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Questões de Inglês
19.971 Questões
Questão 49 43796
UEMG 2013The Birth of a Storyteller
Jackie Torrence spent her childhood in North Carolina, in the southern part of the United States. She was a shy child because she had problems with her teeth, which made it hard for her to talk. Other children teased her because of her speech problem, so she spent much of her childhood playing alone. One of Jackie’s favorite games was to pretend she was on television. She told stories out loud using gestures and dramatic voices. At school, Jackie soon learned that she was good at writing stories, and with the help of her favorite teacher, she started to work on improving her speech.
Jackie’s first storytelling performance was in a library. She was working as a librarian and was asked to entertain a group of children. Jackie told them a story and they loved it! Before long, she began telling stories within her community. Many of her stories came from old American and African-American folktales. Eventually, she started telling stories across North America.
As Jackie’s fame increased, her health decreased. She now has to use a wheelchair, but this has not stopped her storytelling career. Jackie’s stories have been published in books, magazines, and newspapers and she has appeared on radio and television. She has won awards for nine of her sound recordings and three of her television specials.
Adapted from NorthStar 3: Listening and Speaking, 2nd Edition (Longman, p57), Helen S. Solórzano and Jennifer P. L. Schmidt
According to the text, Jackie Torrence
1. was not outgoing.
2. was made fun of at school.
3. had health issues.
4. had plenty of friends as a child.
All the four statements about Torrence’s life are respectively
Questão 21 43030
UERJ 2013/2The art of difference
Mutuality in recognizing and negotiating difference is crucial for people to deal with their past and
the future; it is also essential in the process of creating a culture of responsibility. How can this
be achieved and what is the role of art in this process?
A vision based on ideologies solves both challenges of sharing – the interpretation of the past
[5] and the projections of the future. But ideologies are somehow “total”, if not totalitarian, because
there is not much space for serious public negotiation. Individuals, then, lose their integrity or are
restricted to their private spheres and, in the end, their memories become part of the dominant
identity discourse, their aspirations are delegated. Even in less obvious systems of ideological
rule, where individual subscription to the official story line seems to be consciously voluntary and
[10] collective memories are willingly encouraged for the sake of collective identities, the negotiation
of difference is often not welcome: exclusion happens quickly 2and non-conformist doubts produce
suspicion.
A democratic vision – shared aspirations for the future, based on negotiated interpretations of
the past that respect diversity – is necessarily found in complex processes of private and public
[15] discourse and participatory and inclusive culture. Yet, politics tends to reduce complexity and
engineer the balance between the individual and the collective rather than invest in processes of
negotiation. We have learned, 11though, that this social engineering is a phantasm, largely limited
and limiting, and, even if successful, often creates paranoid and fatal structures of homogeneity
by trying to mould memories and hopes.
[20] Humankind has gathered impressive knowledge about the limitations of the human will and
the failures of such “engineering”. Nevertheless, despite this, and maybe even because of it,
we cannot give up trying the impossible: to create conditions for equality and solidarity for
individuals to flourish. These conditions should be accompanied by narratives of a just, fair and
free commonwealth of all. If history and memory seem to make this dream an unlikely scenario,
[25] can art play this part?
The role of art is precisely to keep inspiration alive, to deconstruct ideology, to 5recall the necessary
dream of freedom, of the individual and of the common good beyond the “either/or” and beyond
simplicity. In this sense, art in general prevents false hopes, and thus generates hope in the most
paradoxical way: the only way of hoping that reaches beyond the private sphere without some
[30] kind of ideological distortion.
What makes art so unique? And why? Because the best narratives of art are purpose-free,
uniquely non-instrumental, simply human. Art narrates what we don’t understand in enlightened
ways. Artists in particular offer a wealth of unseen perspectives and unexpected pathways of
human exploration. Art makes us aware that all memories are personal, despite the power of
[35] collective narratives. Arts and culture empower people to think freely, to imagine the unimagined,
to feel responsible across borders and boundaries. Hopefully, the narratives of the future will be
intercultural – and art will be the ally in the art of difference that needs to be further developed.
“Art is about difference, art is difference”, as stated by Igor Dobricic*. And it is difference that will
be at the origin of the new bonding narratives of confidence.
Gottfried Wagner alliancepublishing.org
Writers use different strategies in order to try to form more effective alliances with readers.
The resource used in the last paragraph to establish this alliance is in the use of:
Questão 20 43028
UERJ 2013/2The art of difference
Mutuality in recognizing and negotiating difference is crucial for people to deal with their past and
the future; it is also essential in the process of creating a culture of responsibility. How can this
be achieved and what is the role of art in this process?
A vision based on ideologies solves both challenges of sharing – the interpretation of the past
[5] and the projections of the future. But ideologies are somehow “total”, if not totalitarian, because
there is not much space for serious public negotiation. Individuals, then, lose their integrity or are
restricted to their private spheres and, in the end, their memories become part of the dominant
identity discourse, their aspirations are delegated. Even in less obvious systems of ideological
rule, where individual subscription to the official story line seems to be consciously voluntary and
[10] collective memories are willingly encouraged for the sake of collective identities, the negotiation
of difference is often not welcome: exclusion happens quickly 2and non-conformist doubts produce
suspicion.
A democratic vision – shared aspirations for the future, based on negotiated interpretations of
the past that respect diversity – is necessarily found in complex processes of private and public
[15] discourse and participatory and inclusive culture. Yet, politics tends to reduce complexity and
engineer the balance between the individual and the collective rather than invest in processes of
negotiation. We have learned, 11though, that this social engineering is a phantasm, largely limited
and limiting, and, even if successful, often creates paranoid and fatal structures of homogeneity
by trying to mould memories and hopes.
[20] Humankind has gathered impressive knowledge about the limitations of the human will and
the failures of such “engineering”. Nevertheless, despite this, and maybe even because of it,
we cannot give up trying the impossible: to create conditions for equality and solidarity for
individuals to flourish. These conditions should be accompanied by narratives of a just, fair and
free commonwealth of all. If history and memory seem to make this dream an unlikely scenario,
[25] can art play this part?
The role of art is precisely to keep inspiration alive, to deconstruct ideology, to 5recall the necessary
dream of freedom, of the individual and of the common good beyond the “either/or” and beyond
simplicity. In this sense, art in general prevents false hopes, and thus generates hope in the most
paradoxical way: the only way of hoping that reaches beyond the private sphere without some
[30] kind of ideological distortion.
What makes art so unique? And why? Because the best narratives of art are purpose-free,
uniquely non-instrumental, simply human. Art narrates what we don’t understand in enlightened
ways. Artists in particular offer a wealth of unseen perspectives and unexpected pathways of
human exploration. Art makes us aware that all memories are personal, despite the power of
[35] collective narratives. Arts and culture empower people to think freely, to imagine the unimagined,
to feel responsible across borders and boundaries. Hopefully, the narratives of the future will be
intercultural – and art will be the ally in the art of difference that needs to be further developed.
“Art is about difference, art is difference”, as stated by Igor Dobricic*. And it is difference that will
be at the origin of the new bonding narratives of confidence.
Gottfried Wagner alliancepublishing.org
The ideas expressed in a text might be perceived as true because of the choice and repetition of a specific tense.
The verb tense that makes the ideas in the text seem true is:
Questão 19 43026
UERJ 2013/2The art of difference
Mutuality in recognizing and negotiating difference is crucial for people to deal with their past and
the future; it is also essential in the process of creating a culture of responsibility. How can this
be achieved and what is the role of art in this process?
A vision based on ideologies solves both challenges of sharing – the interpretation of the past
[5] and the projections of the future. But ideologies are somehow “total”, if not totalitarian, because
there is not much space for serious public negotiation. Individuals, then, lose their integrity or are
restricted to their private spheres and, in the end, their memories become part of the dominant
identity discourse, their aspirations are delegated. Even in less obvious systems of ideological
rule, where individual subscription to the official story line seems to be consciously voluntary and
[10] collective memories are willingly encouraged for the sake of collective identities, the negotiation
of difference is often not welcome: exclusion happens quickly 2and non-conformist doubts produce
suspicion.
A democratic vision – shared aspirations for the future, based on negotiated interpretations of
the past that respect diversity – is necessarily found in complex processes of private and public
[15] discourse and participatory and inclusive culture. Yet, politics tends to reduce complexity and
engineer the balance between the individual and the collective rather than invest in processes of
negotiation. We have learned, 11though, that this social engineering is a phantasm, largely limited
and limiting, and, even if successful, often creates paranoid and fatal structures of homogeneity
by trying to mould memories and hopes.
[20] Humankind has gathered impressive knowledge about the limitations of the human will and
the failures of such “engineering”. Nevertheless, despite this, and maybe even because of it,
we cannot give up trying the impossible: to create conditions for equality and solidarity for
individuals to flourish. These conditions should be accompanied by narratives of a just, fair and
free commonwealth of all. If history and memory seem to make this dream an unlikely scenario,
[25] can art play this part?
The role of art is precisely to keep inspiration alive, to deconstruct ideology, to 5recall the necessary
dream of freedom, of the individual and of the common good beyond the “either/or” and beyond
simplicity. In this sense, art in general prevents false hopes, and thus generates hope in the most
paradoxical way: the only way of hoping that reaches beyond the private sphere without some
[30] kind of ideological distortion.
What makes art so unique? And why? Because the best narratives of art are purpose-free,
uniquely non-instrumental, simply human. Art narrates what we don’t understand in enlightened
ways. Artists in particular offer a wealth of unseen perspectives and unexpected pathways of
human exploration. Art makes us aware that all memories are personal, despite the power of
[35] collective narratives. Arts and culture empower people to think freely, to imagine the unimagined,
to feel responsible across borders and boundaries. Hopefully, the narratives of the future will be
intercultural – and art will be the ally in the art of difference that needs to be further developed.
“Art is about difference, art is difference”, as stated by Igor Dobricic*. And it is difference that will
be at the origin of the new bonding narratives of confidence.
Gottfried Wagner alliancepublishing.org
We have learned, though, that this social engineering is a phantasm, (l. 17)
Nevertheless, despite this, and maybe even because of it, we cannot give up trying the impossible: (l. 21-22)
The connectives underlined express the same notion.
They could be replaced by:
Questão 18 43023
UERJ 2013/2The art of difference
Mutuality in recognizing and negotiating difference is crucial for people to deal with their past and
the future; it is also essential in the process of creating a culture of responsibility. How can this
be achieved and what is the role of art in this process?
A vision based on ideologies solves both challenges of sharing – the interpretation of the past
[5] and the projections of the future. But ideologies are somehow “total”, if not totalitarian, because
there is not much space for serious public negotiation. Individuals, then, lose their integrity or are
restricted to their private spheres and, in the end, their memories become part of the dominant
identity discourse, their aspirations are delegated. Even in less obvious systems of ideological
rule, where individual subscription to the official story line seems to be consciously voluntary and
[10] collective memories are willingly encouraged for the sake of collective identities, the negotiation
of difference is often not welcome: exclusion happens quickly 2and non-conformist doubts produce
suspicion.
A democratic vision – shared aspirations for the future, based on negotiated interpretations of
the past that respect diversity – is necessarily found in complex processes of private and public
[15] discourse and participatory and inclusive culture. Yet, politics tends to reduce complexity and
engineer the balance between the individual and the collective rather than invest in processes of
negotiation. We have learned, 11though, that this social engineering is a phantasm, largely limited
and limiting, and, even if successful, often creates paranoid and fatal structures of homogeneity
by trying to mould memories and hopes.
[20] Humankind has gathered impressive knowledge about the limitations of the human will and
the failures of such “engineering”. Nevertheless, despite this, and maybe even because of it,
we cannot give up trying the impossible: to create conditions for equality and solidarity for
individuals to flourish. These conditions should be accompanied by narratives of a just, fair and
free commonwealth of all. If history and memory seem to make this dream an unlikely scenario,
[25] can art play this part?
The role of art is precisely to keep inspiration alive, to deconstruct ideology, to 5recall the necessary
dream of freedom, of the individual and of the common good beyond the “either/or” and beyond
simplicity. In this sense, art in general prevents false hopes, and thus generates hope in the most
paradoxical way: the only way of hoping that reaches beyond the private sphere without some
[30] kind of ideological distortion.
What makes art so unique? And why? Because the best narratives of art are purpose-free,
uniquely non-instrumental, simply human. Art narrates what we don’t understand in enlightened
ways. Artists in particular offer a wealth of unseen perspectives and unexpected pathways of
human exploration. Art makes us aware that all memories are personal, despite the power of
[35] collective narratives. Arts and culture empower people to think freely, to imagine the unimagined,
to feel responsible across borders and boundaries. Hopefully, the narratives of the future will be
intercultural – and art will be the ally in the art of difference that needs to be further developed.
“Art is about difference, art is difference”, as stated by Igor Dobricic*. And it is difference that will
be at the origin of the new bonding narratives of confidence.
Gottfried Wagner alliancepublishing.org
and non‑conformist doubts produce suspicion. (l. 11-12)
Two words whose prefixes are semantically similar to the prefix in non-conformist are present in:
Questão 17 43020
UERJ 2013/2The art of difference
Mutuality in recognizing and negotiating difference is crucial for people to deal with their past and
the future; it is also essential in the process of creating a culture of responsibility. How can this
be achieved and what is the role of art in this process?
A vision based on ideologies solves both challenges of sharing – the interpretation of the past
[5] and the projections of the future. But ideologies are somehow “total”, if not totalitarian, because
there is not much space for serious public negotiation. Individuals, then, lose their integrity or are
restricted to their private spheres and, in the end, their memories become part of the dominant
identity discourse, their aspirations are delegated. Even in less obvious systems of ideological
rule, where individual subscription to the official story line seems to be consciously voluntary and
[10] collective memories are willingly encouraged for the sake of collective identities, the negotiation
of difference is often not welcome: exclusion happens quickly 2and non-conformist doubts produce
suspicion.
A democratic vision – shared aspirations for the future, based on negotiated interpretations of
the past that respect diversity – is necessarily found in complex processes of private and public
[15] discourse and participatory and inclusive culture. Yet, politics tends to reduce complexity and
engineer the balance between the individual and the collective rather than invest in processes of
negotiation. We have learned, 11though, that this social engineering is a phantasm, largely limited
and limiting, and, even if successful, often creates paranoid and fatal structures of homogeneity
by trying to mould memories and hopes.
[20] Humankind has gathered impressive knowledge about the limitations of the human will and
the failures of such “engineering”. Nevertheless, despite this, and maybe even because of it,
we cannot give up trying the impossible: to create conditions for equality and solidarity for
individuals to flourish. These conditions should be accompanied by narratives of a just, fair and
free commonwealth of all. If history and memory seem to make this dream an unlikely scenario,
[25] can art play this part?
The role of art is precisely to keep inspiration alive, to deconstruct ideology, to 5recall the necessary
dream of freedom, of the individual and of the common good beyond the “either/or” and beyond
simplicity. In this sense, art in general prevents false hopes, and thus generates hope in the most
paradoxical way: the only way of hoping that reaches beyond the private sphere without some
[30] kind of ideological distortion.
What makes art so unique? And why? Because the best narratives of art are purpose-free,
uniquely non-instrumental, simply human. Art narrates what we don’t understand in enlightened
ways. Artists in particular offer a wealth of unseen perspectives and unexpected pathways of
human exploration. Art makes us aware that all memories are personal, despite the power of
[35] collective narratives. Arts and culture empower people to think freely, to imagine the unimagined,
to feel responsible across borders and boundaries. Hopefully, the narratives of the future will be
intercultural – and art will be the ally in the art of difference that needs to be further developed.
“Art is about difference, art is difference”, as stated by Igor Dobricic*. And it is difference that will
be at the origin of the new bonding narratives of confidence.
Gottfried Wagner alliancepublishing.org
A vision based on ideologies solves both challenges of sharing _ the interpretation of the past and the projections of the future. (l. 4-5)
The punctuation mark called dash, in the fragment above, signals the introduction of an explanation.
The dash is equivalent to the following connective:
06