Instrução: A questão estão relacionadas ao texto abaixo.
“Mistrust all enterprises that require new
clothes,” says EM Forster in A Room With a
View, adapting a quote ........ Henry David
Thoreau. What a spoilsport. With the
[05] acquisition of new and unusual kit comes the
chance to become someone fresher, sexier or,
at the very least, someone who is prepared to
give yellow a go.
The reason we are so desperate to buy or
[10] borrow new clothes, says the academic and
broadcaster Shahidha Bari in her clever, subtle
book, is because they appear to bestow ........
us a charm and intellect that we can’t quite
muster for ourselves. Yet the moment we
[15] acquire that new coat or those new trousers,
we realise that nothing much has changed at
all. For no matter how fancy we look on the
surface, ........we still come with metaphorical
trailing threads and odd socks.
[20] Bari wants us to think not so much about what
clothes say as how they make us feel. Take the
suit. The one that she has in mind is worn by
Cary Grant in North by Northwest (1959).
Designed by Grant’s Savile Row tailor, Kilgour,
[25] French and Stanley, this suit combines a
ventless jacket with high-waisted, forward
pleated trousers. It is a suit (or suits – during
the five month shoot Grant got through eight
replicas, since hanging from Mount Rushmore by
[30] your fingertips involves a certain wear and tear)
that is simultaneously authoritative and
insouciant.
_____ the appeal of the suit is that it doesn’t
look as if it’s trying too hard, Bari is convinced
[35] that beneath that sheeny worsted surface, it is
doing important work. She is good at dresses
too. By rights, of course, they have no business
being in any modern woman’s wardrobe.
Nearly a hundred years after it became
[40] acceptable for “advanced” females to wear
“divided skirts” ........ the tennis court, why
would anyone voluntarily shimmy themselves
into a garment designed to cling to one’s body
while simultaneously restricting its movement?
[45] Bari is particularly good on how a dress looks
while on a hanger – like a second skin waiting
for flesh and blood to make it live. It is this
sense of the dress as an alternative self that
makes it so potent, far more charged, say, than
[50] well-cut trousers or Merino jumpers: “This
dress – not a poem, not a painting but a dress
– is something, maybe even all things, that we
are not.” Which is why it is the item most likely
to be languishing, unworn, at the back of the
[55] wardrobe, waiting for the moment when we
feel good enough – thin enough, feminine
enough, just enough enough – to put it on.
Adaptado de https://www.3quarksdaily.com/3quarks daily/2019/06/dressed-by-shahidha-bari-andthe-pocket-two-books-on-thesecret-life-ofclothes.html. Acesso em: 19 jul. 2019.
Assinale com V (verdadeiro) ou F (falso) as afirmações abaixo, acerca do texto.
( ) O trecho Bari wants us to think not so much about what clothes say as how they make us feel (l. 20-21) pode ser substituído por Bari wants us to think more of how clothes make us feel rather than of what they say, sem prejuízo da correção gramatical e do significado original do texto.
( ) O segmento it is (l. 47) pode ser omitido, sem prejuízo da correção gramatical e do significado original do texto.
( ) O trecho It is this sense of the dress as an alternative self that (l. 47-48) pode ser substituído por This sense of the dress as an alternative self is what, sem prejuízo da correção gramatical e do significado original do texto.
( ) A palavra since (l. 29) pode ser substituída por as from, sem prejuízo de correção gramatical e do significado original do texto.
A sequência correta de preenchimento dos parênteses, de cima para baixo, é
