12

Prévia do material em texto

12
Questão 1
The Joys of Spelling
By Lorenza Cerbini
If you think English spelling is complicated, then you are right: it is also a problem for native
speakers! In phonetic languages like Italian and Spanish, spelling is relatively easy, but English
spelling is not phonetic and there are some words that even university professors can‘t spell.
There have been attempts to reform English spelling. The great American lexicographer Noah
Webster (1758-1843) tried to create a more rational system. This explains the differences between
American and British spelling: the American spelling of "color" is logical; the British version, "colour",
is not. But even American English spelling is difficult and this explains the existence of spelling
"bees", or competitions. The first spelling bee was held in the USA in 1825: the organizers used
Webster‘s "spelling books" as their model. Ironically, the word bee is itself a mystery. You spell it the
same way you spell the insect, but here a "bee" is a gathering of people. According to one theory, it
comes from an Old English word, "bea", meaning "prayer".
Speak up. São Paulo: Editora Peixes, n. 276, ano XXIII, 2010, p. 22 (Adaptado).
Read the following affirmatives:
I. “Webster's spelling books are books that you can access on the Internet to help you with the
spelling of words.
II. The spelling of the word “colour” in British English is correct while the spelling of the word “color”
in American English is wrong.
III. The word “bea” means, at the same time, a four winged insect that produces honey, and a special
kind of spelling competition.
IV. Italian and Spanish words are relatively easy to spell because these languages are phonetic while
English is not.
Considering the text, it is CORRECT to state that:
(A) I and IV are correct.
(B) II and III are correct.
(C) only IV is correct.
(D) all the statements are incorrect.
(E) I, II and IV are correct.
Gabarito:
C
Resolução:
I. Os livros de Webster existiam muito antes da Internet ("The first spelling bee was held in the USA in
1825: the organizers used Webster‘s 'spelling books' as their model.").
II. Segundo o texto, a escrita americana "color" faz mais sentido foneticamente do que a britânica
"colour", porém, nenhuma das duas é errada.
III. A palavra "bea" pertence ao inglês antigo, e significa "oração". A palavra para abelha e o tipo de
competição citada no texto é "bee".
 
IV. Lemos que "Nas línguas fonéticas, como o italiano e o espanhol, a ortografia é relativamente fácil,
mas a ortografia do inglês não é fonética" ("In phonetic languages like Italian and Spanish, spelling is
relatively easy, but English spelling is not phonetic").
Questão 2
The Joys of Spelling
By Lorenza Cerbini
If you think English spelling is complicated, then you are right: it is also a problem for native
speakers! In phonetic languages like Italian and Spanish, spelling is relatively easy, but English
spelling is not phonetic and there are some words that even university professors can‘t spell.
There have been attempts to reform English spelling. The great American lexicographer Noah
Webster (1758-1843) tried to create a more rational system. This explains the differences between
American and British spelling: the American spelling of "color" is logical; the British version, "colour",
is not. But even American English spelling is difficult and this explains the existence of spelling
"bees", or competitions. The first spelling bee was held in the USA in 1825: the organizers used
Webster‘s "spelling books" as their model. Ironically, the word bee is itself a mystery. You spell it the
same way you spell the insect, but here a "bee" is a gathering of people. According to one theory, it
comes from an Old English word, "bea", meaning "prayer".
Speak up. São Paulo: Editora Peixes, n. 276, ano XXIII, 2010, p. 22 (Adaptado).
Judge the statements:
I. The sentences “There have been attempts to reform English spelling” and “She has never eaten
Chinese food” are in the same verb tense.
II. The words “explains”, “differences” and “speakers” are, respectively, the plural forms of “explain”,
“difference” and “speaker”.
III. The comparative form of the word “easy” is “easier” while the comparative form of the word
“rational” is “more rational”.
IV. The sentences “The great American lexicographer Noah Webster (1758-1843) tried to create a
more rational system” and “The first spelling bee was held in the USA in 1825…” are both in the past
tense.
Mark the CORRECT answer:
(A) I, II and III are correct.
(B) II, III and IV are correct.
(C) I, III and IV are correct.
(D) All the statements are correct.
(E) Only III is correct.
Gabarito:
C
Resolução:
I. Os verbos das duas sentenças encontram-se no mesmo tempo verbal, o presente perfeito (present
perfect).
II. "Explain" é um verbo, e "explains" a sua conjugação na terceira pessoa do singular, no tempo
presente.
III. A forma comparativa da palavra "easy" é "easier", enquanto a forma comparativa da palavra
"rational" é "more rational".
IV. Ambas as sentenças têm verbos no tempo passado (past tense). Na primeira, temos " tried",
passado de "try" e, na segunda, "was held", forma passiva no passado de "hold".
Questão 3
The Impact of Media Violence on Children and Adolescents: Opportunities for Clinical
Interventions
Eugene V. Beresin 
 
1 Over the past 30 years there has been extensive research on the
2 relationship between televised violence and violent behavior among
3 youth. Longitudinal, cross-sectional, and experimental studies have all
4 confirmed this correlation. Televised violence and the presence of
5 television in American households have increased steadily over the
6 years. Studies reveal that children watch approximately 28 hours of
7 television a week, more time than they spend in school. The typical
8 American child will view more than 200,000 acts of violence, including
9 more than 16,000 murders before age 18. Television programs display
10 812 violent acts per hour; children's programming, particularly cartoons,
11 displays up to 20 violent acts hourly.
12 How does televised violence result in aggressive behavior? Some researchers have
demonstrated
13 that very young children will imitate aggressive acts on TV in their play with peers. Before age
4, children
14 are unable to distinguish between fact and fantasy and may view violence as an ordinary
occurrence. In
15 general, violence on television and in movies often conveys a model of conflict resolution. It is
efficient,
16 frequent, and inconsequential. Heroes are violent, and, as such, are rewarded for their
behavior. They
17 become role models for youth. The typical scenario of using violence for a righteous cause may
translate in
18 daily life into a justification for using violence to retaliate against perceived victimizers. Hence,
vulnerable
19 youth who have been victimized may be tempted to use violent means to solve problems.
Unfortunately,
20 there are few, if any, models of nonviolent conflict resolution in the media. Additionally, children
who watch
21 televised violence are desensitized to it. They may come to see violence as a fact of life and,
over time, lose
22 their ability to empathize with both the victim and the victimizer.
23 Child and adolescent psychiatrists, pediatricians and other physicians can have a major impact
on
24 the effects of media violence. The American Academy of Pediatrics (AAP) has created a list of
25 recommendations to address television violence. It suggests that physicians talk openly with
parents about
26 the nature and extent of viewing patterns in their homes. Parents should limit television to 1-2
hours daily
27 and watch programs with their children, enabling them to address any objectionable material
seen.
28 Physicians should make parents and schools "media literate," meaning they should understand
the risks of
29 exposure to violence and teach children how to interpret what they see on television and in the
movies,
30 including the intentand content of commercials. In doing so, children may be increasingly able
to discern
31 which media messages are suitable. Schools and homes should teach children conflict
resolution.
32 Physicians, in their role as health promoters, should become more active in educating the
media to become
33 more sensitive to the impact of violence on youth. The arena of media violence is a new frontier
where
34 physicians can promote health through public education and advocacy.
(http://www.aacap.org/cs/root/developmentor/the_impact_of_media_violence_on_children_and_adoles
cents_opportunities_for_clinical_interventions)
 
 
Segundo o texto, as crianças americanas:
 
A) passam mais tempo em frente à televisão do que na escola.
B) despendem 20 horas por semana assistindo a desenhos animados.
C) assistem a 812 cenas de violência por hora em programas de televisão.
D) terão visto 200.000 assassinatos na televisão, antes de completar 18 anos.
E) são expostas, por ano, a aproximadamente 16.000 programas de televisão.
Gabarito:
A
Resolução:
Como podemos ler nas linhas 6-7, "estudos revelam que as crianças [americanas] assistem televisão
por aproximadamente 28 horas por semana, mais tempo do que passam na escola" ("Studies reveal
that children watch approximately 28 hours of television a week, more time than they spend in
school").
Questão 4
The Impact of Media Violence on Children and Adolescents: Opportunities for Clinical
Interventions
Eugene V. Beresin 
 
1 Over the past 30 years there has been extensive research on the
2 relationship between televised violence and violent behavior among
3 youth. Longitudinal, cross-sectional, and experimental studies have all
4 confirmed this correlation. Televised violence and the presence of
5 television in American households have increased steadily over the
6 years. Studies reveal that children watch approximately 28 hours of
7 television a week, more time than they spend in school. The typical
8 American child will view more than 200,000 acts of violence, including
9 more than 16,000 murders before age 18. Television programs display
10 812 violent acts per hour; children's programming, particularly cartoons,
11 displays up to 20 violent acts hourly.
12 How does televised violence result in aggressive behavior? Some researchers have
demonstrated
13 that very young children will imitate aggressive acts on TV in their play with peers. Before age
4, children
14 are unable to distinguish between fact and fantasy and may view violence as an ordinary
occurrence. In
15 general, violence on television and in movies often conveys a model of conflict resolution. It is
efficient,
16 frequent, and inconsequential. Heroes are violent, and, as such, are rewarded for their
behavior. They
17 become role models for youth. The typical scenario of using violence for a righteous cause may
translate in
18 daily life into a justification for using violence to retaliate against perceived victimizers. Hence,
vulnerable
19 youth who have been victimized may be tempted to use violent means to solve problems.
Unfortunately,
20 there are few, if any, models of nonviolent conflict resolution in the media. Additionally, children
who watch
21 televised violence are desensitized to it. They may come to see violence as a fact of life and,
over time, lose
22 their ability to empathize with both the victim and the victimizer.
23 Child and adolescent psychiatrists, pediatricians and other physicians can have a major impact
on
24 the effects of media violence. The American Academy of Pediatrics (AAP) has created a list of
25 recommendations to address television violence. It suggests that physicians talk openly with
parents about
26 the nature and extent of viewing patterns in their homes. Parents should limit television to 1-2
hours daily
27 and watch programs with their children, enabling them to address any objectionable material
seen.
28 Physicians should make parents and schools "media literate," meaning they should understand
the risks of
29 exposure to violence and teach children how to interpret what they see on television and in the
movies,
30 including the intent and content of commercials. In doing so, children may be increasingly able
to discern
31 which media messages are suitable. Schools and homes should teach children conflict
resolution.
32 Physicians, in their role as health promoters, should become more active in educating the
media to become
33 more sensitive to the impact of violence on youth. The arena of media violence is a new frontier
where
34 physicians can promote health through public education and advocacy.
(http://www.aacap.org/cs/root/developmentor/the_impact_of_media_violence_on_children_and_adoles
cents_opportunities_for_clinical_interventions)
 
 
O texto afirma que, em geral, a violência na televisão e nos filmes frequentemente expressa
 
A) situações dramáticas do dia a dia.
B) um modelo de solução de conflitos.
C) uma concepção perversa da realidade.
D) o desejo do público por ações violentas.
E) a banalização dos comportamentos dos heróis.
Gabarito:
B
Resolução:
Como lemos nas linhas 14 e 15, "Em geral, a violência na televisão e no cinema frequentemente
transmite um modelo de resolução de conflitos" ("In general, violence on television and in movies
often conveys a model of conflict resolution").
Questão 5
The Impact of Media Violence on Children and Adolescents: Opportunities for Clinical
Interventions
Eugene V. Beresin 
 
1 Over the past 30 years there has been extensive research on the
2 relationship between televised violence and violent behavior among
3 youth. Longitudinal, cross-sectional, and experimental studies have all
4 confirmed this correlation. Televised violence and the presence of
5 television in American households have increased steadily over the
6 years. Studies reveal that children watch approximately 28 hours of
7 television a week, more time than they spend in school. The typical
8 American child will view more than 200,000 acts of violence, including
9 more than 16,000 murders before age 18. Television programs display
10 812 violent acts per hour; children's programming, particularly cartoons,
11 displays up to 20 violent acts hourly.
12 How does televised violence result in aggressive behavior? Some researchers have
demonstrated
13 that very young children will imitate aggressive acts on TV in their play with peers. Before age
4, children
14 are unable to distinguish between fact and fantasy and may view violence as an ordinary
occurrence. In
15 general, violence on television and in movies often conveys a model of conflict resolution. It is
efficient,
16 frequent, and inconsequential. Heroes are violent, and, as such, are rewarded for their
behavior. They
17 become role models for youth. The typical scenario of using violence for a righteous cause may
translate in
18 daily life into a justification for using violence to retaliate against perceived victimizers. Hence,
vulnerable
19 youth who have been victimized may be tempted to use violent means to solve problems.
Unfortunately,
20 there are few, if any, models of nonviolent conflict resolution in the media. Additionally, children
who watch
21 televised violence are desensitized to it. They may come to see violence as a fact of life and,
over time, lose
22 their ability to empathize with both the victim and the victimizer.
23 Child and adolescent psychiatrists, pediatricians and other physicians can have a major impact
on
24 the effects of media violence. The American Academy of Pediatrics (AAP) has created a list of
25 recommendations to address television violence. It suggests that physicians talk openly with
parents about
26 the nature and extent of viewing patterns in their homes. Parents should limit television to 1-2
hours daily
27 and watch programs with their children, enabling them to address any objectionable material
seen.
28 Physicians should make parents and schools "media literate," meaning they should understandthe risks of
29 exposure to violence and teach children how to interpret what they see on television and in the
movies,
30 including the intent and content of commercials. In doing so, children may be increasingly able
to discern
31 which media messages are suitable. Schools and homes should teach children conflict
resolution.
32 Physicians, in their role as health promoters, should become more active in educating the
media to become
33 more sensitive to the impact of violence on youth. The arena of media violence is a new frontier
where
34 physicians can promote health through public education and advocacy.
(http://www.aacap.org/cs/root/developmentor/the_impact_of_media_violence_on_children_and_adoles
cents_opportunities_for_clinical_interventions)
 
 
No enunciado “They become role models for youth” (linhas 16 e 17), o vocábulo destacado se refere
a
 
A) programas de televisão.
B) atos violentos.
C) conflitos.
D) filmes.
E) heróis.
Gabarito:
E
Resolução:
Para acertar essa questão de referência, o candidato deveria perceber que "they" em "they become
role models for youth" retoma anaforicamente "Heroes", sujeito da sentença imediatamente anterior.
Os "heróis" é que seriam aqueles que se tornariam modelos para os jovens ("They [Heroes] become
role models for youth").
Questão 6
The Impact of Media Violence on Children and Adolescents: Opportunities for Clinical
Interventions
Eugene V. Beresin 
 
1 Over the past 30 years there has been extensive research on the
2 relationship between televised violence and violent behavior among
3 youth. Longitudinal, cross-sectional, and experimental studies have all
4 confirmed this correlation. Televised violence and the presence of
5 television in American households have increased steadily over the
6 years. Studies reveal that children watch approximately 28 hours of
7 television a week, more time than they spend in school. The typical
8 American child will view more than 200,000 acts of violence, including
9 more than 16,000 murders before age 18. Television programs display
10 812 violent acts per hour; children's programming, particularly cartoons,
11 displays up to 20 violent acts hourly.
12 How does televised violence result in aggressive behavior? Some researchers have
demonstrated
13 that very young children will imitate aggressive acts on TV in their play with peers. Before age
4, children
14 are unable to distinguish between fact and fantasy and may view violence as an ordinary
occurrence. In
15 general, violence on television and in movies often conveys a model of conflict resolution. It is
efficient,
16 frequent, and inconsequential. Heroes are violent, and, as such, are rewarded for their
behavior. They
17 become role models for youth. The typical scenario of using violence for a righteous cause may
translate in
18 daily life into a justification for using violence to retaliate against perceived victimizers. Hence,
vulnerable
19 youth who have been victimized may be tempted to use violent means to solve problems.
Unfortunately,
20 there are few, if any, models of nonviolent conflict resolution in the media. Additionally, children
who watch
21 televised violence are desensitized to it. They may come to see violence as a fact of life and,
over time, lose
22 their ability to empathize with both the victim and the victimizer.
23 Child and adolescent psychiatrists, pediatricians and other physicians can have a major impact
on
24 the effects of media violence. The American Academy of Pediatrics (AAP) has created a list of
25 recommendations to address television violence. It suggests that physicians talk openly with
parents about
26 the nature and extent of viewing patterns in their homes. Parents should limit television to 1-2
hours daily
27 and watch programs with their children, enabling them to address any objectionable material
seen.
28 Physicians should make parents and schools "media literate," meaning they should understand
the risks of
29 exposure to violence and teach children how to interpret what they see on television and in the
movies,
30 including the intent and content of commercials. In doing so, children may be increasingly able
to discern
31 which media messages are suitable. Schools and homes should teach children conflict
resolution.
32 Physicians, in their role as health promoters, should become more active in educating the
media to become
33 more sensitive to the impact of violence on youth. The arena of media violence is a new frontier
where
34 physicians can promote health through public education and advocacy.
(http://www.aacap.org/cs/root/developmentor/the_impact_of_media_violence_on_children_and_adoles
cents_opportunities_for_clinical_interventions)
 
 
Segundo o texto, a Academia Americana de Pediatria
 
 
A) recomenda que as crianças parem de ver televisão e saiam para brincar fora de casa.
B) sugere que os pais limitem a quantidade de horas que seus filhos passam diante da televisão.
C) recomenda que os pais conversem com seus filhos sobre a diferença entre realidade e fantasia.
D) culpa os pais por deixarem suas crianças assistirem a filmes e programas de televisão violentos.
E) sugere que se faça acompanhamento psicológico das crianças que assistem a muitos atos de
violência.
Gabarito:
B
Resolução:
Como lemos na linhas 24-26, a Academia Americana de Pediatria ("American Academy of Pediatrics",
a AAP) criou uma série de recomendações para combater a violência na televisão. Nessa lista de
providências, a AAP sugere que os médicos falem abertamente com os pais sobre a natureza e a
extensão da exposição à televisão em suas casas. Segundo tais diretivas, os pais deveriam limitar o
hábito de assistir televisão para 1 a 2 horas diárias.
Questão 7
The Impact of Media Violence on Children and Adolescents: Opportunities for Clinical
Interventions
Eugene V. Beresin 
 
1 Over the past 30 years there has been extensive research on the
2 relationship between televised violence and violent behavior among
3 youth. Longitudinal, cross-sectional, and experimental studies have all
4 confirmed this correlation. Televised violence and the presence of
5 television in American households have increased steadily over the
6 years. Studies reveal that children watch approximately 28 hours of
7 television a week, more time than they spend in school. The typical
8 American child will view more than 200,000 acts of violence, including
9 more than 16,000 murders before age 18. Television programs display
10 812 violent acts per hour; children's programming, particularly cartoons,
11 displays up to 20 violent acts hourly.
12 How does televised violence result in aggressive behavior? Some researchers have
demonstrated
13 that very young children will imitate aggressive acts on TV in their play with peers. Before age
4, children
14 are unable to distinguish between fact and fantasy and may view violence as an ordinary
occurrence. In
15 general, violence on television and in movies often conveys a model of conflict resolution. It is
efficient,
16 frequent, and inconsequential. Heroes are violent, and, as such, are rewarded for their
behavior. They
17 become role models for youth. The typical scenario of using violence for a righteous cause may
translate in
18 daily life into a justification for using violence to retaliate against perceived victimizers. Hence,
vulnerable
19 youth who have been victimized may be tempted to use violent means to solve problems.
Unfortunately,
20 there are few, if any, models of nonviolent conflict resolution in the media. Additionally, children
who watch
21 televised violence are desensitized to it. They may come to see violence as a fact of life and,
over time, lose
22 their ability to empathize with both the victim and the victimizer.
23 Child and adolescent psychiatrists, pediatricians and other physicians can have a major impact
on
24 the effects of media violence. The American Academy of Pediatrics (AAP) has created a list of
25 recommendations to address televisionviolence. It suggests that physicians talk openly with
parents about
26 the nature and extent of viewing patterns in their homes. Parents should limit television to 1-2
hours daily
27 and watch programs with their children, enabling them to address any objectionable material
seen.
28 Physicians should make parents and schools "media literate," meaning they should understand
the risks of
29 exposure to violence and teach children how to interpret what they see on television and in the
movies,
30 including the intent and content of commercials. In doing so, children may be increasingly able
to discern
31 which media messages are suitable. Schools and homes should teach children conflict
resolution.
32 Physicians, in their role as health promoters, should become more active in educating the
media to become
33 more sensitive to the impact of violence on youth. The arena of media violence is a new frontier
where
34 physicians can promote health through public education and advocacy.
(http://www.aacap.org/cs/root/developmentor/the_impact_of_media_violence_on_children_and_adoles
cents_opportunities_for_clinical_interventions)
 
 
De acordo com o texto, os médicos devem fazer com que os pais e a escola sejam “letrados em
mídia”, ou seja, pais e educadores devem
 
 
A) se reunir para discutir as consequências da exposição à violência na televisão.
B) assistir aos programas de televisão junto com as crianças e limitar o acesso das crianças à
televisão.
C) estudar os riscos da exposição à violência na televisão, para determinar o que as crianças devem
assistir.
D) conversar com especialistas em mídia assim que perceberem algum comportamento agressivo nas
crianças.
E) compreender os riscos da exposição à violência e ensinar as crianças a interpretar o que elas veem
na televisão e nos filmes.
Gabarito:
E
Resolução:
Como lemos na linha 28-29, dentro do contexto analisado pelo artigo, uma recomendação aos
médicos é de que orientem pais e educadores para que esses se tornem "letrados em mídia" ("media
literate", linha 28), o que significaria compreender os riscos da exposição à violência e ensinar as
crianças a interpretar o que elas veem na televisão e nos filmes ("Physicians should make parents
and schools 'media literate', meaning they should understand the risks of exposure to violence and
teach children how to interpret what they see on television and in the movies").
Questão 8
The little prince who never really grew up
On July 31, 1944, Antoine de Saint-Exupery disappeared over the Mediterranean during a
reconnaissance mission for the French air force. In all likelihood, he was shot down by a German
ambush, but the mystery surrounding his death added a lustre to the already notorious reputation of
France’s most translated author, aviator, writer, bohemian, and aristocrat. 
Saint-Exupery lived a flamboyant tormented existence. Compulsively nostalgic, he spent most of his
adult years trying to recreate the memory of a sublime childhood. He risked his life for the fun of
flying through space, attempted to tame his capricious wife, and returned to battle when he was
really too old for it, unable to resist the comradeship of military duty. Like his most famous creation,
The Little Prince, he seems to have spent his lifetime wandering the globe, a curious but unhappy
visitor on this planet. 
Born in 1900, into a long line of French nobility, Antoine was the oldest of five siblings who were
raised in a large chateau at Saint-Maurice-de-Remens. With the exception of his father’s death in
1904, he enjoyed a coddled childhood, filled with aristocratic pleasures and idiosyncrasies. His mother
read morally uplifting stories to him under the linden trees. It was in this protected atmosphere of
luxury that Antoine developed his precocious fascination with mechanics and flying. 
The war ended just as he was about to report for duty. Instead, he went to Strasbourg and became a
pilot, finishing, typically, at the bottom of his class. Most of the adventures related in his early books,
Night Flight and Wind, Sand and Stars, took place between 1926 and 1932, when he flew for the
Latecoere airmail line in West Africa and South America. 
Webster suggests that Saint-Exupery flew dangerously off course on his final fatal flight because he
swung his plane inland to get a glimpse of Saint-Maurice-de-Remens. Again, like the little prince, he
was willing to die in order to get back home. 
(From The GUARDIAN WEEKLY, Jane Mendelsohn: American critic, about Paul Webster’s book:
”Antoine de Saint-Exupery: the Life and Death of the Little Prince”, October 17, 2006)
Antoine de Saint-Exupery:
0-0) died while working for the French air force.
1-1) seemed to lead a life without a fixed purpose.
2-2) had both a good and bad reputation.
3-3) experienced a showy, happy and adventurous but painful life.
4-4) had pleasure in evoking the past years.
Gabarito:
V V V V V
Resolução:
Todas as opções são verdadeiras. Antoine de Saint-Exupery, autor do mundialmente famoso O
Pequeno Príncipe, 0-0) faleceu enquanto trabalhava para a Forca Aérea Francesa; 1-1) parecia levar
uma vida sem um objetivo determinado; 2-2) era amplamente conhecido, mas possuía uma
reputação questionável; 3-3) teve uma vida feliz, permeada de aventuras e aparências, mas também
uma existência narcisista, conturbada e conflitante; e 4-4) era compulsivamente nostálgico.
Questão 9
The little prince who never really grew up
On July 31, 1944, Antoine de Saint-Exupery disappeared over the Mediterranean during a
reconnaissance mission for the French air force. In all likelihood, he was shot down by a German
ambush, but the mystery surrounding his death added a lustre to the already notorious reputation of
France’s most translated author, aviator, writer, bohemian, and aristocrat. 
Saint-Exupery lived a flamboyant tormented existence. Compulsively nostalgic, he spent most of his
adult years trying to recreate the memory of a sublime childhood. He risked his life for the fun of
flying through space, attempted to tame his capricious wife, and returned to battle when he was
really too old for it, unable to resist the comradeship of military duty. Like his most famous creation,
The Little Prince, he seems to have spent his lifetime wandering the globe, a curious but unhappy
visitor on this planet. 
Born in 1900, into a long line of French nobility, Antoine was the oldest of five siblings who were
raised in a large chateau at Saint-Maurice-de-Remens. With the exception of his father’s death in
1904, he enjoyed a coddled childhood, filled with aristocratic pleasures and idiosyncrasies. His mother
read morally uplifting stories to him under the linden trees. It was in this protected atmosphere of
luxury that Antoine developed his precocious fascination with mechanics and flying. 
The war ended just as he was about to report for duty. Instead, he went to Strasbourg and became a
pilot, finishing, typically, at the bottom of his class. Most of the adventures related in his early books,
Night Flight and Wind, Sand and Stars, took place between 1926 and 1932, when he flew for the
Latecoere airmail line in West Africa and South America. 
Webster suggests that Saint-Exupery flew dangerously off course on his final fatal flight because he
swung his plane inland to get a glimpse of Saint-Maurice-de-Remens. Again, like the little prince, he
was willing to die in order to get back home. 
(From The GUARDIAN WEEKLY, Jane Mendelsohn: American critic, about Paul Webster’s book:
”Antoine de Saint-Exupery: the Life and Death of the Little Prince”, October 17, 2006)
Antoine, the author of “The Little Prince,”
0-0) succeeded in reporting for duty.
1-1) wasn’t, in fact, a brilliant pilot student.
2-2) worked for the Latecoere airmail line.
3-3) had never been to Strasbourg nor South America.
4-4) couldn’t finish his book: “Night Flight and Wind”
Gabarito:
F V V F F
Resolução:
0-0) succeeded in reporting for duty. (Falso – ele estava prestes a fazê-lo, mas a guerraterminou
antes, linha 16).
1-1) wasn’t, in fact, a brilliant pilot student. (Verdadeiro – ele foi um dos últimos da sala no curso de
piloto).
2-2) worked for the Latecoere airmail line. (Verdadeiro).
3-3) had never been to Strasbourg or South America. (Falso – ele esteve nesses locais a fim de
estudar e trabalhar, respectivamente).
4-4) couldn’t finish his book: “Night Flight and Wind”. (Falso – o livro refere-se a suas aventuras
enquanto piloto, e não há menção de que não tenha sido terminado).
Questão 10
The little prince who never really grew up
On July 31, 1944, Antoine de Saint-Exupery disappeared over the Mediterranean during a
reconnaissance mission for the French air force. In all likelihood, he was shot down by a German
ambush, but the mystery surrounding his death added a lustre to the already notorious reputation of
France’s most translated author, aviator, writer, bohemian, and aristocrat. 
Saint-Exupery lived a flamboyant tormented existence. Compulsively nostalgic, he spent most of his
adult years trying to recreate the memory of a sublime childhood. He risked his life for the fun of
flying through space, attempted to tame his capricious wife, and returned to battle when he was
really too old for it, unable to resist the comradeship of military duty. Like his most famous creation,
The Little Prince, he seems to have spent his lifetime wandering the globe, a curious but unhappy
visitor on this planet. 
Born in 1900, into a long line of French nobility, Antoine was the oldest of five siblings who were
raised in a large chateau at Saint-Maurice-de-Remens. With the exception of his father’s death in
1904, he enjoyed a coddled childhood, filled with aristocratic pleasures and idiosyncrasies. His mother
read morally uplifting stories to him under the linden trees. It was in this protected atmosphere of
luxury that Antoine developed his precocious fascination with mechanics and flying. 
The war ended just as he was about to report for duty. Instead, he went to Strasbourg and became a
pilot, finishing, typically, at the bottom of his class. Most of the adventures related in his early books,
Night Flight and Wind, Sand and Stars, took place between 1926 and 1932, when he flew for the
Latecoere airmail line in West Africa and South America. 
Webster suggests that Saint-Exupery flew dangerously off course on his final fatal flight because he
swung his plane inland to get a glimpse of Saint-Maurice-de-Remens. Again, like the little prince, he
was willing to die in order to get back home. 
(From The GUARDIAN WEEKLY, Jane Mendelsohn: American critic, about Paul Webster’s book:
”Antoine de Saint-Exupery: the Life and Death of the Little Prince”, October 17, 2006)
As a child, the nostalgic Saint-Exupery
 
0-0) was treated formally and roughly.
1-1) was early seduced by mechanics and flying.
2-2) got too much attention from everyone in his home.
3-3) enjoyed upper class recreational activities.
4-4) listened to morally-encouraging stories that were read by his mom.
Gabarito:
F V V V V
Resolução:
0-0) was treated formally and roughly. (Falso – ele era mimado, “coddled”).
1-1) was early seduced by mechanics and flying. (Verdadeiro).
2-2) got too much attention from everyone in his home. (Verdadeiro – “protected atmosphere”).
3-3) enjoyed upper class recreational activities. (Verdadeiro);
4-4) listened to morally-encouraging stories that were read by his mom. (Verdadeiro).
Questão 11
The little prince who never really grew up
On July 31, 1944, Antoine de Saint-Exupery disappeared over the Mediterranean during a
reconnaissance mission for the French air force. In all likelihood, he was shot down by a German
ambush, but the mystery surrounding his death added a lustre to the already notorious reputation of
France’s most translated author, aviator, writer, bohemian, and aristocrat. 
Saint-Exupery lived a flamboyant tormented existence. Compulsively nostalgic, he spent most of his
adult years trying to recreate the memory of a sublime childhood. He risked his life for the fun of
flying through space, attempted to tame his capricious wife, and returned to battle when he was
really too old for it, unable to resist the comradeship of military duty. Like his most famous creation,
The Little Prince, he seems to have spent his lifetime wandering the globe, a curious but unhappy
visitor on this planet. 
Born in 1900, into a long line of French nobility, Antoine was the oldest of five siblings who were
raised in a large chateau at Saint-Maurice-de-Remens. With the exception of his father’s death in
1904, he enjoyed a coddled childhood, filled with aristocratic pleasures and idiosyncrasies. His mother
read morally uplifting stories to him under the linden trees. It was in this protected atmosphere of
luxury that Antoine developed his precocious fascination with mechanics and flying. 
The war ended just as he was about to report for duty. Instead, he went to Strasbourg and became a
pilot, finishing, typically, at the bottom of his class. Most of the adventures related in his early books,
Night Flight and Wind, Sand and Stars, took place between 1926 and 1932, when he flew for the
Latecoere airmail line in West Africa and South America. 
Webster suggests that Saint-Exupery flew dangerously off course on his final fatal flight because he
swung his plane inland to get a glimpse of Saint-Maurice-de-Remens. Again, like the little prince, he
was willing to die in order to get back home. 
(From The GUARDIAN WEEKLY, Jane Mendelsohn: American critic, about Paul Webster’s book:
”Antoine de Saint-Exupery: the Life and Death of the Little Prince”, October 17, 2006)
Webster, the author of “Antoine de Saint-Exupery: The Life and Death of the Little Prince,” thinks that
Saint-Exupery
0-0) flew his plane really low to be able to have a quick look at his hometown.
1-1) was a very skilled, careful and responsible pilot.
2-2) likewise the little prince, wanted to die so that he could get back home.
3-3) flew dangerously on his final flight because he liked challenging his wife.
4-4) committed suicide deliberately in order to let his wife free and joyful.
Gabarito:
V F V F F
Resolução:
0-0) flew his plane really low to be able to have a quick look at his hometown. (Verdadeiro).
1-1) was a very skilled, careful and responsible pilot. (Falso – ele foi um dos últimos da turma do curso
de piloto)
2-2) likewise the little prince, wanted to die so that he could get back home. (Verdadeiro).
3-3) flew dangerously on his final flight because he liked challenging his wife. (Falso – segundo
Webster, Saint-Exupery voou perigosamente porque queria ver o castelo de sua infância, Saint-
Maurice-de-Remens).
4-4) committed suicide deliberately in order to let his wife free and joyful. (Falso – ele não cometeu
suicídio, ele queria ver o castelo de sua infância).
Questão 12
The genre of autobiography and autofiction
 Derived from three Greek words meaning "self", "life" and "write",
autobiography is a
 style of writing that has been around nearly as long as history has been
recorded. Yet,
 autobiography was not classified as a genre within itself until the late
eighteenth century.
 In his book, Inside out, E. Stuart Bates offers a functional definition of
autobiography as "a
5 narrative of the past of a person by the person concerned". That definition,
however, is too
 broad for some literary critics. Many, such as Philippe Lejeune, wish to define
the genre more
 narrowly: "(a) retrospective prose narrative produced by a real person
concerning his own
 existence, focusing on his individual life, in particular on the development of
his personality".
 Despite disagreements concerning how inclusive the category of
autobiography should
10 be, there are characteristics that are common to the majority of
autobiographical works.
 These features are the grammatical perspective of the work, the identity of
the self, self-
 reflection and introspection.
 Most autobiographies are written from the first person singularperspective.
The author, the
 narrator and the protagonist must share a common identity for the work to be
considered
15 an autobiography. This common identity could be similar, but is not identical.
The self that
 the author constructs becomes a character within the story that may not be a
completely
 factual representation of the author’s actual past self.
 In their book The voice within, Roger Porter and H. R. Wolf state that "truth is
a highly
 subjective matter, and no autobiographer can represent exactly what
happened back then,
20 any more than a historian can definitively describe the real truth of the past".
 Because the author cannot describe events objectively, even the most
accurate
 autobiographies have fictional elements. The blurring of fiction and truth
characteristic
 of autobiography has even led to the creation of a subdivision within the
genre of
 autobiography that deals with fictionalized self-accounts. For this style of
writing that
25 blends characteristics of both fiction and autobiography, Serge Doubrovsky
coined the
 literary term "autofiction".
 The difference between traditional autobiography and the genre of autofiction
is that
 autobiographers are attempting to depict their real life, while writers of
autofiction are
 only basing their work upon real experiences. Writers of autofiction are not
expected to be
30 as historically accurate as possible as autobiographers are. According to Alex
Hughes,
 authors of autofiction are saying "this is me and this is not me". This sums up
autofiction.
 Autofiction draws from the life of the writer with the addition of fictional
elements to
 make the work more than just a life story.
 Autobiography is a popular genre. Writers of memoirs and life stories never
lack an
35 audience. People are interested in the actual lives of others and want to know
about
 others' pasts and feelings and desires. Autobiography is a way to organize
the story of a
 life and reflect on the past in order to better understand the present.
Available at: .
In the second paragraph, the author of the text cites E. Stuart Bates, who defines the
term autobiography. Another writer, Philippe Lejeune, criticizes this definition and proposes a new
one.The characteristic present in Lejeune's definition that justifies his criticism is:
a) erudition
b) ambiguity
c) usefulness
d) preciseness
Gabarito:
D
Resolução:
(Resolução oficial)
A definição proposta por Lejeune, em contraposição à de Bates, é mais precisa. Pode-se observar
tal característica tanto por meio da comparação entre elas, como também por meio da passagem do
texto que afirma "Lejeune [...] wish to define the genre more narrowly" (Lejeune deseja definir o
gênero mais precisamente), seguida da definição desse crítico.
Questão 13
The genre of autobiography and autofiction
 Derived from three Greek words meaning "self", "life" and "write",
autobiography is a
 style of writing that has been around nearly as long as history has been
recorded. Yet,
 autobiography was not classified as a genre within itself until the late
eighteenth century.
 In his book, Inside out, E. Stuart Bates offers a functional definition of
autobiography as "a
5 narrative of the past of a person by the person concerned". That definition,
however, is too
 broad for some literary critics. Many, such as Philippe Lejeune, wish to define
the genre more
 narrowly: "(a) retrospective prose narrative produced by a real person
concerning his own
 existence, focusing on his individual life, in particular on the development of
his personality".
 Despite disagreements concerning how inclusive the category of
autobiography should
10 be, there are characteristics that are common to the majority of
autobiographical works.
 These features are the grammatical perspective of the work, the identity of
the self, self-
 reflection and introspection.
 Most autobiographies are written from the first person singular perspective.
The author, the
 narrator and the protagonist must share a common identity for the work to be
considered
15 an autobiography. This common identity could be similar, but is not identical.
The self that
 the author constructs becomes a character within the story that may not be a
completely
 factual representation of the author’s actual past self.
 In their book The voice within, Roger Porter and H. R. Wolf state that "truth is
a highly
 subjective matter, and no autobiographer can represent exactly what
happened back then,
20 any more than a historian can definitively describe the real truth of the past".
 Because the author cannot describe events objectively, even the most
accurate
 autobiographies have fictional elements. The blurring of fiction and truth
characteristic
 of autobiography has even led to the creation of a subdivision within the
genre of
 autobiography that deals with fictionalized self-accounts. For this style of
writing that
25 blends characteristics of both fiction and autobiography, Serge Doubrovsky
coined the
 literary term "autofiction".
 The difference between traditional autobiography and the genre of autofiction
is that
 autobiographers are attempting to depict their real life, while writers of
autofiction are
 only basing their work upon real experiences. Writers of autofiction are not
expected to be
30 as historically accurate as possible as autobiographers are. According to Alex
Hughes,
 authors of autofiction are saying "this is me and this is not me". This sums up
autofiction.
 Autofiction draws from the life of the writer with the addition of fictional
elements to
 make the work more than just a life story.
 Autobiography is a popular genre. Writers of memoirs and life stories never
lack an
35 audience. People are interested in the actual lives of others and want to know
about
 others' pasts and feelings and desires. Autobiography is a way to organize
the story of a
 life and reflect on the past in order to better understand the present.
Available at: .
Before the difference between autofiction and autobiography is presented, an important concept for
the understanding of such distinction is introduced in the text.
This concept is the one of:
a) self
b) past
c) truth
d) genre
Gabarito:
C
Resolução:
(Resolução oficial)
O conceito introduzido é o de verdade ("truth"), presente no quinto parágrafo: "truth is a highly
subjective matter, and no autobiographer can represent exactly what happened back then" (verdade
é um assunto altamente subjetivo e nenhum autobiógrafo pode representar exatamente o que
aconteceu no passado). A distinção entre autobiografia e autoficção, feita no sétimo parágrafo,
estabelece que autobiógrafos tentam retratar sua vida real, enquanto autores de autoficção
simplesmente baseiam seu trabalho em suas experiências reais e que não se espera que sejam tão
precisos em termos históricos como os primeiros. Portanto, autores de autobiografia têm mais
compromisso com a verdade dos que os autores de autoficção.
Questão 14
The genre of autobiography and autofiction
 Derived from three Greek words meaning "self", "life" and "write",
autobiography is a
 style of writing that has been around nearly as long as history has been
recorded. Yet,
 autobiography was not classified as a genre within itself until the late
eighteenth century.
 In his book, Inside out, E. Stuart Bates offers a functional definition of
autobiography as "a
5 narrative of the past of a person by the person concerned". That definition,
however, is too
 broad for some literary critics. Many, such as Philippe Lejeune, wish to define
the genre more
 narrowly: "(a) retrospective prose narrative produced by a real person
concerning his own
 existence, focusing on his individual life, in particular on the development of
his personality".
 Despite disagreements concerning how inclusive the category of
autobiography should
10 be, there are characteristics that are common to the majority of
autobiographical works.
 Thesefeatures are the grammatical perspective of the work, the identity of
the self, self-
 reflection and introspection.
 Most autobiographies are written from the first person singular perspective.
The author, the
 narrator and the protagonist must share a common identity for the work to be
considered
15 an autobiography. This common identity could be similar, but is not identical.
The self that
 the author constructs becomes a character within the story that may not be a
completely
 factual representation of the author’s actual past self.
 In their book The voice within, Roger Porter and H. R. Wolf state that "truth is
a highly
 subjective matter, and no autobiographer can represent exactly what
happened back then,
20 any more than a historian can definitively describe the real truth of the past".
 Because the author cannot describe events objectively, even the most
accurate
 autobiographies have fictional elements. The blurring of fiction and truth
characteristic
 of autobiography has even led to the creation of a subdivision within the
genre of
 autobiography that deals with fictionalized self-accounts. For this style of
writing that
25 blends characteristics of both fiction and autobiography, Serge Doubrovsky
coined the
 literary term "autofiction".
 The difference between traditional autobiography and the genre of autofiction
is that
 autobiographers are attempting to depict their real life, while writers of
autofiction are
 only basing their work upon real experiences. Writers of autofiction are not
expected to be
30 as historically accurate as possible as autobiographers are. According to Alex
Hughes,
 authors of autofiction are saying "this is me and this is not me". This sums up
autofiction.
 Autofiction draws from the life of the writer with the addition of fictional
elements to
 make the work more than just a life story.
 Autobiography is a popular genre. Writers of memoirs and life stories never
lack an
35 audience. People are interested in the actual lives of others and want to know
about
 others' pasts and feelings and desires. Autobiography is a way to organize
the story of a
 life and reflect on the past in order to better understand the present.
Available at: .
The genre of autofiction shares some of the features of autobiographies.
One of the important characteristics of autofiction can be summarized as:
a) the distinction between reality and fiction is highly obscure
b) the discrimination between past and present is fairly vague
c) the difference between genre and style is intentionally hazy
d) the contrast between the self and the other is slightly ambiguous
Gabarito:
A
Resolução:
(Resolução oficial)
De acordo com o texto, autoficção é uma subdivisão do gênero autobiografia. Ambos os gêneros
têm em comum a mescla entre a ficção e a realidade. No entanto, a autoficção se caracteriza por ser
um relato ficcional de si próprio ("fictionalized self-accounts"). Nessa formulação, percebe-se que a
distinção entre realidade e ficção se torna obscura.
Questão 15
The genre of autobiography and autofiction
 Derived from three Greek words meaning "self", "life" and "write",
autobiography is a
 style of writing that has been around nearly as long as history has been
recorded. Yet,
 autobiography was not classified as a genre within itself until the late
eighteenth century.
 In his book, Inside out, E. Stuart Bates offers a functional definition of
autobiography as "a
5 narrative of the past of a person by the person concerned". That definition,
however, is too
 broad for some literary critics. Many, such as Philippe Lejeune, wish to define
the genre more
 narrowly: "(a) retrospective prose narrative produced by a real person
concerning his own
 existence, focusing on his individual life, in particular on the development of
his personality".
 Despite disagreements concerning how inclusive the category of
autobiography should
10 be, there are characteristics that are common to the majority of
autobiographical works.
 These features are the grammatical perspective of the work, the identity of
the self, self-
 reflection and introspection.
 Most autobiographies are written from the first person singular perspective.
The author, the
 narrator and the protagonist must share a common identity for the work to be
considered
15 an autobiography. This common identity could be similar, but is not identical.
The self that
 the author constructs becomes a character within the story that may not be a
completely
 factual representation of the author’s actual past self.
 In their book The voice within, Roger Porter and H. R. Wolf state that "truth is
a highly
 subjective matter, and no autobiographer can represent exactly what
happened back then,
20 any more than a historian can definitively describe the real truth of the past".
 Because the author cannot describe events objectively, even the most
accurate
 autobiographies have fictional elements. The blurring of fiction and truth
characteristic
 of autobiography has even led to the creation of a subdivision within the
genre of
 autobiography that deals with fictionalized self-accounts. For this style of
writing that
25 blends characteristics of both fiction and autobiography, Serge Doubrovsky
coined the
 literary term "autofiction".
 The difference between traditional autobiography and the genre of autofiction
is that
 autobiographers are attempting to depict their real life, while writers of
autofiction are
 only basing their work upon real experiences. Writers of autofiction are not
expected to be
30 as historically accurate as possible as autobiographers are. According to Alex
Hughes,
 authors of autofiction are saying "this is me and this is not me". This sums up
autofiction.
 Autofiction draws from the life of the writer with the addition of fictional
elements to
 make the work more than just a life story.
 Autobiography is a popular genre. Writers of memoirs and life stories never
lack an
35 audience. People are interested in the actual lives of others and want to know
about
 others' pasts and feelings and desires. Autobiography is a way to organize
the story of a
 life and reflect on the past in order to better understand the present.
Available at: .
"This sums up autofiction". (l. 31)
The highlighted pronoun refers to:
a) the summary of the term proper
b) the life of the autobiography writer
c) the feature of the genre concerned
d) the content of the preceding quotation
Gabarito:
D
Resolução:
(Resolução oficial)
O pronome demonstrativo "this" se refere ao conteúdo da citação que o precede: isso sou eu e isso
não sou eu ("this is me and this is not me").
Questão 16
The genre of autobiography and autofiction
 Derived from three Greek words meaning "self", "life" and "write",
autobiography is a
 style of writing that has been around nearly as long as history has been
recorded. Yet,
 autobiography was not classified as a genre within itself until the late
eighteenth century.
 In his book, Inside out, E. Stuart Bates offers a functional definition of
autobiography as "a
5 narrative of the past of a person by the person concerned". That definition,
however, is too
 broad for some literary critics. Many, such as Philippe Lejeune, wish to define
the genre more
 narrowly: "(a) retrospective prose narrative produced by a real person
concerning his own
 existence, focusing on his individual life, in particular on the development of
his personality".
 Despite disagreements concerning how inclusive the category of
autobiography should
10 be, there are characteristics that are common to the majority of
autobiographical works.
 These features are the grammatical perspective of the work, the identity of
the self, self-
 reflection and introspection.
 Most autobiographies are written from the first person singular perspective.
The author, the
 narrator and the protagonist must share a common identity for the work to be
considered
15 an autobiography.This common identity could be similar, but is not identical.
The self that
 the author constructs becomes a character within the story that may not be a
completely
 factual representation of the author’s actual past self.
 In their book The voice within, Roger Porter and H. R. Wolf state that "truth is
a highly
 subjective matter, and no autobiographer can represent exactly what
happened back then,
20 any more than a historian can definitively describe the real truth of the past".
 Because the author cannot describe events objectively, even the most
accurate
 autobiographies have fictional elements. The blurring of fiction and truth
characteristic
 of autobiography has even led to the creation of a subdivision within the
genre of
 autobiography that deals with fictionalized self-accounts. For this style of
writing that
25 blends characteristics of both fiction and autobiography, Serge Doubrovsky
coined the
 literary term "autofiction".
 The difference between traditional autobiography and the genre of autofiction
is that
 autobiographers are attempting to depict their real life, while writers of
autofiction are
 only basing their work upon real experiences. Writers of autofiction are not
expected to be
30 as historically accurate as possible as autobiographers are. According to Alex
Hughes,
 authors of autofiction are saying "this is me and this is not me". This sums up
autofiction.
 Autofiction draws from the life of the writer with the addition of fictional
elements to
 make the work more than just a life story.
 Autobiography is a popular genre. Writers of memoirs and life stories never
lack an
35 audience. People are interested in the actual lives of others and want to know
about
 others' pasts and feelings and desires. Autobiography is a way to organize
the story of a
 life and reflect on the past in order to better understand the present.
Available at: .
"Writers of memoirs and life stories never lack an audience. People are interested in the actual lives
of others" (l. 34-35)
The semantic relationship between the two sentences can be made explicit by the additon of
following connective:
a) unless
b) because
c) however
d) as though
Gabarito:
B
Resolução:
(Resolução oficial)
A relação semântica estabelecida entre as duas frases é de causa: os escritores de memórias
sempre têm público porque as pessoas se interessam pela vida dos outros. O conectivo em inglês que
explicita essa relação é "because".
Questão 17
THE FLAT EARTH CRUISE: SERIOUSLY, PEOPLE?
 Organizers of an annual conference that brings together people who believe that our planet is
not
 round are planning a cruise to the supposed edge of the Earth. They’re looking for the ice wall
that
 holds back the oceans.
 The journey will take place in 2020, the Flat Earth International Conference (FEIC) recently
05 announced on its website. The goal? To test so-called flat-Earthers’ assertion that the Earth is a
 flattened disk surrounded at its edge by a towering wall of ice.
 Details about the event, including the dates, are forthcoming, according to the FEIC, which calls
 the cruise “the biggest, boldest adventure yet”. However, it’s worth noting that nautical maps
and
 navigation technologies such as global positioning systems (GPS) work as they do because the
10 Earth is … a globe.
 Believers in a flat Earth argue that images showing a curved horizon are fake and that photos
of a
 round Earth from space are part of a vast conspiracy perpetrated by NASA and other space
agencies
 to hide Earth’s flatness. “This likely began during the cold war”, the Flat Earth Society (FES)
says.
 “The U.S.S.R. and U.S.A. were obsessed with beating each other into space to the point that
each
15 faked their accomplishments in an attempt to keep pace with the other’s supposed
achievements.”
 These and other flat-Earth assertions appear on the website of the FES, allegedly the world’s
oldest
 official flat Earth organization, dating to the early 1800s.
 However, the ancient Greeks demonstrated that Earth was a sphere more than 2.000 years
ago,
 and the gravity that keeps everything on the planet from flying off into space could exist only
on a
20 spherical world.
 But in diagrams shared on the FES website, the planet appears as a pancake-like disk with the
 North Pole smacked in the center and an edge “surrounded on all sides by an ice wall that
holds
 the oceans back”. This ice wall – thought by some flat-Earthers to be Antarctica – is the
destination
 of the promised FEIC cruise.
25 There’s just one catch: navigational charts and systems that guide cruise ships and other
vessels
 around the Earth’s oceans are all based on the principle of a round Earth, says Henk Keijer, a
 former cruise ship captain with 23 years of experience.
 GPS relies on a network of dozens of satellites orbiting thousands of miles above Earth; signals
 from the satellites beam down to the receiver inside of a GPS device, and at least three
satellites are
30 required to pinpoint a precise position because of Earth’s curvature, Keijer explained. “Had the
 Earth been flat, a total of three satellites would have been enough to provide this information to
 everyone on Earth”. He adds: “But it is not enough, because the Earth is round”.
 Whether or not, the FEIC cruise will rely on GPS or deploy an entirely new flat-Earth-based
 navigation system for finding the end of the world remains to be seen.
Adaptado de livescience.com, 30/05/2017.
people who believe that our planet is not round (l. 1-2). The expression from the text which
refers to this same group of people is:
(A) organizers of an annual conference (l. 1)
(B) the ancient Greeks (l. 18)
(C) flat-Earthers (l. 23)
(D) everyone on Earth (l. 32)
Gabarito:
C
Resolução:
(Resolução oficial)
Na linha 1 é mencionado que os organizadores de uma conferência para pessoas que acreditam que
nosso planeta não é redondo (people who believe that our planet is not round) estão planejando uma
viagem de cruzeiro. Na linha 5, é determinado quem são essas pessoas, designadas pelo termo flat-
Earthers (terraplanistas). 
Questão 18
THE KIDS ARE ALL RIGHT
In TV shows and movies, teenagers are often angry and unhappy. But according to a recent survey,
most of today's young people are affectionate, reasonable, and happy. In other words, teenagers are
not so bad after all.
The survey says that most teenagers get along well with their parents. Though teens go to their
friends for advice on music and clothes, they go to their parents when they have a problem. They ask
their parents for advice on college and careers. Most teenagers think that their parents understand
and love them. Many even think that their parents are cool!
Of course, teenagers keep secrets from their parents, but these are usually just teen items such as
diaries, CDs, and magazines.
And who do teenagers choose for their heroes? Many teens choose a family member, not a singer or
an actor. Most teens say they like spending time with both parents and friends.
In short, today's teenagers are very nice kids. As the band The Who used to sing, the kids are all right.
ABBS, Brian; BARKER, Chris; FREEBAIRN, Ingrid. Postcards 1: Teacher's edition. Longman: New York,
2003. Adapted.
According to the text, a survey is a ______________.
a) TV show
b) movie
c) study
d) magazine
e) book
Gabarito:
C
Resolução:
De acordo com o texto, uma "survey" recente teria apontado que a maioria dos jovens de hoje em dia
são bastante diferentes de seus retratos em filmes e programas de TV, nos quais são representados
como tristes e raivosos. Compreende-se que "survey" é uma pesquisa, ou seja, um estudo ("study",
como afirmado na alternativa C) sobre determinado assunto e público, que no caso são os jovens da
atualidade.
Questão 19
THE KIDS ARE ALL RIGHT
In TV shows and movies, teenagers are often angry and unhappy. But according to a recent survey,
most of today's young people are affectionate, reasonable, and happy. In other words,teenagers are
not so bad after all.
The survey says that most teenagers get along well with their parents. Though teens go to their
friends for advice on music and clothes, they go to their parents when they have a problem. They ask
their parents for advice on college and careers. Most teenagers think that their parents understand
and love them. Many even think that their parents are cool!
Of course, teenagers keep secrets from their parents, but these are usually just teen items such as
diaries, CDs, and magazines.
And who do teenagers choose for their heroes? Many teens choose a family member, not a singer or
an actor. Most teens say they like spending time with both parents and friends.
In short, today's teenagers are very nice kids. As the band The Who used to sing, the kids are all right.
ABBS, Brian; BARKER, Chris; FREEBAIRN, Ingrid. Postcards 1: Teacher's edition. Longman: New York,
2003. Adapted.
A hero is someone you ___________.
a) dislike
b) hate
c) avoid
d) don't care
e) respect a lot
Gabarito:
E
Resolução:
Um herói ("hero") é alguém que é muito respeitado, como frequentemente é o caso, segundo a
pesquisa relatada no texto, do sentimento que jovens nutrem por seus familiares, elegendo-os como
seus heróis ("And who do teenagers choose for their heroes? Many teens choose a family member,
not a singer or an actor").
Questão 20
THE KIDS ARE ALL RIGHT
In TV shows and movies, teenagers are often angry and unhappy. But according to a recent survey,
most of today's young people are affectionate, reasonable, and happy. In other words, teenagers are
not so bad after all.
The survey says that most teenagers get along well with their parents. Though teens go to their
friends for advice on music and clothes, they go to their parents when they have a problem. They ask
their parents for advice on college and careers. Most teenagers think that their parents understand
and love them. Many even think that their parents are cool!
Of course, teenagers keep secrets from their parents, but these are usually just teen items such as
diaries, CDs, and magazines.
And who do teenagers choose for their heroes? Many teens choose a family member, not a singer or
an actor. Most teens say they like spending time with both parents and friends.
In short, today's teenagers are very nice kids. As the band The Who used to sing, the kids are all right.
ABBS, Brian; BARKER, Chris; FREEBAIRN, Ingrid. Postcards 1: Teacher's edition. Longman: New York,
2003. Adapted.
"The kids are all right" means they
a) are a little lost.
b) have many troubles.
c) don’t like their parents.
d) are always bad.
e) have no problems.
Gabarito:
E
Resolução:
A frase que dá título ao texto, "The kids are all right", que é também o nome de uma música do grupo
de rock The Who, significa "as crianças estão bem", que elas não têm problemas – sentido que
resume a mensagem do texto, sobre a pesquisa que revelou que a maioria dos jovens na atualidade
não apresenta o perfil problemático, tal como suas respectivas representações frequentes em filmes
e programas de TV.