Questões de Inglês

Dyslexia is a learning disorder characterized by problems in processing words into meaningful information. Researchers understand that dyslexia is a problem that arises from difficulties or inefficiencies in the brain in analyzing and processing individual letter sounds (called phonemes) and blending them into words at a speed that allows comprehension and fluency. Thus, the most prominent sign of dyslexia is difficulty in learning to read. Nevertheless, people with dyslexia may have other language related deficits such as problems understanding rapid speech, difficulty in following complex or multi-part instructions, or trouble remembering things in correct sequence.

Reading disorders are the most common type of learning disorder, and dyslexia is the most common reading disorder. Between 15% and 20% of American elementary school children have significant, continuing difficulties with learning to read, reading fluency, and/or reading comprehension, but only about 5% are referred for special help in reading. Of those, between 65% and 75% are boys. Dyslexia occurs in people of all races, and income levels, however, African-American children with dyslexia are more likely to be misdiagnosed and mislabeled as mildly mentally retarded. Dyslexia is not linked to low intelligence (low IQ). Many people with the disorder have average or above average intelligence and show an unexpected difference between achievement and aptitude, although this is not a requirement for a diagnosis of dyslexia.

The underlying cause of dyslexia is not known, although research suggests the condition is often inherited. Using tomography scans and functional magnetic resonance imaging researchers have been able to track the parts of the brain that become active when people with and without dyslexia read. Their general conclusion is that the brains of people with dyslexia are organized differently than those without the disorder and that this different organization results in less concentrated and efficient analysis and processing of the written representation of letter sounds into meaningful information.

Anyone who is suspected to have dyslexia should have a comprehensive evaluation, including hearing, vision, and intelligence testing. How well a person with dyslexia functions in life depends on the degree of disability, the presence of other learning disabilities, and the success of intervention strategies. Prognosis often is good if the dyslexia is diagnosed early, if the child has a strong self image with supportive family, friends, and teachers, and is actively involved in a good, individualized remedial program.

(Adaptado de: Dyslexia. The Free Dictionary by Farlex. Disponível em: . Acesso em: 19 ago. 2016.)

De acordo com o texto, sobre o diagnóstico e o tratamento da dislexia, assinale a alternativa correta. 

[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 which presents the word and its respective synonym.

[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. 

The words impending (l. 5), quivering (l. 31) and unhewn (l. 39) can be substituted, without change in meaning, by

[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. 

The expression succinct history-by-anecdote (l. 03-04) refers to 

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 propostas de reescrita do segmento As their hind legs have disappeared into them [...], the compass set into their brains (l. 30-33).

I - While their hind legs were disappearing into them [...], the compass set into their brains

II - Because their hind legs have disappeared into them [...], a compass set into their brains..

III- In the same way that their hind legs have disappeared into them [...], the compass set into their brains.

Quais poderiam substituir o segmento acima, sem prejuízo do sentido literal e da correção gramatical? 

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 os segmentos retirados do texto e as respectivas propostas de reescrita.

I - If you could see them (l. 14-15) – Could you see them.

II - the water falls from them back into the seawater (l. 28-29) – the water falls from their back into the seawater.

III- we wonder if one day we will return to the seawater (l. 41-42) – we wonder whether one day we will return to the seawater.

Quais estão corretas?