🔹| 🧷 Caderno de Prova | 🧷 Gabarito Oficial |
🔹| 20 | Multiple Choice Questions | FOUR-Option Question |
🟨 TEXTO:
New Translations Explore Brazil’s ‘Endless and Unfinished’ Character
(Novas traduções exploram o caráter ‘eterno e inacabado’ do Brasil.)
🔹"Character" = caráter, traço distintivo, essência
🔹‘Endless and Unfinished’ = literalmente “infinito e inacabado”, usado como expressão entre aspas para destacar uma ideia ou citação.
Mário de Andrade’s novel
“Macunaíma: The Hero With No Character”
follows a shape-shifting, rule-flouting, raceswitching trickster as he roams the vast nation of
Brazil, meeting historical characters, folkloric
figures, and outrageously satirized stereotypes
along the way.
🔹(O romance de Mário de Andrade, ‘Macunaíma: O Herói Sem Caráter’, acompanha um trapaceiro mutante, que desafia regras e muda de raça, enquanto ele percorre a vasta nação do Brasil, encontrando personagens históricos, figuras do folclore e estereótipos satirizados de forma escandalosa ao longo do caminho.)
Rich with words and references from
Indigenous and Afro-Brazilian cultures, the
modernist novel was hailed as a classic upon its
publication in 1928, and has long been seen as an
allegory for Brazil’s unique cultural blend.
Faced
with criticism of the book’s uncredited reliance on
anthropological research, Andrade offered up, in
an open letter, a typically insouciant response: “I
copied Brazil.”
Some scholars have deemed the book’s
complexity virtually untranslatable — but this
week, New Directions published a new translation
of “Macunaíma” by Katrina Dodson that aims to
transport Andrade’s idiosyncratic prose into
English. Over six years of research, Dodson
familiarized herself with every aspect of the
novel.
She chased down obscure flora and fauna
on two trips to the Amazon, waded through
reams of critical commentary, immersed herself
in Andrade’s archives in São Paulo and discussed
the book’s continued relevance with
contemporary Brazilians.
While she found that for
some readers the book continues to represent
the “endless and unfinished” national spirit of
Brazil, she also met many Afro-Brazilian and
Indigenous artists who have set out to reclaim the
folkloric roots that Andrade drew on.
Inspired by her research, Dodson hopes
that her new translation will emphasize just how
deeply personal, and multifaceted, the concept of
Brazil was for Andrade.
“He had African heritage
on both sides. Once you know more about him
and more about the context of how he wrote this
book, you understand that there are a lot of very
sincere and serious questions at the heart of it.”
The notion that the book and its main
character are a stand-in for the country and its “amalgamation of different races and ethnicities”
has helped establish “Macunaíma” as a canonical
novel, read in every classroom devoted to
Brazilian literature, said Pedro Meira Monteiro,
chair of Spanish and Portuguese at Princeton
University.
But it would be a mistake to read it as
a nationalist project, he said. “Mário is so
profoundly charmed by the endless and
unfinished character of Brazil,” he said, referring
to the author by his first name, with the
familiarity common to Andrade’s readers in
Brazil.“
He is seeing something that he recognizes
as his and at the same time not,” he said. “There’s
a problematic sense of belonging in his work that
is profound.”
A more personal register is on full
display in “The Apprentice Tourist,” the first
translation of another Andrade book by Flora
Thomson-DeVeaux that was also published this
week by Penguin Classics.
Compiled from notes
Andrade made during his first trip to the Amazon
shortly before “Macunaíma” was released, “The
Apprentice Tourist” shows Andrade’s fascination
with Amazonian cultures — and his utter
boredom with the government officials and elites
who welcomed the group of travelers along the
way.
Andrade was born in São Paulo, the
country’s industrial capital, in 1893. He enrolled
in São Paulo’s Dramatic and Musical Conservatory
at age 11 to train as a concert pianist, taught
himself French and became enamored with the
poetry of the Symbolists.
By his mid-20s he was
traveling throughout Brazil, publishing poetry and
essays on folklore along the way.
Andrade’s fascination with the
multiplicities of Brazilian culture placed him at the
center of the modernist movements that were
sweeping the country in the 1920s.
“Macunaíma”
was first excerpted in the Revista de
Antropofagia, the journal edited by Oswald de
Andrade (no relation), whose 1928 manifesto
proclaimed that Brazilian thinkers needed to
reject European artifice and “cannibalize” native
forms of storytelling to produce a new Brazilian
art.
Antropofagia, or anthropophagy in English,
refers to the eating of human flesh.
The book found an admiring readership
among the Brazilian intelligentsia, but even they
were struck by its incongruities.
One critic, João
Ribeiro — a prominent folklorist himself — called
it “voluntarily barbarous, primeval, an assortment
of disconnected fragments put together by a
commentator incapable of any coordination.”
Dodson approached the book because
she felt the existing English translation, E.A.
Goodland’s 1984 version for Random House, had
smoothed over the “joy and poetry of the language, and the cultural politics of the
particular mix of languages.”
Take the book’s first line, which half a
dozen Brazilian artists and scholars interviewed
by The New York Times quoted, unprompted,
from memory: “No fundo do mato-virgem nasceu
Macunaíma, herói da nossa gente.”
Goodland’s
translation of the first line ignores Andrade’s
sentence structure. It starts: “In a far corner of
Northern Brazil” — words that do not exist in the
original — then continues, “at an hour when so
deep a hush had fallen on the virgin forest….”
Goodland, a retired technical director for a sugar
company in Guyana, was “well-versed in all of the
natural history foundation of the book,” Dodson
said, “but he completely missed the spirit of what
the book is trying to do.”
Dodson decided to essentially
transliterate the line, despite the grammatical
awkwardness it introduces in English: “In the
depths of the virgin-forest was born Macunaíma,
hero of our people.”
The importance of the line,
she said, is not in establishing where the action is
taking place, as Goodland had done, but in
bringing the reader into the fold of the people at
hand.
“Macunaíma is our hero,” she said.
As her knowledge of the book
deepened, Dodson said, she found herself
walking back some of her own interventions to
maintain the “music” of the original.
“A lot of the
words in the book are not in the regular Brazilian
Portuguese dictionaries,” Dodson noted.
“Or if
they are, the meanings are ambiguous. My goal
was to make you feel the joy of language in the
book, to be carried along by all the humor and
the colloquial ways in which people speak, but
also by the beautiful sounds of the Indigenous
words.”
For the Brazilian artists behind the
book’s many adaptations into film, theater, and
art, Andrade’s insistence on maintaining the
complex vernacular that he overheard on his
travels is precisely what makes the book so vital.
“The book’s difficulty is its genius,” said Iara
Rennó, a São Paulo-based musician. Shortly after
reading the book for the first time and becoming
enamored by its musicality, Rennó began writing
her 2008 album, “Macunaíma Ópera Tupi.”
“‘Macunaíma’ puts the reader, who is used to socalled ‘well-written’ Portuguese, into a state of
transgression,” she said.
“And that transgression
is so important. It feeds culture.”
Some scholars have compared
“Macunaíma” to James Joyce’s “Ulysses,” another
totemic modernist novel from the 1920s whose
allusive, wide-ranging play with language is as
central to its identity as its plot.
“The elites in
Brazil love to think of themselves as dislocated Europeans,” said Caetano Galindo, whose
innovative 2012 translation of “Ulysses” into
Brazilian Portuguese won the prestigious Jabuti
prize.
Andrade, he added, “had a huge role in
facing the fact that this is not a true monolingual
country.”
Nearly a century after its publication,
many of the novel’s Brazilian admirers are unsure
of how it will be received in the United States.
“Macunaíma is always on the verge of being
canceled,” said Meira Monteiro, the Princeton
professor.
🧷Adapted from: https://www.nytimes.com/2023/04/07
01. According to the article, the modernist novel
“Macunaíma” has remained a/an
A) untranslatable folkloric tale.
B) allegory for Brazil's unique cultural blend.
C) profound nationalist project.
D) charming romantic tale of our country.
💡 GABARITO Ⓑ
🧊Enunciado:
02. Katrina Dodson, who's made a new translation of
“Macunaíma”, considers the book
A) a poor photograph of Brazilian heritage.
B) a perfect description of Amazonian cultures.
C) the best source to the understanding of Brazilian
people.
D) the author’s personal and multifaceted concept of
Brazil.
💡 GABARITO Ⓓ
🧊Enunciado:
03. According to Dodson, for some readers “Macunaíma”
still represents the
A) finest compilation of Brazilian folkloric roots.
B) author's disgust with government officials.
C) endless and unfinished national spirit of Brazil.
D) best literary work on Brazil's Indigenous peoples.
💡 GABARITO Ⓒ
🧊Enunciado:
04. João Ribeiro, a distinguished folklorist, criticized the
book (Macunaíma) by saying that, among other things, it
was
A) a boring essay about Brazilian folklore and poetry.
B) written by someone who couldn't coordinate anything.
C) a silly attempt at producing a new form of storytelling.
D) utterly boring in its attempt to reject European artifice.
💡 GABARITO Ⓑ
🧊Enunciado:
05. One of the facts about Mário de Andrade is that he
A) spent his childhood in a small Portuguese village.
B) trained as a concert pianist at eleven years old.
C) wrote the 1928 manifest with Oswald de Andrade.
D) traveled throughout Brazil to publish his romantic
plays.
💡 GABARITO Ⓑ
🧊Enunciado:
06. As to “The Apprentice Tourist”, it is correct to say
that it
A) was published in São Paulo in 1893.
B) is similar to an Edgar Allan Poe's short story.
C) was inspired by many Indigenous artists.
D) shows the author's fascination with Amazonian
cultures.
💡 GABARITO Ⓓ
🧊Enunciado:
07. In order to translate “Macunaíma”, Katrina Dodson
went through a long process of preparation, which
included, among other things,
A) trips to the Amazon and immersion in Andrade’s
archives.
B) interviews with American and Brazilian scholars.
C) discussions with Brazilian readers about other novels
by Andrade.
D) years of research in American libraries and cultural
centers.
💡 GABARITO Ⓐ
🧊Enunciado:
08. As a translator, Dodson emphasized that her goal was
to make the reader feel, among other aspects, the
A) awkward formality in the characters’ speech.
B) joy of the language and the humor in “Macunaíma”.
C) difficulty of reading “Macunaíma” in another language.
D) construction of a character ‘without character’.
💡 GABARITO Ⓑ
🧊Enunciado:
09. In the translation of the first line in “Macunaíma”:
“No fundo do mato-virgem nasceu Macunaíma, herói da
nossa gente.” (“In the depths of the virgin-forest was born
Macunaíma, hero of our people.”), Katrina Dodson used a
strategy in which she
A) changes the sentence structure but conveys the
meaning.
B) creates a different image to introduce the hero.
C) maintains the sentence structure of Andrade’s original
first line.
D) keeps most of the sentence structure but changes the
meaning.
💡 GABARITO Ⓒ
🧊Enunciado:
10. A point of comparison that some scholars have
established between Mário de Andrade’s “Macunaíma”
and James Joyce’s “Ulisses” refers to the comprehensive
use of
A) language play as an identifying aspect of these novels.
B) very traditional literary devices to characterize the
hero.
C) formal language in order to highlight the monolingual
aspect.
D) linear narrative procedures as a new tendency in the
1920s.
💡 GABARITO Ⓐ
🧊Enunciado:
11. The sentences “…she also met many Afro-Brazilian
and Indigenous artists who have set out to reclaim the
folkloric roots…” (lines 32-34) and “Andrade’s fascination
with the multiplicities of Brazilian culture placed him at the
center of the modernist movements that were sweeping
the country in the 1920s.” (lines 80-83) contain relative
clauses that are classified, respectively, as
A) defining and non-defining.
B) non-defining and non-defining.
C) non-defining and defining.
D) defining and defining.
💡 GABARITO Ⓓ
🧊Enunciado:
12. The sentences “Rich with words and references from
Indigenous and Afro-Brazilian cultures, the modernist
novel was hailed as a classic upon its publication in 1928,
and has long been seen as an allegory for Brazil’s unique
cultural blend.” (lines 08-12) and “Over six years of
research, Dodson familiarized herself with every aspect of
the novel.” (lines 22-24) are, respectively,
A) simple and compound.
B) compound and simple.
C) compound and complex.
D) complex and simple.
💡 GABARITO Ⓑ
🧊Enunciado:
13. In terms of voice of the verb, the sentences “Mário is
so profoundly charmed by the endless and unfinished
character of Brazil,” (lines 51-53) and “Macunaíma was
first excerpted in the Revista de Antropofagia,” (lines 83-
85) are, respectively, in the
A) passive voice and active voice.
B) passive voice and passive voice.
C) active voice and active voice.
D) active voice and passive voice.
💡 GABARITO Ⓑ
🧊Enunciado:
14. In the sentence: “…you understand that there are a
lot of very sincere and serious questions at the heart of it.”
(lines 41-42) there is a/an
A) object noun clause.
B) subject noun clause.
C) adjective clause.
D) adverb clause.
💡 GABARITO Ⓐ
🧊Enunciado:
15. In the sentence: “As her knowledge of the book
deepened, Dodson said, she found herself walking back
some of her own interventions to maintain the ‘music’ of
the original.” (lines 129-132) the part in bold is a/an
A) relative clause.
B) object noun clause.
C) adverb clause.
D) subject noun clause.
💡 GABARITO Ⓒ
🧊Enunciado:
16. The tenses of the verbs in “...has long been seen as
an allegory...” (lines 11-12), “While she found that for
some readers...” (lines 29-30), and “He is seeing
something...” (line 56) are
A) simple present, present perfect, present continuous.
B) present perfect, simple past, past continuous.
C) present perfect passive, simple past, present
continuous.
D) past perfect, simple past, simple present.
💡 GABARITO Ⓒ
🧊Enunciado:
17. The sentences “New Directions published a new
translation of ‘Macunaíma’ by Katrina Dodson” (lines 19-
20) and “The book found an admiring readership among
the Brazilian intelligentsia,” (lines 92-93) contain,
respectively, a/an
A) direct object and an indirect object.
B) direct object and a direct object.
C) indirect object and an indirect object.
D) indirect object and a direct object.
💡 GABARITO Ⓑ
🧊Enunciado:
18. The -ING words “publishing” (line 78), “sweeping"
(line 83), and “admiring” (line 92) function respectively as
A) adjective, noun, verb.
B) noun, verb, adjective.
C) verb, verb, verb.
D) verb, verb, adjective.
💡 GABARITO Ⓓ
🧊Enunciado:
19. The sentences “Goodland’s translation of the first line
ignores Andrade’s sentence structure.” (lines 109-111) and
“The book’s difficulty is its genius,” (line 146) contain,
respectively, a/an
A) subject complement and an object complement.
B) direct object and a subject complement.
C) object complement and a subject complement.
D) indirect object and a direct object.
💡 GABARITO Ⓑ
🧊Enunciado:
20. In “...published this week by Penguin Classics” (lines
63-64), “...sweeping the country in the 1920's” (line 83),
and “...national spirit of Brazil” (lines 31-32), there are
examples of
A) infinitive phrases.
B) adjective clauses.
C) prepositional phrases.
D) adverb clauses.
💡 GABARITO Ⓒ
🧊Enunciado:
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