Questões de Inglês - UERJ | Gabarito e resoluções

(Uerj 2018) O poder criativo da imperfeio J escrevi sobre como nossas teorias cientficas sobre o mundo so aproximaes de uma realidade que podemos compreender apenas em parte. Nossos instrumentos de pesquisa, que tanto ampliam nossa viso de mundo, tm necessariamente limites de preciso. No h dvida de que Galileu, com seu telescpio, viu mais longe do que todos antes dele. Tambm no h dvida de que hoje vemos muito mais longe do que Galileu poderia ter sonhado em 1610. E certamente, em cem anos, nossa viso csmica ter sido ampliada de forma imprevisvel. No avano do conhecimento cientfico, vemos um conceito que tem um papel essencial: simetria. J desde os tempos de Plato, h a noo de que existe uma linguagem secreta da natureza, uma matemtica por trs da ordem que observamos. Plato e, com ele, muitos matemticos at hoje acreditava que os conceitos matemticos existiam em uma espcie de dimenso paralela, acessvel apenas atravs da razo. Nesse caso, os teoremas da matemtica (como o famoso teorema de Pitgoras) existem como verdades absolutas, que a mente humana, ao menos as mais aptas, pode ocasionalmente descobrir. Para os platnicos, a matemtica uma descoberta, e no uma inveno humana. Ao menos no que diz respeito s foras que agem nas partculas fundamentais da matria, a busca por uma teoria final da natureza a encarnao moderna do sonho platnico de um cdigo secreto da natureza. As teorias de unificao, como so chamadas, visam justamente a isso, formular todas as foras como manifestaes de uma nica, com sua simetria abrangendo as demais. Culturalmente, difcil no traar uma linha entre as fs monotestas e a busca por uma unidade da natureza nas cincias. Esse sonho, porm, impossvel de ser realizado. Primeiro, porque nossas teorias so sempre temporrias, passveis de ajustes e revises futuras. No existe uma teoria que possamos dizer final, pois nossas explicaes mudam de acordo com o conhecimento acumulado que temos das coisas. Um sculo atrs, um eltron era algo muito diferente do que hoje. Em cem anos, ser algo muito diferente outra vez. No podemos saber se as foras que conhecemos hoje so as nicas que existem. Segundo, porque nossas teorias e as simetrias que detectamos nos padres regulares da natureza so em geral aproximaes. No existe uma perfeio no mundo, apenas em nossas mentes. De fato, quando analisamos com calma as unificaes da fsica, vemos que so aproximaes que funcionam apenas dentro de certas condies. O que encontramos so assimetrias, imperfeies que surgem desde as descries das propriedades da matria at as das molculas que determinam a vida, as protenas e os cidos nucleicos (RNA e DNA). Por trs da riqueza que vemos nas formas materiais, encontramos a fora criativa das imperfeies. MARCELO GLEISER Adaptado de Folha de So Paulo, 25/08/2013. The texts O poder criativo da imperfeio and Our (im)perfect bodies discuss the concept of perfection, using examples from their respective areas. The sentence that best represents the idea discussed in both texts is:

(UERJ - 2017) TEXTO PARA A PRXIMA QUESTO: THE COST OF BEING HAWAIIAN: DEFENDING OUR IDENTITY A beautiful Polynesian woman moves her hips from side to side, a flower adorning her ear as her hands glide across her body in harmony with the music. She looks like a photograph come to life. Beside her is a dark and handsome man smiling and playing the 1ukulele. He sings through his gigantic smile a beautiful love song to the dancing girl. After a time, the man stops playing and the woman stops dancing. The two stare lovingly into each others eyes and jump into their canoe, disappearing into the sunset. This misconception about the Hawaiian culture has always been around, and although I do not profess to be an expert in Hawaiian studies by any means, I know that these ideas are only cheap imitations and generic stereotypes created more to appeal to tourists than to perpetuate and preserve the Hawaiian way of life. The more people are exposed to these misconceptions, the less they understand the true beauty of the Hawaiian people and the richness of their culture steeped in politics, agriculture, aquaculture, dance, storytelling and an oral tradition that include both extensive genealogies and mythology. Imagine the reaction of our Hawaiian forefathers if they were to view one of the many dinner/cocktail shows that litter the pages of our tourist guides. What would they think? 2Would they proudly applaud our efforts to preserve their contributions to history? Or would they laugh at its absurdity? Is the need to be an economically viable state causing us to compromise our true identity as Hawaiians in exchange for the luxuries that come with being a tourist destination? As a boy, I took trips to the Big Island. Visiting there reminded me that Hawaiians had their own place in history and a proper culture complete with its own form of government, its own form of religion and its own legal system. These discoveries about my heritage filled me with equal portions of pride and wonderment. The most concerning thing to me as a Hawaiian is the growing commercialization of our culture and its possible consequences. 3Simplifying the culture merely for financial gain may actually cost Hawaiians more than they think. 4I do not dispute the fact that the tourism industry brings in much needed revenue to the state, but how long can we tolerate the integrity of our culture being violated simply to earn money? How much longer can we sell these fabricated ideas of the islands before they imbue themselves upon the cultural consciousness of all Hawaiians? I am not suggesting that we shut down every hula show that makes a profit off of reinforcing stereotypes, but that Hawaiians as a people with a rich heritage and a long cultural history need to be more active in understanding our cultural identity. As western influence grows, we need to take steps to preserve our culture so that our children dont grow up believing the stereotypes that are so readily conditioned into the mind of every tourist. Tourism will not go away, but we need to take steps as Hawaiians to ensure our traditions are not swallowed up by these superficial shadows. 1ukulele Hawaiian musical instrument pupuaoewa.org Simplifying the culture merely for financial gain may actually cost Hawaiians more than they think (ref. 3) The underlined word is used to express the notion of:

(UERJ - 2013) The art of difference Mutuality in recognizing and negotiating difference is crucial for people to deal with their past and the future; it is also essential in the process of creating a culture of responsibility. How can this be achieved and what is the role of art in this process? 1A vision based on ideologies solves both challenges of sharing the interpretation of the past and the projections of the future. But ideologies are somehow total, if not totalitarian, because there is not much space for serious public negotiation. Individuals, then, lose their integrity or are restricted to their private spheres and, in the end, their memories become part of the dominant identity discourse, their aspirations are delegated. Even in less obvious systems of ideological rule, where individual subscription to the official story line seems to be consciously voluntary and collective memories are willingly encouraged for the sake of collective identities, the negotiation of difference is often not welcome: exclusion happens quickly 2and non-conformist doubts produce suspicion. A democratic vision shared aspirations for the future, based on negotiated interpretations of the past that respect diversity is necessarily found in complex processes of private and public discourse and participatory and inclusive culture. Yet, politics tends to reduce complexity and engineer the balance between the individual and the collective rather than invest in processes of negotiation. We have learned, 11though, that this social engineering is a phantasm, largely limited and limiting, and, even if successful, often creates paranoid and fatal structures of homogeneity by trying to mould memories and hopes. Humankind has gathered impressive knowledge about the limitations of the human will and the failures of such engineering. 12Nevertheless, despite this, and maybe even because of it, we cannot give up trying the 3impossible: to create conditions for equality and solidarity for individuals to flourish. These conditions should be accompanied by narratives of a just, fair and free commonwealth of all. If history and memory seem to make this dream an 4unlikely scenario, can art play this part? The role of art is precisely to keep inspiration alive, to deconstruct ideology, to 5recall the necessary dream of freedom, of the individual and of the common good beyond the either/or and beyond simplicity. In this sense, art in general prevents false hopes, and thus generates hope in the most paradoxical way: the only way of hoping that reaches beyond the private sphere without some kind of ideological distortion. What makes art so unique? And why? Because the best narratives of art are purpose-free, uniquely non-instrumental, simply human. Art narrates what we dont understand in 7enlightened ways. Artists in particular offer a wealth of 6unseen perspectives and 8unexpected pathways of human exploration. Art makes us aware that all memories are personal, despite the power of collective narratives. Arts and culture empower people to think freely, to imagine the 9unimagined, to feel responsible across borders and boundaries. Hopefully, the narratives of the future will be 10intercultural and art will be the ally in the art of difference that needs to be further developed. Art is about difference, art is difference, as stated by Igor Dobricic*. And it is difference that will be at the origin of the new bonding narratives of confidence. Gottfried Wagner alliancepublishing.org *Igor Dobricic dramaturgo srvio The ideas expressed in a text might be perceived as true because of the choice and repetition of a specific tense.The verb tense that makes the ideas in the text seem true is:

(UERJ -2013) The art of difference Mutuality in recognizing and negotiating difference is crucial for people to deal with their past and the future; it is also essential in the process of creating a culture of responsibility. How can this be achieved and what is the role of art in this process? 1A vision based on ideologies solves both challenges of sharing the interpretation of the past and the projections of the future. But ideologies are somehow total, if not totalitarian, because there is not much space for serious public negotiation. Individuals, then, lose their integrity or are restricted to their private spheres and, in the end, their memories become part of the dominant identity discourse, their aspirations are delegated. Even in less obvious systems of ideological rule, where individual subscription to the official story line seems to be consciously voluntary and collective memories are willingly encouraged for the sake of collective identities, the negotiation of difference is often not welcome: exclusion happens quickly 2and non-conformist doubts produce suspicion. A democratic vision shared aspirations for the future, based on negotiated interpretations of the past that respect diversity is necessarily found in complex processes of private and public discourse and participatory and inclusive culture. Yet, politics tends to reduce complexity and engineer the balance between the individual and the collective rather than invest in processes of negotiation. We have learned, 11though, that this social engineering is a phantasm, largely limited and limiting, and, even if successful, often creates paranoid and fatal structures of homogeneity by trying to mould memories and hopes. Humankind has gathered impressive knowledge about the limitations of the human will and the failures of such engineering. 12Nevertheless, despite this, and maybe even because of it, we cannot give up trying the 3impossible: to create conditions for equality and solidarity for individuals to flourish. These conditions should be accompanied by narratives of a just, fair and free commonwealth of all. If history and memory seem to make this dream an 4unlikely scenario, can art play this part? The role of art is precisely to keep inspiration alive, to deconstruct ideology, to 5recall the necessary dream of freedom, of the individual and of the common good beyond the either/or and beyond simplicity. In this sense, art in general prevents false hopes, and thus generates hope in the most paradoxical way: the only way of hoping that reaches beyond the private sphere without some kind of ideological distortion. What makes art so unique? And why? Because the best narratives of art are purpose-free, uniquely non-instrumental, simply human. Art narrates what we dont understand in 7enlightened ways. Artists in particular offer a wealth of 6unseen perspectives and 8unexpected pathways of human exploration. Art makes us aware that all memories are personal, despite the power of collective narratives. Arts and culture empower people to think freely, to imagine the 9unimagined, to feel responsible across borders and boundaries. Hopefully, the narratives of the future will be 10intercultural and art will be the ally in the art of difference that needs to be further developed. Art is about difference, art is difference, as stated by Igor Dobricic*. And it is difference that will be at the origin of the new bonding narratives of confidence. Gottfried Wagner Fonte: www.alliancepublishing.org *Igor Dobricic dramaturgo srvio Writers use different strategies in order to try to form more effective alliances with readers. The resource used in the last paragraph to establish this alliance is in the use of:

(UERJ - 2008) Observe the fragment: MEET THE BRAZILIAN BEATLES (AGAIN) Os Mutantes, magical tropicalistas, back to blow your mind. 1In this era of nationally televised talent shows and test-tube-baby bands, magic is surely lacking in pop. Yet Srgio Dias, 55, guitarist and founding member of influential Brazilian ensemble Os Mutantes, uses that word - magic - repeatedly, apropos of the groups decision to re-form after three decades. An air of the unexpected always surrounded Os Mutantes. In the late 60s, the band - Dias, brother Arnaldo Baptista, and Rita Lee - were seminal figures in the Tropicalia movement. Os Mutantes fused psychedelic rock with elements of bossa nova, and the mere use of electric guitars found them branded heretics at home; 2the inclusion of such oddities as a can of aerosol bug spray for percussion on their eponymous 1968 debut intensified their aura of weirdness. 3But that experimental spirit ensured their place in history, with Beck, David Byrne and Kurt Cobain ranking among their fans. Such endorsements were not lost on Dias, who has continued playing solo since Os Mutantes final dissolution in 1978. When you see the people who shape opinions, 4listening to music that you made 30 years ago, and praising it, that is when you know the music doesnt really belong to you. It has a life of its own. As to Os Mutantes sustained popularity, he attributes it primarily to their youthful exuberance, and the freedom that we had, the freshness of not being held by any preconceived ideas or A-B-A music forms. We were very, very free... and we still are. In 2006, Os Mutantes performed live for the first time since 1973, at the Barbican in London, as part of a Tropicalia retrospective. Yet, according to Dias, at first he and Baptista were as surprised as anyone else to hear of Os Mutantes involvement. Suddenly I started to receive news from the theater administrator that I was going to play again in London, he recalls. Initially, the brothers denied the rumors. But then they began to consider the possibility, and roped original Os Mutantes drummer Ronaldo Dinho Leme into the discussion. Dinho is a very serious, down-to-earth person, insists Dias. 5When he said, if they want us to play, I can play, I knew this was the real thing. Dias attributes heightened excitement within the group to new addition Zlia Duncan. When we restarted Os Mutantes, we were thinking of a girl, says Dias. The guitarist remembered Duncan, whom hed met and immediately liked when both of them were participating in a mutual friends recording project. I thought of Zlia, and I told the guys. And they said, Wow... but her voice is so different. But the most important thing in a band is not the quality of the voice, in terms of texture, but the interaction between the people. Zlia is so strong and alive. When she got into the rehearsals, and started to sing, the energy of the band doubled. That electricity manifested itself at the Barbican and, one hopes, will continue through the bands handful of U.S. summer dates. A DVD and CD of that show are currently in production. And that may be only the beginning of a new era for Os Mutantes. KURT B. REIGHLEY. Available in: www.thestranger.com When HE said, if THEY want... (ref. 5). The pronouns in capital letters refer, respectively, to:

(Uerj 2006) WHAT IS AUTHORITY? DIFFERENTIATING AUTHORITY, POWER AND LEGITIMACY The term authority refers to an abstract concept with both sociological and psychological components. As a child born of a myriad of different social situations which have some rough similarities, no easy definition exists. Of particular concern throughout the literature on the topic is the entanglement of the concepts of authority, power and legitimacy. Power is the ability, whether personal or social, to get things done - either to enforce ones own will or to enforce the collective will of some group over others. Legitimacy is a socially constructed and psychologically accepted right to exercise power. A person can have legitimacy but no actual power (the legitimate king might reside in exile, destitute and forgotten). A person can have actual power but not legitimacy (the usurper who exiled the king and appropriates the symbols of office). 1In all social situations a person is treated as an authority only when he has both power and legitimacy. We might consider, for example, the phrase uttered so often when someone intrudes into our business in order to give commands: You have no authority here. What does that mean? 2It might mean that the person has no legitimate claim to be heard or heeded. It might mean that the person has no social power - he has not the ability to enforce his will over the objections of others. Or, it might be both. In any event, both must be present for authority to exist (socially) and be acknowledged (psychologically). 3When a person has authority over others, it means something a bit more than simply that he has a right to exercise existing power. The missing ingredient is psychological - the previously mentioned but not explicated issue of acknowledgment. Both power and legitimacy are social in that they exist in the interplay between two or more humans. Yet what goes on in the mind of a person when he acknowledges the authority of another? 5It isnt simply that he accepts the factual existence of power or legitimacy; rather, its that he accepts that an authority figure is justified in making a decision without also explaining the reason for that, and persuading others to accept that the decision was reached properly. If I have authority over you, I can expect that when I make a decision you will go along with that decision, even if I dont take the time to explain it to you and persuade you that it is indeed right. 5Your acceptance of me as an authority implies that you have implicitly agreed to be persuaded, and wont demand explicit explanations and reasons. When you act, it wont be because of me enforcing my will over you, nor will it have anything to do with the legitimacy of my power. Instead, it will simply be you exercising your will for your own reasons. AUSTIN CLINE http://atheism.about.com Connectors establish a set of semantic roles while linking clauses. Observe the kind of link employed in the sentence below. It isnt simply that he accepts the factual existence of power or legitimacy; RATHER, its that he accepts that an authority figure is justified in making a decision without also explaining the reason for that, (ref. 5) The information that follows the spotted connector functions as:

(UERJ -2005) SEDUCING THE ROMANCE READER Heart, mind, body and soul, or words to that effect, appear in the climatic scenes of nearly every romance novel, and for good reason. Those words suggest the four levels of fulfillment every reader of romance fiction wants to share with the heroine of the book. A reader of romance fiction is demanding. She buys books with certain definite expectations. She knows the difference between love and lust, and will not settle for the latter without the former. She wants the heroine to be rewarded for virtue, patience and determination. The reward, of course, is the undying love of the hero. There must be a linking of two hearts, unity of two minds, fulfillment of two bodies and the cosmic melding of two souls. To satisfy a reader of romance fiction, the writer must make the seduction complete. Writers of the best romance novels know how to seduce both the heroine and the reader. After reading a great romance, the reader should be satisfied, fulfilled, and ready to search bookstore shelves for more offerings from the same writer. That is a magical and mutually rewarding form of love between writer and reader. How can a writer seduce a reader? The same way she seduces the hero and heroine of her novel. She appeals to heart, mind, body and soul. She first wins the readers heart with appealing characters with whom the reader can identify and empathize. Good romantic heroes and heroines must never be too perfect. A battle scar, a light limp, hair that is an untamable mass of curls, or any other minor flaw will make the character more relatable, more lovable. Totally virtuous characters are more annoying than endearing. A touch of pride, stubbornness, or mischief will enliven the hero and heroine and make them more acceptable to the readers discerning heart. It would be wise for a writer to consider that if a reader shows the good judgment to buy her book, that same reader deserves a fresh plot, logical conclusions and something to stimulate her imagination. Writers of historical romances must be meticulously accurate. Gothic writers have to make sure their mysteries are plausible. Good writers carefully season their stories with interesting facts to provide texture and a feeling of authenticity to their stories. Readers want to be enlightened. A reader knows when an author has really gotten to her. Her body responds. Goose bumps, shivers up her spine, warm feelings deep inside, laughter or even smiles, are physical evidence of the effect of a story on the reader. These reactions are not easily measurable, but they are essential to the seduction of the reader. If the writer finds herself wiping away a few tears when writing, or occasionally finds herself a bit over stimulated and flushed, it is safe to assume the readers body will respond in a similar manner. What could be more fulfilling than a book that caresses the reader with love, wit, sensuality and a feeling of goodness? A romance novel that combines those elements will seduce the reader from the first chapter to the last, leaving her satisfied, but wanting more. SUSAN DONAHUE http://harris-donahue.tripod.com Pronouns may have different functions according to the contexts where they occur. The use of the pronoun THAT establishing reference to the previous content of the paragraph is found in:

(UERJ -2004) DESPERATELY SEEKING MOBILE PHONE MANNERS Rudeness among cell phone 1users seems to be all the rage! As cellular or mobile phones proliferate rapidly, with more than 100 million U.S. users, so are complaints about cell phone rudeness. No Cell Phones signs are popping up all over. Restaurants, theaters, libraries, museums, doctors offices have imposed bans on the devices because of boorish behavior. People on the street jabbering away, in restaurants, in public toilets for heavens sake! said New Yorker Judy Walters. Shes not joking. According to an industry-sponsored telephone survey conducted in March, 39 percent of those polled said they would answer a cell phone call in the bathroom. Cell phone devotees respond that theres way too much blame being placed on the devices and their users. People should give cell phone users a break and quit slamming them, said Dina Medina of San Francisco. Cell phones are a fact of life, are not going away and actually help improve peoples lives. However, the following tips should be observed: - Remember that the person you are with should take precedence over a call. - Use 2caller ID to screen calls and let voice mail take them if they are not urgent. - Use silent or vibrating options when indoors. Or just turn off the phone. - Dont yell. There is no need to speak 3louder than you would on any other phone. - Use text messaging if available. - Keep your phone close at hand for first-ring answering. - If its noisy, call back from somewhere quieter. - Call other cell users during business hours, and not during meal times. DAVE CARPENTER http://www.weblinguas.com.br/ingles The authors choice of pronoun - you - while listing the tips is intended to:

(UERJ -2004) RITUALS OF THE WORKPLACE: RITES OF ADORNMENT In many respects, clothing operates as a kind of language, communicating explicit and implicit meanings. Just as linguists distinguish between marked and unmarked conceptual categories, we may distinguish between marked and unmarked work uniforms. Broadly speaking, marked uniforms are required in those professions that come into regular contact with extraordinary danger, filth or power over life and death - the clergy, the military, air pilots, the judiciary, medicine and health, cleaning and garbage collection - 1as well as those who come into an unusually intimate contact with the domestic domain or other restricted spaces, such as postal letter carriers, electrical meter readers, or dishwasher repair persons. In many work domains, uniforms signal a degree of subordination. Police patrol officers wear uniforms, 2while detectives wear jacket and tie and senior officers wear standard business attire (except when on dress parade or at special occasions). Fast-food counter workers wear uniforms, while managers tend to wear business attire. Yet uniforms on the job are expected of even the most high ranked physicians, airline pilots, judges, military officers, and members of the clergy; significantly, all these professions have unusually direct contact with matters of life and death. Those occupations and job types that do not require formally marked uniforms nonetheless are characterized by elaborate unwritten dress codes. Construction workers might be expected to wear blue jeans and flannel shirts. Certain professionals like academics or software engineers might often dress down in jeans, but will usually indicate their status through various subtle or not so subtle signifiers, from tweed jackets to expensive haircuts. The large scale entrance of women into the professions since the 1960s has posed many ideological and aesthetic challenges to the dominant fashion system, yet many of the basic principles, associated with exclusively male executive office subcultures, have endured. Black, the classic uniform of the (male) medieval clergy, remains the preferred color for those who traffic in financial capital (such as bankers) or cultural capital (such as artists). Jewelry is still expected in most professional contexts to be muted and understated; even a male lawyers earring should be subtle and tasteful. Getting dressed for work poses more political and symbolic challenges for professional women than for professional men. Most female executives must put considerable thought into skirt length, visible cleavage, coiffure and manicure. Professional maternity clothes, perhaps the most visible signifier of work-family integration, pose especially fraught fashion challenges for working women. MARK AUSLANDER http://www.bc.edu The large scale entrance of women into the professions since the 1960s has posed many ideological and aesthetic challenges many of the basic principles, associated with exclusively male executive office subcultures, have endured. The temporal reference expressed by the verb forms has posed and have endured is best analyzed as: