SIMULADO ENEM

1. What does the cartoon below convey?

a. Metaphor
b. Paradox
c. Criticism
d. Suggestion
e. Advice

Communication is non-verbal as well as verbal

Communication is more non – verbal than verbal. Research by psychologist Professor Albert
Mehrabian shows that 55% of our message is communicated bodily, 38% through our tone of voice,
and only 7% through the words we use. When there is a discrepancy between what we say (with our
words) and how we say it (with our body and voice tone), it is the latter wich carries more weight.
Can you tell whether someone is in a good mood or bad mood before they utter a word? Have you
ever heard someone say ‘Yes’ when you know they really mean ‘No’? This mismatch between veral
and non – verbal is sometimes known as incongruency.
Mehrabian’s research concentrated on the message conveyed in any communication by body
language (posture, facial expression, etc.) and tone of voice, which was in addition to any words
spoken. It was originally conducted by asking American college students the question ‘How do you
know if someone likes you? Physical appearance was found to be of critical importance to this group.
Mehrabian’s research has therefore sometimes been credited with overemphasizing the role of
physical appearance, and suggesting that you’ll be OK as long as you look OK.
Physical appearance and the way we dress do make an important first impression which tends to
stick. If the first impression is negative, you may have to work harder at changing it. However, a good
first impression, is only that. It obviously makes sense to sound good as well and have something to
say too, or the first impression might also be the last!

REVELL, J.; NORMAN, S. Communication is non-verbal as well as verbal. In: - - - - - In Your Hands .
London: Saffire Press, 1999. p. 91.

2. A pesquisa realizada pelo Prof. Mehrabian mostra que a comunicação não verbal corresponde a
uma percentagem igual a
a. 48%.
b. 62%.
 c. 45%.
d. 93%.
e. 55%

3. Leia a letra da música abaixo e escolha a alternativa correta:

Blackbird singing in the dead of night

Take these broken wings and learn to fly
All your life
You were only waiting for this moment to arise
Blackbird singing in the dead of night
Take these sunken eyes and learn to see
All your life
You were only waiting for this moment to be free
Blackbird fly, blackbird fly
Into the light of a dark black night
Blackbird fly, blackbird fly
Into the light of a dark black night
Blackbird singing in the dead of night
Take these broken wings and learn to fly
All your life
You were only waiting for this moment to arise
You were only waiting for this moment to arise
You were only waiting for this moment to arise

a. A música é sobre um pássaro.

b. A música é uma metáfora à liberdade.
c. A música fala sobre crianças negras.
d. A música é uma homenagem a Barack Obama.
e. A música é um hino à soltura de pássaros engaiolados.

TEXT FOR QUESTIONS 4 AND 5

The phenomenal success of Suzanne Collins’s “The Hunger Games”, the first part of a bestselling
dystopian trilogy for teenagers (and others), made a film adaptation a near certainty. But this posed a
problem: what defines and underpins the horrific nature of this imagined society is that its citizens take
pleasure in watching young people fight to the death on broadcast television (ie, the so-called Hunger
Games)? Yet this is disturbingly close to taking pleasure in watching young people fight to the death on
screen, which is what the film audience of "The Hunger Games" presumably needs to do. How can such
a film divorce the thrills it delivers from the fictional thrill-making that it has to deplore?

The most obvious solution hits the audience pretty early on: an overdone devotion to shaky-cam
techniques, quick cuts and fairly extreme close-ups. Gary Ross, the director, clearly intends to immerse
and disorient his audience, to ensure we feel rather different from the audience within the film. They see
a polished version of the Hunger Games, edited and packaged; we, these camera techniques assure us,
are seeing things from the oppressed inside.

The plot also helps. At the beginning of the actual games about a third of the characters are killed.
Removing them allows the film to have basically a set of good guys and bad guys, rather than a full
moral spectrum. By depicting this murderous culling as a montage, the film creates another distinction
between cinema viewers and the audience within: we perceive the event as a loss, whereas they take it
as a thrill.
(http://www.economist.com/node/21551346)

4. The word in bold – yet – shows:

a. contrast
b. addition
c. concession
d. condition
e. conclusion

5. We can infer from the text that:

a. the audience in the society depicted in the book and our society are the same.
b. the movie shows our society is supposed to feel disgusted by what happens, while the society in the
book is supposed to feel thrilled.
c. there’s sarcasm and irony concerning the nature of the games if we relate them to our violent world.
d. the books are much better than the badly-made movie and its shaky camera takes.
e. both the movie and the book have failed to depict what really matters to the audience: human nature
and the consequence of our choices.