← Voltar para a lista de provas Instituto Tecnológico de Aeronáutica (ITA) · Vestibular 2024 — 1ª Fase (Física, Português, Inglês, Matemática e Química) 60 questões nesta prova · página 2 de 3 · 59 com gabarito Gabarito disponível A linguagem coloquial com gírias e o cotidiano (futebol, jogo do bicho) mostram a realidade social carioca dos anos 1950. A peça retrata o subúrbio e a classe média baixa do Rio, usando fala coloquial, gírias e elementos do cotidiano, como o futebol e o jogo do bicho. Isso é o sinal do mergulho na realidade social da época. A: ópera e concertos pertencem a um universo de alta cultura que a peça não retrata. B: não há linguagem bíblica moralista. C: a ambientação é suburbana, não na Zona Sul. E: não é uma peça vanguardista de dissolução de gêneros. Referência: Nelson Rodrigues, A falecida. Resolução comentada do VaiConcursos. Gabarito disponível A modernidade está na incorporação de recursos do cinema e da crônica, como diálogo cotidiano, cortes, elipses e flashback. O teatro de Nelson Rodrigues é moderno por romper com o drama convencional e usar técnicas cinematográficas (cortes de cena, elipses, flashback) e a linguagem da crônica jornalística, com diálogos coloquiais. Isso corresponde à alternativa D. A: a peça não usa versos nem formas fixas. B: ela trata da vida urbana carioca, e o parnasianismo não se aplica ao autor. C: ela rompe com a mimese clássica. E: não é melodrama romântico artificial. Referência: Nelson Rodrigues, A falecida. Resolução comentada do VaiConcursos. Gabarito disponível Só a I é falsa: Zulmira é movida por escapismo, não por apego ao racional. A I é falsa, pois Zulmira foge da realidade em vez de se apegar ao racional. Isso confirma a III, o escapismo fruto da insatisfação com a precariedade. A IV também é verdadeira: a obsessão por um enterro luxuoso nega sua realidade depauperada. Pelo gabarito, a II (traição por se achar vista como suja e fria) é verdadeira. Logo, II, III e IV são verdadeiras. A, B, C e E consideram falsas alguma das afirmações II, III ou IV, ou afirmam que a I seja verdadeira, e por isso estão erradas. Só a D reúne II, III e IV. Referência: Nelson Rodrigues, A falecida. Resolução comentada do VaiConcursos. Gabarito disponível Tuninho está tão derrotado quanto Zulmira e nega o último desejo dela. Tuninho é desempregado e sem perspectivas, tão derrotado quanto a esposa. Zulmira deseja um enterro luxuoso, e ele não a atende, o que corresponde à alternativa C. A: ele não recusa a chantagem nem distribui dinheiro aos pobres. B: o enredo não trata de uma festa de debutante. D: ele não honra a memória dela como prometeu. E: ele não luta por uma carreira de jogador de sinuca. Referência: Nelson Rodrigues, A falecida. Resolução comentada do VaiConcursos. Gabarito disponível O texto apresenta a um leitor estrangeiro Salvador e parte do sertão por meio de livros. O autor, em um jornal americano e em texto traduzido, indica livros que mostram Salvador (sociedade, ruas, culinária) e convida o leitor a viajar ao sertão. O objetivo principal é apresentar essas regiões por meio da literatura. A: o texto não se dirige a pesquisadores. C: ele não conta a trajetória do autor como romancista. D: a culinária é só um aspecto de um livro. E: a desigualdade é mencionada de passagem, não é o foco. Referência: NYT, "Read Your Way Through Salvador", texto completo. Resolução comentada do VaiConcursos. Gabarito disponível O autor recomenda o livro por ligar a história de Rufino a Salvador, lugar ligado à diáspora negra atlântica. O texto diz que o livro encapsula a vida de um homem em busca de liberdade e a história de Salvador, lugar inextricavelmente ligado à diáspora no Atlântico Negro. A recomendação serve para entender a formação da sociedade de Salvador, o que corresponde à A. B: o texto não afirma que as raízes nigerianas levaram Rufino a lutar pela liberdade. C: quilombolas não são mencionados. D: a mistura de culturas africana e portuguesa é citada em relação à culinária, em outro livro. E: liberdade religiosa como direito supremo não aparece no texto. Referência: NYT, "Read Your Way Through Salvador", segundo parágrafo. Resolução comentada do VaiConcursos. Gabarito disponível Dona Flor e The City of Women têm protagonistas do mesmo gênero (mulheres). Dona Flor tem como centro uma mulher e sua libertação. "The City of Women" trata do poder matriarcal no candomblé, com foco em mulheres. Os dois livros têm, portanto, protagonistas do mesmo gênero, como indica o gabarito. A: "Captains of the Sands" gira em torno de meninos e adolescentes de rua. B: Rufino é um homem e o outro livro trata de mulheres. C: "Backlands" tem figuras masculinas, como o sertanejo e Conselheiro. E: mistura mulheres com meninos de rua. Referência: NYT, "Read Your Way Through Salvador", segundo e terceiro parágrafos. Resolução comentada do VaiConcursos. Gabarito disponível Gabarito disponível Gabarito disponível Um livro é mais jornalístico e factual e o outro, mais imaginativo e criativo. "Backlands" é descrito como um relato jornalístico da Guerra de Canudos. "The War of the End of the World" amplia a narrativa de forma mais imaginativa e criativa. Isso corresponde à alternativa D. A: só "Backlands" trata do sertanejo sem lei. B: o texto não culpa o sertanejo pela guerra. C: a paisagem é descrita como cheia de contradições, não como idílica. E: só o segundo livro é descrito com Conselheiro como líder espiritual, e o texto não fala de profeta ou santo. Referência: NYT, "Read Your Way Through Salvador", quarto e quinto parágrafos. Resolução comentada do VaiConcursos. Gabarito disponível O café é um espaço para as mulheres terem voz, como diz Kim: "um espaço onde pudessem elevá-las". Kim afirma querer um espaço de encontro físico para mulheres, diferente dos cafés para casais onde elas abaixam a voz. No Woolf Social Club elas podem levantar a voz. A função principal é dar voz própria às mulheres. A: não se fala em palestras. B: o café contrasta com os lugares onde as mulheres "ficam bonitas" para serem vistas. C: falar baixo é o que ocorre nos outros cafés. D: o jazz é só ambientação. Referência: The Economist, texto-base, último parágrafo. Resolução comentada do VaiConcursos. Gabarito disponível Gabarito disponível Kim se inspirou na ideia de Woolf de que a escritora precisa de independência financeira e de um espaço para pensar. O texto diz que Kim foi inspirada pelo ditado de Woolf sobre "quinhentas libras por ano e um quarto com tranca". Ela explica isso como independência financeira e um lugar para pensar. Isso corresponde a autonomia econômica e liberdade de pensamento. A: o texto não diz que Woolf admirava Beauvoir e Atwood, que são posteriores a ela. B: não há menção de que hipsters admirem Woolf. C: Woolf aparece nas canecas, mas isso não é a razão da inspiração. E: a frase sobre o bar não é atribuída a Woolf. Referência: The Economist, texto-base, terceiro parágrafo. Resolução comentada do VaiConcursos. Gabarito disponível Gabarito disponível O texto diz que a Coreia tem a maior diferença salarial entre os sexos do mundo rico, não que foi a última a garantir equidade. A afirmação A é a incorreta, e a questão pede a EXCETO. O texto afirma que a diferença salarial entre os sexos é a maior do mundo rico. Isso não equivale a dizer que a Coreia foi a última a garantir equidade salarial. O texto não fala em garantia de equidade. B: o texto diz que a misoginia é natural e onipresente. C: Kim se inspirou em Sex and the City, ou seja, em modelos ocidentais. D e E: padrões de beleza, de conduta e papéis de gênero tradicionais são citados como persistentes. As quatro afirmações estão corretas. Referência: The Economist, texto-base, quarto parágrafo. Resolução comentada do VaiConcursos. Gabarito disponível O texto liga os protestos de 2018 à prática de filmar mulheres clandestinamente em banheiros e vestiários. O sexto parágrafo diz que, em 2018, houve uma série de protestos contra a gravação ilegal de imagens de mulheres por câmeras escondidas em banheiros públicos e vestiários. As ruas foram tomadas por esse motivo. A: a crítica à mídia incomodou Kim, mas não motivou os protestos. C: a revolta com o assassinato ocorreu em 2016 e levou às comunidades online. D: o crime foi numa área sofisticada (upmarket), não empobrecida. E: as comunidades online foram o ponto de encontro, não o motivo do protesto. Referência: The Economist, texto-base, parágrafos 6 e 7. Resolução comentada do VaiConcursos. Gabarito disponível Com C ⊆ A, I e III são verdadeiras e II é falsa. I: pela distributividade, (A∩B)∪C = (A∪C)∩(B∪C) = A∩(B∪C), pois C ⊆ A, e a igualdade vale. III: A∩(B−C) = A∩B∩Cᶜ = (A∩B)−C, e também vale. II: o lado direito contém todo C, mas A∩B pode não conter C. Por exemplo, com B = ∅ e C = A ≠ ∅, o lado esquerdo é vazio e o direito é C. As alternativas A, C e E consideram II verdadeira, o que é falso. A alternativa D omite a I, que é verdadeira. Referência: Teoria dos conjuntos: distributividade e diferença de conjuntos. Resolução comentada do VaiConcursos. Gabarito disponível As três afirmações são falsas, então nenhuma é verdadeira. I é falsa: com A = 0 e B = 0, por exemplo, o sistema é possível, apesar de det A = 0. II é falsa: se A = B for singular (como A = B = 0), há infinitas soluções X. III é falsa: se A é inversível, X = A⁻¹B é único e Y = C − DX também, sem que D precise ser inversível. A, B, C e D afirmam que alguma das sentenças é verdadeira, mas cada uma tem contraexemplo. Só a E está correta. Referência: Sistemas lineares matriciais, determinantes e matriz inversa. Resolução comentada do VaiConcursos. Gabarito disponível Com tg θ = 4/3, cos 2θ = −7/25 e sen 2θ = 24/25, e a soma é 17/25. Seja θ = arctg(4/3), com tg θ = 4/3. Então cos 2θ = (1 − tg²θ)/(1 + tg²θ) = (−7/9)/(25/9) = −7/25. Já sen 2θ = 2tgθ/(1 + tg²θ) = (8/3)/(25/9) = 24/25. A soma é 17/25. 24/25 é só o seno. 28/25 e 31/25 vêm de erro de sinal no cosseno. 4/5 corresponde ao seno de θ, não ao arco duplo. Referência: Trigonometria: fórmulas do arco duplo em função da tangente. Resolução comentada do VaiConcursos. Gabarito disponível Há 4 pares com produto 256 e o 16 isolado, então o maior subconjunto sem par tem 5 elementos e n = 6. Os pares de elementos distintos com produto 256 são (1,256), (2,128), (4,64) e (8,32). O 16 não forma par, pois exigiria 16·16. É possível escolher 5 elementos sem nenhum par: um de cada par mais o 16. Com 6 elementos, pelo princípio da casa dos pombos, algum par completo fica no subconjunto. Logo, n = 6. n = 5 falha, porque existe subconjunto de 5 elementos sem par. n = 7, 8 e 9 também garantem a propriedade, mas não são o menor valor. Referência: Princípio da casa dos pombos. Resolução comentada do VaiConcursos.ITA — Vestibular 2024 — 1ª Fase — Física, Português, Inglês, Matemática e Química
Resolução comentada
Análise das alternativas
Resolução comentada
Análise das alternativas
I. seu apego ao racional e ao mundo real a faz tomar consciência de sua situação precária e marginalidade social.
II. trai seu marido, Tuninho, porque ela achava que ele a considerava suja e fria.
III. seu escapismo é fruto de sua insatisfação com a própria precariedade em que vive.
IV. sua obsessão pela morte e por um enterro luxuoso é uma forma de negar sua realidade depauperada.Resolução comentada
Análise das alternativas
Resolução comentada
Análise das alternativas
Leia o texto a seguir para responder às questões de 25 a 30.
Read Your Way Through Salvador
By Itamar Vieira Junior and translated by Johnny Lorenz. July 19, 2023.
I was born in Salvador, in the Brazilian state of Bahia, and lived in the general vicinity until I reached the age of 15. But it was when I left that I really came to know my city. How was I able to discover more about my birthplace while traveling far from home? It might sound rather clichéd but, I assure you, literature made this possible: It took me on a journey, long and profound, back home, enveloping me in words and imagination.
To understand the formation of our unique society and, consequently, the cityscape of Salvador, one should read, before anything else, “The Story of Rufino: Slavery, Freedom and Islam in the Black Atlantic,” by João José Reis, Flávio dos Santos Gomes and Marcus J.M. de Carvalho. Rufino was an alufá, or Muslim spiritual leader, born in the Oyo empire in present-day Nigeria and enslaved during his adolescence. “The Story of Rufino” is an epic tale, encapsulating the life of one man in search of freedom as well as the history of the development of Salvador itself, a place inextricably linked with the diaspora across the Black Atlantic. Another book for which I have deep affection is “The City of Women,” by the American anthropologist Ruth Landes. It offers an intriguing perspective, focusing on matriarchal power in candomblé, an Afro-Brazilian sacred practice, and revealing how the social organization of its spiritual communities reverberates across the city.
If you want to feel the intensity of life on the streets of Salvador, these two books, both by Amado, are indispensable: “Captains of the Sands” and “Dona Flor and Her Two Husbands.” The first is a coming-of-age story in which we follow a group of children and adolescents living on the streets and on the beaches around the Bay of All Saints. Written more than 80 years ago, the book was banned and even burned in the public square during the dictatorship of Getúlio Vargas in the first half of the 20th century. As a portrait of Salvador, it is still relevant and reveals our deep inequalities. “Dona Flor and her Two Husbands” is one of Amado’s most popular novels, translated into more than 30 languages and adapted many times for theater, cinema, and television. The book is a kind of manifesto for a woman’s liberation. Dona Flor possesses great culinary talent, and oppressed by a patriarchal society, finds herself divided between two men, one being her deceased husband. While the novel captures the daily life of the city in the 1940s, it is also a wonderful guide to the cuisine of Salvador, with its African and Portuguese influences.
I invite readers to travel into the interior of Bahia, many hours by car from Salvador to the region known as the Sertão, whose name translates loosely to “backwoods.” Two books can also transport you there, and they are sides of the same story: “Backlands: The Canudos Campaign,” by Euclides da Cunha, and “The War of the End of the World,” by Mario Vargas Llosa.
“Backlands” is one of the most important works in the history of Brazilian literature. It is a journalistic telling that introduces us not only to the brutal War of Canudos, but also to the intriguing landscape of the Sertão, a place so full of contradictions. In his writing of the conflict, da Cunha tells the story of the genesis of the tough sertanejo: a mythic, cowboyesque figure of the drought-stricken, lawless interior. “The War of the End of the World” is an essential epic that amplifies the narrative of “Backlands,” bringing a more imaginative, creative aspect to the story of Antônio Conselheiro, the spiritual leader of a rebellion, and of the multitude that followed him to their deaths.
[Fonte: “Read Your Way Through Salvador”. In: The New York Times, 19/07/2023, <www.nytimes.com/2023/07/19/books/salvador-bahia-brazil-books.html>. Adaptado. Data de acesso: 01/09/2023.]
The text mainly intends toResolução comentada
Análise das alternativas
Leia o texto a seguir para responder às questões de 25 a 30.
Read Your Way Through Salvador
By Itamar Vieira Junior and translated by Johnny Lorenz. July 19, 2023.
I was born in Salvador, in the Brazilian state of Bahia, and lived in the general vicinity until I reached the age of 15. But it was when I left that I really came to know my city. How was I able to discover more about my birthplace while traveling far from home? It might sound rather clichéd but, I assure you, literature made this possible: It took me on a journey, long and profound, back home, enveloping me in words and imagination.
To understand the formation of our unique society and, consequently, the cityscape of Salvador, one should read, before anything else, “The Story of Rufino: Slavery, Freedom and Islam in the Black Atlantic,” by João José Reis, Flávio dos Santos Gomes and Marcus J.M. de Carvalho. Rufino was an alufá, or Muslim spiritual leader, born in the Oyo empire in present-day Nigeria and enslaved during his adolescence. “The Story of Rufino” is an epic tale, encapsulating the life of one man in search of freedom as well as the history of the development of Salvador itself, a place inextricably linked with the diaspora across the Black Atlantic. Another book for which I have deep affection is “The City of Women,” by the American anthropologist Ruth Landes. It offers an intriguing perspective, focusing on matriarchal power in candomblé, an Afro-Brazilian sacred practice, and revealing how the social organization of its spiritual communities reverberates across the city.
If you want to feel the intensity of life on the streets of Salvador, these two books, both by Amado, are indispensable: “Captains of the Sands” and “Dona Flor and Her Two Husbands.” The first is a coming-of-age story in which we follow a group of children and adolescents living on the streets and on the beaches around the Bay of All Saints. Written more than 80 years ago, the book was banned and even burned in the public square during the dictatorship of Getúlio Vargas in the first half of the 20th century. As a portrait of Salvador, it is still relevant and reveals our deep inequalities. “Dona Flor and her Two Husbands” is one of Amado’s most popular novels, translated into more than 30 languages and adapted many times for theater, cinema, and television. The book is a kind of manifesto for a woman’s liberation. Dona Flor possesses great culinary talent, and oppressed by a patriarchal society, finds herself divided between two men, one being her deceased husband. While the novel captures the daily life of the city in the 1940s, it is also a wonderful guide to the cuisine of Salvador, with its African and Portuguese influences.
I invite readers to travel into the interior of Bahia, many hours by car from Salvador to the region known as the Sertão, whose name translates loosely to “backwoods.” Two books can also transport you there, and they are sides of the same story: “Backlands: The Canudos Campaign,” by Euclides da Cunha, and “The War of the End of the World,” by Mario Vargas Llosa.
“Backlands” is one of the most important works in the history of Brazilian literature. It is a journalistic telling that introduces us not only to the brutal War of Canudos, but also to the intriguing landscape of the Sertão, a place so full of contradictions. In his writing of the conflict, da Cunha tells the story of the genesis of the tough sertanejo: a mythic, cowboyesque figure of the drought-stricken, lawless interior. “The War of the End of the World” is an essential epic that amplifies the narrative of “Backlands,” bringing a more imaginative, creative aspect to the story of Antônio Conselheiro, the spiritual leader of a rebellion, and of the multitude that followed him to their deaths.
[Fonte: “Read Your Way Through Salvador”. In: The New York Times, 19/07/2023, <www.nytimes.com/2023/07/19/books/salvador-bahia-brazil-books.html>. Adaptado. Data de acesso: 01/09/2023.]
According to the text, the author recommends the book “The Story of Rufino: Slavery, Freedom and Islam in the Black Atlantic” for the reader toResolução comentada
Análise das alternativas
Leia o texto a seguir para responder às questões de 25 a 30.
Read Your Way Through Salvador
By Itamar Vieira Junior and translated by Johnny Lorenz. July 19, 2023.
I was born in Salvador, in the Brazilian state of Bahia, and lived in the general vicinity until I reached the age of 15. But it was when I left that I really came to know my city. How was I able to discover more about my birthplace while traveling far from home? It might sound rather clichéd but, I assure you, literature made this possible: It took me on a journey, long and profound, back home, enveloping me in words and imagination.
To understand the formation of our unique society and, consequently, the cityscape of Salvador, one should read, before anything else, “The Story of Rufino: Slavery, Freedom and Islam in the Black Atlantic,” by João José Reis, Flávio dos Santos Gomes and Marcus J.M. de Carvalho. Rufino was an alufá, or Muslim spiritual leader, born in the Oyo empire in present-day Nigeria and enslaved during his adolescence. “The Story of Rufino” is an epic tale, encapsulating the life of one man in search of freedom as well as the history of the development of Salvador itself, a place inextricably linked with the diaspora across the Black Atlantic. Another book for which I have deep affection is “The City of Women,” by the American anthropologist Ruth Landes. It offers an intriguing perspective, focusing on matriarchal power in candomblé, an Afro-Brazilian sacred practice, and revealing how the social organization of its spiritual communities reverberates across the city.
If you want to feel the intensity of life on the streets of Salvador, these two books, both by Amado, are indispensable: “Captains of the Sands” and “Dona Flor and Her Two Husbands.” The first is a coming-of-age story in which we follow a group of children and adolescents living on the streets and on the beaches around the Bay of All Saints. Written more than 80 years ago, the book was banned and even burned in the public square during the dictatorship of Getúlio Vargas in the first half of the 20th century. As a portrait of Salvador, it is still relevant and reveals our deep inequalities. “Dona Flor and her Two Husbands” is one of Amado’s most popular novels, translated into more than 30 languages and adapted many times for theater, cinema, and television. The book is a kind of manifesto for a woman’s liberation. Dona Flor possesses great culinary talent, and oppressed by a patriarchal society, finds herself divided between two men, one being her deceased husband. While the novel captures the daily life of the city in the 1940s, it is also a wonderful guide to the cuisine of Salvador, with its African and Portuguese influences.
I invite readers to travel into the interior of Bahia, many hours by car from Salvador to the region known as the Sertão, whose name translates loosely to “backwoods.” Two books can also transport you there, and they are sides of the same story: “Backlands: The Canudos Campaign,” by Euclides da Cunha, and “The War of the End of the World,” by Mario Vargas Llosa.
“Backlands” is one of the most important works in the history of Brazilian literature. It is a journalistic telling that introduces us not only to the brutal War of Canudos, but also to the intriguing landscape of the Sertão, a place so full of contradictions. In his writing of the conflict, da Cunha tells the story of the genesis of the tough sertanejo: a mythic, cowboyesque figure of the drought-stricken, lawless interior. “The War of the End of the World” is an essential epic that amplifies the narrative of “Backlands,” bringing a more imaginative, creative aspect to the story of Antônio Conselheiro, the spiritual leader of a rebellion, and of the multitude that followed him to their deaths.
[Fonte: “Read Your Way Through Salvador”. In: The New York Times, 19/07/2023, <www.nytimes.com/2023/07/19/books/salvador-bahia-brazil-books.html>. Adaptado. Data de acesso: 01/09/2023.]
The two books that present same gender main characters around which the action centers are:Resolução comentada
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Leia o texto a seguir para responder às questões de 25 a 30.
Read Your Way Through Salvador
By Itamar Vieira Junior and translated by Johnny Lorenz. July 19, 2023.
I was born in Salvador, in the Brazilian state of Bahia, and lived in the general vicinity until I reached the age of 15. But it was when I left that I really came to know my city. How was I able to discover more about my birthplace while traveling far from home? It might sound rather clichéd but, I assure you, literature made this possible: It took me on a journey, long and profound, back home, enveloping me in words and imagination.
To understand the formation of our unique society and, consequently, the cityscape of Salvador, one should read, before anything else, “The Story of Rufino: Slavery, Freedom and Islam in the Black Atlantic,” by João José Reis, Flávio dos Santos Gomes and Marcus J.M. de Carvalho. Rufino was an alufá, or Muslim spiritual leader, born in the Oyo empire in present-day Nigeria and enslaved during his adolescence. “The Story of Rufino” is an epic tale, encapsulating the life of one man in search of freedom as well as the history of the development of Salvador itself, a place inextricably linked with the diaspora across the Black Atlantic. Another book for which I have deep affection is “The City of Women,” by the American anthropologist Ruth Landes. It offers an intriguing perspective, focusing on matriarchal power in candomblé, an Afro-Brazilian sacred practice, and revealing how the social organization of its spiritual communities reverberates across the city.
If you want to feel the intensity of life on the streets of Salvador, these two books, both by Amado, are indispensable: “Captains of the Sands” and “Dona Flor and Her Two Husbands.” The first is a coming-of-age story in which we follow a group of children and adolescents living on the streets and on the beaches around the Bay of All Saints. Written more than 80 years ago, the book was banned and even burned in the public square during the dictatorship of Getúlio Vargas in the first half of the 20th century. As a portrait of Salvador, it is still relevant and reveals our deep inequalities. “Dona Flor and her Two Husbands” is one of Amado’s most popular novels, translated into more than 30 languages and adapted many times for theater, cinema, and television. The book is a kind of manifesto for a woman’s liberation. Dona Flor possesses great culinary talent, and oppressed by a patriarchal society, finds herself divided between two men, one being her deceased husband. While the novel captures the daily life of the city in the 1940s, it is also a wonderful guide to the cuisine of Salvador, with its African and Portuguese influences.
I invite readers to travel into the interior of Bahia, many hours by car from Salvador to the region known as the Sertão, whose name translates loosely to “backwoods.” Two books can also transport you there, and they are sides of the same story: “Backlands: The Canudos Campaign,” by Euclides da Cunha, and “The War of the End of the World,” by Mario Vargas Llosa.
“Backlands” is one of the most important works in the history of Brazilian literature. It is a journalistic telling that introduces us not only to the brutal War of Canudos, but also to the intriguing landscape of the Sertão, a place so full of contradictions. In his writing of the conflict, da Cunha tells the story of the genesis of the tough sertanejo: a mythic, cowboyesque figure of the drought-stricken, lawless interior. “The War of the End of the World” is an essential epic that amplifies the narrative of “Backlands,” bringing a more imaginative, creative aspect to the story of Antônio Conselheiro, the spiritual leader of a rebellion, and of the multitude that followed him to their deaths.
[Fonte: “Read Your Way Through Salvador”. In: The New York Times, 19/07/2023, <www.nytimes.com/2023/07/19/books/salvador-bahia-brazil-books.html>. Adaptado. Data de acesso: 01/09/2023.]
No trecho do terceiro parágrafo “As a portrait of Salvador, it is still relevant and reveals our deep inequalities”, o termo sublinhado contém um prefixo de negação. Assinale a alternativa que apresenta o termo que NÃO contém prefixo de negação.
Leia o texto a seguir para responder às questões de 25 a 30.
Read Your Way Through Salvador
By Itamar Vieira Junior and translated by Johnny Lorenz. July 19, 2023.
I was born in Salvador, in the Brazilian state of Bahia, and lived in the general vicinity until I reached the age of 15. But it was when I left that I really came to know my city. How was I able to discover more about my birthplace while traveling far from home? It might sound rather clichéd but, I assure you, literature made this possible: It took me on a journey, long and profound, back home, enveloping me in words and imagination.
To understand the formation of our unique society and, consequently, the cityscape of Salvador, one should read, before anything else, “The Story of Rufino: Slavery, Freedom and Islam in the Black Atlantic,” by João José Reis, Flávio dos Santos Gomes and Marcus J.M. de Carvalho. Rufino was an alufá, or Muslim spiritual leader, born in the Oyo empire in present-day Nigeria and enslaved during his adolescence. “The Story of Rufino” is an epic tale, encapsulating the life of one man in search of freedom as well as the history of the development of Salvador itself, a place inextricably linked with the diaspora across the Black Atlantic. Another book for which I have deep affection is “The City of Women,” by the American anthropologist Ruth Landes. It offers an intriguing perspective, focusing on matriarchal power in candomblé, an Afro-Brazilian sacred practice, and revealing how the social organization of its spiritual communities reverberates across the city.
If you want to feel the intensity of life on the streets of Salvador, these two books, both by Amado, are indispensable: “Captains of the Sands” and “Dona Flor and Her Two Husbands.” The first is a coming-of-age story in which we follow a group of children and adolescents living on the streets and on the beaches around the Bay of All Saints. Written more than 80 years ago, the book was banned and even burned in the public square during the dictatorship of Getúlio Vargas in the first half of the 20th century. As a portrait of Salvador, it is still relevant and reveals our deep inequalities. “Dona Flor and her Two Husbands” is one of Amado’s most popular novels, translated into more than 30 languages and adapted many times for theater, cinema, and television. The book is a kind of manifesto for a woman’s liberation. Dona Flor possesses great culinary talent, and oppressed by a patriarchal society, finds herself divided between two men, one being her deceased husband. While the novel captures the daily life of the city in the 1940s, it is also a wonderful guide to the cuisine of Salvador, with its African and Portuguese influences.
I invite readers to travel into the interior of Bahia, many hours by car from Salvador to the region known as the Sertão, whose name translates loosely to “backwoods.” Two books can also transport you there, and they are sides of the same story: “Backlands: The Canudos Campaign,” by Euclides da Cunha, and “The War of the End of the World,” by Mario Vargas Llosa.
“Backlands” is one of the most important works in the history of Brazilian literature. It is a journalistic telling that introduces us not only to the brutal War of Canudos, but also to the intriguing landscape of the Sertão, a place so full of contradictions. In his writing of the conflict, da Cunha tells the story of the genesis of the tough sertanejo: a mythic, cowboyesque figure of the drought-stricken, lawless interior. “The War of the End of the World” is an essential epic that amplifies the narrative of “Backlands,” bringing a more imaginative, creative aspect to the story of Antônio Conselheiro, the spiritual leader of a rebellion, and of the multitude that followed him to their deaths.
[Fonte: “Read Your Way Through Salvador”. In: The New York Times, 19/07/2023, <www.nytimes.com/2023/07/19/books/salvador-bahia-brazil-books.html>. Adaptado. Data de acesso: 01/09/2023.]
No trecho do terceiro parágrafo “While the novel captures the daily life of the city in the 1940s, it is also a wonderful guide to the cuisine of Salvador” o termo sublinhado pode ser substituído, sem alteração de sentido, por:
Leia o texto a seguir para responder às questões de 25 a 30.
Read Your Way Through Salvador
By Itamar Vieira Junior and translated by Johnny Lorenz. July 19, 2023.
I was born in Salvador, in the Brazilian state of Bahia, and lived in the general vicinity until I reached the age of 15. But it was when I left that I really came to know my city. How was I able to discover more about my birthplace while traveling far from home? It might sound rather clichéd but, I assure you, literature made this possible: It took me on a journey, long and profound, back home, enveloping me in words and imagination.
To understand the formation of our unique society and, consequently, the cityscape of Salvador, one should read, before anything else, “The Story of Rufino: Slavery, Freedom and Islam in the Black Atlantic,” by João José Reis, Flávio dos Santos Gomes and Marcus J.M. de Carvalho. Rufino was an alufá, or Muslim spiritual leader, born in the Oyo empire in present-day Nigeria and enslaved during his adolescence. “The Story of Rufino” is an epic tale, encapsulating the life of one man in search of freedom as well as the history of the development of Salvador itself, a place inextricably linked with the diaspora across the Black Atlantic. Another book for which I have deep affection is “The City of Women,” by the American anthropologist Ruth Landes. It offers an intriguing perspective, focusing on matriarchal power in candomblé, an Afro-Brazilian sacred practice, and revealing how the social organization of its spiritual communities reverberates across the city.
If you want to feel the intensity of life on the streets of Salvador, these two books, both by Amado, are indispensable: “Captains of the Sands” and “Dona Flor and Her Two Husbands.” The first is a coming-of-age story in which we follow a group of children and adolescents living on the streets and on the beaches around the Bay of All Saints. Written more than 80 years ago, the book was banned and even burned in the public square during the dictatorship of Getúlio Vargas in the first half of the 20th century. As a portrait of Salvador, it is still relevant and reveals our deep inequalities. “Dona Flor and her Two Husbands” is one of Amado’s most popular novels, translated into more than 30 languages and adapted many times for theater, cinema, and television. The book is a kind of manifesto for a woman’s liberation. Dona Flor possesses great culinary talent, and oppressed by a patriarchal society, finds herself divided between two men, one being her deceased husband. While the novel captures the daily life of the city in the 1940s, it is also a wonderful guide to the cuisine of Salvador, with its African and Portuguese influences.
I invite readers to travel into the interior of Bahia, many hours by car from Salvador to the region known as the Sertão, whose name translates loosely to “backwoods.” Two books can also transport you there, and they are sides of the same story: “Backlands: The Canudos Campaign,” by Euclides da Cunha, and “The War of the End of the World,” by Mario Vargas Llosa.
“Backlands” is one of the most important works in the history of Brazilian literature. It is a journalistic telling that introduces us not only to the brutal War of Canudos, but also to the intriguing landscape of the Sertão, a place so full of contradictions. In his writing of the conflict, da Cunha tells the story of the genesis of the tough sertanejo: a mythic, cowboyesque figure of the drought-stricken, lawless interior. “The War of the End of the World” is an essential epic that amplifies the narrative of “Backlands,” bringing a more imaginative, creative aspect to the story of Antônio Conselheiro, the spiritual leader of a rebellion, and of the multitude that followed him to their deaths.
[Fonte: “Read Your Way Through Salvador”. In: The New York Times, 19/07/2023, <www.nytimes.com/2023/07/19/books/salvador-bahia-brazil-books.html>. Adaptado. Data de acesso: 01/09/2023.]
According to the information about the two books presented in the fourth and fifth paragraphs,Resolução comentada
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On the surface, there is little to distinguish the Woolf Social Club from any other hipster hangout in Seoul, South Korea. Customers perch on wooden stools at formica tables, tapping on laptops while they sip their coffee. Records and cds line the walls, soft jazz trickles from speakers. On the white wall above the bar, in big black letters, is the statement: “More dignity, less bullshit”.
It is only on closer inspection that you realise this is more than just another coffee shop. On the mugs are cartoon drawings of Virginia Woolf, an angry wolf roaring from her shirt. A bookshelf contains South Korean feminist novels and works of self-help (titles include “Lessons on Being Unmarried”) alongside “The Second Sex” by Simone de Beauvoir and “The Handmaid’s Tale” by Margaret Atwood. On the wall is a poster for an exhibition of feminist art at a nearby gallery.
“I wanted a space for like-minded women to meet and talk,” says Kim Jina, a 47-year-old former advertising executive and politician who founded the café six years ago. Kim was inspired by Woolf’s dictum that in order to write fiction, a woman needed “five hundred [pounds] a year and a room with a lock on the door”. That is, financial independence and a place to think. The café’s casual vibe is deliberate: she wanted to avoid creating barriers to entry for women who were merely curious, rather than fully committed to the movement. Besides, she adds, “If I limited myself to feminist customers, I could never make a living.”
South Korea, even its trendy capital, is a difficult place to be a woman. The wage gap between the sexes is the highest in the rich world. Traditional expectations about gender roles, beauty standards and the way women should conduct themselves remain pervasive. “Misogyny surrounds you so naturally that you barely even notice it,” says Kim. “I had no role models, so my idea of how a successful woman should be came straight from ‘Sex and the City’.” For much of her 20s and 30s, she spent most of her money on make-up and expensive handbags, partying every weekend and dreaming about meeting her version of Mr Big, the rich, smooth-talking love interest of the show’s main character, Carrie.
“I never worried about misogyny because I thought being sexually attractive was a form of power,” says Kim. “But eventually I realised that men with real power don’t wear make-up and expensive dresses.” Her epiphany came when she was passed over for promotion in favour of a male colleague. “My boss said, ‘He needs it more than you because he has a wife and a child to take care of,’ and I realised that I had been wrong to think that all I needed to do was work hard and be good at my job.”
Kim’s burgeoning feminism crystallised in the summer of 2016, after a woman was murdered in a public toilet in an upmarket part of Seoul. The killer initially claimed that he had done it because he had been ignored by women. “I lived right around the corner, and I thought: that could have been me,” says Kim. Like many other women, she was upset by media coverage that ignored the misogynist motives for his crime and blamed it entirely on his mental-health problems.
The murder prompted South Korean women to come together, initially in online communities, and discuss how to fight back against sexism. Then they took to the streets. In 2018 there was a series of protests against the widespread practice of recording illegal footage of women by hiding small cameras in public toilets or changing rooms.
Kim founded the Woolf Social Club in 2017. “I thought, we talk to each other on the internet, but it would be good to have a physical space in which to do that,” she says. “If you walk around Seoul, you see all these cafés aimed at couples, where women look pretty and lower their voices. I wanted a space where they could raise them.”
[Fonte: Lena Schipper. “Virginia Woolf is inspiring South Korean feminists”. In: The Economist, 09/05/2022, <www.economist.com/1843/2022/05/09/virginia-woolf-is-inspiring-south-korean-feminists>. Adaptado. Data de acesso: 27/08/2023.]
O Woolf Social Club é primordialmente um local ondeResolução comentada
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Leia o texto a seguir para responder às questões de 31 a 36.
On the surface, there is little to distinguish the Woolf Social Club from any other hipster hangout in Seoul, South Korea. Customers perch on wooden stools at formica tables, tapping on laptops while they sip their coffee. Records and cds line the walls, soft jazz trickles from speakers. On the white wall above the bar, in big black letters, is the statement: “More dignity, less bullshit”.
It is only on closer inspection that you realise this is more than just another coffee shop. On the mugs are cartoon drawings of Virginia Woolf, an angry wolf roaring from her shirt. A bookshelf contains South Korean feminist novels and works of self-help (titles include “Lessons on Being Unmarried”) alongside “The Second Sex” by Simone de Beauvoir and “The Handmaid’s Tale” by Margaret Atwood. On the wall is a poster for an exhibition of feminist art at a nearby gallery.
“I wanted a space for like-minded women to meet and talk,” says Kim Jina, a 47-year-old former advertising executive and politician who founded the café six years ago. Kim was inspired by Woolf’s dictum that in order to write fiction, a woman needed “five hundred [pounds] a year and a room with a lock on the door”. That is, financial independence and a place to think. The café’s casual vibe is deliberate: she wanted to avoid creating barriers to entry for women who were merely curious, rather than fully committed to the movement. Besides, she adds, “If I limited myself to feminist customers, I could never make a living.”
South Korea, even its trendy capital, is a difficult place to be a woman. The wage gap between the sexes is the highest in the rich world. Traditional expectations about gender roles, beauty standards and the way women should conduct themselves remain pervasive. “Misogyny surrounds you so naturally that you barely even notice it,” says Kim. “I had no role models, so my idea of how a successful woman should be came straight from ‘Sex and the City’.” For much of her 20s and 30s, she spent most of her money on make-up and expensive handbags, partying every weekend and dreaming about meeting her version of Mr Big, the rich, smooth-talking love interest of the show’s main character, Carrie.
“I never worried about misogyny because I thought being sexually attractive was a form of power,” says Kim. “But eventually I realised that men with real power don’t wear make-up and expensive dresses.” Her epiphany came when she was passed over for promotion in favour of a male colleague. “My boss said, ‘He needs it more than you because he has a wife and a child to take care of,’ and I realised that I had been wrong to think that all I needed to do was work hard and be good at my job.”
Kim’s burgeoning feminism crystallised in the summer of 2016, after a woman was murdered in a public toilet in an upmarket part of Seoul. The killer initially claimed that he had done it because he had been ignored by women. “I lived right around the corner, and I thought: that could have been me,” says Kim. Like many other women, she was upset by media coverage that ignored the misogynist motives for his crime and blamed it entirely on his mental-health problems.
The murder prompted South Korean women to come together, initially in online communities, and discuss how to fight back against sexism. Then they took to the streets. In 2018 there was a series of protests against the widespread practice of recording illegal footage of women by hiding small cameras in public toilets or changing rooms.
Kim founded the Woolf Social Club in 2017. “I thought, we talk to each other on the internet, but it would be good to have a physical space in which to do that,” she says. “If you walk around Seoul, you see all these cafés aimed at couples, where women look pretty and lower their voices. I wanted a space where they could raise them.”
[Fonte: Lena Schipper. “Virginia Woolf is inspiring South Korean feminists”. In: The Economist, 09/05/2022, <www.economist.com/1843/2022/05/09/virginia-woolf-is-inspiring-south-korean-feminists>. Adaptado. Data de acesso: 27/08/2023.]
In the excerpt from the second paragraph “A bookshelf contains South Korean feminist novels and works of self-help (titles include “Lessons on Being Unmarried”) alongside “The Second Sex” by Simone de Beauvoir and “The Handmaid’s Tale” by Margaret Atwood”, the underlined word expresses an idea of:
Leia o texto a seguir para responder às questões de 31 a 36.
On the surface, there is little to distinguish the Woolf Social Club from any other hipster hangout in Seoul, South Korea. Customers perch on wooden stools at formica tables, tapping on laptops while they sip their coffee. Records and cds line the walls, soft jazz trickles from speakers. On the white wall above the bar, in big black letters, is the statement: “More dignity, less bullshit”.
It is only on closer inspection that you realise this is more than just another coffee shop. On the mugs are cartoon drawings of Virginia Woolf, an angry wolf roaring from her shirt. A bookshelf contains South Korean feminist novels and works of self-help (titles include “Lessons on Being Unmarried”) alongside “The Second Sex” by Simone de Beauvoir and “The Handmaid’s Tale” by Margaret Atwood. On the wall is a poster for an exhibition of feminist art at a nearby gallery.
“I wanted a space for like-minded women to meet and talk,” says Kim Jina, a 47-year-old former advertising executive and politician who founded the café six years ago. Kim was inspired by Woolf’s dictum that in order to write fiction, a woman needed “five hundred [pounds] a year and a room with a lock on the door”. That is, financial independence and a place to think. The café’s casual vibe is deliberate: she wanted to avoid creating barriers to entry for women who were merely curious, rather than fully committed to the movement. Besides, she adds, “If I limited myself to feminist customers, I could never make a living.”
South Korea, even its trendy capital, is a difficult place to be a woman. The wage gap between the sexes is the highest in the rich world. Traditional expectations about gender roles, beauty standards and the way women should conduct themselves remain pervasive. “Misogyny surrounds you so naturally that you barely even notice it,” says Kim. “I had no role models, so my idea of how a successful woman should be came straight from ‘Sex and the City’.” For much of her 20s and 30s, she spent most of her money on make-up and expensive handbags, partying every weekend and dreaming about meeting her version of Mr Big, the rich, smooth-talking love interest of the show’s main character, Carrie.
“I never worried about misogyny because I thought being sexually attractive was a form of power,” says Kim. “But eventually I realised that men with real power don’t wear make-up and expensive dresses.” Her epiphany came when she was passed over for promotion in favour of a male colleague. “My boss said, ‘He needs it more than you because he has a wife and a child to take care of,’ and I realised that I had been wrong to think that all I needed to do was work hard and be good at my job.”
Kim’s burgeoning feminism crystallised in the summer of 2016, after a woman was murdered in a public toilet in an upmarket part of Seoul. The killer initially claimed that he had done it because he had been ignored by women. “I lived right around the corner, and I thought: that could have been me,” says Kim. Like many other women, she was upset by media coverage that ignored the misogynist motives for his crime and blamed it entirely on his mental-health problems.
The murder prompted South Korean women to come together, initially in online communities, and discuss how to fight back against sexism. Then they took to the streets. In 2018 there was a series of protests against the widespread practice of recording illegal footage of women by hiding small cameras in public toilets or changing rooms.
Kim founded the Woolf Social Club in 2017. “I thought, we talk to each other on the internet, but it would be good to have a physical space in which to do that,” she says. “If you walk around Seoul, you see all these cafés aimed at couples, where women look pretty and lower their voices. I wanted a space where they could raise them.”
[Fonte: Lena Schipper. “Virginia Woolf is inspiring South Korean feminists”. In: The Economist, 09/05/2022, <www.economist.com/1843/2022/05/09/virginia-woolf-is-inspiring-south-korean-feminists>. Adaptado. Data de acesso: 27/08/2023.]
Kim Jina was inspired by Virginia Woolf to open the Woolf Social Club because:Resolução comentada
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Leia o texto a seguir para responder às questões de 31 a 36.
On the surface, there is little to distinguish the Woolf Social Club from any other hipster hangout in Seoul, South Korea. Customers perch on wooden stools at formica tables, tapping on laptops while they sip their coffee. Records and cds line the walls, soft jazz trickles from speakers. On the white wall above the bar, in big black letters, is the statement: “More dignity, less bullshit”.
It is only on closer inspection that you realise this is more than just another coffee shop. On the mugs are cartoon drawings of Virginia Woolf, an angry wolf roaring from her shirt. A bookshelf contains South Korean feminist novels and works of self-help (titles include “Lessons on Being Unmarried”) alongside “The Second Sex” by Simone de Beauvoir and “The Handmaid’s Tale” by Margaret Atwood. On the wall is a poster for an exhibition of feminist art at a nearby gallery.
“I wanted a space for like-minded women to meet and talk,” says Kim Jina, a 47-year-old former advertising executive and politician who founded the café six years ago. Kim was inspired by Woolf’s dictum that in order to write fiction, a woman needed “five hundred [pounds] a year and a room with a lock on the door”. That is, financial independence and a place to think. The café’s casual vibe is deliberate: she wanted to avoid creating barriers to entry for women who were merely curious, rather than fully committed to the movement. Besides, she adds, “If I limited myself to feminist customers, I could never make a living.”
South Korea, even its trendy capital, is a difficult place to be a woman. The wage gap between the sexes is the highest in the rich world. Traditional expectations about gender roles, beauty standards and the way women should conduct themselves remain pervasive. “Misogyny surrounds you so naturally that you barely even notice it,” says Kim. “I had no role models, so my idea of how a successful woman should be came straight from ‘Sex and the City’.” For much of her 20s and 30s, she spent most of her money on make-up and expensive handbags, partying every weekend and dreaming about meeting her version of Mr Big, the rich, smooth-talking love interest of the show’s main character, Carrie.
“I never worried about misogyny because I thought being sexually attractive was a form of power,” says Kim. “But eventually I realised that men with real power don’t wear make-up and expensive dresses.” Her epiphany came when she was passed over for promotion in favour of a male colleague. “My boss said, ‘He needs it more than you because he has a wife and a child to take care of,’ and I realised that I had been wrong to think that all I needed to do was work hard and be good at my job.”
Kim’s burgeoning feminism crystallised in the summer of 2016, after a woman was murdered in a public toilet in an upmarket part of Seoul. The killer initially claimed that he had done it because he had been ignored by women. “I lived right around the corner, and I thought: that could have been me,” says Kim. Like many other women, she was upset by media coverage that ignored the misogynist motives for his crime and blamed it entirely on his mental-health problems.
The murder prompted South Korean women to come together, initially in online communities, and discuss how to fight back against sexism. Then they took to the streets. In 2018 there was a series of protests against the widespread practice of recording illegal footage of women by hiding small cameras in public toilets or changing rooms.
Kim founded the Woolf Social Club in 2017. “I thought, we talk to each other on the internet, but it would be good to have a physical space in which to do that,” she says. “If you walk around Seoul, you see all these cafés aimed at couples, where women look pretty and lower their voices. I wanted a space where they could raise them.”
[Fonte: Lena Schipper. “Virginia Woolf is inspiring South Korean feminists”. In: The Economist, 09/05/2022, <www.economist.com/1843/2022/05/09/virginia-woolf-is-inspiring-south-korean-feminists>. Adaptado. Data de acesso: 27/08/2023.]
In the excerpt from the third paragraph “I wanted a space for like-minded women to meet and talk,” the underlined term expresses an idea of:
Leia o texto a seguir para responder às questões de 31 a 36.
On the surface, there is little to distinguish the Woolf Social Club from any other hipster hangout in Seoul, South Korea. Customers perch on wooden stools at formica tables, tapping on laptops while they sip their coffee. Records and cds line the walls, soft jazz trickles from speakers. On the white wall above the bar, in big black letters, is the statement: “More dignity, less bullshit”.
It is only on closer inspection that you realise this is more than just another coffee shop. On the mugs are cartoon drawings of Virginia Woolf, an angry wolf roaring from her shirt. A bookshelf contains South Korean feminist novels and works of self-help (titles include “Lessons on Being Unmarried”) alongside “The Second Sex” by Simone de Beauvoir and “The Handmaid’s Tale” by Margaret Atwood. On the wall is a poster for an exhibition of feminist art at a nearby gallery.
“I wanted a space for like-minded women to meet and talk,” says Kim Jina, a 47-year-old former advertising executive and politician who founded the café six years ago. Kim was inspired by Woolf’s dictum that in order to write fiction, a woman needed “five hundred [pounds] a year and a room with a lock on the door”. That is, financial independence and a place to think. The café’s casual vibe is deliberate: she wanted to avoid creating barriers to entry for women who were merely curious, rather than fully committed to the movement. Besides, she adds, “If I limited myself to feminist customers, I could never make a living.”
South Korea, even its trendy capital, is a difficult place to be a woman. The wage gap between the sexes is the highest in the rich world. Traditional expectations about gender roles, beauty standards and the way women should conduct themselves remain pervasive. “Misogyny surrounds you so naturally that you barely even notice it,” says Kim. “I had no role models, so my idea of how a successful woman should be came straight from ‘Sex and the City’.” For much of her 20s and 30s, she spent most of her money on make-up and expensive handbags, partying every weekend and dreaming about meeting her version of Mr Big, the rich, smooth-talking love interest of the show’s main character, Carrie.
“I never worried about misogyny because I thought being sexually attractive was a form of power,” says Kim. “But eventually I realised that men with real power don’t wear make-up and expensive dresses.” Her epiphany came when she was passed over for promotion in favour of a male colleague. “My boss said, ‘He needs it more than you because he has a wife and a child to take care of,’ and I realised that I had been wrong to think that all I needed to do was work hard and be good at my job.”
Kim’s burgeoning feminism crystallised in the summer of 2016, after a woman was murdered in a public toilet in an upmarket part of Seoul. The killer initially claimed that he had done it because he had been ignored by women. “I lived right around the corner, and I thought: that could have been me,” says Kim. Like many other women, she was upset by media coverage that ignored the misogynist motives for his crime and blamed it entirely on his mental-health problems.
The murder prompted South Korean women to come together, initially in online communities, and discuss how to fight back against sexism. Then they took to the streets. In 2018 there was a series of protests against the widespread practice of recording illegal footage of women by hiding small cameras in public toilets or changing rooms.
Kim founded the Woolf Social Club in 2017. “I thought, we talk to each other on the internet, but it would be good to have a physical space in which to do that,” she says. “If you walk around Seoul, you see all these cafés aimed at couples, where women look pretty and lower their voices. I wanted a space where they could raise them.”
[Fonte: Lena Schipper. “Virginia Woolf is inspiring South Korean feminists”. In: The Economist, 09/05/2022, <www.economist.com/1843/2022/05/09/virginia-woolf-is-inspiring-south-korean-feminists>. Adaptado. Data de acesso: 27/08/2023.]
Dentre as razões expostas no texto sobre as dificuldades encontradas pelas mulheres coreanas, são corretas as afirmações, EXCETO:Resolução comentada
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Leia o texto a seguir para responder às questões de 31 a 36.
On the surface, there is little to distinguish the Woolf Social Club from any other hipster hangout in Seoul, South Korea. Customers perch on wooden stools at formica tables, tapping on laptops while they sip their coffee. Records and cds line the walls, soft jazz trickles from speakers. On the white wall above the bar, in big black letters, is the statement: “More dignity, less bullshit”.
It is only on closer inspection that you realise this is more than just another coffee shop. On the mugs are cartoon drawings of Virginia Woolf, an angry wolf roaring from her shirt. A bookshelf contains South Korean feminist novels and works of self-help (titles include “Lessons on Being Unmarried”) alongside “The Second Sex” by Simone de Beauvoir and “The Handmaid’s Tale” by Margaret Atwood. On the wall is a poster for an exhibition of feminist art at a nearby gallery.
“I wanted a space for like-minded women to meet and talk,” says Kim Jina, a 47-year-old former advertising executive and politician who founded the café six years ago. Kim was inspired by Woolf’s dictum that in order to write fiction, a woman needed “five hundred [pounds] a year and a room with a lock on the door”. That is, financial independence and a place to think. The café’s casual vibe is deliberate: she wanted to avoid creating barriers to entry for women who were merely curious, rather than fully committed to the movement. Besides, she adds, “If I limited myself to feminist customers, I could never make a living.”
South Korea, even its trendy capital, is a difficult place to be a woman. The wage gap between the sexes is the highest in the rich world. Traditional expectations about gender roles, beauty standards and the way women should conduct themselves remain pervasive. “Misogyny surrounds you so naturally that you barely even notice it,” says Kim. “I had no role models, so my idea of how a successful woman should be came straight from ‘Sex and the City’.” For much of her 20s and 30s, she spent most of her money on make-up and expensive handbags, partying every weekend and dreaming about meeting her version of Mr Big, the rich, smooth-talking love interest of the show’s main character, Carrie.
“I never worried about misogyny because I thought being sexually attractive was a form of power,” says Kim. “But eventually I realised that men with real power don’t wear make-up and expensive dresses.” Her epiphany came when she was passed over for promotion in favour of a male colleague. “My boss said, ‘He needs it more than you because he has a wife and a child to take care of,’ and I realised that I had been wrong to think that all I needed to do was work hard and be good at my job.”
Kim’s burgeoning feminism crystallised in the summer of 2016, after a woman was murdered in a public toilet in an upmarket part of Seoul. The killer initially claimed that he had done it because he had been ignored by women. “I lived right around the corner, and I thought: that could have been me,” says Kim. Like many other women, she was upset by media coverage that ignored the misogynist motives for his crime and blamed it entirely on his mental-health problems.
The murder prompted South Korean women to come together, initially in online communities, and discuss how to fight back against sexism. Then they took to the streets. In 2018 there was a series of protests against the widespread practice of recording illegal footage of women by hiding small cameras in public toilets or changing rooms.
Kim founded the Woolf Social Club in 2017. “I thought, we talk to each other on the internet, but it would be good to have a physical space in which to do that,” she says. “If you walk around Seoul, you see all these cafés aimed at couples, where women look pretty and lower their voices. I wanted a space where they could raise them.”
[Fonte: Lena Schipper. “Virginia Woolf is inspiring South Korean feminists”. In: The Economist, 09/05/2022, <www.economist.com/1843/2022/05/09/virginia-woolf-is-inspiring-south-korean-feminists>. Adaptado. Data de acesso: 27/08/2023.]
De acordo com os parágrafos seis e sete, as manifestações nas ruas contra o sexismo na Coreia tiveram como estopimResolução comentada
Análise das alternativas
Convenções: Considere o sistema de coordenadas cartesiano, a menos que haja indicação contrária.
ℕ = {1, 2, 3, ...} : denota o conjunto dos números naturais.
ℝ : denota o conjunto dos números reais.
ℂ : denota o conjunto dos números complexos.
A − B : denota a diferença dos conjuntos A e B.
i : denota a unidade imaginária, i² = −1.
Mₙ(ℝ) : denota o conjunto das matrizes n × n de entradas reais.
A̅B̅ : denota o segmento de reta de extremidades nos pontos A e B.
AB : denota a reta que passa pelos pontos A e B.
m(A̅B̅) : denota o comprimento do segmento A̅B̅.
AB̂C : denota o ângulo formado pelos segmentos B̅A̅ e B̅C̅, com vértice em B.
det A : denota o determinante da matriz A.
Aᵀ : denota a transposta da matriz A.
Sejam A, B, C ⊆ ℝ tais que C ⊆ A. Considere as afirmações:
I. (A ∩ B) ∪ C = A ∩ (B ∪ C).
II. A ∩ B = C ∪ (B ∩ (ℝ − C)).
III. A ∩ (B − C) = (A ∩ B) − C.
É (São) VERDADEIRA(S):Resolução comentada
Análise das alternativas
Convenções: Considere o sistema de coordenadas cartesiano, a menos que haja indicação contrária.
ℕ = {1, 2, 3, ...} : denota o conjunto dos números naturais.
ℝ : denota o conjunto dos números reais.
ℂ : denota o conjunto dos números complexos.
A − B : denota a diferença dos conjuntos A e B.
i : denota a unidade imaginária, i² = −1.
Mₙ(ℝ) : denota o conjunto das matrizes n × n de entradas reais.
A̅B̅ : denota o segmento de reta de extremidades nos pontos A e B.
AB : denota a reta que passa pelos pontos A e B.
m(A̅B̅) : denota o comprimento do segmento A̅B̅.
AB̂C : denota o ângulo formado pelos segmentos B̅A̅ e B̅C̅, com vértice em B.
det A : denota o determinante da matriz A.
Aᵀ : denota a transposta da matriz A.
Sejam A, B, C, D ∈ Mₙ(ℝ). Considere o sistema linear
{ AX = B
{ DX + Y = C
nas variáveis X, Y ∈ Mₙ(ℝ). Considere as afirmações:
I. Se det A = 0 ou det D = 0, então o sistema é impossível.
II. Se A = B, então o sistema possui uma única solução.
III. O sistema possui uma única solução apenas se A e D são inversíveis.
É (São) VERDADEIRA(S):Resolução comentada
Análise das alternativas
cos(2 arctg(4/3)) + sen(2 arctg(4/3)).Resolução comentada
Análise das alternativas
Convenções: Considere o sistema de coordenadas cartesiano, a menos que haja indicação contrária.
ℕ = {1, 2, 3, ...} : denota o conjunto dos números naturais.
ℝ : denota o conjunto dos números reais.
ℂ : denota o conjunto dos números complexos.
A − B : denota a diferença dos conjuntos A e B.
i : denota a unidade imaginária, i² = −1.
Mₙ(ℝ) : denota o conjunto das matrizes n × n de entradas reais.
A̅B̅ : denota o segmento de reta de extremidades nos pontos A e B.
AB : denota a reta que passa pelos pontos A e B.
m(A̅B̅) : denota o comprimento do segmento A̅B̅.
AB̂C : denota o ângulo formado pelos segmentos B̅A̅ e B̅C̅, com vértice em B.
det A : denota o determinante da matriz A.
Aᵀ : denota a transposta da matriz A.
Considere o conjunto:
A = {1, 2, 4, 8, 16, 32, 64, 128, 256}.
Qual o menor n ∈ ℕ tal que todo subconjunto de A com n elementos contenha pelo menos um par cujo produto seja 256?Resolução comentada
Análise das alternativas
Na peça A falecida, Nelson Rodrigues mergulha na realidade social do Rio de Janeiro da década de 1950. Sinal disso
A exemplo da peça A falecida, são elementos que atestam a modernidade do teatro de Nelson Rodrigues:
A respeito de Zulmira, protagonista de A falecida, é possível afirmar que:
A respeito de Tuninho, personagem de A falecida, é possível afirmar que:
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Determine o valor de
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