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CÁSPER LÍBERO 2014 - Inglês - Interpretação de texto | Reading comprehension

The references to other writers on the text were, for Chris Power,

A brief survey of the short story part 47: Machado de Assis
Still neglected by English readers, the Brazilian writer is one of the very greatest of the early modern era

The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.
The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
(...)
Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.
(...)
At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.
This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.
Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014

A
a way to acknowledge the prominence of Machado’s work.
B
an instrument to exemplify the greatness of the latter.
C
a vehicle to validate Machado’s quotes through his shrewd work.
D
an aid to his faith on the Brazilian writer’s sui generis modernity
E
a means to testify his neglect of the regular reader
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CÁSPER LÍBERO 2014 - Inglês - Interpretação de texto | Reading comprehension

An attribute of Machado’s work seen on the post is:

A brief survey of the short story part 47: Machado de Assis
Still neglected by English readers, the Brazilian writer is one of the very greatest of the early modern era

The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.
The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
(...)
Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.
(...)
At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.
This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.
Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014

A
his shrewd works positions him alongside Henry James.
B
his mapping of cities are similar to Gogol’s and Dostoevski’s.
C
he has a unique ability to promptly quote other authors.
D
he anticipates the moral forthrightness of Chekov’s work.
E
his stories are straightforward with unequivocal intentions.
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CÁSPER LÍBERO 2014 - Inglês - Interpretação de texto | Reading comprehension

On the post, the phenomenon described as to have been captured most memorably by Machado

A brief survey of the short story part 47: Machado de Assis
Still neglected by English readers, the Brazilian writer is one of the very greatest of the early modern era

The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.
The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
(...)
Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.
(...)
At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.
This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.
Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014

A
is strange, part of its brilliance, and it evokes Kafka and Borges alongside with Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy
B
corroborates with his title of master given by Kevin Jackson, Michael Wood, Chris Power and any of his probable future readers.
C
is related to his interests on the duality of the self together with the conception of a hollow, unreal present tied to an obliterated past.
D
could be compared to Poe’s, Gogol’s, Dostoevski’s, and Joyce’s mapping of cities and characters with their fatally divided selves .
E
is unique for it prompts thoughts of many writers like Melville, Poe, Chekhov and Joyce and their characters’ obssession with their past.
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CÁSPER LÍBERO 2014 - Inglês - Interpretação de texto | Reading comprehension

The noun ‘shift’ on the first paragraph was used by

A brief survey of the short story part 47: Machado de Assis
Still neglected by English readers, the Brazilian writer is one of the very greatest of the early modern era

The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.
The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
(...)
Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.
(...)
At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.
This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.
Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014

A
Chris Power to describe how thorough is the range of Machado’s literary work.
B
John Gledson and Jake Schmitt to compare Machado’s early work to Herman Melville’s one.
C
Augusto Meyer to correlate Moby-Dick and Herman Melville’s literary whole work.
D
a Brazilian critic to characterize Melville’s Moby-Dick similarities to Machado’s late work.
E
Augusto Meyer to compare the change in Machado’s work to a similar one in Melville’s work.
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CÁSPER LÍBERO 2014 - Inglês - Interpretação de texto | Reading comprehension

Augusto Meyer, Jake Schmitt and Lorie Ishimatsu

A brief survey of the short story part 47: Machado de Assis
Still neglected by English readers, the Brazilian writer is one of the very greatest of the early modern era

The Brazilian Joaquim Maria Machado de Assis is, to English-language readers, perhaps the most obscure of world literature’s great short-story writers. Producing work between 1869 and 1908, Machado wrote nine novels and more than 200 hundred stories, more than 60 of the latter appearing after 1880. This date marks the point at which Machado metamorphosed from a writer of romantic trifles into a master of psychological realism, seemingly overnight. The Brazilian poet and critic Augusto Meyer compared the shift to the one between Herman Melville’s earlier works and Moby-Dick.
The evolutionary leap is unquestionable, although the precise reasons for it are unclear. Indeed, many uncertainties surround the biography of Machado, who was an intensely private person. Perhaps it’s no surprise that such a man should create a body of work that prizes the puzzle above the certainty. Meyer called ambiguity Machado’s most prominent theme and the translators Jake Schmitt and Lorie Ishimatsu agree, seeing it as being “in part the result of his subjective, relativistic world view, in which truth and reality, which are never absolutes, can only be approximated; no character relationships are stable, no issues are clear-cut, and the nature of everything is tenuous.” Machado writes with pleasurable clarity – he worked as a journalist for a time – but the straightforwardness of his stories is a camouflage for less obvious, more troubling cargo.
(...)
Machado’s most recent English translator, John Gledson, says the difficulty of translating him is capturing the right balance of distance, understanding and sympathy. Trapdoors to the unexpected open constantly in his work, from the sadism of “The Hidden Cause”, or the bleak violence of “Father versus Mother”, to the subtle play of what Michael Wood terms his “quiet, complicated humour”. Reading him prompts thoughts of so many different writers that he can only be unique. Poe’s chilling shadow falls across “The Hidden Cause” and “The Fortune-Teller”. “The Alienist” glitters with Swiftian satire. Machado’s shrewd, even devious work with the point of view of his narrators positions him alongside Henry James. Numerous stories anticipate the moral ambiguity of Chekhov’s mature work, in particular “A Singular Occurrence”. Machado’s literary mapping of Rio reaches back to the St Petersburg of Gogol and Dostoevsky, and anticipates the Dublin of Joyce. Finally, some of his more obviously strange works (nearly all of it is strange to some degree, which is part of its brilliance) evoke Borges and Kafka. Given all this, it’s little wonder that writer and critic Kevin Jackson would feel confident enough to claim that Machado “invented literary modernity, sui generis”.
(...)
At its most pessimistic, as at the conclusion of “Dona Paula”, all pleasure lies in a past that proves impossible to meaningfully access.
This conception of a hollow, unreal present tied to a genuine but obliterated past finds a binary in Machado’s interest in the duality of the self, and the exploration of characters whose outer and inner personae differ radically. In “The Diplomat” this idea is expressed through the description of a man’s unexpressed passion for a friend’s daughter. In “A Famous Man” a hugely successful composer of polkas is wracked by his inability to compose ‘serious’ music. But it is in an earlier treatment of this theme, 1882’s “The Mirror”, that Machado captures the phenomenon most memorably. Alone in a desolate plantation house, Jacobina, a sub-lieutenant in the National Guard, finds his reflection growing dimmer and less distinct. The only way to bring it back into focus, and thus cling to reality, is to spend a period several hours each day standing before the mirror in his uniform. Jacobina steps out of this strange, haunting story to take his place alongside Chekhov’s Dmitri Gurov and Joyce’s Gabriel Conroy, men whose fatally divided selves leave them trapped in a limbo between their public and private personae. Just as the characters belong together, so do their creators; writing about Machado in 2002 Michael Wood complained, “Everyone who reads him thinks he is a master, but who reads him, and who has heard of him?” Not nearly so many as he deserves.
Quotations from the stories are translated by John Gledson, Jack Schmitt and Lorie Ishimatsu.
Source:POWER, Chris,The Guardian, Books Blog, Posted by Chris Power on Friday 1 March 2013 15.28 GMT http://www.theguardian.com/books/booksblog/2013/mar/01/survey-short-story-machado (Adapted) Access November, 2014

A
translated some of the quotations on the analysis, especially the ones by European writers.
B
are not surprised with Machado’s unstable characters and their problems of a clear-cut nature.
C
all agree that Machado prizes the puzzle above certainty creating a body of work that is of no surprise.
D
concur with the idea that Machado’s most noticeable subject matter is the ambiguity.
E
realize that Machado’s life is why he metamorphosed from a romantic trifle into a master of psychological realism.
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CÁSPER LÍBERO 2015 - Inglês - Interpretação de texto | Reading comprehension

‘The groves of academe’, on the review:

Read the film review below and answer the questions that follow.


INSIDE JOB – REVIEW - 4/5 STARS

How did the financial crash of 2008 happen? This documentary, narrated by Matt Damon, does a good job of explaining a complex story of credit and discredit.


(…)
This film is as gripping as any thriller. Aided by some fascinating interviews, Ferguson lays out an awful story. In the 1980s, the markets and financial services were deregulated, and the driving force for this liberalisation was Alan Greenspan, formidable chairman of the US federal reserve board from 1987 to 2006. Banks and loan companies were freer to gamble with their depositors' money; they were themselves freer to borrow more; they were free to offer investors dizzyingly complex financial instruments, with income streams from different debts bundled up, including high-interest home loans offered to high-risk borrowers – the so-called "sub-prime" market that offered mouthwateringly high returns.

(…)
Perhaps the most sensational aspect of this film is Ferguson's contention that the crash corrupted the discipline of economics itself. Distinguished economists from America's Ivy League universities were drafted in by banks to compose reports sycophantically supporting reckless deregulation. They were massively paid for these consultancies. The banks bought the prestige of the academics, and their universities' prestige, too. Ferguson speaks to many of these economists, who clearly thought they were going to be interviewed as wry, dispassionate observers. It is really something to see the expression of shock, outrage and fear on their faces as they realise they're in the dock. One splutters with vexation; another gives vent to a ripe Freudian slip. Asked by Ferguson if he has any regrets about his behaviour, he says: "I have no comments … uh, no regrets."

This is what Ferguson means by "inside job". There is a revolving door between the banks and the higher reaches of government, and to some extent the groves of academe. Bank CEOs become government officials, creating laws convenient for their once and future employers.

Perhaps only the pen of Tom Wolfe could do justice to these harassed, bald, middle-aged masters of the universe, as they appear in Ferguson's film. The director shows how their body-language is always the same: somehow more guilty-looking when they are in the White House rose garden in their career pomp, being introduced to the press, than when they are facing openly hostile Senate hearings. They look uneasy, shifty, in weirdly ill-fitting suits, as if they are oppressed by the scrutiny, and worn out, possibly, by the strain of suppressing their own scruples. Their financial capacity far outstrips their capacity for enjoying themselves. They look very unhappy. Occasionally, British figures including Mervyn King and Alistair Darling are to be glimpsed in these photos, reminding us that we Brits have been ardent deregulators, as well.

(…)
I was reminded of Michael Lewis's Liar's Poker, his very funny book about the financial mentality of the 80s boom. He noted that if a regular person won the lottery, he might roll around on the floor, kicking his legs up with glee, but when bankers won their arbitrary lottery, they instead became solemn, pompous, overwhelmed with their own importance and stateliness. Their recklessness and excess coexisted with an almost priestly sense of worth. Even more than rich lawyers, rich bankers felt that their money proved their superior cleverness and also moral worthiness as the generators of prosperity. Yet that prosperity didn't trickle down very far.
Source: http://www.theguardian.com/film/2011/feb/17/inside-job-review Access October 10, 2015.
A
it is a way of explaining the regular parties that take place in the universities.
B
it intends to unloose the range of possible origin of the crisis on the campus.
C
it aims at reminding the reader of the involvement of professors on the fight.
D
it summons the viewer to neglect the surrounding of the actual academy site.
E
it is used as a satire of academics, being also a novel by an American writer.
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CÁSPER LÍBERO 2015 - Inglês - Sinônimos | Synonyms

The words self-righteous, bloody and endeavors, would not suffer any difference in meaning if replaced by:

A
humble, tame, aims, respectively.
B
pharisaical, fierce and attempts, respectively.
C
pious, grim, desires, respectively.
D
hypocritical, mild, tries, respectively.
E
savage, neglects, respectively.
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CÁSPER LÍBERO 2015 - Inglês - Interpretação de texto | Reading comprehension


Storyline


This film recounts the history and attitudes of the opposing sides of the Vietnam War using archival news footage as well as its own film and interviews. A key theme is how attitudes of American racism and self-righteous militarism helped create and prolong this bloody conflict. The film also endeavors to give voice to the Vietnamese people themselves as to how the war has affected them and their reasons why they fight the United States and other western powers while showing the basic humanity of the people that US propaganda tried to dismiss. Written by Kenneth Chisholm

Source: http://www.imdb.com/title/tt0071604/accessed on October 10, 2015


According to the storyline above, the film Hearts & Minds:

A
tells again about the attitudes of the opposing sides of the Vietnam War.
B
attempts to endeavor US propaganda and other western humanity powers.
C
has as key theme the pious militarism, racism, US advertising and worse.
D
just provides the voices of racism against the Vietnamese side dismissed.
E
gives an account of the Vietnam War, specially disclosing its western side.
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CÁSPER LÍBERO 2015 - Inglês - Vocabulário | Vocabulary, Interpretação de texto | Reading comprehension

On the sentence ‘There is a revolving door between the banks and the higher reaches of government.’, the expression underlined and in italic means:

Read the film review below and answer the questions that follow.


INSIDE JOB – REVIEW - 4/5 STARS

How did the financial crash of 2008 happen? This documentary, narrated by Matt Damon, does a good job of explaining a complex story of credit and discredit.


(…)
This film is as gripping as any thriller. Aided by some fascinating interviews, Ferguson lays out an awful story. In the 1980s, the markets and financial services were deregulated, and the driving force for this liberalisation was Alan Greenspan, formidable chairman of the US federal reserve board from 1987 to 2006. Banks and loan companies were freer to gamble with their depositors' money; they were themselves freer to borrow more; they were free to offer investors dizzyingly complex financial instruments, with income streams from different debts bundled up, including high-interest home loans offered to high-risk borrowers – the so-called "sub-prime" market that offered mouthwateringly high returns.

(…)
Perhaps the most sensational aspect of this film is Ferguson's contention that the crash corrupted the discipline of economics itself. Distinguished economists from America's Ivy League universities were drafted in by banks to compose reports sycophantically supporting reckless deregulation. They were massively paid for these consultancies. The banks bought the prestige of the academics, and their universities' prestige, too. Ferguson speaks to many of these economists, who clearly thought they were going to be interviewed as wry, dispassionate observers. It is really something to see the expression of shock, outrage and fear on their faces as they realise they're in the dock. One splutters with vexation; another gives vent to a ripe Freudian slip. Asked by Ferguson if he has any regrets about his behaviour, he says: "I have no comments … uh, no regrets."

This is what Ferguson means by "inside job". There is a revolving door between the banks and the higher reaches of government, and to some extent the groves of academe. Bank CEOs become government officials, creating laws convenient for their once and future employers.

Perhaps only the pen of Tom Wolfe could do justice to these harassed, bald, middle-aged masters of the universe, as they appear in Ferguson's film. The director shows how their body-language is always the same: somehow more guilty-looking when they are in the White House rose garden in their career pomp, being introduced to the press, than when they are facing openly hostile Senate hearings. They look uneasy, shifty, in weirdly ill-fitting suits, as if they are oppressed by the scrutiny, and worn out, possibly, by the strain of suppressing their own scruples. Their financial capacity far outstrips their capacity for enjoying themselves. They look very unhappy. Occasionally, British figures including Mervyn King and Alistair Darling are to be glimpsed in these photos, reminding us that we Brits have been ardent deregulators, as well.

(…)
I was reminded of Michael Lewis's Liar's Poker, his very funny book about the financial mentality of the 80s boom. He noted that if a regular person won the lottery, he might roll around on the floor, kicking his legs up with glee, but when bankers won their arbitrary lottery, they instead became solemn, pompous, overwhelmed with their own importance and stateliness. Their recklessness and excess coexisted with an almost priestly sense of worth. Even more than rich lawyers, rich bankers felt that their money proved their superior cleverness and also moral worthiness as the generators of prosperity. Yet that prosperity didn't trickle down very far.
Source: http://www.theguardian.com/film/2011/feb/17/inside-job-review Access October 10, 2015.
A
joint venture formed by industries in order to save the economy.
B
collection of actions promoted by CEOs of industries and employers.
C
deregulator amongst some prestigious academy members to abide.
D
movement of personnel between roles as legislators and regulators.
E
flexibility of rules to borrow, buy, sell and offer money to industries.
8dacfa33-ef
CÁSPER LÍBERO 2015 - Inglês - Interpretação de texto | Reading comprehension

The review of the documentary Inside Job states that:

Read the film review below and answer the questions that follow.


INSIDE JOB – REVIEW - 4/5 STARS

How did the financial crash of 2008 happen? This documentary, narrated by Matt Damon, does a good job of explaining a complex story of credit and discredit.


(…)
This film is as gripping as any thriller. Aided by some fascinating interviews, Ferguson lays out an awful story. In the 1980s, the markets and financial services were deregulated, and the driving force for this liberalisation was Alan Greenspan, formidable chairman of the US federal reserve board from 1987 to 2006. Banks and loan companies were freer to gamble with their depositors' money; they were themselves freer to borrow more; they were free to offer investors dizzyingly complex financial instruments, with income streams from different debts bundled up, including high-interest home loans offered to high-risk borrowers – the so-called "sub-prime" market that offered mouthwateringly high returns.

(…)
Perhaps the most sensational aspect of this film is Ferguson's contention that the crash corrupted the discipline of economics itself. Distinguished economists from America's Ivy League universities were drafted in by banks to compose reports sycophantically supporting reckless deregulation. They were massively paid for these consultancies. The banks bought the prestige of the academics, and their universities' prestige, too. Ferguson speaks to many of these economists, who clearly thought they were going to be interviewed as wry, dispassionate observers. It is really something to see the expression of shock, outrage and fear on their faces as they realise they're in the dock. One splutters with vexation; another gives vent to a ripe Freudian slip. Asked by Ferguson if he has any regrets about his behaviour, he says: "I have no comments … uh, no regrets."

This is what Ferguson means by "inside job". There is a revolving door between the banks and the higher reaches of government, and to some extent the groves of academe. Bank CEOs become government officials, creating laws convenient for their once and future employers.

Perhaps only the pen of Tom Wolfe could do justice to these harassed, bald, middle-aged masters of the universe, as they appear in Ferguson's film. The director shows how their body-language is always the same: somehow more guilty-looking when they are in the White House rose garden in their career pomp, being introduced to the press, than when they are facing openly hostile Senate hearings. They look uneasy, shifty, in weirdly ill-fitting suits, as if they are oppressed by the scrutiny, and worn out, possibly, by the strain of suppressing their own scruples. Their financial capacity far outstrips their capacity for enjoying themselves. They look very unhappy. Occasionally, British figures including Mervyn King and Alistair Darling are to be glimpsed in these photos, reminding us that we Brits have been ardent deregulators, as well.

(…)
I was reminded of Michael Lewis's Liar's Poker, his very funny book about the financial mentality of the 80s boom. He noted that if a regular person won the lottery, he might roll around on the floor, kicking his legs up with glee, but when bankers won their arbitrary lottery, they instead became solemn, pompous, overwhelmed with their own importance and stateliness. Their recklessness and excess coexisted with an almost priestly sense of worth. Even more than rich lawyers, rich bankers felt that their money proved their superior cleverness and also moral worthiness as the generators of prosperity. Yet that prosperity didn't trickle down very far.
Source: http://www.theguardian.com/film/2011/feb/17/inside-job-review Access October 10, 2015.
A
Michael Lewis remembers his Poker and his book about the financial mentality of the 80s boom.
B
Mervin King and Alistair Darling are famous Brits shown on the photos and often being interviewed.
C
Matt Damon narrates a documentary that is as enthralling as any exciting, suspenseful story.
D
Ferguson explained carefully and clearly hindered by some interviews a dreadful narrative.
E
Alan Greenspan was responsible for the gambling established by the American universities.
b59530f4-e6
CÁSPER LÍBERO 2018 - Inglês - Interpretação de texto | Reading comprehension

Exam ine the follow ing cartoon to answ er question.



Sobre o cartoon, qual das afirmações a seguir é FALSA?

A
A maneira como jornais costumavam apurar a noticia diminuía a possibilidade de publicação de fake news.
B
Os fatos eram cuidadosamente checados por vários editores após sua publicação.
C
A maior das fake news é a de que fake news circulam apenas na internet.
D
Processos rigorosos de apuração, edição e revisão garantiam reportagens com credibilidade.
E
Jornais evitavam ao máximo ter de publicar erratas.
b59070d3-e6
CÁSPER LÍBERO 2018 - Inglês - Interpretação de texto | Reading comprehension

O que propõe a frase “But the generation after milíenniais is still so ill-defined (probably because of the whole name issue) that an accurate count has not yet been established”?

Tell Us What to Call the Generation After Millennials {Please)

    Millennials are getting older. Not that much older, of course. We're a roughly defined generational cohort, but arguably the oldest members of our demographic set are just beginning to reach the age of 40.

    Meanwhile, the American generation behind millennials has started to move intothe workplace. And while some have proposed names for this group born in 1995 and after — Generation Z, PostMillennials, The Homeland Generation, iGeneration — all of these names are bad. The first two don't even strive for originality! Come on. Then again, it's hard to know what makes a generational name stick.

    "Millennial" was coined in the late 1980s by the consultants Neil Howe and William Strauss, both baby boomers, before the term Generation X was even popularized. (They wanted to call them "13th Gen," but that didn't stick, and neither did "slackers."

    But their term "millennial" did not become the dominant name for the huge generation after those two until much later. "In retrospect, it's easy to see that names that people gravitate to say something," Mr. Howe said in a recent interview. "Either the name itself or the way in which it was adapted."

    But Malcolm Harris, the millennial author of "Kids These Days: Human Capital and the Making of Millennials," argues that those most interested in naming generations are those trying to sell things to that cohort.

    "Generations are really only understood in retrospect," Mr. Harris said. "Some people have a financial interest in naming them as soon as possible, people trying to sell stuff. That's the first perspective we get on any cohort, and I don't think it's necessarily a very good one."

    One stumbling block is a lack of agreement about the birth years for each generation. People on the fringes can feel as if they've got almost nothing in common with the rest of the group. A few years' difference can determine if you could have been drafted for Vietnam, watched the first MTV videos, or were born into a world of instant messaging.

    In 2015, the Census Bureau said that there were 83.1 million American millennials (born between 1982 and 2000), exceeding the 75.4 million baby boomers (between 1946 and 1964), and the 65 million that Pew Research said belong in Generation X (between 1965 and 1980). But the generation after millennials is still so ill-defined (probably because of the whole name issue) that an accurate count has not yet been established.

    And a good name? Nope.


Fonte: New York Times. Publicado em 23/01/2018. Disponível em: https://www.nytimes. com/2018/01/23/style/generation-names.html

A
Que a nova geração ainda é mal definida, talvez até pela falta de um nome adequado, o que impede que se saiba efetivamente quantos são seus membros.
B
Que a nova geração é definida como "doente" ou mirrada, já que nunca conseguiu contar seus membros.
C
Que, assim que se souber exatamente quantas pessoas fazem parte dessa nova geração, surgirá naturalmente um nome que a defina bem.
D
Que é difícil identificar as características de uma nova geração, pois ainda é muito forte a influência dos milíenniais na sociedade.
E
Que não acharam uma maneira ideal e confiável de fazer a contagem dessa nova geração.
b5857ef5-e6
CÁSPER LÍBERO 2018 - Inglês - Interpretação de texto | Reading comprehension

De acordo com o texto:

Tell Us What to Call the Generation After Millennials {Please)

    Millennials are getting older. Not that much older, of course. We're a roughly defined generational cohort, but arguably the oldest members of our demographic set are just beginning to reach the age of 40.

    Meanwhile, the American generation behind millennials has started to move intothe workplace. And while some have proposed names for this group born in 1995 and after — Generation Z, PostMillennials, The Homeland Generation, iGeneration — all of these names are bad. The first two don't even strive for originality! Come on. Then again, it's hard to know what makes a generational name stick.

    "Millennial" was coined in the late 1980s by the consultants Neil Howe and William Strauss, both baby boomers, before the term Generation X was even popularized. (They wanted to call them "13th Gen," but that didn't stick, and neither did "slackers."

    But their term "millennial" did not become the dominant name for the huge generation after those two until much later. "In retrospect, it's easy to see that names that people gravitate to say something," Mr. Howe said in a recent interview. "Either the name itself or the way in which it was adapted."

    But Malcolm Harris, the millennial author of "Kids These Days: Human Capital and the Making of Millennials," argues that those most interested in naming generations are those trying to sell things to that cohort.

    "Generations are really only understood in retrospect," Mr. Harris said. "Some people have a financial interest in naming them as soon as possible, people trying to sell stuff. That's the first perspective we get on any cohort, and I don't think it's necessarily a very good one."

    One stumbling block is a lack of agreement about the birth years for each generation. People on the fringes can feel as if they've got almost nothing in common with the rest of the group. A few years' difference can determine if you could have been drafted for Vietnam, watched the first MTV videos, or were born into a world of instant messaging.

    In 2015, the Census Bureau said that there were 83.1 million American millennials (born between 1982 and 2000), exceeding the 75.4 million baby boomers (between 1946 and 1964), and the 65 million that Pew Research said belong in Generation X (between 1965 and 1980). But the generation after millennials is still so ill-defined (probably because of the whole name issue) that an accurate count has not yet been established.

    And a good name? Nope.


Fonte: New York Times. Publicado em 23/01/2018. Disponível em: https://www.nytimes. com/2018/01/23/style/generation-names.html

A
após a Geração Millennial, que começou a chegar aos 40 anos, surgiram diversas outras, conhecidas como Geração Z, Post~Millennialsf The Homeland Generation e /Generation.
B
o nome mais apropriado para a nova geração seria 13th Gen.
C
é difícil saber o que faz com que um nome geracíonal «pegue».
D
o termo Geração X é o que mais se popularizou para designar a geração nascida depois de 1995.
E
o problema para nomear a nova geração é sua falta de originalidade comportamental em relação às gerações anteriores.
b580aca7-e6
CÁSPER LÍBERO 2018 - Inglês - Interpretação de texto | Reading comprehension

O texto discute principalmente:

Tell Us What to Call the Generation After Millennials {Please)

    Millennials are getting older. Not that much older, of course. We're a roughly defined generational cohort, but arguably the oldest members of our demographic set are just beginning to reach the age of 40.

    Meanwhile, the American generation behind millennials has started to move intothe workplace. And while some have proposed names for this group born in 1995 and after — Generation Z, PostMillennials, The Homeland Generation, iGeneration — all of these names are bad. The first two don't even strive for originality! Come on. Then again, it's hard to know what makes a generational name stick.

    "Millennial" was coined in the late 1980s by the consultants Neil Howe and William Strauss, both baby boomers, before the term Generation X was even popularized. (They wanted to call them "13th Gen," but that didn't stick, and neither did "slackers."

    But their term "millennial" did not become the dominant name for the huge generation after those two until much later. "In retrospect, it's easy to see that names that people gravitate to say something," Mr. Howe said in a recent interview. "Either the name itself or the way in which it was adapted."

    But Malcolm Harris, the millennial author of "Kids These Days: Human Capital and the Making of Millennials," argues that those most interested in naming generations are those trying to sell things to that cohort.

    "Generations are really only understood in retrospect," Mr. Harris said. "Some people have a financial interest in naming them as soon as possible, people trying to sell stuff. That's the first perspective we get on any cohort, and I don't think it's necessarily a very good one."

    One stumbling block is a lack of agreement about the birth years for each generation. People on the fringes can feel as if they've got almost nothing in common with the rest of the group. A few years' difference can determine if you could have been drafted for Vietnam, watched the first MTV videos, or were born into a world of instant messaging.

    In 2015, the Census Bureau said that there were 83.1 million American millennials (born between 1982 and 2000), exceeding the 75.4 million baby boomers (between 1946 and 1964), and the 65 million that Pew Research said belong in Generation X (between 1965 and 1980). But the generation after millennials is still so ill-defined (probably because of the whole name issue) that an accurate count has not yet been established.

    And a good name? Nope.


Fonte: New York Times. Publicado em 23/01/2018. Disponível em: https://www.nytimes. com/2018/01/23/style/generation-names.html

A
o envelhecimento dos membros da Geração Milennials.
B
como os baby boomers veem a geração nascida após 1995.
C
por que os nomes criados para as gerações são pouco originais.
D
a chegada de uma nova geração ao mercado de trabalho.
E
as dificuldades para se batizar a nova geração de maneira precisa.
b58be78b-e6
CÁSPER LÍBERO 2018 - Inglês - Interpretação de texto | Reading comprehension

Qual das afirmações a seguir é FALSA?

Tell Us What to Call the Generation After Millennials {Please)

    Millennials are getting older. Not that much older, of course. We're a roughly defined generational cohort, but arguably the oldest members of our demographic set are just beginning to reach the age of 40.

    Meanwhile, the American generation behind millennials has started to move intothe workplace. And while some have proposed names for this group born in 1995 and after — Generation Z, PostMillennials, The Homeland Generation, iGeneration — all of these names are bad. The first two don't even strive for originality! Come on. Then again, it's hard to know what makes a generational name stick.

    "Millennial" was coined in the late 1980s by the consultants Neil Howe and William Strauss, both baby boomers, before the term Generation X was even popularized. (They wanted to call them "13th Gen," but that didn't stick, and neither did "slackers."

    But their term "millennial" did not become the dominant name for the huge generation after those two until much later. "In retrospect, it's easy to see that names that people gravitate to say something," Mr. Howe said in a recent interview. "Either the name itself or the way in which it was adapted."

    But Malcolm Harris, the millennial author of "Kids These Days: Human Capital and the Making of Millennials," argues that those most interested in naming generations are those trying to sell things to that cohort.

    "Generations are really only understood in retrospect," Mr. Harris said. "Some people have a financial interest in naming them as soon as possible, people trying to sell stuff. That's the first perspective we get on any cohort, and I don't think it's necessarily a very good one."

    One stumbling block is a lack of agreement about the birth years for each generation. People on the fringes can feel as if they've got almost nothing in common with the rest of the group. A few years' difference can determine if you could have been drafted for Vietnam, watched the first MTV videos, or were born into a world of instant messaging.

    In 2015, the Census Bureau said that there were 83.1 million American millennials (born between 1982 and 2000), exceeding the 75.4 million baby boomers (between 1946 and 1964), and the 65 million that Pew Research said belong in Generation X (between 1965 and 1980). But the generation after millennials is still so ill-defined (probably because of the whole name issue) that an accurate count has not yet been established.

    And a good name? Nope.


Fonte: New York Times. Publicado em 23/01/2018. Disponível em: https://www.nytimes. com/2018/01/23/style/generation-names.html

A
O termo millenniais foi cunhado por dois consultores da geração baby boomers antes mesmo da popularização da expressão Geração X.
B
Segundo Malcolm Harris, autor de "Kids These Days: Human Capital and the Making Millenniais", só é possível entender completamente uma geração em retrospecto - e que as primeiras impressões não costumam ser boas.
C
Há um enorme obstáculo para definir as gerações: a falta de acordo sobre o ano de nascimento de cada geração. 
D
O nome millenniais foi rapidamente adotado, tornando-se imediatamente dominante diante de todos os demais nomes sugeridos para a geração nascida entre 1982 e 2000. 
E
O maior interesse em nomear uma geração é comercial: vem de pessoas que querem, na verdade, apenas vender coisas para essa legião de pessoas.
fa25dce1-e7
CÁSPER LÍBERO 2016 - Inglês - Interpretação de texto | Reading comprehension

The book “Multitudinous Heart’, according to the review, :

First read the review below and then answer question.


REVIEW: ‘MULTITUDINOUS HEART,’ NEWLY TRANSLATED POETRY BY CARLOS DRUMMOND DE ANDRADE


Books of The Times

By Dwight Garner JULY 2, 2015




    Carlos Drummond de Andrade (1902-1987) is widely considered the greatest poet in the history of Brazil, a country where poets are taken seriously. One of his poems, “Canção Amiga” (“Friendly Song”), was once printed on the 50 cruzados bill.

    Mr. Drummond’s bald, equine, bespectacled visage appears on T-shirts and book bags in Brazil. Since 2002 there has been a statue of him on the Copacabana in Rio de Janeiro, his adopted hometown. This statue faces away from, not toward, the ocean. This was a witty decision (he was an inward poet) that annoys the unintelligentsia, who want him spun around.

    Now we have “Multitudinous Heart,” an expanded, reshuffled and welcome selection of Mr. Drummond’s verse. In new translations by Richard Zenith, we meet a sophisticated and cerebral poet who, true to this book’s title, speaks in many registers. He is by turns melancholy and ironic, sentimental and self-deprecating, remote and boyish.

    His wealthy father owned ranches in the mountainous state of Minas Gerais, and the poet was the fifth of six children to reach adulthood. He was used to hubbub. Large family meals are recalled, and there is a constant sense of a raucous daily grind: “Weddings, mortgages,/the cousins with TB,/ the crazy aunt.”

    Yet the poems more often contain a measured sense of solitude. Mr. Drummond studied to become a pharmacist but worked most of his life as a civil servant in the Ministry of Education.

    He was said to be anything but gregarious; he was never a “smiling public man,” in Yeats’s locution. He was animated on the inside. One of his favorite words was “twisted.” He thought we humans were mostly impertinent and odd.

    He felt wizened before his time. In a 1945 poem, he speaks of “the old man in me./He began to harass me in childhood.” In a 1951 poem, “The Table,” he writes:


A bunch of louts in our fifties,

balding, used up, burned out,

yet in our chests we preserve

intact that boyish candor,

that scampering into the woods,

that craving for things forbidden.


    Mr. Drummond is worth encountering on the page. You probably need this volume and the earlier one, alas, to glimpse him in full. In a satirical 1945 poem titled “In Search of Poetry,” he offered this advice for the apprentice poet:


    Don’t dramatize, don’t invoke,

don’t inquire. Don’t waste time lying.

Don’t get cross.

Your ivory yacht, your diamond shoe,

your mazurkas and superstitions, your family skeletons

all vanish in the curve of time, they’re worthless.


    Ha. The good news about “Multitudinous Heart” is that it proves Mr. Drummond didn’t believe a word of that hooey.


Source: http://www.nytimes.com/2015/07/03/books/review-multitudinous-heart-newly-translated- -poetry-by-carlos-drummond-de-andrade.html Access October 15, 2016. Adapted.

A
is more than enough to fully characterize the poet, Mr. Drummond.
B
rearranges all the previous edition in an expanded and welcome way.
C
attests that Mr. Drummond dismissed that nuisance of his own advice.
D
presents his complete disregard for the impertinent and odd mankind.
E
is where we meet the sophisticate poet who speaks several languages.
fa22252f-e7
CÁSPER LÍBERO 2016 - Inglês - Interpretação de texto | Reading comprehension

It is correct to say that Mr. Garner describes Mr. Drummond as:

First read the review below and then answer question.


REVIEW: ‘MULTITUDINOUS HEART,’ NEWLY TRANSLATED POETRY BY CARLOS DRUMMOND DE ANDRADE


Books of The Times

By Dwight Garner JULY 2, 2015




    Carlos Drummond de Andrade (1902-1987) is widely considered the greatest poet in the history of Brazil, a country where poets are taken seriously. One of his poems, “Canção Amiga” (“Friendly Song”), was once printed on the 50 cruzados bill.

    Mr. Drummond’s bald, equine, bespectacled visage appears on T-shirts and book bags in Brazil. Since 2002 there has been a statue of him on the Copacabana in Rio de Janeiro, his adopted hometown. This statue faces away from, not toward, the ocean. This was a witty decision (he was an inward poet) that annoys the unintelligentsia, who want him spun around.

    Now we have “Multitudinous Heart,” an expanded, reshuffled and welcome selection of Mr. Drummond’s verse. In new translations by Richard Zenith, we meet a sophisticated and cerebral poet who, true to this book’s title, speaks in many registers. He is by turns melancholy and ironic, sentimental and self-deprecating, remote and boyish.

    His wealthy father owned ranches in the mountainous state of Minas Gerais, and the poet was the fifth of six children to reach adulthood. He was used to hubbub. Large family meals are recalled, and there is a constant sense of a raucous daily grind: “Weddings, mortgages,/the cousins with TB,/ the crazy aunt.”

    Yet the poems more often contain a measured sense of solitude. Mr. Drummond studied to become a pharmacist but worked most of his life as a civil servant in the Ministry of Education.

    He was said to be anything but gregarious; he was never a “smiling public man,” in Yeats’s locution. He was animated on the inside. One of his favorite words was “twisted.” He thought we humans were mostly impertinent and odd.

    He felt wizened before his time. In a 1945 poem, he speaks of “the old man in me./He began to harass me in childhood.” In a 1951 poem, “The Table,” he writes:


A bunch of louts in our fifties,

balding, used up, burned out,

yet in our chests we preserve

intact that boyish candor,

that scampering into the woods,

that craving for things forbidden.


    Mr. Drummond is worth encountering on the page. You probably need this volume and the earlier one, alas, to glimpse him in full. In a satirical 1945 poem titled “In Search of Poetry,” he offered this advice for the apprentice poet:


    Don’t dramatize, don’t invoke,

don’t inquire. Don’t waste time lying.

Don’t get cross.

Your ivory yacht, your diamond shoe,

your mazurkas and superstitions, your family skeletons

all vanish in the curve of time, they’re worthless.


    Ha. The good news about “Multitudinous Heart” is that it proves Mr. Drummond didn’t believe a word of that hooey.


Source: http://www.nytimes.com/2015/07/03/books/review-multitudinous-heart-newly-translated- -poetry-by-carlos-drummond-de-andrade.html Access October 15, 2016. Adapted.

A
a poet taken seriously, widely considered the best reviewed of Brazil.
B
a man who was used to peace in habitual activities and quiet meals.
C
a sociable person, who came from a wealthy, big and noisy family.
D
someone who felt bloomed before his time, much older than others.
E
a writer who displeases a lot the unintelligentsia by being so inbound.
fa1f0104-e7
CÁSPER LÍBERO 2016 - Inglês - Interpretação de texto | Reading comprehension

Building a global grassroots movement was:

Read the following interview to answer question.


ISSIE LAPOWSKY SCIENCE 05.24.16 6:50 AM


10 YEARS AFTER AN INCONVENIENT TRUTH,

AL GORE MAY ACTUALLY BE WINNING



    AL GORE SNEEZES a hefty achoo. “Excuse me,” the former vice president says, dabbing a tissue at his nose before offering up an explanation. “Spring.”

    Outside Gore’s New York City office, spring has certainly sprung—early too. This March was the hottest one ever, beating the prior record set in March 2015. The same goes for February and January of this year, and, oh, the eight consecutive months before. Gore knows these statistics by heart. The fact that you might know them too is likely because of him. These kinds of numbers— and the scary story they tell about the future of Earth—have been Gore’s chief motivation since he failed to win the presidency in 2000. Gore emerged from that weird, disputed election armed with what is now possibly the most famous slide¬show in human history. He has traveled the world delivering that deck to hundreds of people at a time, showing in irrefutable detail just how mind-bogglingly badly we have treated our planet and what we might be able to do about it.

    Ten years ago, the slide¬show became An Inconvenient Truth, the documentary that spread those ideas to millions. Gore says he still tinkers with the slide¬show every day, because, well, the numbers keep changing. Not always for the better. Yet this year Gore and his fellow activists have a rare reason to celebrate. In April, 175 world leaders gathered at the United Nations to sign the Paris Agreement, a global pact that aims to keep global temperatures from rising more than 2 degrees Celsius above preindustrial levels. Now, a decade after his movie sounded the alarm about climate change and 16 years after he ran for president, it looks like Al Gore might finally be … winning?


    WIRED: Why did you want to make An Inconvenient Truth?

    GORE: I have to admit to you that initially I did not want to do a documentary.


    What? Why not?

   It’s a dumb reason. I didn’t think a slide¬show could translate into a movie. (…) Participant Media and Davis Guggenheim had to convince me it was a good idea, and I’m so glad they found ways to reveal to me the depths of my ignorance about moviemaking. It’s a message that has to be heard. Sorry to risk sounding grandiose, but the future of human civilization is at stake.


    The Paris Agreement must feel like a big point of progress.

    It really does. Sometimes in sports you can sense a palpable shift in the momentum of the contest. A team will be behind on the scoreboard, but the shift in momentum is so obvious and dramatic that you just have the feeling they’re going to win. That’s where we are in solving the climate crisis. We’re still behind on the scoreboard, but the momentum has shifted. We are winning.

    When renewable electricity becomes cheaper than electricity that comes from burning coal or gas, then that changes everything. The marketplace makes it the default option, and you get what you saw in the world in 2015—90 percent of the new electricity generated in the world last year was from renewables. That is an astonishing change. The Paris Agreement exceeded the upper range of my expectations. Does it go far enough? No, of course not. Can it be improved? Yes, it’s designed to be constantly improved, and that’s what I’m focused on now.


    You’ve been at this a long time. Was it lonely fighting for this stuff in government in the 1980s and 1990s?

    It was certainly a different time and a different environment. But I don’t ever remember feeling lonely, because I was always focused on reaching more and more people. Building a global grassroots movement is really the only way to solve this, because so many political systems have been captured by legacy industries. And that influence over policymaking has to be counterbalanced by a grassroots awareness.


    It’s sometimes tough for people to get climate change because they’re not seeing its effects every day—or at least they don’t realize they are. What have you seen that has stuck with you?

    In March, I went to Tacloban in the Philippines and talked with survivors there who endured the ravages of Super Typhoon Haiyan. When you see how their lives were utterly transformed and feel the painful losses they suffered, it certainly will stick with you. I conducted a training in Miami last fall during one of the highest high tides and saw fish from the ocean swimming in the streets in Miami Beach and Fort Lauderdale on a sunny day.


    You talk a lot about “winning” the fight against climate change. How do you define a win?

   Winning means avoiding catastrophic consequences that could utterly disrupt the future of human civilization. It means bending the curves downward so that the global warming pollution stops accumulating in the atmosphere and begins to reduce in volume. It means creating tens of millions of new jobs to retrofit buildings, to transform energy systems and install advanced batteries, to transform agriculture and forestry, and to make the solutions to the climate crisis the central organizing principle of our civilization.

Source: https://www.wired.com/2016/05/wired-al-gore-climate-change/ Access October 16, 2016. Adapted.

A
Al Gore’s solution to concealing a message from a larger number of listeners in several parts of the world to counterbalance the influence over policymaking done by the legacy industries back then.
B
the only way to solve his fighting in the government because so many political systems had been captured by legacy industries and that influence over policy making had to be counterbalanced by a grassroots awareness.
C
made to solve the problems of policymaking being a lack of awareness of legacy industries related to the government, which were influencing over policy making and had to be counterbalanced by grassroots awareness.
D
Al Gore’s way to struggle against the lack of understanding of legacy industries, to counterbalance the policymaking by grassroots awareness and to keep him from feeling lonely in the 1980s and 1990s.
E
the only solution, or seemed to be, because so many political systems had been captured by legacy industries, their policymaking in the government in the 1980s and 1990s and the essentiality of their awareness.
fa1b7805-e7
CÁSPER LÍBERO 2016 - Inglês - Interpretação de texto | Reading comprehension

‘I did not want to make a documentary’, said Al Gore, referring to:

Read the following interview to answer question.


ISSIE LAPOWSKY SCIENCE 05.24.16 6:50 AM


10 YEARS AFTER AN INCONVENIENT TRUTH,

AL GORE MAY ACTUALLY BE WINNING



    AL GORE SNEEZES a hefty achoo. “Excuse me,” the former vice president says, dabbing a tissue at his nose before offering up an explanation. “Spring.”

    Outside Gore’s New York City office, spring has certainly sprung—early too. This March was the hottest one ever, beating the prior record set in March 2015. The same goes for February and January of this year, and, oh, the eight consecutive months before. Gore knows these statistics by heart. The fact that you might know them too is likely because of him. These kinds of numbers— and the scary story they tell about the future of Earth—have been Gore’s chief motivation since he failed to win the presidency in 2000. Gore emerged from that weird, disputed election armed with what is now possibly the most famous slide¬show in human history. He has traveled the world delivering that deck to hundreds of people at a time, showing in irrefutable detail just how mind-bogglingly badly we have treated our planet and what we might be able to do about it.

    Ten years ago, the slide¬show became An Inconvenient Truth, the documentary that spread those ideas to millions. Gore says he still tinkers with the slide¬show every day, because, well, the numbers keep changing. Not always for the better. Yet this year Gore and his fellow activists have a rare reason to celebrate. In April, 175 world leaders gathered at the United Nations to sign the Paris Agreement, a global pact that aims to keep global temperatures from rising more than 2 degrees Celsius above preindustrial levels. Now, a decade after his movie sounded the alarm about climate change and 16 years after he ran for president, it looks like Al Gore might finally be … winning?


    WIRED: Why did you want to make An Inconvenient Truth?

    GORE: I have to admit to you that initially I did not want to do a documentary.


    What? Why not?

   It’s a dumb reason. I didn’t think a slide¬show could translate into a movie. (…) Participant Media and Davis Guggenheim had to convince me it was a good idea, and I’m so glad they found ways to reveal to me the depths of my ignorance about moviemaking. It’s a message that has to be heard. Sorry to risk sounding grandiose, but the future of human civilization is at stake.


    The Paris Agreement must feel like a big point of progress.

    It really does. Sometimes in sports you can sense a palpable shift in the momentum of the contest. A team will be behind on the scoreboard, but the shift in momentum is so obvious and dramatic that you just have the feeling they’re going to win. That’s where we are in solving the climate crisis. We’re still behind on the scoreboard, but the momentum has shifted. We are winning.

    When renewable electricity becomes cheaper than electricity that comes from burning coal or gas, then that changes everything. The marketplace makes it the default option, and you get what you saw in the world in 2015—90 percent of the new electricity generated in the world last year was from renewables. That is an astonishing change. The Paris Agreement exceeded the upper range of my expectations. Does it go far enough? No, of course not. Can it be improved? Yes, it’s designed to be constantly improved, and that’s what I’m focused on now.


    You’ve been at this a long time. Was it lonely fighting for this stuff in government in the 1980s and 1990s?

    It was certainly a different time and a different environment. But I don’t ever remember feeling lonely, because I was always focused on reaching more and more people. Building a global grassroots movement is really the only way to solve this, because so many political systems have been captured by legacy industries. And that influence over policymaking has to be counterbalanced by a grassroots awareness.


    It’s sometimes tough for people to get climate change because they’re not seeing its effects every day—or at least they don’t realize they are. What have you seen that has stuck with you?

    In March, I went to Tacloban in the Philippines and talked with survivors there who endured the ravages of Super Typhoon Haiyan. When you see how their lives were utterly transformed and feel the painful losses they suffered, it certainly will stick with you. I conducted a training in Miami last fall during one of the highest high tides and saw fish from the ocean swimming in the streets in Miami Beach and Fort Lauderdale on a sunny day.


    You talk a lot about “winning” the fight against climate change. How do you define a win?

   Winning means avoiding catastrophic consequences that could utterly disrupt the future of human civilization. It means bending the curves downward so that the global warming pollution stops accumulating in the atmosphere and begins to reduce in volume. It means creating tens of millions of new jobs to retrofit buildings, to transform energy systems and install advanced batteries, to transform agriculture and forestry, and to make the solutions to the climate crisis the central organizing principle of our civilization.

Source: https://www.wired.com/2016/05/wired-al-gore-climate-change/ Access October 16, 2016. Adapted.

A
his difficulty to settle for a good translator to reveal his work thoroughly and into moviemaking.
B
the future of mankind be so at stake that he had to dawdle his message through a movie.
C
Davis Guggenheim and Participant Media, who convinced him of the depths of his message.
D
his ignorance about moviemaking and the possibility to translate his slideshow into a movie.
E
the risk of sounding grandiose be worth due to the value of his report on the future of human race.
fa1813f0-e7
CÁSPER LÍBERO 2016 - Inglês - Interpretação de texto | Reading comprehension

What is ‘Al Gore may actually be winning’ in the title?

Read the following interview to answer question.


ISSIE LAPOWSKY SCIENCE 05.24.16 6:50 AM


10 YEARS AFTER AN INCONVENIENT TRUTH,

AL GORE MAY ACTUALLY BE WINNING



    AL GORE SNEEZES a hefty achoo. “Excuse me,” the former vice president says, dabbing a tissue at his nose before offering up an explanation. “Spring.”

    Outside Gore’s New York City office, spring has certainly sprung—early too. This March was the hottest one ever, beating the prior record set in March 2015. The same goes for February and January of this year, and, oh, the eight consecutive months before. Gore knows these statistics by heart. The fact that you might know them too is likely because of him. These kinds of numbers— and the scary story they tell about the future of Earth—have been Gore’s chief motivation since he failed to win the presidency in 2000. Gore emerged from that weird, disputed election armed with what is now possibly the most famous slide¬show in human history. He has traveled the world delivering that deck to hundreds of people at a time, showing in irrefutable detail just how mind-bogglingly badly we have treated our planet and what we might be able to do about it.

    Ten years ago, the slide¬show became An Inconvenient Truth, the documentary that spread those ideas to millions. Gore says he still tinkers with the slide¬show every day, because, well, the numbers keep changing. Not always for the better. Yet this year Gore and his fellow activists have a rare reason to celebrate. In April, 175 world leaders gathered at the United Nations to sign the Paris Agreement, a global pact that aims to keep global temperatures from rising more than 2 degrees Celsius above preindustrial levels. Now, a decade after his movie sounded the alarm about climate change and 16 years after he ran for president, it looks like Al Gore might finally be … winning?


    WIRED: Why did you want to make An Inconvenient Truth?

    GORE: I have to admit to you that initially I did not want to do a documentary.


    What? Why not?

   It’s a dumb reason. I didn’t think a slide¬show could translate into a movie. (…) Participant Media and Davis Guggenheim had to convince me it was a good idea, and I’m so glad they found ways to reveal to me the depths of my ignorance about moviemaking. It’s a message that has to be heard. Sorry to risk sounding grandiose, but the future of human civilization is at stake.


    The Paris Agreement must feel like a big point of progress.

    It really does. Sometimes in sports you can sense a palpable shift in the momentum of the contest. A team will be behind on the scoreboard, but the shift in momentum is so obvious and dramatic that you just have the feeling they’re going to win. That’s where we are in solving the climate crisis. We’re still behind on the scoreboard, but the momentum has shifted. We are winning.

    When renewable electricity becomes cheaper than electricity that comes from burning coal or gas, then that changes everything. The marketplace makes it the default option, and you get what you saw in the world in 2015—90 percent of the new electricity generated in the world last year was from renewables. That is an astonishing change. The Paris Agreement exceeded the upper range of my expectations. Does it go far enough? No, of course not. Can it be improved? Yes, it’s designed to be constantly improved, and that’s what I’m focused on now.


    You’ve been at this a long time. Was it lonely fighting for this stuff in government in the 1980s and 1990s?

    It was certainly a different time and a different environment. But I don’t ever remember feeling lonely, because I was always focused on reaching more and more people. Building a global grassroots movement is really the only way to solve this, because so many political systems have been captured by legacy industries. And that influence over policymaking has to be counterbalanced by a grassroots awareness.


    It’s sometimes tough for people to get climate change because they’re not seeing its effects every day—or at least they don’t realize they are. What have you seen that has stuck with you?

    In March, I went to Tacloban in the Philippines and talked with survivors there who endured the ravages of Super Typhoon Haiyan. When you see how their lives were utterly transformed and feel the painful losses they suffered, it certainly will stick with you. I conducted a training in Miami last fall during one of the highest high tides and saw fish from the ocean swimming in the streets in Miami Beach and Fort Lauderdale on a sunny day.


    You talk a lot about “winning” the fight against climate change. How do you define a win?

   Winning means avoiding catastrophic consequences that could utterly disrupt the future of human civilization. It means bending the curves downward so that the global warming pollution stops accumulating in the atmosphere and begins to reduce in volume. It means creating tens of millions of new jobs to retrofit buildings, to transform energy systems and install advanced batteries, to transform agriculture and forestry, and to make the solutions to the climate crisis the central organizing principle of our civilization.

Source: https://www.wired.com/2016/05/wired-al-gore-climate-change/ Access October 16, 2016. Adapted.

A
Al Gore is starting to beat his opponent in the presidential race with the bending of the pollution curves.
B
Among other things, it means to turn the solutions to the climate crisis the organizing basis of our civilization.
C
The former presidential candidate sided with his assailants to promote the grassroots movement there.
D
The survivors of Tacloban in the Philippines and Miami are as ravaged and disrupted as he had predicted.
E
The Paris Agreement came exactly to where he had long anticipated, making renewable electricity cheaper.