Inglês
Interpretação de texto | Reading comprehensionUNICAMP · 2021DifícilEntre para guardar nos favoritos
Questões de Inglês, da área de Linguagens, com gabarito em cada página.
224 questões encontradas. Mostrando a página 7 de 12.



‘The Complete Stories,’ by Clarice Lispector

By Terrence Rafferty
July 27, 2015
There’s a whiff of madness in the fiction of Clarice Lispector. The “Complete Stories” of the Brazilian writer, edited by Benjamin Moser and sensitively translated by Katrina Dodson, is a dangerous book to read quickly or casually because it’s so consistently delirious. Sentence by sentence, page by page, Lispector is exhilaratingly, arrestingly strange, but her perceptions come so fast, veer so wildly between the mundane and the metaphysical, that after a while you don’t know where you are, either in the book or in the world. So it’s best to approach her with some caution. For the ordinary reader — that is to say, for most of us — immersion in the teeming mind of Clarice Lispector can be an exhausting, even a deranging, experience, not to be undertaken lightly. (Pack food, water, a first aid kit and plenty of sunblock.)
Her stories are full of strange words, in strange combinations, and her “Complete Stories” is a remarkable book, proof that she was — in the company of Jorge Luis Borges, Juan Rulfo and her 19th-century countryman Machado de Assis — one of the true originals of Latin American literature.
THE COMPLETE STORIES
By Clarice Lispector
Edited by Benjamin Moser
Translated by Katrina Dodson
645 pp. New Directions. $28.95.
(Adaptado de https://www.nytimes.com/2015/08/02/books/review/the-completestories-by-clarice-lispector.html. Acessado em 21/07/20.)
No texto acima, o livro de Clarice Lispector recebe uma
crítica

Catherine Fletcher, Tue 4 Feb 2020
The decision by a UK University to close history, modern languages and politics degrees in favour of more “careerfocused” courses has been widely criticised. The problem lies in reducing university education to what sells to employers. A society – and a world – urgently needs people who have the education to think about big issues, which aren’t only scientific or technological: they’re also about the ways that people have made, and continue to make, decisions. The humanities matter. And it matters that students from all backgrounds have the opportunity to join in these world-changing discussions.
Roger Brown, Mon 10 Feb 2020
Catherine Fletcher is completely correct to warn about the damage that current policies are doing to the humanities. But her warning comes much too late. As I and other scholars have shown, the problem started with a government green paper which declared that the fundamental purpose of higher education was to serve the economy. Until we recover the idea that higher education is as much about the public good as anything else, we will never be able to sustain the humanities as an essential component of a balanced curriculum. Unfortunately, there is very little sign that this has been grasped by any of our current policymakers.
(Adaptado de www.theguardian.com/education/2020/feb/10/humanities-are-notthe-right-courses-to-cut. Acessado em 22/05/2019.)
Os textos acima concordam quanto à identificação de
um problema nos cursos universitários no Reino Unido,
mas divergem quanto

Study: Literary Criticism Is Still Overwhelmingly Male
By Zach Schonfeld
Women writers are all over the best-seller lists, but
literary criticism is still predominantly a male field.
That’s according to the latest numbers from the volunteer organization VIDA: Women in the Literary Arts, which works for gender and racial parity in the literary world. This year’s report covers prestigious publications like The New York Review of Books, which published 227 male reviewers last year but only 54 female reviewers, and The London Review of Books, which published 146 male critics and 44 women during the same period. The Paris Review “made great strides toward gender parity” in 2013, the report notes, but then slid and published substantially fewer women than men in 2014.
As The Guardian points out, those figures are especially striking when you consider that women are more avid readers than men in the U.K., where some of the biggest offenders are based.
The figures are not all disheartening. Major magazines like The New Yorker, The Atlantic and Harper’s all showed increases in the number of women published in 2014.
That data are valuable (without VIDA, the figures would likely go untallied), and the broader awareness even more so. Top editors likely know gender disparity is an issue, but they’re more likely to pay attention to it when an organization like VIDA is paying attention to them.

Considerando-se o uso difundido do inglês na atualidade, o cartum remete à
Of the 7.2 billion people on Earth...

Of the 7.2 Billion People on Earth, 2015. Disponível em:
www.washingtonpost.com. Acesso em: 18 ago. 2017.
Considerando a relação entre o número de habitantes
e de línguas faladas no mundo, os dados trazidos pelo
infográfico revelam uma
Leia os provérbios:
1. Don't count your chickens before they lay eggs.
2. Don't bite the hand that feeds you.
3. Every cloud has a silver lining.
A alternativa que melhor expressa a ideia contida em cada um
dos três provérbios, na ordem em que aparecem, é:
I ain't gonna work on Maggie's farm no more
I ain't gonna work on Maggie's farm no more
Well, I wake up in the morning
Fold my hands and pray for rain
I got a head full of ideas
That are drivin' me insane
It's a shame the way she makes me scrub the floor
I ain't gonna work on Maggie's farm no more
I ain't gonna work for Maggie's brother no more
I ain't gonna work for Maggie's brother no more
Well, he hands you a nickel
He hands you a dime
He asks you with a grin
If you're havin' a good time
Then he fines you every time you slam the door
I ain't gonna work for Maggie's brother no more
I ain't gonna work for Maggie's pa no more
No, I ain't gonna work for Maggie's pa no more
Well, he puts his cigar out in your face just for kicks
His bedroom window it is made out of bricks
The National Guard stands around his door
Ah, I ain't gonna work for Maggie's pa no more, alright
Bob Dylan, "Maggie's Farm", do álbum Bringing it all back home, 1965.
Nestas estrofes, o conjunto de cenas descritas mostra que a
principal dificuldade experimentada pela pessoa cuja história é
contada na letra da música refere-se
I knew TikTok existed, but I didn't fully understand what it was until a few months ago. I also realized that something radical, yet largely invisible, is happening on the internet - with implications we still don't understand.
When I was growing up, I took it for granted that the people who became famous enough to be listened to by a crowd had worked hard for that accolade and generally operated with the support of an institution or an established industry.
The idea that I, as a teenager in my bedroom, might suddenly communicate with 100,000 people or more, would have seemed bizarre.
Today's kids no longer see life in these hierarchical and institutional terms. Yes, their physical worlds are often constrained by parental controls, a lack of access to the outdoors and insane over-scheduling.
But despite that (or, more accurately, in reaction to that), they see the internet as a constantly evolving frontier, where it is still possible for a bold and lucky pioneer to grab some land or find a voice. Most voices on the internet never travel beyond a relatively small network, and much of the content that goes viral on platforms such as TikTok, YouTube or Instagram does so because of unseen institutions at work (for example, a public relations team aiming to boost a celebrity's profile).
Fame can suddenly appear - and then just as suddenly be taken away again, because the audience gets bored, the platform's algorithms change or the cultural trend that a breakout video has tapped into goes out of fashion.
For a teenager, social media can seem like a summer garden at dusk filled with fireflies: spots of lights suddenly flare up and then die down, moving in an unpredictable, capricious display.
Is this a bad thing? We will not know for several years.
Financial Times. 5 February 2020. Adaptado.
I knew TikTok existed, but I didn't fully understand what it was until a few months ago. I also realized that something radical, yet largely invisible, is happening on the internet - with implications we still don't understand.
When I was growing up, I took it for granted that the people who became famous enough to be listened to by a crowd had worked hard for that accolade and generally operated with the support of an institution or an established industry.
The idea that I, as a teenager in my bedroom, might suddenly communicate with 100,000 people or more, would have seemed bizarre.
Today's kids no longer see life in these hierarchical and institutional terms. Yes, their physical worlds are often constrained by parental controls, a lack of access to the outdoors and insane over-scheduling.
But despite that (or, more accurately, in reaction to that), they see the internet as a constantly evolving frontier, where it is still possible for a bold and lucky pioneer to grab some land or find a voice. Most voices on the internet never travel beyond a relatively small network, and much of the content that goes viral on platforms such as TikTok, YouTube or Instagram does so because of unseen institutions at work (for example, a public relations team aiming to boost a celebrity's profile).
Fame can suddenly appear - and then just as suddenly be taken away again, because the audience gets bored, the platform's algorithms change or the cultural trend that a breakout video has tapped into goes out of fashion.
For a teenager, social media can seem like a summer garden at dusk filled with fireflies: spots of lights suddenly flare up and then die down, moving in an unpredictable, capricious display.
Is this a bad thing? We will not know for several years.
Financial Times. 5 February 2020. Adaptado.