Questões de Inglês

Text

[1]   Prof. Katherine Rowe‘s blue-haired 

avatar was flying across a grassy landscape  

to a virtual three-dimensional re-creation of  

the Globe Theater, where some students  

[5] from her introductory Shakespeare class at  

Bryn Mawr College had already gathered  

online. Their assignment was to create  

characters on the Web site Theatron3 and  

use them to block scenes from the gory  

[10] revenge tragedy ''Titus Andronicus,'' to see  

how setting can heighten the drama. ''I‘ve  

done this class before in a theater and a  

lecture hall, but it doesn‘t work as well,'' Ms.  

Rowe said, explaining that it was difficult  

[15] for students to imagine what it would be like  

to put on a production in the 16th-century  

Globe, a circular open-air theater without  

electric lights, microphones and a curtain.  

  Jennifer Cook, a senior, used her laptop  

[20] to move a black-clad avatar center stage.  

She and the other half-dozen students  

agreed that in ''Titus,'' the rape, murders and  

final banquet — when the Queen  

unknowingly eats the remains of her two  

[25] children — should all take place in the same  

spot. ''Every time someone is in that space,''  

Ms. Cook said, ''the audience is going to say,  

''Uh oh, you don‘t want to be there.‘ '' 

  Students like Ms. Cook are among the  

[30] first generation of undergraduates at dozens  

of colleges to take humanities courses '

even Shakespeare ''that are deeply  

influenced by a new array of powerful digital  

tools and vast online archives. Ms. Rowe‘s  

[35] students, who have occasionally met with  

her on the virtual Globe stage while wearing  

pajamas in their dorm rooms, are  

enthusiastic about the technology.  

  At the University of Virginia, history  

[40] undergraduates have produced a digital  

visualization of the college‘s first library  

collection, allowing them to consider what  

the selection of books says about how  

knowledge was classified in the early 18th  

[45] century. At Hamilton College, students can  

explore a virtual re-creation of the South  

African township of Soweto during the 1976  

student uprisings, or sign up for ''e-black  

studies'' to examine how cyberspace reflects  

[50] and shapes the portrayal of minorities.  

  Many teachers and administrators are  

only beginning to figure out the contours of  

this emerging field of digital humanities, and  

how it should be taught. In the classroom,  

[55] however, digitally savvy undergraduates are  

not just ready to adapt to the tools but also  

to explore how new media may alter the very  

process of reading, interpretation and  

analysis. ''There‘s a very exciting generation  

[60] gap in the classroom,'' said Ms. Rowe, who  

developed the digital components of her  

Shakespeare course with a graduate student  

who now works at Google. ''Students are  

fluent in new media, and the faculty bring  

[65] sophisticated knowledge of a subject. It‘s a  

gap that won‘t last more than a decade. In  

10 years these students will be my  

colleagues, but now it presents unusual  

learning opportunities.'' As Ms. Cook said,  

[70] ''The Internet is less foreign to me than a  

Shakespeare play written 500 years ago.'' 

  Bryn Mawr‘s unusually close partnership 

with Haverford College and Swarthmore  

College has enabled the three institutions to  

[75] pool their resources, students and faculty. In  

November students from all three  

participated in the first Digital Humanities  

Conference for Undergraduates. 

  Jen Rajchel, one of the conference  

[80] organizers, is the first undergraduate at Bryn  

Mawr to have a digital senior thesis accepted  

by the English department: a Web site and  

archive on the American poet Marianne  

Moore, who attended the college nearly a  

[85] century ago. Presenting a Moore poem on  

the Web site while simultaneously displaying  

commentary in different windows next to the  

text (as opposed to listing them in a paper)  

more accurately reflects the work‘s multiple  

[90] meanings, according to Ms. Rajchel. After all,  

she argued in the thesis, Moore was acutely  

aware of her audience and made subtle  

alterations in her poems for different  

publications — changes that are more easily  

[95] illustrated by displaying the various versions.  

The Web presentation of Moore‘s poetry also

allows readers to add comments and talk to  

one another, which Ms. Rajchel believes  

matches the poet‘s interest in opening a  

[100] dialogue with her readers.  

  Particularly inspiring to Ms. Rajchel is  

that her work doesn‘t disappear after being  

deposited in a professor‘s in box. The site,  

which includes scans of original documents  

[105] from Bryn Mawr‘s library, was (and remains)  

viewable. ''It really can go outside of the  

classroom,'' she said, adding that an  

established Marianne Moore scholar at  

another university had left a comment.  

[110]   Doing research that lives outside the  

classroom is also what drew Anna Levine, a  

junior at Swarthmore, to digital humanities.  

Over the summer and after class, she and  

Richard Li, a senior at Swarthmore, worked  

[115] with Rachel Buurma, an assistant professor  

of literature there, to develop the Early  

Novels Database for the University of  

Pennsylvania‘s Rare Book and Manuscript  

Library, which enables users to search more  

[120] thoroughly through fiction published between 

1660 and 1830. ''I am the one doing all the  

grunt work,'' Ms. Levine said of her tasks,  

which largely involve entering details about a  

novel into the database. ''But one of the  

[125] great things is as an undergraduate, it really  

enables me to participate in a scholarly  

community.''

  In a Swarthmore lounge where Ms.  

Buurma‘s weekly research seminar on  

[130] Victorian literature and culture meets, Ms.  

Levine and a handful of other students  

recently settled into a cozy circle on stuffed  

chairs and couches. As part of their class  

work, they have been helping to correct the  

[135] transcribed online versions of Household  

Words and All the Year Round, two 19th-

century periodicals in which Charles Dickens

initially published some novels, including  

''Great Expectations,'' in serial form. On a  

[140] square coffee table sat a short stack of  

original issues of the magazine that a  

librarian had brought from the college‘s  

discussed how the experience of reading  

[145] differs, depending on whether the text is  

presented in discrete segments, surrounded  

by advertisements or in a leather binding;  

whether you are working in an archive,  

editing online or reading for pleasure.  

[150]   Those skeptical of the digital humanities  

worry that the emphasis on data analysis will  

distract students from delving deeply into the  

heart and soul of literary texts. But Ms.  

Buurma contends that these undergraduates  

[155] are in fact reading quite closely. 

Source: http://www.nytimes.com/March 21, 2011.

According to the text, students at the University of Virginia have been able to

Text

[1]   Prof. Katherine Rowe‘s blue-haired 

avatar was flying across a grassy landscape  

to a virtual three-dimensional re-creation of  

the Globe Theater, where some students  

[5] from her introductory Shakespeare class at  

Bryn Mawr College had already gathered  

online. Their assignment was to create  

characters on the Web site Theatron3 and  

use them to block scenes from the gory  

[10] revenge tragedy ''Titus Andronicus,'' to see  

how setting can heighten the drama. ''I‘ve  

done this class before in a theater and a  

lecture hall, but it doesn‘t work as well,'' Ms.  

Rowe said, explaining that it was difficult  

[15] for students to imagine what it would be like  

to put on a production in the 16th-century  

Globe, a circular open-air theater without  

electric lights, microphones and a curtain.  

  Jennifer Cook, a senior, used her laptop  

[20] to move a black-clad avatar center stage.  

She and the other half-dozen students  

agreed that in ''Titus,'' the rape, murders and  

final banquet — when the Queen  

unknowingly eats the remains of her two  

[25] children — should all take place in the same  

spot. ''Every time someone is in that space,''  

Ms. Cook said, ''the audience is going to say,  

''Uh oh, you don‘t want to be there.‘ '' 

  Students like Ms. Cook are among the  

[30] first generation of undergraduates at dozens  

of colleges to take humanities courses '

even Shakespeare ''that are deeply  

influenced by a new array of powerful digital  

tools and vast online archives. Ms. Rowe‘s  

[35] students, who have occasionally met with  

her on the virtual Globe stage while wearing  

pajamas in their dorm rooms, are  

enthusiastic about the technology.  

  At the University of Virginia, history  

[40] undergraduates have produced a digital  

visualization of the college‘s first library  

collection, allowing them to consider what  

the selection of books says about how  

knowledge was classified in the early 18th  

[45] century. At Hamilton College, students can  

explore a virtual re-creation of the South  

African township of Soweto during the 1976  

student uprisings, or sign up for ''e-black  

studies'' to examine how cyberspace reflects  

[50] and shapes the portrayal of minorities.  

  Many teachers and administrators are  

only beginning to figure out the contours of  

this emerging field of digital humanities, and  

how it should be taught. In the classroom,  

[55] however, digitally savvy undergraduates are  

not just ready to adapt to the tools but also  

to explore how new media may alter the very  

process of reading, interpretation and  

analysis. ''There‘s a very exciting generation  

[60] gap in the classroom,'' said Ms. Rowe, who  

developed the digital components of her  

Shakespeare course with a graduate student  

who now works at Google. ''Students are  

fluent in new media, and the faculty bring  

[65] sophisticated knowledge of a subject. It‘s a  

gap that won‘t last more than a decade. In  

10 years these students will be my  

colleagues, but now it presents unusual  

learning opportunities.'' As Ms. Cook said,  

[70] ''The Internet is less foreign to me than a  

Shakespeare play written 500 years ago.'' 

  Bryn Mawr‘s unusually close partnership 

with Haverford College and Swarthmore  

College has enabled the three institutions to  

[75] pool their resources, students and faculty. In  

November students from all three  

participated in the first Digital Humanities  

Conference for Undergraduates. 

  Jen Rajchel, one of the conference  

[80] organizers, is the first undergraduate at Bryn  

Mawr to have a digital senior thesis accepted  

by the English department: a Web site and  

archive on the American poet Marianne  

Moore, who attended the college nearly a  

[85] century ago. Presenting a Moore poem on  

the Web site while simultaneously displaying  

commentary in different windows next to the  

text (as opposed to listing them in a paper)  

more accurately reflects the work‘s multiple  

[90] meanings, according to Ms. Rajchel. After all,  

she argued in the thesis, Moore was acutely  

aware of her audience and made subtle  

alterations in her poems for different  

publications — changes that are more easily  

[95] illustrated by displaying the various versions.  

The Web presentation of Moore‘s poetry also

allows readers to add comments and talk to  

one another, which Ms. Rajchel believes  

matches the poet‘s interest in opening a  

[100] dialogue with her readers.  

  Particularly inspiring to Ms. Rajchel is  

that her work doesn‘t disappear after being  

deposited in a professor‘s in box. The site,  

which includes scans of original documents  

[105] from Bryn Mawr‘s library, was (and remains)  

viewable. ''It really can go outside of the  

classroom,'' she said, adding that an  

established Marianne Moore scholar at  

another university had left a comment.  

[110]   Doing research that lives outside the  

classroom is also what drew Anna Levine, a  

junior at Swarthmore, to digital humanities.  

Over the summer and after class, she and  

Richard Li, a senior at Swarthmore, worked  

[115] with Rachel Buurma, an assistant professor  

of literature there, to develop the Early  

Novels Database for the University of  

Pennsylvania‘s Rare Book and Manuscript  

Library, which enables users to search more  

[120] thoroughly through fiction published between 

1660 and 1830. ''I am the one doing all the  

grunt work,'' Ms. Levine said of her tasks,  

which largely involve entering details about a  

novel into the database. ''But one of the  

[125] great things is as an undergraduate, it really  

enables me to participate in a scholarly  

community.''

  In a Swarthmore lounge where Ms.  

Buurma‘s weekly research seminar on  

[130] Victorian literature and culture meets, Ms.  

Levine and a handful of other students  

recently settled into a cozy circle on stuffed  

chairs and couches. As part of their class  

work, they have been helping to correct the  

[135] transcribed online versions of Household  

Words and All the Year Round, two 19th-

century periodicals in which Charles Dickens

initially published some novels, including  

''Great Expectations,'' in serial form. On a  

[140] square coffee table sat a short stack of  

original issues of the magazine that a  

librarian had brought from the college‘s  

discussed how the experience of reading  

[145] differs, depending on whether the text is  

presented in discrete segments, surrounded  

by advertisements or in a leather binding;  

whether you are working in an archive,  

editing online or reading for pleasure.  

[150]   Those skeptical of the digital humanities  

worry that the emphasis on data analysis will  

distract students from delving deeply into the  

heart and soul of literary texts. But Ms.  

Buurma contends that these undergraduates  

[155] are in fact reading quite closely. 

Source: http://www.nytimes.com/March 21, 2011.

Jen Rajchel, who helped to organize the Digital Humanities Conference for Undergraduates, considered very positive that her senior thesis

Text

[1]   Prof. Katherine Rowe‘s blue-haired 

avatar was flying across a grassy landscape  

to a virtual three-dimensional re-creation of  

the Globe Theater, where some students  

[5] from her introductory Shakespeare class at  

Bryn Mawr College had already gathered  

online. Their assignment was to create  

characters on the Web site Theatron3 and  

use them to block scenes from the gory  

[10] revenge tragedy ''Titus Andronicus,'' to see  

how setting can heighten the drama. ''I‘ve  

done this class before in a theater and a  

lecture hall, but it doesn‘t work as well,'' Ms.  

Rowe said, explaining that it was difficult  

[15] for students to imagine what it would be like  

to put on a production in the 16th-century  

Globe, a circular open-air theater without  

electric lights, microphones and a curtain.  

  Jennifer Cook, a senior, used her laptop  

[20] to move a black-clad avatar center stage.  

She and the other half-dozen students  

agreed that in ''Titus,'' the rape, murders and  

final banquet — when the Queen  

unknowingly eats the remains of her two  

[25] children — should all take place in the same  

spot. ''Every time someone is in that space,''  

Ms. Cook said, ''the audience is going to say,  

''Uh oh, you don‘t want to be there.‘ '' 

  Students like Ms. Cook are among the  

[30] first generation of undergraduates at dozens  

of colleges to take humanities courses '

even Shakespeare ''that are deeply  

influenced by a new array of powerful digital  

tools and vast online archives. Ms. Rowe‘s  

[35] students, who have occasionally met with  

her on the virtual Globe stage while wearing  

pajamas in their dorm rooms, are  

enthusiastic about the technology.  

  At the University of Virginia, history  

[40] undergraduates have produced a digital  

visualization of the college‘s first library  

collection, allowing them to consider what  

the selection of books says about how  

knowledge was classified in the early 18th  

[45] century. At Hamilton College, students can  

explore a virtual re-creation of the South  

African township of Soweto during the 1976  

student uprisings, or sign up for ''e-black  

studies'' to examine how cyberspace reflects  

[50] and shapes the portrayal of minorities.  

  Many teachers and administrators are  

only beginning to figure out the contours of  

this emerging field of digital humanities, and  

how it should be taught. In the classroom,  

[55] however, digitally savvy undergraduates are  

not just ready to adapt to the tools but also  

to explore how new media may alter the very  

process of reading, interpretation and  

analysis. ''There‘s a very exciting generation  

[60] gap in the classroom,'' said Ms. Rowe, who  

developed the digital components of her  

Shakespeare course with a graduate student  

who now works at Google. ''Students are  

fluent in new media, and the faculty bring  

[65] sophisticated knowledge of a subject. It‘s a  

gap that won‘t last more than a decade. In  

10 years these students will be my  

colleagues, but now it presents unusual  

learning opportunities.'' As Ms. Cook said,  

[70] ''The Internet is less foreign to me than a  

Shakespeare play written 500 years ago.'' 

  Bryn Mawr‘s unusually close partnership 

with Haverford College and Swarthmore  

College has enabled the three institutions to  

[75] pool their resources, students and faculty. In  

November students from all three  

participated in the first Digital Humanities  

Conference for Undergraduates. 

  Jen Rajchel, one of the conference  

[80] organizers, is the first undergraduate at Bryn  

Mawr to have a digital senior thesis accepted  

by the English department: a Web site and  

archive on the American poet Marianne  

Moore, who attended the college nearly a  

[85] century ago. Presenting a Moore poem on  

the Web site while simultaneously displaying  

commentary in different windows next to the  

text (as opposed to listing them in a paper)  

more accurately reflects the work‘s multiple  

[90] meanings, according to Ms. Rajchel. After all,  

she argued in the thesis, Moore was acutely  

aware of her audience and made subtle  

alterations in her poems for different  

publications — changes that are more easily  

[95] illustrated by displaying the various versions.  

The Web presentation of Moore‘s poetry also

allows readers to add comments and talk to  

one another, which Ms. Rajchel believes  

matches the poet‘s interest in opening a  

[100] dialogue with her readers.  

  Particularly inspiring to Ms. Rajchel is  

that her work doesn‘t disappear after being  

deposited in a professor‘s in box. The site,  

which includes scans of original documents  

[105] from Bryn Mawr‘s library, was (and remains)  

viewable. ''It really can go outside of the  

classroom,'' she said, adding that an  

established Marianne Moore scholar at  

another university had left a comment.  

[110]   Doing research that lives outside the  

classroom is also what drew Anna Levine, a  

junior at Swarthmore, to digital humanities.  

Over the summer and after class, she and  

Richard Li, a senior at Swarthmore, worked  

[115] with Rachel Buurma, an assistant professor  

of literature there, to develop the Early  

Novels Database for the University of  

Pennsylvania‘s Rare Book and Manuscript  

Library, which enables users to search more  

[120] thoroughly through fiction published between 

1660 and 1830. ''I am the one doing all the  

grunt work,'' Ms. Levine said of her tasks,  

which largely involve entering details about a  

novel into the database. ''But one of the  

[125] great things is as an undergraduate, it really  

enables me to participate in a scholarly  

community.''

  In a Swarthmore lounge where Ms.  

Buurma‘s weekly research seminar on  

[130] Victorian literature and culture meets, Ms.  

Levine and a handful of other students  

recently settled into a cozy circle on stuffed  

chairs and couches. As part of their class  

work, they have been helping to correct the  

[135] transcribed online versions of Household  

Words and All the Year Round, two 19th-

century periodicals in which Charles Dickens

initially published some novels, including  

''Great Expectations,'' in serial form. On a  

[140] square coffee table sat a short stack of  

original issues of the magazine that a  

librarian had brought from the college‘s  

discussed how the experience of reading  

[145] differs, depending on whether the text is  

presented in discrete segments, surrounded  

by advertisements or in a leather binding;  

whether you are working in an archive,  

editing online or reading for pleasure.  

[150]   Those skeptical of the digital humanities  

worry that the emphasis on data analysis will  

distract students from delving deeply into the  

heart and soul of literary texts. But Ms.  

Buurma contends that these undergraduates  

[155] are in fact reading quite closely. 

Source: http://www.nytimes.com/March 21, 2011.

According to Katherine Rowe, the generation gap that exists in classrooms today will 

All quotes in this question are from Mario Varga Llosa, from his book The Truth of Lies.

The sentences

“I will offer a few arguments in favor of the view of literature as one of the most primary and necessary undertakings of the mind, an irreplaceable activity for the formation of citizens in a modern and democratic society, a society of free individuals.”

and

“Literature has been, and will continue to be, as long as it exists, one of the common denominators of human experience through which human beings may recognize themselves and converse with each other, no matter how different their professions, their life plans, their geographical and cultural locations, their personal circumstances.”

should be classified respectively as

Text

[1]   Among the five prizes provided for in  

Alfred Nobel's will (1895), one was  

intended for the person who, in the  

literary field, had produced "the most  

[5] outstanding work in an ideal direction".  

The Laureate should be determined by  

"the Academy in Stockholm", which was  

specified by the statutes of the Nobel  

Foundation to mean the Swedish  

[10] Academy. These statutes defined literature  

as "not only belles-lettres, but also other  

writings which, by virtue of their form and  

style, possess literary value".  

  As guidelines for the distribution of the  

[15] Literature Prize, the Swedish Academy had  

the general requirement for all the prizes  

– the candidate should have bestowed  

"the greatest benefit on mankind" – and  

the special condition for literature, "in an  

[20] ideal direction". Both prescriptions are  

vague and the second, in particular, was  

to cause much discussion. What did Nobel  

actually mean by ideal? In fact, the history  

of the Literature Prize appears as a series  

[25] of attempts to interpret an imprecisely  

worded will. The consecutive phases in  

that history reflect the changing sensibility  

of an Academy continuously renewing  

itself. The main source of knowledge of  

[30] the principles and criteria applied is the  

annual reports which the Committee  

presented to the Academy. Also the  

correspondence between the members is  

often enlightening. There is an obstacle  

[35] though: all Nobel information is to be  

secret for 50 years. 

  A chapter in the history of the Literary  

Prize could be entitled "A Literary Policy of  

Neutrality". The objectives laid down by  

[40] the new chairman of the Academy's Nobel  

Committee at the beginning of the First  

World War kept the belligerent powers  

outside, giving the small nations a chance.  

This policy partly explains the  

[45] Scandinavian overrepresentation on the  

list in this period.  

  Another period, approximately  

coinciding with the 1920s, could be  

labeled "The Great Style". This key  

[50] concept in the reports of the Committee  

reveals the connections with Wirsén's  

epoch and its traits of classicism. With  

such a standard the Academy was, of  

course, out of touch with what happened  

[55] in contemporary literature. It could  

appreciate Thomas Mann's Buddenbrooks 

– a masterpiece "approaching the classical  

realism in Tolstoy" – but passed his Magic 

Mountain over in silence.  

[60]   In line with the requirement "the  

greatest benefit on mankind", the  

Academy of the 1930s tried a new  

approach, equating this "mankind" with  

the immediate readership of the works in  

[65] question. A report of its Committee stated  

"universal interest" as a criterion and the  

Academy decided on writers within  

everybody's reach, from Sinclair Lewis to  

Pearl Buck, repudiating exclusive poets  

[70] like Paul Valéry and Paul Claudel. 

  Given a pause for renewal by the  

Second World War and inspired by its new  

secretary, Anders Österling, the post-war  

Academy finished this excursion into  

[75] popular taste, focusing instead on what  

was called "the pioneers". Like in the  

sciences, the Laureates were to be found  

among those who paved the way for new  

developments. In a way, this is another  

[80] interpretation of the formula "the greatest  

benefit on mankind": the perfect candidate  

was the one who had provided world  

literature with new possibilities in outlook  

and language. 

[85]   The “pioneers" criterion lost weight,  

however, as the heroic period of the  

international avant-garde turned into  

history and literary innovation became less  

ostentatious. Instead, the instruments  

[90] pointed at the "pioneers" of specific  

linguistic areas. The 1988 Prize was  

awarded a writer who, from a Western  

point of view, rather administers the  

heritage from Flaubert and Thomas Mann.  

[95] In the Arabic world, on the other hand,  

Naguib Mahfouz appears as the creator of  

its contemporary novel.  

  Another policy, partly coinciding with  

the one just outlined, partly replacing it, is  

[100] "the pragmatic consideration". A growing  

number within the Academy wanted to call  

attention to important but unnoticed  

writers and literatures, thus giving the  

world audience masterpieces they would  

[105] otherwise miss, and at the same time,  

giving an important writer due attention.  

The criterion gives poetry a prominent  

place. In no other period were the poets  

so well provided for as in the years 1990- 

[110] 1996 when four of the seven prizes went  

to Octavio Paz, Derek Walcott, Seamus  

Heaney, and Wislawa Szymborska, all of  

them earlier unknown to the world  

audience. 

[115]   The criteria discussed sometimes  

alternate, sometimes coincide. The  

spotlight on the unknown master Canetti  

in 1981 is thus followed by the laurel to 

the universally hailed "pioneer" of magic  

[120] realism, Gabriel García Márquez, in 1982.  

Some Laureates answer both  

requirements, like Faulkner, who was not  

only "the great experimentalist among  

twentieth-century novelists" – the  

[125] Academy was here fortunate enough to  

anticipate Faulkner's enormous  

importance to later fiction - but also, in  

1950, a fairly unknown writer.  

  It is also realized that on the whole the  

[130] serious literature that is worthy of a prize  

furthers knowledge of man and his  

condition and endeavours to enrich and  

improve his life.  

  The Literary Prize has often given rise  

[135] to discussion of its political implications.  

The Swedish Academy, for its part, has on  

many occasions expressed a desire to  

stand apart from political antagonisms.  

The guiding principle, in Lars Gyllensten's  

[140] words, has been "political integrity". This  

has quite often not been understood.  

  The history of the Literature Prize is  

also the history of its reception in the  

press and in other media. Apart from  

[145] overlooking the changes in outlooks and  

criteria within the Swedish Academy,  

international criticism has tended to  

neglect the crowd of likely names around  

the Prize a specific year. The Academy  

[150] cannot have the ambition to crown all  

worthy writers. What it cannot afford is  

giving Nobel's laurel to a minor talent. Its  

practice during the last full half-century  

has also largely escaped criticism on that  

[155] point. 

Adapted from the text by Kjell Espmark nobelprize.org/nobel_prizes/literature

According to the text, one of the things the Swedish Academy should not do is to