54

Prévia do material em texto

54
Questão 1
In terms of the relationship between sweat and bad smell, where can you find some advice?
(A) Sweat is simply a mixture of water, salt, and trace amounts of electrolytes and urea that's
produced by glands to cool your body.
(B) Your mood, diet, and hormones, and some drugs and medical conditions affect how much you
perspire and how your sweat smells.
(C) Deodorant or antiperspirant, gel or stick, white or clear – the selection of sticks out there is
enough to make you break into a sweat trying to decide.
(D) Just as bacteria can become resistant to antibiotics, it's possible for your pits to become immune
to the ingredients in your deodorant. So, try a new brand every 6 months.
(E) Your sweat reeks more when you're nervous than when you work out because emotional stress
triggers the apocrine glands to push sweat to the surface of your skin.
 
Disponível em: . Acesso em: 3 mar. 2009. (Adaptado.)
 
Vocabulário:
sticks: desodorantes
pits: poros
reeks: cheira mal
triggers: faz com que
Gabarito:
D
Resolução:
A alternativa correta é a D, pois é a única que fornece um conselho de procedimento para o problema
do mau cheiro ("bad smell") relacionado ao suor ("sweat"). Além da explicação sobre a potencial
imunidade dos poros às bactérias que causam o mal cheiro ("Just as bacteria can become resistant to
antibiotics, it's possible for your pits to become immune to the ingredients in your deodorant"), o
texto sugere uma solução para a questão, por meio de uma estrutura injuntiva, do uso do verbo "try"
("tente") no imperativo imperativo ("So, try a new brand every 6 months").
Questão 2
In relation to the ethnic issue, it is absolutely necessary that the Brazilian republican society should
recognize the discrimination that has happened since the country's foundation, and propose effective
solutions to solve this debt. Nevertheless, solutions restricted to the access to universities, without
being extended to other institutions and/or spaces of the society in order to create real opportunity
for the formation of a new elite, and ensure the participation of this contingent in the decision process
of the Brazilian society, seem like a populist incoherence, or like a demagogic simplification.
 
FRY, P.; MAGGIE, Y. Peter Fry and Yvonne Maggie about quotas in universities – Simon's Blog. 
Disponível em: . 
Acesso em: 10 fev. 2009. (Adaptado.)
 
Qual pergunta é incoerente com o argumento apresentado no texto?
(A) What justifies that quotas won't be used in other public contests, for governmental jobs for
example?
(B) Why are other republican powers excluded from the quota policies?
(C) How to explain the absence of racial quotas in the composition of the judiciary?
(D) And the members of congress, the ones that should represent the Brazilian society profile?
(E) Why should we interfere in a merit system that has been working well?
Gabarito:
E
Resolução:
A alternativa E é a única incoerente com o argumento central do texto – de que o Brasil deve
reconhecer os processos étnicos discriminatórios presentes desde a fundação do país e propor
soluções para tal, que sejam menos restritivas e mais eficazes para a formação de uma
representatividade desses grupos, do que apenas cotas raciais para ingresso em universidades, por
exemplo. As afirmativas A, B e C tratam de cotas raciais para o ingresso em universidades,
coerentemente com a questão do preconceito. A questão em C também é coerente porque trata de
representatividade política, ou seja, para além da elite cultural formada pelas medidas como as de
cotas. O item E, no entanto, fala de um sistema de mérito não especificado e que está "dando certo",
perguntando se devíamos interferir nele ("Why should we interfere in a merit system that has been
working well?"). Não há coerência com o argumento do texto, que não avalia positivamente o sistema
atual.
Questão 3
In relation to the ethnic issue, it is absolutely necessary that the Brazilian republican society should
recognize the discrimination that has happened since the country's foundation, and propose effective
solutions to solve this debt. Nevertheless, solutions restricted to the access to universities, without
being extended to other institutions and/or spaces of the society in order to create real opportunity
for the formation of a new elite, and ensure the participation of this contingent in the decision process
of the Brazilian society, seem like a populist incoherence, or like a demagogic simplification.
 
FRY, P.; MAGGIE, Y. Peter Fry and Yvonne Maggie about quotas in universities – Simon's Blog. 
Disponível em: . 
Acesso em: 10 fev. 2009. (Adaptado.)
 
O texto resume a ideia de que a política de cotas nas universidades é
(A) desnecessária.
(B) insuficiente.
(C) excludente.
(D) injusta.
(E) tendenciosa.
Gabarito:
B
Resolução:
De acordo com o que se pode compreender do argumento do texto, a política de cotas universitárias
é insuficiente para solucionar o débito do Brasil com relação aos processos discriminatórios
denunciados pelo autor. No primeiro período do texto, diz-se que o país precisa propor soluções
efetivas para esses processos ("propose effective solutions to solve this debt"). O segundo período
é introduzido pela contrastiva "nevertheless" ("não obstante"), a qual indica que a medida criticada
em seguida, a política de cotas universitárias, não é efetiva ou suficiente para tal solução,
restringindo-se ao espaço universitário, parecendo mais uma medida populista ou simplificação
demagógica.
Questão 4
In relation to the ethnic issue, it is absolutely necessary that the Brazilian republican society should
recognize the discrimination that has happened since the country's foundation, and propose effective
solutions to solve this debt. Nevertheless, solutions restricted to the access to universities, without
being extended to other institutions and/or spaces of the society in order to create real opportunity
for the formation of a new elite, and ensure the participation of this contingent in the decision process
of the Brazilian society, seem like a populist incoherence, or like a demagogic simplification.
 
FRY, P.; MAGGIE, Y. Peter Fry and Yvonne Maggie about quotas in universities – Simon's Blog. 
Disponível em: . 
Acesso em: 10 fev. 2009. (Adaptado.)
 
Who will pay off the “debt” mentioned in the text? The
(A) racists of Brazil.
(B) Afro-Brazilians.
(C) Brazilian society.
(D) founders of Brazil.
(E) Brazilian institutions.
Gabarito:
C
Resolução:
No texto, o sujeito do verbo "solve" (relativo a "débito") é "Brazilian republican society" ("Brazilian
republican society should recognize the discrimination that has happened since the country's
foundation, and propose effective solutions to solve this debt").
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 Germanicnoun clauses.
Gabarito:
B
Resolução:
Na oração "we understand each other" temos "each other" como objeto direto, sofrendo a ação de
um verbo transitivo direto.
Já na sentença "in the works of these writers, we learn what we share as human beings, what
remains common in all of us under the broad range of differences that separate us”, as
orações destacadas em negrito são object noun clauses (orações subordinadas substantivas
objetivas), ou seja, orações que desempenham o papel de um objeto direto do verbo "learn", na
mesma sentença.
Questão 16
In terms of voice, the verbs in these three sentences “Literary works are born, as shapeless ghosts, in
the intimacy of a writer's consciousness, projected into it by the combined strength of the
unconscious, and the writer's sensitivity to the world around him, and the writer's emotions…”,
“literature has been relegated – like some hidden vice – to the margins of social and personal life, and
transformed into something like a sectarian cult…” and “Nothing better protects a human being
against the stupidity of prejudice, racism, religious or political sectarianism, and exclusivist
nationalism than this truth that invariably appears in great literature: that men and women of all
nations and places are essentially equal.” are respectively in the 
A) active, passive, passive.
B) passive, passive, active.
C) active, passive, active.
D) pasive, active, passive.
Gabarito:
B
Resolução:
Temos, entre as sentenças apontadas, respectivamente, voz passiva, passiva e ativa.
A primeira sentença está na voz passiva, sendo que o sujeito "Literary works" sofre a ação do verbo
"bear" ("fazer nascer"), logo "Literary works was born".
Na segunda sentença temos novamente a voz passiva, sendo que o sujeito "literature" sofre a ação
dos verbos "relegate" e "transform" [“literature has been relegated" e "(literature has been)
transformed into something like a sectarian cult…”].
Já na terceira sentença, o sujeito desempenha a ação do verbo, motivo pelo qual observamos o uso
da voz passiva ["Nothing better protects a human being (...) than this truth"].
Questão 17
In My Arms
 
 
 
 
5
 
 
 
 
10
 
 
As I hold you in my arms
and you gently rock to sleep.
I try to memorize your face,
your tiny hands and feet.
For I know too soon this moment
will just a memory be ...
You’ll be grown and on your own
and no longer needing me
to kiss your hurts and dry your eyes
and rock you till you sleep.
So, I’ll treasure every moment
to have memories I can keep.
SCHWARTZ, Julie. In my arms. Disponível em: .
Acesso em: 19 jul. 2010.
Based on the poem, follow the instructions: 
• Identify who the “pronoun you” refers to in this poem.
• Say what the poet is trying to memorize and why.
• Mention the special occasions on which the poet will no longer be needed.
Gabarito:
(Resolução oficial)
• Identifique o “you” nesse poema.
Um bebê, uma criança.
 
• Diga o que o poeta está tentando memorizar e por quê.
A autora está tentando memorizar o rosto, as mãozinhas e pezinhos do bebê, pois ela sabe que,
muito em breve, esse momento será apenas uma lembrança, uma recordação.
O bebê vai crescer e tornar-se independente. 
• Mencione as ocasiões especiais nas quais o poeta não mais será necessário.
O bebê não vai mais precisar da mãe (a autora) para beijar seus “machucados”, enxugar suas
lágrimas e embalá-lo para dormir.
Questão 18
In My Arms
 
 
 
 
5
 
 
 
 
10
 
 
As I hold you in my arms
and you gently rock to sleep.
I try to memorize your face,
your tiny hands and feet.
For I know too soon this moment
will just a memory be ...
You’ll be grown and on your own
and no longer needing me
to kiss your hurts and dry your eyes
and rock you till you sleep.
So, I’ll treasure every moment
to have memories I can keep.
SCHWARTZ, Julie. In my arms. Disponível em: .
Acesso em: 19 jul. 2010.
Fill in the blanks with the alternative that, according to the poem, completes the statements
correctly. 
• “As” (v. 1) can be replaced by ……………………...
(Because / While / Although / Then / Therefore) 
• “For” (v. 5) expresses ………………………………..
(time / choice / contrast / reason / addition) 
• “So” (v. 11) is the same as ……………………………
(Thus / Moreover / Though / Whether / Nevertheless)
Gabarito:
(Resolução oficial)
• “As” (l. 1) can be replaced by “While”.
• “For” (l. 5) expresses “reason”.
• “So” (l. 11) is the same as “Thus”.
Questão 19
In May 2021, the International Society for Stem Cell Research released new guidelines that relaxed
the 14-day rule, an international consensus that human embryos should be cultured and grown in the
lab only until 14 days postfertilization. The change allows scientists, in countries where it is legal, to
seek permission to continue research beyond this point. Roughly between days 14 and 22, the
embryo enters gastrulation. Studying later stages would allow scientists to better understand the
nearly one-third of pregnancy losses and numerous congenital disabilities thought to be triggered at
these points in development.
As respostas devem ser apresentadas em português.
a) Explique o que é a regra dos 14 dias. De acordo com o texto, que mudança essa regra sofreu
recentemente e quais são os seus impactos?
b) Considerando as informações do texto e a figura dos estágios iniciais da embriogênese humana,
qual é o período aproximado da implantação do embrião e onde ela ocorre? Qual é a importância da
gastrulação na embriogênese?
Gabarito:
(Resolução oficial)
a) A ?regra dos 14 dias? é um consenso internacional que permite que embriões humanos sejam
cultivados e estudados em laboratório somente até 14 dias após a fertilização. Em maio de 2021,
houve flexibilização dessa regra, possibilitando que pesquisadores conduzam investigação em
embriões cultivados por mais tempo do que esse limite. A mudança pode trazer avanços nas
pesquisas sobre o desenvolvimento embrionário humano, incluindo uma melhor compreensão das
causas de perdas gestacionais e doenças congênitas.
 
b) A implantação do embrião ocorre no endométrio do útero, aproximadamente 1 semana após a
fertilização. A gastrulação é a fase do desenvolvimento embrionário durante a qual são formados os
três folhetos embrionários ? ectoderme, mesoderme e endoderme, responsáveis pela derivação de
todos os tecidos e órgãos do organismo.
Resolução:
 
Questão 20
In the future, more robots will occupy a strange gray zone: doing not only jobs that humans can do
but also jobs that require social grace. In the last decade, an interdisciplinary field of research called
Human-Robot Interaction (H.R.I.) has arisen to study the factors that make robots work well with
humans, and how humans view their robotic counterparts.
H.R.I. researchers have discovered some rather surprising things: a robot’s behavior can have a
bigger impact on its relationship with humans than its design; many of the rules that govern human
relationships apply equally well to human-robot relations; and people will read emotions and
motivations into a robot’s behavior that far exceed the robot’s capabilities. As we employ those
lessons to build robots that can be better caretakers, maids and emergency responders, we risk
further blurring the (once unnecessary) line between tools and beings.
The New York Times – International Herald Tribune, Sep. 17, 2013. Adaptado.
Com base no texto, responda em português:
a) Qual é o foco específico dos estudos realizados no campo de pesquisas denominado "Human Robot
Interaction" (H.R.I.)?
b) O que os pesquisadores do H.R.I. têm descoberto sobre as reações dos humanos ao
comportamento dos robôs?
Gabarito:
a) Como observamos no texto, especialmente no primeiro parágrafo, a descriçao do foco específico
dos estudos realizados no campo de pesquisas denominado "Human-Robot Interaction" (H.R.I.) é de
analisar os fatores que fazem os robôs trabalharem bem com os humanos, bem como ivestigar o
modo como os humanos enxergam seus equivalentesrobôs.
b) De acordo com o segundo parágrafo do texto, há algumas descobertas supreedentes dos
pesquisadores do H.R.I. sobre as reações dos humanos ao comportamento dos robôs. Além de
descobrirem que o comportamento dos robôs pode ter mais impacto em suas relações com os
humanos do que seu design e que muitas regras que guiam as relações humanas podem ser
aplicadas a relações humanos-robôs. As pessoas tenderão a perceber as emoções e motivações no
comportamento dos robôs que excedem suas capacidades.
Resolução: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.
Shifts in terms of style in Chaucer’s Canterbury Tales are frequently dependent on the
A) main character’s point of view.
B) character types involved in the story.
C) narrator of the story.
D) author’s voice and mood.
Gabarito:
C
Resolução:
A alternativa correta é a (C). Como confirmamos no terceiro parágrafo, o escritor Chaucer escreveu os
Canterbury Tales, obra cujo estilo varia conforme o narrador dos contos ("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").
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 traditionincludes 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.
Literary works written in English are said to be part of the most ancient texts registered in a
A) Germanic dialect.
B) romance language.
C) dialect derived from Norman French.
D) European language.
Gabarito:
D
Resolução:
A alternativa correta é a (D), pois, como lemos no segundo parágrafo, diz-se dos textos literários
escritos em língua inglesa que estes estão entre os mais antigos escritos literários em uma língua
europeia ("They are among the oldest specimens of literature in a European vernacular").
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 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.
The strong presence of French vocabulary in the English language was consolidated after the
A) conquest of England by the Normans.
B) loss of the French provinces.
C) Renaissance period.
D) transition from medieval to the modern world.
Gabarito:
A
Resolução:
A alternativa correta é a (A). A presença do vocabulário francês foi consolidada no inglês quando este
ficou subordinado ao latim, enquanto língua de aprendizado e religião, e ao francês normando, para
assuntos de corte e governo ("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").
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 Chroniclebegun 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.
The level of uniformization achieved in written English by the 1600s should be credited mainly to the
A) early modern age writers’ style.
B) endeavors of people in the printing business.
C) medieval scholars’ treatises.
D) Old English playwrights’ dialogues.
Gabarito:
B
Resolução:
A alternativa correta é a (B). Como lemos no quinto parágrafo, a uniformização do inglês se deu
principalmente através dos esforços de profissionais da mídia impressa. Um destes profissionais,
William Caxton, acreditava que a escrita impressa tornava uma língua mais aceita para os padrões
literários ("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").
Questão 9
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 asthe 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.
Using elaborate language and old-fashioned ideas is a significant feature in the works of
A) most fourteenth century writers.
B) dramatists such as Christopher Marlowe.
C) Thomas Kyd and his contemporaries.
D) poets such as John Donne.
Gabarito:
D
Resolução:
A alternativa correta é a (D). De acordo com o penúltimo parágrafo do texto, a chamada "poesia
metafísica", principalmente representada pelos trabalhos de John Donne, se caracteriza pelo uso de
linguagem elaborada e conceitos antiquados ("elaborate language" e "quaint conceits").
Questão 10
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 thedevelopment 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.
The performance of Drama by professional groups in permanent theatres is considered
A) the best achievement in the beginning of the 16th century.
B) the greatest accomplishment in the beginning of the 1600s.
C) a feat achieved in the early 1500s.
D) a surprising event in the age of the novel.
Gabarito:
B
Resolução:
A alternativa correta é a (B). Como lemos no sexto parágrafo, a performance teatral feita por grupos
profissionais em teatros permanentes foi a maior realização alcançada no final do século XVI e
começo do século XVII ("The supreme achievement of the late 16c and early 17c was drama
performed by an organized profession in permanent theatres").
Questão 11
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 isin 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.
The establishment of the novel as an important genre in English literature was something that
occurred in the
A) second half of the 1600s.
B) seventeenth century.
C) eighteenth century.
D) first half of the 17c.
Gabarito:
C
Resolução:
A alternativa correta é a (C). Como observamos no último parágrafo, o completo estabelecimento da
novela foi o maior desenvolvimento literário do século XVIII para a literatura de língua inglesa, com os
trabalhos de Richardson, Fielding, entre outros ("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").
Questão 12
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.
Thomas Malory was responsible for
A) publishing mystery plays.
B) discussing virtues and vices in poems.
C) gathering legends about King Arthur.
D) writing “Piers Plowman”.
Gabarito:
C
Resolução:
A alternativa correta é a (C). Confirmamos esta opção através do quarto parágrafo, em que lemos que
as lendas arturianas inspiraram textos medievais recolhidos por Thomas Malory no século XV ("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").
Questão 13
In spite of ______ lots of money, he never ______ a penny.
 
A) will have; is spending 
B) had; will spend 
C) has; spend
D) have; spends
E) having; spends
Gabarito:
E
Resolução:
Para preencher adequadamente a sentença, utilizando uma das alternativas oferecidas, é preciso
primeiramente usar o verbo have seguido de -ing, resultando na oração reduzida de gerúndio ("In
spite of having lots of money"). Quanto à segunda oração, é correto preenchê-la com o verbo spend 
no simple present ("he never spends a penny."), já que a sentença tematiza hábitos corriqueiros
(marcados pelo advérbio never).
Questão 14
In English, give advices or suggestions to the people in the following situations:
a) Paul: I have a terrible headache.
You:
b) Mary: I’m so tired!
You:
c) Your brother: I have no money.
You:
d) Your friends: We are very hungry.
You:
e) Your classmate: I’ve found a wallet full of money.
You:
Gabarito:
a) Paul: I have a terrible headache.
You: You should take a medicine.
b) Mary: I’m so tired!
You: You should rest.
c) Your brother: I have no money.
You: You should get a job.
d) Your friends: We are very hungry.
You: You should eat a sandwich.
e) Your classmate: I’ve found a wallet full of money.
You: You should look for its owner and give it back.
Questão 15
In the sentences “as readers of Cervantes, Shakespeare, Dante, and Tolstoy, we understand each
other across space and time as members of the same species…” and “in the works of these writers,
we learn what we share as human beings, what remains common in all of us under the broad range of
differences that separate us.” one finds respectively 
A) an indirect object and an object noun clause.
B) a direct object and two object noun clauses.
C) a relative clause and a subject noun clause.
D) a direct object and three subject