ENEM 2020 Inglês - Questões

Finally, Aisha finished with her customer and asked what colour Ifemelu wanted for her hair attachments.

“Colour four.”

“Not good colour,” Aisha said promptly.

“That’s what I use.’

“It look dirty. You don’t want colour one?”

“Colour one is too black, it looks fake,” Ifemelu said, loosening her headwrap. “Sometimes I use colour two, but colour four is closest to my natural colour.”

[...]

She touched Ifemelu’s hair. “Why you don’t have relaxer?”

“I Iike my hair the way God made it.”

“But how you comb it? Hard to comb,” Aisha said.

Ifemelu had brought her own comb. She gently combed her hair, dense, soft and tightly coiled, until it framed her head like a halo. “It’s not hard to comb if you moisturize it properly,” she said, slipping into the coaxing tone of the proselytizer that she used whenever she was trying to convince other black women about the merits of wearing their hair natural. Aisha snorted; she clearly could not understand why anybody would choose to suifer through combing natural hair, instead of simply relaxing it. She sectioned out Ifemelu’s hair, plucked a little attachment from the pile on the table and began deftly to twist.

(ADICHIE. C. Americanah: A novel. New York: Anchor Books, 2013.)

A passagem do romance da escritora nigeriana traz um diálogo entre duas mulheres negras: a cabeleireira, Aisha, e a cliente, Ifemelu. O posicionamento da cliente é sustentado por argumentos que

A Minor Bird

I have wished a bird would fly away,

And not sing by my house all day;

Have clapped my hands at him from the door

When it seemed as if I could bear no more.

The fault must partly have been in me.

The bird was not to blame for his key.

And of course there must be something wrong

In wanting to silence any song.

(FROST. R. West-running Brook. New York: Henry Holt and Company, 1928:)

No poema de Robert Frost, as palavras “fault” e “blame” revelam por parte do eu lírico uma

A Mother in a Refugee Camp

No Madonna and Child could touch

Her tenderness for a son

She soon would have to forget...

The air was heavy with odors of diarrhea,

Of unwashed children with washed-out ribs

And dried-up bottoms waddling in labored steps

Behind blown-empty bellies. Other mothers there

Had long ceased to care, but not this one:

She held a ghost-smile between her teeth,

and in her eyes the memory

Of a mother’s pride... She had bathed him

And rubbed him down with bare palms.

She took from their bundle of possessions

A broken comb and combed

The rust-colored hair left on his skull

And then — humming in her eyes — began carefully

[to part it.

In their former life this was perhaps

A little daily act of no consequence

Before his breakfast and school; now she did it

Like putting flowers on a tiny grave.

(ACHEBE, C. Collect Poems. New York: Anchor Books, 2004.)

O escritor nigeriano Chinua Achebe traz uma reflexão sobre a situação dos refugiados em um cenário pós-guerra civil em seu pais. Essa reflexão é construída no poema por meio da representação de uma mãe, explorando a(s)

(Disponível em: www.csuchico.edu. Acesso em: 11 dez. 2017)

Nesse pôster de divulgação de uma campanha que aborda a diversidade e a inclusão, a interação dos elementos verbais e não verbais faz referência ao ato de

(Disponível em: https://sites.psu.edu. Acesso em: l2 jun. 2018.)

Os recursos usados nesse pôster de divulgação de uma campanha levam o leitor a refletir sobre a necessidade de