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2990977 Ano: 2023
Disciplina: Inglês (Língua Inglesa)
Banca: FUVEST
Orgão: USP
Provas:

The expression “dark doldrums” chills the hearts of renewable-energy engineers, who use it to refer to the lulls when solar panels and wind turbines are thwarted by clouds, night, or still air. On a bright, cloudless day, a solar farm can generate prodigious amounts of electricity. But at night solar cells do little, and in calm air turbines sit useless.

The dark doldrums make it difficult for us to rely totally on renewable energy. Power companies need to plan not just for individual storms or windless nights but for difficulties that can stretch for days. Last year, Europe experienced a weekslong “wind drought,” and in 2006 Hawaii endured six weeks of consecutive rainy days. On a smaller scale, communities that want to go all-renewable need to fill the gaps. The obvious solution is batteries, which power everything from mobile phones to electric vehicles; they are relatively inexpensive to make and getting cheaper. But typical models exhaust their stored energy after only three or four hours of maximum output, and—as every smartphone owner knows—their capacity dwindles with each recharge. Moreover, it is expensive to collect enough batteries to cover longer discharges.

We already have one kind of renewable energy storage: more than ninety per cent of the world’s energy-storage capacity is in reservoirs, as part of a technology called pumped-storage hydropower, used to smooth out sharp increases in electricity demand. Motors pump water uphill from a river or a reservoir to a higher reservoir; when the water is released downhill, it spins a turbine, generating power. A pumped-hydro installation is like a giant, permanent battery, charged when water is pumped uphill and depleted as it flows down. Some countries are expanding their use of pumped hydro, but the right geography is hard to find, permits are difficult to obtain, and construction is slow and expensive. The hunt is on for new approaches to energy storage.

The New Yorker. Abril, 2022. Adaptado.

No texto, a expressão “dark doldrums” descreve

 

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2990976 Ano: 2023
Disciplina: Inglês (Língua Inglesa)
Banca: FUVEST
Orgão: USP
Provas:

Enunciado 3353739-1

Disponível em https://br.pinterest.com/.

Em relação à compreensão do idioma inglês, o texto ilustra

 

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Questão presente nas seguintes provas
2990975 Ano: 2023
Disciplina: Inglês (Língua Inglesa)
Banca: FUVEST
Orgão: USP
Provas:

From French electronic and Japanese indie to K-pop and Spanish jazz, it’s common for people to listen to songs they don’t necessarily understand. Not knowing the language of the lyrics, it seems, doesn’t stop people from liking—and sometimes even singing along to—a song. Unless the listener is looking up the dictionary meaning of the lyrics, then the dictionary meaning of the lyrics doesn’t make or break their appreciation of a song. But why?

“It’s a complicated answer,” said musicologist Lisa Decenteceo, adding that it all starts with what’s called “sound symbolism.” Sound symbolism refers to the study of the relationships between utterances and their meaning. This doesn’t have to do only with music. Marketers, for example, can tune into sound symbolism as part of their strategy in coming up with appealing brand names. In music as well as in branding, Decenteceo explained, there’s something about the appeal of words as sounds, beyond their meaning in a language. While things like culture and personal experiences affect people’s responses to different kinds of music, she explained there are certain musical techniques that are generally used to convey certain moods. One of which is scale.

“Songs in a major scale usually have brighter, happier sounds, while minor scales usually have the slightly darker, melancholic feel,” explains Thea Tolentino, a music teacher.

The human brain is wired to respond to sound, she added.

In a process called entrainment, the brain “synchronizes our breathing, our movement, even neural activities with the sounds we hear.” This is why fast-paced music is so popular for running, for example, or why some yoga teachers play rhythmic and melodic tracks in their classes. And there are also the things that accompany the words. “Elements of sound and music like pitch, melody, harmony, timbre, and amplitude have an affective, emotional, psychological, cognitive, and even physical impact on listeners. Music adds so much meaning and dimension to texts through a complex of these avenues,” said Decenteceo. What all these things do, she added, is liberate the words. “Song frees the voice from any burden of saying anything meaningful”. It’s important, then, to understand music as a discourse between musical elements. But all in all, Decenteceo said there’s value in whatever immediate appeal people find in the music they listen to, whether or not they understand the words. Music, after all, is the universal language.

Disponível em https://www.vice.com/. March, 2022. Adaptado.

De acordo com o texto, os aspectos físicos relacionados com elementos tanto do som quanto da música são

 

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Questão presente nas seguintes provas
2990974 Ano: 2023
Disciplina: Inglês (Língua Inglesa)
Banca: FUVEST
Orgão: USP
Provas:

From French electronic and Japanese indie to K-pop and Spanish jazz, it’s common for people to listen to songs they don’t necessarily understand. Not knowing the language of the lyrics, it seems, doesn’t stop people from liking—and sometimes even singing along to—a song. Unless the listener is looking up the dictionary meaning of the lyrics, then the dictionary meaning of the lyrics doesn’t make or break their appreciation of a song. But why?

“It’s a complicated answer,” said musicologist Lisa Decenteceo, adding that it all starts with what’s called “sound symbolism.” Sound symbolism refers to the study of the relationships between utterances and their meaning. This doesn’t have to do only with music. Marketers, for example, can tune into sound symbolism as part of their strategy in coming up with appealing brand names. In music as well as in branding, Decenteceo explained, there’s something about the appeal of words as sounds, beyond their meaning in a language. While things like culture and personal experiences affect people’s responses to different kinds of music, she explained there are certain musical techniques that are generally used to convey certain moods. One of which is scale.

“Songs in a major scale usually have brighter, happier sounds, while minor scales usually have the slightly darker, melancholic feel,” explains Thea Tolentino, a music teacher.

The human brain is wired to respond to sound, she added.

In a process called entrainment, the brain “synchronizes our breathing, our movement, even neural activities with the sounds we hear.” This is why fast-paced music is so popular for running, for example, or why some yoga teachers play rhythmic and melodic tracks in their classes. And there are also the things that accompany the words. “Elements of sound and music like pitch, melody, harmony, timbre, and amplitude have an affective, emotional, psychological, cognitive, and even physical impact on listeners. Music adds so much meaning and dimension to texts through a complex of these avenues,” said Decenteceo. What all these things do, she added, is liberate the words. “Song frees the voice from any burden of saying anything meaningful”. It’s important, then, to understand music as a discourse between musical elements. But all in all, Decenteceo said there’s value in whatever immediate appeal people find in the music they listen to, whether or not they understand the words. Music, after all, is the universal language.

Disponível em https://www.vice.com/. March, 2022. Adaptado.

Na frase “there are certain musical techniques that are generally used to convey certain moods”, a palavra “convey” poderia ser substituída, sem prejuízo de sentido, por

 

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Questão presente nas seguintes provas
2990973 Ano: 2023
Disciplina: Inglês (Língua Inglesa)
Banca: FUVEST
Orgão: USP
Provas:

From French electronic and Japanese indie to K-pop and Spanish jazz, it’s common for people to listen to songs they don’t necessarily understand. Not knowing the language of the lyrics, it seems, doesn’t stop people from liking—and sometimes even singing along to—a song. Unless the listener is looking up the dictionary meaning of the lyrics, then the dictionary meaning of the lyrics doesn’t make or break their appreciation of a song. But why?

“It’s a complicated answer,” said musicologist Lisa Decenteceo, adding that it all starts with what’s called “sound symbolism.” Sound symbolism refers to the study of the relationships between utterances and their meaning. This doesn’t have to do only with music. Marketers, for example, can tune into sound symbolism as part of their strategy in coming up with appealing brand names. In music as well as in branding, Decenteceo explained, there’s something about the appeal of words as sounds, beyond their meaning in a language. While things like culture and personal experiences affect people’s responses to different kinds of music, she explained there are certain musical techniques that are generally used to convey certain moods. One of which is scale.

“Songs in a major scale usually have brighter, happier sounds, while minor scales usually have the slightly darker, melancholic feel,” explains Thea Tolentino, a music teacher.

The human brain is wired to respond to sound, she added.

In a process called entrainment, the brain “synchronizes our breathing, our movement, even neural activities with the sounds we hear.” This is why fast-paced music is so popular for running, for example, or why some yoga teachers play rhythmic and melodic tracks in their classes. And there are also the things that accompany the words. “Elements of sound and music like pitch, melody, harmony, timbre, and amplitude have an affective, emotional, psychological, cognitive, and even physical impact on listeners. Music adds so much meaning and dimension to texts through a complex of these avenues,” said Decenteceo. What all these things do, she added, is liberate the words. “Song frees the voice from any burden of saying anything meaningful”. It’s important, then, to understand music as a discourse between musical elements. But all in all, Decenteceo said there’s value in whatever immediate appeal people find in the music they listen to, whether or not they understand the words. Music, after all, is the universal language.

Disponível em https://www.vice.com/. March, 2022. Adaptado.

De acordo com o texto, os estudos sobre as propriedades do som

 

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Questão presente nas seguintes provas
2990741 Ano: 2023
Disciplina: Inglês (Língua Inglesa)
Banca: CESPE / CEBRASPE
Orgão: MRE
Provas:
Text 1A2-III
In January 1948, before three pistol shots put an end to his life, Gandhi had been on the political stage for more than fifty years. He had inspired two generations of Indian patriots, shaken an empire and sparked off a revolution which was to change the face of Africa and Asia. To millions of his own people, he was the Mahatma — the great soul — whose sacred glimpse was a reward in itself.
By the end of 1947 he had lived down much of the suspicion, ridicule and opposition which he had to face, when he first raised the banner of revolt against racial exclusiveness and imperial domination. His ideas, once dismissed as quaint and utopian, had begun to strike answering chords in some of the finest minds in the world. “Generations to come, it may be,” Einstein had said of Gandhi in July 1944, “will scarcely believe that such a one as this ever in flesh and blood walked upon earth.”
Though his life had been a continual unfolding of an endless drama, Gandhi himself seemed the least dramatic of men. It would be difficult to imagine a man with fewer trappings of political eminence or with less of the popular image of a heroic figure. With his loin cloth, steel-rimmed glasses, rough sandals, a toothless smile and a voice which rarely rose above a whisper, he had a disarming humility. He was, if one were to use the famous words of the Buddha, a man who had “by rousing himself, by earnestness, by restraint and control, made for himself an island which no flood could overwhelm.”
Gandhi’s deepest strivings were spiritual, but he did not — as had been the custom in his country — retire to a cave in the Himalayas to seek his salvation. He carried his cave within him. He did not know, he said, any religion apart from human activity; the spiritual law did not work in a vacuum, but expressed itself through the ordinary activities of life.
This aspiration to relate the spirit of religion to the problems of everyday life runs like a thread through Gandhi’s career: his uneventful childhood, the slow unfolding and the near-failure of his youth, the reluctant plunge into the politics of Natal, the long unequal struggle in South Africa, and the vicissitudes of the Indian struggle for freedom, which under his leadership was to culminate in a triumph not untinged with tragedy.
B. R. Nanda. Gandhi: a pictorial biography, 1972 (adapted).
The word “quaint” (second sentence of the second paragraph), in its use in text 1A2-III, means
 

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Questão presente nas seguintes provas
2990740 Ano: 2023
Disciplina: Inglês (Língua Inglesa)
Banca: CESPE / CEBRASPE
Orgão: MRE
Provas:
Text 1A2-III
In January 1948, before three pistol shots put an end to his life, Gandhi had been on the political stage for more than fifty years. He had inspired two generations of Indian patriots, shaken an empire and sparked off a revolution which was to change the face of Africa and Asia. To millions of his own people, he was the Mahatma — the great soul — whose sacred glimpse was a reward in itself.
By the end of 1947 he had lived down much of the suspicion, ridicule and opposition which he had to face, when he first raised the banner of revolt against racial exclusiveness and imperial domination. His ideas, once dismissed as quaint and utopian, had begun to strike answering chords in some of the finest minds in the world. “Generations to come, it may be,” Einstein had said of Gandhi in July 1944, “will scarcely believe that such a one as this ever in flesh and blood walked upon earth.”
Though his life had been a continual unfolding of an endless drama, Gandhi himself seemed the least dramatic of men. It would be difficult to imagine a man with fewer trappings of political eminence or with less of the popular image of a heroic figure. With his loin cloth, steel-rimmed glasses, rough sandals, a toothless smile and a voice which rarely rose above a whisper, he had a disarming humility. He was, if one were to use the famous words of the Buddha, a man who had “by rousing himself, by earnestness, by restraint and control, made for himself an island which no flood could overwhelm.”
Gandhi’s deepest strivings were spiritual, but he did not — as had been the custom in his country — retire to a cave in the Himalayas to seek his salvation. He carried his cave within him. He did not know, he said, any religion apart from human activity; the spiritual law did not work in a vacuum, but expressed itself through the ordinary activities of life.
This aspiration to relate the spirit of religion to the problems of everyday life runs like a thread through Gandhi’s career: his uneventful childhood, the slow unfolding and the near-failure of his youth, the reluctant plunge into the politics of Natal, the long unequal struggle in South Africa, and the vicissitudes of the Indian struggle for freedom, which under his leadership was to culminate in a triumph not untinged with tragedy.
B. R. Nanda. Gandhi: a pictorial biography, 1972 (adapted).
The expression “lived down” (first sentence of the second paragraph of text 1A2-III) means
 

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Questão presente nas seguintes provas
2990739 Ano: 2023
Disciplina: Inglês (Língua Inglesa)
Banca: CESPE / CEBRASPE
Orgão: MRE
Provas:
Text 1A2-II
I have often thought how interesting a magazine paper might be written by any author who would—that is to say, who could—detail, step by step, the processes by which any one of his compositions attained its ultimate point of completion. Why such a paper has never been given to the world, I am much at a loss to say—but, perhaps, the authorial vanity has had more to do with the omission than any one other cause. Most writers—poets in especial—prefer having it understood that they compose by a species of fine frenzy—an ecstatic intuition—and would positively shudder at letting the public take a peep behind the scenes, at the elaborate and vacillating crudities of thought—at the true purposes seized only at the last moment—at the innumerable glimpses of idea that arrived not at the maturity of full view—at the fully-matured fancies discarded in despair as unmanageable—at the cautious selections and rejections—at the painful erasures and interpolations—in a word, at the wheels and pinions—the tackle for scene-shifting—the step-ladders, and demon-traps—the cock’s feathers, the red paint and the black patches, which, in ninety-nine cases out of a hundred, constitute the properties of the literary histrio.
I am aware, on the other hand, that the case is by no means common, in which an author is at all in condition to retrace the steps by which his conclusions have been attained. In general, suggestions, having arisen pell-mell are pursued and forgotten in a similar manner.
For my own part, I have neither sympathy with the repugnance alluded to, nor, at any time, the least difficulty in recalling to mind the progressive steps of any of my compositions, and, since the interest of an analysis or reconstruction, such as I have considered a desideratum, is quite independent of any real or fancied interest in the thing analysed, it will not be regarded as a breach of decorum on my part to show the modus operandi by which some one of my own works was put together. I select The Raven as most generally known. It is my design to render it manifest that no one point in its composition is referable either to accident or intuition—that the work proceeded step by step, to its completion, with the precision and rigid consequence of a mathematical problem.
Edgar Allan Poe. The Philosophy of Composition, 1846 (adapted)
In the third sentence of text 1A2-II, the fragment “shudder at” can be correctly replaced by
 

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Questão presente nas seguintes provas
2990738 Ano: 2023
Disciplina: Inglês (Língua Inglesa)
Banca: CESPE / CEBRASPE
Orgão: MRE
Provas:
Text 1A2-II
I have often thought how interesting a magazine paper might be written by any author who would—that is to say, who could—detail, step by step, the processes by which any one of his compositions attained its ultimate point of completion. Why such a paper has never been given to the world, I am much at a loss to say—but, perhaps, the authorial vanity has had more to do with the omission than any one other cause. Most writers—poets in especial—prefer having it understood that they compose by a species of fine frenzy—an ecstatic intuition—and would positively shudder at letting the public take a peep behind the scenes, at the elaborate and vacillating crudities of thought—at the true purposes seized only at the last moment—at the innumerable glimpses of idea that arrived not at the maturity of full view—at the fully-matured fancies discarded in despair as unmanageable—at the cautious selections and rejections—at the painful erasures and interpolations—in a word, at the wheels and pinions—the tackle for scene-shifting—the step-ladders, and demon-traps—the cock’s feathers, the red paint and the black patches, which, in ninety-nine cases out of a hundred, constitute the properties of the literary histrio.
I am aware, on the other hand, that the case is by no means common, in which an author is at all in condition to retrace the steps by which his conclusions have been attained. In general, suggestions, having arisen pell-mell are pursued and forgotten in a similar manner.
For my own part, I have neither sympathy with the repugnance alluded to, nor, at any time, the least difficulty in recalling to mind the progressive steps of any of my compositions, and, since the interest of an analysis or reconstruction, such as I have considered a desideratum, is quite independent of any real or fancied interest in the thing analysed, it will not be regarded as a breach of decorum on my part to show the modus operandi by which some one of my own works was put together. I select The Raven as most generally known. It is my design to render it manifest that no one point in its composition is referable either to accident or intuition—that the work proceeded step by step, to its completion, with the precision and rigid consequence of a mathematical problem.
Edgar Allan Poe. The Philosophy of Composition, 1846 (adapted)
In text 1A2-II, Poe affirms that
 

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Questão presente nas seguintes provas
2990737 Ano: 2023
Disciplina: Inglês (Língua Inglesa)
Banca: CESPE / CEBRASPE
Orgão: MRE
Provas:
Text 1A2-II
I have often thought how interesting a magazine paper might be written by any author who would—that is to say, who could—detail, step by step, the processes by which any one of his compositions attained its ultimate point of completion. Why such a paper has never been given to the world, I am much at a loss to say—but, perhaps, the authorial vanity has had more to do with the omission than any one other cause. Most writers—poets in especial—prefer having it understood that they compose by a species of fine frenzy—an ecstatic intuition—and would positively shudder at letting the public take a peep behind the scenes, at the elaborate and vacillating crudities of thought—at the true purposes seized only at the last moment—at the innumerable glimpses of idea that arrived not at the maturity of full view—at the fully-matured fancies discarded in despair as unmanageable—at the cautious selections and rejections—at the painful erasures and interpolations—in a word, at the wheels and pinions—the tackle for scene-shifting—the step-ladders, and demon-traps—the cock’s feathers, the red paint and the black patches, which, in ninety-nine cases out of a hundred, constitute the properties of the literary histrio.
I am aware, on the other hand, that the case is by no means common, in which an author is at all in condition to retrace the steps by which his conclusions have been attained. In general, suggestions, having arisen pell-mell are pursued and forgotten in a similar manner.
For my own part, I have neither sympathy with the repugnance alluded to, nor, at any time, the least difficulty in recalling to mind the progressive steps of any of my compositions, and, since the interest of an analysis or reconstruction, such as I have considered a desideratum, is quite independent of any real or fancied interest in the thing analysed, it will not be regarded as a breach of decorum on my part to show the modus operandi by which some one of my own works was put together. I select The Raven as most generally known. It is my design to render it manifest that no one point in its composition is referable either to accident or intuition—that the work proceeded step by step, to its completion, with the precision and rigid consequence of a mathematical problem.
Edgar Allan Poe. The Philosophy of Composition, 1846 (adapted)
It can be inferred from the ideas of text 1A2-II that
 

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