UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL

INSTITUTO DE LETRAS
DEPARTAMENTO DE LÍNGUAS MODERNAS
COMISSÃO DE AVALIAÇÃO DE PROFICIÊNCIA DE LEITURA EM LÍNGUA ESTR ANGEIRA

L
Í
N
G
U 2016.2
A
INSTRUÇÕES:

I
1. Antes do início da prova, solicita-se desligar os telefones celulares.
2. Verifique se o caderno contém 7 páginas numeradas. Caso contrário, solicite ao fiscal
a substituição do mesmo. Rubrique todas as páginas.

N 3. Escreva suas respostas à tinta (preferencialmente, com caneta esferográfica de tinta

azul). Todas as respostas devem ser escritas em língua portuguesa.

G
4. Atenha-se ao conteúdo dos enunciados, escreva com caligrafia legível e certifique-se
de ter respondido a todas as perguntas.
5. É facultativo o uso individual de dicionário em papel.

L 6. O candidato poderá rabiscar, riscar ou anotar somente no caderno da prova.

7. Não é permitido o uso de notebook ou palmtop ou qualquer outro aparelho eletrônico.

E 8. A duração da prova é de 2 horas e 30 minutos.

9. Nenhum candidato poderá entregar a prova antes de haver decorrido uma (1) hora do

S
início da mesma.
10. Ao candidato não é permitido levar consigo nenhum material escrito ao deixar a sala
da prova.

A
11. Serão considerados aprovados os candidatos que demonstrarem proficiência, com
aproveitamento igual ou superior a 70% de acertos.

Nome Completo

Assinatura (conforme documento de identificação) Curso (CPG/PPG) – caso seja aluno da UFRGS

[Type text]
 Texto A Darwin*
01 The full enigma of Darwin’s life has never been grasped. Indeed, previous biographies have
02 been curiously bloodless affairs. They have broken little new ground and made no contact with
03 the inflammatory issues and events of his days.
04 Our Darwin sets out to be different – to pose the awkward questions, to probe interests and
05 motivations, to portray the scientific expert as a product of his time; to depict a man grappling with
06 immensities in a society undergoing reform.
07 When Darwin did come out of his closet and bare his soul to a friend, he used a telling
08 expression. He said it was ‘like confessing a murder.’ Nothing captures better the idea of
09 evolution as a social crime in early Victorian Britain. Anglicans damned it false, French, atheistic,
10 materialistic, and immoral. It was dangerous knowledge, and tempting. Darwin had known this for
11 years, hence his ruminations were confined to secret notebooks. He cut himself off, ducked
12 parties and declined engagements; he even installed a mirror outside his study window to spy on
13 visitors as they came up his drive. Day after day, week after week, his stomach plagued him, and
14 for years after reaching his rural retreat he refused to sleep anywhere else, unless it was a safe
15 house, a close relative’s home.
16 How then did such a wealthy Whig gentleman break the impasse and make evolution
17 acceptable? How did he present it as underpinning middle-class values? Did he ever resolve the
18 antitheses? – failed ordinand and pillar of the parish, reformer of nature and friend of the
19 unreformed clergy, upright citizen who wrote of ‘monkey-men.’ Understand Darwin’s scientific
20 status, his social obligations, his Dissenting heritage, the political context, and the
21 contradictions start to resolve themselves.
22 Beetle-browed, scowling physiognomy: everyone knows the image – it is one of the totems of
23 the twentieth century. To some he was the founder of a new biology, to one outraged
24 Welshman just ‘an old Ape with a hairy face.’ But for everyone his gentleness was
25 overwhelming. Leslie Stephen felt that there was ‘something almost pathetic in his
26 simplicity and friendliness.’ Darwin is arguably the best known scientist in history. More than
27 any modern thinker – even Freud or Marx – this affable old-world naturalist from the minor
28 Shropshire gentry has transformed the way we see ourselves on the planet.
* Extraído e adaptado de: DESMOND, Adrian; MOORE, James. Darwin. New York: W. W. Norton & Company, 1991. p. xviii-xix.

De acordo com o texto A, escolha a alternativa que contém a resposta correta nas questões que
seguem.

- Considere as seguintes afirmações.

I. Compreender a vida de Darwin pode trazer nova luz às suas teorias.

II. Darwin viveu em uma época de mudanças perturbadoras.
III. Pouco se sabia sobre as reações íntimas de Darwin às suas próprias teorias.
Quais estão corretas de acordo com o texto?

a) Somente I.
b) Somente II.
c) Somente III.
d) Somente II e III.
e) I, II e III.

- As palavras “indeed” (linha 1), “hence” (linha 11) e “ever” (linha 17) podem ser substituídas,
respectivamente, sem alteração de significado, por

a) in fact – consequently – at any point

b) therefore – notwithstanding – on any account
c) nevertheless – therefore – then
d) as a matter of fact – accordingly – latter
e) to be sure – nevertheless – afterwards
1
- Considere se as afirmações abaixo são verdadeiras (V) ou falsas (F) de acordo com o texto.

( ) Os autores estão propondo uma revolução na nossa compreensão da teoria da evolução.

( ) As perguntas dos autores são embaraçosas.
( ) Darwin sentia que estava sacudindo os princípios básicos da sociedade.
( ) Darwin manteve suas teorias em segredo por um bom tempo antes de juntar coragem para
divulgá-las.

A sequência correta de preenchimento dos parênteses, de cima para baixo, é

a) F–F–F–V
b) F–V–V–F
c) V–F–V–F
d) V–F–F–V
e) F–F–V–V

- De acordo com o texto, Darwin

a) temia que a sociedade vitoriana nunca aceitasse sua inclinação sexual.

b) sentia-se cometendo um pecado.
c) recusava-se, como um homem de ciências, a estabelecer relações com a Igreja.
d) não tornou suas ideias públicas até ter certeza de que poderia prová-las.
e) temia ser atacado em virtude de suas ideias.

- Considere as seguintes afirmações sobre a reação às teorias de Darwin:

I. Os ingleses declararam que suas ideias estavam erradas.

II. A Igreja anglicana considerava suas ideias uma ameaça perigosa.
III. Os franceses consideravam suas ideias um ataque aos valores religiosos e morais.

Quais estão corretas de acordo com o texto?

a) Somente I.
b) Somente II.
c) Somente III.
d) Somente II e III.
e) I, II e III.

- De acordo com o texto, Darwin

a) se isolou da sociedade devido a sua natureza reclusa.

b) compreendia o profundo impacto que sua teoria teria sobre a configuração social da sociedade
vitoriana.
c) absteve-se de revelar suas teorias devido ao caráter inconclusivo de suas descobertas.
d) estava profundamente preocupado em encontrar uma maneira de fortalecer sua teoria.
e) jamais foi capaz de conciliar suas descobertas com a visão de mundo vitoriana.
- Traduza para o português, de forma correta e fluente, os trechos que seguem:

a) Understand Darwin’s scientific status, his social obligations, his Dissenting heritage, the political
context, and the contradictions start to resolve themselves. (linhas 19‒21)

…………………………………………………………………………………………………….........……….

…………………………………………………………………………………………………….........……….

…………………………………………………………………………………………………….........……….

2
b) To some he was the founder of a new biology, to one outraged Welshman just ‘an old Ape with a
hairy face.’ But for everyone his gentleness was overwhelming. Leslie Stephen felt that there was
‘something almost pathetic in his simplicity and friendliness.’ (linhas 23‒26)

…………………………………………………………………………………………………….........……….

…………………………………………………………………………………………………….........……….

…………………………………………………………………………………………………….........……….

…………………………………………………………………………………………………….........……….

Texto B Homage to Joe Sacco*

by Edward W. Said
01 Comic books are a universal phenomenon associated with adolescence. They seem to exist in
02 all languages and cultures, from East to West. In subject matter they go the whole range from
03 inspired and fantastic to sentimental and silly; all of them, however, are easy to read, to pass
04 around, store, and throw away. Most adults, I think, tend to connect comics with what is frivolous
05 and ephemeral, and there is an assumption that as one grows older they are put aside for more
06 serious pursuits, except very occasionally (as is the case with Art Spiegelman’s Maus) when a
07 forbiddingly grim subject is treated by a serious comic book artist. But, as we shall see, these are
08 very rare occasions indeed, since what is first of all required is a first-rate talent.
09 I don’t remember when exactly I read my first comic book, but I do remember exactly how
10 liberated and subversive I felt as a result. Everything about the enticing book of colored pictures,
11 but specially its untidy, sprawling format, the colorful riotous extravagance of its pictures, the
12 unrestrained passage between what the characters thought and said, the exotic creatures and
13 adventures reported and depicted: all this made up for a hugely wonderful thrill, entirely unlike
14 anything I had hitherto known or experienced.
15 Comics played havoc with the logic of a+b+c+d and they certainly encouraged one not to think
16 in terms of what the teacher expected or what a subject like history demanded. In ways that I still
17 find fascinating to decode, comics in their relentless foregrounding seemed to say what couldn’t
18 otherwise be said, perhaps what wasn’t permitted to be said or imagined, defying the ordinary
19 processes of thought, which are policed, shaped and re-shaped by all sorts of pedagogical as
20 well as ideological pressures. I knew nothing of this then, but I felt that comics freed me to think
21 and imagine and see differently.
22 Cut now to the last decade of the twentieth century. As an American of Palestinian origin, I
23 have found myself necessarily involved in the battle for Palestinian self-determination and human
24 rights. Much of my work as a writer and lecturer was concerned with refuting the
25 misrepresentations and dehumanizations of our history, trying at the same time to give the
26 Palestinian narrative a presence and human shape.
27 Without any warning or preparation, about ten years ago my young son brought home
28 Joe Sacco’s first comic book on Palestine. Cut off as I was from the world of active comic
29 reading, trading and bartering, I had no idea at all that Sacco or his gripping work existed. I
30 was plunged directly back into the world of the first great intifada (1987–92) and, with even
31 greater effect, back into the animated, enlivening world of the comics I had read so long ago. The
32 shock of recognition was therefore a double one, and the more I read compulsively in
33 Sacco’s Palestine comic books, the more convinced I was that here was a political and aesthetic
34 work of extraordinary originality, quite unlike any other in the long, often turgid and hopelessly
35 twisted debates that had occupied Palestinians, Israelis, and their respective supporters.
36 As we also live in a media-saturated world in which a huge preponderance of the world’s news

3
 37 images are controlled and diffused by a handful of men sitting in places like London and New
38 York, a stream of comic book images and words, assertively etched, at times grotesquely
39 emphatic and distended to match the extreme situations they depict, provide a remarkable
40 antidote. In Joe Sacco’s world there are no smooth-talking announcers and presenters, no
41 unctuous narrative of Israeli triumphs, democracy, achievements, no assumed and re-confirmed
42 representations—all of them disconnected from any historical or social source, from any lived
43 reality—of Palestinians as rock-throwing, rejectionist, and fundamentalist villains whose main
44 purpose is to make life difficult for the peace-loving, persecuted Israelis. What we get instead is
45 seen through the eyes and persona of a modest-looking ubiquitous crew-cut young American
46 man who appears to have wandered into an unfamiliar, inhospitable world of military occupation,
47 arbitrary arrest, harrowing experiences of houses demolished and land expropriated, torture and
48 sheer brute force generously, if cruelly, applied at whose mercy Palestinians live on a daily,
49 indeed hourly basis.
50 There’s no obvious spin, no easily discernible line of doctrine in Joe Sacco’s often ironic
51 encounters with Palestinians under occupation, no attempt to smooth out what is for the most part
52 a meager, anxious existence of uncertainty, collective unhappiness, and deprivation, and,
53 especially in the Gaza comics, a life of aimless wandering within the place’s inhospitable
54 confines, wandering and mostly waiting, waiting, waiting.
55 Joe is there to find out why things are the way they are and why there seems to have been an
56 impasse for so long. Without losing the comics’ unique capacity for delivering a kind of surreal
57 world as animated and in its own way as arrestingly violent as a poet’s vision of things, Joe Sacco
58 can also unostentatiously transmit a great deal of information, the human context and historical
59 events that have reduced Palestinians to their present sense of stagnating powerlessness.
60 Nowhere does Sacco come closer to the existential lived reality of the average Palestinian than
61 in his depiction of life in Gaza. Joe the character is there sympathetically to understand and to try
62 to experience not only why Gaza is so representative a place in its hopelessly overcrowded and
63 yet rootless spaces of Palestinian dispossession, but also to affirm that it is there, and must
64 somehow be accounted for in human terms, in the narrative sequences with which any reader
65 can identify. Most of the comics we read almost routinely conclude with someone’s victory,
66 the triumph of good over evil, or the routing of the unjust by the just, or even the marriage
67 of two young lovers. Sacco’s Palestine is not at all like that. The people he lives among are
68 history’s losers, banished to the fringes where they seem so despondently to loiter, without much
69 hope or organization, except for their sheer indomitability, their mostly unspoken will to go on, and
70 their willingness to cling to their story, to retell it, and to resist designs to sweep them away
71 altogether.

* Extraído e adaptado de: SAID, Edward W. Homage to Joe Sacco. In: Joe Sacco. Palestine. London: Jonathan Cape, 2003. i–v.

De acordo com o texto B, escolha a alternativa que contém a resposta correta nas questões que
seguem.

- Segundo o trecho contido entre as linhas 1 e 8, na visão da maior parte dos adultos, uma
história em quadrinhos pode deixar de ser considerada “coisa de adolescente” quando

a) está presente em todas as culturas.

b) deixa de ser sentimental e frívola e passa a ser inspirada e fantástica.
c) é de fácil leitura e, portanto, capaz de atingir um grande público.
d) um artista especialmente talentoso consegue lidar com um assunto tenebroso.
e) consegue abandonar a linguagem infantil e trata de assuntos sérios.

4
- Segundo o trecho contido entre as linhas 9 e 21, as histórias em quadrinhos exerceram um
papel libertador para o autor na sua juventude. Assinale a alternativa que NÃO está
mencionada no texto como uma razão para tal.

a) O formato colorido, desleixado e extravagante extravasava tudo que o autor jamais tinha visto.
b) A possiblidade de transitar sem arestas entre o pensamento e a fala dos personagens era
inovadora.
c) Os quadrinhos subvertiam a lógica linear da narrativa histórica.
d) As histórias em quadrinhos encorajavam-no a pensar diferente dos professores.
e) As histórias em quadrinhos podem ser lidas de maneira diagonal, tecendo relações entre
quadrinhos não sequenciais.

- Considere as afirmações abaixo sobre o motivo pelo qual o autor se sentiu especialmente
tocado pelo livro de Joe Sacco (linhas 22-35).

I. O trabalho de Edward W. Said, enquanto intelectual, o levou a desmistificar a imagem dos

palestinos conforme apresentada na mídia.
II. Os livros de Joe Sacco o remeteram ao seu passado.
III. As histórias em quadrinhos possuíam um valor estético inigualável.

Quais estão corretas de acordo com o texto?

a) Somente I.
b) Somente II.
c) Somente III.
d) Somente II e III.
e) I, II e III.

- Com base no texto apresentado entre as linhas 36 e 49, assinale a alternativa INCORRETA.

a) As informações veiculadas pela mídia são quase que totalmente controladas por algumas
poucas pessoas.
b) Apesar de não serem realistas, as imagens produzidas pelos quadrinhos são frequentemente
um antídoto eficiente para a versão pasteurizada das grandes mídias.
c) Joe Sacco investe num contradiscurso triunfalista.
d) O trabalho de Joe Sacco contextualiza historicamente o que a mídia mostra como uma
violência gratuita da parte dos palestinos.
e) O alter ego de Joe Sacco revela, nas suas andanças, a precariedade da vida dos palestinos.

- De acordo com o texto (linhas 50‒59), a obra de Joe Sacco é valiosa porque

a) mostra, de forma perfeitamente delineada, as contingências da vida na Palestina.

b) mostra o quanto a vida de privações dos palestinos é derivada de uma inércia que os faz
simplesmente esperar por uma vida melhor.
c) se engaja, junto com uma série de ativistas palestinos, numa luta efetiva para mudar a
situação em que se encontram os palestinos.
d) consegue alinhar a linguagem artística dos quadrinhos, em toda a sua agilidade e violência,
com um relato factual da situação palestina.
e) apresenta a sensação de impotência dos palestinos como uma cegueira histórica que os
paralisa.

5
- Considere as afirmações abaixo relativas ao verbo auxiliar do (does) no segmento: “Nowhere
does Sacco come” (linha 60), no contexto em que se encontra.

I. O verbo auxiliar possui função enfática e, portanto, não representa uma pergunta.
II. A presença da palavra Nowhere faz com que haja uma inversão do sujeito e do verbo,
obrigando o uso do verbo auxiliar.
III. O verbo auxiliar é posicionado antes do sujeito para indicar uma pergunta.

Quais estão corretas de acordo com o texto?

a) Somente I.
b) Somente II.
c) Somente III.
d) Somente II e III.
e) I, II e III.

- Traduza para o português, de forma correta e fluente, os trechos que seguem:

a) Without any warning or preparation, about ten years ago my young son brought home Joe Sacco’s
first comic book on Palestine. Cut off as I was from the world of active comic reading, trading and
bartering, I had no idea at all that Sacco or his gripping work existed. (linhas 27‒29)

…………………………………………………………………………………………………….........……….

…………………………………………………………………………………………………….........……….

…………………………………………………………………………………………………….........……….

…………………………………………………………………………………………………….........……….

b) Most of the comics we read almost routinely conclude with someone’s victory, the triumph of good
over evil, or the routing of the unjust by the just, or even the marriage of two young lovers. (linhas
65‒67)

…………………………………………………………………………………………………….........……….

…………………………………………………………………………………………………….........……….

…………………………………………………………………………………………………….........……….

…………………………………………………………………………………………………….........……….