Questões de Inglês

INSTRUÇÃO: Responder à questão com base no texto.

TEXT

Being a Better Online Reader

Soon after Maryanne Wolf published “Proust and the
Squid,” a history of the science and the development
of the reading brain from antiquity to the twenty-first
century, she began to receive letters from readers.
[5] Hundreds of them. While the backgrounds of the
writers varied, a theme began to emerge: the more
reading moved online, the less students seemed to
understand.

There were the architects who wrote to her about
[10] students who relied so heavily on ready digital
information that they were unprepared to address
basic problems on-site. There were the neurosurgeons
who worried about the “cut-and-paste chart mentality”
that their students exhibited, missing crucial details
[15] because they failed to delve deeply enough into any
one case. And there were, of course, the English
teachers who lamented that no one wanted to read
Henry James anymore.

As the letters continued to pour in, Wolf experienced a
[20] growing realization: reading had changed profoundly.
She called the rude awakening her “Rip van Winkle
moment,” and decided that it was important enough
to warrant another book. What was going on with
these students and professionals? Was the digital
[25] format to blame for their superficial approaches, or
was something else at work?

Certainly, as we turn to online reading, the physiology
of the reading process itself shifts; we don’t read the
same way online as we do on paper. Reading involves
[30] factors not usually acknowledged. The contrast of
pixels, the layout of the words, the concept of scrolling
versus turning a page, the physicality of a book versus
the ephemerality of a screen, the ability to hyperlink
and move from source to source within seconds online
[35] – all these variables translate into a different reading
experience.

The screen, for one, seems to encourage more
skimming behavior: when we scroll, we tend to read
faster but less deeply, as a way of coping with an
[40] overload of information. On screen, people browse
and scan to look for keywords, and to read in a less
linear, more selective fashion, instead of concentrating
more on just following the text. We become tired from
the constant need to filter out hyperlinks and possible
[45] distractions. And our eyes may grow fatigued from
the constantly shifting screens, layouts, colors, and
contrasts, so the reading approach needs to adjust,
taking mental and physical energy. __________.

“As children move more toward an immersion in digital
[50] media, we have to figure out ways to read deeply in
this new environment”, said Wolf. She has decided
that, despite all her training in deep reading, she, too,
needs some outside help. To finish her book, she has
ensconced herself in a small village in France with
[55] shaky mobile reception and shakier Internet. Faced
with the endless distraction of the digital world, she
has chosen to tune out just a bit of it. She’s not going
backward; she’s merely adapting.

Adapted from: https://www.newyorker.com/science/maria-konnikova/being-a-better-online-reader

Instrução: A questão está relacionada ao texto abaixo.

There really is no such thing as Art. There are
only artists. Once these were men who took
coloured earth and roughed out the forms of
a bison on the wall of a cave; today some buy
[5] their paints, and design posters for hoardings;
they did and do many other things. There is
no harm in calling all these activities art ……..
we keep in mind that such a word may mean
very different things in different times and
[10] places, and as long as we realize that Art with
a capital A has no existence. ……… Art with a
capital A has come to be something of a
bogey and a fetish. You may crush an artist
by telling him that what he has just done may
[15] be quite good in its own way, only it is not
'Art'. And you may confound anyone enjoying
a picture by declaring that what he liked in it
was not the Art ……… something different.
Actually I do not think that there are any
[20] wrong reasons for liking a statue or a picture.
Someone may like a landscape painting
because it reminds him of home, or a portrait
because it reminds him of a friend. There is
nothing wrong with that. All of us, when we
[25] see a painting, are bound to be reminded of a
hundred-and-one things which influence our
likes and dislikes. As long as these memories
help us to enjoy what we see, we need not
worry. It is only when some irrelevant
[30] memory makes us prejudiced, when we
instinctively turn away from a magnificent
picture of an alpine scene because we dislike
climbing, that we should search our mind for
the reason for the aversion which spoils a
[35] pleasure we might otherwise have had. There
are wrong reasons for disliking a work of art.
Most people like to see in pictures what they
would also like to see in reality. This is quite a
natural preference. We all like beauty in
[40] nature, and are grateful to the artists who
have preserved it in their works. Nor would
these artists themselves have rebuffed us for
our taste. When the great Flemish painter
Rubens made a drawing of his little boy, he
[45] was surely proud of his good looks. He
wanted us, too, to admire the child. But this
bias for the pretty and engaging subject is apt
to become a stumbling-block if it leads us to
reject works which represent a less appealing
[50] subject. The great German painter Albrecht
Dürer certainly drew his aging mother with as
much devotion and love as Rubens felt for his
chubby child. His truthful study of careworn
old age may give us a shock which makes us
[55] turn away from it — and yet, if we fight
against our first repugnance we may be richly
rewarded, for Dürer's drawing in its
tremendous sincerity is a great work. In fact,
we shall soon discover that the beauty of a
[60] picture does not really lie in the beauty of its
subject-matter.

Adaptado de: GOMBRICH, E. H. The Story of Art. London / New York: Phaidon, 2007. p. 15-18.

Instrução: A questão está relacionada ao texto abaixo.

There really is no such thing as Art. There are
only artists. Once these were men who took
coloured earth and roughed out the forms of
a bison on the wall of a cave; today some buy
[5] their paints, and design posters for hoardings;
they did and do many other things. There is
no harm in calling all these activities art ……..
we keep in mind that such a word may mean
very different things in different times and
[10] places, and as long as we realize that Art with
a capital A has no existence. ……… Art with a
capital A has come to be something of a
bogey and a fetish. You may crush an artist
by telling him that what he has just done may
[15] be quite good in its own way, only it is not
'Art'. And you may confound anyone enjoying
a picture by declaring that what he liked in it
was not the Art ……… something different.
Actually I do not think that there are any
[20] wrong reasons for liking a statue or a picture.
Someone may like a landscape painting
because it reminds him of home, or a portrait
because it reminds him of a friend. There is
nothing wrong with that. All of us, when we
[25] see a painting, are bound to be reminded of a
hundred-and-one things which influence our
likes and dislikes. As long as these memories
help us to enjoy what we see, we need not
worry. It is only when some irrelevant
[30] memory makes us prejudiced, when we
instinctively turn away from a magnificent
picture of an alpine scene because we dislike
climbing, that we should search our mind for
the reason for the aversion which spoils a
[35] pleasure we might otherwise have had. There
are wrong reasons for disliking a work of art.
Most people like to see in pictures what they
would also like to see in reality. This is quite a
natural preference. We all like beauty in
[40] nature, and are grateful to the artists who
have preserved it in their works. Nor would
these artists themselves have rebuffed us for
our taste. When the great Flemish painter
Rubens made a drawing of his little boy, he
[45] was surely proud of his good looks. He
wanted us, too, to admire the child. But this
bias for the pretty and engaging subject is apt
to become a stumbling-block if it leads us to
reject works which represent a less appealing
[50] subject. The great German painter Albrecht
Dürer certainly drew his aging mother with as
much devotion and love as Rubens felt for his
chubby child. His truthful study of careworn
old age may give us a shock which makes us
[55] turn away from it — and yet, if we fight
against our first repugnance we may be richly
rewarded, for Dürer's drawing in its
tremendous sincerity is a great work. In fact,
we shall soon discover that the beauty of a
[60] picture does not really lie in the beauty of its
subject-matter.

Adaptado de: GOMBRICH, E. H. The Story of Art. London / New York: Phaidon, 2007. p. 15-18.

Instrução: A questão está relacionada ao texto abaixo.

There really is no such thing as Art. There are
only artists. Once these were men who took
coloured earth and roughed out the forms of
a bison on the wall of a cave; today some buy
[5] their paints, and design posters for hoardings;
they did and do many other things. There is
no harm in calling all these activities art ……..
we keep in mind that such a word may mean
very different things in different times and
[10] places, and as long as we realize that Art with
a capital A has no existence. ……… Art with a
capital A has come to be something of a
bogey and a fetish. You may crush an artist
by telling him that what he has just done may
[15] be quite good in its own way, only it is not
'Art'. And you may confound anyone enjoying
a picture by declaring that what he liked in it
was not the Art ……… something different.
Actually I do not think that there are any
[20] wrong reasons for liking a statue or a picture.
Someone may like a landscape painting
because it reminds him of home, or a portrait
because it reminds him of a friend. There is
nothing wrong with that. All of us, when we
[25] see a painting, are bound to be reminded of a
hundred-and-one things which influence our
likes and dislikes. As long as these memories
help us to enjoy what we see, we need not
worry. It is only when some irrelevant
[30] memory makes us prejudiced, when we
instinctively turn away from a magnificent
picture of an alpine scene because we dislike
climbing, that we should search our mind for
the reason for the aversion which spoils a
[35] pleasure we might otherwise have had. There
are wrong reasons for disliking a work of art.
Most people like to see in pictures what they
would also like to see in reality. This is quite a
natural preference. We all like beauty in
[40] nature, and are grateful to the artists who
have preserved it in their works. Nor would
these artists themselves have rebuffed us for
our taste. When the great Flemish painter
Rubens made a drawing of his little boy, he
[45] was surely proud of his good looks. He
wanted us, too, to admire the child. But this
bias for the pretty and engaging subject is apt
to become a stumbling-block if it leads us to
reject works which represent a less appealing
[50] subject. The great German painter Albrecht
Dürer certainly drew his aging mother with as
much devotion and love as Rubens felt for his
chubby child. His truthful study of careworn
old age may give us a shock which makes us
[55] turn away from it — and yet, if we fight
against our first repugnance we may be richly
rewarded, for Dürer's drawing in its
tremendous sincerity is a great work. In fact,
we shall soon discover that the beauty of a
[60] picture does not really lie in the beauty of its
subject-matter.

Adaptado de: GOMBRICH, E. H. The Story of Art. London / New York: Phaidon, 2007. p. 15-18.

Instrução: A questão está relacionada ao texto abaixo.

There really is no such thing as Art. There are
only artists. Once these were men who took
coloured earth and roughed out the forms of
a bison on the wall of a cave; today some buy
[5] their paints, and design posters for hoardings;
they did and do many other things. There is
no harm in calling all these activities art ……..
we keep in mind that such a word may mean
very different things in different times and
[10] places, and as long as we realize that Art with
a capital A has no existence. ……… Art with a
capital A has come to be something of a
bogey and a fetish. You may crush an artist
by telling him that what he has just done may
[15] be quite good in its own way, only it is not
'Art'. And you may confound anyone enjoying
a picture by declaring that what he liked in it
was not the Art ……… something different.
Actually I do not think that there are any
[20] wrong reasons for liking a statue or a picture.
Someone may like a landscape painting
because it reminds him of home, or a portrait
because it reminds him of a friend. There is
nothing wrong with that. All of us, when we
[25] see a painting, are bound to be reminded of a
hundred-and-one things which influence our
likes and dislikes. As long as these memories
help us to enjoy what we see, we need not
worry. It is only when some irrelevant
[30] memory makes us prejudiced, when we
instinctively turn away from a magnificent
picture of an alpine scene because we dislike
climbing, that we should search our mind for
the reason for the aversion which spoils a
[35] pleasure we might otherwise have had. There
are wrong reasons for disliking a work of art.
Most people like to see in pictures what they
would also like to see in reality. This is quite a
natural preference. We all like beauty in
[40] nature, and are grateful to the artists who
have preserved it in their works. Nor would
these artists themselves have rebuffed us for
our taste. When the great Flemish painter
Rubens made a drawing of his little boy, he
[45] was surely proud of his good looks. He
wanted us, too, to admire the child. But this
bias for the pretty and engaging subject is apt
to become a stumbling-block if it leads us to
reject works which represent a less appealing
[50] subject. The great German painter Albrecht
Dürer certainly drew his aging mother with as
much devotion and love as Rubens felt for his
chubby child. His truthful study of careworn
old age may give us a shock which makes us
[55] turn away from it — and yet, if we fight
against our first repugnance we may be richly
rewarded, for Dürer's drawing in its
tremendous sincerity is a great work. In fact,
we shall soon discover that the beauty of a
[60] picture does not really lie in the beauty of its
subject-matter.

Adaptado de: GOMBRICH, E. H. The Story of Art. London / New York: Phaidon, 2007. p. 15-18.

Instrução: A questão está relacionada ao texto abaixo.

There really is no such thing as Art. There are
only artists. Once these were men who took
coloured earth and roughed out the forms of
a bison on the wall of a cave; today some buy
[5] their paints, and design posters for hoardings;
they did and do many other things. There is
no harm in calling all these activities art ……..
we keep in mind that such a word may mean
very different things in different times and
[10] places, and as long as we realize that Art with
a capital A has no existence. ……… Art with a
capital A has come to be something of a
bogey and a fetish. You may crush an artist
by telling him that what he has just done may
[15] be quite good in its own way, only it is not
'Art'. And you may confound anyone enjoying
a picture by declaring that what he liked in it
was not the Art ……… something different.
Actually I do not think that there are any
[20] wrong reasons for liking a statue or a picture.
Someone may like a landscape painting
because it reminds him of home, or a portrait
because it reminds him of a friend. There is
nothing wrong with that. All of us, when we
[25] see a painting, are bound to be reminded of a
hundred-and-one things which influence our
likes and dislikes. As long as these memories
help us to enjoy what we see, we need not
worry. It is only when some irrelevant
[30] memory makes us prejudiced, when we
instinctively turn away from a magnificent
picture of an alpine scene because we dislike
climbing, that we should search our mind for
the reason for the aversion which spoils a
[35] pleasure we might otherwise have had. There
are wrong reasons for disliking a work of art.
Most people like to see in pictures what they
would also like to see in reality. This is quite a
natural preference. We all like beauty in
[40] nature, and are grateful to the artists who
have preserved it in their works. Nor would
these artists themselves have rebuffed us for
our taste. When the great Flemish painter
Rubens made a drawing of his little boy, he
[45] was surely proud of his good looks. He
wanted us, too, to admire the child. But this
bias for the pretty and engaging subject is apt
to become a stumbling-block if it leads us to
reject works which represent a less appealing
[50] subject. The great German painter Albrecht
Dürer certainly drew his aging mother with as
much devotion and love as Rubens felt for his
chubby child. His truthful study of careworn
old age may give us a shock which makes us
[55] turn away from it — and yet, if we fight
against our first repugnance we may be richly
rewarded, for Dürer's drawing in its
tremendous sincerity is a great work. In fact,
we shall soon discover that the beauty of a
[60] picture does not really lie in the beauty of its
subject-matter.

Adaptado de: GOMBRICH, E. H. The Story of Art. London / New York: Phaidon, 2007. p. 15-18.