Questões do ENEM: Interpretação de texto | Reading comprehension

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4.335 questões encontradas. Mostrando a página 63 de 217.

  • 9BE4FE70-04

    Inglês

    Interpretação de texto | Reading comprehension
    Universidade Estadual de Montes Claros - MG · 2018MédioEntre para guardar nos favoritos

    Figura 1 de 2 da questão de Inglês, Universidade Estadual de Montes Claros - MG 2018, Interpretação de texto | Reading comprehension

    Figura 2 de 2 da questão de Inglês, Universidade Estadual de Montes Claros - MG 2018, Interpretação de texto | Reading comprehension

    Fonte: GANDER, Kashmira. Psychopaths can’t tell if a person is genuinely sad or afraid, study sugests. Disponível em:<https://www.newsweek.com/psychopaths-cant-tell-if-person-genuinely-sad-or-afraid-study-suggests-1055599>. Publicado em: 8 março 2018. Acesso em: 14 out. 2018.

    De acordo com o texto, podemos afirmar que:
    Escolha uma alternativa para a questão 9be4fe70-04
  • CC066F2F-03

    Inglês

    Interpretação de texto | Reading comprehension
    UEA · 2018MédioEntre para guardar nos favoritos
    Leia o texto para responder à questão.

    Avoiding meat and dairy is single biggest
    way to reduce your impact on Earth 
    Imagem da questão de Inglês, UEA 2018, Interpretação de texto | Reading comprehension

        Avoiding meat and dairy products is the single biggest way to reduce your environmental impact on the planet, according to the scientists behind the most comprehensive analysis to date of the damage farming does to the planet.
          The new research, published in the journal Science, shows that without meat and dairy consumption, global farmland use could be reduced by more than 75% – an area equivalent to the US, China, European Union and Australia combined – and still feed the world. Loss of wild areas to cattle farming is the leading cause of the current mass extinction of wildlife.
         The new analysis shows that while meat and dairy products provide just 18% of calories and 37% of protein, they use the vast majority – 83% – of farmland and produce 60% of farming greenhouse gas emissions. Other recent research shows 86% of all land mammals are now livestock or humans. The scientists also found that even the lowest impact by meat and dairy products may cause much more environmental harm than the least sustainable vegetable and cereal growing.

    (Damian Carrington. www.theguardian.com, 31.05.2018. Adaptado.)
    In the excerpt from the third paragraph “they use the vast majority”, the underlined word refers to
    Escolha uma alternativa para a questão cc066f2f-03
  • CC037F26-03

    Inglês

    Interpretação de texto | Reading comprehension
    UEA · 2018MédioEntre para guardar nos favoritos
    Leia o texto para responder à questão.

    Avoiding meat and dairy is single biggest
    way to reduce your impact on Earth 
    Imagem da questão de Inglês, UEA 2018, Interpretação de texto | Reading comprehension

        Avoiding meat and dairy products is the single biggest way to reduce your environmental impact on the planet, according to the scientists behind the most comprehensive analysis to date of the damage farming does to the planet.
          The new research, published in the journal Science, shows that without meat and dairy consumption, global farmland use could be reduced by more than 75% – an area equivalent to the US, China, European Union and Australia combined – and still feed the world. Loss of wild areas to cattle farming is the leading cause of the current mass extinction of wildlife.
         The new analysis shows that while meat and dairy products provide just 18% of calories and 37% of protein, they use the vast majority – 83% – of farmland and produce 60% of farming greenhouse gas emissions. Other recent research shows 86% of all land mammals are now livestock or humans. The scientists also found that even the lowest impact by meat and dairy products may cause much more environmental harm than the least sustainable vegetable and cereal growing.

    (Damian Carrington. www.theguardian.com, 31.05.2018. Adaptado.)
    De acordo com o segundo parágrafo, a extinção em massa da vida selvagem
    Escolha uma alternativa para a questão cc037f26-03
  • CC008B67-03

    Inglês

    Interpretação de texto | Reading comprehension
    UEA · 2018MédioEntre para guardar nos favoritos
    Leia o texto para responder à questão.

    Avoiding meat and dairy is single biggest
    way to reduce your impact on Earth 
    Imagem da questão de Inglês, UEA 2018, Interpretação de texto | Reading comprehension

        Avoiding meat and dairy products is the single biggest way to reduce your environmental impact on the planet, according to the scientists behind the most comprehensive analysis to date of the damage farming does to the planet.
          The new research, published in the journal Science, shows that without meat and dairy consumption, global farmland use could be reduced by more than 75% – an area equivalent to the US, China, European Union and Australia combined – and still feed the world. Loss of wild areas to cattle farming is the leading cause of the current mass extinction of wildlife.
         The new analysis shows that while meat and dairy products provide just 18% of calories and 37% of protein, they use the vast majority – 83% – of farmland and produce 60% of farming greenhouse gas emissions. Other recent research shows 86% of all land mammals are now livestock or humans. The scientists also found that even the lowest impact by meat and dairy products may cause much more environmental harm than the least sustainable vegetable and cereal growing.

    (Damian Carrington. www.theguardian.com, 31.05.2018. Adaptado.)
    O texto afirma que, para diminuir o impacto ambiental no nosso planeta, é preciso
    Escolha uma alternativa para a questão cc008b67-03
  • 925BFA06-02

    Inglês

    Interpretação de texto | Reading comprehension
    Centro Universitário de Volta Redonda · 2018MédioEntre para guardar nos favoritos

    Natural selection gave a freediving people in Southeast Asia bigger spleens


    The Bajau people of Southeast Asia, known as Sea Nomads, spend their whole lives at sea, working eight-hour diving shifts with traditional equipment and short breaks to catch fish and shellfish for their families. In a study published April 19 in the journal Cell, researchers report that the extraordinary diving abilities of the Bajau may be thanks in part to their unusually large spleens. The adaptation, the researchers say, is a rare example of natural selection in modern humans -- and one that could provide medically relevant insight into how humans manage acute hypoxia.


    Vocabulary: Spleens – baços

    Hypoxia – hipóxia (baixa concentração de oxigênio nos tecidos)


    Story from Science Daily

    https://www.sciencedaily.com/releases/2018/04/180419131128.htm

    Published: 19 April 2018


    Segundo o estudo apresentado,

    Escolha uma alternativa para a questão 925bfa06-02
  • 925883A5-02

    Inglês

    Interpretação de texto | Reading comprehension
    Centro Universitário de Volta Redonda · 2018MédioEntre para guardar nos favoritos
    Evidence mounts for Alzheimer's, suicide risks among youth in polluted cities

    A University of Montana researcher and her collaborators have published a new study that reveals increased risks for Alzheimer's and suicide among children and young adults living in polluted megacities.

    Story from Science Daily
    https://www.sciencedaily.com/releases/2018/04/180413155259.htm
    Published: 13 April 2018

    Podemos afirmar que
    Escolha uma alternativa para a questão 925883a5-02
  • 92550EC2-02

    Inglês

    Interpretação de texto | Reading comprehension
    Centro Universitário de Volta Redonda · 2018MédioEntre para guardar nos favoritos
    Digital addiction increases loneliness, anxiety and depression

    Smartphones are an integral part of most people's lives, allowing us to stay connected and in-the-know at all times. The downside of that convenience is that many of us are also addicted to the constant pings, chimes, vibrations and other alerts from our devices, unable to ignore new emails, texts and images. In a new study published in NeuroRegulation, San Francisco State University Professor of Health Education Erik Peper and Associate Professor of Health Education Richard Harvey argue that overuse of smart phones is just like any other type of substance abuse.

    Story from: Science Daily
    https://www.sciencedaily.com/releases/2018/04/180411161316.htm
    Published: 11 April 2018

    Segundo o texto,
    Escolha uma alternativa para a questão 92550ec2-02
  • 4D510432-FD

    Inglês

    Interpretação de texto | Reading comprehension
    Escola Superior de Propaganda e Marketing · 2018DifícilEntre para guardar nos favoritos
        Theodor Seuss “Ted” Geisel was an American author, political cartoonist, poet, animator, book publisher, and artist, best known for authoring more than 60 children’s books under the pen name Doctor Seuss (abbreviated Dr. Seuss). As World War II began, he turned to political cartoons, drawing over 400 in two years as editorial cartoonist for the left-leaning New York City daily newspaper. He strongly supports US entry into the war. This is one of his creations from 1941:

    Imagem da questão de Inglês, Escola Superior de Propaganda e Marketing 2018, Interpretação de texto | Reading comprehension
    The cartoon:
    Escolha uma alternativa para a questão 4d510432-fd
  • 4D4DEECB-FD

    Inglês

    Interpretação de texto | Reading comprehension
    Escola Superior de Propaganda e Marketing · 2018DifícilEntre para guardar nos favoritos

    Beyonce, colorism, and why all of this needs to end


    by Ernest Owens


        Yes, the Super Bowl was on fire. As one who is very critical of halftime show performances, I cannot deny that Beyoncé brought the energy and attention. All of this led to her releasing her tour dates for the Mrs. Carter Show. As excited as I was to actually buy these tickets, something turned me off. The poster.


    Imagem da questão de Inglês, Escola Superior de Propaganda e Marketing 2018, Interpretação de texto | Reading comprehension


       If you haven’t seen the photographs for Beyonce’s new world tour, you probably wouldn’t even recognize her. You will see an image of what looks like a Victorian white woman in the Elizabethan era. Her (prosthetic) blonde hair puffed and extended to reveal a face that is almost as white as snow. Lips red and her skin powdered. This is not the same bronze Beyonce that I saw rocking the stage in an all female band with her darker Destiny’s Child counterparts. I was only left with memories of previous patterns that the multi-Grammy award winning artist had done in previous years in regards to her skin. And I asked myself the question: why, Bey?

         Let’s not act like this is something new. Over the years, it seems as though Beyonce has gotten lighter as she has gotten older. No, this is not genetics and let’s not pretend her skin color in her first Destiny’s Child album cover matches that of her latest album. Whether it is that highly controversial Revlon advertisement or her own album cover art, Beyonce has consistently been called out on alterations done to her pigments.

        What does this say about our society for black women? It tells me that, an independent, confident and successful woman of color still struggles to have the confidence to fully embrace the skin she is in. If one of the most powerful women in entertainment feels she has to lighten her skin for projection, what does that say for the rest of us?

        Believe it or not, colorism, the stigma associated with skin complexion, has been an ill that has not yet been dissolved by the black community. What was first given to us by slave masters in separating the house slaves from the field ones, has now taken place in how we objectify our women and each other.

        This is pretty problematic in many ways. It’s first of all self-loathing and unnecessary for today’s times. The fact that our nation had an African-American first lady with a complexion that isn’t on the lighter side of the spectrum, nor does it try to be, shows a compelling advancement in appreciation for all women of color in many ways.

         Furthermore, the only reason why such stigma in our country continues is contributed to our own behavior that is shaped by the influential people of color around us. It devastated me when I saw that Sammy Sosa had lightened his skin. As successful as he was in a field that was not necessarily fixated on male skin complexion, it saddened me to see him do it. In many ways, it even made me reflect back on the transition of the late great Michael Jackson and what explanations he had for such a more pale white appearance.

        And why does all of this matter? Because I grew up hearing stories of young dark black girls getting their faces scrubbed with skin lightening soaps out of their free will. Tales of young women being abandoned by their mothers because they were too dark.

        If this is the reality that had more implications back in the early 20th century than it does now, please stop it. Stop trying to explain why you are dating the ebony skin girl. Stop making it seem exceptional that a girl of a darker complexion is actually attractive. Celebrities, stop putting extraneous powders and lighteners on your skin: we all know what you used to look like and we still love you. And people of color: let’s not continue to perpetuate an oppressive cycle of self-loathing of our appearance and heritage. If this can be accomplished, then perhaps even in our own race we can truly make our lives not be judged by the color of our skin but by the content of our character.


    (adapted from www.huffingtonpost.com, 14/02/2013)

    The pronoun “it” in the phrase “nor does it try to be”, bold faced, in paragraph 6 refers to:
    Escolha uma alternativa para a questão 4d4deecb-fd
  • 4D4A505A-FD

    Inglês

    Interpretação de texto | Reading comprehension
    Escola Superior de Propaganda e Marketing · 2018FácilEntre para guardar nos favoritos

    Beyonce, colorism, and why all of this needs to end


    by Ernest Owens


        Yes, the Super Bowl was on fire. As one who is very critical of halftime show performances, I cannot deny that Beyoncé brought the energy and attention. All of this led to her releasing her tour dates for the Mrs. Carter Show. As excited as I was to actually buy these tickets, something turned me off. The poster.


    Imagem da questão de Inglês, Escola Superior de Propaganda e Marketing 2018, Interpretação de texto | Reading comprehension


       If you haven’t seen the photographs for Beyonce’s new world tour, you probably wouldn’t even recognize her. You will see an image of what looks like a Victorian white woman in the Elizabethan era. Her (prosthetic) blonde hair puffed and extended to reveal a face that is almost as white as snow. Lips red and her skin powdered. This is not the same bronze Beyonce that I saw rocking the stage in an all female band with her darker Destiny’s Child counterparts. I was only left with memories of previous patterns that the multi-Grammy award winning artist had done in previous years in regards to her skin. And I asked myself the question: why, Bey?

         Let’s not act like this is something new. Over the years, it seems as though Beyonce has gotten lighter as she has gotten older. No, this is not genetics and let’s not pretend her skin color in her first Destiny’s Child album cover matches that of her latest album. Whether it is that highly controversial Revlon advertisement or her own album cover art, Beyonce has consistently been called out on alterations done to her pigments.

        What does this say about our society for black women? It tells me that, an independent, confident and successful woman of color still struggles to have the confidence to fully embrace the skin she is in. If one of the most powerful women in entertainment feels she has to lighten her skin for projection, what does that say for the rest of us?

        Believe it or not, colorism, the stigma associated with skin complexion, has been an ill that has not yet been dissolved by the black community. What was first given to us by slave masters in separating the house slaves from the field ones, has now taken place in how we objectify our women and each other.

        This is pretty problematic in many ways. It’s first of all self-loathing and unnecessary for today’s times. The fact that our nation had an African-American first lady with a complexion that isn’t on the lighter side of the spectrum, nor does it try to be, shows a compelling advancement in appreciation for all women of color in many ways.

         Furthermore, the only reason why such stigma in our country continues is contributed to our own behavior that is shaped by the influential people of color around us. It devastated me when I saw that Sammy Sosa had lightened his skin. As successful as he was in a field that was not necessarily fixated on male skin complexion, it saddened me to see him do it. In many ways, it even made me reflect back on the transition of the late great Michael Jackson and what explanations he had for such a more pale white appearance.

        And why does all of this matter? Because I grew up hearing stories of young dark black girls getting their faces scrubbed with skin lightening soaps out of their free will. Tales of young women being abandoned by their mothers because they were too dark.

        If this is the reality that had more implications back in the early 20th century than it does now, please stop it. Stop trying to explain why you are dating the ebony skin girl. Stop making it seem exceptional that a girl of a darker complexion is actually attractive. Celebrities, stop putting extraneous powders and lighteners on your skin: we all know what you used to look like and we still love you. And people of color: let’s not continue to perpetuate an oppressive cycle of self-loathing of our appearance and heritage. If this can be accomplished, then perhaps even in our own race we can truly make our lives not be judged by the color of our skin but by the content of our character.


    (adapted from www.huffingtonpost.com, 14/02/2013)

    According the article:
    Escolha uma alternativa para a questão 4d4a505a-fd
  • 4D46E6A4-FD

    Inglês

    Interpretação de texto | Reading comprehension
    Escola Superior de Propaganda e Marketing · 2018DifícilEntre para guardar nos favoritos

    Beyonce, colorism, and why all of this needs to end


    by Ernest Owens


        Yes, the Super Bowl was on fire. As one who is very critical of halftime show performances, I cannot deny that Beyoncé brought the energy and attention. All of this led to her releasing her tour dates for the Mrs. Carter Show. As excited as I was to actually buy these tickets, something turned me off. The poster.


    Imagem da questão de Inglês, Escola Superior de Propaganda e Marketing 2018, Interpretação de texto | Reading comprehension


       If you haven’t seen the photographs for Beyonce’s new world tour, you probably wouldn’t even recognize her. You will see an image of what looks like a Victorian white woman in the Elizabethan era. Her (prosthetic) blonde hair puffed and extended to reveal a face that is almost as white as snow. Lips red and her skin powdered. This is not the same bronze Beyonce that I saw rocking the stage in an all female band with her darker Destiny’s Child counterparts. I was only left with memories of previous patterns that the multi-Grammy award winning artist had done in previous years in regards to her skin. And I asked myself the question: why, Bey?

         Let’s not act like this is something new. Over the years, it seems as though Beyonce has gotten lighter as she has gotten older. No, this is not genetics and let’s not pretend her skin color in her first Destiny’s Child album cover matches that of her latest album. Whether it is that highly controversial Revlon advertisement or her own album cover art, Beyonce has consistently been called out on alterations done to her pigments.

        What does this say about our society for black women? It tells me that, an independent, confident and successful woman of color still struggles to have the confidence to fully embrace the skin she is in. If one of the most powerful women in entertainment feels she has to lighten her skin for projection, what does that say for the rest of us?

        Believe it or not, colorism, the stigma associated with skin complexion, has been an ill that has not yet been dissolved by the black community. What was first given to us by slave masters in separating the house slaves from the field ones, has now taken place in how we objectify our women and each other.

        This is pretty problematic in many ways. It’s first of all self-loathing and unnecessary for today’s times. The fact that our nation had an African-American first lady with a complexion that isn’t on the lighter side of the spectrum, nor does it try to be, shows a compelling advancement in appreciation for all women of color in many ways.

         Furthermore, the only reason why such stigma in our country continues is contributed to our own behavior that is shaped by the influential people of color around us. It devastated me when I saw that Sammy Sosa had lightened his skin. As successful as he was in a field that was not necessarily fixated on male skin complexion, it saddened me to see him do it. In many ways, it even made me reflect back on the transition of the late great Michael Jackson and what explanations he had for such a more pale white appearance.

        And why does all of this matter? Because I grew up hearing stories of young dark black girls getting their faces scrubbed with skin lightening soaps out of their free will. Tales of young women being abandoned by their mothers because they were too dark.

        If this is the reality that had more implications back in the early 20th century than it does now, please stop it. Stop trying to explain why you are dating the ebony skin girl. Stop making it seem exceptional that a girl of a darker complexion is actually attractive. Celebrities, stop putting extraneous powders and lighteners on your skin: we all know what you used to look like and we still love you. And people of color: let’s not continue to perpetuate an oppressive cycle of self-loathing of our appearance and heritage. If this can be accomplished, then perhaps even in our own race we can truly make our lives not be judged by the color of our skin but by the content of our character.


    (adapted from www.huffingtonpost.com, 14/02/2013)

    The author of the article criticizes the fact that the producers:
    Escolha uma alternativa para a questão 4d46e6a4-fd
  • 4D433AC4-FD

    Inglês

    Interpretação de texto | Reading comprehension
    Escola Superior de Propaganda e Marketing · 2018DifícilEntre para guardar nos favoritos

    Beyonce, colorism, and why all of this needs to end


    by Ernest Owens


        Yes, the Super Bowl was on fire. As one who is very critical of halftime show performances, I cannot deny that Beyoncé brought the energy and attention. All of this led to her releasing her tour dates for the Mrs. Carter Show. As excited as I was to actually buy these tickets, something turned me off. The poster.


    Imagem da questão de Inglês, Escola Superior de Propaganda e Marketing 2018, Interpretação de texto | Reading comprehension


       If you haven’t seen the photographs for Beyonce’s new world tour, you probably wouldn’t even recognize her. You will see an image of what looks like a Victorian white woman in the Elizabethan era. Her (prosthetic) blonde hair puffed and extended to reveal a face that is almost as white as snow. Lips red and her skin powdered. This is not the same bronze Beyonce that I saw rocking the stage in an all female band with her darker Destiny’s Child counterparts. I was only left with memories of previous patterns that the multi-Grammy award winning artist had done in previous years in regards to her skin. And I asked myself the question: why, Bey?

         Let’s not act like this is something new. Over the years, it seems as though Beyonce has gotten lighter as she has gotten older. No, this is not genetics and let’s not pretend her skin color in her first Destiny’s Child album cover matches that of her latest album. Whether it is that highly controversial Revlon advertisement or her own album cover art, Beyonce has consistently been called out on alterations done to her pigments.

        What does this say about our society for black women? It tells me that, an independent, confident and successful woman of color still struggles to have the confidence to fully embrace the skin she is in. If one of the most powerful women in entertainment feels she has to lighten her skin for projection, what does that say for the rest of us?

        Believe it or not, colorism, the stigma associated with skin complexion, has been an ill that has not yet been dissolved by the black community. What was first given to us by slave masters in separating the house slaves from the field ones, has now taken place in how we objectify our women and each other.

        This is pretty problematic in many ways. It’s first of all self-loathing and unnecessary for today’s times. The fact that our nation had an African-American first lady with a complexion that isn’t on the lighter side of the spectrum, nor does it try to be, shows a compelling advancement in appreciation for all women of color in many ways.

         Furthermore, the only reason why such stigma in our country continues is contributed to our own behavior that is shaped by the influential people of color around us. It devastated me when I saw that Sammy Sosa had lightened his skin. As successful as he was in a field that was not necessarily fixated on male skin complexion, it saddened me to see him do it. In many ways, it even made me reflect back on the transition of the late great Michael Jackson and what explanations he had for such a more pale white appearance.

        And why does all of this matter? Because I grew up hearing stories of young dark black girls getting their faces scrubbed with skin lightening soaps out of their free will. Tales of young women being abandoned by their mothers because they were too dark.

        If this is the reality that had more implications back in the early 20th century than it does now, please stop it. Stop trying to explain why you are dating the ebony skin girl. Stop making it seem exceptional that a girl of a darker complexion is actually attractive. Celebrities, stop putting extraneous powders and lighteners on your skin: we all know what you used to look like and we still love you. And people of color: let’s not continue to perpetuate an oppressive cycle of self-loathing of our appearance and heritage. If this can be accomplished, then perhaps even in our own race we can truly make our lives not be judged by the color of our skin but by the content of our character.


    (adapted from www.huffingtonpost.com, 14/02/2013)

    The author of the article:
    Escolha uma alternativa para a questão 4d433ac4-fd
  • 4D4059CB-FD

    Inglês

    Interpretação de texto | Reading comprehension
    Escola Superior de Propaganda e Marketing · 2018DifícilEntre para guardar nos favoritos
    How James Brown Made Black Pride a Hit

    It’s been 50 years since he wrote “Say It Loud, I’m Black and I’m Proud,” a song that is still necessary.

    By Randall Kennedy

       In the gym at Paul Junior High School in Washington, D.C., in the spring of 1968, not that long before the assassination of the Rev. Dr. Martin Luther King Jr., I asked a buddy whether he was interested in a certain girl. He told me that he was not because she was too dark.

    Imagem da questão de Inglês, Escola Superior de Propaganda e Marketing 2018, Interpretação de texto | Reading comprehension
       
       He and I were African-American. (Then we would have called ourselves Negro.) So was she. All of us supported the Civil Rights Movement and idolized Dr. King, yet I did not hold my friend’s colorstruck judgment against him. And he did not state his opinion with embarrassment. We had both internalized our society’s derogation of blackness.
        Indeed, we luxuriated in the denigration, spending hours trading silly, recycled but revealing insults: “Yo mama so black, she blend in with the chalkboard.” “Yeah, well, yo mama so black, she sweats chocolate.”
       It was precisely because of widespread colorism that James Brown’s anthem “Say It Loud, I’m Black and I’m Proud” posed a challenge, felt so exhilarating, and resonated so powerfully. It still does. Much has changed over the past half century. But, alas, the need to defend blackness against derision continues.
        Various musicians in the 1960s tapped into yearnings for black assertiveness, autonomy and solidarity. Curtis Mayfield and the Impressions sang “We’re a Winner.” Sly and the Family Stone offered “Stand.” Sam Cooke (and Aretha Franklin and Otis Redding) performed “A Change is Gonna Come.” But no entertainer equaled Brown’s vocalization of African-Americans’ newly triumphal sense of self-acceptance.
       That Brown created the song most popularly associated with the Black is Beautiful movement is ironic. He generally stayed away from protest, endorsed the presidential re-election of Richard Nixon, lavishly praised Ronald Reagan, and consistently lauded Strom Thurmond.
       His infrequent sallies into politics usually sounded in patriotic, lift-yourselfup-ism. In the song “America is My Home,” he proclaimed without embarrassment that the United States “is still the best country / And that’s without a doubt.” Alluding to his own trajectory, he challenged dissenters to name any other country in which a person could start out as a poor shoeshine boy but end up as a wealthy celebrity shaking hands with the president.
       At the very time that in “Say It Loud,” Brown seemed to be affirming Negritude, he also sported a “conk” — a distinctive hairdo that involved chemically removing kinkiness on the way to creating a bouffant of straightened hair. Many AfricanAmerican political activists, especially those with a black nationalist orientation, decried the conk as an illustration of racial self-hatred. For a brief period, Brown abandoned the conk and adopted an Afro, but that was only temporary. The conk was part of the characteristic look of “The Godfather of Soul.”
       Even though by 1968 uprisings against white supremacism had been erupting for a decade with great intensity and success — the Montgomery Bus Boycott, the Children’s’ Crusade in Birmingham, the protest against disenfranchisement in Selma — prejudice against blackness remained prevalent, including among African-Americans.
       Champions of African-American uplift in the 1960s sought to liberate blackness from the layers of contempt, fear, and hatred with which it had been smeared for centuries. Brown’s anthem poignantly reflected the psychic problem it sought to address. People secure in their status don’t feel compelled to trumpet their pride. At the same time “Say it Loud!” was a rousing instance of a reclamation that took many forms. Instead of celebrating light skin, thin lips, and “good” (i.e., straight) hair, increasing numbers of African-Americans began valorizing dark skin, thick lips and “bad” (i.e., kinky) hair.
        The reclamation of blackness in the sixties made tremendous headway quickly. By 1970 my friend would not have dared to repeat out loud what he had told me unapologetically two years before. Here, as elsewhere, however, changes wrought by the black liberation movement, though impressive, were only partial. Nearly four decades after the release of “Say It Loud,” Professors Jennifer Hochschild and Vesla Weaver, having synthesized the pertinent academic literature, declared authoritatively that compared to their lighter-skinned counterparts, dark-skinned blacks continue to be burdened by lower levels of education, income, and job status. They receive longer prison sentences and are less likely to own homes or to marry. Filmmakers, advertisers, modeling agencies, dating websites and other key gatekeepers demonstrate repeatedly the ongoing pertinence of the old saw: If you’re black get back. If you’re brown, stick around. If you’re white you’re alright.
          Intraracial colorism in Black America is often seen as a topic that should, if possible, be avoided, especially in “mixed company.” That sense of embarrassment three decades ago prompted officials at Morehouse College to demand that Spike Lee cease filming on campus once they learned that his movie was exposing, among other things, black collegiate colorism. The impulse toward avoidance remains strong.
        With racial prejudice against all African-Americans still a potent force, many would just as soon ditch the discussion of “black on black” complexional bias. Colorism, however, remains a baleful reality.
       Half a century after James Brown’s proclamation, it remains imperative to assert what should have been assumed and uncontroversial all along: that black is beautiful and as worthy of pride and care and consideration as any other hue.

    (Adapted from: www.nytimes.com, 20/07/2018)
    As of late 1960s, after the release of “Say It Loud, I’m Black and I’m Proud”:
    Escolha uma alternativa para a questão 4d4059cb-fd
  • 4D3D69AD-FD

    Inglês

    Interpretação de texto | Reading comprehension
    Escola Superior de Propaganda e Marketing · 2018DifícilEntre para guardar nos favoritos
    How James Brown Made Black Pride a Hit

    It’s been 50 years since he wrote “Say It Loud, I’m Black and I’m Proud,” a song that is still necessary.

    By Randall Kennedy

       In the gym at Paul Junior High School in Washington, D.C., in the spring of 1968, not that long before the assassination of the Rev. Dr. Martin Luther King Jr., I asked a buddy whether he was interested in a certain girl. He told me that he was not because she was too dark.

    Imagem da questão de Inglês, Escola Superior de Propaganda e Marketing 2018, Interpretação de texto | Reading comprehension
       
       He and I were African-American. (Then we would have called ourselves Negro.) So was she. All of us supported the Civil Rights Movement and idolized Dr. King, yet I did not hold my friend’s colorstruck judgment against him. And he did not state his opinion with embarrassment. We had both internalized our society’s derogation of blackness.
        Indeed, we luxuriated in the denigration, spending hours trading silly, recycled but revealing insults: “Yo mama so black, she blend in with the chalkboard.” “Yeah, well, yo mama so black, she sweats chocolate.”
       It was precisely because of widespread colorism that James Brown’s anthem “Say It Loud, I’m Black and I’m Proud” posed a challenge, felt so exhilarating, and resonated so powerfully. It still does. Much has changed over the past half century. But, alas, the need to defend blackness against derision continues.
        Various musicians in the 1960s tapped into yearnings for black assertiveness, autonomy and solidarity. Curtis Mayfield and the Impressions sang “We’re a Winner.” Sly and the Family Stone offered “Stand.” Sam Cooke (and Aretha Franklin and Otis Redding) performed “A Change is Gonna Come.” But no entertainer equaled Brown’s vocalization of African-Americans’ newly triumphal sense of self-acceptance.
       That Brown created the song most popularly associated with the Black is Beautiful movement is ironic. He generally stayed away from protest, endorsed the presidential re-election of Richard Nixon, lavishly praised Ronald Reagan, and consistently lauded Strom Thurmond.
       His infrequent sallies into politics usually sounded in patriotic, lift-yourselfup-ism. In the song “America is My Home,” he proclaimed without embarrassment that the United States “is still the best country / And that’s without a doubt.” Alluding to his own trajectory, he challenged dissenters to name any other country in which a person could start out as a poor shoeshine boy but end up as a wealthy celebrity shaking hands with the president.
       At the very time that in “Say It Loud,” Brown seemed to be affirming Negritude, he also sported a “conk” — a distinctive hairdo that involved chemically removing kinkiness on the way to creating a bouffant of straightened hair. Many AfricanAmerican political activists, especially those with a black nationalist orientation, decried the conk as an illustration of racial self-hatred. For a brief period, Brown abandoned the conk and adopted an Afro, but that was only temporary. The conk was part of the characteristic look of “The Godfather of Soul.”
       Even though by 1968 uprisings against white supremacism had been erupting for a decade with great intensity and success — the Montgomery Bus Boycott, the Children’s’ Crusade in Birmingham, the protest against disenfranchisement in Selma — prejudice against blackness remained prevalent, including among African-Americans.
       Champions of African-American uplift in the 1960s sought to liberate blackness from the layers of contempt, fear, and hatred with which it had been smeared for centuries. Brown’s anthem poignantly reflected the psychic problem it sought to address. People secure in their status don’t feel compelled to trumpet their pride. At the same time “Say it Loud!” was a rousing instance of a reclamation that took many forms. Instead of celebrating light skin, thin lips, and “good” (i.e., straight) hair, increasing numbers of African-Americans began valorizing dark skin, thick lips and “bad” (i.e., kinky) hair.
        The reclamation of blackness in the sixties made tremendous headway quickly. By 1970 my friend would not have dared to repeat out loud what he had told me unapologetically two years before. Here, as elsewhere, however, changes wrought by the black liberation movement, though impressive, were only partial. Nearly four decades after the release of “Say It Loud,” Professors Jennifer Hochschild and Vesla Weaver, having synthesized the pertinent academic literature, declared authoritatively that compared to their lighter-skinned counterparts, dark-skinned blacks continue to be burdened by lower levels of education, income, and job status. They receive longer prison sentences and are less likely to own homes or to marry. Filmmakers, advertisers, modeling agencies, dating websites and other key gatekeepers demonstrate repeatedly the ongoing pertinence of the old saw: If you’re black get back. If you’re brown, stick around. If you’re white you’re alright.
          Intraracial colorism in Black America is often seen as a topic that should, if possible, be avoided, especially in “mixed company.” That sense of embarrassment three decades ago prompted officials at Morehouse College to demand that Spike Lee cease filming on campus once they learned that his movie was exposing, among other things, black collegiate colorism. The impulse toward avoidance remains strong.
        With racial prejudice against all African-Americans still a potent force, many would just as soon ditch the discussion of “black on black” complexional bias. Colorism, however, remains a baleful reality.
       Half a century after James Brown’s proclamation, it remains imperative to assert what should have been assumed and uncontroversial all along: that black is beautiful and as worthy of pride and care and consideration as any other hue.

    (Adapted from: www.nytimes.com, 20/07/2018)
    The text mentions a certain paradox in Brown’s attitudes. This is because:
    Escolha uma alternativa para a questão 4d3d69ad-fd
  • 4D3A8C71-FD

    Inglês

    Interpretação de texto | Reading comprehension
    Escola Superior de Propaganda e Marketing · 2018MédioEntre para guardar nos favoritos
    How James Brown Made Black Pride a Hit

    It’s been 50 years since he wrote “Say It Loud, I’m Black and I’m Proud,” a song that is still necessary.

    By Randall Kennedy

       In the gym at Paul Junior High School in Washington, D.C., in the spring of 1968, not that long before the assassination of the Rev. Dr. Martin Luther King Jr., I asked a buddy whether he was interested in a certain girl. He told me that he was not because she was too dark.

    Imagem da questão de Inglês, Escola Superior de Propaganda e Marketing 2018, Interpretação de texto | Reading comprehension
       
       He and I were African-American. (Then we would have called ourselves Negro.) So was she. All of us supported the Civil Rights Movement and idolized Dr. King, yet I did not hold my friend’s colorstruck judgment against him. And he did not state his opinion with embarrassment. We had both internalized our society’s derogation of blackness.
        Indeed, we luxuriated in the denigration, spending hours trading silly, recycled but revealing insults: “Yo mama so black, she blend in with the chalkboard.” “Yeah, well, yo mama so black, she sweats chocolate.”
       It was precisely because of widespread colorism that James Brown’s anthem “Say It Loud, I’m Black and I’m Proud” posed a challenge, felt so exhilarating, and resonated so powerfully. It still does. Much has changed over the past half century. But, alas, the need to defend blackness against derision continues.
        Various musicians in the 1960s tapped into yearnings for black assertiveness, autonomy and solidarity. Curtis Mayfield and the Impressions sang “We’re a Winner.” Sly and the Family Stone offered “Stand.” Sam Cooke (and Aretha Franklin and Otis Redding) performed “A Change is Gonna Come.” But no entertainer equaled Brown’s vocalization of African-Americans’ newly triumphal sense of self-acceptance.
       That Brown created the song most popularly associated with the Black is Beautiful movement is ironic. He generally stayed away from protest, endorsed the presidential re-election of Richard Nixon, lavishly praised Ronald Reagan, and consistently lauded Strom Thurmond.
       His infrequent sallies into politics usually sounded in patriotic, lift-yourselfup-ism. In the song “America is My Home,” he proclaimed without embarrassment that the United States “is still the best country / And that’s without a doubt.” Alluding to his own trajectory, he challenged dissenters to name any other country in which a person could start out as a poor shoeshine boy but end up as a wealthy celebrity shaking hands with the president.
       At the very time that in “Say It Loud,” Brown seemed to be affirming Negritude, he also sported a “conk” — a distinctive hairdo that involved chemically removing kinkiness on the way to creating a bouffant of straightened hair. Many AfricanAmerican political activists, especially those with a black nationalist orientation, decried the conk as an illustration of racial self-hatred. For a brief period, Brown abandoned the conk and adopted an Afro, but that was only temporary. The conk was part of the characteristic look of “The Godfather of Soul.”
       Even though by 1968 uprisings against white supremacism had been erupting for a decade with great intensity and success — the Montgomery Bus Boycott, the Children’s’ Crusade in Birmingham, the protest against disenfranchisement in Selma — prejudice against blackness remained prevalent, including among African-Americans.
       Champions of African-American uplift in the 1960s sought to liberate blackness from the layers of contempt, fear, and hatred with which it had been smeared for centuries. Brown’s anthem poignantly reflected the psychic problem it sought to address. People secure in their status don’t feel compelled to trumpet their pride. At the same time “Say it Loud!” was a rousing instance of a reclamation that took many forms. Instead of celebrating light skin, thin lips, and “good” (i.e., straight) hair, increasing numbers of African-Americans began valorizing dark skin, thick lips and “bad” (i.e., kinky) hair.
        The reclamation of blackness in the sixties made tremendous headway quickly. By 1970 my friend would not have dared to repeat out loud what he had told me unapologetically two years before. Here, as elsewhere, however, changes wrought by the black liberation movement, though impressive, were only partial. Nearly four decades after the release of “Say It Loud,” Professors Jennifer Hochschild and Vesla Weaver, having synthesized the pertinent academic literature, declared authoritatively that compared to their lighter-skinned counterparts, dark-skinned blacks continue to be burdened by lower levels of education, income, and job status. They receive longer prison sentences and are less likely to own homes or to marry. Filmmakers, advertisers, modeling agencies, dating websites and other key gatekeepers demonstrate repeatedly the ongoing pertinence of the old saw: If you’re black get back. If you’re brown, stick around. If you’re white you’re alright.
          Intraracial colorism in Black America is often seen as a topic that should, if possible, be avoided, especially in “mixed company.” That sense of embarrassment three decades ago prompted officials at Morehouse College to demand that Spike Lee cease filming on campus once they learned that his movie was exposing, among other things, black collegiate colorism. The impulse toward avoidance remains strong.
        With racial prejudice against all African-Americans still a potent force, many would just as soon ditch the discussion of “black on black” complexional bias. Colorism, however, remains a baleful reality.
       Half a century after James Brown’s proclamation, it remains imperative to assert what should have been assumed and uncontroversial all along: that black is beautiful and as worthy of pride and care and consideration as any other hue.

    (Adapted from: www.nytimes.com, 20/07/2018)
    In the second paragraph, the boldfaced sentence: “We had both internalized our society’s derogation of blackness.” means that:
    Escolha uma alternativa para a questão 4d3a8c71-fd
  • 4D375132-FD

    Inglês

    Interpretação de texto | Reading comprehension
    Escola Superior de Propaganda e Marketing · 2018Muito difícilEntre para guardar nos favoritos
    How James Brown Made Black Pride a Hit

    It’s been 50 years since he wrote “Say It Loud, I’m Black and I’m Proud,” a song that is still necessary.

    By Randall Kennedy

       In the gym at Paul Junior High School in Washington, D.C., in the spring of 1968, not that long before the assassination of the Rev. Dr. Martin Luther King Jr., I asked a buddy whether he was interested in a certain girl. He told me that he was not because she was too dark.

    Imagem da questão de Inglês, Escola Superior de Propaganda e Marketing 2018, Interpretação de texto | Reading comprehension
       
       He and I were African-American. (Then we would have called ourselves Negro.) So was she. All of us supported the Civil Rights Movement and idolized Dr. King, yet I did not hold my friend’s colorstruck judgment against him. And he did not state his opinion with embarrassment. We had both internalized our society’s derogation of blackness.
        Indeed, we luxuriated in the denigration, spending hours trading silly, recycled but revealing insults: “Yo mama so black, she blend in with the chalkboard.” “Yeah, well, yo mama so black, she sweats chocolate.”
       It was precisely because of widespread colorism that James Brown’s anthem “Say It Loud, I’m Black and I’m Proud” posed a challenge, felt so exhilarating, and resonated so powerfully. It still does. Much has changed over the past half century. But, alas, the need to defend blackness against derision continues.
        Various musicians in the 1960s tapped into yearnings for black assertiveness, autonomy and solidarity. Curtis Mayfield and the Impressions sang “We’re a Winner.” Sly and the Family Stone offered “Stand.” Sam Cooke (and Aretha Franklin and Otis Redding) performed “A Change is Gonna Come.” But no entertainer equaled Brown’s vocalization of African-Americans’ newly triumphal sense of self-acceptance.
       That Brown created the song most popularly associated with the Black is Beautiful movement is ironic. He generally stayed away from protest, endorsed the presidential re-election of Richard Nixon, lavishly praised Ronald Reagan, and consistently lauded Strom Thurmond.
       His infrequent sallies into politics usually sounded in patriotic, lift-yourselfup-ism. In the song “America is My Home,” he proclaimed without embarrassment that the United States “is still the best country / And that’s without a doubt.” Alluding to his own trajectory, he challenged dissenters to name any other country in which a person could start out as a poor shoeshine boy but end up as a wealthy celebrity shaking hands with the president.
       At the very time that in “Say It Loud,” Brown seemed to be affirming Negritude, he also sported a “conk” — a distinctive hairdo that involved chemically removing kinkiness on the way to creating a bouffant of straightened hair. Many AfricanAmerican political activists, especially those with a black nationalist orientation, decried the conk as an illustration of racial self-hatred. For a brief period, Brown abandoned the conk and adopted an Afro, but that was only temporary. The conk was part of the characteristic look of “The Godfather of Soul.”
       Even though by 1968 uprisings against white supremacism had been erupting for a decade with great intensity and success — the Montgomery Bus Boycott, the Children’s’ Crusade in Birmingham, the protest against disenfranchisement in Selma — prejudice against blackness remained prevalent, including among African-Americans.
       Champions of African-American uplift in the 1960s sought to liberate blackness from the layers of contempt, fear, and hatred with which it had been smeared for centuries. Brown’s anthem poignantly reflected the psychic problem it sought to address. People secure in their status don’t feel compelled to trumpet their pride. At the same time “Say it Loud!” was a rousing instance of a reclamation that took many forms. Instead of celebrating light skin, thin lips, and “good” (i.e., straight) hair, increasing numbers of African-Americans began valorizing dark skin, thick lips and “bad” (i.e., kinky) hair.
        The reclamation of blackness in the sixties made tremendous headway quickly. By 1970 my friend would not have dared to repeat out loud what he had told me unapologetically two years before. Here, as elsewhere, however, changes wrought by the black liberation movement, though impressive, were only partial. Nearly four decades after the release of “Say It Loud,” Professors Jennifer Hochschild and Vesla Weaver, having synthesized the pertinent academic literature, declared authoritatively that compared to their lighter-skinned counterparts, dark-skinned blacks continue to be burdened by lower levels of education, income, and job status. They receive longer prison sentences and are less likely to own homes or to marry. Filmmakers, advertisers, modeling agencies, dating websites and other key gatekeepers demonstrate repeatedly the ongoing pertinence of the old saw: If you’re black get back. If you’re brown, stick around. If you’re white you’re alright.
          Intraracial colorism in Black America is often seen as a topic that should, if possible, be avoided, especially in “mixed company.” That sense of embarrassment three decades ago prompted officials at Morehouse College to demand that Spike Lee cease filming on campus once they learned that his movie was exposing, among other things, black collegiate colorism. The impulse toward avoidance remains strong.
        With racial prejudice against all African-Americans still a potent force, many would just as soon ditch the discussion of “black on black” complexional bias. Colorism, however, remains a baleful reality.
       Half a century after James Brown’s proclamation, it remains imperative to assert what should have been assumed and uncontroversial all along: that black is beautiful and as worthy of pride and care and consideration as any other hue.

    (Adapted from: www.nytimes.com, 20/07/2018)
    An important idea brought by the text is that James Brown’s song “Say It Loud, I’m Black and I’m Proud” was a milestone in the defense of:
    Escolha uma alternativa para a questão 4d375132-fd
  • DAC57308-76

    Inglês

    Advérbios e conjunções | Adverbs and conjunctions
    Universidade Virtual de São Paulo · 2018MédioEntre para guardar nos favoritos
    Leia o texto para responder a questão.

    Modern-day slavery: an explainer
    Imagem da questão de Inglês, Universidade Virtual de São Paulo 2018, Advérbios e conjunções | Adverbs and conjunctions
    Photograph: Mario Tama/Getty

    What is modern-day slavery?
       About 150 years after most countries banned slavery – Brazil was the last to abolish its participation in the transatlantic slave trade, in 1888 – millions of men, women and children are still enslaved. Contemporary slavery takes many forms, from women forced into prostitution, to child slavery in agriculture supply chains or whole families working for nothing to pay off generational debts. Slavery thrives on every continent and in almost every country. Forced labour, people trafficking, debt bondage and child marriage are all forms of modern-day slavery that affect the world’s most vulnerable people.

    How is slavery defined?
      Slavery is prohibited under the 1948 Universal Declaration of Human Rights, which states: “No one shall be held in slavery or servitude: slavery and the slave trade shall be prohibited in all their forms.”
      Definitions of modern-day slavery are mainly taken from the 1956 UN supplementary convention, which says: “debt bondage, serfdom, forced marriage and the delivery of a child for the exploitation of that child are all slavery-like practices and require criminalisation and abolishment”. The 1930 Forced Labour Convention defines forced labour as “all work or service which is exacted from any person under the menace of any penalty and for which the said person has not offered himself voluntarily”. As contemporary systems of slavery have evolved, new definitions, including trafficking and distinguishing child slavery from child labour, have developed. 

    How many people are enslaved across the world?
      Due to its illegality, data on modern-day slavery is difficult to collate. The UN’s International Labour Organisation (ILO) estimates that about 21 million people are in forced labour at any point in time. The ILO says this estimate includes trafficking and other forms of modern slavery. The only exceptions are trafficking for organ removal, forced marriage and adoption, unless the last two practices result in forced labour. The ILO calculates that 90% of the 21 million are exploited by individuals or companies, while 10% are forced to work by the state, rebel military groups, or in prisons under conditions that violate ILO standards. Sexual exploitation accounts for 22% of slaves.

    (www.theguardian.com/global-development/2013/apr/03/modern-day-slavery-explainer. Adaptado)
    No trecho do quarto parágrafo unless the last two practices result in forced labour – o termo em destaque indica ideia de
    Escolha uma alternativa para a questão dac57308-76
  • DAC06DC0-76

    Inglês

    Interpretação de texto | Reading comprehension
    Universidade Virtual de São Paulo · 2018MédioEntre para guardar nos favoritos
    Leia o texto para responder a questão.

    Modern-day slavery: an explainer
    Imagem da questão de Inglês, Universidade Virtual de São Paulo 2018, Interpretação de texto | Reading comprehension
    Photograph: Mario Tama/Getty

    What is modern-day slavery?
       About 150 years after most countries banned slavery – Brazil was the last to abolish its participation in the transatlantic slave trade, in 1888 – millions of men, women and children are still enslaved. Contemporary slavery takes many forms, from women forced into prostitution, to child slavery in agriculture supply chains or whole families working for nothing to pay off generational debts. Slavery thrives on every continent and in almost every country. Forced labour, people trafficking, debt bondage and child marriage are all forms of modern-day slavery that affect the world’s most vulnerable people.

    How is slavery defined?
      Slavery is prohibited under the 1948 Universal Declaration of Human Rights, which states: “No one shall be held in slavery or servitude: slavery and the slave trade shall be prohibited in all their forms.”
      Definitions of modern-day slavery are mainly taken from the 1956 UN supplementary convention, which says: “debt bondage, serfdom, forced marriage and the delivery of a child for the exploitation of that child are all slavery-like practices and require criminalisation and abolishment”. The 1930 Forced Labour Convention defines forced labour as “all work or service which is exacted from any person under the menace of any penalty and for which the said person has not offered himself voluntarily”. As contemporary systems of slavery have evolved, new definitions, including trafficking and distinguishing child slavery from child labour, have developed. 

    How many people are enslaved across the world?
      Due to its illegality, data on modern-day slavery is difficult to collate. The UN’s International Labour Organisation (ILO) estimates that about 21 million people are in forced labour at any point in time. The ILO says this estimate includes trafficking and other forms of modern slavery. The only exceptions are trafficking for organ removal, forced marriage and adoption, unless the last two practices result in forced labour. The ILO calculates that 90% of the 21 million are exploited by individuals or companies, while 10% are forced to work by the state, rebel military groups, or in prisons under conditions that violate ILO standards. Sexual exploitation accounts for 22% of slaves.

    (www.theguardian.com/global-development/2013/apr/03/modern-day-slavery-explainer. Adaptado)
    De acordo com o quarto parágrafo, a ILO estima que
    Escolha uma alternativa para a questão dac06dc0-76
  • DAB4DB6D-76

    Inglês

    Interpretação de texto | Reading comprehension
    Universidade Virtual de São Paulo · 2018MédioEntre para guardar nos favoritos
    Leia o texto para responder a questão.

    Modern-day slavery: an explainer
    Imagem da questão de Inglês, Universidade Virtual de São Paulo 2018, Interpretação de texto | Reading comprehension
    Photograph: Mario Tama/Getty

    What is modern-day slavery?
       About 150 years after most countries banned slavery – Brazil was the last to abolish its participation in the transatlantic slave trade, in 1888 – millions of men, women and children are still enslaved. Contemporary slavery takes many forms, from women forced into prostitution, to child slavery in agriculture supply chains or whole families working for nothing to pay off generational debts. Slavery thrives on every continent and in almost every country. Forced labour, people trafficking, debt bondage and child marriage are all forms of modern-day slavery that affect the world’s most vulnerable people.

    How is slavery defined?
      Slavery is prohibited under the 1948 Universal Declaration of Human Rights, which states: “No one shall be held in slavery or servitude: slavery and the slave trade shall be prohibited in all their forms.”
      Definitions of modern-day slavery are mainly taken from the 1956 UN supplementary convention, which says: “debt bondage, serfdom, forced marriage and the delivery of a child for the exploitation of that child are all slavery-like practices and require criminalisation and abolishment”. The 1930 Forced Labour Convention defines forced labour as “all work or service which is exacted from any person under the menace of any penalty and for which the said person has not offered himself voluntarily”. As contemporary systems of slavery have evolved, new definitions, including trafficking and distinguishing child slavery from child labour, have developed. 

    How many people are enslaved across the world?
      Due to its illegality, data on modern-day slavery is difficult to collate. The UN’s International Labour Organisation (ILO) estimates that about 21 million people are in forced labour at any point in time. The ILO says this estimate includes trafficking and other forms of modern slavery. The only exceptions are trafficking for organ removal, forced marriage and adoption, unless the last two practices result in forced labour. The ILO calculates that 90% of the 21 million are exploited by individuals or companies, while 10% are forced to work by the state, rebel military groups, or in prisons under conditions that violate ILO standards. Sexual exploitation accounts for 22% of slaves.

    (www.theguardian.com/global-development/2013/apr/03/modern-day-slavery-explainer. Adaptado)
    De acordo com o terceiro parágrafo, a Convenção Suplementar das Nações Unidas de 1956 inclui como escravidão moderna
    Escolha uma alternativa para a questão dab4db6d-76
  • DAAF7CC8-76

    Inglês

    Interpretação de texto | Reading comprehension
    Universidade Virtual de São Paulo · 2018MédioEntre para guardar nos favoritos
    Leia o texto para responder a questão.

    Modern-day slavery: an explainer
    Imagem da questão de Inglês, Universidade Virtual de São Paulo 2018, Interpretação de texto | Reading comprehension
    Photograph: Mario Tama/Getty

    What is modern-day slavery?
       About 150 years after most countries banned slavery – Brazil was the last to abolish its participation in the transatlantic slave trade, in 1888 – millions of men, women and children are still enslaved. Contemporary slavery takes many forms, from women forced into prostitution, to child slavery in agriculture supply chains or whole families working for nothing to pay off generational debts. Slavery thrives on every continent and in almost every country. Forced labour, people trafficking, debt bondage and child marriage are all forms of modern-day slavery that affect the world’s most vulnerable people.

    How is slavery defined?
      Slavery is prohibited under the 1948 Universal Declaration of Human Rights, which states: “No one shall be held in slavery or servitude: slavery and the slave trade shall be prohibited in all their forms.”
      Definitions of modern-day slavery are mainly taken from the 1956 UN supplementary convention, which says: “debt bondage, serfdom, forced marriage and the delivery of a child for the exploitation of that child are all slavery-like practices and require criminalisation and abolishment”. The 1930 Forced Labour Convention defines forced labour as “all work or service which is exacted from any person under the menace of any penalty and for which the said person has not offered himself voluntarily”. As contemporary systems of slavery have evolved, new definitions, including trafficking and distinguishing child slavery from child labour, have developed. 

    How many people are enslaved across the world?
      Due to its illegality, data on modern-day slavery is difficult to collate. The UN’s International Labour Organisation (ILO) estimates that about 21 million people are in forced labour at any point in time. The ILO says this estimate includes trafficking and other forms of modern slavery. The only exceptions are trafficking for organ removal, forced marriage and adoption, unless the last two practices result in forced labour. The ILO calculates that 90% of the 21 million are exploited by individuals or companies, while 10% are forced to work by the state, rebel military groups, or in prisons under conditions that violate ILO standards. Sexual exploitation accounts for 22% of slaves.

    (www.theguardian.com/global-development/2013/apr/03/modern-day-slavery-explainer. Adaptado)
    No trecho do terceiro parágrafo – all work or service which is exacted from any person under the menace of any penalty and for which the said person has not offered himself voluntarily – o termo em destaque se refere a
    Escolha uma alternativa para a questão daaf7cc8-76