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Inglês — CACD 2012

CESPE/UnB · CACD – 1ª fase (TPS) · 54 itens · julgue cada item como Certo ou Errado

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Cadastre-se
 Can a planet survive the death of its sun? Scientists find two that did.1 Natalie Batalha has had plenty of experience fieldingquestions from both layfolk and other scientists over the pastcouple of years — and with good reason. Batalha is the deputy4principal investigator for the spectacularly successful Keplerspace telescope, which has found evidence of more than 2,000planets orbiting distant stars so far — including, just last week,7a world almost exactly the size of Earth. But Kepler is giving astronomers all sorts of newinformation about stars as well, and that’s what an European10TV correspondent wanted to know about during an interviewlast year. Was it true, she asked, that stars like the sun willeventually swell up and destroy their planets? It’s a common13question, and Batalha recited the familiar answer, one that’sbeen in astronomy textbooks for at least half a century: Yes,it’s true. Five or six billion years from now, Earth will be burnt16to a cinder. This old news was apparently quite new to theEuropean correspondent, because when she reported herterrifying scoop, she added a soupçon of conspiracy theory to19it: NASA, she suggested, was trying to downplay the story. It was not a proud moment for science journalism, butunexpectedly, at about the same time the European22correspondent was reporting her nonbulletin, Kepler scientistsdid discover a whole new wrinkle to the planet-eating-starscenario: it’s apparently possible for planets to be swallowed25up by their suns and live to tell the tale. According to a paperjust published in Nature, the Kepler probe has taken a closerlook at a star called KOI 55 and identified it as a “B28subdwarf”, the red-hot corpse of a sunlike star, one that alreadywent through its deadly expansion. Around it are two planets,both a bit smaller than Earth — and both so close to their home31star that even the tiniest solar expansion ought to haveconsumed them whole. And yet they seem, writes astronomerEliza Kempton in a Nature commentary, “to be alive and well.34Which begs the question, how did they survive?” How indeed? A star like the sun takes about 10 billionyears to use up the hydrogen supply. Once the hydrogen is37gone, the star cools from white hot to red hot and swellsdramatically: in the case of our solar system, the sun’s outerlayers will reach all the way to Earth. Eventually, those outer40layers will waft away to form what’s called a planetary nebulawhile the core shrinks back into an object just like KOI 55. If a planet like Earth spent a billion years simmering43in the outer layers of a star it would, says astronomer BetsyGreen, “just evaporate. Only planets with masses very muchlarger than the Earth, like Jupiter or Saturn, could possibly survive.”46 And yet these two worlds, known as KOI 55.01 andKOI 55.02, lived through the ordeal anyway. The key to thisseeming impossibility, suggest the astronomers, is that the49planets may have begun life as gas giants like Jupiter or Saturn,with rocky cores surrounded by vast, crushing atmospheres. Asthe star expanded, the gas giants would have spiraled inward52until they dipped into the stellar surface itself. The plungewould have been enough to strip off their atmospheres, buttheir rocky interiors could have survived — leaving,55eventually, the bleak tableau of the naked cores of two planetsorbiting the naked core of an elderly star.

Internet: <www.time.com> (adapted).

Based on the text, judge the following item.

  1. 1.

    The version presented after the slash retains the original meaning of the sentence taken from the text: “A star like the sun takes about 10 billion years to use up the hydrogen supply” (l.35-36) / It would take a sunlike star around 10 billion years to supply the necessary hydrogen.

  2. 2.

    The version presented after the slash retains the original meaning of the sentence taken from the text: “Eventually, those outer layers will waft away to form what’s called a planetary nebula while the core shrinks back into an object just like KOI 55” (l.39-41) / Eventually, those outer layers will spew away to shape what’s called a planetary nebula while the core shrinks back into an object just like KOI 55.

  3. 3.

    The version presented after the slash retains the original meaning of the sentence taken from the text: “Natalie Batalha has had plenty of experience fielding questions from both layfolk and other scientists over the past couple of years — and with good reason” (l.1-3) / Natalie Batalha was quite adept at discerning which questions were made by layfolk or by other scientists over the past couple of years — and with good reason.

  4. 4.

    The version presented after the slash retains the original meaning of the sentence taken from the text: “at about the same time the European correspondent was reporting her nonbulletin, Kepler scientists did discover a whole new wrinkle to the planet-eating-star scenario” (l.21-24) / at about the same time the European correspondent was reporting her nonbulletin, Kepler scientists did stumble upon a whole new crease to the planet-eating-star scene.

  5. 5.

    The version presented after the slash retains the original meaning of the sentence taken from the text: “This old news was apparently quite new to the European correspondent, because when she reported her terrifying scoop, she added a soupçon of conspiracy theory to it” (l.16-19) / This old news was apparently quite new to the European correspondent, because when she reported her terrifying scoop, she added a dab of conspiracy theory to it.

Cadastre-se para responder e ver o gabarito comentado
 Can a planet survive the death of its sun? Scientists find two that did.1 Natalie Batalha has had plenty of experience fieldingquestions from both layfolk and other scientists over the pastcouple of years — and with good reason. Batalha is the deputy4principal investigator for the spectacularly successful Keplerspace telescope, which has found evidence of more than 2,000planets orbiting distant stars so far — including, just last week,7a world almost exactly the size of Earth. But Kepler is giving astronomers all sorts of newinformation about stars as well, and that’s what an European10TV correspondent wanted to know about during an interviewlast year. Was it true, she asked, that stars like the sun willeventually swell up and destroy their planets? It’s a common13question, and Batalha recited the familiar answer, one that’sbeen in astronomy textbooks for at least half a century: Yes,it’s true. Five or six billion years from now, Earth will be burnt16to a cinder. This old news was apparently quite new to theEuropean correspondent, because when she reported herterrifying scoop, she added a soupçon of conspiracy theory to19it: NASA, she suggested, was trying to downplay the story. It was not a proud moment for science journalism, butunexpectedly, at about the same time the European22correspondent was reporting her nonbulletin, Kepler scientistsdid discover a whole new wrinkle to the planet-eating-starscenario: it’s apparently possible for planets to be swallowed25up by their suns and live to tell the tale. According to a paperjust published in Nature, the Kepler probe has taken a closerlook at a star called KOI 55 and identified it as a “B28subdwarf”, the red-hot corpse of a sunlike star, one that alreadywent through its deadly expansion. Around it are two planets,both a bit smaller than Earth — and both so close to their home31star that even the tiniest solar expansion ought to haveconsumed them whole. And yet they seem, writes astronomerEliza Kempton in a Nature commentary, “to be alive and well.34Which begs the question, how did they survive?” How indeed? A star like the sun takes about 10 billionyears to use up the hydrogen supply. Once the hydrogen is37gone, the star cools from white hot to red hot and swellsdramatically: in the case of our solar system, the sun’s outerlayers will reach all the way to Earth. Eventually, those outer40layers will waft away to form what’s called a planetary nebulawhile the core shrinks back into an object just like KOI 55. If a planet like Earth spent a billion years simmering43in the outer layers of a star it would, says astronomer BetsyGreen, “just evaporate. Only planets with masses very muchlarger than the Earth, like Jupiter or Saturn, could possibly survive.”46 And yet these two worlds, known as KOI 55.01 andKOI 55.02, lived through the ordeal anyway. The key to thisseeming impossibility, suggest the astronomers, is that the49planets may have begun life as gas giants like Jupiter or Saturn,with rocky cores surrounded by vast, crushing atmospheres. Asthe star expanded, the gas giants would have spiraled inward52until they dipped into the stellar surface itself. The plungewould have been enough to strip off their atmospheres, buttheir rocky interiors could have survived — leaving,55eventually, the bleak tableau of the naked cores of two planetsorbiting the naked core of an elderly star.

Internet: <www.time.com> (adapted).

Based on the text, judge if the following items are right (C) or wrong (E).

  1. 6.

    The European TV correspondent reported a scientific find that had been long known as if it were a recent breakthrough.

  2. 7.

    The researchers seem baffled by the recent find of the probe, since they did not expect planets to survive their sun’s expansion and subsequent shrinkage.

  3. 8.

    The article mocks the European TV correspondent’s disinformation about astronomy.

  4. 9.

    The recent discovery of a planet with some features very similar to those of the Earth is one of the interesting finds of the Kepler space telescope.

Cadastre-se para responder e ver o gabarito comentado

Godzilla’s grandchildren

1 In Japan there is no kudos in going to jail for your art.Bending the rules, let alone breaking them, is largely taboo.That was one reason Toshinori Mizuno was terrified as he4worked undercover at the Fukushima Dai-ichi nuclear-powerplant, trying to get the shot that shows him in front of themangled third reactor holding up a referee’s red card. He was7also terrified of the radiation, which registered its highestreading where he took the photograph. The only reason he didnot arouse suspicion, he says, is because he was in regulation10radiation kit. And in Japan people rarely challenge a man inuniform. Mr. Mizuno is part of ChimPom, a six-person13collective of largely unschooled artists who have spent a lot oftime getting into tight spots since the disaster, and areengagingly thoughtful about the results.16 It is easy to dismiss ChimPom’s work as a publicitystunt. But the artists’ actions speak at least as loudly as theirimages. There is a logic to their seven years of guerrilla art that19has become clearer since the nuclear disaster of March 11th2011. In fact, Noi Sawaragi, a prominent art critic, says theymay be hinting at a new direction in Japanese contemporary22art. Radiation and nuclear annihilation have suffusedJapan’s subculture since the film Gojira (the Japanese25Godzilla) in 1954. The two themes crop up repeatedly inmanga and anime cartoons. Other young artists are ploughing similar ground.28Kota Takeuchi, for instance, secretly took a job at FukushimaDai-ichi and is recorded pointing an angry finger at the camerathat streams live images of the site. Later he used public news31conferences to pressure Tepco, operator of the plant, about theconditions of its workers inside. His work, like ChimPom’s,blurs the distinction between art and activism.34 Japanese political art is unusual and the newsubversiveness could be a breath of fresh air; if only anyonenoticed. The ChimPom artists have received scant coverage in37the stuffy arts pages of the national newspapers. The groupheld just one show of Mr. Mizuno’s reactor photographs inJapan. He says: “The timing has not been right. The media will40just want to make the work look like a crime.”

Internet: <www.economist.com> (adapted).

Based on the text, judge the following item.

  1. 10.

    ChimPom is unique in mixing art with political protest.

  2. 11.

    The words “mangled” (l.6) and “suffused” (l.23) mean, respectively, humongous and imbued.

  3. 12.

    ChimPom is a large group of untrained artists whose work blend art and political activism.

  4. 13.

    The words “mangled” (l.6) and “suffused” (l.23) mean, respectively, mutilated and obscured.

  5. 14.

    The words “mangled” (l.6) and “suffused” (l.23) mean, respectively, subdued and covered.

  6. 15.

    ChimPom produces art which is dissonant with its members’ attitudes.

  7. 16.

    The words “mangled” (l.6) and “suffused” (l.23) mean, respectively, torn and zeroed in on.

  8. 17.

    The words “mangled” (l.6) and “suffused” (l.23) mean, respectively, ruined and permeated.

  9. 18.

    ChimPom creates art which is avant-garde, and is setting the path of modern art in Japan.

  10. 19.

    ChimPom adopts some artistic-political stance which is being largely ignored by the Japanese media nationwide.

Cadastre-se para responder e ver o gabarito comentado
 Can a planet survive the death of its sun? Scientists find two that did.1 Natalie Batalha has had plenty of experience fieldingquestions from both layfolk and other scientists over the pastcouple of years — and with good reason. Batalha is the deputy4principal investigator for the spectacularly successful Keplerspace telescope, which has found evidence of more than 2,000planets orbiting distant stars so far — including, just last week,7a world almost exactly the size of Earth. But Kepler is giving astronomers all sorts of newinformation about stars as well, and that’s what an European10TV correspondent wanted to know about during an interviewlast year. Was it true, she asked, that stars like the sun willeventually swell up and destroy their planets? It’s a common13question, and Batalha recited the familiar answer, one that’sbeen in astronomy textbooks for at least half a century: Yes,it’s true. Five or six billion years from now, Earth will be burnt16to a cinder. This old news was apparently quite new to theEuropean correspondent, because when she reported herterrifying scoop, she added a soupçon of conspiracy theory to19it: NASA, she suggested, was trying to downplay the story. It was not a proud moment for science journalism, butunexpectedly, at about the same time the European22correspondent was reporting her nonbulletin, Kepler scientistsdid discover a whole new wrinkle to the planet-eating-starscenario: it’s apparently possible for planets to be swallowed25up by their suns and live to tell the tale. According to a paperjust published in Nature, the Kepler probe has taken a closerlook at a star called KOI 55 and identified it as a “B28subdwarf”, the red-hot corpse of a sunlike star, one that alreadywent through its deadly expansion. Around it are two planets,both a bit smaller than Earth — and both so close to their home31star that even the tiniest solar expansion ought to haveconsumed them whole. And yet they seem, writes astronomerEliza Kempton in a Nature commentary, “to be alive and well.34Which begs the question, how did they survive?” How indeed? A star like the sun takes about 10 billionyears to use up the hydrogen supply. Once the hydrogen is37gone, the star cools from white hot to red hot and swellsdramatically: in the case of our solar system, the sun’s outerlayers will reach all the way to Earth. Eventually, those outer40layers will waft away to form what’s called a planetary nebulawhile the core shrinks back into an object just like KOI 55. If a planet like Earth spent a billion years simmering43in the outer layers of a star it would, says astronomer BetsyGreen, “just evaporate. Only planets with masses very muchlarger than the Earth, like Jupiter or Saturn, could possibly survive.”46 And yet these two worlds, known as KOI 55.01 andKOI 55.02, lived through the ordeal anyway. The key to thisseeming impossibility, suggest the astronomers, is that the49planets may have begun life as gas giants like Jupiter or Saturn,with rocky cores surrounded by vast, crushing atmospheres. Asthe star expanded, the gas giants would have spiraled inward52until they dipped into the stellar surface itself. The plungewould have been enough to strip off their atmospheres, buttheir rocky interiors could have survived — leaving,55eventually, the bleak tableau of the naked cores of two planetsorbiting the naked core of an elderly star.

Internet: <www.time.com> (adapted).

According to the text, judge if the items below about Natalie Batalha are right (C) or wrong (E).

  1. 20.

    Natalie Batalha is used to talking about her research to specialists and non-specialists alike.

  2. 21.

    She is the chief researcher of the space project that involves the Kepler telescope.

  3. 22.

    Natalie Batalha demonstrated how planets can survive the death of the star they orbit.

  4. 23.

    She was taken aback by the European TV correspondent’s ignorance about the natural process of a star’s living cycle.

Cadastre-se para responder e ver o gabarito comentado

Godzilla’s grandchildren

1 In Japan there is no kudos in going to jail for your art.Bending the rules, let alone breaking them, is largely taboo.That was one reason Toshinori Mizuno was terrified as he4worked undercover at the Fukushima Dai-ichi nuclear-powerplant, trying to get the shot that shows him in front of themangled third reactor holding up a referee’s red card. He was7also terrified of the radiation, which registered its highestreading where he took the photograph. The only reason he didnot arouse suspicion, he says, is because he was in regulation10radiation kit. And in Japan people rarely challenge a man inuniform. Mr. Mizuno is part of ChimPom, a six-person13collective of largely unschooled artists who have spent a lot oftime getting into tight spots since the disaster, and areengagingly thoughtful about the results.16 It is easy to dismiss ChimPom’s work as a publicitystunt. But the artists’ actions speak at least as loudly as theirimages. There is a logic to their seven years of guerrilla art that19has become clearer since the nuclear disaster of March 11th2011. In fact, Noi Sawaragi, a prominent art critic, says theymay be hinting at a new direction in Japanese contemporary22art. Radiation and nuclear annihilation have suffusedJapan’s subculture since the film Gojira (the Japanese25Godzilla) in 1954. The two themes crop up repeatedly inmanga and anime cartoons. Other young artists are ploughing similar ground.28Kota Takeuchi, for instance, secretly took a job at FukushimaDai-ichi and is recorded pointing an angry finger at the camerathat streams live images of the site. Later he used public news31conferences to pressure Tepco, operator of the plant, about theconditions of its workers inside. His work, like ChimPom’s,blurs the distinction between art and activism.34 Japanese political art is unusual and the newsubversiveness could be a breath of fresh air; if only anyonenoticed. The ChimPom artists have received scant coverage in37the stuffy arts pages of the national newspapers. The groupheld just one show of Mr. Mizuno’s reactor photographs inJapan. He says: “The timing has not been right. The media will40just want to make the work look like a crime.”

Internet: <www.economist.com> (adapted).

According to the text, judge if the following items are right (C) or wrong (E).

  1. 24.

    Toshinori Mizuno was more concerned with the radiation he was exposed to while he was at the nuclear-power plant than with the fact that his art challenged the Japanese established rules.

  2. 25.

    Some Fukushima Dai-ichi employers have turned into political activists after the accident of 2011.

  3. 26.

    Mr. Mizuno believes the radiation kit protected him from more than the radiation in the area.

  4. 27.

    The Japanese in general are enthusiastic about artists who get in trouble for breaking the traditional dogmas prevalent in the artistic milieu.

Cadastre-se para responder e ver o gabarito comentado

Darkness and light

1 Caravaggio’s art is made from darkness and light. Hispictures present spotlit moments of extreme and often agonizedhuman experience. A man is decapitated in his bedchamber,4blood spurting from a deep gash in his neck. A woman is shotin the stomach with a bow and arrow at point-blank range.Caravaggio’s images freeze time but also seem to hover on the7brink of their own disappearance. Faces are brightlyilluminated. Details emerge from darkness with such uncannyclarity that they might be hallucinations. Yet always the10shadows encroach, the pools of blackness that threaten toobliterate all. Looking at his pictures is like looking at theworld of flashes of lightning.13 Caravaggio’s life is like his art, a series of lightningflashes in the darkness of nights. He is a man who can never beknown in full because almost all that he did, said and thought16is lost in the irrecoverable past. He was one of the mostelectrifying original artists ever to have lived, yet we have onlyone solitary sentence from him on the subject of painting —19the sincerity of which is, in any case, questionable, since it waselicited from him when he was under interrogation for thecapital crime of libel.22 When Caravaggio emerges from the obscurity of thepast he does so, like the characters in his own paintings, as aman in extremis. He lived much of his life as a fugitive, and25that is how he is preserved in history — a man on the run,heading for the hills, keeping to the shadows. But he is caught,now and again, by the sweeping beam of a searchlight. Each28glimpse is different. He appears in many guises and moods.Caravaggio throws stones at the house of his landlady andsings ribald songs outside her window. He has a fight with a31waiter about the dressing on a plate of artichokes. His life is aseries of intriguing and vivid tableaux — scenes that abruptlyswitch from low farce to high drama.

Andrew Graham-Dixon. Caravaggio: a life sacred and profane. New York – London: W. W. Norton & Company, 2010 (adapted).

Based on the text, judge the following item.

  1. 28.

    In the last paragraph of the text, the cause for Caravaggio’s disagreement with the waiter was the lack of freshness of the artichokes.

  2. 29.

    In line 5, “at point-blank range” means summarily.

  3. 30.

    In line 5, “at point-blank range” means fatally.

  4. 31.

    In the last paragraph of the text, the cause for Caravaggio’s disagreement with the waiter was the sauce served with the artichokes.

  5. 32.

    In line 5, “at point-blank range” means in a cold-blooded manner.

  6. 33.

    In the last paragraph of the text, the cause for Caravaggio’s disagreement with the waiter was the frugality of the dish.

  7. 34.

    In line 5, “at point-blank range” means without intention.

  8. 35.

    In the last paragraph of the text, the cause for Caravaggio’s disagreement with the waiter was the inartistic appearance of the food.

  9. 36.

    In the last paragraph of the text, the cause for Caravaggio’s disagreement with the waiter was the unaffordable price of the plate.

  10. 37.

    In line 5, “at point-blank range” means within a short distance.

Cadastre-se para responder e ver o gabarito comentado
1 While on their way, the slaves selected to go to thegreat House farm would make the dense old woods, for milesaround, reverberate with their wild songs, revealing at once the4highest joy and the deepest sadness. (...) They would sing, asa chorus, to words which to many would seem unmeaningjargon, but which, nevertheless, were full of meaning to7themselves. I have sometimes thought that the mere hearing ofthose songs would do more to impress some minds with thehorrible character of slavery, than the reading of whole10volumes of philosophy on the subject could do. I did not, when a slave, understand the deep meaningof those rude and apparently incoherent songs. I was myself13within the circle; so that I neither saw nor heard as thosewithout might see and hear. They told a tale of woe which wasthen altogether beyond my feeble comprehension; they were16tones loud, long, and deep; they breathed the prayer andcomplaint of souls boiling over with the bitterest anguish.Every tone was a testimony against slavery, and a prayer to19God for deliverance from chains. The hearing of those wildnotes always depressed my spirit, and filled me with ineffablesadness. I have frequently found myself in tears while hearing22them. The mere recurrence to those songs, even now, afflictsme; and while I am writing these lines, an expression of feelinghas already found its way down my cheek. To those songs I25trace my first glimmering conception of the dehumanizingcharacter of slavery. I can never get rid of that conception.Those songs still follow me, to deepen my hatred of slavery,28and quicken my sympathies for my brethren in bonds. If anyone wishes to be impressed with the soul-killing effects ofslavery, let him go to Colonel Lloyd’s plantation, and, on31allowance-day, place himself in the deep pine woods, and therelet him, in silence, analyze the sounds that shall pass throughthe chambers of his soul, and if he is not thus impressed, it will34only be because “there is no flesh in his obdurate heart.”

Frederick Douglass. Narrative of the life of Frederick Douglass, an American slave. Charleston (SC): Forgotten Books, 2008, p. 26-7 (adapted).

Based on the text, judge if the following items are right (C) or wrong (E).

  1. 38.

    The music produced by the slaves had the power to incite them to rebel against their appalling condition.

  2. 39.

    To outsiders, the music sung by the slaves would probably sound like babbling.

  3. 40.

    The narrator believes that his fellow slaves managed to translate their dire predicament into moving tunes.

  4. 41.

    The author of the text ascribes his nascent political awareness regarding slavery to the tunes he heard the slaves sing.

Cadastre-se para responder e ver o gabarito comentado
1 While on their way, the slaves selected to go to thegreat House farm would make the dense old woods, for milesaround, reverberate with their wild songs, revealing at once the4highest joy and the deepest sadness. (...) They would sing, asa chorus, to words which to many would seem unmeaningjargon, but which, nevertheless, were full of meaning to7themselves. I have sometimes thought that the mere hearing ofthose songs would do more to impress some minds with thehorrible character of slavery, than the reading of whole10volumes of philosophy on the subject could do. I did not, when a slave, understand the deep meaningof those rude and apparently incoherent songs. I was myself13within the circle; so that I neither saw nor heard as thosewithout might see and hear. They told a tale of woe which wasthen altogether beyond my feeble comprehension; they were16tones loud, long, and deep; they breathed the prayer andcomplaint of souls boiling over with the bitterest anguish.Every tone was a testimony against slavery, and a prayer to19God for deliverance from chains. The hearing of those wildnotes always depressed my spirit, and filled me with ineffablesadness. I have frequently found myself in tears while hearing22them. The mere recurrence to those songs, even now, afflictsme; and while I am writing these lines, an expression of feelinghas already found its way down my cheek. To those songs I25trace my first glimmering conception of the dehumanizingcharacter of slavery. I can never get rid of that conception.Those songs still follow me, to deepen my hatred of slavery,28and quicken my sympathies for my brethren in bonds. If anyone wishes to be impressed with the soul-killing effects ofslavery, let him go to Colonel Lloyd’s plantation, and, on31allowance-day, place himself in the deep pine woods, and therelet him, in silence, analyze the sounds that shall pass throughthe chambers of his soul, and if he is not thus impressed, it will34only be because “there is no flesh in his obdurate heart.”

Frederick Douglass. Narrative of the life of Frederick Douglass, an American slave. Charleston (SC): Forgotten Books, 2008, p. 26-7 (adapted).

Regarding the text, judge if the items below are right (C) or wrong (E).

  1. 42.

    Although the slaves’ songs touched the narrator’s heart, the uncultured quality of their music sometimes annoyed him, as shown in the fragment “The hearing of those wild notes always depressed my spirit” (l.19-20).

  2. 43.

    In “than the reading of whole volumes” (l.9-10), the omission of the definite article would not interfere with the grammar correction of the sentence.

  3. 44.

    The fragment “quicken my sympathies for my brethren in bonds” (l.28) means that the narrator is fast when it comes to forging emotional and spiritual bonds with his own real family through music.

  4. 45.

    The relationship the word “within” (l.13) bears with “without” (l.14) is one of opposition.

Cadastre-se para responder e ver o gabarito comentado

Darkness and light

1 Caravaggio’s art is made from darkness and light. Hispictures present spotlit moments of extreme and often agonizedhuman experience. A man is decapitated in his bedchamber,4blood spurting from a deep gash in his neck. A woman is shotin the stomach with a bow and arrow at point-blank range.Caravaggio’s images freeze time but also seem to hover on the7brink of their own disappearance. Faces are brightlyilluminated. Details emerge from darkness with such uncannyclarity that they might be hallucinations. Yet always the10shadows encroach, the pools of blackness that threaten toobliterate all. Looking at his pictures is like looking at theworld of flashes of lightning.13 Caravaggio’s life is like his art, a series of lightningflashes in the darkness of nights. He is a man who can never beknown in full because almost all that he did, said and thought16is lost in the irrecoverable past. He was one of the mostelectrifying original artists ever to have lived, yet we have onlyone solitary sentence from him on the subject of painting —19the sincerity of which is, in any case, questionable, since it waselicited from him when he was under interrogation for thecapital crime of libel.22 When Caravaggio emerges from the obscurity of thepast he does so, like the characters in his own paintings, as aman in extremis. He lived much of his life as a fugitive, and25that is how he is preserved in history — a man on the run,heading for the hills, keeping to the shadows. But he is caught,now and again, by the sweeping beam of a searchlight. Each28glimpse is different. He appears in many guises and moods.Caravaggio throws stones at the house of his landlady andsings ribald songs outside her window. He has a fight with a31waiter about the dressing on a plate of artichokes. His life is aseries of intriguing and vivid tableaux — scenes that abruptlyswitch from low farce to high drama.

Andrew Graham-Dixon. Caravaggio: a life sacred and profane. New York – London: W. W. Norton & Company, 2010 (adapted).

Based on the text, judge if the following items are right (C) or wrong (E).

  1. 46.

    In the second paragraph, the author suggests that information collected under duress is not reliable.

  2. 47.

    The author provides the opening paragraph with a cinematic quality for he attempts to create dynamic scenes.

  3. 48.

    From the passage “He is a man who can never be known in full because almost all that he did, said and thought is lost in the irrecoverable past.” (l.14-16) it can be correctly inferred that the author is of the opinion that the study of history is a futile attempt to reconstruct events from the past.

  4. 49.

    The text is built on images associated with darkness, which suggests that Caravaggio’s life, as well as the quality of his art, was shadowy and shady.

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1 While on their way, the slaves selected to go to thegreat House farm would make the dense old woods, for milesaround, reverberate with their wild songs, revealing at once the4highest joy and the deepest sadness. (...) They would sing, asa chorus, to words which to many would seem unmeaningjargon, but which, nevertheless, were full of meaning to7themselves. I have sometimes thought that the mere hearing ofthose songs would do more to impress some minds with thehorrible character of slavery, than the reading of whole10volumes of philosophy on the subject could do. I did not, when a slave, understand the deep meaningof those rude and apparently incoherent songs. I was myself13within the circle; so that I neither saw nor heard as thosewithout might see and hear. They told a tale of woe which wasthen altogether beyond my feeble comprehension; they were16tones loud, long, and deep; they breathed the prayer andcomplaint of souls boiling over with the bitterest anguish.Every tone was a testimony against slavery, and a prayer to19God for deliverance from chains. The hearing of those wildnotes always depressed my spirit, and filled me with ineffablesadness. I have frequently found myself in tears while hearing22them. The mere recurrence to those songs, even now, afflictsme; and while I am writing these lines, an expression of feelinghas already found its way down my cheek. To those songs I25trace my first glimmering conception of the dehumanizingcharacter of slavery. I can never get rid of that conception.Those songs still follow me, to deepen my hatred of slavery,28and quicken my sympathies for my brethren in bonds. If anyone wishes to be impressed with the soul-killing effects ofslavery, let him go to Colonel Lloyd’s plantation, and, on31allowance-day, place himself in the deep pine woods, and therelet him, in silence, analyze the sounds that shall pass throughthe chambers of his soul, and if he is not thus impressed, it will34only be because “there is no flesh in his obdurate heart.”

Frederick Douglass. Narrative of the life of Frederick Douglass, an American slave. Charleston (SC): Forgotten Books, 2008, p. 26-7 (adapted).

Based on the text, judge the following item.

  1. 50.

    To state that the songs “told a tale of woe” (l.14) means that the songs had to do with grief and sorrow.

  2. 51.

    To state that the songs “told a tale of woe” (l.14) means that the songs were accounts of intertribal warfare.

  3. 52.

    To state that the songs “told a tale of woe” (l.14) means that the songs were delusions of grandeur of an African idyllic time.

  4. 53.

    To state that the songs “told a tale of woe” (l.14) means that the songs were hyms praising God.

  5. 54.

    To state that the songs “told a tale of woe” (l.14) means that the songs had the purpose of keeping slaves’ minds away from their hard work.

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