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Questões de inglês - UNESP

Questão 21
2019Inglês

Leia o trecho do artigo de Jason Farago, publicado pelo jornal The New York Times, para responder às questões 21 e 22. She led Latin American Art in a bold new direction     Antropofagia (“Cannibalism”), 1929, a seminal work of Brazilian Modernism by Tarsila do Amaral that is part of a new show of her work at MoMA.   In 1928, Tarsila do Amaral painted Abaporu, a landmark work of Brazilian Modernism, in which a nude figure, half-human and half-animal, looks down at his massive, swollen foot, several times the size of his head. Abaporu inspired Tarsila’s husband at the time, the poet Oswald de Andrade, to write his celebrated “Cannibal Manifesto,” which flayed Brazil’s belletrist writers and called for an embrace of local influences – in fact, for a devouring of them. The European stereotype of native Brazilians as cannibals would be reformatted as a cultural virtue. More than a social and literary reform movement, cannibalism would form the basis for a new Brazilian nationalism, in which, as de Andrade wrote, “we made Christ to be born in Bahia.” The unconventional nudes of A Negra, a painting produced in 1923, and Abaporu unite in Tarsila’s final great painting, Antropofagia, a marriage of two figures that is also a marriage of Old World and New. The couple sit entangled, her breast drooping over his knee, their giant feet crossed one over the other, while, behind them, a banana leaf grows as large as a cactus. The sun, high above the primordial couple, is a wedge of lemon. (Jason Farago. www.nytimes.com, 15.02.2018. Adaptado.)   De acordo com o artigo de Jason Farago, o “Manifesto Antropofágico”, escrito por Oswald de Andrade, foi influenciado  

Questão 22
2019Inglês

Leia o trecho do artigo de Jason Farago, publicado pelo jornal The New York Times, para responder às questões 21 e 22. She led Latin American Art in a bold new direction       Antropofagia (“Cannibalism”), 1929, a seminal work of Brazilian Modernism by Tarsila do Amaral that is part of a new show of her work at MoMA.   In 1928, Tarsila do Amaral painted Abaporu, a landmark work of Brazilian Modernism, in which a nude figure, half-human and half-animal, looks down at his massive, swollen foot, several times the size of his head. Abaporu inspired Tarsila’s husband at the time, the poet Oswald de Andrade, to write his celebrated “Cannibal Manifesto,” which flayed Brazil’s belletrist writers and called for an embrace of local influences – in fact, for a devouring of them. The European stereotype of native Brazilians as cannibals would be reformatted as a cultural virtue. More than a social and literary reform movement, cannibalism would form the basis for a new Brazilian nationalism, in which, as de Andrade wrote, “we made Christ to be born in Bahia.” The unconventional nudes of A Negra, a painting produced in 1923, and Abaporu unite in Tarsila’s final great painting, Antropofagia, a marriage of two figures that is also a marriage of Old World and New. The couple sit entangled, her breast drooping over his knee, their giant feet crossed one over the other, while, behind them, a banana leaf grows as large as a cactus. The sun, high above the primordial couple, is a wedge of lemon. (Jason Farago. www.nytimes.com, 15.02.2018. Adaptado.)   A obra Antropofagia (“Cannibalism”) de Tarsila do Amaral, apresentada na imagem, é interpretada pelo autor do artigo como:

Questão 33
2019Inglêsúnico

(Unesp 2019 - Segunda fase) Leia o texto para responder, em português, às questões 33, 34 e 36.   Medieval Monsters: Terrors, Aliens, Wonders      Monsters captivated the imagination of medieval men and women, just as they continue to fascinate us today. Drawing on the Morgan’s superb collection of illuminated manuscripts, this major exhibition, the first of its kind in North America, will explore the complex social role of monsters in the Middle Ages.    Medieval Monsters will lead visitors through three sections based on the ways monsters functioned in medieval societies. “Terrors” explores how monsters enhanced the aura of those in power, be they rulers, knights, or saints. A second section on “Aliens” demonstrates how marginalized groups in European societies – such as Jews, Muslims, women, the poor, and the disabled – were further alienated by being figured as monstrous. The final section, “Wonders”, considers a group of strange beauties and frightful anomalies that populated the medieval world. Whether employed in ornamental, entertaining, or contemplative settings, these fantastic beings were meant to inspire a sense of marvel and awe in their viewers.    Medieval Monsters: Terrors, Aliens, Wonders runs from June 8 to September 23, 2018 at The Morgan Library & Museum. (www.themorgan.org, s/d. Adaptado.) a) De acordo com o primeiro parágrafo, qual é a justificativa para uma exposição de iluminuras de monstros da Idade Média atualmente? Qual é a proposta da exposição? b) O que os grupos sociais retratados na seção “Aliens” têm em comum? Qual era a consequência, na Idade Média, de se retratar esses grupos sociais como monstros?

Questão 34
2019Inglêsúnico

(Unesp 2019 - Segunda fase) Leia o texto para responder, em português, às questões 33, 34 e 36.   Medieval Monsters: Terrors, Aliens, Wonders      Monsters captivated the imagination of medieval men and women, just as they continue to fascinate us today. Drawing on the Morgan’s superb collection of illuminated manuscripts, this major exhibition, the first of its kind in North America, will explore the complex social role of monsters in the Middle Ages.    Medieval Monsters will lead visitors through three sections based on the ways monsters functioned in medieval societies. “Terrors” explores how monsters enhanced the aura of those in power, be they rulers, knights, or saints. A second section on “Aliens” demonstrates how marginalized groups in European societies – such as Jews, Muslims, women, the poor, and the disabled – were further alienated by being figured as monstrous. The final section, “Wonders”, considers a group of strange beauties and frightful anomalies that populated the medieval world. Whether employed in ornamental, entertaining, or contemplative settings, these fantastic beings were meant to inspire a sense of marvel and awe in their viewers.    Medieval Monsters: Terrors, Aliens, Wonders runs from June 8 to September 23, 2018 at The Morgan Library & Museum. (www.themorgan.org, s/d. Adaptado.) a) Com que função eram empregadas as iluminuras da seção “Wonders” na Idade Média? Qual era o efeito produzido sobre o público? b) Em que seção da exposição a imagem “Siren”, apresentada no texto, poderia estar localizada? Justifique sua resposta com base nas características dos grupos representados em cada seção.

Questão 35
2019Inglêsúnico

(Unesp 2019 - Segunda fase) Leia o texto para responder, em português, às questões 35 e 36.   Medi-evil: the monstrous middle ages      Monsters are still everywhere. Godzilla keeps stomping through silver-screen cities, zombies lurch through eight seasons of the TV series “The Walking Dead” and the vampires of “Twilight” nibble necks across thousands of pages of the book series by Stephanie Meyer.    But those looking for some historical context should head to the Morgan Library and Museum in New York to see around 70 works (such as illuminated manuscripts) from the 9th to the 16th century that show how ogres of the imagination have always inspired terror and wonder. In a time when the distant was unknowable, they filled the gaps. Almost always from afar, the monster was a substitute for those perceived to stray from the norm.   Keep your eyes peeled for a perennial medieval favourite, the Blemmyae: disgusting headless humanoids with their faces transplanted onto their chests. These were quite possibly the inspiration for Guillermo Del Toro’s Pale Man in the film Pan’s Labyrinth (2006) – a horrifying fellow whose eyeballs peer out abjectly from his clawed hands. (https://espresso.economist.com, 09.06.2018. Adaptado.) a) De acordo com o texto, cite dois exemplos de monstros que ocorrem em obras contemporâneas. b) De acordo com o texto, que tipo de sensação os monstros Blemmyae despertam? Por que os Blemmyae podem ter sido a inspiração para a criação do Homem Pálido no filme O labirinto do fauno (2006)?

Questão 36
2019Inglêsúnico

(Unesp 2019 - Segunda fase) Leia o texto para responder, em português, às questões 33, 34 e 36. Medieval Monsters: Terrors, Aliens, Wonders      Monsters captivated the imagination of medieval men and women, just as they continue to fascinate us today. Drawing on the Morgan’s superb collection of illuminated manuscripts, this major exhibition, the first of its kind in North America, will explore the complex social role of monsters in the Middle Ages.    Medieval Monsters will lead visitors through three sections based on the ways monsters functioned in medieval societies. “Terrors” explores how monsters enhanced the aura of those in power, be they rulers, knights, or saints. A second section on “Aliens” demonstrates how marginalized groups in European societies – such as Jews, Muslims, women, the poor, and the disabled – were further alienated by being figured as monstrous. The final section, “Wonders”, considers a group of strange beauties and frightful anomalies that populated the medieval world. Whether employed in ornamental, entertaining, or contemplative settings, these fantastic beings were meant to inspire a sense of marvel and awe in their viewers.    Medieval Monsters: Terrors, Aliens, Wonders runs from June 8 to September 23, 2018 at The Morgan Library & Museum. (www.themorgan.org, s/d. Adaptado.) Leia o texto para responder, em português, às questões 35 e 36.   Medi-evil: the monstrous middle ages      Monsters are still everywhere. Godzilla keeps stomping through silver-screen cities, zombies lurch through eight seasons of the TV series “The Walking Dead” and the vampires of “Twilight” nibble necks across thousands of pages of the book series by Stephanie Meyer.    But those looking for some historical context should head to the Morgan Library and Museum in New York to see around 70 works (such as illuminated manuscripts) from the 9th to the 16th century that show how ogres of the imagination have always inspired terror and wonder. In a time when the distant was unknowable, they filled the gaps. Almost always from afar, the monster was a substitute for those perceived to stray from the norm.   Keep your eyes peeled for a perennial medieval favourite, the Blemmyae: disgusting headless humanoids with their faces transplanted onto their chests. These were quite possibly the inspiration for Guillermo Del Toro’s Pale Man in the film Pan’s Labyrinth (2006) – a horrifying fellow whose eyeballs peer out abjectly from his clawed hands. (https://espresso.economist.com, 09.06.2018. Adaptado.)   a) De acordo com o texto, a exposição no Morgan Library and Museum abrange qual período histórico? Quantas obras compõem a exposição? b) No trecho do segundo parágrafo “Almost always from afar, the monster was a substitute for those perceived to stray from the norm”, os trechos sublinhados podem se referir a que grupos sociais identificados no texto anterior “Medieval Monsters: Terrors, Aliens, Wonders”? Justifique sua resposta.