Questões de Inglês

Read the cartoon below and answer the question

A question to the sentence “He has the money” can be: 

A schematic summary would say as follows: At a founding time, romantic fiction saw the peculiarities of the Brazilian family life under the picturesque and the national identity signs, over which it laid some more or less feuilletonist fabling. The combination, in line with the needs of the young country, was very successful. Although irreverent, the emphasis on mirroring and its somewhat regressive accomplice character formed a positive sign on our particular traits. One generation later, Machado used in a different manner the same thematic, ideological, and aesthetic complexity, this time without the covering mists of local color and patriotic self-congratulation. The large Brazilian family was now observed from the point of view of the enlightened dependent, who was part of it and transformed it into a problem. This is a special system of relationships, with its own structure, resources and problems, which needed to be analyzed. Its difference was a sign of primitiveness, because the tacit measure of the dependent was the Rights of Man, which were effective, in principle, in other regions. The narrator’s fondness shifted to the heroine’s struggles against injustice, which was also portrayed in a feuilletonist fashion. As for the opposing side, it was inevitable that the conflict arrangement, as it developed from book to book, made more visible the negative traits of the landowner. These traits absorbed and reflected precisely, as a fault, the absurd lack of balance between the classes. Using the consequences of this very lack of balance, which gave no signs of internal regeneration, Machado invented the formula that would characterize his mature works and make him a great writer. He did not surrender to the easy delights of romantic picturesqueness. Likewise, he now renounced the unanimous fondness towards the moderate narrator and his good causes. 

The new artistic device dealt indirectly with dependents’ frustrations and directly with their abandonment by landowners – the peripheral society incapable of integration resonated. The scope of the formal arrangement, which challenged the secular spirit’s superstitions, especially the trust in progress and in benevolence, is uncomfortable to this day. The insinuating personification of an elite narrator enviably civilized and deeply involved in oppressive relationships, which he arranges and judges himself, is a chess move that disarranges the narrative board, making the game more real. The process challenges readers in every line: it teaches them to think by themselves; to discuss not only the issues, but also their presentation; to consider the narrators and authorities – always the interested party – from a distance, even if they are eloquent; to doubt the civilizing and national commitment of the privileged, particularly in young countries, where this intention plays a major role; to feel an aversion to the imaginary consolations of romanticism, manipulated by the narrative authority to its own benefit. The process teaches, above all, that the combination of the cosmopolitan and the excluded spheres may be stable, without a feasible solution. This demonstration is a juicy one because it illustrates and examines the nation’s “delicious” mechanisms – to use the Machadian term – of the non-bourgeois reproduction of the bourgeois order. However, the demonstration is also universal to some extent, because globally, unlike what it seems, this reproduction is the rule, not the exception.

The heroines of the first novels are not very interesting because their precarious social status is distorted by the romantic cliché. Their vicissitudes, however, stress the antagonistic class traits, whose figure has literary originality. In the novels of the second phase, once the angle is inverted, it is the poor who appear in the subjective mirror of owners, where the prisms are either that of bourgeois individualism or of paternalistic domination, according to the selfish convenience impudence. The dependent becomes extraordinarily relevant in that light. They are portraits of the powerless that get no recognition for the value of work, no rights protected, and no compensation by divine providence. It is the social vacuum generated by modern slavery to freedom without possessions, another issue that, mutatis mutandis, lives on. 

In the same line of advanced resonance of the primitiveness, notice how the extra bourgeois aspect of local issues works, and also the narrative relationship itself: at times it is only a shift in the rule; at times it is a movement in its own right, which escapes the dominating definitions and discovers unknown land. To give an idea, compare the part of authority in the definition and dissolution of characters, themselves or others; the relationships between personal separation and the experience of time, between command and insanity – often by the ones in charge; the extra scientific dimensions of science, with its authoritarian and sadistic roles; the overall difference that generates a point of view, etc. In this manner, Machadian fiction and the advanced literature of his time converged – both tried to release other realities under the bourgeois reality. As a mere indication, it is worth mentioning a few similarities, rather at random, in the innovative field, such as Dostoievski, Baudelaire, Henry James, Tchekov, Proust, Kafka, and Borges. Machado’s classical derivations are countless and have led critics to find his merit there, which hinders the understanding of the up-todateness and advanced character of  his experimentation.

 

“These traits absorbed and reflected precisely, as a fault, the absurd lack of balance between the classes.” This statement taken from the text might be interpreted as: 

A schematic summary would say as follows: At a founding time, romantic fiction saw the peculiarities of the Brazilian family life under the picturesque and the national identity signs, over which it laid some more or less feuilletonist fabling. The combination, in line with the needs of the young country, was very successful. Although irreverent, the emphasis on mirroring and its somewhat regressive accomplice character formed a positive sign on our particular traits. One generation later, Machado used in a different manner the same thematic, ideological, and aesthetic complexity, this time without the covering mists of local color and patriotic self-congratulation. The large Brazilian family was now observed from the point of view of the enlightened dependent, who was part of it and transformed it into a problem. This is a special system of relationships, with its own structure, resources and problems, which needed to be analyzed. Its difference was a sign of primitiveness, because the tacit measure of the dependent was the Rights of Man, which were effective, in principle, in other regions. The narrator’s fondness shifted to the heroine’s struggles against injustice, which was also portrayed in a feuilletonist fashion. As for the opposing side, it was inevitable that the conflict arrangement, as it developed from book to book, made more visible the negative traits of the landowner. These traits absorbed and reflected precisely, as a fault, the absurd lack of balance between the classes. Using the consequences of this very lack of balance, which gave no signs of internal regeneration, Machado invented the formula that would characterize his mature works and make him a great writer. He did not surrender to the easy delights of romantic picturesqueness. Likewise, he now renounced the unanimous fondness towards the moderate narrator and his good causes. 

The new artistic device dealt indirectly with dependents’ frustrations and directly with their abandonment by landowners – the peripheral society incapable of integration resonated. The scope of the formal arrangement, which challenged the secular spirit’s superstitions, especially the trust in progress and in benevolence, is uncomfortable to this day. The insinuating personification of an elite narrator enviably civilized and deeply involved in oppressive relationships, which he arranges and judges himself, is a chess move that disarranges the narrative board, making the game more real. The process challenges readers in every line: it teaches them to think by themselves; to discuss not only the issues, but also their presentation; to consider the narrators and authorities – always the interested party – from a distance, even if they are eloquent; to doubt the civilizing and national commitment of the privileged, particularly in young countries, where this intention plays a major role; to feel an aversion to the imaginary consolations of romanticism, manipulated by the narrative authority to its own benefit. The process teaches, above all, that the combination of the cosmopolitan and the excluded spheres may be stable, without a feasible solution. This demonstration is a juicy one because it illustrates and examines the nation’s “delicious” mechanisms – to use the Machadian term – of the non-bourgeois reproduction of the bourgeois order. However, the demonstration is also universal to some extent, because globally, unlike what it seems, this reproduction is the rule, not the exception.

The heroines of the first novels are not very interesting because their precarious social status is distorted by the romantic cliché. Their vicissitudes, however, stress the antagonistic class traits, whose figure has literary originality. In the novels of the second phase, once the angle is inverted, it is the poor who appear in the subjective mirror of owners, where the prisms are either that of bourgeois individualism or of paternalistic domination, according to the selfish convenience impudence. The dependent becomes extraordinarily relevant in that light. They are portraits of the powerless that get no recognition for the value of work, no rights protected, and no compensation by divine providence. It is the social vacuum generated by modern slavery to freedom without possessions, another issue that, mutatis mutandis, lives on. 

In the same line of advanced resonance of the primitiveness, notice how the extra bourgeois aspect of local issues works, and also the narrative relationship itself: at times it is only a shift in the rule; at times it is a movement in its own right, which escapes the dominating definitions and discovers unknown land. To give an idea, compare the part of authority in the definition and dissolution of characters, themselves or others; the relationships between personal separation and the experience of time, between command and insanity – often by the ones in charge; the extra scientific dimensions of science, with its authoritarian and sadistic roles; the overall difference that generates a point of view, etc. In this manner, Machadian fiction and the advanced literature of his time converged – both tried to release other realities under the bourgeois reality. As a mere indication, it is worth mentioning a few similarities, rather at random, in the innovative field, such as Dostoievski, Baudelaire, Henry James, Tchekov, Proust, Kafka, and Borges. Machado’s classical derivations are countless and have led critics to find his merit there, which hinders the understanding of the up-todateness and advanced character of his experimentation.

 

“The romantic fiction saw the peculiarities of the Brazilian family life under the picturesque and the national identity signs, over which it laid some more or less feuilletonist fabling”. By this proposition we could deduce that:

READ THE TEXT BELOW, THEN ANSWER THE FOLLOWING QUESTION.

 

Skilled Work, Without the Worker

By JOHN MARKOFF

NYTimes: August, 2012

DRACHTEN, the Netherlands — At an electronics factory on the coast of China, hundreds of workers use their hands and specialized tools to assemble electric shavers. That is the old way.

At a sister factory here, in the Dutch countryside, 128 robot arms do the same work with yoga-like flexibility. Video cameras guide them through feats well beyond the capability of the most dexterous human. The arms work so fast that they must be enclosed in glass cages to prevent the people supervising them from being injured. And they do it all without a coffee break — three shifts a day, 365 days a year. All told, the factory here has several dozen workers per shift, about a tenth as many as the one in China.

This is the future. A new wave of robots, far more adept than those now commonly used by automakers and other heavy manufacturers, are replacing workers around the world in both manufacturing and distribution. Factories like the one here in the Netherlands are a striking counterpoint to those used by other electronics giants, which employ hundreds of thousands of low-skilled workers.

Adapted from http://www.nytimes.com/2012/08/19/business/new-wave-of-adept-robots-is-changing-globalindustry.html?ref=technology&_moc.semityn.www

 

Glossary:

skill - habilidade

tool - ferramenta

to assemble - montar

feat - feito, façanha

to injure - ferir

shift - turno

adept - competente

 

According to the text, choose the correct alternative in the following question:

The word counterpoint (3rd paragraph), points out a weak point of some factories for the fact that they _____.

TEXTO:

 

A new leaf – Egypt

    Egyptian foundation El Nafeza was established in 2007 to revive traditional papermaking in Egypt — partly as a way

of getting rid of agricultural wastes that are typically burned, resulting in choking black clouds. El Nafeza organizes

workshops in papermaking for disadvantaged young people (80 to 90 percent of its employees are deaf and mute). The

Foundation has also established specialized training centers to teach the art and technique of high quality paper making

[5] from rice husks, Nile water lilies, and banana stalks. The handmade paper products are exhibited and sold both within

Egypt and internationally.

A NEW leaf – Egypt. Disponível em: <www.youtube.com/watch?v=Oqr5nN-Yczg>. Acesso em: 12 out. 2012.

About the Egyptian foundation El Nafeza, it’s correct to say that it

TEXTO:

    Archaeologists in Serbia say that they have

discovered a rare mammoth field containing the remains

of at least five of the giant beasts that lived here tens of

thousands of years ago. The discovery last week at the

[5] Kostolac coal mine, east of Serbian capital of Belgrade,

is the first of its kind in the region. It could offer important

insight into the ice age in the Balkans, said Miomir from

Serbia’s mammoth fragments in the world, but they are

rarely so accessible for exploration,” he told the

[10] Associated Press.

    The remains were found during coal excavation

about 20 meters below ground, and the field, according

to Korac, stretches over some 20 acres of sandy terrain.

    In 2009, a well-preserved skeleton of a much older

[15] mammoth was found at the same site. Vika — as the

female skeleton was dubbed — is up to one million years

old and belonged to the furless, so-called southern

mammoth. The bones discovered last month probably

belong to the so-called woolly mammoth, which

[20] disappeared some 10,000 years ago, said Sanja Alaburic,

a mammoth expert from Serbia’s Museum of Natural

History. Alaburic explained that “this discovery is

interesting because, unusually, there are many bones

in one place,” probably brought there by torrential waters.

[25]    Another mammoth skeleton was discovered in

northern Serbia in 1996. It belonged to a female mammoth

that lived about 500,000 years ago and is now on display

in the town of Kikinda, near the Hungarian border. As to

the new findings, Korac said that at least six months

[30] will be needed before all the bones are unearthed.

MAMMOTH mine. Disponível em: <www.huffingtonpost.com/2012/06/20/mammoth-mine-prehistoric-beasts-serbian-mine-n-1611860.html>. Acesso em: 12 out. 2012.

About the mammoth skeleton on display in Kikinda, it’s correct to say that it