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Questão 1
1 Among the five prizes provided for in
2 Alfred Nobel's will (1895), one was
3 intended for the person who, in the
4 literary field, had produced "the most
5 outstanding work in an ideal direction".
6 The Laureate should be determined by
7 "the Academy in Stockholm", which was
8 specified by the statutes of the Nobel
9 Foundation to mean the Swedish
10 Academy. These statutes defined
literature
11 as "not only belles-lettres, but also other
12 writings which, by virtue of their form and
13 style, possess literary value".
14 As guidelines for the distribution of the
15 Literature Prize, the Swedish Academy
had
16 the general requirement for all the prizes
17 – the candidate should have bestowed
18 "the greatest benefit on mankind" – and
19 the special condition for literature, "in an
20 ideal direction". Both prescriptions are
21 vague and the second, in particular, was
22 to cause much discussion. What did
Nobel
23 actually mean by ideal? In fact, the
history
24 of the Literature Prize appears as a series
25 of attempts to interpret an imprecisely
26 worded will. The consecutive phases in
27 that history reflect the changing
sensibility
28 of an Academy continuously renewing
29 itself. The main source of knowledge of
30 the principles and criteria applied is the
31 annual reports which the Committee
32 presented to the Academy. Also the
33 correspondence between the members is
34 often enlightening. There is an obstacle
35 though: all Nobel information is to be
36 secret for 50 years.
37 A chapter in the history of the Literary
38 Prize could be entitled "A Literary Policy
of
39 Neutrality". The objectives laid down by
40 the new chairman of the Academy's
Nobel
41 Committee at the beginning of the First
42 World War kept the belligerent powers
43 outside, giving the small nations a
chance.
44 This policy partly explains the
45 Scandinavian over-representation on the
46 list in this period.
47 Another period, approximately
48 coinciding with the 1920s, could be
49 labeled "The Great Style". This key
50 concept in the reports of the Committee
51 reveals the connections with Wirsén's
52 epoch and its traits of classicism. With
53 such a standard the Academy was, of
54 course, out of touch with what happened
55 in contemporary literature. It could
56 appreciate Thomas Mann's Buddenbrooks
57 – a masterpiece "approaching the
classical
58 realism in Tolstoy" – but passed his Magic
59 Mountain over in silence.
60 In line with the requirement "the
61 greatest benefit on mankind", the
62 Academy of the 1930s tried a new
63 approach, equating this "mankind" with
64 the immediate readership of the works in
65 question. A report of its Committee
stated
66 "universal interest" as a criterion and the
67 Academy decided on writers within
68 everybody's reach, from Sinclair Lewis to
69 Pearl Buck, repudiating exclusive poets
70 like Paul Valéry and Paul Claudel.
71 Given a pause for renewal by the
72 Second World War and inspired by its
new
73 secretary, Anders Österling, the post-war
74 Academy finished this excursion into
75 popular taste, focusing instead on what
76 was called "the pioneers". Like in the
77 sciences, the Laureates were to be found
78 among those who paved the way for new
79 developments. In a way, this is another
80 interpretation of the formula "the
greatest
81 benefit on mankind": the perfect
candidate
82 was the one who had provided world
83 literature with new possibilities in outlook
84 and language.
85 The “pioneers" criterion lost weight,
86 however, as the heroic period of the
87 international avant-garde turned into
88 history and literary innovation became
less
89 ostentatious. Instead, the instruments
90 pointed at the "pioneers" of specific
91 linguistic areas. The 1988 Prize was
92 awarded a writer who, from a Western
93 point of view, rather administers the
94 heritage from Flaubert and Thomas
Mann.
95 In the Arabic world, on the other hand,
96 Naguib Mahfouz appears as the creator of
97 its contemporary novel.
98 Another policy, partly coinciding with
99 the one just outlined, partly replacing it,
is
100 "the pragmatic consideration". A growing
101 number within the Academy wanted to
call
102 attention to important but unnoticed
103 writers and literatures, thus giving the
104 world audience masterpieces they would
105 otherwise miss, and at the same time,
106 giving an important writer due attention.
107 The criterion gives poetry a prominent
108 place. In no other period were the poets
109 so well provided for as in the years 1990-
110 1996 when four of the seven prizes went
111 to Octavio Paz, Derek Walcott, Seamus
112 Heaney, and Wislawa Szymborska, all of
113 them earlier unknown to the world
114 audience.
115 The criteria discussed sometimes
116 alternate, sometimes coincide. The
117 spotlight on the unknown master Canetti
118 in 1981 is thus followed by the laurel to
119 the universally hailed "pioneer" of magic
120 realism, Gabriel García Márquez, in 1982.
121 Some Laureates answer both
122 requirements, like Faulkner, who was not
123 only "the great experimentalist among
124 twentieth-century novelists" – the
125 Academy was here fortunate enough to
126 anticipate Faulkner's enormous
127 importance to later fiction – but also, in
128 1950, a fairly unknown writer.
129 It is also realized that on the whole the 
130 serious literature that is worthy of a prize
131 furthers knowledge of man and his 
132 condition and endeavours to enrich and
133 improve his life. 
134 The Literary Prize has often given rise 
135 to discussion of its political implications. 
136 The Swedish Academy, for its part, has
on 
137 many occasions expressed a desire to
138 stand apart from political antagonisms. 
139 The guiding principle, in Lars Gyllensten's
140 words, has been "political integrity". This
141 has quite often not been understood.
142 The history of the Literature Prize is
143 also the history of its reception in the
144 press and in other media. Apart from
145 overlooking the changes in outlooks and
146 criteria within the Swedish Academy,
147 international criticism has tended to
148 neglect the crowd of likely names around
149 the Prize a specific year. The Academy
150 cannot have the ambition to crown all
151 worthy writers. What it cannot afford is
152 giving Nobel's laurel to a minor talent. Its
153 practice during the last full half-century
154 has also largely escaped criticism on that
155 point.
Adapted from the text by Kjell Espmark nobelprize.org/nobel_prizes/literature.
According to the text, the Swedish Academy is an institution that 
A) has never changed over the years.
B) changes its criteria of choice every year.
C) is in a continuous process of renewal.
D) may come to change in a near future.
Gabarito:
C
Resolução:
Como lemos no texto, as diversas fases da história da Academia Sueca refletem a sensibilidade de
uma instituição que se renova continuamente ("The consecutive phases in that history reflect the
changing sensibility of an Academy continuously renewing itself").
Tendo em vista o caráter de constante renovação apontado na alternativa correta, anulamos a
alternativa A por exclusão, por afimar o contrário.
A alternativa B é incorreta porque não é obrigatória essa renovação de critérios, ela acontece
acompanhando as renovações do mundo que, naturalmente, se refletem na literatura.
A alternativa D é incorreta porque o texto não faz essa afirmação.
Questão 2
1 Among the five prizes provided for in
2 Alfred Nobel's will (1895), one was
3 intended for the person who, in the
4 literary field, had produced "the most
5 outstanding work in an ideal direction".
6 The Laureate should be determined by
7 "the Academy in Stockholm", which was
8 specified by the statutes of the Nobel
9 Foundation to mean the Swedish
10 Academy. These statutes defined
literature
11 as "not only belles-lettres, but also other
12 writings which, by virtue of their form and
13 style, possess literary value".
14 As guidelines for the distributionliterature that is worthy of a prize
131 furthers knowledge of man and his 
132 condition and endeavours to enrich and
133 improve his life. 
134 The Literary Prize has often given rise 
135 to discussion of its political implications. 
136 The Swedish Academy, for its part, has
on 
137 many occasions expressed a desire to
138 stand apart from political antagonisms. 
139 The guiding principle, in Lars Gyllensten's
140 words, has been "political integrity". This
141 has quite often not been understood.
142 The history of the Literature Prize is
143 also the history of its reception in the
144 press and in other media. Apart from
145 overlooking the changes in outlooks and
146 criteria within the Swedish Academy,
147 international criticism has tended to
148 neglect the crowd of likely names around
149 the Prize a specific year. The Academy
150 cannot have the ambition to crown all
151 worthy writers. What it cannot afford is
152 giving Nobel's laurel to a minor talent. Its
153 practice during the last full half-century
154 has also largely escaped criticism on that
155 point.
Adapted from the text by Kjell Espmark nobelprize.org/nobel_prizes/literature.
 
According to the text, one of the things the Swedish Academy should not do is to 
A) choose a writer from remote regions.
B) call attention to unnoticed authors.
C) award the Nobel Prize to minor talents.
D) criticize unknown writers.
Gabarito:
C
Resolução:
Podemos confirmar a escolha da alternativa C através da leitura do último parágrafo do texto, no qual
o autor rebate algumas críticas dirigidas à Swedish Academy, alegando que não é possível
premiar todos os escritores que merecem o prêmio. Por outro lado, afirma o autor, uma coisa que a
academia não pode fazer é premiar talentos inferiores, de menor valor ("minor talents").
As outras alternativas não representam impedimentos a premiações pela academia, como podemos
conferir pela releitura dos critérios utilizados ao longo da história do prêmio Nobel, apresentados no
texto.
Questão 11
1
 
 
 Moving images are so pervasive in our lives
today
that it is hard to imagine a time when people did
without
them. They've become an essential element in
the way we
4
 
 
communicate, the way we think. They've
certainly
influenced every other form of art in some way.
 When photography was invented in 1839,
many
7
 
 
artists were repulsed by the new phenomenon.
The visual
arts of painting and sculpture had reigned for
millennia. A
painting wasn't just a reproduction — it
transformed the
10
 
 
objective reality which it portrayed into
something new, a
result which contains a mysterious quality that,
for lack of
a better phrase, was a part of the artist's soul.
The new
13
 
 
invention, which reflected reality back to us
through a 
mechanical device, seemed cold and frightening.
 People have always remembered, and tried to
16
 
 
preserve and transmit their memories through
time. History
was recorded through the written word. The
wisdom of the
past was transmitted through the myth, the
story, and later
19
 
 
the epic poem, drama and novel.
 I doubt if I am the only person who, while
watching an old movie, has had the morbid
thought occur
22
 
 
to him that "Everyone in the film is dead now".
Yet, they 
are still on the screen, moving, laughing,
dancing, just as
they did when alive.
25
 
 
 The Lumières began to show their short films
in
1985. They were a sensation. Imagine if you can
the
astonishment experienced by the audiences, to
see a
28
 
 
projected moving image on a large screen. One
effect was
fright. It os said that when the Lumières showed
their film of
the arrivel of a train at a station, the audience
jumped back
31
 
 
 
from the screen as if they were going to be run
over by the
oncoming train.
Internet: www.cinescene.com (adapted).
Based on the text, judge the following items (right or wrong).
• Since the beginning of human history, there has been a need to remember the past.
• The author of the text believes he is the only person who thinks that people shown in old films are
already dead.
• People were taken aback when they saw the Lumieres’ short movie showing the arrival of a train at
a station being projected on a big screen.
• In the first half of the eighteenth century, when photography was first invented, the visual artists
welcome it as a new phenomenon.
Gabarito:
C E C E
Resolução:
• C – A partir da leitura das linhas 15 e 16 do texto, "people have always remembered, and tried to
preserve and transmit their memories through time".
• E – O autor não acredita ser o único a ter esta ideia. Na linha 20 ele usa o verbo "doubt" (duvido)
para se referir a sua percepção sobre os filmes antigos, "I doubt if I am the only person who, while
watching an old movie, has had the morbid thought occur to him that 'Everyone in this film is dead
http://www.cinescene.com
now'".
• C – O texto descreve como surpreendente a experiência do público diante do feito dos irmãos
Lumiére. O autor usa a palavra "astonishment" (espanto) que aparece na alternativa como predicado
do público, "people were taken aback", sendo "taken aback" uma expressão para "supreendidos".
• E – Segundo o texto, como vemos já no segundo parágrafo, houve repulsa por parte dos artistas
visuais da primeira metade do século XIX (e não XVII) diante da invenção da fotografia.
Questão 12
Women in the rodeo
Disponível em:
.
In the huge, open lands
of the American west,
herding cattle is one
way to make a living.
The image of the
cowboy on his horse is
a familiar one, _______
in reality, women also
participate in ranch
work. This reality can
be seen in the rodeo,
_______ cowboys and
cowgirls compete in
roping young steer, and
riding adult bulls.
Throwing a rope around
a steer is something
ranchers must do
_______ give the young
animals medicine or to
mark the steers as their
property. _______, riding
on the back of a large
and angry bull is purely
for sport – a brutal and
dangerous sport.
_______, the danger
doesn’t stop the men
and women who love
the rodeo.
JOHANNSEN, Kristin &
CHASE, Rebecca. World
English: real people,
real
places, real language.
Boston: Heinle
Cengage, 2010.
Adaptado.
 
Fill in the gaps with the correct words or expressions to give the text cohesion an coherence.
a) where / in order to / because / But / If
b) but / where / in order to / On the other hand / However
c) moreover / on the other hand / where / Which / But
d) in order to / but / on the other hand / Where / However
e) If / where / therefore / Because / On the other hand
Gabarito:
 B
Resolução:
A alternativa correta é a B. Preenchendo corretamente as lacunas, com atenção às relações de
coesão e coerência, teríamos:
"The image of the cowboy on his horse is a familiar one, but in reality, women also participate in
ranch work." ("A imagem do vaqueiro em seu cavalo é familiar, mas na realidade, as mulheres
também participam do trabalho no rancho".)
"This reality can be seen in the rodeo, where cowboys and cowgirls compete..." ("Essa realidade
pode ser vista no rodeio, onde vaqueiros e vaqueiras competem...")
"Throwing a rope around a steer is something ranchers must do in order to give the young animals
medicine..." ("Lançar uma corda em um boi é algo que os fazendeiros têm que fazer para dar remédio
aos animais jovens...")
"On the other hand, riding on the back of a large and angry bull is purely for sport..." ("Por outro
lado, montar no lombo de um touro grande e bravo se faz puramente por esporte...")
"However, the danger doesn’t stop the men and women who love the rodeo" ("No entanto, o perigo
não pode barrar os homens e mulheres que adoram rodeio.")
Questão 13
Women in the rodeo
Disponível em:
.
In the huge, open lands
of the American west,
herding cattle is one
way to make a living.
The image of the
cowboy on his horse is
a familiar one, _______
in reality, women also
participate inranch
work. This reality can
be seen in the rodeo,
_______ cowboys and
cowgirls compete in
roping young steer, and
riding adult bulls.
Throwing a rope around
a steer is something
ranchers must do
_______ give the young
animals medicine or to
mark the steers as their
property. _______, riding
on the back of a large
and angry bull is purely
for sport – a brutal and
dangerous sport.
_______, the danger
doesn’t stop the men
and women who love
the rodeo.
JOHANNSEN, Kristin &
CHASE, Rebecca. World
English: real people,
real
places, real language.
Boston: Heinle
Cengage, 2010.
Adaptado.
 
Observe os elementos linguísticos em destaque:
“[…] herding cattle is one way to make a living.”; “[…] compete in roping young steer, and riding
adult bulls. Throwing a rope around a steer is something […]”.
Em todos esses exemplos, é correto afirmar que a forma -ing corresponde ao uso de
a) adjetivo.
b) substantivo e conjunção.
c) gerúndio.
d) infinitivo.
e) preposição e substantivo.
Gabarito:
D
Resolução:
No trecho em foco, os termos "herding", riding" e "Throwing", formados com -ing, correspondem ao
uso de infinitivo, forma básica dos verbos destacados.
Questão 14
 All for one and one for all is what we all should be.
 But instead we go and fight each other.
 Now, that wasn’t meant to be.
 You know, the sun is there to light the day.
05 The night is lit by the moon
 If we don’t come together, my brother, it all can end very soon.
 
 It’s your world now.
 The future is plain to see.
 (Sing it, yeah. Sing it, yeah, yeah, yeah.).
10 Give love right now.
 We need the harmony.
Disponível em: jackson-five>. Acesso em: 19 mar. 2017.
The sentence “If we don’t come together, my brother, it all can end very soon.” (v. 6) describes
(01) an improbability.
(02) a real possibility .
(03) a past probability.
(04) an unreal condition.
(05) a vague promise.
Gabarito:
02
Resolução:
A frase "If we don’t come together, my brother, it all can end very soon" (“Se não nos unirmos, meu
irmão, tudo pode acabar muito em breve”) descreve, por meio de uma condicional de tipo 1 (if clause
no simple present, main clause no simple future) uma condição possível e seu resultado provável,
possibilidade real.
Questão 15
 All for one and one for all is what we all should be.
 But instead we go and fight each other.
 Now, that wasn’t meant to be.
 You know, the sun is there to light the day.
05 The night is lit by the moon
 If we don’t come together, my brother, it all can end very soon.
 
 It’s your world now.
 The future is plain to see.
 (Sing it, yeah. Sing it, yeah, yeah, yeah.).
10 Give love right now.
 We need the harmony.
Disponível em: jackson-five>. Acesso em: 19 mar. 2017.
In this excerpt from the song “We can change the world” by Michael Jackson and the Jackson 5, the
song writer stresses the importance of
(01) having good education.
(02) fighting for wars.
(03) promoting peace.
(04) avoiding togetherness.
(05) watching the stars.
Gabarito:
03
Resolução:
No trecho em foco da música “We can change the world” ("Nós podemos mudar o mundo"), de
Michael Jackson e Jackson 5, o autor da canção enfatiza a importância de promover a paz, como
depreende-se de versos como "Give love right now./ We need the harmony" ("Dê amor, agora/
Precisamos da harmonia").
Questão 16
 All for one and one for all is what we all should be.
 But instead we go and fight each other.
 Now, that wasn’t meant to be.
 You know, the sun is there to light the day.
05 The night is lit by the moon
 If we don’t come together, my brother, it all can end very soon.
 
 It’s your world now.
 The future is plain to see.
 (Sing it, yeah. Sing it, yeah, yeah, yeah.).
10 Give love right now.
 We need the harmony.
Disponível em: jackson-five>. Acesso em: 19 mar. 2017.
In the line “But instead we go and fight each other.” (v. 2), the song writer criticizes people’s
(01) inaction.
(02) laziness.
(03) egocentrism.
(04) belligerence.
(05) recklessness.
Gabarito:
04
Resolução:
No segundo verso “But instead we go and fight each other.” (“Mas em vez disso vamos lutar uns
contra os outros”), o compositor critica a beligerância das pessoas, que ao invés de agirem um por
todos e todos por um, lutam umas contra as outras.
Questão 17
 Adolescence is universally recognized as a trying
 time for parents and children. But new brain research
 suggests this period of immature and often reckless
 behavior is more than just a stage for parents and teens
05 to endure. It is a vital time for adolescents to chart the
 course for the adults they will ultimately become. One
 brain researcher points out that it is during our teen years
 that we learn how to navigate the world outside the safety
 of home, how to connect deeply with others and how to
10 safely take risks. He says that by understanding how
 the brain functions, teens can improve their own lives
 and those of their parents.
ADOLESCENCE is universally... Disponível em: . Acesso em: 19
mar. 2017.
Fill in the parentheses with T (True) or F (False).
It’s stated in the text that
( ) teenagers usually have a carefree and adventurous behavior.
( ) most adolescents are reluctant to give up the safety of their homes.
( ) our social skills start developing during our teen years.
( ) adolescents are more than likely to avoid risky activities.
The correct sequence, from top to bottom, is
(01) T F T F
(02) F T F T
(03) T T F F
(04) F T T F
(05) T T T T
Gabarito:
01
Resolução:
De acordo com o texto em foco: é verdadeiro (T) que os adolescentes geralmente têm um
comportamento despreocupado e aventureiro ("during our teen years that we learn how to navigate
the world outside the safety of home, [...] and how to safely take risks"); é falso (F) que a maioria dos
adolescentes reluta em desistir da segurança de suas casas ("during our teen years that we learn how
to navigate the world outside the safety of home"); é verdadeiro que nossas habilidades sociais
começam a se desenvolver durante nossa adolescência. ("during our teen years that we learn [...]
how to connect deeply with others "); é falso que os adolescentes têm maior probabilidade de evitar
atividades arriscadas ("during our teen years that we learn [...] how to safely take risks").
Questão 18
1 ?Harvard conducted one of the longest and most comprehensive studies of human
development – the 75 year?
 ?old Grant Study – that’s reached some fascinating conclusions regarding the recipe for leading
a happy life. The?
 ?sample group was comprised of healthy male Harvard college students who, over the course of
their lifetime, agreed?
 ?to meet with an array of scientists and researchers who measured their psychological, physical
and anthropological?
5 ?traits. Though all identities are confidential, it was recently discovered that John F. Kennedy
was a sample participant.?
 ?Following these men through times of war, their careers, parenthood and old age, the Grant
Study has amassed an?
 ?exorbitant amount of data that deeply reflects the human condition. What can be concluded
from seven decades of?
 ?data? It is quite simple actually; warm relationships between parents, spouses, children and
friends have the greatest?
 ?impact on your health and happiness in old age. The study found that 93 percent of the
sample group who were?
10 ?thriving at age 65, had a close relationship with a sibling when they were younger. As George
Vaillant, the lead?
 ?director of the study states, it can all be boiled down into five simple words: “Happiness is
love. Full stop.”
Business Insider. Disponível em: . Acesso em: 10 jun. 2013.?
A Grant Study, pesquisa realizada pela Universidade de Harvard,
a) teve por objetivo investigar o comportamento de pessoas idosas e felizes.
b) possibilitou o levantamento gigantesco de dados sobre pesquisadores de Harvard.
c) comprovou que John F. Kennedy foi um homem extremamente feliz.d) chama-se "the 75 year old Grant Study" por ser homenagem à faixa etária analisada.
e) comprovou que felicidade na vida adulta está atrelada às relações afetivas ao longo da vida.
Gabarito:
E
Resolução:
A Grant Study, pesquisa realizada pela Universidade de Harvard, comprovou que a felicidade na vida
adulta está atrelada às relações afetivas ao longo da vida. Como lemos no texto: "It is quite simple
actually; warm relationships between parents, spouses, children and friends have the greatest?
impact on your health and happiness in old age." (É muito simples, na verdade; as relações
carinhosas entre os pais, cônjuges, filhos e amigos são as que têm o maior impacto sobre sua saúde e
felicidade na velhice.)
Questão 19
1 ?Harvard conducted one of the longest and most comprehensive studies of human
development – the 75 year?
 ?old Grant Study – that’s reached some fascinating conclusions regarding the recipe for leading
a happy life. The?
 ?sample group was comprised of healthy male Harvard college students who, over the course of
their lifetime, agreed?
 ?to meet with an array of scientists and researchers who measured their psychological, physical
and anthropological?
5 ?traits. Though all identities are confidential, it was recently discovered that John F. Kennedy
was a sample participant.?
 ?Following these men through times of war, their careers, parenthood and old age, the Grant
Study has amassed an?
 ?exorbitant amount of data that deeply reflects the human condition. What can be concluded
from seven decades of?
 ?data? It is quite simple actually; warm relationships between parents, spouses, children and
friends have the greatest?
 ?impact on your health and happiness in old age. The study found that 93 percent of the
sample group who were?
10 ?thriving at age 65, had a close relationship with a sibling when they were younger. As George
Vaillant, the lead?
 ?director of the study states, it can all be boiled down into five simple words: “Happiness is
love. Full stop.”
Business Insider. Disponível em: . Acesso em: 10 jun. 2013.?
Assinale a opção cuja reescrita não altera o sentido de: "Though all identities are confidential, it was
recently discovered that John F. Kennedy was a sample participant." (linha 5).
a) John F. Kennedy was a sample participant, although nobody knew that.
b) In spite of being a sample participant, John F. Kennedy’s identity was never discovered.
c) The study was confidential, thus the participation of John F. Kennedy was never discovered.
d) Besides being a confidential study, John F. Kennedy said he used to be a participant.
e) In spite of the fact that all identities are kept confidential, it was recently found out that John
F. Kennedy was a sample participant.
Gabarito:
E
Resolução:
A alternativa cuja reescrita não altera o sentido da oração apresentada é: "In spite of the fact that all
identities are kept confidential, it was recently found out that John F. Kennedy was a sample
participant.". Em português, teríamos o seguinte conteúdo na opção assinalada: "Apesar do fato de
todas as identidades serem mantidas em sigilo, descobriu-se recentemente que John F. Kennedy foi
um dos participantes da pesquisa".
Questão 20
1 ?Harvard conducted one of the longest and most comprehensive studies of human
development – the 75 year?
 ?old Grant Study – that’s reached some fascinating conclusions regarding the recipe for leading
a happy life. The?
 ?sample group was comprised of healthy male Harvard college students who, over the course of
their lifetime, agreed?
 ?to meet with an array of scientists and researchers who measured their psychological, physical
and anthropological?
5 ?traits. Though all identities are confidential, it was recently discovered that John F. Kennedy
was a sample participant.?
 ?Following these men through times of war, their careers, parenthood and old age, the Grant
Study has amassed an?
 ?exorbitant amount of data that deeply reflects the human condition. What can be concluded
from seven decades of?
 ?data? It is quite simple actually; warm relationships between parents, spouses, children and
friends have the greatest?
 ?impact on your health and happiness in old age. The study found that 93 percent of the
sample group who were?
10 ?thriving at age 65, had a close relationship with a sibling when they were younger. As George
Vaillant, the lead?
 ?director of the study states, it can all be boiled down into five simple words: “Happiness is
love. Full stop.”
Business Insider. Disponível em: . Acesso em: 10 jun. 2013.?
Substituindo os adjetivos "long" e "comprehensive", respectivamente, por "easy" e "rich" na oração
"Harvard conducted one of the longest and most comprehensive studies of human development"
(linha 1), teremos:
a) the most easy – the richest.
b) the easiest – the most rich.
c) the more easy – the richer.
d) the easiest – the richest.
e) the most easy – the most rich.
Gabarito:
D
Resolução:
Substituindo os adjetivos "long" e "comprehensive", respectivamente, por "easy" e "rich" na oração
"Harvard conducted one of the longest and most comprehensive studies of human development"
(linha 1), teremos: "Harvard conducted one of the easiest and richest studies of human
development". Todos os adjetivos em questão são formas superlativas.of the
15 Literature Prize, the Swedish Academy
had
16 the general requirement for all the prizes
17 – the candidate should have bestowed
18 "the greatest benefit on mankind" – and
19 the special condition for literature, "in an
20 ideal direction". Both prescriptions are
21 vague and the second, in particular, was
22 to cause much discussion. What did
Nobel
23 actually mean by ideal? In fact, the
history
24 of the Literature Prize appears as a series
25 of attempts to interpret an imprecisely
26 worded will. The consecutive phases in
27 that history reflect the changing
sensibility
28 of an Academy continuously renewing
29 itself. The main source of knowledge of
30 the principles and criteria applied is the
31 annual reports which the Committee
32 presented to the Academy. Also the
33 correspondence between the members is
34 often enlightening. There is an obstacle
35 though: all Nobel information is to be
36 secret for 50 years.
37 A chapter in the history of the Literary
38 Prize could be entitled "A Literary Policy
of
39 Neutrality". The objectives laid down by
40 the new chairman of the Academy's
Nobel
41 Committee at the beginning of the First
42 World War kept the belligerent powers
43 outside, giving the small nations a
chance.
44 This policy partly explains the
45 Scandinavian over-representation on the
46 list in this period.
47 Another period, approximately
48 coinciding with the 1920s, could be
49 labeled "The Great Style". This key
50 concept in the reports of the Committee
51 reveals the connections with Wirsén's
52 epoch and its traits of classicism. With
53 such a standard the Academy was, of
54 course, out of touch with what happened
55 in contemporary literature. It could
56 appreciate Thomas Mann's Buddenbrooks
57 – a masterpiece "approaching the
classical
58 realism in Tolstoy" – but passed his Magic
59 Mountain over in silence.
60 In line with the requirement "the
61 greatest benefit on mankind", the
62 Academy of the 1930s tried a new
63 approach, equating this "mankind" with
64 the immediate readership of the works in
65 question. A report of its Committee
stated
66 "universal interest" as a criterion and the
67 Academy decided on writers within
68 everybody's reach, from Sinclair Lewis to
69 Pearl Buck, repudiating exclusive poets
70 like Paul Valéry and Paul Claudel.
71 Given a pause for renewal by the
72 Second World War and inspired by its
new
73 secretary, Anders Österling, the post-war
74 Academy finished this excursion into
75 popular taste, focusing instead on what
76 was called "the pioneers". Like in the
77 sciences, the Laureates were to be found
78 among those who paved the way for new
79 developments. In a way, this is another
80 interpretation of the formula "the
greatest
81 benefit on mankind": the perfect
candidate
82 was the one who had provided world
83 literature with new possibilities in outlook
84 and language.
85 The “pioneers" criterion lost weight,
86 however, as the heroic period of the
87 international avant-garde turned into
88 history and literary innovation became
less
89 ostentatious. Instead, the instruments
90 pointed at the "pioneers" of specific
91 linguistic areas. The 1988 Prize was
92 awarded a writer who, from a Western
93 point of view, rather administers the
94 heritage from Flaubert and Thomas
Mann.
95 In the Arabic world, on the other hand,
96 Naguib Mahfouz appears as the creator of
97 its contemporary novel.
98 Another policy, partly coinciding with
99 the one just outlined, partly replacing it,
is
100 "the pragmatic consideration". A growing
101 number within the Academy wanted to
call
102 attention to important but unnoticed
103 writers and literatures, thus giving the
104 world audience masterpieces they would
105 otherwise miss, and at the same time,
106 giving an important writer due attention.
107 The criterion gives poetry a prominent
108 place. In no other period were the poets
109 so well provided for as in the years 1990-
110 1996 when four of the seven prizes went
111 to Octavio Paz, Derek Walcott, Seamus
112 Heaney, and Wislawa Szymborska, all of
113 them earlier unknown to the world
114 audience.
115 The criteria discussed sometimes
116 alternate, sometimes coincide. The
117 spotlight on the unknown master Canetti
118 in 1981 is thus followed by the laurel to
119 the universally hailed "pioneer" of magic
120 realism, Gabriel García Márquez, in 1982.
121 Some Laureates answer both
122 requirements, like Faulkner, who was not
123 only "the great experimentalist among
124 twentieth-century novelists" – the
125 Academy was here fortunate enough to
126 anticipate Faulkner's enormous
127 importance to later fiction – but also, in
128 1950, a fairly unknown writer.
129 It is also realized that on the whole the 
130 serious literature that is worthy of a prize
131 furthers knowledge of man and his 
132 condition and endeavours to enrich and
133 improve his life. 
134 The Literary Prize has often given rise 
135 to discussion of its political implications. 
136 The Swedish Academy, for its part, has
on 
137 many occasions expressed a desire to
138 stand apart from political antagonisms. 
139 The guiding principle, in Lars Gyllensten's
140 words, has been "political integrity". This
141 has quite often not been understood.
142 The history of the Literature Prize is
143 also the history of its reception in the
144 press and in other media. Apart from
145 overlooking the changes in outlooks and
146 criteria within the Swedish Academy,
147 international criticism has tended to
148 neglect the crowd of likely names around
149 the Prize a specific year. The Academy
150 cannot have the ambition to crown all
151 worthy writers. What it cannot afford is
152 giving Nobel's laurel to a minor talent. Its
153 practice during the last full half-century
154 has also largely escaped criticism on that
155 point.
Adapted from the text by Kjell Espmark nobelprize.org/nobel_prizes/literature.
As to the policy adopted by the Swedish Academy during the First World War, the text states that it 
A) excluded the countries involved in the conflict.
B) gave a chance to authors from the belligerent nations.
C) refused to accept nominations of Scandinavians.
D) maintained its neutrality position as it had done before.
Gabarito:
A
Resolução:
Como lemos no texto, durante a Primeira Guerra Mundial, a política de distribuição dos prêmios
excluiu os países beligerantes, isto é, que estavam em guerra, envolvidos no conflito ("The objectives
laid down by the new chairman of the Academy's Nobel Committee at the beginning of the First World
War kept the belligerent powers outside, giving the small nations a chance.").
A alternativa B é incorreta por exclusão, tendo em vista A.
A alternativa C é incorreta, pois o texto atribui a grande representação dos países escandinavos no
período a tal critério na época aplicado.
A alternativa D é incorreta porque o histórico da insituição aponta com frequência a parcialidade
política na escolha dos premiados.
Questão 3
1 Among the five prizes provided for in
2 Alfred Nobel's will (1895), one was
3 intended for the person who, in the
4 literary field, had produced "the most
5 outstanding work in an ideal direction".
6 The Laureate should be determined by
7 "the Academy in Stockholm", which was
8 specified by the statutes of the Nobel
9 Foundation to mean the Swedish
10 Academy. These statutes defined
literature
11 as "not only belles-lettres, but also other
12 writings which, by virtue of their form and
13 style, possess literary value".
14 As guidelines for the distribution of the
15 Literature Prize, the Swedish Academy
had
16 the general requirement for all the prizes
17 – the candidate should have bestowed
18 "the greatest benefit on mankind" – and
19 the special condition for literature, "in an
20 ideal direction". Both prescriptions are
21 vague and the second, in particular, was
22 to cause much discussion. What did
Nobel
23 actually mean by ideal? In fact, the
history
24 ofthe Literature Prize appears as a series
25 of attempts to interpret an imprecisely
26 worded will. The consecutive phases in
27 that history reflect the changing
sensibility
28 of an Academy continuously renewing
29 itself. The main source of knowledge of
30 the principles and criteria applied is the
31 annual reports which the Committee
32 presented to the Academy. Also the
33 correspondence between the members is
34 often enlightening. There is an obstacle
35 though: all Nobel information is to be
36 secret for 50 years.
37 A chapter in the history of the Literary
38 Prize could be entitled "A Literary Policy
of
39 Neutrality". The objectives laid down by
40 the new chairman of the Academy's
Nobel
41 Committee at the beginning of the First
42 World War kept the belligerent powers
43 outside, giving the small nations a
chance.
44 This policy partly explains the
45 Scandinavian over-representation on the
46 list in this period.
47 Another period, approximately
48 coinciding with the 1920s, could be
49 labeled "The Great Style". This key
50 concept in the reports of the Committee
51 reveals the connections with Wirsén's
52 epoch and its traits of classicism. With
53 such a standard the Academy was, of
54 course, out of touch with what happened
55 in contemporary literature. It could
56 appreciate Thomas Mann's Buddenbrooks
57 – a masterpiece "approaching the
classical
58 realism in Tolstoy" – but passed his Magic
59 Mountain over in silence.
60 In line with the requirement "the
61 greatest benefit on mankind", the
62 Academy of the 1930s tried a new
63 approach, equating this "mankind" with
64 the immediate readership of the works in
65 question. A report of its Committee
stated
66 "universal interest" as a criterion and the
67 Academy decided on writers within
68 everybody's reach, from Sinclair Lewis to
69 Pearl Buck, repudiating exclusive poets
70 like Paul Valéry and Paul Claudel.
71 Given a pause for renewal by the
72 Second World War and inspired by its
new
73 secretary, Anders Österling, the post-war
74 Academy finished this excursion into
75 popular taste, focusing instead on what
76 was called "the pioneers". Like in the
77 sciences, the Laureates were to be found
78 among those who paved the way for new
79 developments. In a way, this is another
80 interpretation of the formula "the
greatest
81 benefit on mankind": the perfect
candidate
82 was the one who had provided world
83 literature with new possibilities in outlook
84 and language.
85 The “pioneers" criterion lost weight,
86 however, as the heroic period of the
87 international avant-garde turned into
88 history and literary innovation became
less
89 ostentatious. Instead, the instruments
90 pointed at the "pioneers" of specific
91 linguistic areas. The 1988 Prize was
92 awarded a writer who, from a Western
93 point of view, rather administers the
94 heritage from Flaubert and Thomas
Mann.
95 In the Arabic world, on the other hand,
96 Naguib Mahfouz appears as the creator of
97 its contemporary novel.
98 Another policy, partly coinciding with
99 the one just outlined, partly replacing it,
is
100 "the pragmatic consideration". A growing
101 number within the Academy wanted to
call
102 attention to important but unnoticed
103 writers and literatures, thus giving the
104 world audience masterpieces they would
105 otherwise miss, and at the same time,
106 giving an important writer due attention.
107 The criterion gives poetry a prominent
108 place. In no other period were the poets
109 so well provided for as in the years 1990-
110 1996 when four of the seven prizes went
111 to Octavio Paz, Derek Walcott, Seamus
112 Heaney, and Wislawa Szymborska, all of
113 them earlier unknown to the world
114 audience.
115 The criteria discussed sometimes
116 alternate, sometimes coincide. The
117 spotlight on the unknown master Canetti
118 in 1981 is thus followed by the laurel to
119 the universally hailed "pioneer" of magic
120 realism, Gabriel García Márquez, in 1982.
121 Some Laureates answer both
122 requirements, like Faulkner, who was not
123 only "the great experimentalist among
124 twentieth-century novelists" – the
125 Academy was here fortunate enough to
126 anticipate Faulkner's enormous
127 importance to later fiction – but also, in
128 1950, a fairly unknown writer.
129 It is also realized that on the whole the 
130 serious literature that is worthy of a prize
131 furthers knowledge of man and his 
132 condition and endeavours to enrich and
133 improve his life. 
134 The Literary Prize has often given rise 
135 to discussion of its political implications. 
136 The Swedish Academy, for its part, has
on 
137 many occasions expressed a desire to
138 stand apart from political antagonisms. 
139 The guiding principle, in Lars Gyllensten's
140 words, has been "political integrity". This
141 has quite often not been understood.
142 The history of the Literature Prize is
143 also the history of its reception in the
144 press and in other media. Apart from
145 overlooking the changes in outlooks and
146 criteria within the Swedish Academy,
147 international criticism has tended to
148 neglect the crowd of likely names around
149 the Prize a specific year. The Academy
150 cannot have the ambition to crown all
151 worthy writers. What it cannot afford is
152 giving Nobel's laurel to a minor talent. Its
153 practice during the last full half-century
154 has also largely escaped criticism on that
155 point.
Adapted from the text by Kjell Espmark nobelprize.org/nobel_prizes/literature.
 
As to the French poet Paul Valéry, it is stated in the text that he was not awarded the Nobel Prize
because of 
A) an old quarrel between the French and the Swedish.
B) the fact that he was Paul Claudel’s contemporary.
C) the policy of that period which focused on popular taste.
D) his disapproving position towards the Academy.
Gabarito:
C
Resolução:
Como lemos no texto, o autor Paul Valéry deixou de receber o prêmio Nobel porque, naquele período,
a academia havia decidido por premiar autores de alcance amplo, de gosto popular, fator que o
excluía. ("A report of its Committee stated Academy decided on writers within everybody's reach,
from Sinclair Lewis to Pearl Buck, repudiating exclusive poets like Paul Valéry and Paul Claudel.").
A alternativa A é incorreta porque não está presente no texto.
A alternativa B é incorreta porque o critério de exclusão de Valéry não foi ser contemporâneo de
Claudel, mas sim não ser um escritor de apelo popular – e isso sim o ligava a Claudel, excluído pelo
mesmo motivo.
A alternativa D é incorreta por não estar mencionada no texto.
Questão 4
1 Among the five prizes provided for in
2 Alfred Nobel's will (1895), one was
3 intended for the person who, in the
4 literary field, had produced "the most
5 outstanding work in an ideal direction".
6 The Laureate should be determined by
7 "the Academy in Stockholm", which was
8 specified by the statutes of the Nobel
9 Foundation to mean the Swedish
10 Academy. These statutes defined
literature
11 as "not only belles-lettres, but also other
12 writings which, by virtue of their form and
13 style, possess literary value".
14 As guidelines for the distribution of the
15 Literature Prize, the Swedish Academy
had
16 the general requirement for all the prizes
17 – the candidate should have bestowed
18 "the greatest benefit on mankind" – and
19 the special condition for literature, "in an
20 ideal direction". Both prescriptions are
21 vague and the second, in particular, was
22 to cause much discussion. What did
Nobel
23 actually mean by ideal? In fact, the
history
24 of the Literature Prize appears as a series
25 of attempts to interpret an imprecisely
26 worded will. The consecutive phases in
27 that history reflect the changing
sensibility
28 of an Academy continuously renewing
29 itself. The main source of knowledge of
30 the principles and criteria applied is the
31 annual reports which the Committee
32 presented to the Academy. Also the
33 correspondencebetween the members is
34 often enlightening. There is an obstacle
35 though: all Nobel information is to be
36 secret for 50 years.
37 A chapter in the history of the Literary
38 Prize could be entitled "A Literary Policy
of
39 Neutrality". The objectives laid down by
40 the new chairman of the Academy's
Nobel
41 Committee at the beginning of the First
42 World War kept the belligerent powers
43 outside, giving the small nations a
chance.
44 This policy partly explains the
45 Scandinavian over-representation on the
46 list in this period.
47 Another period, approximately
48 coinciding with the 1920s, could be
49 labeled "The Great Style". This key
50 concept in the reports of the Committee
51 reveals the connections with Wirsén's
52 epoch and its traits of classicism. With
53 such a standard the Academy was, of
54 course, out of touch with what happened
55 in contemporary literature. It could
56 appreciate Thomas Mann's Buddenbrooks
57 – a masterpiece "approaching the
classical
58 realism in Tolstoy" – but passed his Magic
59 Mountain over in silence.
60 In line with the requirement "the
61 greatest benefit on mankind", the
62 Academy of the 1930s tried a new
63 approach, equating this "mankind" with
64 the immediate readership of the works in
65 question. A report of its Committee
stated
66 "universal interest" as a criterion and the
67 Academy decided on writers within
68 everybody's reach, from Sinclair Lewis to
69 Pearl Buck, repudiating exclusive poets
70 like Paul Valéry and Paul Claudel.
71 Given a pause for renewal by the
72 Second World War and inspired by its
new
73 secretary, Anders Österling, the post-war
74 Academy finished this excursion into
75 popular taste, focusing instead on what
76 was called "the pioneers". Like in the
77 sciences, the Laureates were to be found
78 among those who paved the way for new
79 developments. In a way, this is another
80 interpretation of the formula "the
greatest
81 benefit on mankind": the perfect
candidate
82 was the one who had provided world
83 literature with new possibilities in outlook
84 and language.
85 The “pioneers" criterion lost weight,
86 however, as the heroic period of the
87 international avant-garde turned into
88 history and literary innovation became
less
89 ostentatious. Instead, the instruments
90 pointed at the "pioneers" of specific
91 linguistic areas. The 1988 Prize was
92 awarded a writer who, from a Western
93 point of view, rather administers the
94 heritage from Flaubert and Thomas
Mann.
95 In the Arabic world, on the other hand,
96 Naguib Mahfouz appears as the creator of
97 its contemporary novel.
98 Another policy, partly coinciding with
99 the one just outlined, partly replacing it,
is
100 "the pragmatic consideration". A growing
101 number within the Academy wanted to
call
102 attention to important but unnoticed
103 writers and literatures, thus giving the
104 world audience masterpieces they would
105 otherwise miss, and at the same time,
106 giving an important writer due attention.
107 The criterion gives poetry a prominent
108 place. In no other period were the poets
109 so well provided for as in the years 1990-
110 1996 when four of the seven prizes went
111 to Octavio Paz, Derek Walcott, Seamus
112 Heaney, and Wislawa Szymborska, all of
113 them earlier unknown to the world
114 audience.
115 The criteria discussed sometimes
116 alternate, sometimes coincide. The
117 spotlight on the unknown master Canetti
118 in 1981 is thus followed by the laurel to
119 the universally hailed "pioneer" of magic
120 realism, Gabriel García Márquez, in 1982.
121 Some Laureates answer both
122 requirements, like Faulkner, who was not
123 only "the great experimentalist among
124 twentieth-century novelists" – the
125 Academy was here fortunate enough to
126 anticipate Faulkner's enormous
127 importance to later fiction – but also, in
128 1950, a fairly unknown writer.
129 It is also realized that on the whole the 
130 serious literature that is worthy of a prize
131 furthers knowledge of man and his 
132 condition and endeavours to enrich and
133 improve his life. 
134 The Literary Prize has often given rise 
135 to discussion of its political implications. 
136 The Swedish Academy, for its part, has
on 
137 many occasions expressed a desire to
138 stand apart from political antagonisms. 
139 The guiding principle, in Lars Gyllensten's
140 words, has been "political integrity". This
141 has quite often not been understood.
142 The history of the Literature Prize is
143 also the history of its reception in the
144 press and in other media. Apart from
145 overlooking the changes in outlooks and
146 criteria within the Swedish Academy,
147 international criticism has tended to
148 neglect the crowd of likely names around
149 the Prize a specific year. The Academy
150 cannot have the ambition to crown all
151 worthy writers. What it cannot afford is
152 giving Nobel's laurel to a minor talent. Its
153 practice during the last full half-century
154 has also largely escaped criticism on that
155 point.
Adapted from the text by Kjell Espmark nobelprize.org/nobel_prizes/literature.
 
The choice of Gabriel García Márquez for the Nobel in 1982 is mentioned in the text as an example of
a criterion which focused on 
A) unknown magic realism novelists.
B) an already widely acclaimed “pioneer” writer.
C) authors from non-European countries.
D) a new generation of modern poets.
Gabarito:
B
Resolução:
Como lemos no texto, em alternância ao prêmio concedido ao então desconhecido escritor Canetti,
em 1981, a academia conferiu o prêmio seguinte a um já nomeado escritor, o "pioneiro" do realismo
fantástico, Gabriel García Márquez, "universalmente conhecido" ("universally hailed 'pioneer' of magic
realism, Gabriel García Márquez, in 1982.").
Questão 5
1 Among the five prizes provided for in
2 Alfred Nobel's will (1895), one was
3 intended for the person who, in the
4 literary field, had produced "the most
5 outstanding work in an ideal direction".
6 The Laureate should be determined by
7 "the Academy in Stockholm", which was
8 specified by the statutes of the Nobel
9 Foundation to mean the Swedish
10 Academy. These statutes defined
literature
11 as "not only belles-lettres, but also other
12 writings which, by virtue of their form and
13 style, possess literary value".
14 As guidelines for the distribution of the
15 Literature Prize, the Swedish Academy
had
16 the general requirement for all the prizes
17 – the candidate should have bestowed
18 "the greatest benefit on mankind" – and
19 the special condition for literature, "in an
20 ideal direction". Both prescriptions are
21 vague and the second, in particular, was
22 to cause much discussion. What did
Nobel
23 actually mean by ideal? In fact, the
history
24 of the Literature Prize appears as a series
25 of attempts to interpret an imprecisely
26 worded will. The consecutive phases in
27 that history reflect the changing
sensibility
28 of an Academy continuously renewing
29 itself. The main source of knowledge of
30 the principles and criteria applied is the
31 annual reports which the Committee
32 presented to the Academy. Also the
33 correspondence between the members is
34 often enlightening. There is an obstacle
35 though: all Nobel information is to be
36 secret for 50 years.
37 A chapter in the history of the Literary
38 Prize could be entitled "A Literary Policy
of
39 Neutrality". The objectives laid down by
40 the new chairman of the Academy's
Nobel
41 Committee at the beginning of the First
42 World War kept the belligerent powers
43 outside, giving the small nations a
chance.
44 This policy partly explains the
45 Scandinavian over-representation on the
46 list in this period.
47 Another period, approximately
48 coinciding with the 1920s, could be
49 labeled "The Great Style". This key
50 concept in the reports of the Committee
51 reveals the connections with Wirsén's
52 epoch and its traits of classicism. With
53 such a standard the Academywas, of
54 course, out of touch with what happened
55 in contemporary literature. It could
56 appreciate Thomas Mann's Buddenbrooks
57 – a masterpiece "approaching the
classical
58 realism in Tolstoy" – but passed his Magic
59 Mountain over in silence.
60 In line with the requirement "the
61 greatest benefit on mankind", the
62 Academy of the 1930s tried a new
63 approach, equating this "mankind" with
64 the immediate readership of the works in
65 question. A report of its Committee
stated
66 "universal interest" as a criterion and the
67 Academy decided on writers within
68 everybody's reach, from Sinclair Lewis to
69 Pearl Buck, repudiating exclusive poets
70 like Paul Valéry and Paul Claudel.
71 Given a pause for renewal by the
72 Second World War and inspired by its
new
73 secretary, Anders Österling, the post-war
74 Academy finished this excursion into
75 popular taste, focusing instead on what
76 was called "the pioneers". Like in the
77 sciences, the Laureates were to be found
78 among those who paved the way for new
79 developments. In a way, this is another
80 interpretation of the formula "the
greatest
81 benefit on mankind": the perfect
candidate
82 was the one who had provided world
83 literature with new possibilities in outlook
84 and language.
85 The “pioneers" criterion lost weight,
86 however, as the heroic period of the
87 international avant-garde turned into
88 history and literary innovation became
less
89 ostentatious. Instead, the instruments
90 pointed at the "pioneers" of specific
91 linguistic areas. The 1988 Prize was
92 awarded a writer who, from a Western
93 point of view, rather administers the
94 heritage from Flaubert and Thomas
Mann.
95 In the Arabic world, on the other hand,
96 Naguib Mahfouz appears as the creator of
97 its contemporary novel.
98 Another policy, partly coinciding with
99 the one just outlined, partly replacing it,
is
100 "the pragmatic consideration". A growing
101 number within the Academy wanted to
call
102 attention to important but unnoticed
103 writers and literatures, thus giving the
104 world audience masterpieces they would
105 otherwise miss, and at the same time,
106 giving an important writer due attention.
107 The criterion gives poetry a prominent
108 place. In no other period were the poets
109 so well provided for as in the years 1990-
110 1996 when four of the seven prizes went
111 to Octavio Paz, Derek Walcott, Seamus
112 Heaney, and Wislawa Szymborska, all of
113 them earlier unknown to the world
114 audience.
115 The criteria discussed sometimes
116 alternate, sometimes coincide. The
117 spotlight on the unknown master Canetti
118 in 1981 is thus followed by the laurel to
119 the universally hailed "pioneer" of magic
120 realism, Gabriel García Márquez, in 1982.
121 Some Laureates answer both
122 requirements, like Faulkner, who was not
123 only "the great experimentalist among
124 twentieth-century novelists" – the
125 Academy was here fortunate enough to
126 anticipate Faulkner's enormous
127 importance to later fiction – but also, in
128 1950, a fairly unknown writer.
129 It is also realized that on the whole the 
130 serious literature that is worthy of a prize
131 furthers knowledge of man and his 
132 condition and endeavours to enrich and
133 improve his life. 
134 The Literary Prize has often given rise 
135 to discussion of its political implications. 
136 The Swedish Academy, for its part, has
on 
137 many occasions expressed a desire to
138 stand apart from political antagonisms. 
139 The guiding principle, in Lars Gyllensten's
140 words, has been "political integrity". This
141 has quite often not been understood.
142 The history of the Literature Prize is
143 also the history of its reception in the
144 press and in other media. Apart from
145 overlooking the changes in outlooks and
146 criteria within the Swedish Academy,
147 international criticism has tended to
148 neglect the crowd of likely names around
149 the Prize a specific year. The Academy
150 cannot have the ambition to crown all
151 worthy writers. What it cannot afford is
152 giving Nobel's laurel to a minor talent. Its
153 practice during the last full half-century
154 has also largely escaped criticism on that
155 point.
Adapted from the text by Kjell Espmark nobelprize.org/nobel_prizes/literature.
 
As to criticism toward the Academy, the author of the text says that they tend not to take into
account 
A) some special moments in the history of mankind and also the Academy’s ambition to include minor
talents. 
 
B) all the changes it has gone through and the difficulty in choosing from too many names
sometimes. 
 
C) the hardships of war periods and the attempt to always reward all deserving authors from different
parts of the world. 
 
D) the difficulty in following exactly the same criteria over a period of more than a hundred years and
the disillusion with the lack of talents recently.
Gabarito:
B
Resolução:
Como lemos no texto, o autor rebate o criticismo contra a academia dizendo que tais críticas tendem
a negligenciar as mudanças empreendidas ao longo do tempo por ela e a dificuldade de se atruibuir o
prêmio diante de tantos possíveis nomes, de acordo com o ano ("Apart from overlooking the changes
in outlooks and criteria within the Swedish Academy, international criticism has tended to neglect the
crowd of likely names around the Prize a specific year. The Academy cannot have the ambition to
crown all worthy writers.").
Questão 6
1 Among the five prizes provided for in
2 Alfred Nobel's will (1895), one was
3 intended for the person who, in the
4 literary field, had produced "the most
5 outstanding work in an ideal direction".
6 The Laureate should be determined by
7 "the Academy in Stockholm", which was
8 specified by the statutes of the Nobel
9 Foundation to mean the Swedish
10 Academy. These statutes defined
literature
11 as "not only belles-lettres, but also other
12 writings which, by virtue of their form and
13 style, possess literary value".
14 As guidelines for the distribution of the
15 Literature Prize, the Swedish Academy
had
16 the general requirement for all the prizes
17 – the candidate should have bestowed
18 "the greatest benefit on mankind" – and
19 the special condition for literature, "in an
20 ideal direction". Both prescriptions are
21 vague and the second, in particular, was
22 to cause much discussion. What did
Nobel
23 actually mean by ideal? In fact, the
history
24 of the Literature Prize appears as a series
25 of attempts to interpret an imprecisely
26 worded will. The consecutive phases in
27 that history reflect the changing
sensibility
28 of an Academy continuously renewing
29 itself. The main source of knowledge of
30 the principles and criteria applied is the
31 annual reports which the Committee
32 presented to the Academy. Also the
33 correspondence between the members is
34 often enlightening. There is an obstacle
35 though: all Nobel information is to be
36 secret for 50 years.
37 A chapter in the history of the Literary
38 Prize could be entitled "A Literary Policy
of
39 Neutrality". The objectives laid down by
40 the new chairman of the Academy's
Nobel
41 Committee at the beginning of the First
42 World War kept the belligerent powers
43 outside, giving the small nations a
chance.
44 This policy partly explains the
45 Scandinavian over-representation on the
46 list in this period.
47 Another period, approximately
48 coinciding with the 1920s, could be
49 labeled "The Great Style". This key
50 concept in the reports of the Committee
51 reveals the connections with Wirsén's
52 epoch and its traits of classicism. With
53 such a standard the Academy was, of
54 course, out of touch with what happened
55 in contemporary literature. It could
56 appreciate Thomas Mann's Buddenbrooks
57 – a masterpiece "approaching the
classical
58 realism in Tolstoy" – but passed his Magic
59 Mountain over in silence.
60 In line with the requirement "the
61 greatest benefit on mankind", the62 Academy of the 1930s tried a new
63 approach, equating this "mankind" with
64 the immediate readership of the works in
65 question. A report of its Committee
stated
66 "universal interest" as a criterion and the
67 Academy decided on writers within
68 everybody's reach, from Sinclair Lewis to
69 Pearl Buck, repudiating exclusive poets
70 like Paul Valéry and Paul Claudel.
71 Given a pause for renewal by the
72 Second World War and inspired by its
new
73 secretary, Anders Österling, the post-war
74 Academy finished this excursion into
75 popular taste, focusing instead on what
76 was called "the pioneers". Like in the
77 sciences, the Laureates were to be found
78 among those who paved the way for new
79 developments. In a way, this is another
80 interpretation of the formula "the
greatest
81 benefit on mankind": the perfect
candidate
82 was the one who had provided world
83 literature with new possibilities in outlook
84 and language.
85 The “pioneers" criterion lost weight,
86 however, as the heroic period of the
87 international avant-garde turned into
88 history and literary innovation became
less
89 ostentatious. Instead, the instruments
90 pointed at the "pioneers" of specific
91 linguistic areas. The 1988 Prize was
92 awarded a writer who, from a Western
93 point of view, rather administers the
94 heritage from Flaubert and Thomas
Mann.
95 In the Arabic world, on the other hand,
96 Naguib Mahfouz appears as the creator of
97 its contemporary novel.
98 Another policy, partly coinciding with
99 the one just outlined, partly replacing it,
is
100 "the pragmatic consideration". A growing
101 number within the Academy wanted to
call
102 attention to important but unnoticed
103 writers and literatures, thus giving the
104 world audience masterpieces they would
105 otherwise miss, and at the same time,
106 giving an important writer due attention.
107 The criterion gives poetry a prominent
108 place. In no other period were the poets
109 so well provided for as in the years 1990-
110 1996 when four of the seven prizes went
111 to Octavio Paz, Derek Walcott, Seamus
112 Heaney, and Wislawa Szymborska, all of
113 them earlier unknown to the world
114 audience.
115 The criteria discussed sometimes
116 alternate, sometimes coincide. The
117 spotlight on the unknown master Canetti
118 in 1981 is thus followed by the laurel to
119 the universally hailed "pioneer" of magic
120 realism, Gabriel García Márquez, in 1982.
121 Some Laureates answer both
122 requirements, like Faulkner, who was not
123 only "the great experimentalist among
124 twentieth-century novelists" – the
125 Academy was here fortunate enough to
126 anticipate Faulkner's enormous
127 importance to later fiction – but also, in
128 1950, a fairly unknown writer.
129 It is also realized that on the whole the 
130 serious literature that is worthy of a prize
131 furthers knowledge of man and his 
132 condition and endeavours to enrich and
133 improve his life. 
134 The Literary Prize has often given rise 
135 to discussion of its political implications. 
136 The Swedish Academy, for its part, has
on 
137 many occasions expressed a desire to
138 stand apart from political antagonisms. 
139 The guiding principle, in Lars Gyllensten's
140 words, has been "political integrity". This
141 has quite often not been understood.
142 The history of the Literature Prize is
143 also the history of its reception in the
144 press and in other media. Apart from
145 overlooking the changes in outlooks and
146 criteria within the Swedish Academy,
147 international criticism has tended to
148 neglect the crowd of likely names around
149 the Prize a specific year. The Academy
150 cannot have the ambition to crown all
151 worthy writers. What it cannot afford is
152 giving Nobel's laurel to a minor talent. Its
153 practice during the last full half-century
154 has also largely escaped criticism on that
155 point.
Adapted from the text by Kjell Espmark nobelprize.org/nobel_prizes/literature.
 
The writer who won the Prize in 1988 
A) published less ostentatious literature.
B) created happy-ending stories with universal interest.
C) introduced the Arabian contemporary novel.
D) discussed relevant political issues.
Gabarito:
C
Resolução:
Como lemos nas linhas 91 a 97, o ganhador do prêmio Nobel de literatura em 1988 foi um escritor
que, no mundo árabe, figura como o criador do romance contemporâneo.
("The 1988 Prize was awarded a writer who, from a Western point of view, rather administers the
heritage from Flaubert and Thomas Mann. In the Arabic world, on the other hand, Naguib Mahfouz
appears as the creator ofits contemporary novel.")
Questão 7
1 Among the five prizes provided for in
2 Alfred Nobel's will (1895), one was
3 intended for the person who, in the
4 literary field, had produced "the most
5 outstanding work in an ideal direction".
6 The Laureate should be determined by
7 "the Academy in Stockholm", which was
8 specified by the statutes of the Nobel
9 Foundation to mean the Swedish
10 Academy. These statutes defined
literature
11 as "not only belles-lettres, but also other
12 writings which, by virtue of their form and
13 style, possess literary value".
14 As guidelines for the distribution of the
15 Literature Prize, the Swedish Academy
had
16 the general requirement for all the prizes
17 – the candidate should have bestowed
18 "the greatest benefit on mankind" – and
19 the special condition for literature, "in an
20 ideal direction". Both prescriptions are
21 vague and the second, in particular, was
22 to cause much discussion. What did
Nobel
23 actually mean by ideal? In fact, the
history
24 of the Literature Prize appears as a series
25 of attempts to interpret an imprecisely
26 worded will. The consecutive phases in
27 that history reflect the changing
sensibility
28 of an Academy continuously renewing
29 itself. The main source of knowledge of
30 the principles and criteria applied is the
31 annual reports which the Committee
32 presented to the Academy. Also the
33 correspondence between the members is
34 often enlightening. There is an obstacle
35 though: all Nobel information is to be
36 secret for 50 years.
37 A chapter in the history of the Literary
38 Prize could be entitled "A Literary Policy
of
39 Neutrality". The objectives laid down by
40 the new chairman of the Academy's
Nobel
41 Committee at the beginning of the First
42 World War kept the belligerent powers
43 outside, giving the small nations a
chance.
44 This policy partly explains the
45 Scandinavian over-representation on the
46 list in this period.
47 Another period, approximately
48 coinciding with the 1920s, could be
49 labeled "The Great Style". This key
50 concept in the reports of the Committee
51 reveals the connections with Wirsén's
52 epoch and its traits of classicism. With
53 such a standard the Academy was, of
54 course, out of touch with what happened
55 in contemporary literature. It could
56 appreciate Thomas Mann's Buddenbrooks
57 – a masterpiece "approaching the
classical
58 realism in Tolstoy" – but passed his Magic
59 Mountain over in silence.
60 In line with the requirement "the
61 greatest benefit on mankind", the
62 Academy of the 1930s tried a new
63 approach, equating this "mankind" with
64 the immediate readership of the works in
65 question. A report of its Committee
stated
66 "universal interest" as a criterion and the
67 Academy decided on writers within
68 everybody's reach, from Sinclair Lewis to
69 Pearl Buck, repudiating exclusive poets
70 like Paul Valéry and Paul Claudel.
71 Given a pause for renewal by the
72 Second World War and inspired by its
new
73 secretary, Anders Österling, the post-war
74 Academy finished this excursion into
75 popular taste, focusing instead on what
76 was called "the pioneers". Like in the
77 sciences, the Laureates were to be found
78 among those who paved the way for new
79 developments. In a way, this is another
80 interpretation of the formula "the
greatest
81 benefit on mankind":the perfect
candidate
82 was the one who had provided world
83 literature with new possibilities in outlook
84 and language.
85 The “pioneers" criterion lost weight,
86 however, as the heroic period of the
87 international avant-garde turned into
88 history and literary innovation became
less
89 ostentatious. Instead, the instruments
90 pointed at the "pioneers" of specific
91 linguistic areas. The 1988 Prize was
92 awarded a writer who, from a Western
93 point of view, rather administers the
94 heritage from Flaubert and Thomas
Mann.
95 In the Arabic world, on the other hand,
96 Naguib Mahfouz appears as the creator of
97 its contemporary novel.
98 Another policy, partly coinciding with
99 the one just outlined, partly replacing it,
is
100 "the pragmatic consideration". A growing
101 number within the Academy wanted to
call
102 attention to important but unnoticed
103 writers and literatures, thus giving the
104 world audience masterpieces they would
105 otherwise miss, and at the same time,
106 giving an important writer due attention.
107 The criterion gives poetry a prominent
108 place. In no other period were the poets
109 so well provided for as in the years 1990-
110 1996 when four of the seven prizes went
111 to Octavio Paz, Derek Walcott, Seamus
112 Heaney, and Wislawa Szymborska, all of
113 them earlier unknown to the world
114 audience.
115 The criteria discussed sometimes
116 alternate, sometimes coincide. The
117 spotlight on the unknown master Canetti
118 in 1981 is thus followed by the laurel to
119 the universally hailed "pioneer" of magic
120 realism, Gabriel García Márquez, in 1982.
121 Some Laureates answer both
122 requirements, like Faulkner, who was not
123 only "the great experimentalist among
124 twentieth-century novelists" – the
125 Academy was here fortunate enough to
126 anticipate Faulkner's enormous
127 importance to later fiction – but also, in
128 1950, a fairly unknown writer.
129 It is also realized that on the whole the 
130 serious literature that is worthy of a prize
131 furthers knowledge of man and his 
132 condition and endeavours to enrich and
133 improve his life. 
134 The Literary Prize has often given rise 
135 to discussion of its political implications. 
136 The Swedish Academy, for its part, has
on 
137 many occasions expressed a desire to
138 stand apart from political antagonisms. 
139 The guiding principle, in Lars Gyllensten's
140 words, has been "political integrity". This
141 has quite often not been understood.
142 The history of the Literature Prize is
143 also the history of its reception in the
144 press and in other media. Apart from
145 overlooking the changes in outlooks and
146 criteria within the Swedish Academy,
147 international criticism has tended to
148 neglect the crowd of likely names around
149 the Prize a specific year. The Academy
150 cannot have the ambition to crown all
151 worthy writers. What it cannot afford is
152 giving Nobel's laurel to a minor talent. Its
153 practice during the last full half-century
154 has also largely escaped criticism on that
155 point.
Adapted from the text by Kjell Espmark nobelprize.org/nobel_prizes/literature.
 
An Academy’s principle that has frequently been misunderstood is the one concerning 
A) universal interest.
B) linguistic relevance.
C) contemporary renewal.
D) political integrity.
Gabarito:
D
Resolução:
Como lemos no último parágrafo do texto, um dos princípios da academia frequentemente mal
compreendidos é o da "integridade política" ("The Literary Prize has often given rise to discussion of
its political implications. The Swedish Academy, for its part, has on many occasions expressed a
desire to stand apart from political antagonisms. The guiding principle, in Lars Gyllensten's words, has
been "political integrity". This has quite often not been understood.").
Questão 8
1 Among the five prizes provided for in
2 Alfred Nobel's will (1895), one was
3 intended for the person who, in the
4 literary field, had produced "the most
5 outstanding work in an ideal direction".
6 The Laureate should be determined by
7 "the Academy in Stockholm", which was
8 specified by the statutes of the Nobel
9 Foundation to mean the Swedish
10 Academy. These statutes defined
literature
11 as "not only belles-lettres, but also other
12 writings which, by virtue of their form and
13 style, possess literary value".
14 As guidelines for the distribution of the
15 Literature Prize, the Swedish Academy
had
16 the general requirement for all the prizes
17 – the candidate should have bestowed
18 "the greatest benefit on mankind" – and
19 the special condition for literature, "in an
20 ideal direction". Both prescriptions are
21 vague and the second, in particular, was
22 to cause much discussion. What did
Nobel
23 actually mean by ideal? In fact, the
history
24 of the Literature Prize appears as a series
25 of attempts to interpret an imprecisely
26 worded will. The consecutive phases in
27 that history reflect the changing
sensibility
28 of an Academy continuously renewing
29 itself. The main source of knowledge of
30 the principles and criteria applied is the
31 annual reports which the Committee
32 presented to the Academy. Also the
33 correspondence between the members is
34 often enlightening. There is an obstacle
35 though: all Nobel information is to be
36 secret for 50 years.
37 A chapter in the history of the Literary
38 Prize could be entitled "A Literary Policy
of
39 Neutrality". The objectives laid down by
40 the new chairman of the Academy's
Nobel
41 Committee at the beginning of the First
42 World War kept the belligerent powers
43 outside, giving the small nations a
chance.
44 This policy partly explains the
45 Scandinavian over-representation on the
46 list in this period.
47 Another period, approximately
48 coinciding with the 1920s, could be
49 labeled "The Great Style". This key
50 concept in the reports of the Committee
51 reveals the connections with Wirsén's
52 epoch and its traits of classicism. With
53 such a standard the Academy was, of
54 course, out of touch with what happened
55 in contemporary literature. It could
56 appreciate Thomas Mann's Buddenbrooks
57 – a masterpiece "approaching the
classical
58 realism in Tolstoy" – but passed his Magic
59 Mountain over in silence.
60 In line with the requirement "the
61 greatest benefit on mankind", the
62 Academy of the 1930s tried a new
63 approach, equating this "mankind" with
64 the immediate readership of the works in
65 question. A report of its Committee
stated
66 "universal interest" as a criterion and the
67 Academy decided on writers within
68 everybody's reach, from Sinclair Lewis to
69 Pearl Buck, repudiating exclusive poets
70 like Paul Valéry and Paul Claudel.
71 Given a pause for renewal by the
72 Second World War and inspired by its
new
73 secretary, Anders Österling, the post-war
74 Academy finished this excursion into
75 popular taste, focusing instead on what
76 was called "the pioneers". Like in the
77 sciences, the Laureates were to be found
78 among those who paved the way for new
79 developments. In a way, this is another
80 interpretation of the formula "the
greatest
81 benefit on mankind": the perfect
candidate
82 was the one who had provided world
83 literature with new possibilities in outlook
84 and language.
85 The “pioneers" criterion lost weight,
86 however, as the heroic period of the
87 international avant-garde turned into
88 history and literary innovation became
less
89 ostentatious. Instead, the instruments
90 pointed at the "pioneers" of specific
91 linguistic areas. The 1988 Prize was
92 awarded a writer who, from a Western
93 point of view, rather administers the
94 heritage from Flaubert and Thomas
Mann.
95 In the Arabic world, on the other hand,
96 Naguib Mahfouz appears as the creator of
97 its contemporary novel.
98 Another policy, partly coinciding with
99 the one just outlined, partly replacing it,
is
100 "the pragmatic consideration". A growing
101 numberwithin the Academy wanted to
call
102 attention to important but unnoticed
103 writers and literatures, thus giving the
104 world audience masterpieces they would
105 otherwise miss, and at the same time,
106 giving an important writer due attention.
107 The criterion gives poetry a prominent
108 place. In no other period were the poets
109 so well provided for as in the years 1990-
110 1996 when four of the seven prizes went
111 to Octavio Paz, Derek Walcott, Seamus
112 Heaney, and Wislawa Szymborska, all of
113 them earlier unknown to the world
114 audience.
115 The criteria discussed sometimes
116 alternate, sometimes coincide. The
117 spotlight on the unknown master Canetti
118 in 1981 is thus followed by the laurel to
119 the universally hailed "pioneer" of magic
120 realism, Gabriel García Márquez, in 1982.
121 Some Laureates answer both
122 requirements, like Faulkner, who was not
123 only "the great experimentalist among
124 twentieth-century novelists" – the
125 Academy was here fortunate enough to
126 anticipate Faulkner's enormous
127 importance to later fiction – but also, in
128 1950, a fairly unknown writer.
129 It is also realized that on the whole the 
130 serious literature that is worthy of a prize
131 furthers knowledge of man and his 
132 condition and endeavours to enrich and
133 improve his life. 
134 The Literary Prize has often given rise 
135 to discussion of its political implications. 
136 The Swedish Academy, for its part, has
on 
137 many occasions expressed a desire to
138 stand apart from political antagonisms. 
139 The guiding principle, in Lars Gyllensten's
140 words, has been "political integrity". This
141 has quite often not been understood.
142 The history of the Literature Prize is
143 also the history of its reception in the
144 press and in other media. Apart from
145 overlooking the changes in outlooks and
146 criteria within the Swedish Academy,
147 international criticism has tended to
148 neglect the crowd of likely names around
149 the Prize a specific year. The Academy
150 cannot have the ambition to crown all
151 worthy writers. What it cannot afford is
152 giving Nobel's laurel to a minor talent. Its
153 practice during the last full half-century
154 has also largely escaped criticism on that
155 point.
Adapted from the text by Kjell Espmark nobelprize.org/nobel_prizes/literature.
 
A prize-deserving serious literature should not only further people’s knowledge and their condition,
but also try to 
A) contribute to political integrity.
B) enrich and improve their lives.
C) discuss environmental issues.
D) give them literary masterpieces only.
Gabarito:
B
Resolução:
A alternativa correta é a única que traduz a máxima que tem guiado desde sempre a distribuição do
prêmios Nobel, inclusive o de literatura. A máxima diz que um candidato ao prêmio deve ter conferido
"o maior benefício à humanidade" naquele setor (que de forma geral é entendido como "enriquecer e
melhorar as vidas" das pessoas ("enrich and improve their lives").
As demais alternativas não oferecem boas paráfrases do critério geral de seleção do prêmio,
encontrado no segundo parágrafo do texto, e deveriam ser desconsideradas.
Questão 9
1 Among the five prizes provided for in
2 Alfred Nobel's will (1895), one was
3 intended for the person who, in the
4 literary field, had produced "the most
5 outstanding work in an ideal direction".
6 The Laureate should be determined by
7 "the Academy in Stockholm", which was
8 specified by the statutes of the Nobel
9 Foundation to mean the Swedish
10 Academy. These statutes defined
literature
11 as "not only belles-lettres, but also other
12 writings which, by virtue of their form and
13 style, possess literary value".
14 As guidelines for the distribution of the
15 Literature Prize, the Swedish Academy
had
16 the general requirement for all the prizes
17 – the candidate should have bestowed
18 "the greatest benefit on mankind" – and
19 the special condition for literature, "in an
20 ideal direction". Both prescriptions are
21 vague and the second, in particular, was
22 to cause much discussion. What did
Nobel
23 actually mean by ideal? In fact, the
history
24 of the Literature Prize appears as a series
25 of attempts to interpret an imprecisely
26 worded will. The consecutive phases in
27 that history reflect the changing
sensibility
28 of an Academy continuously renewing
29 itself. The main source of knowledge of
30 the principles and criteria applied is the
31 annual reports which the Committee
32 presented to the Academy. Also the
33 correspondence between the members is
34 often enlightening. There is an obstacle
35 though: all Nobel information is to be
36 secret for 50 years.
37 A chapter in the history of the Literary
38 Prize could be entitled "A Literary Policy
of
39 Neutrality". The objectives laid down by
40 the new chairman of the Academy's
Nobel
41 Committee at the beginning of the First
42 World War kept the belligerent powers
43 outside, giving the small nations a
chance.
44 This policy partly explains the
45 Scandinavian over-representation on the
46 list in this period.
47 Another period, approximately
48 coinciding with the 1920s, could be
49 labeled "The Great Style". This key
50 concept in the reports of the Committee
51 reveals the connections with Wirsén's
52 epoch and its traits of classicism. With
53 such a standard the Academy was, of
54 course, out of touch with what happened
55 in contemporary literature. It could
56 appreciate Thomas Mann's Buddenbrooks
57 – a masterpiece "approaching the
classical
58 realism in Tolstoy" – but passed his Magic
59 Mountain over in silence.
60 In line with the requirement "the
61 greatest benefit on mankind", the
62 Academy of the 1930s tried a new
63 approach, equating this "mankind" with
64 the immediate readership of the works in
65 question. A report of its Committee
stated
66 "universal interest" as a criterion and the
67 Academy decided on writers within
68 everybody's reach, from Sinclair Lewis to
69 Pearl Buck, repudiating exclusive poets
70 like Paul Valéry and Paul Claudel.
71 Given a pause for renewal by the
72 Second World War and inspired by its
new
73 secretary, Anders Österling, the post-war
74 Academy finished this excursion into
75 popular taste, focusing instead on what
76 was called "the pioneers". Like in the
77 sciences, the Laureates were to be found
78 among those who paved the way for new
79 developments. In a way, this is another
80 interpretation of the formula "the
greatest
81 benefit on mankind": the perfect
candidate
82 was the one who had provided world
83 literature with new possibilities in outlook
84 and language.
85 The “pioneers" criterion lost weight,
86 however, as the heroic period of the
87 international avant-garde turned into
88 history and literary innovation became
less
89 ostentatious. Instead, the instruments
90 pointed at the "pioneers" of specific
91 linguistic areas. The 1988 Prize was
92 awarded a writer who, from a Western
93 point of view, rather administers the
94 heritage from Flaubert and Thomas
Mann.
95 In the Arabic world, on the other hand,
96 Naguib Mahfouz appears as the creator of
97 its contemporary novel.
98 Another policy, partly coinciding with
99 the one just outlined, partly replacing it,
is
100 "the pragmatic consideration". A growing
101 number within the Academy wanted to
call
102 attention to important but unnoticed
103 writers and literatures, thus giving the
104 world audience masterpieces they would
105 otherwise miss, and at the same time,
106 giving an important writer due attention.
107 The criterion gives poetry a prominent
108 place. In no other period were the poets
109 so well provided for as in the years 1990-
110 1996 when four of the seven prizes went
111 to Octavio Paz, Derek Walcott, Seamus
112 Heaney, and Wislawa Szymborska, all of
113 them earlier unknown to the world
114 audience.
115 The criteria discussed sometimes
116 alternate, sometimes coincide. The
117 spotlighton the unknown master Canetti
118 in 1981 is thus followed by the laurel to
119 the universally hailed "pioneer" of magic
120 realism, Gabriel García Márquez, in 1982.
121 Some Laureates answer both
122 requirements, like Faulkner, who was not
123 only "the great experimentalist among
124 twentieth-century novelists" – the
125 Academy was here fortunate enough to
126 anticipate Faulkner's enormous
127 importance to later fiction – but also, in
128 1950, a fairly unknown writer.
129 It is also realized that on the whole the 
130 serious literature that is worthy of a prize
131 furthers knowledge of man and his 
132 condition and endeavours to enrich and
133 improve his life. 
134 The Literary Prize has often given rise 
135 to discussion of its political implications. 
136 The Swedish Academy, for its part, has
on 
137 many occasions expressed a desire to
138 stand apart from political antagonisms. 
139 The guiding principle, in Lars Gyllensten's
140 words, has been "political integrity". This
141 has quite often not been understood.
142 The history of the Literature Prize is
143 also the history of its reception in the
144 press and in other media. Apart from
145 overlooking the changes in outlooks and
146 criteria within the Swedish Academy,
147 international criticism has tended to
148 neglect the crowd of likely names around
149 the Prize a specific year. The Academy
150 cannot have the ambition to crown all
151 worthy writers. What it cannot afford is
152 giving Nobel's laurel to a minor talent. Its
153 practice during the last full half-century
154 has also largely escaped criticism on that
155 point.
Adapted from the text by Kjell Espmark nobelprize.org/nobel_prizes/literature.
 
The period that could be considered as “The Great Style” 
A) awarded many Scandinavian writers.
B) showed links with Wirsen’s era and its aspects of classicism.
C) started in 1895 and ended in the 1920’s.
D) paused for renewal during the Second World War.
Gabarito:
B
Resolução:
Como lemos no quarto parágrafo, o período conhecido como "The Great Style", que coincide com os
anos 1920, mostrava – de acordo com os relatórios do comitê – conexões com a era de Wirsen e com
seus respectivos aspectos de classicismo.
A alternativa A é incorreta porque remete ao período de "neutralidade", em que os países
beligerantes da Primeira Guerra Mundial foram excluídos, o que acabou resultando em um grande
número de premiações aos escandinavos.
A alternativa C é incorreta porque o período em questão não terminou em 1920, mas sim coincidiu
com esta década.
A alternativa D é incorreta porque remete a outro período, o de "interesse universal".
Questão 10
1 Among the five prizes provided for in
2 Alfred Nobel's will (1895), one was
3 intended for the person who, in the
4 literary field, had produced "the most
5 outstanding work in an ideal direction".
6 The Laureate should be determined by
7 "the Academy in Stockholm", which was
8 specified by the statutes of the Nobel
9 Foundation to mean the Swedish
10 Academy. These statutes defined
literature
11 as "not only belles-lettres, but also other
12 writings which, by virtue of their form and
13 style, possess literary value".
14 As guidelines for the distribution of the
15 Literature Prize, the Swedish Academy
had
16 the general requirement for all the prizes
17 – the candidate should have bestowed
18 "the greatest benefit on mankind" – and
19 the special condition for literature, "in an
20 ideal direction". Both prescriptions are
21 vague and the second, in particular, was
22 to cause much discussion. What did
Nobel
23 actually mean by ideal? In fact, the
history
24 of the Literature Prize appears as a series
25 of attempts to interpret an imprecisely
26 worded will. The consecutive phases in
27 that history reflect the changing
sensibility
28 of an Academy continuously renewing
29 itself. The main source of knowledge of
30 the principles and criteria applied is the
31 annual reports which the Committee
32 presented to the Academy. Also the
33 correspondence between the members is
34 often enlightening. There is an obstacle
35 though: all Nobel information is to be
36 secret for 50 years.
37 A chapter in the history of the Literary
38 Prize could be entitled "A Literary Policy
of
39 Neutrality". The objectives laid down by
40 the new chairman of the Academy's
Nobel
41 Committee at the beginning of the First
42 World War kept the belligerent powers
43 outside, giving the small nations a
chance.
44 This policy partly explains the
45 Scandinavian over-representation on the
46 list in this period.
47 Another period, approximately
48 coinciding with the 1920s, could be
49 labeled "The Great Style". This key
50 concept in the reports of the Committee
51 reveals the connections with Wirsén's
52 epoch and its traits of classicism. With
53 such a standard the Academy was, of
54 course, out of touch with what happened
55 in contemporary literature. It could
56 appreciate Thomas Mann's Buddenbrooks
57 – a masterpiece "approaching the
classical
58 realism in Tolstoy" – but passed his Magic
59 Mountain over in silence.
60 In line with the requirement "the
61 greatest benefit on mankind", the
62 Academy of the 1930s tried a new
63 approach, equating this "mankind" with
64 the immediate readership of the works in
65 question. A report of its Committee
stated
66 "universal interest" as a criterion and the
67 Academy decided on writers within
68 everybody's reach, from Sinclair Lewis to
69 Pearl Buck, repudiating exclusive poets
70 like Paul Valéry and Paul Claudel.
71 Given a pause for renewal by the
72 Second World War and inspired by its
new
73 secretary, Anders Österling, the post-war
74 Academy finished this excursion into
75 popular taste, focusing instead on what
76 was called "the pioneers". Like in the
77 sciences, the Laureates were to be found
78 among those who paved the way for new
79 developments. In a way, this is another
80 interpretation of the formula "the
greatest
81 benefit on mankind": the perfect
candidate
82 was the one who had provided world
83 literature with new possibilities in outlook
84 and language.
85 The “pioneers" criterion lost weight,
86 however, as the heroic period of the
87 international avant-garde turned into
88 history and literary innovation became
less
89 ostentatious. Instead, the instruments
90 pointed at the "pioneers" of specific
91 linguistic areas. The 1988 Prize was
92 awarded a writer who, from a Western
93 point of view, rather administers the
94 heritage from Flaubert and Thomas
Mann.
95 In the Arabic world, on the other hand,
96 Naguib Mahfouz appears as the creator of
97 its contemporary novel.
98 Another policy, partly coinciding with
99 the one just outlined, partly replacing it,
is
100 "the pragmatic consideration". A growing
101 number within the Academy wanted to
call
102 attention to important but unnoticed
103 writers and literatures, thus giving the
104 world audience masterpieces they would
105 otherwise miss, and at the same time,
106 giving an important writer due attention.
107 The criterion gives poetry a prominent
108 place. In no other period were the poets
109 so well provided for as in the years 1990-
110 1996 when four of the seven prizes went
111 to Octavio Paz, Derek Walcott, Seamus
112 Heaney, and Wislawa Szymborska, all of
113 them earlier unknown to the world
114 audience.
115 The criteria discussed sometimes
116 alternate, sometimes coincide. The
117 spotlight on the unknown master Canetti
118 in 1981 is thus followed by the laurel to
119 the universally hailed "pioneer" of magic
120 realism, Gabriel García Márquez, in 1982.
121 Some Laureates answer both
122 requirements, like Faulkner, who was not
123 only "the great experimentalist among
124 twentieth-century novelists" – the
125 Academy was here fortunate enough to
126 anticipate Faulkner's enormous
127 importance to later fiction – but also, in
128 1950, a fairly unknown writer.
129 It is also realized that on the whole the 
130 serious