Questões de inglês enem.
Soluções para a tarefa
Resposta:
1- A Mother in a Refugee Camp
No Madonna and Child could touch
Her tenderness for a son
She soon would have to forget...
The air was heavy with odors of diarrhea,
Of unwashed children with washed-out ribs
And dried-up bottoms waddling in labored steps
Behind blown-empty bellies. Other mothers there
Had long ceased to care, but not this one:
She held a ghost-smile between her teeth,
and in her eyes the memory
Of a mother’s pride... She had bathed him
And rubbed him down with bare palms.
She took from their bundle of possessions
A broken comb and combed
The rust-colored hair left on his skull
And then — humming in her eyes — began carefully
[to part it.
In their former life this was perhaps
A little daily act of no consequence
Before his breakfast and school; now she did it
Like putting flowers on a tiny grave.
ACHEBE, C. Collected Poems. New York: Anchor Books, 2004.
O escritor nigeriano Chinua Achebe traz uma reflexão
sobre a situação dos refugiados em um cenário pós-guerra
civil em seu país. Essa reflexão é construída no poema
por meio da representação de uma mãe, explorando a(s)
A demonstração de orgulho por não precisar pedir
doações.
B descrições artísticas detalhadas de uma obra
conhecida.
C aceitação de um diagnóstico de doença terminal do
filho.
D consternação ao visitar o túmulo do filho recém-falecido.
E impressões sensoriais experimentadas no ambiente.
Resposta: letra E
2- A Minor Bird
I have wished a bird would fly away,
And not sing by my house all day;
Have clapped my hands at him from the door
When it seemed as if I could bear no more.
The fault must partly have been in me.
The bird was not to blame for his key.
And of course there must be something wrong
In wanting to silence any song.
No poema de Robert Frost, as palavras “fault” e “blame”
revelam por parte do eu lírico uma
A culpa por não poder cuidar do pássaro.
B atitude errada por querer matar o pássaro.
C necessidade de entender o silêncio do pássaro.
D sensibilização com relação à natureza do pássaro.
E irritação quanto à persistência do canto do pássaro
Alternativa correta: Letra D
3- Finally, Aisha finished with her customer and asked
what colour Ifemelu wanted for her hair attachments.
“Colour four.”
“Not good colour,” Aisha said promptly.
“That’s what I use.”
“It look dirty. You don’t want colour one?”
“Colour one is too black, it looks fake,” Ifemelu said,
loosening her headwrap. “Sometimes I use colour two,
but colour four is closest to my natural colour.”
[...]
She touched Ifemelu’s hair. “Why you don’t have
relaxer?”
“I like my hair the way God made it.”
“But how you comb it? Hard to comb,” Aisha said.
Ifemelu had brought her own comb. She gently combed
her hair, dense, soft and tightly coiled, until it framed her
head like a halo. “It’s not hard to comb if you moisturize
it properly,” she said, slipping into the coaxing tone of the
proselytizer that she used whenever she was trying to
convince other black women about the merits of wearing
their hair natural. Aisha snorted; she clearly could not
understand why anybody would choose to suffer through
combing natural hair, instead of simply relaxing it. She
sectioned out Ifemelu’s hair, plucked a little attachment
from the pile on the table and began deftly to twist.
A passagem do romance da escritora nigeriana traz
um diálogo entre duas mulheres negras: a cabeleireira,
Aisha, e a cliente, Ifemelu. O posicionamento da cliente é
sustentado por argumentos que
A reforçam um padrão de beleza.
B retratam um conflito de gerações.
C revelam uma atitude de resistência.
D demonstram uma postura de imaturidade.
E evidenciam uma mudança de comportamento.
Alternativa: Letra C