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PROVA DE LÍNGUA INGLESA:
PROVA DE LÍNGUA INGLESA:• FGV-Escola de Administração de Empresas de São Paulo-2006.1-VESTIBULAR-1º SEMESTRE.
❑ ESTRUTURA-PROVA:
• 15 MCQs (Multiple Choice Question) / 5 Options Each Question.
PROVA, TRADUÇÃO, GABARITO & MUITO VOCABULÁRIO
❑ TEXTO 1:
Unpopular Front
American Art and the Cold War.
by Louis Menand
1
The Cold War had battlegrounds all over the world, and it was a hot enough war in some of them, but in the main battleground, Western Europe, it was a war for hearts and minds — an idea war, an image war, a propaganda war. Global combat on these terms was the policy of the American government. There was no secret about the policy, and most of its enactments — such as the Fulbright Program, which was established in 1946 — were carried out in broad daylight and to public acclaim. But some were carefully shrouded, made to appear the work of individuals and institutions acting on their own, without government sponsorship, as was the case with the magazine Encounter, which was published in London and contributed to by prominent American and European intellectuals, and which was revealed, in 1967, to be a creature of the C.I.A. ...
2
It seems a contradiction, even hypocritical, for the United States to have promoted the Western values of free elections, free speech, and free markets by covert methods. Democracy means accountability; that’s what makes democratic governments different from authoritarian and totalitarian ones. But, until its cloak unraveled in the late nineteen-sixties, the C.I.A., and the people who were in on its activities, operated in secrecy...
3
Taylor Littleton and Maltby Sykes’s “Advancing
American Art: Painting, Politics, and Cultural
Confrontation at Mid-Century”, recently published in a
second edition, is an appropriately amused and acerbic
account of the fiasco. In 1946, the State Department’s
newly formed Office of International Information and
Cultural Affairs put together a show called “Advancing
American Art.” The division spent forty-nine thousand
dollars of government money to purchase seventy-nine
paintings by American artists. The exhibition was
intended, as Littleton and Sykes put it, to be “one
element in an international definition of American
reassurance, stability, and enlightenment” — a friendly
beacon in the grim aftermath of the war. It included
works by Romare Bearden, Arthur Dove, John Marin,
Ben Shahn, Georgia O’Keeffe, and Jacob Lawrence.
Very few of the paintings were abstract, but most were
identifiably modern: naturalist, expressionist, painterly.
The State Department wanted the world to know that
the United States was not just a nation of cars, chewing
gum, and Hollywood movies. A preview of the exhibit
at the Metropolitan Museum was well received.
4
In The Nation, Clement Greenberg, already a leading
arbiter of advanced painting, wrote that the show was
“a remarkable accomplishment, and its moral should be
taken to heart by those who control the public destiny
of art in our country...
5
In spite of the reviews, the show had been attacked by
the American Artists Professional League, an
organization of conservative artists and illustrators,
which wrote to the State Department to complain that
the selection was unrepresentative, and that the
paintings that had been chosen were “strongly marked
with the radicalism of the new trends in European art”
and were “not indigenous to our soil.” By the time the
show was overseas, the story had been picked up in
the mainstream press. Look ran an article, with
illustrations, under the headline “Your Money Bought
These Paintings.”
6
The chairman of the House Appropriations Committee
wrote an angry letter to the Secretary of State, George
C. Marshall. “The paintings are a travesty upon art,” he
complained. “They were evidently gotten up by people
whose object was apparently to, (1) To make the United
States appear ridiculous in the eyes of foreign
countries, and to (2) Establish ill-will towards the United
States.”
7
Another congressman demanded inquiries into the
political backgrounds of the artists represented in the
show. It turned out that the names of eighteen of the
forty-seven artists appeared in the records of the House Un-American Activities Committee; three were
reported to have been members of the Communist
Party. As was his habit, President Truman spoke
bluntly: he described the collection as “the vaporings of
half-baked lazy people.” Marshall ordered the show
recalled, and the paintings were consigned to the War
Assets Administration as war surplus and sold off. They
brought in $5,544. An O’Keeffe sold for fifty dollars.
Marshall announced that no taxpayer money would be
spent on modern art again, and the State Department
issued a directive that no artist suspected of being a
Communist or fellow-traveler could be exhibited at
government expense.
8
“Advancing American Art” was a boomerang,
reconfirming the very prejudices about American
philistinism that it was intended to demolish. It also
helped to put a man named George Dondero into the
history books. Dondero was a congressman from
Michigan, and his tender appreciations of modern art
are so often quoted that one almost suspects that he
composed them with solely that aim in mind. It is hard
to believe, for example, that his great 1949 speeches
against “the black knights of the isms” were the work
of a man incapable of irony:
9
The artists of the “isms” change their designations
as often and as readily as the Communist front
organizations. Léger and Duchamp are now in the
United States to aid in the destruction of our
standards and traditions. The former has been a
contributor to the Communist cause in America;
the latter is now fancied by the neurotics as a
surrealist.
Cubism aims to destroy by designed disorder.
Futurism aims to destroy by the machine myth...
Dadaism aims to destroy by ridicule.
Expressionism aims to destroy by aping the
primitive and insane....
Abstractionism aims to destroy by the creation of
brainstorms.
Surrealism aims to destroy by the denial of reason.
10
Cultural diplomacy is a tricky business in a democracy.
It’s awkward to promote art officially by claiming that it
is free from official constraints, and it is especially
awkward if the art is, in fact, unpopular. Cold Warriors
in the nineteen-fifties often found themselves in the
position of propagandizing for American values by
exhibiting art that was manifestly élite, and attacking
the Soviet Union for mandating that art appeal to the
common man. In 1952, Barr wrote a piece for the
Times Magazine, “Is Modern Art Communistic?,” in
which he tried to argue, in effect, that “democratic” is
a totalitarian standard for judging art. He wasn’t wrong,
but it meant that a lot of congressmen were behaving
like totalitarians.
11'
Then again, the American Artists Professional League
wasn’t wrong when it complained, about the
“Advancing American Art” exhibition, that modern art
was “not indigenous to our soil.” The native style in the
United States had been regionalist; mid-century
modernism was internationalist, and the Abstract
Expressionists, all of whom lived in New York, worked
in an art scene dominated by European émigrés.
from The New Yorker
👉 Questão 31 :
According to the text:
a) The Fullbright Program was part of the US government’s effort to combat Communism during the Cold War.
b) Eastern Europe was the main battleground of the Cold War.
c) The Fullbright Program was an undercover operation of the American government to win over the support of Western European intellectuals.
d) The aims of the Fullbright Program were carefully shrouded from the American taxpayer’s eyes.
e) The Fullbright Program was a complete fiasco from its very beginnings.
R E S P O S T A : A |
a) The Fullbright Program was part of the US government’s effort to combat Communism during the Cold War.
• O Programa Fullbright fez parte do esforço do governo dos Estados Unidos para combater o comunismo durante a Guerra Fria.
• Informação (A) de acordo com o trecho:
• "[...] The Cold War had battlegrounds all over the world, and it was a hot enough war in some of them, but in the main battleground, Western Europe, it was a war for hearts and minds — an idea war, an image war, a propaganda war. Global combat on these terms was the policy of the American government. There was no secret about the policy, and most of its enactments — such as the Fulbright Program.”
• A Guerra Fria teve campos de batalha em todo o mundo, e foi uma guerra quente o suficiente em alguns deles, mas no campo de batalha principal, a Europa Ocidental, foi uma guerra por corações e mentes - uma guerra de ideias , uma guerra de imagens, uma guerra de propaganda. O combate global nesses termos era a política do governo americano. Não havia segredo sobre a política e a maioria de suas promulgações - como o Programa Fulbright.
b) Eastern Europe was the main battleground of the Cold War.
• A Europa Oriental foi o principal campo de batalha da Guerra Fria.
• Informação (B) contradiz o trecho:
• "[...] The Cold War had battlegrounds all over the world.., but in the main battleground, Western Europe, it was a war for hearts and minds — an idea war, an image war, a propaganda war."
• A Guerra Fria teve campos de batalha em todo o mundo .., mas no campo de batalha principal, a Europa Ocidental, foi uma guerra por corações e mentes - uma guerra de idéias, uma guerra de imagens, uma guerra de propaganda.
c) The Fullbright Program was an undercover operation of the American government to win over the support of Western European intellectuals.
• O Programa Fullbright foi uma operação secreta do governo americano para conquistar o apoio dos intelectuais da Europa Ocidental.
• Informação (C) contradiz o trecho:
• "[...] There was no secret about the policy, and most of its enactments — such as the Fulbright Program.”
• Não havia segredo sobre a política e a maioria de suas promulgações - como o Programa Fulbright.
d) The aims of the Fullbright Program were carefully shrouded from the American taxpayer’s eyes.
• Os objetivos do Programa Fullbright foram cuidadosamente ocultados dos olhos do contribuinte americano.
e) The Fullbright Program was a complete fiasco from its very beginnings.
• O Programa Fullbright foi um fiasco completo desde o início.
👉 Questão 32 :
According to the text:
a) Encounter magazine was financed with resources from the Fullbright Program.
b) Although published in London, Encounter was financed by the American Secret Service.
c) Those writers who wrote for Encounter were mostly CIA agents.
d) The CIA developed an undercover operation whose codename was Encounter and employed many radical intellectuals as agents in it.
e) As a magazine directed to promoting American values, Encounter managed to achieve few of its aims.
R E S P O S T A : B |
• De acordo com o texto:
a) Encounter magazine was financed with resources from the Fullbright Program.
• A revista Encounter foi financiada com recursos do Programa Fullbright.
b) Although published in London, Encounter was financed by the American Secret Service.
• Embora publicado em Londres, Encounter foi financiado pelo Serviço Secreto Americano.
• Informação (B) de acordo com o trecho:
• "[...] Encounter, which was published in London and contributed to by prominent American and European intellectuals, and which was revealed, in 1967, to be a creature of the C.I.A."
• Encounter, que foi publicado em Londres e contribuído por proeminentes intelectuais americanos e europeus, e que se revelou, em 1967, ser uma criatura do C.I.A.
c) Those writers who wrote for Encounter were mostly CIA agents.
• Os escritores que escreveram para Encounter eram na maioria agentes da CIA.
d) The CIA developed an undercover operation whose codename was Encounter and employed many radical intellectuals as agents in it.
• A CIA desenvolveu uma operação secreta cujo codinome era Encounter e empregou muitos intelectuais radicais como seus agentes.
e) As a magazine directed to promoting American values, Encounter managed to achieve few of its aims.
• Por ser uma revista voltada para a promoção dos valores americanos, a Encounter conseguiu atingir poucos de seus objetivos.
👉 Questão 33 :
According to the text:
a) Only in the late sixties did the CIA openly admit that the Fullbright Program was one of the programs that the Agency supported.
b) In the sixties, the Fullbright Program received the support of many intellectuals that wrote regularly for Encounter magazine.
c) All of America’s efforts to combat Communism during the Cold War were shrouded in the mist of deep secrecy.
d) In 1967 the Fullbright Program came to an end.
e) It became clear in 1967 that Encounter magazine was one of CIA’s creatures.
R E S P O S T A : E |
a) Only in the late sixties did the CIA openly admit that the Fullbright Program was one of the programs that the Agency supported.
• Somente no final dos anos 60 a CIA admitiu abertamente que o Programa Fullbright era um dos programas que a Agência apoiava.
b) In the sixties, the Fullbright Program received the support of many intellectuals that wrote regularly for Encounter magazine.
• Nos anos 60, o Programa Fullbright recebeu o apoio de muitos intelectuais que escreviam regularmente para a revista Encounter.
c) All of America’s efforts to combat Communism during the Cold War were shrouded in the mist of deep secrecy.
• Todos os esforços da América para combater o comunismo durante a Guerra Fria foram envoltos em uma névoa de profundo sigilo.
d) In 1967 the Fullbright Program came to an end.
• Em 1967 o Programa Fullbright chegou ao fim.
e) It became clear in 1967 that Encounter magazine was one of CIA’s creatures.
• Ficou claro em 1967 que a revista Encounter era uma das criaturas da CIA.
• Informação (E) de acordo com o trecho:
• "[...] contributed to by prominent American and European intellectuals, and which was revealed, in 1967, to be a creature of the C.I.A.”
• contribuído por proeminentes intelectuais americanos e europeus, e que foi revelado, em 1967, ser uma criatura do C.I.A.
👉 Questão 34 :
According to the text:
a) The US is a nation of hypocrites and religious extremists.
b) Some hypocrites who worked for the CIA took control over the American government’s programs to promote American art.
c) Free markets and free enterprise can only operate with efficiency in secrecy.
d) The American government employed questionable methods to advance American art and culture in the world.
e) In retrospect, it looks highly hypocritical that the American government should have tried to promote free speech and democracy by exhibiting the art of group of painters who were mostly Communist and European.
R E S P O S T A : D |
• De acordo com o texto:
a) The US is a nation of hypocrites and religious extremists.
• Os EUA são uma nação de hipócritas e extremistas religiosos.
b) Some hypocrites who worked for the CIA took control over the American government’s programs to promote American art.
• Alguns hipócritas que trabalhavam para a CIA assumiram o controle dos programas do governo americano para promover a arte americana.
c) Free markets and free enterprise can only operate with efficiency in secrecy.
• Os mercados livres e a livre iniciativa só podem operar com eficiência em sigilo.
d) The American government employed questionable methods to advance American art and culture in the world.
• O governo americano empregou métodos questionáveis para promover a arte e a cultura americanas no mundo.
• Informação (D) de acordo com o trecho:
• "[...] It seems a contradiction, even hypocritical, for the United States to have promoted the Western values of free elections, free speech, and free markets by covert methods. Democracy means accountability; that’s what makes democratic governments different from authoritarian and totalitarian ones. But, until its cloak unraveled in the late nineteen-sixties, the C.I.A., and the people who were in on its activities, operated in secrecy...”
• Parece uma contradição, até mesmo hipócrita, que os Estados Unidos tenham promovido os valores ocidentais de eleições livres, liberdade de expressão e mercados livres por métodos secretos. Democracia significa responsabilidade; é isso que torna os governos democráticos diferentes de autoritários e totalitários. Mas, até que seu manto se desvendasse no final da década de 1960, a CIA e as pessoas que estavam em suas atividades operavam em segredo.
e) In retrospect, it looks highly hypocritical that the American government should have tried to promote free speech and democracy by exhibiting the art of group of painters who were mostly Communist and European.
• Em retrospecto, parece altamente hipócrita que o governo americano tenha tentado promover a liberdade de expressão e a democracia exibindo a arte de um grupo de pintores em sua maioria comunistas e europeus.
👉 Questão 35 :
According to the text:
a) Littleton and Sykes are the authors of a book on American Crafts.
b) Littleton and Sykes spent forty-nine thousand dollars to purchase seventy-nine paintings by American artists for the US State Department.
c) Littleton and Sykes are very critical about the quality of the paintings that the State Department bought in 1946.
d) Littleton and Sykes believe that those people who worked at the State Department knew nothing about modern art.
e) Littleton and Sykes point out that the Advancing American Art project was one of the CIA’s greatest fiascos.
R E S P O S T A : E |
a) Littleton and Sykes are the authors of a book on American Crafts.
• Littleton e Sykes são os autores de um livro sobre American Crafts.
b) Littleton and Sykes spent forty-nine thousand dollars to purchase seventy-nine paintings by American artists for the US State Department.
• Littleton e Sykes gastaram quarenta e nove mil dólares para comprar setenta e nove pinturas de artistas americanos para o Departamento de Estado dos Estados Unidos.
c) Littleton and Sykes are very critical about the quality of the paintings that the State Department bought in 1946.
• Littleton e Sykes são muito críticos sobre a qualidade das pinturas que o Departamento de Estado comprou em 1946.
d) Littleton and Sykes believe that those people who worked at the State Department knew nothing about modern art.
• Littleton e Sykes acreditam que as pessoas que trabalharam no Departamento de Estado nada sabiam sobre arte moderna.
e) Littleton and Sykes point out that the Advancing American Art project was one of the CIA’s greatest fiascos.
• Littleton e Sykes apontam que o projeto Advancing American Art foi um dos maiores fiascos da CIA.
• Informação (E) de acordo com o trecho:
• "[...] Taylor Littleton and Maltby Sykes’s ‘Advancing American Art: Painting, Politics, and Cultural Confrontation at Mid-Century’, recently published in a second edition, is an appropriately amused and acerbic account of the fiasco"
• Avanço da arte americana: pintura, política e confronto cultural em meados do século', de Taylor Littleton e Maltby Sykes, recentemente publicado em uma segunda edição, é um relato apropriadamente divertido e amargo do fiasco.
👉 Questão 36 :
According to the text:
a) Eighteen of the forty-seven artists had to appear before the Committee of Un-American Activities.
b) Eighteen of the forty seven so-called American artists were in fact foreign born artists.
c) President Truman was an ardent admirer of vaporized modern art.
d) President Truman was very crude in his criticism of the exhibit.
e) President Truman, who was an expert on baking and vaporizing people, thought that modern art had some curious affinities with the his area of expertise.
R E S P O S T A : D |
a) Eighteen of the forty-seven artists had to appear before the Committee of Un-American Activities.
• Dezoito dos quarenta e sete artistas tiveram que comparecer perante o Comitê de Atividades Antiamericanas.
b) Eighteen of the forty seven so-called American artists were in fact foreign born artists.
• Dezoito dos quarenta e sete supostos artistas americanos eram na verdade artistas nascidos no estrangeiro.
c) President Truman was an ardent admirer of vaporized modern art.
• O presidente Truman era um fervoroso admirador da arte moderna vaporizada.
d) President Truman was very crude in his criticism of the exhibit.
• O presidente Truman foi muito rude nas suas críticas à exposição.
• Informação (D) de acordo com o trecho:
• "[...] As was his habit, President Truman spoke bluntly: he described the collection as “the vaporings of half-baked lazy people."
• Como era seu hábito, o presidente Truman falou sem rodeios: ele descreveu a coleção como “vapor de pessoas preguiçosas mal-assadas”.
e) President Truman, who was an expert on baking and vaporizing people, thought that modern art had some curious affinities with the his area of expertise.
• O presidente Truman, especialista em panificação e vaporização de pessoas, achava que a arte moderna tinha algumas afinidades curiosas com a sua área de atuação.
👉 Questão 37 :
According to the text:
a) Most democracies are able to promote rather decent and politically unbiased programs of cultural diplomacy, but apparently this is just too tricky an enterprise for the Americans.
b) Barr believed that democratic standards for judging art are very similar to totalitarian ones.
c) The US Congress had a very good collection of surrealist paintings – a most peculiar counterpoint to the activities of all those intelligent, honest, sincere, reasonable and highly educated congressmen who
dedicate their lives to the well being of their countrymen.
d) American art is modern and international in character.
e) The writer of the article concludes that probably modern art is as American as motherhood and apple pie.
R E S P O S T A : B |
a) Most democracies are able to promote rather decent and politically unbiased programs of cultural diplomacy, but apparently this is just too tricky an enterprise for the Americans.
• A maioria das democracias é capaz de promover programas decentes e politicamente imparciais de diplomacia cultural, mas aparentemente isso é um empreendimento muito complicado para os americanos.
b) Barr believed that democratic standards for judging art are very similar to totalitarian ones.
• Barr acreditava que os padrões democráticos para julgar arte são muito semelhantes aos totalitários.
• Informação (B) de acordo com o trecho:
• "[...] In 1952, Barr wrote a piece for the Times Magazine, ‘Is Modern Art Communistic?,’ in which he tried to argue, in effect, that ‘democratic’ is a totalitarian standard for judging art. He wasn’t wrong, but it meant that a lot of congressmen were behaving like totalitarians."
• Em 1952, Barr escreveu um artigo para a Times Magazine, 'Is Modern Art Communistic ?,' no qual ele tentou argumentar, com efeito, que 'democrático' é um padrão totalitário para julgar a arte. não estava errado, mas significava que muitos congressistas estavam se comportando como totalitários.
c) The US Congress had a very good collection of surrealist paintings – a most peculiar counterpoint to the activities of all those intelligent, honest, sincere, reasonable and highly educated congressmen who dedicate their lives to the well being of their countrymen.
• O Congresso dos Estados Unidos tinha um acervo muito bom de pinturas surrealistas - um contraponto muito peculiar à atividade de todos aqueles congressistas inteligentes, honestos, sinceros, razoáveis e altamente educados que dedicam suas vidas ao bem estar de seus conterrâneos.
d) American art is modern and international in character.
• A arte americana é moderna e de caráter internacional.
e) The writer of the article concludes that probably modern art is as American as motherhood and apple pie.
• A autora do artigo conclui que provavelmente a arte moderna é tão americana quanto a maternidade e a torta de maçã.
• TEXTO 2:
High-Tech Fashion
It is a tiny technological wonder that goes everywhere
with you. Your choice of brand and model says a great
deal about who you are and how you wish to be
perceived by others. It may have a classic, bare-bones
design, or its sleek casing may conceal a host of extra
functions. Ten years ago, this described your
wristwatch, which epitomized the combination of
fashion and technology for over a century. But today it
also describes your mobile phone, which for many
people has already dethroned the wristwatch as the
most personal of technological devices. Can
watchmakers fight back? In recent years there have
been several attempts to boost the appeal of watches
by adding exotic new functions, from telephones and
televisions to personal organizers. But so far, none of
these super-watches has been a hit with consumers.
Manufacturers, it seems, have tended to ignore obvious
practical limitations, and have failed to exploit the unique
position of the watch - right there on your wrist.
The Economist, Sep. 15th 2005
👉 Questão 38 :
According to the text, watchmakers have
a) been overconfident in their capacity for making money.
b) left phone makers to do their thing while they themselves did nothing.
c) made super-watches which have made a big hit with consumers.
d) not taken advantage of the watch’s position in the human anatomy.
e) grown tired of making obvious innovations.
R E S P O S T A : D |
a) been overconfident in their capacity for making money.
• superconfiante em sua capacidade de ganhar dinheiro.
b) left phone makers to do their thing while they themselves did nothing.
• deixou os fabricantes de telefones fazerem suas coisas enquanto eles próprios não faziam nada.
c) made super-watches which have made a big hit with consumers.
• superrelógios que fizeram um grande sucesso entre os consumidores.
d) not taken advantage of the watch’s position in the human anatomy.
• não tiraram vantagem da posição do relógio no anatomia humana.
• Informação (D) de acordo com o trecho:
• "[...] Manufacturers, it seems, have tended to ignore obvious practical limitations, and have failed to exploit the unique position of the watch - right there on your wrist"
• Os fabricantes, ao que parece, tendem a ignorar as limitações práticas óbvias e não conseguem explorar a posição única do relógio - bem no seu pulso.
e) grown tired of making obvious innovations.
• cansado de fazer inovações óbvias.
• TEXTO 3:
China's Yuan
Sooner or later, it was going to happen, and on July
21st it did. China abandoned the 11-year-old peg of its
currency, the Yuan, at 8.28 to the dollar. From now on,
the Yuan will be linked to a basket of currencies, the
central parities of which will be set at the end of each
day. And the currency has been revalued, although by
nothing like as much as America and others have been demanding: the Yuan's central rate against the dollar
was shifted by 2.1%, to 8.11.
The Economist, Jul 21st 2005
👉 Questão 39 :
According to the text, the Yuan
a) was pegged to the dollar at 8.28 on July 21st.
b) is now worth more than it was for the last decade or so.
c) has lessened its worth against the American currency.
d) put in a basket is not worth much against other currencies.
e) has been devalued by 8.11% against the American currency.
R E S P O S T A : B |
a) was pegged to the dollar at 8.28 on July 21st.
• estava indexado ao dólar a 8,28 em 21 de julho.
b) is now worth more than it was for the last decade or so.
• agora vale mais do que na última década ou mais.
• Informação (B) de acordo com o trecho:
• "[...] And the currency has been revalued… central rate against the dollar was shifted by 2,1%, to 8,11"
• E a moeda foi reavaliada ... a taxa central em relação ao dólar foi deslocada em 2,1%, para 8,11.
c) has lessened its worth against the American currency.
• diminuiu seu valor em relação à moeda americana.
d) put in a basket is not worth much against other currencies.
• colocar em uma cesta não vale muito em comparação com outras moedas.
e) has been devalued by 8.11% against the American currency.
• desvalorizou-se 8,11% em relação à moeda americana.
• TEXTO 4:
Stolen Laptops
Two or three years ago, if a laptop computer was stolen
on a college campus, the only concern was how to
replace an expensive item. Today, the first concern is
'What sensitive data might have been stolen?' Lost
laptops can give thieves access to information such as
Social Security numbers, credit-card numbers, or
passwords. Young students or college employees may
not be savvy about protecting such data. Beyond
identity thieves, colleges and universities are also
threatened by hackers who can turn school computers
into 'zombies' to send out spam e-mails or target Web
servers with denial-of-service attacks. As students
arrive on campuses, colleges and universities are
becoming more aware that personal information about
faculty, staff, students, and donors must be protected."
Future Brief; 1-2 September 2005
👉 Questão 40 :
According to the text:
a) colleges and universities are becoming worried about how to protect personal information held in laptops.
b) most young college students are nothing but zombies in the hands of hackers and spammers.
c) identity thieves usually receive the help of staff members to do their work.
d) zombie students are a recent phenomenon on college campi.
e) beyond identity theft, hackers are turning college students into zombies.
R E S P O S T A : A |
a) colleges and universities are becoming worried about how to protect personal information held in laptops.
• faculdades e universidades estão ficando preocupadas em como proteger as informações pessoais mantidas em laptops.
• Informação (A) de acordo com o trecho:
• "[...] colleges and universities are also threatened by hackers who can turn school computers into 'zombies' to send out spam e-mails or target Web servers with denial-of-service attacks. As students arrive on campuses, colleges and universities are becoming more aware that personal information about faculty, staff, students, and donors must be protected."
• faculdades e universidades também são ameaçadas por hackers que podem transformar os computadores da escola em 'zumbis' para enviar e-mails de spam ou direcionar servidores da Web com ataques de negação de serviço. Conforme os alunos chegam aos campi, faculdades e as universidades estão cada vez mais cientes de que as informações pessoais sobre professores, funcionários, alunos e doadores devem ser protegidas.
b) most young college students are nothing but zombies in the hands of hackers and spammers.
• a maioria dos jovens estudantes universitários não passa de zumbis nas mãos de hackers e spammers.
c) identity thieves usually receive the help of staff members to do their work.
• os ladrões de identidade geralmente recebem a ajuda de membros da equipe para fazer seu trabalho.
d) zombie students are a recent phenomenon on college campi.
• alunos zumbis são um fenômeno recente em campi universitários.
e) beyond identity theft, hackers are turning college students into zombies.
• além do roubo de identidade, os hackers estão transformando estudantes universitários em zumbis.
• TEXTO 5:
Miracle Mouse
Scientists have created a "miracle mouse" that can
regenerate amputated limbs or badly damaged organs,
making it able to recover from injuries that would kill or
permanently disable normal animals. The experimental
animal is unique among mammals in its ability to
regrow its heart, toes, joints and tail. The researchers
have also found that when cells from the test mouse
are injected into ordinary mice, they too acquire the
ability to regenerate.
The discoveries raise the prospect that humans could
one day be given the ability to regenerate lost or
damaged organs, opening up a new era in medicine.
Future Brief; 2-3 September 2005
👉 Questão 41 :
According to the text:
a) humans might one day also enjoy organ repair.
b) the regeneration of sinful humans might prove to be impossible without the intervention of a holy mouse.
c) the object of the experiment was the elimination of amputated limbs and organs.
d) the opening of a new era in medicine depends on future mice research.
e) mice and men share in common some strange recovery abilities.
R E S P O S T A : A |
a) humans might one day also enjoy organ repair.
• os humanos podem um dia também desfrutar de reparo de órgãos.
• Informação (A) de acordo com o trecho:
• "[...] The discoveries raise the prospect that humans could one day be given the ability to regenerate lost or damaged organs, opening up a new era in medicine"
• As descobertas levantam a perspectiva de que os humanos possam um dia receber a capacidade de regenerar órgãos perdidos ou danificados, abrindo uma nova era na medicina.
b) the regeneration of sinful humans might prove to be impossible without the intervention of a holy mouse.
• a regeneração de humanos pecaminosos pode ser impossível sem a intervenção de um rato sagrado.
c) the object of the experiment was the elimination of amputated limbs and organs.
• o objetivo do experimento era a eliminação de membros e órgãos amputados.
d) the opening of a new era in medicine depends on future mice research.
• o início de uma nova era na medicina depende de pesquisas futuras em camundongos.
e) mice and men share in common some strange recovery abilities.
• ratos e homens compartilham algumas habilidades de recuperação estranhas.
• TEXTO 6:
Language and Evolution
In a sense, language is the last word in biological
evolution. That's because this particular evolutionary
innovation allows those who possess it to move
beyond the realms of the purely biological. With
language, our ancestors were able to create their own
environment - we now call it culture - and adapt to it
without the need for genetic changes.
New Scientist.com, 09 April 2005
👉 Questão 42 :
According to the text:
a) language has allowed men to think and the brain to grow.
b) language has turned obsolete environmental change.
c) culture and environment are basically biological phenomena.
d) culture has displaced language in promoting genetic change.
e) language has made adaptations possible without genetic change.
R E S P O S T A : E |
a) language has allowed men to think and the brain to grow.
• a linguagem permitiu aos homens pensar e o cérebro crescer.
b) language has turned obsolete environmental change.
• a linguagem tornou a mudança ambiental obsoleta.
c) culture and environment are basically biological phenomena.
• cultura e meio ambiente são fenômenos basicamente biológicos.
d) culture has displaced language in promoting genetic change.
• a cultura substituiu a linguagem na promoção da mudança genética.
e) language has made adaptations possible without genetic change.
• a linguagem tornou as adaptações possíveis sem mudança genética.
• Informação (E) de acordo com o trecho:
• "[...] With language, our ancestors were able to create their own environment - we now call it culture - and adapt to it without the need for genetic changes"
• Com a linguagem, nossos ancestrais foram capazes de criar seu próprio ambiente - agora chamamos de cultura - e se adaptar a ele sem a necessidade de mudanças genéticas.
• TEXTO 7:
Useful Brains
Brains are often seen as a crowning achievement of
evolution - bestowing the ultimate human traits such as
language, intelligence and consciousness. But before
all that, the evolution of brains did something just as
striking: it lifted life beyond vegetation. Brains provided,
for the first time, a way for organisms to deal with
environmental change on a timescale shorter than
generations.
A nervous system allows two extremely useful things
to happen: movement and memory. If you're a plant
and your food source disappears, that's just tough. But
if you have a nervous system that can control muscles,
then you can actually move around and seek out food,
sex and shelter.
New Scientist.com, 09 April 2005
👉 Questão 43 :
According to the text:
a) the history of brain growth is tied to the evolution of the world’s early vegetation.
b) changes in the environment led to the evolution of good brains.
c) brains shortened the response time to environmental change.
d) brains allowed men to develop an ecological consciousness.
e) intelligence has little to do with brain size.
R E S P O S T A : C |
a) the history of brain growth is tied to the evolution of the world’s early vegetation.
• a história do crescimento do cérebro está ligada à evolução da vegetação primitiva do mundo.
b) changes in the environment led to the evolution of good brains.
• mudanças no ambiente levaram à evolução de bons cérebros.
c) brains shortened the response time to environmental change.
• o cérebro encurtou o tempo de resposta às mudanças ambientais.
• Informação (C) de acordo com o trecho:
• "[...] Brains provided, for the first time, a way for organisms to deal with environmental change on a timescale shorter than generations."
• Os cérebros forneceram, pela primeira vez, uma maneira para os organismos lidarem com as mudanças ambientais em uma escala de tempo menor do que gerações.
d) brains allowed men to develop an ecological consciousness.
• o cérebro permitiu ao homem desenvolver uma consciência ecológica.
e) intelligence has little to do with brain size.
• a inteligência tem pouco a ver com o tamanho do cérebro.
• TEXTO 8:
Just Some More Sex
The enduring success of sex is usually put down to the
fact that it shuffles the genetic pack, introducing
variation and allowing harmful mutations to be purged
(mutations are what eventually snuff out most asexual
species). Variation is important because it allows life to
respond to changing environments, including
interactions with predators, prey and - particularly -
parasites. Reproducing asexually is sometimes
compared to buying 100 tickets in a raffle, all with the
same number. Far better to have only 50 tickets, each with a different number.
New Scientist.com, 09 April 2005
👉 Questão 44 :
According to the text:
a) sex is more fun with variations.
b) asexual species last longer.
c) variation in responses is the advantage of sex.
d) sex is a wild and random activity.
e) predators have a very good time with their preys although it’s asexual in character.
R E S P O S T A : C |
a) sex is more fun with variations.
• o sexo é mais divertido com variações.
b) asexual species last longer.
• as espécies assexuadas duram mais.
c) variation in responses is the advantage of sex.
• a variação nas respostas é a vantagem do sexo.
• Informação (C) de acordo com o trecho:
• "[...] Variation is important because it allows life to respond to changing environments, including interactions with predators, prey and - particularly - parasites."
• A variação é importante porque permite que a vida responda a ambientes em mudança, incluindo interações com predadores, presas e - particularmente - parasitas.
d) sex is a wild and random activity.
• o sexo é uma atividade selvagem e aleatória.
e) predators have a very good time with their preys although it’s asexual in character.
• os predadores se divertem muito com suas presas, embora seja de caráter assexuado.
• TEXTO 9:
Why IT Doesn’t Matter Anymore
Some managers may worry that being stingy with IT(*)
dollars will damage their competitive positions. But
studies of corporate IT spending consistently show that
greater expenditures rarely translate into superior
financial results. In fact, the opposite is usually true. In
2002, the consulting firm Alinean compared the IT
expenditures and the financial results of 7,500 large
U.S. companies and discovered that the top performers
tended to be among the most tightfisted. The twentyfive companies that delivered the highest economic
returns, for example, spent on average just 0.8 percent
of their revenues on IT, while the typical company spent
3.7 percent. A recent study by Forrester Research
showed, similarly, that the most lavish spenders on IT
rarely post the best results. Even Oracle's Larry Ellison,
one of the great technology salesmen, admitted in a
recent interview that "most companies spend too much
[on IT] and get very little in return." As the opportunities
for IT-based advantage continue to narrow, the
penalties for overspending will only grow.
(*) IT = Information Technology
Nicholas G. Carr - Why IT Doesn't Matter Anymore -
Harvard Business Review
👉 Questão 45 :
According to the text, Alinean found that
a) the most successful companies spend more on IT.
b) the least successful companies spend more on IT.
c) the most successful companies spend less on IT.
d) the least successful companies spend less on IT.
e) success in business depends on having good oracles and good contacts.
R E S P O S T A : C |
a) the most successful companies spend more on IT.
• as empresas mais bem-sucedidas gastam mais em TI.
b) the least successful companies spend more on IT.
• as empresas menos bem-sucedidas gastam mais em TI.
c) the most successful companies spend less on IT.
• as empresas mais bem-sucedidas gastam menos em TI.
• Informação (C) de acordo com o trecho:
• "[...] The twenty-five companies that delivered the highest economic returns, for example, spent on average just 0.8 percent of their revenues on IT, while the typical company spent 3.7 percent"
• As vinte e cinco empresas que entregaram os maiores retornos econômicos, por exemplo, gastaram em média apenas 0,8 por cento de suas receitas em TI, enquanto a empresa típica gastou 3,7 por cento.
d) the least successful companies spend less on IT.
• as empresas menos bem-sucedidas gastam menos em TI.
e) success in business depends on having good oracles and good contacts.
• o sucesso nos negócios depende de bons oráculos e bons contatos.