Questões do ENEM: Linguagens e nível fácil

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4.021 questões encontradas. Mostrando a página 23 de 202.

• 8CA5FAFC-0E

  Português

  Interpretação de TextosUFPR · 2024FácilEntre para guardar nos favoritos

  Tragédia no RS apaga pessoas negras e escancara racismo ambiental

  
  

  
  

  No início dos anos 2000, viajei a Mato Grosso do Sul para participar de um evento universitário. Lembro que na época eu causei espanto em alguns participantes ao dizer que eu era de Porto Alegre. A surpresa vinha acompanhada de um questionamento: “Não sabia que tinha negros no Rio Grande Sul”. Ao longo dos anos experimentei essa reação diversas vezes, em contextos e lugares diferentes.

  
  

  Essa percepção faz parte de um senso comum bastante arraigado no Brasil, e é fruto de um projeto de embranquecimento e apagamento das comunidades negras no estado. Um projeto bem-sucedido que há séculos invisibiliza não só a presença de pessoas negras, como também sua contribuição crucial na construção do estado.

  
  

  O imaginário popular é este: o Rio Grande do Sul é branco, constituído por uma grande colônia alemã, de ares europeus, lugar em que os moradores nem falam português. Um estereótipo que é reforçado pelas imagens dos municípios como Gramado e Canela, com seus chalés, fábricas de chocolates, vinhos e cafés coloniais.

  
  

  Obviamente que existe uma inegável contribuição da colonização europeia na formação do estado, no entanto, o que se coloca aqui é a supervalorização dessa cultura e o apagamento de outras.

  
  

  Segundo dados do próprio governo do estado, o Rio Grande do Sul tem uma população negra de 21%. Os levantamentos também mostram que os negros são os mais pobres, ganham salários mais baixos e têm menos acesso à educação e à saúde quando comparados aos brancos. Além disso, a representatividade na política é pequena: apenas na última eleição foi eleita a primeira bancada negra de Porto Alegre.

  
  

  As enchentes no Rio Grande do Sul revelam a existência de uma segregação racial no estado. A tragédia atingiu de maneira significativa a região metropolitana de Porto Alegre, por exemplo, um lugar onde reside grande parte da população negra e periférica.

  
  

  Portanto, são comunidades inteiras pertencentes a uma classe operária, que ocupam áreas de risco e que estão propensas a serem as primeiras vítimas das catástrofes climáticas.

  
  

  Não se pode falar em reconstrução de um estado sem levar em consideração os efeitos do racismo ambiental. A reconstrução deve se dar num contexto compreendendo que, historicamente, as comunidades periféricas, negras, quilombolas e indígenas não tiveram acesso a serviços básicos como saneamento, água potável, luz, acesso à internet, saúde e educação de qualidade.

  
  

  As enchentes escancararam o racismo ambiental, portanto, será preciso dar atenção ainda maior às desigualdades raciais para uma reconstrução justa e humana.

  
  

  
  

  Disponível em: https://www.geledes.org.br/tragedia-no-rs-apaga-pessoas-negras-e-escancara-racismo-ambiental. Adaptado. 

  Assinale a alternativa que indica expressões do texto com significados convergentes.

  Escolha uma alternativa para a questão 8ca5fafc-0e

  A

  “embranquecimento” e “construção do estado” 

  B

  “estereótipo” e “representatividade na política” 

  C

  “senso comum” e “imaginário popular” 

  D

  “racismo ambiental” e “reconstrução justa e humana” 

  E

  “classe operária” e “quilombolas e indígenas” 

  Responder
• A930A37A-04

  Português

  Formação do imperativoUFGD · 2024FácilEntre para guardar nos favoritos

  O estrume

  
  

  Súbito deu-me a consciência um repelão, acusou-me de ter feito capitular a probidade de D. Plácida, obrigando-a a um papel torpe, depois de uma longa vida de trabalho e privações. Medianeira não era melhor que concubina, e eu tinha-a baixado a esse ofício, à custa de obséquios e dinheiros. Foi o que me disse a consciência; fiquei uns dez minutos sem saber que lhe replicasse. Ela acrescentou que eu me aproveitara da fascinação exercida por Virgília sobre a ex-costureira, da gratidão desta, enfim da necessidade. Notou a resistência de D.Plácida, as lágrimas dos primeiros dias, as caras feias, os silêncios, os olhos baixos, e a minha arte em suportar tudo isso, até vencê-la. E repuxou-me outra vez de um modo irritado e nervoso.

  
  

  Concordei que assim era, mas aleguei que a velhice de D. Plácida estava agora ao abrigo da mendicidade: era uma compensação. Se não fossem os meus amores, provavelmente D. Plácida acabaria como tantas outras criaturas humanas; donde se poderia deduzir que o vício é muitas vezes o estrume da virtude. O que não impede que a virtude seja uma flor cheirosa e sã. A consciência concordou, e eu fui abrir a porta a Virgília.

  
  

  ASSIS, Machado de. Memórias Póstumas de Brás Cubas. São Paulo: Moderna, 1999 (fragmento).

  
  

  
  

  De acordo com o trecho e a leitura da obra Memórias Póstumas de Brás Cubas, de Machado de Assis, assinale a alternativa correta.

  Escolha uma alternativa para a questão a930a37a-04

  A

  No trecho do capítulo entitulado O estrume, a reflexão de Brás Cubas enfatiza o problema da consciência: corruptor da probidade de D. Plácida, mas apaziguada por si mesmo, pelo fato de ter a ela propiciado uma velhice ao abrigo da mendicidade.

  B

  Após esse trecho, D. Plácida reaparece no livro depois de ter sido roubada em cinco contos de réis pelo próprio Brás Cubas, dinheiro esse que ele achara na praia de Botafogo e não devolvera.

  C

  A história de D. Plácida começa pelo retorno de um namorado que lhe prometera casamento, e que volta para cumprir a sua promessa, mas a encontra conversando com Brás Cubas e desiste de procurá-la.

  D

  D. Plácida tem um papel importante na narrativa, já que conhece os segredos mais sórdidos de Brás Cubas, por isso, o capítulo citado chama-se “estrume”, uma vez que a senhora se encontra rica ao final da história devido a suas chantagens.

  E

  D. Plácida termina seus dias na riqueza, pois Brás a encontra numa casa no Beco das Escadinhas, bem vestida e acompanhada de seus lacaios.

  Responder
• A92B8BCD-04

  Português

  Classificação dos verbos (Regulares, Irregulares, Defectivos, Abundantes, Unipessoais, Pronominais)UFGD · 2024FácilEntre para guardar nos favoritos

  A caçada

  
  

  O homem acendeu um cigarro. Sua mão tremia. Em que tempo, meu Deus! Em que tempo teria assistido a essa mesma cena. E onde?...

  
  

  Era uma caçada. No primeiro plano, estava o caçador de arco retesado, apontando para uma touceira espessa.

  
  

  Num plano mais profundo, o segundo caçador espreitava por entre as árvores do bosque, mas esta era apenas uma vaga silhueta, cujo rosto se reduzira a um esmaecido contorno. Poderoso, absoluto era o primeiro caçador, a barba violenta como um bolo de serpentes, os músculos tensos, à espera de que a caça levantasse para desferir-lhe a seta.

  
  

  O homem respirava com esforço. Vagou o olhar pela tapeçaria que tinha a cor esverdeada de um céu de tempestade. Envenenando o tom verde-musgo do tecido, destacavam-se manchas de um negro-violáceo e que pareciam escorrer da folhagem, deslizar pelas botas do caçador e espalhar-se no chão como um líquido maligno. A touceira na qual a caça estava escondida também tinha as mesmas manchas e que tanto podiam fazer parte do desenho como ser simples efeito do tempo devorando o pano.

  
  

  — Parece que hoje tudo está mais próximo — disse o homem em voz baixa.

  
  

  — É como se... Mas não está diferente?

  
  

  A velha firmou mais o olhar. Tirou os óculos e voltou a pô-los.

  
  

  — Não vejo diferença nenhuma.

  
  

  TELLES, Lygia Fagundes. Melhores Contos de Lygia Fagundes Telles. seleção de Eduardo Portella. São Paulo: Global. 2003, p. 163- 164.

  
  

  
  

  Sobre esse conto, é correto afirmar que

  Escolha uma alternativa para a questão a92b8bcd-04

  A

  a narrativa recria visualmente uma obra cinematográfica documental, que representa a caçada de animais selvagens em uma pequena cidade. O foco está na descrição da profusão de sensações sinestésicas do narrador e da velha senhora, conforme o trecho: “[...] o segundo caçador espreitava por entre as árvores do bosque, mas esta era apenas uma vaga silhueta”. 

  B

  o conto apresenta como principal elemento a vertente poética do diálogo entre as personagens, que são: os dois caçadores, o homem que adentra a loja de penhores e a velha senhora. Ela é a mentora responsável por conduzi-los em seus sonhos rumo à sua última caçada, como está descrito no trecho: “[...] — Parece que hoje tudo está mais próximo”.

  C

  a partir do suspense, o conto traz a história de um homem que, ao entrar na loja de antiguidades, fica fascinado por uma tapeçaria que retrata uma caçada. Do prazer pela descoberta ao terror de suas dúvidas, ele vivencia uma mistura de sensações como se estivesse dentro da peça, ultrapassando, assim, o limiar entre a realidade e a fantasia: “[...] Em que tempo teria assistido a essa mesma cena. E onde?”.

  D

  a narrativa dramática subverte o universo fantasioso do conto de fadas da trama e recorre à realidade verossímil para retratar a história de dois caçadores que sobreviveram a uma caçada até a morte. A essência do texto está no trecho: “[...] a barba violenta como um bolo de serpentes, os músculos tensos, à espera de que a caça levantasse para desferir-lhe a seta”.

  E

  o conto de terror apresenta as memórias de um menino quando ele realizou sua primeira caçada. Seu desejo era recriar uma tapeçaria que fosse capaz de apagar os medos e os temores que corroíam sua mente conturbada, como em: “Envenenando o tom verde-musgo do tecido, destacavam-se manchas de um negro-violáceo e que pareciam escorrer da folhagem [...] efeito do tempo devorando o pano”.

  Responder
• A92681B7-04

  Literatura

  Gênero Épico ou NarrativoUFGD · 2024FácilEntre para guardar nos favoritos

  Tendo como referência que o poema é um gênero literário composto, principalmente, por versos, métrica, estrofes, rimas e ritmo, leia o texto I e o trecho do poema Tabacaria (texto II), de 1933, de autoria de Álvaro de Campos, heterônimo do poeta Fernando Pessoa.

  
  

  TEXTO I

  
  

  Como expressão linguística, um poema tende a organizar-se em frases ritmadas, com base na entonação, no número de sílabas, na distribuição mais ou menos regular, ou irregular, das sílabas acentuadas, constituindo-se desta maneira numa série de versos. [...] Na atividade poética formal de construção de um poema, exploram-se as possibilidades da linguagem em geral e da língua específica, em particular: a) no material sonoro; b) nas palavras; c) nas associações de ideias; d) nas construções frasais, utilizando-se o ritmo, a harmonia imitativa, a rima, a assonância, a aliteração, as figuras de palavras, as figuras de pensamento, as figuras de sintaxe [...].

  
  

  Disponível em: https://edtl.fcsh.unl.pt/encyclopedia/poema. Acesso em: 01 jul. 2024.

  
  

  TEXTO II

  
  

  Tabacaria

  
  

  [...] Mas um homem entrou na Tabacaria (para comprar tabaco?)

  E a realidade plausível cai de repente em cima de mim.

  Semiergo-me enérgico, convencido, humano,

  E vou tencionar escrever estes versos em que digo o contrário.

  
  

  Acendo um cigarro ao pensar em escrevê-los

  E saboreio no cigarro a libertação de todos os pensamentos.

  Sigo o fumo como uma rota própria,

  E gozo, num momento sensitivo e competente,

  A libertação de todas as especulações

  E a consciência de que a metafísica é uma consequência de estar mal disposto.

  
  

  Depois deito-me para trás na cadeira

  E continuo fumando.

  Enquanto o Destino mo conceder, continuarei fumando.

  
  

  (Se eu casasse com a filha da minha lavadeira

  Talvez fosse feliz.)

  Visto isto, levanto-me da cadeira. Vou à janela.

  
  

  O homem saiu da Tabacaria (metendo troco na algibeira das calças?).

  Ah, conheço-o; é o Esteves sem metafísica.

  (O Dono da Tabacaria chegou à porta.)

  Como por um instinto divino o Esteves voltou-se e viu-me.

  Acenou-me adeus, gritei-lhe Adeus ó Esteves!, e o universo

  Reconstruiu-se-me sem ideal nem esperança, e o Dono da Tabacaria sorriu.

  
  

  Disponível em: http://arquivopessoa.net/textos/163. Acesso em: 01 jul. 2024 (fragmento).

  
  

  
  

  Assinale a alternativa correta a respeito dos elementos estruturais e simbólicos que constituem o poema Tabacaria.

  Escolha uma alternativa para a questão a92681b7-04

  A

  O aspecto sonoro das palavras compõe a essência do formato octossílabo (versos com oito sílabas poéticas) devido às estrofes simples, com versos que possuem a mesma medida. Isso faz com que Tabacaria seja um poema romântico que inscreve um ritmo frenético, coerente ao atual contexto futurista. 

  B

  A sensação de sucesso e de conquista em meio à problemática vivenciada pelo eu-lírico é a principal temática do poema, pois as construções frasais, a assonância e a aliteração em Tabacaria formam rimas emparelhadas, cujo esquema linguístico é formado entre o 1º e o 2º versos e o 3º e o 4º versos. 

  C

  Tabacaria se assemelha a um poema épico moderno, com versos livres, rimas alternadas (esquema formado entre versos pares e ímpares) e com a presença de heróis que, simbolicamente, combatem a miserável condição do eu-lírico, que vê a felicidade como uma hipótese possível.

  D

  Em Tabacaria, Campos propõe uma dissociação de ideias de ordem pessimista, elencando a obsessão e a alegria como formas de o sujeito encarar sua vida. Tal temática é descrita em um poema curto (formato haicai), constituído por três versos (terceto), rimas internas e estrofes compostas (versos sem rigor métrico).

  E

  Em termos de formato, Tabacaria é um poema livre (sem estrutura fixa ou métrica) composto por versos sem rimas. Essencialmente, Campos narrativiza a poesia, a partir da descrição do espaço e das situações, abordando temas como: o sonho e a realidade, o nada e o absurdo, a felicidade e a derrota, etc.

  Responder
• A91F2742-04

  Português

  Interpretação de TextosUFGD · 2024FácilEntre para guardar nos favoritos

  “Machado de Assis com sotaque carioca? ‘Brás Cubas’ ganha um novo viral.”

  
  

  Mais de cem anos após sua primeira publicação, o livro Memórias Póstumas de Brás Cubas voltou a ser assunto no Brasil. Com o sucesso de um TikTok, em que uma leitora americana se encantava pela obra de Machado de Assis, mais discussões sobre o livro e o autor vieram à tona – e uma nova brincadeira tomou conta das redes sociais.

  
  

  Como relembrado por internautas, Machado de Assis nasceu e viveu no Rio de Janeiro. Com isso, muitos retomaram uma discussão que surgiu em 2021: qual era o sotaque do escritor? “Ele provavelmente falava ‘Memóriax Poxtumax de Braix Cubax’”, brincou um usuário do X (antigo Twitter).

  
  

  Conhecida por seu sotaque carregado, a influenciadora Baueny Barroco entrou na brincadeira e releu o primeiro trecho de Memórias Póstumas de Brás Cubas em “carioquês”. O áudio rapidamente viralizou e, no último sábado, 25, até a apresentadora Maria Beltrão entrou na brincadeira.

  
  

  Disponível em: https://www.estadao.com.br/cultura/literatura/machado-de-assis-com-sotaque-carioca-trecho-de-bras-cubas-viranovo-meme-viral-entenda-nprec/. Acesso em: 27 jun. 2024.

  
  

  
  

  A notícia, ao abordar o possível sotaque de Machado de Assis, remete ao fenômeno da variação geográfica ou diatópica. Sobre o fenômeno da variação linguística, é correto afirmar que uma língua se constitui 

  Escolha uma alternativa para a questão a91f2742-04

  A

  homogeneamente ao longo do tempo, pois é utilizada da mesma forma por falantes de diferentes lugares e idades. 

  B

  heterogeneamente ao longo do tempo, pois as diferenças entre os sotaques a tornam incompreensível.  

  C

  homogeneamente ao longo do tempo, pois se deve manter coerente com sua formação original.  

  D

  heterogeneamente ao longo do tempo, pois vários fatores extralinguísticos contribuem para sua variação.  

  E

  heterogeneamente ao longo do tempo, pois as gramáticas prescrevem que os usos da língua devem ser variados.

  Responder
• A91A507E-04

  Português

  Coesão e coerênciaUFGD · 2024FácilEntre para guardar nos favoritos

  Interpretações distintas sobre o número (singular ou plural) de uma única palavra na obra do compositor Cartola, O Mundo é um Moinho, resultaram em duas versões diferentes de um trecho da música. Leia os trechos das duas versões.

  
  

  
  

  VERSÃO I 

  
  

  Ouça-me bem amor

  
  

  Preste atenção, o mundo é um moinho

  
  

  Vai triturar teus sonhos, tão mesquinhos

  
  

  Vai reduzir as ilusões a pó

  
  

  Disponível em: https://www.vagalume.com.br/cazuza/o-mundo-e-um-moinho.html. Acesso em: 08 jul. 2024.  

  
  

  
  

  VERSÃO II 

  
  

  Ouça-me bem, amor

  
  

  Preste atenção o mundo é um moinho

  
  

  Vai triturar teus sonhos, tão mesquinho

  
  

  Vai reduzir as ilusões a pó

  
  

  Disponível em: https://www.vagalume.com.br/cartola/o-mundo-e-um-moinho.html. Acesso em: 08 jul. 2024.

  
  

  
  

  A partir da interpretação dos textos apresentados, assinale a alternativa correta. 

  Escolha uma alternativa para a questão a91a507e-04

  A

  Apesar de a palavra “mesquinho” aparecer na forma plural em uma versão e na forma singular em outra, isso influencia apenas na estética da música, não alterando sua interpretação. O uso do “s” no primeiro trecho dá um toque carioca à letra, o que faz sentido, considerando que Cartola nasceu no Rio de Janeiro. 

  B

  No primeiro trecho, “mesquinhos” concorda com “sonhos”, indicando que os sonhos são fúteis, bobos ou ridículos. Já no segundo trecho, “mesquinho” concorda com “mundo”, sugerindo que o mundo é ordinário, desprezível ou mesmo vil.

  C

  Independentemente da versão escolhida, interpreta-se o trecho como otimista em relação ao mundo, já que “moinho” representa a produção de pão, um alimento presente na alimentação de grande parte da população mundial.

  D

  No segundo trecho, a única interpretação possível é a de que foi utilizada uma variante informal da língua portuguesa, uma vez que “mesquinho” não concorda com “sonhos”. Em um contexto artístico, como o da música, isso não pode ser interpretado como um erro.

  E

  O segundo trecho está escrito em um português errado e deveria ser corrigido, pois “mesquinho” não está concordando com “sonhos”. Todo texto escrito em língua portuguesa deve seguir a norma padrão e formal.

  Responder
• A917D9B5-04

  Português

  Interpretação de TextosUFGD · 2024FácilEntre para guardar nos favoritos

  Divertida Mente 2

  Sinopse

  
  

  Divertida Mente 2 marca a sequência da famosa história de Riley (Kaitlyn Dias). Com um salto temporal, a garota agora se encontra mais velha, com 13 anos de idade, passando pela tão temida pré-adolescência. Junto com o amadurecimento, a sala de controle mental da jovem também está passando por uma demolição para dar lugar a algo totalmente inesperado: novas emoções. As já conhecidas, Alegria (Amy Poehler), Tristeza (Phyllis Smith), Raiva (Lewis Black), Medo (Tony Hale) e Nojinho (Liza Lapira), que desde quando Riley era bebê, eles predominam na central de controle da garota em uma operação bem-sucedida, tendo algumas falhas no percurso, como foi apresentado no primeiro filme. As antigas emoções não têm certeza de como se sentir e como agir quando novos inquilinos chegam ao local, sendo um deles a tão temida Ansiedade (Maya Hawke). Inveja (Ayo Edebiri), Tédio (Adèle Exarchopoulos) e Vergonha (Paul Walter Hauser) integrarão, juntos com a Ansiedade, na mente de Riley, assim como a Nostalgia (June Squibb), que aparecerá também.

  
  

  Disponível em: https://www.adorocinema.com/filmes/filme-307991/. Acesso em: 11 jun. 2024 (adaptado).

  
  

  
  

  De acordo com o texto, é correto afirmar que

  Escolha uma alternativa para a questão a917d9b5-04

  A

  a protagonista Riley, no enredo do filme anterior, tinha mais de 13 anos. 

  B

  o enredo do filme anterior trata de algumas falhas no controle da mente da protagonista. 

  C

  a sala de controle mental, no enredo do filme anterior, já tinha sido demolida. 

  D

  o enredo do filme Divertida Mente 2 trata dos conflitos causados pela chegada das novas emoções Medo, Raiva e Ansiedade à mente de Riley. 

  E

  a Nostalgia é uma das antigas emoções presentes na mente da protagonista Riley. 

  Responder
• A9156A23-04

  Português

  Interpretação de TextosUFGD · 2024FácilEntre para guardar nos favoritos

  A Lei nº 11.340/2006 é conhecida, nacionalmente, como Lei Maria da Penha. Trata-se de uma das principais legislações brasileiras no combate à violência contra a mulher. No artigo 7º dessa lei, são elencadas como formas de violência doméstica e familiar contra a mulher:

  
  

  
  

  I - a violência física, entendida como qualquer conduta que ofenda sua integridade ou saúde corporal;

  
  

  II - a violência psicológica, entendida como qualquer conduta que lhe cause dano emocional e diminuição da autoestima ou que lhe prejudique e perturbe o pleno desenvolvimento ou que vise degradar ou controlar suas ações, comportamentos, crenças e decisões, mediante ameaça, constrangimento, humilhação, manipulação, isolamento, vigilância constante, perseguição contumaz, insulto, chantagem, violação de sua intimidade, ridicularização, exploração e limitação do direito de ir e vir ou qualquer outro meio que lhe cause prejuízo à saúde psicológica e à autodeterminação;

  
  

  III - a violência sexual, entendida como qualquer conduta que a constranja a presenciar, a manter ou a participar de relação sexual não desejada, mediante intimidação, ameaça, coação ou uso da força; que a induza a comercializar ou a utilizar, de qualquer modo, a sua sexualidade, que a impeça de usar qualquer método contraceptivo ou que a force ao matrimônio, à gravidez, ao aborto ou à prostituição, mediante coação, chantagem, suborno ou manipulação; ou que limite ou anule o exercício de seus direitos sexuais e reprodutivos;

  
  

  IV - a violência patrimonial, entendida como qualquer conduta que configure retenção, subtração, destruição parcial ou total de seus objetos, instrumentos de trabalho, documentos pessoais, bens, valores e direitos ou recursos econômicos, incluindo os destinados a satisfazer suas necessidades;

  
  

  V - a violência moral, entendida como qualquer conduta que configure calúnia, difamação ou injúria.

  
  

  Disponível em: https://www.planalto.gov.br/ccivil_03/_ato2004-2006/2006/lei/l11340.htm. Acesso em: 06 de jul. 2024.

  
  

  
  

  Numa situação fictícia em que o companheiro atemoriza divulgar imagens íntimas de sua companheira em redes sociais e a julga infiel, é correto afirmar que essas condutas, se enquadram, respectivamente, conforme a Lei nº 11.340/2006, como violências

  Escolha uma alternativa para a questão a9156a23-04

  A

  sexual e moral. 

  B

  sexual e psicológica. 

  C

  física e moral.

  D

  psicológica e física. 

  E

  psicológica e moral. 

  Responder
• A912FE28-04

  Inglês

  Interpretação de texto | Reading comprehensionUFGD · 2024FácilEntre para guardar nos favoritos

  

  
  

  Disponível em: https://www.seattletimes.com/comics-universal/?amu=/lola/2024/06/25. Acesso em: 01 jul. 2024.

  
  

  
  

  O quadrinho revela que 

  Escolha uma alternativa para a questão a912fe28-04

  A

  Miss Lola não apreciou o modo que Miss Muffet se referiu a ela. 

  B

  Miss Lola gosta de rimas infantis. 

  C

  pode haver uma aranha dentro do pote oferecido a Miss Lola. 

  D

  The Spider é um time de futebol americano.  

  E

  existe um conflito geracional entre as duas mulheres. 

  Responder
• A9107B3A-04

  Inglês

  Interpretação de texto | Reading comprehensionUFGD · 2024FácilEntre para guardar nos favoritos

  

  
  

  Disponível em: https://www.seattletimes.com/comics-universal/?amu=/cornered/2024/06/25. Acesso em: 28 jun. 2024.

  
  

  
  

  A mulher da charge acredita que

  Escolha uma alternativa para a questão a9107b3a-04

  A

  a abertura da loja deveria ser mais chamativa. 

  B

  o cardápio deveria ter mais variedade no que tange a opções vegetarianas e veganas. 

  C

  o nome do lugar pode confundir o público quanto ao tipo de carne usada na hamburgueria. 

  D

  o dono do estabelecimento é um gênio do marketing. 

  E

  o dono da hamburgueria deveria mandar mensagens digitais aos clientes. 

  Responder
• A90DF159-04

  Inglês

  Interpretação de texto | Reading comprehensionUFGD · 2024FácilEntre para guardar nos favoritos

  One of the World’s 7,000 Languages Dies Every Three Months. Can Apps Help Save Them?

  
  

  Like his ancestors, 65-year-old Clayton Long spent his childhood immersed in Navajo culture, greeting fellow clan members with old, breathful Navajo words like “Yá’át’ééh.” Then he was sent to an English-only boarding school where his native language, also known as Diné, was banned. “I went into a silent resistance,” Long says from his home in Blanding, Utah. He vowed that he would help to preserve it after he left the work he has done for about three decades as a teacher. This week, he’s entering new territory on that mission: the app store.

  
  

  Long is one of the educators working with language-learning startup Duolingo on the company’s latest endeavor: using its popular app to revive threatened languages. On Oct. 8, celebrated in some places as Indigenous People’s Day, Duolingo will launch courses in both Navajo and Hawaiian, two of the estimated 3,150 languages that face doubts about their longterm survival. That’s nearly half of the estimated 7,000 languages spoken around the world.

  
  

  Disponível em: https://time.com/5417035/technology-endangered-languages/ Acesso em: 29 jul. 2024.

  
  

  
  

  Ao relatar suas vivências, Clayton Long destaca 

  Escolha uma alternativa para a questão a90df159-04

  A

  a importância dos apps na contemporaneidade.  

  B

  a ameaça que a tecnologia traz às línguas indígenas.  

  C

  a imprescindibilidade da ferramenta Duolingo na aprendizagem de idiomas.  

  D

  a sua diligência em preservar sua língua materna.  

  E

  o silenciamento como ferramenta de aprendizagem de uma língua adicional. 

  Responder
• A90B7787-04

  Inglês

  Interpretação de texto | Reading comprehensionUFGD · 2024FácilEntre para guardar nos favoritos

  Dom Casmurro (1899), perhaps Brazil’s most celebrated novel, has acquired in the century since its publication what must be the longest critical bibliography devoted to any single work of Brazilian fiction. Part of its attraction no doubt lies in the enigma concerning possible adultery and betrayal that many critics have found in its pages. In the distinct stages the interpretation of the novel has gone through, betrayal has been the key issue of debate.

  
  

  Disponível em: https://www.cambridge.org/core/books/abs/cambridge-companion-to-the-latin-american-novel/dom-casmurroby-machado-de assis/DCF5DB08148E84AC332C707F173C74D4). Acesso em: 02 jul. 2024.

  
  

  It is noted that Bentinho silences the character of Capitu from the first to the last page, leaving the reader in a position of passivity in front of his story. Soon, the signs of betrayal described with contempt by Bentinho cannot be considered, since they are all drawings of his mind that at times showed signs of psychic disturbance. The narrator, represented by attitudes of jealousy, exaggerates in all the described occasions. Bentinho, already Casmurro, aims to understand the events that took place between his life and that of Capitu.

  
  

  Disponível em: https://amadeusjournal.emnuvens.com.br/amadeus/article/download/61/130/287. Acesso em: 02 jul. 2024 (adaptado).

  
  

  
  

  De acordo com o texto, é correto afirmar que

  Escolha uma alternativa para a questão a90b7787-04

  A

  depois de 100 anos, o enigma da traição entre Bentinho e Capitu foi finalmente desvendado.  

  B

  o leitor participa ativamente do enredo como se houvesse uma interação entre leitor e narrador.  

  C

  o silenciamento de Capitu permite ao narrador mostrar apenas uma versão da história sobre o suposto adultério.

  D

  Bentinho, com o passar dos anos, se torna afável, inequívoco e cândido.  

  E

  em sua visão dos fatos sobre a traição de sua esposa com seu melhor amigo Escobar, Bentinho age como se ele mesmo fosse o responsável pela suposta traição.

  Responder
• A90796D6-04

  Inglês

  Interpretação de texto | Reading comprehensionUFGD · 2024FácilEntre para guardar nos favoritos

  The song Sitting on the Dock of the Bay by Redding was right. When (Sittin’ on) the Dock of the Bay was released less than two months later, it became the singer’s first million-seller and first Billboard Number One single. But the legendary soul singer never got to hear the finished version of his breakthrough single: He had died in a plane crash on December 10th, 1967, almost a month before the song was released, (January 8, 1968).

  
  

  Disponível em: https://www.rollingstone.com/music/music-features/inside-otis-reddings-final-masterpiece-sittin-on-the-dock-of- -the-bay-122170/. Acesso em: 01 jul. 2024 (adaptado)

  
  

  
  

  (Sittin' On) The Dock of The Bay

  
  

  So I’m just gonna sit on the dock of the bay

  Watching the tide roll away

  I’m sittin’ on the dock of the bay

  Wastin’ time

  Look like nothing’s gonna change

  Everything still remains the same

  I can’t do what ten people tell me to do

  So I guess I’ll remain the same, yes

  
  

  Disponível em: https://www.letras.mus.br/otis-redding/380577/. Acesso em: 21 jun.2024.

  
  

  
  

  Choose the alternative which contains the feelings expressed in the excerpt above.  

  Escolha uma alternativa para a questão a90796d6-04

  A

  Stagnation and aimlessness.  

  B

  Elation and anticipation.  

  C

  Hustle and bustle.  

  D

  Motivation and movement. 

  E

  Passion and animation. 

  Responder
• C87B6DE1-03

  Inglês

  Interpretação de texto | Reading comprehensionUECE · 2024FácilEntre para guardar nos favoritos

  T E X T

  
  

  The word ‘viral’ has lost its meaning

  
  

  
  

        The nature of virality has shifted radically over the past decade as the internet has fractured into uncounted disparate algorithms, platforms, and niche communities. The volume of content being churned out every day has skyrocketed, the life cycle of each piece of media has grown shorter and social media platforms continue to inflate public metrics, devaluing previously impressive online stats.

  
  

          All of these factors have rendered the term “viral” nearly meaningless, say experts, and have led to a condition we’ll call “viralflation.” The term speaks to the diminished meaning of virality. If everything is labeled viral, then is nothing viral?

  
  

         “Back in the day, 1 million views was the thing,” said Marcus Stringer, a partner manager at Social Blade, a social media analytics platform. “That meant you’d gone viral, and you’d get picked up by news agencies around the world. Now, tens of millions of views is the norm for top YouTube channels. Soon, 20 million views will eventually become the norm.”

  
  

        “Because the concept of virality has been so watered down, truly viral pieces of content must reach hundreds of millions of people at a scale that’s increasingly unattainable for anyone but MrBeast,” said Lara Cohen, vice president of partners and business development at Linktree, a platform that allows creators to aggregate links to their social media profiles on one page. MrBeast is the internet name of Jimmy Donaldson, YouTube’s most watched creator.

  
  

          A decade and a half ago, there was a clear delineation between viral content and the vast majority of media that users would encounter every day. The internet was smaller, and most sharing was manual (people emailing and messaging links to each other) or via early internet aggregators such as sites like Digg and StumbleUpon.

  
  

           Viral content emerged slowly, so the life span of a viral video was long. Some content remained viral for up to a year, worming its way through the internet as it gained traction. When social media platforms began to switch to algorithmic feeds optimized for engagement in the mid 2010s, the viral content cycle accelerated, experts said. Brands began recognizing the power of virality and started to attempt to manufacture it. Content creators joined engagement groups where they’d reshare each other’s content in attempts to force virality.

  
  

         Platforms themselves also began to realize the power of virality and sought to generate it, or at least generate the appearance of it. This was the beginning of the era of viralflation. Facebook helped lower the industry-wide threshold for what counted as a video view, and began inflating view counts on various Facebook videos in an effort to make them appear more viral than they were.

  
  

        Then TikTok broke into the mainstream in 2020, lowering the bar even further for what counted as a “view.” While a view on Facebook counts after three seconds of watch time, a view on TikTok is simply an impression, meaning the video was served to a user for at least a fraction of a second on screen. According to the company, TikTok also counts each loop of the video as a view, allowing videos to rake in massive view counts.

  
  

         “The speed at which we cycle through trends and sort of moments of virality on the internet is faster now largely because of TikTok,” Cohen said. This has created an arms race among tech platforms to see which could inflate metrics the most. There’s been an incentive to have these numbers look bigger because they look better to advertisers, so there’s a financial incentive to cause this viral inflation.

  
  

         A new class of content creators also has raised the bar for what’s considered viral. “When MrBeast started to explode, things really started to change in the landscape,” Stringer said. “People didn’t consider [earlier metrics of virality] viral anymore, because he’s getting multi millions of views per video.”

  
  

       Coco Mocoe, a trend forecaster in Los Angeles, said that along with these shifts, users are also consuming a higher total amount of content online per day, especially members of Generation Z, those born between 1998 and 2012. They are more likely to consume all forms of media through the internet and social platforms, rather than via newspapers or TV. And, much of that content is short form and less than 60 seconds long. “The main reason there are bigger numbers now is because people are consuming so much more content in a given sitting,” she added.

  
  

       This has made virality more ephemeral. “There’s not that same… permanence,” Mocoe said. “If you’re watching 50 videos with 1 million views, you’re less likely to remember one as opposed to a decade ago, when you might only watch five videos a day, and just one would have 1 million views.” For the average consumer, viralflation has made it increasingly difficult to tell what is and isn’t actually viral. Because we no longer have any shared sense of virality, it makes it easier for people who don’t understand the mechanics of the internet to fall for fake viral trends.

  
  

  Adapted from: https://www.washingtonpost.com/ 2024/03/09/

        

  The condition which is called "viralflation" refers to

  Escolha uma alternativa para a questão c87b6de1-03

  A

  the uncounted media platforms in every country.

  B

  five million view counts per week on TikTok.

  C

  a competition between Chinese and American platforms.

  D

  tens of millions of views required for virality.

  Responder
• C86F86EC-03

  Inglês

  Interpretação de texto | Reading comprehensionUECE · 2024FácilEntre para guardar nos favoritos

  T E X T

  
  

  The word ‘viral’ has lost its meaning

  
  

  
  

        The nature of virality has shifted radically over the past decade as the internet has fractured into uncounted disparate algorithms, platforms, and niche communities. The volume of content being churned out every day has skyrocketed, the life cycle of each piece of media has grown shorter and social media platforms continue to inflate public metrics, devaluing previously impressive online stats.

  
  

          All of these factors have rendered the term “viral” nearly meaningless, say experts, and have led to a condition we’ll call “viralflation.” The term speaks to the diminished meaning of virality. If everything is labeled viral, then is nothing viral?

  
  

         “Back in the day, 1 million views was the thing,” said Marcus Stringer, a partner manager at Social Blade, a social media analytics platform. “That meant you’d gone viral, and you’d get picked up by news agencies around the world. Now, tens of millions of views is the norm for top YouTube channels. Soon, 20 million views will eventually become the norm.”

  
  

        “Because the concept of virality has been so watered down, truly viral pieces of content must reach hundreds of millions of people at a scale that’s increasingly unattainable for anyone but MrBeast,” said Lara Cohen, vice president of partners and business development at Linktree, a platform that allows creators to aggregate links to their social media profiles on one page. MrBeast is the internet name of Jimmy Donaldson, YouTube’s most watched creator.

  
  

          A decade and a half ago, there was a clear delineation between viral content and the vast majority of media that users would encounter every day. The internet was smaller, and most sharing was manual (people emailing and messaging links to each other) or via early internet aggregators such as sites like Digg and StumbleUpon.

  
  

           Viral content emerged slowly, so the life span of a viral video was long. Some content remained viral for up to a year, worming its way through the internet as it gained traction. When social media platforms began to switch to algorithmic feeds optimized for engagement in the mid 2010s, the viral content cycle accelerated, experts said. Brands began recognizing the power of virality and started to attempt to manufacture it. Content creators joined engagement groups where they’d reshare each other’s content in attempts to force virality.

  
  

         Platforms themselves also began to realize the power of virality and sought to generate it, or at least generate the appearance of it. This was the beginning of the era of viralflation. Facebook helped lower the industry-wide threshold for what counted as a video view, and began inflating view counts on various Facebook videos in an effort to make them appear more viral than they were.

  
  

        Then TikTok broke into the mainstream in 2020, lowering the bar even further for what counted as a “view.” While a view on Facebook counts after three seconds of watch time, a view on TikTok is simply an impression, meaning the video was served to a user for at least a fraction of a second on screen. According to the company, TikTok also counts each loop of the video as a view, allowing videos to rake in massive view counts.

  
  

         “The speed at which we cycle through trends and sort of moments of virality on the internet is faster now largely because of TikTok,” Cohen said. This has created an arms race among tech platforms to see which could inflate metrics the most. There’s been an incentive to have these numbers look bigger because they look better to advertisers, so there’s a financial incentive to cause this viral inflation.

  
  

         A new class of content creators also has raised the bar for what’s considered viral. “When MrBeast started to explode, things really started to change in the landscape,” Stringer said. “People didn’t consider [earlier metrics of virality] viral anymore, because he’s getting multi millions of views per video.”

  
  

       Coco Mocoe, a trend forecaster in Los Angeles, said that along with these shifts, users are also consuming a higher total amount of content online per day, especially members of Generation Z, those born between 1998 and 2012. They are more likely to consume all forms of media through the internet and social platforms, rather than via newspapers or TV. And, much of that content is short form and less than 60 seconds long. “The main reason there are bigger numbers now is because people are consuming so much more content in a given sitting,” she added.

  
  

       This has made virality more ephemeral. “There’s not that same… permanence,” Mocoe said. “If you’re watching 50 videos with 1 million views, you’re less likely to remember one as opposed to a decade ago, when you might only watch five videos a day, and just one would have 1 million views.” For the average consumer, viralflation has made it increasingly difficult to tell what is and isn’t actually viral. Because we no longer have any shared sense of virality, it makes it easier for people who don’t understand the mechanics of the internet to fall for fake viral trends.

  
  

  Adapted from: https://www.washingtonpost.com/ 2024/03/09/

        

  More than a decade ago, there was a/an

  Escolha uma alternativa para a questão c86f86ec-03

  A

  huge spread of silly TikTok videos worldwide.

  B

  impressive attempt to force virality in the majority of media.

  C

  platform that didn't allow creators to message links to each other.

  D

  delineation between viral and common everyday content.

  Responder
• C86CA6B4-03

  Inglês

  Interpretação de texto | Reading comprehensionUECE · 2024FácilEntre para guardar nos favoritos

  T E X T

  
  

  The word ‘viral’ has lost its meaning

  
  

  
  

        The nature of virality has shifted radically over the past decade as the internet has fractured into uncounted disparate algorithms, platforms, and niche communities. The volume of content being churned out every day has skyrocketed, the life cycle of each piece of media has grown shorter and social media platforms continue to inflate public metrics, devaluing previously impressive online stats.

  
  

          All of these factors have rendered the term “viral” nearly meaningless, say experts, and have led to a condition we’ll call “viralflation.” The term speaks to the diminished meaning of virality. If everything is labeled viral, then is nothing viral?

  
  

         “Back in the day, 1 million views was the thing,” said Marcus Stringer, a partner manager at Social Blade, a social media analytics platform. “That meant you’d gone viral, and you’d get picked up by news agencies around the world. Now, tens of millions of views is the norm for top YouTube channels. Soon, 20 million views will eventually become the norm.”

  
  

        “Because the concept of virality has been so watered down, truly viral pieces of content must reach hundreds of millions of people at a scale that’s increasingly unattainable for anyone but MrBeast,” said Lara Cohen, vice president of partners and business development at Linktree, a platform that allows creators to aggregate links to their social media profiles on one page. MrBeast is the internet name of Jimmy Donaldson, YouTube’s most watched creator.

  
  

          A decade and a half ago, there was a clear delineation between viral content and the vast majority of media that users would encounter every day. The internet was smaller, and most sharing was manual (people emailing and messaging links to each other) or via early internet aggregators such as sites like Digg and StumbleUpon.

  
  

           Viral content emerged slowly, so the life span of a viral video was long. Some content remained viral for up to a year, worming its way through the internet as it gained traction. When social media platforms began to switch to algorithmic feeds optimized for engagement in the mid 2010s, the viral content cycle accelerated, experts said. Brands began recognizing the power of virality and started to attempt to manufacture it. Content creators joined engagement groups where they’d reshare each other’s content in attempts to force virality.

  
  

         Platforms themselves also began to realize the power of virality and sought to generate it, or at least generate the appearance of it. This was the beginning of the era of viralflation. Facebook helped lower the industry-wide threshold for what counted as a video view, and began inflating view counts on various Facebook videos in an effort to make them appear more viral than they were.

  
  

        Then TikTok broke into the mainstream in 2020, lowering the bar even further for what counted as a “view.” While a view on Facebook counts after three seconds of watch time, a view on TikTok is simply an impression, meaning the video was served to a user for at least a fraction of a second on screen. According to the company, TikTok also counts each loop of the video as a view, allowing videos to rake in massive view counts.

  
  

         “The speed at which we cycle through trends and sort of moments of virality on the internet is faster now largely because of TikTok,” Cohen said. This has created an arms race among tech platforms to see which could inflate metrics the most. There’s been an incentive to have these numbers look bigger because they look better to advertisers, so there’s a financial incentive to cause this viral inflation.

  
  

         A new class of content creators also has raised the bar for what’s considered viral. “When MrBeast started to explode, things really started to change in the landscape,” Stringer said. “People didn’t consider [earlier metrics of virality] viral anymore, because he’s getting multi millions of views per video.”

  
  

       Coco Mocoe, a trend forecaster in Los Angeles, said that along with these shifts, users are also consuming a higher total amount of content online per day, especially members of Generation Z, those born between 1998 and 2012. They are more likely to consume all forms of media through the internet and social platforms, rather than via newspapers or TV. And, much of that content is short form and less than 60 seconds long. “The main reason there are bigger numbers now is because people are consuming so much more content in a given sitting,” she added.

  
  

       This has made virality more ephemeral. “There’s not that same… permanence,” Mocoe said. “If you’re watching 50 videos with 1 million views, you’re less likely to remember one as opposed to a decade ago, when you might only watch five videos a day, and just one would have 1 million views.” For the average consumer, viralflation has made it increasingly difficult to tell what is and isn’t actually viral. Because we no longer have any shared sense of virality, it makes it easier for people who don’t understand the mechanics of the internet to fall for fake viral trends.

  
  

  Adapted from: https://www.washingtonpost.com/ 2024/03/09/

        

  Because of "viralflation", it has become harder to

  Escolha uma alternativa para a questão c86ca6b4-03

  A

  consume media through social platforms.

  B

  distinguish what is and what is not really viral.

  C

  find companies willing to provide financial incentives.

  D

  hire good content creators to engage young viewers.

  Responder
• C8674655-03

  Inglês

  Interpretação de texto | Reading comprehensionUECE · 2024FácilEntre para guardar nos favoritos

  T E X T

  
  

  The word ‘viral’ has lost its meaning

  
  

  
  

        The nature of virality has shifted radically over the past decade as the internet has fractured into uncounted disparate algorithms, platforms, and niche communities. The volume of content being churned out every day has skyrocketed, the life cycle of each piece of media has grown shorter and social media platforms continue to inflate public metrics, devaluing previously impressive online stats.

  
  

          All of these factors have rendered the term “viral” nearly meaningless, say experts, and have led to a condition we’ll call “viralflation.” The term speaks to the diminished meaning of virality. If everything is labeled viral, then is nothing viral?

  
  

         “Back in the day, 1 million views was the thing,” said Marcus Stringer, a partner manager at Social Blade, a social media analytics platform. “That meant you’d gone viral, and you’d get picked up by news agencies around the world. Now, tens of millions of views is the norm for top YouTube channels. Soon, 20 million views will eventually become the norm.”

  
  

        “Because the concept of virality has been so watered down, truly viral pieces of content must reach hundreds of millions of people at a scale that’s increasingly unattainable for anyone but MrBeast,” said Lara Cohen, vice president of partners and business development at Linktree, a platform that allows creators to aggregate links to their social media profiles on one page. MrBeast is the internet name of Jimmy Donaldson, YouTube’s most watched creator.

  
  

          A decade and a half ago, there was a clear delineation between viral content and the vast majority of media that users would encounter every day. The internet was smaller, and most sharing was manual (people emailing and messaging links to each other) or via early internet aggregators such as sites like Digg and StumbleUpon.

  
  

           Viral content emerged slowly, so the life span of a viral video was long. Some content remained viral for up to a year, worming its way through the internet as it gained traction. When social media platforms began to switch to algorithmic feeds optimized for engagement in the mid 2010s, the viral content cycle accelerated, experts said. Brands began recognizing the power of virality and started to attempt to manufacture it. Content creators joined engagement groups where they’d reshare each other’s content in attempts to force virality.

  
  

         Platforms themselves also began to realize the power of virality and sought to generate it, or at least generate the appearance of it. This was the beginning of the era of viralflation. Facebook helped lower the industry-wide threshold for what counted as a video view, and began inflating view counts on various Facebook videos in an effort to make them appear more viral than they were.

  
  

        Then TikTok broke into the mainstream in 2020, lowering the bar even further for what counted as a “view.” While a view on Facebook counts after three seconds of watch time, a view on TikTok is simply an impression, meaning the video was served to a user for at least a fraction of a second on screen. According to the company, TikTok also counts each loop of the video as a view, allowing videos to rake in massive view counts.

  
  

         “The speed at which we cycle through trends and sort of moments of virality on the internet is faster now largely because of TikTok,” Cohen said. This has created an arms race among tech platforms to see which could inflate metrics the most. There’s been an incentive to have these numbers look bigger because they look better to advertisers, so there’s a financial incentive to cause this viral inflation.

  
  

         A new class of content creators also has raised the bar for what’s considered viral. “When MrBeast started to explode, things really started to change in the landscape,” Stringer said. “People didn’t consider [earlier metrics of virality] viral anymore, because he’s getting multi millions of views per video.”

  
  

       Coco Mocoe, a trend forecaster in Los Angeles, said that along with these shifts, users are also consuming a higher total amount of content online per day, especially members of Generation Z, those born between 1998 and 2012. They are more likely to consume all forms of media through the internet and social platforms, rather than via newspapers or TV. And, much of that content is short form and less than 60 seconds long. “The main reason there are bigger numbers now is because people are consuming so much more content in a given sitting,” she added.

  
  

       This has made virality more ephemeral. “There’s not that same… permanence,” Mocoe said. “If you’re watching 50 videos with 1 million views, you’re less likely to remember one as opposed to a decade ago, when you might only watch five videos a day, and just one would have 1 million views.” For the average consumer, viralflation has made it increasingly difficult to tell what is and isn’t actually viral. Because we no longer have any shared sense of virality, it makes it easier for people who don’t understand the mechanics of the internet to fall for fake viral trends.

  
  

  Adapted from: https://www.washingtonpost.com/ 2024/03/09/

        

  One of the reasons the word "viral" is nearly meaningless nowadays is the fact that

  Escolha uma alternativa para a questão c8674655-03

  A

  people's preferences have changed radically since 2006.

  B

  the everyday volume of content released has skyrocketed.

  C

  content creators no longer join engagement groups.

  D

  Facebook counts each loop of a video as a view.

  Responder
• C799E795-03

  Português

  SintaxeUECE · 2024FácilEntre para guardar nos favoritos

  TEXTO 1

  
  

  Admirável Chip Novo

  
  

  

  No trecho: “Nada é orgânico, é tudo programado” (linha 07), a vírgula pode ser substituída, sem prejuízo de sentido, pelo conectivo

  Escolha uma alternativa para a questão c799e795-03

  A

  mas.

  B

  entretanto.

  C

  porque.

  D

  até.

  Responder
• 39BEF2A2-03

  Inglês

  Interpretação de texto | Reading comprehensionUECE · 2024FácilEntre para guardar nos favoritos

  T E X T

  
  

  Han Kang Is Awarded Nobel Prize in Literature

  
  

  
  

      Han Kang, the South Korean author best known for her surreal, subversive novel, “The Vegetarian,” was awarded the Nobel Prize in Literature [2024] — the first writer from her country to receive the award.

  
  

      Mats Malm, the permanent secretary of the Swedish Academy, which organizes the prize, said at a news conference in Stockholm that Han was receiving the honor “for her intense poetic prose that confronts historical traumas and exposes the fragility of human life.”

  
  

      “The Vegetarian,” published in Korea in 2007, won the 2016 International Booker Prize after it was translated into English. Porochista Khakpour, in a review of “The Vegetarian” for The New York Times, said that Han “has been rightfully celebrated as a visionary in South Korea.” 

  
  

      Han’s Nobel was a surprise. But the news was celebrated by authors and fans on social media, and greeted with fanfare in South Korea. “This is a great achievement for South Korean literature and an occasion for national celebration,” said President Yoon Suk Yeol in a statement, in which he noted Han’s ability to capture painful episodes from their country’s recent history. Members of the K-pop band BTS also celebrated, with one posting a crying-face emoji and a heart alongside a picture of Han. Han’s groundbreaking work has reshaped the literary landscape in South Korea, said Paige Aniyah Morris, co-translator of Han’s novel, “We Do Not Part,” which will be published by Hogarth in the United States in January.

  
  

      “Han’s work has inspired a generation of Korean writers to be more truthful and more daring in their subject matter,” Morris said. “Time and time again, she has braved a culture of censorship and saving face, and she has come out of these attempts at silencing her with stronger, more unflinching work each time.” 

  
  

      Han, 53, was born in 1970 in Gwangju, South Korea. Her father was also a novelist, but much less successful. The family struggled financially and moved frequently. In a 2016 interview with The Times, Han said her transitory upbringing “was too much for a little child, but I was all right because I was surrounded by books.” When Han was 9, her family moved to Seoul just months before the Gwangju uprising, when government troops fired on crowds of pro-democracy protesters, killing hundreds. The event shaped her views on humanity’s capacity for violence, Han said in the 2016 interview, and its specter has haunted her writing. In her 2014 novel “Human Acts,” a writer observes a police raid on a group of activists.

  
  

      She also recalled seeing images of people who lined up to donate their blood to those who were injured in the uprising. “It was like two unsolvable riddles imprinted on my mind: How can humans be so violent, and how can humans be so sublime?” she said. “When I write novels, I find myself always returning to the theme of what it means to be human.”

  
  

      Han studied literature at Yonsei University in Korea, and her first published works were poems. Her debut novel, “Black Deer,” which came out in 1998, was a mystery about a missing woman. Following her debut, Han went on to write seven more novels, as well as several novellas and collections of essays and short stories. Among her other novels are “The White Book,” which was also nominated for the International Booker Prize, and “Greek Lessons,” published in English in 2023. 

  
  

      “Han Kang is a visionary — there’s no other word for it,” said Parisa Ebrahimi, executive editor at Hogarth, Han’s North American publisher, who noted that Han’s work reflects “remarkable insight into the inner lives of women.” 

  
  

      Han’s writing is now celebrated in South Korea, but that took some time. She had been publishing fiction and poetry for more than two decades before her work was issued in English, after Deborah Smith translated “The Vegetarian” and sold it to a British publisher based on the first 10 pages. “Her work, and the translation and success of her work, has led Korean literature in translation to be edgier and more experimental and daring,” said Anton Hur, a South Korean translator and author who is based in Seoul. “She changed the conversation about Korean literature.”

  
  

      Ankhi Mukherjee, a literature professor at the University of Oxford, said that she had taught Han’s work “year in, year out” for almost two decades. “Her writing is relentlessly political — whether it’s the politics of the body, of gender, of people fighting against the state — but it never lets go of the literary imagination,” Mukherjee said, adding: “It’s never sanctimonious; it’s very playful, funny and surreal.

  
  

      The Nobel Prize is literature’s pre-eminent award, and winning it is a capstone to a writer. Along with the prestige and a huge boost in sales, the new laureate receives 11 million Swedish krona, about $1 million. In recent years, the academy has tried to increase the diversity of authors considered for the literature prize, after facing criticism over the low number of laureates who were female or came from outside Europe and North America. 

  
  

      Han is the 18th woman to receive the Nobel in literature, which has been awarded to 120 writers since 1901. Some scholars and translators said it was fitting that the first Korean writer to win a Nobel is a woman. Much of the most groundbreaking and provocative contemporary Korean literature is being written by female novelists, including some who are challenging and exposing misogyny and the burdens that are placed on women in South Korea.

  
  

  Adapted from: https://www.nytimes.com/2024/10/10/

  The Swedish Academy has been making some innovations as to the choice of writers for the Nobel Prize, considering criticism it has faced, mainly referring to the laureates' 

  Escolha uma alternativa para a questão 39bef2a2-03

  A

  original language. 

  B

  gender and geographical origin. 

  C

  race and political affiliation.

  D

  religious background.

  Responder
• 39BC706E-03

  Inglês

  Interpretação de texto | Reading comprehensionUECE · 2024FácilEntre para guardar nos favoritos

  T E X T

  
  

  Han Kang Is Awarded Nobel Prize in Literature

  
  

  
  

      Han Kang, the South Korean author best known for her surreal, subversive novel, “The Vegetarian,” was awarded the Nobel Prize in Literature [2024] — the first writer from her country to receive the award.

  
  

      Mats Malm, the permanent secretary of the Swedish Academy, which organizes the prize, said at a news conference in Stockholm that Han was receiving the honor “for her intense poetic prose that confronts historical traumas and exposes the fragility of human life.”

  
  

      “The Vegetarian,” published in Korea in 2007, won the 2016 International Booker Prize after it was translated into English. Porochista Khakpour, in a review of “The Vegetarian” for The New York Times, said that Han “has been rightfully celebrated as a visionary in South Korea.” 

  
  

      Han’s Nobel was a surprise. But the news was celebrated by authors and fans on social media, and greeted with fanfare in South Korea. “This is a great achievement for South Korean literature and an occasion for national celebration,” said President Yoon Suk Yeol in a statement, in which he noted Han’s ability to capture painful episodes from their country’s recent history. Members of the K-pop band BTS also celebrated, with one posting a crying-face emoji and a heart alongside a picture of Han. Han’s groundbreaking work has reshaped the literary landscape in South Korea, said Paige Aniyah Morris, co-translator of Han’s novel, “We Do Not Part,” which will be published by Hogarth in the United States in January.

  
  

      “Han’s work has inspired a generation of Korean writers to be more truthful and more daring in their subject matter,” Morris said. “Time and time again, she has braved a culture of censorship and saving face, and she has come out of these attempts at silencing her with stronger, more unflinching work each time.” 

  
  

      Han, 53, was born in 1970 in Gwangju, South Korea. Her father was also a novelist, but much less successful. The family struggled financially and moved frequently. In a 2016 interview with The Times, Han said her transitory upbringing “was too much for a little child, but I was all right because I was surrounded by books.” When Han was 9, her family moved to Seoul just months before the Gwangju uprising, when government troops fired on crowds of pro-democracy protesters, killing hundreds. The event shaped her views on humanity’s capacity for violence, Han said in the 2016 interview, and its specter has haunted her writing. In her 2014 novel “Human Acts,” a writer observes a police raid on a group of activists.

  
  

      She also recalled seeing images of people who lined up to donate their blood to those who were injured in the uprising. “It was like two unsolvable riddles imprinted on my mind: How can humans be so violent, and how can humans be so sublime?” she said. “When I write novels, I find myself always returning to the theme of what it means to be human.”

  
  

      Han studied literature at Yonsei University in Korea, and her first published works were poems. Her debut novel, “Black Deer,” which came out in 1998, was a mystery about a missing woman. Following her debut, Han went on to write seven more novels, as well as several novellas and collections of essays and short stories. Among her other novels are “The White Book,” which was also nominated for the International Booker Prize, and “Greek Lessons,” published in English in 2023. 

  
  

      “Han Kang is a visionary — there’s no other word for it,” said Parisa Ebrahimi, executive editor at Hogarth, Han’s North American publisher, who noted that Han’s work reflects “remarkable insight into the inner lives of women.” 

  
  

      Han’s writing is now celebrated in South Korea, but that took some time. She had been publishing fiction and poetry for more than two decades before her work was issued in English, after Deborah Smith translated “The Vegetarian” and sold it to a British publisher based on the first 10 pages. “Her work, and the translation and success of her work, has led Korean literature in translation to be edgier and more experimental and daring,” said Anton Hur, a South Korean translator and author who is based in Seoul. “She changed the conversation about Korean literature.”

  
  

      Ankhi Mukherjee, a literature professor at the University of Oxford, said that she had taught Han’s work “year in, year out” for almost two decades. “Her writing is relentlessly political — whether it’s the politics of the body, of gender, of people fighting against the state — but it never lets go of the literary imagination,” Mukherjee said, adding: “It’s never sanctimonious; it’s very playful, funny and surreal.

  
  

      The Nobel Prize is literature’s pre-eminent award, and winning it is a capstone to a writer. Along with the prestige and a huge boost in sales, the new laureate receives 11 million Swedish krona, about $1 million. In recent years, the academy has tried to increase the diversity of authors considered for the literature prize, after facing criticism over the low number of laureates who were female or came from outside Europe and North America. 

  
  

      Han is the 18th woman to receive the Nobel in literature, which has been awarded to 120 writers since 1901. Some scholars and translators said it was fitting that the first Korean writer to win a Nobel is a woman. Much of the most groundbreaking and provocative contemporary Korean literature is being written by female novelists, including some who are challenging and exposing misogyny and the burdens that are placed on women in South Korea.

  
  

  Adapted from: https://www.nytimes.com/2024/10/10/

  Some translators and academics said it is appropriate that the first Korean Nobel Prize in Literature is given to a woman because present-day South Korean female writers are the ones whose literature is considered

  Escolha uma alternativa para a questão 39bc706e-03

  A

  entertaining and serious.

  B

  non-religious and non-political. 

  C

  innovative and challenging.

  D

  creative and beautiful.

  Responder