Questões de Inglês - Reading/Writing - Parody

[Texto adaptado]

 

If you know What Brainrot1 means, you might already have it

 

1 A popular term captures the condition of
being terminally online, with humor and
pathos.
The term refers primarily to low-value
5 internet content and the effects caused by
spending too much time consuming it.
Example: “I’ve been watching so many
TikToks, I have brainrot.”
Online discussion of brainrot has recently
10 grown so widespread that some social media
users have begun creating parodies of people
who seem to embody the condition.
Several videos by the TikTok user Heidi
Becker show her facing the camera as she
15 strings together one internet reference after
another in rapid-fire fashion.
“Hiii, oh my god, the fit is fitting, pop off
king!” she says at the start of a recent video
that has over 200,000 likes.
20 Other lines in her soliloquy include: “It’s
giving golden retriever energy,” a piece of
slang describing someone who gives the
impression of being friendly, goofy or
harmless; and “I really like hot girl walking
25 and I really like girl dinner,” references to
daily activities that TikTok has gendered and
renamed.
Accusing someone of having brainrot is not a
compliment. But some people evince a hint of 

30 pride in admitting to the condition. A recent
BuzzFeed quiz challenging readers on
obscure internet trivia was headlined: “If
you pass this brainrot quiz, your brain is
1000% cooked.”
35 “One of the easiest ways to tell if someone’s
brain has been destroyed by social media is to
notice how often they reference internet
jargon,” the influencer Joel Cave recently
posted in a TikTok. “The fact that the internet
40 can infiltrate our brain so much that people
don’t even have control over what they’re
saying — they just have to spout out whatever
meme they’ve been seeing a lot — is crazy to
me.”
45 Some social media accounts are dedicated to
creating “brainrot content,” which has
become its own entertainment subgenre. The
TikTok user “Fort History” takes clips of
movies and TV shows and dubs them with the
50 latest internet lingo.
“Hey, Rizzler, it’s just you and me today,”
Phil from the sitcom “Modern Family”
appears to say to his son, Luke, in one clip.
“All right I’ll edge right down,” Luke
55 responds.
Taylor Lorenz, the author of “Extremely
Online: The Untold Story of Fame, Influence,
and Power on the Internet,” said she sees
“brainrot” as synonymous with the phrase
60 “broken brain.” Both online terms apply to
those who have become so warped by what
they see on the internet “that they have lost
the ability to function in the physical world,”
said Ms. Lorenz, a Washington Post
65 columnist who was previously a reporter for
The New York Times.

Fonte: ROY, J. If you know what ‘brainrot’ means, you might already have it. The New York Times, 13 jun. 2024. Atualizado em 17 jun. 2024. Disponível em: https://www.nytimes.com.

Com base no texto numerado de Jessica Roy, If You Know What ‘Brainrot’ Means, You Might Already Have It, julgue (V) verdadeiro ou (F) falso cada uma das afirmações abaixo:

 

( ) No título do texto, a conjunção subordinativa “if” introduz uma condição hipotética, típica de estruturas condicionais.

( ) Na linha 7, a expressão verbal “have been watching” está no past perfect e indica uma ação concluída antes no passado.

( ) Nas linhas 21 a 24, expressões como “golden retriever energy” e “hot girl walking” exemplificam estruturas da linguagem informal popularizadas em redes sociais, funcionando discursivamente como marcas descritivas de identidade ou comportamento.

( ) O pronome “they”, na linha 37, retoma o substantivo “influencer”, pois se refere exclusivamente ao sujeito que publicou o vídeo no TikTok.

 

Assinale a alternativa que completa corretamente os parênteses de cima para baixo.

[Texto adaptado]

 

If you know What Brainrot1 means, you might already have it

 

1 A popular term captures the condition of
being terminally online, with humor and
pathos.
The term refers primarily to low-value
5 internet content and the effects caused by
spending too much time consuming it.
Example: “I’ve been watching so many
TikToks, I have brainrot.”
Online discussion of brainrot has recently
10 grown so widespread that some social media
users have begun creating parodies of people
who seem to embody the condition.
Several videos by the TikTok user Heidi
Becker show her facing the camera as she
15 strings together one internet reference after
another in rapid-fire fashion.
“Hiii, oh my god, the fit is fitting, pop off
king!” she says at the start of a recent video
that has over 200,000 likes.
20 Other lines in her soliloquy include: “It’s
giving golden retriever energy,” a piece of
slang describing someone who gives the
impression of being friendly, goofy or
harmless; and “I really like hot girl walking
25 and I really like girl dinner,” references to
daily activities that TikTok has gendered and
renamed.
Accusing someone of having brainrot is not a
compliment. But some people evince a hint of 

30 pride in admitting to the condition. A recent
BuzzFeed quiz challenging readers on
obscure internet trivia was headlined: “If
you pass this brainrot quiz, your brain is
1000% cooked.”
35 “One of the easiest ways to tell if someone’s
brain has been destroyed by social media is to
notice how often they reference internet
jargon,” the influencer Joel Cave recently
posted in a TikTok. “The fact that the internet
40 can infiltrate our brain so much that people
don’t even have control over what they’re
saying — they just have to spout out whatever
meme they’ve been seeing a lot — is crazy to
me.”
45 Some social media accounts are dedicated to
creating “brainrot content,” which has
become its own entertainment subgenre. The
TikTok user “Fort History” takes clips of
movies and TV shows and dubs them with the
50 latest internet lingo.
“Hey, Rizzler, it’s just you and me today,”
Phil from the sitcom “Modern Family”
appears to say to his son, Luke, in one clip.
“All right I’ll edge right down,” Luke
55 responds.
Taylor Lorenz, the author of “Extremely
Online: The Untold Story of Fame, Influence,
and Power on the Internet,” said she sees
“brainrot” as synonymous with the phrase
60 “broken brain.” Both online terms apply to
those who have become so warped by what
they see on the internet “that they have lost
the ability to function in the physical world,”
said Ms. Lorenz, a Washington Post
65 columnist who was previously a reporter for
The New York Times.

Fonte: ROY, J. If you know what ‘brainrot’ means, you might already have it. The New York Times, 13 jun. 2024. Atualizado em 17 jun. 2024. Disponível em: https://www.nytimes.com.

No artigo “If You Know What ‘Brainrot’ Means, You Might Already Have It”, a autora utiliza diferentes recursos linguísticos para construir sentido, marcar relações argumentativas e posicionar-se frente ao fenômeno descrito. Relacione as colunas, associando as expressões do texto às funções discursivas que exercem, de acordo com o uso no contexto original.

 

1. “Accusing someone of having brainrot is not a compliment”.

2. “But some people evince a hint of pride in admitting to the condition”.

3. “The term refers primarily to low-value internet contente[...]”.

4. “The fact that the internet can infiltrate our brain so much[...]”.

5. “One of the easiest ways to tell if someone’s brain has been destroyed by social media is to notice how often they reference internet jargon”.

 

( ) Apresenta uma generalização com uso de estrutura superlativa e modalizadora.

( ) Modaliza o foco da definição por meio de um advérbio de intensidade.

( ) Expressa avaliação negativa de forma direta.

( ) Introduz oposição entre duas ideias no encadeamento argumentativo.

( ) Marca causa e enfatiza grau de intensidade com locução adverbial

 

Assinale a alternativa que completa corretamente os parênteses de cima para baixo.

[Texto adaptado]

 

If you know What Brainrot1 means, you might already have it

 

1 A popular term captures the condition of
being terminally online, with humor and
pathos.
The term refers primarily to low-value
5 internet content and the effects caused by
spending too much time consuming it.
Example: “I’ve been watching so many
TikToks, I have brainrot.”
Online discussion of brainrot has recently
10 grown so widespread that some social media
users have begun creating parodies of people
who seem to embody the condition.
Several videos by the TikTok user Heidi
Becker show her facing the camera as she
15 strings together one internet reference after
another in rapid-fire fashion.
“Hiii, oh my god, the fit is fitting, pop off
king!” she says at the start of a recent video
that has over 200,000 likes.
20 Other lines in her soliloquy include: “It’s
giving golden retriever energy,” a piece of
slang describing someone who gives the
impression of being friendly, goofy or
harmless; and “I really like hot girl walking
25 and I really like girl dinner,” references to
daily activities that TikTok has gendered and
renamed.
Accusing someone of having brainrot is not a
compliment. But some people evince a hint of 

30 pride in admitting to the condition. A recent
BuzzFeed quiz challenging readers on
obscure internet trivia was headlined: “If
you pass this brainrot quiz, your brain is
1000% cooked.”
35 “One of the easiest ways to tell if someone’s
brain has been destroyed by social media is to
notice how often they reference internet
jargon,” the influencer Joel Cave recently
posted in a TikTok. “The fact that the internet
40 can infiltrate our brain so much that people
don’t even have control over what they’re
saying — they just have to spout out whatever
meme they’ve been seeing a lot — is crazy to
me.”
45 Some social media accounts are dedicated to
creating “brainrot content,” which has
become its own entertainment subgenre. The
TikTok user “Fort History” takes clips of
movies and TV shows and dubs them with the
50 latest internet lingo.
“Hey, Rizzler, it’s just you and me today,”
Phil from the sitcom “Modern Family”
appears to say to his son, Luke, in one clip.
“All right I’ll edge right down,” Luke
55 responds.
Taylor Lorenz, the author of “Extremely
Online: The Untold Story of Fame, Influence,
and Power on the Internet,” said she sees
“brainrot” as synonymous with the phrase
60 “broken brain.” Both online terms apply to
those who have become so warped by what
they see on the internet “that they have lost
the ability to function in the physical world,”
said Ms. Lorenz, a Washington Post
65 columnist who was previously a reporter for
The New York Times.

Fonte: ROY, J. If you know what ‘brainrot’ means, you might already have it. The New York Times, 13 jun. 2024. Atualizado em 17 jun. 2024. Disponível em: https://www.nytimes.com.

No artigo de Jessica Roy, o termo “brainrot” aparece no título e reaparece ao longo do texto em diferentes contextos discursivos, assumindo um tom crítico.

 

Considerando o uso dessa palavra no texto e seu processo de formação, assinale a alternativa que apresenta a interpretação mais precisa e completa.

The British (serves 60 million)

 

Take some Picts, Celts and Silures
And let them settle,
Then overrun them with Roman conquerors.
Remove the Romans after approximately 400 years
Add lots of Norman French to some
Angles, Saxons, Jules and Vikings, then stir vigorously.
[...]

Sprinkle some fresh Indians, Malaysians, Bosnians,
lraqis and Bangladeshis together with some
Afghans, Spanish, Turkish, Kurdish, Japanese
And Palestinians
Then add to the meliting pot.
Leave the ingredients to simmer.
As they mix and blend allow their languages to flourish
Binding them together with English.
Allow time to be cool.
Add some unity, understanding, and respect for the future,
Serve with justice
And enjoy.

 

Note: All the ingredients are equally important. Treating one ingredient better than another will leave a bitter unpleasant taste.

 

Warning: An unequal spread of justice will damage the people and cause pain. Give justice and equality to all.

Disponível em www.benjaminzephaniah.com. Acesso em 12 dez 2018 (fragmento)

 

Ao descrever o processo de formação da Inglaterra, o autor do poema recorre a características de outro gênero textual para evidenciar

Seize the day – Virginia Woolf’s Mrs Dalloway at 100

 

[1]    Mrs Dalloway is explicitly quotidian. It follows 
ordinary people through ordinary activities on an 
ordinary day – shopping, walking in the park, riding the 
bus, going to appointments, mending a dress. As Woolf’s 
[5] characters go about their day, scenes and impressions are 
filtered through their individual consciousnesses, 
threaded together with language, images and memories.

    The novel opens with the famous line “Mrs 
Dalloway said she would buy the flowers herself”, a 
[10] sentence remarkable for its banality, as well as for its 
commitment to the in medias res plunge into life that 
Woolf was so keen on. The iconic status of the line is 
demonstrated by the number of online parodies it 
inspires, perhaps only surpassed by William Carlos 
[15] Williams’s poem This Is Just To Say, which has become a 
verified meme. 

    On Good Friday 1924, Woolf wrote on a page of 
the manuscript she was drafting – then called The Hours

– that “I will write whatever I want to write.” She could 
[20] write whatever she wanted to write because she owned 
her own publishing house, The Hogarth Press. The actual 
press was in the basement of her suburban Richmond 
home. 

    Mrs Dalloway was the second of Woolf’s novels to 
[25] be self-published in this way. Being a small-press 
publisher allowed her to experiment formally in ways that 
would have been impossible if she was working with a 
mainstream publisher. In A Writer’s Diary, she describes 
her process as both exploratory and technical. On August 
[30] 30, 1923, she wrote: “I dig out beautiful caves behind my 
characters”. Later, in October 1924: “I practise writing; do 
my scales”. 

    Despite Woolf’s refusal to compromise with 
mainstream tastes, Mrs Dalloway was well received. Her 
[35] contemporaries recognised the novel’s importance 
immediately. “An intellectual triumph”, proclaimed P.C. 
Kennedy in the New Statesman; “a cathedral”, 
pronounced E.M. Forster in the New Criterion. It sold 
moderately well: 1,500 copies within about a month of its 
[40] publication on May 14 – more than her prior novel, 
Jacob’s Room, had sold in a year.  

    Woolf’s novel was revolutionary for its depiction of 
same-sex attraction and mental illness, as well as for its 
challenge to the novel form and representation of time. 
[45] Septimus, so capable as a soldier in the Great War, buries 
the trauma of seeing his commanding officer Evans killed, 
only to have it resurface in visual and aural hallucinations, 
of Evans behind the trees, and birds singing in Greek. He 
perceives, as Clarissa does, the burden of the past upon 
[50] the present, and he suffers as a result of the coercion of 
the social system. 

    “In this book I have almost too many ideas,” Woolf 
wrote in her diary on June 19, 1923. “I want to give life 
and death, sanity and insanity; I want to criticise the 
[55] social system, and to show it at work, at its most 
intense.” Woolf’s ideas have inspired scores of 
interpretations, focusing on time, space, reality, 
psychology, domesticity, history, sexual relations, politics, 
fashion, the environment, health and illness. She is now 
[60] probably the most written-about 20th century English 
author. I can remember vividly first reading this novel as 
an undergraduate, after which I devoured Woolf’s 
revolutionary 1929 essay A Room of One’s Own, which 
criticised the educational, economic and social 
[65] constraints that prevented women, in many instances, 
from writing anything at all. 

    Woolf, of course, could and did write. This was a 
function, as she knew, of her financial and class privilege. 
In her fiction, she modelled a method of writing that 
[70] critiques patriarchal thinking. She focuses our attention 
on overlooked individuals and their inner lives, and she 
splendidly undoes the Victorian conception of plot. Woolf 
writes of the past emerging into the present day and the 
present’s capacity to reshape the past. In her diary, she 
[75] called this her “tunnelling process”. In tunnelling through 
narrative, Woolf flung out a lot of what seems to be dust

– buying flowers, ogling girls, table manners and weight 
gain, advertising, letter writing, doctor’s appointments, 
eating eclairs in a department store cafe. The novel 
[80] reminds us of these moments’ triviality, and their 
significance, through repeated reference to the bells and 
clocks of London striking the hour. 

    This is why the opening line – and the novel as a 
whole – is so remarkable. It catches drops of shimmering 
[85] reality from moments that can so easily go unremarked. 
This, Woolf knew, was what writing needed to do: to stop 
time.  Her metaphor shows that Woolf’s thinking about 
time also had a spatial dimension. These two dimensions 
of space and time structure Mrs Dalloway’s theme and 
[90] method, As David Daiches explained in his 1939 book The 
Novel and the Modern World, Woolf first links a series of 
different perspectives through a single shared moment in 
time – marked by the sound of the bells – then switches 
to an individual perspective, anchored in space, and 
[95] moves through that individual’s memories. 

    Since its publication, Mrs Dalloway has continued 
to inspire. Since the 1970s, she has enjoyed an 
unparalleled position in the history of 20th century 
letters. Michael Cunningham’s The Hours, Robin 
[100] Lippincott’s Mr Dalloway and John Lanchester’s Mr 
Phillips all appeared in the three years between 1998 and 
2000, all of them reflecting Woolf’s legacy, tacitly or 
explicitly. Because of the Oscar-winning film adaptation 
by Stephen Daldry, Cunningham’s novel is the most 
[105] recognisable of these three. The Hours revises Mrs 
Dalloway through the stories of three women: Virginia 
Woolf herself; Laura Brown, a 1950s housewife who 
reads Mrs Dalloway; and Clarissa Vaughan, nicknamed 
Mrs Dalloway by her former lover Richard, for whom she 
[110] throws a literary party.

    Mrs Dalloway shows us the ways that words can 
both connect and sever. Characters pass each other on 
the street, muse on a shared past, or witness the same 
event from different vantage points and through different 
[115] filters of personality and psyche. As Hermione Lee 
explained, for Woolf “the really important life was 
‘within’”. 

Adapted from: https://theconversation/jan.30.2025

In the text extract “The Hours revises Mrs Dalloway through the stories of three women: Virginia Woolf herself; Laura Brown, a 1950s housewife who reads Mrs Dalloway ....”, the verbs are in the

Seize the day – Virginia Woolf’s Mrs Dalloway at 100

 

[1]    Mrs Dalloway is explicitly quotidian. It follows 
ordinary people through ordinary activities on an 
ordinary day – shopping, walking in the park, riding the 
bus, going to appointments, mending a dress. As Woolf’s 
[5] characters go about their day, scenes and impressions are 
filtered through their individual consciousnesses, 
threaded together with language, images and memories.

    The novel opens with the famous line “Mrs 
Dalloway said she would buy the flowers herself”, a 
[10] sentence remarkable for its banality, as well as for its 
commitment to the in medias res plunge into life that 
Woolf was so keen on. The iconic status of the line is 
demonstrated by the number of online parodies it 
inspires, perhaps only surpassed by William Carlos 
[15] Williams’s poem This Is Just To Say, which has become a 
verified meme. 

    On Good Friday 1924, Woolf wrote on a page of 
the manuscript she was drafting – then called The Hours

– that “I will write whatever I want to write.” She could 
[20] write whatever she wanted to write because she owned 
her own publishing house, The Hogarth Press. The actual 
press was in the basement of her suburban Richmond 
home. 

    Mrs Dalloway was the second of Woolf’s novels to 
[25] be self-published in this way. Being a small-press 
publisher allowed her to experiment formally in ways that 
would have been impossible if she was working with a 
mainstream publisher. In A Writer’s Diary, she describes 
her process as both exploratory and technical. On August 
[30] 30, 1923, she wrote: “I dig out beautiful caves behind my 
characters”. Later, in October 1924: “I practise writing; do 
my scales”. 

    Despite Woolf’s refusal to compromise with 
mainstream tastes, Mrs Dalloway was well received. Her 
[35] contemporaries recognised the novel’s importance 
immediately. “An intellectual triumph”, proclaimed P.C. 
Kennedy in the New Statesman; “a cathedral”, 
pronounced E.M. Forster in the New Criterion. It sold 
moderately well: 1,500 copies within about a month of its 
[40] publication on May 14 – more than her prior novel, 
Jacob’s Room, had sold in a year.  

    Woolf’s novel was revolutionary for its depiction of 
same-sex attraction and mental illness, as well as for its 
challenge to the novel form and representation of time. 
[45] Septimus, so capable as a soldier in the Great War, buries 
the trauma of seeing his commanding officer Evans killed, 
only to have it resurface in visual and aural hallucinations, 
of Evans behind the trees, and birds singing in Greek. He 
perceives, as Clarissa does, the burden of the past upon 
[50] the present, and he suffers as a result of the coercion of 
the social system. 

    “In this book I have almost too many ideas,” Woolf 
wrote in her diary on June 19, 1923. “I want to give life 
and death, sanity and insanity; I want to criticise the 
[55] social system, and to show it at work, at its most 
intense.” Woolf’s ideas have inspired scores of 
interpretations, focusing on time, space, reality, 
psychology, domesticity, history, sexual relations, politics, 
fashion, the environment, health and illness. She is now 
[60] probably the most written-about 20th century English 
author. I can remember vividly first reading this novel as 
an undergraduate, after which I devoured Woolf’s 
revolutionary 1929 essay A Room of One’s Own, which 
criticised the educational, economic and social 
[65] constraints that prevented women, in many instances, 
from writing anything at all. 

    Woolf, of course, could and did write. This was a 
function, as she knew, of her financial and class privilege. 
In her fiction, she modelled a method of writing that 
[70] critiques patriarchal thinking. She focuses our attention 
on overlooked individuals and their inner lives, and she 
splendidly undoes the Victorian conception of plot. Woolf 
writes of the past emerging into the present day and the 
present’s capacity to reshape the past. In her diary, she 
[75] called this her “tunnelling process”. In tunnelling through 
narrative, Woolf flung out a lot of what seems to be dust

– buying flowers, ogling girls, table manners and weight 
gain, advertising, letter writing, doctor’s appointments, 
eating eclairs in a department store cafe. The novel 
[80] reminds us of these moments’ triviality, and their 
significance, through repeated reference to the bells and 
clocks of London striking the hour. 

    This is why the opening line – and the novel as a 
whole – is so remarkable. It catches drops of shimmering 
[85] reality from moments that can so easily go unremarked. 
This, Woolf knew, was what writing needed to do: to stop 
time.  Her metaphor shows that Woolf’s thinking about 
time also had a spatial dimension. These two dimensions 
of space and time structure Mrs Dalloway’s theme and 
[90] method, As David Daiches explained in his 1939 book The 
Novel and the Modern World, Woolf first links a series of 
different perspectives through a single shared moment in 
time – marked by the sound of the bells – then switches 
to an individual perspective, anchored in space, and 
[95] moves through that individual’s memories. 

    Since its publication, Mrs Dalloway has continued 
to inspire. Since the 1970s, she has enjoyed an 
unparalleled position in the history of 20th century 
letters. Michael Cunningham’s The Hours, Robin 
[100] Lippincott’s Mr Dalloway and John Lanchester’s Mr 
Phillips all appeared in the three years between 1998 and 
2000, all of them reflecting Woolf’s legacy, tacitly or 
explicitly. Because of the Oscar-winning film adaptation 
by Stephen Daldry, Cunningham’s novel is the most 
[105] recognisable of these three. The Hours revises Mrs 
Dalloway through the stories of three women: Virginia 
Woolf herself; Laura Brown, a 1950s housewife who 
reads Mrs Dalloway; and Clarissa Vaughan, nicknamed 
Mrs Dalloway by her former lover Richard, for whom she 
[110] throws a literary party.

    Mrs Dalloway shows us the ways that words can 
both connect and sever. Characters pass each other on 
the street, muse on a shared past, or witness the same 
event from different vantage points and through different 
[115] filters of personality and psyche. As Hermione Lee 
explained, for Woolf “the really important life was 
‘within’”. 

Adapted from: https://theconversation/jan.30.2025

In the sentences “In A Writer’s Diary, she describes her process as both exploratory and technical.” and “…all appeared in the three years between 1998 and 2000, all of them reflecting Woolf’s legacy, tacitly or explicitly.”, the ‘s in Writer’s and in Woolf’s represents, respectively, the