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Interpretação de texto | Reading comprehensionPUC - RJ · 2013DifícilEntre para guardar nos favoritos
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694C756C-3B 694784A1-3B Inglês
Interpretação de texto | Reading comprehensionPUC - RJ · 2013DifícilEntre para guardar nos favoritos
In “But that feature”, in paragraph 3 (l. 17-18) refers to6941BB65-3B Inglês
Interpretação de texto | Reading comprehensionPUC - RJ · 2013MédioEntre para guardar nos favoritos
In paragraph 2 (l. 6-12), the author argues that693BF96C-3B Inglês
Interpretação de texto | Reading comprehensionPUC - RJ · 2013DifícilEntre para guardar nos favoritos
The main purpose of the text isDE1C51CD-24 Inglês
Interpretação de texto | Reading comprehensionSENAC-SP · 2013DifícilEntre para guardar nos favoritosAtenção: A questão refere-se ao texto apresentado abaixo.The stories behind the black opera stars of 'I Live to Sing'Washington Post − Saturday, August 24, 2013Julie Cohen and Kamal Khan met in elementary school in Fairfax County about 40 years
. Today, Cohen, 49, is the Brooklyn-based founder of BetterThanFiction Productions, a documentary film company; Khan is the director of the University of Cape Town Opera School. “I Live to Sing," a feature-length documentary directed and produced by Cohen, focuses on three of Khan's black students who made their way from humble beginnings in often poverty-ridden townships to excel in opera ‒an art form most closely associated with white, elite audiences and performers.
How did you come to do this project?It was just the fortuitous situation of knowing Kamal Khan. I met Kamal in third grade at Pine Ridge Elementary School in Fairfax County. He was unusual in that even at age 9 his prime interests seemed to be opera, classical music, Shakespeare. These are interests that when you're 40 and living in New York are not so strange! He became James Levine's assistant conductor at the Metropolitan Opera and he still now does a lot of conducting internationally, although his home base is at the University of Cape Town. In the meantime I started doing several documentaries about the human side behind the performing arts. Knowing what Kamal was up to I realized that his fascinating work − from an artistic, political and social context − was just the sort of thing I was interested in making films about.Infere-se do texto que:Why is it interesting to you to document performing artists?We're all so steeped in the relatively small circle of people who become really famous or really big deals. But it's also, I think, wonderful to see the work of and hear the life stories of the majority of performing artists who are toiling away, many of whom are supremely talented, but the world doesn't necessarily get to know.Tell me about Linda's life, the young soprano featured in your film.Linda Nteleza comes from a huge township adjacent to Cape Town that has a lot of problems − poverty, health-care issues, education issues, huge unemployment. I believe it has the fastest-growing rate of tuberculosis in the world, and Linda has suffered from the consequences of that. Linda learned to sing in school and then followed by her work in community choir, and through the teachers and coaches learned about University of Cape Town and its music program. She lived only a half-hour from the university but hadn't been aware that music was something that was out there. She was encouraged to go and apply. I think she didn't expect to get it, but to her joy andnamazement she did.When Linda told her mother that “I want to go to college to study opera," her mother's immediate response was, “What's opera?" It wasn't that she wasn't well-versed in the art form; she didn't know what it was. Linda herself had first heard opera in a TV commercial for Shell Oil that had a beautiful soprano opera singer as background music and she was completely entranced, like, “That's what I want to sing."Were you an opera fan before this?[Laughs] I . . . must . . . confess that I was not only not an opera fan, but really almost actively probably disliked opera before this project. That's actually not something that I mentioned to Kamal when I pitched the idea of “Can I follow your program around? Can I bring cameras to your school?" [Laughs] . . . But as often when you delve into different art forms, particularly classical art forms that you are ignorant of, the more you get to know it, the
it starts to sound.
(Adapted from http://www.washingtonpost.com/lifestyle/style/qanda-the-stories-behind-the-black-opera-stars-of-i-live-to sing/2013/08/23)DE1838C5-24 Inglês
Interpretação de texto | Reading comprehensionSENAC-SP · 2013MédioEntre para guardar nos favoritosAtenção: A questão refere-se ao texto apresentado abaixo.The stories behind the black opera stars of 'I Live to Sing'Washington Post − Saturday, August 24, 2013Julie Cohen and Kamal Khan met in elementary school in Fairfax County about 40 years . Today, Cohen, 49, is the Brooklyn-based founder of BetterThanFiction Productions, a documentary film company; Khan is the director of the University of Cape Town Opera School. “I Live to Sing," a feature-length documentary directed and produced by Cohen, focuses on three of Khan's black students who made their way from humble beginnings in often poverty-ridden townships to excel in opera ‒an art form most closely associated with white, elite audiences and performers.
How did you come to do this project?It was just the fortuitous situation of knowing Kamal Khan. I met Kamal in third grade at Pine Ridge Elementary School in Fairfax County. He was unusual in that even at age 9 his prime interests seemed to be opera, classical music, Shakespeare. These are interests that when you're 40 and living in New York are not so strange! He became James Levine's assistant conductor at the Metropolitan Opera and he still now does a lot of conducting internationally, although his home base is at the University of Cape Town. In the meantime I started doing several documentaries about the human side behind the performing arts. Knowing what Kamal was up to I realized that his fascinating work − from an artistic, political and social context − was just the sort of thing I was interested in making films about.Segundo o texto,Why is it interesting to you to document performing artists?We're all so steeped in the relatively small circle of people who become really famous or really big deals. But it's also, I think, wonderful to see the work of and hear the life stories of the majority of performing artists who are toiling away, many of whom are supremely talented, but the world doesn't necessarily get to know.Tell me about Linda's life, the young soprano featured in your film.Linda Nteleza comes from a huge township adjacent to Cape Town that has a lot of problems − poverty, health-care issues, education issues, huge unemployment. I believe it has the fastest-growing rate of tuberculosis in the world, and Linda has suffered from the consequences of that. Linda learned to sing in school and then followed by her work in community choir, and through the teachers and coaches learned about University of Cape Town and its music program. She lived only a half-hour from the university but hadn't been aware that music was something that was out there. She was encouraged to go and apply. I think she didn't expect to get it, but to her joy andnamazement she did.When Linda told her mother that “I want to go to college to study opera," her mother's immediate response was, “What's opera?" It wasn't that she wasn't well-versed in the art form; she didn't know what it was. Linda herself had first heard opera in a TV commercial for Shell Oil that had a beautiful soprano opera singer as background music and she was completely entranced, like, “That's what I want to sing."Were you an opera fan before this?[Laughs] I . . . must . . . confess that I was not only not an opera fan, but really almost actively probably disliked opera before this project. That's actually not something that I mentioned to Kamal when I pitched the idea of “Can I follow your program around? Can I bring cameras to your school?" [Laughs] . . . But as often when you delve into different art forms, particularly classical art forms that you are ignorant of, the more you get to know it, the it starts to sound.
(Adapted from http://www.washingtonpost.com/lifestyle/style/qanda-the-stories-behind-the-black-opera-stars-of-i-live-to sing/2013/08/23)DE12EA2D-24 Inglês
Interpretação de texto | Reading comprehensionSENAC-SP · 2013MédioEntre para guardar nos favoritosAtenção: A questão refere-se ao texto apresentado abaixo.The stories behind the black opera stars of 'I Live to Sing'Washington Post − Saturday, August 24, 2013Julie Cohen and Kamal Khan met in elementary school in Fairfax County about 40 years . Today, Cohen, 49, is the Brooklyn-based founder of BetterThanFiction Productions, a documentary film company; Khan is the director of the University of Cape Town Opera School. “I Live to Sing," a feature-length documentary directed and produced by Cohen, focuses on three of Khan's black students who made their way from humble beginnings in often poverty-ridden townships to excel in opera ‒an art form most closely associated with white, elite audiences and performers.
How did you come to do this project?It was just the fortuitous situation of knowing Kamal Khan. I met Kamal in third grade at Pine Ridge Elementary School in Fairfax County. He was unusual in that even at age 9 his prime interests seemed to be opera, classical music, Shakespeare. These are interests that when you're 40 and living in New York are not so strange! He became James Levine's assistant conductor at the Metropolitan Opera and he still now does a lot of conducting internationally, although his home base is at the University of Cape Town. In the meantime I started doing several documentaries about the human side behind the performing arts. Knowing what Kamal was up to I realized that his fascinating work − from an artistic, political and social context − was just the sort of thing I was interested in making films about.According to the text,Why is it interesting to you to document performing artists?We're all so steeped in the relatively small circle of people who become really famous or really big deals. But it's also, I think, wonderful to see the work of and hear the life stories of the majority of performing artists who are toiling away, many of whom are supremely talented, but the world doesn't necessarily get to know.Tell me about Linda's life, the young soprano featured in your film.Linda Nteleza comes from a huge township adjacent to Cape Town that has a lot of problems − poverty, health-care issues, education issues, huge unemployment. I believe it has the fastest-growing rate of tuberculosis in the world, and Linda has suffered from the consequences of that. Linda learned to sing in school and then followed by her work in community choir, and through the teachers and coaches learned about University of Cape Town and its music program. She lived only a half-hour from the university but hadn't been aware that music was something that was out there. She was encouraged to go and apply. I think she didn't expect to get it, but to her joy andnamazement she did.When Linda told her mother that “I want to go to college to study opera," her mother's immediate response was, “What's opera?" It wasn't that she wasn't well-versed in the art form; she didn't know what it was. Linda herself had first heard opera in a TV commercial for Shell Oil that had a beautiful soprano opera singer as background music and she was completely entranced, like, “That's what I want to sing."Were you an opera fan before this?[Laughs] I . . . must . . . confess that I was not only not an opera fan, but really almost actively probably disliked opera before this project. That's actually not something that I mentioned to Kamal when I pitched the idea of “Can I follow your program around? Can I bring cameras to your school?" [Laughs] . . . But as often when you delve into different art forms, particularly classical art forms that you are ignorant of, the more you get to know it, the it starts to sound.
(Adapted from http://www.washingtonpost.com/lifestyle/style/qanda-the-stories-behind-the-black-opera-stars-of-i-live-to sing/2013/08/23)C195350F-E5 Inglês
Interpretação de texto | Reading comprehensionFMP · 2013DifícilEntre para guardar nos favoritos
A word that would define the overall target of the last paragraph in Text II (lines 36-42) isC058CAF2-E5 Inglês
Interpretação de texto | Reading comprehensionFMP · 2013MédioEntre para guardar nos favoritos
According to Text II, the dark energyBF1C6123-E5 Inglês
Interpretação de texto | Reading comprehensionFMP · 2013MédioEntre para guardar nos favoritos
In Text II, the word in parentheses that describes the idea expressed by the boldfaced word isBDDDC429-E5 Inglês
Interpretação de texto | Reading comprehensionFMP · 2013DifícilEntre para guardar nos favoritos
In Text II, the proper continuation for the second paragraph (lines 13-18) is:BCA25B85-E5 Inglês
Interpretação de texto | Reading comprehensionFMP · 2013MédioEntre para guardar nos favoritos
In Text II, the author makes a theoretical question about being a baryonic matter chauvinist because she knows we tend to consider .BB33F334-E5 Inglês
Interpretação de texto | Reading comprehensionFMP · 2013DifícilEntre para guardar nos favoritos
In Text I, Akey explains that the stupendous progress in gene sequencing has revealed thatB9F71DB6-E5 Inglês
Interpretação de texto | Reading comprehensionFMP · 2013MédioEntre para guardar nos favoritos
In Text I, the author points out, as one of the genetic advantages of mutations, theB8BA4A68-E5 Inglês
Interpretação de texto | Reading comprehensionFMP · 2013MédioEntre para guardar nos favoritos
In Text I, the expression in parentheses that describes the idea expressed by the boldfaced word isB77B7E0C-E5 Inglês
Interpretação de texto | Reading comprehensionFMP · 2013DifícilEntre para guardar nos favoritos
In Text I, the author sketches a negative scenario for our species coming from two fronts: on the first, he argues that, due to the exponential demographic growth, we haveB63E7A15-E5 Inglês
Interpretação de texto | Reading comprehensionFMP · 2013DifícilEntre para guardar nos favoritos
In Text I, the title indicates that the human genomeC7A7DDF2-E0 Inglês
Interpretação de texto | Reading comprehensionUFTM · 2013MédioEntre para guardar nos favoritos
Sebastião Salgado’s blue eyes have seen a bit of everything in this world - and this might not even be an exaggeration. For the past eight years in particular, the 69yearold Brazilian photographer has travelled to more than 30 isolated regions of the world, collecting images of dozens of remote tribes, endangered animals and unusual landscapes.
The Genesis project is a singular photographic journey that began in 2004 and ended in 2012, at a cost of one million Euros a year. The result will be shown in magazines, books, a documentary by Wim Wenders and a series of exhibitions around the world, each displaying some 250 blackandwhite photos.
The first exhibition will open in London on April 11, with former Brazilian President Lula - Salgado’s longtime friend - as special guest. “We want to create a little movement around these photos to provoke a debate on what we need to preserve,” he says. Salgado defends environmental causes through his organization, Instituto Terra. Even after travelling to so many exotic places, Salgado, now living in Paris, still takes vacations in Brazil. Here are excerpts from a conversation Salgado had with Folha, with new details about his travels, photographic techniques and new environmental projects.
• Coldest trip I visited the Nenets, in the Yamal peninsula, in northern Siberia, Russia. They are a nomadic tribe who raise reindeer in extreme Arctic conditions. When I went there it was spring and weather ranged between 35ºC and 45ºC. I didn’t wash myself for 45 days. They don’t take baths because there is no water. The only way to get water is to break off a piece of ice and warm it in a pot.
• Frozen equipment I used a Canon, an EOS1 Mark III, a very powerful machine. The problem was the batteries. In the Siberian temperatures, they quickly lost power. On average, I take 2,500 shots per battery, but this time I could only take 300400 photos before the battery stopped working. I would put it inside my clothes, my assistant would give me another one, I would take 300 more pictures and, when that battery ran out energy, I would take out the other one and it would work again.
• Going digital for the first time I started Genesis with film and changed to digital. The airport XRay scanners degrade the quality of film, and so I decided to change to digital and was quite surprised. Quality was better than the one I had with negatives in medium format. I turned off the screen on the back of the camera, and used my camera as I have always done. When I came back to Paris, I printed contact sheets and edited the photos using a magnifying glass, because I don’t know how to do it in the computer.
• Stone Ages I met tribes that are still living in the Stone Ages, with working tools such as stone hammers. There were clans of about 10 people living in treetops. They had already seen white people before. They looked towards the direction I had come from and the chief asked me whether I was part of the white people clan that usually came from that direction. Because, for them, the world is all made of clans
• Brazilian arrows I met the Zo’e tribe, in Brazil, who were first discovered 15 years ago and live in a state of total purity. You see the guy working with an arrow. He warms it, put some weight on it, a straight feather if he wants a quicker arrow, a rounder one to have it slower. It is the same science as for rockets. And he’s got the same problem as in Cape Canaveral, to recover his rockets. If his ballistic calculations are wrong, he loses his arrow. He takes only 10 arrows with him when he goes hunting, no more than that
• Activist or photographer? Photography is my life. When I am taking photos, I am in a deep trance. When I have my camera and am travelling with the Nenets, it’s my life, morning to night. I have taken incredible photos, but my life is also the environment and Instituto Terra.
O projeto Genesis2C80BA7A-E0 Inglês
Interpretação de texto | Reading comprehensionFATEC · 2013MédioEntre para guardar nos favoritosFinally, a Billboard That Creates Drinkable Water Out of Thin Air
I’ve never cared much for billboards. Not in the city, not out of the city - not anywhere, really. It’s like the saying in that old Five Man Electrical Band1 song. So when the creative director of an ad agency in Peru sent me a picture of what he claimed was the frst billboard that produces potable water from air, my initial reaction was: gotta be a hoax, or at best, a gimmick2
Except it’s neither: the billboard pictured here is real, it’s located in Lima, Peru, and it produces around 100 liters of water a day (about 26 gallons) from nothing more than humidity, a basic fltration system and a little gravitational ingenuity3 .
Let’s talk about Lima for a moment, the largest city in Peru and the ffth largest in all of the Americas, with some 7.6 million people (closer to 9 million when you factor in the surrounding metro area). Because it sits along the southern Pacifc Ocean, the humidity in the city averages 83% (it’s actually closer to 100% in the mornings). But Lima is also part of what’s called a coastal desert: it lies at the northern edge of the Atacama, the driest desert in the world, meaning the city sees perhaps half an inch of precipitation annually (Lima is the second largest desert city in the world after Cairo). Lima thus depends on drainage from the Andes as well as runof from glacier melt - both sources on the decline because of climate change. (...)
1Five Man Electrical Band: nome de um grupo de rock canadense.
2gimmick: algo que não é sério, usado para atrair a atenção das pessoas temporariamente, especialmente para fazê-las comprar algo.
3ingenuity: habilidade de pensar em novos meios inteligentes de se fazer algo.
Sobre o sistema de abastecimento de água em Lima é correto afrmar, de acordo com o texto, que:28A7D475-E0 Inglês
Interpretação de texto | Reading comprehensionFATEC · 2013FácilEntre para guardar nos favoritosFinally, a Billboard That Creates Drinkable Water Out of Thin AirI’ve never cared much for billboards. Not in the city, not out of the city - not anywhere, really. It’s like the saying in that old Five Man Electrical Band1 song. So when the creative director of an ad agency in Peru sent me a picture of what he claimed was the frst billboard that produces potable water from air, my initial reaction was: gotta be a hoax, or at best, a gimmick2
Except it’s neither: the billboard pictured here is real, it’s located in Lima, Peru, and it produces around 100 liters of water a day (about 26 gallons) from nothing more than humidity, a basic fltration system and a little gravitational ingenuity3 .
Let’s talk about Lima for a moment, the largest city in Peru and the ffth largest in all of the Americas, with some 7.6 million people (closer to 9 million when you factor in the surrounding metro area). Because it sits along the southern Pacifc Ocean, the humidity in the city averages 83% (it’s actually closer to 100% in the mornings). But Lima is also part of what’s called a coastal desert: it lies at the northern edge of the Atacama, the driest desert in the world, meaning the city sees perhaps half an inch of precipitation annually (Lima is the second largest desert city in the world after Cairo). Lima thus depends on drainage from the Andes as well as runof from glacier melt - both sources on the decline because of climate change. (...)
1Five Man Electrical Band: nome de um grupo de rock canadense.
2gimmick: algo que não é sério, usado para atrair a atenção das pessoas temporariamente, especialmente para fazê-las comprar algo.
3ingenuity: habilidade de pensar em novos meios inteligentes de se fazer algo.
No primeiro parágrafo do artigo, o autor afrma que: