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Questão 1
I was _____ a trip when my mom called and asked: “Are you _____ the bus or ____ the car?”
 
A) on; at; in
B) in; in; on
C) on; on; on
D) in; on; on
E) on; on; in
Gabarito:
E
Resolução:
A questão enfoca o uso das preposições. Em termos gerais, "in" é usado para indicar que algo ou
alguém está dentro/no interior de algum lugar ou situação e, por isso, é usado para "in the car". Já a
preposição "on" tem uso muito mais complexo, mas em se tratando de lugar, como é o caso desta
questão, podemos dizer que é usado para falar de transporte público ("on the bus", "on the plane",
"on the subway", "on the train"...) e, no caso de "on a trip", essa é uma expressão fixa que exige tal
preposição.
Questão 2
I had known Nathan for years – too many years, since we were in college – so when he went to Europe
I wasn't sure how I'd survive it; he was my best friend, after all, my constante companion at Sunday
afternoon double bills at the Thalia, my ever-present source of consolation and conversation. Still,
such a turn can prove to be a blessing in disguise. It threw me off at first, his not being there – I not
no one to watch Jeopardy! with, or talk to on the phone late at night – but then, gradually, I got over
it, and I realized that maybe it was a good thing after all, that maybe now, with Nathan gone, I would
be forced to go out into the world more, make new friends, maybe even find a boyfriend. And I had
started: I lost weight, I went shopping.
LEAVITT, David. "A Place I've Never Been" in: The Penguin Book of Gay Short Stories. New York:
Penguin, 1994, p. 557.
The expression "a blessing in disguise", in the text, means:
(A) Something apparently good can, in fact, be bad. 
(B) Something apparently bad can, in fact, be good. 
(C) Something bad can happen when things are going fine.
(D) Something good can happen when things are going wrong.
(E) Bad things or good things can happen to anybody.
Gabarito:
B
Resolução:
O autor usa a expressão em questão para descrever uma situação que qualifica como "negativa,
porém positiva" – uma "benção disfarçada" ("blessing in disguise"). Tal situação é a separação de seu
melhor amigo Nathan, fato difícil com o qual lidar a princípio mas, posteriormente, libertador para o
personagem.
Questão 3
Imaginative works have been written in English for over a thousand years, and, in historical terms,
most of them are primarily the heritage of England. As with the language itself, such literature can be
divided into Old, Middle, and Modern periods, the modern phase subdividing conveniently into
compartments whose labels relate to monarchs (Tudor, Elizabethan, Jacobean, Victorian), cultural
phases and assumptions (Augustan, Romantic, Modernist, etc.), and, most recently, varieties
(American Literature, Indian English Literature, etc.).
Texts from Anglo-Saxon times survive in the late manuscript form; their composition can seldom be
certainly dated and their authorship is often unknown. They are among the oldest specimens of
literature in a European vernacular. The longest and finest work, the heroic poem Beowulf, is known
only in a manuscript of c.1000, and tells in alliterative verse a story concerning Germanic speakers of
the Baltic, where the earliest forms of English originated. Like much other Old English poetry, it
contains traces of oral creation. The heroic tradition includes The Battle of Maldon, written soon after
the battle against the Danes (991) which it celebrates. There are also elegiac and reflective poems,
including "The Wanderer" and the "The Seafarer", that may date from the 7c. Old English prose
consisted of translations from Latin and such records as the Anglo-Saxon Chronicle begun in 890
under the direction of King Alfred of Wessex and continuing until 1154. It records the principal events
of contemporary history, and is an important witness to the development of English over the period.
Most extant Old English Literature is in West Saxon; few traces remain from the earlier Northumbrian,
except such short pieces as the "Hymn of Caedmon" (c.670). After the Norman Conquest (1066),
English was subordinate to Latin as the language of learning and religion and the Norman French of
court and government. Surviving manuscripts show that poems were being written in English from the
12c onwards; many are fragmentary, but there are lyrics and verse romances that attest to a vigorous
culture, embodying the pre-Conquest history and legends, as in the 13c poem "Havelok the Dane".
Gradual changes in the language, and the adoption of rhymed metrical verse in place of the Old
English alliterative measure, can be traced through the early medieval period.
In the 14c, English emerged as a new language with few inflections and a strong admixture of French
vocabulary. Chaucer moved from a close imitation of French and Italian poetry to write the
Canterbury Tales (c.1387), whose styles often vary according to the teller of tale. He wrote in the East
Midland dialect, which in due course became the standard literary language. In the West Midland
dialect, there was a revival of alliterative verse: Langland (14c) wrote Piers Plowman, a long moral
and political allegory with glimpses of contemporary life; and an unknown poet or poets produced the
allegorical Pearl and the romance Sir Gawain and the Green Knight. At the same time, vernacular
prose was developing: mainly the 14c homiletic and theological work of Richard Rolle, John Wycliffe,
and others.
Drama appeared in the mystery plays, whose extant cycles come mainly from the Midlands and the
North of England, and provide evidence of the speech of the period. The Arthurian legends that had
inspired many lays and romances were collected by Thomas Malory (15c) in Morte D’Arthur, whose
prose style varies with the sources from which he draws but reflects a sense of assurance. The
mystery plays continued to be acted into the 16c, but a new type, the allegorical morality play, in
which characters are personified virtues and vices, was a precursor of later secular drama.
In early Tudor England, the influence of the Italian Renaissance showed in the poetry of Thomas
Wyatt and Henry Howard, including the use of the sonnet. A rougher, more satirical native tradition
was carried on by John Skelton (c.1460-1529), who praised and sometimes imitated earlier writers,
while recognizing that their language was old-fashioned, at the same time regarding contemporary
English as unstable and inadequate for a poet. The printer William Caxton shared this concern. He
was aware that printing made a standard literary language preferable and it was largely through the
efforts of printers that written English had by the 17c become more uniform. In the later 16c, English
came to be more fully accepted as a medium in which the traditional genres could be written, but
many scholars distrusted its stability and continued to use Latin for their treatises. The vitality of
Elizabethan writing owed much to both free borrowings from ancient and modern tongues.
The supreme achievement of the late 16c and early 17c was drama performed by an organized
profession in permanent theatres. The primacy of William Shakespeare should not overshadow the
work of his contemporaries: pioneers of a new type of dramatic tragedy that used neither Biblical nor
classical subjects included Thomas Kyd and Christopher Marlowe (1564-93). The drama showed that
literary English could be spoken effectively for public purposes, in blank verse and in prose.
In the first half of the 17c, a time of struggle between Parliament and King, lyrics in the classical
manner of Jonson were written by Cavalier (Royalist) poets. A distinctive new kind of poetry was
labeled metaphysical by Samuel Johnson from its concern with philosophical and theological issues. It
is characterized by elaborate use of language with unexpected images and quaint conceits: elaborate
and extended metaphors or similes. The leading metaphysical poet was John Donne, powerful in
erotic and devotionalpoetry and using similar language and figures for both. John Milton, regarded by
many as the greatest poet of the century, was both Puritan and Parliamentarian, his early poetry
(lyrical, pastoral, and elegiac) veiling his austerity in delicate, even sensuous language. His greatest
work was the Christian epic Paradise Lost (1671). The beginnings of the novel can be seen in the
narratives of Aphra Behn and Daniel Defoe. John Bunyan in Pilgrims’s Progress (1678, 1684) combined
narrative allegory with Biblical themes and cadences. The old open-air theatres, closed through
Puritan pressures in 1642, were reopened with indoor stages, presenting mainly witty and satirical
comedies of manners, in prose that remained elegant even when its content was coarse and
scurrilous.
For over a century after the Restoration, the heroic couplet was the dominant poetic form, which
Dryden and Pope used to write largely satirical and polemical works. Because of its attention to
classical principles and the craft of verse, the period has been called neo-classical or Augustan.
However, the most important literary development of the 18c was neither poetical nor classical.
Within a few decades, the novel was fully established, with the work of Samuel Richardson, Henry
Fielding, Tobias Smollet, and Laurence Stern. Continuous narrative, divided into long chapters and
paragraphs, incorporated representations of speech from different registers, classes, and dialects,
bringing the full resources of the language into literary use.
Latin was the main source language for
A) the lyrics and verse romances.
B) translations into Old English prose.
C) heroic poems and hymns.
D) homiletic and theological works.
Gabarito:
B
Resolução:
A alternativa correta é a (B). Como lemos no segundo parágrafo, a prosa escrita em inglês antigo
consistia, de fato, em traduções de textos originalmente escritos em latim ("Old English prose
consisted of translations from Latin and such records as the Anglo-Saxon Chronicle begun in 890
under the direction of King Alfred of Wessex and continuing until 1154").
Questão 4
Imaginative works have been written in English for over a thousand years, and, in historical terms,
most of them are primarily the heritage of England. As with the language itself, such literature can be
divided into Old, Middle, and Modern periods, the modern phase subdividing conveniently into
compartments whose labels relate to monarchs (Tudor, Elizabethan, Jacobean, Victorian), cultural
phases and assumptions (Augustan, Romantic, Modernist, etc.), and, most recently, varieties
(American Literature, Indian English Literature, etc.).
Texts from Anglo-Saxon times survive in the late manuscript form; their composition can seldom be
certainly dated and their authorship is often unknown. They are among the oldest specimens of
literature in a European vernacular. The longest and finest work, the heroic poem Beowulf, is known
only in a manuscript of c.1000, and tells in alliterative verse a story concerning Germanic speakers of
the Baltic, where the earliest forms of English originated. Like much other Old English poetry, it
contains traces of oral creation. The heroic tradition includes The Battle of Maldon, written soon after
the battle against the Danes (991) which it celebrates. There are also elegiac and reflective poems,
including "The Wanderer" and the "The Seafarer", that may date from the 7c. Old English prose
consisted of translations from Latin and such records as the Anglo-Saxon Chronicle begun in 890
under the direction of King Alfred of Wessex and continuing until 1154. It records the principal events
of contemporary history, and is an important witness to the development of English over the period.
Most extant Old English Literature is in West Saxon; few traces remain from the earlier Northumbrian,
except such short pieces as the "Hymn of Caedmon" (c.670). After the Norman Conquest (1066),
English was subordinate to Latin as the language of learning and religion and the Norman French of
court and government. Surviving manuscripts show that poems were being written in English from the
12c onwards; many are fragmentary, but there are lyrics and verse romances that attest to a vigorous
culture, embodying the pre-Conquest history and legends, as in the 13c poem "Havelok the Dane".
Gradual changes in the language, and the adoption of rhymed metrical verse in place of the Old
English alliterative measure, can be traced through the early medieval period.
In the 14c, English emerged as a new language with few inflections and a strong admixture of French
vocabulary. Chaucer moved from a close imitation of French and Italian poetry to write the
Canterbury Tales (c.1387), whose styles often vary according to the teller of tale. He wrote in the East
Midland dialect, which in due course became the standard literary language. In the West Midland
dialect, there was a revival of alliterative verse: Langland (14c) wrote Piers Plowman, a long moral
and political allegory with glimpses of contemporary life; and an unknown poet or poets produced the
allegorical Pearl and the romance Sir Gawain and the Green Knight. At the same time, vernacular
prose was developing: mainly the 14c homiletic and theological work of Richard Rolle, John Wycliffe,
and others.
Drama appeared in the mystery plays, whose extant cycles come mainly from the Midlands and the
North of England, and provide evidence of the speech of the period. The Arthurian legends that had
inspired many lays and romances were collected by Thomas Malory (15c) in Morte D’Arthur, whose
prose style varies with the sources from which he draws but reflects a sense of assurance. The
mystery plays continued to be acted into the 16c, but a new type, the allegorical morality play, in
which characters are personified virtues and vices, was a precursor of later secular drama.
In early Tudor England, the influence of the Italian Renaissance showed in the poetry of Thomas
Wyatt and Henry Howard, including the use of the sonnet. A rougher, more satirical native tradition
was carried on by John Skelton (c.1460-1529), who praised and sometimes imitated earlier writers,
while recognizing that their language was old-fashioned, at the same time regarding contemporary
English as unstable and inadequate for a poet. The printer William Caxton shared this concern. He
was aware that printing made a standard literary language preferable and it was largely through the
efforts of printers that written English had by the 17c become more uniform. In the later 16c, English
came to be more fully accepted as a medium in which the traditional genres could be written, but
many scholars distrusted its stability and continued to use Latin for their treatises. The vitality of
Elizabethan writing owed much to both free borrowings from ancient and modern tongues.
The supreme achievement of the late 16c and early 17c was drama performed by an organized
profession in permanent theatres. The primacy of William Shakespeare should not overshadow the
work of his contemporaries: pioneers of a new type of dramatic tragedy that used neither Biblical nor
classical subjects included Thomas Kyd and Christopher Marlowe (1564-93). The drama showed that
literary English could be spoken effectively for public purposes, in blank verse and in prose.
In the first half of the 17c, a time of struggle between Parliament and King, lyrics in the classical
manner of Jonson were written by Cavalier (Royalist) poets. A distinctive new kind of poetry was
labeled metaphysical by Samuel Johnson from its concern with philosophical and theological issues. It
is characterized by elaborate use of language with unexpected images and quaint conceits: elaborate
and extended metaphors or similes. The leading metaphysical poet was John Donne, powerful in
erotic and devotional poetry and using similar language and figures for both. John Milton, regarded by
many as the greatest poet of the century, was both Puritan and Parliamentarian, his early poetry(lyrical, pastoral, and elegiac) veiling his austerity in delicate, even sensuous language. His greatest
work was the Christian epic Paradise Lost (1671). The beginnings of the novel can be seen in the
narratives of Aphra Behn and Daniel Defoe. John Bunyan in Pilgrims’s Progress (1678, 1684) combined
narrative allegory with Biblical themes and cadences. The old open-air theatres, closed through
Puritan pressures in 1642, were reopened with indoor stages, presenting mainly witty and satirical
comedies of manners, in prose that remained elegant even when its content was coarse and
scurrilous.
For over a century after the Restoration, the heroic couplet was the dominant poetic form, which
Dryden and Pope used to write largely satirical and polemical works. Because of its attention to
classical principles and the craft of verse, the period has been called neo-classical or Augustan.
However, the most important literary development of the 18c was neither poetical nor classical.
Within a few decades, the novel was fully established, with the work of Samuel Richardson, Henry
Fielding, Tobias Smollet, and Laurence Stern. Continuous narrative, divided into long chapters and
paragraphs, incorporated representations of speech from different registers, classes, and dialects,
bringing the full resources of the language into literary use.
As to Daniel Defoe, the author of Robinson Crusoe, according to the text he was
A) one of the first novelists in the English language.
B) the author whose works are considered the best in the genre.
C) an explorer who wrote novels.
D) an adventurous poet.
Gabarito:
A
Resolução:
A alternativa a ser assinalada é a (A), pois, como lemos no penúltimo parágrafo, os trabalhos
narrativos de Aphra Behn e Daniel Defoe podem ser considerados como o começo do romance.
Questão 5
Imaginative works have been written in English for over a thousand years, and, in historical terms,
most of them are primarily the heritage of England. As with the language itself, such literature can be
divided into Old, Middle, and Modern periods, the modern phase subdividing conveniently into
compartments whose labels relate to monarchs (Tudor, Elizabethan, Jacobean, Victorian), cultural
phases and assumptions (Augustan, Romantic, Modernist, etc.), and, most recently, varieties
(American Literature, Indian English Literature, etc.).
Texts from Anglo-Saxon times survive in the late manuscript form; their composition can seldom be
certainly dated and their authorship is often unknown. They are among the oldest specimens of
literature in a European vernacular. The longest and finest work, the heroic poem Beowulf, is known
only in a manuscript of c.1000, and tells in alliterative verse a story concerning Germanic speakers of
the Baltic, where the earliest forms of English originated. Like much other Old English poetry, it
contains traces of oral creation. The heroic tradition includes The Battle of Maldon, written soon after
the battle against the Danes (991) which it celebrates. There are also elegiac and reflective poems,
including "The Wanderer" and the "The Seafarer", that may date from the 7c. Old English prose
consisted of translations from Latin and such records as the Anglo-Saxon Chronicle begun in 890
under the direction of King Alfred of Wessex and continuing until 1154. It records the principal events
of contemporary history, and is an important witness to the development of English over the period.
Most extant Old English Literature is in West Saxon; few traces remain from the earlier Northumbrian,
except such short pieces as the "Hymn of Caedmon" (c.670). After the Norman Conquest (1066),
English was subordinate to Latin as the language of learning and religion and the Norman French of
court and government. Surviving manuscripts show that poems were being written in English from the
12c onwards; many are fragmentary, but there are lyrics and verse romances that attest to a vigorous
culture, embodying the pre-Conquest history and legends, as in the 13c poem "Havelok the Dane".
Gradual changes in the language, and the adoption of rhymed metrical verse in place of the Old
English alliterative measure, can be traced through the early medieval period.
In the 14c, English emerged as a new language with few inflections and a strong admixture of French
vocabulary. Chaucer moved from a close imitation of French and Italian poetry to write the
Canterbury Tales (c.1387), whose styles often vary according to the teller of tale. He wrote in the East
Midland dialect, which in due course became the standard literary language. In the West Midland
dialect, there was a revival of alliterative verse: Langland (14c) wrote Piers Plowman, a long moral
and political allegory with glimpses of contemporary life; and an unknown poet or poets produced the
allegorical Pearl and the romance Sir Gawain and the Green Knight. At the same time, vernacular
prose was developing: mainly the 14c homiletic and theological work of Richard Rolle, John Wycliffe,
and others.
Drama appeared in the mystery plays, whose extant cycles come mainly from the Midlands and the
North of England, and provide evidence of the speech of the period. The Arthurian legends that had
inspired many lays and romances were collected by Thomas Malory (15c) in Morte D’Arthur, whose
prose style varies with the sources from which he draws but reflects a sense of assurance. The
mystery plays continued to be acted into the 16c, but a new type, the allegorical morality play, in
which characters are personified virtues and vices, was a precursor of later secular drama.
In early Tudor England, the influence of the Italian Renaissance showed in the poetry of Thomas
Wyatt and Henry Howard, including the use of the sonnet. A rougher, more satirical native tradition
was carried on by John Skelton (c.1460-1529), who praised and sometimes imitated earlier writers,
while recognizing that their language was old-fashioned, at the same time regarding contemporary
English as unstable and inadequate for a poet. The printer William Caxton shared this concern. He
was aware that printing made a standard literary language preferable and it was largely through the
efforts of printers that written English had by the 17c become more uniform. In the later 16c, English
came to be more fully accepted as a medium in which the traditional genres could be written, but
many scholars distrusted its stability and continued to use Latin for their treatises. The vitality of
Elizabethan writing owed much to both free borrowings from ancient and modern tongues.
The supreme achievement of the late 16c and early 17c was drama performed by an organized
profession in permanent theatres. The primacy of William Shakespeare should not overshadow the
work of his contemporaries: pioneers of a new type of dramatic tragedy that used neither Biblical nor
classical subjects included Thomas Kyd and Christopher Marlowe (1564-93). The drama showed that
literary English could be spoken effectively for public purposes, in blank verse and in prose.
In the first half of the 17c, a time of struggle between Parliament and King, lyrics in the classical
manner of Jonson were written by Cavalier (Royalist) poets. A distinctive new kind of poetry was
labeled metaphysical by Samuel Johnson from its concern with philosophical and theological issues. It
is characterized by elaborate use of language with unexpected images and quaint conceits: elaborate
and extended metaphors or similes. The leading metaphysical poet was John Donne, powerful in
erotic and devotional poetry and using similar language and figures for both. John Milton, regarded by
many as the greatest poet of the century, was both Puritan and Parliamentarian, his early poetry
(lyrical, pastoral, and elegiac) veiling his austerity in delicate, even sensuous language. His greatest
work was the Christian epic Paradise Lost (1671). The beginnings of the novel can be seen in the
narratives of Aphra Behn and Daniel Defoe. John Bunyan in Pilgrims’s Progress(1678, 1684) combined
narrative allegory with Biblical themes and cadences. The old open-air theatres, closed through
Puritan pressures in 1642, were reopened with indoor stages, presenting mainly witty and satirical
comedies of manners, in prose that remained elegant even when its content was coarse and
scurrilous.
For over a century after the Restoration, the heroic couplet was the dominant poetic form, which
Dryden and Pope used to write largely satirical and polemical works. Because of its attention to
classical principles and the craft of verse, the period has been called neo-classical or Augustan.
However, the most important literary development of the 18c was neither poetical nor classical.
Within a few decades, the novel was fully established, with the work of Samuel Richardson, Henry
Fielding, Tobias Smollet, and Laurence Stern. Continuous narrative, divided into long chapters and
paragraphs, incorporated representations of speech from different registers, classes, and dialects,
bringing the full resources of the language into literary use.
According to the text, in the mid 17c, the closing of theatres in England was due to
A) the outbreak of a new plague.
B) religious concerns.
C) the lack of quality plays.
D) a dramatists’ strike.
Gabarito:
B
Resolução:
A alternativa correta é a (B). No penúltimo parágrafo, lemos que os teatros ao ar livre teriam sido
fechados por motivos religiosos, por pressão dos puritanos, em 1642, ou seja, metade do século XVII
("The old open-air theatres, closed through Puritan pressures in 1642").
Questão 6
Imaginative works have been written in English for over a thousand years, and, in historical terms,
most of them are primarily the heritage of England. As with the language itself, such literature can be
divided into Old, Middle, and Modern periods, the modern phase subdividing conveniently into
compartments whose labels relate to monarchs (Tudor, Elizabethan, Jacobean, Victorian), cultural
phases and assumptions (Augustan, Romantic, Modernist, etc.), and, most recently, varieties
(American Literature, Indian English Literature, etc.).
Texts from Anglo-Saxon times survive in the late manuscript form; their composition can seldom be
certainly dated and their authorship is often unknown. They are among the oldest specimens of
literature in a European vernacular. The longest and finest work, the heroic poem Beowulf, is known
only in a manuscript of c.1000, and tells in alliterative verse a story concerning Germanic speakers of
the Baltic, where the earliest forms of English originated. Like much other Old English poetry, it
contains traces of oral creation. The heroic tradition includes The Battle of Maldon, written soon after
the battle against the Danes (991) which it celebrates. There are also elegiac and reflective poems,
including "The Wanderer" and the "The Seafarer", that may date from the 7c. Old English prose
consisted of translations from Latin and such records as the Anglo-Saxon Chronicle begun in 890
under the direction of King Alfred of Wessex and continuing until 1154. It records the principal events
of contemporary history, and is an important witness to the development of English over the period.
Most extant Old English Literature is in West Saxon; few traces remain from the earlier Northumbrian,
except such short pieces as the "Hymn of Caedmon" (c.670). After the Norman Conquest (1066),
English was subordinate to Latin as the language of learning and religion and the Norman French of
court and government. Surviving manuscripts show that poems were being written in English from the
12c onwards; many are fragmentary, but there are lyrics and verse romances that attest to a vigorous
culture, embodying the pre-Conquest history and legends, as in the 13c poem "Havelok the Dane".
Gradual changes in the language, and the adoption of rhymed metrical verse in place of the Old
English alliterative measure, can be traced through the early medieval period.
In the 14c, English emerged as a new language with few inflections and a strong admixture of French
vocabulary. Chaucer moved from a close imitation of French and Italian poetry to write the
Canterbury Tales (c.1387), whose styles often vary according to the teller of tale. He wrote in the East
Midland dialect, which in due course became the standard literary language. In the West Midland
dialect, there was a revival of alliterative verse: Langland (14c) wrote Piers Plowman, a long moral
and political allegory with glimpses of contemporary life; and an unknown poet or poets produced the
allegorical Pearl and the romance Sir Gawain and the Green Knight. At the same time, vernacular
prose was developing: mainly the 14c homiletic and theological work of Richard Rolle, John Wycliffe,
and others.
Drama appeared in the mystery plays, whose extant cycles come mainly from the Midlands and the
North of England, and provide evidence of the speech of the period. The Arthurian legends that had
inspired many lays and romances were collected by Thomas Malory (15c) in Morte D’Arthur, whose
prose style varies with the sources from which he draws but reflects a sense of assurance. The
mystery plays continued to be acted into the 16c, but a new type, the allegorical morality play, in
which characters are personified virtues and vices, was a precursor of later secular drama.
In early Tudor England, the influence of the Italian Renaissance showed in the poetry of Thomas
Wyatt and Henry Howard, including the use of the sonnet. A rougher, more satirical native tradition
was carried on by John Skelton (c.1460-1529), who praised and sometimes imitated earlier writers,
while recognizing that their language was old-fashioned, at the same time regarding contemporary
English as unstable and inadequate for a poet. The printer William Caxton shared this concern. He
was aware that printing made a standard literary language preferable and it was largely through the
efforts of printers that written English had by the 17c become more uniform. In the later 16c, English
came to be more fully accepted as a medium in which the traditional genres could be written, but
many scholars distrusted its stability and continued to use Latin for their treatises. The vitality of
Elizabethan writing owed much to both free borrowings from ancient and modern tongues.
The supreme achievement of the late 16c and early 17c was drama performed by an organized
profession in permanent theatres. The primacy of William Shakespeare should not overshadow the
work of his contemporaries: pioneers of a new type of dramatic tragedy that used neither Biblical nor
classical subjects included Thomas Kyd and Christopher Marlowe (1564-93). The drama showed that
literary English could be spoken effectively for public purposes, in blank verse and in prose.
In the first half of the 17c, a time of struggle between Parliament and King, lyrics in the classical
manner of Jonson were written by Cavalier (Royalist) poets. A distinctive new kind of poetry was
labeled metaphysical by Samuel Johnson from its concern with philosophical and theological issues. It
is characterized by elaborate use of language with unexpected images and quaint conceits: elaborate
and extended metaphors or similes. The leading metaphysical poet was John Donne, powerful in
erotic and devotional poetry and using similar language and figures for both. John Milton, regarded by
many as the greatest poet of the century, was both Puritan and Parliamentarian, his early poetry
(lyrical, pastoral, and elegiac) veiling his austerity in delicate, even sensuous language. His greatest
work was the Christian epic Paradise Lost (1671). The beginnings of the novel can be seen in the
narratives of Aphra Behn and Daniel Defoe. John Bunyan in Pilgrims’s Progress (1678, 1684) combined
narrative allegory with Biblical themes and cadences. The old open-air theatres, closed through
Puritan pressures in 1642, were reopened with indoor stages, presenting mainly witty and satirical
comedies of manners, in prose thatremained elegant even when its content was coarse and
scurrilous.
For over a century after the Restoration, the heroic couplet was the dominant poetic form, which
Dryden and Pope used to write largely satirical and polemical works. Because of its attention to
classical principles and the craft of verse, the period has been called neo-classical or Augustan.
However, the most important literary development of the 18c was neither poetical nor classical.
Within a few decades, the novel was fully established, with the work of Samuel Richardson, Henry
Fielding, Tobias Smollet, and Laurence Stern. Continuous narrative, divided into long chapters and
paragraphs, incorporated representations of speech from different registers, classes, and dialects,
bringing the full resources of the language into literary use.
Latin became the dominant language of instruction in England
A) during the Restoration period.
B) after the 1066 Conquest.
C) over a century after the Renaissance.
D) immediately before the Romantic period.
Gabarito:
B
Resolução:
A alternativa correta é a (B). Como podemos recuperar através da leitura do segundo parágrafo do
texto, o latim tornou-se a língua de instrução e religião na Inglaterra após a conquista deste país
pelos normandos, em 1066.
Questão 7
Imaginative works have been written in English for over a thousand years, and, in historical terms,
most of them are primarily the heritage of England. As with the language itself, such literature can be
divided into Old, Middle, and Modern periods, the modern phase subdividing conveniently into
compartments whose labels relate to monarchs (Tudor, Elizabethan, Jacobean, Victorian), cultural
phases and assumptions (Augustan, Romantic, Modernist, etc.), and, most recently, varieties
(American Literature, Indian English Literature, etc.).
Texts from Anglo-Saxon times survive in the late manuscript form; their composition can seldom be
certainly dated and their authorship is often unknown. They are among the oldest specimens of
literature in a European vernacular. The longest and finest work, the heroic poem Beowulf, is known
only in a manuscript of c.1000, and tells in alliterative verse a story concerning Germanic speakers of
the Baltic, where the earliest forms of English originated. Like much other Old English poetry, it
contains traces of oral creation. The heroic tradition includes The Battle of Maldon, written soon after
the battle against the Danes (991) which it celebrates. There are also elegiac and reflective poems,
including "The Wanderer" and the "The Seafarer", that may date from the 7c. Old English prose
consisted of translations from Latin and such records as the Anglo-Saxon Chronicle begun in 890
under the direction of King Alfred of Wessex and continuing until 1154. It records the principal events
of contemporary history, and is an important witness to the development of English over the period.
Most extant Old English Literature is in West Saxon; few traces remain from the earlier Northumbrian,
except such short pieces as the "Hymn of Caedmon" (c.670). After the Norman Conquest (1066),
English was subordinate to Latin as the language of learning and religion and the Norman French of
court and government. Surviving manuscripts show that poems were being written in English from the
12c onwards; many are fragmentary, but there are lyrics and verse romances that attest to a vigorous
culture, embodying the pre-Conquest history and legends, as in the 13c poem "Havelok the Dane".
Gradual changes in the language, and the adoption of rhymed metrical verse in place of the Old
English alliterative measure, can be traced through the early medieval period.
In the 14c, English emerged as a new language with few inflections and a strong admixture of French
vocabulary. Chaucer moved from a close imitation of French and Italian poetry to write the
Canterbury Tales (c.1387), whose styles often vary according to the teller of tale. He wrote in the East
Midland dialect, which in due course became the standard literary language. In the West Midland
dialect, there was a revival of alliterative verse: Langland (14c) wrote Piers Plowman, a long moral
and political allegory with glimpses of contemporary life; and an unknown poet or poets produced the
allegorical Pearl and the romance Sir Gawain and the Green Knight. At the same time, vernacular
prose was developing: mainly the 14c homiletic and theological work of Richard Rolle, John Wycliffe,
and others.
Drama appeared in the mystery plays, whose extant cycles come mainly from the Midlands and the
North of England, and provide evidence of the speech of the period. The Arthurian legends that had
inspired many lays and romances were collected by Thomas Malory (15c) in Morte D’Arthur, whose
prose style varies with the sources from which he draws but reflects a sense of assurance. The
mystery plays continued to be acted into the 16c, but a new type, the allegorical morality play, in
which characters are personified virtues and vices, was a precursor of later secular drama.
In early Tudor England, the influence of the Italian Renaissance showed in the poetry of Thomas
Wyatt and Henry Howard, including the use of the sonnet. A rougher, more satirical native tradition
was carried on by John Skelton (c.1460-1529), who praised and sometimes imitated earlier writers,
while recognizing that their language was old-fashioned, at the same time regarding contemporary
English as unstable and inadequate for a poet. The printer William Caxton shared this concern. He
was aware that printing made a standard literary language preferable and it was largely through the
efforts of printers that written English had by the 17c become more uniform. In the later 16c, English
came to be more fully accepted as a medium in which the traditional genres could be written, but
many scholars distrusted its stability and continued to use Latin for their treatises. The vitality of
Elizabethan writing owed much to both free borrowings from ancient and modern tongues.
The supreme achievement of the late 16c and early 17c was drama performed by an organized
profession in permanent theatres. The primacy of William Shakespeare should not overshadow the
work of his contemporaries: pioneers of a new type of dramatic tragedy that used neither Biblical nor
classical subjects included Thomas Kyd and Christopher Marlowe (1564-93). The drama showed that
literary English could be spoken effectively for public purposes, in blank verse and in prose.
In the first half of the 17c, a time of struggle between Parliament and King, lyrics in the classical
manner of Jonson were written by Cavalier (Royalist) poets. A distinctive new kind of poetry was
labeled metaphysical by Samuel Johnson from its concern with philosophical and theological issues. It
is characterized by elaborate use of language with unexpected images and quaint conceits: elaborate
and extended metaphors or similes. The leading metaphysical poet was John Donne, powerful in
erotic and devotional poetry and using similar language and figures for both. John Milton, regarded by
many as the greatest poet of the century, was both Puritan and Parliamentarian, his early poetry
(lyrical, pastoral, and elegiac) veiling his austerity in delicate, even sensuous language. His greatest
work was the Christian epic Paradise Lost (1671). The beginnings of the novel can be seen in the
narratives of Aphra Behn and Daniel Defoe. John Bunyan in Pilgrims’s Progress (1678, 1684) combined
narrative allegory with Biblical themes and cadences. The old open-air theatres, closed through
Puritan pressures in 1642, were reopened with indoor stages, presenting mainly witty and satirical
comedies of manners, in prose that remained elegant even when its content was coarse and
scurrilous.
For over a century after the Restoration, the heroic couplet was the dominant poetic form, which
Dryden and Pope used to write largely satirical and polemical works. Because of its attention to
classical principles and thecraft of verse, the period has been called neo-classical or Augustan.
However, the most important literary development of the 18c was neither poetical nor classical.
Within a few decades, the novel was fully established, with the work of Samuel Richardson, Henry
Fielding, Tobias Smollet, and Laurence Stern. Continuous narrative, divided into long chapters and
paragraphs, incorporated representations of speech from different registers, classes, and dialects,
bringing the full resources of the language into literary use.
As to the poem "Beowulf", it is correct to say that it
A) contains long passages in blank verse.
B) is the best poetic production of the Middle English period.
C) was most probably written by a Germanic king.
D) bears features of oral language.
Gabarito:
D
Resolução:
A alternativa correta é a (D). Como lemos no segundo parágrafo, o poema heroico Beowulf,
como outras obras da poesia inglesa antiga, apresenta características da linguagem oral ("The
longest and finest work, the heroic poem Beowulf, is known only in a manuscript of c.1000, and tells
in alliterative verse a story concerning Germanic speakers of the Baltic, where the earliest forms of
English originated. Like much other Old English poetry, it contains traces of oral creation.").
Questão 8
Imaginative works have been written in English for over a thousand years, and, in historical terms,
most of them are primarily the heritage of England. As with the language itself, such literature can be
divided into Old, Middle, and Modern periods, the modern phase subdividing conveniently into
compartments whose labels relate to monarchs (Tudor, Elizabethan, Jacobean, Victorian), cultural
phases and assumptions (Augustan, Romantic, Modernist, etc.), and, most recently, varieties
(American Literature, Indian English Literature, etc.).
Texts from Anglo-Saxon times survive in the late manuscript form; their composition can seldom be
certainly dated and their authorship is often unknown. They are among the oldest specimens of
literature in a European vernacular. The longest and finest work, the heroic poem Beowulf, is known
only in a manuscript of c.1000, and tells in alliterative verse a story concerning Germanic speakers of
the Baltic, where the earliest forms of English originated. Like much other Old English poetry, it
contains traces of oral creation. The heroic tradition includes The Battle of Maldon, written soon after
the battle against the Danes (991) which it celebrates. There are also elegiac and reflective poems,
including "The Wanderer" and the "The Seafarer", that may date from the 7c. Old English prose
consisted of translations from Latin and such records as the Anglo-Saxon Chronicle begun in 890
under the direction of King Alfred of Wessex and continuing until 1154. It records the principal events
of contemporary history, and is an important witness to the development of English over the period.
Most extant Old English Literature is in West Saxon; few traces remain from the earlier Northumbrian,
except such short pieces as the "Hymn of Caedmon" (c.670). After the Norman Conquest (1066),
English was subordinate to Latin as the language of learning and religion and the Norman French of
court and government. Surviving manuscripts show that poems were being written in English from the
12c onwards; many are fragmentary, but there are lyrics and verse romances that attest to a vigorous
culture, embodying the pre-Conquest history and legends, as in the 13c poem "Havelok the Dane".
Gradual changes in the language, and the adoption of rhymed metrical verse in place of the Old
English alliterative measure, can be traced through the early medieval period.
In the 14c, English emerged as a new language with few inflections and a strong admixture of French
vocabulary. Chaucer moved from a close imitation of French and Italian poetry to write the
Canterbury Tales (c.1387), whose styles often vary according to the teller of tale. He wrote in the East
Midland dialect, which in due course became the standard literary language. In the West Midland
dialect, there was a revival of alliterative verse: Langland (14c) wrote Piers Plowman, a long moral
and political allegory with glimpses of contemporary life; and an unknown poet or poets produced the
allegorical Pearl and the romance Sir Gawain and the Green Knight. At the same time, vernacular
prose was developing: mainly the 14c homiletic and theological work of Richard Rolle, John Wycliffe,
and others.
Drama appeared in the mystery plays, whose extant cycles come mainly from the Midlands and the
North of England, and provide evidence of the speech of the period. The Arthurian legends that had
inspired many lays and romances were collected by Thomas Malory (15c) in Morte D’Arthur, whose
prose style varies with the sources from which he draws but reflects a sense of assurance. The
mystery plays continued to be acted into the 16c, but a new type, the allegorical morality play, in
which characters are personified virtues and vices, was a precursor of later secular drama.
In early Tudor England, the influence of the Italian Renaissance showed in the poetry of Thomas
Wyatt and Henry Howard, including the use of the sonnet. A rougher, more satirical native tradition
was carried on by John Skelton (c.1460-1529), who praised and sometimes imitated earlier writers,
while recognizing that their language was old-fashioned, at the same time regarding contemporary
English as unstable and inadequate for a poet. The printer William Caxton shared this concern. He
was aware that printing made a standard literary language preferable and it was largely through the
efforts of printers that written English had by the 17c become more uniform. In the later 16c, English
came to be more fully accepted as a medium in which the traditional genres could be written, but
many scholars distrusted its stability and continued to use Latin for their treatises. The vitality of
Elizabethan writing owed much to both free borrowings from ancient and modern tongues.
The supreme achievement of the late 16c and early 17c was drama performed by an organized
profession in permanent theatres. The primacy of William Shakespeare should not overshadow the
work of his contemporaries: pioneers of a new type of dramatic tragedy that used neither Biblical nor
classical subjects included Thomas Kyd and Christopher Marlowe (1564-93). The drama showed that
literary English could be spoken effectively for public purposes, in blank verse and in prose.
In the first half of the 17c, a time of struggle between Parliament and King, lyrics in the classical
manner of Jonson were written by Cavalier (Royalist) poets. A distinctive new kind of poetry was
labeled metaphysical by Samuel Johnson from its concern with philosophical and theological issues. It
is characterized by elaborate use of language with unexpected images and quaint conceits: elaborate
and extended metaphors or similes. The leading metaphysical poet was John Donne, powerful in
erotic and devotional poetry and using similar language and figures for both. John Milton, regarded by
many as the greatest poet of the century, was both Puritan and Parliamentarian, his early poetry
(lyrical, pastoral, and elegiac) veiling his austerity in delicate, even sensuous language. His greatest
work was the Christian epic Paradise Lost (1671). The beginnings of the novel can be seen in the
narratives of Aphra Behn and Daniel Defoe. John Bunyan in Pilgrims’s Progress (1678, 1684) combined
narrative allegory with Biblical themes and cadences. The old open-air theatres, closed through
Puritan pressures in 1642, were reopened with indoor stages, presenting mainly witty and satirical
comedies of manners, in prose that remained elegant even when its content was coarse and
scurrilous.
For over a century after the Restoration, the heroic couplet was the dominant poetic form, which
Dryden and Pope used to write largely satirical and polemical works. Because of its attention to
classical principlesand the craft of verse, the period has been called neo-classical or Augustan.
However, the most important literary development of the 18c was neither poetical nor classical.
Within a few decades, the novel was fully established, with the work of Samuel Richardson, Henry
Fielding, Tobias Smollet, and Laurence Stern. Continuous narrative, divided into long chapters and
paragraphs, incorporated representations of speech from different registers, classes, and dialects,
bringing the full resources of the language into literary use.
Besides being a great poet, John Milton was also a
A) writer of satirical plays.
B) follower of Puritanism.
C) defender of Biblical terms.
D) romantic writer.
Gabarito:
B
Resolução:
A alternativa correta é a (B). Como lemos no último parágrafo, John Milton, aclamado como o grande
poeta de seu século, era também um puritano e um parlamentar.
Questão 9
If you had told me the truth before, ______ you.
 
A) I would believe
B) I would have believed 
C) I believe 
D) I will believe
E) I believed
Gabarito:
B
Resolução:
Pela estrutura da primeira oração da sentença If you had told me the truth before, percebemos se
tratar de uma sentença conditional do tipo 3 (if + Past Perfect), usada para se referir a condições
impossíveis que essa condição de ser cumpridas, referidas no passado. Para completar o período é
preciso aplicar a estrutura que completa a sentença condiconal do tipo 3 (would + have + Past
Participle).
Questão 10
If the author knew then what he knows now, he
A) will find another ending for his novel.
B) would have found another ending for his novel.
C) would found another ending for his novel.
D) can have found another ending for his novel.
Gabarito:
B
Resolução:
A alternativa correta é a B e para acertá-la era preciso se basear em conhecimentos sobre a formação
da condicional em inglês. No caso em questão, a única alternativa correta nos leva a uma sentença
condicional do tipo mista. Neste caso, o tempo na If-clause é simple past (If the author knew then
what he knows now), e na oração principal é o perfect conditional (would have found another
ending for his novel). O sentido produzido por este tipo de construção é o de resultado do presente
no passado: "se o autor soubesse na época o que sabe hoje, teria escrito outro final para sua
novela".
Questão 11
I – “Pata de galinha não machuca pinto”.
II – “Quem semeia ventos colhe tempestades”.
III – “Macaco velho não mete a mão em cumbuca”. 
Os provérbios sintetizam conceitos a respeito da realidade ou regras de conduta social ou
moral. Assinale o conjunto de temas respectivamente correlacionados aos provérbios. 
 
a. Justiça; persistência; segurança
b. Segurança; justiça; precaução
c. Esperteza; astúcia; competência
d. Ética; solidariedade; segurança
e. Justiça; eficiência; convicção
Gabarito:
B
Resolução:
Dentre os temas apresentados, os que se relacionam aos provérbios citados estão na alternativa B:
segurança (no sentido de que os mais velhos devem zelar pelos mais novos), justiça (no sentido de
que o resultados vêm de acordo com as atitudes que tomamos) e precaução (pessoas mais velhas e
experientes são precavidas e não se metem em confusão).
Questão 12
If China stays on the same economic track, it would become the world's largest economy in 2027,
surpassing the United States, according to projections by Goldman, Sachs & Co., a Wall Street
investment bank. And unlike Japan, which rose in the 1980s only to fade again, China still has a huge
pool of workers to tap and an emerging middle class that is just starting to reach critical mass. Many
development economists believe China still has 20 years of fairly high growth ahead. 
China's influence spreads around the world — By WILLIAM FOREMAN, Associated Press
Writer — Saturday, September 01, 2007
http://news.yahoo.com/s/ap/20070901/ap_on_re_as/china_global_impact 
According to the text, China’s growth
A depends on the extent of rail road tracks laid down in the next few years
B will surpass the USA’s per capita income in 2027
C will make China as economically important as the US by 2027
D Is intimately dependent on Wall Street investment banks
E will help Goldman, Sachs & Co. become better forecasters
Gabarito:
C
Resolução:
Segundo a primeira linha do texto, "If China stays on the same economic track, it would become the
world's largest economy in 2027, surpassing the United States" (se a China seguir a mesma trilha, ela
pode se tornar a maior economia mundial em 2027, ultrapassando os Estados Unidos). Assim, o
crescimento chinês tornará o país tão importante economicamente quanto os Estados Unidos —
[China's growth] will make China as economically important as the US by 2027.
Questão 13
I. Diante da dificuldade, municípios de diferentes regiões do país realizaram um segundo “dia D”
neste sábado. O primeiro ocorreu em 18 de agosto. A adesão, no entanto, ainda ficou abaixo do
esperado. Agora, a recomendação é que estados e municípios façam busca ativa para garantir que
todo o público?alvo da campanha seja vacinado.
Folha de S. Paulo. São Paulo. 03 set. 2018.
II. Pensar sobre a vaga, buscar conhecer a empresa e o que ela busca já faz de você alguém especial.
Muitos que procuram o balcão de emprego não compreendem que os detalhes são fundamentais para
conseguir a recolocação. Agora, não pense que você vai conseguir na primeira investida, a busca por
um novo emprego requer paciência e persistência, tenha você 20 anos ou 50.
Balcão de Emprego. Disponível em: .
O termo “Agora” pode ser substituído, respectivamente, em I e II e sem prejuízo de sentidos nos dois
textos, por
a) Neste momento; Por conseguinte.
b) Neste ínterim; De fato.
c) Portanto; Ademais.
d) Todavia; Então.
e) Doravante; Mas.
Gabarito:
E
Resolução:
No texto I, o advérbio “agora” indica a necessidade dos municípios traçarem nova estratégia dali para
frente para garantir a vacinação do público-alvo a partir do resultado insuficiente obtido até então.
Esta ideia de “dali para frente” poderia ser obtida por outra expressão com o mesmo sentido, tal
como “de agora em diante” ou “doravante”. Já no texto II, o advérbio “agora” dá sentido de oposição
entre os períodos anteriores e o seguinte, contrapondo as recomendações prévias com a não garantia
de sua eficácia na primeira tentativa, reforçando a necessidade de persistência e paciência para
conseguir-se um emprego. O termo, portanto, poderia ser substituído por uma conjunção adversativa
como “mas, entretanto, todavia, não obstante”, sem prejuízo de sentido.
Questão 14
I ain’t gonna work on Maggie’s farm no more
I ain’t gonna work on Maggie’s farm no more
Well, I wake up in the morning
Fold my hands and pray for rain
I got a head full of ideas
That are drivin’ me insane
It’s a shame the way she makes me scrub the floor
I ain’t gonna work on Maggie’s farm no more
 
I ain’t gonna work for Maggie’s brother no more
I ain’t gonna work for Maggie’s brother no more
Well, he hands you a nickel
He hands you a dime
He asks you with a grin
If you’re havin’ a good time
Then he fines you every time you slam the door
I ain’t gonna work for Maggie’s brother no more
 
I ain’t gonna work for Maggie’s pa no more
No, I ain’t gonna work for Maggie’s pa no more
Well, he puts his cigar out in your face just for kicks
His bedroom window it is made out of bricks
The National Guard stands around his door
Ah, I ain’t gonna work for Maggie’s pa no more, alright
Bob Dylan, "Maggie's Farm", do álbum Bringing it all back home, 1965.
 
Nestas estrofes, o conjunto de cenas descritas mostra que a principal dificuldade experimentada pela
pessoa cuja história é contada na letra da música refere-se
 
a) ao relacionamento difícil com familiares e amigos.
b) à falta de criatividade diante das exigências do trabalho.
c) às restrições impostas a sua liberdade e expressão pessoal.
d) à competição por salários mais altos com colegas de trabalho.
e) às dificuldades de viver fora de um grande centro urbano.
Gabarito:
C
Resolução:Nestas estrofes, o conjunto de cenas descritas mostra que a principal dificuldade experimentada pela
pessoa cuja história é contada na letra da música refere-se às restrições impostas a sua liberdade e
expressão:
"I got a head full of ideas
That are drivin’ me insane
It’s a shame the way she makes me scrub the floor".
Questão 15
I knew TikTok existed, but I didn’t fully understand what it was until a few months ago. I also realized
that something radical, yet largely invisible, is happening on the internet – with implications we still
don't understand.
When I was growing up, I took it for granted that the people who became famous enough to be
listened to by a crowd had worked hard for that accolade and generally operated with the support of
an institution or an established industry.
The idea that I, as a teenager in my bedroom, might suddenly communicate with 100,000 people or
more, would have seemed bizarre.
Today’s kids no longer see life in these hierarchical and institutional terms. Yes, their physical worlds
are often constrained by parental controls, a lack of access to the outdoors and insane over-
scheduling.
But despite that (or, more accurately, in reaction to that), they see the internet as a constantly
evolving frontier, where it is still possible for a bold and lucky pioneer to grab some land or find a
voice. Most voices on the internet never travel beyond a relatively small network, and much of the
content that goes viral on platforms such as TikTok, YouTube or Instagram does so because of unseen
institutions at work (for example, a public relations team aiming to boost a celebrity’s profile).
Fame can suddenly appear – and then just as suddenly be taken away again, because the audience
gets bored, the platform’s algorithms change or the cultural trend that a breakout video has tapped
into goes out of fashion.
For a teenager, social media can seem like a summer garden at dusk filled with fireflies: spots of
lights suddenly flare up and then die down, moving in an unpredictable, capricious display.
Is this a bad thing? We will not know for several years.
Financial Times. 5 February 2020. Adaptado.
No texto, a referência a um jardim de verão ao entardecer, repleto de vagalumes, sugere que, para
os adolescentes, as mídias sociais
 
a) são fonte de pressão e tensão na família.
b) favorecem a comunicação dos mais tímidos.
c) são pautadas por certa imprevisibilidade.
d) garantem a funcionalidade de grupos.
e) promovem igualdade de expressão.
Gabarito:
C
Resolução:
No texto, a referência a um jardim de verão ao entardecer, repleto de vaga-lumes, sugere que, para
os adolescentes, as mídias sociais são pautadas por certa imprevisibilidade, conforme identificamos
no trecho "For a teenager, social media can seem like a summer garden at dusk filled with fireflies:
spots of lights suddenly flare up and then die down, moving in an unpredictable, capricious display".
Questão 16
I knew TikTok existed, but I didn’t fully understand what it was until a few months ago. I also realized
that something radical, yet largely invisible, is happening on the internet – with implications we still
don't understand.
When I was growing up, I took it for granted that the people who became famous enough to be
listened to by a crowd had worked hard for that accolade and generally operated with the support of
an institution or an established industry.
The idea that I, as a teenager in my bedroom, might suddenly communicate with 100,000 people or
more, would have seemed bizarre.
Today’s kids no longer see life in these hierarchical and institutional terms. Yes, their physical worlds
are often constrained by parental controls, a lack of access to the outdoors and insane over-
scheduling.
But despite that (or, more accurately, in reaction to that), they see the internet as a constantly
evolving frontier, where it is still possible for a bold and lucky pioneer to grab some land or find a
voice. Most voices on the internet never travel beyond a relatively small network, and much of the
content that goes viral on platforms such as TikTok, YouTube or Instagram does so because of unseen
institutions at work (for example, a public relations team aiming to boost a celebrity’s profile).
Fame can suddenly appear – and then just as suddenly be taken away again, because the audience
gets bored, the platform’s algorithms change or the cultural trend that a breakout video has tapped
into goes out of fashion.
For a teenager, social media can seem like a summer garden at dusk filled with fireflies: spots of
lights suddenly flare up and then die down, moving in an unpredictable, capricious display.
Is this a bad thing? We will not know for several years.
Financial Times. 5 February 2020. Adaptado.
Conforme o texto, um aspecto associado ao caráter efêmero da popularidade de um usuário da
internet, relativo ao uso de plataformas como TikTok, é
 
a) a falta de conhecimento técnico dos adolescentes para o manejo de hardware.
b) a perda de interesse do público pelas publicações até então atrativas.
c) a competição entre usuários com atitudes pouco éticas.
d) a variedade limitada dos videos postados, em razão do tratamento precário das imagens.
e) a alta capacidade dos vídeos para viralizar entre grupos com interesses conflitantes.
Gabarito:
B
Resolução:
Conforme o texto, um aspecto associado ao caráter efêmero da popularidade de um usuário da
internet, relativo ao uso de plataformas como TikTok, é a competição entre usuários com atitudes
pouco éticas, conforme comprova o trecho "Fame can suddenly appear – and then just as suddenly be
taken away again, because the audience gets bored, the platform’s algorithms change or the cultural
trend that a breakout video has tapped into goes out of fashion".
Questão 17
How can consumers find out if a corporation is "greenwashing" environmentally unsavory practices?
June 29, 2013.
In essence, greenwashing involves falsely conveying to consumers that a given product, service,
company or institution factors environmental responsibility into its offerings and/or operations.
CorpWatch, a non-profit organization dedicated to keeping tabs on the social responsibility (or lack
thereof) of U.S.-based companies, characterizes greenwashing as "the phenomena of socially and
environmentally destructive corporations, attempting to preserve and expand their markets or power
by posing as friends of the environment".
One of the groups leading the charge against greenwashing is Greenpeace. "Corporations are falling
all over themselves", reports the group, "to demonstrate that they are environmentally conscious.
The average citizen is finding it more and more difficult to tell the difference between those
companies genuinely dedicated to making a difference and those that are using a green curtain to
conceal dark motives".
Greenpeace launched its Stop Greenwash campaign in 2009 to call out bad actors and help
consumers make better choices. The most common greenwashing strategy, the group says, is when a
company touts an environmental program or product while its core business is inherently polluting or
unsustainable.
Another involves what Greenpeace calls "ad bluster": using targeted advertising or public relations to
exaggerate a green achievement so as to divert attention from actual environmental problems – or
spending more money bragging about green behavior than on actual deeds. In some cases,
companies may boast about corporate green commitments while lobbying behind the scenes against
environmental laws.
Greenpeace also urges vigilance about green claims that brag about something the law already
requires: "For example, if an industry or company has been forced to change a product, clean up its
pollution or protect an endangered species, then uses Public Relations campaigns to make such
action look proactive or voluntary".
For consumers, the best way to avoid getting "greenwashed" is to be educated about who is truly
green and who is just trying to look that way to make more money. Lookbeyond advertising claims,
read ingredient lists or ask employees about the real information on their company’s environmental
commitment. Also, look for labels that show if a given offering has been inspected by a reliable third-
party. For example, the U.S. Department of Agriculture’s Certified Organic label can only go on
products that meet the federal government’s organic standard. Just because a label says "made with
organic ingredientes" or "all-natural" does not mean the product qualifies as Certified Organic, so be
sure to look beyond the hype.
Disponível em: . Adaptado.
Segundo o texto, uma das estratégias usadas pelas empresas para praticar greenwashing é
a) o uso de atores de televisão e de pessoas famosas para promover seus produtos.
b) a alegação de que seus produtos são saudáveis e fazem a diferença.
c) a redução das atividades poluidoras com investimentos em energia de fontes renováveis.
d) a divulgação de que estão contribuindo para o meio ambiente ao apenas cumprir a lei.
e) a utilização da cor verde nas embalagens de seus produtos para simbolizar a natureza.
Gabarito:
D
Resolução:
Segundo o texto, uma das estratégias usadas pelas empresas para praticar greenwashing é a
divulgação de que estão contribuindo para o meio ambiente, quando na verdade
estão apenas cumprindo a lei. No texto, lemos: "Greenpeace also urges vigilance about green claims
that brag about something the law already requires".
Questão 18
How to rid your home of cockroaches
Cockroaches are health hazard and should be eliminated from your home as quickly as possible. Bear
in mind that roaches will gravitate toward areas with a water source, a food source, and dark warm
places to hide. You can make your home an unlikely target by fixing leaky pipes or dripping faucets.
Disponível em: . Acesso em: 21 set. 2013.
Adaptado.
a) Qual é o objetivo do texto? Por que atingir esse objetivo é muito importante?
b) Descreva e justifique o procedimento recomendado no texto para solucionar o problema
mencionado.
Gabarito:
(Resolução oficial)
a) O objetivo do texto é dar instruções sobre o que fazer para nos livrarmos das baratas em nossas
casas. Eliminar baratas é importante porque elas são prejudiciais à saúde.
b) O procedimento recomendado é consertar canos que estão vazando e torneiras que estão
pingando porque assim estaríamos eliminando fontes de água, algo que atrai baratas.
Questão 19
How to feed a hungry world
With the world's population expected to grow from 6.8 billion today to 9.1 billion by 2050, a certain
Malthusian alarmism has set in: how will all these extra mouths be fed? The world's population more
than doubled from 3 billion between 1961 and 2007, yet agricultural output kept pace — and current
projections suggest it will continue to do so. Producing enough food for the world's population in 2050
will require a wholesale realignment of priorities in agricultural research. There is an urgent need for
new seed varieties that offer higher yields but use less water, fertilizers or other inputs and are more
resistant to drought, heat and pests. Equally crucial is lower-tech research into basics such as crop
rotation, soil management and curbing waste – between one-quarter and one-third of the food
produced worldwide is lost or spoiled.
Nature, n. 466, p. 531–532, jul. 2010. Adaptado
a) No período de 1961 a 2007, qual foi, segundo o texto, a relação entre o crescimento da população
e a produção agrícola?
b) Além de investigações sobre novas variedades de sementes, que outras pesquisas seriam
necessárias, segundo o texto, para garantir uma produção suficiente de alimentos em 2050?
Gabarito:
(Resolução oficial)
a) A população mais do que duplicou no período, enquanto a produção agrícola manteve o mesmo
ritmo de antes.
b) Para garantir uma produção suficiente de alimentos em 2050, seriam necessárias pesquisas sobre
a rotação de culturas, o manejo do solo e a redução do desperdício de alimentos produzidos.
Resolução:
Questão 20
Hundreds of urban and climate change leaders from all around the globe will join mayors from the
world's largest cities for three days to advance urban solutions to combat the impact of global climate
change.
Disponível em: .
O texto refere-se a uma reunião:
a) Com os lideres de diversas nações para discutirem soluções de combate aos impactos das
mudanças climáticas nas maiores cidades do mundo.
b) Que contará com a participação dos prefeitos das maiores cidades do mundo para a discussão de
soluções sobre o combate aos impactos das mudanças climáticas.
c) Que acontecerá nas maiores cidades do mundo para a discussão de soluções de combate aos
impactos das mudanças climáticas.
d) De três dias para a discussão dos efeitos das mudanças climáticas e do problema da fome nas
maiores cidades do mundo.
e) De prefeitos das maiores cidades do mundo para a discussão de soluções de combate aos
impactos das mudanças climáticas para serem apresentadas aos lideres mundiais.
Gabarito:
B
Resolução:
O texto refere-se a uma reunião que contará com a participação dos prefeitos das maiores cidades do
mundo ("mayors from the world's largest cities") para a discussão de soluções sobre o combate aos
impactos das mudanças climáticas ("solutions to combat the impact of global climate change").