Instituição
185 questões de Pontifícia Universidade Católica de Minas Gerais (PUC-MINAS), de 2013 a 2021. Cada uma tem página própria, com enunciado completo, alternativas e gabarito — e dá para responder na própria página.
Why do we buy into the 'cult' of overwork?
By Bryan Lufkin, 9th May 2021
Although many of us associate overly ambitious workaholism with the 1980s and the finance industry, the tendency to devote ourselves to work and glamourize long-hours culture remains as pervasive as ever. In fact, it is expanding into more sectors and professions, in slightly different packaging. Overwork isn't a phenomenon exclusive to Silicon Valley or Wall Street. People work long hours all over the world, for many different reasons.
In Japan, a culture of overwork can be traced back to the 1950s, when the government pushed hard for the country to be rebuilt quickly after World War Two. In Arab League countries, burnout is high among medical professionals, possibly because its 22 members are developing nations with overburdened healthcare systems, studies suggest. Reasons for overwork also depend on industry. Some of the earliest researchers on burnout in the 1970s asserted that many people in jobs geared toward helping others, like employees in clinics or crisis-intervention centers, tended to work long hours that led to emotional and physical exhaustion – a trend which is shown up in the pandemic, too. But millions of us overwork because somehow, we think it’s exciting – a status symbol that puts us on the path to success, whether we define that by wealth or an Instagram post that makes it seem like we're living a dream life with a dream job. Romanticization of work seems to be an especially common practice among "knowledge workers" in the middle and upper classes. In 2014, the New Yorker called this devotion to overwork "a cult".
According to Anat Lechner, clinical associate professor of management at New York University. "We glorify the lifestyle, and the lifestyle is: you breathe something, you sleep with something, you wake up and work on it all day long, then you go to sleep. Again, and again and again."
Adapted from: Home - BBC Worklife.
Why do we buy into the 'cult' of overwork?
By Bryan Lufkin, 9th May 2021
Although many of us associate overly ambitious workaholism with the 1980s and the finance industry, the tendency to devote ourselves to work and glamourize long-hours culture remains as pervasive as ever. In fact, it is expanding into more sectors and professions, in slightly different packaging. Overwork isn't a phenomenon exclusive to Silicon Valley or Wall Street. People work long hours all over the world, for many different reasons.
In Japan, a culture of overwork can be traced back to the 1950s, when the government pushed hard for the country to be rebuilt quickly after World War Two. In Arab League countries, burnout is high among medical professionals, possibly because its 22 members are developing nations with overburdened healthcare systems, studies suggest. Reasons for overwork also depend on industry. Some of the earliest researchers on burnout in the 1970s asserted that many people in jobs geared toward helping others, like employees in clinics or crisis-intervention centers, tended to work long hours that led to emotional and physical exhaustion – a trend which is shown up in the pandemic, too. But millions of us overwork because somehow, we think it’s exciting – a status symbol that puts us on the path to success, whether we define that by wealth or an Instagram post that makes it seem like we're living a dream life with a dream job. Romanticization of work seems to be an especially common practice among "knowledge workers" in the middle and upper classes. In 2014, the New Yorker called this devotion to overwork "a cult".
According to Anat Lechner, clinical associate professor of management at New York University. "We glorify the lifestyle, and the lifestyle is: you breathe something, you sleep with something, you wake up and work on it all day long, then you go to sleep. Again, and again and again."
Adapted from: Home - BBC Worklife.
Why do we buy into the 'cult' of overwork?
By Bryan Lufkin, 9th May 2021
Although many of us associate overly ambitious workaholism with the 1980s and the finance industry, the tendency to devote ourselves to work and glamourize long-hours culture remains as pervasive as ever. In fact, it is expanding into more sectors and professions, in slightly different packaging. Overwork isn't a phenomenon exclusive to Silicon Valley or Wall Street. People work long hours all over the world, for many different reasons.
In Japan, a culture of overwork can be traced back to the 1950s, when the government pushed hard for the country to be rebuilt quickly after World War Two. In Arab League countries, burnout is high among medical professionals, possibly because its 22 members are developing nations with overburdened healthcare systems, studies suggest. Reasons for overwork also depend on industry. Some of the earliest researchers on burnout in the 1970s asserted that many people in jobs geared toward helping others, like employees in clinics or crisis-intervention centers, tended to work long hours that led to emotional and physical exhaustion – a trend which is shown up in the pandemic, too. But millions of us overwork because somehow, we think it’s exciting – a status symbol that puts us on the path to success, whether we define that by wealth or an Instagram post that makes it seem like we're living a dream life with a dream job. Romanticization of work seems to be an especially common practice among "knowledge workers" in the middle and upper classes. In 2014, the New Yorker called this devotion to overwork "a cult".
According to Anat Lechner, clinical associate professor of management at New York University. "We glorify the lifestyle, and the lifestyle is: you breathe something, you sleep with something, you wake up and work on it all day long, then you go to sleep. Again, and again and again."
Adapted from: Home - BBC Worklife.
Why do we buy into the 'cult' of overwork?
By Bryan Lufkin, 9th May 2021
Although many of us associate overly ambitious workaholism with the 1980s and the finance industry, the tendency to devote ourselves to work and glamourize long-hours culture remains as pervasive as ever. In fact, it is expanding into more sectors and professions, in slightly different packaging. Overwork isn't a phenomenon exclusive to Silicon Valley or Wall Street. People work long hours all over the world, for many different reasons.
In Japan, a culture of overwork can be traced back to the 1950s, when the government pushed hard for the country to be rebuilt quickly after World War Two. In Arab League countries, burnout is high among medical professionals, possibly because its 22 members are developing nations with overburdened healthcare systems, studies suggest. Reasons for overwork also depend on industry. Some of the earliest researchers on burnout in the 1970s asserted that many people in jobs geared toward helping others, like employees in clinics or crisis-intervention centers, tended to work long hours that led to emotional and physical exhaustion – a trend which is shown up in the pandemic, too. But millions of us overwork because somehow, we think it’s exciting – a status symbol that puts us on the path to success, whether we define that by wealth or an Instagram post that makes it seem like we're living a dream life with a dream job. Romanticization of work seems to be an especially common practice among "knowledge workers" in the middle and upper classes. In 2014, the New Yorker called this devotion to overwork "a cult".
According to Anat Lechner, clinical associate professor of management at New York University. "We glorify the lifestyle, and the lifestyle is: you breathe something, you sleep with something, you wake up and work on it all day long, then you go to sleep. Again, and again and again."
Adapted from: Home - BBC Worklife.
Why do we buy into the 'cult' of overwork?
By Bryan Lufkin, 9th May 2021
Although many of us associate overly ambitious workaholism with the 1980s and the finance industry, the tendency to devote ourselves to work and glamourize long-hours culture remains as pervasive as ever. In fact, it is expanding into more sectors and professions, in slightly different packaging. Overwork isn't a phenomenon exclusive to Silicon Valley or Wall Street. People work long hours all over the world, for many different reasons.
In Japan, a culture of overwork can be traced back to the 1950s, when the government pushed hard for the country to be rebuilt quickly after World War Two. In Arab League countries, burnout is high among medical professionals, possibly because its 22 members are developing nations with overburdened healthcare systems, studies suggest. Reasons for overwork also depend on industry. Some of the earliest researchers on burnout in the 1970s asserted that many people in jobs geared toward helping others, like employees in clinics or crisis-intervention centers, tended to work long hours that led to emotional and physical exhaustion – a trend which is shown up in the pandemic, too. But millions of us overwork because somehow, we think it’s exciting – a status symbol that puts us on the path to success, whether we define that by wealth or an Instagram post that makes it seem like we're living a dream life with a dream job. Romanticization of work seems to be an especially common practice among "knowledge workers" in the middle and upper classes. In 2014, the New Yorker called this devotion to overwork "a cult".
According to Anat Lechner, clinical associate professor of management at New York University. "We glorify the lifestyle, and the lifestyle is: you breathe something, you sleep with something, you wake up and work on it all day long, then you go to sleep. Again, and again and again."
Adapted from: Home - BBC Worklife.
TEXTO 1
“No meio das tabas de amenos verdores,
Cercadas de troncos — cobertos de flores,
Alteiam-se os tetos d’altiva nação;
São muitos seus filhos, nos ânimos fortes,
Temíveis na guerra, que em densas coortes
Assombram das matas a imensa extensão.
São rudes, severos, sedentos de glória,
Já prélios incitam, já cantam vitória,
Já meigos atendem à voz do cantor:
São todos Timbiras, guerreiros valentes!
Seu nome lá voa na boca das gentes,
Condão de prodígios, de glória e terror!”
(Dias, Gonçalves. I-Juca-Pirama. [Trecho] [1851]. In: Fundação Biblioteca Nacional. Departamento Nacional do Livro. Disponível em: objdigital.bn.br/Acervo_Digital/livros_eletronicos/jucapirama.pdf. Acesso: 21 ago. 2013).
TEXTO 2
No meio das tabas há menos verdores,
Não há gentes brabas nem campos de flores.
No meio das tabas cercadas de insetos,
Pensando nas babas dos analfabetos,
Vou chamando as tribos dos sertões gerais,
Passando recibos nos vãos de Goiás.
Venham os xerentes, craôs e crixás,
Bororos doentes e xicriabás.
E os apinajés, os carajás roídos,
E os tapirapés e os inás perdidos
[...]
No meio das tabas não quero ver dores,
Mas morubixabas e altivos senhores.
Quero a rebeldia das tribos na aldeia.
Nada de “poesia”. Quero cara feia:
Cor de jenipapo e urucum no peito,
Não índio de trapo falando sem jeito.
(TELES, Gilberto M. “Aldeia global”. In: Os melhores poemas de
Gilberto Mendonça Teles. Seleção Luís Busatto. São Paulo: Global,
2001.p. 91-92).
TEXTO 1
“No meio das tabas de amenos verdores,
Cercadas de troncos — cobertos de flores,
Alteiam-se os tetos d’altiva nação;
São muitos seus filhos, nos ânimos fortes,
Temíveis na guerra, que em densas coortes
Assombram das matas a imensa extensão.
São rudes, severos, sedentos de glória,
Já prélios incitam, já cantam vitória,
Já meigos atendem à voz do cantor:
São todos Timbiras, guerreiros valentes!
Seu nome lá voa na boca das gentes,
Condão de prodígios, de glória e terror!”
(Dias, Gonçalves. I-Juca-Pirama. [Trecho] [1851]. In: Fundação Biblioteca Nacional. Departamento Nacional do Livro. Disponível em: objdigital.bn.br/Acervo_Digital/livros_eletronicos/jucapirama.pdf. Acesso: 21 ago. 2013).
TEXTO 2
No meio das tabas há menos verdores,
Não há gentes brabas nem campos de flores.
No meio das tabas cercadas de insetos,
Pensando nas babas dos analfabetos,
Vou chamando as tribos dos sertões gerais,
Passando recibos nos vãos de Goiás.
Venham os xerentes, craôs e crixás,
Bororos doentes e xicriabás.
E os apinajés, os carajás roídos,
E os tapirapés e os inás perdidos
[...]
No meio das tabas não quero ver dores,
Mas morubixabas e altivos senhores.
Quero a rebeldia das tribos na aldeia.
Nada de “poesia”. Quero cara feia:
Cor de jenipapo e urucum no peito,
Não índio de trapo falando sem jeito.
(TELES, Gilberto M. “Aldeia global”. In: Os melhores poemas de
Gilberto Mendonça Teles. Seleção Luís Busatto. São Paulo: Global,
2001.p. 91-92).
TEXTO 1
“No meio das tabas de amenos verdores,
Cercadas de troncos — cobertos de flores,
Alteiam-se os tetos d’altiva nação;
São muitos seus filhos, nos ânimos fortes,
Temíveis na guerra, que em densas coortes
Assombram das matas a imensa extensão.
São rudes, severos, sedentos de glória,
Já prélios incitam, já cantam vitória,
Já meigos atendem à voz do cantor:
São todos Timbiras, guerreiros valentes!
Seu nome lá voa na boca das gentes,
Condão de prodígios, de glória e terror!”
(Dias, Gonçalves. I-Juca-Pirama. [Trecho] [1851]. In: Fundação Biblioteca Nacional. Departamento Nacional do Livro. Disponível em: objdigital.bn.br/Acervo_Digital/livros_eletronicos/jucapirama.pdf. Acesso: 21 ago. 2013).
TEXTO 2
No meio das tabas há menos verdores,
Não há gentes brabas nem campos de flores.
No meio das tabas cercadas de insetos,
Pensando nas babas dos analfabetos,
Vou chamando as tribos dos sertões gerais,
Passando recibos nos vãos de Goiás.
Venham os xerentes, craôs e crixás,
Bororos doentes e xicriabás.
E os apinajés, os carajás roídos,
E os tapirapés e os inás perdidos
[...]
No meio das tabas não quero ver dores,
Mas morubixabas e altivos senhores.
Quero a rebeldia das tribos na aldeia.
Nada de “poesia”. Quero cara feia:
Cor de jenipapo e urucum no peito,
Não índio de trapo falando sem jeito.
(TELES, Gilberto M. “Aldeia global”. In: Os melhores poemas de
Gilberto Mendonça Teles. Seleção Luís Busatto. São Paulo: Global,
2001.p. 91-92).
“À dolorosa luz das grandes lâmpadas eléctricas da fábrica
Tenho febre e escrevo.
Escrevo rangendo os dentes, fera para a beleza disto,
Para a beleza disto totalmente desconhecida dos antigos.
Ó rodas, ó engrenagens, r-r-r-r-r-r-r eterno!
Forte espasmo retido dos maquinismos em fúria!”
(PESSOA, Fernando Pessoa. “Ode Triunfal” [Trecho]. Poesias de Álvaro de Campos. In: Obra poética. Rio de Janeiro: Nova Aguilar, 2003, p. 306).
O poema de Fernando Pessoa foi publicado em Portugal na década de 1910. A referência a aspectos da vida
urbana, como fábricas, engrenagens, motores etc., indica um diálogo intertextual com a proposta estética do
“Recriamos a língua na medida em que somos capazes de produzir um pensamento novo, um pensamento nosso. O idioma, afinal, o que é senão o ovo das galinhas de ouro?
Estamos, sim, amando o indomesticável, aderindo ao invisível, procurando os outros tempos deste tempo.
Precisamos, sim, de senso incomum. Pois, das leis da língua, alguém sabe as certezas delas? Ponho as minhas irreticências. Veja-se, num sumário exemplo, perguntas que se podem colocar à língua:
Se pode dizer de um careca que tenha couro cabeludo?
No caso de alguém dormir com homem de raça branca é então que se aplica a expressão: passar a noite em branco?
A diferença entre um ás no volante ou um asno volante é apenas de ordem fonética?
O mato desconhecido é que é o anonimato?
O pequeno viaduto é um abreviaduto? [...]”
(COUTO, Mia. Perguntas à língua portuguesa. Disponível em: http://ciberduvidas.sapo.pt/antologia.php?rid=118. Acesso: 7 de março de 2007).
Mia Couto é um importante escritor da literatura moçambicana. No trecho em análise, seus questionamentos à língua portuguesa
