UFRGS – 2020 – VESTIBULAR – LÍNGUA INGLESA – UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL – PROVA COM GABARITO.

Welcome back to another post!

➧ PROVA DE LÍNGUA INGLESA: UFRGS-2020-VESTIBULAR.

➧ GABARITO:

01-C, 02-B, 03-D, 04-D, 05-E

06-A, 07-B, 08-C, 09-D, 10-B

11-C, 12-E, 13-C, 14-A, 15-E

16-B, 17-E, 18-D, 19-A, 20-C

21-D, 22-A, 23-A, 24-A, 25-D

➧ PROVA:

➧ VOCABULÁRIO:

1-VERBS:

• to hire = contratar.

• to postpone = adiar, postergar.

• to prevent = evitar.

2-PHRASAL VERBS - USES:

• shake off (= slough off ,  get rid of) – livrar-se de algo indesejável.

• shake up – chocar ou deixar alguém abalado emocionalmente]

3-NOUN:

• blast – rajada de vento, lufada.

• breakfast – café da manhã.

• lap – colo.

• tracks – pegadas.

6-ADJECTIVES:

• despair – desespero.

• empty – vazio, vago.

• meager – scarce – escasso.

• miserable (Mízêrêbôl) = miserável]

• narrow – estreito]

• upturned – revirado]

7-ADVERBS:

• [probably = provavelmente]

8-NOUN PHRASES(Adjective+noun):

• bright eyes – olhos brilhantes.

• double seat – assento duplo.

• light-brown hair – cabelo castanho claro.

• stingy scholarships – bolsas mesquinhas.

• tall girl – garota alta]

• unexpected vacancy – vaga inesperada.

11-TECHNICAL ENGLISH

• ad – anúncio.

• scholarships – bolsas de estudo.

➧ PROVA:

➧ TEXT I: As questões 01 a 09 estão relacionadas ao texto abaixo.

01. Juliet had a book open on her lap, but she was
02. not reading. She did not take her eyes from
03. what was going by. She was alone in a double
04. seat and there was an empty double seat
05. across from her. This was the space in which
06. her bed was made up at night. The porter was
07. busy at the moment, dismantllng the car's
08. nighttime arrangements. ln some places, the
09. dark-green zlppered shrouds still hung down to
10. the floor. There was the smell of that cloth, like
11. tent cloth, and a slight smell of nightclothes
12. and toilets. A blast of fresh winter air was felt
13. whenever anyone opened the doors at either
14. end of the car. The last people were going to
15. breakfast, other people coming back.
16. There were tracks in the snow, small animal
17. tracks. Strings of beads, looping, vanishlng.
18. Juliet was twenty-one years old and already
19. the possessor of a B.A. and an M.A. in classics.
20. She was working on her Ph.D. thesis ln
21. Toronto, but had decided to take some time
22. out to teach Latin at a private girls' school in
23. Vancouver. She had no training as a teacher,
24. but an unexpected vacancy at half-term had
25. made the school willing to hire her. Probably
26. no one else had answered the ad. The salary
27. was less than any qualified teacher would be
28. likely to accept. But Juliet was happy to be
29. earning any money at all, after her years on
30. stingy scholarships.
31. She was a tall girl, fair-skinned and fine-boned,
32. with light-brown hair that would not retain a
33. bouffant style, even when sprayed. She had
34. the look of an alert schoolgirl: head held high,
35. a neat rounded chin, wide thin-lipped mouth,
36. snub nose, bright eyes, and a forehead that
37. was often flushed with effort or appreciation.
38. Her professors were delighted with her - they
39. were grateful these days for anybody who took
40. up ancient languages, and particularly for
41. someone so gifted - but they were worried as
42. well. The problem was that she was a girl. If
43. she got married - which might happen, as she
44. was not bad-looking for a scholarship girl, not
45. bad-looking at all - she would waste all her
46. hard work and theirs. And if she did not get
47. married, her life would probably become bleak
48. and isolated - she would lose out on
49. promotions to men (who needed them more,
50. since they had families to support). Either way,
51. she would not be able to defend the oddity of
52. her choice, to defy what people would see as
53. the irrelevance, or dreariness, of classics, to
54. slough off that prejudice the way a man could.
55. Odd choices were simply easier for men, most 56. of whom would still find women glad to marry
57. them. Not so the other way around.

Adaptado de: MUNRO, Alice. Chance.

ln: Run11w11y. London: Vlntage, 2013. p. 52-53.

01 – (UFRGS-2020-VESTIBULAR)

Considere as seguintes afirmações sobre o texto.

I - As condições climáticas são perceptíveis através do que Jullet vê pela janela do trem e através da temperatura do ar.

II - Jullet aceitou uma proposta de trabalho muito aquém de sua formação acadêmica e experiência como professora.

III - Uma das hipóteses sobre o futuro de Juliet combina a sensação de isolamento com a dificuldade de obter promoções no trabalho.

Quais estão corretas?

(A) Apenas I.
(B) Apenas II.
(C) Apenas I e III.
(D) Apenas II e III.
(E) I, II e III.

• Quais estão corretas?

*Afirmativa (I): As condições climáticas são perceptíveis através do que Jullet vê pela janela do trem e através da temperatura do ar.
• Informação de acordo com o trecho(linhas 12 a 17):
• "[...] A blast of fresh winter air was felt whenever anyone opened the doors at either end of the car. The last people were going to breakfast, other people coming back. There were tracks ln the snow, small animal tracks."
• Uma rajada de ar fresco do inverno era sentida sempre que alguém abria as portas em cada extremidade do vagão. As últimas pessoas estavam indo para o café da manhã, outras voltando. Havia rastros na neve, pequenos rastros de animais.
*Afirmativa (II): Jullet aceitou uma proposta de trabalho muito aquém de sua formação acadêmica e experiência como professora.
• Informação não encontrada no texto.
*Afirmativa (III): Uma das hipóteses sobre o futuro de Juliet combina a sensação de isolamento com a dificuldade de obter promoções no trabalho.
• Informação de acordo com o trecho(linhas 46 a 50):
• "[...] And if she did not get married, her life would probably become bleak and isolated - she would lose out on promotions to men (who needed them more, since they had families to support)."
• E se ela não se casasse, sua vida provavelmente se tornaria sombria e isolada - ela perderia promoções para os homens (que precisavam mais deles, pois tinham famílias para sustentar).

02 – (UFRGS-2020-VESTIBULAR)

Assinale a alternativa correta a respeito do texto.

(A) Juliet, apesar de sua juventude, sente-se estimulada pelo reconhecimento profissional, proporcionado pelo novo emprego.
(B) Tanto casar quanto ficar solteira são cenários que a voz narrativa associa a aspectos da vida profissional de Juliet.
(C) A escolha por cursar Letras Clássicas levou Julieta sair de sua casa em Toronto.
(D) O impacto de uma escolha acadêmica potencialmente estranha, por parte de uma mulher atraente, pode ser socialmente atenuado por meio do casamento.
(E) Juliet combate o preconceito de algumas pessoas contra os livros clássicos, reagindo com assertividade.

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:
*Alternativa (A): Juliet, apesar de sua juventude, sente-se estimulada pelo reconhecimento profissional, proporcionado pelo novo emprego.
*Alternativa (B): Tanto casar quanto ficar solteira são cenários que a voz narrativa associa a aspectos da vida profissional de Juliet.
➦ Informação de acordo com o trecho (linhas 42 a 57):
"[...] The problem was that she was a girl. If she got married - which might happen, as she was not bad-looking for a scholarship girl, not bad-looking at all - she would waste all her hard work and theirs. And if she did not get married, her life would probably become bleak and isolated - she would lose out on promotions to men (who needed them more, since they had families to support). Either way, she would not be able to defend the oddity of her choice, to defy what people would see as the irrelevance, or dreariness, of classics, to slough off that prejudice the way a man could. Odd choices were simply easier for men, most of whom would still find women glad to marry them. Not so the other way around."
(O problema era que ela era uma menina. Se ela se casasse - o que poderia acontecer, como ela não era feia para uma bolsista, nem feia - ela desperdiçaria todo o seu trabalho duro e o deles. E se ela não se casasse, sua vida provavelmente se tornaria sombria e isolada - ela perderia promoções para os homens (que precisavam mais deles, pois tinham famílias para sustentar). De qualquer maneira, ela não seria capaz de defender a estranheza de sua escolha
, desafiar o que as pessoas considerariam irrelevância, ou tristeza dos clássicos, para afastar esse preconceito da maneira que um homem poderia. Escolhas estranhas eram simplesmente mais fáceis para os homens, a maioria das quais ainda acharia as mulheres felizes em se casar com elas. Não é o contrário.)
*Alternativa (C): A escolha por cursar Letras Clássicas levou Julieta sair de sua casa em Toronto.
*Alternativa (D): O impacto de uma escolha acadêmica potencialmente estranha, por parte de uma mulher atraente, pode ser socialmente atenuado por meio do casamento.
*Alternativa (E): Juliet combate o preconceito de algumas pessoas contra os livros clássicos, reagindo com assertividade.

03 – (UFRGS-2020-VESTIBULAR)

Considere as possibilidades de reescrita do segmento

Jullet had a book open on her lap, but she was not reading (L.01-02).

I - Even though she was not reading it, Jullet had a book open on her lap.

II - Despite she was not reading lt, Jullet had a book open on her lap.

III- In spite of the fact that she was not reading it, Juliet had a book open on her lap.

Quais poderiam substituir o segmento, sem prejuízo do sentido original e da correção gramatical?

(A) Apenas I.
(B) Apenas II.
(C) Apenas III.
(D) Apenas I e III.
(E) I, II e III.

TÓPICO - LINK WORDS CONTEXTUAL & GRAMÁTICA:
➦IDEIA CONTEXTUAL:

• Jullet had a book open on her lap, but she was not reading.
• Ela tinha um livro MAS ela não estava lendo.

*Afirmativa (I): Even though she was not reading it, Jullet had a book open on her lap. (Embora ela não estivesse lendo, Jullet tinha um livro aberto no colo.)
➦ Uso adequado da conjunção "Even though"(embora). 

*Afirmativa (II): Despite she was not reading lt, Jullet had a book open on her lap.
➦ A preposição DESPITE (apesar de) não acompanha Sujeito + Verbo.

*Afirmativa (III): In spite of the fact that she was not reading it, Juliet had a book open on her lap.(Apesar de não estar lendo, Juliet estava com um livro aberto no colo.)
➦ Uso adequado da preposição "In spite of"(apesar de).

04 – (UFRGS-2020-VESTIBULAR)

Considere as seguintes afirmações sobre o texto.

I - O segmento She was working on her PhD thesis (L.20) indica um processo já finalizado no momento descrito pelo texto.

II - O segmento Probably no one else had answered the ad (L.25-26) faz alusão a uma situação anterior ao momento descrito entre as linhas 1 e 15.

III - O segmento If she got married (L.42-43) indica uma possibilidade para o futuro de Juliet.

Quais estão corretas?

(A) Apenas I.
(B) Apenas II.
(C) Apenas III.
(D) Apenas II e III.
(E) I, II e III.

*Afirmativa (I): O segmento She was working on her PhD thesis (L.20) indica um processo já finalizado no momento descrito pelo texto.
➦ O passado contínuo(was working) é usado para se referir a uma situação que estava em andamento em um determinado momento do passado.
"[...] She was working on her PhD thesis"
(Ela estava trabalhando em sua tese de doutorado)

*Afirmativa (II): O segmento Probably no one else had answered the ad(L.25-26) faz alusão a uma situação anterior ao momento descrito entre as linhas 1 e 15.
➦ "Probably no one else had answered the ad." é uma oração no PAST PERFECT(Passado Perfeito, passado do passado), tempo verbal que introduz uma ação anterior ao momento descrito:
➦ L.1-15:
"Juliet had a book open on her lap, but she was not reading. She did not take her eyes from what was going by. She was alone in a double seat and there was an empty double seat across from her. This was the space in which her bed was made up at night. The porter was busy at the moment, dismantllng the car's nighttime arrangements. ln some places, the dark-green zlppered shrouds still hung down to the floor. There was the smell of that cloth, like tent cloth, and a slight smell of nightclothes and toilets. A blast of fresh winter air was felt whenever anyone opened the doors at either end of the car. The last people were going to breakfast, other people coming back."
➦ L.25-26:
"She had no training as a teacher, but an unexpected vacancy at half-term had made the school willing to hire her. Probably no one else had answered the ad."

*Afirmativa (III): O segmento If she got married(L.42-43) indica uma possibilidade para o futuro de Juliet.
➦ "If she got married..." é uma oração condicional (IF) que introduz uma possibilidade futura (Second Conditional).

05 – (UFRGS-2020-VESTIBULAR)

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

(  ) stingy (L.30)
(  ) snub (L.36)
(  ) dreariness (L.53)

1. miserable
2. upturned
3. despair
4. meager
5. narrow
6. joylessness

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

(A) 4 - 5 - 3.
(B) 1 - 5 - 3.
(C) 1 - 2 - 6. 
(D) 4 - 5 - 6.
(E) 4 - 2 - 6.

• Linha 30: stingy (sTéndjí) ➝ meager (escassa, insuficiente):

• "[...] But Juliet was happy to be earning any money at all, after her years on stingy scholarships."
• Mas Juliet estava feliz em ganhar dinheiro, depois de seus anos em bolsas de estudos de pequeno valor.)
• Linha 36: snub (sNáb) ➝ upturned (arrebitado, revirado):
• "[...] She had the look of an alert schoolgirl: head held high, a neat rounded chin, wide thin-lipped mouth, snub nose, bright eyes, and a forehead that was often flushed with effort or appreciation."
• Ela tinha a aparência de uma colegial alerta: cabeça erguida, queixo bem arrumado, boca larga e lábios finos, nariz arrebitado, olhos brilhantes e testa que frequentemente ficava vermelha com esforço ou apreciação.
• Linha 53: dreariness = unhappiness = sadness ➝ joyless (infelicidade, tristeza):

• "[...] Either way, she would not be able to defend the oddity of her choice, to defy what people would see as the irrelevance, or dreariness of classics, to slough off that prejudice the way a man could."
• De qualquer maneira, ela não seria capaz de defender a estranheza de sua escolha, desafiar o que as pessoas considerariam irrelevância, ou tristeza dos clássicos, para afastar esse preconceito da maneira que um homem poderia.)
• Joylessness(alegria) VS Joyless(sem alegria)  
1. miserable (miserável)
2. upturned (arrebitado)
3. despair (desespero)
4. meager (escasso)
5. narrow (estreito)
6. joylessness (alegria)

06 – (UFRGS-2020-VESTIBULAR)

Considere as seguintes afirmações acerca da descrição física de Juliet no texto.

I - O cabelo de Jullet não consegue manter um determinado penteado, mesmo com o auxílio de produto específico.

II - Os adjetivos fair-skinned (L.31), light-brown (L.32) e bright(L.36) denotam cores claras.

III- A timidez e a retração de Juliet são sugeridas pela cabeça baixa e pela facilidade com que seu rosto fica corado.

Quais estão corretas?

(A) Apenas I.
(B) Apenas II.
(C) Apenas III.
(D) Apenas II e III.
(E) I, II e III.

*Afirmativa (I): O cabelo de Jullet não consegue manter um determinado penteado, mesmo com o auxílio de produto específico.
➦ Informação de acordo com o trecho (linhas 31-33):
"[...] She was a tall girl, fair-skinned and fine-boned, with light-brown hair that would not retain a bouffant style, even when sprayed."
(Ela era uma garota alta, de pele clara e ossos finos, cabelos castanhos claros que não mantinham um estilo bufante, mesmo quando pulverizados.)
➦ Um bufante é um tipo de penteado caracterizado por cabelos levantados no alto da cabeça e geralmente cobrindo as orelhas ou pendendo para os lados.

*Afirmativa (II): Os adjetivos fair-skinned (L.31), light-brown (L.32) e bright(L.36) denotam cores claras.
➦ fair-skinned ➝ "pele clara".
➦ light-brown hair ➝ "cabelo castanho claro".
➦ bright eyes ➝ "olhos brilhantes".

*Afirmativa (III): A timidez e a retração de Juliet são sugeridas pela cabeça baixa e pela facilidade com que seu rosto fica corado.

07 – (UFRGS-2020-VESTIBULAR)

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

(  ) A palavra would(L.32) indica a recorrência de uma situação.

(  ) A palavra as(L.43) poderia ser substituída tanto por given that quanto por due to, sem prejuízo da correção gramatical e do significado original do texto.

(  ) O segmento who needed them more, since they had families to support (L.49-50) poderia ser substituído por who needed them more, inasmuch as they had families to support, sem prejuízo da correção gramatical e do significado original do texto.

(  ) o segmento Odd choices were simply easier for men, most of whom would still find women glad to marry them (L.55-57) poderia ser substituído por Odd choices were simply easier for those men who would still find women glad to many them, 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 - F - V - V.
(B) V - F - V - F.
(C) F - V - F - V.
(D) V - F - F - V.
(E) V - V - V - F.

*1ª firmativa (V): A palavra would(L.32) indica a recorrência de uma situação.

• would ➝ indica contextualmente algo que sempre ocorreria:
• "[...] with light-brown hair that would not retain a bouffant style."
• com cabelo castanho claro que não reteria um estilo bufante.
*2ª afirmativa (F): A palavra as(L.43) poderia ser substituída tanto por given that quanto por due to, sem prejuízo da correção gramatical e do significado original do texto.
• "AS" poderia ser substituído por "BECAUSE"(porque) pois "AS" é seguido de "Sujeito + Verbo" ➝ as she was not:
• "[...] If she got married - which might happen, as she was not bad-looking for a scholarship girl, not bad-looking at all.
• Se ela se casasse - o que poderia acontecer, porque ela não era feia para uma bolsista, e nem era feia de modo algum.
• "AS" não poderia ser substituído por "DUE TO" visto que DUE TO somente deve ser seguido de "SUBSTANTIVO".
• VEJA  diferença entre BECAUSE e DUE TO:
➧"Because it was raining, Bob was late!"
➧"Due to the rain, Bob was late!" 
*Afirmativa (V): O segmento who needed them more, since they had families to support (L.49-50) poderia ser substituído por who needed them more, inasmuch as they had families to support, sem prejuízo da correção gramatical e do significado original do texto.
• As conjunções "SINCE"(já que) e "inasmuch as"(tendo em vista que) são sinônimas no contexto.
*Afirmativa (F): o segmento Odd choices were simply easier for men, most of whom would still find women glad to marry them (L.55-57) poderia ser substituído por Odd choices were simply easier for those men who would still find women glad to many them, sem prejuízo da correção gramatical e do significado original do texto.

• Oração 1:
"Odd choices were simply easier for men, most of whom would still find women glad to marry them."
• "Escolhas estranhas eram simplesmente mais fáceis para os homens, a maioria das quais ainda acharia as mulheres felizes em se casar com eles."

• Oração 2:
"Odd choices were simply easier for those men who would still find women glad to many "
• Escolhas estranhas eram simplesmente mais fáceis para aqueles homens que ainda achavam as mulheres felizes por muitas delas.

08 – (UFRGS-2020-VESTIBULAR)

Considere as seguintes afirmações acerca do texto.

I - A palavra who (L.49) poderia ser substituída por that, sem prejuízo da correção gramatical e do significado original do texto.

II - A palavra what (L.52) poderia ser substituída por which, sem prejuízo da correção gramatical e do significado original do texto.

III- As palavras whom (L.56) e them (L.57) referem-se à mesma palavra.

Quais estão corretas?

(A) Apenas I.
(B) Apenas II.
(C) Apenas III.
(D) Apenas I e III.
(E) I, II e III.

*Afirmativa (I): A palavra who (L.49) poderia ser substituída por that, sem prejuízo da correção gramatical e do significado original do texto.
*Afirmativa (II): A palavra what (L.52) poderia ser substituída por which, sem prejuízo da correção gramatical e do significado original do texto.
*Afirmativa (III): As palavras whom (L.56) e them (L.57) referem-se à mesma palavra.
➦ WHOM e THEM referem-se à mesma palavra ➝ men.
"[...] Odd choices were simply easier for men, most of whom would still find women glad to marry them."
(Escolhas estranhas eram simplesmente mais fáceis para os homens, a maioria dos quais ainda acharia as mulheres felizes em se casar com eles.)

09 – (UFRGS-2020-VESTIBULAR)

Assinale a alternativa que poderia substituir adequadamente o segmento slough off (L.54 ).

(A) postpone
(B) prevent
(C) shake up
(D) shake off
(E) put away

• Assinale a alternativa que poderia substituir adequadamente o segmento slough off (L.54 ).

(A) postpone (adiar, postergar)

(B) prevent (evitar)
(C) shake up (Chocar ou deixar alguém abalado emocionalmente.)

(D) shake off (livrar-se de algo indesejável)

• shake off = slough off (slóFófi) = get rid of.

(E) put away (to eat, to economize, to kill, to forget, to arrest.)

• NO TEXTO:
• "[...] Either way, she would not be able to defend the oddity of her choice, to defy what people would see as the irrelevance, or dreariness, of classics, to slough off that prejudice the way a man could."
• De qualquer maneira, ela não seria capaz de defender a estranheza de sua escolha, desafiar o que as pessoas considerariam irrelevância, ou tristeza dos clássicos, livrar-se desse preconceito da maneira que um homem poderia.

➧ TEXT II: As questões 10 a 16 estão relacionadas ao texto abaixo.

01. "Mistrust all enterprises that require new

02. clothes," says EM Forster ln A Room With a
03. View, adapting a quote ________ Henry David
04. Thoreau. What a spollsport. With the
05. acquisition of new and unusual kit comes the
06. chance to become someone fresher, sexier or,
07. at the very least, someone who is prepared to
08. give yellow a go.
09. The reason we are so desperate to buy or
10. borrow new clothes, says the academic and
11. broadcaster Shahidha Barl in her clever, subtle
12. book, is because they appear to bestow ______
13. us a charm and lntellect that we can't quite
14. muster for ourselves. Yet the moment we
15. acquire that new coat or those new trousers,
16. we realise that nothlng much has changed at
17. all. For no matter how fancy we look on the
18. surface, ______ we stlll come wlth metaphorlcal
19. trailing threads and odd socks.
20. Bari wants us to think not so much about what
21. dothes say as how they make us feel. Take the
22. suit. The one that she has in mlnd is worn by
23. cary Grant in North by Northwest (1959).
24. Designed by Grant's Savile Row tailor, Kilgour,
25. French and Stanley, this suit combines a
26. ventfess jacket with high-waisted, forward
27. pleated trousers. It is a suit (or sults - during
28. the tive month shoot Grant got through eight
29. replicas, since hanging from Mount Rushmore by
30. your fingertips involves a certain wear and tear)
31. that is simultaneously authoritative and
32. insoudant
33. _____ the appeal of the suit is that it doesn't
34. look as if it's trying too hard, Bari is convinced
35. that beneath that sheeny worsted surface, it is
36. doing important work. She is gooc:I at dresses
37. too. By rights, of course, they have no business
38. being ln any moc:lern woman's wardrobe_.
39. Nearly a hundred years after lt became
40. acceptable for "advanced" females to wear
41. "divided skirts" _______ the tennis court, why
42. would anyone voluntarily shimmy themselves
43. into a garment designed to cling to one's boc:ly
44. while simultaneously restricting its movement?
45. Bari is particularly good on how a dress looks
46. while on a hanger - like a second skin waiting
47. for flesh and blood to make it live. It is this
48. sense of the dress as an alternative self that
49. makes lt so potent, far more charged, say, than
50. well-cut trousers or Merino jumpers: "This
51. dress - not a poem, not a painting but a dress
52. - is something, maybe even ali things, that we
53. are not." Whlch is why it is the item most likely
54. to be languishing, unworn, at the back of the
55. wardrobe, walting for the moment when we
56. feel good enough - thin enough, femlnlne
57. enough, just enough enough - to put it on.

Adaptado de

<https://www.3quarbdally.com/3quar1<s

da fly/2019/06/dressed-by-shahidha-bari-and-the-pocket-two-books-on-thesecret-life-of-clothes.html>.

Acesso em: 19Jul.2019.

10 – (UFRGS-2020-VESTIBULAR)

Assinale a alternativa que preenche adequadamente as lacunas das linhas 03, 12, 18 e 41, respectivamente.

(A) from - to - under - on
(B) from - on - underneath - on
(C) of - on - under - in
(D) in - to - below - on
(E) from - to - underneath - in

11 – (UFRGS-2020-VESTIBULAR)

Assinale a alternativa que preenche adequadamente a lacuna da linha 33.

(A) Despite
(B) ln spite
(C) Although
(D) However
(E) Regardless

*Alternativa (A): Despite
*Alternativa (B): ln spite
*Alternativa (C): Although(ideia de concessão)
*Alternativa (D): However
*Alternativa (E): Regardless

12 – (UFRGS-2020-VESTIBULAR)

Assinale a alternativa que apresenta termos que conforme empregados no texto, pertencem à mesma classe de palavras.

(A) spollsport(L.04) - high-waisted(L.26) - authoratative(L.31)
(B) academic(L.10) - fancy(L.17) - ventless (L.26)
(C) desperate (L.09) - subtis(L.11) - simultaneously (L.31)
(D) clever(L.11) - sheeny (L.35) - shimmy(L.42)
(E) lnsouciant(L.32) - worsted(L.35) - well-cut(L.50)

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:
*Alternativa (A): spollsport(L.04) - high-waisted(L.26) - authoratative(L.31)
*Alternativa (B): academic(L.10) - fancy(L.17) - ventless (L.26)
*Alternativa (C): desperate (L.09) - subtis(L.11) - simultaneously (L.31)
*Alternativa (D): clever(L.11) - sheeny (L.35) - shimmy(L.42)
*Alternativa (E): insouciant(despreocupado, descontraído; tranquilo)(adjetivo) - worsted(de lã)(adjetivo) - well-cut(bem cortado, alinhado )(adjetivo)

13 – (UFRGS-2020-VESTIBULAR)

Considere as seguintes afirmações acerca do vocabulário do texto.

I - A expressão give yellow a go (L.08) indica que amarelo não é uma cor popular para roupas.

II - A expressão wear and tear (L.30) diz respeito aos vários ternos rasgados durante a gravação do filme em que Cary Grant atuou.

III - O paralelismo das ocorrências da palavra enough permite afirmar que, na construção enough enough (L.57), o primeiro termo funciona como um adjetivo, ao passo que o segundo é um advérbio.

Quais estão corretas?

(A) Apenas I.
(B) Apenas II.
(C) Apenas I e III.
(D) Apenas II e III.
(E) I, II e III.

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:
*Afirmativa (I): A expressão give yellow a go (L.08) indica que amarelo não é uma cor popular para roupas.
*Afirmativa(II): A expressão wear and tear (L.30) diz respeito aos vários ternos rasgados durante a gravação do filme em que Cary Grant atuou.('wear and tear' significa 'danos após usos contínuos' )
➦ A expressão idiomática 'wear and tear' significa 'danos após usos contínuos' e não necessariamente 'danos de furos e rasgões' nas vestimentas.
*Afirmativa (III): O paralelismo das ocorrências da palavra enough permite afirmar que, na construção enough enough (L.57), o primeiro termo funciona como um adjetivo, ao passo que o segundo é um advérbio.

14 – (UFRGS-2020-VESTIBULAR)

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

(  ) O trecho Bari wants us to thlnk not so much about what clothes say as how they make us feel (L.20-21) pode ser substituido por Bari wants us to thlnk more of how clothes make us feel rather than of what they say, sem prejuízo da correção Ção gramatical e do significado original do texto.

(  ) o segmento lt is (1. 47) pode ser omitido, sem prejuízo da correção gramatical e do significado original do texto.

( ) o trecho It is this sense of the dress as an alternative self/that (L.47-48) pode ser substituído por This sense of the dress as an alternative self is what, sem prejuízo da correção gramatical e do significado original do texto.

( ) A palavra since (L.29) pode ser substituída por as from, sem prejuízo de correção gramatical e do significado original do texto.

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

(A) V - F - V - F.
(B) F - V - F - V.
(C) F - F - V - V.
(D) V - F - F - V.
(E) V - V - V - F.

15 – (UFRGS-2020-VESTIBULAR)

Assinale a alternativa que contém o verbo usado na mesma estrutura gramatical e função sintática de Designed(L.24).

(A) The outfit, wh/ch was sewn by my best friend, won the competition.
(B) The actress had that dress created specially for her.
(C) Custom-made, my friend's gown cost hera fortune.
(D) Wasted jeans like this are trendy nowadays.
(E) Unwom by my brothers for many years, that suit was my choice for our sister's wedding.

16 – (UFRGS-2020-VESTIBULAR)

Considere as seguintes afirmações sobre o texto.

I - Roupas novas nos dão satisfação e nos fazem sentir inteligentes desde o momento em que as compramos.

II - A expressão waiting for flesh and blood (L.46-47) denota a expectativa por parte das mulheres de que a roupa se ajuste ao corpo.

III - O vestido é apresentado como uma peça de vestuário associada a diferentes situações da vida da mulher e a aspectos de sua identidade.

Quais estão corretas?

(A) Apenas I.
(B) Apenas III.
(C) Apenas I e II.
(D) Apenas II e III.
(E) I, II e III.

➧ TEXT III: As questões 17 a 25 estão

relacionadas ao texto abaixo.

01. The earliest experience of art must have been
02. that it was incantatory, magical; art was an
03. instrument of ritual. The earliest theory of art,
04. that of the Greek philosophers, proposed that
OS. art was mimesis, imitation of reallty. It is at this
06. point that the peculiar question of the value of
07. art arose ______ the mimetlc theory, by its very
08. terms, challenges art to justify itself.
09. Plato, who proposed the theory, seems to have
10. dane so in arder to rule that the value of art is
11. dubious ______ he considered ordinary material
12. things as themselves mimetic objects,
13. imitations of transcendent forms or structures,
14. even the best painting of a bed would be only
15. an "imitation of an imitation." For Plato, art was
16. not particularly useful (the painting of a bed is
17. no good to sleep on), nor, in the strict sense,
18. true. And Aristotle's arguments in defense of
19. art do not really challenge Plato's view that all
20. art is ______ a lie. But he does dispute Plato's
21. idea that art is useless. Lie ar not, art has a
22. certain value according to Aristotle because it
23. is a form of therapy. Art is useful, after all,
24. Aristotle counters, medicinally useful _____ it
25. arouses and purges dangerous emotions.
26. ln Plato and Aristotle, the mimetic theory of art
27. goes hand in hand with the assumption that art
28. is always figurative. But advocates of the
29. mimetic theory need not dose their eyes to
30. decorative and abstract art. The fallacy that art
31. is necessarily a "realism" can be modified or
32. scrapped without ever moving outside the
33. problems delimited by the mimetic theory.
34. The fact is, ali Western consciousness of and
35. reflection upon art have remained within the
36. confines staked out by the Greek theory of art
37. as mimesis ar representation. It is through this
38. theory that artas such becomes problematic,
39. in need of defense. And it is the defense of art
40. which gives birth to the odd vision by which
41. something we have learned to call "form" is
42. separated off from something we have learned
43. to call "content," and to the well-intentioned
44. move which makes content essential and form
45. accessory.
46. Even in modem times, when most artists and
47. critics have discarded the theory of art as
48. representation of an outer reality in favor of the
49. ·theory of artas subjective expression, the main
50. feature of the mimetic theory persists. Whether
51. we conceive of the work of art on the model of
52. a picture or on the model of a statement,
53. content still comes first. The content may have
54. changed. lt may now be less figurative, less
55. lucldly realistlc. But lt Is still assumed that a
56. work of art is its content. Or, as it's usually put
57. today, that a work of art by definition says
58. something.

Adapted from: SONTAG, Susan. Agstnst

Interpretatlon and Other EsRys. Penguln Modem

Classlcs, Straus and Glroux, 2009. p. 3-4.

17 – (UFRGS-2020-VESTIBULAR)

Select the alternative that contains the words that fill in the gaps in lines 07, 11, 20 and 24, respectively.

(A) For - Despite - moreover - in that
(B) Because - Since - thus - due to
(C) Because - Although - thus - considering
(D) Dueto - Because - regardless - as longas
(E) For - Since - therefore - in that

18 – (UFRGS-2020-VESTIBULAR)

Which alternative contains a correct statement about the text?

(A) Despite their different views, Aristotle and Plato have similar beliefs regarding the relationship between art and truth, as well as that between art and usefulness.

(B) Despite the fact that many artists and critics have discarded the theory of art as a subjective expression in favor of a theory of artas representation of an outer reality, art is still in need of defense, as society still reproduces its earliest experiences with art.

(C) The Greek theory of art has radically changed throughout the years, but the assumption that a work of art should say something is still present nowadays, despite some contemporary views by artists and critics.
(D) As a result of the claims made by the Greek theory of art, the defense of art remains necessary today, a time when the content of art may even be less figurative.
(E) According to Plato, the value of art was dubious because it is an imitation, not the real object, and this caused art to be seen as incantatory and magicai, as objects themselves were not considered to be real.

19 – (UFRGS-2020-VESTIBULAR)

Mark the statements below wlth T (true) or F (false), accordlng to the text.

(  ) Plato's theory suggests that the value of art is questionable.
(  ) Art has been expected to justify itself since people had thelr earliest experience with it.
(  ) Rather than seen as a representation of reality, art is nowadays regarded as a subjective expression by most artists.
(  ) The dichotomy between form and content does not prevail regardless of the contemporary view of art as subjective expression.

The sequence should read, from top to bottom,

(A) T - T - T - F.
(B) F - F - F - T.
(C) T - T - F - F.
(D) F - T - T - T.
(E) T - F - T - T.

20 – (UFRGS-2020-VESTIBULAR)

Consíder the statements about the uses of the word THAT in the following segments retrieved from the text.

I - In must have been that it was incantatory (L.01-02), it belongs to the sarne word class as in that of the Greek philosophers (L.04).

II - In that of the Greek philosophers (L.04), it belongs to the same word class as in proposed that art was mimesis, imitation of reality (L.04-05).

III - In must have been that it was incantatory(L.01-02), it belongs to the same word classes in proposed that art was mimesis, imitation of reality (L.04-05).

Which ones are correct?

(A) Only I.
(B) Only II.
(C) Only III.
(D) Only II and III.
(E) I, II and III.

21 – (UFRGS-2020-VESTIBULAR)

Select the alternative in which the word EVEN has the sarne meaning and gramatical class as in the fragment

even the best painting of a bed would be only an "imitation of an imitation."(L.14-15).

(A) Courts usually have an even number of members.
(B) The road ran even throughout the trip.
(C) The new rules helped even the cornpetition up.
(D) The market can run even higher as big funds out money back into stocks.
(E) The odds were even before the season started.

22 – (UFRGS-2020-VESTIBULAR)

Conslder the followlng statements.

I - The word lt(L.22) refers to art(L.21)

II - The word lt (L.39) refers to the defense of art (L.39)

III - The word lts (L.56) refers to art(L.57)

Which ones are correct?

(A) Only I.
(B) Only II.
(C) Only III.
(D) Only I and III.
(E) I, II and III.

23 – (UFRGS-2020-VESTIBULAR)

The words advocates (L.28), scrapped (L.32) and accessory (L.45)

can be replaced, without change ln meaning, by

(A) supporters - dicarded - secondary
(B) lawyers - retired - dependent
(C) defendants - considered - subsidiary
(D) attorneys - regarded - complementary
(E) campaigners - scratched - supplementary

The words advocates (L.28), scrapped (L.32) and accessory (L.45) can be replaced, without change ln meaning, by
*Alternativa (A): supporters - discarded - secondary
*Alternativa (B): lawyers - retired - dependent
*Alternativa (C): defendants - considered - subsidiary
*Alternativa (D): attorneys - regarded - complementary
*Alternativa (E): campaigners - scratched - supplementary
➦Linha 28:
"[...] But advocates of the mimetic theory need not dose their eyes to decorative and abstract art."
(Mas os defensores da teoria mimética não precisam dar uma olhada na arte decorativa e abstrata.)
➦Linha 32:
"[...] The fallacy that art is necessarily a "realism" can be modified or scrapped"
(A falácia de que a arte é necessariamente um "realismo" pode ser modificada ou descartada)
➦Linha 45:
"[...] and to the well-intentioned move which makes content essential and form accessory."
(e ao movimento bem-intencionado que torna o conteúdo essencial e a forma acessória.)

24 – (UFRGS-2020-VESTIBULAR)

Consider the following propositions for rephrasing the sentence Whether we conceive of the work of art on the model of a picture or on the model of a statement, content still comes first (L.50-53).

I - Content still comes first regardless of whether we conceive of the work of an art on the model of a picture or on the model of a statement

II - Content, whether conceived on the model of a picture or on the model of a statement, still comes first.

III- Whether being conceived the work of art on the model of a picture or on the model of a statement, content still comes first.

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

(A) Only I.
(B) Only III.
(C) Only I and II.
(D) Only II and III.
(E) I, II and III.

➦ORAÇÃO apresentada:
"Whether we conceive of the work of art on the model of a picture or on the model of a statement, content still comes first."
(Quer concebamos a obra de arte no modelo de uma imagem ou no modelo de uma declaração, o conteúdo ainda vem em primeiro lugar.)
➦IDEIA CONTEXTUAL: (O conteúdo da OBRA DE ARTE vem primeiro lugar.
*Afirmativa (I): Content still comes first regardless of whether we conceive of the work of an art on the model of a picture or on the model of a statement.(O conteúdo ainda vem em primeiro lugar, independentemente de concebermos a obra de uma arte no modelo de uma imagem ou no modelo de uma declaração.)
*Afirmativa (II): Content, whether conceived on the model of a picture or on the model of a statement, still comes first.(O conteúdo, quer concebido no modelo de uma imagem ou no modelo de uma declaração, ainda vem em primeiro lugar.)(Conteúdo de quê???)
*Afirmativa (III): Whether being conceived the work of art on the model of a picture or on the model of a statement, content still comes first.(Quer sendo concebido a obra de arte no modelo de uma imagem ou no modelo de uma declaração, o conteúdo ainda vem em primeiro lugar.)

25 – (UFRGS-2020-VESTIBULAR)

Consider the use of the modal verb in the following sentence.

The earliest experience of art must have been incantatory, magical.

Select the alternative that best presents its negative form.

(A) The earliest experience of art mustn't have been incantatory, magicai.
(B) The earliest experience of art shouldn't have been incantatory, magical.
(C) The earliest experrence of art mustn't be incantatory, magicai.
(D) The earliest experience of art can't have been incantatory, magicai.
(E) The earliest experrence of art doesn't have to be incantatory, magical.

TÓPICO - IDEIA CONTEXTUAL ou INFORMAÇÃO DENTRO DO TEXTO:
➦ Oração apresentada(forma afirmativa):
"The earliest experience of art must have been incantatory, magical."
(A experiência mais antiga da arte geralmente era encantadora, mágica.)
➦FORMA NEGATIVA: must have been ➝ can't have been:
"The earliest experience of art can't have been incantatory, magical."
(A experiência mais antiga da arte geralmente não era encantadora, mágica.)
*Alternativa (A): The earliest experience of art mustn't have been incantatory, magical.
*Alternativa (B): The earliest experience of art shouldn't have been incantatory, magical.
*Alternativa (C): The earliest experrence of art mustn't be incantatory, magical.
*Alternativa (D): The earliest experience of art can't have been incantatory, magical.
*Alternativa (E): The earliest experrence of art doesn't have to be incantatory, magical.