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ESPM 2018 - Inglês - Interpretação de texto | Reading comprehension

The text mentions a certain paradox in Brown’s attitudes. This is because:

How James Brown Made Black Pride a Hit

It’s been 50 years since he wrote “Say It Loud, I’m Black and I’m Proud,” a song that is still necessary.

By Randall Kennedy

   In the gym at Paul Junior High School in Washington, D.C., in the spring of 1968, not that long before the assassination of the Rev. Dr. Martin Luther King Jr., I asked a buddy whether he was interested in a certain girl. He told me that he was not because she was too dark.


   
   He and I were African-American. (Then we would have called ourselves Negro.) So was she. All of us supported the Civil Rights Movement and idolized Dr. King, yet I did not hold my friend’s colorstruck judgment against him. And he did not state his opinion with embarrassment. We had both internalized our society’s derogation of blackness.
    Indeed, we luxuriated in the denigration, spending hours trading silly, recycled but revealing insults: “Yo mama so black, she blend in with the chalkboard.” “Yeah, well, yo mama so black, she sweats chocolate.”
   It was precisely because of widespread colorism that James Brown’s anthem “Say It Loud, I’m Black and I’m Proud” posed a challenge, felt so exhilarating, and resonated so powerfully. It still does. Much has changed over the past half century. But, alas, the need to defend blackness against derision continues.
    Various musicians in the 1960s tapped into yearnings for black assertiveness, autonomy and solidarity. Curtis Mayfield and the Impressions sang “We’re a Winner.” Sly and the Family Stone offered “Stand.” Sam Cooke (and Aretha Franklin and Otis Redding) performed “A Change is Gonna Come.” But no entertainer equaled Brown’s vocalization of African-Americans’ newly triumphal sense of self-acceptance.
   That Brown created the song most popularly associated with the Black is Beautiful movement is ironic. He generally stayed away from protest, endorsed the presidential re-election of Richard Nixon, lavishly praised Ronald Reagan, and consistently lauded Strom Thurmond.
   His infrequent sallies into politics usually sounded in patriotic, lift-yourselfup-ism. In the song “America is My Home,” he proclaimed without embarrassment that the United States “is still the best country / And that’s without a doubt.” Alluding to his own trajectory, he challenged dissenters to name any other country in which a person could start out as a poor shoeshine boy but end up as a wealthy celebrity shaking hands with the president.
   At the very time that in “Say It Loud,” Brown seemed to be affirming Negritude, he also sported a “conk” — a distinctive hairdo that involved chemically removing kinkiness on the way to creating a bouffant of straightened hair. Many AfricanAmerican political activists, especially those with a black nationalist orientation, decried the conk as an illustration of racial self-hatred. For a brief period, Brown abandoned the conk and adopted an Afro, but that was only temporary. The conk was part of the characteristic look of “The Godfather of Soul.”
   Even though by 1968 uprisings against white supremacism had been erupting for a decade with great intensity and success — the Montgomery Bus Boycott, the Children’s’ Crusade in Birmingham, the protest against disenfranchisement in Selma — prejudice against blackness remained prevalent, including among African-Americans.
   Champions of African-American uplift in the 1960s sought to liberate blackness from the layers of contempt, fear, and hatred with which it had been smeared for centuries. Brown’s anthem poignantly reflected the psychic problem it sought to address. People secure in their status don’t feel compelled to trumpet their pride. At the same time “Say it Loud!” was a rousing instance of a reclamation that took many forms. Instead of celebrating light skin, thin lips, and “good” (i.e., straight) hair, increasing numbers of African-Americans began valorizing dark skin, thick lips and “bad” (i.e., kinky) hair.
    The reclamation of blackness in the sixties made tremendous headway quickly. By 1970 my friend would not have dared to repeat out loud what he had told me unapologetically two years before. Here, as elsewhere, however, changes wrought by the black liberation movement, though impressive, were only partial. Nearly four decades after the release of “Say It Loud,” Professors Jennifer Hochschild and Vesla Weaver, having synthesized the pertinent academic literature, declared authoritatively that compared to their lighter-skinned counterparts, dark-skinned blacks continue to be burdened by lower levels of education, income, and job status. They receive longer prison sentences and are less likely to own homes or to marry. Filmmakers, advertisers, modeling agencies, dating websites and other key gatekeepers demonstrate repeatedly the ongoing pertinence of the old saw: If you’re black get back. If you’re brown, stick around. If you’re white you’re alright.
      Intraracial colorism in Black America is often seen as a topic that should, if possible, be avoided, especially in “mixed company.” That sense of embarrassment three decades ago prompted officials at Morehouse College to demand that Spike Lee cease filming on campus once they learned that his movie was exposing, among other things, black collegiate colorism. The impulse toward avoidance remains strong.
    With racial prejudice against all African-Americans still a potent force, many would just as soon ditch the discussion of “black on black” complexional bias. Colorism, however, remains a baleful reality.
   Half a century after James Brown’s proclamation, it remains imperative to assert what should have been assumed and uncontroversial all along: that black is beautiful and as worthy of pride and care and consideration as any other hue.

(Adapted from: www.nytimes.com, 20/07/2018)
A
despite his colorism, he constantly praised white people.
B
although he spoke high of Negritude, his hair looks didn’t match his say.
C
even though he fought for the Civil Rights, he proclaimed that the United States was the best country to live in.
D
although his song stuck up for black pride, he was subdued by a stronger need of fitting in the American society.
E
in spite of his conk hairdo, he objected coming across as an American patriot.
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ESPM 2018 - Inglês - Interpretação de texto | Reading comprehension

As of late 1960s, after the release of “Say It Loud, I’m Black and I’m Proud”:

How James Brown Made Black Pride a Hit

It’s been 50 years since he wrote “Say It Loud, I’m Black and I’m Proud,” a song that is still necessary.

By Randall Kennedy

   In the gym at Paul Junior High School in Washington, D.C., in the spring of 1968, not that long before the assassination of the Rev. Dr. Martin Luther King Jr., I asked a buddy whether he was interested in a certain girl. He told me that he was not because she was too dark.


   
   He and I were African-American. (Then we would have called ourselves Negro.) So was she. All of us supported the Civil Rights Movement and idolized Dr. King, yet I did not hold my friend’s colorstruck judgment against him. And he did not state his opinion with embarrassment. We had both internalized our society’s derogation of blackness.
    Indeed, we luxuriated in the denigration, spending hours trading silly, recycled but revealing insults: “Yo mama so black, she blend in with the chalkboard.” “Yeah, well, yo mama so black, she sweats chocolate.”
   It was precisely because of widespread colorism that James Brown’s anthem “Say It Loud, I’m Black and I’m Proud” posed a challenge, felt so exhilarating, and resonated so powerfully. It still does. Much has changed over the past half century. But, alas, the need to defend blackness against derision continues.
    Various musicians in the 1960s tapped into yearnings for black assertiveness, autonomy and solidarity. Curtis Mayfield and the Impressions sang “We’re a Winner.” Sly and the Family Stone offered “Stand.” Sam Cooke (and Aretha Franklin and Otis Redding) performed “A Change is Gonna Come.” But no entertainer equaled Brown’s vocalization of African-Americans’ newly triumphal sense of self-acceptance.
   That Brown created the song most popularly associated with the Black is Beautiful movement is ironic. He generally stayed away from protest, endorsed the presidential re-election of Richard Nixon, lavishly praised Ronald Reagan, and consistently lauded Strom Thurmond.
   His infrequent sallies into politics usually sounded in patriotic, lift-yourselfup-ism. In the song “America is My Home,” he proclaimed without embarrassment that the United States “is still the best country / And that’s without a doubt.” Alluding to his own trajectory, he challenged dissenters to name any other country in which a person could start out as a poor shoeshine boy but end up as a wealthy celebrity shaking hands with the president.
   At the very time that in “Say It Loud,” Brown seemed to be affirming Negritude, he also sported a “conk” — a distinctive hairdo that involved chemically removing kinkiness on the way to creating a bouffant of straightened hair. Many AfricanAmerican political activists, especially those with a black nationalist orientation, decried the conk as an illustration of racial self-hatred. For a brief period, Brown abandoned the conk and adopted an Afro, but that was only temporary. The conk was part of the characteristic look of “The Godfather of Soul.”
   Even though by 1968 uprisings against white supremacism had been erupting for a decade with great intensity and success — the Montgomery Bus Boycott, the Children’s’ Crusade in Birmingham, the protest against disenfranchisement in Selma — prejudice against blackness remained prevalent, including among African-Americans.
   Champions of African-American uplift in the 1960s sought to liberate blackness from the layers of contempt, fear, and hatred with which it had been smeared for centuries. Brown’s anthem poignantly reflected the psychic problem it sought to address. People secure in their status don’t feel compelled to trumpet their pride. At the same time “Say it Loud!” was a rousing instance of a reclamation that took many forms. Instead of celebrating light skin, thin lips, and “good” (i.e., straight) hair, increasing numbers of African-Americans began valorizing dark skin, thick lips and “bad” (i.e., kinky) hair.
    The reclamation of blackness in the sixties made tremendous headway quickly. By 1970 my friend would not have dared to repeat out loud what he had told me unapologetically two years before. Here, as elsewhere, however, changes wrought by the black liberation movement, though impressive, were only partial. Nearly four decades after the release of “Say It Loud,” Professors Jennifer Hochschild and Vesla Weaver, having synthesized the pertinent academic literature, declared authoritatively that compared to their lighter-skinned counterparts, dark-skinned blacks continue to be burdened by lower levels of education, income, and job status. They receive longer prison sentences and are less likely to own homes or to marry. Filmmakers, advertisers, modeling agencies, dating websites and other key gatekeepers demonstrate repeatedly the ongoing pertinence of the old saw: If you’re black get back. If you’re brown, stick around. If you’re white you’re alright.
      Intraracial colorism in Black America is often seen as a topic that should, if possible, be avoided, especially in “mixed company.” That sense of embarrassment three decades ago prompted officials at Morehouse College to demand that Spike Lee cease filming on campus once they learned that his movie was exposing, among other things, black collegiate colorism. The impulse toward avoidance remains strong.
    With racial prejudice against all African-Americans still a potent force, many would just as soon ditch the discussion of “black on black” complexional bias. Colorism, however, remains a baleful reality.
   Half a century after James Brown’s proclamation, it remains imperative to assert what should have been assumed and uncontroversial all along: that black is beautiful and as worthy of pride and care and consideration as any other hue.

(Adapted from: www.nytimes.com, 20/07/2018)
A
there have been vanishingly fewer cases of racial prejudice in the United States.
B
colorism remains a menacing certainty.
C
black people have been more and more contemptuous about their color.
D
awareness about racism has been gradually decreasing.
E
intraracial colorism has increasingly appeared in the spotlight of college discussions.
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ESPM 2018 - Inglês - Interpretação de texto | Reading comprehension

The author of the article:

Beyonce, colorism, and why all of this needs to end


by Ernest Owens


    Yes, the Super Bowl was on fire. As one who is very critical of halftime show performances, I cannot deny that Beyoncé brought the energy and attention. All of this led to her releasing her tour dates for the Mrs. Carter Show. As excited as I was to actually buy these tickets, something turned me off. The poster.




   If you haven’t seen the photographs for Beyonce’s new world tour, you probably wouldn’t even recognize her. You will see an image of what looks like a Victorian white woman in the Elizabethan era. Her (prosthetic) blonde hair puffed and extended to reveal a face that is almost as white as snow. Lips red and her skin powdered. This is not the same bronze Beyonce that I saw rocking the stage in an all female band with her darker Destiny’s Child counterparts. I was only left with memories of previous patterns that the multi-Grammy award winning artist had done in previous years in regards to her skin. And I asked myself the question: why, Bey?

     Let’s not act like this is something new. Over the years, it seems as though Beyonce has gotten lighter as she has gotten older. No, this is not genetics and let’s not pretend her skin color in her first Destiny’s Child album cover matches that of her latest album. Whether it is that highly controversial Revlon advertisement or her own album cover art, Beyonce has consistently been called out on alterations done to her pigments.

    What does this say about our society for black women? It tells me that, an independent, confident and successful woman of color still struggles to have the confidence to fully embrace the skin she is in. If one of the most powerful women in entertainment feels she has to lighten her skin for projection, what does that say for the rest of us?

    Believe it or not, colorism, the stigma associated with skin complexion, has been an ill that has not yet been dissolved by the black community. What was first given to us by slave masters in separating the house slaves from the field ones, has now taken place in how we objectify our women and each other.

    This is pretty problematic in many ways. It’s first of all self-loathing and unnecessary for today’s times. The fact that our nation had an African-American first lady with a complexion that isn’t on the lighter side of the spectrum, nor does it try to be, shows a compelling advancement in appreciation for all women of color in many ways.

     Furthermore, the only reason why such stigma in our country continues is contributed to our own behavior that is shaped by the influential people of color around us. It devastated me when I saw that Sammy Sosa had lightened his skin. As successful as he was in a field that was not necessarily fixated on male skin complexion, it saddened me to see him do it. In many ways, it even made me reflect back on the transition of the late great Michael Jackson and what explanations he had for such a more pale white appearance.

    And why does all of this matter? Because I grew up hearing stories of young dark black girls getting their faces scrubbed with skin lightening soaps out of their free will. Tales of young women being abandoned by their mothers because they were too dark.

    If this is the reality that had more implications back in the early 20th century than it does now, please stop it. Stop trying to explain why you are dating the ebony skin girl. Stop making it seem exceptional that a girl of a darker complexion is actually attractive. Celebrities, stop putting extraneous powders and lighteners on your skin: we all know what you used to look like and we still love you. And people of color: let’s not continue to perpetuate an oppressive cycle of self-loathing of our appearance and heritage. If this can be accomplished, then perhaps even in our own race we can truly make our lives not be judged by the color of our skin but by the content of our character.


(adapted from www.huffingtonpost.com, 14/02/2013)

A
indicated that he wanted to attend a concert by Beyoncé.
B
wasn’t really into attending a show given by Beyoncé.
C
was interested in the artist when he saw the ad of the tour.
D
seems to enjoy watching Super Bowl halftime performances.
E
is a critic of pop music.
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ESPM 2018 - Inglês - Interpretação de texto | Reading comprehension

The author of the article criticizes the fact that the producers:

Beyonce, colorism, and why all of this needs to end


by Ernest Owens


    Yes, the Super Bowl was on fire. As one who is very critical of halftime show performances, I cannot deny that Beyoncé brought the energy and attention. All of this led to her releasing her tour dates for the Mrs. Carter Show. As excited as I was to actually buy these tickets, something turned me off. The poster.




   If you haven’t seen the photographs for Beyonce’s new world tour, you probably wouldn’t even recognize her. You will see an image of what looks like a Victorian white woman in the Elizabethan era. Her (prosthetic) blonde hair puffed and extended to reveal a face that is almost as white as snow. Lips red and her skin powdered. This is not the same bronze Beyonce that I saw rocking the stage in an all female band with her darker Destiny’s Child counterparts. I was only left with memories of previous patterns that the multi-Grammy award winning artist had done in previous years in regards to her skin. And I asked myself the question: why, Bey?

     Let’s not act like this is something new. Over the years, it seems as though Beyonce has gotten lighter as she has gotten older. No, this is not genetics and let’s not pretend her skin color in her first Destiny’s Child album cover matches that of her latest album. Whether it is that highly controversial Revlon advertisement or her own album cover art, Beyonce has consistently been called out on alterations done to her pigments.

    What does this say about our society for black women? It tells me that, an independent, confident and successful woman of color still struggles to have the confidence to fully embrace the skin she is in. If one of the most powerful women in entertainment feels she has to lighten her skin for projection, what does that say for the rest of us?

    Believe it or not, colorism, the stigma associated with skin complexion, has been an ill that has not yet been dissolved by the black community. What was first given to us by slave masters in separating the house slaves from the field ones, has now taken place in how we objectify our women and each other.

    This is pretty problematic in many ways. It’s first of all self-loathing and unnecessary for today’s times. The fact that our nation had an African-American first lady with a complexion that isn’t on the lighter side of the spectrum, nor does it try to be, shows a compelling advancement in appreciation for all women of color in many ways.

     Furthermore, the only reason why such stigma in our country continues is contributed to our own behavior that is shaped by the influential people of color around us. It devastated me when I saw that Sammy Sosa had lightened his skin. As successful as he was in a field that was not necessarily fixated on male skin complexion, it saddened me to see him do it. In many ways, it even made me reflect back on the transition of the late great Michael Jackson and what explanations he had for such a more pale white appearance.

    And why does all of this matter? Because I grew up hearing stories of young dark black girls getting their faces scrubbed with skin lightening soaps out of their free will. Tales of young women being abandoned by their mothers because they were too dark.

    If this is the reality that had more implications back in the early 20th century than it does now, please stop it. Stop trying to explain why you are dating the ebony skin girl. Stop making it seem exceptional that a girl of a darker complexion is actually attractive. Celebrities, stop putting extraneous powders and lighteners on your skin: we all know what you used to look like and we still love you. And people of color: let’s not continue to perpetuate an oppressive cycle of self-loathing of our appearance and heritage. If this can be accomplished, then perhaps even in our own race we can truly make our lives not be judged by the color of our skin but by the content of our character.


(adapted from www.huffingtonpost.com, 14/02/2013)

A
chose to employ a caucasian model.
B
wanted to associate the singer to a specific historic period.
C
intended to make the singer look unrecognizable.
D
edited Beyonce’s complexion to make it lighter.
E
hardly used makeup on the singer.
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ESPM 2018 - Inglês - Interpretação de texto | Reading comprehension

According the article:

Beyonce, colorism, and why all of this needs to end


by Ernest Owens


    Yes, the Super Bowl was on fire. As one who is very critical of halftime show performances, I cannot deny that Beyoncé brought the energy and attention. All of this led to her releasing her tour dates for the Mrs. Carter Show. As excited as I was to actually buy these tickets, something turned me off. The poster.




   If you haven’t seen the photographs for Beyonce’s new world tour, you probably wouldn’t even recognize her. You will see an image of what looks like a Victorian white woman in the Elizabethan era. Her (prosthetic) blonde hair puffed and extended to reveal a face that is almost as white as snow. Lips red and her skin powdered. This is not the same bronze Beyonce that I saw rocking the stage in an all female band with her darker Destiny’s Child counterparts. I was only left with memories of previous patterns that the multi-Grammy award winning artist had done in previous years in regards to her skin. And I asked myself the question: why, Bey?

     Let’s not act like this is something new. Over the years, it seems as though Beyonce has gotten lighter as she has gotten older. No, this is not genetics and let’s not pretend her skin color in her first Destiny’s Child album cover matches that of her latest album. Whether it is that highly controversial Revlon advertisement or her own album cover art, Beyonce has consistently been called out on alterations done to her pigments.

    What does this say about our society for black women? It tells me that, an independent, confident and successful woman of color still struggles to have the confidence to fully embrace the skin she is in. If one of the most powerful women in entertainment feels she has to lighten her skin for projection, what does that say for the rest of us?

    Believe it or not, colorism, the stigma associated with skin complexion, has been an ill that has not yet been dissolved by the black community. What was first given to us by slave masters in separating the house slaves from the field ones, has now taken place in how we objectify our women and each other.

    This is pretty problematic in many ways. It’s first of all self-loathing and unnecessary for today’s times. The fact that our nation had an African-American first lady with a complexion that isn’t on the lighter side of the spectrum, nor does it try to be, shows a compelling advancement in appreciation for all women of color in many ways.

     Furthermore, the only reason why such stigma in our country continues is contributed to our own behavior that is shaped by the influential people of color around us. It devastated me when I saw that Sammy Sosa had lightened his skin. As successful as he was in a field that was not necessarily fixated on male skin complexion, it saddened me to see him do it. In many ways, it even made me reflect back on the transition of the late great Michael Jackson and what explanations he had for such a more pale white appearance.

    And why does all of this matter? Because I grew up hearing stories of young dark black girls getting their faces scrubbed with skin lightening soaps out of their free will. Tales of young women being abandoned by their mothers because they were too dark.

    If this is the reality that had more implications back in the early 20th century than it does now, please stop it. Stop trying to explain why you are dating the ebony skin girl. Stop making it seem exceptional that a girl of a darker complexion is actually attractive. Celebrities, stop putting extraneous powders and lighteners on your skin: we all know what you used to look like and we still love you. And people of color: let’s not continue to perpetuate an oppressive cycle of self-loathing of our appearance and heritage. If this can be accomplished, then perhaps even in our own race we can truly make our lives not be judged by the color of our skin but by the content of our character.


(adapted from www.huffingtonpost.com, 14/02/2013)

A
some influential black people keep falling in the colorism trap.
B
influential black people are no longer victims of colorism.
C
Beyonce had no choice but to modify her looks to boost her career.
D
women of color nowadays refuse to alter their looks for projection.
E
the colorism stigma is a thing of the past.
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ESPM 2018 - Inglês - Pronome demonstrativo | Demonstrative pronoun, Interpretação de texto | Reading comprehension, Pronomes | Pronouns

The pronoun “it” in the phrase “nor does it try to be”, bold faced, in paragraph 6 refers to:

Beyonce, colorism, and why all of this needs to end


by Ernest Owens


    Yes, the Super Bowl was on fire. As one who is very critical of halftime show performances, I cannot deny that Beyoncé brought the energy and attention. All of this led to her releasing her tour dates for the Mrs. Carter Show. As excited as I was to actually buy these tickets, something turned me off. The poster.




   If you haven’t seen the photographs for Beyonce’s new world tour, you probably wouldn’t even recognize her. You will see an image of what looks like a Victorian white woman in the Elizabethan era. Her (prosthetic) blonde hair puffed and extended to reveal a face that is almost as white as snow. Lips red and her skin powdered. This is not the same bronze Beyonce that I saw rocking the stage in an all female band with her darker Destiny’s Child counterparts. I was only left with memories of previous patterns that the multi-Grammy award winning artist had done in previous years in regards to her skin. And I asked myself the question: why, Bey?

     Let’s not act like this is something new. Over the years, it seems as though Beyonce has gotten lighter as she has gotten older. No, this is not genetics and let’s not pretend her skin color in her first Destiny’s Child album cover matches that of her latest album. Whether it is that highly controversial Revlon advertisement or her own album cover art, Beyonce has consistently been called out on alterations done to her pigments.

    What does this say about our society for black women? It tells me that, an independent, confident and successful woman of color still struggles to have the confidence to fully embrace the skin she is in. If one of the most powerful women in entertainment feels she has to lighten her skin for projection, what does that say for the rest of us?

    Believe it or not, colorism, the stigma associated with skin complexion, has been an ill that has not yet been dissolved by the black community. What was first given to us by slave masters in separating the house slaves from the field ones, has now taken place in how we objectify our women and each other.

    This is pretty problematic in many ways. It’s first of all self-loathing and unnecessary for today’s times. The fact that our nation had an African-American first lady with a complexion that isn’t on the lighter side of the spectrum, nor does it try to be, shows a compelling advancement in appreciation for all women of color in many ways.

     Furthermore, the only reason why such stigma in our country continues is contributed to our own behavior that is shaped by the influential people of color around us. It devastated me when I saw that Sammy Sosa had lightened his skin. As successful as he was in a field that was not necessarily fixated on male skin complexion, it saddened me to see him do it. In many ways, it even made me reflect back on the transition of the late great Michael Jackson and what explanations he had for such a more pale white appearance.

    And why does all of this matter? Because I grew up hearing stories of young dark black girls getting their faces scrubbed with skin lightening soaps out of their free will. Tales of young women being abandoned by their mothers because they were too dark.

    If this is the reality that had more implications back in the early 20th century than it does now, please stop it. Stop trying to explain why you are dating the ebony skin girl. Stop making it seem exceptional that a girl of a darker complexion is actually attractive. Celebrities, stop putting extraneous powders and lighteners on your skin: we all know what you used to look like and we still love you. And people of color: let’s not continue to perpetuate an oppressive cycle of self-loathing of our appearance and heritage. If this can be accomplished, then perhaps even in our own race we can truly make our lives not be judged by the color of our skin but by the content of our character.


(adapted from www.huffingtonpost.com, 14/02/2013)

A
spectrum
B
the first lady
C
complexion
D
nation
E
lighter side
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ESPM 2018 - Inglês - Interpretação de texto | Reading comprehension

The cartoon:

    Theodor Seuss “Ted” Geisel was an American author, political cartoonist, poet, animator, book publisher, and artist, best known for authoring more than 60 children’s books under the pen name Doctor Seuss (abbreviated Dr. Seuss). As World War II began, he turned to political cartoons, drawing over 400 in two years as editorial cartoonist for the left-leaning New York City daily newspaper. He strongly supports US entry into the war. This is one of his creations from 1941:


A
was intended for child audiences.
B
criticizes violence in fairy tales.
C
condemns America’s indifference to the death of foreign children.
D
repudiates Adolf Hitler’s decisions.
E
depicts American mothers are mean and cold.
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ESPM 2018 - Inglês - Preposições | Prepositions

The use of the prepositions “up” and “out” after “chewed” and "spit" change the original meanings of the verbs. With them, the new meaning:

    Theodor Seuss “Ted” Geisel was an American author, political cartoonist, poet, animator, book publisher, and artist, best known for authoring more than 60 children’s books under the pen name Doctor Seuss (abbreviated Dr. Seuss). As World War II began, he turned to political cartoons, drawing over 400 in two years as editorial cartoonist for the left-leaning New York City daily newspaper. He strongly supports US entry into the war. This is one of his creations from 1941:


A
is only softened.
B
is stronger and more aggressive.
C
of “chewed” is softened but of “spit” is strengthened.
D
weakens the degree of sophistication to the original meaning.
E
is completely different from the original.
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ESPM 2018 - História - História Geral, Antiguidade Ocidental (Gregos, Romanos e Macedônios)

Os progressos da escultura podem ser explicados, em primeiro lugar, pela própria qualidade dos materiais de que os artistas passaram a dispor. Depois de um período de aprendizado em trabalhos de madeira e de pedra branda, a escultura grega passou a usar principalmente o mármore de grãos finos e compactos. Os processos de fundição de bronze foram provavelmente importados do Egito.

(Auguste Jardé. A Grécia Antiga e a Vida Grega)

A vida grega, que reservava ao corpo um papel tão importante, era favorável ao desenvolvimento da escultura. Assinale a alternativa correta sobre a escultura na Grécia Antiga:

A
por refletir o teocentrismo na cultura grega, as esculturas eram sempre estátuas de deuses;
B
a nudez era evitada, pois para um grego o nu era escandaloso;
C
havia uma completa ruptura entre a escultura e a arquitetura, artes que não dialogavam;
D
ao conferir ao corpo um papel tão importante, o atleta, estivesse ele em repouso ou em plena atividade, foi o modelo predileto dos escultores;
E
a estatuária grega ficou limitada a finalidade funerária e comumente representavam o morto em atitudes familiares.
4d5ab912-fd
ESPM 2018 - História - Medievalidade Europeia, História Geral

No século XIII surgiu a Escolástica, corrente filosófica que, a partir de então, dominou o pensamento medieval.

(Rubim Santos Leão de Aquino. História das Sociedades: das Comunidades Primitivas às Sociedades Medievais)

A Escolástica:

A
teve em Santo Agostinho seu maior expoente e era teocêntrica;
B
teve em Alberto Magno seu maior expoente e refutava o teocentrismo, pregando o antropocentrismo;
C
teve em Tomás de Aquino seu principal expoente e foi uma tentativa de harmonizar a razão com a fé;
D
considerava que a razão podia proporcionar uma visão completa e unificada da natureza ou da sociedade;
E
pregava o recurso racional da força, sendo este mais importante do que o exercício da virtude ou da fé.
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ESPM 2018 - História - Período Colonial: produção de riqueza e escravismo, História do Brasil

A primeira vez que se mencionou o açúcar e a intenção de implantar uma produção desse gênero no Brasil foi em 1516, quando o rei D. Manuel ordenou que se distribuíssem machados, enxadas e demais ferramentas às pessoas que fossem povoar o Brasil e que se procurasse um homem prático e capaz de ali dar princípio a um engenho de açúcar.
Os primeiros engenhos começaram a funcionar em Pernambuco no ano de 1535, sob a direção de Duarte Coelho. A partir daí os registros não parariam de crescer: quatro estabelecimentos em 1550; trinta em 1570, e 140 no fim do século XVI. A produção de cana alastrava-se não só numericamente como espacialmente, chegando à Paraíba, ao Rio Grande do Norte, à Bahia e até mesmo ao Pará. Mas foi em Pernambuco e na Bahia, sobretudo na região do recôncavo baiano, que a economia açucareira de fato prosperou. Tiveram início, então, os anos dourados do Brasil da cana, a produção alcançando 350 mil arrobas no final do século XVI.

(Lilia M. Schwarcz. Brasil: uma Biografia)

A partir do texto e considerando a economia açucareira e a civilização do açúcar, é correto assinalar:

A
a cana de açúcar era um produto autóctone, ou seja, nativo do Brasil e gradativamente foi caindo no gosto dos portugueses e dos europeus, a partir do século XVI;
B
a produção e comercialização do açúcar ocorreram sob a influência do livre-cambismo em que se baseou o empreendimento colonial português;
C
a metrópole estabeleceu o monopólio real, porém a comercialização do açúcar passou para os porões dos navios holandeses, que acabaram por assumir parte substancial do tráfego entre Brasil e Europa;
D
os portugueses mantiveram um rigoroso monopólio sobre o processo de produção e refinação do açúcar, só permitindo a participação de estrangeiros na comercialização do produto;
E
para implantação da indústria canavieira no Brasil, o projeto colonizador luso precisava contar com mão de obra compulsória e abundante, dada a extensão do território e por isso sempre privilegiou a utilização dos nativos, cuja captura proporcionava grandes lucros para a coroa.
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ESPM 2018 - História - Construção de Estados e o Absolutismo, História Geral

No dia do golpe, 9 de novembro, a sucessão dos eventos é fulminante. Os episódios têm início já às 5 horas da manhã quando as convocações para uma reunião urgente, às 7, são expedidas aos anciãos (excetuados os poucos inclinados ao golpe). Às 6, Talleyrand preparava a carta de demissão do diretor Barras; às 7, um magote de oficiais se acotovela nas portas da casa de Napoleão, que lhes fala da situação difícil do país (...)
Na cidade, vendem-se por toda parte panfletos que apresentam Napoleão como o salvador.

(Carlos Guilherme Mota. A Revolução Francesa)

O cenário descrito no texto deve ser relacionado com:

A
o Período do Terror, ocorrido durante a Revolução Francesa;
B
o Grande Medo, processo de violência desencadeado por camponeses, durante a Revolução Francesa;
C
o Golpe do 9 Termidor, quando a alta burguesia reassumiu o poder através dos girondinos;
D
a implantação da Monarquia hereditária, quando Napoleão se fez proclamar imperador;
E
o Golpe do 18 Brumário, quando a burguesia encontra o braço forte armado para consolidar os seus interesses.
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ESPM 2018 - Geografia - População, Migrações

Em junho de 1908 chegou ao Brasil, o navio Kasato Maru, trazendo o primeiro grupo oficial de imigrantes japoneses. A viagem começou no porto de Kobe e terminou, 52 dias depois, no porto de Santos. Vieram 165 famílias (781 pessoas) iniciando um fluxo contínuo de imigração de japoneses para o Brasil.

(Jhony Arai e Cesar Hirasaki. Arigatô. A emocionante história dos imigrantes japoneses no Brasil)

Considerando o texto e a história dos primeiros imigrantes japoneses chegados em São Paulo, correto afirmar que eles:

A
foram trazidos para o trabalho nos seringais, para a extração da borracha;
B
foram imigrantes que vinham por conta própria, pois não havia nenhum acordo entre Brasil e Japão sobre imigração;
C
foram encaminhados para servirem de mão de obra para a lavoura cafeeira;
D
foram trazidos com a finalidade de desenvolver as lavouras de arroz e chá;
E
foram trazidos com a finalidade de suprir de mão de obra as fábricas nacionais que surgiam em meio a um surto industrial.
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ESPM 2018 - Português - Interpretação de Textos, Noções Gerais de Compreensão e Interpretação de Texto


A graça da tira decorre:

A
da existência de "ruído" na comunicação, efetuada por Hagar, sobre um relacionamento amoroso anterior ao atual.
B
de uma fala metafórica de Hagar que, ao dirigir-se diretamente à própria esposa, refere-se às qualidades de uma terceira pessoa.
C
da diferença do nível de linguagem usado pelo emissor para se dirigir aos interlocutores, fato que fez sugerir a existência de duas mulheres.
D
do não entendimento de um discurso ambíguo bastante comum, no qual se dirige a um interlocutor, referindo-se a ele como se fosse uma terceira pessoa.
E
da dificuldade de compreensão no discurso de Hagar, por parte do amigo Ed Sortudo, devido aos traços de formalidade da linguagem erudita.
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ESPM 2018 - Português - Interpretação de Textos, Figuras de Linguagem

Segundo o Dicionário Aurélio (versão digital), a palavra sabatina possui as seguintes acepções:

1. Repetição, no sábado, das lições estudadas durante a semana.
2. Oração do sábado.
3. Tese que os estudantes de filosofia defendiam ao término de seu primeiro ano de curso.
4. Fig. Discussão, debate, questão.

Levando-se em conta que o vocábulo sabatina ganhou o valor semântico de "exame, prova ou questionamento (não necessariamente realizados num sábado) para o exercício de um cargo", pode-se afirmar que nesse caso ocorreu um(a):

    Aborto, porte de armas e o presidente Donald Trump foram alguns dos assuntos que dominaram a primeira audiência de confirmação do juiz conservador Brett Kavanaugh  para a Suprema Corte dos Estados Unidos, realizada em meio a protestos de ativistas e tentativas de adiamento do processo por parte de democratas.
    Kavanaugh passará por mais dois dias de sabatina, na quarta e na quinta, e testemunhas contra e a favor do juiz devem ser ouvidas na sexta.

(Folha de S.Paulo, 04/09/2018)
A
metáfora, por ter havido uma comparação implícita.
B
catacrese, por ter havido um empréstimo de palavra.
C
metonímia, por ter ocorrido substituição de um termo por outro em relação de contiguidade.
D
pleonasmo, já que se repete a ideia de discussão ou debate.
E
elipse, uma vez que já está subentendida a ideia de prova.
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ESPM 2018 - Português - Morfologia - Verbos, Flexão de voz (ativa, passiva, reflexiva)

Assinale a afirmação correta sobre o trecho: “... testemunhas contra e a favor do juiz devem ser ouvidas na sexta...” A frase está:

    Aborto, porte de armas e o presidente Donald Trump foram alguns dos assuntos que dominaram a primeira audiência de confirmação do juiz conservador Brett Kavanaugh  para a Suprema Corte dos Estados Unidos, realizada em meio a protestos de ativistas e tentativas de adiamento do processo por parte de democratas.
    Kavanaugh passará por mais dois dias de sabatina, na quarta e na quinta, e testemunhas contra e a favor do juiz devem ser ouvidas na sexta.

(Folha de S.Paulo, 04/09/2018)
A
na voz passiva analítica, enfatizando o sujeito paciente “testemunhas”, alvo do processo verbal.
B
na voz ativa, enfatizando o agente indeterminado do processo expresso pelo verbo.
C
na voz passiva sintética e, se transpuséssemos para a voz ativa, teríamos “devem ouvir testemunhas contra e a favor do juiz na sexta”, enfatizando o sujeito indeterminado.
D
na voz passiva analítica e, se transpuséssemos para a voz ativa, teríamos “ouvirão testemunhas contra e a favor do juiz na sexta”, realçando o sujeito indeterminado na ação de ouvir.
E
na voz passiva e, se transpuséssemos para a voz ativa, teríamos “deverão ouvir testemunhas contra e a favor do juiz na sexta”, dando destaque em “testemunhas”.
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ESPM 2018 - Português - Interpretação de Textos, Noções Gerais de Compreensão e Interpretação de Texto

O autor defende a ideia de que:

    Quando se conversa, deve-se evitar as frases feitas que são verdadeiras chapas. Exemplos: em um enterro, dizer “que não se morre senão uma vez”, que “basta estar vivo para morrer”, que “o morto é feliz porque deixou de sofrer”, que “Deus sabe o que faz e escreve certo por linhas tortas” ou que “as grandes dores são mudas”. Quando se visita um doente, não há necessidade de levar no bolso sentenças desse jaez: “a saúde é a maior das fortunas”, “somos nós que pagamos pelos excessos de nossos pais” ou “a ciência, que tudo pode, ainda não encontrou remédio para os pequenos males”. Em todos os setores das atividades sociais, há frases no mesmo estilo e que convém deixar ao cuidado do Conselheiro Acácio que nelas se esmerou.

(Marcelino de Carvalho, Guia de Boas Maneiras)
A
deve-se evitar frases clichês, mas pode-se confiar em quem se esmera em frases delicadas.
B
em visita a um doente, embora não haja necessidade, uma frase amável já conhecida conforta mais.
C
para sair do universo de frases feitas, é recomendável sentenciar adotando o estilo do Conselheiro Acácio.
D
infelizmente o Conselheiro Acácio não previu frases para todos os setores das atividades sociais.
E
deve-se poupar o próximo de exemplos do repertório de lugares comuns.
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ESPM 2018 - Literatura - Realismo, Escolas Literárias

Personagem da obra O Primo Basílio, a figura fictícia Conselheiro Acácio, citada no texto, tornou-se célebre como:

    Quando se conversa, deve-se evitar as frases feitas que são verdadeiras chapas. Exemplos: em um enterro, dizer “que não se morre senão uma vez”, que “basta estar vivo para morrer”, que “o morto é feliz porque deixou de sofrer”, que “Deus sabe o que faz e escreve certo por linhas tortas” ou que “as grandes dores são mudas”. Quando se visita um doente, não há necessidade de levar no bolso sentenças desse jaez: “a saúde é a maior das fortunas”, “somos nós que pagamos pelos excessos de nossos pais” ou “a ciência, que tudo pode, ainda não encontrou remédio para os pequenos males”. Em todos os setores das atividades sociais, há frases no mesmo estilo e que convém deixar ao cuidado do Conselheiro Acácio que nelas se esmerou.

(Marcelino de Carvalho, Guia de Boas Maneiras)
A
o herói sem nenhum caráter, nem moral nem psicológico, é individualista, preguiçoso, faz o que deseja sem se preocupar com nada. Além disso, mente com a maior facilidade, é vaidoso, malandro e malicioso.
B
o herói quixotesco, idealista, patriota exacerbado, a ponto de fazer um ofício para o ministro, escrito em tupi, defendendo que a língua oficial deveria ser então essa.
C
representação da convencionalidade e mediocridades dos políticos e burocratas dos finais do século XIX, denunciando a pompa balofa e a postura de pseudo-intelectualidade utilizada por figuras públicas.
D
representante da literatura conformista, alienada e vazia, indiferente às desigualdades sociais, preocupada que está somente com os efeitos estéticos e de adorno do texto literário.
E
primeiro anti-herói da Literatura, representa o malandro em seu esforço de sobreviver à margem das instituições sociais por meio do “jeitinho brasileiro”.
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ESPM 2018 - Português - Interpretação de Textos, Noções Gerais de Compreensão e Interpretação de Texto


Tanto de meu estado me acho incerto,
Que em vivo ardor tremendo estou de frio;
Sem causa, juntamente choro e rio,
O mundo todo abarco e nada aperto.

É tudo quanto sinto, um desconcerto;
Da alma um fogo me sai, da vista um rio;
Agora espero, agora desconfio,
Agora desvario, agora acerto.

Estando em terra, chego ao Céu voando,
Numa hora acho mil anos, e é de jeito
Que em mil anos não posso achar uma hora.

Se me pergunta alguém porque assi ando,
Respondo que não sei; porém suspeito
Que só porque vos vi, minha Senhora.

(Luís Vaz de Camões)

Assinale a afirmação incorreta sobre o texto.

A
Trata-se de um soneto de versos decassílabos, típico poema da medida nova praticada no Classicismo renascentista.
B
Estados paradoxais do eu lírico, como “choro e rio” ao mesmo tempo, ou “em vivo ardor tremendo estou de frio”, classificam o poema no Maneirismo, pois prenunciam elementos típicos do Barroco.
C
A exaltação ao amor e à mulher idealizada faz com que o eu poético passe por experiências extremadas ou hiperbólicas, como na terceira estrofe.
D
A solenidade do texto ao tematizar uma mulher inspiradora de encantamento transparece, por exemplo, no uso da expressão “Senhora” com inicial maiúscula.
E
O conjunto de sensações corporais opostas e a provocação de um estado mental e espiritual contraditórios não valeram a pena para o poeta, pois este só conseguiu ver a amada.
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ESPM 2018 - Português - Interpretação de Textos, Noções Gerais de Compreensão e Interpretação de Texto

Considere os textos que seguem.

Eu tenho um coração maior que o mundo,
tu, formosa Marília, bem o sabes;
um coração, e basta,
onde tu mesma cabes.

(Tomás Antônio Gonzaga, Marília de Dirceu)

Não, meu coração não é maior que o mundo. É muito menor. Nele não cabem sequer as minhas dores.

(Carlos Drummond de Andrade, Sentimento do Mundo)

Assinale a afirmação correta sobre os dois textos:

A
Por pertencer à fase heroica ou iconoclasta do Modernismo, Carlos Drummond de Andrade parodia o lirismo sentimental do árcade Tomás Antônio Gonzaga.
B
Enquanto o poeta do Arcadismo, Gonzaga, expressa seu sentimento pela musa Marília, o modernista Drummond reporta-se, nesse trecho, às divergências ideológicas.
C
Gonzaga, como muitos árcades, é alheio ao que está a seu redor, já Drummond expressa um sentimento de revolta ante um mundo que não compreende as dores do poeta.
D
Em Gonzaga, o coração do poeta alcança a plenitude com a presença da amada. Em Drummond, o coração é insuficiente para abarcar as próprias dúvidas existenciais.
E
Tomás A. Gonzaga usa a imagem do “mundo” para instigar a musa Marília a aceitá-lo; Drummond retoma o procedimento do poeta árcade, ressaltando o sofrimento por causa da amada.