Questões de Inglês do ENEM

TEXTO

The Future Of Work: 5 Important Ways Jobs

Will Change In The 4th Industrial Revolution

Fonte:

https://www.forbes.com/2019/07/15

T E X T

I Used to Fear Being a Nobody. Then I Left

Social Media.

By Bianca Brooks

“What’s happening?”

     I stare blankly at the little box as I try to think of something clever for my first tweet. I settle on what’s at the top of my mind: “My only #fear is being a nobody.” How could I know this exchange would begin a dialogue that would continue nearly every day for the next nine years of my life?

     I began using Twitter in 2010 as a newly minted high school freshman. Though it began as a hub for my quirky adolescent thoughts, over the years it became an archive of my emotional and intellectual voice — a kind of virtual display for the evolution of my politics and artistic identity. But after nine years, it was time to close the archive. My wanting to share my every waking thought became eclipsed by a desire for an increasingly rare commodity — a private life.

     Though I thought disappearing from social media would be as simple as logging off, my refusal to post anything caused a bit of a stir among my small but loyal following. I began to receive emails from strangers asking me where I had gone and when I would return. One message read: “Not to be over familiar, but you have to come back eventually. You’re a writer after all. How will we read your writing?” Another follower inquired, “Where will you go?” 

     The truth is I have not gone anywhere. I am, in fact, more present than ever

     Over time, I have begun to sense these messages reveal more than a lack of respect for privacy. I realize that to many millennials, a life without a social media presence is not simply a private life; it is no life at all: We possess a widespread, genuine fear of obscurity.

     When I consider the near-decade I have spent on social media, this worry makes sense. As with many in my generation, Twitter was my entry into conversations happening on a global scale; long before my byline graced any publication, tweeting was how I felt a part of the world. Twitter functions much like an echo chamber dependent on likes and retweets, and gaining notoriety is as easy as finding someone to agree with you. For years I poured my opinions, musings and outrage onto my timeline, believing I held an indispensable place in a vital sociopolitical experiment. 

     But these passionate, public observations were born of more than just a desire to speak my mind — I was measuring my individual worth in constant visibility. Implicit in my follower’s question “Where will you go?” is the resounding question “How will we know where you’ve gone?” Privacy is considered a small exchange for the security of being well known and well liked. 

     After all, a private life boasts no location markers or story updates. The idea that the happenings of our lives would be constrained to our immediate families, friends and real-life communities is akin to social death in a world measured by followers, views, likes and shares.

     I grow weary when I think of this as the new normal for what is considered to be a fruitful personal life. Social media is no longer a mere public extension of our private socialization; it has become a replacement for it. What happens to our humanity when we relegate our real lives to props for the performance of our virtual ones? 

     For one, a predominantly online existence can lull us into a dubious sense of having enacted concrete change, simply because of a tweet or Instagram post. As “hashtag activism” has obscured longstanding traditions of assembly and protest, there’s concern that a failure to transition from the keyboard to in-person organization will effectively stall or kill the momentum of political movements. (See: Occupy Wall Street.) 

     The sanctity of our most intimate experiences is also diminished. My grandfather Charles Shaw — a notable musician whose wisdoms and jazz scene tales I often shared on Twitter — passed away last year. Rather than take adequate time to privately mourn the loss of his giant influence in my life alongside those who loved him most, I quickly posted a lengthy tribute to him to my followers. At the time I thought, “How will they remember him if I don’t acknowledge his passing?”

     Perhaps at the root of this anxiety over being forgotten is an urgent question of how one ought to form a legacy; with the rise of automation, a widening wealth gap and an unstable political climate, it is easy to feel unimportant. It is almost as if the world is too big and we are much too small to excel in it in any meaningful way. We feel we need as many people as possible to witness our lives, so as not to be left out of a story that is being written too fast by people much more significant than ourselves.

     “The secret of a full life is to live and relate to others as if they might not be there tomorrow, as if you might not be there tomorrow,” the writer Anais Nin said. “This feeling has become a rarity, and rarer every day now that we have reached a hastier and more superficial rhythm, now that we believe we are in touch with a greater amount of people. This is the illusion which might cheat us of being in touch deeply with the one breathing next to us.”

     I think of those words and at once any fear of obscurity is eclipsed by much deeper ones — the fear of forgoing the sacred moments of life, of never learning to be completely alone, of not bearing witness to the incredible lives of those who surround me.

     I observe the world around me. It is big and moving fast. “What’s happening?” I think to myself. 

     I’m just beginning to find out. 

From:www.nytimes.com/Oct. 1, 2019

Consider the following sentence.

It is only when some irrelevant memory makes us prejudiced that we should search our mind for the reason for the aversion.

Select the alternative with the proposition that best rephrases it.

Consider the following propositions for rephrasing the sentence All of us, when we see a painting, are bound to be reminded of a hundred-and-one things which influence our likes and dislikes (l. 24-27).

I - When we see a painting, all of us are bound to be reminded of a hundred-and-one things which influence our likes and dislikes.

II - All of us are bound to be reminded of a hundred-and-one things which influence our likes and dislikes when we see a painting.

III- A hundred-and-one things which influence our likes and dislikes are bound to be reminded by all of us when we see a painting.

If applied to the text, which ones would be correct and keep the literal meaning?

Consider the following statements.

I - The pronoun Its (l. 15) refers to what he has just done (l. 14).

II - The pronoun It (l. 23) refers to Someone (l. 21).

III- The pronoun It (l. 29) refers to when some irrelevant memory makes us prejudiced (l. 29-30).

Which ones are correct?

Mark the statements below with T (true) or F (false), according to the text.

( ) The indefinition of what Art is allows different interpretations of what is beautiful or not.

( ) The author believes that liking an artwork needs no justification, but disliking it does.

( ) Representations of beautiful things are easily perceived as good art.

( ) An artist can make a great picture out of a repugnant subject-matter.

The correct sequence of filling in the parentheses, from top to bottom, is

Associe as palavras da coluna da esquerda às suas respectivas traduções, na coluna da direita, de acordo com o sentido com que estão empregadas no texto.

( ) shoot-out (l. 15)

( ) chasm (l. 55)

( ) low -key (l. 60)

1. de baixo custo

2. abismo

3. tiroteio

4. discreto

5. conexão

6. explosão

A sequência correta de preenchimento dos parênteses, de cima para baixo, é

Considere as afirmações abaixo.

I - O texto faz uma crítica contundente à Academia de Artes e Ciências Cinematográficas pela criação de uma categoria de premiação para filmes populares no Oscar.

II - O autor considera o “Oscar Pipoca” problemático, porque, entre outras razões, não há critérios claros para se caracterizar um filme como popular.

III- O texto afirma que a nova categoria visa aumentar a audiência da cerimônia do Oscar, a qual vinha caindo em função de a Academia não privilegiar filmes pelos quais o público faz filas.

Quais estão corretas, de acordo com o texto?

Assinale com V (verdadeiro) ou F (falso) as afirmações abaixo, acerca da estrutura do texto.

( ) A palavra But (l. 10) poderia ser substituída por However, seguida por vírgula, sem prejuízo da correção gramatical e do significado original do texto.

( ) O trecho the Nigeria he returned to (l. 10) poderia ser susbstituído por the Nigeria to which he returned, sem prejuízo da correção gramatical e do significado original do texto.

( ) A palavra Besides (l. 32) poderia ser substituída por Notwithstanding, sem prejuízo da correção gramatical e do significado original do texto.

( ) O trecho a pleasure car stops for you (l. 42-43) poderia ser substituído por a pleasure car will stop for you, sem prejuízo da correção gramatical e do significado original do texto.

A sequência correta de preenchimento dos parênteses, de cima para baixo, é

Considere as seguintes afirmações acerca do texto.

I - O segmento took on (l. 06) poderia ser substituído por assumed.

II - A expressão ne’er-do-wells (l. 23) confere um sentido enaltecedor aos soldados.

III- A palavra wonderment (l. 44) enfatiza a dúvida por parte das pessoas que ouviam o soldado.

Quais estão corretas?