Inglês · CESPE / CEBRASPE · 2024 | Questão sqc-ce175541

InglêsInterpretação de texto | Reading comprehension

Código: ce175541
Banca: CESPE / CEBRASPE
Órgão: ITAIPU BINACIONAL
Ano: 2024
Nível: Superior

Cargo: Profissional de Nível Universitário Júnior - Função: Publicitário

Text 19A4-I

It is a universal fact that cinema is a visual medium. Films have the power to overwhelm our senses as well as our minds, subjecting us to a variety of experiences that can range from the sublime to the devastating. Colours play a crucial role in this interesting phenomenon, forming an integral part of the composition of each frame and dictating how the viewer perceives the spectacle on the screen. Apart from the cinematic medium, colours have always been a part of our experience and how we make sense of the vastly nuanced world around us. Although science has definitively explained what colours are in terms of light, they have always mystified artists and philosophers like Arthur Schopenhauer and Ludwig Wittgenstein, who tried to understand their importance in anthropological frameworks.

More notably, the famous German poet and artist Johann Wolfgang von Goethe published a seminal exploration of colours in his 1810 work Theory of Colours. In it, he examined how each colour corresponds to various psychological states in the minds of human beings. He wrote, “Light and darkness, brightness and obscurity, or if a more general expression is preferred, light and its absence, are necessary to the production of colour… Colour itself is a degree of darkness.” Goethe’s theories might seem baselessly romantic in the 21st century but the underlying ideas have been implemented by filmmakers and cinematographers to curate the voyeuristic experiences of their audiences. Famed cinematographer Vittorio Storaro has based his artistic vision on Goethe’s work, insisting that colours do have a direct connection to the mind of the viewer.

Internet: <https://faroutmagazine.co.uk> (adapted).

Maintaining the original meaning of text 19A4-I, the excerpt “Vittorio Storaro has based his artistic vision on Goethe’s work”, in the last sentence of the last paragraph, can be correctly rephrased as

AVittorio Storaro’s based for an artistic vision has influenced Goethe’s work.
BVittorio Storaro’s artistic vision has been based on Goethe’s work.
CVittorio Storaro’s artistic vision was based on Goethe’s work.
DThe artistic vision of Goethe’s work was the base for Vittorio Storaro.
EGoethe’s work has based Vittorio Storaro’s artistic vision.

GabaritoB — Vittorio Storaro’s artistic vision has been based on Goethe’s work.

Interpretação de texto — rephrasing

Gabarito: B. A reescrita correta que mantém o sentido original é a da alternativa B, que transforma a voz ativa (“has based”) em voz passiva (“has been based”), preservando a mesma relação de dependência: a visão artística de Storaro é baseada na obra de Goethe.

O trecho original afirma: “Vittorio Storaro has based his artistic vision on Goethe’s work”. Storaro é o sujeito que realiza a ação de basear sua visão na obra de Goethe. A reescrita deve manter essa ideia central, apenas alterando a estrutura sintática.

Alternativa A — ❌ Incorreta

Inverte a relação de influência: diz que a visão artística de Storaro influenciou a obra de Goethe, o que contraria o texto.

Alternativa B — ✅ Correta ⟵ GABARITO

Utiliza a voz passiva no mesmo tempo verbal (present perfect): “has been based on”. O sujeito passa a ser “artistic vision”, e a obra de Goethe continua sendo a base. O sentido é idêntico ao original.

Alternativa C — ❌ Incorreta

Embora semanticamente próxima, troca o tempo verbal para “was based” (simple past), alterando a noção temporal do original (present perfect) e, portanto, não é uma reescrita direta que mantenha o sentido original.

Alternativa D — ❌ Incorreta

Muda o núcleo da frase: “the artistic vision of Goethe’s work” desloca o foco para a obra de Goethe, enquanto o original foca na visão de Storaro.

Alternativa E — ❌ Incorreta

Inverte o sujeito: coloca “Goethe’s work” como agente da ação de basear, quando no original é Storaro quem baseia sua visão na obra.

NÃO CAIA NESSA!

A banca testa a compreensão de voz ativa vs. passiva e a manutenção do sentido. O candidato pode confundir a direção da influência (alternativas A, D, E) ou o tempo verbal (C). A chave é identificar que a passiva com mesmo tempo (B) preserva o significado.