricate narrative tactics. This book is the diary of a novelist who is writing a novel – which is going to have the title Les Fauxmonnayeurs (‘The Counterfeiters’) – about a novelist who is keeping a diary about the novel he is actually writing. Gide compounded this ingenuity by keeping a journal while he was composing the novel; this was the Journal of the Counterfeiters, which he published in
the same year as the novel. Vladimir Nabokov's Pale Fire (1962) is another and different instance of the involuted narrative method.
There is also what is known as the 'fallible' or ‘unreliable narrator’. Such a narrator is one whose perception and interpretation of what he or she narrates does not correspond or coincide with the perceptions, interpretations and opinions of the author who is or purports to be the controlling force in the narration. Thus, there is a kind of contrived discrepancy between the narrator (what James called ‘the centre of consciousness’) and the actual author. Henry James was a past-master of this technique.(e.g. in The Aspern Papers, 1888).
CUDDON, J. A. The Penguin Dictionary of Literary Terms and Literary Theory. New York: Penguin Books, 1998.
❑ TRADUÇÃO-TEXTO:
Plato and Aristotle distinguished three basic kinds of narrator:
Platão e Aristóteles distinguiram três tipos básicos de narrador:
(a) the speaker or poet (or any kind of writer) who uses his own voice; o orador ou poeta (ou qualquer tipo de escritor) que usa sua própria voz;
(b) one who assumes the voice of another person or persons, and speaks in a voice not his own; aquele que assume a voz de outra pessoa ou pessoas e fala com uma voz que não é a sua;
(c) one who uses a mixture of his own voice and that of others. aquele que usa uma mistura de sua própria voz e de outras pessoas.
Out of the thousands of examples available to illustrate the three voices the following will serve: Dos milhares de exemplos disponíveis para ilustrar as três vozes, o seguinte servirá:
In his poem The Statue the poet John Berryman speaks throughout in his own voice. Em seu poema The Statue, o poeta John Berryman fala o tempo todo com sua própria voz.
In The Prisoner of Chillon, Byron assumes the voice of François de Bonnivard who was imprisoned in the castle of Chillon in the 16th c. Em O Prisioneiro de Chillon, Byron assume a voz de François de Bonnivard, que foi preso no castelo de Chillon no século XVI.
A good example of the combination of the three voices can be found in Paradise Lost. Um bom exemplo da combinação das três vozes pode ser encontrado em Paradise Lost.
Milton begins in his own voice in the first person to invoke the ‘Heavenly Muse’. Milton começa com sua própria voz na primeira pessoa a invocar a ‘Musa Celestial’.
In line 34, Book I, the impression is that the Muse (that is the Holy Spirit) responds to Milton’s formal invocation thus beginning the main narrative. Na linha 34, Livro I, a impressão é que a Musa (que é o Espírito Santo) responde à invocação formal de Milton iniciando assim a narrativa principal.
When Satan first speaks the third voice is introduced. Quando Satanás fala pela primeira vez, a terceira voz é apresentada.
Thereafter each different character has his own voice, though all, as it were, are Milton's. Depois disso, cada personagem diferente tem sua própria voz, embora todos, por assim dizer, sejam de Milton.
At the beginning of Book III Milton draws breath and uses his 'own' voice again. No início do Livro III, Milton respira fundo e usa sua “própria” voz novamente.
So anyone telling a story may begin, as narrator, by using his own voice; then introduce a narrator who tells the story – in which there are characters who, in turn, have their own voices and who, in their turn, of course, may narrate. Assim, qualquer pessoa que conte uma história pode começar, como narrador, usando a sua própria voz; em seguida, introduzimos um narrador que conta a história – na qual há personagens que, por sua vez, possuem vozes próprias e que, por sua vez, é claro, podem narrar.
Potentially the progression (or regression) is infinite. Potencialmente, a progressão (ou regressão) é infinita.
Many novelists have employed this technique, one of the most adept being Joseph Conrad. Muitos romancistas empregaram essa técnica, sendo um dos mais adeptos Joseph Conrad.
T. S. Eliot also makes an important distinction in his essay T. S. Eliot também faz uma distinção importante em seu ensaio
The Three Voices of Poetry (1953): As Três Vozes da Poesia (1953):
‘The first voice is the voice of the poet talking to himself – or to nobody. ‘A primeira voz é a voz do poeta falando consigo mesmo – ou com ninguém.
The second is the voice of the poet addressing an audience, whether large or small. A segunda é a voz do poeta dirigindo-se a um público, seja ele grande ou pequeno.
The third is the voice of the poet when he attempts to create a dramatic character speaking in verse; when he is saying, not what he would say in his own person, but only what he can say within the limits of one imaginary character addressing another imaginary character.’ A terceira é a voz do poeta quando tenta criar um personagem dramático falando em verso; quando ele está dizendo, não o que ele diria em sua própria pessoa, mas apenas o que ele pode dizer dentro dos limites de um personagem imaginário dirigindo-se a outro personagem imaginário.’
What is known as the ‘self-conscious narrator’ is one who employs techniques related to the theories of foregrounding and defamiliarization. O que é conhecido como “narrador autoconsciente” é aquele que emprega técnicas relacionadas às teorias de primeiro plano e desfamiliarização.
By dint of ‘baring the device’ (or devices) the writer reveals to and reminds the reader that the narration is a work of fiction while at the same time pointing out or exposing the discrepancies between the fiction and the reality which it purports or seems to represent. Ao 'desnudar o dispositivo' (ou dispositivos), o escritor revela e lembra ao leitor que a narração é uma obra de ficção, ao mesmo tempo que aponta ou expõe as discrepâncias entre a ficção e a realidade que ela pretende ou parece representar.
Tristram in Stern’s Tristram Shandy (1760-67) is a notable instance. Tristram em Tristram Shandy de Stern (1760-67) é um exemplo notável.
Others are Marcel in Proust’s A la recherche du temps perdu (1913-27) and the narrator in Byron’s Don Juan (1819-24). Outros são Marcel em A la recherche du temps perdu de Proust (1913-27) e o narrador em Don Juan de Byron (1819-24).
The method of using the self-conscious narrator lends itself to sophisticated and complex refinements in what is known as the ‘reflexive novel’ or the ‘involuted novel’. O método de utilização do narrador autoconsciente presta-se a refinamentos sofisticados e complexos no que é conhecido como “romance reflexivo” ou “romance involucido”.
An outstanding example of this is André Gide’s Les Faux-monnayeurs (1926), in which he uses intricate narrative tactics. Um exemplo notável disso é Les Faux-monnayeurs (1926), de André Gide, no qual ele usa táticas narrativas intrincadas.
This book is the diary of a novelist who is writing a novel – which is going to have the title Les Fauxmonnayeurs (‘The Counterfeiters’) – about a novelist who is keeping a diary about the novel he is actually writing. Este livro é o diário de um romancista que está escrevendo um romance – que terá o título Les Fauxmonnayeurs (“Os Falsificadores”) – sobre um romancista que mantém um diário sobre o romance que está realmente escrevendo.
Gide compounded this ingenuity by keeping a journal while he was composing the novel; Gide aprimorou essa engenhosidade mantendo um diário enquanto compunha o romance;
this was the Journal of the Counterfeiters, which he published in the same year as the novel. este foi o Journal of the Counterfeiters, que publicou no mesmo ano do romance.
Vladimir Nabokov's Pale Fire (1962) is another and different instance of the involuted narrative method. Pale Fire (1962), de Vladimir Nabokov, é outro e diferente exemplo do complicado método narrativo.
There is also what is known as the 'fallible' or ‘unreliable narrator’. Existe também o que é conhecido como “narrador falível” ou “narrador não confiável”.
Such a narrator is one whose perception and interpretation of what he or she narrates does not correspond or coincide with the perceptions, interpretations and opinions of the author who is or purports to be the controlling force in the narration. Tal narrador é aquele cuja percepção e interpretação do que narra não corresponde ou coincide com as percepções, interpretações e opiniões do autor que é ou pretende ser a força controladora da narração.
Thus, there is a kind of contrived discrepancy between the narrator (what James called ‘the centre of consciousness’) and the actual author. Assim, existe uma espécie de discrepância artificial entre o narrador (o que James chamou de “o centro da consciência”) e o verdadeiro autor.
Henry James was a past-master of this technique.(e.g. in The Aspern Papers, 1888). Henry James foi um mestre nesta técnica (por exemplo, em The Aspern Papers, 1888).
CUDDON, J. A. The Penguin Dicionário de Termos Literários e Teoria Literária. New York: Penguin Books, 1998.
In Paradise Lost, Milton was able to
A) show the Muse speaking in the third voice.
B) express John Berryman's voice.
C) mix the three types of voice.
D) present the Holy Spirit addressing a large crowd.
Comentários e Gabarito C
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO :
Em Paradise Lost, Milton foi capaz deA) show the Muse speaking in the third voice. mostrar a musa falando na terceira voz.
B) express John Berryman's voice. expressar a voz de John Berryman.
C) mix the three types of voice. misturar os três tipos de voz.
D) present the Holy Spirit addressing a large crowd. apresentar o Espírito Santo dirigindo-se a uma grande multidão.
B) express John Berryman's voice. expressar a voz de John Berryman.
C) mix the three types of voice. misturar os três tipos de voz.
D) present the Holy Spirit addressing a large crowd. apresentar o Espírito Santo dirigindo-se a uma grande multidão.
02 – (UECE-2010/2-VESTIBULAR-2ª FASE)
The Heavenly Muse is invoked
A) by the Holy Spirit.
B) in Milton's Book III.
C) when the third voice is introduced.
D) by the author in the first person.
Comentários e Gabarito D
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO :
A musa celestial é invocada...•Afirmativa (A): pelo Espírito Santo.
•Afirmativa (B): no livro de Milton III.
•Afirmativa (C): quando a terceira voz é introduzida.
•Afirmativa (D): pelo autor na primeira pessoa.
03 – (UECE-2010/2-VESTIBULAR-2ª FASE)
As to the self-conscious narrator, he/she
A) Does not keep a personal diary.
B) Relates to foregrounding and defamiliarization.
C) Uses formal language.
D) Expresses the muse's inner voice.
Comentários e Gabarito B
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO :
Quanto ao narrador autoconsciente, ele / ela•Afirmativa (A): Não mantém um diário pessoal.
•Afirmativa (B): Refere-se a primeiro plano e desfamiliarização.
•Afirmativa (C): usa linguagem formal.
•Afirmativa (D): Expressa a voz interior da musa.
04 – (UECE-2010/2-VESTIBULAR-2ª FASE)
The three basic types of narrator were first defined by
A) Byron and Milton.
B) T. S. Eliot and Joseph Conrad.
C) Aristotle and Plato.
D) Berryman and Longfellow.
Comentários e Gabarito C
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO :
Os três tipos básicos de narrador foram definidos pela primeira vez por...Afirmativa (A): Byron e Milton.
•Afirmativa (B): T. S. Eliot e Joseph Conrad.
•Afirmativa (C): Aristóteles e Platão.👍
•Afirmativa (D): Berryman e Longfellow.
➽ O texto relata no 1º parágrafo:
"[...] Plato and Aristotle distinguished three basic kinds of narrator: (a) the speaker or poet (or any kind of writer) who uses his own voice; (b) one who assumes the voice of another person or persons, and speaks in a voice not his own; (c) one who uses a mixture of his own voice and that of others."
(Platão e Aristóteles distinguiam três tipos básicos de narrador: (a) o falante ou poeta (ou qualquer tipo de escritor) que usa sua própria voz; (b) aquele que assume a voz de outra pessoa ou pessoas e fala em uma voz que não é sua; (c) alguém que usa uma mistura de sua própria voz e a dos outros.)
05 – (UECE-2010/2-VESTIBULAR-2ª FASE)
According to the text, Marcel Proust employed a technique that
A) uses the poet's voice in his essay.
B) exposes discrepancies between what's real and what's not.
C) creates convincing romantic characters.
D) employs uncomplicated narrative devices.
Comentários e Gabarito B
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO :
De acordo com o texto, Marcel Proust empregou uma técnica que•Afirmativa (A): usa a voz do poeta em seu ensaio.
•Afirmativa (B): expõe discrepâncias entre o que é real e o que não é.
•Afirmativa (C): cria personagens românticos convincentes.
•Afirmativa (D): emprega dispositivos narrativos não complicados.
06 – (UECE-2010/2-VESTIBULAR-2ª FASE)
An outstanding author who employed the fallible narrator was
A) Henry James.
B) André Gide.
C) François de Bonnivard.
D) John Berryman.
B) André Gide.
C) François de Bonnivard.
D) John Berryman.
Comentários e Gabarito A
TÓPICO - RELAÇÃO SEMÂNTICA COM TRECHO DO TEXTO :
Um autor notável que empregou o narrador falível foi•Afirmativa (A): Henry James.
•Afirmativa (B): André Gide.
•Afirmativa (C): François de Bonnivard.
•Afirmativa (D): John Berryman.
07 – (UECE-2010/2-VESTIBULAR-2ª FASE)
According to the text, Pale Fire is an example of
A) The poet speaking to himself.
B) An attempt to reveal the poet’s love.
C) A novelist writing an essay.
D) A reflexive novel.
B) An attempt to reveal the poet’s love.
C) A novelist writing an essay.
D) A reflexive novel.
👍 Comentários e Gabarito D
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:Segundo o texto, o Fogo Pálido é um exemplo de
•Afirmativa (A): O poeta falando para si mesmo.
•Afirmativa (B): Uma tentativa de revelar o amor do poeta.
•Afirmativa (C): Um romancista escrevendo um ensaio.
•Afirmativa (D): Um romance reflexivo.
08 – (UECE-2010/2-VESTIBULAR-2ª FASE)
The text says that François de Bonnivard
A) Plays a protagonist in the poem The Statue.
B) Was kept as prisoner in the sixteenth century.
C) Got lost in a tropical paradise.
D) Keeps a diary about his travels.
👍 Comentários e Gabarito B
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:O texto diz que François de Bonnivard...
•Afirmativa (A): interpreta um protagonista no poema The Statue.
•Afirmativa (B): Foi mantido como prisioneiro no século XVI.
•Afirmativa (C): Se perdeu em um paraíso tropical.
•Afirmativa (D): Mantém um diário sobre suas viagens.
09 – (UECE-2010/2-VESTIBULAR-2ª FASE)
Some of the characters portrayed as self-conscious narrators are
A) Gide and Nabokov.
B) Romeo and Juliet.
C) Marcel and Tristram.
D) Don Juan and Bonnivard.
👍 Comentários e Gabarito C
TÓPICO - Questão sobre INTERPRETAÇÃO TEXTUAL:Alguns dos personagens retratados como narradores autoconscientes são...
•Afirmativa (A): Gide e Nabokov.
•Afirmativa (B): Romeu e Julieta.
•Afirmativa (C): Marcel e Tristram.
•Afirmativa (D): Don Juan e Bonnivard.
10 – (UECE-2010/2-VESTIBULAR-2ª FASE)
The sentences:
"Realism started in France some time in the 1830s and had gathered momentum by the 1850s." and "It rejects Classicism, Romanticism and the doctrine of art for art's sake."
should be classified as
A) compound and compound.
B) complex and compound.
C) compound and simple.
D) simple and simple.
➽ 1ª sentença: COMPOUND SENTENCE com 2 orações(started, had gathered) unidas pela conjunção coordenativa(and).
"Realism started in France some time in the 1830s and had gathered momentum by the 1850s."
(O realismo começou na França em algum momento da década de 1830 e ganhou força na década de 1850.)
➽ 2ª sentença: SIMPLE SENTENCE com 1 oração(rejects).
"It rejects Classicism, Romanticism and the doctrine of art for art's sake."
(Ele rejeita o classicismo, o romantismo e a doutrina da arte pela arte.)
A) compound and compound.
B) complex and compound.
C) compound and simple.
D) simple and simple.
👍 Comentários e Gabarito D
TÓPICO - Questão gramatical sobre COMPOUND SENTENCE(2 ou mais verbos) e SIMPLE SENTENCE(1 verbo):➽ 1ª sentença: COMPOUND SENTENCE com 2 orações(started, had gathered) unidas pela conjunção coordenativa(and).
"Realism started in France some time in the 1830s and had gathered momentum by the 1850s."
(O realismo começou na França em algum momento da década de 1830 e ganhou força na década de 1850.)
➽ 2ª sentença: SIMPLE SENTENCE com 1 oração(rejects).
"It rejects Classicism, Romanticism and the doctrine of art for art's sake."
(Ele rejeita o classicismo, o romantismo e a doutrina da arte pela arte.)
11 – (UECE-2010/2-VESTIBULAR-2ª FASE)
The sentences:
The sentences:
"The realist thought an artist should concern himself with the here and now, with everyday events, with his own environment and with the movements (political, social, etc.) of his time." and "Courbet rejected both Classical and Romantic precepts and tastes…"
contain respectively a/an
A) subject noun clause/ subject noun clause.
B) subject noun clause/ object noun clause.
C) object noun clause/ indirect object.
D) object noun clause/ direct object.
➽ 1ª sentença: contém a oração principal(The realist thought) e a oração subordinada objetiva direta(an artist should concern himself) que a chamamos OBJECT NOUN CLAUSE.
"The realist thought an artist should concern himself with the here and now, with everyday events, with his own environment and with the movements (political, social, etc.) of his time."
(O realista pensa que um artista deve se preocupar com o aqui e o agora, com os acontecimentos cotidianos, com seu próprio ambiente e com os movimentos (políticos, sociais etc.) de seu tempo.)
➽ 2ª sentença: contém uma oração (Courbet rejeitou) com o objeto direto(os preceitos e gostos clássicos e românticos…)
"Courbet rejected both Classical and Romantic precepts and tastes…"
(Courbet rejeitou os preceitos e gostos clássicos e românticos…)
A) subject noun clause/ subject noun clause.
B) subject noun clause/ object noun clause.
C) object noun clause/ indirect object.
D) object noun clause/ direct object.
👍 Comentários e Gabarito D
TÓPICO - Questão gramatical sobre OBJECT NOUN CLAUSE(oração substantiva objetiva) e DIRECT OBJECT(objeto direto):➽ 1ª sentença: contém a oração principal(The realist thought) e a oração subordinada objetiva direta(an artist should concern himself) que a chamamos OBJECT NOUN CLAUSE.
"The realist thought an artist should concern himself with the here and now, with everyday events, with his own environment and with the movements (political, social, etc.) of his time."
(O realista pensa que um artista deve se preocupar com o aqui e o agora, com os acontecimentos cotidianos, com seu próprio ambiente e com os movimentos (políticos, sociais etc.) de seu tempo.)
➽ 2ª sentença: contém uma oração (Courbet rejeitou) com o objeto direto(os preceitos e gostos clássicos e românticos…)
"Courbet rejected both Classical and Romantic precepts and tastes…"
(Courbet rejeitou os preceitos e gostos clássicos e românticos…)
12 – (UECE-2010/2-VESTIBULAR-2ª FASE)
In the sentences:
"… Flaubert produced 'Madame Bovary', which was greeted as a great work of realism." and
"Playwrights who favoured realism rejected the concept of the well-made play with its mechanical artifices and its altogether too slick plotting and exaggerated theatricalism."
one can find respectively a/an
(A) Restrictive adjective clause / nonrestrictive adjective clause.
(B) Restrictive adjective clause / restrictive adjective clause.
(C) Nonrestrictive adjective clause / restrictive adjective clause.
(D) Nonrestrictive adjective clause / nonrestrictive adjective clause.
(A) Restrictive adjective clause / nonrestrictive adjective clause.
(B) Restrictive adjective clause / restrictive adjective clause.
(C) Nonrestrictive adjective clause / restrictive adjective clause.
(D) Nonrestrictive adjective clause / nonrestrictive adjective clause.
Comentários e Gabarito C
TÓPICO - GRAMMAR: RELATIVE CLAUSES:
>> 1ª SENTENÇA :
- "… Flaubert produced 'Madame Bovary', which was greeted as a great work of realism."
- PRONOME RELATIVO → ,WHICH
- A oração relativa CONTÉM COMMAS antes do pronome relativo → "NON-DEFINING CLAUSE" or "NON-RESTRICTIVE ADJECTIVE CLAUSE".
>> 2ª SENTENÇA:
- "Playwrights who favoured realism rejected the concept of the well-made play with its mechanical artifices and its altogether too slick plotting and exaggerated theatricalism.
- PRONOME RELATIVO → WHO
- A oração relativa NÃO CONTÉM COMMAS antes do pronome relativo → "DEFINING CLAUSE" or "RESTRICTIVE ADJECTIVE CLAUSE".
>> "RELATIVE CLAUSE" (Oração relativa) é um tipo de oração subordinada, introduzida por pronome relativo (who, whom, which, that, etc), e que modifica (define ou descreve) o núcleo de um substantivo precedente:
(1) As orações relativas que definem um substantivo são chamadas de “defining”, ou seja, restritivas, na terminologia em português.
- She's the woman who cuts my
- hair. (defining relative clause)
- Ela é a mulher que corta meu cabelo.(oração restritiva)
- My grandfather, who's 87, goes swimming every day. (non-defining relative clause)
- Meu avô, de 87 anos, nada todos os dias.(oração explicativa).
- Oração relativa CONTÉM COMMAS antes do pronome relativo → NON-DEFINING.
- Oração relativa NÃO CONTÉM COMMAS antes do pronome relativo → DEFINING.
13 – (UECE-2010/2-VESTIBULAR-2ª FASE)
In the sentence:
"Realism occurs in another important context, namely psychological realism. This denotes fidelity to the truth in depicting the inner workings of the mind, the analysis of thought and feeling, the presentation of the nature of personality and character."
the words: depicting, workings and feeling function respectively as
A) verb, noun, verb.
B) verb, noun, noun.
C) noun, noun, noun.
D) noun, verb, noun.
➽ Sentença:
A) verb, noun, verb.
B) verb, noun, noun.
C) noun, noun, noun.
D) noun, verb, noun.
👍 Comentários e Gabarito B
TÓPICO - Questão gramatical sobre ANÁLISE MORFOLÓGICA:➽ Sentença:
depicting → verb;
workings → noun;
feeling → noun
"Realism occurs in another important context, namely psychological realism. This denotes fidelity to the truth in depicting the inner workings of the mind, the analysis of thought and feeling, the presentation of the nature of personality and character."
(O realismo ocorre em outro contexto importante, a saber, o realismo psicológico. Isso denota a fidelidade à verdade ao DESCREVER os TRABALHOS internos da mente, a análise do pensamento e do SENTIMENTO, a apresentação da natureza da personalidade e do caráter.)
"Realism occurs in another important context, namely psychological realism. This denotes fidelity to the truth in depicting the inner workings of the mind, the analysis of thought and feeling, the presentation of the nature of personality and character."
(O realismo ocorre em outro contexto importante, a saber, o realismo psicológico. Isso denota a fidelidade à verdade ao DESCREVER os TRABALHOS internos da mente, a análise do pensamento e do SENTIMENTO, a apresentação da natureza da personalidade e do caráter.)
14 – (UECE-2010/2-VESTIBULAR-2ª FASE)
The sentences: "The ultimate in psychological realism is the use of the stream of consciousness method." and "This kind of realism, too, has often resulted in a kind of decadence as authors dig deeper and further and with greater relish into the scatological and orectic chaos of the conscious and subconscious territories." contain respectively a/an
(A) Subject complement and adverb clause.
(B) Object complement and adverb clause.
(C) Subject complement and adjective clause.
(D) Object complement and adjective clause.
(B) Object complement and adverb clause.
(C) Subject complement and adjective clause.
(D) Object complement and adjective clause.
Comentários e Gabarito A
TÓPICO - GRAMMAR: " Subject Complement" and "Adverb Clause":
>> 1ª SENTENÇA → contém verbo de ligação (is) → COMPLEMENTO DE SUJEITO (SUBJECT COMPLEMENT).
- "The ultimate in psychological realism is the use of the stream of consciousness method."
- "O máximo em realismo psicológico é o uso do método do fluxo de consciência."
- VERBO DE LIGAÇÃO (linking verb) → is.
- COMPLEMENTO DE SUJEITO (subject complement) → the use of the stream of consciousness method.
- Não confunda complemento de sujeito com objeto. Lembre-se de que os complementos de sujeito renomeiam ou explicam o sujeito, enquanto os complementos verbais (objetos diretos e indiretos) completam o verbo.
>> 2ª SENTENÇA → contém a conjunção subordinativa adverbial "AS" → ORAÇÃO ADVERBIAL (Adverb Clause).
- "This kind of realism, too, has often resulted in a kind of decadence as authors dig deeper and further and with greater relish into the scatological and orectic chaos of the conscious and subconscious territories."
- "Esse tipo de realismo também resultou muitas vezes em uma espécie de decadência, à medida que os autores se aprofundam cada vez mais e com maior prazer no caos escatológico e orético dos territórios conscientes e subconscientes."
- ESTRUTURA VERBAL 1 → has often resulted.
- VERBO 2 → dig.
- CONJUNÇÃO SUBORDINATIVA ADVERBIAL → as.
15 – (UECE-2010/2-VESTIBULAR-2ª FASE)
The sentences: "In recent years attempts at more acute realism have quite often led to excesses…" and "In fact the quest for truth and accuracy has degenerated on occasions into mere sensationalism."
The sentences: "In recent years attempts at more acute realism have quite often led to excesses…" and "In fact the quest for truth and accuracy has degenerated on occasions into mere sensationalism."
are respectively in the
A) Present perfect and present continuous.
B) Present perfect and present perfect.
C) Simple present and present perfect.
D) Past perfect and simple present.
➽ 1ª sentença: have quite often led → Present Perfect.
"In recent years attempts at more acute realism have quite often led to excesses…"
(Nos últimos anos, tentativas de realismo mais agudo MUITAS VEZES TÊM LEVADO a excessos ...)
➽ 2ª sentença: has degenerated on → Present Perfect.
"In fact the quest for truth and accuracy has degenerated on occasions into mere sensationalism."
(Na verdade, a busca pela verdade e precisão TÊM DEGENERADO em ocasiões em mero sensacionalismo.)
A) Present perfect and present continuous.
B) Present perfect and present perfect.
C) Simple present and present perfect.
D) Past perfect and simple present.
👍 Comentários e Gabarito B
TÓPICO - Questão TEMPOS VERBAIS - PRESENT PERFECT(have/has + PP do verbo principal):➽ 1ª sentença: have quite often led → Present Perfect.
"In recent years attempts at more acute realism have quite often led to excesses…"
(Nos últimos anos, tentativas de realismo mais agudo MUITAS VEZES TÊM LEVADO a excessos ...)
➽ 2ª sentença: has degenerated on → Present Perfect.
"In fact the quest for truth and accuracy has degenerated on occasions into mere sensationalism."
(Na verdade, a busca pela verdade e precisão TÊM DEGENERADO em ocasiões em mero sensacionalismo.)
16 – (UECE-2010/2-VESTIBULAR-2ª FASE)
The sentences: "… most writers have been concerned with reality (and therefore with some attempt at some form of realism) since the year dot.", "The use of the terms real and realistic clearly implies their antithesis, like unreal and unrealistic, fantastic, improbable, fanciful, of the dream world." and "That recognizable and conscious movement in literature was subsequently tagged realism."
The sentences: "… most writers have been concerned with reality (and therefore with some attempt at some form of realism) since the year dot.", "The use of the terms real and realistic clearly implies their antithesis, like unreal and unrealistic, fantastic, improbable, fanciful, of the dream world." and "That recognizable and conscious movement in literature was subsequently tagged realism."
are respectively in the
A) passive, active, active.
B) passive, active, passive.
C) passive, passive, passive.
D) active, passive, active.
➽ 1ª sentença: have been concerned → Passive Voice.
"… most writers have been concerned with reality (and therefore with some attempt at some form of realism) since the year dot."
("... a maioria dos escritores TEM ESTADO PREOCUPADO com a realidade (e, portanto, com alguma tentativa de alguma forma de realismo) desde o ano.")
➽ 2ª sentença: implies → Active Voice.
"The use of the terms real and realistic clearly implies their antithesis, like unreal and unrealistic, fantastic, improbable, fanciful, of the dream world."
(O uso dos termos real e realista claramente IMPLICA sua antítese, como irreal e irrealista, fantástica, improvável, fantasiosa, do mundo dos sonhos.)
➽ 3ª sentença: was subsequently tagged → Passive Voice.
"That recognizable and conscious movement in literature was subsequently tagged realism."
("Esse movimento reconhecível e consciente na literatura FOI posteriormente ROTULADO de realismo.")
A) passive, active, active.
B) passive, active, passive.
C) passive, passive, passive.
D) active, passive, active.
👍 Comentários e Gabarito B
TÓPICO - PASSIVE VOICE (TO BE + PP do verbo principal):➽ 1ª sentença: have been concerned → Passive Voice.
"… most writers have been concerned with reality (and therefore with some attempt at some form of realism) since the year dot."
("... a maioria dos escritores TEM ESTADO PREOCUPADO com a realidade (e, portanto, com alguma tentativa de alguma forma de realismo) desde o ano.")
➽ 2ª sentença: implies → Active Voice.
"The use of the terms real and realistic clearly implies their antithesis, like unreal and unrealistic, fantastic, improbable, fanciful, of the dream world."
(O uso dos termos real e realista claramente IMPLICA sua antítese, como irreal e irrealista, fantástica, improvável, fantasiosa, do mundo dos sonhos.)
➽ 3ª sentença: was subsequently tagged → Passive Voice.
"That recognizable and conscious movement in literature was subsequently tagged realism."
("Esse movimento reconhecível e consciente na literatura FOI posteriormente ROTULADO de realismo.")
17 – (UECE-2010/2-VESTIBULAR-2ª FASE)
In terms of verb tenses, the clauses in the sentence: "The realist novelists were in many ways continuing in a more intensive and conscientious fashion what Balzac had been doing years before in 'La Comédie Humaine'."
In terms of verb tenses, the clauses in the sentence: "The realist novelists were in many ways continuing in a more intensive and conscientious fashion what Balzac had been doing years before in 'La Comédie Humaine'."
are respectively in the
A) Simple past and past perfect.
B) Past continuous and past perfect continuous.
C) Past perfect continuous and past continuous.
D) Past continuous and present perfect.
A) Simple past and past perfect.
B) Past continuous and past perfect continuous.
C) Past perfect continuous and past continuous.
D) Past continuous and present perfect.
👍 Comentários e Gabarito B
TÓPICO - TEMPOS VERBAIS - PAST CONTINUOUS (was/were + VP no gerúndio), PAST PERFECT CONTINUOUS (had been + VP no gerúndio):
➽ Sentença:
"The realist novelists were in many ways continuing in a more intensive and conscientious fashion what Balzac had been doing years before in 'La Comédie Humaine'."
("Os romancistas realistas continuavam, de muitas formas, a seguir de forma mais intensiva e conscienciosa o que Balzac vinha fazendo anos antes em 'La Comédie Humaine'.")
18 – (UECE-2010/2-VESTIBULAR-2ª FASE)
The sentence:
• were in many ways continuing → Past Continuous;
• had been doing → past perfect continuous.
The sentence:
"We can hardly avoid using the term (realism) on occasions, particularly when we mean to suggest that a work of literature has verisimilitude or in some way possesses that kind of authenticity which is generally believed to be an essential quality in a work of literature."
contains a/an
A) Adjective clause.
B) Past continuous tense.
C) Conditional clause.
D) Future continuous tense.
➽ Sentença: WHICH → ADJETIVE CLAUSE
"We can hardly avoid using the term (realism) on occasions, particularly when we mean to suggest that a work of literature has verisimilitude or in some way possesses that kind of authenticity which is generally believed to be an essential quality in a work of literature."
("Nós dificilmente podemos EVITAR USAR o termo (realismo) em certas ocasiões, particularmente quando queremos sugerir que uma obra de literatura tem verossimilhança ou de alguma forma possui aquele tipo de autenticidade que geralmente se acredita ser uma qualidade essencial em uma obra literária. ")
• AVOID USING não está no Past Continuous Tense nem no Future Continuous Tense.
• AVOID exige verbo seguinte no gerúndio.
A) knows about it.
B) had known about it.
C) has known about it.
D) will know about it.
• would have gone → if had known.
A) Adjective clause.
B) Past continuous tense.
C) Conditional clause.
D) Future continuous tense.
👍 Comentários e Gabarito A
TÓPICO - ADJECTIVE CLAUSE (oração subordinada adjetiva introduzida por pronome RELATIVO):➽ Sentença: WHICH → ADJETIVE CLAUSE
"We can hardly avoid using the term (realism) on occasions, particularly when we mean to suggest that a work of literature has verisimilitude or in some way possesses that kind of authenticity which is generally believed to be an essential quality in a work of literature."
("Nós dificilmente podemos EVITAR USAR o termo (realismo) em certas ocasiões, particularmente quando queremos sugerir que uma obra de literatura tem verossimilhança ou de alguma forma possui aquele tipo de autenticidade que geralmente se acredita ser uma qualidade essencial em uma obra literária. ")
• AVOID USING não está no Past Continuous Tense nem no Future Continuous Tense.
• AVOID exige verbo seguinte no gerúndio.
19 – (UECE-2010/2-VESTIBULAR-2ª FASE)
Sheila would have gone to the party if she...A) knows about it.
B) had known about it.
C) has known about it.
D) will know about it.
👍 Comentários e Gabarito B
TÓPICO - CONDITIONAL CLAUSE (would + Present Perfect → IF + Past Perfect):• would have gone → if had known.
• Sheila would have gone to the party if she had known about it. – Sheila teria ido à festa se soubesse.
• NOTA IMPORTANTE: Quando a oração começar com a conjunção if, devemos separá-la da próxima frase com a vírgula.
20 – (UECE-2010/2-VESTIBULAR-2ª FASE)
When Peter arrived at the airport, the plane
A) had just left.
B) leaves.
C) leaving.
D) will have left.
👍 Comentários e Gabarito A
TÓPICO - COMBINAÇÃO DE TEMPOS VERBAIS (SIMPLE PAST + PAST PERFECT) :• "arrived"(no simple past) combina com "had just left"(past perfect).
• Past Perfect é o passado do passado simples.
