Instruction: answer questions 31 to 40 based on the following text. The highlights throughout the text are cited in the questions.

Carnival

1. ______ Carnival is ____ festival celebrated in _____countries of Catholic tradition, often
2. with public parades of playful, imaginative wagons typically called "floats, masking, jokes and
3. feasts”.
4. Etymology
5. The word carnival comes from the Latin "carnem levare" (=eliminate meat) and
6. originally indicated the banquet that was held on the last day of Carnival (Mardi Gras),
7. immediately before Lent, the period of fasting and abstinence when Christians would abstain
8. _____ meat. The first evidence of the use of the word "carnevale" (or "carnevalo") are the texts
9. of minstrel Matazone da Caligano of the late 13th century and writer Giovanni Sercambi around
10. 1400.
11. Carnival period
12. In Catholic countries, traditionally Carnival begins on the Septuagesima Sunday (70
13. days to Easter, it was the first of the nine Sundays before the Holy Week in the Gregorian
14. calendar), and in the Roman rite ends on the Tuesday before Ash Wednesday, which marks the
15. beginning of Lent. The climax is usually from Thursday until Tuesday, the last day of Carnival.
16. Being connected with Easter which is a moveable feast, the final dates of Carnival vary each
17. year, though in some places it may begin already on 17^th January. Since Catholic Easter is on
18. the Sunday after the 17first full moon of spring, therefore from 22 March to 25 April, and since
19. there are 46 days between Ash Wednesday and Easter, then in non-leap years the last day of
20. Carnival, Mardi Gras, can fall any time within February 3 to March 9.
21. In the Ambrosian rite, which is followed in the Archdiocese of Milan and in some
22. neighboring dioceses, Lent begins with the first Sunday of Lent, therefore the last day of
23. Carnival is on Saturday, four days later than the Mardi Gras in other areas of Italy.
24. Carnival in antiquity
25. Although present in the Catholic tradition, Carnival has its origins in much older
26. celebrations, such as the Greek Dionysian festivals ("Anthesteria") or the Roman "Saturnalia".
27. During these ancient rites a temporary dissolution of the social obligations and hierarchies took
28. place in favor of chaos, jokes and even debauchery. From a historical and religious point of
29. view Carnival represented, therefore, a period of renewal, when chaos replaced the established
30. order, but once festive period was over, a new or the old order re-emerged for another cycle
31. until the next carnival.
32. In Babylon, shortly after the vernal equinox the process of the foundation of the cosmos
33. was re-enacted, described with the myth of the struggle of Marduk, the savior-god with Tiamat
34. the dragon, which ended with the victory of the former. During these ceremonies a procession
35. was held in which the forces of chaos were allegorically represented fighting the recreation of
36. the universe, that is the myth of the death and resurrection of Marduk, the savior. In the parade
37. there was a ship on wheels where the deities Moon and Sun were carried along a large avenue
38. - a symbol of the Zodiac - to the sanctuary of Babylon, symbol of the earth. This period was
39. accompanied by an unbridled freedom and a reversal of social order and morality.
40. In the Roman world the feast in honor of the Egyptian goddess Isis involved the presence
41. of masked groups, as told by Lucius Apuleius in the Metamorphoses (Book XI). Among the
42. Romans the end of the old year was represented by a man covered with goat skins, carried in
43. procession, hit with sticks and called Mamurius Veturius.
44. Carnival is therefore a moment in a mythic cycle, it is the movement of spirits between
45. heaven, earth and the underworld. In the spring, when the earth begins to show its power,
46. Carnival opens a passage between the earth and the underworld, whose souls must be honored
47. and for a short period the living lend them their bodies wearing masks. Masks therefore have
48. often an apotropaic meaning, as the wearer takes on the features of the spirit represented.
49. In the 15th and 16th centuries, the Medici in Florence organized large masked carts
50. called "Trionfi" accompanied by carnival songs and dances one, the "Trionfo di Bacco e Arianna"
51. also written by Lorenzo the Magnificent. In Rome under the Popes horse races took place and
52. a called the "race of moccoletti" where runners bearing lit candles tried to blow out each other's
53. candles.

(Available at: http://www.italyheritage.com/traditions/carnival/2023/04/14/ – text especially adapted for this test).

O texto seguinte servirá de base para responder à questão.

The Future of Global Economy and Society

Characters:

Emma: A professor of International Relations.

John: A journalist specializing in global economics.

Sophia: An environmental activist and policy advisor.

Emma: Good afternoon, everyone. Today, I'd like to delve into the intricacies of the global economy and its impact on society. As we navigate through these unprecedented times, what do you think are the key drivers reshaping our world?

John: From my perspective, the most significant factor is the acceleration of technological innovation. The digital economy is not just expanding; it's revolutionizing traditional sectors. Artificial Intelligence, blockchain technology, and the Internet of Things are all converging, creating a paradigm shift in how we understand and conduct business.

Sophia: I agree, John. However, I would argue that while technological advancement is transformative, it also presents ethical dilemmas. The digital divide is growing, and the disparity between those who have access to these technologies and those who don't is becoming a critical issue. Moreover, the implications for data privacy and surveillance are profound and cannot be overlooked.

Emma: That's an excellent point, Sophia. The ethical implications are vast. But moving beyond technology, how do you see geopolitical tensions influencing global economic stability?

John: Geopolitical tensions have always played a pivotal role. However, with the recent rise of protectionist policies and trade wars, we are witnessing a fragmentation of the global economic order. Countries are increasingly prioritizing national interests, which could lead to a significant realignment of global alliances and trade networks.

Sophia: And this realignment is not without consequences. We must consider the environmental impact as well. The current economic model, heavily reliant on fossil fuels, is unsustainable. We need a radical transition towards a green economy, and that requires international cooperation—something that's hard to achieve amid rising nationalism.

Emma: Absolutely. The concept of a green economy is gaining traction, but there's a lot of skepticism about its feasibility, especially in developing countries where economic growth is still heavily dependent on traditional industries. What are your thoughts on this?

John: It's indeed a delicate balancing act. Developing nations argue that stringent environmental regulations could stifle their economic growth and exacerbatepoverty. On the other hand, the consequences of inaction could be catastrophic, not just for these countries, but globally. Perhaps the solution lies in creating financial incentives for sustainable development.

Sophia: That's where policy-making becomes crucial. We need to implement more robust frameworks for international cooperation that include financial support, technology transfer, and capacity building. The global north has a historical responsibility to assist the global south in this transition.

Emma: These are compelling insights. It's clear that the path forward is complex and requires a multifaceted approach. Balancing technological, economic, environmental, and ethical considerations is a formidable challenge. However, it's also an opportunity for us to redefine the future of global society.

John: I couldn't agree more, Emma. The question is not whether we will face these challenges, but how we will respond to them collectively.

Sophia: Exactly. It's not just about adapting to change but about proactively shaping it. We must engage in more dialogue, foster innovation, and, above all, uphold our shared values of equity, justice, and sustainability.

Emma: Well said, Sophia. I believe our discussion today has highlighted the interconnectedness of these issues and the importance of global solidarity. Thank you both for this enlightening conversation.

John and Sophia: Thank you, Emma.

For question, consider the following collocation: “Congratulations on” and choose the best-suited alternatives.

When a person (or team or firm or government) decides how to act in dealings with other people (or teams or firms or governments), there must be some cross-effect of their actions; what one does must affect the outcome for the other. For the interaction to become a strategic game, however, we need the participants’ mutual awareness of this cross-effect. What the other person does affects you; if you know this, you can react to his actions, or take advance actions to forestall the bad effects his future actions may have on you and to facilitate any good effects, or even take advance actions so as to alter his future reactions toyour advantage. If you know that the other person knows that what you do affects him, you know that he will be taking similar actions. And so on. It is this mutual awareness of the cross-effects of actions and the actions taken as a result of this awareness that constitute the most interesting aspects of strategy.

When each participant is significant in the interaction, either because each is a large player to start with or because commitments or private information narrow the scope of the relationship to a point where each is an important player within the relationship, we must think of the interaction as a strategic game. Such situations are the rule rather than the exception in business, in politics, and even in social interactions. Therefore, the study of strategic games forms an important part of all fields that analyze these matters.

Avinash Dixit et al. Games of strategy.

New York: W.W. Norton & Coadapted, 2015 (adapted).

Read Text I and answer question.

Text I: The speed of sound

Some music fans now know 15-second sped up snippets of songs better than the real thing. It’s thanks to an emerging trend on social media, particularly TikTok, of creators changing the tempo of popular songs by 25-30%, to accompany short viral videos of dances or other themes. This phenomenon presents a very modern challenge – how can singers create the next hit tune when the one people actually listen to might sound so different?

Sped-up listening emerged in the early 2000s as “Nightcore”, launched by a Norwegian DJ duo of the same name, who sped up a song’s pitch and speed. This is now commonplace on social media apps, where the speed of podcasts, voice notes, movies and more can be increased so that people can consume them in less time. But what people might not know is that unofficial sped-up or slowed down tunes are different to a professional remix because they are far shorter and can be easily made by anyone, including on TikTok, Instagram Reels and other apps.

In 2023, more than a third of Spotify listeners in the US sped up podcasts and nearly two-thirds played songs at a quicker tempo. The streaming service recently confirmed to the BBC that it was testing a new and more widespread feature that could potentially allow its customers to remix the tempo of songs and share them. In addition, some popstars are embracing this phenomenon. In November 2022, for example, fan-made sped-up versions of RAYE’s single “Escapism” helped the artist to achieve her first ever number one on the UK Official Singles Chart, nearly three months after its original release. Furthermore, Billie Eilish has also released official fast and slow versions of songs and Sabrina Carpenter’s hits “Please Please Please” and “Espresso” received similar treatment.

Dr Mary Beth Ray, an author focused on digital music culture, says short-form video platforms like TikTok “constrain our ways of listening into snippets, but those constraints also let you experience a track in a new way”. She also said that “short clips provide a quicker line to that dopamine rush social media wants us to feel – so there is an addictive element which we’re pushed towards.”

BBC Radio 1 DJ Maia Beth feels it's now getting hard for established labels and musicians to ignore this trend because it can sometimes feel like if they don't release the sped up version, then someone else will. Beth, who admits she can't imagine sitting and listening to a sped-up version of a song the whole way through, believes the trend shouldn't necessarily be a major distraction for musicians though. “Sped-up versions of tracks can help artists break through or go viral, although that initial success may not last,” she added.

TikTok says it has noticed an increase in the number of sped-up and slowed down versions of catalogue tracks taken off the platform, then become officially released. These official changed-tempo releases are now grouped together with the original song in the UK Official Singles Chart, along with remixes, acoustic and live versions, helping artists to climb the ranks.

That said, not everyone is happy with the trend. The popularity of speed-altered versions can make it harder to distinguish original from remix while altering an artist'sintended pacing, mood and tone. However, while some artists like them and others less so, it seems they are here to stay.

Adapted from: https://www.bbc.com/news/articles/cqv5x2qe8q6o Published: August 17, 2024