Questões de Inglês

The Amazon is the greatest river in the world, although not the longest. It has the greatest volume of water of any river, and also the ___12___ drainage basin – the area where it flows. The streams that feed it start near the Pacific, in the icy heights of the Andes Mountains in Peru. They flow eastwards, across Brazil, joining into bigger and bigger rivers. Eventually, they all unite in the gigantic Amazon, which meets the Atlantic at the equator. Its total length is 6,437 kilometres and it flows through about one-third of South America.

Passengers on an ocean liner heading for the mouth of the Amazon might actually meet the river about 320 kilometres from the coast, because the great force of the Amazon sends its waters right out into the Atlantic. Seen from the air, these waters make a long, muddy stain in the sea.

(Children’s Britannica, vol. 1, 1973. Adaptado.)

The Amazon is the greatest river in the world, although not the longest. It has the greatest volume of water of any river, and also the ___12___ drainage basin – the area where it flows. The streams that feed it start near the Pacific, in the icy heights of the Andes Mountains in Peru. They flow eastwards, across Brazil, joining into bigger and bigger rivers. Eventually, they all unite in the gigantic Amazon, which meets the Atlantic at the equator. Its total length is 6,437 kilometres and it flows through about one-third of South America.

Passengers on an ocean liner heading for the mouth of the Amazon might actually meet the river about 320 kilometres from the coast, because the great force of the Amazon sends its waters right out into the Atlantic. Seen from the air, these waters make a long, muddy stain in the sea.

(Children’s Britannica, vol. 1, 1973. Adaptado.)

 After 18 years covering conflict in Rwanda, Afghanistan, and Iraq, photojournalist David Guttenfelder was unsure if he had the skills for a delicate new assignment: documenting the trapping and eating of songbirds. But he soon found himself on a familiar ground, enmeshed in story with carnage and tension. He had an awakening as well. In Ayia Napa, Cyprus, he met a man who’d illegally caged a dozen wild birds. Guttenfelder thought: “This isn’t how birds are supposed to be.” In this case the authorities came in and freed the birds. […]

He was interviewed by Daniel Stone.

DS: Taking pictures of birds isn’t your usual line of work, is it?

DG: After so much time covering war, I remember some of my friends in Syria and Libya said to me, “You’re out there covering birds?” I’ve spent a long time photographing people doing horrible things to each other, but seeing hundreds of birds suffering was a very challenging p roject. It made me realize there are other types of conflicts that need to be covered.

D S: How did people justify killing birds?

DG: In Cyprus, when I listened to activists argue with local people, the Cypriots would say that the birds are delicious. One man told me, “Imagine the best thing your mother made for y ou as a kid, then multiply it a thousand. That’s how delicious they are.”

D S: Did you eat any of the birds?

DG: I did. As I learned from war photography, you sometimes need to hang around with people who do things you don’t agree with to photograph things you want show. After spending an entire day with a family in Egypt that hunted songbirds, they invited me to eat with them. I probably ate three or four birds. It wasn’t for me.

(In: The moment. David Guttenfelder: behind the lens. National Geographic, USA, July 2013. Adaptado.)

 After 18 years covering conflict in Rwanda, Afghanistan, and Iraq, photojournalist David Guttenfelder was unsure if he had the skills for a delicate new assignment: documenting the trapping and eating of songbirds. But he soon found himself on a familiar ground, enmeshed in story with carnage and tension. He had an awakening as well. In Ayia Napa, Cyprus, he met a man who’d illegally caged a dozen wild birds. Guttenfelder thought: “This isn’t how birds are supposed to be.” In this case the authorities came in and freed the birds. […]

He was interviewed by Daniel Stone.

DS: Taking pictures of birds isn’t your usual line of work, is it?

DG: After so much time covering war, I remember some of my friends in Syria and Libya said to me, “You’re out there covering birds?” I’ve spent a long time photographing people doing horrible things to each other, but seeing hundreds of birds suffering was a very challenging p roject. It made me realize there are other types of conflicts that need to be covered.

D S: How did people justify killing birds?

DG: In Cyprus, when I listened to activists argue with local people, the Cypriots would say that the birds are delicious. One man told me, “Imagine the best thing your mother made for y ou as a kid, then multiply it a thousand. That’s how delicious they are.”

D S: Did you eat any of the birds?

DG: I did. As I learned from war photography, you sometimes need to hang around with people who do things you don’t agree with to photograph things you want show. After spending an entire day with a family in Egypt that hunted songbirds, they invited me to eat with them. I probably ate three or four birds. It wasn’t for me.

(In: The moment. David Guttenfelder: behind the lens. National Geographic, USA, July 2013. Adaptado.)

 After 18 years covering conflict in Rwanda, Afghanistan, and Iraq, photojournalist David Guttenfelder was unsure if he had the skills for a delicate new assignment: documenting the trapping and eating of songbirds. But he soon found himself on a familiar ground, enmeshed in story with carnage and tension. He had an awakening as well. In Ayia Napa, Cyprus, he met a man who’d illegally caged a dozen wild birds. Guttenfelder thought: “This isn’t how birds are supposed to be.” In this case the authorities came in and freed the birds. […]

He was interviewed by Daniel Stone.

DS: Taking pictures of birds isn’t your usual line of work, is it?

DG: After so much time covering war, I remember some of my friends in Syria and Libya said to me, “You’re out there covering birds?” I’ve spent a long time photographing people doing horrible things to each other, but seeing hundreds of birds suffering was a very challenging p roject. It made me realize there are other types of conflicts that need to be covered.

D S: How did people justify killing birds?

DG: In Cyprus, when I listened to activists argue with local people, the Cypriots would say that the birds are delicious. One man told me, “Imagine the best thing your mother made for y ou as a kid, then multiply it a thousand. That’s how delicious they are.”

D S: Did you eat any of the birds?

DG: I did. As I learned from war photography, you sometimes need to hang around with people who do things you don’t agree with to photograph things you want show. After spending an entire day with a family in Egypt that hunted songbirds, they invited me to eat with them. I probably ate three or four birds. It wasn’t for me.

(In: The moment. David Guttenfelder: behind the lens. National Geographic, USA, July 2013. Adaptado.)