Questões de Inglês do ENEM

Na tirinha ao lado:

        At Hwaban, Mihyun Han with her husband, Key Kim, will present their take on Korean fare, traditional and personalized with modern touches. The serene, neutral-toned dining room with pale brick walls, accented by dark furniture, is the setting for their varied menu. Some of the small plates to start are shrimp or scallop, an organic egg with king crab in a pine nut sauce, and pan-seared zucchini with shrimp in a soy sauce. More substantial dishes include poached lemon sole with vegetables, chicken with root vegetables, and grilled New York strip steak with Korean mountain greens and mustard dressing. Classics like bibimbap, kimchi stew with pork belly, and galbi (short ribs) are also served, and there is a set array of dishes called Hwaban Table. The name of the restaurant means “as beautiful as a flower,” and there are floral elements in the dining room and on some plates.

(Florence Fabricant. www.nytimes.com, 14.08.2018. Adaptado.)

        Fake news can distort people’s beliefs even after being debunked. A study recently published in the journal Intelligence suggests that some people may have an especially difficult time rejecting misinformation. Asked to rate a fictitious person on a range of character traits, people who scored low on a test of cognitive ability continued to be influenced by damaging information about the person even after they were explicitly told the information was false. The study is significant because it identifies what may be a major risk factor for vulnerability to fake news.

       One possible explanation for this finding is based on the theory that a person’s cognitive ability reflects how well they can regulate the contents of working memory – their “mental workspace” for processing information. First proposed by the cognitive psychologists Lynn Hasher and Rose Zacks, this theory holds that some people are more prone to “mental clutter” than other people. In other words, some people are less able to discard (or “inhibit”) information from their working memory that is no longer relevant to the task at hand, or information that has been discredited. Research on cognitive aging indicates that, in adulthood, this ability declines considerably with advancing age, suggesting that older adults may also be especially vulnerable to fake news. Another reason why cognitive ability may predict vulnerability to fake news is that it correlates highly with education. Through education, people may develop meta-cognitive skills – strategies for monitoring and regulating one’s own thinking – that can be used to combat the effects of misinformation.

(www.scientificamerican.com, 06.02.2018. Adaptado.)

A partir da associação entre o texto e o cartum, depreende- -se que a expressão “mental clutter”, empregada no segundo parágrafo do texto, significa

INSTRUÇÃO: Para responder à questão, considere o texto abaixo. 

INSTRUÇÃO: Para responder à questão, considere o texto abaixo. 

INSTRUÇÃO: Para responder à questão, considere o texto abaixo. 

INSTRUÇÃO: Para responder às questão, considere o texto abaixo.

Am I too old to learn a new language?

Adapted from:<https://www.theguardian.com/education/2014/sep/13/am-i-too-old-to-learn-a-language>. Accessed on March 19, 2018.

INSTRUÇÃO: Para responder às questão, considere o texto abaixo.

Am I too old to learn a new language?

Adapted from:<https://www.theguardian.com/education/2014/sep/13/am-i-too-old-to-learn-a-language>. Accessed on March 19, 2018.

INSTRUÇÃO: Para responder às questão, considere o texto abaixo.

Am I too old to learn a new language?

Adapted from:<https://www.theguardian.com/education/2014/sep/13/am-i-too-old-to-learn-a-language>. Accessed on March 19, 2018.

Considere o emprego do ´s nas seguintes afirmações.

I - “The brain's neuroplasticity” (l. 02) é a contração de “has”.

II - “It´s often said” (l. 04) é a contração de “is”.

III - “one's brain” (l. 28) é a contração do “genitive case”.

Quais estão corretas?

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    There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.

    By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.

    “I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”

    Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.

    It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.

(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)

Leia o texto para responder à questão.

    There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.

    By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.

    “I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”

    Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.

    It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.

(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)

Leia o texto para responder à questão.

    There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.

    By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.

    “I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”

    Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.

    It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.

(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)

Leia o texto para responder à questão.

    There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.

    By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.

    “I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”

    Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.

    It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.

(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)

Leia o texto para responder à questão.

    There is nothing conventional about 17-year-old Michael Fuller’s relationship with music. As someone with high-functioning autism who sees the world through sound, creating melodies from the bustle of the high street or trains on the tracks feels more natural than any social interaction. This hardwired connection to sound has been with him for as long as he can remember.

    By the age of 11, Michael could play Mozart by ear, having taught himself to play the piano through a mobile phone app. The app highlighted notes on a keyboard as classical music played. He describes his unusual musical talent as “downloading” music into his head. His mother, Nadine, remembers that as a child Michael would “suddenly pop up and say: ‘I’ve got a symphony’”. Michael took to the piano and found he could quickly perform complex pieces from memory.

    “I liked what I was hearing, sought more music and began studying through Google and YouTube,” he remembers. “It was very organic. I would listen in great depth and the music would be implanted in my mind. I could then just play it on the piano – all without being taught.”

    Growing up in a family that listened to reggae over classical music, Michael feels “very much aware” of how different his approach is to music – symbolised by the way he taught himself piano as a child. This, his mother says, came as a “surprise to the family and myself – I’d never listened to classical music in my life”.

    It was not long after learning to play the piano that Michael started composing his own works. Describing this process as “making music with my mind”, Michael says composing classical symphonies “helps me to express myself through music – it makes me calm”. Michael wants to nurture his song writing to achieve his ambition of becoming a modern mainstream classical artist. He wants to control the creative process, unlike typical modern-day composers, who he says “write blobs on a page, hand it over to the musicians – then say bye-bye and stay in the background and get no recognition”. Instead, Michael is determined to take centre stage.

(Alex Taylor. www.bbc.com, 27.03.2018. Adaptado.)