❑ PROVA DE LĂNGUA INGLESA: MACKENZIE-2018-VESTIBULAR-2Âș SEMESTRE.
❑ ESTRUTURA-PROVA:
➭ 7 Multiple Choice Questions / 5 Options Each Question.
➭ Text (1) – | The NYT Magazine |
➭ Text (2) – | Spoilers | The NYT Magazine |
➭ Text (3) – | Cartoon | Calvin | https://reallifeglobal.com. |
➭ Text (4) – | Cartoon | Mafalda | https://www.peruforless.com. |
➭ Text (5) – | Cartoon | BABY BLUES | https://babyblues.com. |
❑ PROVA:
❑ TEXTO 1:
Read the following text and answer questions 12 and 13
It’s less precise than Fahrenheit — but that’s what’s so great about it A little over a decade ago, I moved to Montreal expecting, perhaps foolishly, that I would become fluent in French. It was a goal that proved elusive — I just couldn’t master the Quebecois accent, which was almost inscrutably nasal compared with the Parisian French I learned in high school. I stuttered through one quotidian exchange after another, painfully aware I was marking myself as a clumsy outsider. It was exhausting. Somewhat chastened, I gave up on French and turned my attention to a new language: Celsius.
I gravitated toward Celsius for the same reason I had wanted to learn French: to experience the world through a foreign filter. Besides, I didn’t really have a choice. Montreal is a bilingual city, but it uses just one temperature scale: Celsius. Of course, the same is true in every country aside from the United States and a few other global superpowers like the Cayman Islands and Belize. Using Fahrenheit in Canada was a sure way to brand myself not only as a recalcitrant American but also as a maniac. My hope was to internalize Celsius, not just to learn it but to feel it in my American flesh. The first thing I did to acquaint myself with it was to memorize relative temperatures scattered throughout the scale so I could extrapolate from them. I was already aware, as most people are, that what I knew as 32 was 0, but I also came up with a few useful way stations: 10 in Celsius was 50 Fahrenheit; 21 was 70; 30 was 86. With this loose constellation of data points, I could safely guess that 15 degrees C, say, was about 60 degrees F, without constantly cross-referencing between the scales.
When I started walking around with Celsius in my head, I noticed that such minor gradations don’t really matter — it was hot, or it was cold, or it was neither. I would survive. There was something psychically soothing about that.
This was especially true in Montreal, that giant ice floe of an island whose winters are so brutal that Celsius often served, for me, as a kind of safeguard against overreaction. When I saw that it was -10 degrees C, for example, I somehow took comfort in the notion that that was really just 14 degrees F, even though each scale was measuring the same thing. The shield held for the most part, except on those rare mornings when the air temperature nose-dived to around 40 below, where Celsius and Fahrenheit finally collide.
When I moved back to the United States about seven years ago, I got an iPhone and changed my weather app to Celsius. It annoyed my friends, who thought I was being pretentious (I was). Still, I think there was more to it than that. Being around people who used Fahrenheit made me feel as if it were sort of extreme.
I don’t mean to be dramatic. I wasn’t losing my mind. Far from it. After years of compulsively checking the weather multiple times a day, what happened was I started trusting my instincts and abandoned the forecast altogether. Celsius, I came to realize, had put me in touch with nature; it had forced me to spend my time walking around feeling the temperature without feeling the scale I was using to gauge the temperature.
In my heathen state, I’ve come to believe that all temperature scales are, for daily reference, sort of useless, or at least unnecessary. They present the semblance of control over your immediate environment, and yet they also distance you from experiencing the world unfiltered by some random metric. The weather is much less worrisome, I’ve found, when you aren’t constantly taking its temperature.
According to the above text:
a) The narrator saw no great deal of a difference concerning the usage of Fahrenheit or Celsius.
b) The narrator thought that learning French and understanding the Quebecois accent were much easier than understanding the switch between Fahrenheit and Celsius.
c) Fahrenheit made the narrator learn how to feel the temperature in his body, instead of checking it in a scale.
d) The narrator got insane about understanding how to switch from Fahrenheit to Celsius about 10 years ago.
e) Between Fahrenheit and Celsius, the narrator became so much worried about the weather that he started checking the temperature every time.
Read the following text and answer questions 12 and 13
It’s less precise than Fahrenheit — but that’s what’s so great about it A little over a decade ago, I moved to Montreal expecting, perhaps foolishly, that I would become fluent in French. It was a goal that proved elusive — I just couldn’t master the Quebecois accent, which was almost inscrutably nasal compared with the Parisian French I learned in high school. I stuttered through one quotidian exchange after another, painfully aware I was marking myself as a clumsy outsider. It was exhausting. Somewhat chastened, I gave up on French and turned my attention to a new language: Celsius.
I gravitated toward Celsius for the same reason I had wanted to learn French: to experience the world through a foreign filter. Besides, I didn’t really have a choice. Montreal is a bilingual city, but it uses just one temperature scale: Celsius. Of course, the same is true in every country aside from the United States and a few other global superpowers like the Cayman Islands and Belize. Using Fahrenheit in Canada was a sure way to brand myself not only as a recalcitrant American but also as a maniac. My hope was to internalize Celsius, not just to learn it but to feel it in my American flesh. The first thing I did to acquaint myself with it was to memorize relative temperatures scattered throughout the scale so I could extrapolate from them. I was already aware, as most people are, that what I knew as 32 was 0, but I also came up with a few useful way stations: 10 in Celsius was 50 Fahrenheit; 21 was 70; 30 was 86. With this loose constellation of data points, I could safely guess that 15 degrees C, say, was about 60 degrees F, without constantly cross-referencing between the scales.
When I started walking around with Celsius in my head, I noticed that such minor gradations don’t really matter — it was hot, or it was cold, or it was neither. I would survive. There was something psychically soothing about that.
This was especially true in Montreal, that giant ice floe of an island whose winters are so brutal that Celsius often served, for me, as a kind of safeguard against overreaction. When I saw that it was -10 degrees C, for example, I somehow took comfort in the notion that that was really just 14 degrees F, even though each scale was measuring the same thing. The shield held for the most part, except on those rare mornings when the air temperature nose-dived to around 40 below, where Celsius and Fahrenheit finally collide.
When I moved back to the United States about seven years ago, I got an iPhone and changed my weather app to Celsius. It annoyed my friends, who thought I was being pretentious (I was). Still, I think there was more to it than that. Being around people who used Fahrenheit made me feel as if it were sort of extreme.
I don’t mean to be dramatic. I wasn’t losing my mind. Far from it. After years of compulsively checking the weather multiple times a day, what happened was I started trusting my instincts and abandoned the forecast altogether. Celsius, I came to realize, had put me in touch with nature; it had forced me to spend my time walking around feeling the temperature without feeling the scale I was using to gauge the temperature.
In my heathen state, I’ve come to believe that all temperature scales are, for daily reference, sort of useless, or at least unnecessary. They present the semblance of control over your immediate environment, and yet they also distance you from experiencing the world unfiltered by some random metric. The weather is much less worrisome, I’ve found, when you aren’t constantly taking its temperature.
Source: The NYT Magazine, Feb. 28, 2018.
❑ TRADUĂĂO - TEXTO 1:
It’s less precise than Fahrenheit — but that’s what’s so great about it A little over a decade ago, I moved to Montreal expecting, perhaps foolishly, that I would become fluent in French. It was a goal that proved elusive — I just couldn’t master the Quebecois accent, which was almost inscrutably nasal compared with the Parisian French I learned in high school.
Ă menos preciso do que o Fahrenheit - mas Ă© por isso que Ă© tĂŁo bom HĂĄ pouco mais de uma dĂ©cada, mudei-me para Montreal com a expetativa, talvez insensata, de me tornar fluente em francĂȘs. Era um objetivo que se revelou ilusĂłrio - simplesmente nĂŁo conseguia dominar o sotaque quebequense, que era quase inescrutavelmente nasalado em comparação com o francĂȘs parisiense que aprendi no ensino mĂ©dio.
I stuttered through one quotidian exchange after another, painfully aware I was marking myself as a clumsy outsider. It was exhausting. Somewhat chastened, I gave up on French and turned my attention to a new language: Celsius.
Gaguejei numa troca de palavras quotidiana apĂłs outra, dolorosamente consciente de que estava a marcar-me como um estranho desajeitado. Foi cansativo. Um pouco castigado, desisti do francĂȘs e voltei a minha atenção para uma nova lĂngua: Celsius.
I gravitated toward Celsius for the same reason I had wanted to learn French: to experience the world through a foreign filter. Besides, I didn’t really have a choice. Montreal is a bilingual city, but it uses just one temperature scale: Celsius. Of course, the same is true in every country aside from the United States and a few other global superpowers like the Cayman Islands and Belize.
Gaguejei numa troca de palavras quotidiana apĂłs outra, dolorosamente consciente de que estava a marcar-me como um estranho desajeitado. Foi cansativo. Um pouco castigado, desisti do francĂȘs e voltei a minha atenção para uma nova lĂngua: Celsius.
I gravitated toward Celsius for the same reason I had wanted to learn French: to experience the world through a foreign filter. Besides, I didn’t really have a choice. Montreal is a bilingual city, but it uses just one temperature scale: Celsius. Of course, the same is true in every country aside from the United States and a few other global superpowers like the Cayman Islands and Belize.
A minha preferĂȘncia pelo Celsius deveu-se Ă mesma razĂŁo que me levou a querer aprender francĂȘs: conhecer o mundo atravĂ©s de um filtro estrangeiro. AlĂ©m disso, nĂŁo tinha outra hipĂłtese. Montreal Ă© uma cidade bilingue, mas utiliza apenas uma escala de temperatura: Celsius. Claro que o mesmo se passa em todos os paĂses, Ă exceção dos Estados Unidos e de algumas outras superpotĂȘncias mundiais, como as Ilhas CaimĂŁo e o Belize.
Using Fahrenheit in Canada was a sure way to brand myself not only as a recalcitrant American but also as a maniac. My hope was to internalize Celsius, not just to learn it but to feel it in my American flesh. The first thing I did to acquaint myself with it was to memorize relative temperatures scattered throughout the scale so I could extrapolate from them.
Usar Fahrenheit no CanadĂĄ era uma maneira segura de me rotular nĂŁo apenas como um americano recalcitrante, mas tambĂ©m como um manĂaco. Minha esperança era internalizar Celsius, nĂŁo apenas para aprendĂȘ-lo, mas para senti-lo em minha carne americana. A primeira coisa que fiz para me familiarizar com ela foi memorizar as temperaturas relativas espalhadas pela escala para poder extrapolar a partir delas.
I was already aware, as most people are, that what I knew as 32 was 0, but I also came up with a few useful way stations: 10 in Celsius was 50 Fahrenheit; 21 was 70; 30 was 86. With this loose constellation of data points, I could safely guess that 15 degrees C, say, was about 60 degrees F, without constantly cross-referencing between the scales.
Eu jĂĄ sabia, como a maioria das pessoas, que o que eu conhecia como 32 era 0, mas tambĂ©m descobri algumas estaçÔes intermediĂĄrias Ășteis: 10 em Celsius era 50 Fahrenheit; 21 era 70; 30 era 86. Com essa constelação solta de pontos de dados, eu poderia adivinhar com segurança que 15 graus C, digamos, era cerca de 60 graus F, sem referĂȘncia cruzada constante entre as escalas.
When I started walking around with Celsius in my head, I noticed that such minor gradations don’t really matter — it was hot, or it was cold, or it was neither. I would survive. There was something psychically soothing about that.
Quando comecei a andar de um lado para o outro com o Celsius na cabeça, apercebi-me de que essas pequenas gradaçÔes não tinham importùncia - estava quente, ou estava frio, ou não estava nem uma coisa nem outra. Eu sobreviveria. Havia algo de psicologicamente reconfortante nisso.
This was especially true in Montreal, that giant ice floe of an island whose winters are so brutal that Celsius often served, for me, as a kind of safeguard against overreaction. When I saw that it was -10 degrees C, for example, I somehow took comfort in the notion that that was really just 14 degrees F, even though each scale was measuring the same thing.
Eu jĂĄ sabia, como a maioria das pessoas, que o que eu conhecia como 32 era 0, mas tambĂ©m descobri algumas estaçÔes intermediĂĄrias Ășteis: 10 em Celsius era 50 Fahrenheit; 21 era 70; 30 era 86. Com essa constelação solta de pontos de dados, eu poderia adivinhar com segurança que 15 graus C, digamos, era cerca de 60 graus F, sem referĂȘncia cruzada constante entre as escalas.
When I started walking around with Celsius in my head, I noticed that such minor gradations don’t really matter — it was hot, or it was cold, or it was neither. I would survive. There was something psychically soothing about that.
Quando comecei a andar de um lado para o outro com o Celsius na cabeça, apercebi-me de que essas pequenas gradaçÔes não tinham importùncia - estava quente, ou estava frio, ou não estava nem uma coisa nem outra. Eu sobreviveria. Havia algo de psicologicamente reconfortante nisso.
This was especially true in Montreal, that giant ice floe of an island whose winters are so brutal that Celsius often served, for me, as a kind of safeguard against overreaction. When I saw that it was -10 degrees C, for example, I somehow took comfort in the notion that that was really just 14 degrees F, even though each scale was measuring the same thing.
Isto era especialmente verdade em Montreal, esse gigantesco bloco de gelo de uma ilha cujos invernos são tão brutais que o grau Celsius servia muitas vezes, para mim, como uma espécie de salvaguarda contra reacçÔes exageradas. Quando via que estavam -10 graus Celsius, por exemplo, de alguma forma confortava-me a noção de que eram apenas 14 graus Felsius, apesar de cada escala estar a medir a mesma coisa.
The shield held for the most part, except on those rare mornings when the air temperature nose-dived to around 40 below, where Celsius and Fahrenheit finally collide.
O escudo resistiu na maior parte do tempo, exceto nas raras manhĂŁs em que a temperatura do ar caiu para cerca de 40 graus abaixo, onde Celsius e Fahrenheit finalmente colidem.
When I moved back to the United States about seven years ago, I got an iPhone and changed my weather app to Celsius. It annoyed my friends, who thought I was being pretentious (I was). Still, I think there was more to it than that. Being around people who used Fahrenheit made me feel as if it were sort of extreme.
Quando voltei para os Estados Unidos, hå cerca de sete anos, comprei um iPhone e mudei a minha aplicação de meteorologia para Celsius. Isso irritou os meus amigos, que pensaram que eu estava a ser pretensioso (e estava). No entanto, acho que foi mais do que isso. Estar perto de pessoas que usavam Fahrenheit fez-me sentir como se fosse uma espécie de extremo.
I don’t mean to be dramatic. I wasn’t losing my mind. Far from it. After years of compulsively checking the weather multiple times a day, what happened was I started trusting my instincts and abandoned the forecast altogether. Celsius, I came to realize, had put me in touch with nature; it had forced me to spend my time walking around feeling the temperature without feeling the scale I was using to gauge the temperature.
NĂŁo quero ser dramĂĄtico. NĂŁo estava a perder o juĂzo. Longe disso. Depois de anos a verificar compulsivamente a meteorologia vĂĄrias vezes por dia, o que aconteceu foi que comecei a confiar nos meus instintos e abandonei completamente a previsĂŁo. O Celsius, apercebi-me, tinha-me posto em contacto com a natureza; tinha-me forçado a passar o meu tempo a andar por aĂ a sentir a temperatura sem sentir a escala que usava para a medir.
In my heathen state, I’ve come to believe that all temperature scales are, for daily reference, sort of useless, or at least unnecessary. They present the semblance of control over your immediate environment, and yet they also distance you from experiencing the world unfiltered by some random metric. The weather is much less worrisome, I’ve found, when you aren’t constantly taking its temperature.
O escudo resistiu na maior parte do tempo, exceto nas raras manhĂŁs em que a temperatura do ar caiu para cerca de 40 graus abaixo, onde Celsius e Fahrenheit finalmente colidem.
When I moved back to the United States about seven years ago, I got an iPhone and changed my weather app to Celsius. It annoyed my friends, who thought I was being pretentious (I was). Still, I think there was more to it than that. Being around people who used Fahrenheit made me feel as if it were sort of extreme.
Quando voltei para os Estados Unidos, hå cerca de sete anos, comprei um iPhone e mudei a minha aplicação de meteorologia para Celsius. Isso irritou os meus amigos, que pensaram que eu estava a ser pretensioso (e estava). No entanto, acho que foi mais do que isso. Estar perto de pessoas que usavam Fahrenheit fez-me sentir como se fosse uma espécie de extremo.
I don’t mean to be dramatic. I wasn’t losing my mind. Far from it. After years of compulsively checking the weather multiple times a day, what happened was I started trusting my instincts and abandoned the forecast altogether. Celsius, I came to realize, had put me in touch with nature; it had forced me to spend my time walking around feeling the temperature without feeling the scale I was using to gauge the temperature.
NĂŁo quero ser dramĂĄtico. NĂŁo estava a perder o juĂzo. Longe disso. Depois de anos a verificar compulsivamente a meteorologia vĂĄrias vezes por dia, o que aconteceu foi que comecei a confiar nos meus instintos e abandonei completamente a previsĂŁo. O Celsius, apercebi-me, tinha-me posto em contacto com a natureza; tinha-me forçado a passar o meu tempo a andar por aĂ a sentir a temperatura sem sentir a escala que usava para a medir.
In my heathen state, I’ve come to believe that all temperature scales are, for daily reference, sort of useless, or at least unnecessary. They present the semblance of control over your immediate environment, and yet they also distance you from experiencing the world unfiltered by some random metric. The weather is much less worrisome, I’ve found, when you aren’t constantly taking its temperature.
No meu estado pagĂŁo, cheguei Ă conclusĂŁo de que todas as escalas de temperatura sĂŁo, para referĂȘncia diĂĄria, inĂșteis, ou pelo menos desnecessĂĄrias. Apresentam a aparĂȘncia de controlo sobre o nosso ambiente imediato, mas tambĂ©m nos afastam da experiĂȘncia do mundo nĂŁo filtrada por uma mĂ©trica aleatĂłria. Descobri que o tempo Ă© muito menos preocupante quando nĂŁo estamos constantemente a medir a sua temperatura.
đ QuestĂŁo 12 According to the above text:
a) The narrator saw no great deal of a difference concerning the usage of Fahrenheit or Celsius.
b) The narrator thought that learning French and understanding the Quebecois accent were much easier than understanding the switch between Fahrenheit and Celsius.
c) Fahrenheit made the narrator learn how to feel the temperature in his body, instead of checking it in a scale.
d) The narrator got insane about understanding how to switch from Fahrenheit to Celsius about 10 years ago.
e) Between Fahrenheit and Celsius, the narrator became so much worried about the weather that he started checking the temperature every time.
đ ComentĂĄrios e Gabarito D
TĂPICO - IDEIA CONTEXTUAL ou INFORMAĂĂO DENTRO DO TEXTO :
According to the above text:
De acordo com o texto acima:
a) The narrator saw no great deal of a difference concerning the usage of Fahrenheit or Celsius. – O narrador nĂŁo via muita diferença em relação ao uso de Fahrenheit ou Celsius.
a) The narrator saw no great deal of a difference concerning the usage of Fahrenheit or Celsius. – O narrador nĂŁo via muita diferença em relação ao uso de Fahrenheit ou Celsius.
b) The narrator thought that learning French and understanding the Quebecois accent were much easier than understanding the switch between Fahrenheit and Celsius. – O narrador achava que aprender francĂȘs e entender o sotaque quebequense era muito mais fĂĄcil do que entender a troca entre Fahrenheit e Celsius.
c) Fahrenheit made the narrator learn how to feel the temperature in his body, instead of checking it in a scale. – O Fahrenheit fez com que o narrador aprendesse a sentir a temperatura no seu corpo, em vez de a verificar numa escala.
d) The narrator got insane about understanding how to switch from Fahrenheit to Celsius about 10 years ago. – O narrador ficou louco para entender como mudar de Fahrenheit para Celsius hĂĄ cerca de 10 anos.
e) Between Fahrenheit and Celsius, the narrator became so much worried about the weather that he started checking the temperature every time. – Entre o Fahrenheit e o Celsius, o narrador ficou tĂŁo preocupado com o tempo que passou a verificar a temperatura a toda a hora.
c) Fahrenheit made the narrator learn how to feel the temperature in his body, instead of checking it in a scale. – O Fahrenheit fez com que o narrador aprendesse a sentir a temperatura no seu corpo, em vez de a verificar numa escala.
d) The narrator got insane about understanding how to switch from Fahrenheit to Celsius about 10 years ago. – O narrador ficou louco para entender como mudar de Fahrenheit para Celsius hĂĄ cerca de 10 anos.
e) Between Fahrenheit and Celsius, the narrator became so much worried about the weather that he started checking the temperature every time. – Entre o Fahrenheit e o Celsius, o narrador ficou tĂŁo preocupado com o tempo que passou a verificar a temperatura a toda a hora.
đ QuestĂŁo 13
In the extract “They present the semblance of control over your immediate environment (…)”, the word semblance means:
a) idea
b) similarity
c) connection
d) meaning
e) diversity
đ ComentĂĄrios e Gabarito B
TĂPICO - VOCABULARY :
❑ TRECHO:
➭ They present the semblance of control over your immediate environment.
➭ Apresentam a aparĂȘncia de controlo sobre o seu ambiente imediato.
➭ SEMBLANCE (= similarity, appearance) – APARĂNCIA, SIMILARIDADE.
❑ TEXTO 2: Read the following text and answer questions 14 and 15.
One fateful summer evening, I hurried home from work, eager to catch up on “Game of Thrones.” I don’t have cable, so I often watch my shows a day or two after they air, usually via some streaming service or an app. At the time, I had become an obsessive avoider of spoilers, the kind of person who stayed off Instagram and Twitter during live episodes of popular shows, even going so far as to turn off notifications to avoid reading about a reveal or twist that would ruin a surprise.
That night, blissfully unaware of what was to come, I switched on my television, expecting to be greeted with the medieval tones and threedimensional map of Westeros that signal the show’s start. Instead, I was confronted by a massacre: This episode was “The Rains of Castamere”, popularly known as the Red Wedding. Some friends and I shared an account, so the episode began where the previous person stopped watching, at the precise moment a pregnant character is stabbed in the stomach. I felt as if I had been stabbed in the stomach. I had invested nearly 30 hours into one of the biggest buildups of modern television only to have it — and my preciousness about spoilers — ruined.
The celebrated film critic Pauline Kael once wrote that movies function as escape pods, portals to parallel universes that can be radically different from emotional norms and societal conditioning of our own. What she meant was they parceled out freedom, allowing viewers to lose their selves in an effort to find greater connection to the self. “A good movie can make you feel alive again, in contact, not just lost in another city,” she wrote in 1969.
Since then, movies — and now, increasingly, television shows — have become even more intense and immersive, ensuring that we lose ourselves more freely in them. Today’s directors aim for attention totality in order to capture easily distracted audiences. A 2015 study conducted in part by James Cutting, a psychologist at Cornell University found that filmmakers have adapted their shooting styles to try to keep up with changes in our attention spans. And maybe it works — for adrenaline junkies. But losing myself in a film almost guarantees an anxiety attack. Most times, at the movies, my stress levels are ratcheted up so high that I can barely sit through the full production without excusing myself, clutching people next to me or crawling out of my seat, incapacitated by the unknown.
Yet I love TV and movies, so in order to keep watching, I started spoiling them for myself. Spoilers have become a virtual Xanax, triggering a relaxing sensation that envelops my entire body – luckily, the internet has made my habit easy. I’m not a total barbarian: I never divulge endings or let on that I know them. There’s even some evidence that the audience’s enjoyment is heightened when they have a sense of what’s going to happen. Once I’m clued in, I can actually let myself be spirited away, as the directors and screenwriters intended, enjoying the things I’m normally too wired to enjoy. The more films and TV shows I spoil for myself, the more I am convinced that truly interesting stories can’t be ruined — the plot thickens with the viewing like a rich sauce.
Kael wrote that “when we go to the movies, we want something good, something sustained, we don’t want to settle for just a bit of something, because we have other things to do.” This is what entertainment has most to offer. My only condition is doing it without raising my blood pressure.
Check the alternative that only brings phrasal verbs taken from the text:
a) want to, settle for, wired to
b) spoil for, keep up, spirit away
c) sit through, settle for, greet with
d) catch up, turn off, keep up with
e) stab in, turn off, greet with
Spoilers
One fateful summer evening, I hurried home from work, eager to catch up on “Game of Thrones.” I don’t have cable, so I often watch my shows a day or two after they air, usually via some streaming service or an app. At the time, I had become an obsessive avoider of spoilers, the kind of person who stayed off Instagram and Twitter during live episodes of popular shows, even going so far as to turn off notifications to avoid reading about a reveal or twist that would ruin a surprise.
That night, blissfully unaware of what was to come, I switched on my television, expecting to be greeted with the medieval tones and threedimensional map of Westeros that signal the show’s start. Instead, I was confronted by a massacre: This episode was “The Rains of Castamere”, popularly known as the Red Wedding. Some friends and I shared an account, so the episode began where the previous person stopped watching, at the precise moment a pregnant character is stabbed in the stomach. I felt as if I had been stabbed in the stomach. I had invested nearly 30 hours into one of the biggest buildups of modern television only to have it — and my preciousness about spoilers — ruined.
The celebrated film critic Pauline Kael once wrote that movies function as escape pods, portals to parallel universes that can be radically different from emotional norms and societal conditioning of our own. What she meant was they parceled out freedom, allowing viewers to lose their selves in an effort to find greater connection to the self. “A good movie can make you feel alive again, in contact, not just lost in another city,” she wrote in 1969.
Since then, movies — and now, increasingly, television shows — have become even more intense and immersive, ensuring that we lose ourselves more freely in them. Today’s directors aim for attention totality in order to capture easily distracted audiences. A 2015 study conducted in part by James Cutting, a psychologist at Cornell University found that filmmakers have adapted their shooting styles to try to keep up with changes in our attention spans. And maybe it works — for adrenaline junkies. But losing myself in a film almost guarantees an anxiety attack. Most times, at the movies, my stress levels are ratcheted up so high that I can barely sit through the full production without excusing myself, clutching people next to me or crawling out of my seat, incapacitated by the unknown.
Yet I love TV and movies, so in order to keep watching, I started spoiling them for myself. Spoilers have become a virtual Xanax, triggering a relaxing sensation that envelops my entire body – luckily, the internet has made my habit easy. I’m not a total barbarian: I never divulge endings or let on that I know them. There’s even some evidence that the audience’s enjoyment is heightened when they have a sense of what’s going to happen. Once I’m clued in, I can actually let myself be spirited away, as the directors and screenwriters intended, enjoying the things I’m normally too wired to enjoy. The more films and TV shows I spoil for myself, the more I am convinced that truly interesting stories can’t be ruined — the plot thickens with the viewing like a rich sauce.
Kael wrote that “when we go to the movies, we want something good, something sustained, we don’t want to settle for just a bit of something, because we have other things to do.” This is what entertainment has most to offer. My only condition is doing it without raising my blood pressure.
Source: The NYT Magazine, Feb., 2018.
❑ TRADUĂĂO - TEXTO 2:
One fateful summer evening, I hurried home from work, eager to catch up on “Game of Thrones.” I don’t have cable, so I often watch my shows a day or two after they air, usually via some streaming service or an app. At the time, I had become an obsessive avoider of spoilers, the kind of person who stayed off Instagram and Twitter during live episodes of popular shows, even going so far as to turn off notifications to avoid reading about a reveal or twist that would ruin a surprise.
Em uma fatĂdica noite de verĂŁo, corri para casa do trabalho, ansioso para acompanhar “Game of Thrones”. Como nĂŁo tenho TV a cabo, geralmente assisto aos meus programas um ou dois dias depois de irem ao ar, geralmente por meio de algum serviço de streaming ou aplicativo. Na Ă©poca, eu havia me tornado um evitador obsessivo de spoilers, o tipo de pessoa que ficava fora do Instagram e do Twitter durante os episĂłdios ao vivo de programas populares, chegando a desligar as notificaçÔes para evitar ler sobre uma revelação ou reviravolta que arruinaria uma surpresa.
That night, blissfully unaware of what was to come, I switched on my television, expecting to be greeted with the medieval tones and threedimensional map of Westeros that signal the show’s start. Instead, I was confronted by a massacre: This episode was “The Rains of Castamere”, popularly known as the Red Wedding.
Spoilers
(NotificaçÔes importantes)
One fateful summer evening, I hurried home from work, eager to catch up on “Game of Thrones.” I don’t have cable, so I often watch my shows a day or two after they air, usually via some streaming service or an app. At the time, I had become an obsessive avoider of spoilers, the kind of person who stayed off Instagram and Twitter during live episodes of popular shows, even going so far as to turn off notifications to avoid reading about a reveal or twist that would ruin a surprise.
Em uma fatĂdica noite de verĂŁo, corri para casa do trabalho, ansioso para acompanhar “Game of Thrones”. Como nĂŁo tenho TV a cabo, geralmente assisto aos meus programas um ou dois dias depois de irem ao ar, geralmente por meio de algum serviço de streaming ou aplicativo. Na Ă©poca, eu havia me tornado um evitador obsessivo de spoilers, o tipo de pessoa que ficava fora do Instagram e do Twitter durante os episĂłdios ao vivo de programas populares, chegando a desligar as notificaçÔes para evitar ler sobre uma revelação ou reviravolta que arruinaria uma surpresa.
That night, blissfully unaware of what was to come, I switched on my television, expecting to be greeted with the medieval tones and threedimensional map of Westeros that signal the show’s start. Instead, I was confronted by a massacre: This episode was “The Rains of Castamere”, popularly known as the Red Wedding.
Nessa noite, sem saber o que estava para vir, liguei a televisĂŁo, esperando ser recebido com os tons medievais e o mapa tridimensional de Westeros que assinalam o inĂcio da sĂ©rie. Em vez disso, fui confrontado com um massacre: Este episĂłdio foi "The Rains of Castamere", popularmente conhecido como o Casamento Vermelho.
Some friends and I shared an account, so the episode began where the previous person stopped watching, at the precise moment a pregnant character is stabbed in the stomach. I felt as if I had been stabbed in the stomach. I had invested nearly 30 hours into one of the biggest buildups of modern television only to have it — and my preciousness about spoilers — ruined.
Alguns amigos e eu compartilhamos uma conta, por isso o episódio começou onde a pessoa anterior deixou de ver, no preciso momento em que uma personagem gråvida é esfaqueada no estÎmago. Senti-me como se tivesse levado uma facada no estÎmago. Tinha investido quase 30 horas num dos maiores desenvolvimentos da televisão moderna apenas para o ver - e ao meu preciosismo em relação a spoilers - arruinado.
The celebrated film critic Pauline Kael once wrote that movies function as escape pods, portals to parallel universes that can be radically different from emotional norms and societal conditioning of our own. What she meant was they parceled out freedom, allowing viewers to lose their selves in an effort to find greater connection to the self. “A good movie can make you feel alive again, in contact, not just lost in another city,” she wrote in 1969.
A cĂ©lebre crĂtica de cinema Pauline Kael escreveu uma vez que os filmes funcionam como cĂĄpsulas de fuga, portais para universos paralelos que podem ser radicalmente diferentes das normas emocionais e dos condicionamentos sociais da nossa prĂłpria sociedade. O que ela queria dizer era que os filmes proporcionavam liberdade, permitindo aos espectadores perderem-se a si prĂłprios num esforço para encontrarem uma maior ligação a si prĂłprios. "Um bom filme pode fazer-nos sentir vivos de novo, em contacto, e nĂŁo apenas perdidos noutra cidade", escreveu em 1969.
Since then, movies — and now, increasingly, television shows — have become even more intense and immersive, ensuring that we lose ourselves more freely in them. Today’s directors aim for attention totality in order to capture easily distracted audiences. A 2015 study conducted in part by James Cutting, a psychologist at Cornell University found that filmmakers have adapted their shooting styles to try to keep up with changes in our attention spans.
Alguns amigos e eu compartilhamos uma conta, por isso o episódio começou onde a pessoa anterior deixou de ver, no preciso momento em que uma personagem gråvida é esfaqueada no estÎmago. Senti-me como se tivesse levado uma facada no estÎmago. Tinha investido quase 30 horas num dos maiores desenvolvimentos da televisão moderna apenas para o ver - e ao meu preciosismo em relação a spoilers - arruinado.
The celebrated film critic Pauline Kael once wrote that movies function as escape pods, portals to parallel universes that can be radically different from emotional norms and societal conditioning of our own. What she meant was they parceled out freedom, allowing viewers to lose their selves in an effort to find greater connection to the self. “A good movie can make you feel alive again, in contact, not just lost in another city,” she wrote in 1969.
A cĂ©lebre crĂtica de cinema Pauline Kael escreveu uma vez que os filmes funcionam como cĂĄpsulas de fuga, portais para universos paralelos que podem ser radicalmente diferentes das normas emocionais e dos condicionamentos sociais da nossa prĂłpria sociedade. O que ela queria dizer era que os filmes proporcionavam liberdade, permitindo aos espectadores perderem-se a si prĂłprios num esforço para encontrarem uma maior ligação a si prĂłprios. "Um bom filme pode fazer-nos sentir vivos de novo, em contacto, e nĂŁo apenas perdidos noutra cidade", escreveu em 1969.
Since then, movies — and now, increasingly, television shows — have become even more intense and immersive, ensuring that we lose ourselves more freely in them. Today’s directors aim for attention totality in order to capture easily distracted audiences. A 2015 study conducted in part by James Cutting, a psychologist at Cornell University found that filmmakers have adapted their shooting styles to try to keep up with changes in our attention spans.
Desde entĂŁo, os filmes - e agora, cada vez mais, os programas de televisĂŁo - tornaram-se ainda mais intensos e imersivos, garantindo que nos perdemos mais livremente neles. Os realizadores de hoje procuram a totalidade da atenção para captar audiĂȘncias facilmente distraĂdas. Um estudo de 2015, realizado em parte por James Cutting, psicĂłlogo da Universidade de Cornell, concluiu que os realizadores adaptaram os seus estilos de filmagem para tentar acompanhar as mudanças na nossa capacidade de atenção.
And maybe it works — for adrenaline junkies. But losing myself in a film almost guarantees an anxiety attack. Most times, at the movies, my stress levels are ratcheted up so high that I can barely sit through the full production without excusing myself, clutching people next to me or crawling out of my seat, incapacitated by the unknown.
E talvez funcione - para os viciados em adrenalina. Mas perder-me num filme Ă© quase garantia de um ataque de ansiedade. Na maior parte das vezes, no cinema, os meus nĂveis de stress sĂŁo tĂŁo elevados que mal consigo assistir a toda a produção sem me desculpar, agarrar-me Ă s pessoas ao meu lado ou rastejar para fora do meu lugar, incapacitado pelo desconhecido.
Yet I love TV and movies, so in order to keep watching, I started spoiling them for myself. Spoilers have become a virtual Xanax, triggering a relaxing sensation that envelops my entire body – luckily, the internet has made my habit easy. I’m not a total barbarian: I never divulge endings or let on that I know them. There’s even some evidence that the audience’s enjoyment is heightened when they have a sense of what’s going to happen.
Yet I love TV and movies, so in order to keep watching, I started spoiling them for myself. Spoilers have become a virtual Xanax, triggering a relaxing sensation that envelops my entire body – luckily, the internet has made my habit easy. I’m not a total barbarian: I never divulge endings or let on that I know them. There’s even some evidence that the audience’s enjoyment is heightened when they have a sense of what’s going to happen.
No entanto, adoro televisĂŁo e filmes, por isso, para continuar a vĂȘ-los, comecei a dar-lhes spoilers. Os spoilers tornaram-se um Xanax virtual, provocando uma sensação de relaxamento que envolve todo o meu corpo - felizmente, a Internet facilitou este hĂĄbito. NĂŁo sou um bĂĄrbaro total: nunca divulgo os finais nem deixo transparecer que os conheço. AtĂ© hĂĄ provas de que o pĂșblico se diverte mais quando tem uma ideia do que vai acontecer.
Once I’m clued in, I can actually let myself be spirited away, as the directors and screenwriters intended, enjoying the things I’m normally too wired to enjoy. The more films and TV shows I spoil for myself, the more I am convinced that truly interesting stories can’t be ruined — the plot thickens with the viewing like a rich sauce.
Uma vez informado, posso realmente deixar-me levar, como os realizadores e argumentistas pretendiam, pelas coisas que normalmente estou demasiado ligado para apreciar. Quanto mais filmes e programas de televisão estrago para mim próprio, mais me convenço de que as histórias verdadeiramente interessantes não podem ser estragadas - o enredo adensa-se com o visionamento, como um molho rico.
Kael wrote that “when we go to the movies, we want something good, something sustained, we don’t want to settle for just a bit of something, because we have other things to do.” This is what entertainment has most to offer. My only condition is doing it without raising my blood pressure.
Uma vez informado, posso realmente deixar-me levar, como os realizadores e argumentistas pretendiam, pelas coisas que normalmente estou demasiado ligado para apreciar. Quanto mais filmes e programas de televisão estrago para mim próprio, mais me convenço de que as histórias verdadeiramente interessantes não podem ser estragadas - o enredo adensa-se com o visionamento, como um molho rico.
Kael wrote that “when we go to the movies, we want something good, something sustained, we don’t want to settle for just a bit of something, because we have other things to do.” This is what entertainment has most to offer. My only condition is doing it without raising my blood pressure.
Kael escreveu que "quando vamos ao cinema, queremos algo de bom, algo sustentado, nĂŁo queremos contentar-nos apenas com um pouco de algo, porque temos outras coisas para fazer". Ă isto que o entretenimento tem mais para oferecer. A minha Ășnica condição Ă© fazĂȘ-lo sem aumentar a minha tensĂŁo arterial.
đ QuestĂŁo 14 Check the alternative that only brings phrasal verbs taken from the text:
a) want to, settle for, wired to
b) spoil for, keep up, spirit away
c) sit through, settle for, greet with
d) catch up, turn off, keep up with
e) stab in, turn off, greet with
đ ComentĂĄrios e Gabarito D
TĂPICO - PHRASAL VERBS :
❑ TRECHO - PHRASAL VERB - TO CATCH UP ON:
➭ One fateful summer evening, I hurried home from work, eager to catch up on “Game of Thrones.”
➭ Em uma fatĂdica noite de verĂŁo, corri para casa do trabalho, ansioso para acompanhar “Game of Thrones”.
➭ TO CATCH UP ON – ATUALIZAR-SE EM, POR EM DIA DIA.
❑ TRECHO - PHRASAL VERB - TO TURN OFF:
➭ At the time, I had become an obsessive avoider of spoilers, the kind of person who stayed off Instagram and Twitter during live episodes of popular shows, even going so far as to turn off notifications to avoid reading about a reveal or twist that would ruin a surprise.
➭ Na Ă©poca, eu havia me tornado um evitador obsessivo de spoilers, o tipo de pessoa que ficava fora do Instagram e do Twitter durante os episĂłdios ao vivo de programas populares, chegando a desativar as notificaçÔes para evitar ler sobre uma revelação ou reviravolta que arruinaria uma surpresa.
➭ TO TURN OFF – DESABILITAR, DESATIVAR, DESCONECTAR, DESLIGAR.
.
❑ TRECHO - PHRASAL VERB - TO KEEP UP WITH:
➭ A 2015 study conducted in part by James Cutting, a psychologist at Cornell University found that filmmakers have adapted their shooting styles to try to keep up with changes in our attention spans.
➭ Um estudo de 2015 conduzido em parte por James Cutting, psicĂłlogo da Cornell University, descobriu que os cineastas adaptaram seus estilos de filmagem para tentar acompanhar as mudanças em nossos perĂodos de atenção.
➭ TO KEEP UP WITH – MANTER-SE ATUALIZADO COM, ACOMPANHAR, POR EM DIA DIA.
đ QuestĂŁo 15
In the sentence “I felt as if I had been stabbed in the stomach”, we should understand the narrator meant that:
a) She had been betrayed.
b) She had received a knife cut in her stomach.
c) She had been attacked by a stranger.
d) She had been attacked by friends.
e) She had made a huge mistake.
In the sentence “I felt as if I had been stabbed in the stomach”, we should understand the narrator meant that:
a) She had been betrayed.
b) She had received a knife cut in her stomach.
c) She had been attacked by a stranger.
d) She had been attacked by friends.
e) She had made a huge mistake.
đ ComentĂĄrios e Gabarito A
In the sentence “I felt as if I had been stabbed in the stomach”, we should understand the narrator meant that:
(Senti-me como se tivesse sido esfaqueado no estĂŽmago), devemos entender que o narrador quis dizer isso:
a) She had been betrayed. – Foi traĂda.
b) She had received a knife cut in her stomach. – Recebeu um corte de faca no estĂŽmago.
c) She had been attacked by a stranger. – Foi atacada por um desconhecido.
d) She had been attacked by friends. – Foi atacada por amigos.
e) She had made a huge mistake. – Cometeu um grande erro.
a) She had been betrayed. – Foi traĂda.
b) She had received a knife cut in her stomach. – Recebeu um corte de faca no estĂŽmago.
c) She had been attacked by a stranger. – Foi atacada por um desconhecido.
d) She had been attacked by friends. – Foi atacada por amigos.
e) She had made a huge mistake. – Cometeu um grande erro.
❑ SENTENĂA:
➭ I felt as if I had been stabbed in the stomach.
➭ Senti-me como se tivesse sido esfaqueada no estĂŽmago.
➭ A STAB IN THE BACK – UMA PUNHALADA PELAS COSTAS, UMA TRAIĂĂO.
❑ TEXTO 3:
a) His mom is worried about his ideas.
b) His mom is not paying attention to his needs.
c) His mom is unaware of what he really wants.
d) His mom is always picking on him.
e) His mom is not into radical ideas.
https://reallifeglobal.com/learning-english-comics-calvin-andhobbes/
❑ TRADUĂĂO - TEXTO 3:
*1Âș quadro:
"Mom, can I set fire to my bed mattrees?"
(MĂŁe, posso colocar fogo no colchĂŁo da minha cama?)
"No, Calvin."
(NĂŁo, Calvin)
*2Âș quadro:
"Can I ride my tricycle on the roof?"
(Posso andar no meu triciclo no telhado?)
*3Âș quadro:
"Then can I have a cookie?"
(EntĂŁo eu posso comer um biscoito?)
*4Âș quadro:
"No Calvin."
(NĂŁo Calvin.)
"She's on to me!"
(Ela entende minhas intençÔes!]
"Mom, can I set fire to my bed mattrees?"
(MĂŁe, posso colocar fogo no colchĂŁo da minha cama?)
"No, Calvin."
(NĂŁo, Calvin)
*2Âș quadro:
"Can I ride my tricycle on the roof?"
(Posso andar no meu triciclo no telhado?)
*3Âș quadro:
"Then can I have a cookie?"
(EntĂŁo eu posso comer um biscoito?)
*4Âș quadro:
"No Calvin."
(NĂŁo Calvin.)
"She's on to me!"
(Ela entende minhas intençÔes!]
đ QuestĂŁo 16
According to Calvin:a) His mom is worried about his ideas.
b) His mom is not paying attention to his needs.
c) His mom is unaware of what he really wants.
d) His mom is always picking on him.
e) His mom is not into radical ideas.
đ ComentĂĄrios e Gabarito D
TĂPICO - INFERĂNCIA, ELEMENTOS VERBAIS E NĂO-VERBAIS :
According to Calvin:
a) His mom is worried about his ideas. – A mĂŁe dele estĂĄ preocupada com as suas ideias.
b) His mom is not paying attention to his needs. – A mĂŁe nĂŁo estĂĄ a prestar atenção Ă s suas necessidades.
c) His mom is unaware of what he really wants.
a) His mom is worried about his ideas. – A mĂŁe dele estĂĄ preocupada com as suas ideias.
b) His mom is not paying attention to his needs. – A mĂŁe nĂŁo estĂĄ a prestar atenção Ă s suas necessidades.
c) His mom is unaware of what he really wants.
– A mĂŁe nĂŁo sabe o que ele realmente quer.
d) His mom is always picking on him. – A mĂŁe estĂĄ sempre a implicar com ele.
e) His mom is not into radical ideas. – A mĂŁe dele nĂŁo gosta de ideias radicais.
❑ IDEIA CONTEXTUAL DA TIRINHA:
d) His mom is always picking on him. – A mĂŁe estĂĄ sempre a implicar com ele.
e) His mom is not into radical ideas. – A mĂŁe dele nĂŁo gosta de ideias radicais.
❑ IDEIA CONTEXTUAL DA TIRINHA:
Nesta tirinha, a fim de fazer a pergunta "Then can I have a cookie?"(Posso comer um biscoito?), Calvin faz perguntas absurdas a mĂŁe dele.
No entanto, esse plano nĂŁo funciona, o que leva Calvin a pensar que "She’s on to me"(ela sabe das minhas intençÔes) e portanto, na concepção de Calvin, sua mĂŁe estĂĄ sempre pegando no pĂ© dele.
❑ TEXTO 4: A questĂŁo 17 refere-se Ă tirinha abaixo.
https://www.peruforless.com/blog/cultural-vibes-mafalda-thecomic-strip-character-fromargentina/
17 – (MACKENZIE-VESTIBULAR-2018)
Considering the dialogues in this strip, mainly in the first and second boxes, the use of will and going to to express future can be explained by:
(A) They both refer to prior plans.
(B) Both of them refer to predictions.
(C) They refer to plans and predictions, respectively.
(D) Both of them refer to willingness.
(E) They refer to willingness and plans, respectively.
đ ComentĂĄrios e Gabarito C
Considerando os diĂĄlogos desta tira, principalmente na primeira e segunda caixas, o uso de will e going to para expressar futuro pode ser explicado por:
a) They both refer to prior plans. Ambos se referem a planos anteriores.
b) Both of them refer to predictions. Ambos se referem a previsÔes.
c) They refer to plans and predictions, respectively. Referem-se a planos e previsÔes, respectivamente.
d) Both of them refer to willingness. Ambos referem-se Ă vontade.
e) They refer to willingness and plans, respectively. Referem-se à disposição e aos planos, respectivamente.
• TRADUĂĂO-TEXTO:
- AMIGA: First I’m going to marry well, right? And then I’m going to have babies! Primeiro eu me casarei bem, certo? E depois terei filhos! (PLANEJAMENTO → futuro certo → GOING TO)
- AMIGA: And this will be my life. Like it?! – E esta serĂĄ a minha vida. Gosta?! (PREVISĂO → futuro incerto → WILL)
- MAFALDA: Yes, the one problem ... Sim, o Ășnico problema ...
- MAFALDA: ...is that it’s not a life, it’s a list! ... Ă© que isso nĂŁo Ă© uma vida, Ă© uma lista!
• EXPRESSĂES/FRASES PRONTAS:
(1) I’m going to marry well. Eu me casarei bem.
(2) a big, big, big house uma casa bem grande.
(3) a really pretty car um carro bem bonito.
(4) the one problem is that o Ășnico problema Ă© que.
(5) it’s not a life isso nĂŁo Ă© uma vida.
❑ TEXTO 5:
http://babyblues.com/comics/november-21-2015/
❑ TRADUĂĂO - TEXTO 5:
- May I help you? – Posso ajudĂĄ-la?
- Yes, I'm looking for some new clothes. – Sim, estou procurando roupas novas.
- Something comfortable for around the house that doesn't suggest that I've completely thrown in the towel. – Algo confortĂĄvel para a casa que nĂŁo sugira que joguei a toalha completamente.
- Delusional stay-at-homes, just past the diaper bags, on your right. – DelĂrios de donas de casa, logo a seguir aos sacos de fraldas, Ă sua direita.
- Perfect. – Perfeito.
đ QuestĂŁo 18
From this strip, it is possible to infer that:a) The woman is looking for fancy clothes to wear.
b) The woman is trying to fit in new clothes.
c) The woman is looking for baby clothes.
d) The woman is worried about her fashion style in clothing.
e) The woman is desperately worn out.
đ ComentĂĄrios e Gabarito E
TĂPICO - INFERĂNCIA, ELEMENTOS VERBAIS E NĂO-VERBAIS :
From: www.ldoceonline.com
From this strip, it is possible to infer that:
A partir desta tira, Ă© possĂvel inferir/deduzir que:
a) The woman is looking for fancy clothes to wear. – A mulher estĂĄ procurando roupas chiques para vestir.
b) The woman is trying to fit in new clothes. – A mulher estĂĄ tentando se encaixar em roupas novas.
c) The woman is looking for baby clothes. – A mulher estĂĄ procurando roupas de bebĂȘ.
d) The woman is worried about her fashion style in clothing. – A mulher estĂĄ preocupada com seu estilo de moda nas roupas.
e) The woman is desperately worn out. – A mulher estĂĄ gravemente esgotada.
a) The woman is looking for fancy clothes to wear. – A mulher estĂĄ procurando roupas chiques para vestir.
b) The woman is trying to fit in new clothes. – A mulher estĂĄ tentando se encaixar em roupas novas.
c) The woman is looking for baby clothes. – A mulher estĂĄ procurando roupas de bebĂȘ.
d) The woman is worried about her fashion style in clothing. – A mulher estĂĄ preocupada com seu estilo de moda nas roupas.
e) The woman is desperately worn out. – A mulher estĂĄ gravemente esgotada.
➭ WORN OUT (= exhausted) – ESGOTADO, MUITO CANSADO ou VELHO DEMAIS DEVIDO O USO.
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