Questões de Linguagens do ENEM

A sentença “Ele anda ouvindo música” pode ser interpretada de duas formas: a) ele ouve música enquanto caminha – neste caso, o verbo “andar” funciona como verbo pleno, significando “caminhar”; b) a atividade de ele ouvir música tem se repetido ultimamente – neste caso, o verbo “andar” se esvazia de seu sentido pleno e funciona como elemento gramatical, um auxiliar. Podemos identificar no português outros verbos que podem ter esses dois usos: um com seu sentido lexical pleno e outro funcionando como elemento gramatical. Tendo isso em vista, considere os conjuntos de sentenças abaixo:

1. Ele chegou na festa e bagunçou o tempo todo.

    Ele chegou a interferir no processo, mas foi neutralizado.

2. Ela está querendo comer camarão.

    Ela está querendo ficar doente.

3. O que ela fez com a faca que estava no chão? Ela pegou e guardou na gaveta.

    Como ele agiu quando se deparou com o grupo? Ah, ele pegou e foi batendo em todo mundo.

4. Todos trabalham pela causa.

    Eles trabalham vendendo computadores.

Em qualquer caso, independente do contexto, o verbo grifado pode ser interpretado com sentido lexical pleno em ambas as ocorrências:  

“Para que te servem essas unhas longas? Para te arranhar de morte para arrancar os teus espinhos mortais, responde o lobo do homem. Para que te serve essa cruel boca de fome? Para te morder e para soprar a fim de que eu não te doa demais, meu amor, já que tenho que te doer, eu sou o lobo inevitável, pois a vida me foi dada. Para que te servem essas mãos que ardem e prendem? Para ficarmos de mãos dadas, pois preciso tanto, tanto, tanto — uivaram os lobos, e olharam intimidados as próprias garras antes de se aconchegarem um no outro para amar e dormir.” (trecho do conto “Os desastres de Sofia”, de Clarice Lispector, em Felicidade clandestina)

Considerando os contos de Felicidade clandestina, de Clarice Lispector, assinale a alternativa correta.

“Incompreensível mulher! / A noite a vira bacante infrene, calcando aos pés lascivos o pudor e a dignidade, ostentar o vício na maior torpeza do cinismo, com toda a hediondez de sua beleza. A manhã a encontrava tímida menina, amante casta e ingênua, bebendo num olhar a felicidade que dera, e suplicando o perdão da felicidade que recebera.” (José de Alencar, em Lucíola)

Em relação ao romance Lucíola, considere as seguintes afirmativas:

1. Para Lúcia, a prostituição funciona como autopunição, na medida em que reforça o sentimento de culpa pela pureza perdida e valorizada.

2. O idealismo romântico convive com a aguda percepção da importância da posição social, do conflito entre dinheiro e virtude e com o realismo das descrições sem reticências.

3. O romance de Alencar coloca a literatura em relevo, através das obras citadas, da crítica de Lúcia à Dama das Camélias e da referência às leituras permitidas às mulheres.

4. O abandono da vida anterior não é purificação suficiente, razão pela qual o corpo manchado pelo vício deve morrer junto com o fruto do amor impossível.

Assinale a alternativa correta.

       Jorge Mario Pedro Vargas Llosa, was born on March 28, 1936, in the Peruvian provincial city of Arequipa. He is a writer, politician, journalist, essayist, and Nobel Prize laureate. Vargas Llosa is one of Latin America's most significant novelists and essayists, and one of the leading authors of his generation. Some critics consider him to have had a larger international impact and worldwide audience than any other writer of the Latin American Boom. He was awarded the 2010 Nobel Prize in Literature "for his cartography of structures of power and his trenchant images of the individual's resistance, revolt, and defeat".

Vargas Llosa rose to fame in the 1960s with novels such as The Time of the Hero (La ciudad y los perros, literally The City and the Dogs, 1963/1966), The Green House (La casa verde, 1965/1968), and the monumental Conversation in the Cathedral (Conversación en la catedral, 1969/1975). He writes prolifically across an array of literary genres, including literary criticism and journalism. His novels include comedies, murder mysteries, historical novels, and political thrillers. Several, such as Captain Pantoja and the Special Service (1973/1978) and Aunt Julia and the Scriptwriter (1977/1982), have been adapted as feature films.

      Many of Vargas Llosa's works are influenced by the writer's perception of Peruvian society and his own experiences as a native Peruvian. Increasingly, however, he has expanded his range, and tackled themes that arise from other parts of the world. Another change over the course of his career has been a shift from a style and approach associated with literary modernism, to a sometimes playful postmodernism.

      Like many Latin American authors, Vargas Llosa has been politically active throughout his career; over the course of his life, he has gradually moved from the political left towards liberalism or neoliberalism, a definitively more conservative political position. While he initially supported the Cuban revolutionary government of Fidel Castro, Vargas Llosa later became disenchanted with the Cuban dictator and his authoritarian regime. He ran for the Peruvian presidency in 1990 with the center-right Frente Democrático (FREDEMO) coalition, advocating neoliberal reforms.

(Adapted from www.wikipedia.org) 

       Jorge Mario Pedro Vargas Llosa, was born on March 28, 1936, in the Peruvian provincial city of Arequipa. He is a writer, politician, journalist, essayist, and Nobel Prize laureate. Vargas Llosa is one of Latin America's most significant novelists and essayists, and one of the leading authors of his generation. Some critics consider him to have had a larger international impact and worldwide audience than any other writer of the Latin American Boom. He was awarded the 2010 Nobel Prize in Literature "for his cartography of structures of power and his trenchant images of the individual's resistance, revolt, and defeat".

Vargas Llosa rose to fame in the 1960s with novels such as The Time of the Hero (La ciudad y los perros, literally The City and the Dogs, 1963/1966), The Green House (La casa verde, 1965/1968), and the monumental Conversation in the Cathedral (Conversación en la catedral, 1969/1975). He writes prolifically across an array of literary genres, including literary criticism and journalism. His novels include comedies, murder mysteries, historical novels, and political thrillers. Several, such as Captain Pantoja and the Special Service (1973/1978) and Aunt Julia and the Scriptwriter (1977/1982), have been adapted as feature films.

      Many of Vargas Llosa's works are influenced by the writer's perception of Peruvian society and his own experiences as a native Peruvian. Increasingly, however, he has expanded his range, and tackled themes that arise from other parts of the world. Another change over the course of his career has been a shift from a style and approach associated with literary modernism, to a sometimes playful postmodernism.

      Like many Latin American authors, Vargas Llosa has been politically active throughout his career; over the course of his life, he has gradually moved from the political left towards liberalism or neoliberalism, a definitively more conservative political position. While he initially supported the Cuban revolutionary government of Fidel Castro, Vargas Llosa later became disenchanted with the Cuban dictator and his authoritarian regime. He ran for the Peruvian presidency in 1990 with the center-right Frente Democrático (FREDEMO) coalition, advocating neoliberal reforms.

(Adapted from www.wikipedia.org)