Referenciação Pronomial - Questões do Vestibular da UERJ

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Referenciação	Pronomial	-	Questões	de	Vestibular	
(UERJ	-	2008	-	1eq)	COM	BASE	NO	TEXTO	ABAIXO,	RESPONDA	À	QUESTÃO	DE	NÚMERO	01.	
Meet	the	Brazilian	Beatles	(again)	
Os	Mutantes,	magical	tropicalistas,	
back	to	blow	your	mind	
	
	
	
	
In	this	era	of	nationally	televised	talent	shows	
and	 test-tube-baby	 bands,	 magic	 is	 surely	
lacking	 in	 pop.	 Yet	 Sérgio	 Dias,	 55,	 guitarist	
and	founding	member	of	influential	Brazilian	
ensemble	 Os	 Mutantes,	 uses	 that	 word	 –	
“magic”	–	repeatedly,	apropos	of	the	group’s	
decision	to	re-form	after	three	decades.	
An	air	of	the	unexpected	always	surrounded	
Os	Mutantes.	In	the	late	60’s,	the	band	–	Dias,	
brother	Arnaldo	Baptista,	and	Rita	Lee	–	were	
seminal	 figures	 in	 the	 Tropicalia	movement.	
Os	 Mutantes	 fused	 psychedelic	 rock	 with	
elements	of	bossa	nova,	and	the	mere	use	of	
electric	guitars	found	them	branded	heretics	
at	 home;	 the	 inclusion	of	 such	oddities	 as	 a	
can	 of	 aerosol	 bug	 spray	 for	 percussion	 on	
their	eponymous	1968	debut	intensified	their	
aura	 of	 weirdness.	 But	 that	 experimental	
spirit	ensured	their	place	in	history,	with	Beck,	
David	Byrne	and	Kurt	Cobain	ranking	among	
their	fans.	
Such	 endorsements	 were	 not	 lost	 on	 Dias,	
who	 has	 continued	 playing	 solo	 since	 Os		
Mutantes’	 final	 dissolution	 in	 1978.	 “When	
you	 see	 the	 people	 who	 shape	 opinions,	
listening	to	music	that	you	made	30	years	ago,	
and	 praising	 it,	 that	 is	 when	 you	 know	 the	
music	doesn’t	really	belong	to	you.	It	has	a	life	
of	 its	 own”.	 As	 to	 Os	 Mutantes’	 sustained	
popularity,	he	attributes	 it	primarily	 to	 their	
youthful	exuberance,	and	“the	freedom	that	
we	had,	the	freshness	of	not	being	held	by	any	
preconceived	ideas	or	A-B-A	music	forms.	We	
were	very,	very	free...	and	we	still	are”.	
In	2006,	Os	Mutantes	performed	live	for	the	
first	 time	 since	 1973,	 at	 the	 Barbican	 in	
London,	as	part	of	a	Tropicalia	retrospective.	
Yet,	according	to	Dias,	at	first	he	and	Baptista	
were	as	surprised	as	anyone	else	to	hear	of	Os	
Mutantes’	 involvement.	 “Suddenly	 I	 started	
to	 receive	 news	 from	 the	 theater	
administrator	that	I	was	going	to	play	again	in	
London”,	he	recalls.	
Initially,	the	brothers	denied	the	rumors.	But	
then	 they	 began	 to	 consider	 the	 possibility,	
and	 roped	 original	 Os	 Mutantes	 drummer	
Ronaldo	 “Dinho”	 Leme	 into	 the	 discussion.	
“Dinho	 is	 a	 very	 serious,	 down-to-earth	
person”,	 insists	Dias.	“When	he	said,	 ‘if	 they	
want	us	to	play,	I	can	play’,	I	knew	this	was	the	
real	thing”.	
Dias	attributes	heightened	excitement	within	
the	 group	 to	 new	 addition	 Zélia	 Duncan.	
“When	we	 restarted	Os	Mutantes,	we	were	
thinking	 of	 a	 girl”,	 says	 Dias.	 The	 guitarist	
remembered	 Duncan,	 whom	 he’d	 met	 and	
immediately	 liked	when	 both	 of	 them	were	
participating	 in	 a	 mutual	 friend’s	 recording	
project.	“I	thought	of	Zélia,	and	I	told	the	guys.	
And	 they	 said,	 ‘Wow...	 but	 her	 voice	 is	 so	
different.’	But	the	most	 important	thing	 in	a	
band	is	not	the	quality	of	the	voice,	in	terms	
of	 texture,	 but	 the	 interaction	 between	 the	
people.	Zélia	is	so	strong	and	alive.	When	she	
got	 into	 the	 rehearsals,	 and	 started	 to	 sing,	
the	energy	of	the	band	doubled”.	
That	 electricity	 manifested	 itself	 at	 the	
Barbican	 and,	 one	 hopes,	 will	 continue	
through	 the	 band’s	 handful	 of	 U.S.	 summer	
dates.	 A	 DVD	 and	 CD	 of	 that	 show	 are	
currently	in	production.	And	that	may	be	only	
the	beginning	of	a	new	era	for	Os	Mutantes.
www.thestranger.com	
KURT	B.	REIGHLEY	
01)	Observe	the	fragment:	“When	he	said,	‘if	they	want...".	The	underlined	pronouns	refer,	
respectively,	to:	
(A)	Dias	and	the	rumors	
(B)	the	drummer	and	news	
(C)	the	group	and	the	brothers	
(D)	Dinho	and	people	at	Barbican	
(UERJ	-	2012	-	2eq)	COM	BASE	NO	TEXTO	ABAIXO,	RESPONDA	À	QUESTÃO	DE	NÚMERO	02.	
What’s	in	a	name?	
The	trouble	with	lingo	
Remember	the	campaign	in	New	York	for	garbage	collectors	to	be	called	sanitation	engineers?	Near	
the	top	of	the	strike’s	agenda	was	the	matter	of	getting	the	respect	due	to	the	people	doing	such	
essential	work.	Unfortunately,	the	new	euphemistic	title	clarified	nothing	about	the	work	and	by	
now	is	either	simply	not	heard	for	what	it	means,	or	is	used	in	moments	of	gentle	disdain.	A	clearer	
term	may	have	both	generated	the	respect	desired	and	withstood	the	test	of	time.	
Clarity	 and	 sincerity	 matter.	 Terms	 which	 mislead,	 confuse	 or	 cause	 offence	 can	 become	 a	
distraction	 from	 the	 real	 content	 of	 public	 debate.	 In	 the	 search	 for	 consensus,	 since	 public	
understanding	is	harder	to	change	than	terminology,	changing	the	terminology	might	be	a	better	
place	to	start.	No	additional	prejudice	or	emotion	should	be	brought	to	a	debate	by	the	terminology	
used	in	it.	Here	are	two	examples.		
Genetic	Engineering	and	Genetic	Modification	
Despite	the	insistence	of	biotech	scientists	that	genes	of	completely	different	species	are	no	longer	
being	 mixed,	 the	 message	 isn’t	 being	 heard.	 They	 insist	 that	 they	 are	 now	 involved	 only	 in	
developments	which	simply	hasten	the	natural	processes	of	selective	and	cross	breeding	or	cross	
pollination.	As	 farmers	and	horticulturists	have	been	doing	exactly	 this,	unquestioned,	 for	years,	
they	cannot	understand	public	resistance.	
The	problem	may	well	be	the	terminology.	In	this	context,	the	words	“scientific”	or	“genetic”	have	
been	irreparably	sullied.	If	“genetic	engineering”	has,	in	the	public’s	view,	become	synonymous	with	
the	indiscriminate	mixing	of	genes,	and	if	the	softer	label	“genetically	modified”	hasn’t	been	able	to	
shake	off	a	perception	of	sinister	overtones,	these	terms	might	as	well	be	dropped	−	or	left	attached	
only	to	experiments	in	Dr.	Frankenstein’s	laboratory.	
Ideally,	a	new	agricultural	term	would	leave	out	the	word	“genetic”	altogether:	it	seems	to	frighten	
the	 public.	 Assuming	 it	 described	 science’s	 benign	 genetic	 activities	 accurately,	 the	 term	
“productivity	breeding”	is	not	a	trivial	call	for	a	euphemism;	besides,	it	would	probably	encounter	
less	public	opposition.	
So,	let’s	have	new	terms	for	selective	cross	breeding	by	scientists	who	simply	speed	up	the	same	
process	that	is	carried	out	in	nature.	
Clean	coal*	
If	this	new	term	was	intended	to	be	clear,	it	hasn’t	worked.	
In	“Politics	and	the	English	Language”	(1946),	George	Orwell	wrote	that	because	so	much	political	
speech	involves	defending	the	indefensible,	it	has	to	consist	largely	of	euphemism.	He	insisted	that,	
in	politics,	these	euphemisms	are	“swindles”	and	“perversions”	left	deliberately	vague	in	order	to	
mislead.	Deliberate	or	not,	“clean	coal”	is	one	of	these.	Aside	from	being	a	contradiction	in	terms,	
the	name	is	misleading,	creating	the	impression	of	the	existence	of	a	new	type	of	coal.	In	fact,	it	is	
ordinary	coal	which	has	been	treated	to	“eliminate”	most	of	its	destructive	by-products,	which	are	
then	 buried.	 The	 whole	 process	 produces	 emissions.	 This,	 though,	 isn’t	 clear	 when	 it	 is	 simply	
labelled	“clean	coal”.	The	term	just	doesn’t	seem	sincere.	It’s	a	red	rag	to	any	green.	It’s	not	asking	
too	much	to	expect	the	term	describing	these	procedures	to	be	more	accurate.	A	clearer	term	would	
be	less	provocative.	
So,	what’s	in	a	name?	A	lot.	There’s	the	possibility	of	confusion,	prejudice,	perversions	and	swindles.	
For	the	sake	of	fair	debate,	let’s	mean	what	we	say	and	say	what	we	mean.	
*	Coal:	carvão	 SEEARGH	MACAULAY	
www.londongrip.com	
02)	The	author	states	that	the	process	of	eliminating	the	destructive	by-products	of	the	so-called	
“clean	coal”	produces	emissions.	The	fragment	of	the	text	in	which	the	underlined	pronoun	refers	
to	the	statement	above	is:	(A)	it	has	to	consist	largely	of	euphemism.(B)	“clean	coal”	is	one	of	these.	(C)	ordinary	coal	which	has	been	treated	to	“eliminate”	most	of	its	destructive	by-products,		(D)	This,	though,	isn’t	clear			 	
(UERJ	-	2015	-	2eq)	COM	BASE	NO	TEXTO	ABAIXO,	RESPONDA	À	QUESTÃO	DE	NÚMERO	03.	
The	Genre	of	Autobiography	and	Autofiction		
Derived	 from	 three	 Greek	words	meaning	 “self”,	 “life”	 and	 “write”,	 autobiography	 is	 a	 style	 of	
writing	that	has	been	around	nearly	as	long	as	history	has	been	recorded.	Yet,	autobiography	was	
not	classified	as	a	genre	within	itself	until	the	late	eighteenth	century.	
In	his	book,	Inside	out,	E.	Stuart	Bates	offers	a	functional	definition	of	autobiography	as	“a	narrative	
of	the	past	of	a	person	by	the	person	concerned”.	That	definition,	however,	is	too	broad	for	some	
literary	 critics.	 Many,	 such	 as	 Philippe	 Lejeune,	 wish	 to	 define	 the	 genre	 more	 narrowly:	 “(a)	
retrospective	prose	narrative	produced	by	a	real	person	concerning	his	own	existence,	focusing	on	
his	individual	life,	in	particular	on	the	development	of	his	personality”.	
Despite	disagreements	concerning	how	inclusive	the	category	of	autobiography	should	be,	there	
are	characteristics	that	are	common	to	the	majority	of	autobiographical	works.	These	features	are	
the	grammatical	perspective	of	the	work,	the	identity	of	the	self,	selfreflection	and	introspection.	
Most	 autobiographies	 are	 written	 from	 the	 first	 person	 singular	 perspective.	 The	 author,	 the	
narrator	 and	 the	 protagonist	must	 share	 a	 common	 identity	 for	 the	 work	 to	 be	 considered	 an	
autobiography.	This	common	identity	could	be	similar,	but	is	not	identical.	The	self	that	the	author	
constructs	 becomes	 a	 character	 within	 the	 story	 that	 may	 not	 be	 a	 completely	 factual	
representation	of	the	author’s	actual	past	self.	
In	their	book	The	voice	within,	Roger	Porter	and	H.	R.	Wolf	state	that	“truth	is	a	highly	subjective	
matter,	and	no	autobiographer	can	represent	exactly	what	happened	back	then,	any	more	than	a	
historian	can	definitively	describe	the	real	truth	of	the	past”.	
Because	 the	author	cannot	describe	events	objectively,	even	 the	most	accurate	autobiographies	
have	fictional	elements.	The	blurring	of	fiction	and	truth	characteristic	of	autobiography	has	even	
led	to	the	creation	of	a	subdivision	within	the	genre	of	autobiography	that	deals	with	fictionalized	
self-accounts.	For	this	style	of	writing	that	blends	characteristics	of	both	fiction	and	autobiography,	
Serge	Doubrovsky	coined	the	literary	term	“autofiction”.	
The	 difference	 between	 traditional	 autobiography	 and	 the	 genre	 of	 autofiction	 is	 that	
autobiographers	are	attempting	to	depict	their	real	life,	while	writers	of	autofiction	are	only	basing	
their	 work	 upon	 real	 experiences.	Writers	 of	 autofiction	 are	 not	 expected	 to	 be	 as	 historically	
accurate	as	possible	as	autobiographers	are.	According	to	Alex	Hughes,	authors	of	autofiction	are	
saying	“this	is	me	and	this	is	not	me”.	This	sums	up	autofiction.	Autofiction	draws	from	the	life	of	
the	writer	with	the	addition	of	fictional	elements	to	make	the	work	more	than	just	a	life	story.	
Autobiography	is	a	popular	genre.	Writers	of	memoirs	and	life	stories	never	lack	an	audience.	People	
are	interested	in	the	actual	lives	of	others	and	want	to	know	about	others’	pasts	and	feelings	and	
desires.	Autobiography	is	a	way	to	organize	the	story	of	a	 life	and	reflect	on	the	past	 in	order	to	
better	understand	the	present.		
	 	
03)	This	sums	up	autofiction.	The	underlined	pronoun	refers	to:	
(A)	the	summary	of	the	term	proper	
(B)	the	life	of	the	autobiography	writer	
(C)	the	feature	of	the	genre	concerned	
(D)	the	content	of	the	preceding	quotation	
(UERJ	-	2016	-	1eq)	COM	BASE	NO	TEXTO	ABAIXO,	RESPONDA	À	QUESTÃO	DE	NÚMERO	04.	
	
04)	In	the	speech	balloon	of	panel	1,	the	word	that	appears	twice.	The	second	that	fulfils	the	
following	cohesive	function:	
(A)	showing	emphasis	in	speech	
(B)	referring	back	to	the	quotation	
(C)	pointing	to	the	book	in	the	picture	
(D)	linking	main	and	subordinate	clauses