Questões de Inglês

[1] In Leonard Cohen Makes it Darker, in the

October 17, 2016 edition of The New Yorker,

David Remnick provides a succinct historyby-

anecdote of the Canadian singersongwriter

[5] ´s impending album, You Want It

Darker, an intriguing section devoted to Bob

Dylan’s take on Cohen, and a witty

perspective on the old icon.

Remnick suggests that there are deep

[10] connections between the two old bards when

he quotes Dylan: ―When people talk about

Leonard, they fail to mention his melodies,

which to me, along with his lyrics, are his

greatest genius. […] Even the counterpoint

[15] lines—they give a celestial character and

melodic lift to every one of his songs. As far

as I know, no one else comes close to this in

modern music. [..] His gift or genius is in

connection to the music of the spheres. In

[20] Sisters of Mercy, for instance, the verses are

four elemental lines which change and move

at predictable intervals . . . but the tune is

anything but predictable. The song just

comes in and states a fact. And after that

[25] anything can happen and it does, and

Leonard allows it to happen. His tone is far

from condescending or mocking. He is a

tough-minded lover who doesn’t recognize

the brush-off. Leonard’s always above it all.

[30] Sisters of Mercy is in perfect meter, with no

chorus, quivering with drama. This is an

example of a deceptively unusual musical

theme, with or without lyrics. But it’s so

subtle a listener doesn’t realize he’s been

[35] taken on a musical journey and dropped off

somewhere, with or without lyrics.‖

And it is Cohen who says that ―Dylan has

lines, hundreds of great lines, that have the

feel of unhewn stone. But they really fit in

[40] there. But they’re not smoothed out. They’re

inspired but not polished. That is not to say

he doesn’t have lyrics of great polish. That

kind of genius can manifest all the forms and

all the styles.‖

[45] For some odd reason, Cohen also says: ―I

have all my marbles, so far. I have many

resources, some cultivated on a personal

level, but circumstantial, too: my children

and grandchildren live nearby. So I am

[50] extremely blessed. At a certain point, if you

still have your marbles and are not faced

with serious financial challenges, you have a

chance to put your house in order. It’s a

cliché, but it’s underestimated as an

[55] analgesic on all levels. Putting your house in

order, if you can do it, is one of the most

comforting activities and the benefits of it are

incalculable.‖

When asked about the devotional tones of

[60] his verses Cohen declares: ―I start with

artistic dedication. I know that if the spirit is

on you, it will touch on to the other human

receptors. But I dare not begin from the

other side. It’s like pronouncing the holy

[65] name—you don’t do it. But if you are lucky,

and you are graced, and the audience is in a

particular salutary condition, then these

deeper responses will be produced.‖

REMNICK, D. Leonard Cohen makes it Darker. Available at: www.TAGARCHIVES: Leonard Cohen – Bob Dylan Interface. Accessed on Nov. 9th, 2016. 

Select the alternative in which the word take in the fragment an intriguing section devoted to Bob Dylan’s take on Cohen (l. 6-7) has the same meaning and grammatical class.

[1] In Leonard Cohen Makes it Darker, in the

October 17, 2016 edition of The New Yorker,

David Remnick provides a succinct historyby-

anecdote of the Canadian singersongwriter

[5] ´s impending album, You Want It

Darker, an intriguing section devoted to Bob

Dylan’s take on Cohen, and a witty

perspective on the old icon.

Remnick suggests that there are deep

[10] connections between the two old bards when

he quotes Dylan: ―When people talk about

Leonard, they fail to mention his melodies,

which to me, along with his lyrics, are his

greatest genius. […] Even the counterpoint

[15] lines—they give a celestial character and

melodic lift to every one of his songs. As far

as I know, no one else comes close to this in

modern music. [..] His gift or genius is in

connection to the music of the spheres. In

[20] Sisters of Mercy, for instance, the verses are

four elemental lines which change and move

at predictable intervals . . . but the tune is

anything but predictable. The song just

comes in and states a fact. And after that

[25] anything can happen and it does, and

Leonard allows it to happen. His tone is far

from condescending or mocking. He is a

tough-minded lover who doesn’t recognize

the brush-off. Leonard’s always above it all.

[30] Sisters of Mercy is in perfect meter, with no

chorus, quivering with drama. This is an

example of a deceptively unusual musical

theme, with or without lyrics. But it’s so

subtle a listener doesn’t realize he’s been

[35] taken on a musical journey and dropped off

somewhere, with or without lyrics.‖

And it is Cohen who says that ―Dylan has

lines, hundreds of great lines, that have the

feel of unhewn stone. But they really fit in

[40] there. But they’re not smoothed out. They’re

inspired but not polished. That is not to say

he doesn’t have lyrics of great polish. That

kind of genius can manifest all the forms and

all the styles.‖

[45] For some odd reason, Cohen also says: ―I

have all my marbles, so far. I have many

resources, some cultivated on a personal

level, but circumstantial, too: my children

and grandchildren live nearby. So I am

[50] extremely blessed. At a certain point, if you

still have your marbles and are not faced

with serious financial challenges, you have a

chance to put your house in order. It’s a

cliché, but it’s underestimated as an

[55] analgesic on all levels. Putting your house in

order, if you can do it, is one of the most

comforting activities and the benefits of it are

incalculable.‖

When asked about the devotional tones of

[60] his verses Cohen declares: ―I start with

artistic dedication. I know that if the spirit is

on you, it will touch on to the other human

receptors. But I dare not begin from the

other side. It’s like pronouncing the holy

[65] name—you don’t do it. But if you are lucky,

and you are graced, and the audience is in a

particular salutary condition, then these

deeper responses will be produced.‖

REMNICK, D. Leonard Cohen makes it Darker. Available at: www.TAGARCHIVES: Leonard Cohen – Bob Dylan Interface. Accessed on Nov. 9th, 2016. 

Consider the following statements.

I - In the segment…but the tune is anything but predictable (l. 22-23), Dylan asserts that Cohen’s songs can be foretold.

II - The expression I have all my marbles (l. 45-46) denotes the integrity of the singer´s intellectual and creative capacity.

III- Leonard Cohen declares that his lyrics are solely mundane.

Which are correct according to the text? 

Instrução: As questões 67 a 75 referem-se ao texto abaixo. 

[1] In Leonard Cohen Makes it Darker, in the

October 17, 2016 edition of The New Yorker,

David Remnick provides a succinct historyby-

anecdote of the Canadian singersongwriter

[5] ´s impending album, You Want It

Darker, an intriguing section devoted to Bob

Dylan’s take on Cohen, and a witty

perspective on the old icon.

Remnick suggests that there are deep

[10] connections between the two old bards when

he quotes Dylan: ―When people talk about

Leonard, they fail to mention his melodies,

which to me, along with his lyrics, are his

greatest genius. […] Even the counterpoint

[15] lines—they give a celestial character and

melodic lift to every one of his songs. As far

as I know, no one else comes close to this in

modern music. [..] His gift or genius is in

connection to the music of the spheres. In

[20] Sisters of Mercy, for instance, the verses are

four elemental lines which change and move

at predictable intervals . . . but the tune is

anything but predictable. The song just

comes in and states a fact. And after that

[25] anything can happen and it does, and

Leonard allows it to happen. His tone is far

from condescending or mocking. He is a

tough-minded lover who doesn’t recognize

the brush-off. Leonard’s always above it all.

[30] Sisters of Mercy is in perfect meter, with no

chorus, quivering with drama. This is an

example of a deceptively unusual musical

theme, with or without lyrics. But it’s so

subtle a listener doesn’t realize he’s been

[35] taken on a musical journey and dropped off

somewhere, with or without lyrics.‖

And it is Cohen who says that ―Dylan has

lines, hundreds of great lines, that have the

feel of unhewn stone. But they really fit in

[40] there. But they’re not smoothed out. They’re

inspired but not polished. That is not to say

he doesn’t have lyrics of great polish. That

kind of genius can manifest all the forms and

all the styles.‖

[45] For some odd reason, Cohen also says: ―I

have all my marbles, so far. I have many

resources, some cultivated on a personal

level, but circumstantial, too: my children

and grandchildren live nearby. So I am

[50] extremely blessed. At a certain point, if you

still have your marbles and are not faced

with serious financial challenges, you have a

chance to put your house in order. It’s a

cliché, but it’s underestimated as an

[55] analgesic on all levels. Putting your house in

order, if you can do it, is one of the most

comforting activities and the benefits of it are

incalculable.‖

When asked about the devotional tones of

[60] his verses Cohen declares: ―I start with

artistic dedication. I know that if the spirit is

on you, it will touch on to the other human

receptors. But I dare not begin from the

other side. It’s like pronouncing the holy

[65] name—you don’t do it. But if you are lucky,

and you are graced, and the audience is in a

particular salutary condition, then these

deeper responses will be produced.‖

REMNICK, D. Leonard Cohen makes it Darker. Available at: www.TAGARCHIVES: Leonard Cohen – Bob Dylan Interface. Accessed on Nov. 9th, 2016. 

Consider if the statements below are true (T) or false (F), according to the text.

( ) Dylan foregrounds the transcendence of Cohen’s tunes.

( ) According to Cohen, Dylan’s rough expression is detrimental to his otherwise genius.

( ) According to Cohen, the spiritual impact of his music also depends on the audience.

( ) According to Dylan, it is the subtlety of Cohen’s lyrics that take the listener on a musical journey.

The correct sequence of filling in the parenthesis, from top to bottom, is 

Old Light

[1] I heard a tale that the sun god was said

to live in a whale and that’s why light seems

to come out of its eyes and why rainbows

form in the mist of the gray whale’s breath.

[5] It’s true, light comes, but it is an old light,

seeing. They look. The way they lift

themselves from the sea: they are shining,

water falling from them as they rise, exhale,

inhale and return below the surface of the

[10] water.

The gray whales themselves are an

intelligence we haven’t yet grasped, Lifecovered

with several hundred pounds of

barnacles and small-eyed. If we could see

[15] them ........ the brief timescale of the planet,

they would look like shape-shifters. If we

thought of time by something other than our

own notions, million-fold years ago, before

our own knowledge of evolution, we’d see

[20] these whales …….. they walked on land.

Even now, existing within their immense

bones, there is body evidence, a hand,

human; vestigial hipbones; and remnants of

legs they no longer need. They lived ……..

[25] land when we lived in water. When we look

at them we see our own future.

And when they come up again for air

and the water falls from them back into the

seawater, it is a shine of beauty in a world of

[30] desert, dunes in the background. As their

hind legs have disappeared into them, out of

our sight, and their hands have become

hidden, the compass set into their brains,

you’d think you might be able to be one with

[35] them, as with a cousin, but it’s a cousin lost

in time. It makes us so small in the

firmament. It makes us remember something

we can’t quite name, only feel.

Looking at these whales in the shallow

[40] water, thinking of the great turn of evolution

and change on earth, we wonder if one day

we will return to the seawater, along with

these long-enduring, longest-living mammals

on Earth.

Adaptado de: HOGAN, Linda. Sightings: The Gray Whales’ Mysterious Journey. Washington, D.C.: National Geographic, 2002. p. 29-30.

A tradução mais adequada para a expressão you’d think you might be able to (l. 34), como empregada no texto, é 

Old Light

[1] I heard a tale that the sun god was said

to live in a whale and that’s why light seems

to come out of its eyes and why rainbows

form in the mist of the gray whale’s breath.

[5] It’s true, light comes, but it is an old light,

seeing. They look. The way they lift

themselves from the sea: they are shining,

water falling from them as they rise, exhale,

inhale and return below the surface of the

[10] water.

The gray whales themselves are an

intelligence we haven’t yet grasped, Lifecovered

with several hundred pounds of

barnacles and small-eyed. If we could see

[15] them ........ the brief timescale of the planet,

they would look like shape-shifters. If we

thought of time by something other than our

own notions, million-fold years ago, before

our own knowledge of evolution, we’d see

[20] these whales …….. they walked on land.

Even now, existing within their immense

bones, there is body evidence, a hand,

human; vestigial hipbones; and remnants of

legs they no longer need. They lived ……..

[25] land when we lived in water. When we look

at them we see our own future.

And when they come up again for air

and the water falls from them back into the

seawater, it is a shine of beauty in a world of

[30] desert, dunes in the background. As their

hind legs have disappeared into them, out of

our sight, and their hands have become

hidden, the compass set into their brains,

you’d think you might be able to be one with

[35] them, as with a cousin, but it’s a cousin lost

in time. It makes us so small in the

firmament. It makes us remember something

we can’t quite name, only feel.

Looking at these whales in the shallow

[40] water, thinking of the great turn of evolution

and change on earth, we wonder if one day

we will return to the seawater, along with

these long-enduring, longest-living mammals

on Earth.

Adaptado de: HOGAN, Linda. Sightings: The Gray Whales’ Mysterious Journey. Washington, D.C.: National Geographic, 2002. p. 29-30.

Considere as afirmações sobre o significado da expressão shape-shifters (l. 16), no contexto em que se encontra.

I - A capacidade das baleias de serem animais que vivem no mar, mas que necessitam emergir para respirar.

II - A transformação das baleias ao longo do processo evolutivo.

III- O conhecimento do homem sobre a evolução das baleias cinzentas permite percebê-las sob nova perspectiva.

Quais estão corretas? 

Old Light

[1] I heard a tale that the sun god was said

to live in a whale and that’s why light seems

to come out of its eyes and why rainbows

form in the mist of the gray whale’s breath.

[5] It’s true, light comes, but it is an old light,

seeing. They look. The way they lift

themselves from the sea: they are shining,

water falling from them as they rise, exhale,

inhale and return below the surface of the

[10] water.

The gray whales themselves are an

intelligence we haven’t yet grasped, Lifecovered

with several hundred pounds of

barnacles and small-eyed. If we could see

[15] them ........ the brief timescale of the planet,

they would look like shape-shifters. If we

thought of time by something other than our

own notions, million-fold years ago, before

our own knowledge of evolution, we’d see

[20] these whales …….. they walked on land.

Even now, existing within their immense

bones, there is body evidence, a hand,

human; vestigial hipbones; and remnants of

legs they no longer need. They lived ……..

[25] land when we lived in water. When we look

at them we see our own future.

And when they come up again for air

and the water falls from them back into the

seawater, it is a shine of beauty in a world of

[30] desert, dunes in the background. As their

hind legs have disappeared into them, out of

our sight, and their hands have become

hidden, the compass set into their brains,

you’d think you might be able to be one with

[35] them, as with a cousin, but it’s a cousin lost

in time. It makes us so small in the

firmament. It makes us remember something

we can’t quite name, only feel.

Looking at these whales in the shallow

[40] water, thinking of the great turn of evolution

and change on earth, we wonder if one day

we will return to the seawater, along with

these long-enduring, longest-living mammals

on Earth.

Adaptado de: HOGAN, Linda. Sightings: The Gray Whales’ Mysterious Journey. Washington, D.C.: National Geographic, 2002. p. 29-30.

A alternativa que apresenta o sinônimo mais adequado para a palavra grasped (l. 12), como empregada no texto, é