Uma amostra das questões. Crie uma conta para resolver todas com correção e comentário.
UEMG2022Fase unicaQuestao 1PortuguêsConfronto de textosDificil
Texto I
Laerte. Disponível em: https://www.instagram.com/p/CWtk14SFixR/. Acesso em 19 jan. 2022.
Texto II
Mudam-se os tempos, mudam-se as vontades Luiz Vaz de Camões
Mudam-se os tempos, mudam-se as vontades, Muda-se o ser, muda-se a confiança; Todo o mundo é composto de mudança, Tomando sempre novas qualidades.
Continuamente vemos novidades, Diferentes em tudo da esperança; Do mal ficam as mágoas na lembrança, E do bem, se algum houve, as saudades.
O tempo cobre o chão de verde manto, Que já coberto foi de neve fria, E em mim converte em choro o doce canto.
E, afora este mudar-se cada dia, Outra mudança faz de mor espanto: Que não se muda já como soía.
Disponível em: https://www.escritas.org/pt/t/2513/mudam-se-ostempos-mudam-se-as-vontades. Acesso em 17 jan. 2022.
Glossário: Soía: costumava
Considerando a forma e o conteúdo dos Textos I e II, analise as assertivas e assinale a alternativa que aponta a(s) correta(s).
I. A charge da cartunista Laerte e o poema de estrutura não fixa de Camões relacionam-se de modo intertextual, uma vez que abordam uma mesma temática: mudanças. II. O poema de Camões apresenta um eu lírico que se centra nas mudanças ocorridas na natureza, conforme se observa nos versos “O tempo cobre o chão de verde manto/ Que já coberto foi de neve fria”. III. Na charge, apesar desta retratar um contexto positivo para a personagem ao evidenciar que todo fim (primeiro quadrinho) traz com ele um recomeço (terceiro quadrinho), Laerte convoca o leitor a refletir sobre a temática da solidão, já que apresenta a personagem solitária nos dois ambientes ilustrados. IV. Com foco no indivíduo, a charge sugere que a mudança está em cada um, independente do local onde se estiver; já o poema propõe uma reflexão mais coletiva sobre o tema, como se pode confirmar no verso “Todo o mundo é composto de mudança”.
Texto II
Mudam-se os tempos, mudam-se as vontades Luiz Vaz de Camões
Mudam-se os tempos, mudam-se as vontades, Muda-se o ser, muda-se a confiança; Todo o mundo é composto de mudança, Tomando sempre novas qualidades.
Continuamente vemos novidades, Diferentes em tudo da esperança; Do mal ficam as mágoas na lembrança, E do bem, se algum houve, as saudades.
O tempo cobre o chão de verde manto, Que já coberto foi de neve fria, E em mim converte em choro o doce canto.
E, afora este mudar-se cada dia, Outra mudança faz de mor espanto: Que não se muda já como soía.
Disponível em: https://www.escritas.org/pt/t/2513/mudam-se-ostempos-mudam-se-as-vontades. Acesso em 17 jan. 2022.
Glossário: Soía: costumava
Assinale a alternativa correta a respeito de elementos linguísticos presentes no Texto II.
A)No verso “Continuamente vemos novidades [...],”, o advérbio em destaque poderia ser substituído por “progressivamente”, sem prejuízo de sentido.
B)Em “O tempo cobre o chão de verde manto, / Que já coberto foi de neve fria[...],”, o pronome destacado retoma referencialmente seu antecedente “verde manto”.
C)Em “E do bem, se algum houve, as saudades.”, as vírgulas foram empregadas para isolar uma oração adverbial. Em todo caso, mesmo sem essa oração ali, haveria vírgula nesse verso, pois há elipse em “as saudades”.
D)No verso “Que não se muda já como soía.”, pode-se mudar a posição do pronome destacado, por exemplo: “Que não muda-se já como soía”, sem prejuízos gramaticais.
UEMG2022Fase unicaQuestao 3PortuguêsMorfossintaxe (norma padrão e colocação pronominal)Dificil
Texto II
Mudam-se os tempos, mudam-se as vontades Luiz Vaz de Camões
Mudam-se os tempos, mudam-se as vontades, Muda-se o ser, muda-se a confiança; Todo o mundo é composto de mudança, Tomando sempre novas qualidades.
Continuamente vemos novidades, Diferentes em tudo da esperança; Do mal ficam as mágoas na lembrança, E do bem, se algum houve, as saudades.
O tempo cobre o chão de verde manto, Que já coberto foi de neve fria, E em mim converte em choro o doce canto.
E, afora este mudar-se cada dia, Outra mudança faz de mor espanto: Que não se muda já como soía.
Disponível em: https://www.escritas.org/pt/t/2513/mudam-se-ostempos-mudam-se-as-vontades. Acesso em 17 jan. 2022.
Glossário: Soía: costumava
Analise o excerto a seguir, extraído do Texto II, e assinale a alternativa INCORRETA.
“Mudam-se os tempos, mudam-se as vontades, Muda-se o ser, muda-se a confiança;”.
A)O pronome “se” destacado, em todas as vezes em que foi empregado nesse excerto, funciona como partícula expletiva ou de realce, isto é, poderia ser retirado sem que houvesse mudança de sentido e/ou gramatical.
B)Os termos “os tempos”, “as vontades”, “o ser” e “a confiança” têm a mesma função sintática nesse excerto, isto é, todos eles funcionam como sujeito do verbo “mudar”.
C)Esse excerto poderia ser reescrito como: “Os tempos são mudados, as vontades são mudadas, o ser é mudado, a confiança é mudada.”, mantendo a passividade da voz verbal empregada no trecho original.
D)O verbo “mudar”, em todas as vezes em que foi empregado nesse excerto, foi conjugado no presente do indicativo, indicando ações habituais e em curso.
UEMG2022Fase unicaQuestao 4PortuguêsInterpretação de textoMedia
Texto I
Laerte. Disponível em: https://www.instagram.com/p/CWtk14SFixR/. Acesso em 19 jan. 2022.
Texto II
Mudam-se os tempos, mudam-se as vontades Luiz Vaz de Camões
Mudam-se os tempos, mudam-se as vontades, Muda-se o ser, muda-se a confiança; Todo o mundo é composto de mudança, Tomando sempre novas qualidades.
Continuamente vemos novidades, Diferentes em tudo da esperança; Do mal ficam as mágoas na lembrança, E do bem, se algum houve, as saudades.
O tempo cobre o chão de verde manto, Que já coberto foi de neve fria, E em mim converte em choro o doce canto.
E, afora este mudar-se cada dia, Outra mudança faz de mor espanto: Que não se muda já como soía.
Disponível em: https://www.escritas.org/pt/t/2513/mudam-se-ostempos-mudam-se-as-vontades. Acesso em 17 jan. 2022.
Glossário: Soía: costumava
Com base no conteúdo e nos aspectos textuais dos Textos I e II, assinale a alternativa correta.
Imagens anexadas
A)Em conjunto, os elementos verbais e os não verbais presentes na charge fornecem os dados necessários para se compreender a real intenção da cartunista: evidenciar como se dá a mudança no indivíduo, necessariamente, começando pela mudança de ambiente (casa, lar).
B)O termo “mudanças”, que aparece no segundo quadrinho da charge, pode ser lido tanto no plano material quanto no imaterial e poderia ser substituído por “variações”, sem qualquer alteração de sentido no contexto em questão.
C)No poema, os versos “Do mal ficam as mágoas na lembrança, / E do bem, se algum houve, as saudades.”, se colocados em ordem direta, seriam redigidos da seguinte forma:” “As mágoas do mal ficam na lembrança” e “As saudades do bem, se houve algum”.
D)Na quarta e última estrofe do poema, o eu lírico trata de outra mudança também comum: as transformações que o tempo realiza na natureza, as quais assumem formas distintas através dos tempos, conforme se atesta em “Que não se muda já como soía.”.
Com base no seguinte excerto de Vidas Secas, assinale a alternativa correta.
[...] Na planície avermelhada os juazeiros alargavam duas manchas verdes. Os infelizes tinham caminhado o dia inteiro, estavam cansados e famintos. Ordinariamente andavam pouco, mas como haviam repousado bastante na areia do rio seco, a viagem progredira bem três léguas. Fazia horas que procuravam uma sombra. A folhagem dos juazeiros apareceu longe, através dos galhos pelados da catinga rala. Arrastaram-se para lá, devagar, sinha Vitória com o filho mais novo escanchado no quarto e o baú de folha na cabeça, Fabiano sombrio, cambaio, o aió a tiracolo, a cuia pendurada numa correia presa ao cinturão, a espingarda de pederneira no ombro. O menino mais velho e a cachorra Baleia iam atrás. Os juazeiros aproximaram-se, recuaram, sumiram-se. O menino mais velho pôs-se a chorar, sentou-se no chão. [...]
RAMOS, Graciliano. Vidas Secas. 144ª ed. Rio de Janeiro: Record, 2020.
A)A obra pertence à Primeira Geração Modernista, posto que trata dos assuntos nacionais e foca a idealização da realidade brasileira.
B)Graciliano Ramos preza pelo uso da linguagem metafórica, evitando ser direto na descrição do espaço e das ações das personagens.
C)Vidas Secas possui como algumas de suas marcas o regionalismo e o realismo, com tom crítico ao abordar temáticas sociais, denunciando as desigualdades.
D)Vidas Secas pertence à Terceira Geração Modernista, conhecida como Geração de 45, na qual prevalece a sondagem psicológica e a crítica social.
O texto a seguir é um excerto da obra Iracema, do escritor do Romantismo brasileiro José de Alencar.
[...] Iracema saiu do banho: o aljôfar d’água ainda a roreja, como à doce mangaba que corou em manhã de chuva. Enquanto repousa, empluma das penas do gará as flechas de seu arco, e concerta com o sabiá da mata, pousado no galho próximo, o canto agreste. A graciosa ará, sua companheira e amiga, brinca junto dela. Às vezes sobe aos ramos da árvore e de lá chama a virgem pelo nome; outras remexe o uru de palha matizada, onde traz a selvagem seus perfumes, os alvos fios do crautá, as agulhas da juçara com que tece a renda, e as tintas de que matiza o algodão. Rumor suspeito quebra a doce harmonia da sesta. Ergue a virgem os olhos, que o sol não deslumbra; sua vista perturba-se. Diante dela e todo a contemplá-la está um guerreiro estranho, se é guerreiro e não algum mau espírito da floresta. Tem nas faces o branco das areias que bordam o mar; nos olhos o azul triste das águas profundas. Ignotas armas e tecidos ignotos cobrem-lhe o corpo. [...]
ALENCAR, José de. Iracema. São Paulo: Ática, 2004.
Considerando esse excerto da obra e o contexto de toda a narrativa, assim como as características do Romantismo, analise as assertivas e assinale a alternativa correta.
I. Iracema é uma obra romântica, exercendo, portanto, a função de literatura crítica, denunciando a desumanidade e o apagamento cultural dos nativos implicados no processo de colonização. II. A representação da natureza no contexto do Romantismo ocorre de maneira idealizada, ressaltando as belezas do Brasil, o que indica a presença de um nacionalismo ufanista na obra. III. O protagonismo feminino verificado em Iracema visa à representação da mulher como figura emancipada, dona de seu destino, surgindo heroínas independentes do poder masculino.
IV. A linguagem é um aspecto fundamental no Romantismo, de modo que, embora o texto de Iracema seja em prosa, observam-se marcas líricas, com aguçado tom poético, na construção da narrativa. V. Em Iracema, o colono surge como herói da narrativa, sendo o par romântico da nativa, reforçando o discurso de harmonia entre os colonos e os indígenas.
A)Apenas II e V estão corretas.
B)Apenas II, IV e V estão corretas.
C)Apenas III e V estão incorretas.
D)Apenas I está incorreta.
UEMG2022Fase unicaQuestao 7InglêsInterpretação de textoMedia
Don’t Look Up: four climate experts on the polarising disaster film
Critics haven’t been kind to Adam McKay’s eco-satire, but many climate experts are lauding it. Here four give their views Rarely has a film been as divisive as Adam McKay’s climate satire Don’t Look Up. Although it has been watched by millions, and is already Netflix’s third most watched film ever, the response from critics was largely negative. Many found its story of scientists who discover an asteroid heading for Earth a clumsy allegory for the climate crisis, while others just found it boring. But many in the climate movement have praised the film, and audience reviews have been generally positive. We asked four climate experts to give their views on the film. Warning: spoilers ahead.
Ketan Joshi: ‘The main character of the climate crisis is absent’ […]
Fiona Harvey: ‘The role of the technoloon, played by Mark Rylance, struck a chord’ […] After 17 years of reporting on the climate crisis, I doubted at first that the film had much to tell me about the frustrations of communicating a hypothetical catastrophe. As the film’s scientists first struggled to clothe their data in sober, measured terms, then broke into swearing, armwaving shrieks about provable imminent apocalypse, I nodded along. Yes, that’s what it feels like, and no, no one listens, not until it is too late. Yet it was illuminating in unexpected ways – something I’ve always struggled with is how rational people can fail to grasp the scale of climate breakdown, how we could leave it so late. As the film shows, it’s partly because vested interests keep it that way, but it’s also just because we’re human. Believing in disaster before it strikes is fundamentally not how we work.
The role of the techno-loon, played by Mark Rylance, struck another chord. Cop26 was not a failure, though on the surface that was the obvious conclusion – it was more nuanced than that. Soon after the Cop26 circus left Glasgow, the danger of painting the outcome in such blackand-white terms became apparent, as wellmeaning experts concluded – in all seriousness – as talking didn’t work, our best hope would be for billionaires to bypass the UN and geoengineer the climate from space. Because obviously the answer to a vast uncontrolled experiment on the atmosphere is to conduct a vast uncontrolled experiment on the atmosphere. […] Nina Lakhani: ‘Jennifer Lawrence’s character will resonate with many female climate scientists’ […] How Kate Dibiasky, the postgraduate student played by Jennifer Lawrence who discovered the comet, is portrayed as an unhinged hysterical woman, will resonate with many female climate scientists and activists whose crucial knowledge has been sidelined. The scene where her parents declare that they’re in favour of the jobs the comet will provide will resonate with millions of people, including me, trying to deal with relatives who have bought into political lies. […] Damian Carrington: ‘It highlights the absurdity of staring disaster in the face, then looking away’ I loved Don’t Look Up, both as an entertainment and as a climate crisis parable. But the movie has been panned by many critics, with the main charge being that it is heavy-handed, blunt and too obvious. But that is exactly the point. Scientists have been issuing blunt warnings about obvious dangers of global heating for years and have been ignored – carbon emissions are still rising. The film perfectly skewers the key ways in which they have been ignored: for short-term political expediency and short-term corporate profit. In particular, the movie beautifully portrays the incredulity of scientists that their carefully constructed evidence can be dismissed with bluster such as “we’ll sit tight and assess” by leaders more concerned about today’s political weather and a media more interested in the minutiae of celebrities’ lives. […]
The point of the film is savagely highlighting the absurdity of staring disaster in the face, then looking away rather than acting. In that respect, it is a triumph.
Source: https://www.theguardian.com/film/2022/jan/08/dont-look-upfour-climate-experts-on-the-polarising-disaster-film. Access: 08/01/2022.
The text talks about Netflix climate satire Don’t look up. Mark the correct option concerning how the movie was received by critics.
A)Critics have been kind to Adam McKay’s eco-satire.
B)Critics are lauding Adam McKay’s eco-satire.
C)Critics have been merciless to Adam McKay’s eco-satire.
D)Critics think Adam McKay’s eco-satire is genial.
UEMG2022Fase unicaQuestao 8InglêsGramáticaMedia
Don’t Look Up: four climate experts on the polarising disaster film
Critics haven’t been kind to Adam McKay’s eco-satire, but many climate experts are lauding it. Here four give their views Rarely has a film been as divisive as Adam McKay’s climate satire Don’t Look Up. Although it has been watched by millions, and is already Netflix’s third most watched film ever, the response from critics was largely negative. Many found its story of scientists who discover an asteroid heading for Earth a clumsy allegory for the climate crisis, while others just found it boring. But many in the climate movement have praised the film, and audience reviews have been generally positive. We asked four climate experts to give their views on the film. Warning: spoilers ahead.
Ketan Joshi: ‘The main character of the climate crisis is absent’ […]
Fiona Harvey: ‘The role of the technoloon, played by Mark Rylance, struck a chord’ […] After 17 years of reporting on the climate crisis, I doubted at first that the film had much to tell me about the frustrations of communicating a hypothetical catastrophe. As the film’s scientists first struggled to clothe their data in sober, measured terms, then broke into swearing, armwaving shrieks about provable imminent apocalypse, I nodded along. Yes, that’s what it feels like, and no, no one listens, not until it is too late. Yet it was illuminating in unexpected ways – something I’ve always struggled with is how rational people can fail to grasp the scale of climate breakdown, how we could leave it so late. As the film shows, it’s partly because vested interests keep it that way, but it’s also just because we’re human. Believing in disaster before it strikes is fundamentally not how we work.
The role of the techno-loon, played by Mark Rylance, struck another chord. Cop26 was not a failure, though on the surface that was the obvious conclusion – it was more nuanced than that. Soon after the Cop26 circus left Glasgow, the danger of painting the outcome in such blackand-white terms became apparent, as wellmeaning experts concluded – in all seriousness – as talking didn’t work, our best hope would be for billionaires to bypass the UN and geoengineer the climate from space. Because obviously the answer to a vast uncontrolled experiment on the atmosphere is to conduct a vast uncontrolled experiment on the atmosphere. […] Nina Lakhani: ‘Jennifer Lawrence’s character will resonate with many female climate scientists’ […] How Kate Dibiasky, the postgraduate student played by Jennifer Lawrence who discovered the comet, is portrayed as an unhinged hysterical woman, will resonate with many female climate scientists and activists whose crucial knowledge has been sidelined. The scene where her parents declare that they’re in favour of the jobs the comet will provide will resonate with millions of people, including me, trying to deal with relatives who have bought into political lies. […] Damian Carrington: ‘It highlights the absurdity of staring disaster in the face, then looking away’ I loved Don’t Look Up, both as an entertainment and as a climate crisis parable. But the movie has been panned by many critics, with the main charge being that it is heavy-handed, blunt and too obvious. But that is exactly the point. Scientists have been issuing blunt warnings about obvious dangers of global heating for years and have been ignored – carbon emissions are still rising. The film perfectly skewers the key ways in which they have been ignored: for short-term political expediency and short-term corporate profit. In particular, the movie beautifully portrays the incredulity of scientists that their carefully constructed evidence can be dismissed with bluster such as “we’ll sit tight and assess” by leaders more concerned about today’s political weather and a media more interested in the minutiae of celebrities’ lives. […]
The point of the film is savagely highlighting the absurdity of staring disaster in the face, then looking away rather than acting. In that respect, it is a triumph.
Source: https://www.theguardian.com/film/2022/jan/08/dont-look-upfour-climate-experts-on-the-polarising-disaster-film. Access: 08/01/2022.
Concerning the excerpt: “Critics haven’t been kind to Adam McKay’s eco-satire, but many climate experts are lauding it”, and the context it was taken from, mark the correct option regarding the usage of the pronoun “it”.
A)“It” is an object pronoun that refers back to “Adam McKay”.
B)“It” is an object pronoun that refers back to “Adam McKay’s eco-satire”.
C)“It” is a possessive pronoun that refers to “Adam McKay’s eco-satire Don’t look up”.
D)“It” is a demonstrative pronoun that refers back to “Adam McKay’s eco-satire”.
UEMG2022Fase unicaQuestao 9InglêsGramáticaMedia
Don’t Look Up: four climate experts on the polarising disaster film
Critics haven’t been kind to Adam McKay’s eco-satire, but many climate experts are lauding it. Here four give their views Rarely has a film been as divisive as Adam McKay’s climate satire Don’t Look Up. Although it has been watched by millions, and is already Netflix’s third most watched film ever, the response from critics was largely negative. Many found its story of scientists who discover an asteroid heading for Earth a clumsy allegory for the climate crisis, while others just found it boring. But many in the climate movement have praised the film, and audience reviews have been generally positive. We asked four climate experts to give their views on the film. Warning: spoilers ahead.
Ketan Joshi: ‘The main character of the climate crisis is absent’ […]
Fiona Harvey: ‘The role of the technoloon, played by Mark Rylance, struck a chord’ […] After 17 years of reporting on the climate crisis, I doubted at first that the film had much to tell me about the frustrations of communicating a hypothetical catastrophe. As the film’s scientists first struggled to clothe their data in sober, measured terms, then broke into swearing, armwaving shrieks about provable imminent apocalypse, I nodded along. Yes, that’s what it feels like, and no, no one listens, not until it is too late. Yet it was illuminating in unexpected ways – something I’ve always struggled with is how rational people can fail to grasp the scale of climate breakdown, how we could leave it so late. As the film shows, it’s partly because vested interests keep it that way, but it’s also just because we’re human. Believing in disaster before it strikes is fundamentally not how we work.
The role of the techno-loon, played by Mark Rylance, struck another chord. Cop26 was not a failure, though on the surface that was the obvious conclusion – it was more nuanced than that. Soon after the Cop26 circus left Glasgow, the danger of painting the outcome in such blackand-white terms became apparent, as wellmeaning experts concluded – in all seriousness – as talking didn’t work, our best hope would be for billionaires to bypass the UN and geoengineer the climate from space. Because obviously the answer to a vast uncontrolled experiment on the atmosphere is to conduct a vast uncontrolled experiment on the atmosphere. […] Nina Lakhani: ‘Jennifer Lawrence’s character will resonate with many female climate scientists’ […] How Kate Dibiasky, the postgraduate student played by Jennifer Lawrence who discovered the comet, is portrayed as an unhinged hysterical woman, will resonate with many female climate scientists and activists whose crucial knowledge has been sidelined. The scene where her parents declare that they’re in favour of the jobs the comet will provide will resonate with millions of people, including me, trying to deal with relatives who have bought into political lies. […] Damian Carrington: ‘It highlights the absurdity of staring disaster in the face, then looking away’ I loved Don’t Look Up, both as an entertainment and as a climate crisis parable. But the movie has been panned by many critics, with the main charge being that it is heavy-handed, blunt and too obvious. But that is exactly the point. Scientists have been issuing blunt warnings about obvious dangers of global heating for years and have been ignored – carbon emissions are still rising. The film perfectly skewers the key ways in which they have been ignored: for short-term political expediency and short-term corporate profit. In particular, the movie beautifully portrays the incredulity of scientists that their carefully constructed evidence can be dismissed with bluster such as “we’ll sit tight and assess” by leaders more concerned about today’s political weather and a media more interested in the minutiae of celebrities’ lives. […]
The point of the film is savagely highlighting the absurdity of staring disaster in the face, then looking away rather than acting. In that respect, it is a triumph.
Source: https://www.theguardian.com/film/2022/jan/08/dont-look-upfour-climate-experts-on-the-polarising-disaster-film. Access: 08/01/2022.
Consider the following excerpts taken from the text and mark the option which presents a verb form in the passive voice.
A)“Rarely has a film been as divisive as Adam McKay’s climate satire Don’t Look Up”.
B)“(…) it has been watched by millions (…)”.
C)“(…) many in the climate movement have praised the film (…)”.
D)“(...) audience reviews have been generally positive (...)”.
UEMG2022Fase unicaQuestao 10InglêsVocabulário e expressões idiomáticasMedia
Don’t Look Up: four climate experts on the polarising disaster film
Critics haven’t been kind to Adam McKay’s eco-satire, but many climate experts are lauding it. Here four give their views Rarely has a film been as divisive as Adam McKay’s climate satire Don’t Look Up. Although it has been watched by millions, and is already Netflix’s third most watched film ever, the response from critics was largely negative. Many found its story of scientists who discover an asteroid heading for Earth a clumsy allegory for the climate crisis, while others just found it boring. But many in the climate movement have praised the film, and audience reviews have been generally positive. We asked four climate experts to give their views on the film. Warning: spoilers ahead.
Ketan Joshi: ‘The main character of the climate crisis is absent’ […]
Fiona Harvey: ‘The role of the technoloon, played by Mark Rylance, struck a chord’ […] After 17 years of reporting on the climate crisis, I doubted at first that the film had much to tell me about the frustrations of communicating a hypothetical catastrophe. As the film’s scientists first struggled to clothe their data in sober, measured terms, then broke into swearing, armwaving shrieks about provable imminent apocalypse, I nodded along. Yes, that’s what it feels like, and no, no one listens, not until it is too late. Yet it was illuminating in unexpected ways – something I’ve always struggled with is how rational people can fail to grasp the scale of climate breakdown, how we could leave it so late. As the film shows, it’s partly because vested interests keep it that way, but it’s also just because we’re human. Believing in disaster before it strikes is fundamentally not how we work.
The role of the techno-loon, played by Mark Rylance, struck another chord. Cop26 was not a failure, though on the surface that was the obvious conclusion – it was more nuanced than that. Soon after the Cop26 circus left Glasgow, the danger of painting the outcome in such blackand-white terms became apparent, as wellmeaning experts concluded – in all seriousness – as talking didn’t work, our best hope would be for billionaires to bypass the UN and geoengineer the climate from space. Because obviously the answer to a vast uncontrolled experiment on the atmosphere is to conduct a vast uncontrolled experiment on the atmosphere. […] Nina Lakhani: ‘Jennifer Lawrence’s character will resonate with many female climate scientists’ […] How Kate Dibiasky, the postgraduate student played by Jennifer Lawrence who discovered the comet, is portrayed as an unhinged hysterical woman, will resonate with many female climate scientists and activists whose crucial knowledge has been sidelined. The scene where her parents declare that they’re in favour of the jobs the comet will provide will resonate with millions of people, including me, trying to deal with relatives who have bought into political lies. […] Damian Carrington: ‘It highlights the absurdity of staring disaster in the face, then looking away’ I loved Don’t Look Up, both as an entertainment and as a climate crisis parable. But the movie has been panned by many critics, with the main charge being that it is heavy-handed, blunt and too obvious. But that is exactly the point. Scientists have been issuing blunt warnings about obvious dangers of global heating for years and have been ignored – carbon emissions are still rising. The film perfectly skewers the key ways in which they have been ignored: for short-term political expediency and short-term corporate profit. In particular, the movie beautifully portrays the incredulity of scientists that their carefully constructed evidence can be dismissed with bluster such as “we’ll sit tight and assess” by leaders more concerned about today’s political weather and a media more interested in the minutiae of celebrities’ lives. […]
The point of the film is savagely highlighting the absurdity of staring disaster in the face, then looking away rather than acting. In that respect, it is a triumph.
Source: https://www.theguardian.com/film/2022/jan/08/dont-look-upfour-climate-experts-on-the-polarising-disaster-film. Access: 08/01/2022.
Consider the following excerpt: “The role of the techno-loon, played by Mark Rylance, struck another chord”. Taking into account the context the excerpt was taken from, mark the option which best defines the expression “to strike a chord”.
A)To play a string musical instrument.
B)To harmonize or voice with chords.
C)To disagree with something.
D)To affect someone’s emotions.
UEMG2022Fase unicaQuestao 11InglêsInterpretação de textoMedia
Don’t Look Up: four climate experts on the polarising disaster film
Critics haven’t been kind to Adam McKay’s eco-satire, but many climate experts are lauding it. Here four give their views Rarely has a film been as divisive as Adam McKay’s climate satire Don’t Look Up. Although it has been watched by millions, and is already Netflix’s third most watched film ever, the response from critics was largely negative. Many found its story of scientists who discover an asteroid heading for Earth a clumsy allegory for the climate crisis, while others just found it boring. But many in the climate movement have praised the film, and audience reviews have been generally positive. We asked four climate experts to give their views on the film. Warning: spoilers ahead.
Ketan Joshi: ‘The main character of the climate crisis is absent’ […]
Fiona Harvey: ‘The role of the technoloon, played by Mark Rylance, struck a chord’ […] After 17 years of reporting on the climate crisis, I doubted at first that the film had much to tell me about the frustrations of communicating a hypothetical catastrophe. As the film’s scientists first struggled to clothe their data in sober, measured terms, then broke into swearing, armwaving shrieks about provable imminent apocalypse, I nodded along. Yes, that’s what it feels like, and no, no one listens, not until it is too late. Yet it was illuminating in unexpected ways – something I’ve always struggled with is how rational people can fail to grasp the scale of climate breakdown, how we could leave it so late. As the film shows, it’s partly because vested interests keep it that way, but it’s also just because we’re human. Believing in disaster before it strikes is fundamentally not how we work.
The role of the techno-loon, played by Mark Rylance, struck another chord. Cop26 was not a failure, though on the surface that was the obvious conclusion – it was more nuanced than that. Soon after the Cop26 circus left Glasgow, the danger of painting the outcome in such blackand-white terms became apparent, as wellmeaning experts concluded – in all seriousness – as talking didn’t work, our best hope would be for billionaires to bypass the UN and geoengineer the climate from space. Because obviously the answer to a vast uncontrolled experiment on the atmosphere is to conduct a vast uncontrolled experiment on the atmosphere. […] Nina Lakhani: ‘Jennifer Lawrence’s character will resonate with many female climate scientists’ […] How Kate Dibiasky, the postgraduate student played by Jennifer Lawrence who discovered the comet, is portrayed as an unhinged hysterical woman, will resonate with many female climate scientists and activists whose crucial knowledge has been sidelined. The scene where her parents declare that they’re in favour of the jobs the comet will provide will resonate with millions of people, including me, trying to deal with relatives who have bought into political lies. […] Damian Carrington: ‘It highlights the absurdity of staring disaster in the face, then looking away’ I loved Don’t Look Up, both as an entertainment and as a climate crisis parable. But the movie has been panned by many critics, with the main charge being that it is heavy-handed, blunt and too obvious. But that is exactly the point. Scientists have been issuing blunt warnings about obvious dangers of global heating for years and have been ignored – carbon emissions are still rising. The film perfectly skewers the key ways in which they have been ignored: for short-term political expediency and short-term corporate profit. In particular, the movie beautifully portrays the incredulity of scientists that their carefully constructed evidence can be dismissed with bluster such as “we’ll sit tight and assess” by leaders more concerned about today’s political weather and a media more interested in the minutiae of celebrities’ lives. […]
The point of the film is savagely highlighting the absurdity of staring disaster in the face, then looking away rather than acting. In that respect, it is a triumph.
Source: https://www.theguardian.com/film/2022/jan/08/dont-look-upfour-climate-experts-on-the-polarising-disaster-film. Access: 08/01/2022.
The climate expert Nina Lakhani thinks that “Jennifer Lawrence’s character will resonate with many female climate scientists”. Mark the option which best describes the meaning of Nina’s statement.
A)Many female scientists will produce a sympathetic response to Jennifer Lawrence’s character.
B)Many scientists will try to buy into political lies.
C)People will finally believe the crucial knowledge female scientists have to share.
D)Female scientists will not relate do Jennifer Lawrence’s character.
UEMG2022Fase unicaQuestao 12InglêsInterpretação de textoDificil
Don’t Look Up: four climate experts on the polarising disaster film
Critics haven’t been kind to Adam McKay’s eco-satire, but many climate experts are lauding it. Here four give their views Rarely has a film been as divisive as Adam McKay’s climate satire Don’t Look Up. Although it has been watched by millions, and is already Netflix’s third most watched film ever, the response from critics was largely negative. Many found its story of scientists who discover an asteroid heading for Earth a clumsy allegory for the climate crisis, while others just found it boring. But many in the climate movement have praised the film, and audience reviews have been generally positive. We asked four climate experts to give their views on the film. Warning: spoilers ahead.
Ketan Joshi: ‘The main character of the climate crisis is absent’ […]
Fiona Harvey: ‘The role of the technoloon, played by Mark Rylance, struck a chord’ […] After 17 years of reporting on the climate crisis, I doubted at first that the film had much to tell me about the frustrations of communicating a hypothetical catastrophe. As the film’s scientists first struggled to clothe their data in sober, measured terms, then broke into swearing, armwaving shrieks about provable imminent apocalypse, I nodded along. Yes, that’s what it feels like, and no, no one listens, not until it is too late. Yet it was illuminating in unexpected ways – something I’ve always struggled with is how rational people can fail to grasp the scale of climate breakdown, how we could leave it so late. As the film shows, it’s partly because vested interests keep it that way, but it’s also just because we’re human. Believing in disaster before it strikes is fundamentally not how we work.
The role of the techno-loon, played by Mark Rylance, struck another chord. Cop26 was not a failure, though on the surface that was the obvious conclusion – it was more nuanced than that. Soon after the Cop26 circus left Glasgow, the danger of painting the outcome in such blackand-white terms became apparent, as wellmeaning experts concluded – in all seriousness – as talking didn’t work, our best hope would be for billionaires to bypass the UN and geoengineer the climate from space. Because obviously the answer to a vast uncontrolled experiment on the atmosphere is to conduct a vast uncontrolled experiment on the atmosphere. […] Nina Lakhani: ‘Jennifer Lawrence’s character will resonate with many female climate scientists’ […] How Kate Dibiasky, the postgraduate student played by Jennifer Lawrence who discovered the comet, is portrayed as an unhinged hysterical woman, will resonate with many female climate scientists and activists whose crucial knowledge has been sidelined. The scene where her parents declare that they’re in favour of the jobs the comet will provide will resonate with millions of people, including me, trying to deal with relatives who have bought into political lies. […] Damian Carrington: ‘It highlights the absurdity of staring disaster in the face, then looking away’ I loved Don’t Look Up, both as an entertainment and as a climate crisis parable. But the movie has been panned by many critics, with the main charge being that it is heavy-handed, blunt and too obvious. But that is exactly the point. Scientists have been issuing blunt warnings about obvious dangers of global heating for years and have been ignored – carbon emissions are still rising. The film perfectly skewers the key ways in which they have been ignored: for short-term political expediency and short-term corporate profit. In particular, the movie beautifully portrays the incredulity of scientists that their carefully constructed evidence can be dismissed with bluster such as “we’ll sit tight and assess” by leaders more concerned about today’s political weather and a media more interested in the minutiae of celebrities’ lives. […]
The point of the film is savagely highlighting the absurdity of staring disaster in the face, then looking away rather than acting. In that respect, it is a triumph.
Source: https://www.theguardian.com/film/2022/jan/08/dont-look-upfour-climate-experts-on-the-polarising-disaster-film. Access: 08/01/2022.
Considering Damian Carrington’s opinion on the movie Don’t look up, mark the INCORRECT option.
A)One of the reasons why Damian Carrington likes the movie Don’t look up is because it is blunt and obvious.
B)Damian Carrington compliments the movie for presenting the incredulity of scientists facing the fact their carefully constructed evidence is discarded.
C)Damian Carrington thinks the movie Don’t look up is unable to produce a moral lesson.
D)Damian Carrington believes the movie Don’t look up is well done in the sense it shows the absurdity of facing a disaster and looking away.
No Presarium Vestibulares, você resolve essas questões com correção na hora, comentário e um painel que cruza a incidência com o seu desempenho — e monta sua lista de prioridade automaticamente.