SELEÇÃO DISCENTE PPGH - MESTRADO
PROVA DE IDIOMAS
LÍNGUA INGLESA
TEMPO: 2 HORAS
INSTRUÇÕES AOS CANDIDATOS
INFORMAÇÕES AOS CANDIDATOS 1 - Não avance a página do arquivo até que
seja orientado a fazê-lo.
2 - Você receberá um arquivo folha de respostas. Escreva seu CPF no campo reservado, caso esteja em branco. Ao salvar o arquivo para encaminhar ao examinador, utilize a seguinte norma: NÚMERO DO CPF_ MESTRADO_INGLÊS
3 - Leia atentamente as instruções antes de cada parte.
Este teste contém 15 (quinze) questões, divididas em 3 partes, totalizando 50 (cinquenta) pontos.
• Parte 1: Questões 1 a 11 (questão 01: 10 pontos; questões 02 a 11: 1 ponto cada) • Parte 2: Questões 12 a 14 (01 ponto por item, totalizando 15 pontos)
• Parte 3: Questão 15 (15 pontos)
4 - Em caso de dúvidas sobre o procedimento de prova, encaminhe mensagem pelo chat da sala virtual ao examinador.
5 - Utilize os campos preenchíveis da folha de respostas para escrever as suas respostas. 6 - Após o término da sessão, você terá 05 (cinco) minutos para enviar o arquivo para o examinador.
7 - Mantenha sua câmera ligada e microfone desativado durante toda a sessão
PARTE 1
The national question and the labour question
Para as questões 1 a 11 leia o texto a seguir:
The metanarrative of anticolonial triumph takes two forms. One, the narrative of social mobilization, shows that inchoate, often local, resistance to colonial rule which had been evident since the conquest, was channelled into a unified anticolonial movement in the years after World War II by Western-educated intellectuals. Mobilizing African teachers, clerks, workers and peasants, working through organizations ranging from ethnic associations to groups of market women to alumni of secondary schools, and bringing people into modern political parties, the post-war leaders forged a movement that attacked head on the racist construction of the colonial state and claimed its territory, its symbols and its institutions to bring material progress and a sense of national identity to the people of each African colony. The second metanarrative is the revolutionary one, denying legitimacy to the modernizing national elite as much as to the colonial regime. Frantz Fanon argued that wage workers, aspiring only to the privileges of white workers in the colony, could not consistently challenge colonial dominance. Rather, it would be peasants and the lumpen proletariat who would spearhead the struggle, for only they were willing to face up to the absolute denial of identity that colonialism necessarily entailed, and to use violence to end it. Fanon was not in fact a nationalist, and had little sympathy for the rhetoric of racial unity or the invocation of symbols of the African past that ‘bourgeois nationalists’ found easy to embrace as they set themselves up as brokers between African ‘tradition’ and post-colonial ‘modernity’. His imagined future was actually a reversal of an imperialist past: “The last shall be first and the first last”. Decolonization is the putting into practice of this sentence’.
These metahistories of decolonization imply particular readings of colonialism itself. The first version accepts the image of progress associated with Western education, the expansion of markets, and global linkages, but insists that colonialism blocked the path, which could only be cleared by national liberation, hence a focus on social struggles in colonies insofar as they led to and were subsumed in the national struggle. The second version sees colonialism as destructive at every level, the only possible change a total reversal of a political and social order. The irony of Fanon’s position is that his quest to define the True Anticolonialist allows colonialism, by the logic of inversion, to define the only politics to which he can accord legitimacy.
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Questão 01. Decida qual das paráfrases abaixo melhor resume a ideia central do texto de Frederick Cooper. A seguir, escreva, EM PORTUGUÊS, uma justificativa para sua escolha. Em seu comentário cite ao menos uma passagem do texto. (1,0 pontos)
That different groups among a colonized population might bring their own histories and their own interests to a complex engagement with colonial power, is lost in a powerful rhetoric that not only demands a singular focus but also delegitimates any other kind of contestation.
Fonte: COOPER, Frederick. The dialectics of Decolonization: Nationalism and labour movements in post-war French Africa. In: DUARA, Prasenjit. Decolonization: rewriting histories. New York: Routledge, 2004.
Instruções adicionais:
1. Na folha de respostas, marque a alternativa (A ou B) que considerar correta.
2. Escreva seu comentário no campo interativo. As citações ao texto podem ser feitas apontando as linhas, conforme numeração nas laterais da página do caderno de prova. Exemplo:
( ) A ( ) B
(...) de acordo com autor nas linhas 18 a 20 (...)
A. The author focuses on the irony and contradiction found in Frantz Fanon’s “True Anticolonialist” definitions, due to its use of colonial tools by inversion, which is a reflection of wage workers that aspire a shift in their condition by acquiring the conditions of the privileged white workers of the colony.
B. The author intends to analyse the narratives on anticolonial triumph by its two forms. One, which proposes that anticolonial movements were channelled by the intellectual elites of African states. Second, which suggests that the triumph can only come from a revolutionary form in which the protagonists are the peasants and lumpen proletariat.
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nas linhas 1 e 11 o autor apresenta as duas metanarrativas sobre a
colonialidade que pretende analisar e retoma na linha 24. Embora ele
apresente a contradição no pensamento de Fanon, este não é o foco do
texto, invalidando, assim, a opção A.
Questão 02. Apenas os camponeses e o lumpenproletariado poderiam encabeçar a luta anticolonial, visto que apenas estes estariam dispostos a encarar e combater a negação da identidade promovida pelo colonialismo. (0,25 pontos)
( ) VERDADEIRO ( ) FALSO
Questão 03. Fanon é considerado como um nacionalista, cuja agenda incluía a retórica de unidade racial e invocação de símbolos de um passado africano. (0,25 pontos)
( ) VERDADEIRO ( ) FALSO
Questão 04. Decolonizar, segundo o texto, significa aniquilar completamente qualquer herança e vestígio do passado colonial. (0,25 pontos)
( ) VERDADEIRO ( ) FALSO
Questão 05. Ambas metanarrativas/metahistórias comportam leituras do colonialismo em si. (0,25 pontos)
( ) VERDADEIRO ( ) FALSO
Questão 06. A posição defendida por Frantz Fanon é entendida no texto como revolucionária e anticolonial, sendo a única maneira de reverter o processo colonial com êxito. (0,25 pontos)
( ) VERDADEIRO ( ) FALSO
Para as questões 02 a 06, decida se as inferências são verdadeiras ou falsas em relação ao texto. Justifique suas respostas com um
comentário fazendo menção a alguma passagem do texto.
Instruções adicionais:
Na folha de repostas, marque ( ) VERDADEIRO ou ( ) FALSO.
A seguir, escreva um comentário no campo interativo. As citações podem ser feitas com menção ao número das linhas.
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LINHAS 15/16 linha 18 não informado linha 24 linhas 30/31/32Para as questões 07 a 11, explique o sentido EM PORTUGUÊS das expressões dadas no texto. Formule sua resposta explicando com as
suas palavras o sentido do termo dado. Traduções literais não serão aceitas. (0,25 pontos cada)
Exemplo:
No trecho em questão, o termo X se refere a ... - CORRETO Fall: “queda” – ERRADO
Questão 07. “metanarrative” (line 1) Questão 08. “attacked head on” (lines 9)
Questão 09. “they set themselves up as brokers” (line 21)
Questão 10. “The last shall be first and the first last” (line 23) Questão 11. “decolonization” (line 24)
PARTE 2
Para as questões 12 a 14, leia o texto a seguir:
A
And so Dada was born of a need for independence, of a distrust toward unity. Those who are with us preserve their freedom. We recognize no theory. We have enough cubist and futurist academies: laboratories of formal ideas. Is the aim of art to make money and cajole the nice nice bourgeois? Rhymes ring with the assonance of the currencies and the inflexion slips along the line of
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Questão 07. “metanarrative” (line 1) – uma narrativa sobre outra narrativa. No texto é a narrativa sobre duas narrativas construídas sobre a luta anticolonialista.
Questão 08. “attacked head on” (lines 8/9) – lutaram frente a frente. Encararam diretamente. No texto se trata do enfrentamento combativo dos movimentos à lógica colonialista.
Questão 09. “they set themselves up as brokers” (line 20) – assumir a postura de mediação de ambas situações. No texto se trata da posição de mediação assumida pela burguesia nacional entre a tradição Africana e a modernidade pós-colonial Questão 10. “The last shall be first and the first last” (line 22) – inverter a ordem de importância, centralizar a margem e empurrar o centro para as margens.
Questão 11. “decolonization” (line 28) – o sentido de decolonizar é pôr em prática a centralização da margem.
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the belly in profile. All groups of artists have arrived at this trust company utter riding their steeds on various comets. While the door remains open to the possibility of wallowing in cushions and good things to eat.
B
Cubism was born out of the simple way of looking at an object: Cezanne painted a cup 20 centimeters below his eyes, the cubists look at it from above, others complicate appearance by making a perpendicular section and arranging it conscientiously on the side. (I do not forget the creative artists and the profound laws of matter which they established once and for all.) The futurist sees the same cup in movement, a succession of objects one beside the others and maliciously adds a few force lines. This does not prevent the canvas from being a good or bad painting suitable for the investment of intellectual capital. The new painter creates a world, the elements of which are also its implements, a sober, definite work without argument. The new artist protests: he no longer paints (symbolic and illusionist reproduction) but creates directly in stone, wood, iron, tin, boulders—locomotive organisms capable of being turned in all directions by the limpid wind of momentary sensation. All pictorial or plastic work is useless: let it then be a monstrosity that frightens servile minds, and not sweetening to decorate the refectories of animals in human costume, illustrating the sad fable of mankind.
C
Philosophy is the question: from which side shall we look at life, God, the idea or other phenomena. Everything one looks at is false. I do not consider the relative result more important than the choice between cake and cherries after dinner. The system of quickly looking at the other side of a thing in order to impose your opinion indirectly is called dialectics, in other words, haggling over the spirit of fried potatoes while dancing method around it. If I cry out:
Ideal, ideal, ideal,
Knowledge, knowledge, knowledge, Boomboom, boomboom, boomboom, D
I have given a pretty faithful version of progress, law, morality and all other fine qualities that various highly intelligent men have discussed in so many books, only to conclude that after all everyone dances to his own personal boomboom, and that the writer is entitled to his boomboom: the satisfaction of pathological curiosity a private bell for inexplicable needs; a bath; pecuniary difficulties; a stomach with repercussions in tile; the authority of the mystic
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wand formulated as the bouquet of a phantom orchestra made up of silent fiddle bows greased with filters made of chicken manure.
(…) E
Every product of disgust capable of becoming a negation of the family is Dada; a protest with the fists of its whole being engaged in destructive action: Dada; know ledge of all the means rejected up until now by the shamefaced sex of comfortable compromise and good manners: Dada; abolition o/ logic, which is the dance of those impotent to create: Dada; of every social hierarchy and equation set up for the sake of values by our valets: Dada: every object, all objects, sentiments, obscurities, apparitions and the precise clash of parallel lines are weapons for the fight: Dada; abolition of memory: Dada; abolition of archaeology: Dada; abolition of prophets: Dada; abolition of the future: Dada; absolute and unquestionable faith in every god that is the immediate product of spontaneity: Dada.
Dada Manifesto (1918) Tristan Tzara 45
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Questão 12. Associe cada tópico abaixo a cada uma das partes do documento marcado com as letras A,B,C,D,E. Na folha de respostas, marque uma letra para cada item. (0,25 pontos cada)
12.1 The philosophical idea of what Dada might be. ( ) A ( ) B ( ) C ( ) D ( ) E
12.2 The origins and some aspects of who is a Dada. ) ( ) A ( ) B ( ) C ( ) D ( ) E
12.3 All things that can be Dada, and, thus, all things that are not Dada. ( ) A ( ) B ( ) C ( ) D ( ) E
12.4 Criticism of other artistic movements that Dada wishes to part from. The form of art in which Dada distances itself.
( ) A ( ) B ( ) C ( ) D ( ) E
12.5 Aspects of liberty and curiosity that guides the Dadaist artistic life. ( ) A ( ) B ( ) C ( ) D ( ) E
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Questão 13. Utilizando a mesma marcação para as partes do texto (A,B,C,D,E) aponte onde se pode encontrar as informações abaixo. Na folha de respostas, marque a letra correspondente à parte do texto onde se encontra a informação contida em cada item.
13.1 Não pertence ao Dadaísmo o estudo da perspectiva, a ideia de progresso e modernização, nem a pintura apenas pela pintura.
( ) A ( ) B ( ) C ( ) D ( ) E
13.2 O Dadaísmo pretende ser tudo e nada ao mesmo tempo, abole a lógica e qualquer crença.
( ) A ( ) B ( ) C ( ) D ( ) E
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Questão 15. Após fazer a leitura do texto, redija um resumo EM PORTUGUÊS entre 50 e 100 palavras e atribua três palavras chaves. (3,30 pontos)
PARTE 3
Para responder à questão 15, considere o texto abaixo.
Historical scholarship on black women especially has yet to map the broad contours of their political and social thought in any detail, or to examine their distinctive intellectual tradition as often self-educated thinkers with a sustained history of wrestling with both sexism and racism.
This neglect persists even as black women thinkers have become more prominent. Black women thinkers took on new visibility in 1992 when novelist and public intellectual Toni Morrison published a collection of essays on the Anita Hill–Clarence Thomas controversy, Race-ing Justice, En-gendering Power. Morrison aimed to provide much-needed “contextualized and intellectually focused insights” into how race and gender influenced late twentieth-century law and politics in the United States. Over half of the collection’s nineteen essays were authored by black women, and its publication proved to be a defining moment for black women thinkers, who took the lead in explaining how a peculiar historical nexus of race and gender drove a spectacle in law,
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Questão 14. Responda VERDADEIRO ou FALSO à seguinte proposição: “O Dadaísmo se constrói em cima da teoria de que é necessário abandonar a pintura sem propósito, a pintura pela beleza, ou a mera mudança de perspectiva”. Justifique sua resposta e em seu comentário cite ao menos uma passagem do texto. (1,5 pontos) ( ) VERDAIDEIRO ( ) FALSO
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O dadaísmo não se apoia em NENHUMA teoria. Parte A – Linha 2. Faz parte do movimento dadaísta desmanchar o apoio em teorias e paradigmas já existentes. Quando ao abandono da pintura sem propósito, o Dadá rejeita a arte decorativa apropriada pela burguesia.
politics, and media. More publicly than ever before, black women’s voices joined with those of other critical thinkers to make sense of the relationship between history, politics, race, gender, and power at the end of the twentieth century. While black women intellectuals had long been offering such analyses, Race-ing Justice, En-gendering Power broke new ground by creating a place for them in the arena of public intellectual exchange. Morrison stood in robust company in the early 1990s. Her generation included women such as Toni Cade Bambara, Angela Davis, Gerda Lerner, Barbara Smith, and Audre Lorde, feminist writers whose wide-ranging works pioneered what are today recognized as foundational volumes in the development of black women’s intellectual history. The Thomas-Hill volume was part of that work and affirmed that new insights emerge when black women’s voices are included in the great discussions of any era.
As we move forward into a new century, it is time to recognize black
women’s intellectual history as a distinct and growing field of study. This book comes together as a result of a series of conversations among scholars working in African diaspora and U.S. intellectual history. Historians and critics working on various black women thinkers, most of us were accustomed to solitary research and study. But in 2004, over dinner, the editors of this book began sharing notes. We found ourselves all working on projects that challenged the ways black women had been traditionally described. Most scholarship on black women focused on their work as activists, or discussed them as the objects of intellectual activity, but they rarely received attention as producers of knowledge. What were the intellectual traditions behind black women’s activism? How did black women engage with their objectification? At the same time, we also noted that we were all working in more isolation than necessary or desirable. From this discussion, the Black Women’s Intellectual and Cultural History (BWICH) Collective was formed. And over time it grew into a collaboration among fifteen scholars of literature and history, representing eleven colleges and universities in the United States and France. The collective’s three-year program included public presentations and conferences, along with small working-group discussions. And while each author has signed her or his contribution, the ethos of the collective ensures that the interpretations published here are informed by the whole.
Adaptado de: BAY, Mia et al. Toward an Intellectual History of Black Women. North Carolina: University of North Carolina Press, 2015 30 35 40 45 20 25 15
O texto apresenta uma retrospectiva ao desenvolvimento do pensamento intelectual de mulheres negras, que por tradição e dificuldade ao acesso aos espaços formais de educação, eram frequentemente auto-didatas. A ampliação da visibilidade destas pensadoras veio em 1992 com o lançamento do livro de Toni Morrison, que incluía ensaios que tratava das influências de raça e gênero nas leis e políticas dos EUA do século XX. A autora, junto a outras pensadoras negras, como Audre Lorde, Angela Davis, Gerda Lerner, têm ampliado o alcance dos discursos do pensamento negro feminista. É necessário reconhecer a importância do pensamento intelectual de
mulheres negras, adicionando suas perspectivas como intelectuais e não apenas como ativistas ou objetos de discurso intelectual.
