Questões de Inglês

A questão está relacionada ao texto abaixo.

    The first time I saw an encaustic painting, I 
was mesmerized by its beautiful surface, 
translucency, and incredible texture which you 
could appreciate for hours. Encaustics are like 
[5] no other form of painting, in that there are 
endless techniques and fleeting seconds before 
your medium solidifies. It is a medium where 
you have to trust your instincts and paint in the 
moment. You have to take leaps of faith. In the 
[10] beginning there are many frustrations, but over 
time you learn how to work with the beautiful 
accidents which incur.

     Encaustic painting is one of the oldest forms of 
painting, and stems from the word Enkaustikos, 
[15] which means “to burn in”. It originated in 
Ancient Greece three thousand years ago when 
ancient ship builders would use a combination 
of wax and resin to seal and waterproof their 
hulls. Pigments were then added to the medium 
[20] and led to the decoration of warships. Most 
likely the most famous encaustic paintings of all 
time are the Fayum mummy funeral portraits 
from the late 1st century BCE or the early 2nd 
century CE onwards. As tradition, funeral 
[25] portraits were placed over a person’s mummy 
as a memorial.  Many of these mummies have 
survived to present day, and the portraits 
maintain their bright and vivid colors because 
the pigments remain suspended in the wax 
[30] medium; thereby retaining their vibrance.

     After the decline of the Roman Empire, 
encaustic painting fell by the wayside as the 
country faced instability and economic turmoil. 
At this time, encaustic was largely replaced by 
[35] tempera, which was easier to work with and 
more economical. Some painting continued as 
late as the 7th century, but encaustics soon 
became a lost art. Later in the 19th century 
mural painters in northern climates 
[40] experimented with encaustics to battle 
problems of dampness in mural paintings, but 
success was limited. Leonardo da Vinci 
experimented with using encaustics in his work, 
but was not successful. Other European artists 
[45] including Vincent van Gogh and Julius Schnorr 
von Carolsfeld used encaustics in their oil 
paintings to separate layers of paint with 
translucent layers. 

     Wax has many qualities that last the test of 
[50] time, and encaustic may be the most durable

form of painting. Beeswax is moisture resistant, 
it is a natural adhesive, it does not attract 
insects, and it resists mildew. Solvents and oils 
can darken or yellow over time, but beeswax 
[55] does not change color at all.   

     As with oil paint, you should only paint with

encaustics in a well-ventilated studio

environment, using either an industrial

ventilating system, or a fan near your work

[60] surface to blow air away …….. you in

combination with open windows. A safe working

range for encaustic is …….. 150–175ºF.

Beeswax has a flash point of …….. 470ºF, but at

no point should you allow the wax to get close 
[65] to this temperature. If your wax begins to 
smoke at any point, turn …….. the heat. Keep a 
fire extinguisher handy in your studio because 
water does not extinguish wax which is 
inflamed. If you use tools such as a griddle with 
[70] encaustic painting, do not later use them for 
food preparation. Rather, dedicate them solely 
to work with encaustic.

Adapted from: MARGELL, J. Encaustic Art. 7. ed. APA (American Psychological Assoc.) Parkstone International, 2013.

A questão está relacionada ao texto abaixo.

    The first time I saw an encaustic painting, I 
was mesmerized by its beautiful surface, 
translucency, and incredible texture which you 
could appreciate for hours. Encaustics are like 
[5] no other form of painting, in that there are 
endless techniques and fleeting seconds before 
your medium solidifies. It is a medium where 
you have to trust your instincts and paint in the 
moment. You have to take leaps of faith. In the 
[10] beginning there are many frustrations, but over 
time you learn how to work with the beautiful 
accidents which incur.

     Encaustic painting is one of the oldest forms of 
painting, and stems from the word Enkaustikos, 
[15] which means “to burn in”. It originated in 
Ancient Greece three thousand years ago when 
ancient ship builders would use a combination 
of wax and resin to seal and waterproof their 
hulls. Pigments were then added to the medium 
[20] and led to the decoration of warships. Most 
likely the most famous encaustic paintings of all 
time are the Fayum mummy funeral portraits 
from the late 1st century BCE or the early 2nd 
century CE onwards. As tradition, funeral 
[25] portraits were placed over a person’s mummy 
as a memorial.  Many of these mummies have 
survived to present day, and the portraits 
maintain their bright and vivid colors because 
the pigments remain suspended in the wax 
[30] medium; thereby retaining their vibrance.

     After the decline of the Roman Empire, 
encaustic painting fell by the wayside as the 
country faced instability and economic turmoil. 
At this time, encaustic was largely replaced by 
[35] tempera, which was easier to work with and 
more economical. Some painting continued as 
late as the 7th century, but encaustics soon 
became a lost art. Later in the 19th century 
mural painters in northern climates 
[40] experimented with encaustics to battle 
problems of dampness in mural paintings, but 
success was limited. Leonardo da Vinci 
experimented with using encaustics in his work, 
but was not successful. Other European artists 
[45] including Vincent van Gogh and Julius Schnorr 
von Carolsfeld used encaustics in their oil 
paintings to separate layers of paint with 
translucent layers. 

     Wax has many qualities that last the test of 
[50] time, and encaustic may be the most durable

form of painting. Beeswax is moisture resistant, 
it is a natural adhesive, it does not attract 
insects, and it resists mildew. Solvents and oils 
can darken or yellow over time, but beeswax 
[55] does not change color at all.   

     As with oil paint, you should only paint with

encaustics in a well-ventilated studio

environment, using either an industrial

ventilating system, or a fan near your work

[60] surface to blow air away …….. you in

combination with open windows. A safe working

range for encaustic is …….. 150–175ºF.

Beeswax has a flash point of …….. 470ºF, but at

no point should you allow the wax to get close 
[65] to this temperature. If your wax begins to 
smoke at any point, turn …….. the heat. Keep a 
fire extinguisher handy in your studio because 
water does not extinguish wax which is 
inflamed. If you use tools such as a griddle with 
[70] encaustic painting, do not later use them for 
food preparation. Rather, dedicate them solely 
to work with encaustic.

Adapted from: MARGELL, J. Encaustic Art. 7. ed. APA (American Psychological Assoc.) Parkstone International, 2013.

A questão está relacionada ao texto abaixo.

    The first time I saw an encaustic painting, I 
was mesmerized by its beautiful surface, 
translucency, and incredible texture which you 
could appreciate for hours. Encaustics are like 
[5] no other form of painting, in that there are 
endless techniques and fleeting seconds before 
your medium solidifies. It is a medium where 
you have to trust your instincts and paint in the 
moment. You have to take leaps of faith. In the 
[10] beginning there are many frustrations, but over 
time you learn how to work with the beautiful 
accidents which incur.

     Encaustic painting is one of the oldest forms of 
painting, and stems from the word Enkaustikos, 
[15] which means “to burn in”. It originated in 
Ancient Greece three thousand years ago when 
ancient ship builders would use a combination 
of wax and resin to seal and waterproof their 
hulls. Pigments were then added to the medium 
[20] and led to the decoration of warships. Most 
likely the most famous encaustic paintings of all 
time are the Fayum mummy funeral portraits 
from the late 1st century BCE or the early 2nd 
century CE onwards. As tradition, funeral 
[25] portraits were placed over a person’s mummy 
as a memorial.  Many of these mummies have 
survived to present day, and the portraits 
maintain their bright and vivid colors because 
the pigments remain suspended in the wax 
[30] medium; thereby retaining their vibrance.

     After the decline of the Roman Empire, 
encaustic painting fell by the wayside as the 
country faced instability and economic turmoil. 
At this time, encaustic was largely replaced by 
[35] tempera, which was easier to work with and 
more economical. Some painting continued as 
late as the 7th century, but encaustics soon 
became a lost art. Later in the 19th century 
mural painters in northern climates 
[40] experimented with encaustics to battle 
problems of dampness in mural paintings, but 
success was limited. Leonardo da Vinci 
experimented with using encaustics in his work, 
but was not successful. Other European artists 
[45] including Vincent van Gogh and Julius Schnorr 
von Carolsfeld used encaustics in their oil 
paintings to separate layers of paint with 
translucent layers. 

     Wax has many qualities that last the test of 
[50] time, and encaustic may be the most durable

form of painting. Beeswax is moisture resistant, 
it is a natural adhesive, it does not attract 
insects, and it resists mildew. Solvents and oils 
can darken or yellow over time, but beeswax 
[55] does not change color at all.   

     As with oil paint, you should only paint with

encaustics in a well-ventilated studio

environment, using either an industrial

ventilating system, or a fan near your work

[60] surface to blow air away …….. you in

combination with open windows. A safe working

range for encaustic is …….. 150–175ºF.

Beeswax has a flash point of …….. 470ºF, but at

no point should you allow the wax to get close 
[65] to this temperature. If your wax begins to 
smoke at any point, turn …….. the heat. Keep a 
fire extinguisher handy in your studio because 
water does not extinguish wax which is 
inflamed. If you use tools such as a griddle with 
[70] encaustic painting, do not later use them for 
food preparation. Rather, dedicate them solely 
to work with encaustic.

Adapted from: MARGELL, J. Encaustic Art. 7. ed. APA (American Psychological Assoc.) Parkstone International, 2013.

A questão está relacionada ao texto abaixo.

    The first time I saw an encaustic painting, I 
was mesmerized by its beautiful surface, 
translucency, and incredible texture which you 
could appreciate for hours. Encaustics are like 
[5] no other form of painting, in that there are 
endless techniques and fleeting seconds before 
your medium solidifies. It is a medium where 
you have to trust your instincts and paint in the 
moment. You have to take leaps of faith. In the 
[10] beginning there are many frustrations, but over 
time you learn how to work with the beautiful 
accidents which incur.

     Encaustic painting is one of the oldest forms of 
painting, and stems from the word Enkaustikos, 
[15] which means “to burn in”. It originated in 
Ancient Greece three thousand years ago when 
ancient ship builders would use a combination 
of wax and resin to seal and waterproof their 
hulls. Pigments were then added to the medium 
[20] and led to the decoration of warships. Most 
likely the most famous encaustic paintings of all 
time are the Fayum mummy funeral portraits 
from the late 1st century BCE or the early 2nd 
century CE onwards. As tradition, funeral 
[25] portraits were placed over a person’s mummy 
as a memorial.  Many of these mummies have 
survived to present day, and the portraits 
maintain their bright and vivid colors because 
the pigments remain suspended in the wax 
[30] medium; thereby retaining their vibrance.

     After the decline of the Roman Empire, 
encaustic painting fell by the wayside as the 
country faced instability and economic turmoil. 
At this time, encaustic was largely replaced by 
[35] tempera, which was easier to work with and 
more economical. Some painting continued as 
late as the 7th century, but encaustics soon 
became a lost art. Later in the 19th century 
mural painters in northern climates 
[40] experimented with encaustics to battle 
problems of dampness in mural paintings, but 
success was limited. Leonardo da Vinci 
experimented with using encaustics in his work, 
but was not successful. Other European artists 
[45] including Vincent van Gogh and Julius Schnorr 
von Carolsfeld used encaustics in their oil 
paintings to separate layers of paint with 
translucent layers. 

     Wax has many qualities that last the test of 
[50] time, and encaustic may be the most durable

form of painting. Beeswax is moisture resistant, 
it is a natural adhesive, it does not attract 
insects, and it resists mildew. Solvents and oils 
can darken or yellow over time, but beeswax 
[55] does not change color at all.   

     As with oil paint, you should only paint with

encaustics in a well-ventilated studio

environment, using either an industrial

ventilating system, or a fan near your work

[60] surface to blow air away …….. you in

combination with open windows. A safe working

range for encaustic is …….. 150–175ºF.

Beeswax has a flash point of …….. 470ºF, but at

no point should you allow the wax to get close 
[65] to this temperature. If your wax begins to 
smoke at any point, turn …….. the heat. Keep a 
fire extinguisher handy in your studio because 
water does not extinguish wax which is 
inflamed. If you use tools such as a griddle with 
[70] encaustic painting, do not later use them for 
food preparation. Rather, dedicate them solely 
to work with encaustic.

Adapted from: MARGELL, J. Encaustic Art. 7. ed. APA (American Psychological Assoc.) Parkstone International, 2013.

As questão está relacionada ao texto abaixo.

    There are as many ways of being blind as there

are of being tall, or sick, or hot. But the popular 
view has always conceived …….. blindness as a

totality. The blind bards wandering the

[5] countrysides of ancient Japan, China, or Europe, 
the blind housed in asylums in the Middle Ages, 
all the pupils in all the schools for the blind from 
the Enlightenment onward, blind beggars and

lawyers, war veterans and toddlers - in the eyes

[10] of history, as well as those of most of their 
contemporaries, they all saw nothing. Modern 
dictionaries still subscribe to this sense: 
blindness is the antonym of vision, and connotes 
a destitution of sight. What else could it mean?

[15]    Despite the poetic impulse to equate blindness

…….. darkness, it's rarely experienced as a black

veil draped over the world. Only around 15 
percent of blind people have no light perception 
whatsoever. Most see something, even if it isn't 
[20] very useful, by sighted standards: a blurry view 
of their periphery, with nothing in the middle, or 
the inverse - the world seen through a 

buttonhole. For some, scenes come through in a 
dim haze; for others, light produces a shower of 
[25] excruciatingly bright needles. Even those with no 
light perception at all have little use for the 
popular image of blindness as darkness: the 
brain cut off from visual stimulus can still 

produce washes of brilliant color and shape. One 
[30] blind man, whose optic nerve - the connection 
between the eyes and the brain - had been 
severed, described seeing a continuously 
swirling (and distracting) "visual tinnitus." The 
Argentine writer Jorge Luis Borges, decades 
[35] …….. his blindness, still saw color, which

sometimes disturbed him: "I, who was 
accustomed to sleeping in total darkness," he 
said, “was bothered for a long time at having to 
sleep in this world of mist, in the greenish or 
[40] bluish mist, vaguely luminous, which is the world 
of the blind. I wanted to lie down in darkness”.

    The arrival or encroachment of blindness gives

rise to a similarly dazzling range of experiences, 
an efflorescence of blind varietals. There are 
[45] those born blind, with no visual memories, 
whose brains – including the visual cortices – 
develop using four (or fewer) senses to construct 
their view of the world. Those who become blind 
in early childhood often retain visual memories 
[50] that can contribute to an intuitive understanding 
of visual concepts. The late-blinded may have 
the most cognitive work to do, forced to relearn 
basic skills like orientation and information – 
gathering through new senses, long after their 

[55] brains' developmental plasticity has hardened. 
Some late-blinded adults consciously struggle to 
preserve their storehouses of mental images, 
like art conservators touching up old and fading 
masterpieces. 

[60]    People are blinded by their spouses or strangers,

by acts of war or sports injuries, by industrial

accidents and bad decisions, malnutrition and

infection, genetic inheritances and spontaneous

mutations. It's disingenuous to argue that

[65] blindness doesn't have a transformative impact

...….. a person's life, but in every case, blindness

is only part of the story. The life of a blind person

is never fully (or even predominantly) defined by

their blindness».

Extraído de: LELAND, A. The Country of the Blind: A memoir at the end of sight. New York: Penguin, 2023.

As questão está relacionada ao texto abaixo.

    There are as many ways of being blind as there

are of being tall, or sick, or hot. But the popular 
view has always conceived …….. blindness as a

totality. The blind bards wandering the

[5] countrysides of ancient Japan, China, or Europe, 
the blind housed in asylums in the Middle Ages, 
all the pupils in all the schools for the blind from 
the Enlightenment onward, blind beggars and

lawyers, war veterans and toddlers - in the eyes

[10] of history, as well as those of most of their 
contemporaries, they all saw nothing. Modern 
dictionaries still subscribe to this sense: 
blindness is the antonym of vision, and connotes 
a destitution of sight. What else could it mean?

[15]    Despite the poetic impulse to equate blindness

…….. darkness, it's rarely experienced as a black

veil draped over the world. Only around 15 
percent of blind people have no light perception 
whatsoever. Most see something, even if it isn't 
[20] very useful, by sighted standards: a blurry view 
of their periphery, with nothing in the middle, or 
the inverse - the world seen through a 

buttonhole. For some, scenes come through in a 
dim haze; for others, light produces a shower of 
[25] excruciatingly bright needles. Even those with no 
light perception at all have little use for the 
popular image of blindness as darkness: the 
brain cut off from visual stimulus can still 

produce washes of brilliant color and shape. One 
[30] blind man, whose optic nerve - the connection 
between the eyes and the brain - had been 
severed, described seeing a continuously 
swirling (and distracting) "visual tinnitus." The 
Argentine writer Jorge Luis Borges, decades 
[35] …….. his blindness, still saw color, which

sometimes disturbed him: "I, who was 
accustomed to sleeping in total darkness," he 
said, “was bothered for a long time at having to 
sleep in this world of mist, in the greenish or 
[40] bluish mist, vaguely luminous, which is the world 
of the blind. I wanted to lie down in darkness”.

    The arrival or encroachment of blindness gives

rise to a similarly dazzling range of experiences, 
an efflorescence of blind varietals. There are 
[45] those born blind, with no visual memories, 
whose brains – including the visual cortices – 
develop using four (or fewer) senses to construct 
their view of the world. Those who become blind 
in early childhood often retain visual memories 
[50] that can contribute to an intuitive understanding 
of visual concepts. The late-blinded may have 
the most cognitive work to do, forced to relearn 
basic skills like orientation and information – 
gathering through new senses, long after their 

[55] brains' developmental plasticity has hardened. 
Some late-blinded adults consciously struggle to 
preserve their storehouses of mental images, 
like art conservators touching up old and fading 
masterpieces. 

[60]    People are blinded by their spouses or strangers,

by acts of war or sports injuries, by industrial

accidents and bad decisions, malnutrition and

infection, genetic inheritances and spontaneous

mutations. It's disingenuous to argue that

[65] blindness doesn't have a transformative impact

...….. a person's life, but in every case, blindness

is only part of the story. The life of a blind person

is never fully (or even predominantly) defined by

their blindness».

Extraído de: LELAND, A. The Country of the Blind: A memoir at the end of sight. New York: Penguin, 2023.