AULA 14 - Diagnosticando Novamente

8/12/2019 AULA 14 - Diagnosticando Novamente

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AULA 14: Testando Gabriel Jorge 12/11/2011

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Leia o fragmento da matria abaixo e responda s perguntas que seguem.

How to photograph birdsUnfortunately, July and August are probably the worst months of the year for this taskbecause most species look their worst just now, and also vegetation and food supply is at itsbest, so it is difficult enough just to see the birds, never mind pointing a lens at them.

However, a few helpful tips now should prepare you for the Autumn months when manyspecies are busily eating and hiding food ready for the long winter months ahead.Perhaps if I take you through the various steps which I make when embarking on a typicalbird photographic outing:-

3. Equipment. I always take more than I need, but if you have made a long journey for thatspecial species there is nothing worse than to find youve run out of battery or memory andhavent got back up. It is also important to note that for bird photography, you inevitablyneed to be very near AND have plenty of magnification. A blue tit at 20 metres looks verysmall, even with an 800mm lens! Dont forget the tripod.

4. Once at the destination, cameras on tripod, pointing in direction of birdsremember about composing the shot.I always like to set out with an image in my mind,and return with it in my camera. Dont get so excited at first glimpse of the species that you

forget to check those dials. Higher ISO makes it easier to choose higher film speed. I nearlyalways choose Av priority, so I know what F stop I am on (for instance F5.6) and that shouldgive me a fast enough film speed to avoid blur from the birds movement. I will then composethe bird in the viewfinder AND PAY ATTENTION TO BACKGROUND DETAIL. After capturing 20images or so, I will then start to alter settings and orientation; this can often make thedifference between an ordinary keeper and an outstanding winner.

6. The eye has it.In 99% of wildlife images it is vital to get the eye in focus, wings can beblurred, parts can be missed, but remember, keep the eye in focus nice and sharp.

7. Processing. I take virtually all my images in RAW format. This allows much more flexibilitywhen processing. In particular, white balance, ie temperature variation, of your shot can beadjusted to get your colours dead right, and this is so important with wildlife photography.Once you have cropped and carried out the various adjustments such as colour, levels,curves, saturation and the rest to your image, the final task should be USM. I usually apply :

Amount 90%, Radius 0.3, Threshold 1. I repeat this four or five times until a small white halostarts to appear around the subject, then back off once in the Photoshop history.

8. Library. It is all too easy to take literally thousands of images using digital, so rememberto have some type of system for storing and cataloguing your images, so that you can quicklyreturn to them as desired.Finally, please remember that we are only visitors to this world, so when out enjoying wildlifetake only photographs and leave nothing but time.

Read more:http://www.digital-photography-school.com/photographing-birds

1. O 1 inicia com Unfortunately. Qual o impacto dessa palavra no leitor? _________

______________________________________________________________________.2. Ainda sobre o item anterior, correto afirmar que, pela construo da frase, o tema

da matria definido logo na primeira sentena do 1? Argumente. ______________

_______________________________________________________________________

______________________________________________________________________.

3. Cite no texto uma conjuno com sentido de contradio. ______________________.

4. Quantas conjunes diferentes com sentido de concluso h no texto? Cite-a(s).

5. Por que importante levar mais equipamento do que o necessrio? _____________

_______________________________________________________________________

______________________________________________________________________.

6.

No 2, h um outro linking termalm de and. Cite-o. ________________________.
http://www.digital-photography-school.com/photographing-birdshttp://www.digital-photography-school.com/photographing-birdshttp://www.digital-photography-school.com/photographing-birdshttp://www.digital-photography-school.com/photographing-birds


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7. O verbo pointing (3, 1. L.) foi formado com o sufixo -ing. Porm, nesse caso,

sabendo-se que tanto substantivos quanto verbos podem receber tal sufixo,

classifique-o no contexto. ________________________________________________.

8. Como o autor defende sua escolha de Av priority (3, 5. L.)? __________________

_______________________________________________________________________

______________________________________________________________________.

9. Qual o sentido do modal can (3, 8. L.)? __________________________________.

10.Qual o sentido da conjuno then (3, 6. L.)? ______________________________.

11.Explique o item no. 6 com as suas palavras. __________________________________

_______________________________________________________________________

_______________________________________________________________________

______________________________________________________________________.

12.Qual a ideia por trs do item no. 8? _________________________________________

______________________________________________________________________.

13.

Qual o sentido da conjuno so that (item no. 8, 2. L.)? ______________________.14.Qual o sentido do modal can (item no. 8, 2. L.)? ____________________________.

15.Por que, na sua opinio, o tempo verbal predominante no texto o presente

simples? _______________________________________________________________

______________________________________________________________________.

16.Traduza o item no. 7. ________________________________________________

_______________________________________________________________________

_______________________________________________________________________

_______________________________________________________________________

________________________________________________________________.

Leia o fragmento abaixo e responda s perguntas que seguem.

Artistic relations: how family portraiture changed throughthe agesAn exhibition exploring the portrayal of the family in British art providessome surprising contrastsAlice Maher's House of Thorns(1995) is an eye-catching conundrum. Beautifully made,

this small treasure arouses the desire to have and to hold. It is like something out of a

fairy tale, but to pick it up would be agony, as its roof and all four sides are lined with rose

thorns, which, as any gardener knows, are vicious. It offers a neat amalgam of pleasure

and pain. This miniature stronghold triggers awareness of the conflicting emotions thatcan be aroused in the home. It is our knowledge that family life can veer between

extremes which makesPaula Rego's The Family(1988) so disturbing. In this picture two

women close in on the father, seated on the bed, in a caring but also sinister fashion,

watched by a child on the other side of the room. Nothing is explicit, but the situation

arouses a palpable unease. Rego and Maher are two artists in Family Matterswhose

work alerts us to the fundamental ambivalence in our perception of family and home.

This exhibition boldly celebrates the image of the family in British life across 400 years.

Within its five thematic sections inheritance, childhood, parenting, couple and kinship,

and home it offers a range of perspectives. Even the most straightforward image

carries an agenda, ready to be unpacked as we examine pose, gesture, costume and

setting, all of which can signal class, wealth, profession, social status or the lack of it. Inthis exhibitionMark Gertler's image of an impoverished and deracinated Jewish East End

family, painted in 1913, is as telling asZoffany's 1694-95 portrait of the royal princes,
http://www.contemporaryartsociety.org/become-a-member/museum-members/gallery-oldhamhttp://www.contemporaryartsociety.org/become-a-member/museum-members/gallery-oldhamhttp://www.contemporaryartsociety.org/become-a-member/museum-members/gallery-oldhamhttp://www.google.co.uk/imgres?q=paula+rego+the+family&hl=en&sa=X&rlz=1G1GGLQ_ENUK333&biw=1368&bih=980&tbm=isch&prmd=imvnso&tbnid=RTG2mcmwIIEbmM:&imgrefurl=http://www.iniva.org/dare/themes/play/rego.html&docid=DRjX8QLm87sqtM&imgurl=http://www.iniva.org/dare/themes/play/images/rego4.gif&w=271&h=260&ei=xLq3TrSBJsjC8QPK7o2gBQ&zoom=1&iact=hc&dur=1013&sig=101825355050522240459&page=1&tbnh=151&tbnw=157&start=0&ndsp=35&ved=1t:429,r:1,s:0&tx=125&ty=102&vpx=322&vpy=151&hovh=208&hovw=216http://www.google.co.uk/imgres?q=paula+rego+the+family&hl=en&sa=X&rlz=1G1GGLQ_ENUK333&biw=1368&bih=980&tbm=isch&prmd=imvnso&tbnid=RTG2mcmwIIEbmM:&imgrefurl=http://www.iniva.org/dare/themes/play/rego.html&docid=DRjX8QLm87sqtM&imgurl=http://www.iniva.org/dare/themes/play/images/rego4.gif&w=271&h=260&ei=xLq3TrSBJsjC8QPK7o2gBQ&zoom=1&iact=hc&dur=1013&sig=101825355050522240459&page=1&tbnh=151&tbnw=157&start=0&ndsp=35&ved=1t:429,r:1,s:0&tx=125&ty=102&vpx=322&vpy=151&hovh=208&hovw=216http://www.google.co.uk/imgres?q=paula+rego+the+family&hl=en&sa=X&rlz=1G1GGLQ_ENUK333&biw=1368&bih=980&tbm=isch&prmd=imvnso&tbnid=RTG2mcmwIIEbmM:&imgrefurl=http://www.iniva.org/dare/themes/play/rego.html&docid=DRjX8QLm87sqtM&imgurl=http://www.iniva.org/dare/themes/play/images/rego4.gif&w=271&h=260&ei=xLq3TrSBJsjC8QPK7o2gBQ&zoom=1&iact=hc&dur=1013&sig=101825355050522240459&page=1&tbnh=151&tbnw=157&start=0&ndsp=35&ved=1t:429,r:1,s:0&tx=125&ty=102&vpx=322&vpy=151&hovh=208&hovw=216http://www.google.co.uk/imgres?q=paula+rego+the+family&hl=en&sa=X&rlz=1G1GGLQ_ENUK333&biw=1368&bih=980&tbm=isch&prmd=imvnso&tbnid=RTG2mcmwIIEbmM:&imgrefurl=http://www.iniva.org/dare/themes/play/rego.html&docid=DRjX8QLm87sqtM&imgurl=http://www.iniva.org/dare/themes/play/images/rego4.gif&w=271&h=260&ei=xLq3TrSBJsjC8QPK7o2gBQ&zoom=1&iact=hc&dur=1013&sig=101825355050522240459&page=1&tbnh=151&tbnw=157&start=0&ndsp=35&ved=1t:429,r:1,s:0&tx=125&ty=102&vpx=322&vpy=151&hovh=208&hovw=216http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=5125&searchid=11938http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=5125&searchid=11938http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=5125&searchid=11938http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=5125&searchid=11938http://www.google.co.uk/imgres?q=zoffany+princes+george&hl=en&biw=1368&bih=980&gbv=2&tbm=isch&tbnid=keeonZeuMiSd8M:&imgrefurl=http://www.antiquesandfineart.com/articles/article.cfm%3Frequest%3D857&docid=vtW0ToCMystB3M&imgurl=http://www.antiquesandfineart.com/articles/media/images/00801-00900/00857/fig1_LG.jpg&w=750&h=655&ei=6Lu3ToCGNcLb8AORoe2KBQ&zoom=1&iact=hc&vpx=616&vpy=648&dur=308&hovh=210&hovw=240&tx=145&ty=89&sig=101825355050522240459&page=6&tbnh=151&tbnw=173&start=178&ndsp=36&ved=1t:429,r:17,s:178http://www.google.co.uk/imgres?q=zoffany+princes+george&hl=en&biw=1368&bih=980&gbv=2&tbm=isch&tbnid=keeonZeuMiSd8M:&imgrefurl=http://www.antiquesandfineart.com/articles/article.cfm%3Frequest%3D857&docid=vtW0ToCMystB3M&imgurl=http://www.antiquesandfineart.com/articles/media/images/00801-00900/00857/fig1_LG.jpg&w=750&h=655&ei=6Lu3ToCGNcLb8AORoe2KBQ&zoom=1&iact=hc&vpx=616&vpy=648&dur=308&hovh=210&hovw=240&tx=145&ty=89&sig=101825355050522240459&page=6&tbnh=151&tbnw=173&start=178&ndsp=36&ved=1t:429,r:17,s:178http://www.google.co.uk/imgres?q=zoffany+princes+george&hl=en&biw=1368&bih=980&gbv=2&tbm=isch&tbnid=keeonZeuMiSd8M:&imgrefurl=http://www.antiquesandfineart.com/articles/article.cfm%3Frequest%3D857&docid=vtW0ToCMystB3M&imgurl=http://www.antiquesandfineart.com/articles/media/images/00801-00900/00857/fig1_LG.jpg&w=750&h=655&ei=6Lu3ToCGNcLb8AORoe2KBQ&zoom=1&iact=hc&vpx=616&vpy=648&dur=308&hovh=210&hovw=240&tx=145&ty=89&sig=101825355050522240459&page=6&tbnh=151&tbnw=173&start=178&ndsp=36&ved=1t:429,r:17,s:178http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=5125&searchid=11938http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=5125&searchid=11938http://www.google.co.uk/imgres?q=paula+rego+the+family&hl=en&sa=X&rlz=1G1GGLQ_ENUK333&biw=1368&bih=980&tbm=isch&prmd=imvnso&tbnid=RTG2mcmwIIEbmM:&imgrefurl=http://www.iniva.org/dare/themes/play/rego.html&docid=DRjX8QLm87sqtM&imgurl=http://www.iniva.org/dare/themes/play/images/rego4.gif&w=271&h=260&ei=xLq3TrSBJsjC8QPK7o2gBQ&zoom=1&iact=hc&dur=1013&sig=101825355050522240459&page=1&tbnh=151&tbnw=157&start=0&ndsp=35&ved=1t:429,r:1,s:0&tx=125&ty=102&vpx=322&vpy=151&hovh=208&hovw=216http://www.contemporaryartsociety.org/become-a-member/museum-members/gallery-oldham


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George and Frederick, playing in the Queen's second drawing room at Buckingham

House (roughly where the Queen's Gallery now is), their poses pointedly echoing those

on the walls in portraits of their royal ancestors. Wherever and whenever the family is

found, it tells us much about our national and cultural identity through the ages.

Inevitably images of the family have changed greatly over time. The sudden

juxtapositions in this exhibition of the historical with the contemporary are used to goodeffect. This shuttling to and fro across the centuries will encourage visitors, in their

looking, to travel beyond their comfort zones, whether their liking is for the contemporary

over the historical or vice versa.

One shift that quickly becomes evident is the way that, as patronage and commissioning

recede in importance, the artist becomes freer to pursue more personal and political

interests. The family becomes less obviously posed. We glimpse its goings on behind the

scenes, as it were; and the view can be alarmingly frank or unsettling. Sarah Jones's The

Dining Room(1997) is an enormous, openly contrived, affectless photograph in which

three well-groomed teenagers are posed so that they neither look at nor interact with

each other. One sits with her head on the table, her blonde hair falling across its polished

surface, itself one of the luxury ingredients in this impeccable upper-middle-class setting.

The narrative remains impenetrable, but attention is gripped by this high-resolution,

postmodern conversation piece.

1. Sabendo-se que conundrum (1, 1. L.) significa um tipo de enigma, traduza a

primeira frase do texto. _______________________________________________

________________________________________________________________.

2. O pronome demonstrativo this(1, 5. L.) refere-se a qu? _________________.

3. Maruqe todos os cognatos do 1.

4. Sabendo-se que a palavra trigger nomeia o gatilho de um revlver, explique o

sentido do verbo triggers (1, 5. L.) no contexto. ________________________

_________________________________________________________________.5. Qual o sentido do verbo veer (1, 6. L.)? ______________________________.

6. Sabendo-se que a palavra bold usada no aplicativo Microsoft Word na funo de

negrito, explique tanto a a formao do termo boldly (2, 1. L.) quanto seu

sentido na frase. ___________________________________________________.

7. O pronome its (2, 2. L.) refere-se a qu? ______________________________.

8. Traduza e explique o termo range of perspectives (2, 3. L.) . _______________

________________________________________________________________.

9. Qual a conexo entre as artes de Mark Gertler e Zoffany? ____________________

_______________________________________________________________________

________________________________________________________________.

10.Entre as qualidades da exibio levantadas pelo autor do texto est uma que ele diz

que produz um timo efeito. Explique-a. ________________________________

_______________________________________________________________________

________________________________________________________________.

11.Explique o sintagma nominal straighforward image (2, 3. L.), traduzindo-o em

seguida. __________________________________________________________

_________________________________________________________________.

12.A orao Wherever and whenever the family is found (2, 10a. L.) est na voz passiva

ou ativa? Seria possvel inverter essa voz? _________________________________

_________________________________________________________________.
http://www.google.co.uk/imgres?q=zoffany+princes+george&hl=en&biw=1368&bih=980&gbv=2&tbm=isch&tbnid=keeonZeuMiSd8M:&imgrefurl=http://www.antiquesandfineart.com/articles/article.cfm%3Frequest%3D857&docid=vtW0ToCMystB3M&imgurl=http://www.antiquesandfineart.com/articles/media/images/00801-00900/00857/fig1_LG.jpg&w=750&h=655&ei=6Lu3ToCGNcLb8AORoe2KBQ&zoom=1&iact=hc&vpx=616&vpy=648&dur=308&hovh=210&hovw=240&tx=145&ty=89&sig=101825355050522240459&page=6&tbnh=151&tbnw=173&start=178&ndsp=36&ved=1t:429,r:17,s:178http://www.google.co.uk/imgres?q=zoffany+princes+george&hl=en&biw=1368&bih=980&gbv=2&tbm=isch&tbnid=keeonZeuMiSd8M:&imgrefurl=http://www.antiquesandfineart.com/articles/article.cfm%3Frequest%3D857&docid=vtW0ToCMystB3M&imgurl=http://www.antiquesandfineart.com/articles/media/images/00801-00900/00857/fig1_LG.jpg&w=750&h=655&ei=6Lu3ToCGNcLb8AORoe2KBQ&zoom=1&iact=hc&vpx=616&vpy=648&dur=308&hovh=210&hovw=240&tx=145&ty=89&sig=101825355050522240459&page=6&tbnh=151&tbnw=173&start=178&ndsp=36&ved=1t:429,r:17,s:178http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=26498&searchid=9270&roomid=false&tabview=text&texttype=10http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=26498&searchid=9270&roomid=false&tabview=text&texttype=10http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=26498&searchid=9270&roomid=false&tabview=text&texttype=10http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=26498&searchid=9270&roomid=false&tabview=text&texttype=10http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=26498&searchid=9270&roomid=false&tabview=text&texttype=10http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=26498&searchid=9270&roomid=false&tabview=text&texttype=10http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=26498&searchid=9270&roomid=false&tabview=text&texttype=10http://www.google.co.uk/imgres?q=zoffany+princes+george&hl=en&biw=1368&bih=980&gbv=2&tbm=isch&tbnid=keeonZeuMiSd8M:&imgrefurl=http://www.antiquesandfineart.com/articles/article.cfm%3Frequest%3D857&docid=vtW0ToCMystB3M&imgurl=http://www.antiquesandfineart.com/articles/media/images/00801-00900/00857/fig1_LG.jpg&w=750&h=655&ei=6Lu3ToCGNcLb8AORoe2KBQ&zoom=1&iact=hc&vpx=616&vpy=648&dur=308&hovh=210&hovw=240&tx=145&ty=89&sig=101825355050522240459&page=6&tbnh=151&tbnw=173&start=178&ndsp=36&ved=1t:429,r:17,s:178


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13.Explique por que o autor usa o tempo verbal have changed (3, 1. L.). ________

_________________________________________________________________.

14.Por que nenhum artigo usado nessa mesma frase (3, 1. L.)? ________________

_________________________________________________________________.

15.A segunda sentena do 3 possui vrios cognatos. Traduza-os adequadamente. ___

_______________________________________________________________________

_________________________________________________________________.

16.A quem o pronome their (3, 3. L.) se refere? ___________________________.

17.O pronome their (3, 4. L.) refere-se a mesma coisa que o pronome da questo

acima? ___________________________________________________________.

18.Traduza o pargrafo 3 completamente. ___________________________________

_______________________________________________________________________

_______________________________________________________________________

_______________________________________________________________________

_______________________________________________________________________________________________________________________________________.

19.Sabendo-se que o verbo to recede significa retroceder, voltar atrs, por que, na

sua opinio, o autor do texto diz que o artista becomes freer (4, 2. L.)?

_______________________________________________________________________

_________________________________________________________________.

20.Qual o sentido da conjuno as (4, 1. L.)? ________________________________.

21.O termo affectless (4, 5. L.) foi formado pela adio de um sufixo. Qual? Qual o

sentido dele e como voc traduziria o termo? _______________________________

_________________________________________________________________.

22.

Traduza todo o sintagma nominal em que o termo affectless aparece. __________

_______________________________________________________________________

__________________________________________________________________.

23.O termo falling (4, 7. L.) foi formado com a adio do sufixo ing. Neste caso, ele

um verbo ou um substantivo? ________________________________________. E o

termo setting, na linha imediatamente abaixo? ___________________________.

24.O termo one (4, 7. L.) um numeral nesse contexto? Explique. _____________

________________________________________________________________.

25.O termo one (4, 8. L.) equivale ao termo da pergunta anterior? Explique.

___________________________________________________________________.

26.Por que o autor usa o artigo the (4, 9. L.)? ______________________________

__________________________________________________________________.

27.Traduza a ltima sentena do pargrafo. __________________________________

_______________________________________________________________________

_________________________________________________________________.

28.Traduza, agora, o ttulo do artigo. _________________________________________

___________________________________________________________________.

29.Assim como o olho da matria. ___________________________________________

__________________________________________________________________.

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AULA 14 - Diagnosticando Novamente