Questões Professor Letras Geral para Concursos

Toward a New Vision While many of us have little difficulty in assessing our own victimization within some major system of oppression, whether it be by race, social class, religion, sexual orientation, ethnicity, age or gender, we typically fail to see how our thoughts and actions uphold someone else’s subordination. Thus, white feminists routinely point with confidence to their oppression as women but resist seeing how much their white skin privileges them. African-Americans who possess eloquent analyses of racism often persist in viewing poor White women as symbols of white power. The radical left fares little better. “If only people of color and women could see their true class interests,” they argue, “class solidarity would eliminate racism and sexism.” In essence, each group identifies the type of oppression with which it feels most comfortable as being fundamental and classifies all other types as being of lesser importance. Oppression is full of such contradictions. Errors in political judgment that we make concerning how we teach our courses, what we tell our children, and which organizations are worthy of our time, talents and financial support flow smoothly from errors in theoretical analysis about the nature of oppression and activism. Once we realize that there are few pure victims or oppressors, and that each one of us derives varying amounts of penalty and privilege from the multiple systems of oppression that frame our lives, then we will be in a position to see the need for new ways of thought and action.

Toward a New Vision While many of us have little difficulty in assessing our own victimization within some major system of oppression, whether it be by race, social class, religion, sexual orientation, ethnicity, age or gender, we typically fail to see how our thoughts and actions uphold someone else’s subordination. Thus, white feminists routinely point with confidence to their oppression as women but resist seeing how much their white skin privileges them. African-Americans who possess eloquent analyses of racism often persist in viewing poor White women as symbols of white power. The radical left fares little better. “If only people of color and women could see their true class interests,” they argue, “class solidarity would eliminate racism and sexism.” In essence, each group identifies the type of oppression with which it feels most comfortable as being fundamental and classifies all other types as being of lesser importance. Oppression is full of such contradictions. Errors in political judgment that we make concerning how we teach our courses, what we tell our children, and which organizations are worthy of our time, talents and financial support flow smoothly from errors in theoretical analysis about the nature of oppression and activism. Once we realize that there are few pure victims or oppressors, and that each one of us derives varying amounts of penalty and privilege from the multiple systems of oppression that frame our lives, then we will be in a position to see the need for new ways of thought and action.

Toward a New Vision While many of us have little difficulty in assessing our own victimization within some major system of oppression, whether it be by race, social class, religion, sexual orientation, ethnicity, age or gender, we typically fail to see how our thoughts and actions uphold someone else’s subordination. Thus, white feminists routinely point with confidence to their oppression as women but resist seeing how much their white skin privileges them. African-Americans who possess eloquent analyses of racism often persist in viewing poor White women as symbols of white power. The radical left fares little better. “If only people of color and women could see their true class interests,” they argue, “class solidarity would eliminate racism and sexism.” In essence, each group identifies the type of oppression with which it feels most comfortable as being fundamental and classifies all other types as being of lesser importance. Oppression is full of such contradictions. Errors in political judgment that we make concerning how we teach our courses, what we tell our children, and which organizations are worthy of our time, talents and financial support flow smoothly from errors in theoretical analysis about the nature of oppression and activism. Once we realize that there are few pure victims or oppressors, and that each one of us derives varying amounts of penalty and privilege from the multiple systems of oppression that frame our lives, then we will be in a position to see the need for new ways of thought and action.

Outlander turns up the highland heat As the raunchy TV show about a time-travelling nurse and an ageing highland warrior returns, its stars open up about the vibrant love lives of the over-70s – and respond to criticism of the show’s troubling use of sexual violence. Outlander isn’t a show that can be described in a nutshell. Is it a period drama? Sci-fi? Action? Romance? Caitríona Balfe, who has been the show’s star for eight years, still doesn’t know. “God, yeah,” she puffs. “(1)_____”. One thing agreed upon among fans is that, against a dedicated attention to historical detail and endless panoramic shots of Scotland, Balfe’s raunchy relationship with co-star Sam Heughan is the beating heart of the story. Heughan, however, insists it’s not just constant shagging: “(2)_____”. The adaptation of Diana Gabaldon’s novel series follows the story of second world war nurse Claire, played by Balfe, who is honeymooning with her husband, Frank, when she touches a stone in the Highlands and falls back in time to 18th-century Scotland. (3)_____. Together, they travel around the world, encountering and often disrupting historical events, moving back and forth between centuries (only Claire has the gift of time travel), going into battle, saving lives, dealing with witchcraft trials, becoming a power couple and having a lot of sex. Claire is gutsy, liberated and, rather conveniently for the risky situations she constantly finds herself in, has an encyclopaedic knowledge. One day she is showing Jamie the marvels of bikini waxing, the next she is casually inventing penicillin. (4)_____ – a true leader on the battlefield, he is proud and stubborn but kind-hearted, and often assumes the beta role in his marriage.

Outlander turns up the highland heat As the raunchy TV show about a time-travelling nurse and an ageing highland warrior returns, its stars open up about the vibrant love lives of the over-70s – and respond to criticism of the show’s troubling use of sexual violence. Outlander isn’t a show that can be described in a nutshell. Is it a period drama? Sci-fi? Action? Romance? Caitríona Balfe, who has been the show’s star for eight years, still doesn’t know. “God, yeah,” she puffs. “(1)_____”. One thing agreed upon among fans is that, against a dedicated attention to historical detail and endless panoramic shots of Scotland, Balfe’s raunchy relationship with co-star Sam Heughan is the beating heart of the story. Heughan, however, insists it’s not just constant shagging: “(2)_____”. The adaptation of Diana Gabaldon’s novel series follows the story of second world war nurse Claire, played by Balfe, who is honeymooning with her husband, Frank, when she touches a stone in the Highlands and falls back in time to 18th-century Scotland. (3)_____. Together, they travel around the world, encountering and often disrupting historical events, moving back and forth between centuries (only Claire has the gift of time travel), going into battle, saving lives, dealing with witchcraft trials, becoming a power couple and having a lot of sex. Claire is gutsy, liberated and, rather conveniently for the risky situations she constantly finds herself in, has an encyclopaedic knowledge. One day she is showing Jamie the marvels of bikini waxing, the next she is casually inventing penicillin. (4)_____ – a true leader on the battlefield, he is proud and stubborn but kind-hearted, and often assumes the beta role in his marriage.

Outlander turns up the highland heat As the raunchy TV show about a time-travelling nurse and an ageing highland warrior returns, its stars open up about the vibrant love lives of the over-70s – and respond to criticism of the show’s troubling use of sexual violence. Outlander isn’t a show that can be described in a nutshell. Is it a period drama? Sci-fi? Action? Romance? Caitríona Balfe, who has been the show’s star for eight years, still doesn’t know. “God, yeah,” she puffs. “(1)_____”. One thing agreed upon among fans is that, against a dedicated attention to historical detail and endless panoramic shots of Scotland, Balfe’s raunchy relationship with co-star Sam Heughan is the beating heart of the story. Heughan, however, insists it’s not just constant shagging: “(2)_____”. The adaptation of Diana Gabaldon’s novel series follows the story of second world war nurse Claire, played by Balfe, who is honeymooning with her husband, Frank, when she touches a stone in the Highlands and falls back in time to 18th-century Scotland. (3)_____. Together, they travel around the world, encountering and often disrupting historical events, moving back and forth between centuries (only Claire has the gift of time travel), going into battle, saving lives, dealing with witchcraft trials, becoming a power couple and having a lot of sex. Claire is gutsy, liberated and, rather conveniently for the risky situations she constantly finds herself in, has an encyclopaedic knowledge. One day she is showing Jamie the marvels of bikini waxing, the next she is casually inventing penicillin. (4)_____ – a true leader on the battlefield, he is proud and stubborn but kind-hearted, and often assumes the beta role in his marriage.

Inheritors of the cult: Why we’re still obsessed with Shakespeare Time, it has been said, is the king of men: “He’s both their parent, and he is their grave, / And gives them what he will, not what they (1)______”. Those lines, culled ruthlessly from Pericles, show Shakespeare at his most epigrammatic; the neatness of the rhyme, the apparently selfcontained couplet’s-worth of wisdom, seem to encourage such ruthless culling. It’s also, at least in appearance, a moment of writerly (2)______ – that “will” serving as a reminder of the will of the writer, or of Will the writer. If time’s the ruler of men, then the playwright is no exception. But time’s not been too harsh on Shakespeare, who remains central to the English literary canon. For 400 years his influence has evolved, but never been threatened by disappearance, and his work remains a kind of proving (3)_____ for English literary criticism, exemplifying the patterns and problems that shape the discipline at large.

Inheritors of the cult: Why we’re still obsessed with Shakespeare Time, it has been said, is the king of men: “He’s both their parent, and he is their grave, / And gives them what he will, not what they (1)______”. Those lines, culled ruthlessly from Pericles, show Shakespeare at his most epigrammatic; the neatness of the rhyme, the apparently selfcontained couplet’s-worth of wisdom, seem to encourage such ruthless culling. It’s also, at least in appearance, a moment of writerly (2)______ – that “will” serving as a reminder of the will of the writer, or of Will the writer. If time’s the ruler of men, then the playwright is no exception. But time’s not been too harsh on Shakespeare, who remains central to the English literary canon. For 400 years his influence has evolved, but never been threatened by disappearance, and his work remains a kind of proving (3)_____ for English literary criticism, exemplifying the patterns and problems that shape the discipline at large.

Inheritors of the cult: Why we’re still obsessed with Shakespeare Time, it has been said, is the king of men: “He’s both their parent, and he is their grave, / And gives them what he will, not what they (1)______”. Those lines, culled ruthlessly from Pericles, show Shakespeare at his most epigrammatic; the neatness of the rhyme, the apparently selfcontained couplet’s-worth of wisdom, seem to encourage such ruthless culling. It’s also, at least in appearance, a moment of writerly (2)______ – that “will” serving as a reminder of the will of the writer, or of Will the writer. If time’s the ruler of men, then the playwright is no exception. But time’s not been too harsh on Shakespeare, who remains central to the English literary canon. For 400 years his influence has evolved, but never been threatened by disappearance, and his work remains a kind of proving (3)_____ for English literary criticism, exemplifying the patterns and problems that shape the discipline at large.