Todas as questões do ENEM

The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.

The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.

(...)

Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.

(...)

At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.

This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.

Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014

The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.

The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.

(...)

Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.

(...)

At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.

This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.

Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014

Fonte: Sabesp e Inmet

“ Até junho de 2011, cerca de 90 mil adolescentes cometeram atos infracionais. Destes, cerca de 30 mil cumprem medidas socioeducativas. O número, embora considerável, corresponde a 0,5% da população jovem do Brasil, que conta com 21 milhões de meninos e meninas entre 12 e 18 anos.

Os homicídios de adolescentes brasileiros cresceram vertiginosamente nas últimas décadas: 346% entre 1980 e 2010. De 1981 a 2010, mais de 176 mil foram mortos e só em 2010 o número foi de 8.686 adolescentes assassinados.”

Fonte: Congresso em foco

Estes números alarmantes nos mostram que no ano de 2010 morreram aproximadamente

Leia atentamente a notícia que segue.

Dados divulgados pelo Ministério da Saúde mostram que os índices de obesidade no país continuam a crescer, e em ritmo acelerado. Em 2011, o porcentual de brasileiros obesos era de 15,8%. Já em 2012, essa taxa passou para 17,4% — em 2006, quando a análise começou a ser feita, o índice era de 11,6%. O número de pessoas acima do peso considerado ideal também aumentou: de 48,5% em 2011 para 51% em 2012. Os dados estão na pesquisa Vigitel (Vigilância de Fatores de Risco e Proteção para Doenças Crônicas por Inquérito Telefônico).

Uma escada de abrir, como a ilustrada abaixo, tem suas laterais com comprimentos iguais a 1,4 m cada. Nessas condições, a altura do topo da escada em função do ângulo θ determinado no interior da escada por suas laterais é expressa, em metros, por

Isaac Newton (1643 – 1727) escreveu o Principia que apresenta as leis gerais da Mecânica e suas aplicações a colisões, pêndulo, projéteis, hidrostática, propagação de ondas e, entre outras, ao movimento dos corpos celestes.

Das situações a seguir descritas, assinale aquela que está de acordo com as leis da Mecânica Newtoniana.

Um cilindro contendo 800 cm3 de um gás ideal é provido de um êmbolo E que pode deslizar sem atrito enquanto impede a saída do gás que há nele. O cilindro é constituído de material com boa condutividade térmica. Inicialmente o conjunto formado pelo cilindro, êmbolo e gás está em equilíbrio térmico entre si e com o meio ambiente, quando sobre o êmbolo é colocado um bloco de massa m, conforme mostrado na figura. Depois de passado certo tempo, enquanto a temperatura ambiente permaneceu inalterada e o equilíbrio térmico entre o conjunto e o meio ambiente foi restabelecido, verificou-se que o gás passou por uma transformação que o levou ao volume final de 400 cm3 .

Durante a transformação.

As características morfológicas e fisiológicas de um ser vivo dependem dos tipos de proteínas do seu organismo. A síntese dessas proteínas, por sua vez, depende do DNA em interação com o RNA, de determinadas enzimas, de ribossomos e de outras estruturas celulares. Sobre a síntese de proteínas, marque a alternativa correta.

Na espécie humana, existem quatro grupos sanguíneos do sistema ABO: A, B, AB e O, relacionados à presença de certos antígenos na membrana plasmática dos glóbulos vermelhos. Sobre o sistema ABO, analise as afirmações abaixo.

I - Pessoas do grupo sanguíneo O podem receber sangue dos tipos A e B.

II - Há uma relação de codominância entre os alelos IA e IB .

III - Um casal, ambos do grupo sanguíneo AB, tem 25% de chance de ter um filho do grupo O. IV- Indivíduos do grupo AB podem receber sangue de todos os grupos sanguíneos.

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