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Questões de Inglês
19.971 Questões
Questão 6 291769
UCS inverno 2015Why reading and writing on paper can be better for your brain
By Tom Chatfield
My son is 18 months old, and I’ve been reading books with him since he was born. I say “reading”, but I really
mean “looking at” – not to mention holding, dropping, throwing, chewing, and everything else a small human being
likes to do. Over the last six months, though, he has begun not simply to look but also to recognise a few letters and
numbers. He calls a capital D a “dog” after a picture on the door of his room; a capital E is “elephant”; a capital K,
[5] “kangaroo”; and so on.
Reading, differently from speaking, is a young activity in evolutionary terms. Humans have been speaking in
some form for thousands of years; we are born with the ability to acquire speech printed in our neurones. The earliest
writing, however, emerged only 6,000 years ago, and every act of reading remains a version of what my son is
learning: identifying the special species of physical objects known as letters and words, using much the same neural
[10] circuits as we use to identify trees, cars, animals and buses.
It’s not only words and letters that we process as objects. Texts themselves, so far as our brains are concerned,
are physical landscapes. So it shouldn’t be surprising that we respond differently to words printed on a page
compared to words appearing on a screen.
Linguistics professor Naomi Baron conducted a survey of reading preferences among over 300 university
[15] students across the US, Japan, Slovakia and Germany. When given a choice between media ranging from printouts
to smartphones, laptops, e-readers and desktops, 92% of respondents replied that it was a printed copy that best
allowed them to concentrate.
This isn’t a result likely to surprise many editors, or anyone else who works closely with text. While writing this
article, I put my thoughts together through a version of the same principle: after checking my notes onscreen, I printed
[20] them, wrote notes all over the resulting printout, placed exclamation marks next to key points, spread out the result
– and from this landscape I arrived to a – hopefully – coherent argument.
What exactly was going on here? Age and habit played their part. But there is also a growing scientific recognition
that many of a screen’s incomparable advantages – search, unlimited capacity, links and navigation – are either
unhelpful or absolutely destructive when it comes to certain kinds of reading and writing.
[25] A research conducted in 2013 compared the effectiveness of students taking longhand notes versus typing onto
laptops and concluded that the relative slowness of writing by hand demands heavier “mental lifting”, forcing students
to summarise rather than to copy word for word – in turn tending to increase conceptual understanding, application
and retention.
In other words, friction is good – at least so far as memorizing is concerned. Moreover, the textured variety of
[30] physical writing can itself be significant. In a 2012 study at Indiana University, psychologist Karin James tested five
fiveyear-
old children who did not yet know how to read or write. She asked them to reproduce a letter or shape in one
of three ways: typed onto a computer, drawn onto a blank sheet, or traced over a dotted drawing. When the children
were drawing freehand, an MRI* scan during the test showed activation across areas of the brain associated in adults
with reading and writing. The other two methods showed no such activation.
[35] It seems to me that we must abandon the notion that there is only one way of reading, or that technology and
paper are engaged in some implacable war. I can’t imagine teaching my son to read in a house without any physical
books, pens or paper. But I can’t imagine denying him the limitless words and worlds a screen can bring to him either.
I hope I can help him learn to make the most of both – and to type/copy/paste/sketch/scribble precisely as much as
he needs to make each idea his own.
__________
* MRI [Magnectic Resonance Imaging]: Tomografia por Ressonância Magnética
Disponível em:<http://www.theguardian.com/technology/2015/feb/23/reading-writing-on-paper-better-for-brain-concentration>.Acesso em: 4 mar. 15. (Parcial e adaptado.)
Com base no texto, analise as proposições a seguir quanto à veracidade (V) ou falsidade (F).
( ) Os estudantes, entrevistados por Naomi Baron, preferem leituras realizadas em meios impressos, porque elas proporcionam uma concentração maior.
( ) A definição de printout (linha 20) é: uma cópia em papel de um texto de computador e/ou de imagens, produzidos por uma impressora.
( ) O resultado da pesquisa de Naomi Baron surpreendeu editores e outras pessoas que trabalham com textos.
Assinale a alternativa que preenche correta e respectivamente os parênteses, de cima para baixo.
Questão 4 291751
UCS inverno 2015Why reading and writing on paper can be better for your brain
By Tom Chatfield
My son is 18 months old, and I’ve been reading books with him since he was born. I say “reading”, but I really
mean “looking at” – not to mention holding, dropping, throwing, chewing, and everything else a small human being
likes to do. Over the last six months, though, he has begun not simply to look but also to recognise a few letters and
numbers. He calls a capital D a “dog” after a picture on the door of his room; a capital E is “elephant”; a capital K,
[5] “kangaroo”; and so on.
Reading, differently from speaking, is a young activity in evolutionary terms. Humans have been speaking in
some form for thousands of years; we are born with the ability to acquire speech printed in our neurones. The earliest
writing, however, emerged only 6,000 years ago, and every act of reading remains a version of what my son is
learning: identifying the special species of physical objects known as letters and words, using much the same neural
[10] circuits as we use to identify trees, cars, animals and buses.
It’s not only words and letters that we process as objects. Texts themselves, so far as our brains are concerned,
are physical landscapes. So it shouldn’t be surprising that we respond differently to words printed on a page
compared to words appearing on a screen.
Linguistics professor Naomi Baron conducted a survey of reading preferences among over 300 university
[15] students across the US, Japan, Slovakia and Germany. When given a choice between media ranging from printouts
to smartphones, laptops, e-readers and desktops, 92% of respondents replied that it was a printed copy that best
allowed them to concentrate.
This isn’t a result likely to surprise many editors, or anyone else who works closely with text. While writing this
article, I put my thoughts together through a version of the same principle: after checking my notes onscreen, I printed
[20] them, wrote notes all over the resulting printout, placed exclamation marks next to key points, spread out the result
– and from this landscape I arrived to a – hopefully – coherent argument.
What exactly was going on here? Age and habit played their part. But there is also a growing scientific recognition
that many of a screen’s incomparable advantages – search, unlimited capacity, links and navigation – are either
unhelpful or absolutely destructive when it comes to certain kinds of reading and writing.
[25] A research conducted in 2013 compared the effectiveness of students taking longhand notes versus typing onto
laptops and concluded that the relative slowness of writing by hand demands heavier “mental lifting”, forcing students
to summarise rather than to copy word for word – in turn tending to increase conceptual understanding, application
and retention.
In other words, friction is good – at least so far as memorizing is concerned. Moreover, the textured variety of
[30] physical writing can itself be significant. In a 2012 study at Indiana University, psychologist Karin James tested five
fiveyear-
old children who did not yet know how to read or write. She asked them to reproduce a letter or shape in one
of three ways: typed onto a computer, drawn onto a blank sheet, or traced over a dotted drawing. When the children
were drawing freehand, an MRI* scan during the test showed activation across areas of the brain associated in adults
with reading and writing. The other two methods showed no such activation.
[35] It seems to me that we must abandon the notion that there is only one way of reading, or that technology and
paper are engaged in some implacable war. I can’t imagine teaching my son to read in a house without any physical
books, pens or paper. But I can’t imagine denying him the limitless words and worlds a screen can bring to him either.
I hope I can help him learn to make the most of both – and to type/copy/paste/sketch/scribble precisely as much as
he needs to make each idea his own.
__________
* MRI [Magnectic Resonance Imaging]: Tomografia por Ressonância Magnética
Disponível em:<http://www.theguardian.com/technology/2015/feb/23/reading-writing-on-paper-better-for-brain-concentration>.Acesso em: 4 mar. 15. (Parcial e adaptado.)
Assinale a alternativa que melhor descreve de que forma as orações abaixo se relacionam no texto.
Oração 1: It’s not only words and letters that we process as objects. Oração 2: Texts themselves, so far as our brains are concerned, are physical landscapes (linhas 11 e 12).
Questão 2 291739
UCS inverno 2015Why reading and writing on paper can be better for your brain
By Tom Chatfield
My son is 18 months old, and I’ve been reading books with him since he was born. I say “reading”, but I really
mean “looking at” – not to mention holding, dropping, throwing, chewing, and everything else a small human being
likes to do. Over the last six months, though, he has begun not simply to look but also to recognise a few letters and
numbers. He calls a capital D a “dog” after a picture on the door of his room; a capital E is “elephant”; a capital K,
[5] “kangaroo”; and so on.
Reading, differently from speaking, is a young activity in evolutionary terms. Humans have been speaking in
some form for thousands of years; we are born with the ability to acquire speech printed in our neurones. The earliest
writing, however, emerged only 6,000 years ago, and every act of reading remains a version of what my son is
learning: identifying the special species of physical objects known as letters and words, using much the same neural
[10] circuits as we use to identify trees, cars, animals and buses.
It’s not only words and letters that we process as objects. Texts themselves, so far as our brains are concerned,
are physical landscapes. So it shouldn’t be surprising that we respond differently to words printed on a page
compared to words appearing on a screen.
Linguistics professor Naomi Baron conducted a survey of reading preferences among over 300 university
[15] students across the US, Japan, Slovakia and Germany. When given a choice between media ranging from printouts
to smartphones, laptops, e-readers and desktops, 92% of respondents replied that it was a printed copy that best
allowed them to concentrate.
This isn’t a result likely to surprise many editors, or anyone else who works closely with text. While writing this
article, I put my thoughts together through a version of the same principle: after checking my notes onscreen, I printed
[20] them, wrote notes all over the resulting printout, placed exclamation marks next to key points, spread out the result
– and from this landscape I arrived to a – hopefully – coherent argument.
What exactly was going on here? Age and habit played their part. But there is also a growing scientific recognition
that many of a screen’s incomparable advantages – search, unlimited capacity, links and navigation – are either
unhelpful or absolutely destructive when it comes to certain kinds of reading and writing.
[25] A research conducted in 2013 compared the effectiveness of students taking longhand notes versus typing onto
laptops and concluded that the relative slowness of writing by hand demands heavier “mental lifting”, forcing students
to summarise rather than to copy word for word – in turn tending to increase conceptual understanding, application
and retention.
In other words, friction is good – at least so far as memorizing is concerned. Moreover, the textured variety of
[30] physical writing can itself be significant. In a 2012 study at Indiana University, psychologist Karin James tested five
fiveyear-
old children who did not yet know how to read or write. She asked them to reproduce a letter or shape in one
of three ways: typed onto a computer, drawn onto a blank sheet, or traced over a dotted drawing. When the children
were drawing freehand, an MRI* scan during the test showed activation across areas of the brain associated in adults
with reading and writing. The other two methods showed no such activation.
[35] It seems to me that we must abandon the notion that there is only one way of reading, or that technology and
paper are engaged in some implacable war. I can’t imagine teaching my son to read in a house without any physical
books, pens or paper. But I can’t imagine denying him the limitless words and worlds a screen can bring to him either.
I hope I can help him learn to make the most of both – and to type/copy/paste/sketch/scribble precisely as much as
he needs to make each idea his own.
__________
* MRI [Magnectic Resonance Imaging]: Tomografia por Ressonância Magnética
Disponível em:<http://www.theguardian.com/technology/2015/feb/23/reading-writing-on-paper-better-for-brain-concentration>.Acesso em: 4 mar. 15. (Parcial e adaptado.)
Assinale a alternativa cujos elementos melhor substituem os termos sublinhados nos segmentos a seguir.
I Over the last six months, though, he has begun not simply to look but also to recognise a few letters (linha 03).
II So it shouldn’t be surprising that we respond differently to words (linha 12).
Questão 8 290130
UCS verão 2015Harry Houdini
Magician (1874-1926)
Famed magician and entertainer Harry Houdini was born Erich Weisz on March 24, 1874, in Budapest, Hungary.
One of seven children born to a Jewish rabbi and his wife, Erich moved with his family as a child to Appleton,
Wisconsin, where he later claimed he was born. When he was 13, Erich moved with his father to New York City,
taking on odd jobs and living in a boarding house before the rest of the family joined them. It was there that he
[5] became interested in trapeze arts.
In 1894, Erich launched his career as a professional magician and renamed himself Harry Houdini, the first
name being a derivative of his childhood nickname, "Ehrie," and the last an homage to the great French magician
Jean Eugène Robert-Houdin. Though his magic met with little success, he soon drew attention for his feats of escape
using handcuffs. In 1893, Houdini married fellow performer Wilhelmina Beatrice Rahner, who would serve as his
[10] lifelong stage assistant.
In 1899, Houdini's act caught the attention of Martin Beck, an entertainment manager who soon got him booked
at some of the best vaudeville* theaters in the country, followed by a tour of Europe. Houdini's feats would involve the
local police, who would search him for keys, chain his wrists, and lock him in their jails. The show was a huge
sensation, and he soon became the highest-paid performer in American vaudeville.
[15] Houdini continued his act in the United States in the early 1900s, constantly making it more challenging, moving
from handcuffs and straitjackets to locked water-filled tanks and nailed packing wooden boxes. In 1912, his act
reached its pinnacle with the Chinese Water Torture Cell, which would be the hallmark of his career, and from then on
he became a legend. In it, Houdini was suspended by his feet and lowered upside-down in a locked glass cabinet
filled with water, requiring him to hold his breath for more than three minutes to escape. The performance was so
[20] daring and such a crowd-pleaser that it remained in his act until his death in 1926.
__________ there are mixed reports as to the cause of Harry Houdini's death, it is certain that he suffered from
acute appendicitis. Whether his death was caused by a McGill University student who was testing his will by
punching him in the stomach (with permission) or by poison from a band of angry Spiritualists, it is unknown. What is
known is that he died of peritonitis from a ruptured appendix on October 31, 1926, at the age of 52, in Detroit,
[25] Michigan.
After his death, Houdini's props and effects were used by his brother Theodore Hardeen, who eventually sold
them to magician and collector Sidney H. Radner. Much of the collection could be seen at the Houdini Museum in
Appleton, Wisconsin, and remained there until Radner auctioned it off in 2004. Most of the prized pieces, including
the Chinese Water Torture Cell, went to magician David Copperfield.
Disponível em: <http://www.biography.com/people/harry-houdini-40056#synopsis>. Acesso em: 23 jul. 14. (Parcial e adaptado.)
Com base no texto, analise as proposições a seguir quanto à veracidade (V) ou falsidade (F).
( ) O termo challenging (linha 15) pode ser melhor traduzido por desafiador.
( ) O termo Whether (linha 22) pode ser substituído por However.
( ) Como parte de seu espetáculo, Houdini era revistado pela polícia.
Assinale a alternativa que preenche correta e respectivamente os parênteses, de cima para baixo.
Questão 7 290125
UCS verão 2015Harry Houdini
Magician (1874-1926)
Famed magician and entertainer Harry Houdini was born Erich Weisz on March 24, 1874, in Budapest, Hungary.
One of seven children born to a Jewish rabbi and his wife, Erich moved with his family as a child to Appleton,
Wisconsin, where he later claimed he was born. When he was 13, Erich moved with his father to New York City,
taking on odd jobs and living in a boarding house before the rest of the family joined them. It was there that he
[5] became interested in trapeze arts.
In 1894, Erich launched his career as a professional magician and renamed himself Harry Houdini, the first
name being a derivative of his childhood nickname, "Ehrie," and the last an homage to the great French magician
Jean Eugène Robert-Houdin. Though his magic met with little success, he soon drew attention for his feats of escape
using handcuffs. In 1893, Houdini married fellow performer Wilhelmina Beatrice Rahner, who would serve as his
[10] lifelong stage assistant.
In 1899, Houdini's act caught the attention of Martin Beck, an entertainment manager who soon got him booked
at some of the best vaudeville* theaters in the country, followed by a tour of Europe. Houdini's feats would involve the
local police, who would search him for keys, chain his wrists, and lock him in their jails. The show was a huge
sensation, and he soon became the highest-paid performer in American vaudeville.
[15] Houdini continued his act in the United States in the early 1900s, constantly making it more challenging, moving
from handcuffs and straitjackets to locked water-filled tanks and nailed packing wooden boxes. In 1912, his act
reached its pinnacle with the Chinese Water Torture Cell, which would be the hallmark of his career, and from then on
he became a legend. In it, Houdini was suspended by his feet and lowered upside-down in a locked glass cabinet
filled with water, requiring him to hold his breath for more than three minutes to escape. The performance was so
[20] daring and such a crowd-pleaser that it remained in his act until his death in 1926.
__________ there are mixed reports as to the cause of Harry Houdini's death, it is certain that he suffered from
acute appendicitis. Whether his death was caused by a McGill University student who was testing his will by
punching him in the stomach (with permission) or by poison from a band of angry Spiritualists, it is unknown. What is
known is that he died of peritonitis from a ruptured appendix on October 31, 1926, at the age of 52, in Detroit,
[25] Michigan.
After his death, Houdini's props and effects were used by his brother Theodore Hardeen, who eventually sold
them to magician and collector Sidney H. Radner. Much of the collection could be seen at the Houdini Museum in
Appleton, Wisconsin, and remained there until Radner auctioned it off in 2004. Most of the prized pieces, including
the Chinese Water Torture Cell, went to magician David Copperfield.
Disponível em: <http://www.biography.com/people/harry-houdini-40056#synopsis>. Acesso em: 23 jul. 14. (Parcial e adaptado.)
Com base no texto, analise as proposições a seguir quanto à veracidade (V) ou falsidade (F).
( ) Após casar-se com Houdini, Wilhelmina deixou de trabalhar como sua assistente.
( ) Houdini apresentou o número da Cela de Tortura Chinesa com Água até o final de sua vida.
( ) Houdini era mergulhado em pé em um tanque de vidro cheio de água.
Assinale a alternativa que preenche correta e respectivamente os parênteses, de cima para baixo.
Questão 45 278292
FACASPER 2015A brief survey of the short story part 47: Machado de Assis
Still neglected by English readers, the Brazilian writer is one of the very greatest of the early modern era
The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.
The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
(...)
Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.
(...)
At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.
This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.
Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu. Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014
An attribute of Machado’s work seen on the post is:
06